Derrick Hodge: Raw, Unabashed Honesty
DH: Wow, that spirit might have been evoked from it. That song in particular took me back to the feeling I would get when I was doing shows with Terence Blanchard. We were supposed to do something else but he would just stop, start vibing on something, come stand right in front of me, then point to me and say "You and me."
[Laughs] And the pressure is on you know? And the vibe would just take it wherever it would go. But it would always start from just raw elements and [become] what it is. So I was just trying to capture that in record format, capture some of those elements of sound and make it as empty and bare-boned where whoever hears it, hopefully hears the history of certain things coming out of it.
AAJ: Compositionally, how much of the songs are written with the individual musicians in mind?
DH: This album, Live Today, was all about trying to get snapshots of how I felt of any given day so I didn't write anything too far in advance. But it still takes a focus on what's going to be the overall sound so it doesn't just sound like a demo track. I wanted the nucleus of the sound not to be from me playing everything or all the way raw, so I tried to make the nucleus of the sound of the album be the sound of the players playing it. So it's a marriage of something I might have woken up in the middle of the night feeling, which is "Solitude," and then contouring instrumentation around certain people within that pool of who I knew I wanted to use for the record.
I wanted to keep "Solitude" very simple and Aaron is such a great lyrical soloist and helike a lot of people on the record[has] a sense of production and song form which comes out in their solos. I knew Aaron would exude that energy so that's why I said that I would love to have him do something on this as well. But each song (aside from it being raw), the way the instrumentation was built and who I used and didn't use was based on individual personalities from the pool of guys I knew.
AAJ: Songs like "Live Today," "Message of Hope" and "Solitude" seem to have more control, versus tunes like "Dances with Ancestors," "The Real," and "Boro March," where it has more of that sound where you described when Terrence Blanchard would point to you then both of you start vibing on something.
DH: Each piece was different, for example "Dances with Ancestors" was meant to sound like everything was free form, as far as who is doing what. But a lot of things were written, especially the harmony. The harmony is supposed to sound like some voice leading type stuff. But there is specific harmony where everything has to happen in a certain kind of way to make the overall emotion come across. So it's like everyone is reading in certain parts and I had the embellishments mixed up high so it sounds like everything is just kind of happening. Almost like nobody is really reading, [which] was kind of the point.
Some guys on that album are great readers and also on that song is someone who can't read at all. I had to spend 15 minutes to working out the voice leading and working the harmonies. Versus "Live Today," where it worked in the spirit of the players, Robert Glasper and Chris Dave were on that. And it was just like, "Let's just do that in the spirit of how we approached The Experiment." I sat down on the piano and showed Rob the chords, we tracked, and then Common laid his parts. I loved what I was hearing so I went and added a bunch of additional keyboard stuff to it. But the way that song worked was in the spirit of how The Experiment works. I wanted to have that emotion in that, but when it comes to really raw ideas like "Boro March" or "Message of Hope."
Originally I did everything in "Message of Hope" myself and just had the drums rerecorded and then organ rerecorded. So it's written out but I didn't have them look at anything, I already played it, and then went to the studio and said, "Ok Mark, can you redo the drums, and Travis can you redo the organ?" So each one is different, I was just trying to be honest to who will best bring out the emotion of the song other than the instruments I ended up playing myself.
AAJ: You've been film scoring since you moved out to Los Angeles in 2011. How much of your approach to writing for film translated to the record and vice versa?
DH: I'm a producer by nature and I love the beauty of sonic possibilities. Film composing just happens to be one avenue that I think helps to express that just as composing for a string quintet or quartet. It's the same thing; it gives me an opportunity to express in a different type of way. But I think, at the nucleus of it all is just me loving the beauty of sound palettes. I love how being a product of the modern era allows me to approach music in different ways. Because I'm a producer by nature, I love how the process of overdubbing and approaching [songs] by exploiting the possibility of how the studio can give you a palette. If you recorded everything in the moment and let that be, you might just have to live and die with that, and let that be whatever the final story is. I love trying to mix both, putting acoustic elements, but also being honest to me being a product of the radio and produced sound.
I honestly always felt jazz really isn't limited to just raw full takes of whatever these instrumentalist did in the moment, there's a lot of overdubbing that goes on, it just doesn't end up sounding like it because you're not using synths or sounds that sound in that vein. But that processeven if it wasn't exploited that much in jazz, or what people perceive as pure jazzthere's certain elements there. You name your favorite musician, there might be a song or two where they went back laid some synth pads or they let someone do some overdubs.
So what I did was to try to be honest to my process, which is a product of production. You're going to hear certain elements to that same process that I approach film scoring where I just approach with no expectation. This might be something that's just tracked all at once, or I can really go in and exploit plug-ins and create some type of sound. But the unity in relating other avenues that I've written for really isn't anything other than me approaching it with an empty palette. So when I approach this, I'm starting from scratch no matter what. When I approach film scoring, I approach it from scratch. I don't ever turn off any other way of approaching things in order to go all the way in a certain vein.
At the core of what I'm seeing, anything is a possibility. Maybe writing a standard in a certain type of format might work perfectly for something on screen or hearing something with the instrumentation that might sound like an Aaron Copland type thing might work, as it might work something perfectly for my album. But that's just coincidence, I approached it all with no expectation. This may end up sounding all the way acoustic or this may sound like something scored but it's all coincidence, I try to approach it all the way raw and honest and see what happens.