If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Be careful what you wish for, for you may get it-so the saying goes. When Alex Machacek asked drummer Marco Minnemann if he had a drum solo he could pass his way to compose around, he could never have expected a drum improvisation lasting 51 minutes. Before he could say, "Hey, 13/16 is a really odd meter," he found himself committed to composing, or recomposing as he puts it, around the entire piece.
Minnemann's drum improvisation is amazing in and of itself; the layers of rhythm, the shifting meters, the contrasting dynamics, and the sheer musicality from start to finish make it something rather special. Machacek, not unreasonably slightly daunted by the task ahead of him, elected to divide the improvisation into sections, hence the title of the album. His response to Minnemann's challenge is also something special; compositionally, 24 Tales (Abstract Logix, 2010) is as sensitive to the brilliance of Minnemann's playing as it is technically impressive. It is also adrenaline-charged and emotive, like a 51-minute amusement park ride. Machacek's compositional approach, which largely places improvisation on the back burner, yields music of a complexity and beauty which bears favorable comparison to the best composed works of Frank Zappa.
All About Jazz:24 Tales is a pretty stunning recording. How do you view it in the context of your discography?
Alex Machacek: Well, thank you first up. How do I look upon it now? I'm so glad it's done and finally finished. It took me a while. I'm actually happy the way it turned out.
AAJ: You recorded a duet for drum and guitar with Terry Bozzio some years back on Delete and Roll (Next Generation Enterprises, 2004). Would you say that the genesis of 24 Tales goes back that far or maybe even further back? Was this something you've wanted to do for a long time?
AM: I remember that when I recorded with Terry, I asked him if he could record me a drum solo just before I was going back to Europe and he said, "Yeah, sure." That became the title track of the album [sic] (Abstract Logix, 2006). So yeah, I guess that was the genesis.
The whole story with Marco [Minnemann] is that I started playing with him just after I released [sic], and I asked him if he had a drum solo recorded and he said yes. It turned out to be 50 minutes [laughs]. At first I thought I'd just take a part or a section, but after a while Marco came up with the idea of giving the same solo to different people as an experiment. So, he gave the solo to Mike Keneally, Trey Gunn, John Czajkosski, Mario Brinkmann, Phil Yan-Zeek and he'd do a version himself; that's when I decided to take on the whole solo. First, I'd thought maybe five, maybe eight minutes maximum [laughs]. After a while I thought, "Okay, let's do 50 minutes."
AAJ: On [sic] there are several tracks based around Terry Bozzio's drumming. You once said that "Don Jon" was so difficult to compose because it was so long at over nine minutes; just how daunting was it composing around 51minutes of Minnemann's drumming?
AM: Well, when you are young you think nine minutes are long, and as you get older you think 50 minutes are long-I don't know. Actually, that was one of the reasons I divided it into 24 sections. One song-or part, whatever you want to call it-of nine minutes length, I knew how intimidating that could be, so I thought, "Let's chop it up into sections and make it much more manageable." You're just fooling yourself because at the end it's still 50 minutes, right? But while you're working on it, you think this section is only 1:30 seconds, which seems doable; then the next one and the next one. Somebody asked me if I would do it again and I said, "Well, maybe not right away." [Laughs.]
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!