Bill Laswell: No Boundaries

Nenad Georgievski By

Sign in to view read count
For some people music is a mere entertainment product, a pastime amusement. For others music is a powerful force and the act of its creation carries within itself a sense of discovery. Bill Laswell's music, production and remixes have always carried that sense of discovery and riskiness. Multifariously creative and independent, he has always been revered by avant-gardists, jazz and improv and electronic music fans with equal zeal. 

In the last 30 years, this incontrovertibly cool producer has emerged as as one of the most important figures in today's music. He has been involved in the making of so many records that chances are that anybody with the least interest of modern music will have crossed paths with one of his recordings. His pieces are like busy intersections of different sounds, cultures and people that in a way resemble global conversations. They are rooted in the process of collaboration and, especially in the '90s, these records represented exciting points of musical confluences. The band Material was a loose aggregation of musicians where many people contributed to these unusual records, ranking from guitarists Sonny Sharrock, Nicky Skopelitis, Fred Frith, Nile Rogers to saxophonists Henry Threadgill, Archie Shepp, to keyboardists Herbie HancockBernie Worrell or percussionist Aiyb Dieng and tabla player Zakir Hussain, to name a few. Laswell's records are much more in line with Miles Davis' or Jon Hassell's explorations of sound and choice of musicians rather than simply creating tapestries of exotic but shallow sounds. 

In 1983 he recorded "Rockit" for Herbie Hancock, a state of the art dance track that sampled beats and turntables with groovy synth sounds. It was an instant and timeless hit, especially in the UK, that brought to light a whole underground movement, and pointed towards the future. This collaboration with Hancock resulted in other records with the first, Sound System  (Columbia, 1984), being awarded a Grammy. Soon after he was so in demand as a producer that He went to produce records for such diverse artists as Laurie Anderson, Mick Jagger, Sly and Robbie, Motorhead, PIL, Ginger BakerFela Kuti, Yoko Ono, Afrika Bambaataa, Iggy Pop and the Ramones, to name but a few. 

Laswell has been a man on a journey and his extensive travels throughout the world have had a significant impact on the way he perceives sound. His interest was directed towards real experiences and real situations which create an atmosphere and environment for a flow of music. On these travels he recorded various kinds of indigenous music, like the famed Master Musicians of Jajouka, Mahmoud Ghania or oud master Simon Shaheen, experiences that always had an influence on his music and creations. Back in 1990, he created Axiom Records in collaboration with Island Records where he created pan-ethnic polyrhytmic musics. Until 1999 it was a playground for the creation of many brilliant forms of expression. 

One of the most interesting endeavors of his was the process of reshaping the music of other artists. Laswell used terms such as "Reconstruction," "Sound Sculpture" and "Mix Translation" to explain his process of making records. Starting from the music of reggae artist Bob Marley, he went onto reshape the music of Miles Davis between 1969 and 1974, as well as Carlos Santana, Herbie Hancock and Sussan Deyhim. These were album length reconstructions rather than singles and they offered fresh perspectives on the material of these artists whilst simultaneously retaining the spirit of their music. 

The new millennium brought a new label, MOD Technologies, and a plethora of new projects and productions that came with the speed of light and carried the same sense of discovery and experimentation. One recent project saw Laswell team up with Red Hot Chili Peppers' drummer Chad Smith and keyboardist Jon Batiste . The work of Bill Laswell is ongoing and continues to evolve unpredictably as he restlessly moves from one sound to the next, always navigating by instinct and with no set destination in sight. All in all, it reflects a true visionary, a restless spirit and sonic alchemist who creates sound worlds where "nothing is true and everything is permitted." 

All About Jazz:  Your name appears on an avalanche of records which is an indication of unseen and unheard diversity. To what can you attribute your interest for various kinds of music? 

Bill Laswell: As you start and continue on, it requires diversity just out of necessity. Actually, you realize that you are repeating yourself by saying the same thing over and over again. So, diversity comes out of nature I think. It's a necessity. And I think that happened to me. It seems to be quite a lot of different things just because it's been quite a long time. Things were able to develop for the most part. 



comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

Related Articles

Read Cannonball: A Man of the People Interviews
Cannonball: A Man of the People
By Rob Rosenblum
July 22, 2019
Read Monty Alexander: Still Rolling Interviews
Monty Alexander: Still Rolling
By Geno Thackara
July 19, 2019
Read Shambhu: Soothing Guitar for Stressful Times Interviews
Shambhu: Soothing Guitar for Stressful Times
By Jakob Baekgaard
July 14, 2019
Read Rick Lawn: The Evolution of Big Band Sounds in America Interviews
Rick Lawn: The Evolution of Big Band Sounds in America
By Victor L. Schermer
July 2, 2019
Read Theo Croker: It's Just Black Music Interviews
Theo Croker: It's Just Black Music
By Keith Henry Brown
June 24, 2019
Read A Young Person's Guide to the Jazz Bastard Podcast Interviews
A Young Person's Guide to the Jazz Bastard Podcast
By Patrick Burnette
June 11, 2019
Read Joey DeFrancesco: From Musical Prodigy to Jazz Icon Interviews
Joey DeFrancesco: From Musical Prodigy to Jazz Icon
By Victor L. Schermer
June 2, 2019