Brian Lynch: The Brian Lynch / Eddie Palmieri Project

Tomas Pena By

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I knew that someday I wanted to work with Eddie together on a jazz project. A number of years and a lot of learning on my part intervened, but now it's finally happening.
Few musicians embody the 21st Century credo as profoundly as trumpet master Brian Lynch. A respected insider within both the hard core bebop and Latin communities, he's as comfortable negotiating the complexities of clave with Afro-Caribbean pioneer Eddie Palmieri as swinging through advanced harmony with bebop master Phil Woods. Lynch has worked in recent years with Buena Vista Social Club alumnus Barbarito Torres, dance remixer Joe Clausell, and the members of the influential Latin alternative group Yerba Buena. He arranges for pop star Mika Nakashima and producer Shinichi Osawa, has written charts for Phil Woods, and has played with such pop luminaries as Maxwell, Prince, and Sheila E.

The Brian Lynch/Eddie Palmieri Project is the culmination of one of the most significant and rewarding relationships of Brian's life: his work with the maestro Eddie Palmieri. I recently had the pleasure of speaking with Brian about the project. Here is what he had to say...

AAJ: Congratulations on the launch of the Brian Lynch/Eddie Palmieri Project 2005. How was the project conceived?

Brian Lynch: The idea of the project really goes way back to when I first started to play with Eddie in the late 1980s. Right away I felt there were so many things present in his music that I wanted to explore and incorporate in my own musical conceptions. Especially after a notable engagement at the NY Blue Note, where I was the only horn with Eddie and the rhythm section in an instrumental format, I knew that someday I wanted to work with Eddie together on a jazz project. A number of years and a lot of learning on my part intervened, but now it's finally happening.

AAJ: So the idea is, the participant gets an inside look at the creative process through the use of video and audio clips, downloads, journal entries, sheet music, essays, rehearsals and recordings?

BL: Yes, I think all the added content really enriches the experience for the participant. It's so much more that just buying a CD. The aim is to have the participant really feel like he or she has shared the experience with the artist—hence the name ArtistShare.

AAJ: Given the complexities of the recording process, will all the work that goes into documenting the process get in the way?

BL: I don't think so. On the contrary, the documentation helps me to think about the creative work in a different way. I feel having to explain things step by step helps me to understand what I'm working on better myself, and thus have more creative control.

AAJ: Who is responsible for documenting the process?

BL: I'm doing it all myself. I have a video camera I take around with me. I record audio both through my computer and a mini disc recorder. I scan handwritten music and make .PDF documents from the music I write using the notation software Finale, which has become my primary music writing tool over the last few years. I've become quite the media mogul here, using various software and hardware to prepare all the diverse material for the site. The ArtistShare interface makes it easy to get the content up once it has been prepared, though.

AAJ: Has this concept ever been attempted before?

BL: Yes, the ArtistShare concept of adding this extra content to the recording has been used in the other projects under the ArtistShare umbrella, including work by Maria Schneider, and Jim Hall. Many jazz artists are now using ArtistShare to put out their work.

AAJ: Will participants be able to offer their input?

BL: I certainly hope that participants will give me their input about the different stages of the project as I work through them. I'd especially like to know what folks would like to see content-wise (on the site) that isn't already there. Creatively, it's still up to me and the other artists taking part in the recording. I am open to ideas, however! My Executive Producer Participant (if I get one) will be able to dedicate the CD to the person of his/her choice, and have input into the final title of the CD.

AAJ: The Brian Lynch/Eddie Palmieri Project is a collaborative effort powered by ArtistsShare. Tell me about ArtistsShare.

BL: ArtistShare is the brainchild of Brian Camilio, both in terms of the concept of the listener "participating" in the creative process through access to journals, music sketches, and other documentation, and as the inventor of the software that makes it possible for the artist to execute this documentation and present his/her work directly to the audience in this enhanced form. ArtistShare is not a record company. I am putting the project CD out myself. Rather, my ArtistShare website is the main distribution channel for this work along with its related extra content. Think of ArtistShare as a container enabling the creative process to be directly presented to its audience without mediation.


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