Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for 1,000 backers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!

462

David Torn: A Lifetime of Improvisation in Non-Improvisational Settings

By

Sign in to view read count
I have come to understand that what my personality needs is to not worry about idiom or pigeonholes or labels. To really, really not worry about it, and just try to pursue a voice. There are rock players, and there are jazz players--and I
David Torn has done work in so many capacities in such a variety of musical projects that it's somewhat daunting to try to state just what exactly he is.

Certainly Torn's a guitarist of humbling technique—but he's always been more interested in texture and sound than the kind of electric shredding beloved in guitar-hero-worshiping circles. Torn studied composition with Leonard Bernstein and guitar with John Abercrombie and Pat Martino. It was during his tenure as guitarist with the New York-based Everyman Band—a group originally formed to support rock artist Lou Reed—that Torn's unusual, processed electric textures and highly original approach began to get noticed—and this attention only grew with the releases of two ECM recordings under his own name, Best Laid Plans (1985) and Cloud About Mercury (1987).

Torn parted ways with ECM, but has continued to release excellent records such as the 1996 solo CD What Means Solid, Traveller? (CMP) and the electronics-saturated 2000 release under his Splattercell moniker, OAH. But other activities have come to fill his time. He's worked as a session musician for countless artists such as David Bowie, Tori Amos, John Legend and David Sylvian; he's played on many film soundtracks as well. Currently a large part of his time is spent actually composing for motion pictures, which he calls his true love and ambition.

One can't fail to mention Torn's simultaneous career as a recording producer, mixer and writer. His fascinating, rich mixing has deeply enhanced such modern jazz classics as Drew Gress's 2005 CD 7 Black Butterflies and Dave Douglas' Keystone (also from 2005). He has done invaluable post-recording work for his great friend and collaborator altoist/composer Tim Berne—there are so many Berne recordings that, as a result of Torn's meticulous mixing, sound great despite their hardscrabble recorded origins. Oh, and he's written a big hit for Madonna.

But it was at Berne's insistence that Torn returned to live performance. His new CD on ECM, Prezens, is an amazing recording that sounds like nothing else out there and stands up to dozens of listenings. I telephoned Torn at his Pasadena home and we spoke about, well, everything.

Pasadena, the Film World and Being Itinerant

David Torn: I wish I had my cats here. I'm currently extremely bachelorized and working really, really long hours every day for the last nine weeks.

All About Jazz: What are you working on?

DT: I'm working on a film. I've been bouncing back and forth from New York to California with no quarter on either end of the stick. I fly to New York in a hurry to do something and get back to California as fast as I can. Then, when I go back to New York, I have to be there as soon as possible, and all this gear has to move, and it's pretty daunting. And I don't have my animals here, not to mention family, which is a whole other story. But not having the animals around when you're alone is really rough, I think. I told my wife I'm going to get a big stuffed dog to put in the house [laughing].

AAJ: Right. You don't need flesh and blood; you just need fuzziness.

DT: In any case, there is a camaraderie that exists between humans and animals that is irreplaceable. I miss my animals. But I am going to go home for a day, just 24 hours, because I need to. I need warm human beings and animals around.

AAJ: Where are you now?

DT: I'm in Pasadena. I live in Pasadena now. It is a huge difference from L.A. There are very few Hollywood people out here—it's green; there are neighborhoods. My neighborhood is a walking neighborhood—you can walk around, walk to the store. And yet I can get to the studios in 15 minutes tops, and it might take me 50 minutes to get all the way to the West Side where [laughing] all the shit is happenin'!

For the people that live and work in L.A., if you say "Pasadena, you might as well say "another planet. People have very strange attitudes of place here. I have a lot of friends here, and there are a lot of people I dig here, but the whole of western Los Angeles County is colored by—I don't know what it's colored by. It's just weird. And some people really think that if you moved to Pasadena, you must not want to work anymore. But it's really close!

AAJ: Do people really think that way when it comes to hiring talent? Just how close they are?

DT: I have to say that access to meetings is, in fact, why I'm here. For years, I've been saying to this film agent or whoever, "Hey, I have a busy schedule, but if you get me a meeting with a director who is definitely worth meeting, I'll be there. Give me three to six hours notice, and I'll get on a plane and I'll be there as soon as the plane arrives. I can be there that same day or the following morning.

And it never frickin' worked. Ever! So at the end of last year, I decided I'd figure out how to do this bicoastal thing. So we moved to this place in Pasadena in March, and it all changed. I would never have gotten this meeting had I not been here, for the film I'm currently working on—which is currently driving me crazy, but that's the way the game goes. They never would have done it. "Can you meet tomorrow? "Yes. Where? "Santa Monica. 9:00 in the morning. "Yes, I'll be there. Had I been in New York, I could have easily done the same thing, so I don't know why it is—but I wouldn't have gotten the meeting. It's very strange. This film thing is a very strange business.

Tags

comments powered by Disqus

More Articles

Read Aaron Goldberg: exploring the now Interview Aaron Goldberg: exploring the now
by Luke Seabright
Published: November 24, 2017
Read Pat Metheny: Driving Forces Interview Pat Metheny: Driving Forces
by Ian Patterson
Published: November 10, 2017
Read Bill Anschell: Curiosity and Invention Interview Bill Anschell: Curiosity and Invention
by Paul Rauch
Published: November 9, 2017
Read Tomas Fujiwara: The More the Better Interview Tomas Fujiwara: The More the Better
by Troy Dostert
Published: November 6, 2017
Read Roxy Coss: Standing Out Interview Roxy Coss: Standing Out
by Paul Rauch
Published: October 22, 2017
Read "Jamie Saft: Jazz in the Key of Iggy" Interview Jamie Saft: Jazz in the Key of Iggy
by Luca Canini
Published: October 20, 2017
Read "Ashley Kahn: The Making of the Miles Davis Masterpiece" Interview Ashley Kahn: The Making of the Miles Davis Masterpiece
by Lazaro Vega
Published: November 30, 2016
Read "Tom Green: A Man And His Trombone" Interview Tom Green: A Man And His Trombone
by Nick Davies
Published: March 27, 2017
Read "Bria Skonberg: In Flight" Interview Bria Skonberg: In Flight
by R.J. DeLuke
Published: April 4, 2017
Read "Bill Anschell: Curiosity and Invention" Interview Bill Anschell: Curiosity and Invention
by Paul Rauch
Published: November 9, 2017

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Please support out sponsor