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Gary Husband: There were these three Yorkshiremen...

Ian Patterson By

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AAJ: This year has seen the release of your debut album, Complete Diary Of A Plastic Box. Why did it disappear and how did it come back again?

GH: Like all of my albums up until this point, and as with a lot of musicians, I've had a really tough time with companies, finding the suitable people to get my material out via, and all this stuff. With Plastic Box, the label in question actually told me they had put it out because they felt sorry for me, which was not the greatest basis for a relationship.

I knew very quickly the writing was on the wall, and I took it out of their hands as fast as I could. Actually I had to fight legally for longer than two years to get it back in my hands, tediously. From that point, however, I sort of put it on the back burner, considering that somewhere down the line maybe there would be another time to look at a possible rerelease for it.

It is a very kooky album, I know, and in spite of the fact that it's a very idiosyncratic offering, I really am particularly fond of it. There's a lot about my own personal forming and expression as a musician documented there, and I'm really very happy to have it out again now, this time through a very good label in the UK named Angel Air.

AAJ: Are there any plans for Force Majeure to record or to tour again? That was such an exciting lineup, but you didn't play too many gigs, did you?

Gary Husband/Force MajeureGH: Other than two tours only in the UK, no, we didn't. It was actually a project that I kind of dreamed up with the encouragement of my loving partner who had the idea to make a presentation to the Contemporary Music Network in England. And to my surprise, I got a commission from them and we worked very hard to make it all happen, using the very people I specifically chose to feature.

It was a lineup that I thought would be very appealing to write for with the violin, trumpet and trombone. It was really like a mini big band, or even a small orchestra.

AAJ: It must have been a real thrill to play with [violinist] Jerry Goodman.

GH: Oh, absolutely. He was the real soul of that project. I think I could probably have replaced anybody in that lineup, but if he hadn't been there, it would have been an entirely different band. Every time I hear him, it's such a stirring, haunting thing—he's so powerful. Also, I was delighted to be inviting him because he hadn't played in England since the Mahavishnu Orchestra more than thirty years before.

I must say, I tried really hard to drum up the interest in somebody to make an album, because I would have liked to record that music and produce it all nicely. But the times as they are, and trying to get the kind of budget together to do something like that, has been, and is particularly now, damn near impossible unless you have the kind of necessary resources on hand yourself.

AAJ: It's such a pity. It just seems crazy that with a lineup with [trumpeter] Randy Brecker Jerry Goodman, and [percussionist] Arto Tumboyaciyan, that somebody wouldn't be chomping at the bit to get you in a studio and get a quality recording out.

GH: Well, we see a lot of all-star lineups, particularly on festivals, but ones, in terms of conception, are really not necessarily bound to work in any way that might prove memorable. It's too often a commercial trick, with not a lot else thought through. I wanted to present a meeting of great individuals thathad been thought through, and one that didn't revolve around inevitably jamming in E and then switching to A on a funky riff or something.

This is another thing altogether, and it was probably a little far-reaching for a lot of promoters. I mean, the names looked good, but the music was probably regarded as being a little, shall we say, on the dangerous side, so I didn't unfortunately achieve a lot of call backs. It could always still happen though, and I'd like to think it could—especially since, as it would appear, the live DVD now seems to be deleted, which is all another big shame.

AAJ: You've been commissioned as well to write music for [percussionist/composer] Evelyn Glennie, [drummer] Terry Bozzio as well as for [composer/multi-instrumentalist] Django Bates and I imagine these kinds of projects must be as challenging as they are maybe rewarding to see realized.

GH: Yeah, I love that fact that someone can approach you with a specific request, and there's a real strong side of me that loves rising to that kind of challenge. Whether I feel qualified for it is another thing, but I will certainly give it everything I've got. And if I don't feel that inside of myself, then I won't take it on.

I love that it happens from time to time, and I guess it's come about through being around for a while and people seeing you as someone able to perhaps bring something different to the table. I'm always very up for that.

AAJ: After you left Level 42 in the early '90s, you started working with Billy Cobham which must have been a huge thrill. But he talks about wishing to sound like you. That's a big compliment, no?

GH: He has said a few very nice things about me over the years. I always feel very flattered. That's very nice.

AAJ: When you toured with the two drum kits on stage, was that totally improvised or did you work around themes?

Gary HusbandGH: Billy had an idea to feature it inside an ostinato-type thing where somebody would play and then I would play off that, and then I'd present one for him and he'd play off that—a little bit like an Indian way, a little rhythmic composition to end it. But night after night, that got immediately thrown by the wayside and transpired into something completely improvisational, which I was very happy about. And so he seemed to be. It was incredible to be up there with one of my perennial drum heroes. Great experience.

AAJ: I was surprised to read somewhere that Billy Cobham said he has no problem playing slow or fast tempos, but he finds it difficult in the middle ground. What aspect of drumming do you find most challenging?

GH: Ah, that's interesting. Actually I don't really feel any certain or particular difficulty with any particular region of tempo, which is certainly not to imply I don't face challenges, because I certainly, certainly do! One problem I really do wrestle with is when those drums feel estranged from me, and all this is that very mystical realm.

The drums have to feel like an extension of my body, and a lot of the time they do and then sometimes they don't! It's like one night I can have a beer before playing—just to take the edge off and shrug a bit of that tension or nervousness away. And that one night it'll work fantastically, and really aid my flow. I'll try it the next time and I feel that beer all night, and feel it hindering everything.

It's stuff like this that makes you realize there's another set of elements and powers and balances in play, and we are not able to be in control of anything to the extent we wish. It's all very humbling! Then again, I'm happy we can't be. It kind of reminds me of how small we all are in the great scheme of things or something, but at the same time how divinely blessed we are to be able to channel energies creatively in music like this. And actually I find it a really beautiful thing to fail, to fuck up and be human!

I love mistakes. In fact, I don't, if I've made stupid ones, but I love listening back to something where a mistake has turned into something very special, unique and interesting in the music. You can discover some interesting effects that way.

All you can do really is throw yourself out there, and I think from that point, you trust. If I hear a musician really battling up there onstage—with himself, with his stupid habits, or trying to get out of the way of all his "formed" and learned stuff—I am really inspired by that. I was always very inspired by performances like that—some guy wrestling so hard to break free.

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Coming Soon

AAJ: Upcoming projects?

GH: Diversification seems to be the way of my working life, moving from one project to another, but it's also continually refreshing and keeps me alive. Maybe it's the Gemini in me. I've got some shows coming up with Robin Trower and Jack Bruce, and more big band things with Colin Towns, playing interpretations of Mahavishnu music with the NDR big band from Frankfurt.

Further down the line, there's a high probability that I'll be doing more stuff with John McLaughlin, which I'm very excited and remain hugely hopeful about. I'll also be doing some shows in 2009 in Europe with Allan Holdsworth and [bassist] Jimmy Johnson—we haven't really played too much since around 2000.

Gary Husband



I've had a little interest to do a little more with [guitarist] Mike Stern as well. What else? I've made contact with a performance and tutorial DVD company called Altitude Digital, who I feel are really setting the standard, and I plan to be doing at least one DVD product for them. There's also the fact two of my older trio records became recently deleted too, so as a part of a sort of Gary Husband Archives set, I will be putting out again the best of that older stuff, maybe via CD Baby.

As far as a next record is concerned, it'll be a drums-led, electric, fusion, maybe electronics kind of affair of some kind or another. I'm also talking with Mark King about some ideas to do a little recording together. So, lots of things on the horizon.

I would really like to start doing more in 2009 and 2010 with my current band though. In contrast to my earlier projects, which have come and gone rather quickly, I'd like to have this band stay around and really develop, really grow as a band.

I hope so much that people will enjoy this group. And providing I can get it together for us to get out in the world and do some great concerts, I really feel they will. I've had such a great reaction to the recording and the concerts so far, so I'm thrilled to say it all really looks good for this new band.




Selected Discography

Gary Husband's Drive, Hotwired (Abstract Logix, 2009)
Asaf Sirkis Trio, The Monk (SAM, 2008)
Gary Husband, Complete Diary of a Plastic Box (Angel Air Records, 2008)
Jack Bruce & Robin Trower, Seven Moons (V-12 Records, 2008)
Gary Husband's Force Majeure, Live at the Queen Elizabeth Hall, London (DVD) (RSJ Grove Productions, 2005)
John McLaughlin, Industrial Zen (Verve Fontana, 2006)
Gary Husband, A Meeting of Spirits: Interpretations of the Music of John McLaughlin (Alternity, 2006)
Gary Husband & Friends, Aspire (Jazzizit, 2004)
Gary Husband, The Things I See: Interpretations of the Music of Allan Holdsworth (Angel Air, 2004)
Gary Husband, From the Heart (Jazzizit, 1999)
Billy Cobham, Focused (Eagle Records, 1998)
Jack Bruce, Cities of the Heart (CMP Records, 1994)
Allan Holdsworth, Hard Hat Area (Restless Records, 1994)
Allan Holdsworth, Wardenclyffe Tower (Restless Records, 1992)
Level 42, Guaranteed (RCA, 1991)
Level 42, Staring at the Sun (Polydor, 1988)
Allan Holdsworth, Atavachron (Enigma Records, 1986)
Allan Holdsworth, I.O.U. (Enigma Records, 1985)
Allan Holdsworth, Metal Fatigue (Enigma Records, 1985)



Photo Credits
Top Photo, Group Photo of Gary Husband's Drive: Courtesy of Gary Husband
Husband on Jungle Kit/John McLaughlin and The 4th Dimension: John Kelman
Husband Playing Yellow Kit: Dick Morrell
Husband Playing Keys Standing: Courtesy of Sobie151

Husband Playing Red Kit: Courtesy of Point and Shoot

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