This is the beer of the Volksfest of Stuttgart (It's at the end of September/beginning of October like the most famous Oktoberfest. It's a fresh and tasty beer and at the same time also a quite structured beer.I find it better of some of the Munich beers.
Auditorium Demetrio Stratos "RADIO POPOLARE" via Ollearo 5, Milano
AREA in concerto
Patrizio Fariselli (pianoforte, tastiere)
Paolo Tofani (chitarra, live electronics,voce)
Ares Tavolazzi (basso)
Walter Paoli (batteria)
They are definitely back with a new double live CD coming out in a few days, a good concert with a lot of old nice hits (arbeit macht frei, cometa rossa, la mela di odessa....). I made some photos......
Next Concerts : 09.03.2013 Morbegno (Sondrio) Auditorium S. Antonio 27.03.2013 Milano Teatro Puccini Elfo 12.04.2013 Bologna Auditorium Manzoni.
DAVE:I think any of the saxophones, I believe alto and baritone depending on how I feel. The baritone is the most recent of the horns and I had to work a lot to get the chops together, so I developed a really strong enjoyment playing…. but I feel the alto probably!
ADN: Did you start playing with THE MUFFINS or did you have previous musical experiences?
DAVE: I had a few bands before THE MUFFINS, I was in a band called TUNC, it was a science fiction characterfrom an old science fiction book….a long story! But that was very experimental , we were so experimental that we didn’t play very much. It was very hard!
ADN: Which kind of experimental?
DAVE: Experimental rock. We only played a few concerts, about ten. We played at some high school dances and basement parties and they didn’t know what to expect, they thought we were like a rock and roll band. I think the guitarist used to get the gigs and I don’t think he told them…he probably used to lie them. It was very bizarre, MICHAEL ZENTNER was the guitar player of the groupand we later went on to form THE MUFFINS. He played in the early days of the group, but was out of the band when we started recording. We didn’t make a lot of tapes with him, and he appears in the “CHRONOMETERS”tape on the RECOMMENDED RECORDS SAMPLER, that’s a very early start. I think he has an album coming out on the label EUROPA. The solo of JOHN GREAVES just came out on the same label. The album will be called PRESENT TIME and he is recording it with a whole series of NY musicians.
After TUNC I played a little bit free-jazz, but THE MUFFINS was surely an early group for me I wasn’t in a lot of bands before.
ADN: Was MANNA MIRAGE influenced by European music?
DAVE: Yes, at the time we were listening to a lot of VIRGIN records, as they came out….big influence, so big that we can’t get away from it, but we also had a local radio station in Washington D.C. , that was also very influenced by that. They played a varied and fantastic alternative rock show 24 hours a day absolutely fantastic! I have yet to hear a radio station as progressive as that. So that was influencing us , VIRGIN and also HENRY COW. But our main influence came out almost directly from HATFIELD AND THE NORTH and SOFT MACHINE.
ADN: Did RANDOM RECORDS start with THE MUFFINS?
DAVE: THE MUFFINS and our friends in the area , we’re living in a house in the country, a sort of country suburbs in Maryland…we had a series of concerts in the backyards during the summer all the time. May be one a week, may be one or two a month. And there was MARS EVERYWHERE, LOGPROOF, ILLEGAL ALIENS and THE MUFFINS, we were just a collective of friends. Muffin’s house and rehearsal space was a meeting ground for all people coming over to jam and record and to play the concerts in the backyards. It seemed to be the main focus for a lot of musicians. At the time we were making tapes for Christmas presents for people, so we decided to look in to how expensive was the press of records instead of tapes. Then we started records.
ADN: Are the groups featured in the RANDOM RADAR SAMPLER still existing?
DAVE: They don’t.
ADN: What about ILLEGAL ALIENS?
DAVE: ILLEGAL ALIENS was basically just SCOTT RAPHAEL and myself and we did a few concerts. Very strange concerts , we have some good tapes of that period that we may put on cassette, we may do a cassette series. ILLEGAL ALIENS is very open ended free group consisting of just about anybody who it wants to be at the time. We hope that we may be doing something later on.But the name is just up for interpretation and variation whatever we want to do with it.
ADN: Your second album AIR FICTION is completely different from MANNAMIRAGE?
DAVE: Yes, at the time we wanted to do a tour, and we had some live recordings. We wanted to get something out very quickly, without spending a lot of time in the studio. MANNA MIRAGE took a long time in our home studio, an 8 track, we spent a lot of time mixing it. After it was finished we didn’t think it was very rough, very strong and we wanted that, so we tried to show the other face. Also whenever we do concerts, we have always tried to get a sense of humour and to have fun from the improvisations. So we also wanted to get that side across, as well and then get the money back directly, instead through intermediaries, to use it for our tours. As it turned out we used some of the money for a very very small tour up North, we played two dates and then we came back down. It wasn’t much but we had fun a lot of fun!
ADN:I think that your album 185 sounds very much like HENRY COW, is it because of the presence of FRED FRITH?
DAVE: At that point we wanted the vocal parts to take some extent. We were just beginning to think politically and to think in terms of politic artistic responsibility. And when you play music without words you don’t take a stand. So we wanted to take a stand and also by that point we were very much influenced by HENRY COW. Even if FRED had not produced the record that side of it would have come through. Probably too much so I think when I listen back to it! I thinkwe took ourselves a little bit too serious. Surely it was very rewarding to work with FRED in the studio. It was the first time we went into a professional studio, so I believe we recorded everythingin two days and mixed in three. We were doing a graveyard shift! Played at night I think may be 8 p.m. to 1 2 or even 3 in the morning and then going to work next day.
ADN: Are you at the moment a professional musician or are you still working?
DAVE: No I’m still working, I would like to be a professional musician!
ADN: But don’t you have any opportunity?
DAVE: No not in Washington. Not so in New York, but in Washington it’s very difficult. Especially THE MUFFINS didn’t play very much mostly in Maryland and in the South. So there was a lot of country rock and blues for THE MUFFINS it was very hard. That 4 or 5 years ago, now it is much better there are some good new wave bands, not a whole lot of experimental jazz but that’s changing a little bit.
ADN: Why did THE MUFFINS split?
DAVE: As BILLY says we made our colic or something like that. I mean we had a certain amount of energy and it just stopped. We were going in different directions. TOM’s family was getting bigger, he had a little boy, so he had to spend more time with the family. He was also getting more interested in spending more time in his home studio. So when THE MUFFINS broke up, PAUL, BILLY and I were thinking about doing a band together. We also thought about moving up to NY collecting the 3 of us .We had a smallband for a while and we did a performance with MASSACRE in Baltimore. We called ourselves BLOW OUTBILLY, PAUL, myself and a very fine guitarist called PETER HOEPFNER, he is very good and he will be heard some day, I’m sure . That didn’t last very long.
So BILL is now playing with URBAN VERBS in Washington. PAUL is also working with some musicians in Washington but nothing sure. And I wasn’t doing anything musically except I was working with SCOTT RAPHAEL from ILLEGAL ALIENS. We were trying an idea with an old horn duet, just playing all different horns and using some tapes, which we called AVIDENCE. We may still do some ideas with that, but I made no performances for about one yearand then Fred called up and asked me to do that and I said sure!
ADN: Will be SKELETON CREW a permanent group?
DAVE: We hope so, we are having difficulties because I live far away and Iwork. So we have to see what’s going on.
ADN: Who are the main composers in SKELETON CREW?
DAVE: Mostly it’s FRED and TOM .They‘ve also been using folk-songs from different countries. What we want try to do is a folk music incorporating different kinds of folk musics. Naturally the arrangements are done by the band.
ADN: This is the first time you came to Europe, how did you find it and how do you find European public?
DAVE: It’s wonderful! The sights are marvellous the countryside is pretty and the cities are old and all different especially in Italy and France. We are not used to building so old as that. The audience responses have been very good. The only place in the States where we can get enough interest will be NY. Also THE MUFFINS are much more popular here than in the States. Every place we played there was someone who asked me about them. So I go back and tell everybody that they are very popular here, they will be excited. We figured it, that our music was more at home over here , and now I see it!
ADN: Do you have any solo project?
STEVE: I have some ideas I want to do. Not really solos, but with some other people doing some home recordings and going into the studio for some parts.
LUCIANO: I could answer no one: on the contrary, due to the fact that normally I’m a sincere person, I could make a list of about 50 guitarists that I appreciate and who were fundamental to shape my actual style. But considering available space, I will only name two of them ROBERT FRIPP during my youth and recently BILL FRISELL.
ADN: How did you decide to make asolo record?
LUCIANO: I only decided to publish it as a record as I already had ¾of it recorded… I made the recordings for fun, when I had time. Afterwards PIERO CHIANURA , the other member of LA1919, encouraged me to realize the project.
ADN: How was your collaboration with the label AYAA?
LUCIANO: Apart from the long time that passed from the delivery of the master to the effective delivery of the record, I’m very happy about their work.
ADN: Why didn’t you release the record as LA1919?
LUCIANO: I don’t see why! Material featured, beside some affinities, shows many differences concerning my work in the group; furthermore I decided alone, what to do and what not to do on the record, starting from the recordings to the label.
ADN: What kind of relationship do you have with music?
LUCIANO: I would describe it as a partial relationship; this depending on the fact that my real work takes most part of my time. This thing doesn’t disturb me so much, also because if I had lived only for music I probably would have stopped long ago.
ADN: Which are next projects of LA1919?
LUCIANO: We already have the recordings for a new album, which we hope we will publish a.s.a.p., we are looking for the right label; we also started the recordings of new material for a new project andwe are trying to intensificate our concerts considering the fact that during last years we only made 3 or 4 concerts per year.
ADN: When did you start your collaboration with PIERO CHIANURA?
LUCIANO: At the end of 1980; we both found ourselves with some friends to play our favourite songs on acoustic guitars. So we discovered to have many affinities concerning musical tastes; a little bit later we've started our home recordings as LA1919.
ADN: Why did you enlarge LA1919?
LUCIANO: This was a necessity mainly in order to reproduce our recordings on stage,but also to experimentate new musical solutions; in any case LA1919 is always PIERO and myself, but we are open to external collaborations.
ADN: Which is your relationship with FRANCO FABBRI (STORMY SIX)?
LUCIANO: We are friends and we respect each other: FRANCO helped us very much through last years, and we are very grateful for that….anyhow we are not relatives and even not actionists of the same society…..ending with jokes, when we knew him he was very interested in our work . I already knew who he was because of STORMY SIX but PIERO didn’t at all!
ADN: Which were your last concerts?
LUCIANO: As Ialready told you, they are very few, and this depending on the lack of our initiative. Lately we started to make concerts abroadat 102in Grenoble. We also participated in contemporary music series “musica del nostro tempo” in Milan and in the Festival “Ear Nerve 2 “ ofNeaples. In the future we will play some concerts in Switzerland.
ADN: Will you also play live, with LA1919, some of the material featured on your solo album ?
LUCIANO: I was thinking about it lately, even if I could not play it alone because the album was not conceived in order to be played live…I probably will try to play some pieces with the help of PIERO, ANGELO and FABIO during LA1919 concerts.
ADN: How important is for you to play live?
LUCIANO: Playing live, is an unique and galvanizing experience, even if not always amusing because you have to keep too many things under control. LA1919 is mainly a studio group, so a concert is something completely different, where improvisation plays a fundamental role. Probably, the most amusing aspect of a concert , is to discover that a track we conceived in studio evolves in a completely different way!
ADN: Which question would you like to answer, in order to close our interview?
LUCIANO: Which are respectively my favourite book, film and record ofthe first 6 months of 1989?The book is "Awakenings" of Oliver Sacks; The film is " The casual tourist" by L. Kasdan and the records "Oranges and Lemons" by XTC and "Before we were born" by Bill Frisell.
ADN: You normally use many unconventional instruments. What is their function in your music?
JACQUES: Yes, I often use unconventional instruments. For example with LOL I played plastic bags and a small trash shovel. It was mainly because there was nothing else available. The use of this kind of instruments represents both, theatre and sound. We are at the presence of unusual sonorous elements when compared with conventional instruments. It is not a very important thing to me, but it is true that I often use such unconventional instruments, without taking a real research on them. You know, on PARALLELES I play a bicycle as background to VINCE TAYLOR'S voice…but it is not indispensable when it comes it comes, sometimes yes sometimes not at all!!
ADN: Are these sounds completely casual?
JACQUES: Yes, they are completely improvised. You grab a glass and a pencil and make music. That’s surely improvisation! That is why we have a theatrical and a visual aspect which I think are important.
ADN: Did you start using unconventional instruments from the beginning?
JACQUES: On MUSIQ MUSIK I used explosives and many other unusual instruments such as Iraqi and Syrian bells and Tibetan Instruments etc… I also played an human bone , exactly a feminine one. It was during the concert with Coxhill. It is a wonderful human bone I bought in Nepal and it is used by Tibetan monksas a trumpet during their ceremonies.
ADN: Is improvisation a necessity for you?
JACQUES: I don’t know. I don’t think so because I also make written music. In concert it is always very strange. Anyway there is a big difference between concert and studio work even if you have a written music. Improvisation is very important but not as an absolute thing. In any case, also written music derives from improvisation. A composer, even if his name is J.S. BACH, improvises on the piano and when he finds something interesting instead of leaving it to itself he arranges it and workson it. I love improvising but not with everyone.
ADN: LOL COXHILL said he can play with everyone because he always plays his own music, is it not the same thing for you?
JACQUES: I think so, because it is not always easy, it depends on whom you are playing with. That is very important musically and humanly. If youask someone to play with you , it is a definite person who has to play his role. It is a delicate situation when you can’t do what you want. That is the reason why there is somebody I can’t play with anymore.
ADN: What do you think about music today?
JACQUES: At the moment I don’t listen to much music. I find actual jazz terribly boring. If I have to buy a jazz record I prefer to buy records of THELONIUS MONK or ORNETTE COLEMANN. Most part of new American jazzmen who surely play at a better technical level have no convincing arguments to me. I like MILES DAVIS: I try to listen to music in the rock field but I don’t find either many interesting things. Lately I appreciated very much TUXEDOMOON, JAMES WHITE and DNA. I also like PIL and LIDIA LUNCH. Sometimes I also listen to old rock which is not bad at all! ROBERT FRIPP is very good indeed!!
ADN: In your last record I heard a punk influence, is this true?
JACQUES: Yes, vocals are probably influenced in that way. I think that Punk was a necessary movement because pop music was becoming unbearable. It was a sort of Syrup! It was “ I love you . You love me”, ecologist and anti-nuclear. It is nice, pleasant but boring! It was time for someone to come and play aloud no matter what, a little bit like an explosion of freejazz in the rock scene, naturally not with the same political implications. Now I care about theatre and about people who made much for it as ANTONIN ARTAUD. Sometimes it is difficult to talk about our influences because everything influences us….just like now with those people who are working down the street , the record we are playing in this room… may be I will do something with all this. It is something coming from the outside, it is re-elaborated through our minds and stomachs like in a workshop and pushed to the outside again.
ADN: What about your record with NURSE WITH WOUND?
JACQUES: STEVE first knew me through my records he bought in Great Britain. Thereafter he sent me his cassettes of free electronic music and asked me to participate to one of his records. I also participated to a compilation with a track I made completely alone. A written composition where I played drums, trumpet, trombone and polyphonic synth. I made a classic repetitive piece that I never made before. I have to thank Steve for this opportunity. The record I made with him in London was a good experience even if I don’t like very much the mixing.
ADN: You have grown up with French free jazz music. What do you think about MICHEL PORTALor WORKSHOP DE LYON ?
JACQUES : I like very much MICHEL PORTAL and I think he is a great and fascinating musician . He can do very well. He can play classical music. I heard some very good things of BRAHMS with him playing clarinet. He can play contemporary music just like pieces of BERIO I heard of him. He plays interesting jazz and free jazz.
ADN: Can you tell us something about the group CATALOGUE?
JACQUES: CATALOGUE started in 1979. Now I’m playing in the second line-up of the group with GILBERT ARTMAN and J.F. PAUVROS. Sometimes other musicians join the group playing synth or piano. I don’t knowhow long this line-up will last.
ADN: What about latest record of CATALOGUE?
JACQUES: It was recorded in a brewery though it was not easy to play because everybody there was drunk. The atmosphere was not favourable but everything went the right way. Werner , who is the producer of the record, wanted something live and quick. That is why we recorded it in 2 nights. I am not used to work that way because ,normally, when I make a record I think and work very much on it. With Werner everything went very rapidly because he said it had to be like that. I like it! I think that Werner has a great personality because he knows what he wants and above all what he does not want, starting from the cover to the whole conception of the final result. He is a very important person in actual music scene and he knows every trend quite well. HAT HUT is the only solid label I know which makes a serious research on music.
ADN: Which are your future projects?
JACQUES: I will continue my activity with CATALOGUE and APPLICATIONtogether with MARC DUFOUR an other musicians of AXOLOTL. These two groups pursue two different directions and that’s why I am interested in both of them. I will do many more things with LOL COXHILL who made a record having on it a track of our concert in Reims during the festival of oblique musics. I also have a project with DEREK BAILEY but at the moment he is in the States and I don’t know when he will be back. I made a concert with PAUL LYTTON and PHIL WACHSMAN. It was a great experience, PHIL is really anextraordinary violinist. I think that LOL is a wonderful musician, open minded, generous, very intelligent and a good friend. He has a great sense of humour and he is a little bit crazy. He does not really know where he is and people don’t really know who he is exactly and what he does, that’s why they love him.
AND: Who are your favourite writers and painters?
JACQUES: I like ARTAUD very much. I am very interestedin painting and any other artistic form based on behaviour styles. I like ANDY WARHOLvery much, in fact I have a copy of one of his paintings in my bath room. I love his personality and will power. I also like the paintings of MATISSE very much and I estimate ROGER EDGAR GILLETwho is a painter having a great interest in music. In the area of classical music Ilove SATIE and FORET.
ADN: If you were not a musician, what would you do?
JACQUES: I don’t know. If I had not my music, for sure, I would suffer enormously. Even if making music is sufference as well caused by heartache and doubts involved in it’s realisation. Anyhow if I had not my music I surely would be an unhappy man.
ADN: Can you live from your music?
JACQUES: It is very difficult above all if you choose not to make commercial music . It is not a matter of refusal but a natural and spontaneous choice. My music is hard to be listened to and consequently hard to be sold. Good commercial music is very difficult to be made and if you have no inclination for this stuff you surely sell few records. Your music has few passages on radio or tv and your concerts are quite rare. I probably could live from music if I made music for films and theatre. Till now I made the soundtracks for 3 movies Patrick Radeau’s “La mauvaisememoire”-Denis Dergrand’s “Printemps de square” J.M. Carre’s “Votre enfant m’interesse”. Anyhow I really don’t criticize well made commercial music even if I don’t like it. I find it very difficult to write music about a story of a typist returning home at night discovering that her husband is not there …or summer holidays when lovers hold each other tight on the sand. All this must be not too intellectual to work out. I think that it is a very difficult profession!
ADN: Could you tell us something about your musical origins?
JACQUES: I started with music when I was ten years old singing in a chorus specialized in Renaissance songs and I loved it very much. Later I listened to jazz and rock. Then I began to appreciate the sounds from foreign countries like Arabia, India and Tibet. In fact my record MUSIK MUSIQ is a spontaneous record of travel impressions while my second record CATALOGUE is a collage of experiences. What I wanted to realise was in reality a book of nightmares. Anyhow Catalogue was originally the name of one of the tracks featured on the record. My third record CATALOGUE LIVE IN ANTWERPEN is, as all our live performances, based mainly on the inner feelings of the musicians involved.