Posts Tagged ‘Gunn-Truscinski Duo’
Fractured Air x Blogothèque – S02E10 | October mix
This month saw the eagerly awaited return of prestigious American musician John Maus with the release of ‘Screen Memories’; a synth pop masterpiece (and follow-up to the remarkable 2011 opus ‘We Must Become The Pitiless Censors of Ourselves’). Opening this mix is one of the heavenly synthesizer-based tracks culled from Maus’ recent Bleep mix.
Colleen is an artist very close to our hearts and the release of Cécile Schott’s sixth full-length ‘A flame my love, a frequency’ (via Thrill Jockey) marks 2017’s most bewitching, absorbing and deeply affecting records to have graced the atmosphere. Armed with just electronics and voice, the album’s eight otherworldly compositions transcend space and time: drifting majestically in the ether of unknown dimensions. Colleen’s tour dates (including U.S, North America and Europe) are listed here.
On the 14th & 15th December, the second edition of The Notwist-curated Alien Disko returns to Munich. The festival’s line-up reflects the boundless and pioneering qualities of the chosen acts, from Shabazz Palaces, Konono Nº1 and Amiina to Colleen, Sam Amidon and The Notwist. Tickets are onsale now.
This month’s mix also includes new releases from: Xylouris White; SAICOBAB; Spirit Fest; Lindstrøm; Sufjan Stevens; Gunn – Truscinski Duo and Les Filles de Illighadad.
—
Fractured Air x Blogothèque – S02E10 | October mix
To listen on La Blogothèque:
http://www.blogotheque.net/2017/10/31/fractured-air-x-blogotheque-s02e10-october-mix/
—
01. Peter Davison – “Shadow” (Higher Octave Music)
02. John Maus – “The Combine” (Ribbon Music)
03. Shabazz Palaces – “Moon Whip Quäz” (feat. Darrius) (Sub Pop)
04. John Carpenter – “Assault on Precinct 13” (Death Waltz Recording Company)
05. Severed Heads – “George the Animal” (Dark Entries)
06. The Velvet Underground – “I Can’t Stand It” (Verve)
07. The Cat’s Miaow – “Not Like I Was Doing Anything” (Library)
08. Cymbeline – “Look at the Stars” (Guerssen)
09. Gunn – Truscinski Duo – “Flood and Fire” (Three Lobed Recordings)
10. Les Filles de Illighadad – “Abadrarass” (Sahel Sounds)
11. SAICOBAB – “One” (Thrill Jockey)
12. Xylouris White – “Only Love” (Bella Union)
13. Guelewar – “Ya Mom Samaray” (Kindred Spirits)
14. Wallias Band – “Muziqawi Silt” (Manteca)
15. Don Cherry – “Brown Rice” (EMI)
16. Spiritualized – “Feel So Sad (Glides And Chimes)” (Spaceman, Arista)
17. Colleen – “The stars vs creatures” (Thrill Jockey)
18. Spectrum – “All Night Long” (Silvertone)
19. Slowdive – “No Longer Making Time” (Dead Oceans)
20. Spirit Fest – “River River” (Alien Transistor)
21. NSRD – “Schwenn” (STROOM)
22. Lali Puna – “Wear My Heart” (Morr Music)
23. Four Tet – “Daughter” (Text)
24. Sufjan Stevens – “Wallowa Lake Monster” (Asthmatic Kitty)
25. William Eggleston – “On the Street Where You Live” (Secretly Canadian)
26. Lindstrøm – “Bungl (Like a Ghost)” [feat. Jenny Hval] (Smalltown Supersound)
27. Daphni – “Carry on” (Jiaolong)
28. Blanck Mass – “The Rat” (Sacred Bones)
29. Colin Stetson – “All this I do for glory” (52Hz)
30. Dirty Three – “Moon On The Land” (Bella Union)
31. Cat Power – “Metal Heart” (Matador)
32. Marisa Anderson – “Amazing Grace” (Mississippi)
33. Jackson C. Frank – “Milk and Honey” (Sanctuary)
34. Nick Cave & Warren Ellis – “Three Seasons in Wyoming” (Wind River OST) (Invada, Lakeshore)
—
Compiled by Fractured Air, October 2017. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.
—
http://www.blogotheque.net/
https://fracturedair.com/
—
Chosen One: Steve Gunn
Interview with Steve Gunn.
“The main theme of ‘Way out Weather’ is about being all over the place and trying to maintain and remain at peace. Being lost while both accepting and enjoying it I suppose is the goal.”
—Steve Gunn
Words: Mark Carry, Design: Craig Carry
The flawless North Carolina-based independent label Paradise of Bachelors has yet again been responsible for a string of modern-day Americana masterpieces, not least the latest tour-de-force from the ever-prolific, Brooklyn-based guitar prodigy and songsmith, Steve Gunn. Last year’s ‘Way Out Weather’ feels like a natural culmination where every aspect of Gunn’s deeply-affecting songs — poignant story-telling quality, immaculate instrumentation and intricate musical arrangements — is heightened as the towering eight creations hits you profoundly and stirs your soul. 2013’s ‘Time Off’ was the starting point of Gunn’s song-writing path, having collaborated closely with Kurt Vile, Michael Chapman, Mike Cooper, The Black Twig Pickers and a host of others in recent times.
A timeless feel permeates every corner of the record. The recording sessions took place at Black Dirt Studio in Westtown, New York, featuring a formidable cast of musicians (and Gunn’s long-term collaborators) further adding to the widescreen, cinematic sound to ‘Way Out Weather’s sprawling sonic canvas. Longtime musical brothers and kindred spirits Jason Meagher (bass, drones, engineering), Justin Tripp (bass, guitar, keys, production), and John Truscinski (drums), in addition to newcomers Nathan Bowles (drums, banjo, keys: Black Twig Pickers, Pelt); James Elkington (guitar, lap steel, dobro: Freakwater, Jeff Tweedy); Mary Lattimore (harp, keys: Thurston Moore, Kurt Vile); and Jimy SeiTang (synths, electronics: Stygian Stride, Rhyton.)
On the utterly transcendent album closer, ‘Tommy’s Congo’, shades of Sonny Sharrock beautifully surfaces beneath the artefacts of time. The deep groove and rhythm interwoven with this vivid catharsis is nothing short of staggering. The cosmic spirit captured on the closing cut — and each of these sublime recordings — permanently occupies a state of transcendence. As each song-cycle unfolds, the shimmering worlds of Dylan’s Rolling Thunder Revue or the Stones’ ‘Exile On Main St.’ fades into focus. ‘Way Out Weather’ is dotted with captivating moments from the ways of a true master.
Released earlier this year – on the pioneering Thrill Jockey label – came the eagerly awaited arrival of ‘Seasonal Hire’; a special collaborative album between Steve Gunn and The Black Twig Pickers that combines Gunn’s meditative guitar playing and the Twigs’ energetic mastery of old-time instrumentation. ‘Seasonal Hire’ collects four original tunes and one traditional piece, with Gunn and The Black Twig Pickers’ Mike Gangloff and Sally Anne Morgan all taking turns with lead vocal and songwriting. Like all of the Twigs’ albums, it was recorded live, without overdubs or amplification.
————
For upcoming U.S and European tour dates, click here.
‘Way Out Weather’ is available now on Paradise Of Bachelors.
http://steve-gunn.com/
http://paradiseofbachelors.com/
————
Interview with Steve Gunn.
Congratulations Steve on the sublime new record, ‘Way Out Weather’. It feels like it’s the natural progression on from 2013’s ‘Time Off’ where your song-writing comes to the forefront. Also, the record is a real band album that could be placed alongside the likes of Dylan’s Rolling Thunder Revue or the Stones’ ‘Exile On Main St’. Please discuss the cast of musicians you have on board and indeed how these songs – that I presume started as solo demos – transformed and evolved into the fully bloomed and fully realised sonic creations on ‘Way Out Weather’?
Steve Gunn: Thanks! ‘Way Out Weather’ was a natural progression for us from the last album. ‘Time Off’ was pretty much a live record, and we didn’t get too deep in talking about the arrangement aspect of the songs all that much. We had been playing those songs on ‘Time Off’ for a long time before we went to record them, so everything was in place and it was mostly cut live. Going into the studio, we kind of knew the songs well and how we wanted to record them. The drummer and I made some instrumental albums at the studio before, and ‘Time Off’ was more or less a sonic continuation of that. ‘Way Out Weather‘ is much more of a studio album, where the songs were arranged and recorded pretty much at the same time. Leading up to the session for ‘Way Out Weather‘, There were a lot of discussions and demoing leading us into it, and snippets of ideas were passed around. There were also talks on how we wanted to approach the recording in the studio, with what kind of gear and what kind of improvements we wanted to make. A lot of hanging around and deeply listening to records happened leading up to the session, followed by long late night chats on how maybe some of those sounds were created. We’d pontificate things like Clarence White’s lead on the Byrd’s song ‘Change is Now’ from the Notorious Byrd Brothers album —‘How in the hell?’ Or we’d pace around the room closely listening to Eddie Hazel’s guitar playing on the ‘Maggot Brain’ album.. Is that two echoplexes on that track? And that wah tone? Dang..
The songs for the new album started as solo demo ideas, and I sent them around to the engineer, Jason Meagher of Black Dirt Studio, and the players who came to the session. Most of the ideas were recorded on a handheld device while I was on tour, and when I got home and had some time I sat down and cut and pasted everything together. We had a lot of back and forth regarding what we wanted each track to sound like, and people brought some great ideas to the session. We fleshed the songs out when we all arrived at the studio together, and we cut most of the tracks in less than a week. Collectively everyone involved in the session worked non-stop, and we were workshopping things in another part of the studio while tracking. We had a limited time frame and budget to work with, and we worked long days and went through the tracks one by one without much stopping.
Jim Elkington:Guitar
Justin Tripp: Bass, Guitar, Piano, etc.
Nathan Bowles: Drums, Banjo, Piano
John Truscinski: Drums
Jason Meahger: Bass, Synth, Engineering
—
I love the abstract story-telling and striking narrative that runs throughout ‘Way Out Weather’. I would love for you to discuss the writing process? I envision it’s a sort of stream-of-consciousness akin to Dylan alone at this typewriter as I listen to the compelling songs unfold. Also, the album-title perfectly embodies the flood of music – gripped with emotion and intensity – beautifully captured.
SG: With most of the songs I try to take an anonymous narrative role in telling a story; using a list of visual snapshot descriptions. I travel around and take a lot of notes; either in a notebook, with a camera, sound recorder, etc. Some of these ideas/notes can be pretty banal, and other ideas more intense. I like to play with that mix of day-to-day boring details & heavy emotional subject matter. I really enjoy mixing these kinds of themes together and seeing what kind of story I can tell with them, sometimes the meaning and intentions flip and often that’s the goal. Sometimes the real meaning gets construed later without me even realizing it at first. I really value what meaning others can get out of the descriptions in the songs. It’s often surprising and different from what I am thinking, which is great because it’s nice to keep it personal. I like to throw things out there and see how they circle back.
—
In many ways, the songs stem from the world around you; the Brooklyn neighbourhood, the communities that inhabit the space and indeed the stories that unfold around you. Please discuss the inspiration that Brooklyn and New York serves for you, Steve? I recall Damon of Amen Dunes telling me how their latest album ‘Love’ is their New York record. Would it be a similar case for ‘Way Out Weather’?
SG: I like living in New York because the city has a certain vibrancy and energy unlike any other place (particularly in the US) that I have ever been to. I never get tired of taking long walks in different areas of the city and observing the day-to-day activities and craziness of existing in such a place. NYC serves as a big inspiration to me, and is a rich environment for someone to walk around and get lost in. Some people fail to realize how big the city actually is, and how much it really has to offer. It’s its own universe, and even after being there so long I am constantly discovering new things. With that being said, I also like leaving New York and being in other places. ‘Way Out Weather’ is not a New York record. I travelled a lot last year, and I wanted to widen the scope this time. The main theme of ‘Way out Weather’ is about being all over the place and trying to maintain and remain at peace. Being lost while both accepting and enjoying it I suppose is the goal.
—
The diverse styles and sounds contained on ‘Way Out Weather’ is another aspect of the record’s timeless feel. Please take me back to the sessions at Black Dirt Studio in Westtown, New York. Were a lot of these songs borne from jams and how much of the songs stemmed from live improvisation? It must have been an enriching experience to be part of such a dynamic and formidable ensemble. How long did the recording sessions take?
SG: It was definitely an enriching experience to be in the studio with all of those players. I was very careful with who I wanted to come to the session, and everyone involved brought their own important stamp to the music. Everyone who came to the session are the best musicians I could have asked for to attend the session, and I am super grateful for what they brought to the record. Improvisation is a big part of my musical life, and I think it’s an important thing to embrace if you are a travelling musician. All of the people involved in the session have all kinds of experience playing in so many different contexts, and all our collective knowledge and ability was used in a really great way. The session was also a testament to ourselves with what we are capable of doing in the studio.
For us every environment and live situation is different, and quick adaptation is really key to not letting things go off the rails. We’ve all been playing in bands in many different contexts and styles, and doing things that are inspired and off the cuff are where we often find are best material. We relied on these kind of instincts for the ‘Way Out Weather’ session and we kind of rolled with the songs without scrutinizing it too much.
—
There are an endless array of utterly transcendent moments dotted on the new record, such is its greatness. At the moment, ‘Fiction’- – which begins part B of the record – is my favourite. I particularly love the meandering guitar licks that forms a gorgeous rise in the song. Can you talk me through this song please and indeed your memories of writing and laying the tracks down?
SG: Thanks. That song came about in the studio when I messing around with this cyclical guitar line and Jim Elkington was accompanying with Dobro. Every song on the album was cut in a very loose fashion, and it’s interesting to you that this one is your favourite because this one was the loosest. The words and vocal arrangement were sort of a made up on the spot, all of the vocal tracks were stacked on top of each other, and the rhythm part at the end was a very last-minute addition as we were listening back to the song trying to figure out what to do with it.
—
The album closer ‘Tommy’s Congo’ epitomises the bold, creative spirit that lies at the heart of ‘Way Out Weather’. Shades of Sonny Sharrock beautifully surfaces beneath the artefacts of time. The deep groove and rhythm inter-woven with this vivid catharsis is nothing short of staggering. Please discuss the narrative to ‘Tommy’s Congo’? As album closers go, this is one of those defining moments, “from the ways of a master”.
SG: I came up with the idea for the song after hanging out in a few Congolese bars in Belgium with my friend and bandmate Tommy. I more or less put together a few memories and inspirations from being there and watching these amazing musicians do their thing. The guitar players always kept their eyes on the party and socialized as they were playing these incredible rhythmic guitar lines — totally badass and kind of unbelievable…
For upcoming U.S and European tour dates, click here.
‘Way Out Weather’ is available now on Paradise Of Bachelors.
http://steve-gunn.com/
http://paradiseofbachelors.com/
————
Chosen One: Steve Gunn
Interview with Steve Gunn.
“Writing the words to songs has been a bit challenging, but I really enjoy the process, and look forward to doing more. To me singing is another instrument, so it adds a bit more to some of the guitar pieces that I’ve come up with.”
—Steve Gunn
Words: Mark & Craig Carry, Illustration: Craig Carry
The Brooklyn-based guitarist, Steve Gunn is one of independent music’s true treasures, having released a plethora of records through various guises and collaborative projects over the past decade. Gunn’s guitar prowess is revelatory that ceaselessly inspires and illuminates. To think of Gunn’s masterful musicianship, an array of guitarists spring to mind – Dirty Three’s Mick Turner, Glenn Jones, Michael Hurley, William Tyler and Jack Rose – that lovingly embodies the spirit of an age-old tradition with which a dedication to the artist’s craft lies at the heart of all the creator’s works. If you were to listen to these gifted guitarist’s career-spanning works, one feels a journey evolving which traverses vast plains of sound, styles, emotion and possibilities. Steve Gunn’s latest masterpiece, ‘Time Off’ – released on the North-Carolina based independent label Paradise Of Bachelors – conveys the guitarist’s most affecting collection of songs thus far.
‘Time Off’ was recorded at Black Dirt Studio, Westtown New York and produced by Jason Meagher. The personnel include Gunn (vocals and guitar) aided by the gifted talents of John Truscinski (drums), Justin Tripp (bass), Helena Espvall (cello), Jason Meagher (flute) and Tyson Lewis (piano). The album feels a culmination of all Gunn’s previous incarnations that have come before; Gunn’s solo works, sometime-guitarist in Kurt Vile’s Violators, one half of the Gunn-Truscinski Duo and a member of GHQ. A new emphasis is drawn to Gunn’s use of vocals here that makes ‘Time Off’ a richly absorbing body of work that encompasses both the art of song-writing and the power of unrivaled musicianship. This deep musical telepathy that exists between the trio of Tripp (bass), Truscinski (drums) and Gunn (guitars/vocals) serves the blood-flow to ‘Time Off’s resolutely unique world of sound.
‘Lurker’ – the album’s second track – perfectly embodies the spirit of ‘Time Off’ as Gunn’s central guitar motif conjures up the sound of an utterly timeless psych folk exploration. The hypnotic bassline supplied by Tripp and Truscinski’s soaring beat serves the ideal backdrop to the song’s vivid sense of searching and longing that permeates throughout. The refrain of “Found a spot to kill time and look around” invites the listener to explore the Brooklyn neighbourhood and city streets and in turn, lose yourself to the multitude of senses and flavours that surround you. A brooding mood develops as a beguiling guitar interlude comes to the forefront of the mix some five minutes in. A towering crescendo is reached that gradually comes to a resolution. Before too long, the gloriously meditative guitar motif returns like the arrival of a long-lost friend.
‘Old Strange’ is the album’s centerpiece. The song’s sprawling canvas is a joy to savour that serves a celebration to Gunn’s dear departed friend and muse, Jack Rose. At a recent Glenn Jones show, it was strikingly clear what a presence Rose has had – and continues to have – on the guitarist’s life and music, as a prevailing sense of loss was etched across the face, and indeed the music of Jones. Similarly, the spirit of Rose is wonderfully portrayed throughout the shape-shifting eleven minutes of Gunn’s ode to a dear friend. A cathartic energy is released by Truscinski’s majestic drum-work that serves the heartbeat and pulse to Gunn’s swirling rock rhythms. A symphony is formed where raw emotion exudes from the player’s trusted instruments. Elsewhere, Gunn’s twelve-string guitar-based ‘Trailways Ramble’ contains an Eastern – near cosmic – feel as an irresistible groove is formed by the rhythm section of Tripp and Truscinski. The soothing melodies of ‘Water Wheel’ serves the perfect opening of the enriching voyage. ‘Time Off’ is a marvel of a record that will long serve my trusted companion for many years to come.
————
‘Time Off’ is available now on Paradise Of Bachelors.
————
Interview with Steve Gunn.
Firstly, congratulations, Steve, on the absolutely incredible ‘Time Off’, it’s been on constantly since I first listened to it during the summer and it is such a breathtaking record. It feels like such an enriching journey – a sort of cross-country road trip of an album – and the songs form such a beautiful, cohesive whole which linger for such a long time afterwards.
SG: Thanks so much for the kind words on the album. I’m really happy to hear that it provided a bit of a soundtrack to your summer this past year.
————
What I’d be really interested in hearing about, firstly, is that ‘Time Off’ is your first album with a “band”, featuring the wonderful talents of both John Truscinski on drums and Justin Tripp on bass. Of course, you also have been heavily involved with many collaborations over the years, not least as half of the magnificent Gunn-Truscinski Duo (alongside John), as a member of The Violators and numerous other bands and records. Did recording as a band mean a departure for you in how you approached ‘Time Off’? When did the writing and recording of ‘Time Off’ begin?
SG: Recording as a band was a bit of a departure, because it wasn’t just me recording alone anymore. We worked on the songs on ‘Time Off’ for a while in a band setting before going into the studio. This was the first time I took songs into a studio with a band. It was a long time coming, but a bit of a departure for sure.
I never really knew that I was writing for the album per say. I realized that it was time to make an album because I had enough songs and felt that they were ready to be put together. It was a span of a few years that I got all of these songs together. Some of them developed over a long period of time and playing them live, other songs were writing pretty quickly and not played live. It was mix of different times I suppose.
————
I would love if you could talk a little about the playing of both John Truscinski and Justin Tripp on the album. Together with your own incredible guitar playing (and vocals), the musicianship on the whole is so breathtaking – the sense of rhythm and in particular how everything combines so organically is such a delight to behold. How and when did you first meet both John and Justin?
SG: I met John in New York City about seven years ago through mutual friends who played music. We were jamming together here and there with different people, and we decided to start collaborating as a duo. We’ve played together a lot and developed a real sense of each other musically.
Justin is a close friend that I first met in Philadelphia. We’ve known each other for a long time and have played in all different kinds of bands, and share a similar sense of and appreciation for many types of music.
Both John and Justin have had a lot of experience in studio settings, which has been really valuable. I look forward to working with them on this next record.
————
I get the impression that the six pieces on the album must have been such a long time in coming together, they really feel like a culmination of a particularly long time. How did these songs come to light? Additionally, were they the result of improvisations or were they carefully assembled and imagined from the outset between yourself, John and Justin?
SG: I wrote these songs and played most of them quite a bit as a soloist. I intended to try them with a band, but it took a while. John and I had been working on duo instrumental recordings for a few years, and I was doing my solo stuff separately. Finally it was the right time for me to incorporate John into my songs. Justin was a logical fit as well, because we go way back and have an acute understanding of what we wanna try to do in the studio and when we play live. I also have to mention Jason Meagher, who is the engineer at Black Dirt Studios, where I’ve worked on a many recordings. He’s also been a big help when I try to figure out what to do with the songs and question how to incorporate different instruments, etc. He knows how to set the scene and vibe perfectly in the studio.
————
When did you realize you wanted to record vocals on your album? I love how your voice adds such a beautiful new dimension to your music. The imagery in the lyrics also add another realm to the feel and mood of the album (for example “the sun goes down / the dogs will sound” from ‘Water Wheel’). I imagine it must have proved a challenge in the sense you were adding another “layer” to the process, so to speak?
SG: Thanks. I always wanted to sing, but it took a while for me to get used to it. Touring as a solo performer was a real learning experience for me and I’ve grown more comfortable singing live. I’m still working on it.
Writing the words to songs has been a bit challenging, but I really enjoy the process, and look forward to doing more. To me singing is another instrument, so it adds a bit more to some of the guitar pieces that I’ve come up with.
————
There’s such a natural and stunning unfolding to each song – whether in particular arrangements or subtle shifts in tempo and so on – I imagine the album must have been challenging not only to write but also to capture to tape in a manner you were satisfied with?
SG: With these songs, we’d rehearsed and played them out live quite a bit before going into the studio to record them. That made the process easier when we finally got into the studio. The album was mostly recorded live, and we’d already developed what we wanted to do before going in to record.
————
Where does the title ‘Time Off’ originate from?
SG: It comes from me taking a long time to make a record.
————
My current favourite is the magnificent ‘Old Strange.’ It’s got such an expansive, hypnotic and meditative quality to it. The visceral quality (as well as those wonderful strings) reminds me of Dirty Three or Velvet Underground recordings. Also, the lyrics are beautiful, I particularly love the “what was real” and “it’s strange coming back around” lyrics. How did this song emerge for you? Did it stem from that repeated guitar phrase at the beginning?
SG: The song did stem from a repeated guitar phrase at first. I guess that’s how all of my songs come about, really. This song was a dedication to a friend, Jack Rose. I wrote this song for him.
————
In terms of musical styles and traditions, you seem to be able to draw inspiration from so many diverse avenues, yet you can distill them so beautifully into your own distinctive sound (blues, country, psychedelia, free jazz and spiritual jazz, German Krautrock and so on), and call to mind many musicians (Jansch, Cooder, Chapman, Thompson, Dylan, for example). I would love to know the albums that, for you, hold the most resonance as both a musician and as a songwriter?
SG: Here is a short list of some of my favorites:
Michael Chapman – Rainmaker
Sonny Sharrock – Black Woman
Richard & Linda Thompson – Pour Down Like Silver
Bob Dylan – Basement Tapes
Sun Ra – Lanquidity
Moby Grape – 1969
————
Can you remember the moment you first realized music was going to be your true path in life? What were your formative influences to be a musician when growing up?
SG: I got really interested in music in middle school, and starting playing guitar in high school. First I was into skateboarding and punk rock stuff. Later I discovered jazz and older rock records and my whole world opened up.
————
In terms of your own guitar playing; I would love if you could talk about your development as a guitarist over the years?
There is also such a richly diverse number of guitarists making such wonderful music today – William Tyler, Glenn Jones, Daniel Bachman and Cian Nugent to name just a few – it must be an exciting time for you to be able to receive the attention and acclaim from audiences that you so much deserve?
SG: I started getting serious about playing the guitar in college, more than fifteen years ago now. That’s when I started practicing a lot, started listening to and drawing from a wide range of music. I still try to practice often and make time for it. I am mostly inspired by my friends who play music and those who are generous with their playing and listening, those for whom it’s always about the music itself. I’m fortunate to know a lot of really talented and dedicated musicians, and I’m humbled by the attention I’ve received, inspired to keep working at it.
————
‘Time Off’ is available now on Paradise Of Bachelors.
http://steve-gunn.com
http://www.paradiseofbachelors.com
————
