re 240-241-242 plus BB interview


From: stehelin at citi2 dot fr (Dominique Stehelin)
Subject: re 240-241-242 plus BB interview
Date: Wed, 22 Nov 1995 14:48:44 +0100 (MET)
Hi guys! First of all, my name is Olivier Malhomme. The name in the head
line ithe one of the boss of my laboratory (Stehelin). Make no mistake (in
case). This the second part of the interview of B.B. I gave once. Before
this, I wanna say I'm getting disapointed with E.T. these days. Why? I'm
tired to read theories about R.F. behaviour. Tired to hear you arguing on
the interest or not of synthAB as a lyricist, or whatever Everything that
could be interesting has already been said, so pleeeaaase!

I think that as people turned on by K.C. and all this peculiar family, we
share something more important. More! I think we all have something because
ouf this interest we have, pieces of information, things we know we can all
share together. IUm naive enough to think it was the main aim of this
forum. The crap about mellotron/synth or not/ this flamin about anything,
Fripp an asshole or not. Who the hell do you think cares! I'm interesting
in knowing what YOU know that I donUt. IUll make my best to tell you what I
HAPPEN to know, that maybe you donUt. As far as IUm concerned, that the all
idea aboutSHARING info and experience. Why do you think I spent hours to
translate the best way I could this interview? Why do you think I tried to
explain this stuff about Bartok and Hungarians modes (even if it was not so
cristal clear)? So this is it...

B.B Interview part 2

QJ: Before the recording of album, how did you prepare yourself and PatJ?

B.B: We have conceived the drum parts from the very start. We took the
time necessary that everything worked together and that we would complement
ourself mutually. If we only played what we wanted, most of the time it
would have sound like a drum store.

QJ: What are the quality required for a drummer to play in studio with
you? It must be an amazing challengeJ!

B.B: I donUt think that you need anything else than a good pair of
ears. Theris nothing to be afraid of. Whatever you bring to the fista, you
must be proud of it. We are both interested in what the other is playing. I
donUt care wether Pat can do a lot or not, we have to find something funny
and entertaining to doPat has an enormous groove, as big as texas
itself. He is unmutable and thatUs incredible. My role consist in hanging
around these limits, to frolic in the area. He is the steack and french
fries, I am the RJsauce bearnaiseJS.

QJ: IUve got a feeling you like that kind of scope well defined.

B.B: itUs restricting, of course, but limits can be really usefull in a
creaion process. Some ideas make you work than others. The exact opposite
of what happend in this mega re-formation of YES, where there was no
work. Here, Imust be awake, because I am the one to establish with Pat a
list of strategies to adopt. We have 14 or 15 zones where to develop those
strategies, and that can appear on any track. Now we are a rythm
team. K.C. is clearly the place for evolutions in drumming. I think the
next evolution of this intrument will be in term of bars, and in the
ability to improvise not more with fills, rumbles andtons of notes on the
toms, but with metrics. For example, 2 different metrics played
simultaneously or the melody line in a metrics and the rythm line in
another, or superimposing these two, or bluntly to shift the
metrics. ThatUs the kind of things Trilok Gurtu and this bright english
Gavin Harrison. Someone like Gavin can play a rythm and suddenly add a
single note et gives you the feeling that the ground suddenly collapsed
under you feet. ThatUs a really interesting thing to developp, IUm going to
do that a lot, because K.C. is the ideal group for that kind of experiment,
especially with this enormous tempo of Pat, noone will be lost.

QJ: On the title SSEDD, itUs like you went crazy with assymetrical bars.

B.B: The central part, there polyrythm. I play an extraordianry rythm all
along, and off course, itUs resolving in the end, but there is akll this
tension because of the 2 drummers. It gets quite unbearable with this 2
rythm superimposed, but when it goes crazy, it is a very musical way.

QJ: Pat gives you the possibility to play all these (metriques) experimentalJ?

B.B: You need someone on the front to do the simple things against which
iUm going to play, but we could do that with only one dummer. The
K.C. public is well prepared for such things (noteJ: Guys, heUs talking
about us all, I thinkJ!). They have a foot in Jazz, and an other in rock,
they are no sheeps when it comes to music. They want to hear something
different and they like to be surprised. Pat and me also have a duo on the
album, BUBoom, that is a good example of RJimprovisationJS on the metrics.

QJ: When in studio, are you a perfectionistJ?

B.B: No, not really, I have never thought of music as an exact science. To
memusic is unprecise, and thatUs how I like it. It is not about cleanness,
itUs not about washing your armpits. This is about dirt, what crunches
under your theeth, all this grey intermediary zone. It's about spontan ity
and nice accidents. That's why I do really love jazz. There is a feeling,
and a general movement imprecised but it is nonetheless very beautifull and
very powerfull.  There is nothing as perfect to me.

Q: The feeling of spontaneity is very strong on that new album, probably is
it due to the the fact that you recorded "live" in the studio?

B.B.: We record live, and this time we have been reharsing and recording
simultaneously, so thingd went very quick. It was so quick that if we had
been wanting to add something, it would have ben too late because the
record was already done. I don't think that Pat wewere doing the album. He
knew we were reharsing, and that the tape was rolling, but no one said "OK,
w cut it now". Wdid the album in two or three days, Pat was still waiting
to exchange the skins of its drum for new ones. If you want to pull out
someone's teeth,better do it when he is looking somewhere else.


Mike Stok