Jan 292011
 

I just finished a late night recording session with Lou Reed that went really well. We did a cover of an old song for a tribute record and great musicians accompanied him. Now I’m walking home in the snow from the studio and I’m thinking: say what you want, complain about the puddles and the slow traffic, but I love NYC covered in snow: makes the city look even more special and unique, even more so at night.
A few nights ago when the snow was coming down heavy I was standing at a light looking at musicians carrying their instrumental through a blizzard going to or coming from a gig which probably didn’t pay much… Now that’s priceless passion and love for music!

Check out a few shots…

Nov 112010
 

Milan was a total blast!
Although it ain’t easy to mix 12 bands in one evening and deal with 11 stage changes and 60 channels of continuously changing audio with dynamics that range from classical strings solos to seven piece metal bands, but such is the incredible variety of Zorn’s body of work and honestly it is right up my alley. I love his music and all the variety so much that doing a show like this goes by very quickly and I enjoy every minute of it really!
Can’t wait for the next one.
Here’s two pics of the stage at its least mic-busy and least people-crowded moment.

Oct 222010
 

…and I’m not talking about that hail that came down in Brooklyn a week or two ago… I’m talking about work! Studio life is such that sometimes you have a week with no sessions and then there are weeks like this one where EVERYONE wants to record!!! What is it about the third week of October??? I had to turn down SO MUCH work this week, I hate turning down work! This week I’ve worked with 6 different clients, sometimes two in a day! Crazy.

Oct 042010
 

I just did an improv recording session with Michael Bisio today and he handed me a copy of his latest work by the three musicians SKM. I recorded this back in 2008 at EastSide Sound and my colleague Rueben Radding mixed it at Magma Studio. Came out on Trem Azul’s Portuguese label Clean Feed this year. At least three more records featuring ex-Seattle resident now NY-based bassist Bisio will be coming out soon (but there might be more that I haven’t recorded and I don’t know of) so keep an eye out for him and also Whit Dickey’s album (which I just tracked today).

Oct 012010
 

If you are wondering whether the old-school jazz studio sessions of the past still exist… I can tell you they do because I just did one last weekend.
NY-native now Bologna-based sax player Steve Grossman was in town and so Joe Berger and producer Nakamura put together a great cast of musicians (including the great Larry Lewis on piano) to play some jazz! All the elements of the good old studio gigs (except for maybe cocaine and analog tape) were there: great musicians, awesome musicianship, late hours, great jams… And you (that would me!) better be rolling all the time!
This record might never see the light in the US but will be released in Japan on Nakamura’s label Cheetah (a subsidiary of the Tokyo based Pony Canyon).

Sep 252010
 

In the studio today recording with Jessica Pavone’s new distorted viola-driven rock group Army of Strangers… Session is goof great and the musicians are solid. Fun times.
Most musicians I know usually lie down to take a break, she’s the first one who I see that stood up… flipped around!
FYI I did ask her if I could post this picture on my blog

Sep 102010
 

I just did some sessions with a very interesting VA-based NY-native new music composer by the name of Scott Barton. Besides being a guitar player who loves to bit-crush, loop and edit the shit out of his performances, this nice guy also studies applied robotics down in Virginia where together with other students he builds robots which (who?) can actually play instruments (or which are instruments themselves). The three prototypes they built are: MADI which plays the snare with two dozen different beaters; CADI which is a beater that can be applied to any percussive instrument; and PAM, which is a two-string instrument with a pick and some “fingers” that clamp down the strings to create different pitches and sounds like a mixture of a sitar and some middle eastern instrument or a zither. As you can imagine the record I am mixing is actually played by Scott himself on guitar and these robots (along with a bunch of other human guests). I think that definitely qualifies as one of the most interesting projects I’ve worked on lately (besides the always exciting ones I do with Zorn) and aside from the concept the music is very cool too. Definitely hard to label or even describe, I’d say it’s sort of a mixture of glitch-electronica, experimental noise and digital hardcore (treated, finely minced and bit crushed distorted electric guitars).
Not sure when this album will be finished or released but keep an eye out for the creations by Scott Barton and check out his websites www.scottbarton.info and www.expressivemachines.com (it’s also a nice coincidence for me that this project’s name has two sixths of the words that make up my old electro-industrial band’s name, which was The M.E.M.O.R.Y. Lab – which stands for Modern Expressive Machines Of Revolutionary Youth).

Sep 032010
 

It’s about time somebody stole the thunder from that psycho who inhabited my homepage for over a month now (I’ve been on vacation and “unplugged” a bit, hence the lack of postings…).

I just wanted to share this video with you. It’s a live recording of artist Daniel Wayne live at Southpaw in Brooklyn this past May. Drummer Brent Follis produced the video, which is a nice multi-camera shoot made with the latest HD-shooting SLRs and a bunch of smaller flip-camera-like devices. The results are really good, it’s well edited (I love the quick fade from the reflection of the kick drum skin to the back-camera angle) and a great way to see this very valid band.

I was only marginally involved as I mastered the audio but I think everyone did a great job on this production.

Jun 082010
 

Those who were lucky enough to catch Frisell’s two week long residence at the Vanguard, were also fortunate enough to see the talentuous Eyvind Kang play his magic on the viola. But the really fortunate out there were blissed with a performance by Eyvind and his wife Jessika Kenney at Drom, where they played some of their new written and some improvised Persian-inspired music. The day after the show I was the fortunate one to be able to record their new music at EastSide Sound.
I’ve used my new and beloved Latvian JZ Black Hole microphone on Jessika’s vocal and a Beyer Dynamic MC740N on the viola and ran both through Neve-reissue Vintech X73 preamps and my MasterRoom II analog reverb to capture an intimate and marvelous performance of the two standing feet apart in same room and performing haunting music live for my lucky ears and my lucky mics.
Can’t wait to hear this record out in stores.