Recording - January 2012 - 55
Continued from page 52 Mountains. I had a band when I was 15 years old. Never did I think that I would have music as a career, but never did I think otherwise. It just never occurred to me to do anything but music. I discovered Latin music, as you said, at an early age. My earliest songs were in Spanish. I don’t speak Spanish, but I liked the music and I got into the feel of it. I started playing with some of the great Latin bands like Ray Baretto and Tito Puente. I used to write music for them. Later on, I made a transition to American music, which is kind of interesting. But it’s just a passion. It’s a passion I have, and I always believed that somehow that would be my path. I always believed that if I just persevered and kept at it… You know, you mentioned a lot of songs that people might know from television, but there were a lot of heartbreaks along the way, too. I wrote about some of them. I’m getting to them. But I think it’s funny, you’ve had such incredible success, and maybe what you’re best known for is writing the music that eventually had words like schlemiel and schlimazel attached to it. And yet you’ve composed these gorgeous ballets, and you’ve scored some very serious films like Victory at Entebbe, and romantic comedies like Foul Play— which was hysterical. Do you guys remember that movie with Chevy Chase and Goldie Hawn? After leaving Paris you wrote to Mademoiselle Boulanger and said, “I’m forced by my own choosing to earn a living writing commercial music. It’s very difficult for me to work with people who are more interested in the marketable product than in music.” Sound familiar, anybody? “But I know and love only music, and I must bring to any kind of music the same care and concern for the truth that I would if it were my most important work. In this way, I can keep my mind alive to fight for the time to do my own composing.” What’s your advice to the people in this room and the TAXI members at large? What’s your advice on the ever-present struggle to find the balance between art and commerce? There is, because very often it’s hard to do something with the world of commerce expecting something of us. My teacher, Nadia Boulanger, used to deal very much in the word truth, and that is in music to find what’s underlying the DNA, so to speak, of what we put together— whether we deal with notes on paper or when we sing it to machines, or however we do it individually. So I do believe that no matter what we do, whatever the project is—if it’s a commercial for a product or if it’s an important film that’s going to be a very successful film with a lot of stars… In my case, if I’m writing a ballet or something
for a symphony orchestra or an oratorios—all a part of my life—I give them all the same importance, I really do. But I can struggle, like my wife said I was up for two days without sleeping. That’s my own motivation, you know. No one says to me that I have to work around the clock. Some people say I’m a perfectionist. I really disagree. I don’t think of myself that way. I just think of myself as looking to the point where I can satisfy myself, or have it right. I’ll settle for right, I’ll settle for good. I don’t look for the unimaginable, I don’t look for something that’s gonna ring in people’s heads. You never know, you really never know. But we have to have our own barometer as to what works for us and what pleases us. My barometer is simply if the piece I’m writing pleases me. If I’m writing a song and I think it’s a good song, I keep
working and working. I play it and play it, and I sing it and sing it. If it’s going well, by the time I get to the end I want to do it again and again. I keep working on little nuances. But if it’s not going well, I’m bored, I could fall asleep! I’m just totally bored. I have to know for myself—we all have to know for ourselves—our own barometer as to what’s working. And I always start at the point of what’s working. You know, greatness, let everyone tell us that in 20 years. What’s working? What does it mean to us to put the notes together—the words, the story, the song, the collaboration—to the point where we think it’s done? Because finally you have to say it’s done. You can’t keep working on something forever. So…that may be the answer. Part 2 of this interview will be in next month’s TAXI Insider. Don’t miss it!
55
http://www.kiqproductions.com
http://www.kiqproductions.com
Recording - January 2012
Table of Contents for the Digital Edition of Recording - January 2012
Recording - January 2012
Fade In
Contents
Talkback
Fast Forward
2011 AES Convention Report
“How I Like To Record My Drums”
Neumann KH 120 A Monitors
Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone
Recording Drums—Then and Now
Recording Fundamentals. Chapter 1: What Is Good?
Drumming and Drummers and Mics—Oh My!
Mixing Live Drum Tracks
Arturia Analog Experience: The Laboratory 49
Readers’ Tapes
Advertiser Index
iOS Music Tools: Analog Synthesis on iOS
2011 Annual Index
Fade Out
Recording - January 2012 - intro
Recording - January 2012 - Recording - January 2012
Recording - January 2012 - Cover2
Recording - January 2012 - 1
Recording - January 2012 - Fade In
Recording - January 2012 - 3
Recording - January 2012 - Contents
Recording - January 2012 - 5
Recording - January 2012 - Talkback
Recording - January 2012 - 7
Recording - January 2012 - Fast Forward
Recording - January 2012 - 9
Recording - January 2012 - 2011 AES Convention Report
Recording - January 2012 - 11
Recording - January 2012 - 12
Recording - January 2012 - 13
Recording - January 2012 - 14
Recording - January 2012 - 15
Recording - January 2012 - 16
Recording - January 2012 - 17
Recording - January 2012 - “How I Like To Record My Drums”
Recording - January 2012 - 19
Recording - January 2012 - 20
Recording - January 2012 - 21
Recording - January 2012 - 22
Recording - January 2012 - 23
Recording - January 2012 - Neumann KH 120 A Monitors
Recording - January 2012 - 25
Recording - January 2012 - Mojave Audio MA-300 Multi-Pattern Tube Condenser Microphone
Recording - January 2012 - 27
Recording - January 2012 - Recording Drums—Then and Now
Recording - January 2012 - 29
Recording - January 2012 - 30
Recording - January 2012 - 31
Recording - January 2012 - 32
Recording - January 2012 - 33
Recording - January 2012 - 34
Recording - January 2012 - 35
Recording - January 2012 - 36
Recording - January 2012 - 37
Recording - January 2012 - Recording Fundamentals. Chapter 1: What Is Good?
Recording - January 2012 - 39
Recording - January 2012 - Drumming and Drummers and Mics—Oh My!
Recording - January 2012 - 41
Recording - January 2012 - 42
Recording - January 2012 - 43
Recording - January 2012 - 44
Recording - January 2012 - 45
Recording - January 2012 - 46
Recording - January 2012 - 47
Recording - January 2012 - Mixing Live Drum Tracks
Recording - January 2012 - 49
Recording - January 2012 - 50
Recording - January 2012 - 51
Recording - January 2012 - 52
Recording - January 2012 - 53
Recording - January 2012 - 54
Recording - January 2012 - 55
Recording - January 2012 - Arturia Analog Experience: The Laboratory 49
Recording - January 2012 - 57
Recording - January 2012 - Readers’ Tapes
Recording - January 2012 - Advertiser Index
Recording - January 2012 - iOS Music Tools: Analog Synthesis on iOS
Recording - January 2012 - 61
Recording - January 2012 - 62
Recording - January 2012 - 63
Recording - January 2012 - 64
Recording - January 2012 - 65
Recording - January 2012 - 66
Recording - January 2012 - 67
Recording - January 2012 - 68
Recording - January 2012 - 69
Recording - January 2012 - 2011 Annual Index
Recording - January 2012 - 71
Recording - January 2012 - Fade Out
Recording - January 2012 - Cover3
Recording - January 2012 - Cover4
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