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Tortoise

Chicago-based guitarist Jeff Parker is one of the most interesting young players on the scene today. He has the chops to play straight jazz and avant-garde jazz, but his love of all types of music also moves him into rock and post-rock circles. Like a great team player, Parker always puts the ensemble's music first. His solos are sizzling, but his true interests lie in the more challenging aspect of helping to propel the music forward to new and incomprehensibly enchanting territory. Oh yeah, he is also the guitarist for Tortoise, Isotope 217 and the Chicago Underground Trio/Orchestra!

Tekst: Rick Evans

Publicatiedatum: 12 juni 2001

"Standards" is a little more immediate, live and almost rock sounding than the previous albums. Was that a bit of reaction to all the discussions and labels about Tortoise and "post-rock?"
"Maybe subconsciously, but not deliberately.  It was more about us doing something different within the context of the group.  We wanted to explore a different set of sonics."

Let's talk a bit about the recording of "Standards." Taking into account the rebuilding of John McEntire's studio, did it give another vibe?
"Yes, it did.  All of the Tortoise material from '97-'99 was recorded at the old SOMA, basically a home studio with a very small live room that only allowed 2 or three people to track parts at one time.  That's why I think that material has such a relaxed feel.  The new SOMA has a large live room, and that allows everyone to play at the same time, and we could experiment with the acoustics of the space a little more."

I understand that where TNT was pieced together in the studio, the band recorded "Standards" more live. Did this require more rehearsal? How did the band start rehearsing? Do you talk about what you want to achieve or is it more *organic*?
"We had been rehearsing some of the songs before we went in to record, so they had pretty solid arrangements...we were supposed to play a festival and we wanted to have some new material. The process was pretty much like this: We went in the studio to come up with demo versions of the songs, recorded to hard disc so we could use the computer to edit sections to formulate arrangements. Then we booked a short tour of our immediate area, 2 shows in Chicago, 1 show in Madison, WI. Milwaukee, and Champaign, IL., to come up with new ideas from playing the songs live every night, and to give it a little more energy.  Then we went back into the studio and recorded to analog tape, and chased it with the computer for more editing, if needed."

The new Tortoise song "Eros" (track #2 on Standards) is great.
"I think this is my favorite song on the album...there's a random trigger on the bass drum that creates the bass line."

You also play the vibes and keyboards. Do you think of yourself as a guitarist first, or a multi-instrumentalist?
"Definitely, a guitarist first."

Being a huge Cal Tjader fan myself, I was thrilled to hear all the vibe work on "TNT", and it's kept up on "Standards". I assume mallet type instruments are going to persist in being a big part of Tortoise's color pallet?
"Your assumptions are correct, but the future is always uncertain... We'll see... There's almost zero hand percussion on Standards, and that was always a big part of Tortoise in the past."

Tortoise seems like the ensemble as a whole is the most important, where solos are not part of the picture. I can't believe the guitar work for Tortoise is all that challenging for you, is it? As a guitarist, with a strong jazz background, what do you get out of participating in Tortoise?
"The guitar work is ultimately challenging in that it deals with sound and space more than anything, and challenges my musicianship and my perceptions of musicianship, constantly. It's easy to move alone, and very difficult to move as a group, just as it's difficult to play quietly and with precision."

With Tortoise, you slip in your lines very cleanly, so a lot of times I don't really hear the guitar, it's all more of an updated wall of sound. It seems you play single lines in the lower registers a lot to get your Tortoise sound. Instead of the old Rock and Roll two guitars trading off solos, do you find yourself weaving in and out with the bass guitar?
"Yes.  I always try and complement what's going on around me, musically.  I think a have an "unguitaristic" approach to the instrument with regards to sound.  I started out playing the bass lines from funk records on the guitar when I was a shorty, because that was all you could hear on our AM radio. I've always had a special relationship with the bass."

Unlike your guitar work with Tortoise, your work with Isotope 217 seems to stand out more. Not that Isotope 217 is a big showcase for your guitar, as it too is largely about the ensemble; however, there's usually a cut or two on the last two albums where you're given some moments to cut loose. For example, you play some pretty intense solos on "Luh" and "Looking After Life On Mars" (off of the second album - Utonian_Automatic), and also on "Harm-O-Lodge" and "Moot Ang" (off of the last album ­ Who Stole the Walkman). Some of these solos are also deliciously discordant or atonal, a rather stark contrast to the majority of your playing on those albums. Do you do that just to just mix things up?
"A lot of Isotope's music is pretty angular, intervallically speaking. I like to explore intervals, I guess.  I try and make my solos fit the context of the piece. I don't really like to play solos much anymore, so I try to look at them a little differently now."

Clearly you're not a jazz snob. It's rather obvious you searched out playing opportunities with non-jazz musicians, and don't just recreate jazz-fusion heydays. I read somewhere that you get most bored playing with straight jazz musicians, I thought that was great, and spoke to the compelling power of other types of music. So, in actor speak, what's your motivation as a guitar player?
"I love jazz music, and it's the snobbish attitude that is a turn-off for me, even though I love jazz musicians, too.  I usually don't get bored playing any music, so it's hard to believe I said that!  Everyone around me motivates me as a guitarist; it's such a vast, versatile instrument.  Keep playing different things, and it'll keep my approach to the instrument fresh."

I'd like to list off a few musicians, and just get your general thoughts:
Art Ensemble of Chicago
"World's most flexible band, one of my inspirations."

Ken Vandermark
"Very nice man, impressive work ethic."

Sun Ra
"Mad Scientist!"

Kraftwerk
"Who are these funky white boys with the futuristic sound?"

Earth Wind and Fire
"Al McKay and Verdine White are the shit, sophisticated arrangements."

Jimi Hendrix
"Explosive and righteous."

Gastr del sol
"Pretentious, but interesting."

Miles Davis
"Melodic master, musical revolutionary."

Bill Frisell
"Power Tools!"

Stanley Clarke
"We used to jam on "School Days" when I was in Jr. High!"

Wes Montgomery
"My father brought home one of his LPs when I was 15 and it changed my life."

Michael Karoli (guitarist with Can)
"Cool tone, nice chords."

Mathew Shipp
"Heard him once with David S. Ware and it was great."

The Chicago Underground Trio and The Chicago Underground Orchestra of which you're also a member, are totally different beasts yet again, experimenting and updating avant-garde and free jazz. Clearly the spirit the AACM (Association for the Advancement of Creative Musicians), of which you are a member, is source of inspiration for The Chicago Underground Trio/Orchestra. Can you explain just what the AAMC is? How many people belong to it? Aren't you one of its youngest members? What criteria did you have to meet to get inducted?
"The AACM is The Association for the Advancement of Creative Musicians.  It was founded in 1965 on the South Side of Chicago, and they have been, and continue to be, on the cutting edge of all music.  I am one of the youngest members; there are around 150, I think.  I am an associate member, because I'm not really active in the organization.  One has to be nominated by someone else in the organization to join.  Ernest Dawkins, who's the current chairperson and whose band I also play in, and Ameen Muhammad, the great trumpet player, nominated me. They and everyone in the organization are wonderful people and have taught me a great deal about music and life."

Really stupid question here, but there seems to be three Parkers that are all considered to be on the leading edge of out music today. You, Evan Parker, and William Parker! Have you met either of those cats? Actually, if the three of you hooked up for a bit, the gig might be pretty damn interesting.
"It's flattering to be mentioned in the same sentence as two master musicians, and I don't feel it's quite justified.  I thank you very much, nonetheless."

Isotope 217 has really emerged with an extremely wide scope; everything from digital post-rock, jazz groove music, to some killer free jazz pieces; from the perspective of new millennium/instrumental music, fused at various degrees with jazz! How much verbal discussion among the band goes into its overall musical direction?
"Not very much at all.  It's a direct reflection of the various personalities and musical interests of everyone in the group, and our approach is constantly changing."

You joined Tortoise prior to their third album, and Chicago Underground Trio/Orchestra seems to have evolved into the Chicago Underground Trio with your membership. But you've been with Isotope 217 since the beginning. Does that put Isotope 217 a little higher up in your personal hierarchy; is it more special for you in any way?
"I guess in a way it is, but I've been in the Underground from the beginning, too.  I feel like I really started the idea of Isotope, even though we didn't really become a band for a long time.  It's impressive to me the way the whole thing just fell into place, and I'm proud of what we've done, and to have been a part of it."

With the Isotope 217 members of yourself, Mazurek, and Sarah Smith also in the Chicago Underground Orchestra, and then the Isotope 217 members of yourself, John Herndon, and Dan Bitney in Tortoise, only 217 bassist Matt Lux isn't in one of the other ensembles. Do you agree that Isotope 217 sounds like sort of like a blend of the two bands?
"I've never looked at it that way... like I said before, it's just reflective of the various personalities and musical interests.  We all try and explore sound, music as sonic science.  It's a tradition in music."

Considering that all your bands release albums on Thrill Jockey, you're practically the house guitarist for the label. I assume you like being that on Thrill Jockey?
"Yes, very much so.  Bettina is fantastic, as well as the whole staff... Howard, Sam, Gabe, Lexy, Geoff, Damon, Ray, Beth... They've only had one chump ever work there and he got fired."

How do you juggle three bands? Your schedule must be crazy; especially coordinating with musicians in several other bands?
"It gets really hard sometimes.  It's extremely difficult to coordinate schedules, but the music part is relatively simple."

With all your gigs, are you getting by financially? Or is a day job still a requirement?
"I haven't had a day job in 9 years.  It has its ups and downs.  If you earn your living as an artist, ultimately there will always be compromises made. It's a struggle to maintain integrity, constantly."

In simple terms, Tortoise has helped spawn a whole new approach to music, of which there's now dozens of imitators. Isotope 217 is alone in exploring a new cutting edge funky fusion. And the Chicago Underground Trio/Orchestra are helping to update and generate a renewed interest in free and avant-jazz. What's it like being in three or four of the most innovative bands around today?
"I'm thankful that people like you enjoy and appreciate our music.  I'm thankful to be in the company and to have cultivated musical relationships with so many creative, talented people. We will keep growing and appreciate the opportunities we've created for ourselves. Embrace the evolution of art and self and always question its very existence."

"The Wire" recently did a cover feature, "Chicago Story" and focused on you and cornet player, Rob Mazurek. Was it cool to be on the cover of this highly respected music magazine?
"It was flattering to be asked, I have some issues with the magazine, even though they respect the artists they deal with, mostly.  I was really pissed with the way they treated Don Byron a couple years back... And I think they have a bullshit agenda. No disrespect to David Keenan, he's a great writer... Dave Tompkins, too."

Is there a Jeff Parker solo album on the horizon in the future?
"Possibly, I have a lot of ideas to work out first."

http://www.kindamuzik.net/interview/tortoise/tortoise/438/
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