Daryl su Colossus Magazine - TLLDOB? possibile...

Spazio riservato a tutti i personaggi - minori e non - che hanno gravitato attorno ai Genesis: Chester Thompson, Daryl Stuermer, Chris Stewart, John Silver e Mayhew, Nir Z, Bill Bruford...

Daryl su Colossus Magazine - TLLDOB? possibile...

Postby Rael Matrix » 19 Jul 2007, 05:30




Hey Daryl! I'm well aware of your musical background before and after Genesis. As a matter of fact, I happen to own a copy of Enigmatic Ocean by J-L Ponty, as well as the GRP Christmas Collection! Anyway, you've played with so many talented and successful musicians along the way. If you had to look back a little bit, what could have been the career milestones so far. Could you briefly explain each milestone a little bit?

- My first band "Sweetbottom"(1973 - 1975) was a mix of progressive/jazz/rock/fusion music. When we first started we were playing King Crimson, Procol Harum, Yes, Traffic...etc. Then we developed into an instrumental jazz/rock/fusion band playing Mahavishnu Orchestra, Weather Report, Santana, Jeff Beck.etc, along with original compositions. We played this music in a night club 5 nights a week for more than two years. - Then in August 1975 I joined violinist Jean-Luc Ponty's band. My 3 years of touring and recording with him was a major influence on me as a guitarist. His compositions were very challenging on the guitar. I auditioned with Mike Rutherford/Genesis in December 1974. I sat with Mike playing along with a cassette of four Genesis songs. I can only remember playing "Down and Out', "Squonk", and "Dance On A Volcano". Afterwards he said, "I think you're one!" That was a life changing moment for sure. My first tour with them was "And Then There Were Three" in 1978. I believe Sweetbottom, Jean-Luc Ponty & Genesis have all had greatest impact on me as a guitarist and a composer.

By the way I didn't know you played on the solo hit by ABBA's Frida! Just out of curiosity, what was that session like?

- Phil Collins produced the album "I Know There's Something Going On". All the players on the session were from Phil's band, so it was a a very comfortable and fun album to make. It was recorded in the ABBA studio (Polar Studios) in Stockholm. Frida was a pleasure to work with.

Sweetbottom reunited a few years ago and also released a concert cd. Do you guys have any plans to write & release some more music together?

- There are no plans at this time, but there is always a chance we'll get together again for a selection of shows or special events.

In 2006 you released an album titled Rewired: The Electric Collection - could you tell me about the idea behind this album a little bit? It's a collection but not a very typical one?

- On this collection I wanted to show the best of the edgy rock side of my guitar playing and song writing. I also want to hint at the musical direction I'll be going in on future albums. The remastering and new edits makes it feel like a brand new album. Old fans (and new ones) have the chance with "Rewired" to get a good sense of what's coming in my new studio album "Go".

All I can say that it's an album full of great, timeless tunes - was it hard to choose which songs to include?

- It was a fairly easy process. My previous albums explored my more eclectic and contemporary jazz side. Sometimes I would combine my lighter nylon string guitar songs with some mid tempo to heavier up tempo electric compositions. With this album I decided to focus in on my back catalogue of my more overdriven electric guitar playing. These are my most energetic and progressive compositions.

The album has received pretty good reviews - do you read your own press: reviews, interviews..?

- I do read any review that is sent to me.......the good or the bad. I am happy the reviews for "Rewired-The Electric Collection" have been so positive.

Let's move on to your brand new studio album: could you tell me about the people you worked with on Go?

- I have a band of musicians I generally play with in live performance and on my recordings. Sometimes I'll add a couple extra players for a specific song or album project. On "Go" I added Bass player Leland Sklar for half the album who I work with in the Phil Collins band. We've played together since recording Phil Collin's "No Jacket Required" in 1984. My bass player Eric Hervey (whom I've worked with since the mid 90's) did the other half. They both have different "feels" that I wanted on specific songs. My drummer John Calarco has been with me since my 2001 "Waiting In The Wings" album. My keyboard player Kostia was born and raised in St. Petersburg, Russia and moved to the US in 1990. He has been playing with me since my 2000 "Another Side Of Genesis" album. We also play gigs together as a guitar and keyboard duo called "The Electracoustic Duo".

What's your writing process like? Do you start with acoustic guitar or perhaps keyboards? Was the writing process with Go any different from the previous albums?

- I generally start writing with a drum or percussion pattern from a sequencer or drum machine. My songs are either written on the guitar or on a keyboard. It all depends on the day. I essentially write simpler and more melodic songs on the keyboard because my keyboard playing is limited, technically. I tend to write more challenging and riff oriented songs on the guitar.The only difference in the writing process for "Go" is that I wanted the songs to have a more "live" feel.

Did you have everything written and carefully arranged planned before entering the studio or were you able to spend as much time as you liked arranging or perhaps re- writing the songs?

- I want the musicians that play on my albums to always have the freedom to express themselves. Not every riff or groove they play is written down for them. There are always specific things that I write that have to be there, of course. Everyone works within a structure I set out. But I use these musicians because of what personality they bring to the songs.

Right now my favourite tunes from Go are ‘Dream in blue’, which is probably the catchiest song on the album, as well as Heavy heart, simply because it’s so different from the rest of the album – what were the basic ideas behind these songs?

- Maybe you like these songs the most because they are probably the most melodic ones on the album. I originally wrote them to be possible vocal songs. In "Dream In Blue" I was trying to set up a dreamy atmosphere. The drum feel in "Heavy Heart" was influenced by the Genesis song "Squonk".

Many musicians seem to think that giving names to instrumental pieces is next to impossible - what's your trick?

- It's definitely harder to project a specific message with instrumental music. I always have something in mind that I'm trying to say, but I hold off on naming the song until it's recorded. The song title is another way to let the listener in on what my intention was with the song. Ultimately, it's the only "lyric" there is. But I do believe that generally the music will tell the story anyway. An instrumental may mean different things to different people, and that's OK! That happens in vocal music as well!

The most amazing thing on this album -and those from the past, of course- is your incredible sense of melody. Has it evolved throughout the years or would you say it’s a natural gift?!

- To me the melody has always been the most important thing. My problem with most guitar albums is that most of them become a vehicle for fancy guitar tricks. The music seems to be an afterthought. I think there is a way to write a good song and add exciting, energetic guitar playing. I think that has been achieved with "Go"!

Do you have any plans to do a solo tour after the Genesis tour is over?

- It's hard to think about that now because I am focusing on "Go" and the Genesis tour. I am sure that once the tour is over I will continue on the path I have laid out with "Rewired-The Electric Collection" and "Go"!

How do you feel about being signed to InsideOut? Most of their catalogue is way more 'progressive' than your stuff!

- I'm very pleased to be with InsideOut. I'm not really sure what the term "progressive" means. I think my music is "progressive" in the sense that it is a blend of rock/jazz/fusion/pop and is not "conventional" instrumental music.

'Nuff said! Let's discuss guitar playing a little bit. As a guitar player how important do you think it is to practise as often as possible?

- If it's possible I play everyday. It's physically and mentally beneficial to play as often as I can. The only time I don't practice is when I'm playing every night on tour. Most of the day is taken up travelling.

On your website there are some photos of your pedal boards - impressive! Are you the kind of a guitarist that just has to buy or steal all the latest gear, whether it's effects or pedals or amps? I guess you'd have to be quite rich to do this... then again, you're probably endorsed by some nice companies?

- I don't have endorsement deals with every piece of equipment I use. Most of the equipment I do endorse I originally purchased first. Then after I liked the amp, guitar, or effects pedal I contacted the companies that made them. It's great to get free or low cost gear from a company but the best thing about an endorsement deal is the promotion you get from it. I wouldn't endorse anything I don't use in recording or touring.

Your bio gives a list of your influences, people like Mike Bloomfield and John McLaughlin - are there any young & exciting guitar players you've heard and liked recently?

- I can't think of anyone off hand. But I am not suggesting there isn't. I just haven't been out there in the new/younger music world lately! To me "young" is someone younger than me. I like Eric Johnson but he's only a few years younger than me. Joe Satriani is an exciting guitarist too! But these guys have been around awhile and have made their mark.

True. Right then, you're currently rehearsing for the upcoming tour with Genesis, which we're all looking forward to. When you and the boys met in New York last fall to see if thing's were going to work out or not, what was the first song you played?

- I'm sorry, I really can't remember! I've been asked this before!

Could you describe that first meeting a little bit - what was the atmosphere like, how long did you guys play for, was there any tension at all or was it all very relaxed?

- We got together in New York City in October 2006 for two weeks. It was very exciting yet relaxed. It felt like the first day at school after summer break. After playing the first song it felt like everything clicked into place. We had a list of songs that Mike, Tony, and Phil put together. We probably played a total of 3 hours the first day. The rest of the 2 weeks we just tried more and more songs to see what worked best.

Do you think there was just one person (or a manager!) who kind of took the initiative here and suggested this reunion tour?

- I really don't know how it all developed. I think it was inevitable.

You toured with Genesis from the late 70's until the early 90's. Were you always happy with just being a touring guitarist with Genesis? Did the rest of the band ever ask you to be a permanent member of the band?

- I never expected to be a permanent member. Because of the complications they had with five song writers, I think they wanted to keep it to three.

'Complications' is probably a good word for that! By the way, what is YOUR favourite Genesis album ever?

- "Wind And Wuthering".

How do you feel about the Genesis-album Mike and Tony did with Ray Wilson (Calling all stations), and not being asked to play on that particular tour?

- I think Genesis without Phil Collins was a different group. When Peter left Genesis he was replaced by someone within the group. That's a very different situation than someone coming from the outside. So I felt they were making a total change. If they would have asked me to play with them I would have, of course, but at the time they were rehearsing, I was still on the "Dance Into The Light" tour with Phil.

I've heard that the original idea was to bring in both Peter Gabriel and Steve Hackett and perform Lamb Lies Down on Broadway. Now, according to a rumour (!) this might still happen next year - do you have any knowledge of this?

- No I don't! But that sounds very possible.

The tour starts in Helsinki, which Is nice - and I've got my ticket already! Thanks so much for answering my questions, Daryl & see you in June!

- See you there!

Last edited by Rael Matrix on 19 Jul 2007, 05:30, edited 1 time in total.
Rael Matrix
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