Dino J.A. Deane is a fascinating musician. Though not a guitarist, he occasionally plays some interesting stringed instruments. Better known as a pioneer of live sampling, Deane has played with John Zorn, Butch Morris, Jon Hassell, and Tina Turner. His book Becoming Music: Conduction and Improvisation focuses on the art of conduction, the process of, to put it simply, using the playing of live musicians as samples to create improvised music. Along the way the book imparts essential wisdom to any musician interested in the art of improvisation, or simply being in the moment. A must read, it is available from the merch section of Deane’s Bandcamp page.
Here is a terrific interview Deane did with Instant Takemitsu partner and recent GM interviewee Tim Motzer.
I have discovered a disproportionate number of modern guitarists through their association with trumpet players. Maybe it is the direct inspiration of Miles Davis, with his relentless search for the new, but Arve Henriksen, Jon Hassell, Nils Petter Molvær, Cuong Vu, Steve Bernstein, Christian Scott, Michael White, Paolo Fresu, Paolo Raineri are just a small percentage of the trumpeters who have been involved in experimental music in the last few decades. Often working with forward thinking guitarists like Eivind Aarset, Stian Westerhus, as well as “Davids” Tronzo, Kollar, and Torn, these artists have made some of the most interesting, truly modern jazz around.
Now add to that list Los Angelino Daniel Rosenboom. His releases, Burning Ghosts and Book of Storms on his lable Orenda Records both feature avant/noise/death metal guitarist Jacob Vossler. Rosenboom has also released Vossler’s duo record with drummer Aaron MacLendon, Versus. Vossler gets so many great sounds and textures out of his instrument that it was a revelation to find out that he largely eschews effects and uses an amp that has inspired many an argument in the gearhead world.
For the second bassist to be featured in Guitar Moderne, I can think of no one more fitting than Peter Freeman. But to call Freeman a bass player is like calling Rick Cox, with whom he has often worked, a guitarist—true as far is goes, but hardly the whole story. Like Cox, Freeman has been heavily involved in sound design for movies, and is as likely to be found programming drums, playing synthesizer, or manipulating electronics as plucking a four-stringed instrument.
His work producing the legendary Jon Hassell, alone, has earned him an esteemed place in the annals of electroacoustic music. I first spoke to Freeman for a piece on Hassell for the late EQ magazine. I am including the transcript of that first conversation with Freeman as a bonus.
Ry Cooder has called Rick Cox “…the hidden master of the crepuscular and the diaphanous.” Hidden indeed—in this era of ubiquitous Internet presence, I was hard pressed to find Cox represented. Still, you have heard him if you have ever seen The Shawshank Redemption, The Horse Whisperer, or American Beauty, where he lends his unique soundscapes to Thomas Newman’s scores. His latest release for Cold Blue is collaboration with Newman, 35 Whirlpools Below Sound. Enter the vortex with Rick Cox.