10/19/2000 08:56 AM - JDA INTERVIEW
By Frank Cotolo
Q: JDA stands for Joel, Don,
and Arno. Did you entertain any other handles?
J: I didnt, as it was my suggestion. We didnt as I recall spend too much
time discussing it. I seem to remember that it was for the want of naming ourselves in relation to our BEATLE tribute. When
A FINE TIME came about, the name just stuck.
D: The name: JDA, there definitely wasnt any big master plan with that one.
There was no talk of a name at first because this was something that we did for ourselves - at least that was my intention.
We started out to create music that we were excited about, I had no idea it would end up on the web so it was not important
to give the group a name. When it started to go further than that we had to come up with one fast, I think Joel came up with
it and we just agreed to it. There might have been another name or two that we were toying around with, but for the life of
me, I cant remember any one in particular.
A: (smiling) ADJ. Who gets top billing, you know. The Adjectives, or The Adjustables.
No particular plan there.
Q: Where are the three of you from; where did you grow up?
J: I was born in Belgium, but
grew up in the USA, mostly in Bergen County, NJ. Emerson, Dumont, Bergenfield, you know, typical New Jersey suburbia.
I grew up in Yonkers, New York - yeah, like the play/movie Lost in Yonkers. Its in Westchester County, a suburb north of New
York City, (for those of you not familiar with the area). Although I spent some short periods of time living in Orlando, Florida
and Providence, Rhode Island.
A: I grew up in several different North Jersey (Bergen County) towns.
Q: You are a studio
band, which is a tough thing to be in any era. Do you feel this is a status you can remain in or are you making any kind of
plans to play live?
J: Time is a big factor. Live would be interesting. The challenge would be to find musicians for the
rhythm section compatible with us both personally and musically. Also, they would have to be willing to take direction and
yet be creative.
D: Well its more of a question of logistics really, because we are all fairly busy, but we could be a
live band. I think I could speak for all of us if I were to say that each of us has had years of experience playing live and
could definitely pull it off live. We did not over-produce the CD to the point where we couldnt. But so far we have only been
a studio band. It could be a matter of just getting a good rhythm section or a drummer and another multi-instrumentalists
like us, and depending on the song and what is required switch around on the instruments.
A: True, but for now well probably
remain a studio band. Like Steely Dan, time commitment being a factor. Perhaps buy a club and be the house band! You never
know, though. We have the means equipment-wise to pull it off.
Q: Your penchant for British rock, especially the colorful
late 60s-early 70s blend: does it affect how you produce music as well as write it?
J: It is probably my strongest influence.
The way I produce is different depending on what I hear in my head when I write. Perhaps the greatest joy I find in JDA is
how all MY ideas are so wonderfully fleshed out when we all start to arrange, etc. The late 60s-early 70s blend is almost
accidental. We draw from many influences, as I think our second CD will show. Don?
D: Well A FINE TIME is definitely of
that ilk because of we came right off doing a Beatles tribute tape - so that influence shows, especially on a song like Sleepyhead.
Which to me sounds like something off of Sgt. Peppers, like When Im 64 or an Obla Di, Obla Da, definitely a McCartney kind
of romp. On the instrumental version of the song we even gave it a pseudo brass band type of arrangement (Joels doing). I
think it really suits the song well. Of course, its more harder-edged then a strict traditional arrangement due to Arnos heavy
slide guitar work. On the whole it does affect our music because growing up in the 60s & early 70s most of the best, creative
music was coming out of England. Not that there wasnt great American music at the time, but just by the sheer numbers of groups
and hits, most of it was British. My younger brother and I have this running joke about all the great music and Literature
that has come out of England and the British Isles over the centuries and were sure it has something to do with the oppressive
weather and/or social conditions. (Smiles) Theres probably nothing to do but drink in the pubs and create great literature
(I dont know for sure). Also if its delivered with a certain passion, that has always been an influence & it comes across
in a lot of the British music. In a band like The Who or Pink Floyd for example, or U2 from Ireland and all that, those boys
are definitely full of angst. Thats the type of music that always speaks to me. When you can feel it first, on a gut, emotional
level before anything else. It doesnt have to have the most complicated arrangement but certain amount of passion and conviction,
it can knock you off your feet, and to me thats what great rock music is all about.
A: I feel British rock affects production
much more than any writing. You can take anything written and produce it to sound late 60s British. Our musical influences
affect our production. Our new project reflects this. We just go where it leads us.
J: Thats true.
Q: Do you write together or write apart?
J: Depends on what project I am writing for. For SEVEN SOURCES I write mostly
alone. AVALON USA was very cooperative at all stages of the process, in that we wrote together and apart, then spent a long
time arranging together. JDA gets incomplete and complete songs from me. JDA songs always change and improve with Don and
Arnos touch. They also keep me under control! I am more inclined to collaborate here than in any other band I have ever been
D: It works any number of ways for us. Some songs were brought to the table complete. On A FINE TIME, Joels Carry
it Through had existed for sometime but he wanted us to do it. Almost all of the lyrics on the CD were Joels as was the music
and initial arrangements. Most of the time he had rough melodies, which may or may not have changed. Other times he would
hand me a lyric sheet and a tape of an instrumental demo version, and I would go off and come up with my own melody and phrasing
so as not to be influenced by what he had done. And then sometimes we would go back to his initial version and incorporate
those melodic or phrasing ideas into the final version. Either way, I remember spending a lot of time reworking and refining
the melodies on a couple in particular like Love is Easy and Young Girl Full of Promise. I also spent a great deal of time
working on Im Running. I kept putting off the recording of the final vocal tracks because I just wasnt happy with the verse
melody. Eventually, Joel sang the verses and did his own thing, which turned out much better, I sang the bridge part and we
both sang in harmony on the choruses. I also think the contrast between the two different voices and parts work very well
together. Another good example of that is on For the Old Friends where all three of us each sang one verse and it shows three
very different approaches to essentially the same part. Ironically, as it turned out, the lead vocals on Im Running ended
up being one of the last things we did on the CD even though it was one of the first, if not the first song we had started
to work on together. It also, as Joel could tell you, was a bitch to mix, (Joel nods vigorously) because some of the initial
tracks were pretty early on while I was still learning about the equipment and the recording process, so some of the levels
on the tracks were a little low.
A:(nodding) Im Running was the second song we recorded music for. As I recall, we even
tried a Moody Blues spoken word thing but decided to scrap that idea. I like the split vocal thing quite a bit.
as writing is concerned, I write alone, but also write parts, (bridges, choruses, etc.) with Joel and Don. To flesh out underdeveloped
ideas, and I also help with lyrics, and so on. On our new project there are 2 of my compositions in their entirety.
Arno constantly comes up with some great ideas, notably using the lap steel, and on THROUGH A MOVING WINDOW, he plays harmonica
on one track. It really makes that song Blue Hand stand out. Arno had written both Time will Tell and Dead Boys. It was on
the first recording of those two songs that the three of us had initially worked together a few years back. That kind of brought
the whole project full circle.
Q: Does one of you take charge during production or is every song a community effort?
It varies. I mean one of us may have a very strong idea of how something should sound, but it is a collective decision, whatever
road we take. I have written and recorded many songs, but when you work alone, its like a vacuum. I thrive on the give and
take of a collaborative atmosphere. When my band, AVALON USA split in 1992, I was quite sure I was done with music as far
as writing. But it is in my blood, so I kept going with no real direction. Don and Arno gave that to me.
D: As far as
production weve all brought different ideas in and thats what makes it a little more diverse sounding yet it has an identity
that is very much the three of us. Even though, it does not sound like recordings weve done individually or with other people.
It is very much a give and take type of thing with all three of us coming up with different ideas, which then inspire further
developments. At times one of us might take over for a while if they feel strongly about something & usually the response
is like well go for it. The idea that I might have pushed more for on the first record was for a use of only more natural
sounding instruments. Joel is more into vintage keyboard and synth sounds, which reflects one of his strengths of being a
seasoned keyboard player. At that point I wanted to get more away from that type of sound.
A: Especially since a lot of
the material was initially his. I think he also wanted to have our input so it would sound different from his strictly solo
recordings where he plays all the instruments, records and produces it all himself, because he certainly doesnt need our help
in writing or producing. He does fine all by himself. We came together to create something that was different for each of
us, and also something that was greater than the sum of its parts. Producing with JDA is usually a group effort; in the sense
that we all must agree on the direction and result.
D: So what we did was stick to (as far as the keyboards were concerned)
piano, Hammond organ and sampled strings that were more orchestral type arrangements rather than synth-keyboard parts. That
gives the record a certain sound even though we went fairly wide in the range of instruments used, from sax parts to mandolin,
slide guitar and so forth as well as all manner of acoustic and electric guitars.
J: There are some synth parts, but they
are supportive, not in the forefront. A bit more on MOVING WINDOW.
Q: Give us an idea of the stages in a typical session.
D: Songs are sometimes complete as far as writing, and sometimes they are rewritten as they are recorded. It can be really
hectic, but great fun. The recording sessions can get downright silly at times. On Sleepyhead it was initially someones idea
to have snoring at either end of the track. So theres a little bit of it at the beginning and then the song kicks in, which
was fine. When it came to the end of the track it started out much the same way, then the tape kept rolling and no one was
stopping it, so we kept going and it quickly escalated into something that was completely out of control. And it went on until
we couldnt keep it straight anymore and it just fell apart into laughter. So, we composed ourselves and went back to listen
to the playback. When we got to the end of the song and it wasnt stopping we just kind of looked at each other like yeah we
really did do that didnt we? And it was quickly all over; the three of us were just rolling on the floor hysterical, because
it sounded even more ridiculous on the playback. It wasnt like we planned it either, it was just one of those bizarre cartoon
like moments. Anyway we quickly decided that a certain level of sanity should prevail, so it never made it to the final cut.
Which is actually kind of a shame. Later we did actually take a piece of it and included it. If you listen very carefully
you can find it hidden somewhere else on the CD. Just a little surprise. Who knows maybe someday it would make a good bootleg,
or we could release it as an extended version on a single or something.
A: It varies. We sometimes concentrate on one
song from start to finish. We also come back to some songs to change or improve previous tracks. Sometimes we totally change
something due to a new concept. Sometimes we just get crazy.
J: We usually record a backing track such as a piano first,
and add the drums and bass. After that it is open to whatever comes up. Often the lead guitar tracks are among the last, even
after the lead vocals, because it sometimes needs to fit around the words.
Q: Some of your lyrics are autobiographical.
What are a few of the themes your lives have brought to your music?
J: Different events in my life influence me, as well
as books Ive read, people I have known, relationships, etc. I suppose that these factors influence many people.
lyrics are often autobiographical. Writing is a catharsis. I also tend to put many ideas in one song rather than have too
many songs with redundant concepts. On the new CD, Don and I have more lyrical input than before.
D: Boy thats a loaded
question!! Ive often wondered about that one myself. As far as my lyric contributions, on the second CD, if it is not telling
a story like Blues Hand or For a Moment She Believes; then I try to convey a feeling or thoughts sometimes random but connected
in some way, as in The Tide has Turned Away. For me the underlying theme in that song is based on thoughts or feelings about
the passage of time. I have no idea what it really means and probably wont for some time. Ive had an experience like that
only recently, hearing a song I had written and recorded years ago with another band and only now looking back I realize what
it was about and where I was coming from at that time. I remember getting a lot of very pointed questions from people I knew
and the guys in the band as to what it meant. And I couldnt really explain it or even fully understand it at the time. It
was just about expressing feelings that were strong to me. I think if youre true to that, you have something real. Even though
it could be embarrassing baring your soul in a song lyric, it is embarrassing and liberating at the same time.
from The Beatles, who are your biggest British artists influencing your work and what specific pieces inspire you?
The Who, Quadrophenia, The first live DEAD album, Pink Floyds Dark Side Of The Moon, Jimis Electric Ladyland, The Byrds, w/Clarence
White, Django Reinhart.
J: Genesis, Then There Were Three, Wind and Wuthering, Emerson, Lake and Palmer, almost any album,
Procul Harum, Live with the Edmonton, anything by Yes, The Moody Blues.
D: The Who, U2, Tears for Fears, Genesis, Procul
Harum, the Moody Blues, The Strawbs.
Q: The three of you came from different bands to form JDA. How did you come to realize
you shared this common ground in music?
D: I spent a lot of time playing in rock clubs in the Tri-State Area, especially
New Jersey which is how I met these guys played quite extensively throughout north Jersey and Rockland county, in clubs I
might add that for the most part dont even exist anymore like The Soap Factory in Jersey and Manhattans in Spring Valley,
J: I had played with Don in 2 other bands, ALASKA and ANTHEM, in 1981 and 1983 respectively, and occasionally
recorded with him for fun. I met Arno in 1985, when I joined the ALIENS, an avante-guard Talking Heads-Squeeze type of original
band. At least that was my impression. When THE ALIENS folded in 1987, Arno and I kept in touch. We recorded with Don around
this time for the first time. Two of those songs will appear in brand-new arrangements on THROUGH A MOVING WINDOW. These early
sessions planted the seeds, although it was years before we came together as JDA. I guess Im sort of the pivot man.
We all respected each others musical talents in and out of bands, and got along so well, that an association at some point
seemed logical. There are many tracks that Joel and I have recorded together that may someday get reworked in the JDA manner.
Carry It Through was one recorded for the first time right after the ALIENS broke up.
Q: How can an act like this grow
musically? Do you see yourselves taking your British-oriented sound to another level?
D: Overall the new CD is a lot more
collaborative. A good example is The Tide Has Turned Away, Joel had written the music & recorded some initial tracks for
it on his 4-track. So the three of us had gotten together at Joels house to work on some new songs. And as Arno was adding
a guitar track to what Joel had done, I was suddenly inspired and started jotting down lyrics and singing a basic melody into
my handy dandy portable recorder, and that was the birth of that song. Later we all added to it, as a matter of fact Arno
came up with some of my favorite lines from the song about the umbrella on a sunny day, and the Gods with feet of clay, etc.
A song like Blues Hand is certainly a new direction for us. It started off with Joel coming up with this heavy blues influenced
riff reminiscent of Hendrix or Stevie Ray Vaughn. Both Joel and Arno play guitar throughout. Somewhere in its earliest stages
Arno mentioned something about a dragon and I built a whole story around that idea. I actually then started to listen to a
lot of different blues artists. And what I was aiming for was that sort of half-speaking, half singing kind of thing but more
melodic. To tell you the honest truth Im not really sure I achieved what I set out to do with the vocals. But the two of them
seemed pretty happy with what I ended up with. And I really like the guitar work on it. And whats a bit of a departure for
us is that its a guitar song. Even though there are guitars (sometimes several parts in any given song) on the first CD, the
production was more rounded out with other instruments. This song is basically a heavy 2-guitar arrangement and not much else.
J: The new album is darker, a bit heavier, but has a few whimsical moments, and some genuine epics. Much more collaborative.
The production is still big, where appropriate, but there is more of a band feel.
It is an evolutionary step. I think
the last thing we wanted to do was repeat ourselves too closely.
A: The production values on MOVING WINDOW are similar
in that we try to remain true to the spirit of the music. The songs are more collaborative and different from Fine Time. There
is a definite change. We all love A FINE TIME, but THROUGH A MOVING WINDOW I think is where we are finding our identity.
How often do you guys get together to record and where do you do it?
A: All three about every 6-8 weeks, Joel and Don
more often. Usually at ALPINE STUDIO.
J: Don and I are located much closer to each other than Arno is to either of us.
D: At Alpine 3-6 week intervals.
Q: What projects do you have planned or are working on now?
A: Through a Moving
Window is the project currently in progress by JDA. The mastering should begin soon at RETROMEDIA SOUND in Red Bank NJ.
I have just released PLAY ON on the SEVEN SOURCES site (my solo project) on MP3, featuring Arno on 2 tracks, and AVALON USA
recently put out a live bootleg CAUGHT IN THE ACT on MP3 and will be recording together for the first time in nearly a decade
this winter. Our JDA project is the current priority for me, however.
D: Joel is a very prolific songwriter and as long
as Ive known him hes always been that way. He even has a few CDs of his own solo material up on the web available through
links to our website. (Aside) yes this is a blatant plug, buy Joels CDs. Do it today! (Laughs)
I, on the other hand have
tapes and tapes of half-songs or ideas and lyrics that are not fully realized. As a matter of fact, on the new CD The Change
Will Do You Good would have been relegated to the cassette tape scrap heap had it not came to me the day before we were to
get together and was still fresh in my mind. I say came to me because it quite literally did that.
A: This is how it often
happens Nocturne is a solo piano piece of Dons that was in the heap for example.
D: True. But at the beginning of the
writing for MOVING WINDOW I had an experience. I was asleep early one morning and like most days the clock radio woke me up.
I heard the announcer say there was a new Who song that they just got a hold of that was from a soon to be released new Who
album. The song started out with a typical Townsend guitar rhythm and the lyric a change, a change, a change will do you good.
There were horns in it obviously provided by Entwistle and Townsend was singing lead as he sometimes does. Just as I was beginning
to really get into it, like most of the best dreams, I woke up. Thats right. And I remember this immense feeling of disappointment
that I didnt get to hear more of it, then a moment of confusion as I tried to get my bearings and figure out what had just
happened. I was half awake, the radio was off, and out of this stupor I suddenly came to the realization that if I had not
heard a new Who song and had dreamed it, it must be mine, or at least I could lay claim to it. Then it was a mad scramble
for the tape recorder to capture what little I remember of it because it goes away pretty fast. Of course by the time I got
it down in any coherent form most of it was gone. All that was left was the chorus. When I presented it to the guys, Im not
sure who exactly did what, but they later came back with completed music and lyrics for the verses. Even the choruses have
evolved to sounding very different from what I heard in my dream, and it definitely doesnt sound like a Who song anymore,
which is probably just as well. But thats where it came from anyway. Its funny but you cant really take credit for that kind
of thing, its like a gift from somewhere else, God or your subconscious or some sort of collective conscious, whatever. This
sort of thing has happened to me enough in the past to where I now try to keep the recorder handy, loaded with a tape, sometimes
right on my nightstand. For me thats when some of the best inspirations come in that state between sleep, dreams and awakening
or just as youre dosing off. I think thats when some of the most creative thoughts come, when the mind is free to roam unencumbered.
Q: Any final thoughts? .
D: Well Ive probably gone on way too long about all this, Thats usually Joels department.
D: I can only get away with saying something like that in front of him. I would never say anything that rude
behind his back (as far as he knows). But seriously we can joke around because we are all pretty comfortable with each other.
J: I just want to say that I feel that working with Don and Arno in this JDA sense is one of the best musical experiences
anyone could have. (Okay guys! PAY UP)
A:THROUGH A MOVING WINDOW will be out soon. Keep checking.
This is the full transcript of an online
radio interview on
hosted by Jean-Paul Tertocha, featuring
talking about JDA, AVALON USA, SEVEN SOURCES,
EVOR, Internet Radio, the music business in general.
THE FOLLOWING IS A PRE-RECORDED RE-WEBCAST
OF JEAN-PAULS THINGS TO HEAR
JPL: GREETINGS FROM THE STOMACH OF ILLINOIS
IN THE UNITED STATES.OF AMERICA. TODAY WE WILL HAVE JOEL PIRARD , I HOPE I PRONOUNCE HIS NAME RIGHT, IF NOT HE WILL SET ME
STRAIGHT BECAUSE HES GONNA GIVE US A CALL AND HAVE A TALK ABOUT HIS MUSIC AS JDA, AVALON AND SEVENSOURCES, THREE BANDS HES
INVOLVED WITH AND WEVE GOT MUSIC FROM ALL THREE. AND WERE GONNA START OUT WITH A LITTLE BIT OF MUSIC FROM JOEL AND HIS GROUP
OF MUSICIANS AND JDA, AND I THINK THAT STANDS FOR THEIR FIRST NAMES BUT YOU KNOW I DIDNT DO A WHOLE LOT OF RESEARCH CAUSE
I FIGURED WE COULD JUST ASK HIM ON THE AIR. SO, FROM JDA A FINE TIME CD , YEAH, HERES LIKE THE PIPER LEADS THE CHILDREN
(PLAYS LIKE THE PIPER LEADS THE CHILDREN))
JPL: OKAY! LIKE THE PIPER LEADS THE CHILDREN
FORM A FINE TIME CD AND I DO BELIEVE IVE GOT A LINK UP TO THESE MUSICIANS THROUGH THE EVOR SITE THATS ELITE VETERANS OF ROCK
AND YOU JUST GO TO THE THINGS TO HEAR.COM http://thingstohear.com/
GO TO THE FEATURED MUSICIANS PAGE AND GO
TO THE EVOR OR JDA LINKS IF YOU WANT MORE INFORMATION ABOUT THE MUSICIANS THAT IM PLAYING HERE.
WERE FEATURING JDA TODAY BECAUSE , ONE
OF THE KEY ARTISTS INVOLVED IN IT, JOEL PIRARD IS GONNA GIVE US A CALL HERE. LETS DO ANOTHER SONG FROM JDAS CD A FINE TIME
, HERE IS THE DREAM.
(PLAYS THE DREAM)
(PLAYS THE SEA SHONE FOR ME)
JPL: OKAY THAT WAS THE SEA SHONE FOR ME
, JDA,S CD A FINE TIME, JDA ONE OF THE BANDS OF JOEL PIRARD, WHO WILL BE CALLING US SHORTLY.
LET ME PLAY A SONG HERE FROM ANOTHER ONE
OF JOES PERSONAS, AVALON, AND A SONG CALLED, LETS SEE FLIGHT OF FANTASY
( PLAYS FLIGHT OF FANTASY)
JPL: OKAY, NOW THE DREAMER AND THE DREAM
AND THIS IS OFF OF THE CD CALLED CAUGHT IN THE ACT BY AVALON USA, A LIVE CD. AND YOU CAN GO TO HTTP://THINGSTOHEAR.COM AND
GO TO THE FEATURED MUSICIANS PAGE AND GO TO THE EVOR OR JDA LINKS IF YOU WANT MORE INFORMATION ABOUT THE MUSICIANS THAT IM
JOEL PIRARD OF THE BAND WILL BE CALLING
HERE, THE AVALON MUSIC KIND OF REMINDS ME OF STARCASTLE, IF ANYBODY OUT THERE REMEMBERS STARCASTLE,
MAYBE THE PROGRESSION OF WHAT STARCASTLE
WOULD HAVE DONE BEFOR WEASELS GOT INVOLVED IN MUSIC.
OK , NOW TO ANOTHER SONG AND I BELIEVE
THIS IS FATHERS SONG.
(PLAYS THE DREAMER AND THE DREAM)
FADES SONG OUT
JPL: OKAY IM GONNA INTERRUPT THIS SONG
CAUSE I BELIVE IVE GOT SOMONE ON THE TELEPHONE
JPL: WHO AM I SPEAKING WITH?
JP: YOURE TALKING TO JOEL PIRARD.
JPL: WHERE ARE YOU CALLING FROM?
JP: YEAH YOURE CALLINGUH, IM CALLING YOU,
FROM NEW YORK.
JPL: NEW YORK OH THERES WHATS GOING ON,
STILL A LITTLE CONFUSING OUT THERE HUH?
JPL: OKAY, WELL, YOUVE GOT, YOU WANNA EXPLAIN
YOUR THREE PERSONAS HERE, BECAUSE IVE GOT CDS FROM THREE DIFFERENT BANDS, JDA, AVALON, AND SEVEN SOURCES, NOW JDA IS YOUR
JP: WELL WHAT WEVE GOT IS THIS, THE ORIGINAL
BAND WAY BACK WAS AVALON USA WHICH YOU JUST HAD ON FOR A WHILE THERE,
JP: THAT WAS A FIVR PIECE BAND THAT WAS
KIND OF MODELED ON THE CLASSIC PROGRESSIVE ROCK , YES, KANSAS, ..
JPL: I WAS GONNA SAY, ID THAT WHAT INSPIRED
JPL: BECAUSE THAT VOCALIST ON THAT LAST
SONG, YOU REMEMBER STARCASTLE,?
JP: OH YEAH
JPL: CAUSE THT LAST SONG, THE VOCALIST
JUST REMINDS ME OF THAT STARCASTLE VOCALIST.
JP: IN FACT WE USED TO DO A WHOLE YES TRIBUTE
AT ONE TIME ABOUTR AN HOUR AND A HALF OF THEIR CLASSIC STUFF SANDWICHED BETWEEN OUR STUFF. WHAT HAPPENED WITH THAT GROUP TO
MAKE A LONG STORY SHORT IS THAT WE WERE TOGETHER A FEW YEARS AND WE WERE SCOUTED BY SEVERAL MAJORS LABELS BUT ONE THING AFTER
ANOTHER KIND OF FELL THROUGH, IT WAS ONE OF THOSE, JUST WITHIN ARMS GRASP KIND OF THINGS, BUT NEVER QUITE GETTING THERE..YOU
KNOW IT WAS ALWAYS LIKE TEASING, SO EVENTUALLY THINGS HAPPENED, THERE WAS CERTAINLY NO ANIMOSITY, I MEAN WE BROKE UP IN A
VERY FRIENDLY WAY.
BASS PLAYER JOHN CURTIN IS NOT CURRENTLY
WORKING WITH US NOW, IN FACT THE PIECE YOU FADED OUT NOW
JP: IS SOMETHING WERE WORJKING ON FOR OUR
JPL: THATS GOOD
JP: YEAH IT MUST BE GOD, AT LEAST 10 YEARS
SINCE WE LAST PLAYED TOGETHER UNTIL JUST RECENTLY, UH, HE COULDNT REALLY BE INVOLVED BUT HE HAS TOO MANY COMMITMENTS BUT HE
CERTAINLY IS THERE IN SPIRIT, ITS A 4-PART SUITE.
JPL: YEAH I NOTICED AND , I GOTTA TELL
EVERYBODY, EXCUSE ME JOEL, BUT I MISNAMED THAT SONG WHEN I PLAYED IT, I WASNT READING THE CD AT THE TIME, THAT SONG I FADED
OUT WAS THE DREAMER AND THE DREAM
JP: YEAH THATS THE OVERALL NAME OF THE
SUITE, ITS 4 PARTS , I DONT WANT TO BLABOR IT TOO MUCH BUT ITS PARTS ARE SWAMPFIRE , BRIEF RETURN, A REALLY HEAVY SECTION
CALLED JUGGERNAUT, AND SOMETHING CALLED PLAYING POSSUM.
LYRICALLY TAKES YOU THROUGH SOME SCIENCE
FICTION, THE LYRICS ARE WRITTEN BY OUR DRUMMER BRUCE HENNINGER, WHO IS WRITING A SCINCE FICTION BOOK..
JPL: REALLY! ITS ONE OF MY FAVORITES, ILL
KEEP A LOOKOUT1
JP: YEAH SO HE KIND OF TOOK INTO THAT PLANE,
LYRICALLY HE TOOK US INTO THIS WORLD IF YOU WILL..
JPL: SO IS THIS WHAT YOURE EXPLORING IN
THAT ALBUM, BECAUSE IT SO MUCH REMINDS ME OF STARCASTLE AND YES, THAT JUST FADED AWAY . I DONT KNOW WHY, I LOVED IT!
JP: THE LONG FORM IS NOT VERY RADIO-FRIENDLY
NOT IN CONVENTIONAL RADIO, THE RADIO WE ALL TRY TO GET AWAY FROM, BUT LETS BE HONEST, I DONT THINK ANYONE WHO LISTENS TO THIS
SHOW WHOS A MUSICIAN WOULD TURN THEIR NOSE UP TO GETTING ON COMMERCIAL RADIO BUT ITS SO RIDICULOUSLY DIFFICULT.
VENUES LIKE THIS STATION ARE LIKE GOLDMINES
TO GET AIRPLAY..
JPL: YOURE REFERRING TO http://wkrp.fm/?
JPL: OK THANKS!
JP: WELL WHERE ELSE ARE YOU GOING TO HEAR
SOMEONE LIKE ME WHOM NO ONE HAS EVER HEARD OF HAVE ACHANCE TO COME OUT HERE SAY HEY HERES WHAT IVE DONE, HERES WHAT IM DOING.
JPL: AND ITS DOING PRETTY GOOD TOO. WHEN
I CHANGED THE FORMAT FIRST OFF IT KIND OF FELL OFF A BIT, AND PEOPLE ASKED ME NOW AND THEN AM I GONNA HEAR SOMEONE I RECOGNIZE,
AND I SAID NO, BUT YOU WILL HEAR SOME REALLY FINE MUSIC THAT YOUD NEVER HEAR OTHERWISE, SO IM GLAD I GIVE EVRYBODY AN OPPORTUNITY.
YOUR, MUSIC AT LEAST ON THIS ALBUM SOUND LIKE WHAT BANDS LIKE YES, AND STARCASTLE WOULD HAVE PRGRESSED OR BIULT ON IF THE
INDUSTRY HADNT BECOME SO WEASELED UP.
JP: YEAH, WHAT IT IS TOO, IS THAT INSPIRATION
COMES FROM MANY OTHER PLACES, I MEAN AS YOU KNOW IM VERY HEAVILY INVOLVED WITH EVOR HTTP://WWW.EVOR.COM
AND CHARLIE HARRELSON AND COMPANY, I MEAN.
THEY JOKE ABOUT ME NEVER SLEEPING, BUT I THINK HE GETS LIKE AN HOURS SEEP PER DAY. THE GUY NEVER STOPS.
JPL: YEAH, CHARLIE? HES GOOD TO WORK WITH,
HE DOENT FOOL AROUND!
JP: I TELL YOU HES A KILLER GUITARIST,
HE DOESNT GIVE HIMSELF ENOUGH CREDIT OR IF HE DOES HE DOESNT BLOW HIS OWN HORN TOO MUCH, PUT IT THAT WAY.
I MEAN HES HAD AN ALBUM PENDING FOREVER,
I HAVE AN ADVANCE COPY, I GOTTA TELL YOU ITS AMAZING.
JPL: HE NEEDS TO SEND ME ONE! ILL EMAIL
JP: PUT IT THIS WAY TO GET ON EVOR, YOU
CANT JUST SIGN UP LIKE HTTP://WWW.MP3.COM , PEOPLE WHO WANT TO GET ON EVOR HAVE TO ASK, THERES KIND OF A SCREENING PROCESS,
ITS NOT LIKE THEY STAND THERE ON THE THRONE.
IT HAS TO DO SIMPLY LIKE HEY CAN YOU SING?
IS YOUR GUITAR IN TUNE? CAN YOU DO WHAT YOU INTEND TO DO AND DO IT WELL, ARE YOU BELIEVABLE? CAN YOU PULL IT OFF?
JPL: AND ITS LISTENABLE
JP: I MEAN LIKE WITH MP3.COM. ITS AN ANONYMOUS
SIGNUP, THEY ONLY SCREEN TO SEE THAT THE FILE UPODED ON THEIR SITE WORK.
JPL: THEYRE ALMOST LIKE AN EBAY, JUST A
MEDIUM FOR GROUPS TO GET TOGETHER. JP: SET UP TO DISTRIBUTE
AND YOU CAN SAY THAT YOURE AN ARTIST..
WERE KIND OF LIKE BIG FISH IN A SMALL POND (ARTISTS ON EVOR I MEAN) BUT EVOR IS STARTING TO GET NOTICED!
JPL: YEAH, AND I THINK PEOPLE ARE GETTING
TIRED OF THE TRADITIONAL; METHODS OF GETTING MUSIC, YOU KNOW? ITS SCREENED LIKE YOU SAY, I MEAN I TALKED TO AN ARTIST SEVERAL
MONTHS BACK, SHE WAS TOLD WHAT TO WERA, WHAT TO PLAY, SHE JUST COULDNT DO IT.
JPL: WELL LETS GET BACK TO SOME OF YOUR
MUSIC, IVE GOT ANOTHER ON HERE, SEVEN SOURCES, IS THAT YOU ALONE?
JP: YEAH THATS MY JEKYLL AND HYDE THING..,
JUST ME ESSENTIALLY, IVE HAD OTHERS WORK WITH ME BUT ESSENTIALLY IT IS ME. I HAD A QUESTION SENT TO ME , HOW DO I DECIDE WHAT
GOES WHERE, AND WHO GETS IT?
THE FIRST PART IS VERY EASY, BECAUSE AVALON
USA IS NOT WRITING NEW MUSIC AS AVALON USA BECAUSE A LOT OF THE MUSIC WE WROTE TOGETHER NEVER GOT RECORDED PROPERLY, AND NOW
SOME 10 YEARS LATER, WE ARE RECORDING TRHEM PROPERLY.
JPL: SO THATS WHAT YOURE DOING THERE..
JP: JDA IS THE CURRENT THING THAT IS ONGOING,
AND IS CONSTANTLY GROWING, IN FACT WELL PROBABLY BEFORE THE END OF THIS WINTER BE SERIOUSLY REHEARSING
FOR LIVE SHOWS FOR THE FIRST TIME EVER.
JPL: FIRSTS ARE GREAT ARENT THEY?
JP: YEAH! WEVE NEVER DONE IT, NOT THAT
WE DIDNT WANT TO BUT IT WASNT THAT IMPORTANT, WE JUST WANTED TO MAKE THE MUSIC, BUT AFTER AWHILE, YUOU START TO WONDER IF
THIS WOULD BE FUN.
AS FAR AS SEVEN SOURCES, WELL I AM A VERY
PROLIFIC WRITER, AND JDA DOESNT MEET AS OFTEN AS ID LIKE SOMETIMES, AND THERES TONS OF MUSIC THAT DOESNT HAVE A HOME, SO TO
SPEAK. SO ONE DAY I SAT DOWN AND TOOK INVENTORY, AND I WAS ABLE TO PULL FROM MY TAPES AND RE-RECORD AND RE-WRITE STUFF THAT
EVENTUALLY WOUND UP ON THE FIRST ONE PARIAH
JPL: I HAVE IT HERE.
JP: I PUT IT ON HTTP://WWW.MP3.COM/SEVENSOURCES
AND SOLD 6 IN ONE MONTH WHICH WAS UNHEASRD OF FOR ME! I MEAN IM NOT GETTING RICH HERE, JUST DOING IT BECAUSE I LOVE IT. AND
THAT VALIDATED IT FOR ME
JPL: AND THATS THE KETY, I HOPE EVERYBODY
OUT THER HEARD THAT, THIS GUYS DOING HIS MUSIC BECAUSE HE LOVES IT. THERES TOO MUCH OF THAT OUT OF THE INDUSTRY. PEOPLE DONT
DO IT FOR THE MUSIC, THEY DO IT FOR THE MONEY
JP: YEAH AND I THINK .ESTABLISHED ARTISTS
DONT HAVE MUCH OF A CHOICE, THERE ARE CONTRACT OBLIGATIONS, OVERHEAD
JPL: THATS WHY IM SAYING LISTEN TO INDEPENDENT
MUSIC, BECAUSE IT COMES FROM A TOTALLY DIFFERENT PERSPECTIVE,
JP: SURE WHEN PEOPLE CAN BE WHAT WE AT
EVOR CALL FREE AGENT MUSICIANS, OR FREE AGENT ARTISTS
JPL: YEAH I GOT THAT PHRASE IN MY HEAD
JP: ITS EXACTLY THAT BECAUSE YOU CAN SAY
THAT YOU WANT TO BE IN CONTROL OF YOUR DESTINY AS MUCH AS YOU CAN.IT ALLOWS A WIDE VARIETY OF INTENT, WHAT IM GETTING AT IS
THERE ARE A WIDE VARIETY OF ARTISTS ON EVOR WHO ARE COMMITTED TO GETTING SIGNED AND MAKING THEIR LIVING IN MUSIC, AND THEN
TER ARE THOSE LIKE ME WHO WOULD BE DOING IT WHETHER THEY WERE GETTING IT ON THE INTERNET OR NOT. I MEAN FRANK COTOLO OFTEN
SAYS THAT: WHETHER HE WOULD HAVE DISCOVERED THE INTERNET OR NOT, HE WOULD STILL BE MAKING HIS MUSIC.
I HAD A HUGE BACKLOG OF MUSIC THAT I HAD
ACCUMULATED BECAUSE I WAS IN THE HABIT OF WRITING SONGS FOR BANDS, AND JUST DID IT FOR THE SHEER JOY OF CREATING.
JPL: YEAH NOW ITS TIME TO GIVE IT AN OUTLET,
CAUSE THE INTERNET IS THERE, I MEAN ANYONE WITH INTERNET ACCESS CAN HERE US RIGHT NOW
JP: ITS A WONDERFUL THING WHEN YOU GET
AN EMAIL FROM SOMEONE IN GERMANY, SAY WHO LIKES YOUR MUSIC, AND LETS YOU KNOW.
JPL: SO JDA IS YOUR LATEST?
JP: YEAH THE IDEA WAS THAT WE GOT TOGETHER
WHEN DON PITZ WAS BUILDING HIS STUDIO IN YONKERS, NEW YORK AND WE DECIDED TO BREAK IN THE EQUIPMENT. WELL WE ENDED UP RECORDING
MORE THAN TWENTY BEATLE SONGS FOR FUN, BUT BECAUSE OF HOW WELL WE WORKED TOGETHER AND HOW WE GOT ALONG, WE DECIDED TO CONTINUE.
JPL: SO THEY ARE ALL INHOUSE PRODUCTIONS?
JPL: LIKE THAT CD WE WERE SPEAKING OF A
JPL: THATS WHAT ELSE I REALLY LIKE IT,
MISICIANS HAVE SO MUCH MORE CONTROL
JP: YEAH IT WAS THRILLING TO BE ABLE TO
CREATE SOMNETHING AS COMPLEX AND DYNAMIC AS THE FINE TIME CD. ON THROUGH A MOVING WINDOW WE CONTINUED
BUT THE WRITING WAS .. SEE I WROTE MOST
OF THE MUSIC ON A FINE TIME, THESE GUYS ARE GREAT WRITER, THEY DIDNT GET A CHANCE TO SHOW THAT MUCH ON THE FIRST ALBUM, ON
MOVING WINDOW WE SPREAD OUR WINGS A BIT. IT HAS A SOMEWHAT DARKER FEEL TO IT. THE NEW ONE IS GOING TO NBE EVEN MORE DIVERIFIED.
WE LIKE TO THINK THAT WE SOMEHOW RE-INVENT OURSELVES WITH EACH ONE.
JPL: SO YOURE NOT GONNA QUIT THERE.
JP: OH NO JDA IS LIKE FOREVER, II MEAN,
WEVE NEVER HAD AN ARGUMENT..
JP: WEVE HAD DISAGREEMENTS BUT NOT TANTRUMS,
ETC. I ANSWER TO THE LARGER QUESTION ON WHAT GOES WITH WHAT GROUP, I DONT SIT DOWN WITH MUSIC AND , I MEAN A LOT OF TIMES
ILL COME UP WITH SOMETHING AND ILL PRESENT IT TO THEM.
CAN WE DO SOMETHING WITH THIS, AND IF THEY
SAY KNOW, I HAVE NO REASON TO BE OFFENDED..
J[PL: YOU HAVE ANOTHER OUTLET.
JP: YEAH AND SOMETIMES I RE-WORK IT, AND
THEY WANT IT, SOMETIMES IT GETS THROWN OUT. WEVE BEEN ASKED , DO YOU WRITE LYRICS, THEN MUSIC, OR MUSIC FIRST. THERE IS NO
SET METHOD., IT IS WHAT IT IS.
JPL: WHAT EVER HAPPENS AND YOU WRAP THE
OTHER PARTS ON WHAT EVER STARTED..
JP: YEAH, RIGHT.AND SOMETIMES, THERE ARE
NO WORDS. I SOMETIMES INCLUDE INSTRUMENTAL MUSIC ON MY CDS THAT ALSO HAVE LYRICAL SONGS.
THERE IS A BAND ON EVOR AND ON THE INTERNEYT
IN GENERAL, CALLED THE SUICIDAL POETS, WH APPROACH THER MUSIC IN MUCH THE SAME WAY! THEIR INSTRUMENTAL MUSIC IS VERY DIFFERENT
FROM THEIR LYRICAL MUSIC.
JPL: YEAH THEYRE IN THE GENERAL ROTATION
JP: THERE ARE SO MANY I HESITASTE TO MENTION
THEM BECAUSE ANYONE I DONT MENTION MAY FEEL SLIGHTED, BOTTOM LINE I MENTIONED THEM AND OTHERS BECAUSE I IDENTIFY WITH THEIR
APPROACH. LIKE WITH FRANK COTOLO, WE EVEN WORKED WITH HIM ON TAA TRACK RAPT ATTENTION. I HAD MET FRANK LAST SUMMER, I KNEW
THE GENERAL ARE HE LIVED IN WAS NEAR HERSHEY PA, AND WE GOT TOGETHER AND SPOKE, UPSHOT OF IT BEING THAT HE SENT US A SONG
WITH VERY SPARSE INSTRUMENTS, LEAD VOICES AND A LYRIC SHEET. WE ADDED THE REST.
JPL: WELL ITA ABOUT TIME WE GOT BACK TO
THE MUSIC , IS THERE ANYTHING YOU WANT TO SAY WHILE YOU STILL HAVE THEIR ATTENTION?
JP:I WANT TO THATNK EVERYBODY WHO HAS GONE
TO HTTP://WWW.EVOR.COM, AND WHO HAS PURCHASED MY CDS. THROUGH THIS PAGE http://www.evor.com/cd_jda.html
ALL FOR SEVEN SOURCES, AVALON USA, AND
JDA, ITS BEEN A BLAST, ILL BE PLAYING MUSIC UNTIL I DROP.
JPL: IS THERE ANY PARTICUALR TRACJK FROMN
THROUGH A MOVING WINDOW YOUD LIKE ME TO PLAY, A FAVORITE?
JP: LETS PICK ONE THAT PEPOLE ARE NOT TOO
FAMILIAR WITH, LETS PICK, THE DOOR
JPL: WELL JOEL IT S BEEN A PLEASURE, WHY
DONT YOU ANNOUNCE YOUR SONG AGAIN.
JP: YOURE LISTENING TO WKRP.FM, AND THIS
IS JDA, WITH THE DOOR FROM THE SECOND CD THROUGH A MOVING WINDOW.
AND THANKS AGAIN
(PLAYS THE PLEDGE)
JPL: OOPS! I CUED THE WRONG SONG, AGAIN!
SORRY , HERE IS THE DOOR
OUR THANKS TO JOEL PIRARD AND JDA, AVALON
(PLAYS THE DOOR)