"To Play, or to Create?"

     With the passing from 2001 (in a grandiose understatement, one which could have been better) to 2002 (a symmetrical palindromic number, which despite my somewhat cynical nature gives me hope for no other reason that the number looks cool), I've decided to make the second installation of "Visual Verbalization" a detailed account of the nature of the "Summer '01...err...Winter '01....umm...Summer '02" recording project mentioned off times here.

     The last few years of my musical career/development has been focused on sideman work (Stennar, Backwards Password Institute) for a number of reasons - the money's better, the professional aspect/ego building of "player-for-hire" as opposed to "band member, etc... but I believe the main reason for traveling that path was "lack of responsibility."  Not that I have a fear of such, mind you - when shit need to get done I'm a pretty good person to turn to. (Ask Adam Parness and Scott Ferreira if you need more details, specifically mention "Scott Quinn on New Years")  The simply fact is that the responsibilities/politics of being a full-time member of a band wasn't appealing to me at that point in my life.  Antem, the major band experience in my life had the workload split fairly equally, and the practicing/recording/gigging/submitting-of-demos/etc can get tiresome after a while - ask any member of a working band.  Even when asked to join on as a full member (it can now be said - BPI asked me several times to join full-time, a offer I turned down for the above reasons as well as my eminent move to Transy and Stephanie.  A good decision on my part, as BPI self-destructed in the Fall of 2001.  But that story isn't mine to tell...)  So I entered the realm of "show up with your bass at 6:00 pm... the band will take care of the rest..."
   
     However, it seems that what I was craving at the time was in actuality working against me.  While I now had the freedom to play music I enjoyed (for the most part - the occasional stinker was forced upon me, a development I soon learned was part of the package. You can't like everything you do!... and no, I won't mention names/artists) with musicians I greatly enjoyed working with, my creative side was now suffering.  For years I had kept (and still use to this day) a notebook full of scribblings of various riffs, chord progressions and lyrical snippets I was writing, and they were just lying there unused.  Add to the fact that even as a member of Antem I was hardly a huge creative outlet of musical ideas.  Off the top of my ever-fuzzy memory, only one song ("On My Knees") was written by me, with another two ("Communication" and "Clowns") based off lines I'd written.  To be fair, I was hardly developed at 17 to 19 as a writer to produce material on par with Steve Spigonardo's "monster riff" writing - the man has a sense of arraigning and dynamics that I still draw upon when stuck.  Factor in the period after the collapse of "Antem" where I had no creative outlet at all - I rarely played bass, and didn't write at all. (This was the result of the relationship I was in at the time, details of which can be found on my site if you look hard enough. Perhaps one day I'll write up a "Vis Verb" about it, however - there's certainly material for an interesting paragraph or twenty.)  I was lucky enough to exit that period of my life through the help and musical support of Scott Quinn and Rich Farbman (Thy Spirit Deceived with both, the Vinyl cover band with Quinn) and Scott Ferreira (pre-BPI, our prog jamming collective... he has a DAT of us jamming for 45 straight minutes of musical bliss.  In retrospect, that particular moment may have be the turning point of my rediscovery of the power in the creation and playing of music.  Thank you, Scott, Rich, and Quinn. You don't know how you helped. :)  These led to the Stennar gig with Adam and Evan Parness, and the rest is psudohistory.

     Enter Spring 2001.  My move to Transy/Kentucky/Stephanie was complete, and while the best decision I've ever made for myself as a whole being, my musical side was now hurting... badly.  I was now suffering from a case of ennui.  While still playing and writing, I had no outlet for the expression of such. Practicing scales and jamming to records is one thing - actually playing with musicians is quite another, and I was missing the latter.  I received an email from a member of "The Forum" at Mike Portnoy.com asking me to jam/form a band, and while quite flattered, I declined. (Partially from the lack of desire to be "in a band" as stated above, and from the feeling that what we could do would never match up to the interaction I hold with my musical "partners" in New York. We're a tight bunch, we are. :)  And so the ennui continued...

     At the end of June, I found myself house-sitting for Stephanie's family while they traveled out west for a family vacation two years in the planning.  This left me with three cats, a dog, work, and music to keep me occupied.  So I pulled out my six-string, pedalboard, and headphones, and began to play... and play I did.  All the frustration I'd felt over the last few years seemed to pour out of my hands, and into the notes.  I came up with several new pieces unlike anything I'd ever written before, and reworked some older material into ideas worthy of praise (if I do say so myself.)  Now I found a new bind - what to do with this material?  Quickly a plan came into place: During my vacation to New York in late August, gather all my musical cohorts and record the material "Liquid Tension Experiment" style (A Dream Theater side project, it was recorded inside of a week, from writing to end product.)  I contacted Evan Parness about using "Station's Creation" for recording, and he replied in the affirmative.  Several musicians were contacted, "Hell yes!"(s) were gathered, and the plan was in motion.  Along the way, Adam Parness offered his studio as a recording site (no knock against Evan - Station's Creation is a great demo studio, but Parns' place is a full-on profession recording studio.)  This was a major upgrade that I couldn't turn down, and didn't. (Did I tell you Parns was offering recording time in a pro studio for free?  Have I told you I love Parns like a brother?  Have I given Parns enough free publicity and links yet? ;)
    However, as it often does, the real world intruded upon "The Plan."  Soon after arriving in New York, I realized that after doctor visits (my insurance doesn't cover me "out-of-pocket" at school, so when I visit home I stock up on checkups,) family outings, and other responsibilities, time would be very limited for recording.  Parns' studio was booked during the summer rush, and some people had prior obligations. (In no way am I laying blame on Adam or anyone else for this.  I would never expect anyone to put aside paying customers and gigs for my "non-profit" project.  In all honestly, the fault lay with me.  I simply planned too quickly, and not enough.  From several professional musicians I've spoken with, the balance between "player" and "producer" is one of the hardest things to work around.  And so "The Plan" was put aside...

     During the fall of 2001 I toyed with the idea of recording this winter, but the realization that the time frame would be *even shorter* than the summer threw that out the window.  In addition, I didn't get enough musical work finished due to school and other factors.  Which brings us to the present...

     I am 99 44/100% sure that this project will record this summer.  I also need to retrain myself in referring to it as "my project" - it may have started from my ennui, but it is developing into a collection of supremely talented musicians that I know will bring greatness to any worthy musical ideas I bring to the table.  The general plan is to start off with what I term my "song frameworks," (whether they be complete arraignments, chord progressions, or simple riffs with no home) and to develop them with the absolute and unconditional input from all involved.  It will also give me the chance to gather the vast majority of musicians I've worked with over the years, and see how all our various influences and styles can meld.  Additionally, it gives me the chance to record "no holds barred" with Scott Ferreira (BPI was a completely different animal), who is as close to a musical soulmate as I've ever had.  If there's anyone more excited than I about the possibilities that lie ahead, it's Scott.

    Currently, I have 5 "frameworks" in various stages of development, and 3 "bass only" songs (Which, to be honest, will take up the majority of arraigning time - working out how anywhere from 3-5 different bass tracks will sit in a song in terms of melody, rhythm, and tonality is not a task for the slight of heart!)  As a bonus, old friend Scott Quinn is now on board, and will be bringing lyrical and melody ideas to the table (As well as an amazing voice.)  That's right, we're throwing in some vocals to the stew!  There's also the possibility of some "special guests" who (if all works out) will be sending parts from (literally) around the world.  I won't release information on who exactly will be joining us, but for those reading who are "on the in," I will say this... "webmaster" and "the bunnymeister" :)  I've been tossing around names for this collective, but those also will remain secret until things are set in stone.

     Surprisingly, the method of release is the least of my concerns (perhaps because it'll be the last thing to do?)  Don't get the wrong idea - I want people to hear what we're creating, but it's not the "be-all-end-all" to this madness.  If you're taken to Zen methodology, you could say it's the journey, and not the destination that matters.  I've got a few separate ideas for this: The "bare-bones" approach, which would be home-burning CD-R's and self-designing a small package, along with some sort of web release as well (MP3.com or a site along similar lines).  If things turn out well and some financial workings can be made, a limited professional run would also be a possibility.  Who knows, if it turns out to be a masterpiece, maybe shopping around to independent labels could happen?  As I said, this is far from now, and only general thoughts on the subject.

And now, the starting line-up...

Ian Perge - Fretted and Fretless rhythm and melody Bass.
Stephanie Cunningham - Vocals
Scott Ferreira - Guitars/Guitar Synth
Adam Parness - Guitars/Generous Benefactor/Production.
Evan Parness - Drums and Percussion
Tim Perge - Keyboards/Samples/Loops/Studio Trickery
Scott Quinn - Vocals/Keyboards/Additional Bass (I'm hoping for some dueling bass somewhere!)

     Do me a favor and cross your fingers, toes, and any other bodily appendages you're flexible enough to twist.  There's much work to be done, but I've got a good feeling about this.

(...although I said the same thing about dropping out of school for "Antem", so that goes to show how much I know! :P*)

Update - the project is on hold for various reasons including scheduling issues and my current lack of time (and money), but is still planned for some point in the near future.  It's simply something I need to do for myself.