I
get to look at musicians a little differently since I’ve started to do these
interviews. Performers on stage
(even a stage as tiny as The First Unitarian Church) always seem like they are
really high up, and very unapproachable.
Several artists have since proved me wrong, and one of them is Jamey
Robinson of Buffalo Stance. The
long time West Philly musician who released his first album under the Buffalo
Stance moniker in 2009, and is now working on some new material. I was lucky enough to talk with Jamey
about his musical beginnings, songwriting, and collaborating with other
artists.
How long have you been playing music?
I
have been interested in sound and music since my earliest memories. I remember
playing piano while talking to myself and waiting to go to kindergarten. I also
used to play my Dad's Elvis records backwards and slowed down (chopped and
screwed) as a child. I got my first synthesizer when I was 13. I saved up
half the money with my paper route. My first band was shortly after that.
Has songwriting always been something you’ve been interested in?
I
always came up with original music, most of it was improvised. I've never not
had ideas, wrangling them was most of the challenge. I wasn't ever great at
reading music so I had to make up stuff to have something to play. I've
experienced an excess of ideas and impressions in my head that defy description
but somehow feel like they ought to be shared. It's constant. Making improv
into to songs is more of a refined skill that I've been struggling with
eternally. Playing along with my brain at a piano had something to do with
ghosts and dreams when I was a child. Now writing music is more of an organ or
a knee for me. I have deadlines and things can't be over-processed to no end
anymore. I've listened carefully to so much music now, arranging it into bite
sized chunks or songs as it comes out seems a little easier.
We saw you open up for Mister Heavenly a while
back. However, it was just you on the keyboard. Since
then you’ve added a few members, correct?
I
play solo when it's appropriate for the show. If a friend needs a low
maintenance opener, I can do that my self. I enjoy playing solo with a portable
pump organ from the 1940's. It's more like poetry that way. I have played most
full band shows with Evan Smoker on drums and Matt Gibson on bass and vox. We
have had up to 7 friends playing and singing at a show. The last few shows, longtime
friend and collaborator Chris Powell played drums and electronics. I've
actually been playing under the name Buffalo Stance for 15 years or more.
Various friends have helped.
When you were on stage you seemed pretty candid and comfortable
with the audience, talking between songs and making jokes. Are you
normally like that on stage?
Most
of my live work I do behind a great drummer with zero stage banter. Solo shows
make it seem like I'm suddenly carrying the weight of the show. I actually
don't like banter in most cases. It's a different part of my brain that is not
one I have rehearsed to be good at. I don't have stage fright much, but if I
open my mouth and I'm telling some joke before I'm supposed to go into a
musical trance ...sometimes this is a conflict that I might over compensate
for.
Did most of them record with you for “Sugar Glider?”
I
carefully documented all the personnel in the booklet for the cd. I recorded most everything in a zillion
different ways over 10 years on various computers and tape machines and
musician friends and neighbors and Chicago friends helped. I recorded a portion
of the record in Chicago at a place called the Shape Shoppe. I won a Pew
Fellowship a while back that let me get some equipment for my studio. That made
the big push at my house to finish.
Are most of the artists you work with from the Philadelphia
area?
Mostly.
Most everything was done at my home on the edge of west Philly.
Who did the artwork for “Sugar Glider?”
My
friends Kevin O'Neill and Karisa Senavitis at Will Work For Good in New York
did all the layout and design. The idea was from a Fats Domino cover done in
clay. I handed them piles of my sketchbooks and they took the drawings they
liked and recreated them in clay. Some of the drawings and the font for the
inside text comes from drawings I did when I was 10. If there are two people
shaking hands they are usually ambidextrous drawings that I did with both hands
at the same time.
Do you think being in another band effects your songwriting
process?
Working
in Man Man on a record is a very different process than what I do with Buffalo
Stance. Buffalo Stance is like a dream or a notion diary. It started as a side
project to get songs I couldn't get other dudes to work on finished. At the
time I was working with a precursor to the avant party band Need New Body. My
own music was strange and I didn't think much about anything other than getting
it out so that the sounds and lyrics would stop haunting me.
So,
collaborating with other songwriters on music for a specific audience is
challenging and very different. I generally have to simplify what I'm thinking
about when working in Man Man. My ideas can be a little too far out. It's like
creating an engine for a car that’s already been built.
One
thing I like to do with my own music is switch around and experiment with
musical forms. I might lose a certain amount of audience on this, but I've been
listening carefully to music since I was little and now I've heard a great deal
of the same thing rehashed with a new band name. Why is my strange brain gonna
mess with long standing well travelled musical roads when I make music for
myself for enjoyment? I hear the word experimental thrown around a bunch.
That means to me that you are actually trying completely new things in
order to find a result that you never would have thought of off the top of your
head. Try making music where the outcome is unknown. You've got to be willing
to fail, or to look weird to lots of people. It’s not just about adding an
eclectic instrument or 2. Like
DEVO said, "We're through with being cool..."
Where do you get a lot of your influences from?
I
have been a voracious music eater since I was a kid. I took on the idea that it
takes different ears to hear different music from the get go. I spent the first
half of my life collecting every sound in the world into my brain drive. I read
Keyboard magazine from cover to cover as a child and listened to what ever they
told me about. This was the 80's when they were more of an educational art publication
and less of an advertisement for what you should buy. I learned about Frank
Zappa and Musique Concrete, also commercial and movie music, the obsessive art
of Conlan Nancarrow's player pianos, the birth of samplers in popular music,
the strange genius Wendy Carlos... There was no Internet so I it was a
lifeline. Vintage electronic music is a long time influence on what I do. I've
always been fascinated with the important history of electronic music
production.
After
that, I love old Soul and R&B (Otis, Gino Washington,) and Doo Wop
(Coasters) and easy listening. I love New Orleans (Professor Longhair, Huey
"Piano" Smith, Fats Domino,) piano and also 1930's stride piano
(James P. Johnson, another Fats.) Man, I love a million things. That's top of my
list for the longest time if I listen.
What’s your ideal venue?
Norway outdoors at night
under a brilliant Aurora.
Australian Outback by the
light of the Milky Way during a prolific meteor shower.
Any place with an
audience and a decent and clean bathroom.
You working on some new material?
Yes
I am finishing up the new BS album by the end of this month.
Do you think it’s much different from your last album?
It's
a synthesizer fantasy. I'm really enjoying wrassling it from the ether all day.
I know it sounds different; I'm a different person now. Also it will be mixed
in surround sound if people have such things these days.
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