Last week, I had the honor and the pleasure of interviewing Bill Frisell in front of an audiencein what’s called a “Jazz Conversation,”at this year’s edition of the Portland Jazz Festival. Held at the Art Bar in the Portland Center for the Performing Arts (PCPA), our chat was podcast by the Oregonmusicnews.com and can be heard here.
Halfway into the interview in his management company's offices, as Steve Earle literally squirmed in his seat, I got the distinct impression that he had somewhere else to go, something more important to do. Turned out he was anxious to get to the Metropolitan Museum of Art to see the exhibition Guitar Heroes: Legendary Craftsmen from Italy to New York. Suddenly, instead of talking about his career, he was rhapsodizing about the jazz-guitar luthiersJohn D'Angelico and James D'Aquistowhose work was being exhibited, and a display that featured one of the four guitars known to have been made by Antonio Stradivari.
Coaxing a singer to "stretch" always sounds like a good ideathat is, until the singer is standing in the same recording booth used by Aretha Franklin and Wilson Pickett, and suddenly her confidence, never brimming to start with, drops through the floor and she can't or won't sing a note. Add to this that Dusty Springfield was already a sticky perfectionist who'd self-produced most of her records and wasn't happy with the songs to be recordeddespite the fact that most of them were straight out of the Brill Buildingand you have the recipe for an all-time classic record, right?
"Time flies when you're playing blues in a church."
