Тема: про музыкальность Thomas Lang
http://www.mikedolbear.co.uk/story.asp?storyID=1206
Интервью на английском. Лэнг говорит о том, почему он играет именно так...
Exclusive Interview with Thomas Lang
We recently caught up with Thomas Lang prior to the release of his new DVD to chat about it''s contents, his work and his plans for the next few years.
MD: You’ve got a new DVD coming, can you tell us a little bit about it, how different it is from the first one?
TL: The DVD is called Creative Coordination and Advanced Foot Techniques and that title was chosen after long contemplation because it best describes the content of the DVD. So it is about creative coordination concepts, my practice formula, to practice coordination independence in a creative and musical way. I am also demonstrating a lot of contemporary foot techniques, multi-pedal orchestrations, very fast foot patterns and ways to practice efficient techniques for the 21st Century.
It is very different from Creative Control, the previous one, in terms of content, look, style and everything else. I tried to include a lot of the exercises that helped me most in my development generally as a drummer. I am demonstrating a lot of combination exercises, exercises that are very time efficient and creative and exercises that work more than one component of your playing at the same time. There’s a lot of foot exercises combined with coordination elements and counting exercises as well as exercises for control, power and accuracy. It’s full of what I think are very efficient and challenging exercises. I also went in a very different direction in terms of sound and style with my new set up, I’m using my new X-ray kit on the DVD and I’m also using a lot of electronics because I believe electronics are an important and valid extension of the acoustic sounds that we have at our disposal. So in every possible way, it is completely different from the first one.
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MD: Do you feel that your playing has changed since the first DVD?
TL: Absolutely, I have been playing a lot since that last DVD was released and I’ve been working on new concepts. I’ve deliberately tried to distance myself a little bit from the way I played at the time, because I’m interested in progressing and developing as a musician and player. With the Creative Control DVD I tried to capture my standard and style of playing at the time of the recording and I think it was well captured. I promoted the DVD by doing clinics around the world, but after that I felt it was time to move on and do something different, I got bored with my playing and my performances and deliberately tried to distance myself a little from that and go into a completely different direction.
MD: the songs on this new DVD are a lot more melodic, a lot more play along songs, again is that something you purposely come out to try and do?
TL: Absolutely, first of all I tried to include songs that best reflect my taste and style at the moment. I also wrote the songs especially for the DVD. Some of them showcase specific techniques that I am demonstrating so they are a vehicle to get the content across in a musical context. I tried to do that in a way that appeals to me in terms of style so I think they are very different. A lot more play along friendly and I think you are right, they are more musical. I wrote all the tracks myself and I played all the instruments pretty much on all of the songs, I only hired a guitar player to do some of the solos and it really reflects my musical identity in a much better way than some of the songs that I used on the previous DVD.
MD: You get some criticism for being seen as only a clinician, what do you think about this?
Well I think first of all that term clinician is something that I do not like because it means nothing to me, or anybody else for that matter. That term drum clinic that has been coined a long time ago is something that doesn’t really reflect or stand for anything, in my opinion. What I do and what everybody else does who tours around the world doing these drum solo performances, is more of a concert and, yes, we also talk about what we do and answer questions. I think it’s best compared with a solo performance or something like Story Tellers on VH1, you talk about what you do, you play, you explain your concepts and approaches and share ideas so I don’t necessarily like that term clinic.
Also there is a stigma attached to that word “clinician” because people think that is the only thing I do. Having said that I think if anybody is a clinician, or can be a clinician, it is in fact a complement as really you can only do that if you have reached a certain standard of playing or know what you are doing Also, obviously doing clinics is just a supplement to my day job which is being a writer, composer, producer, side man, band member and so on and so its only a fragment and tiny part of what I do and I would like to see my work as a clinician as something hopefully that is motivating and inspiring people and is not necessarily a negative term at all. Obviously I am proud of the reactions I get, I am very happy with what I can do on a clinic tour, I am completely independent, I can play whatever I want and I am in charge which is a very good and great position to be in. But it is also a valid career today, it is something that helps supplement our income first of all as a musician it’s a creative outlet and is a way for me to grow as a musician. But like I said, it is not what I do exclusively, it is part of what I do.
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MD: You are now what I class as the new breed of drummer, the way the music industry is now, back in the 60’s, 70’s maybe 80’s, musicians worked a lot, they could do a lot of sessions, the studio scene was big and those drummers are maybe out there now doing a few clinics when they were known originally for the music. In the last 10/15 years the music industry has changed, has that forced you into the direction that you’ve gone?
TL: Yes, of course I’ve always worked in the music industry and sadly people don’t know that about me. I’ve always worked, recorded and toured with bands, produced and written music and worked with many nationally and internationally successful bands. For some reason, I think people prefer to see me or to attach that super-drummer image to me rather than the band player and team player image. Today if you want to be successful as a musician you have to be independent. Unfortunately, the music scene has changed, there simply isn’t that scene where you can do 3 or 4 sessions a day, that doesn’t exist anymore, not even in the most active scenes and cities in the world, like LA or wherever. All these stories you used to hear about people doing 3 or 4 sessions a day, that was 25/30 years ago, that really doesn’t exist anymore. You do have to do other stuff today, you have to be independent, and you have to write and produce your own music and take care of yourself because of all the problems we know about, like, piracy, stealing music and a lack of budgets on every level, with record companies and every artist.
MD: Because you’re rated as one of the top drummers in the world, people are expecting you to go out with the top bands in the world and if you don’t people think you have dropped your standards, how do you feel about this?
TL: Yes, that’s absolutely right; the thing is it’s a good and very difficult position to be in at the same time. Like you said, people have certain expectations because they’ve seen me in a solo performance situation and expect me to do something similar or of that standard of drumming when I work with a band. There is a lot of very negative talk, and I’ve experienced that in the past. When I join a band as a sideman, because people have expectations, they want me to be the super-drummer, mad monster, killer behind the drum kit, even when I’ve played a very commercial context which obviously is never going to fly and for me to maintain credibility as a musician it is very difficult for me to take on certain jobs. Not only because of that stigma and expectation but also because of the attitude that you get from your employer in many cases. You have to really keep that part of my job, doing solo performances, a secret, not to freak out your employers or fellow band members.
It is a very difficult position to be in and it’s very hard to find the right gig or take on the right work at this point. For me, musically of course it has to make sense, and also at the same time I want a platform to express myself creatively in the band context, so it’s very difficult to find the right job and satisfy myself and the expectations of an audience. I can really only at this point either do my own things, write my own music and tour my own band which I like of course. I have always had my own bands, the Robots for example or Dynamo, my latest band, but there is so much work attached to it that is non musical that it puts me off as well after a while. Also it takes a lot of time and input to do this, to go on clinic tours, to prepare them, to release and produce products, like DVD’s and books. It’s all very time consuming and at this stage that I’m at, it can be a full-time job, so I have to constantly compromise in every possible way and I try to be a jack of all trades but often I do decide to go and do my own thing. I get more out of it and I promote myself and my own products and not depend on somebody else’s schedule or somebody else’s dictate musically or in any other way.
MD: Since we first met five years ago, your life has changed quite rapidly. The DVD just launched you worldwide, your DVD is the biggest selling drum DVD in the world, your twin boys came along, you’ve uprooted from the UK to LA. What about the next five years?
TL: I’ll definitely try to continue working independently. I see that for me as the most feasible path. I’ve just recorded another DVD so obviously I am interested in seeing how that goes and promoting this DVD as well as the books that are coming out, one for Creative Control and another one for the new DVD will keep me busy for a while. At the same time I am looking to work more with bands and other musicians but I still haven’t found the right situation.
The move to LA was not necessarily only a career decision, I had a lot of private, social and climate related reasons. I don’t know, I’ll do the best I can to continue doing what I do and I’ll try to keep my eyes open and my ear to the ground to jump on the right band wagon if it appears and make the right decisions when the time is right. I am totally open to work with bands and the right band, and not just as a session drummer, like I used to, because when we first met I was mainly doing sessions and tours with people and working as a sideman and also I only started doing clinics about 6 or 7 years ago which in this scene is very recent and considering my status in the drum world to do it, today is very recent. Just this week, I’m doing 4 or 5 albums around Europe, I’m still a busy session player and I’ll continue to do this. I’ll just try to do the best I can to make a living and support my family and find the right creative outlets for me personally and that’s my goal, I just try to continue what I do in the most creative way.
то ли не понял, что значит "именно так", то ли он не о том говорит =)
а все же инетересно послушать его записи как сессионщика. я, честно говоря, ничего не слыхал. С кем он хоть записывается/записывался?
пластинки:Tom Lang, Mediator (1995):Koch International -->
Save the Robots, Konrad Schrenk Extravaganza (1994): PAO Records
CSX,
B*witched,jump up, jump down (live)
B*witched,
John Wetton, Arcangel
John Wetton, Live at the Progfest L.A. (1997)
John Wetton, Live in Tokio
John Wetton, Live in Argentina
Billy Liesegang, no strings attached
The Blockheads,
Life’s Addiction,
Willi Langer, Colours of the Octopus
Willi Langer, Signs of Life
Vienna Art Orchestra, Songs and other adventures
Vienna Art Orchestra, Art and Fun
Falco, Verdammt wir leben noch
туры :2005 Gianna Nannini, Steve Jones, Bill Liesegang, Slow Club, Patrizio Buanne,
X-Ray World Clinic-Tour
2004 Pop Idol Tour, Gianna Nannini, Creative Control World Clinic Tour & various clinic-tours
2003 Gianna Nannini, Rod Stewart, ABS, dynamo, various clinic-tours
2002 Vienna Art Orchestra, B. Tyler, Gianna Nanini
2001 S. Gately, R. Williams, Jonathan Wilkes, B.Tyler, R. Keating
2000 G.Halliwell, Robbie Williams, B*witched, Stephen Gately, Lena Marlen
2000 Vienna Art Orchestra, Ronan Keating
1999 Geri Halliwell, 911, B*witched
1998 J.Wetton, K. Ramirez, B. Tyler
1997 Falco, Bonnie Tyler, Asia, J. Wetton, Karen Ramirez
1996 Tom Lang, Falco, Bill Liesegang, Asia, John Wetton
1995 Papermoon, Falco, Csx, Tony O’ Mally, Machine Heart
1994 Falco, Save the Robots, Vienna Blue Brass, Hepcaolin, Calvinism
1993 Falco, B. Bukowski, S. Werger, Eav, Harry Stoyka
1992 Max, Andi Baum, Stefanie Werger, Eav, Falco
1991 Hallucination Company, Etta Scollo, Boris Bukowski, Bilgeri
1990 Etta Scollo, Gary Lux, Simone, Stefanie Werger
его сайт http://www.artport.at/sticktrix/tom.html
Афигеть! Обожаю John Wetton, но не знал что с ним Лэнг записывался :)