WEBVTT 1 00:00:05.000 --> 00:00:17.083 [footsteps] 2 00:00:17.083 --> 00:00:20.875 [footsteps] 3 00:00:30.000 --> 00:00:38.875 [doorbell rings] 4 00:00:38.875 --> 00:00:42.708 [footsteps] 5 00:00:42.708 --> 00:00:44.291 [footsteps] 6 00:00:44.291 --> 00:00:49.083 [doorbell rings] 7 00:00:49.083 --> 00:00:51.000 [footsteps] 8 00:00:59.000 --> 00:01:01.208 [footsteps] 9 00:01:01.208 --> 00:01:08.916 [footsteps] 10 00:01:19.000 --> 00:01:22.250 [footsteps] 11 00:01:22.250 --> 00:01:24.083 [doorbell rings] 12 00:01:24.083 --> 00:01:28.833 [footsteps] 13 00:01:34.000 --> 00:01:46.375 [footsteps] 14 00:01:46.375 --> 00:01:48.083 [footsteps] 15 00:01:48.083 --> 00:01:48.166 [footsteps] 16 00:02:02.000 --> 00:02:11.708 [footsteps] 17 00:02:11.708 --> 00:02:14.625 [footsteps] 18 00:02:22.000 --> 00:02:34.208 [footsteps] 19 00:02:34.208 --> 00:02:35.625 [footsteps] 20 00:03:12.000 --> 00:03:22.916 [footsteps] 21 00:03:22.916 --> 00:03:25.541 [footsteps] 22 00:03:32.000 --> 00:03:40.458 [footsteps] 23 00:03:40.458 --> 00:03:41.875 [footsteps] 24 00:03:52.000 --> 00:04:03.875 [footsteps] 25 00:04:03.875 --> 00:04:06.208 [footsteps] 26 00:04:42.000 --> 00:04:45.750 [footsteps] 27 00:04:45.750 --> 00:04:47.791 [footsteps] 28 00:05:07.000 --> 00:05:22.958 [footsteps] 29 00:05:22.958 --> 00:05:43.041 [footsteps] [footsteps] 30 00:05:43.041 --> 00:05:44.333 [footsteps] 31 00:05:50.000 --> 00:05:54.291 [footsteps] 32 00:05:54.291 --> 00:05:55.583 [footsteps] 33 00:06:10.000 --> 00:06:14.041 [footsteps] 34 00:06:14.041 --> 00:06:15.500 [footsteps] 35 00:06:15.500 --> 00:06:15.833 [footsteps] 36 00:06:38.250 --> 00:06:48.458 [footsteps] 37 00:06:48.458 --> 00:06:49.416 [footsteps] 38 00:06:58.416 --> 00:07:08.500 [footsteps] 39 00:07:08.500 --> 00:07:09.708 [footsteps] 40 00:07:16.000 --> 00:07:19.875 [footsteps] 41 00:07:19.875 --> 00:07:29.791 [footsteps] 42 00:07:36.000 --> 00:07:48.375 [footsteps] 43 00:07:48.375 --> 00:07:50.041 [footsteps] 44 00:07:56.000 --> 00:08:07.083 [footsteps] 45 00:08:07.083 --> 00:08:09.125 [footsteps] 46 00:08:46.000 --> 00:08:47.375 [footsteps] 47 00:08:47.375 --> 00:08:49.500 [footsteps] 48 00:09:06.000 --> 00:09:16.416 [footsteps] 49 00:09:16.416 --> 00:09:18.416 [footsteps] 50 00:09:26.000 --> 00:09:29.250 [footsteps] 51 00:09:29.250 --> 00:09:35.583 [footsteps] 52 00:09:56.000 --> 00:10:05.750 [footsteps] 53 00:10:05.750 --> 00:10:07.500 [footsteps] 54 00:10:16.000 --> 00:10:25.083 [footsteps] 55 00:10:25.083 --> 00:10:28.583 [footsteps] 56 00:11:36.000 --> 00:11:43.666 [footsteps] 57 00:11:43.666 --> 00:11:46.125 [footsteps] 58 00:11:56.000 --> 00:11:59.000 [footsteps] 59 00:11:59.000 --> 00:12:00.625 [footsteps] 60 00:12:16.000 --> 00:12:25.291 [footsteps] 61 00:12:25.291 --> 00:12:27.958 [footsteps] 62 00:13:06.000 --> 00:13:09.083 [footsteps] 63 00:13:09.083 --> 00:13:13.541 [footsteps] 64 00:13:56.000 --> 00:14:07.250 [footsteps] 65 00:14:07.250 --> 00:14:10.000 [footsteps] 66 00:17:16.000 --> 00:17:27.500 [footsteps] 67 00:17:36.000 --> 00:17:46.125 [footsteps] 68 00:17:46.125 --> 00:17:53.458 [applause] 69 00:18:00.000 --> 00:18:12.541 Thank you. Hi, I'm Karen. I play the saxophone and I usually play the saxophone without any of this. 70 00:18:14.208 --> 00:18:20.458 And so it's been a really hilarious and amazing journey. Very steep 71 00:18:20.458 --> 00:18:25.458 learning curve. But what, we'll talk more about this with Susan later, 72 00:18:26.000 --> 00:18:32.666 what really was interesting to me was to try and sort of think about how, you 73 00:18:32.666 --> 00:18:37.166 know, as a person that only plays acoustically and with lots of texture and timbers, 74 00:18:38.041 --> 00:18:46.166 with just this, what would that be like when it starts talking to something that also has it? So I sort of think of 75 00:18:46.166 --> 00:18:50.000 these two things as, you know, two things that are interacting with each other, 76 00:18:50.000 --> 00:18:59.583 opposed to a thing that's being changed by the other thing or it's reacting and talking to each other. And in that, 77 00:18:59.916 --> 00:19:11.000 this album was made and I'm just so pleased that we've made these crazy worlds to just sit in and listen to. 78 00:19:11.000 --> 00:19:18.750 And it's nothing like I've ever made. And so I really appreciate you being here to sit in these worlds with me and 79 00:19:18.750 --> 00:19:26.000 excuse me to listen to these things and to listen with, you know, curiosity and openness. 80 00:19:26.000 --> 00:19:35.416 And it's something that, yeah, I'm really grateful for in the world these days when there's so much heaviness going on. 81 00:19:35.416 --> 00:19:40.416 I think it's really, I really am grateful to be able to just take a minute and sit 82 00:19:40.416 --> 00:19:48.000 in a world and just be there with, you know, whatever thoughts that may come through. 83 00:19:48.083 --> 00:19:57.416 It's just nice to sit still for a minute and also to do that together. So thank you so much for coming. Yeah, I'm gonna 84 00:19:57.416 --> 00:20:08.000 bring up a friend now, mystery friend, my friend Tyson. Tyson is here to play my favorite synth of all time. 85 00:20:08.000 --> 00:20:13.833 This crazy cranky thing is called the MG one. 86 00:20:16.000 --> 00:20:29.291 It was sold at Radio Shack. And this really was actually the start to this entire journey of synthesized sound. And so 87 00:20:29.291 --> 00:20:36.500 I thought it'd be nice to improvise with Tyson here. Just saxophone and synth. 88 00:21:07.000 --> 00:21:14.875 Go go go go. 89 00:22:03.625 --> 00:22:14.500 [Music] 90 00:22:14.500 --> 00:22:21.500 [Music] 91 00:22:21.500 --> 00:22:23.541 [Music] 92 00:22:23.541 --> 00:22:25.791 [Music] 93 00:22:29.666 --> 00:22:40.291 [Music] 94 00:22:40.291 --> 00:22:46.916 [Music] 95 00:22:46.916 --> 00:22:48.000 [Music] 96 00:22:48.000 --> 00:22:51.208 [Music] 97 00:22:57.666 --> 00:23:04.125 [Music] 98 00:23:04.125 --> 00:23:10.000 [Music] 99 00:23:10.000 --> 00:23:15.958 [Music] 100 00:23:15.958 --> 00:23:17.333 [Music] 101 00:23:17.333 --> 00:23:19.000 [Music] 102 00:23:22.625 --> 00:23:33.541 [Music] 103 00:23:33.541 --> 00:23:36.916 [Music] 104 00:23:36.916 --> 00:23:39.958 [Music] 105 00:23:39.958 --> 00:23:41.250 [Music] 106 00:23:48.666 --> 00:23:59.791 [Music] 107 00:23:59.791 --> 00:24:07.000 [Music] 108 00:24:07.000 --> 00:24:07.500 [Music] 109 00:24:07.500 --> 00:24:08.291 [Music] 110 00:24:14.666 --> 00:24:26.833 [Music] 111 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[Music] 324 00:43:14.958 --> 00:43:19.000 [Music] 325 00:43:19.000 --> 00:43:22.708 [Music] 326 00:43:22.708 --> 00:43:24.458 [Music] 327 00:43:24.458 --> 00:43:27.083 [Music] 328 00:43:29.666 --> 00:43:39.500 [Music] 329 00:43:39.500 --> 00:43:43.250 [Music] 330 00:43:43.250 --> 00:43:47.708 [Music] 331 00:43:47.708 --> 00:43:48.916 [Music] 332 00:43:48.916 --> 00:43:53.125 [Music] 333 00:43:55.666 --> 00:44:04.333 [Music] 334 00:44:04.333 --> 00:44:09.250 [Music] 335 00:44:09.250 --> 00:44:12.750 [Music] 336 00:44:12.750 --> 00:44:14.791 [Music] 337 00:44:14.791 --> 00:44:17.041 [Music] 338 00:44:21.666 --> 00:44:34.500 [Music] 339 00:44:34.500 --> 00:44:39.500 [Music] 340 00:44:39.500 --> 00:44:41.500 [Music] 341 00:44:41.500 --> 00:44:43.000 [Music] 342 00:44:43.000 --> 00:44:45.041 [Music] 343 00:44:47.625 --> 00:44:56.375 [Music] 344 00:44:56.375 --> 00:45:00.000 [Music] 345 00:45:00.000 --> 00:45:03.750 [Applause] 346 00:45:03.750 --> 00:45:06.333 [Applause] 347 00:45:06.333 --> 00:45:09.000 [Applause] 348 00:45:11.625 --> 00:45:13.916 [Laughter] 349 00:45:13.916 --> 00:45:20.708 [Applause] 350 00:45:41.625 --> 00:45:46.416 to work with and I just, yeah, I can't believe it. 351 00:45:46.416 --> 00:45:47.250 I can't believe it. 352 00:45:47.500 --> 00:45:48.916 I'm here and I get to do this. 353 00:45:49.291 --> 00:45:52.208 I get to stay here and see friends and be in a room with all of you. 354 00:45:52.416 --> 00:45:55.083 I just feel like, I don't know, just more and more. 355 00:45:55.208 --> 00:46:00.583 They're trying to kind of isolate us and keep us apart and it just feels so nice to be together 356 00:46:00.791 --> 00:46:02.541 any time I have that chance. 357 00:46:02.541 --> 00:46:04.916 So thank you all for letting me have that. 358 00:46:05.541 --> 00:46:05.958 Thank you. 359 00:46:06.541 --> 00:46:08.000 Thank you. 360 00:46:16.250 --> 00:46:21.958 So this is going to be quite an informal artist talk, but I just thought because this body 361 00:46:21.958 --> 00:46:27.375 of work is such a new development for Karen, I thought it would be nice to hear a little 362 00:46:27.375 --> 00:46:30.416 bit more about how it came to be. 363 00:46:31.000 --> 00:46:37.125 So my first question is really quite simply, what was sort of the concept behind Backwards 364 00:46:37.125 --> 00:46:37.500 Blue? 365 00:46:37.500 --> 00:46:38.458 Where did it begin? 366 00:46:39.708 --> 00:46:45.791 I was approached by my friend David, new friend David, who owns a label called Halo 367 00:46:45.791 --> 00:46:46.958 Cline Trance in Toronto. 368 00:46:47.500 --> 00:46:53.708 It's a sort of a boutique label, meaning that it's not really based on genre or just things 369 00:46:53.708 --> 00:46:59.166 that he thinks like that's weird and wants to put it on vinyl, which is already in itself 370 00:46:59.500 --> 00:47:00.958 a lovely thing. 371 00:47:00.958 --> 00:47:05.041 I do think there's so much that's sort of categorized and whatever and he's just kind 372 00:47:05.083 --> 00:47:08.791 of like, what ifs and picks things that he thinks is cool. 373 00:47:09.625 --> 00:47:12.875 So he wanted to make a record and he's an electronics person. 374 00:47:12.875 --> 00:47:17.041 He was a DJ under the name Egypt Tricks. 375 00:47:18.000 --> 00:47:18.666 I don't know if you guys know. 376 00:47:19.833 --> 00:47:22.500 So we started just making... 377 00:47:22.750 --> 00:47:27.000 Actually no, the story is that he was like, "Hey, I would love to make an album. 378 00:47:27.708 --> 00:47:29.666 If you ever want to release something, I'd love to do it." 379 00:47:29.666 --> 00:47:32.625 And I was like, "Wait, I'll let you know." 380 00:47:32.791 --> 00:47:37.333 And then I think like three years passed and he showed up to a show and I was like, 381 00:47:37.333 --> 00:47:38.291 "Hey man, right. 382 00:47:38.291 --> 00:47:42.791 I was going to send you stuff, but just life's crazy and so much is going on and I do a lot 383 00:47:42.791 --> 00:47:43.416 of other things." 384 00:47:43.625 --> 00:47:47.166 And he was like, "You should probably just come over and play a bit and then it'll happen." 385 00:47:47.416 --> 00:47:54.541 And so we started making this music and it is sort of an extension of making music that 386 00:47:56.666 --> 00:48:03.500 feels a bit reverse engineered in the way that I come from a background where you write 387 00:48:03.750 --> 00:48:07.916 your ideas down on a piece of paper and then you bring it to your friends and you play 388 00:48:07.916 --> 00:48:11.541 it and you rehearse it, maybe you tour it and then you're like, "Okay, we're ready to 389 00:48:11.541 --> 00:48:12.041 record it. 390 00:48:12.041 --> 00:48:16.791 It's at its best place and now it's ready to be documented." 391 00:48:17.083 --> 00:48:22.000 And I've always respected and loved my singer-songwriter friends and my friends are in indie bands 392 00:48:22.000 --> 00:48:25.625 where they make a thing in the studio and then they have to tour and they're like, "Oh 393 00:48:25.625 --> 00:48:27.708 my God, how are we going to do this live?" 394 00:48:27.708 --> 00:48:34.041 And then it just sort of gets remade and it just feels like a reverse process that I really 395 00:48:34.041 --> 00:48:34.333 love. 396 00:48:34.708 --> 00:48:36.458 So this is what this ended up happening. 397 00:48:36.833 --> 00:48:41.041 We went into the studio and we met a bunch of times and made some stuff and made these 398 00:48:41.041 --> 00:48:45.041 worlds and I really wanted to make something. 399 00:48:45.333 --> 00:48:46.666 I was just talking to Dominic about it. 400 00:48:47.041 --> 00:48:47.958 I don't use pedals. 401 00:48:48.291 --> 00:48:49.208 I don't use anything. 402 00:48:50.500 --> 00:48:55.083 And I think when I think of saxophone and electronics, I wanted to do something very 403 00:48:55.125 --> 00:48:56.000 different than that. 404 00:48:56.000 --> 00:49:01.083 I wanted something that was the acoustic and the electric components talking to each other 405 00:49:01.083 --> 00:49:09.750 opposed to just being a saxophone sound affected or something that is just maybe under pinning 406 00:49:09.750 --> 00:49:11.041 and then things happening on top. 407 00:49:11.041 --> 00:49:12.625 I wanted it all to talk to each other. 408 00:49:14.000 --> 00:49:17.875 And then, yeah, so we made this album and then I was like, "Oh my God, we have to play 409 00:49:17.875 --> 00:49:18.333 this live. 410 00:49:18.541 --> 00:49:19.333 How is this going to happen?" 411 00:49:19.625 --> 00:49:22.375 And this is the third time this has happened. 412 00:49:22.666 --> 00:49:24.250 The first time it didn't work. 413 00:49:26.041 --> 00:49:32.000 We had a record release in Toronto and it felt like a birthday party because all of 414 00:49:32.000 --> 00:49:33.333 my favorite people were there. 415 00:49:33.333 --> 00:49:34.166 So it didn't matter. 416 00:49:34.166 --> 00:49:36.500 I was so happy to be with all my people. 417 00:49:36.958 --> 00:49:43.250 But basically all of the stuff just stopped working and only the stems were working. 418 00:49:43.250 --> 00:49:48.125 So I was basically just playing to a track and my friend David was in the corner just 419 00:49:48.125 --> 00:49:48.666 horrified. 420 00:49:48.916 --> 00:49:50.125 He was like, "I'm so sorry. 421 00:49:50.125 --> 00:49:51.000 I don't know what happened." 422 00:49:51.125 --> 00:49:57.416 And then all of December I hit it home and tried to solve all the problems and figure 423 00:49:57.416 --> 00:50:02.208 out solutions with a lot of help with a lot of friends who know a lot more about this 424 00:50:02.208 --> 00:50:02.791 than I do. 425 00:50:04.000 --> 00:50:06.541 And then I got to do it in Montreal and everything worked. 426 00:50:06.833 --> 00:50:13.833 And then this time too, having Chava and Ben help so much of just being like, "I don't 427 00:50:13.833 --> 00:50:15.666 actually know what I'm doing." 428 00:50:15.666 --> 00:50:16.708 And they're like, "Try this." 429 00:50:17.083 --> 00:50:20.583 And getting to build a few new things for the show today. 430 00:50:20.625 --> 00:50:24.000 So yeah, thank you to you too. 431 00:50:24.000 --> 00:50:25.708 You too are so nice to me. 432 00:50:26.041 --> 00:50:27.291 Thank you for your patience. 433 00:50:27.666 --> 00:50:31.500 And a lot of this electronic stuff I think is scary. 434 00:50:31.500 --> 00:50:36.333 So it's really nice to just have people who are gracious and generous with their time 435 00:50:36.333 --> 00:50:41.041 and knowledge to figure out how to do this thing that I mean, I don't know. 436 00:50:41.250 --> 00:50:41.541 Yeah. 437 00:50:41.541 --> 00:50:42.500 I've never done this before. 438 00:50:42.500 --> 00:50:48.000 So it's really fun to get to do that and do it in front of all of you, which is fun. 439 00:50:48.000 --> 00:50:48.125 Yeah. 440 00:50:48.125 --> 00:50:50.083 I feel like I'm going to ask maybe a difficult question. 441 00:50:50.125 --> 00:50:54.041 I wonder if you could talk through a little bit about the setup, so how you've set up 442 00:50:54.041 --> 00:50:54.833 this into play. 443 00:50:55.416 --> 00:50:55.625 Yes. 444 00:50:55.833 --> 00:51:01.041 I don't know if anyone wants to hear about the gear, but yeah. 445 00:51:01.583 --> 00:51:01.791 Gear. 446 00:51:03.833 --> 00:51:05.000 So, okay. 447 00:51:05.333 --> 00:51:09.458 So I think I'm going to start with this mic, which is a Beta 57A. 448 00:51:10.083 --> 00:51:14.083 This is important because I was using an RE20 and it was not the right mic. 449 00:51:14.833 --> 00:51:24.000 But this basically is feeding into an interface and there's a software that is an audio to 450 00:51:24.000 --> 00:51:24.666 MIDI converter. 451 00:51:25.541 --> 00:51:30.500 And so it picks up basically like, I mean, it's taking the melodic content, which is 452 00:51:30.500 --> 00:51:30.708 new. 453 00:51:31.166 --> 00:51:35.541 The other thing that didn't work was this weird thing, that finicky thing that didn't 454 00:51:35.541 --> 00:51:35.750 work. 455 00:51:36.583 --> 00:51:44.875 But it is mainly for capturing my articulation and the durations of my phrases and things. 456 00:51:45.500 --> 00:51:50.291 And that triggers this synth here, which is the Waldorf Blofeld. 457 00:51:51.500 --> 00:51:57.708 And this is the main sounds and patches that David wrote that's on the record outside. 458 00:51:58.958 --> 00:52:02.958 So we built a bunch of patches and then I made some more. 459 00:52:03.625 --> 00:52:08.000 When I play through this, it is triggering the synth to play. 460 00:52:08.875 --> 00:52:15.041 And because my hands are occupied, I have these two expression pedals that help just 461 00:52:15.041 --> 00:52:16.708 I can map whatever parameters. 462 00:52:17.208 --> 00:52:21.500 It's actually a little bit limiting what parameters I can map, but that's a good thing because 463 00:52:21.583 --> 00:52:24.666 it's just so overwhelming, all the things that are possible. 464 00:52:25.333 --> 00:52:30.583 So then these guys can help me change parameters as I go. 465 00:52:31.500 --> 00:52:37.541 And that's feeding through Ableton, which there are some sort of bed stems that I have 466 00:52:38.500 --> 00:52:39.083 that I can also... 467 00:52:40.000 --> 00:52:40.625 Oh, well, we'll get... 468 00:52:40.625 --> 00:52:41.666 That's the next step. 469 00:52:41.666 --> 00:52:43.791 I'm going to figure out how to control that. 470 00:52:44.000 --> 00:52:44.583 Like have them all... 471 00:52:44.750 --> 00:52:46.166 Because they're all talking to each other. 472 00:52:46.166 --> 00:52:49.125 It gets a little bit weird, as I've... 473 00:52:49.125 --> 00:52:55.291 And we've all found for it to shift something here, but maybe not here. 474 00:52:56.166 --> 00:53:02.083 And then all of that talking to what my saxophone is doing, which is just acoustic. 475 00:53:02.541 --> 00:53:06.958 And I've spent a great deal of time thinking about tone and texture. 476 00:53:07.500 --> 00:53:15.083 And so those things mixing with these really synthesized textures, that was really interesting 477 00:53:15.416 --> 00:53:16.000 to me. 478 00:53:16.583 --> 00:53:16.791 Yeah. 479 00:53:18.041 --> 00:53:18.958 I guess that wasn't so hard. 480 00:53:19.500 --> 00:53:20.083 [laughter] 481 00:53:21.166 --> 00:53:21.625 Yeah. 482 00:53:22.708 --> 00:53:25.500 The other question I wanted to ask was a bit about collaborators. 483 00:53:25.958 --> 00:53:26.666 Obviously, you wrote... 484 00:53:27.000 --> 00:53:31.041 It's a solo album, but there's many people collaborating and you also invited people 485 00:53:31.041 --> 00:53:31.708 in today. 486 00:53:31.708 --> 00:53:36.083 So I was just curious how you think about collaboration and relationship to this work. 487 00:53:36.083 --> 00:53:36.500 Oh my God. 488 00:53:37.833 --> 00:53:42.750 All I ever do is collaborate all the time, every day, every minute of the day, and it's 489 00:53:42.750 --> 00:53:43.416 my phase. 490 00:53:44.291 --> 00:53:44.750 I just... 491 00:53:45.416 --> 00:53:49.875 It is weird to play solo because I just always assume it's better with others. 492 00:53:49.958 --> 00:53:50.666 It's better together. 493 00:53:51.125 --> 00:53:56.875 And so it is a wild mindset to be like, "It's just me and my thoughts." 494 00:53:57.208 --> 00:53:59.166 And I don't know if that's good enough. 495 00:53:59.416 --> 00:54:03.166 Everyone else's ideas are better than mine, and I wanna play with them. 496 00:54:04.083 --> 00:54:12.166 So it's an interesting process to be alone with your thoughts and just so exposed and 497 00:54:12.166 --> 00:54:13.041 vulnerable that way. 498 00:54:14.541 --> 00:54:19.166 And literally everything else in my life, I'm collaborating with a lot of people. 499 00:54:19.416 --> 00:54:26.250 I think about why I got into music, and I think I talked to a lot of people who were 500 00:54:26.375 --> 00:54:30.875 like, "This album," or "I started studying and this was interesting." 501 00:54:30.875 --> 00:54:34.791 And I was like, "Oh, it's always been about the people for me actually, now that I think 502 00:54:34.791 --> 00:54:35.208 about it. 503 00:54:35.791 --> 00:54:38.625 I joined concert band in high school because I was like, "That's cool. 504 00:54:38.625 --> 00:54:40.541 We can go play shows and travel. 505 00:54:40.791 --> 00:54:41.708 That sounds awesome." 506 00:54:41.708 --> 00:54:46.750 And in Toronto, where I'm from, or where I live and... 507 00:54:47.083 --> 00:54:48.208 And from, yeah, I'm from there. 508 00:54:48.250 --> 00:54:58.958 And I went to music school, but the majority of my education happened around a really great 509 00:55:00.416 --> 00:55:04.625 venue called the Transac in Toronto, and I just showed up and started improvising with 510 00:55:04.625 --> 00:55:05.208 people there. 511 00:55:05.958 --> 00:55:14.041 And I remember walking in one day and they were doing Coltrane's Ascension, and it was 512 00:55:14.083 --> 00:55:18.291 literally all of my soon-to-be friends playing that night. 513 00:55:19.166 --> 00:55:20.041 And I was a part of... 514 00:55:20.041 --> 00:55:25.458 I was just telling Ruthie, I was playing this 25 saxophone thing and I didn't know what 515 00:55:25.458 --> 00:55:25.958 was going on. 516 00:55:25.958 --> 00:55:31.041 I just showed up and those are all of my heroes and friends. 517 00:55:31.500 --> 00:55:37.000 And that's why I got into this music, is I could just play with everyone and hang out 518 00:55:37.000 --> 00:55:41.000 and eat food and travel and then play this music and make music together. 519 00:55:41.000 --> 00:55:48.458 So in this process, I mean, I guess I did play alone in Montreal, but in Toronto, I 520 00:55:48.500 --> 00:55:51.791 had my really great friend, Ryan Driver, playing the MG1. 521 00:55:51.791 --> 00:55:52.833 He's the master of it. 522 00:55:53.625 --> 00:55:59.833 And saxophone player Ted Crosby, who I think some of you know, and Colin Fisher play with 523 00:55:59.916 --> 00:56:00.250 me. 524 00:56:00.250 --> 00:56:02.083 And then tonight, yeah, getting to... 525 00:56:02.583 --> 00:56:07.166 I don't spend so much time in Vancouver, so it was really great to have Liam and Ruthie 526 00:56:07.208 --> 00:56:13.541 and Gordie here with me, and then Tyson sweeping in and just picking up this crazy-wise invention 527 00:56:13.791 --> 00:56:14.625 playing with me. 528 00:56:14.916 --> 00:56:17.833 So collaboration is a huge, huge part. 529 00:56:19.166 --> 00:56:20.083 It just is better. 530 00:56:20.083 --> 00:56:23.250 It's always better with others and together for me. 531 00:56:23.583 --> 00:56:23.791 Yeah. 532 00:56:24.750 --> 00:56:25.166 I don't know. 533 00:56:25.416 --> 00:56:28.333 I'd totally go off if that was the question. 534 00:56:28.875 --> 00:56:29.875 I think that covered it. 535 00:56:30.375 --> 00:56:34.500 And the one question I have before I ask if anyone might have some questions in the audience 536 00:56:35.416 --> 00:56:40.250 is, yeah, I'm just curious now that obviously when you began in the recording process and 537 00:56:40.250 --> 00:56:45.166 now doing it live, just curious what more you're learning about the work as you continue 538 00:56:45.500 --> 00:56:47.125 to play it in these different contexts. 539 00:56:47.500 --> 00:56:47.875 Oh, yeah. 540 00:56:47.875 --> 00:56:48.291 Oh, my God. 541 00:56:49.000 --> 00:56:51.750 Every second is like, "Okay. 542 00:56:53.250 --> 00:56:53.875 That's new." 543 00:56:56.333 --> 00:57:04.291 Yeah, because there's the album stuff, and I think this music was always meant to grow 544 00:57:04.500 --> 00:57:04.916 from here. 545 00:57:05.125 --> 00:57:07.041 And so already, I think there is... 546 00:57:07.916 --> 00:57:13.125 Actually, tonight there was a good deal of what is on the record, but the idea is as 547 00:57:13.125 --> 00:57:21.250 well just maybe the state of what it is to play music and travel right now, it also makes 548 00:57:21.250 --> 00:57:23.375 the most sense to just be able to... 549 00:57:23.708 --> 00:57:30.666 For it to be malleable and for it to change so that from this point on, basically, the 550 00:57:31.666 --> 00:57:34.208 set is just gonna continue to change and be new. 551 00:57:34.500 --> 00:57:36.041 And that is sort of the idea. 552 00:57:36.291 --> 00:57:43.375 I don't think I am interested in just playing the same set every night in that way. 553 00:57:43.791 --> 00:57:49.250 And it's like I've discovered it's not hard for it to just change all the time. 554 00:57:49.250 --> 00:57:50.125 It just keeps changing. 555 00:57:50.583 --> 00:57:56.833 So that's pretty fun, kind of scary, but really nice. 556 00:57:56.875 --> 00:58:02.916 So eventually, too, speaking of collaboration, I do wanna be able to improvise with others 557 00:58:03.000 --> 00:58:06.583 with this, but I have no idea how that's gonna work at the moment. 558 00:58:07.375 --> 00:58:08.333 I might try it next month. 559 00:58:08.333 --> 00:58:08.625 We'll see. 560 00:58:09.791 --> 00:58:10.000 Yeah. 561 00:58:10.250 --> 00:58:12.375 But it's gonna keep changing, I guess. 562 00:58:12.375 --> 00:58:12.583 Yeah. 563 00:58:12.666 --> 00:58:12.875 Great. 564 00:58:13.250 --> 00:58:15.666 Is there anyone that has a question in the audience? 565 00:58:16.083 --> 00:58:18.000 Yeah, I wanna talk to you as well. 566 00:58:18.291 --> 00:58:18.500 Yay. 567 00:58:18.791 --> 00:58:19.166 Hi. 568 00:58:20.333 --> 00:58:21.333 There's so many of you. 569 00:58:21.333 --> 00:58:22.291 What are you guys about? 570 00:58:22.583 --> 00:58:22.666 Hi. 571 00:58:23.666 --> 00:58:25.125 I'm just curious about... 572 00:58:27.291 --> 00:58:31.041 There's gotta be a nerve in what you're saying, then your journey with the saxophone. 573 00:58:31.041 --> 00:58:31.583 My journey. 574 00:58:32.083 --> 00:58:36.041 Just people that inspired you and also made a bit of a... 575 00:58:36.708 --> 00:58:40.750 I listened to you, I hear some classical influences maybe? 576 00:58:40.750 --> 00:58:41.208 Wow. 577 00:58:41.666 --> 00:58:41.958 Yeah. 578 00:58:42.291 --> 00:58:43.500 That's what Liam said, too. 579 00:58:43.958 --> 00:58:47.625 I really wish I went through a contemporary classical for... 580 00:58:47.625 --> 00:58:50.416 There's so much to share, I feel like, in those two worlds. 581 00:58:52.125 --> 00:58:56.291 But no, it really has just been literally the people around me and community. 582 00:58:56.708 --> 00:59:01.291 So I was just saying how Brody West is my hero. 583 00:59:02.458 --> 00:59:03.125 He's a good friend. 584 00:59:03.333 --> 00:59:04.541 He's from Nanaimo, actually. 585 00:59:05.375 --> 00:59:05.958 He is really... 586 00:59:08.125 --> 00:59:08.291 Yeah. 587 00:59:08.750 --> 00:59:10.416 His music is amazing. 588 00:59:10.708 --> 00:59:11.916 He really inspires me. 589 00:59:13.875 --> 00:59:14.250 I think... 590 00:59:16.250 --> 00:59:16.375 Yeah. 591 00:59:16.375 --> 00:59:19.125 Are we talking like saxophone players or like music in general? 592 00:59:19.708 --> 00:59:19.958 Yeah. 593 00:59:20.833 --> 00:59:22.666 I really... 594 00:59:23.375 --> 00:59:29.291 The start of my formal education to me was much after going to jazz school. 595 00:59:29.291 --> 00:59:33.916 I got a grant to go study with the ICP Orchestra in Amsterdam. 596 00:59:34.458 --> 00:59:37.708 That was a huge turning point for me. 597 00:59:38.916 --> 00:59:42.875 I think maybe before that there's a saxophone player named Don Palmer who is... 598 00:59:43.750 --> 00:59:44.791 I don't know if anyone knows him. 599 00:59:45.458 --> 00:59:50.125 He basically taught all of my jazz school teachers. 600 00:59:50.875 --> 00:59:54.833 He taught Kirk McDonald and Mike Murley and things. 601 00:59:55.125 --> 00:59:55.750 I sound like that. 602 00:59:56.375 --> 00:59:57.083 I should leave today. 603 00:59:57.750 --> 00:59:58.541 The Colgate Hour? 604 00:59:58.541 --> 00:59:58.750 Anyway. 605 01:00:01.375 --> 01:00:07.416 Don Palmer had a trio and it was the first time I heard jazz standards just super elastic. 606 01:00:07.750 --> 01:00:13.208 The drummer in that trio was Jerry Grinelli who is also a really great improviser drummer 607 01:00:13.500 --> 01:00:18.333 from Nova Scotia and part of the Vince Growaldi trio from Charlie Brown Christmas. 608 01:00:19.166 --> 01:00:27.500 I looked for Don to study with and I'm really happy he was also like a Lee Konitz protege 609 01:00:27.500 --> 01:00:30.083 and was all about the melody and all about... 610 01:00:30.083 --> 01:00:31.041 I hadn't met anyone yet. 611 01:00:32.583 --> 01:00:36.333 The ICP Orchestra too, the first time I heard them I was just didn't... 612 01:00:36.750 --> 01:00:37.625 I couldn't believe it. 613 01:00:37.750 --> 01:00:44.875 It was just fully lush arrangements of a lot of Herbie Nichols and Monk tunes and 614 01:00:44.875 --> 01:00:48.000 then I'd look at their sheet of paper and it'd be like one word. 615 01:00:48.375 --> 01:00:53.041 It would be like a bar of music and an empty page and I'm just like, "What? 616 01:00:53.250 --> 01:00:54.583 Are they telepathic? 617 01:00:54.583 --> 01:00:55.291 What is going on?" 618 01:00:55.791 --> 01:01:02.583 I think that was really inspiring and going there and really connecting with Michael Moore 619 01:01:02.583 --> 01:01:04.208 who's the alto sax player in that. 620 01:01:05.041 --> 01:01:05.500 He's now... 621 01:01:06.208 --> 01:01:12.041 I call him and his wife my Euro parents because now I've studied with him but now when I 622 01:01:12.041 --> 01:01:17.000 go over there I stay at their house, I raid their fridge, I go shopping with Jodi and 623 01:01:17.666 --> 01:01:18.000 it's really... 624 01:01:18.250 --> 01:01:19.416 That is so lovely to me. 625 01:01:19.666 --> 01:01:24.750 That's super inspiring too that there's something past that kind of relationship. 626 01:01:25.000 --> 01:01:33.375 We're just friends now and peers and that kind of stuff really makes me so happy and 627 01:01:33.583 --> 01:01:37.666 that is inspiring to me for sure as well as looking at any beautiful thing. 628 01:01:38.500 --> 01:01:43.166 I went to the Whitney a few months ago and I was like, "Who's that? 629 01:01:44.791 --> 01:01:45.000 Calder? 630 01:01:46.500 --> 01:01:47.333 Oh my God." 631 01:01:48.958 --> 01:01:50.583 That was so inspiring. 632 01:01:51.041 --> 01:02:00.083 It was just a documentary video of it and just even the shots of it and the pacing of 633 01:02:00.500 --> 01:02:02.458 it was incredible and I wasted... 634 01:02:02.916 --> 01:02:06.250 I just spent 40 minutes there and I was like, "Oh my God, the museum's closing." 635 01:02:06.250 --> 01:02:11.708 I had to run around to see Georgia O'Keefe and all these things but anything with form 636 01:02:11.708 --> 01:02:17.958 and perspective, lines, structure, any of those things are super, super, super inspiring 637 01:02:17.958 --> 01:02:20.375 to me as well as... 638 01:02:20.375 --> 01:02:22.333 I guess it's like relation, right? 639 01:02:22.583 --> 01:02:24.000 That is forever. 640 01:02:25.375 --> 01:02:30.750 Not to take away from yes, it's saxophone music and teachers and things but that stuff 641 01:02:30.791 --> 01:02:33.750 continues to really, really, really inspire me. 642 01:02:35.666 --> 01:02:36.791 Is there any other questions? 643 01:02:38.916 --> 01:02:39.541 Who are you all? 644 01:02:39.875 --> 01:02:40.083 Hi. 645 01:02:40.791 --> 01:02:41.000 Hi. 646 01:02:42.750 --> 01:02:45.041 I'm just wondering because of how much you... 647 01:02:45.291 --> 01:02:50.500 Do you provide just others how psychologically you're impacted by having recursive feedback 648 01:02:50.500 --> 01:02:55.916 from electronic music because it's kind of like a lot of the patches were kind of responding 649 01:02:55.916 --> 01:02:56.708 to you? 650 01:02:56.708 --> 01:02:56.916 Yes. 651 01:02:59.208 --> 01:03:04.375 Does that change how you operate it or does it have any sort of trippy effect on it? 652 01:03:05.583 --> 01:03:08.041 Yeah. 653 01:03:08.041 --> 01:03:13.708 Just playing solo saxophone sets acoustic alone is like... 654 01:03:13.958 --> 01:03:19.333 I was just saying it is the most insane mental state to be in for me. 655 01:03:19.333 --> 01:03:19.875 Where I'm just... 656 01:03:22.250 --> 01:03:22.916 It's really scary. 657 01:03:23.291 --> 01:03:30.166 Just having something kind of feed back to me is helpful but it is interesting because 658 01:03:30.250 --> 01:03:33.833 it's responding to me and I'm responding to it and then it just... 659 01:03:33.833 --> 01:03:40.375 This thing happens and I was just talking to Tyson about patience because sometimes 660 01:03:40.375 --> 01:03:47.000 I feel like I'm not very patient with my ideas or pacing of it and that just accelerates 661 01:03:47.000 --> 01:03:47.583 it. 662 01:03:48.250 --> 01:03:53.208 It's kind of fun though because then it just turns into this other thing and I'm like, 663 01:03:53.250 --> 01:03:54.875 "Well, okay, here we are." 664 01:03:55.625 --> 01:03:57.083 I guess we're here now. 665 01:03:57.958 --> 01:04:05.000 But I think the initial thing was like, "Oh, this will be helpful to have something come 666 01:04:05.000 --> 01:04:05.708 back to me." 667 01:04:06.416 --> 01:04:11.291 Sometimes that's all I need because I do get stuck in my head pretty easily. 668 01:04:11.958 --> 01:04:13.708 Just one little thing... 669 01:04:14.000 --> 01:04:16.083 Actually, I think Jerry Grinelli, that was a thing that he talked about. 670 01:04:16.500 --> 01:04:21.750 If you sort of snap out of the zone when you're doing whatever, you just need to focus on 671 01:04:22.083 --> 01:04:24.250 what I'm saying and then it can bring you back. 672 01:04:24.791 --> 01:04:25.208 So that... 673 01:04:26.250 --> 01:04:29.708 There's just this barrage of stuff happening that I'm like, "Oh, if I just think about 674 01:04:29.708 --> 01:04:32.500 that one thing and hang on to that, then that is helpful." 675 01:04:33.708 --> 01:04:38.000 In the end, a little less scary than just feeling like it's just... 676 01:04:38.000 --> 01:04:42.500 Even though it's a billion of me and not just one of me, it still feels helpful. 677 01:04:42.708 --> 01:04:42.916 Yeah. 678 01:04:44.916 --> 01:04:47.000 I may be able to see if there's one last question. 679 01:04:47.875 --> 01:04:52.250 And if not, we can also just talk more informally. 680 01:04:53.166 --> 01:04:53.625 It's true. 681 01:04:53.625 --> 01:04:55.625 Having these mics makes it weird. 682 01:04:57.875 --> 01:04:58.291 Okay. 683 01:04:59.291 --> 01:05:00.541 Thank you for coming. 684 01:05:00.833 --> 01:05:01.416 Thank you so much. 685 01:05:02.250 --> 01:05:02.458 Yeah. 686 01:05:02.708 --> 01:05:03.625 And thank you, Susan. 687 01:05:03.750 --> 01:05:03.958 Yeah.