mwe3: Your 2017 album, Bring The Flavors is one of the finest guitar
albums of the year. You say it takes an approach like cooking where you
add in a range of spices, to sum up with something fresh. Also what
spices are on the cover? You also mention Tibetan Buddhism as being an
influence. How did both cooking and Buddhism add to your musical
approach on Bring The Flavors?
Jack Gates: I feel that there is a relationship between flavors and
sonic qualities. What I’m trying to convey is an almost palpable aroma
or the sensation through the music. I think that the acoustic guitar is
particularly well suited to this process.
The spices on the cover are from a region of India called Kerala.
Buddhism provides a method for developing self-understanding. It also
helps to focus the mind and transform negative thinking.
mwe3: How do you maintain such a peaceful sonic outlook on Bring The
Flavors? With the world so stressful these days especially, do you align
music in a way as to soothe the beast so to speak? New Age and
Classical-influenced jazz is very popular these days no doubt but people
are looking to music as an aural form of meditation.
Jack Gates: The challenge for me is to tune out the world of
technology, email, and news. If I can get up in the morning with a fresh
perspective, perhaps with a view of the forest, my mind is clear enough
to allow the natural music inside of me to emerge.
The other aspect is choosing a recording environment that is free of
distractions. I’ve been lucky to work with Justin Mayer at Bear Creek,
he really has designed his studio to be transparent to the user and he
also brings that approach to his recording technique.
mwe3: You studied guitar with classical legends David Tanenbaum and
Julian Bream. What did you learn from your early guitar teachers and
how did they influence your own music performance and writing?
Jack Gates: David was my main teacher, he aligned my hands for
correct positioning and taught me how to read a score and the
elements of creative interpretation within the historical context. The
Bream master class, which I audited, was a revelation of sonic
possibilities. Julian Bream could get more varied timbres out of the
instrument than any guitarist of his time.
mwe3: You like to combine classical guitar with jazz and even rock. How
do you approach and blend all those genres and styles that sit side by
side on Bring The Flavors?
Jack Gates: It was a very gradual process over many decades of trial
and error. I’ve been lucky in that my career as an on-call guitarist
has pushed me into live performance and studio situations where I had
to quickly adapt to many different styles of music.
I wouldn’t suggest that any guitarist try to emulate that approach.
Really, I’ve used classical guitar as a tool for my own compositional
purposes rather than as a career classical peformer.
Electric guitar with overdrive is a very different animal than an
unamplified nylon-string instrument. It requires a completely different
touch and attack of the note.
mwe3: On Bring The Flavors you’re supported by a different group of
musicians than on Voyage of the Troubadour album. How would you
compare both albums and did you take a different approach on Bring
The Flavors this time around?
Jack Gates: I did consciously take a different approach. I have been
fortunate to work with great musicians on both recordings. Steve
Robertson brings special skills to the process, as he is an expert in jazz
trap set as well as Brazilian and Latin hand percussion. On this latest
record, he plays pandeiro (pan – dare – oo) and timba (chim – ba) , which
are not often heard in the U.S. Pandeiro is becoming more well known
through the growing interest in choro music, a style of acoustic
instrumental music that originally was heard in the U.S. in films by
Carmen Miranda.
Some of the tracks use the Steely Dan approach of layering each track
one at a time. On others, Steve and I played live together and
improvised as well.
Stan Poplin is the bassist on this record and was a member of the
famed Robben Ford/Jimmy Witherspoon Group. He brings great feel
and presence to the recording.
mwe3: You recorded another album with Tim White called Impromptu.
When was that album recorded and released? How would you compare
the Impromptu album with Tim to your other recordings with Tim? Is
Tim playing sitar on that album as well? It looks like you guys have a
great musical community in California. What’s new with Tim?
Jack Gates: Impromptu was released in 2015. It was completely
improvised in the studio. I’ve been recording and playing with Tim for
several decades, we both studied with the great Ustad Ali Akbar Khan.
The music community in this part of California is still extremely active
and diverse, although many of the players that I knew in the past have
relocated to New York or other areas.
Tim has been working on recording projects with Alam Khan and many
others. He’s a very active producer, recording engineer, and teacher in
Northern California and he has a classical sitar performance career as
well.
mwe3: Has there been any new developments in the guitar world for
you? You recorded Voyage Of The Troubadour with classical guitars
made by Antonio Marin and John Mello and a Telecaster on the electric
parts. What guitars are featured on Bring The Flavors and can you tell
us what strings and amps you are currently using and if there’s any
other tech news?
Jack Gates: I used the same Tele on many of the electric parts on
these new songs. I also played a 1971 Guild Bluesbird guitar.
The amp is a modified Joe Morgan RV40 with 10-inch speakers in an
open back cabinet by J Design.
I used an OCD Fulltone pedal as well as a tc electronic delay.
The acoustic guitars are a John Mello classical with Honduran
Rosewood, a Jesus Jimenez flamenco negra from Spain, and a blanca
made by Miguel Malo. I also play a Glenn Canin flamenco double top in
performance.
I typically use La Bella 2001 normal tension trebles and either
composite or normal D’addario Pro Arte basses.
The electric strings are Curt Mangan .11s.
The acoustics were recorded using combinations of Neumann KM 140s
and an AKG 414 TLII.
mwe3: Did you overdub different guitars on different tracks? How
many guitar tracks does a song need? A good example of that is on
track five, called “Seraphic Journey”. That track is just over eight
minutes, the longest track on the CD, and you describe it as a
combination of Renaissance music as well as Brazilian music and rock
too. How did you overdub guitars on that track and then layer it with
the other instruments?
Jack Gates: On Seraphic Journey I recorded the entire acoustic
track in one take. Then I thought for a long time about how to
overdub something that could create a conversation between the
acoustic and electric guitar.
I decide to overdub a clean sound in the first section, then an
overdrive sound in part 2. The first section is influenced by Dave
Brubeck, Bach and Rennaisance guitar music. Part 2 is like bossa and
samba music of the 60s and 70s with some blues thrown in for good
measure. The only other instrument is the jazz trap set that Steve is
playing, which he played after I laid down the acoustic guitar.
So, two guitars and drums, that’s it.
mwe3: What other things like performing, writing and recording and
producing are you planning for 2017?
Jack Gates: I’m working on a new album that will probably feature
woodwind and brass instruments in arrangements with acoustic nylon
string guitar. I’ve been performing with sitarists Tim White and Phillip
Porter, two different ensembles with tabla accompaniment.
I’m working on several guitar books which will eventually be completed!