PARK STREET INTERVIEW 5/17/06 FOR NEW ALBUM ďIDEASĒ
to be released September 22, 2006
Park Street (PS)
How are the responses to the advance copies of ďIdeasĒ, that your
Tucker Rountree (TR)
Responses have been good, better than what I expected at my age.
There have been many labels into listening to it, but I think
maybe 3 or 4 actually look like something might happen.
What is your criteria for a label?
Well, I got some great advice recently. Any label thatís small enough
where I know the people that are working for me. That want to push
this album, and get excited about what Iím doing.
That sounds great. It somewhat goes along with my feelings of the record.
Itís a very, very mature piece of work for someone your age and
It can be.
you, I would have never expected a record that is as dark as this one.
Itís interesting to hear your perception.
A lot of those songs and the way I played them on the recording are a product
of the things I was going through in Austin before we moved and coming
back home to Utah after a long time, and going through a lot of changes.
All of which was instrumental in that music, and a good expression for me.
98% of what I would have to say about ďIdeasĒ is extremely positive.
Its way beyond anything I expected. Itís a wonderful, wonderful record.
I can see why youíre getting such good responses to it. Itís astonishing
from such a young musician. I donít know about the drums and guitar duet though, itís
a little long .
Yeah, that ones pretty wild. I like it though.
How would you compare it with my 1st album, No Goodbyes?
I think itís a lot more mature and has more emotion. Reading my notes from
listening to it says, ďreservoirs of deep emotionĒ. It seems a lot
more from the heart. Itís a whole other ball game I think.
I really liked your 1st one, but I didnít react to it like this one.
Thatís what I want Park. I try not to tell my musicians too much
information about the music, to keep it really fresh. But what I do tell
them is pour your emotion into it. Donít worry about chops, and cool lines and such, rather play with
serious feeling and just let it take over.
I tried to be really honest in the writing.
Well you cite Wayne Shorter as being an influence on you. And its
true. He proved you donít have to play every note in the space given to make beautiful music.
Oh I love Shorter!
You could have written any kind of happy la la la melodies, and
thatís certainly not what it is. And in some respects, itís very much
your own. I donít know that it steals from
anybody. And thatís what you want Iím sure, your own sound and style.
And its remarkably your own, your just kicking butt on this.
Hopefully you can g
et some support
and tour the hell out of it.How was it working with Roscoe Beck?
See, itís been kind of a strange journey for me. If you look at it
from my perspective, being 13 years old and listening Eric Johnson and Roscoe do their thing.
They toured through Utah in 1994 or so, opening for Steve Miller. That was
The first time I saw them live. I was blown away by Roscoe then, and still now.
So to record and perform w/Roscoe now is unreal. Itís a dream come true.
Heíll like to hear that.
Roscoe is one of those players that has unlimited virtuosity and
faculty in his playing,but he constantly maintains discipline in how much he actually plays, always thinking about whatís right for the music, the song. He fully understands
harmony, which is my passion too. I feel blessed to play with him.
How was it to play Ros
coe Beckís ES-335?
Oh man, the 335. ÖwowÖ
The famous 335,the 335 thatís a strat in so many peopleís minds.
Exactly, everyone thinks thatís a strat donít they ?
Well everybody except for the true fans, that have gone through all
The ďCliffs of DoverĒ guitar.
Yeah Iíve always been for certain about using just my guitars on
recordings. We were at his house playing, and I just picked it up. It
just has this whole viscera to the instrument.
You can tell that someone has just played that for years and years. I
didnít even not consider using it on the recording. Thereís a neat quality it has. I
actually used it on over half of the album! There was a point where I had to put it down, and
use my original black 335, she was getting jealous I think.
Do you remember who talked you into trying a 335 when you were last
looking for a guitar in 2003?
It was you and Eric.
Yeah, when we first met at your gig in AustinÖ
I think that place was called Cippolina. I was playing a big old
arch top and it wasnít really working for me. A fancy Gibson ES-165
Herb Ellis model that I had for a while.
It appears that working with Roscoe has worked out well. Whatís the
deal with Paul Wertico (Methenys drummer 81-99) playing with you?
Yeah, Wertico is a hero of mine for sure. He flew down from Chicago
and played a trio concert with me here in Utah. He gave me a chance. It was a riot. Iíve
never felt so excited about playing Jazz music in my life.
He told me afterwards, he liked my ďdam the torpedoes attitude.Ē
Which is strange, Iíve never thought of myself in that light. But he
did and I was honored.
Do you think youíll play more with him?
Yeah, I hope. He invited me up to Chicago to play and hang out. I
might be getting him on some European tours as well. We had a good time playing, had
some good talks too. He just had a real fire to his playing. He can
play from a whisper to a roaring wind.
I was very inspired playing with him, he lets the music play him,
rather than the trying to play the music.
Of course you know Iíve got my hopes that youíll play with Charlie
Oh man, I donít know if Iím ready for that yet. I would love to.
Charlie Hayden reminds me in some ways of what your doing.
I know what you mean, thereís a blend of free jazz stylings, mixed
with intricate harmonies. At the same time, thereís a very honest approach from my influences.
I donít deny what my influences are, I think thatís wrong to do that.
You can hear it sometimes. Like 80ís new wave music or Steely Dan, Paul Simon to
Keith Jarrett, cause thatís what I heard growing up. Itís strange how
What are you thinking when you improvise?
I imagine your not thinking anything.
Exactly, if Iím really improvising.
How do you create music, do you agree with that terminology?
I think thatís a really important issue, and no one ever talks about
it. People always assume that someoneís writing music, or that so and so
is the only one capable of writing that song etc. Music is just there, and Iím
not trying to write it so much anymore. Iím not saying I hear a whole concerto
in my head like Mozart. I just donít like using the words ďI wroteĒ, because itís all
just out there. All we have to do is be receptive to pick it up, maybe quiet down
inside enough to hear the music, then
shape it a little to your own style and sound. So Gods gracious enough, to let us use it.
Like a book that you discover on a old bookshelf up high, and no
oneís ever read it. Youíre the first person to read it, but it still doesnít mean you wrote
the book. Does that make sense to you?
Yeah it goes along with just getting out of the way.
Do you believe in perfect pitch?
No, absolutely not. For a long time people would tell me I had perfect pitch.
And I believed them and what that did was it started hindering my
music, because I always just assumed that I was right. And what I was supposed to be
doing was listening to the other musicians around me playing. Because
there are no bad notes, Jason Friedrich in Austin taught me that. One of my
favorite drummers. Itís all subjective.
You can never have perfection in an imperfect world, its impossible.
Better to take it from the opposite p.o.v. What is good for that
time and place, will work fine.
Yeah, I like what the Amish do. When they make those really beautiful quilts,
They always put an imperfection in there somewhere. Because they say only
God could make perfection.
Thatís really neat. And you know even if they did make it without that mistake
On purposes, there would still be one. Thatís the funny truth.
Weíll I think your just doing great. And it all sounds really good.
Thanks! See you in Austin for the CD release on Sept 22 Ruta Maya date.
Talk to you soon.