Austin Music Scene

A little something we cooked up at INsite HQ. What do you think? True or False?

Interview: Jeremy Steding

This interview is week 7 of Sean Claes' 52 Weeks of Austin Music Interviews.

Living and Learning with
Jeremy Steding

Jeremy Steding plays that dance hall style Country music that thankfully has survived the progression of Country music. His style seems to equally pull from the likes of Robert Earl Keen and Johnny Cash and, like any songwriter worth his salt, he is able to take you places with his lyrics.

When he moved from Florida to Austin in 2007, he brought with him a songwriters talent and a love for the Texas-style Americana country... and over the last six years, he's worn it well.

I just recently discovered him when I was invited to a recording of the Backroom Bootleg Sessions at the Gibson Guitar Showroom. When I saw him perform his song "Arkansas Rain," I knew I had to get to know him a little better... and I needed to let others know about this talent.

Sadly, he's not sticking around Austin very long. He's making the jump to Nashville to hone his songwriting skills, but before he goes you should make it a point to see him live at least once.


Sean Claes: You made the trek from Florida to Austin in 2007 with an unreleased album in your hands. Tell me about your relocation, and why you chose Austin?
Jeremy Steding: It felt right. I had never been, but I just kept hearing about it. I wanted to pursue original music, professionally. I wanted to perform my own brand of country music in a place I believed it would be well received. I wanted to grow as an artist.



Claes: Were you familiar with the “Texas Music” brand of country?
Steding: In college, I heard of Cory Morrow and Robert Earl Keen. I dug into Texas Music and fell in love. If I could pinpoint it, I would say that the REK song, “Feelin’ Good Again,” was the reason I moved to Austin, having never before been to Texas. Moving to Austin was the best decision I have ever made.

Claes: Growing up in Florida, how did you end up playing and singing country/Americana?
Steding: I grew up listening to good music. My dad plays and sings. “Paradise,” by John Prine, “Folsom Prison Blues”, by Johnny Cash, and folk classics, like “Where Have all the Flowers Gone?” were features in his nightly, family room concert series.


Claes: Your first album, 2008’s Whiskey Songs and Prison Songs, got some attention on the Texas Music Charts for the single “Auburn.” How did it feel to get that first charted single?
Steding: It was an amazing feeling! I take the most pride in the fact that I promoted it entirely myself. I did not spend the usual $3,500 on a Texas Radio promoter because I didn’t have it. Honestly, at that time, I don’t think I had $350. I just did the best I could, being persistent and polite. I am very grateful for the independent minded stations that helped. This is still a cult hit in a lot of college crowds.

Claes: You also released A Damn Good Ride in 2009 and hit the charts with “Let The Boys Drink Whiskey.”
Steding: I believe this is one of the two best produced songs I have ever done and still one of my favorites. Tim Crouch plays the fiddle and mandolin and Doug DeForest produced. I feel the song came out beautifully. ”Life’s a Song” from Whiskey Songs and Prison Songs, is my other favorite.

Claes: Do you feel you advanced as a musician and performer between the two?
Steding: Between the two albums, I grew immensely. I progressed quite a bit as a player, musician and singer. I could play with a metronome by this point.

Most importantly, I learned about the music business and entered it. I recorded WSPS in 2005, (though it wasn’t “released” until 2008) so, by the time I made A Damn Good Ride I had not been in the studio in almost four years.


Claes: Back in June you released your third record I Keep On Livin’, but I Don’t Learn. How has the reaction been thus far?
Steding: Very, very good overall. We have had a ton of support from bloggers and radio stations internationally. This album was written about at least 4 times as much as the previous two combined.

I feel my fan base is really expanding with this. At the same time, I have further separated from the Texas Country mainstream. I feel like I am really coming into my own. Of course, now, I am totally inspired and can't wait to record again!

The reaction, in Europe, has been amazing and that is where I have been focusing my attention. We debuted at #17 on the Euro-Americana Charts, and Euro Radio airplay is growing wildly.

Claes: How do you feel you’ve progressed as a songwriter on the new album?
Steding: This is the first album I could hand to Guy Clark and say, “Hey man, I’d be grateful for a listen.” I feel the songwriting on this album is more “intelligent” than the ones before. I have had kind mentions and gained respect from some of the songwriters I truly admire. The production is simple and true to the live show of the time.

Sean Claes: The album was produced by Walt Wilkins. How was it to work with him?
Steding: Walt seems like the coolest guy in the world, but he is actually much cooler than he seems! It was a ball.



Claes: I caught you performing “Arkansas Rain” (video above) from the current album as part of the “Bootleg Series” at the Gibson Guitar Showroom. It’s really a beautiful track that seems to be a classic hurtin’ song. Tell me about the song.
Steding: I wrote the song while in a very unhealthy relationship, and it was a forethought into what the future might be if I didn’t get out of it. I thought about the millions of people who live, daily, with heartache and regret.

I’m very glad I wrote the song instead of becoming one of them. Struggle often creates absolutely beautiful art.

Claes: You cover Johnny Cash’s “Don’t Take Your Guns To Town” on the new release.
Steding: Cash is my favorite artist and this is one of Walt’s favorite songs. It was just right!


Claes: What is your favorite track on I Keep On Livin’, but I Don’t Learn?
Steding: I struggle with this. My favorite song is “Arkansas Rain,” but I think “Five Aprils” sounds the best. I love the fiddle.

I kept this album completely organic, in the style the live band played at the time, and in retrospect I would have brought in more fiddle/mandolin.

Claes: You also used Kickstarter.com to raise the money to record this and you were able to raise over $11k and had 82 individuals back you. That’s pretty amazing.
Steding: Grateful would be a huge understatement. I am overwhelmed with gratitude for the friends/fans and family that helped us reach our goal! Thank you, Gracias, Merci, Danke Schon!!! I can not possibly thank y’all enough.

Claes: You currently have all three of your releases available for free download (or for a contribution of any amount). Why did you choose to do this?
Steding: Embarrassingly enough, I was turned onto some of my favorite artists, like Robert Earl Keen, through free (illegal) downloads. Since then, I have spent a lot of money on concert tickets, hard copy CDs and I have mentioned many of these artists in conversations I’ve had.

If it were not for “free” music, I would not have discovered Texas Music. Though many would argue, I believe this is the way of the future. Upcoming bands must be heard. Exposure is the only way people can pass judgment and mainstream media is not an option for all music.

I have found that the more people hear the music, the more people will come to shows. If a song touches someone, they tend to buy a CD, or a shirt.



Claes: Who are some of your favorite musicians in town?
Steding: Off the top of my head: The Trishas, Heybale, Dale Watson, Roger Wallace, Mike Ethan Messick, Walt Wilkins and the Mystiqueros, Mike and the Moonpies, John Evans, Bracken Hale, Tessy Lou Williams, Hayes Carll...

I could go on and on and on, they just came to mind at first thought... I know I need to see White Ghost Shivers, I have been assured, by trustworthy sources that I will think they are fantastic. Please, go listen to Bracken Hale.

Claes: You’re playing tonight (2/21) at Legends Sports Bar in Austin. What’s the cover and are you playing with anyone?
Steding: This is a free, solo-acoustic show. This is actually a very cool hang, a lot of times other musicians show up and play some...

Claes: This Friday (2/24) you’ll play the Old Coupland Inn and Dancehall. Is it a different feel when you play legendary places like this?
Steding: Totally. This is our first time back since it reopened. Coupland Dance Hall is legendary. It just feels good to be there. Coupland is the real deal. Please, please, please, if you have never made the 40 minute trek out there, do it. It is worth it. This is living Texas History, you step back in time 100 years when you walk through the door.

Also, get the ribs or something “Chicken Fried”

Claes: You’ve also been tapped to play the ‘Rockin’ A Outdoor Stage” at the Star of Texas Fair & Rodeo in March.
Steding: I love the rodeo. This is our third year playing there. It started because my buddy, Scott Boyd was dating Christy Bowen, who booked the bands in 2010. She wanted a young, more traditional country band for a show. Then, I have just followed up, yearly. We always love playing at the Rodeo.

We are playing outdoors and on the 100x Stage on Monday, March 12.

Claes: Where are some of your favorite places to play?
Steding: I have really been loving hosting the pickers’ circle, in Luckenbach. Also, I love Saxon Pub - sound is perfect, Threadgill’s, NXNW Brewery is always fun - we play most of their special events. I love going to Lubbock and playing The Blue Light.

My living room is also rad, great acoustics! I’d like to try out the Rattle Inn and the White Horse. Those seem like cool new spots.

I have also recently started an Irish Folk Music Side Project. We will be playing the St. Patricks’ Day Celebrations at Fado Irish Pub and NXNW. I’m really excited. I absolutely love Irish/Scottish folk music, and I believe I do a pretty decent job at it.



Claes: I saw that you’re taking a trip in June to Europe to tour overseas this year.
Steding: I love experience and travel. When I saw how well the album was being received, in Europe, I knew now was the time. I am planning on staying most of the summer.

Fifteen shows have been booked, ranging from house concerts to dance hall stuff. I have had some great friends, here, and in Europe, and here, helping. I’m truly grateful.

Big thanks to April Orr, Rob in Scotland, Mandrin in Switzerland, Max in Italy, Dolf and Frank in The Netherlands. Also, huge thanks to the Euro-Americana Chart and all those involved.

Claes: Is this your first tour overseas?
Steding: I backpacked Europe when I graduated college and have had the pleasure of visiting a number of times, but I have never performed there. My parents, Dan and Jeanne, lived in Erlangen, Germany for three years (2003-06) so I’ve spent a good amount of time there.

Claes: I hear you’re planning on making the move to Nashville this year.
Steding: I’m going to Nashville in October. I want to continue developing my craft and grow as a musician/songwriter. I know I can be a better musician/singer/songwriter than I am now.

I think a change of scene and an immersion in another culture will help. I want to pursue the top level of professional songwriting/performing. I’ll continue touring and spending a great deal of time in Texas, I love Texas and traveling around, sharing our music. I just feel like its the right time.

I will be pursuing publishing, I feel like Zac Brown could have his first ballad hit with “Arkansas Rain.”

I love Nashville. I used to buy into the whole TX vs. Nashville thing, but in my opinion, its not true, at least not anymore.

Claes: The band you play with is called the “Band of Bastards.” How’d that name come about?
Steding: Ehhhhhhh, it was a quick idea and it stuck. I try to avoid the term anymore but people seem to love it. They’re actually really nice guys, haha.



Claes: Is there anything you’d like to add?
Steding: I can’t even begin to express how grateful I am for our friends/fans/supporters. Thank y’all so much for everything. I consider myself truly blessed to perform and travel.

I hope to have a beer with you soon! Come see the Country Band or the new, Irish side-project, soon. First 10 people to mention this article, in a post on my Facebook band page get a free CD and your first drink is on me at the show of your choice (expires after 3/17/2012)

For more information on Jeremy, find him online at http://www.jeremysteding.com or on Facebook or Twitter. His entire catalog of music is available for free (you're welcome to donate if you like) via his Music Page.

He plays tonight in Austin at Legends Sports Bar (8901 Business Park Drive) He'll play the Old Coupland Inn and Dancehall (101 Hoxie St, Coupland, Texas) this Friday. Sunday you can find him Under The Trees at Luckenbach, Texas.

Sean Claes is the owner of Austin's INsite Magazine and has been a freelance entertainment writer since 1996. If you like what you read... please share. To visit Claes' homepage, go here - http://www.seanclaes.com/.

BANDS: Free Music Options for March 2012

Two Ways To Get Your Music Out
FREE
in March 2012

If your band is going to be in Austin for that mystical 3rd Week in March, INsite has been made aware of a couple of really cool deals that may help you get your music out.

One is a compilation album that Austin record label Defeat The Squares is collecting songs for, and the other is a studio that Converse (the tennis shoe makers) are going to be offering during SXSW.

The catch? You have to contact them and sign up.... and spaces are limited. The cost? Completely free. Just be sure and thank INsite on your liner notes of your next album... and send us one.



Defeat The Squares Compilation
Austin-based record label Defeat The Squares announced recently that they are putting together a compilation CD to be passed out in Austin during March.

Here's the skinny: The CD will be a mixture of rock music with a comedy track in between each song. 1,000 physical copies will be pressed-up and passed out for free. They will also release the album as a digital download via http://defeatthesquares.com.

There is no cost to be included on the compilation, and the deadline to submit your track is February 24, 2012. Follow this link to their Contact Page and indicate interest in the compilation. They will get back to you with details. FYI INsite is on board as a media sponsor for this compilation.

Contact: http://defeatthesquares.com/fr_contact.cfm



Converse Rubber Tracks
Converse, the athletic shoe company, recently opened a recording studio in Brooklyn, New York that offers free studio time for emerging artists on their state-of-the-art equipment.

They have decided to bring their studio to Austin from March 13 - 17, 2012. They wish to fill up all of the time slots with Texas-based artists. So, if you're a band in Texas, take the carrot and record a song or two. They are genre non-specific and you own all of the rights to the music you record. They will also have a sound engineer on hand to handle that aspect. All you have to do is apply. Seems simple enough.

The catch? They are limiting the sign-up to five bands, so apply NOW.

Information: www.converse.com/rubbertracks

TRES Interview

This interview is week 6 of Sean Claes' 52 Weeks of Austin Music Interviews.

Setting The Mood With TRES
Bringing Latin Jazz to Austin for a Decade

By Sean Claes
Over a decade ago, guitarist Kurt David Phillips and bassist Mike Rosch got together in Austin, Texas and decided they would make beautiful music together. They combined their passion for Latin music and decided to perform their brand of Latin Jazz fusion together with a percussionist and bill themselves as TRES.

In 2005 they released their debut album, a self-titled instrumental offering that is both great and timeless. Most of the gigs they play seem to be as background music at restaurants, so if you’ve eaten at places like Z Tejas (they play the 6th Street location this Sunday 2/19/12), there’s a chance that the background music was performed by these amazing musicians.

First, some background on these individuals.
Rosch plays in six other bands in town (Blind Date, Sonido Sol, Carousel, with Britini Hoover, the Richard Jessee Project, and with Omar Lopez) . he also owns Mary Tubble, LLC which does composition and recording of music beds and sound effects for commercials, indie films, internet videos and more.

Phillips has been playing music well over 20 years and is the owner of the Lone Star School of Music, a local music school that offers individual lessons as well as rock camps, mommy and me, and more.

In 2005, the band parted ways with their percussionist, Shango Dely, when he had to leave the country, and Noah Mosgofian joined the group. Mosgofian has just settled to Austin after touring with the amazing dance troupe STOMP for six years. Like Rosch, he plays with several outfits.

I thought the week of Valentine’s Day would be a good time to touch base and talk with the members of TRES. After all…Latin infused jazz IS sheet-dancing music… isn’t it?


Sean Claes: TRES seems to fit the band for two reasons, the fact that there are three in the band plus the Latin jazz music you play. How did the band end up choosing this genre of music?
Mike Rosch: Haha, yeah the name was decided based on those two things and at the time, none of the three of us felt like the name was as important as the music. Plenty of bands have weird or silly names. It does make it difficult for us to add a sax player or do duet gigs, however.

The style of music was the reason we got together, really. I was recruited into my college’s salsa band and realized in a hurry that this was my absolute favorite style of music I had heard. When I decided to get back into playing, I wanted to play “salsa” but in a smaller format – or at least as close to real “salsa” as three guys with no horns could sound. Kurt had wanted to do a Latin trio from the get go too, so between my salsa knowledge and his collection of guitar based Latin music, our sound was born, I suppose.

Claes: How have you and Kurt kept it together as a band for a decade?
Rosch: It’s no easy feat. But then, sometimes it’s totally effortless. I guess it’s not that different from a good marriage. You realize your partner has quirks, just as everyone does, and you can either deal with them, or not. It always makes me sad when a band can’t get along, so I’m fortunate and very happy to say that the three of us do.

Kurt and I have been like minded enough to keep this going for 10 years, as you mention, and with the addition of Noah a few years back, I think we found a 3rd guy who thinks like we do. And don’t get me wrong, all 3 of us have quirks and occasionally get our feathers ruffled, but we are close enough with each other to realize that at the end of the day it’s about the music first, and we can fight later. Usually later never comes.


Claes: You released your self-titled debut in 2005 containing 13 original songs. The cool thing about your music style is, it’s instantly classic and timeless at the same moment. Do you have plans for a follow up CD?
Rosch: That is a very nice compliment, thank you. I’m always glad to know that the current CD is resonating with people.

There are definitely plans for a new one. We’ve done quite a bit of scratch tracking for it already and so far it’s just been a question of scheduling to actually get it done. The new disc will be our own versions of really old Cuban songs, really more of the idea I mentioned earlier about arranging “salsa” into a 3 piece band.

We’ve added vocals since the first CD, and might even add some horns and such to the new one. It’ll be hot, if we can ever get it done.

Claes: When you release a new recording, are you going to release is via a CD or as a digital download?
Rosch: It is my opinion that in a world of iPods, mp3 players, and digital downloads that people still do listen to CDs and like to have them in their hands. Since we primarily sell our music at shows, it’s a whole lot cooler to have a physical disc than a card with an iTunes url.

It will be available in both formats, of course... I’m just saying, CDs are not dead.


Claes: On the CD, you’ve got a track entitled "The Last Picture Show (a Theme from an Imaginary Western)" That really has that Desperado feel to it. Was that in your mind when writing it?
Kurt David Phillips: The inspiration for “The Last Picture Show” goes a little further back, all the way to The Good, the Bad and the Ugly. Ennio Morricone, who wrote the soundtrack, has always been one of my favorite composers and has been copied by almost everyone, including myself.

The Desperado influence is on the right track, just envision Clint Eastwood instead of Antonio Banderas strolling into town.

Claes: When you play live, do you tend to favor originals over covers?
Rosch: Absolutely not. We still play plenty of our own stuff, but we have way too much fun playing our favorite songs from other composers.

That said, when you come to a TRES show, you don’t have to know some obscure Benny Moré song to enjoy the show, nor do you even have to be familiar with our CD. That’s what I love about this music – it’s just pleasing to hear and fun to dance to, even if you’ve never before heard one note of what we are playing.

Claes: You’re playing Sunday February 19th at Z Tejas on 6th Street. What can the crowd expect?
Rosch: Great drinks, half price appetizers, and lots of pretty people. Haha. Z Tejas is a restaurant gig that we currently do once a month.

As a Latin jazz trio we actually do more restaurants than anything else, and in these cases we are just trying to provide an exciting added bonus to an otherwise already enjoyable dining experience, without making it too much about us.

We do play in the “annex” at Z which is more of a bar but still serves the full menu, so I highly recommend to anyone looking for a fun night and a great Austin experience to come on out. And again, we are there once a month playing all varieties of Latin music.

Claes: When playing a restaurant gig like Z Tejas, what is the #1 requested song that people ask you to play?
Rosch: In TRES, we have a joke... We take requests as long as it’s a Latin jazz song that we know. The thing is, people love what they hear, but they don’t really know the music.

So rather than specific requests, we typically get requests for a particular artist that they might have thought of while listening to us. “Do you guys know any Santana,” for example. Santana’s music isn’t really what we do, but we learned one of his just for this kind of occasion.

Other than Santana, we get Gypsy Kings and Buena Vista Social Club requests, and once in a while a patron who just doesn’t get it will request “Sexual Healing” or “Smells Like Teen Spirit.” True story.


Claes: Do you have a favorite gig that you’ve played in the last 10 years?
Rosch: It’s really hard to think of just one in the last 10 years, but for me I’d say it was our CD release party. We held it at an amazing place called Tambaleo which is closed now, and had just an amazing turnout.

This was before we had even met Noah, and the percussionist who recorded the CD had to go back to his home in Columbia and couldn’t do the event with us. It was of course bad timing and a real bummer, but we turned lemons into lemonade and hired BOTH of our favorite substitute percussionists, one on congas, the other on drumset. It was big and loud and full and tight and I just soaked it up.

Oh, and we sold a ton of CDs which is always nice.

There was also a road show - an event in San Angelo, TX that turned out to be a great gig with an amazing after party. But what happens in San Angelo, stays in San Angelo. Haha.

Claes: You are all very competent and amazing musicians, and this style is not an easy one to emulate. Do you feel the genre gets the respect it deserves in Austin?
Noah Mosgofian: Jazz in general doesn't get much respect in Austin. There's only one dedicated Jazz room, and it's often empty. I think people appreciate it, they just don't go out to pay to see it.

Rosch: I don’t want to step on any toes in this town, but he’s not wrong. In general, all the jazzers in town are competing to play at the same 5 restaurants. I’m exaggerating a little, but it’s unfortunate that more places don’t want it. Or the ones that do, don’t have the budget.

So I guess in general the answer is no. But I would take the time to thank Elephant Room and BBA Management and Booking. Elephant for sticking to their jazz club guns, and BBA for keeping the jazzers in this town working.


Claes: Mike, you did a bass-only recording of Steve Vai’s “The Attitude Song” that actually garnered a response from Vai himself. How’d he end up hearing it, and what did he say?
Rosch: That’s a silly story. I recorded that totally on a whim and later added it to a demo of mine. I don’t know why I thought anyone would want to hear an all bass version of a “shred” guitar tune, least of all the man himself who wrote and tracked the original, but I somehow got it in his hands and he liked it.

This would have been before MySpace, Facebook, or any of that, so I must have just found somebody’s email address on his website and convinced them to put it on his desk. I got an email back from him a week later. He basically told me that he was very impressed, but equally amused, indicating that he laughed a lot while listening to it (I guess that’s a good thing?), and he praised me for the dedication it took to make it happen. It felt pretty good.

Now if I could just do one gig with Vai before I die, I’ll be complete.

Claes: You have been called “Jaco Reincarnated” by your peers. For those who aren’t familiar with Jaco Pastorius, can you explain?
Rosch: This is a tough question. On the one hand, it’s silly again for me to be compared to him, but there’s nothing silly about Jaco’s story. To the contrary, rather tragic.

Jaco was possibly the greatest bass player that ever lived. If he were still alive today, who knows what he’d be doing? He was so innovative. Unfortunately, he was very self-destructive and between drugs and a very real death wish, he ruined his life and burned a lot of bridges before being beaten to death by a club bouncer. He was likely bipolar but never officially diagnosed.

I think the parallel between he and I was drawn only due to the fact that I used to play fretless bass almost exclusively (as did Jaco) and have a tendency to play more “melodic” bass lines with harmonics and such, rather than just basic ones, centered around roots and 5ths – also very Jaco-ish.

Plus I recorded a version of one of his more famous works called “Portrait of Tracy.”

I encourage every living person, musician or not, to at least check out the wiki entry on Jaco. It’s an amazing story, albeit a sad one.



Claes: Noah, you did a 6-year tour playing percussion for STOMP. I saw Stomp when it came through Austin a handful of years ago and it blew me away. What was it like and why did you step away from it?
Mosgofian: So far STOMP has been the highlight of my musical career, and the backdrop for some of most memorable experiences of my life. Because we would tour non-stop, the show becomes your life. The cast and crew become your circle of friends, your surrogate family.

Musically and creatively it was very satisfying. I can't imagine any other gig I'd be happy doing 6 shows per week for 6 years and still not be tired of it. That's partly due to the genius of Luke and Steve, (Stomp's creators) and partly due to intensity of the show itself. It's mentally and physically very demanding.

Although it kept me very fit, I sustained injuries that began to get worse and worse as time went on. Spinal injury in my upper back/neck is what eventually made it necessary for me to leave the show. I actually lasted the longest out of the six others who were hired with me.

Claes: Who else are you playing with on a regular basis?
Mosgofian: I play Cuban/Colombian/Latin American music with several bands and artists around town including Angel Ibañez, Felipe "Tiburon" Borrero, Kiko Villamizar, O+ Positivo, Ritmo 3, and Paul Matthews.

I play drumset with Atash when their main guy Jason is out on the road with Billy Joe Shaver, I’m the musical director and lead djembe player of Lannaya West African Dance company and I play djembe and dunun with Drum Cafe, an interactive team building event that's very popular worldwide. I also play caixa, repinique, tamborim, and timbal with the Austin Samba School, Academicos da Opera. I've also helped arrange, compose, and direct parts of their shows.


Claes: Kurt, you’ve got a degree in classical guitar from the Chicago College of Performing Arts. Previous to that you played jazz in Kansas City. How’d you end up landing in Austin a decade ago?
Phillips: I’m a native Texan and after I finished my degree in Chicago I wanted to put down roots somewhere. Austin was on my short list and after visiting and meeting some musicians in town it was a no-brainer. Austin has turned out great. It really feels like home.

Claes: You also own Lone Star School of Music. When and how did the idea of starting a music school in the “Live Music Capital of the World” happen?
Phillips: Lone Star School of music grew out of me teaching out of my house and at other music schools in town. I wanted to teach at a place that lived up to Austin’s reputation around the country and the world.

This city takes its music very seriously but also has a LOT of fun with it. That’s what we try to do at Lone Star. I take teaching to be a great responsibility but I love it and I can’t think of anything I’d rather be doing right now.

Claes: TRES’ music draws obvious comparisons to that of Gypsy Kings and Tito Puente. Who are some artists in Latin jazz that are less known that we should know about?
Mosgofian: Arsenio Rodriguez, one of the founding fathers of what eventually became known as "Salsa". Eddie Palmieri, just a great influential Nuyorican pianist. Cesar "
Pupy" Pedroso, a Cuban bandleader who has taken old Cuban traditions to the limit. Ibrahim Ferrer, a charismatic Cuban singer who stuck to the "Son" tradition when it wasn't popular, only to find fame and fortune in his 70's thanks to the "Buena Vista Social Club". Michel Camilo, Gonzalo Rubalcaba, Bamboleo, Willie Colon, Jesus Alemañy, and the list goes on...


Tres Questions.
What three local bands (any genre) do you think everyone should know?
Rosch: TRES, TRES, and TRES. Just kidding. People need to hear Karl Morgan, people need to see Roxy Roca, and people need to dance to Wino Vino.

Mosgofian: I’d like to throw a nod to the Austin Samba School.

What are your favorite three venues to play in town?
Rosch: I like Saxon Pub, the Parrish, and any place that will hire us.
Mosgofian: For sound: Venue 222. For funky vibe, Ruta Maya. For the crowd, Stubb's.

If you could have a dream-gig, which three bands would play on the bill with TRES?
Rosch: This is an impossible question. But I’ll try. How about the Beatles, Beethoven, and Motley Crue. No wait... Prince, Willie Nelson, and Celtic Woman. Maybe, Peter Gabriel, The Galactic Cowboys, and 311.

I can’t do this...

Mosgofian: They would have to play something other than Latin Jazz, so we could draw a decent crowd. Since it's a dream, how about a Police reunion tour with Mozart and Bob Marley?

For more information and to see where TRES plays next, visit http://www.treslatinjazz.com

Sean Claes is the owner of Austin's INsite Magazine and has been a freelance entertainment writer since 1996. If you like what you read... please share. To visit Claes' homepage, go here - http://www.seanclaes.com/.

Alpha Rev Interview

This interview is week 5 of Sean Claes' 52 Weeks of Austin Music Interviews.

Alpha Rev Gets back to their Roots
Playing four Tuesdays in February at Saxon Pub

By Sean Claes
Alpha Rev, formed in 2005, has been high on my personal list of “local bands to interview” for a good number of years. In 2007 I saw them open for Blue October at Stubb's, and they really impressed me musically and lyrically. Lead vocalist Casey McPherson has a fantastic way with words, he truly writes poems set to music.

In 2010, Alpha Rev was signed to a major label and released New Morning and had a modest National hit with the title track, which reached #3 on the Triple A charts.

Since then, they have parted ways with the major label and have come back to their... well… roots. With 2011’s City Farm: Roots, McPherson and company took the reigns back on their career and musical direction, and if the EP proves one things, it’s as long as you love what you’re doing and treat fans right, anything is possible in music.

Alpha Rev includes Casey McPherson (vocals, guitar, piano), Alex Dunlap (bass), Drew Walters (bass) Brian Batch (violin), Dave Wiley (cello), Derek Morris (keyboard, accordion), Zak Loy (guitar), Tabber Millard (drums, vocals)

And, McPherson is the epitome of coming out the good side of bad situations, he has had his share of tragedy happen in his life, from family members deaths to the implosion of his former band, Endochine, to learning to be an indie band again.

I had the chance to interview McPherson, and we talked about the past, his songwriting, and the four week stint Alpha Rev is doing, playing every Tuesday, this month at The Saxon Pub.





Claes: The name Alpha Rev loosely means “beginning something new.” You began the band after his previous project, Endochine, broke up in 2005. Can you tell me more about the name?
Casey McPherson: I love Latin and Greek prefixes/suffixes. "Alpha" meaning one, or the beginning, and "rev" which is such a great prefix to so many words like revolve, revolution, revolt.

Endochine was an amazing band, but we really self-imploded… mostly because of my self-destructiveness and torment during those days. Ironically enough, the name "Endochine" came from "endo" and "chine" which roughly translates into "to explode from within"

Claes: In between the 2010s New Morning and 2011’s City Farm: Roots Alpha Rev parted ways with Hollywood Records. What’s the story there?
McPherson: Ha. Just ask Fastball, Bob Schneider, and the 98% of other bands that sign to major labels. Many of the staff were incredibly great people, but we were not the right fit for them. I remember when the General Manager asked me "you wanna be star don't ya?!?" That's when I knew something had gone terribly wrong.

They did a great job with New Morning, and now we're on to the next release and soon a new label. So many bands go through so many different labels in their lifespan. All in all, it was a great experience.
Claes: City Farm Roots is decidedly different from your previous efforts. The songs are scaled back and stripped down. Was this the plan going into the recording process?
McPherson: Yes. I needed a "creative recording bath" so to speak. After spending over 180k on a record, making it twice over, 3 months of pre-production and a slew of people telling me what I should or shouldn't do on the past release, I wanted to do a record based around simplicity and sustainability.

Claes: The album was also recorded live, each song having the full band play in a single take.
McPherson: Yes. It was important to me to know where we were at as a band. It's a great way to find out if you get rid of auto tuners, edits, and building your tracks. We kept a tally of who screwed up a take, and whoever had the least screw ups, won $100. I was pleasantly surprised to find out that I had made the most mistakes out of everyone in the band.

Claes: You actually took to the fans for pledges in order to release the new EP. How did this idea arise?
McPherson: My friend Michelle (Nehme) was raising money for her film on sex trafficking in America, specifically focused on Texas (www.tradeinhope.com). She asked me to do the score and showed me her pledge page. It made perfect sense. Our fans were amazingly supportive, and it really renewed my faith in one of the simplest, most powerful relationships... the fans and the music.
Claes: A portion of the money raised went to Trade in Hope and another charity, Mental Health America of Texas (MHAT).
McPherson: Trade In Hope, I mentioned earlier. They are going to be making big waves in the arena of sex trafficking.

MHAT is an amazing mental health organization that I have the honor of serving on the board of. We primarily focus on mental health information and resources in schools, facilitate training programs, and fiercely lobby for Texas laws to cultivate quality mental health for all of us here. They keep me out of trouble.

Claes: Tell me about “Lonely Man” which is a track off the EP.
McPherson: " Lonely Man" was originally written by the Texas Ukulele King. I was so moved by the lyrics, and consider the topic so pertinent to relationships in our day and age, that I took his version and rearranged it to fit how I felt the tune. I guess in some ways, this story is always a reminder in the back of my mind when I think about my wife, and my future children.

Claes: I think my favorite track on City Farm Roots is “Stop Tryin.”
McPherson: So much about being in a band can be about trying so hard that you feel like you're fighting. Fighting against the odds, fighting to get a deal, fighting to get a gig, and sometimes just fighting to prove yourself to the people around you.

I feel, as of late, that the fighting really isn't that important. Sometimes, just doing the right next thing in front of you is enough. “Stop Tryin” is a kind of poem to that sentiment.


Claes: Do you have a favorite track off the new EP?
McPherson: I think “Black Sky” is one of my favorites. I really wasn't sure what the song was about at first, but a filmmaker, Raymond Schlogel, here in town shot a bunch of footage during the Bastrop fires and put it to the song, it's as if that song was written for it before it happened. The band was almost in tears when we saw it.

Claes: Your fans seem to be more personal than average music fans, and you seem cultivate that relationship well. How important is this connection?
McPherson: It's extremely important, they support me, and I support them. Mutually inclusive. They've allowed me to make a living at my trade for many years now.

Claes: The lyrics of Alpha Rev songs can actually stand alone as poems. What comes first, the words or the music?
McPherson: Usually a melody, and if I'm lucky, words will follow. If they don't, I usually sit and star at a blank page for longer than I'd like to admit.

Claes: You’ve been through some amazing tragedies in your life with the suicides of your father and brother. How did you rise above the demons and channel your tragedy into such amazing music?

McPherson: I have no idea, I feel like I was pulled out of the quick sand by angels. It took a long time, but they got me out before I suffocated.

Tragedy will break us all at some point, but I believe, it's what we do with our brokenness that defines its affect on our lives.

“I’ve taken too much, given up / I am twisted, burning, breaking up / I need to find a way of letting it go / when everything falls apart.” – Phoenix Burn

Claes: You write some pretty personal stories into your music. Do you ever write something that is just too personal to share, or is the sharing part of the therapeutic moving forward.
McPherson: Music can be such a healing force if we can look past the trends and dive into the sound and spirit of it. I'm sure I have a few songs that I would never release publicly, but, for the most part, I've always been an open book.
Claes: Austin artist William K. Stidham painted you as a part of his “Sacred Heart of Austin” series. What did this mean to you?
McPherson: Bill is an incredible human being. He exudes light. It was humbling that he was inspired to include me, and it was more affirmation that whatever was flowing through me was a good thing.

Claes: Back to music… do you have a favorite song that you’ve recorded?
McPherson: Yeah, it's called "Arches of Freedom" I've only performed it live once at Riverbend Church here in Austin. They wrote arrangements for a choir, orchestra and band. I think you can find it on the Internet somewhere....

Claes: While on Hollywood Records, in 2010 the track “New Morning” took the band on a heck of a ride, peaking on the VH1 Top 20 Video Countdown at #7 and cracked the top 100 on Billboard. What’s the story behind that track?
McPherson: It's so strange when something catches on. I've spent hours trying to write a hit song, whatever that is, and they pick the one that I wrote in 15 minutes. Go figure.




Claes: I caught you when you played a surprise set at Texas Rockfest in 2010. How’d you end up gracing the stage last year?
McPherson: Adam (Brewer), the founder of Rockfest, is the rebel of Austin with a heart of gold. He always keeps an unofficial spot open for me.

Claes: You were tapped to play SXSW again this year. How important is it to continue to represent yourself in your hometown at this festival?
McPherson: I don't know. SXSW is a conference, one of the largest music conferences in the world. I think it's great to get everyone potentially on your team (agents, managers, attorneys, publicists, promoters, labels, ect) to hear and hang.

I remember the first time Endochine, applied to SXSW for a showcase, we sent in a 5 min long song called "Fire" with air sirens and cricket sounds for the first two minutes of it, and we couldn't figure out why they wouldn't pick us.

Claes: In February you are playing every Tuesday at Saxon Pub. What can we look forward to hearing?
McPherson: New stuff, old stuff, and probably a little more laid back personal show.

Claes:If you could book Alpha Rev to a “dream” line-up of bands, who would you play with?
McPherson: Sigur Ros, Willie Nelson, and Pink Floyd.

Who are some of your favorite Austin bands?
McPherson: Soldier Thread, Johnny Goudie's band "Liars and Saints," and who can't dance to Asleep at the Wheel?

Claes: Anything to add?
McPherson: Yes, as my ole' friend Tuk says, "Don't let reality stand in the way of your dreams."
Note: Tuk = “Texas Ukulele King”

Catch Alpha Rev live acoustic tonight (2/7) or the next three Tuesdays in February at The Saxon Pub, or on 2/28 at The Oasis on Lake Travis. Find them online at http://alpharev.com.

Sean Claes is the owner of Austin's INsite Magazine and has been a freelance entertainment writer since 1996. If you like what you read... please share. To visit Claes' homepage, go here - http://www.seanclaes.com/.