Steve Norton: Debris and Beyond
SN: Was it Grizzler?
AAJ: Yeah. It was a Grizzler show. You were throwing the reeds on the ground!
SN: I had been doing that since Debris. We had some gigs up in Bennington, VT, which had this art gallery. It was an old mill building, beautiful hardwood floors, and when you drop stuff it really sounds great. There was some really expansive improv going on, and I inadvertently dropped some reeds on the ground, and I thought, "That sounds great..." And in that same building I also found some duck calls, and that's also something I've been doing for a while.
AAJ: Was it Dave Gross who brought you back into the music, after your hiatus?
SN: I had pretty much played at one gig a year, from 2001 to 2007. I played with Matt Samolis more than anyone else during that period. Matt and I did a lot of photography together, in the early 2000s. But occasionally we would play as well. In March/April 2008 he asked me to do some Metal and Glass Ensemble shows.
It was very drone-y. Matt has a steel cello. There's a steel bracket with a big sheet of stainless, across the front that's a resonator, and there are cymbals, big ride cymbals, and these long, steel rods, bolted to the bracket, and he uses these big, heavy bows that he builds, and you bow the thing, and it creates this roar, that's just amazing sounding. And he's been working on that for 15-17 years.
In the mid-2000s he started building an ensemble around that. The other component were these sets of tuned wine glasses, where they're tuned to a set of justly tuned intervals, and there's several of these. It's like a terraced set of plywood with the glasses nepoxied on to them, and they're big, with thirty glasses on the thing. So there's a couple of people playing glasses, a couple playing bowed metal, and there's people playing instruments that can drone, basically.
I joined that playing bass clarinet, working out the long tones, the circular breathing, just coming in and playing the same note for seven minutes, and that really appealed to me. It was something I wanted to get better at...The instruction to the instrumentalists, is "Join in a subtle fashion, don't crash in," and basically the goal is to make a large, group voice. So you sneak in quietly with your entrances and you get your pitches from the glass or from the metal. And you just make this big sound. And once in a great while someone will step forward and do something melodic and soloistic, and generally you then recede back into the ensemble voice.
AAJ: Is it anything like gamelon music?
SN: Except that it's absolutely not rhythmic. The intent is that it's very much a sustained sound. There's a couple of percussionist who've done gigs with us, but the goal with the percussionists is not to do rhythmic or time-based or tempo. He'll sort of roll on a gong. It's all about swell and this sort of single-ensemble voice.
So that's where I stared playing, so I had done three or four gigs with that group in 2008, and then one day in September Dave Gross sent me an e-mail saying, "I'm putting together another improvising large ensemble and I want you to play bass clarinet and baritone. Are you in." And I was just like, "Yup, gonna do it." And one thing has led to another. At the very first gig, that is where I met Joshua Jefferson. And I had talked to Angela Sawyer before, but I'd never played with her before. And when I got there, I had brought my baritone, and my bass clarinet. And I had brought my bag of game calls, but I didn't pull it out because I didn't think I'd use it. But then Josh opens up his case, and he's got a couple game calls in there. Angela opens the big pink suitcase and she's got a boatload of game calls in there! And I was like, "Wait a minute!" And I went and got my case and I opened it up and we're like, "We should do a trio." And it was a couple of weeks after the first Grizzler gig that Duck That was born, and that band is just so much fun.
AAJ: The blending of the serious and the comic is very fine.
SN: Right. And you've really hit the nail on the head. Our mission statement is, "Bringing funny sounds to serious improv."
AAJ: And I really admire Angela, without having any serious musical training, just by being a listener...
SN: She's a fantastic listener, she's incredibly smart, and she's a great improviser. And another thing I've been thinking about a lot is that improvisation isn't necessarily an instrumental skill...Angela and I back in January played a house concert in Allston. And this guy from the West Coast does this bizarre, synth-dance-disco stuff, solo, but he had this transvestite dancing with him. And I tell you, the transvestite was the best improviser in the building!
SN: Just dancing. Loud, electronic disco-y stuff, a strobe light making you have a seizureand this guy, all sort of dressed up in drag
AAJ: Well, would you call him "he," or "she"?
SN: Nathan Willet was the keyboard player, and he kept referring to her as "the bitch on wheels." So, "she"fine. High heels, little sequins silver dress, doing disco cage dancing stuff. Then, there's a ladder over here, "I'm going to get the ladder." Gets the ladder. Climbs up the ladder doing all this crazy stuff, under the low ceiling. Puts the ladder back. There's a door. Picks up the door and does all this crazy shit with the door. Best improviser in the house...Improvisation is something you can apply to almost anything.