One of the many things that I enjoy about Peter Xifaras' debut CD,
Appassionato, is the seamless blending of many different
styles.
Using both acoustic and electronic elements, Peter creates beautiful
soundscapes. And radio seems to agree; Appassionato captured
the #1 spot on NAV's Airwaves Top 100 Chart four consecutive
times and remained on the chart for an entire year!
Guitar Player Magazine says about Peter: "He combines delicate
single-note melodies with harmonics, and intersperses chords with
quick, melodic classical runs that fit together with tremendous
cohesion." I'd add to this that his tasteful use of synths is what
helps to set Peter apart and gives him his own original voice.
I haven't heard the new record that Peter's currently working on,
but
with the introduction of the electric guitar, vocals from Felicia
Sorenson
and touches from producer/arranger Trammell Starks, I'm sure we're
in
for a real treat.
You can learn more about Peter and his music, by visiting his
web site at: PeterXifaras.com
Jamie:
Lately a lot of my musical ideas have come from playing the
guitar, but are generally developed on the keyboard. I find trying
out
different ideas on both the guitar and the keyboard helps me to
write
stronger music. Do you write solely on the guitar? Do keyboards
play a compositional role in your music or do you use them
more for arranging/production?
Peter: When I get musical ideas,
I'll go to the guitar to further develop
them mainly because it is the only instrument I have some degree
of
proficiency on. However, once I've developed the theme and harmonization,
I'll then sort of 'orchestrate' it using the many samples I have
in my sound
library. Sometimes it ends up completely different than the original
idea,
other times it may just be performed on the guitar as written. A
good
example of this would be a set of variations I wrote on "Greensleeves".
Even though the 1st variation (Homeland) was originally written
for solo
guitar, by the time it made it to the CD, it had piano, strings,
voices,
flute...and no guitar !
Jamie: This
happens to me all the time too. Parts that I originally
envision for guitar may end up played on keyboards. I primarily
think
of myself as a composer who plays guitar -- the song is the main
thing.
That said I still love to play. The physicality of playing is, for
me, a
different way of making music and one that I don't think I'll ever
want
to give up. Does playing guitar change the way you relate to music
in general or the composition specifically?
Peter: I
can relate to what you are saying with respect to the physicality
of playing the guitar (specifically classical). It is one of the
very few
instruments where you are in direct contact with the mechanism
(string) that actually produces the sound. However, with that also
comes the responsibility of producing a good tone - it's sort of
a
doubled edged sword. Do you find this to be true ?
I think any musician/composer is influenced to some degree by their
main instrument. This is especially true among guitarists because
many players fall into what I call the 'pattern trap'. I've heard
many
guitarists restrict themselves to a portion of the fretboard when
playing
in certain keys relying on patterns that fall very natural on the
fretboard.
I find that this vertical approach can be limiting for composing
(as well
as improvising). Personally I take a much more linear approach letting
the music dictate where the notes fall on the guitar regardless
of the
position on the guitar. By listening to the melodicness of your
music,
I assume you take a similar approach ?
So, to answer your question, I make a conscious effort to not let
the
guitar change the way I compose specifically, however, I'm sure
that
after years of playing, there has to be a subconscious influence
that
I'm not even aware of.
Jamie: I
think you're right -- it's difficult to play originally at all times.
I
read a comment from Miles Davis where he said that he was happy
if he
played one new thing in a night. Unless a player's goal is novelty,
there's
a tendency to repeat certain ideas, and usually those ideas are
the ones
that sound good!
To answer your question about playing in a linear fashion, that's
exactly
how I play. I play notes that I'm singing in my head. And thankfully
the
singing is in my head, if you've ever heard me sing! I'm also always
trying
to relate to the piece in a melodic manner. I don't think in a vertical
or
harmonic way unless there are some really difficult chord changes.
In
general, I want my solos to feel as if they're an integral part
of the
music. In a lot of ways, my soloing is old style 'theme and variation'.
What gets the creative juices flowing for you? Can you walk me through
your composing and recording process?
Peter: I
usually compose with an instrument in hand. Whereas most
of Appassionato was composed on the guitar, my current project was
composed on the synth. Come to think of it, I haven't played my
classical guitar in the year or two since Appassionato was released!
The process I go thru is pretty simple - once I get an idea, I'll
develop
and refine it either on the guitar/synth or in my head. However,
there
have been times when I've been recording a song and end up writing
a new song during the recording process that replaces the original.
That happened with "Resting Place" and "Encounters"...they were
kinda written on the fly. A great benefit in owning a home studio
is
that you get to experiment without having to watch the clock. ...
you can relate to that!
Jamie: I
sure can! I love the fact that I can take as long as I want to
finish a piece, but I'm finding that I can also turn into an editing
nut --
spending more time editing than actually recording music! I'm trying
to find a way to work quicker -- to let the production process flow
smoother.
I just picked up Emagic's EXS24 soft sampler, and I think it's just
great.
I'm trying to move as much of the recording studio into the computer
as
I possibly can. I really like the fact that I can repeat mixes within
the
computer. Also, I think that at 24 bits the recording quality of
computer
based systems has truly arrived.
Can you tell me a bit about your studio?
Peter:
Studio:
I use Digidesign's ProTools for my recording studio. Basically,
it's a
digital workstation (Macintosh) that records to the computer's hard
disk as opposed to analog or digital tape. I use a Behringer Eurorack
mixing board mainly for instruments to plug into, and I mix using
the
ProTools on-screen mixer. For reference monitors I use Alesis Monitor
One's along with their RA 100 reference amp. I also have a Tascam
DAT that I would use to mix down to, however, now I burn my mixes
down to CD.
Instruments:
For digital sounds, I use a Les Paul with a mounted Roland GK2 midi
pickup that drives a GR-1 Guitar Synthesizer. In addition, I link
this to
a Roland JV1080 synth module for additional sounds. If I'm not using
live
drums, I have a Roland R-70 drum machine that I use. The classical
guitar
I used on Appassionato is a Bory's. He is a guitar
maker from Vermont
who made this one-of-a-kind guitar that I fell in love with when
I first played
it. It is a nylon string guitar that plays more like a jazz guitar
in that the
fret board is rounded, the body smaller, and the woods (maple back
and
sides) are atypical for this type of instrument. When recording
with the
Bory's, I plug directly into the board via a stereo pickup under
the bridge
and also use a very small mic that goes into the sound hole of the
guitar.
For steel string, electric, and/or bass guitars, I'll first look
in the digital
realm. However, if I can't find a good fit, I'll borrow the actual
instruments from family members and plug into the board.
Jamie: A
fellow Monitor One/RA 100 user -- good to hear! I actually
use the RA 100 on smaller gigs to drive my Yorkville Y-112 speakers,
and I think the combo sounds great. In general, the quality of equipment
has risen tremendously in the last few years. Some of the new plugins
and condenser mics in particular sound amazing and really don't
cost
all that much. I've been using PSP's Vintage Warmer on some new
music, and I'm impressed with the sounds I'm getting. Oddly, it
sounds warm..... and vintage..... strange.....
I know you're working on a new record right now. Can you give me
a
preview of what I'm going to hear? What direction are you heading
in?
Peter: Whereas
Appassionato was comprised of instrumental songs,
my new project is mostly made up of tunes containing vocals. In
addition, I'm not playing any classical guitar but instead have
dusted
off the old Les Paul and plugged her in.
At about the time I was looking for a vocalist, I heard some of
the work
of Trammell Starks & Felicia Sorenson and was totally blown
away. So
I contacted them to see if they would be interested in my project
and
lucky for me their schedules were momentarily free. As we've recently
finished recording all of the tracks, I'm currently in composing,
arranging, and mixing mode.
As far as playing electric, I did this for many years prior to switching
over to classical...it's kinda fun to go back to it, bending strings,
getting
distortion...brings me back to my youth! So far, I'm happy with
the way
it's turning out.
Jamie: It
sounds like your having a lot of fun with your new record and
that you're adding a bit of a rock edge to your music. Starks and
Sorenson are both extremely talented, so I'd bet the music is sounding
great! I just threw on The Taliesin Orchestra's Maiden of
Mysteries --
killer arrangements. I love track six, "Only If". The vocals and
production
are outstanding and check out Trammell's solo -- it's a great piece
in and
of itself. I listen to the bass parts in arrangements a lot and
I think the
bass is, in many ways, as important to the success of a track as
the
lead. Ricky Keller did an amazing job on "Only If". He makes me
dance or at least move my body in way that I call dancing : )
So many musicians that I run into are very diverse in their musicial
tastes.
It could just be this era, or the musicians that I come in contact
with, but
it seems like everybody is listening to anything and everything.
I grew up
listening to Jazz, New Wave, Classical, Blues, New Age and just
about
everything else. Yaz has played as much a defining role in my music
as
has Jeff Beck or Pat Metheny. What were your listening habits like
when you were growing up?
Peter: I
remember hearing the Beatles on the radio as a little kid and
couldn't believe my ears. They definitely struck a chord with me
(no pun
intended) as they did a whole generation. As a young teenager I
would
spend my summers doing record copies of Jimi Hendrix, Eric Clapton,
Jimi Page, Jeff Beck...etc. I was definitely into the rock scene
during
those years. I started playing in clubs at a very young age - 13
to be
exact ! I would fill in for my brother when he couldn't make it
back from
school as he was going to the Berklee College of Music. As a jazz
guitarist, my brother was always bringing home music I otherwise
would not have been exposed to. In high school I was into Yes,
King Crimson, Mahavishnu Orchestra...stuff that was expanding
and stretching the boundaries of traditional rock. However, when
I
auditioned to get into the music program at the College I applied
to,
I was told I needed to switch to classical. So at 16, I kind of
started
over on the guitar. Although I still played electric for several
years to
help support myself, I was mainly devoted to the classical guitar
putting
in as much as 6-8 hours a day practicing. There was a lot of music
to
cover and so little time ! I was exposed to a lot of Spanish & South
American music as most classical guitarists are, and also a lot
of
symphonic music (concerti, etc). As Appassionato was definitely
influenced by the classical genre, the new CD I'm working on will
incorporate more elements from the other influences I've had. Being
a classical guitarist yourself, have you had a similar experience?
Jamie: Pretty
much exactly the same. I studied both classical and
jazz guitar throughout high school, but when it came time to go
to
university all of the programs were for classical music. I probably
would
have studied jazz at university if there had been a program available
when
I was going to school. I would have loved to have gone to a Berklee-type
school, but none were available in Canada at the time. I don't regret
studying classical music though -- I was exposed to a lot music
I'd
never come into contact with before, and studied with some
amazing people, and I'm very thankful for that.
It's great that you're open enough to move between different styles
and
that you have the knowledge to do so. What advice would you give
to
someone starting out now?
Peter: The
first piece of advice would be to do what makes you happy.
I know there is financial risk in that, however, when someone plays
music regardless of the style, if it is from the heart you can hear
it.
It's like when classical musicians try to play jazz, or, jazz musicians
try to play rock, it comes across as being forced. In other words,
be
true to your art. The second bit of advice would be to have patience
and not give up. If you're talented, like what you do and put the
time
in, more than likely you'll be successful.
Jamie: I
couldn't have said it better. Thanks for taking the time to do
this conversation and good luck with your new record.
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