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That's Just the Way He Is:
Bruce Hornsby Discusses his Live Shows, Sampling, and More
interview Page 2
Page 1 of interview
Here Come the Noise Makers, Hornsby's first live album after nearly 15 years of recording, is an eclectic set of hits, covers, and lesser-known songs. The Range, who played on some of Hornsby's most popular recordings, are no longer his featured backing band, and are not represented on this live collection of songs. If taking chances, musically, is what Hornsby relishes most about performing—as he says—maybe this is why he never released a live album until now: he never had a band capable of realizing his vision.
mt: How was making a live album different from making a studio album?
BH: Way easier. You have the performances, we record several shows, we try to find the few takes where there are no bass mistakes [laughs from bass player J.V. Collier as he walks by], and we use those. No, you just listen to the tapes, and it's way easier than a record, because you're trying to create something from scratch [with a studio record]. You've written a new song, trying to figure out what the groove is, what the parts are, you're doing it all at once. It's really a much more creative process than this. The creative process in this scenario occurs on stage. That's why we're always trying to mix it up, fool with it. "Now you guys play together, just drums and organ. Try this." That's how we do it. It's very spontaneous. In the end, if you record the shows—like we're recording tonight—and then you listen to the shows, and it either catches you or it doesn't. It either makes your hair stand up or it doesn't. You just go through a bunch of shows and pick the best moments, the moments when it really clicks. It's pretty easy with this group of musicians, because they're a solid band. Most nights are pretty damn good. It really wasn't that hard to choose.
mt: The songs on Here Come the Noise Makers have evolved quite a bit?
BH: Oh yeah, have you heard it?
mt: Yes.
BH: Then you'll know. Most bands you see play the same set every night, you can pretty much set your watch by their shows. I know at 9:15 this guy's gonna say, "Good evening, Charlottesville, are you ready to rock?" It's the same, down to the banter. "Here's the set list…for the year." We're totally different from that, we take requests. For instance, we have three different versions of "The Way It Is": our known way, a bluegrass version, and a jazzy version, like we played at "BET Jazz Central." (There are actually three songs from the BET show on the record.) So, that makes it perennially fresh. We could make a live record tonight.
mt: Is there any reason you waited this long to release a live album?
BH: This is the first situation where I could sit down and listen to a tape and like everything I was hearing. And lots of times, frankly, the thing I wasn't liking was me. I've grown a lot the last two years, just gotten a lot better. You listen to my voice on "Mandolin Rain" on the new record, and compare it to the original record; it's way better now. I just listened to the tapes, and thought "maybe it's time to put this out."
mt: Speaking of the BET thing, how do jazz crowds, in general, respond to your music?
BH: Well, we've played lots of jazz festivals, we played the Telluride Bluegrass Festival, I played the Newport Jazz Festival in '97. Chick Corea, McCoy Tyner, and me. I've gotten great compliments from Chick and McCoy, who are such heroes to me, and that's very fulfilling. So, when we play the jazz festivals, we move our music to showcase that side of our music, and when we play the bluegrass festivals, we move our music in that direction.
mt: Who influenced you?
BH: Lots of people, from Elton John to Leon Russell to Bill Evans, Keith Jarrett, Chick, McCoy, all the guys I've named. Bud Powell.
mt: How long do you think you'll do this? Recording? Touring?
BH: 'Til they throw me out. I'm the senior citizen at RCA Records, I've been there 15 years. I'm the grandpa of the label. And that's a good thing, it's something to be proud of. It's hard to get there, but it's harder to stay there. So, I can't complain. Like I said, I'll do it as long as they let me.
mt: What about future plans, studio records, collaborations?
BH: I'll just make a new studio record at some point.
mt: It is hard to stay at the top…
BH: Well, not at the top.
mt: Okay, not the top, but right there. A lot of musicians try to change their styles to fit the times.
BH: That's certainly never been the case here.
mt: Exactly. Obviously, your music has maintained a certain style.
BH: It's more personal. I've taken a turn toward using more of the jazz modes in my music, but that's not something that's en vogue at all. I'm an old jazz school guy, a jazz school geek. So, it's all my own tack, with no regard to what's happening. Although, at the same time, I love a lot of the modern production, a lot of the way the drums sound, loops and that sort of thing. So, I'm not averse to using that, it's just not the only reason I would do something.
Bruce Hornsby's brother, John, recently began a music-based community service program called the Music Resource Center. The program enables Charlottesville, Virginia's underprivileged children to have access to studio recording equipment, instruments, and instructors, who also serve as excellent role models. The center has released one CD of original material, performed by various local teens, which has generated much regional publicity.
mt: I wanted to ask you about your brother's Music Resource Center—what your feelings about it are, and what, if any, involvement you had in its development?
BH: I had no involvement whatsoever. That was all my brother's doing. He's doing a good service, it's really helped a lot of kids find a purpose in their lives. That's given opportunities to kids. My brother is a quality individual.
mt: Do you feel like, as a musician, because you're in a delicate position, that you have a responsibility to the public or your community?
BH: Well, I don't think that just because you are known, you have the right to get up and pontificate about the environment, for instance. I think that can be cringe-worthy. You know, when I see some actor up there spouting about toxic waste, it's sort of off-putting. So, I'm not much of a soapbox guy, in that way, but at the same time, I do a lot of benefits, a lot of free gigs for causes I feel strongly about. But I can't claim to be Mr. Benefit Guy. I'm actually really good friends with the King and Queen of the benefit concert, Bonnie Raitt and Jackson Browne, and compared to those guys, I don't do s**t! I moved back to my hometown ten years ago, I had enough of "Hell-A." That's good enough, right?
Bruce Hornsby continues to survive in the music industry, not as a pop superstar or musical chameleon, but constantly evolving nonetheless. His hits live on through radio play and modern remakes that have brought his music to an entirely new, younger audience. Backed by a new, versatile band, Hornsby prepares to enter his next 15 years of performing live, a forum in which this no-nonsense artist feels right at home.
Interviewed by Paul Rosner
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