A Jazz pianist on Piano-Heaven? Surely
not! Well, when it comes to America's
Chad Lawson, there clearly has to be an
exception to every rule! Fulfilling a
desire to do something completely
different, Chad has created a stunning
debut solo-piano album which will appeal
to lovers of melodic, relaxing piano
music. ‘Set on a Hill’ has even been
shortlisted for Whisperings: Solo Piano
Radio's album of the year for 2009.
Clearly a man of talent, with a fine
sense of humour and incredibly
hard-working, Chad has kindly taken time
out of his hectic schedule to chat to
Piano-Heaven.
Enjoy the interview...
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S.C. Many congratulations, Chad, on your
album Set on a Hill. Tell us what sort of
response you have had to your album so far.
C.L. Thank you so much,
I really appreciate that. Especially knowing all of
the albums that you have listened to! It’s been such
an overwhelming response. It truly has. With so many
solo piano recordings- GREAT solo piano recordings
already made, I honestly didn’t know what to think
when I released Set on a Hill.
I
think the reason why I’ve been so fortunate with the
response is because I didn’t take the approach of
“Oh I’m going to release a solo piano album that
will try to fit everybody’s taste and everybody is
going to like!” But more so of the “this is
something my heart is telling me to do” mindset. Not
caring if a single copy sold. It was something that
I’ve always wanted to do, and I finally did it. Not
to sound cliché but it really is from my heart. Aw,
that just reeks of cheese doesn’t it?! But it’s so
true! Music is such a language, and I just wanted to
finally say what I’ve wanted to for a very long
time.
Well, it
might have been something of a gamble, but it's paid
off handsomely! It is, I think it is fair to say,
quite a departure from your jazz albums. How did the
concept come about, and have you tried composing
music from this genre before? You said that you felt
you had a calling- what do you think induced this
and why did you select this genre rather than jazz?
It is quite the departure isn’t it? With the jazz
trio albums, we had such a great time creating in
that art form. And in some ways, the previous albums
and Set on a Hill are rather similar. However, there
are a few things I left in the past.
With
the trio, connecting with the listener was always
our focus, regardless if they knew anything about
jazz or not. We decided early on to play what we
thought was just really good music. Some artists get
wrapped into who is better or can play faster or
which group can out perform the other. We just
didn’t want any part of that. It’s no longer art or
expression at that point, at least in my book. I
understand it though, to a degree. Anyone with
talent, be it music, art, finances, sports, culinary
or what have you, has this yearning to learn more of
their craft. Some people want to learn more just so
they know more than the person sitting next to them,
or some learn because it allows a certain
development in what their hands & minds can create.
But it’s the fine line of learning more for the sake
of the craft than for the sake of the ego.
With
the trio, there was this underlining element of it
being ‘entertaining’. I would ask myself, “I wonder
if people are enjoying this, is it entertaining
enough?” But with Set on a Hill, I made myself step
out of this defined box (creating an invisible box
with hands) of what I thought people would want to
hear and to simply play whatever my heart and spirit
wanted to say. It’s ironic because in doing so, I’ve
had the most overwhelming response from this album,
than my previous albums. It honestly goes to show
that being honest to yourself is best for both you
and the listener.
Perhaps we give our very best when we're given the
freedom to be ourselves, to show individuality.
Let's talk about your producer. What it was like to
work with Will Ackerman? How did the relationship
come about?
I
really didn’t know what to expect in working with
Will Ackerman. I mean, we’re talking about THE GUY!
Ya know? I mean if there’s anyone that knows this
music best, it’s Will. Both he and his engineer,
Corin Nelsen, are such beautiful people that you
can’t HELP but to create in that setting. One of the
first things Will, my wife and I did upon arriving
was to walk the property. Imaginary Road Studios is
located in the mountains of Vermont that is breath-takingly
beautiful. It’s like the world doesn’t really exist
beyond the forest and hills. Yet while the setting
was extraordinary, it was getting to know Will and
Corin as people that made the recording so intimate.
It was almost like Will had some friends visiting
and oh!….well there’s a piano over there. How about
we record some songs! It was so intimate and so
‘un-studio’ like.
When
I decided to record a solo piano album, I knew that
Will would be the only person to work with. His
hands have crafted so many wonderful albums that I
kept the list of producers short. So short it was
actually just his name. I had posted three demo
songs online and sent him an email asking if he
would be interested in producing the album. He
listened to the songs, liked them, and wrote me back
saying that he would love to. And that was really
it! We had to reschedule the session here and there
once or twice with both of our schedules being a
little maxed, but it all came together perfectly.
During the session, Will really left me to my own
voice. And that was the beauty of it. It wasn’t like
he was trying to create a Will Ackerman album with
some guy named Chad Lawson playing the piano. He
gave me room to explore and just be myself. And that
only comes with him being so seasoned at what he
does. He knows what to do, but more so what not to
do. And then, when there were times he heard
something different, it wasn’t in a, “you should do
it this way” but more of an, “I’m hearing more of a
mysterious quality to this piece” and then do a take
with that frame of mind. So, even when he gave input
it was in such a manner of complete liberty. It was
beautiful.
He certainly is one very talented man. For the many
piano buffs out there, what sort of piano was used
in your album?
Well, it was a difficult decision to be honest. I’m
a Kawai Performing Artist and absolutely love their
pianos. Not only because they make phenomenal
instruments, but also of Kawai’s relational quality.
They have always treated me as if I were a member of
their family. In speaking with Kawai about the
recording, they offered to send a piano and a tech.
But I knew that there was a special kindred
relationship between Will and his piano, a 1953
Steinway B. I was concerned had I brought in a
different voice that it might have been like the
third wheel on a blind date. You know, you walk up
to her door and ring the door bell, flowers in hand
and she opens the door all excited about meeting you
and …”um, who’s this?” as she looks over and sees
that you’ve brought your best friend along. So, I
wanted both Will and Corin to be in his element as
much as possible as well and felt we should use what
he was familiar with. Had it been with a different
producer or own my own, I would have used a Kawai
without question.
The
Steinway B is a really beautiful piano that had been
completely restored with no detail overlooked. It is
such the perfect size for solo piano because the
bass isn’t overpowering as with large pianos. Very
balanced. It also had the Stanwood Action (an
incredible technique by David Stanwood where the
piano’s action is 100 percent uniform and can be
adjusted to player’s liking). The Stanwood Action
was like playing butter (that’s a good thing) and
the resonance of the piano was so long you could
take a nap on it (that’s a better thing). Not to
mention the room was ideal. Oh, and did I happen to
mention there were two Grammy Award Winners in the
room? One for engineering and the other for
producing. I mean, honestly? Could a pianist ask for
anything else?
Three incredible talents in one room! Let's talk
about your musical genes and history. Does music run
in your family? How did you get started with the
piano? Were you classically trained?
Oddly enough I didn’t come from a musical family.
Years ago, the band Sha-na-na had a TV show and as a
kid I would watch it. I remember watching it as a
family and whatever THAT guy was doing was what I
wanted to be doing! It was hysterical. I knew
nothing about music (of course I was only 5 years
old at this point) and had no idea what a piano was.
Sha-na-na came to town, my folks took me to the show
and the next week they took a chance and bought a
piano. It’s all history from there.
I
studied classical piano all the way through high
school. I believe that is why I feel so strongly
about always having a strong melody. Anytime I want
to write, I generally listen to a lot of classical
music beforehand just to I can place my mind into a
melodic frame. I love improvising and that is my
heart. But if you don’t have a melody attached, the
listener no longer has something to go back to in
the song. This is just my personal opinion. Others
may feel different.
And
although I was brought up classical, I started to
play in the church growing up a lot which brought on
the “playing by ear” and having more liberties in
music in general. If I were not sitting at the
piano, then I was behind the Hammond C3 organ (which
I eventually bought from the church later on). At
that point, I started to become involved in other
forms of music. Jazz, pop, blues. I had joined a
blues band while in high school where we did
everything from Steely Dan to Muddy Waters. I was by
far the youngest guy in the group! But I was so
interested in playing anything and everything
because I wanted to know how to play in every style.
I was so curious with everything musically back then
(still am actually).
Back
to the classical world – while in high school, I
really wanted to attend the Peabody Conservatory of
Music in Baltimore, Maryland for college. My folks
and I visited the school, talked to students and
just did what any kid about to go into college would
do. And then when it finally came time to audition
I’ll never forget, a member of the piano department
asked, “So, what do you see yourself doing with your
career? Where do you see yourself in the future?”
and my reply was as if I had practiced it everyday
since I could tie my shoes “I want to be a studio
musician.” Deadpanned and without batting an eye she
looked at me and said, “You’re in the wrong place.”
Roar! I mean, now looking back on it I can laugh but
at that point I was so devastated. But she was
right. My interest in all types of music had become
so diverse that had I stayed, I don’t know what
would have happened. I guess a monster classical
pianist or something. And I’m so grateful she said
that. I really am.
I then attended Berklee
College of Music in Boston, Massachusetts on a
scholarship where I was playing studio sessions all
the time, to the detriment of my other classes
though. But it was exactly what I wanted. I loved
showing up to a session not knowing if it was going
to be country or swing or any other style in the
world. I still want to know more! I had a great
experience at Berklee.
It
must be an honour to work with a big name like Julio
Iglesias. How on earth did that happen? Do you enjoy
touring? Tell us about some of the highlights. I
know you're happily married, but do you get some
female attention from his many fans?! (sorry, but
had to ask!)
Oh
goodness you’re a funny gent! I was basically still
a newlywed while on the gig so I didn’t even bother
with all of that! Not to mention, when it comes to
really sought after gigs like that, the best advice
I ever got was “show up, do your part and avoid the
hype”. And he was right. I did just that. Some of
the other band members were also musicians for
Shakira and Gloria Estefan, and others so you never
know when your name is going to be brought up again.
Stories travel as quickly as reputations do.
The
first time I walked out on stage with Julio was
great. It was in Santiago, Chile. A sold out crowd
of around 12,000 people and you’re one of 7 people
on stage. I just remember thinking, “this is what I
have waited my entire life for.” And it was. I wish
every musician could experience that moment because
I’ve never had such a rush before in my life.
I
got the call from my friend who is a great pianist
named Christian Tamburr. He had been touring with
Julio for about a year or so. Julio’s musical
director of thirty-five years wanted to take some
time away and be with his family. So, Christian took
the director’s seat and I came in to take
Christian’s seat. Completely one of those “who you
know” ordeals. The band was incredible and we had a
great time. It’s hard to complain when you’re
rehearsing in Marbella Spain for two weeks and then
performing all over the world afterwards. It was
surreal. Not to mention I’m such a foodie (food
lover). I didn’t care where we were, as long as I
could hit some local hole in the wall eateries. If I
didn’t know what it was, I’d order it. Never had it?
I’ll take two!
The
only downer of it was that I had only been married
for about a year at that point. So, we were still
newlyweds. And with the Julio gig, it meant being
home anywhere from two to seven days a month at
times. Sometime home for two days then back out. All
together adding up to maybe a week total. But, my
wife so understands the schedule in the world of
music. She’s amazing. I honestly don’t know what I
would do without her.
It
was nice to come off the road from the Julio
Iglesias gig and it was something I’ll never forget.
But honestly, one night in Spain I just remember
thinking to myself “Ok, it’s my turn. I want to get
back to the centre stage and release a solo piano
album.” And that was it, really. I contacted Will
shortly afterwards.
Your story reminds me very much of Stephan Moccio's
who had an almost identical experience whilst
touring. Now, I read that your compositions are
mainly improvised. To what degree are they
improvised? Are you a ‘sit down at the piano and
play/record in one take’ man or do you work
tirelessly on perfecting a piece that was originally
improvised- or somewhere in between?
Perhaps if I explain the
process it would help visualize. Reflections
has the least amount of improvisation. It just came
out that way when I wrote it. Yet songs like Will
or Promise Made on Signal Mountain were
98% improvised. With those songs, along with the
others, I would write the melody and chords as I
wanted them. After the melody is played, the rest is
completely improvised. Most of the songs would have
two takes recorded just so we had something to pick
from. If you read my blog
here
I wrote a detailed account of the two days it took
to record the album.
I’m
not a perfectionist when it comes to the songs. And
by that I mean I will never play the same song
twice. I just did a concert with pianist David Nevue
(who is a fine pianist as well I may add). It was
recorded and it’s going to be amusing to listeners
who own Set on a Hill because they’re going to be
“No, that song doesn’t go that way!” and they’re
right. There are going to be differences in each
performance. Not a GREAT amount as in “what song is
this?” but some days I may feel different. Life,
it’s never the same. At the end of the live
recording of A Goldfish Named George, I
completely changed the end because while playing, I
was thinking about the prior weekend I had shared
with my wife on our anniversary.
And what you hear is something I felt while thinking
about it. Music, as with life, is ever evolving.
Absolutely! I'm interested in your approach to
writing film scores. What inspires you to create
music for a particular film? I know the legendary
Vangelis would wait for actual scenes from the film
to be ready and would compose as he watched them. Or
do you research a particular area and inspiration
comes from this?
With
the last two indie films and then a TV pilot, it was
literally sitting there with the producers and
engineers and playing live to video. I’ve heard
horror stories from other composers about producers
wanting “that note” as they point to the keyboard
even though it’s COMPLETELY the wrong note. Or using
a blank volume fader so the producer can adjust the
volumes of certain instruments while scoring, even
though it’s a blank channel and doesn’t really do
anything unbeknownst to them. But I’ve been really
fortunate!
As
much as I’d like to say I enjoy scoring as I’m
watching, there is a huge disadvantage to that
because you want to create a voice for each
character. And perhaps that personality only comes
through at the end. So, I generally try to sketch
ideas when I’m watching for the first time, but when
it comes to actually scoring it’s usually after I
see who the character is.
You seem to have quite a range of musical ‘jobs’
(i.e. pianist for Julio, jazz-band, contemporary
pianist...) Do you enjoy this variety of work, or is
there one that you feel particularly at home with?
It
honestly goes back to wanting to be able to do
everything. Which is probably not the best way to go
about it. Spreading one’s self too thin instead of
focusing on one particular and working on that. But
in keeping such a variety, they begin to interplay
and you invite elements that normally wouldn’t be
there had I not experienced touring with Babik
Reinhardt (Django Reinhardt’s son) or playing on
someone’s album where all you’re playing are two
notes on the Hammond. All of that influences who you
are and what you create. I can’t imagine doing it
any particularly way.
I
will have to say however that I do feel so at home
with the solo piano. I’ve wanted to do this for so
long and this really is my heart and to sit down and
play what my heart says is so rewarding. The fact
that people enjoy this music is something I could
only dream of. I am so very blessed.
You mention your British humour on your site. I'm
interested in this; tell us more! Where were you
born? Do you think the music on this album reflects
your personality- a mixture of serious,
contemplative pieces with more light-hearted
compositions?
I’m just as dry as the come. I
have a very dry sense of humor. And if certain
people don’t get it, that’s okay. We’re all
different. I would much rather watch any Mel Brooks
film than the latest Hollywood feature out there.
I’ll never forget watching the first season of the
original The Office on BBC and just loving it. It
was like “finally!”
I
was born at an early age in a small town in North
Carolina. And even though I wanted to get as far
away as I possibly could after leaving high school,
I am so grateful of being from there. Going to
Boston for college and then living in New York City
was amazing and those cities really are where my
heart is. But being from a small town and knowing
what things really matter in life are irreplaceable.
It’s taught me where my values are.
‘Born at an early age’ indeed! :-) Now, I find your
album cover intriguing. How did this come about? And
I must ask you about THAT jacket that I have seen
you in (department store)- tell us more!
I’m
glad you asked, thank you. Many albums in this
style, be it titled new age or instrumental or what
have you, generally have a picture of a peaceful,
calm setting. The mountains or the ocean, etc. It’s
where people feel at rest or draw from that energy.
And to me, New York is just that. I love New York so
much. It has this energy about it that although can
eat you alive, it can also nourish the artisan side
as well. It has such a creative force behind it, yet
at the same time I’ve always found it to be
beautiful and almost comforting. I wanted to state
that for this album, New York was my resting place,
my home of peace. So many images of the city show
the busy and hurried life. I wanted to reflect it’s
restoring and romantic qualities of it as well.
The jacket -oh, the jacket.
http://www.facebook.com/chadlawsonpiano
for those who wish to see. You know, I was just
walking through a department store and saw it. No
offense, but I would never part cash with it, I just
simply wanted to walk around the store as if I had
worn it the entire day. It was only after browsing
for some time that I took it off at my wife’s
request. She just rolls her eyes. He he he. I love
her.
She sounds lovely! And tolerant too!! It's clear
that you lead a very busy life, but what do you do
to relax?
You
know, I sent David Nevue an email stating just that.
It’s funny. We perform this really relaxing music
and people say they just feel so at peace with out
music, yet we work insane hours to create it! Ha ha
ha ha.
I’m actually in the middle of
working with a musical that’s supposed to go to
Broadway and it’s literally been 15-17 hour days. I
really cannot remember the last time I had a day
off. It’s just been one thing after another right
now. Even with our anniversary last weekend, it was
out of town but work related. There will be a time,
that’s what I’m hoping for. All of this will
eventually lead to taking a break. My wife and I
really enjoy Europe and want to return as soon as
possible. So if anyone has a piano, I’ll take
requests!
Let
me know if you come to the UK! An yes, it does
indeed seem ironic given the music you create.
Finally, what next? Can we expect more music from
this genre in the future?
Another solo piano album
without question. Without question. I haven’t begun
to write for it yet, but I can tell I’m getting the
itch. I’m starting to get melodies in my head and
will go play them on the piano so I have a recording
to go back to. I’d like to work with Will and Corin
again. It all depends on everyone’s schedule. I hope
that’s the case. We’ll see. The next album will be
different I can say for sure. I love Set on a
Hill, but that album is it’s on self. What I was
going through, what led up to the day the recording
light turned on. I’ve lived those days already, it’s
what I’m living now that will feed into the next
album. I can’t wait, I can’t wait.
And neither can I! Thank you
so much, Chad, for this interview. I wish you every
success with this album, your touring duties and any
upcoming music. Do take that day off though!
S.C. |