'TRAVELLING & WRITING,THE US IS A VAST EVER CHANGING VISTA,ITS THERE FOR THE TAKING!' JACK BROADBENT

'TRAVELLING & WRITING,THE US IS A VAST EVER CHANGING VISTA,ITS THERE FOR THE TAKING!' JACK BROADBENT

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coming up this saturday on beyond the vibe  i'm out on the road once again as i'm joined   in person by jack broadbent, the thing is if if  you put me in a folk club i'll play some blues   just to mix it up a bit if you put me in a  blues club i'll play some folk music you know   and that in itself is a an interesting uh  dynamic for if you're starting to try and   branch out your material or do things  it's sort of like where is the line   in terms of traveling and writing you  know i mean america obviously is this   vast you know ever-changing vista i mean that that  as a songwriter is you know if you've got a tour   and you're driving from new york and you're going  all the way over to la or if you're going down to   you know new orleans whatever you if you sit in  a dingy [ __ ] hotel in the middle of new york   city you're gonna write some dingy [ __ ] old new  york city blues you know it's there for the taking it's wonderful to be here this is it yeah it's so strange a few weeks ago i didn't even know you personally  so i'm here uh once again with chat broadbent   it's becoming a bit of a habit i said thank you  very much for having me nice to finally meet you   properly i know uh it's uh it's a weird thing  because like this whole thing kind of started   in covid the podcast so it's my first night  being released into the world doing interviews   there you go make sure you don't get into trouble  tonight i know i've got to be here myself um the   of course this is like the the first time in a few  years now that you know you've come back to the uk   um how's it going it's great um we've  done about three gigs so far we did um   started in lemington spa went  up to newcastle it's wonderful   and uh after that we went down to the black  deer festival the first time going there down   in kent fantastic festival and uh yeah good to  be back in a muddy field with a load of brits   you know speaking of that is has there been  anything that you've uh it can be can be in your   own time but like anything you've kind of missed  about the uk uh yeah i mean the ale obviously   now there's something um there's definitely  something to be said for a british crowd   if you're if you're from england you know so  definitely i'd have that homecoming feel about it   which is you know you can't get that anywhere  else um but uh no it's been it's been really   great and uh the gigs have all been um you know  nice rooms nice nice people no complaints that's   cool man um of course you know you're you're uh  out and about promoting the the latest record ride   um obviously on the on the record you know you're  with a full band um whereas on about your are you   always on your own or are you with your dad on  specifically yeah on this record i've got uh   mick my father who played on the record  um so uh so that's great and uh we've   we've always played as a duo anyway so uh  you know we can make quite a lot of noise   you know it's nice to have a drummer sometimes  it's nice to just have the have the sparseness   have been out play a little more uh look  more subdued you know can take us in into   areas that are a bit quieter that we wouldn't  normally go if we were with full band so it   gives us a quite a large dynamic range to to play  as a duo you know it's great i was gonna say is   there a is there a conscious decision of a you  know you kind of leaving the drums behind um no   um sometimes sometimes it's purely logistical  sometimes it's you know i think for this tour   especially touring with mike dawes who's a great  acoustic player it was actually quite nice to uh   you know ultimately the gig is a night of acoustic  music a few things plugged in but uh but yes it's   um it's nice and certainly offered a  more intimate show rather than you know   raucous you know um obviously like uh  is this your first time meeting mike   mike dawes yeah yeah yeah he's fantastic you  know we've uh yeah we really hit it off and um   yeah and we both play completely different styles  too so it's really nice because we sort of like uh   it's an interesting partnership like yeah yeah no  i think it works great and um and he's having a   good time i'm having a good time so uh you know  it's great obviously like you you're known for   kind of you play the the the cover of on the road  again um you know quite a few times and you know   this album it's linked to kind of moving and  traveling and stuff um was is there a decision   or like was there a moment where you're like i'm  going to play this song regularly because it's   kind of the your big song isn't it like well  yeah well sort of fell into my lap really i   always like to play it and uh and i feel like  you know a lot of people come along um wanting   the slide guitar stuff it's it's a piece that  i love to play and it's a piece that really uh   you know can a nice showcase for that area of the  sound and um no it's a joy to play it and the the   whole point of playing any cover for me is just  to try and keep that keep the spirit of that song   alive particularly if you've got you know deceased  members of bands who are no longer you know with   us it's a great thing to do i i believe you know  that's why we play willing by uh little feet and   homage to low george you know ray charles and  you know that's kind of the idea really it's just   if there's anyone in the crowd who hasn't  heard one of those songs which you doubt   then it's nice to feel like you're making  the um making the point of keeping that music know uh uh um do you like to kind of keep things quite  stripped back because obviously on ride you know   you've you've just worked with uh your friend and  and your father um you know do you feel that you   you kind of produce your best work when you're in  like a small crowd like a small group of people   yeah well um i think it's the closest i can be to  just obviously operating solo and then you get the   luxury of you know second year third year kind of  uh sometimes uh decisions are made last minute or   you just switch up a groove at the last minute  and it can be the the difference of a tune being   one way or another and um you're never going  to run into that if you're playing on your own   it's always the involvement of others and so  i i quite sort of meticulously try not to try   too hard to keep things small you know uh too many  cooks spoil the broth type thing and then you know   uh my father i don't even have to second guess  what he's gonna do we we're so uh synthetic at   that point and and that's what i found with  mark too he just uh he plays for the song   so uh let's see where it takes the song have  you worked with mark before on on we've been   friends for a few years and we sort of jammed  together and stuff but i've never really um   sort of like contributed any of my own material  uh for a while and then we sat down and started   playing around a few songs and we went like this  there's a vibe here you know so we sort of uh   you know entertained that when we got three  or four songs in we went hang on a minute   we gotta get my dad to play bass on it and  it just started coming together you know   um of course again the the album has that theme  of traveling in relation to that you know you've   played in some interesting places is there  anywhere that kind of really sticks out for   you i remember seeing a while ago there was that  video of you kind of in front of the grand canyon   oh yeah that was quite an interesting place is  there so somewhere that sticks out um in terms of   in terms of traveling and writing you  know i mean america obviously is this   vast you know ever-changing vista i mean that that  as a songwriter is you know if you've got a tour   and you're driving from new york and you're going  all the way over to la or if you're going down to   you know new orleans or whatever you're gonna  get inspired if you're gonna be anywhere you're   gonna get inspired there and particularly with  a richness of music that that you know trickles   down that path so you know i found america to  be very inspiring whether or not i've completed   the songs there or so like you know flirted  with them and then finished them later uh   being in the states as a blues fan and a jazz fan  and you know americana or whatever you want to   rock and roll uh there's probably nowhere better  really it fits really well with that that type of   music that you play i think i think just being  in that environment i imagine it would just be   like perfect for us home of the music i like  to play so in that sense you you kind of you   kind of tackle two things really one is that  you sort of aim to impress yourself or the air   you know you're trying to try to fit in but the  other side is that you know there's such a rich   wealth of history there you know if you sit in a  dingy [ __ ] hotel in the middle of new york city   uh you're gonna write some dingy [ __ ] old new  york city blues you know it's there for the taking i took a walk we'd mentioned that you have kind of two ways  of writing like you you do a bit of writing on   the road and you do a bit at home um from you know  your recent tours have you kind of started writing   again or uh well the ideas start to flow out of  what you know what what you're doing and this is   where it kind of goes back to what you're saying  about playing with other people you know i mean my   father uh so playing these songs for the first  time together since the recordings so they're   starting to become a bit more elastic stretch  out and sometimes you might do something on a   song and go like oh there's an avenue there you  know and so it's it's more a feel thing you know   maybe there's a maybe there's a sort of style  that's emerging out of out of the newer material   that might just sort of forge the next the next  lot of songs but right now when you're touring   you know i don't i don't i don't particularly  go back to the hotel and get my guitar and start   writing lots of songs at the end of the evening  you know this is trying to save the energy for   the performance but usually by the end of the  tour you start looking at and going like oh   what would we do next or how how you know what  what's missing from the set yeah you know you   get a good idea of that um last time you know you  mentioned the you were debating between ride and   and doing this kind of acoustic um album do you  think that you'll you'll go down that road going   forward yeah well i've got i've got a lot of  acoustic pieces um you know we're finished and   i'm definitely definitely interested in  releasing them it's uh for me now it's   just interesting to know when i might sort of  top up that that that that that style you know   um i'm just thinking like looking at kind of  mike now who's kind of doing an acoustic thing   maybe you look at that and think maybe you know  i'll have a bit of that kind of acoustic flavor   yeah well i've always balanced it you know  the shows are always a pretty heavy balance   of each um with the record so i decided for  ride as we discussed before that i wanted   to i wanted to have a punchy record that  was sort of more focused in that area um   so the next decision will be whether or not the  next record is exclusively acoustic or whether i   choose the songs that i've written and put  it together more in a in a flow with with   some other material but you know it's a it's a  nice problem to have to have different different   styles to be able to pluck from you know speaking  kind of hypothetically if there was kind of a   you know you've got like a free reign like a free  shot if there was another genre that you'd kind of   think i'm going to have a go at yeah with what  would that kind of die straight up gangster rap massive departure yeah christian gangster yeah yeah but i mean uh well within the guys  of what i do anyway there's elements of   funk there's elements of jazz there's  elements of all this stuff and i think   the best thing for me has always been never to  concentrate on whether or not you're going to   push into a certain genre it's about the song  so if you get a song that's all of a sudden   every metal and you love it stick it on your  record you know and hopefully it's got its place   um with a lot of the blues stuff yeah it has got  a very um close tie to to jazz and to to funk so   i mean uh that's always on the periphery anyway  i i was gonna say like you you kind of walk this   line uh with blues and jazz because like we're  in a jazz place now so it's um there seems to be   this kind of crossover i see with a lot of  kind of blues eyes they stick very much to   like blues venues or traditionally blues places  would you kind of i'll play anywhere yeah   well i think i think you know maybe you've got a  bit more of that versatility you know i think like   like the trailer like midnight radio kind of  walks that line well the thing is if you put me   in a folk club i'll play some blues just to mix it  up a bit if you put me in a blues club i'll play   some folk music you know and that in itself is a  an interesting uh dynamic for if you're starting   to try and branch out your material or do things  it's sort of like where is the line where where   does folk end and blues begins and is it it's  not just three chords it's it's a feeling or a   vibe you know um so yeah tonight at this jazz  club we're gonna play straight up gangsta rap uh finally um kind of a further extension  on that question i asked last time with the   one from the past one from the present if  if there was like a classic album that you   could go back to and maybe be a part of in some  kind of way what what what album would that be um that's a big question it's a very interesting  question i don't know i mean for me i suppose it   it's a wider question more so it sits in what era  you know i mean like uh in the in that sweet spot   in the 70s when you got the stones and um you know  it's a different process at that point as well   like a recording process absolutely um and i think  they had a very similar process to to how i like   to undertake recording which is essentially quite  a lot of live aspects to it and then you put a bit   of salt and pepper on at the end so you know for  me um yeah i'd love to be a fly on the wall down   at um exile on main street or some a little feet  stuff or peter green's fleet with mac or you know   just imagine you know so i think in terms of  the the work ethic and how they were recording   the music that era to me is a blueprint for what  how i like to approach making a record you know   it's kind of it links back to what i mentioned  last time where the album has that classic flavor   ride i think it feels like it's got that  kind of uh old-school kind of warmth yeah   well and that's it and it was recorded by a  couple of bad boys in a small little room you know   with uh with uh no separation on the instruments  everything going hot on the hot on the microphones   and i think that's that's what they were  capturing in the 70s a lot of the time you know   either a good ambient sound of a full band or  uh or at least trying not to make things too   clinical you know second you start to um pay too  much attention to how does the kick drum sound how   does this sound how does this sound then you start  losing the focus on the entirety of the sound   you know whereas if you're working on the  basis of a vibe and you know all that cool   jazz stuff that was recorded in the 60s you  know oscar peterson and stuff like that it was   a piano double bass and drums one  microphone in the middle and they just   put it in the right spot and they and  that's what that band sounded like   that's what i'm trying to record what do we sound  like not what can we sound like what do we sound   i think i think that's the thing isn't it like um  because it's it's kind of going back to the basics   you know in a way it's it's it shows it showcases  more of your character whereas i think you know   there's that danger in there where somebody  that's striving for almost the kind of clinical   um perfection you kind of lose that particularly  if you're producing your own music the most   heinous crime you could ever commit would be to  over produce yourself you know i mean if somebody   else does it then you've got you can blame them  but if you ever produce music then you've you've   ever thought it or it's not you know it's not um  it's so uh so natural do you enjoy doing your own   kind of thing yeah yeah i love it but i equally  love having another set of ears in the room   usually musicians you know um uh to to to just  give that second opinion you know um i've never   been really one for the idea of  a a producer who's there for that   specific reason yeah i'd rather wear what the bass  player thinks if he's happy with the bass sound   rather than what somebody else you know at the  helm thinks you know that's cool man well thank   you very much for joining you very much once  again yeah and uh i'll be looking forward to   to hearing you first time very much i hope  you enjoy the show thank you for tuning in so okay

2022-09-06 02:13

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