The
12 track, 2014 CD release of Celeste adds another intriguing
chapter to an ongoing series of recordings from Savannah, Georgia
based Richard Leo Johnson. On Celeste, Richard mixes
a wide range of organic and non organic sounds by performing, of all
the wildly thought out ideas, a specially designed Martin guitar designed
with a built in Theremin. The legendary Thereminfamous for helping
to usher in the age of moog synths and first enjoyed by pop audiences
on the Beach Boys 1966 track Good Vibrationsis
given a new lease on life on Celeste. The all instrumental
tracks on Celeste are otherworldly and with the Theremin trading
sonic volleys with the guitar, the CD filled with a myriad of musical
moves. The concept of mixing acoustic steel string sounds with E-bow
and Theremin is nothing short of fascinating, and as such, Celeste
will appeal to acoustic guitar fans as well as fans of vintage electronica.
The sound of Celeste is somewhere between the rural ambience
of Leo Kottke and the intense cosmic prog of Robert Fripp to name
just a couple of the audio signposts. Speaking to mwe3.com about Celeste
and his performance on the Martin Theremin guitar,
Richard explains, The guitar is a one of a kind instrument.
It is both interesting to look at and complicated to play. I approached
the guitar with the idea of two converging and different sonic palettes.
The acoustic guitar, with its harmonic, percussive and physical properties
and the Theremin with the linear non incremental pitch and the purely
electronic tone. Well worth the trip for guitar fans, Celeste
is filled with progressive ideas that further establishes
Richard Leo Johnson among the leading guitarists of the early 21st
century. www.CelesteTheRecord.com
/ www.RichardLeoJohnson.com
/ www.SoftScienceRecords.com
mwe3.com presents an interview
with
RICHARD LEO JOHNSON
mwe3:
Richard, hows life in Savannah? I remember our interview from
2004 that appeared in 20th Century Guitar magazine when you released
Poetry Of Appliance so its great to see youre back
with the new album Celeste. What were some of the key
events that led up to the making of the new Celeste album?
Richard Leo Johnson: Savannah is fine
it is a wonderful
and weird city. Soon after the trio record, I was given an old National
Duolian guitar by my neighbor here in Savannah. While looking at the
guitar I noticed a name crudely carved in the body. The name was Vernon
McAlister
at that point I was intrigued about with this person
was and what kind of music he played. Because I could find out nothing
about this person, I decided to fabricate a story based on nothing
but the name and the guitar. I created a narrative and song cycle
which I felt represented this imaginary character, his music and his
encounters. Vernon McAlister is the catalyst for a line of characters.
The story goes: Vernon had a terrible head injury in a lumber mill
where he worked in the 1930s. While recovering, he was given a guitar
as a gift from his friends and family. He fell more and more in love
with the guitar and less in love with his current life. Vernon eventually
disappeared into the landscape, hopping trains and hitching rides.
His itinerant life and seemingly aimless wanderings, advanced his
passion and obsession with his guitar. Vernon's abilities to coax,
what seemed like sonic sorcery from the guitar, stunned listeners
wherever he went. He barely survived on tips and generosity.
Subsequently his influence on Charlie Shoe, Duval Rey and Celeste,
during chance encounters, is what preserves and continues his mystical,
musical legacy. Celeste is the latest installment based the
legacy and influence of our main character, Vernon McAlister. I have
become, what you might call, a musical ghost writer
.*
The story
of Celeste: Vernon McAlister was abducted by an alien craft while
he was camping in the woods near Meridian Mississippi in 1968. The
strange and frightening encounter consisted of Vernon being forced
into a breeding ritual with an alien female. It was like a dream,
both erotic and surreal, and Vernon woke up back at his campsite with
a feeling of wonderment. He went on about his travels and never spoke
of the encounter with anyone. Several years later, a mysterious and
beautiful young lady "Celeste", was showing up at random
places, playing an unusual guitar and singing with a voice that was
otherworldly. Anyone that heard her was immediately moved and amazed.
It seemed as if she had 3, sometimes 4, separate voices. Astoundingly,
the songs had no determinable words, but everyone listening seemed
to know what exactly she was saying.
mwe3: Looking back over the past ten years, what were some
of the highlights for you, if you could give a time capsule. Where
did ten years go? 2014 like a different planet compared to 2004. (lol)
Any key musical moments over the years that stand out for you?
Richard Leo Johnson: Here is a breakdown of the feelings I
have developed about the music/performing life I once lived... kind
of psychoanalytical but true.
The sometimes blurry line between myth and fact or fiction and reality
can be a wonderful playground for one to dabble. Being the sum total
of our influences, how we assimilate and sometimes repackage that
information, has always been fascinating to me. I call/consider myself
a "self-taught" musician, and have been playing guitar since
I was 9. I cannot read or write traditional music notation. Ive
always relied on my ear, intuition and memory to compose and perform
my music. After many years of practice, experimentation and listening
to others, I felt I could express my ideas and emotions freely without
hesitation or fear of failure.
There was
no denying the speed of my playing and complexity of my songs and
I was eventually rewarded with several quite significant kudos: record
contracts, endorsements, etc. Suddenly, I was on the road doing concerts
and workshops for as many as 150 days a year. It was exciting, yet
lonely, nevertheless, I thought I was getting what I wanted. In time,
after several years of this, I realized something felt terribly wrong.
It became obvious that my reasons for doing this felt more and more
uncomfortable, when it was about "me" although I knew I
was just a tiny speck in the big scheme of things but that is how
I felt. I still wanted to compose, play and record music. It was at
this juncture, that I began focusing on a series of mythical, yet
believable, alter ego characters. (See earlier answer above).* This
allowed me to write and record in a way that felt removed from "me"
as an artist/performer... very liberating, indeed.
mwe3: Your new CD, Celeste is a masterpiece. How did
you arrive with the name Celeste and when was the music for
the album written? Did you use a specific song writing process for
the making of this album?
Richard
Leo Johnson: You are too kind, really. The title was arrived at
by virtue of a search for astrophysics terminology. The character
I created for the CD, "Celeste", is a female, so the abbreviation
of celestial, a term from the astrophysics vernacular, seemed very
appropriate. I always write and record with a certain intangible and
spontaneous response to the tuning I am using and the sound that comes
from the instrument. I never start out with an idea or meaning but
let the process of invention determine the outcome.
All of the songs I play are pretty much committed to memory. I record
the basic tune and then revisit the music and add to the basic idea.
This especially applies to "Celeste". The Theremin is an
incredibly esoteric and bizarre instrument. I totally abused it on
this recording, but I guess that is how I have always approached the
guitar.
mwe3: How does Celeste fit into the trio of albums about
mythical characters youve now made, including Celeste, The
Legend Of Vernon Mcalister and Who Knew Charlie Shoe? You
say that Celeste was an alien female that Vernon Mcalister
came into contact with but how does Charlie Shoe fit into the story?
What is it about mythical characters that fascinates you so much?
Richard Leo Johnson: Charlies encounter: Charlie Shoe
lives in Marked Tree Ar. Charlie has Aspergers syndrome. When
he was around 12 years old he and his parents were at a church social
picnic. Suddenly a man appeared, he was obviously a hobo type and
was carrying an old beat up guitar case. He made a mention to one
of the attendees that he would be happy to play some music in return
for some food. Charlie had been hyper-focused on the man and his actions
from the moment he arrived. The man pulled out an old steel bodied
guitar and without hesitation launched into a series of incredibly
beautiful and mysterious music.
The congregation, and especially Charlie, were transfixed and silent
during the performance. The man ate and left with a gesture of humble
gratitude, he made a glance towards Charlie and wandered off into
the woods. From that moment on Charlie was severely obsessed with
the idea of having a guitar. The next Christmas his parents gave him
a cheap Stella guitar. To his parents amazement he grabbed up the
instrument threw off the red bow and started playing the guitar as
if he had been practicing all of his life. He continued to adore and
play the guitar as if it were a mission of the utmost importance.
mwe3:
You can see the guitar you recorded Celeste with on the back
of the CD cover. That guitar was commissioned by Martin Guitars and
was designed by Michael Brolly. So the guitar youre using on
Celeste is a Martin guitar with a built in Theremin? That has
to be a first. Is it? Can you explain to the guitar novice just how
the Theremin gets triggered by the guitar sounds to create those other
worldly effects? Has this kind of thing ever been attempted or thought
of before? It seems and definitely sounds fascinating but highly unusual.
Richard Leo Johnson: The guitar is a one of a kind instrument.
It is both interesting to look at and complicated to play. I approached
the guitar with the idea of two converging and different sonic palettes.
The acoustic guitar, with its harmonic, percussive and physical properties
and the Theremin with the linear non incremental pitch and the purely
electronic tone.
The relationship and placement of your hands on the guitar has an
effect on the Theremin but it is VERY tricky. For live performances
I do some looping which allows me to blend he sound of the guitar
and Theremin as well as treat either one as a solo instrument. Combining
those for the CD is more important compositionally and conceptually
than actually playing it as a single unit. I do have tunes that I
can perform live but that was never my end goal.
mwe3:
I remember that you said Ricardo, who played with you on the Poetry
Of Appliance album was into the Theremin. Is this the first time
youve used a Theremin on record and what was your first exposure
to the Theremin? Hard to believe it was invented nearly 100 years
ago.
Richard Leo Johnson: Playing with Ricardo was my first real
experience with the Theremin. It seemed unwieldy and scary but loved
the sound of that combined with me using the e-bow on the guitar.
mwe3: What was the process like in the studio during the making
of Celeste? What kind of studio gear and computer programs
did you use to record with? It sounds like theres thousands
of guitar tracks seamlessly bonded together.
Richard Leo Johnson: I used my home computer and a 2 track
ProTools set up. The individual songs were first composed and recorded
in stereo with 2 mics on the acoustic guitar and then I would listen
and respond to the song with some additional, but sparse, guitar tracks
and gobs of Theremin as well as some super wonderful sounds from deep
space I got from NASA to use for the record.
I have to give a ton of credit to Gabe Herman for engineering and
mixing this project. He also did an amazing job with The Legend
of Vernon McAlister and Who Knew Charlie Shoe. http://www.audiogabriel.com/
mwe3:
Are you still using the E-bow for recording or in live settings? Its
amazing how much the E-bow sounds like the Theremin. The E-bow is
a pretty legendary instrument. I knew some Swedish musicians would
combine E-bow with a musical saw.
Richard Leo Johnson: (lol) Yes it is a hoot. Used it some on
Celeste for the very reason you mentioned... the sound strangely
similar.
mwe3: How about producers? Are you still working with any producers
and how does a producer impact your recording and musical directions?
Are there any producers left that youd consider working with
in the future? Seems like many of the great album producers are gone
now.
Richard Leo Johnson: I have self-produced my last three records.
I always enjoy input from others, but since I can record at home and
take my time it seems more practical to do everything myself until
the final edit and mix and give that to someone better suited to handle
that aspect of the process. I think home studios have been a blessing
and a curse. The great producers of the past seem in some cases to
have replaced by a need for expediency and lack of budget. It is sad
but a sign of the times.
mwe3:
Your photography is legendary. Whats new regarding your photography
work and what are some of your latest forays into the world of photography?
Richard Leo Johnson: My commercial photography is primarily
architectural and interiors. We are fortunate enough to have great
relationships with many architects interior designers and publishers.
www.atlanticarchives.com
The so called fine art aspect of my work is based on my travels
to Yucatan Mexico. We have a little beach place down there in a tiny
village. No tourists and plenty of peace and quiet. Here is a link
to a film we did a couple of years ago. I write, directed and scored
the short film. http://vimeo.com/37451633
mwe3: Can you tell us something about the Celeste CD
cover art?
Richard Leo Johnson: We have an old mask from Borneo, my wife
said one day that it looked like an alien so that was that. The photo
on the inside is from NASA and the rest of the photos I did.
mwe3: The music on Celeste is quite experimental and
has as much to do with guitar music as it does with experimental music.
Some writer said your music is one part John Fahey and one part Harry
Partch. Is that pushing it or were you influenced more by rock guitarists
than experimentalists?
Richard Leo Johnson: I was really inspired more by non-guitar
and non-music in many ways. I was always interested in how someone
did something, like early Kottke and McLaughlin, but after that early
interest in guitar I really liked sax, keyboards, trumpet, orchestra
and a host of other things, including film scores, poetry, and the
visual the arts, which is my formal educational training... MFA in
photo.
mwe3:
How would you compare Martins Theremin guitar with
other guitars? How about the 6 and 12 string McCollum guitars that
recorded Poetry Of Appliance with? Is that the double neck
and are you still playing that one? What else is new for you in the
21st century guitar world?
Richard Leo Johnson: The Martin/Martian guitar is actually
a very nice sounding instrument acoustically even though it has a
huge circuit board inside associated with the Theremin. If you look
at it the first thing you notice is the body is upside down
.well
I guess the first thing really is it looks like an alien... (lol)
green and crazy eyes which serve as the sound holes. The lower bought
being on top helps promote the bass response and gives it a real even
volume/tonality.
I still have the McCollum double neck and another 12 string Lance
made for me. His passing is a real loss for the guitar community and
his friends and family... he will be missed.
mwe3: Have you been on Ebay recently looking for rare guitars
that you might use in the future? Guitar players must be on Ebay a
lot! (lol) What other effects did you use on Celeste and how
about other sonic effects you record and perform with?
Richard Leo Johnson: My wife said the guitar and other weird
instrument acquisitions has reached the glass ceiling
lol My
tracks on Celeste are all straight tracks with no effects or
pedals. Gabe added some things to the mix but I am not quite sure
what he used... all I know is it sounds pretty cool.
mwe3:
How about guitar pickups that you use these days? Back in 2004 you
spoke about using a Godin fretless guitar and when I asked you about
strange guitars you spoke of a rare 12 string called a Bozo Podunavac
guitar.
Richard Leo Johnson: I took all the pickups out of my guitars.
The Martin has a Fishman built in for performance purposes but I did
not use it in the recording process. I have a couple of very nice
Octava mics from Russia that I run through a tube preamp system which
gives the acoustic guitar a very natural and warm feel. I sold the
Bozo guitar years ago. It was an OK guitar... pretty heavy and cumbersome.
mwe3: What about live shows? Have you been able to capture
all the sonic complexities and nuances of your recordings in a live
setting? Are you hoping to release a DVD of some live shows and/or
some video clips?
Richard
Leo Johnson: We recently did a live show here at The Ships of
the Sea museum. It was called The Theremin Summit
(lol) Four players which included me and Ricardo. He and I had a blast
playing together and we plan on some shows in the future but not sure
where or when as of now. There will be video clips on Youtube soon.
mwe3: Georgia based Soft Science Records released Celeste
on CD. How did you begin working with them ? Is there a label
philosophy there that is compatible with yours and I hope they will
follow this up with another album from you.
Richard Leo Johnson: One of my first photo assistants here
in Savannah, was Skip Terpstra. He is a real standup guy and good
friend. He and his pal Gus started the label for some local bands
to have a way to distribute their music. When I decided to release
Celeste and realizing the large number of contacts I had made
in the past you included it seemed like I could revisit those kind
good folks and sources, to see if they would consider reviewing and
or playing the CD on their radio shows etc. Well the response has
been overwhelming... really amazing... better than I ever expected.
mwe3: So many great musicians are passing away these days.
I guess we have to enjoy what we have left from the legends of music.
So
true
my friend Gregg Bendian is working with Yale to do
recorded interviews with some of the real jazz greats. The world is
losing them left and right and when some of the people are gone, that
will be the end of a generation with no clear replacements in sight.
In some ways I think the listening audience globally has been dumbed
down. Intellectually challenging music is on the downhill slope. You
can cite many reasons for this, but it is happening.
mwe3: Whats next for you both as far as Celeste as
well as other plans you have for the rest of 2014 and into 2015. Only
eight years till 2023!
Richard Leo Johnson: Like my wife once said in a moment of
frustration the future is coming up yall! Celeste
is going to be there doing its thing and I hope more people hear it
and find it interesting.
The next fictional character is Duval Rey One Man Band.
It is about a blind creole street musician in New Orleans. The record
is done and will be out next spring. The featured instrument is a
four string banjo I got off of eBay. There is also percussion, trombone,
kazoo, harmonica and other assorted instruments on the recording.
Thanks to Richard Leo Johnson @ www.RichardLeoJohnson.com