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TIM SOLOOK |
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Now, in 2024 Tim Solook is back with his fifth solo album Changed Lives. Featuring a fresh set of Solook originals, the 10-track, 43-minute album spotlights several of the same musicians featured on Delete Event including electric guitarist Paul Chester. Inspired by the life-changing events of the past four years, including the pandemic and war in Europe, Changed Lives sounds equally positive and inspiring. Three of the Changed Lives tracks, “Rhythm Suite #1”, “Rhythm Suite #2” and “Rhythm Suite #3” are short but sweet no doubt inspired by Tim’s mastery of both the drum kit and a range of percussive instruments that he plays on his new album. There’s even a drum solo here simply called “Steve Gadd”, influenced by the famed jazz drummer of the same name. Too spatial in scope to fall completely under the smooth jazz and funk-jazz banners, yet too easy on the ears to be considered fusion or progressive instrumental, Changed Lives is diverse, contemporary instrumental jazz in the finest sense of the meaning. The chemistry between the players on hand is very impressive with Tim’s full-scale drum kit leading the ensemble through a full range of musical changes. The performances of guitarist Paul Chester and the keyboards of Andrew Lienhard are quite impressive, as they were back on 2020’s Delete Event. Adding more to the sound of Changed Lives are David Craig (bass) and Warren Sneed (sax). Changed Lives was recorded in Sugar Land, Texas in late 2023 with the exception of the title track, recorded at Houston’s San Jacinto College in mid 2022. An affirmation of optimistic musical energies generated during times of adversity and challenge; Changed Lives is a positive channel for Tim Solook’s collective musical expression.
mwe3.com presents the 2024 interview with Tim Solook
Tim Solook: The title track “Changed Lives” was inspired by observing world events. The invasion of Ukraine by Russian forces, the often too frequent mass shootings in our country, and of course the pandemic, but also thinking how an accident or health diagnosis can completely change the lives for us and our loved ones. Moving into a new era musically and culturally? There will always be a new younger generation of musicians/composers to generate fresh new sounds to listen to. Fewer people are buying physical copies of CDs so yes, this may be the last one I finance. mwe3: You said the Changed Lives title track was recorded a little earlier than the rest of the Changed Lives album? It’s got a great melody and the sax solo is excellent. Tell us how you composed that track. Tim Solook: I use the vibraphone to compose most of the compositions I write. We recorded the track with the Paul English Quartet, the band I regularly work with, at San Jacinto College as a last minute addition to the planned list of songs we were tracking that day. I was going to re-record this track with the band I did the rest of the album with but after listening back I felt it couldn’t be played any better, especially David Caceres’ magnificent solo. Everyone played great on that track, and after I had Andrew Lienhard add some organ, it was complete. The title track was recorded with The Paul English Quartet who also played on my last project Delete Event. The band that played on the rest of Changed Lives at Westside also worked on my last two studio projects. I’m very comfortable playing with both groups. mwe3: Even though the title track was recorded with a somewhat different lineup of players, your drum sound is the glue that holds it all together. Tim Solook: In regards to the “drum sound”, the drum set I played at San Jacinto College was a studio set, Tempus drums I believe, and the kit I used at Westside were my Yamaha Recording Customs. I used the same snare and some of the same cymbals for both sessions and surprisingly, the “drum sound” was very similar! mwe3: Do you write charts and/or melodies and is that generally the process as you approach recording in the studio? Tim Solook: I write lead sheets with melody and chord changes which includes a brief outline of the arrangement. mwe3: The majority of the tracks were recorded at Westside Recording in Sugar Land Texas. Tell us about the album at Westside and what do you look for in a recording studio and can you compare Westside with the studio you used to record the title track at San Jacinto College? Tim Solook: Westside Recording has been my Go-To studio for my last four studio projects not only because I get everything I need in a studio in that Tan Truong the owner/engineer is so great to work with. He gets great sounds and he’s quick. That’s important when working in the studio because time is money! That said, Les Williams at San Jacinto College is a wonderful engineer who runs an excellent recording arts program at the college. It was the first time I recorded in their new facility, and it was a total joy.
Tim Solook: The three part “Rhythm Suite” was played on Slit Drums which are three different sized wooden boxes with two toned slits in each played with rubber mallets. They give an African log drum sound. After laying down the Slit Drum tracks I overdubbed claves, shakers and a tiny set of bongos that I bought when I was 12 years old! mwe3: Speaking of drum solos there’s another track here called “Steve Gadd”, named after the esteemed jazz drummer of the same name. You have an interesting story of how you met Steve Gadd. What was/is Gadd’s impact on drummers, now and then? Tim Solook: Steve Gadd has been an influence on my drumming ever since I first heard him in the early 1970’s. He has influenced everybody. Like drummers Jim Gordon and Hal Blaine, Steve Gadd always plays the most perfect part for any music he’s asked to play. I only met Steve Gadd once while I was working at the Drum Keyboard, Guitar Shop in Houston. I was asked to be his driver when we hired him for a drum clinic. It was a thrill to check him out at that clinic. I also saw him do a clinic in California. I loved the title of that clinic, it was called “Mission from Gadd”. mwe3: Another new track, “January” sounds very impressive. It seems like there’s a great interaction between the players with your drumming propelling the ensemble. In addition to your full drum kit, what kind of percussion are you playing on that track? What else inspired “January” and what else can you say about that track? Tim Solook: I feel every new year starts new life. I like adding percussion to tracks but not too much. I felt “January” warranted adding percussion to highlight the other players. Some of the percussion instruments I used was bean pods, temple blocks, vibra-slap, bell tree and sleigh bells mwe3: “Free Sample” has some impressive counter harmonies by Paul Chester’s guitar work and Warren Sneed’s sax playing. Also what can you say about Andrew Lienhard’s keyboard playing on that track? The melody is simple but it’s played with such impeccable interaction. You make it sound too easy Tim. Tim Solook: Andrew’s playing is phenomenal on every track! On this track he adds the perfect background. He doesn’t solo and still shines throughout. Warren and Paul play so well together and are totally locked into this laid-back groove. mwe3: That jazzy, funky edge of your sound comes through on the track “I’m Not Sayin’ Nothin’”. Again the guitars and sax work seems to work off of the great harmonics here. The bass work and keyboards also shine. Did you write this track to show off how great these players are? Tim Solook: I wanted these players on my recording because they are all about making the music sound the best by listening to each other and reacting not just playing notes on a page. mwe3: There is some difference of opinion in that some call your music smooth jazz and some call it a form of fusion. Being that you grew up with the great jazzers and the great progressive rock bands, how do you balance the influences in your music. What drummers do you cite as being chief influences?
mwe3: “Old Friends” is a low key kind of track with a descending melodic line. I guess the subject matter of the title track makes it quite reflective sounding but it’s not sad at all. Tim Solook: These musicians I’m playing with are all friends I’ve known for over 30 years. I think this was definitely one I wanted to showcase each one of them by celebrating a long friendship. mwe3: “Twenty Three” is a great way to end Changed Lives. Is there a significance to the title? It’s got a bit of a Latin edge to it plus the keyboard / guitar interaction is great. Again it has so many layers and counter melodies, making it a definite highlight. Tim Solook: The title was basically the year we did this. I love Latin music and again wanted to use some percussion instruments to highlight the soloist. I even got to overdub some conga drums which was really fun to do. mwe3: Now we’re both septuagenarians, how are you dealing with getting older and do you have any advice for others approaching the golden years 7th decade with dignity and hope? When I think of older musicians that grew old gracefully, I think of Les Paul. Do you have any role models or spiritual gurus that keep you inspired? Tim Solook: Getting older just gives you the knowledge of how to pace yourself and of what not to do. I think I’m playing as well or better than I ever have! I guess my role models are all octogenarians that are still going strong. Paul and Ringo, the Stones, Roy Haynes is almost 100! Eric Clapton is pushing 80. Steve Gadd will be 80 next year and still playing great! Airto Moreira just turned 83 and making great music! I’m very encouraged that I’ll be playing for at least the next 20 years! Why not? As long as my health holds out, I’m ready to play! mwe3: You mentioned that you might not press another album on CD. I guess we’ve seen it all from the 45’s and then Lps we bought as kids to cassettes and CD. And now back to Lp? lol Tim Solook: I’ve had a few people say they wished that I had made my earlier releases available on vinyl. Since Changed Lives could be one of the last that I finance, I thought that I’d do a limited run of vinyl along with the CDs. I still listen to my LPs. They have a very special sound you don’t get from CDs. Changed Lives is very different from my other projects and I thought it would sound great on vinyl. mwe3: What kind of Tim Solook and friends album do you envision for 2025? Do you write regularly and are there any other ideas and musical directions that inspire you to move forward? Tim Solook: There are no projects planned for 2025. I only write when an idea pops into my head. I’ve been consumed with putting this latest project together besides working on other people’s projects. Maybe after the dust settles, I may get inspired to start writing, but nothing new at the moment.
Tim Solook: There are too many albums that inspire, in many different styles. If I have to pick three, I’d rather say artists than albums because I’ll listen to multiple albums by the same artist for inspiration. My three would be: The Beatles, Dave Brubeck and Steely Dan. Each of these artists write strong melodies with interesting chord changes and rhythms. I can listen to any of their records from any year and be totally immersed in and inspired by what they’re doing.
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During the global pandemic of 2020, Texas-based drummer and composer Tim Solook released his fourth album Delete Event. That album presented a fine continuation of Tim’s jazzy, instrumental fusion sound and featured a range of musicians that helped him bring that album to completion.
mwe3: How did Changed Lives come together after your 2020 album Delete Event? You said Changed Lives might be your last physical CD release? I remember discussing in 2020 how the global pandemic impacted your music. Are you finding that we are moving into a different era, both musically culturally? 
mwe3: There are three different solo percussion tracks on Changed Lives, including three different “Rhythm Suite” tracks, 1, 2 and 3. What instruments are you playing on those tracks and was there any overdubbing on the three percussion tracks?
Tim Solook: Gee, it’s hard to pick one or two or ten! There are so many great players of all instruments that influence if you do a lot of listening. I’ve never listened to a drummer and his music and say to myself, “I want to write like that”. I practice playing drums and the vibes and sometimes a song idea comes into my head and I write it down. Pretty simple. Sometimes I get lucky and it sounds good. Believe me, there are many that don’t!
mwe3: Name three of your favorite albums that still inspire you today... Any genre you choose!