Quote:
Originally Posted by ilikethetrumpet  Mr. Wise,
A friend of mine started talking about Koyana--you know, the Phillip Glass movie--and I remember from that Peabody interview that you had played on that. A question I've always had: in that sort of minimalist music, how much of it is seamless--are you expected to play nonstop sections, etc., and if so, how to keep the chops fresh?
Thanks! |
We recorded the brass cues over, and over, and over, and over.......
The studio was so small that only one section at a time recorded. We recorded with a conductor and a click track. It was meticulous work. My approach to all work has been to play as beautifully as possible all the time. Good endurance comes from good fundamentals.
Some of the cues were quite long, those cues were broken up into smaller chunks. There were others that used muted and open playing at the same time, we had breaks for mute changes.
The recording of "Jesus Blood Never Failed Me" was the hardest thing on the chops I had to do at the Glass studios. There was a piccolo trumpet lick with the singer, Tom Waits, that took forever to get down.
Wilmer