Interview

 

Once again, this session is failing to provide the drama needed for good blogging. To the best of my knowledge there have been no fights, drunken hookups, or tanning involved. I haven't even been able to get one decent crotch shot of anyone. And since I'm largely at peace with the jazz world, it's a great time to bring back the interview. Here's an interview with current resident, Mike Stover, who's been getting a lot of attention lately due to a recent article in the KC Star and his general awesomeness that becomes apparent upon spending a small amount of time with him.

 

Where are you from and how did end up in Kansas City?

Grew up in southwest Missouri, near Joplin. Kinda out in the sticks. Lived in south Texas for awhile, then came to Kansas City in 1997 to work with a friend from Joplin in an experimental noise-tape project called Sucking Strange Divine.

 

Who are your main musical heroes and why?

Multi-instrumental sidemen/women who keep the trains running for rock stars. Mad genius session players who lurk in the shadows of your record collection. Composers and players with huge ears and open hearts.

What attracted you to the steel guitar?

At first, the novelty I suppose. And the history. There was a time (early 20th century) when the (Hawaiian) lap steel guitar was far more popular than the ubiquitous guitar of today. Magnetic pickups were attached to lap steel guitars before Leo Fender and Les Paul came along.

The steel guitar is rarely used in a lot of the music I like to play. There are some steel guitar jazz records but not many. It's such an adaptable instrument. I'd love to see it make a comeback.

You're doing your first BHIC residency, what have you thought of the experience so far?

So far there hasn't been much improvising! More of a composer's collective, it seems. I'm not complaining; all the music we've worked on has been fantastic. Everyone in the ensemble is full of fire and great ideas. It's been very, very exciting and I'm thrilled to be a part of it. 

What kind of musicial training have you received?

Mostly on-the-job. I dropped out of college for a year and forgot to go back. Playing with groups like BHIC and the People Liberation Big Band has been invaluable experience. Five years ago I could barely read a note of music.

What groups do you play with?

Mr.Marco's V7: Progressive pan-ethnic nonjazz  Dead Voices: Twangy rock & roll with lots of steel guitar  The People's Liberation Big Band: Large-ensemble insanity  The Phonologotronic: Modern pop standards, reworked for the band's enjoyment  Ernest James Zydeco: Roots music for fun & profit

What does one of your typical practice session consist of?

Generally I'll spend 10 or 20 minutes deciding which instrument I want to work on. Then I'll feel guilty for not working with the other instruments, or for not writing enough, or for not spending time with friends and family, etc. When I've finished beating myself up, I'll pick up a method book by a well-known musician--say, Joe Pass--which will remind me of an amazing recording he did with Ella that is somewhere in my record collection. Then I'll spend half an hour digging through my collection for the Joe Pass record, but will instead find an LP by Texas speed metal band Rigor Mortis that I didn't know I owned. I'll listen to that, which will remind me of my high-wattage guitar amp that I started fixing two years ago and is still in pieces on my workbench. Then I'll go upstairs for some cookies, and realize that it's 2am and I should probably go to bed.

 

How did you get into playing jazz?

I've listened to jazz since my teens, but without a teacher or music school, it took me awhile to figure out what was going on! Like a lot of younger players, my jazz education is backwards--discovering signpost artists like Zorn via the more adventurous side of the rock music world, and from there going backwards into the tradition. I guess my first 'legitimate' jazz work would be with Brad Cox and the PLBB. I was first invited on by Jeff Harshbarger as a soloist on a piece that he arranged, and eventually I found myself in the ensemble. Before that I had done a lot of improvisation with Mr.Marco's and other noisier projects, but rarely anything you might call jazz. 

If you could change something about KC music scene what would that be?

There's very little to complain about these days. Boatloads of talent. The venues are here. Journalists who are excited about what we do and help us get the word out. The standard of living and lack of "music business" trappings in Kansas City allow for experimentation and growth without worrying about the bottom line. Of course it would be nice to play to packed houses every night, but an evening of live music isn't for everyone--and isn't that the point of playing music that's left-of-center?