1. Describe the early years of your musical roots and how your talent was nurtured.
I starting playing guitar at age 13 (and started writing songs then too). I’m self-taught, with definitely lots of help from my friends, as well as closely observing and listening to folks like James Taylor and Joni Mitchell. I started performing near the end of high school, and did so all through college, on Long Island and upstate NY. Then I took a year off after college,
and spent a year gigging in NY. Then it was off to Boston for grad school. I still performed but as my professional career took off, I played less and less. I did however play steel drums with a Caribbean steel drum orchestra for
over 5 years! The guitar got put on hold until 3 years ago when I “woke up” and knew what I needed to do. I gave myself one year to get back into shape, and then I started performing. I had been longing to do it for such a long
time....I really feel whole again.
2. Where there any events, people or catalyst(s) that were musically influential?
All over the map, or should I say the globe! Early on it was artists like the Beatles, Motown, James Taylor, and Joni Mitchell, but other influences include funk, Caribbean and African music (I used to play pan in a steel drum band!). Right now I am listening to stuff like Amos Lee, Damien Rice, Ani DiFranco, Preston Reed, Susan Werner, Patty Griffin, and Earth, Wind, & Fire, among others.
3. What does your live set up consist of?
Contemporary acoustic folk, peppered with the rhythm and spice of jazz, rock, blues, R&B, country, and island grooves. Nationally known acoustic artist Vance Gilbert, who I have opened for, describes me this way: “A honey-warm voice, clear and adventurous guitar work, and incisive lyrics are all hallmarks of Patti’s work, and they are only the tip of her talent iceberg..” And I’m getting known for my stage presence – I like to chat and play with the audience, and bring them into the party.
4. What is the feel of your debut CD entitled, “Paradise”?
I released my first CD, “Paradise” in January 2005, and it was really a joyful
celebration of my return to music. “Paradise” was purposely quite minimal on production, mostly just me and my guitar. It was a first project and I learned a lot. I am very pleased with how well received it has been received
and the airplay it is getting across the country. I am working on new material now for my next CD, which I hope I’ll start recording in the Spring of 2006 and release by the Summer or Fall. This next CD will have more
instrumentation and will musically and lyrically go in some very different directions. I am very excited about it!
5. Describe the creative process of “Paradise”, from the initial inspiration to getting it down on CD.
It’s always different. Sometimes I start with a lick on the guitar that I like and let the guitar tell me what it wants to say. Other times, the lyrics or the concept come first, and are in search of some music. And yet at other times, the music and the lyrics just flow out together (when that happens, the song usually gets written very quickly). I keep a journal for song ideas, and a tape recorder to capture musical ideas. Sooner or later, I find what fits together.
6. How involved were you in recording and producing your debut?
I was actively involved every step of the way, not in terms of actual engineering, but in terms of listening to everything...over and over again!
7. Where did you record the CD?
At Solo Performer Studios near Boston. It is run by Steve Rapson, who recorded, mixed, and mastered the CD.
8. What mics were used to record your guitar parts and where were they placed?
Guitar mike: Shure SM-81,about four inches from guitar, pointed at 14th fret. Also record direct guitar signal through a Fishman Aura and blended the mike and direct.
All signals recorded digitally into Sonar via a Layla 16, processing via Waves plug ins.
9. What microphone was used to record your vocals?
Vocal mike: AKG C414, with a pop filter, about 4inches from source, lo-end cut on.
10. How is “Paradise” being received in North American and Europe?
So far it is being played on over 25 radio and internet stations in 10 states, coast to coast, and in the US Virgin Islands and Germany.
11. You are a member with Indiegrrl, Go Girls, Just Plain Folks, SongsAlive, and RISA (Rhode Island Song Writers Association). Would you recommend a indie musician join these organizations and why?
Yes, yes, yes!! I cannot say enough positive things about these organizations! They are an incredible resource for information, networking, gigging, etc. I’ve gotten some great performance opportunities through them. And the best part is that I’ve met many amazing musicians and made wonderful new friends.
(MONICA: notice I added a few more organizations to your question).
12. In your bio, it states that you have played the steel drums with the Boston-based Metro Steel Orchestra. What was that like and did this have an influence on your style and songwriting?
I always loved Caribbean music and culture, and when the opportunity came about for me to sing and play with a steel band, I jumped at the chance (it is a long funny story!). The steel drums (or “the pan”) is really a magical instrument that is incredibly versatile. Steel bands can play anything from Caribbean music like soca, calypso, and reggae to pop to classical and everything else. I love the groove of the music and the way the pan requires me to use my full body to play and dance with it, and I try to bring that into my guitar playing. I had a ball playing with the band. That said, I never became all that proficient on the pan, and it did not reach my soul in the way that singing, writing, and playing the guitar does. So they kind of meet different needs for me. But calypso and soca is hands-down my favorite dance music.
13. Have you had the chance to play and meet with some players who you admire?
I’ve opened for some terrific artists like Vance Gilbert, and I’ll be opening for Lisa Moscatiello and Terence Martin later this year.
And Livingston Taylor probably does not remember this, but he helped me a lot in my younger days, when I continually showed up as his concerts! Honestly, he always seemed to take the time to take me backstage, show my some licks, or give me some pointers.
14. You are the founder and president of ChangeWorks Consulting? Briefly explain what ChangeWorks Consulting is all about.
ChangeWorks Consulting specializes in workplace and community diversity, organizational change, anti-racism, and social justice education. We provide services to businesses, educational institutions, health care and human service agencies, and community groups. Our goal is to work to create safe, equitable, and productive relationships, workplaces, and communities. It is a gift to be able to put my politics into action as my work. And I try to bring these issues into my music and my shows, as it is another way to reach people, to engage them around tough issues. And I’m starting to bring my music into my workshops too.
15. What are your plans for 2006?
I’d like to find a way to do music more full-time and integrate it with the social justice work I have been doing for the past 20 years. I also want to work hard to improve my craft as much as possible, elevating my songwriting, voice, and guitar skills. My specific goals for 2006 are to devote more time to practicing and writing, getting the new CD done, playing more folk festivals and new venues, open for some more national headliners, and tour beyond New England a bit more. Oh yeah, and to keep having fun and live life to the fullest!
Did you know that when you have your own website you pay to register your domain name and the web hosting company. What this means is that it will cost you approximately $250 per year to maintain your website.
Why pay all that money when you can get a indieguitarists.com web page for $30?
Thats right, a one time fee of $30 and no web hosting costs or domain name registration expenses.
To know more about a indieguitarists.com web page see the info page for details.
1. Describe the early years of your musical roots and how your talent was nurtured.
I started out at the age of four as a classical musician under the guidance of a private family teacher; proceeded with music school and
academy (piano, guitar and composition). During the very early days my mother really did take great care of me and been of assistance and support, for which I'm really much thankful to her. It's been days, and days and days of practicing. And a lot of listening, too Thus, the great composers of the past like Bach, Mozart,
Beethoven, Vivaldi, Boccherini.. etc are still among my favourite ones.
The first rock records that I got hold of was a pair of bootleg Beatles' singles (vinyl) containing "Come Together", "Something", "Octopus's Garden" and "Lovely Rita"...I was fascinated. Guess it was then that I first got "sucked in" by Rock Music.
2. Where there any events, people or catalyst(s) that were musically influential?
First, like I said it was great classical music of the 17th-19th centuries that has really got a hold of me. Then of course, The Beatles...(somehow I always loved them more than Rolling Stones), and the fabulous examples of rock and art-rock music like Queen, Pink Floyd, Deep Purple, Led Zeppelin, Uriah Heep, Nazareth, Jethro Tull, Scorpions,
Genesis, YES, Peter Gabriel, Sting...to name but a few. Ritchie Blackmore, as a guitar player (and composer, too), of course...
At some certain point, having found myself on the intersection in between classics and rock music, I found myself really interested and involved in the so called "neo-classic rock", Nicolo Paganini having been my favourite Violin composer and my great "catalyst" and "teacher" - I've been playing a plenty of his pieces (violin concertos, capriccios, sonatas) and his "specific" exercises (ones
written and meant for violin, of course) Along with playing violin exercises and etudes by such great violin player like Joachim, Venyavski, Vivaldi -over imposing violin playing technique on guitar and thus "interconnecting" these two very close instruments. That was the idea which enabled me to "design" and
develop the guitar playing technique I'm using.
In the very beginning of the 80’s I was really impressed by the style and playing technique of Yngwie Malmsteen, whom I still consider one of the best guitarists of the present.
3. What is the feel of your new debut CD entitled, "Can’t Be In Vain " and when will it be released?
The New Project of mine, the launch of which is marked with the new solo CD, "Can't Be in Vain" (Digipack, Gold, limited edition) just recently
successfully released in Moscow, Russia, along with a live concert DVD titled "Live in Red Square", is my fresh view upon contemporary rock and pop music and an attempt to combine several music genres, while orienting on the mainstream rock concept. I've written, arranged and produced all the songs on the CD.
The CD is a collection of songs that, stylistically, is a delicious blend of mainstream melodic rock and a smart pop with an influence from virtuoso progressive rock, infused with
"sophisticated" air of new age and romantic vibe of celtic folk...And, of course, having a certain background and integrity of classics. Often being related to as "cinematography matching". Soulful, romantic, positively charged and uplifting songs, indeed. It's actually my "debut" release in this direction.
The release is only a few days ago successfully accomplished in Moscow on russian mega-label "SOYUZ" and from Saturday, December the 24th, 2005 is already on sale in all the bigger record stores Russia-wide. These CD's and DVD's are also available online and can be ordered and purchased on "Alexandre de Guise" official website and, also on "SOYUZ" Record Label website at: www.soyuz.ru
4. How involved were you in the recording process?
Deeply, I have recorded all of the guitars, vocals, keyboards.and even percussion on the CD. Also, like I said, I myself have done the computer/synths programming, arranged and produced all the songs.
5. What guitar equipment did you use in the studio to record your debut
CD?
Rhythm:
Electric (Clean): Digitech Processor >>>Amp (Fender) >>> Mic >>> line
Electric (Dist) 1: Hughes and Kettner Preamp >>> Amp (Peavey/Marshall stack) >>> 2 Mics >>> 2 lines
Electric (Dist) 2: Marshall Preamp/Processor >>> Amp (Marshall stack)
> >>> Mic >>> line
Electric (Dist) 3: Digitech Processor >>> Amp (Marshall stack) > >>> Mic
> >>> line
Acoustic:
A) (Ovation): Digitech Processor (Stereo) >>> 2 lines Stereo)
B) (Ovation): Digitech Processor (Stereo) >>> line + Amp (Mesa Boogie) >>> line + Mic >>> 2 lines (Stereo)
C) (12- > String): Mic >>> line (doubletrack)
Solo:
Electric (Dist) 1: Hughes and Kettner >>> Amp (Peavey) >>> Mic > >>> line
Electric (Dist) 2: Hughes and Kettner >>> Amp (Peavey) > >>> 2 Mics >>> 2 lines (Stereo)
Electric (Dist) 3: Marshall > Preamp/Processor >>> Amp (Marshall stack)
> >>> line
Electric (Dist) 4: Hughes and Kettner >>> Marshall stack >>> > Mic >>> line Electric (Dist) 5: Digitech Processor (Stereo) >>> > line + Amp (Peavey)
> >>> line + Mic >>> 2 lines (Stereo)
Acoustic 1: Digitech Processor (Stereo) >>> 2 lines (Stereo)
Acoustic 2: Digitech Processor (Stereo) >>> line + Amp (Mesa > Boogie) >>> line + Mic >>> 2 lines (Stereo)
Acoustic 3: Mic >>> > line (doubletrack)
7. How did you record the rhythm section?
Live Drum Kit, live percussion plus additional drum loops and "programmed"
drums.
8. What recording equipment did you use?
Since the Album was recorded in several different studios, the equipment was different. Thus, it would take ages to list...
Basically, it was a more or less:
Professional Studio set - multi- track (24 to 48 channel) Mixing Desk(s) (Tascam, Allen Heath), multu-track ADAT
Recorders+Cubase SX program, plus Protools and Digital Hard Disc
Recorder/Mixing Console (Yamaha) involved at some stage.
Naturally, I "deeply" participated in all of these, as a "Sound Producer". The person who, technically, contributed most of all into that, at the very final stage of the process, was Alexander Shantin who is one of the leading and renowned Recording/Mixing Engineers in Russia.
Plus, added when necessary:
5) percussion
6) second guitar
7) back vocals (trio)
8) live strings (quartet)
bag-pipes
9) flutes/whistles
11. What are some obstacles that you have had when playing live?
Well none, provided that the PA/equipment is decent enough and the sound engineers and technicians are really proficient (something that does not always and necessarily happen in the Russian Venues.)
12. Do you own your own record & publishing company?
No, not yet... by the moment I do hold all the Copyrights to all my musical works myself.
13. What music organizations are you affiliated with?
- Makato Promotions (USA) (c/o Mary Gilbert)
-Caterine-Music (USA) (c/o Jimmy Caterine of "Sacred Rite")
-Mosiq.COM (c/o Brad Ervin)
-Russian MEGA Record Label "SOYUZ"
-Musicians Union, UK
-EvOR Group ("Elite Veterans of Rock")
-U.S.Copyright Office.
14. Are you planning a tour soon?
As the saying goes, "If you want to make God laugh tell Him about your "plans". (a joke, well, I'm not "supersticious"...only trying to be "cautious".)
Therefore, in the new year of 2006 I'm looking forward to going on a cross-national Russian/European Tour in support of the new release, "Can”t Be In Vain", that's for a start. Then a bigger USA Tour as soon as my american colleagues and promoters manage to accomplish organizing and mapping out one.
15. What are your plans for 2006?
Along with touring, I'm also hoping to do recording of some of my new stuff, there's aleady quite a lot of it awaiting.
For more info on Alexandre de Guise visit http://www.makato.org/
