Jeremy dePrisco's Blog

Fine Monster Week One

2008-07-28T18:18:00.005-04:00

7/28/08
We survived the first weekend of the BU Alumni production “A Fine Monster You Are”. Yes, by now word has probably gotten around that I play a troll – my first on-stage appearance in a play since Immaculate Misconceptions, and my first non-musician role ever. I still maintain that I am not an actor, but if there is a furry costume involved, I am game.

Every time I work with the Alumni Players (or any other theatre group), I am reminded of just how amazingly collaborative (and exhausting) theatre is. It really is probably the most complex of the performing arts, second only to its close cousin, opera. One delay or misstep in any phase of the production can bring everything to a hault. Even with some of the talent on the stage, and the crew we have, it is still a mystery how everything came together this time.

Our review in the Press Enterprise was very positive, though they noted some of the obvious sound problems we had opening night. What they did not know was that until opening night I was running sound cues from a boom box and had no feel for how things would work through the main system. All of that stuff is usually worked out in technical rehearsals of course, but in this case opening night was our only tech run through. We didn’t even have a sound board until shortly before the doors opened. On Saturday we were able to get some better levels, and I think things went better from there.

The sound issues were just one of several snafus. Staffing shortages meant the stage was not ready in time. One of our own actors – who had never picked up a hammer before – even had to pitch in to help finish the set just hours before the opening. Several other people had double or triple the work. Our secret passage (also available for the first time opening night) threatens to bring the set down each time we open it. Nothing like a little danger in a performance!

So we're on to next week's shows (Aug 1 at 8 pm July 27 at 3 pm August 2nd at 3 pm AND 8 pm), then a short break before the next event I will be helping on: Jalsa with Ustad Kadar Khan. Jalsa is Saturday, August 9th at BTE in Bloomsburg, PA. Don't miss this rare treat!

Italy trip journal

2008-07-20T13:21:00.004-04:00

I've posted the start of our Italy trip journal

http://www.mindspeak.com/italy1.htm

Events listing

2008-05-03T22:41:00.007-04:00

After much thought, I am abandoning Blogger for event postings. The HTML editor is too temperamental and squirrely. It has taken me three times as long to compile my calendar, and it has been nearly impossible to eliminate formatting errors.

For the future, all events will continue to be listed on my main web site at:

http://www.mindspeak.com/events.html

There's also links there for specific genres of events, like the many local cultural diversity stuff I enjoy publicizing.

Spring on the way. Events too...

2008-02-24T13:08:00.062-05:00

Squirrels are afoot - or a fliying depending on where you look. I snapped this one at Town Park during our second offical walk for the season - since the Bloomsburg Fair. It's nice to get some fresh air.

Cultural Events, Music, Bengali New Year...

2008-02-23T17:09:00.001-05:00

Another snow storm has descended upon us, and I hear another is on the way. Hope you are all safe and sound. We've been staying rather close to home for the most part. Big Bad Voodoo Daddy gave a great show last week at BU. The weekend before that I ventured a little further out to Paper Kite Press Studio & Gallery in Kingston to see Urbano's Circus, a wonderful (if bizarre) theatrical/art performance. Just more evidence of a rich pool of artistry in our area.

Planning with the Bengal Assoc of Bloomsburg Area (BABA) for Bengali New Year is under way. Sunday, May 18 is the date, so mark your calendars. It will be in the usual location (Town Park Bloomsburg) and the lineup is being determined, but likely to be a mix of what folks have come to love as well as some new offerings. Those who may be interested in participating or helping out can visit www.babaweb.org for more info or contact me.

My 2007 release "Catch the Squirrel" was in George Graham's top 50 CD releases for 2007 - thanks George! I found this out only after 2008 arrived and though I do not follow accolades that closely, it was nice to see some recognition.

Later this week I will take some time to resurrect Thaylon Singh (my Second Life persona). On Friday, February 29, 2008 he/we will perform at Kaiya Islands from 3:30 - 4:00 SLT (6:30 EST).

~^~^ Professor Ackult ^~^~
You know how they say it's the quiet ones you have to watch? I guess that is even more true to librarians. Professor Ackult
(aka our close friend, and mild-mannered librarian Michael Kattner) is breaking out on his own with a unique act unlike anything we have seen lately. Check out his site http://www.simplyhomebrew.com/sideshow When he's not eating fire, he's also a good wine maker. Check out his home brew shop on the same site.

Approaching Absolute Zero in Central PA

2008-01-21T19:00:00.002-05:00

I am going to buy a thermometer that uses the Kelvin scale pretty soon just so I can fool myself into thinking it is warmer by the higher numbers. This morning it was 261.89 K. Brrrrr....

Thaylon's activity has been winding down as other projects take shape, but I expect he will be back soon. For now, if you can read German, he was mentioned in an article by a Second Life web site:

http://www.second-life-info.de/sl/poesie-lebt-kunst-und-musik-trafen-sich-erneut-in-sl-zum-ersten-advent/

A print magazine in Germany is also running a story about Phorkyad Acropolis. Stay tuned for more details jungen und mädchen!

2007 winds down...

2007-12-15T15:06:00.000-05:00

As 2007 winds down, I begin to take stock of what I've accomplished this year. A new album (Catch the Squirrel), fun trips, some studio upgrades, and a whole new universe of expression (Second Life). I'm also looking forward to 2008 with its new projects, trips and challenges.

Right now I am reflecting on the many distractions technology has provided, and just how steeped in this stuff we all are. Making better uses of this technology is one of my key interests for the coming months. I'll be rolling out some new Web 2.0 features for my site, and possibly an entire new site dedicated for a specific purpose. Leveraging Blogger, YouTube, MySpace and others, there will be more ways to enjoy my creative output, and that of my collaborators and alter-egos.

So, for the holidays I wish you all well.

More thoughts on Kiva

2007-09-28T14:32:00.001-04:00

This little web site has been getting a lot of press lately. After following it for a year I finally signed up, and I am now trying to encourage others to do the same.

Why? Because it is one of the only ways that we as Americans can put our money where our mouths are.

Kiva.org shows that on an individual level, we can help people in need and do it with dignity. Sites like Kiva.org can help improve the tarnished image of Americans as self-centered and ignorant of the world around them. It may even go beyond "buying our way out" of the negativity produced by the past few years of poor decision making by our administration.

To the extent that we have control over our own finances, and our relative luxury, those of us who *can* help *should*. Kiva.org provides a critical link to the global effort to fight poverty and encourage traditional culture to thrive. But don't take my word for it. At least visit the site once and read it over.

Bloomsburg to Italy?

2007-09-28T14:26:00.001-04:00

The Bloomsburg Fair
A full week of fried food, farm animals and funky smells... though I could do without the fireworks. I'm trying to keep my parking spot while I can, and will stay out of the traffic as much as possible.

Starbucks comes to Bloom!?
Yeah, I know, corporate coffee in Bloomsburg? What does it mean? It depends on who you ask. For now I am looking at it as a plus because they have good coffee and it's closer than Dunkin' Donuts (if a bit pricy).

Quizno's...
How many *!%^-ing sub shops can we sustain? It's certainly better than PUFF or similar businesses taking up space on Main St. I am looking forward to the new burrito place that is coming in PUFF's place too.

Italy 2008!
A tentative trip to Northern Italy in Summer 2008 with American Music Abroad is in the works. Details are a bit sketchy right now, but it looks like it is going to happen one way or another. So if anyone has contacts in that part of the world, please let me know.

A few words about music listening

2007-09-22T17:10:00.000-04:00

Most of the time my car radio is tuned to NPR. During my short commute during weekdays, I like to catch Morning Edition and All Things Considered. Otherwise, I listen to very little traditional radio these days. The obnoxious DJs on most stations are a major turnoff, and there are only so many times I can handle hearing the same stuff over and over again.

My music collection has become quite immense. I’ll often do work around the house while listening to Malian Blues, Qawwali, American Blues, Afro-Cuban, Indian fusion, and Salsa. Occasionally a Classical or Baroque disk might make its way in. Otherwise, it all depends on the mood, and what seems interesting based on other research that I am doing. (For example, when I first wrote this, my listening included 1930-1940s show tunes and popular music as research for a theatre project.)

As far as individual artists go, Bjork, Tom Waits, Cat Stevens, Peter Gabriel and Beck are often on the CD player when I want to be inspired. Bands like Jethro Tull, Steel Eye Span, Genesis and Pink Floyd still creep into my listening from time to time, but they are more likely to be replaced by modern equivalents or a broader range of music that breaks outside of the Classic Rock idiom.

Via an iPod, my bedtime ritual usually includes numerous ney and oud collections by Turkish artists, my favorite of which is Erkan Ogur. The music is soothing and reflective, and best appreciated when the rest of the world has quieted down.

When I’m not up late recording or writing my own music, I typically work on my web site while listening to podcasts from NPR Religion, Songlines Music Magazine or National Geographic World Music Explorer.

Collecting music used to be a matter of having albums by a few favorite artists, or perhaps collecting songs to learn for performance. These days, the tremendous accessibility of rare recordings from all over the world via new CD releases and the web has completely changed how I listen to and appreciate music. It has become a hobby of its own, and something that gets more interesting year after year.

I’ve found the best way to appreciate music is to listen at least four times:

In the background, not even paying attention
In the car
On a good system at home, paying attention.
Through headphones.

Of course, with so much music, it is rarely possible to do that with every recording. This approach is probably not advisable for a recording you do not like after the first listen, but I have found that things can really grow on you if you give them a chance. Often times, our state of mind on a given day, or environmental factors can also impact our reaction to a recording, so a second or third listen may turn out to be what is needed to make you aware of a truly enjoyable artist/album.

Investing... Kiva

2007-09-10T19:56:00.000-04:00

For some time I have been looking for socially responsible and culturally relevant ways to invest some of my “disposable income”. Jews and Muslims have this sort of thing built in to their religion. To some extent, so do Buddhists. Right Livelihood (in the modern sense, how we make our money) and Right Living (how we spend our money) are two concepts that seem to come together on this issue. Careful analysis of my own spending revealed there were better ways I could use my money after meeting my own obligations.

I am a firm believer in “thinking globally and acting locally.” I also know that no change in the world at large will take place without individual change. With these values in mind, I will talk below about two things I am doing that have been a long time coming.

After procrastinating for several years, I finally made time to investigate my options for socially responsible investing with my retirement account. Two separate representatives at Fidelity Investments (my employers fund manager) explained that there were no options available for my current employer plan. Knowing I would probably not get much further, I decided to talk to my HR representative anyway.

According to HR, Geisinger gets a handful of requests for socially responsible options each year, but they do not currently offer any. The enrollment for those options was very low, and the associated fees high, so it was not cost effective for Geisinger to keep the plan available. One problem is that “socially responsible investing” is still somewhat vague. It does not have its own investment “class” on the spectrum of risk/return like money market and international funds do.

My only option, I am told, is to investigate each mutual fund offered by my employer, and then find each underlying company within that fund. If I find green funds, or specific companies I believe in, then I can move my options around to those funds. If not, then I am on my own, requiring a separate, private investing account. The HR rep admitted that most people do not care about their retirement plans enough to even open their statements, let alone look for special investments options. I think if more people did, then there would be more people interested in socially responsible investing.

Of course, it will take some time to go through those funds and paperwork. What I hope to accomplish is to pull my money out of places I don’t want it to be (cigarette companies, weapons systems, WalMart, etc.) and place it into more suitable places. I’d also like to pick and choose what companies and manufacturers get my money because there are quite a few out there doing good work. We’re not talking huge sums here, but I figure every little bit helps.

Outside of investing (where there is some expectation of return), last year (2006) I learned of Kiva.org, a web site designed to link lenders with entrepreneurs in developing nations. This seemed like a great idea, and I intended to enroll. When I first began studying Kiva, their web site crashed after a PBS program about them aired. The response was so overwhelming that their servers couldn’t handle the hits!

Since then, Kiva has been in the back of my mind. NPR recently ran an interview with Bill Clinton who apparently mentions Kiva in his new book “Giving”. Reminded by this, I recently returned to the site to sign up, and found that they still existed, but due to overwhelming response from the Oprah Winfrey show and Bill Clinton’s book, Kiva currently doesn’t have any clients in need. I am sure there are other similar sites, but judging from the response Kiva has had, and the number of people involved, they will probably be my choice once some new postings are made.

Ideally, what I’d like to do is find entrepreneurs in specific lines of work (food production, water treatment, education, arts) to loan small sums to – not just to make myself feel better as a world citizen – but in some small way to combat the negativity that has been created by so many other people with so much more money. I try to do what I can on the local level by supporting intercultural programs and battling racism in small ways, and by producing art that reflects on many of the same issues.

More about Kiva (from their website):

Kiva.org is a non-profit that allows you to make a small 0% loan to low income entrepreneurs in the developing world (microfinance). Individuals like you can help provide affordable working capital for the poor -- money to buy a sewing machine, livestock, etc. -- and empower them to earn their way out of poverty.

They go on to say that you, "get a higher return on $25 helping someone build a future than the interest [a] checking account pays."

I have to agree.

How to buy my CDs…

2007-08-16T18:22:00.000-04:00

People often ask me, “Where can I buy your music?” That is an easy one to answer (see below). But there are other aspects of this process that people should know…

CDBaby is my primary outlet. I pay a one-time fee of $35 per album release to set up my sales portal, and they take care of credit card transactions and getting my stuff out to other online outlets (except Amazon.com, they require special attention). They take a reasonable commission off of each sale, as they should. Overall, CDBaby is where I lead people for physical product. If you want MP3s only, all of my music is available on iTunes (via my agreement with CDBaby, and I still get paid). I realize MP3s are a standard now, and I try out lots of new music that way, but you really miss the full experience. So for albums like my new release Catch the Squirrel, where I went out of my way to provide unique, fun artwork, I don’t recommend the MP3 route.

Amazon.com is basically a “pay to sell” proposition for independent labels. Artists need to join their little club to sell their wares, requiring an annual fee that keeps their account active – regardless of how many sales are made. On top of that, Amazon takes a commission from each sale.

The combination of annual fee and commission makes my relationship with Amazon more of a moneymaker for them than for me. Every year I ask myself why I even bother with Amazon, and the only good answer I can come up with is: visibility. Knowing my own purchasing habits, I tend to use Amazon as a way to locate products, even if I don’t buy them there. I can usually find just about anything. When I do purchase from them, I get free shipping and reasonable turnaround. So as a customer of Amazon, I am pretty happy. Not so much as a vendor.

So, if you are just used to using Amazon.com, then by all means order my CDs there. It will help offset my costs, but unless you get 20 of your friends to do the same, it will still not amount to much in my pocket after expenses.

Otherwise, use CDBaby, because I’d rather see them get the commission.

Working in the underground as a sub-industrial artist, you do not make much from recordings. If you aren’t concerned with how they look, you can put out some cheap product, but otherwise they cost quite a bit to produce on such a small scale.

I continue to produce music for sale because I think it is important to document my creative output and make it available to those who can’t come to performances. And the bottom line is that I don’t do many performances, and my creative output is largely a function of being a producer as well as a writer and singer.

Rusty Hearse Video

2007-08-15T00:19:00.000-04:00

Summer update

2007-08-14T11:53:00.001-04:00

The summer has been fast, furious and of course - hot. We had a break from the heat by being cooped up in Carver Hall during rehearsals and performances of The Musical Comedy Murders of 1940. Our trip to Worlds End was relaxing, but not quite as much as we’d hoped due to a mouse infestation. The play went well and attendance was good, though not the record breaker of last year. From what I hear Jalsa also went well.

After our annual trip to the shore toward the end of August, we wind down into the Fall season. New projects and challenges are brewing.

New features are slowly coming to my web site… or should I say sites. If you haven’t already checked it out, visit my YouTube site for a cheesy music video for “Rusty Hearse”, the opening track of my latest CD, Catch the Squirrel. You’ll see a few new photos from my sister Ashley throughout the website. Mothership Studios is cleaning house so a few deals are to be had. Check out the details here…

Getting ready for summer

2007-07-29T12:37:00.000-04:00

This summer is somewhat predictable in that I am doing another BU Alumni show, promoting my CD "Catch the Squirrel" and doing some traveling.

This picture (with pseudo-Zahi Hawass hat) is from our anniversary trip to State College where we had an opportunity to unwind after a busy Spring season.

We braved the crowds for a holiday weekend trip to the King Tut exhibit in Philly. The exhibit was nice, even if the people on the audio tour had no clue there were other people around them trying to enjoy it. I obtained my very own, 100% authentic, official Zahi Hawass hat, which you can see below on my Indiana Jones impersonation.

Our trip to Chicago (complete with Zahi Hawass hat and Borat impressions) went VERY NICE!. The trip log may need to wait for my writing retreat later this summer. Time for writing and web updates is at a minimum right now as I try to balance life, work and other projects.

BABA is presenting a special event in August that will be a real treat. If the 300 people that came to Bengali New Year are any indication, tickets will sell fast. I will not be present for this event due to a schedule conflict with the BU Alumni show, so if you go, let me know what you think.

New Frontiers

2007-07-07T23:55:00.000-04:00

In the late 80s and early 90s, public radio programs like “Music from the Hearts of Space” and “Echoes” heavily influenced me. Those programs were a acquired taste, often broadcast at ridiculous hours late at night. Whether on my little transistor radio or my cheesy black and chrome boom box, I was always amazed at the textures that artists like David Arkenstone, Kitaro, R. Carlos Nakai, Andreas Vollenweiler, Sheila Chandra, Enya, Peter Gabriel, Brian Eno and Robert Fripp used. Very few places carried this type of music, except the occasional “new age” shop, like the Crystal Waterfall in Jim Thorpe (long out of business). Even then, you weren’t guaranteed a shop would have anything beyond whale sounds and soothing rainscapes. Of course, since then, ambient and “space” music have exploded into industries of their own, and everything is easily obtainable online (both good and bad).

Much of the music that I created at that time had an atmospheric quality, and usually included some sort of synthesizer parts. Anyone who heard the stuff (and there weren’t too many) usually said it sounded like something from a movie. Regardless of the musical medium, I’ve always written more music than lyrics. Many of the ideas from those early years were nothing more than fragments or arpeggios that required fleshing out. Others were short vignettes that could serve as introductions or transitions for other songs.

Performing such music was not practical. The technical aspects of getting it all to work predictably were always a hassle. Later, I became more involved with Folk and got bit by the Blues Bug and my compositions became guitar-centric. Keyboards were relegated to a support role, if they were there at all. Lyrical pieces became my primary source of material for performance and album content. It has always been infinitely easier to pick up a guitar and write something than it has been to sit down at a keyboard. Besides that, my keyboard skills are atrocious, so the only way I can really hope to make it all work is by sequencing the parts!

While recording demos for Mandala in 1994, an experience with a KORG Trinity at Lebanon Valley College showed that the technology was catching up. Not only were the sounds better, but sound manipulation was also getting easier. During that time, I also kept up with Cakewalk, and had even used MIDI sequencing to record music for a theatrical production, but exploiting the full promise the technology was still far off.

While releasing several guitar-based recordings, I have attempted to keep up to speed with the daunting array of new gadgets, programs and samples available. Sonic Foundry’s Acid program, which allows the composer to work in a loop-based environment, was a revelation. Working with loops caused me to rethink the philosophy of how I write and record, and worked especially well for constructing drum parts in a studio that had no drummer or drum kit.

The programs I’ve used have not lived up to their purpose of allowing the creator to get stuff done quickly and painlessly. I always missed the immediacy of creating my own patterns and sounds in real time. Later, Acid added MIDI support, and Cakewalk added looping support to help bridge the gaps for artists like me, but I was hard to convince. SoftSynth technology (for most) did away with the need to have large boxy synthesizers lying around by placing all of the processing and sounds in the PC. In my experience though, the latency these programs exhibited was inexcusable. In addition, my condenser mikes easily picked up the sound of the five cooling fans inside of my PC.

Another turnoff is that I work in the computer industry, so the last thing I want to do when I come home is stare at a computer screen! For me to do so, there needs to be a serious payoff. Ironically, in all other aspects I am a techno-geek. I make computers do all kinds of wild things, but programming synths has never been a focus. It is like learning an entirely new instrument. Recently I decided to make it a focus.

A recent synth upgrade time warp took me from 1987 to 2007, and despite all of my frustrations with technology, my interest has turned again to some of my older, unreleased material. Perhaps it is because I wish to explore the man/machine dynamic. I wonder what might be possible with my broader musical background, and improved production skills. Better tools help.

Though I may draw from some of those early themes, I’d like to create new works that express my current sensibility toward music and life, and break out of the comfortable world of guitar-centric writing. What will this new material sound like? All I can say at this point is that Bjork, Beck, and (to a lesser extent) Tom Waits, have inspired me to explore the boundaries of my music. So, I predict a sound that is still organic, but layered in more ways with guitar as a flavoring rather than a focus. And for whatever criticism there may be from this change in direction - and I am sure there will be some - I think I owe it to myself to see where this leads.

Second Life

2007-07-07T00:10:00.000-04:00

Second Life? What was wrong with the first one? Well, for one thing, you couldn't fly...

The picture above is an early glimpse of my on-line personality in Second Life, an online virtual community. Collaborator Steve Schrum introduced me to this world last year during the production of Immaculate Misconceptions. Steve is much more adept at this sort of thing and always seems to be on the cutting edge. He's already got an avatar, some land and a virtual book publication under his belt (not to mention an interview in the Philadelphia Inquirer for same).

At first I was skeptical on whether or not it would be worth my time to investigate this new realm, but after a year of debating it I decided to jump in and see what I could learn.

Suffice it to say that this sort of thing can really get addictive. The seemingly limitless variety of people and places alone is enough to keep you browsing for hours. Since I do not have that kind of time, I am trying to find some suitable ways to focus my energy on this medium while still accomplishing other tasks such as music promotion and collaboration.

With that in mind, and with Steve's help, I'm sure visitors will be seeing a Second Life presence for MINDSPEAK.COM, Blue Buddha Records and other aspects of my current on-line web persona. So if you have a broadband connection, a computer with a modern video card, and a little bit of time, check it out.

The Squirrel Thanks You

2007-06-03T10:42:00.000-04:00

Thanks to all who attended the "Catch the Squirrel" CD release parties. My favorite part was the message I got from Jason *after* the Danville show:

"Jeremy emergency message. My board just blew out man. Dead as a doornail."

We were already on the way to the shop when he sent that, but we managed to pull it off. I guess that is show business. It turned out to be a very good show. Thanks Jason! I apologize to those who did not "get" the metaphor and thought there was actually going to be live squirrels at the shows. As much as I would have loved that, it would not have been in their best interest, and it is probably illegal anyway. If you missed the parties, you can pick up your copy of "Catch the Squirrel" at any Gallery of Sound location, Mugsy's in Bloomsburg. It's also online at CDBaby.com or iTunes, with other outlets being added.

Additional shows featuring material from the new CD "Catch the Squirrel" may be scheduled, but chances are they will be on short notice. To get my biweekly announcements with up-to-date info, join my emailing list:

http://six.pairlist.net/mailman/listinfo/mindspeak-blue-buddha-records

My next major project is sound design and composition for The Musical Comedy Murders of 1940 produced by the Bloomsburg University Alumni Players on 7/27, 7/28, 7/29 and 8/3, 8/4, 8/5 (Sundays are matinee performances).
Secret passages, sloshy songwriters and scary slashers. what fun!

I've got tons of pictures from Bengali New Year, our recent trips to State College and Philly, so stay tuned for some updates to the web site.

Catch the Squirrel Interview

2007-04-28T22:52:00.000-04:00

Writer Hautzel Fogh's interview with Jeremy about the new album...

What are your musical influences?

I had to think about this recently when I put together my MySpace page. I just didn’t know what to say. But then I thought about it some more and I saw that I’ve been through some interesting phases. I guess like many musicians my age, Classic Rock had a large impact, at least initially. That was when I played electric bass, and my dad started teaching me. Jethro Tull is my big take away from those years. Then I started playing acoustic guitar and went head-long into Folk and later Blues. Somewhere in there Cat Stevens had a heavy impact from a philosophical point of view and I did the whole singer-songwriter thing. In fact for years, people said I sounded like Cat Stevens and I wasn’t aware of who he was. Then when I found out, it was a wakeup call. Then I started to realize that many of my previous influences had ties to other cultures, or explored the music of other countries. So it was only natural that I did the same. A friend at Penn State turned me on to a lot of new sounds, and my love of Indian food indirectly led me to a lot of East Asian music, even before I came to Bloomsburg.

For the past 5+ years I’ve really been diving into anything I can get my hands on that is *not* from the US or mainstream pop. People usually call that “world music”, but that term has lots of problems. Areas of particular interest are Mali, India, Cuba and my direct experience with Hungarian music had a large impact.

Lately I think my listening tastes are so broad that I will quite literally listen to anything. That doesn’t mean I’ll like it, but I want to know what’s out there, and I consider myself a sort of amateur ethnomusicologist – always interested in the process of discovery. As a result, I’m in a sort of “deconstruction” phase right now. Tom Waits is my idle of the moment… well, probably for the last several years. He’s just so great with nouns. Experimental and improvisational music holds an interest now.

What inspired the songs on Catch the Squirrel? And how would you describe the music to someone?

It wasn’t until the collection was complete that I realized that much of it was inspired by my life in Bloomsburg and some of the things that have happened to me since moving here in 2001. Bloomsburg is the framework for all of my community activism and it was where I was living when 9/11 happened, so now I think I see my experiences here come through the songs more – even if the songs are not specifically about Bloomsburg per se.

Most of the songs are not really about me per se.

As for describing it… if Cat Stevens, Beck and Ian Anderson had a love child, and it was delivered by Tom Waits in a cold dark studio by candlelight… that would be this album! But seriously, this is a strong folk-blues album. Some may call it Americana. This is a somewhat dark album, but not in a gloomy sense. There’s lots of room for interpretation in the lyrics. I think it is my best work to date. I am still not bored with it, which says something. It’s good driving music.

You mentioned 9/11… how did that impact you as an artist?

I think it impacted me more as a person first, then as an artist. I’ve talked to a lot of people who really felt that moment put a lot of things into perspective, and I’m no different there. The small joys seemed to matter more. The small annoyances seemed to matter less… and I think you can write about that without mentioning a major tragedy. What has bothered me more as a person and as an artist has been our reaction to 9/11, and the demonization of Islam because I draw a lot of inspiration from the Middle East philosophically and musically.

I have been cautious about writing anything reactionary about 9/11. No single song, or even a single album, could capture all of the layers of meaning there. Some have attempted it, but I am skeptical. When the topic does come up in one of my songs, like “Going Down to Smyrna” on the new CD, it is through the eyes of someone else. In this case, convicts in a prison. That sort of thing was much more interesting to me than writing another “down with terrorists” song, or even another Bush-bashing song. I really don’t have time for that.

My rhetorical training since 2001, via classes at Bloomsburg University, has shown me that music, while a powerful force to address political and social issues, is not the most efficient or the most desirable – particularly given that it is governed by marketing forces. My energy is better placed into community activities and educating myself about the history behind the mammoth conflicts we face.

There are three covers on this CD. Tell us why you chose them.

It’s all about what I am exposed to, how it resonates with me and what works both in the studio and live. I’m a huge Tom Waits fan, and I did one of his songs before (“Yesterday is Here” on Bloomsburg to Bangladesh). I knew I’d be doing more of his stuff so it was just a matter of the right song for the right collection, and that just turned out to be “Jockey Full of Bourbon.” Acoustic Blues is a big influence, and I’ve actually considered an entire album of Blues, but for now I thought it would be good to do one of my favorites from Leadbelly (“Ox Drivin’ Blues”). The other cover, “Cold, Cold Night” is from Dan Cantrell from the now-defunct band Peoples Bizarre, whom I met in San Francisco when working with Bodó Band. Sadly, that band is no longer together, but that song always stuck in my head. The original is much more complex, and their musicianship is far beyond mine. The strength of the song is that it can be deconstructed and put back together by someone on the other side of the country.

Would you call this a concept album?

Definitely not. The songs loosely tie together in mood, subject matter, tone and instrumentation. But there’s no story connecting each song to one another. Each song can stand on its own. I think that comes from a cinematic style I am developing, and the character writing I appreciate from other artists.

Does your cinematic approach come from the theatre work you’ve done?

Partially, though I’d say my writing style is very broad. I make notes like any other writer, but I also do a lot of people watching, channel surfing… web surfing. I love to read, and I’ll follow a lead as far as I can go with it. For example, in 1997 I started writing a song about the circus, derived from memories of one circus I went to when I was young. I don’t even know how old I was, or where it was. I just know I was there and I have these images. But the song never really came together, so I put it on hold.

Then last year I located a book about the history of the American circus. It was a really fun book, even if I wasn’t writing that song. Now I feel a bit more informed about the circus, and hope to use some of that background research to finish the song. Likewise, the songs on Catch the Squirrel are a mix of spontaneous, researched, or gradually written pieces from different writing approaches.

The artwork is very different from your previous albums. Tell us about how that came together.

My first criterion was that this CD had to be bright. In part that was to offset the songs themselves, but also because I felt that my previous projects had very dark artwork. I also insisted that there be lyrics in this one. My writing is what I am trying to showcase here, and while you can hear all of the words clearly, I think people really enjoy reading a booklet. I know I do.

I’ve wanted to do something with an illustrator for a long time. Some have told me my songs conjure images of cartoon-like characters and Japanimation scenes. I thought it would be fun to explore that, so I started looking for someone to execute the vision. Russ Cox from Smiling Otis Studios, whom I’d worked with on previous projects, teaches graphic design at Pennsylvania College of Art and Design. He told me that my project would be good for his 10 students. The students would submit samples based on my concept, out of which we’d pick one winning design for the final artwork.

My first concept drawings looked like a two-year-old drew them. So when I started getting back the samples, I was really amazed at how a good illustrator can define a project. It was very hard to nail down the one I was going to use. In fact at one point there were three or four possibilities that could have come out equally well. In the end I went with Adam Lunger, originally from Elysburg. His squirrel attitude was very good, and his colors were great.

After the experience of working with an illustrator, I don’t think I could do another project without one – even if it was not as elaborate as what I did with Catch the Squirrel.

What are you listening to these days?

That’s often a moving target, but right now I am enjoying just about everything I can get my hands on from Mali, Senegal and West Africa in general. Tinariwen’s new album is really good. I’ve been following them in the world music media for the last several years, and I think in some small way their influence has started to creep into my music. Their use of electric guitars and repetitive rhythmic structures is definitely in there. It’s kind of odd, but since I am heavily influenced by American blues, I guess it makes sense that a band of Toureg musicians in the Sahara with guitars could be equally inspiring.

I’m also really beginning to appreciate Bjork. She’s so sexy. I’m also really proud of the work Matisyahu is doing to break down barriers and to unite people with music. He walks the walk.

Most of your albums are solo or feature songs where you play most or all of the instruments. How did that approach evolve, and will you ever consider doing a “band” record?

My recording approach is due to a number of things. The first is curiosity and the love of recording, experimenting with sounds. That naturally leads to learning how to play a number of instruments when you have something in your head that you want to get out. Another consideration has been purely practical and a product of where I grew up. Connecting with people of like mind, who were not into music for the pharmaceutical aspects was difficult when I was young. You could post a “Musician’s Wanted” ad at the music store and get all kinds of people. So their were not many collaborators that I really trusted and clicked with.

Today, it’s much different. You can have a whole web site that explains what you are into, and people can decide for themselves if they want to get involved. There’s more variety, and more control over the process. When I reflect on how things like the Internet have changed how I work – and the need to keep up with that – it’s amazing.

But to answer the second part of your question, yes. I think one day I will get tired of doing much of it myself and just rent a space and get a group of great folks together and play our asses off and let the tape (or hard drive) roll!

Earlier you mentioned community activism. That seems to be a big part of your life. Why?

Growing up in Hazleton, PA there really wasn’t much to do in the late 80s and early 90s, at least it seemed that way. If you wanted to do something creative, you had to make it happen. Venues came and went and there wasn’t nearly the community building possibilities like we have today with the Internet. So the early days of just wanting to get out and play and hang out with musicians instilled in me a need to get out there and make things happen. That, and during my “folk period” I absorbed some of the 60s/70s social-awareness ethic.

Then in Harrisburg, where we lived for four years, there were lots of things to do, but very little feeling of community. It was all very fragmented. Venues still came and went, but people were often apathetic and complained there was nothing to do! My study of Buddhism also brought me closer to an understanding of how to work on being socially aware in terms of my ability to organize and work through my creativity. So it is all connected.

Community activism uses a lot of the same networking skills. Most community events need sound design, so that is often where I come in since I have experience in that area. But in recent years, I’ve been much more than the “sound guy”. My interest in intercultural communication has allowed me to align my values with those of other community groups and help them out. It’s really a two-way street. How an artist fits into society is of particular interest to me. I don’t think we need to be a burden to society, as some seem to romantically believe.

Will you be gigging to support the new album?

Yeah, some. The backup band for the CD release parties is a really great combination, and I’d like to think we could make that go beyond the release parties. But everyone that is involved is very busy, so we’ll see. I definitely enjoy performing more with other people than I do solo.

There will be some additional local shows, but I can’t say when right now because we’re just trying to get through the next month or so. We are going to Chicago in June, and I may perform there as well.

It’s really hard to gig, work at Geisinger and do the other composition and sound design projects that I like to do. We have another Bloomsburg Alumni theatre production coming up, so I may need to compose for that. We’ll see. For me it’s about the whole package. I guess I want it all.

What do you do at Geisinger?

I’m a system’s analyst (software developer) for the electronic health record project known as EpicCare. We work with our vendor to make the software work for the doctors, nurses and of course the patients. It’s a very dynamic job, and we’re one of the leaders in the industry.

Which came first, your love of music or computers?

Well, computers as we know them today were not around when I was growing up, so I guess music. But I have been around electronics all my life. My father was always building stuff on breadboards and making circuits. We’d go to hamfests and radio clubs a lot because he was into amateur radio. My interest in technology came from an early age. One of my first recording setups was a boom box, a Casio keyboard and a mixer from Radio Shack.

Tell us more about the backing band. How did that come together?

Well, they are all really awesome musicians in their own right. Dave “Ike” Eisenhower has been traveling and playing drums for longer than I’ve been alive. So it’s really humbling to be working with him. We first met during the Compassion Moves project back in 2004, which was a combination of music, dance and poetry that featured some of my songs from Bloomsburg to Bangladesh.

I met Mark Tomeo, our pedal steel player, via a coworker at Geisinger. He helped out with a Tsunami Benefit that we did at Phillips. I always joke with Mark that I don’t know what he does to get some of the sounds he makes, but it sure sounds good and adds something unique to my music!

Joe Gaughan plays piano/keys, and he and I met via work as well. Joe does DJ work on the side, and he was working a Geisinger function. We got to talking about music and hooked up later on to discuss collaboration. When Catch the Squirrel came along, it seemed like a good time to work something out, even though there is no piano on the CD.

Dave Kessler, our bassist, does a lot of work with Dave Eisenhower. So when we needed a bass player he was the natural choice. This will be my first project working with him, and I am still trying to get used to having two Dave’s in the group.

What will your next album be like?

If I follow the current pattern, the next one will be stripped down, less expensive and grittier. But that may change. The next time I do a full-blown release with artwork I’d like to go in a different direction just to see what else I could do. I might want to go from the artwork to the music instead of the other way. I’m an amateur nature photographer and I have a bit of drawing ability. I might ask Audra to draw for me sometime because she has some hidden talent there (aside from being the studio chef!). Who knows. Usually after a release like Catch the Squirrel, I just need some time to unplug from the writing process and promote it for a while.

With my home studio coming together nicely in the past few years, I’ve amassed a large amount of unpublished material. So the next album really depends on which group of songs lends itself to a release. I’ve got a number of stripped down acoustic numbers that need a lot of work, but could be an album. I could do a Blues CD. Then there’s the more produced progressive stuff that includes tracks recorded in Harrisburg. I may dust those off because there’s some strong stuff there. After over 10 years of association, Tom Dennehy and I have finally, though briefly, discussed collaboration. I would enjoy that. A few other friends like Jason Ramsland – a great synth and beat programmer from Harrisburg - may end up on the next one. Who knows? For now though, I think I will continue to do some other projects and just keep experimenting in the studio and see where it takes me.

Spring is coming... Watch for Squirrels!

2007-04-16T08:00:00.000-04:00

This past week was full of activity getting ready for Bengali New Year and the "Catch the Squirrel" CD release parties. Last Monday we took some time to attend a lecture at BU by Richard Bulliet on his book and concept "The Case for Islamo-Christian Civilization" - a much-needed and inspiring viewpoint that focuses on a new perspective to understanding the Muslim world and its civilizations as a complement to Western civilization. Looks like I'll be adding another book to my Amazon wish list...

On a less serious note, I've finally broken down and started my MySpace accounts...
http://www.myspace.com/174499010

http://www.myspace.com/jeremydeprisco

If you or your friends have a MySpace account, and would like to link up, let's do it!

*** "Catch the Squirrel" CD Release parties announced! ***

Saturday, May 19, 2007 7:00 pm
Phillips Emporium, Bloomsburg, PA
$5 cover - Reservations recommended 570.387.8027
http://www.phillipsemporium.com/

Friday, May 25, 2007 7:00 pm
Brews N Bytes, Danville, PA
$5 minimum purchase from menu.
Reservations *highly* recommended as seating is limited 570.275.8666
http://www.brewsnbytes.com/

Both events will feature a live band performing music from the CD. Currently that band includes some of the best musicians in Central PA: Dave Eisenhower (drums), Mark Tomeo (pedal steel), Joe Gaughan (keyboard), Dave Kessler (bass). We will also have contests, prizes, and of course - squirrels. Reservations really are recommended. Note - this is not a children's album, despite the colorful artwork... http://www.mindspeak.com/cts.htm

** A new place, small but powerful... ***

There's a new art gallery/performance space downtown that I'd like all of the local artists to know about: Open Your Eyes to Dream 143 W Main St (570) 239-7520. Check it out. I'm sure you will be surprised!

New CD on the way

2007-03-21T18:55:00.000-04:00

My new CD, "Catch the Squirrel" will be out this May. CD release parties will be scheduled for Bloomsburg and Danville in late May.

For the first time I will have full artwork, thanks to Adam Lunger who was selected from ten submissions of very talented artists from Pennsylvania College of Art and Design.

I'm very pleased with this collection of songs, and I think that fans will be too. It includes some of my best blues-influenced stuff, a cover from Tom Waits and some of my more topical material. It was loads of fun to record, and I think it shows.

Spectrum Magazine will be featuring the Bengal Assoc in their May issue, just in time for Noboborsho on May 6th at Bloomsburg Town Park.

In early March I had the privilege to work in BTE's space for a show with Tribe1 (as sound man). Great group and great vibe. Speaking of theatres, the BU Alumni cast is planning their next murder mystery. If you are a local community actor and would like to get involved, let us know.

A brief appearance with Tom Dennehy in February in Danville prompted us to do a show at Sakuntala where we could explore some things. Sadly, Bulu was unable to make it, but we had a lot of fun exploring Irish drinking songs at an Indian restaurant. There probably should be laws against what we did, but now it's done.

I've been busy with Jonah Walters and the cast of "Joseph and the Amazing Technicolor Dreamcoat" at Greenwood Friends producing their cast recording. We'll mix most of the tracks this weekend, and go back for another session some time in April. Jonah is also working on some of his original stuff.

YouTube experiments continue. It's like MTV all over again. I'm hopeful for the Spring and some sun so I can get out to find some squirrels for what may be my first complete music video. More on that later.

Constructive Criticism

2007-02-18T00:32:00.000-05:00

The following is based on a response I recently gave (in private) to some constructive criticism from a visitor to my website. The listener called some of my music "strange" and "dreary." I was grateful for this observation. Those comments, and some others, generated this response:

One of the things that I continue to struggle with is that my web site does not, and has not ever, really been able to give the best and most complete picture of what I do musically. The other thing you should know is that an album is a snapshot in time. The frame of mind and state of affairs of that moment carry over to the album, but may not remain true for the length of someone's career. With those caveats, let me address some of your very welcome constructive criticism...

Strange - Yes, and only getting stranger. I do not usually write for top 40 radio and the mainstream market. I've got my share of poppy anthems, but that's not where my heart is, and I can't pretend it is. Wait until you hear the next CD out in May. I think it is a good mix of strange and somewhat "normal" (whatever the heck that is!)

Dreary - Yes, many times. Not always. I am inspired by dark topics. Winter/Fall lasts what, like 9 our of 12 months here? That has always had an impact. I also work through metaphor a lot, and the meaning you take away is often your own. I've given up on trying to explain songs to people because I think it does them and the music a disservice. Also, a large part of my inspiration/influence comes from Blues, which is often (but not always) somewhat dreary, if you will... That's what makes it the blues.

To sum up what I do ... is very hard to do sometimes because I operate in a number of genres. I wish more people actually listened critically, not just to my stuff, but to everything. Perhaps then we can get to some of the really good stuff!

To this I think I need to add that while posting this I am listening to Bjork. You don't get much stranger than that, and yet, she sells millions of records. The problem is one of access to new sounds, which the Internet promises to solve. But as long as the gatekeepers (mainstraim media) remain in power, many everyday people visiting my site will remain in the dark about the wonderful worlds of musical possibility awaiting them if they would just look elsewhere on the dial, or on the web.

Another senseless sitar-related accident...not gourd--er, good.

2007-01-28T22:54:00.000-05:00

I can’t take credit for that title. That’s what my friend Steve said when I told him I hurt my foot playing sitar. We’ll, I wasn’t really playing the sitar when it happened, but that sounds better that the utter stupidity of what actually occurred.

Tom Dennehy was visiting, and I was showing him the sitar I picked up last year. After dabbling with that in a pseudo sitar-playing position, I remained on the cold basement floor while we talked about the characteristics of Indian instruments and the pros and cons of being an artist in today’s commercial market.

Perhaps 30 minutes passed when I realized I couldn’t feel my left leg. It wasn’t asleep and tingly - it just wasn’t there. The combination of the cold and the pretzel I had placed myself into combined to cut off all circulation.

Somewhat panicked, I stood up on my right leg to see if I could shake out my left leg to get the feeling back. It wasn’t coming too very quickly, so I thought if I hopped over to the stairs and tried to walk up, it might help. Yeah, bad idea.

I hobbled to the staircase. As I placed my left foot down (thinking it was flat), and placed my weight on it, I heard a snap. Instead of being flat, my foot had been curled under and back. Of course, I didn’t know that because I couldn’t sense the position of my leg, let alone the foot.

Soon I began to retrieve my sensation. As the numbness retracted, the pain began. Over the next hour or so the foot began to swell.

From a similar experience that Audra had only a few weeks ago (dropping a chair on her foot), I knew it was not likely my foot was broken. I decided to wait until the next day to get an Xray. Luckily, the foot was not broken, but I was told the torn muscle could take a couple weeks to heal. For now I am trying to keep the foot elevated and avoid walking if possible. I’ve got a nice purple bruise to compare with Audra’s. So if you see my hobbling about, you’ll know why. Just another senseless sitar-related accident.

Audra's Tandoori Experiment (a success!)

2007-01-13T22:16:00.000-05:00

As for the recipe... we used a very good tandoori sauce from an Indian grocery in Jackson Heights, NY acquired on a recent visit with Mushtaq after a BIPA performance.

Sitars

2007-01-08T22:14:00.000-05:00

I recently purchased a used student-level sitar, more or less on a whim. Though I love Indian music, the sitar is largely a curiosity and I really don't know what will come of it. It certainly isn't a goal of mine to play it with any virtuosity. For that, I would have needed to start 30 years ago! At best it will provide a tool for experimentation, sampling and amusement (maybe a few painful lashes as well restringing).

For those unfamiliar with the sitar, it is extremely unwieldy and fragile, being made of a cured gourd - usually pumpkin. It can have 20 or more strings. While the guitar has seen numerous refinements in less than 200 year, unfortunately, in thousands of years, the sitar hasn't seen half of the refinements necessary to make it a practical instrument for the masses. That's part of its charm, and makes the maestros that much more amazing. But frankly, it is so much trouble that unless you are devoted to it in every way - it simply isn't worth it.

Let's just say there won't be any Bulu and Jeremy tabla/sitar records any time soon.