September 12, 2017, 3:32 p. m. | Update: October 10, 2024, 3:13 p. m.

Art work: Alyson McCrink

By Sean Dignore

Happy Orchestra is an organization that puts smiles on faces and soft accessories under the feet. Its members are taken from some of the Funk, Jazz and Soul Popular Maximum Equipment in the Northwest, adding Mctuff, Bandalabra de Skerik, Richie Aldente and more. The organization combines a fire power and instrumental composition with a de facto effort to make an intensely satisfied musical experience.

See Happy Orchestra this Thursday at Nectar or its CD exhibition in October for the Ear Jazz festival!

He had the possibility of talking with Tarik Abouzied, the super talented type Happy Orchestra in the creation of Baba, his first album; Whether or not it is a fool and what your father would think about this album.

The Mixtape: What are you doing right now for this question?

Tarik Abouzied: I’m in Ballard Coffee Works taking an ice cream American. I have an inflatable dinosaur dress on a bag on the floor by my side, in a position to shoot for the video clip after finishing.

TM: Why did you open your lining notes “My call is Tarik Abouzied. I am a musician and a noatray . . . “?

TA: haha, I guess that’s what I feel sometimes I feel, especially when I was sitting to write the lining notes. I have had a handful of humiliating reports in recent years, my father’s death and making this album two great. Both destroyed my maximum emitted plans and allow me to feel that I have some concept of what I do, so I can also settle for my inept in life, be my irreverent self, make my maximum productive and live with what is coming. I am definitely more comfortable accordingly. It turns out that when I enter a scenario knowing how stupid I am, I am much more in the song with the truth instead of looking to do anything that he cannot be. I think if we have all identified our idiot, we would hear much better.

TM: I realize that you have written all the music in this album (in addition to playing the battery in general) and is not necessarily improvised (correct me if I am wrong), but this fact takes me to the next array.

What is the difference between improvisation jazz and a group of “jam”? If there is, in fact, a difference.

TA: The term “Jam Band” is for fans, it is a marketing term. No musician proposes to create a “band”, write “Jam Band” music, or can even describe what it means. The wonderful improvisers of history were not members of “Jam Bands”, and the Fresh Masters are not. I would never call Happy Orchestra a Jam band, but I’m sure other people would not agree, and they told me that some of the teams are Jam teams just because there are longer improvisation sections. I don’t know, anyway, I just look to write and play the music with which I garlic me, and this music was born of jazz, funk, rock, soul and strong musicality. No jam equipment . . . 🙂

TM: When you play live, do you improvise at all?

TA: Absolutely! Each screen goes from the same base, but ends up absolutely another of the last one. Happy Music has many composite things and default destinations (this segment is the most noisy, this segment opens and relaxes, etc. ), but how we get there every time depending on the tons of factors. The sound of the room, the surroundings of the crowd, the environment of a soloist, when the last time the organization ate, etc. We need music to adapt to the stage and this is where improvisation comes into play, and why it is vital for me to play with musicians who have wisdom and facilitate music through their tool and react well to other members of the organization. I am proud to say that other people on this album are among the most productive in the corporate with respect to this.

TM: What is the most complicated in Baba’s writing?

TA: The writing component was quite easy. I had not written for an organization for a few years, my brain was a bit beaten with all the concepts it had absorbed, and I had to take it out. It was like a water tank too complete and the knot was enchanted. The difficult component was to have a sound in my head, see it to speak to other players, after it translates through musicality / another 8 people. I have never been able to tell everyone what to do and that things sound precisely as I wanted, and it can be quite overwhelming! On the one hand, it is very unlikely that a human being reproduces what is in the head of another person, and I deserve to judge when they approached and / or open to listen when they touched something even better. He also took much longer than he thought. The first and the last registration sessions were approximately one year of chair. The recording procedure is complicated when you do component through the room, and I learned a lot.

TM: What is your procedure to write an absolutely instrumental album? It will have to be complicated to be as “ok, this is where the horns will pass and then a single guitar here, Etcarray . . . “

Ta: it is more as if I said: “Here is a concept that I like. I am going to sit and play with him. ”  Then I tell myself “ok, look great and look like this type of temperament or atmosphere. How can I climb to that?”  And then I play a little more and tell myself “now I have some concepts / sections that pass. I will write it for the group, we will repeat it and see what you will have to load, eliminate or reorganize it. ”  After some trials, screens and modifications, I will be as “great, it is finished. Then!”

I have lived in Toolalal Global for a long time and, once you perceive the role that each tool plays to fill the sound, it is easy to characterize the concept I have. The guitars are conceptual to create power and before (as in “reaghaning” or “55”), the keyboards are greater to create an lush environment (as in “Mothers” or “room 358”), the allocation of more productive melodies with horns and synthesizers, the organs have a massive diversity of sounds that can assist with all those things, etc. in a way. I hope that Baba leaves you optimistic and dirty furry with a safe track of yourself, room 358 in a position to be sexy, etc.

TM: Have the comrades of your organization have a voice during the essays on the imaginable settings in the sound or direction of a specific song?

TA: Not so much in the essay, just because this time it has been informed of what I wrote, but about some functionalities, the sound and direction of each type of melody become a fusion of all our game styles. “55” It was a lot of Cushyer and more comfortable in my head when I brought it to the organization for the first time, however, each of the functionality has become increasingly blues and epic over time and that our guitarists play wonderfully. All on the album have such a strong, evolved and non -public sound, so it would be for them not to have an effect on songs in one way or another.

TM: In Line’s notes for your song “Reaganing”, you mention that your guitarist Andy Coe would play the theme of the Ghostbusters “Like a Joke everywhere” essays.

What is the importance of the Ghostbusters movie for your organization partner, Andy? Or even yourself, along the way? A name for this album may have been “there is no Dana, only Zuuuul”.

TA: I think it is wise to say that none of us would be who we are today without Ghostbusters. Andy even looks like Vigo Les Carpates, who realizes Ghostbusters 2, but I think it’s an applicable point.

* It is directed, “Reaganing” is a reference to 30 rock.

TM: You committed Baba with your father and in the coating notes, you reveal that your father was not too interested in this album financially.

Would your father be proud of this album? Would I pay attention to him and I wouldn’t think it is a tea (and others)?

Ta: haha, I would surely be dismayed through the monetary portrait of the album, you can say something intelligent about a song and probably tell me that it is not very intelligent in general. He only enjoyed comfortable and fresh global music for adults, so it is not their taste, and the records are not efforts to make profits, therefore, for him, they constitute a loss of time and effort. He is probably right in some aspects, but that’s anything I have to do. He had a concept of how intelligent fortune was seen for a musician who, so I can say, was that I had to play in Las Vegas with Céline Dion. It was a strange guy.

TM: What does your father say at the end of this album?

TA: It is an extract of the last voice message that left me before they gave me. He was in a hospital in Cairo and was in a fragile state. We organized the sending in Seattle thanks to his insurance and he sought to insist that it was a personal jet. As I said, a strange guy. Anyway, he says “tell me how it goes. Ok, be careful, goodbye. “

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If you may not get your Sasquatch! The music festival trains before selling completely, I have the time you want to get in your calendars.

Sasquatch! The music festival occurs, people. This weekend, people. The list of equipment that I need to see continues to grow, more I look and invest the great diversity of four days and when I am at work, I can stay slightly well.