Oz Noy Interview
ON: I really like his music, BUT the main thing for me is what he writes fits the guitar really well and can be interpitated in many different ways. His writing doesn’t limit you to play a specific way. It’s much more free to put your own character in it… at least for my playing.
AL: Is it difficult to record a Monk tune with your own style and still stay true to the original Monk recordings?
ON:I think its difficult to put your own stamp in general on someone else’s composition, BUT as I said before, Monk’s music has something very free to interpitation and for some reason I get most success playing his songs than any other jazz composers. I play a lot of his music and just find my way to be comfortable with it.
AL: You list under instrumentation that you preform loops. What exactly does that mean, and how did it contribute to the atmosphere of the record?
ON:I’ve been using a LINE6 Looper for many years and developed a way to loop in real time when I play and make it a part of the music. Its another texture that in an improvisation situation can be very weird, unexpected and exciting. I’ve developed it over the years through doing all my solo records. I really like it, especially the challenge of it being unexpected on each night or each recording session. Its a part of my guitar vocabulary.
AL: What gear did you use on Twisted Blues?
AL: Did you have a primary set-up, or was there a lot of experimentation with sounds?
ON: No experimentation, just the gear I use live all the time. There is enough experimentation in the music itself.
AL: How pivotal are guitar pedals to obtaining the unique sounds on your recordings and were they used during composing the songs or afterwards?
ON: All though I’m using a lot of effects my sound is actually very simple and basic. Just a booster into a cranked up [amp] with a bit of Delay. The pedals for me are for orchestrating the songs and giving then a dimension.
I usually write without effects, BUT sometime effects and sounds inspired me to write tunes.
AL: In some tunes I think I hear a ring modulator. Do you have a favorite pedal, or a pedal you turn to because you know it will deliver a far out sound?
ON: I dont have a ring modulator, what you’re hearing is my Octavia. If you play it a specific way it will sound like a ring modulater. I can do a lot of different weird sounds when I have my pedal board in front of me. There is a lot of options there, but I need to have it all in order to really take it out.
AL: You have a song called “Whole Tone Blues” on the record. Besides the whole tone scale, what scales did you use to infuse a new sound and groove to the blues?
ON: The main sound is a whole tone scale but I use other scales to color it in different ways.
AL: What made you initially pick up the guitar, and did you ever think it would bring you to where it has today?
ON: I wanted to be a drummer but a friend of mine took me to see his guitar lesson and that was it. I don’t know way I keep playing guitar , i just do.
ON: Absolutely, this is my rehearsal room in a way, but I love playing the club and people seem to enjoy it also.
AL: Is there a message that you try to convey to the audience through your records and live performances?
ON: Not really, just enjoy the music and have fun Isn’t that what its all about?
ON: Israel is a small and very limited place in terms of the music scene there. The music scene in NYC always attracted me. The level is much higher and the music I liked best was happening in NYC at the time when I left Israel, so it was a pretty easy decision to make.
AL: Are there any up-and-coming artists you would recommend readers to check out?
AL: What does the rest of 2012 look like for you?
ON: Just a bunch of touring, writing and practicing (hopefully).
AL: Can we expect a Twisted Blues Volume 2 any time soon?