Listen to a collaboration between Bill Orcutt and Loren Connors, recorded August 30, 2012 at Georgia NYC. Following the session, Keith Connolly conducted a brief interview with Orcutt and Connors.
Keith Connolly A part of the premise in arranging this session was to investigate the nature of the blues as it exists in the present moment. At the risk of attempting a definition by that which it is not, I’d like to ask the both of you about some of your extra-musical pursuits: Loren, you are also a painter and have a vested interest in history, especially that of nyc. Bill, I believe you were involved in operating an art-house cinema in San Francisco, and have exhibited a strong, almost pop-art design sensibility, which belies an interest in, dare I say, fashion, or at least a kind of sarcasm about the retro-contemporary. How would you say that these pursuits inform or are interwoven into your music?
Loren Connors It’s all me. One thing affects another. Everything is an aesthetic exercise or a physical exercise. It keeps me going.
Bill Orcutt I agree with Loren – it’s all interconnected. Also for me, I have a ton of interests and tend to do a lot of pseudo-research before a making a record – reading and listening which generally has nothing to do with the task at hand, but usually winds up expressing itself one way or another. Right now I’m reading everything I can find on minstrelsy, a subject I know practically nothing about. I have no idea how this “research” might work its way into the thing I’m making now, but I’m sure it’ll find a way…