Posts Tagged ‘Clive Wright’

Harold Budd & Clive Wright Interview

September 11, 2009

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Harold Budd & Clive Wright: Strangers in the Ambient Night

You can get the Podcast of this interview with music here.

Clive Wright and Harold Budd couldn’t be more different. Born in 1936, Harold Budd is elegant, and thoughtful. He looks like he just got off the golf course and is nursing his second martini on the veranda, contemplating the sunset. Clive Wright on the other hand is all nervous, top of the mind energy. Born in England in 1953, he’s sweating in the summer heat of the Joshua Tree desert a few hours southeast of Los Angeles, offering me a beer.

Harold Budd @ Echoes Concert

Harold Budd @ Echoes Concert

Harold Budd is the author of 35 years worth of pensive ambient chamber music full of open spaces.

Harold Budd: My idea of working in the studio is to play as very little as possible, and take what you got and then work with that.

Clive Wright is still a journeyman musician, best known as the guitarist with a pop group called Cock Robin.

Clive Wright in Studio

Clive Wright in Studio

Clive Wright: Yes, I know, it really throws a curve ball to a lot of critics. They see Cock Robin and they see Montell Jordan and even the Black Eyed Peas. I actually did a lot of R&B stuff in the ‘90s.

But somehow these two musicians got together to make a pair of ambient albums, A Song of Lost Blossoms and Candylion. They met when Harold moved out to Joshua Tree in 2004. Neither musician had ever heard of the other.

Harold Budd: Not at all, not at all. He told me he had been with Cock Robin which meant nothing to me. I never heard of Cock Robin and in fact I still don’t. I still don’t know anything about them.

Clive Wright: I didn’t even know who Harold was until Carl [Roessler] actually played a type of Harold playing a Daniel Lanois’ Party. It was just like acoustic piano. It wasn’t Harold at his best, I think Harold would admit that. I just kept listening to the thing, “Well, what was the big fuss about this guy?” I mean, I just really didn’t get it at that time. Later on, of course, I heard his work with Brian Eno, I was just absolutely astounded.

Clive Wright wasn’t a stranger to ambient music. He’d formed a group with native flute and didgeridoo player Carl Roessler called Spiral Ascension. They released a prototypically ambient album called Earth, Sea and Sky.

413Fs5sqrdL._SL500_AA240_The very first piece Harold Budd and Clive Wright worked on became the 30 minute opening track of A Song of Lost Blossoms. Called “Pensive Aphrodite,” it’s a pure improvisation for electric guitar and keyboard. Harold says they didn’t establish any parameters, including key signature, before playing.

Harold Budd: Not a thing. I think probably the key I chose because it’s the first sound you hear. [laughs]

Clive Wright:”Pensive Aphrodite” is a performance because it was actually recorded straight to a two-track. We ended up recording it straight to CD. It was like one of those cuts, it just goes straight to a recording CD player.

Sitting at a piano at Knobworld Studios in the Echo Park section of Los Angeles, Harold Budd opens up a small notebook.

Harold Budd: I always have a notebook with me. I write down song titles the way that I sketch out poetry ideas, or something like that, yeah.

It’s those song titles that often yield the kernal of a composition.

Clive Wright: Harold is a master of titles, he writes titles. Before the piece is even written, and sometimes, it’s not assigned to that piece, and the same thing happened with “Blossoms.” He writes the title and he throws them at me on an email. I’m looking at the email and I’m thinking, “There’s no way.” (laughs) No way that’s going to work, you know.

Their second album, Candylion, released in the middle of 2009, is different. Budd was living in Pasadena while Wright remained in Joshua Tree.

Harold Budd: Well, yes it is different in that there’s no time ever that we play together. I would lay a groundwork or a mood or something. Something that really attracted me, I would put it down in order.

Clive Wright: He insisted on the sequencing of the tracks be as we recorded them. He won’t allow me to shuffle them up.

Harold Budd: Candylion is sequenced in order of recording, which is a very — I don’t say important thing for me — but I think about, “Well, what should be next” and that usually determines what is next as a matter of fact.

It’s unclear whether Clive Wright and Harold Budd will record together again. They don’t even necessarily agree on the concept of their albums. Sitting in his studio, surrounded by a jumble of guitars and electronic gear, Clive Wright feels they are in the midst of a trilogy.

Clive Wright: Candylion was conceived by Harold Budd as a second album in a triptych , a desert triptych . So, thematically, it’s about the desert.

Harold Budd: I don’t really think so. They are not. They have nothing to do with the landscape. I don’t feel wedded to the landscape that way. That faux romance of the western deserts, I don’t buy it.

While Harold Budd and Clive Wright contemplate their future collaborations together, you can hear their two albums, Candylion and A Song of Lost Blossoms, both on Darla Records.

Listen to Echoes Podcast of this Interview.

John Diliberto ((( echoes )))

Further Reading/Listening

Review of Harold Budd & Clive Wright’s A Song of Lost Blossoms

Review of Harold Budd & Robin Guthrie’s: After the Night Falls and Before the Day Breaks

Harold Budd & Clive Wright: A Song For Lost Blossoms

August 15, 2008

For a guy who supposedly retired 4 years ago, Harold Budd is sure putting out a lot of records. He’s just offered up a new slice of gauzy atmosphere, hazy keyboards and unguitar-like electric guitar with Clive Wright. It’s called A Song for Lost Blossoms .
Song for Lost Blossoms
This works out to be the Robert Fripp and Harold Budd collaboration that I don’t believe ever happened. Wright is very much in the Fripp school of guitar playing using loops, delays, an e-bow and lots of volume pedal swells. You can hear that on “Forever Hold My Breath” with the guitarist playing over some slowly undulating keyboard waves, laying down those sinewy glissando leads. It’s one of two live performances on the disc and you can see the video of it on YouTube. There’s no sign of Budd in the video, just Wright spotlighted alone on the stage.

YouTube Vid:

Lost Blossoms is an album that stretches out over time, and in the case of “Pensive Aphrodite” that stretch goes 32 minutes. It sounds like several vignettes strung together and it does sound rudderless at times. But the rest of the album is more concise with tracks like “At This Moment,” attaining a quiet heroism through swirling string pads and Fender Rhodes modulations that Wright uses like electric towers to drape his elongated solos.

There’s another video up there as well with an album track over desert scenery that I assume is shot near Wright’s home in Joshua Tree.

You should know Harold Budd, the avatar of ambient chamber music.  Clive Wright is a lesser known, journeyman musician.  He played with the band Cock Robin in the 1980s, whose debut was produced by Steve Hillage.  (Hear Steve Hillage audio profile). He’s worked in sundry bands like Broken Edge and with R&B artists like Montel Jordan. Now he works as a session musician, cuts commercial and video soundtracks and also contributes to the newly reformed Cock Robin.  None of that prepares you for the liquid mercury guitar sound he drizzles slowly across Lost Blossoms.

You can tell these were built out of free-form jam sessions, perhaps a mood or a key agreed upon and then a meandering walk through a fog shrouded landscape. Harold Budd is one of the few musicians who can get away with that and not have it dismissed as aimless twaddle.  Like many of Budd’s albums, this one insinuates itself over time, rising up out of the background noise to sculpt a personal interior world.  A Song of Lost Blossoms, which takes its title from a poem by Cock Robin singer Anna LaCazio that’s recited on the title piece, is like the lost soundtrack for a Sergio Leone western, full of brooding atmospheres and ominous portent and occasional acts of triumph.

The street date for A Song of Lost Blossoms is October 7

John Diliberto ((( echoes )))


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