Tag: Adam Vollick

What Is.

It’s sad if inevitable that I didn’t get to any museums or galleries during my brief time in New York City. To quote a friend who lives there, I became an “appreciative inhabitant” – fully cognizant the Whitney, the Guggenheim, MOMA, the Met (et al) were there, but not running to them. Art does take time -time, patience, attention, energy, the very qualities I listed yesterday required to fully delve into Byron’s work, in fact -and I simply didn’t have enough of it this time around.

There is a certain presence and grounded-ness required in art-making itself -something that always drives me back to the easel, that gnawing hunger for being fully present for your art and what it’s asking of you. It’s something I witnessed last Monday at the Zinc Bar, experiencing Eric Lewis live. And it’s something I also feel whenever I see the work of Adam Vollick, a Canadian filmmaker and artist, and the man behind the 2007 documentary, Here Is What Is.
Stating that he’d like to “use a camera like a paint brush”, Vollick has carved out a name for himself as a go-to-guy visuals guy for musician/producer Daniel Lanois. Along with Here Is What Is, Adam has done Le Noise, a work related to Neil Young’s latest album, which was produced by Lanois; Adam provided the imagery for the CD, LP, DVD and Blu-ray versions. He filmed last February’s Black Dub show at the Bowery Ballroom for live online broadcast too, and has been working with the Lanois-lead collective visually. He also filmed the magical, shamanic video of The Birth of Bellavista Nights.
I intensely admire the way Adam seamlessly integrates so many influences into his work and yet makes it entirely, fully his own, bringing a beautiful, meditative quality to his shots and their magical dance with sound. Watching Adam’s work, you begin to realize just how intimately his work is connected with sound, with music, and with the act of creation. I had the opportunity to have a Q&A around his ideas and approach to art, and the act of creating it.

How do you see your role relating to the creation of Daniel Lanois’s music?

I’m simply a dedicated observer. Sometimes that can be catalyst to getting a good take -usually when the hair on my arm is standing up (the Vollick emotional barometer) we unanimously agree that we got something. I try to keep the visual as parallel as possible to the expressions in the music. We never sacrifice the power of the sound for superficial image considerations. Without a powerful musical performance a great film is useless. I’ve really got to be on top of my game 24/7.

Who are your visual influences? I see a lot of Pennebaker, Maysles, Viola, & Corbijn.
I’ve got my head in the sand most of the time which I think helps the naivety of my work. During my formative late teens and early twenties I spent about a decade in the darkroom working on my own photography, barely eating and barely sleeping so I missed a lot of pop culture education.
I see the Pennebaker reference and I love his work although it makes me anxious, and Anton (Corbijn) has always been a hero of mine. He actually shot part of Here Is What Is -what an honor for me that was! My first love was and is still photography; to me the absolution of a single perpetual frame, in its structure and timeless broadcast of a brief moment in space, carries infinite mass. I find more inspiration in photographers.
A guy like Ansel Adams is very inspiring. His lifelong dedication to hiking through national parks, pre-visualizing grand images into his ripe old age. He carried 100+lbs of large format gear into his 80s and would sit and wait for days on end for the perfect light. Not only was he a compositional master, but a scientist responsible for modern densitometric roadmap of the medium. The man is a role model in all departments, patience, grace, dedication, understanding, excellence, and intuition.

Another photographic hero as well is Henri Cartier Bresson, a purely instinctual and patient operator who was a conduit to the seemingly impossible “decisive moment” frames he made. I also just read a book called In The Blink Of An Eye by Walter Murch, an amazing film editor and analyst of the human experience. Just last night I watched a mystifying Jacques Perrin / Jacques Cluzaud film called Oceans.
I love expressionist painters and some part of my shooting is alive, like the paint dropped from Jackson Pollock’s stick: initiated in a gesture and momentarily guided through flight by chaos before being cemented on the canvas.

How have you seen the role of visual interpreter in music change? How much do you think that relates to the change in the way people discover & share music?
I have a very different mode of operation than most. I try to do as much as I can myself, with as little as possible… usually with one camera, one light and one crew member. The role of the interpreter has changed drastically with the proliferation of handheld digital devices connected to the internet. In some ways it’s fantastic: everything becomes accessible to everyone almost instantaneously. All one has to do is say “Hey, have you seen Bill Withers do ‘Use Me’ acoustic?” and seconds later you can look at it on YouTube, even if you’ve never heard of Bill Withers. Anyone can post footage from a show that they are at and the same night have there friends experience it through their Facebook or blog or Myspace or whateverothersocialservice.com.
It’s revolutionary that everyone has a voice that can fall on the world’s ear, it’s just hard to hear the meaningful messages over all the chatter. I try and remain hopeful that the cream will continue to rise to the surface. Maybe google will invent a taste meter for rating versions of things in your search results, or a sample identifier that links back to the original sources, so people can educate themselves.

The downside of the media trend (parasitically attached like a cannibalistic Siamese twin) however, is the diminished quality we have to accept in internet media, sonically and visuallyl. It really negates the excellence of talent in my opinion. I mean, Al Green on Soul Train via Youtube still gives me shivers, and as grateful as I am to have access, I often wonder what it would have felt like to see it broadcast in full fidelity back in the day.
The medium is a part of the message for me, and I can’t watch things out of sync, and all choppy looking for very long without getting agitated and removed from the moment. I hope it’s a momentary bump in the road for us as a species, but I know that there is a whole generation of young people out there who think of music as disposable mp3s on laptop speakers now. I just hope they grow up to realize what they have been missing and buy a good turntable and amplifiers to play tangible records with tangible artwork that they paid fairly for.
The art of the album cover has really faded; do you see other form taking its place? How much do you see your work filling that void -or do you?
The art of the album cover has changed, but I hope it’s just a passing trend. I hope we come to our senses and reinstate it. Would you eat digital food? Sustenance needs to be tangible. What you feed your souls should be no different -we, as a people, are starving ourselves on empty carbs of pop fast food. I don’t think that what I do is replacing the album cover at all. I am just a witness for the ages to virtuos musical moments much like a stenographer would be in a court of law. Leave the rest up to the jury.

Dreamy Dub

It’s the end of a long, frantic day. Turn down the lights. Pour a cup of hot tea, red wine, mulled cider. Exhale.

Images: wavy lines, coloured glass, paper stars, blue and green crayons. The smell of cardamom bread. The feel of cold ceramic against wet, bare feet. The bright dance of red oil paint across a linen canvas. The taste of maple syrup and cinnamon.

I experience all of these -and more -when I listen to “The Birth of Bellavista Nights“, the latest creation from Daniel Lanois. Filmmaker Adam Vollick‘s intuitive, Zen-like shooting masterfully captures the dreamy, thoughtful nature of this composition. I’ve always had a magical, sensual connection with art that moves me most, and this is a perfect example. If you want more, check out their live show from the Bowery Ballroom, full of the same kind of magical artistry and intuitive creativity that makes listening to this such a powerful experience.

Lanois was, and remains, a true visionary, and one of my very-favorite artists. Ahhh. That Black Dub album can’t come soon enough.

Black Dub Magic

Olympics? What Olympics?! If I had to award a gold medal, it would go straight to Black Dub.

The super-band is lead by incredible Canadian musician and music producer Daniel Lanois and features the super-charged pipes of Trixie Whitley, daughter of the legendary Chris Whitley. A few lucky souls have already seen them live this year, but Black Dub treated fans and curious music-lovers February 17th by streaming a live broadcast from New York City’s Bowery Ballroom. Together with the multi-talented Brian Blade on drums and bassist Chris Thomas, the concert was filmed by Here Is What Is collaborator Adam Vollick. During the hour-long set, the band covered a good bit of their own material along with some Lanois favorites, and proved why their upcoming release is one of the most anticipated of the year.

Images displayed in the run-up to the show were a surreal, ambient mix that reminded me of the work of artists as wide afield as the Emergency Broadcast Network and Bill Viola to Mark Rothko, and even Antonioni. The zipper of comments that ran along the side of the live feed was filled with impatience, excitement, and even a few hilarious observations from people in the Bowery’s capacity audience (ie: “I can’t see who’s in the VIP section. Granny’s eyesight is bad here.”) Watching the mix of images and reactions, there was, I felt, an truly intimate quality to this kind of live event; with just a cozy room to play in and a friendly crowd sharing thoughts and reactions in real time to Vollick’s every close-up and wide pan, it was the kind of communal, creatively connected experience that nicely reflected the band’s ethos.

“Surely” by Black Dub

As for sound, trying to categorize Black Dub’s music is no easy task. It’s a mix of grinding rock, blues, early punk, and dark rockabilly, with an occasionally eerie, swampy, Waits-like slink and touches of Sunday-morning gospel. Watching them live from the Bowery, this defiance of definition was obvious, loud, and proud. Whether steaming through blues-influenced numbers like “Silverado“, the gospel-meets-blues hip-swaying meditation of “Nomad Knows“, or the earthy, 21st century psychedelia of “Ring The Alarm“, one was continually reminded (whether via rimshots, timbres, key changes, well-placed pauses, or a combination therein) of the magical chemistry at work between these accomplished individuals. Chemistry is a huge key to what makes Black Dub so special, particularly in this era of superstar narcissism, where every American Idol seeks to be a famous icon instead of a real musician. Black Dub turn their collective back on all that, focusing instead on a gorgeous exchange of ideas manifest in sound. In many ways, their work harkens back to jazz, with its focus on group dynamic, interplay, improvisation, and experimentation. The online audience lapped it up, perhaps hungry for a real musical experience that showcased real people playing real instruments.

One of the finest instruments on display was Trixie Whitley’s powerful, soul-searing voice. Moving comfortably from mellow to blasting to soft and pleading, Whitley proved herself a formidable front-woman. In addition to showing her incredible vocal chops, she also showed her musical versatility, bashing along with Blade on her own drumkit, playing a keyboard, strumming a guitar, or providing vocal back-up at points. With her black suspenders, white t-shirt and fitted black trousers, with blonde hair neatly tied back in a pony tail, she cut a stylish, strong figure reminiscent of rock feminist icons like Patti Smith or Debbie Harry in her early Blondie days. Lanois, in knit cap and low-slung jeans, played a few of his own hits, including a grinding, guitar-heavy version of “The Maker” with a shuffle-beat percussive undertow courtesy of Blade, and Lanois’ own effects-laden guitar work lending a virtuosic, woozy counterpoint to Whitely’s acidly sharp backing vocals.

Overall, the evening was a showcase of musical talent that conjured a kind of beauty rarely experienced in live show -whether in-person or viewed online. The balance of instrumental and vocal pieces, of thoughtful and straight rock-out numbers, of give and take between musicians, demonstrated both an awareness of their audience and a courage of creative convictions. Black Dub aren’t out to make sing-a-long favorites, but they are out to create a musical experience for both themselves and their listeners. I got the distinct feeling in watching them that no two concerts are ever quite alike. They’re so aware of their collective talent as a whole but never become arrogant within their individual egos. That doesn’t mean they don’t rock out, however. What a gorgeous showcase of adult rock and roll: real, lived-in, world-weary, and honest, or, as one viewer typed on the live feed, “fuzzy, smoky, and sensual -that’s what I came here for.” It could be the definition for rock in this century, and Black Dub are already ahead of the curve.


Photography by Brad Gilley.

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