{"id":3467,"date":"2021-11-24T09:46:43","date_gmt":"2021-11-24T15:46:43","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=3467"},"modified":"2021-11-26T07:12:03","modified_gmt":"2021-11-26T13:12:03","slug":"kerrod-days-december","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/kerrod-days-december\/","title":{"rendered":"Days in December: A Conversation with Jacqueline Kerrod"},"content":{"rendered":"\n

Historians believe some form of the harp existed as far back as the beginning of ancient Egypt’s “Old Kingdom”, 2500 BC. Even as early as 4,500 years ago, it was commonplace for a harpist to give solo performances. Across the ages, the instrument adapted and changed to meet the musical needs of the time. Despite this, the magic of a lone artist plucking its strings has remained. Jacqueline Kerrod continues this tradition with 17 Days in December<\/em> (Orenda, 2021) by not merely revisiting that which came before her.<\/p>\n\n\n\n

To a large degree, Kerrod\u2019s solo debut obliterates any preconceptions one may have about the harp. While she masterfully uses the instrument’s graceful timbre to craft her message, it seems such is just one of many colors in her kit. As she even notes in our conversation, \u201cat my core, I think I\u2019m a guitarist\/bassist\/maybe a pianist.\u201d Though she sometimes uses small hand tools or electronic effects to produce these new sounds, impressively, often she eschews modifications and plays it unaltered. The end product is raw and intimate, a secret entryway into the emotions and thoughts of a unique musical mind.<\/p>\n\n\n\n

17 Days in December<\/em>\u2019s rawness may come partly from the circumstances in which Kerrod produced recorded the album. Not originally intended for release, the tracks took life as an experiment in which Kerrod recorded herself in her home studio every day during December 2020 as much of the outside world shutdown around her. It may also come through time spent with other artists and ensembles who have themselves pushed the boundaries of music, including Anthony Braxton, Alarm Will Sound, the Talea Ensemble, and the International Contemporary Ensemble. We sat down with Kerrod to discuss her influences, her history with the harp, and the album. <\/p>\n\n\n\n

PostGenre: You started playing the harp at age 9. At what point did you decide to explore outside of solely the instrument\u2019s stereotypical comfort zone of classical music, including the use of improvisation and extended techniques? <\/strong><\/p>\n\n\n\n

Jacqueline Kerrod: Growing up in South Africa I listened to a lot of Joni Mitchell, Pink Floyd,  Rodriguez, a ton of rock and heavy metal via my older brothers, and was drawn to electronic music. It was in my early 20s that I became interested in making my own music, but I\u2019d only dip my toe in occasionally and then let it go. My interest in improvisation came a bit later because I longed to be able to play <\/strong>my instrument,  not only play pieces on my instrument. After moving to NYC I started playing a lot of contemporary music in large ensembles, small chamber groups, and solo, all of which exposed me to the range of extended techniques. <\/p>

I don\u2019t think my motivation has ever been consciously about pushing the boundaries of the harp. I  just want to play and make music that pushes me <\/strong>and the harp happens to be the instrument I have dedicated my life to. And the relationship is a complicated one.  Very much a love\/hate thing going on that I\u2019m always trying to navigate. At the core, I love the physicality of the instrument. I spend a good deal of my life hugging this large resonant body and, since I\u2019m quite small, it takes a lot of strength and energy.  I want to express everything and I personally love creating space for a lot of beautiful jangle!  <\/p><\/blockquote>\n\n\n\n

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PG: When did you start playing an electric harp and what do you like most about using pedals and a looper?<\/strong> <\/strong><\/p>\n\n\n\n

JK: I bought my first electric harp in 2007, the same time I bought my acoustic pedal harp, but it sat in the closet for about 4 years! I pulled it out when I started writing in my former vocal and harp duo, Addi & Jacq. <\/p>

What drew me to using an electric harp and a looper was the idea of making the harp sound bigger. I could be the band,  which was convenient for many reasons. I have always wanted to envelop a  listener in the sound … glorious … huge… harp sound! Whenever I think of it, I think of the sound of Bjork or Radiohead. That kind of full depth and layering of sound.  But while looping was useful in the pop duo context I began to feel stuck musically,  which is partly why I opted not to use it on the album. It pushed me to find alternate ways of creating a sense of layers.  <\/p><\/blockquote>\n\n\n\n

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