{"id":4519,"date":"2022-05-28T16:53:46","date_gmt":"2022-05-28T21:53:46","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=4519"},"modified":"2022-05-28T19:49:50","modified_gmt":"2022-05-29T00:49:50","slug":"undercurrent-laswell-ivarsson-ii","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/undercurrent-laswell-ivarsson-ii\/","title":{"rendered":"Undercurrent: A Conversation with Ulf Ivarsson and Bill Laswell (Part Two)"},"content":{"rendered":"\n

We continue our conversation with bassists Ulf Ivarsson and Bill Laswell (read Part One here<\/a>) with a further discussion of their new album Nammu<\/em> (Ropeadope, 2022). We also cover Miles Davis, Ornette Coleman, turntablists, and the concept of genre. <\/p>\n\n\n\n

PostGenre: Ulf, how did you write the parts for Nammu<\/em>? <\/strong><\/p>\n\n\n\n

Ulf Ivarsson: When I sat down to put these tracks together, I came prepared. I had my ideas ready to go and was clear about what I wanted to do with the music. We had only a few months to put everything together musically, instead of a few years. I programmed the drums and the synthesizer. I started approaching the recording, essentially as a demo. Once my ideas became clearer, and I knew better what I wanted to do for certain parts, I put them into the music. A lot of the music was tightly arranged before I showed it to the musicians. Most of the sax parts are improvised but there were guides for him to follow. And the electronic parts were programmed and played by me. Overall, my picture of the music was very clear before I brought in the other musicians. <\/p><\/blockquote>\n\n\n\n

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