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An Interview With JERRY FORD by Bret Hart for GuitArt
text color:0000FF 1. Talk about your first significant musical or guitar experience.
WHEN IN ELEMENTARY SCHOOL IN THE EARLY 60's, I TOOK PRIVATE LESSONS ON SNARE DRUM TO LEARN A SPECIAL PIECE FOR A SCHOOL CONTEST. I HAD TO BE ABLE TO MEMORIZE THE SHEET MUSIC AND PLAY A DRUM SOLO AS THE JUDGES FOLLOWED ALONG NOTE BY NOTE. I LEARNED THE PIECE AND PRACTICED IT OVER AND OVER UNTIL I KNEW IT BY HEART. ON THE NIGHT OF THE CONTEST I WENT ON STAGE AND SET UP MY LITTLE DRUM, HANDED THE JUDGES THE SHEET MUSIC , RETURNED TO MY DRUM, AND MY MIND WENT BLANK. AS I LOOKED OUT INTO THE AUDIENCE AND THEN AT THE JUDGES I THOUGHT ABOUT RUNNING OFF STAGE IN A PANIC, BUT ONLY FOR A SECOND, INSTEAD I BEGAN TO IMPROVISE MY SOLO. I WILL NEVER FORGET THE LOOK ON THE JUDGES FACES AS THEY SHUFFLED THROUGH THE SHEETS OF MUSIC TRYING TO FIGURE OUT WHERE I WAS AND WHAT I WAS DOING.
WHEN I WAS DONE, I BOWED, PACKED UP MY DRUM AND LEFT THE STAGE AND WENT HOME. I FELT I HAD BLOWN IT IN THE MINDS OF THE JUDGES. I REALLY DIDN’T THINK THE AUDIENCE COULD TELL. THAT NIGHT THEY HAD THE AWARDS DINNER BUT I DIDN’T GO BECAUSE I THOUGHT I HAD NO WAY OF WINING ANYTHING BUT I WAS AMAZED BY A PHONE CALL FROM ONE OF THE JUDGES ASKING WHERE I WAS BECAUSE I HAD EARNED A SUPERIOR RATING. APPARENTLY THE JUDGES WERE IMPRESSED BY MY IMPROVISATION AND THE FACT I WENT ON WITH THE SHOW IN SPITE OF FORGETTING MY PIECE. AT THAT MOMENT I LEARNED THAT IF I LIKE WHAT I AM PLAYING THEN THERE WILL BE OTHERS WHO WILL LIKE IT TOO, MAYBE NOT EVERYBODY BUT AT LEAST SOMEBODY AND THAT IS ENOUGH.
2. Talk about the first guitar/instruments you took a focused interest in.
a. What were you doing with it/them?
THE DAY AFTER THE BEATLES PERFORMED FOR THE FIRST TIME ON ED SULLIVAN IN 1964 I DECIDED I WAS GOING TO PLAY THE DRUMS, I BEGAN WITH SNARE DRUM AND THEN TOOK PRIVATE LESSONS ON TRAP SET FROM AN OLDER MAN AT A LOCAL MUSIC STORE. HE HAD AN AMAZING DRUM KIT WITH ABOUT TWELVE TOM TOMS AND A TON OF CYMBALS BUT HE WOULDN’T LET ME PLAY ON ANY OF THE TOMS OR CYMBALS UNTIL I MASTERED "ROCK AROUND THE CHRISTMAS TREE" ON THE BASS DRUM, SNARE AND HIGH HAT. WHEN I HAD MASTERED THAT TUNE HE TOLD ME I COULD GO NUTS ON THE REST OF THE SET, AND THAT IS WHAT I DID. I BEAT THE SHIT OUT OF THOSE DRUMS FOR ABOUT AN HOUR AND DECIDED I WAS THE NEXT RINGO!
b. How did people around you respond/react?
THE TEACHER AND SOME OF THE OTHER STUDENTS CAME INTO THE ROOM WITH A LOOK OF AMAZEMENT AND HORROR ON THEIR FACES, NOT BECAUSE I WAS SO GREAT BUT BECAUSE I WAS SO LOUD AND DIDN’T STOP PLAYING UNTIL THE TEACHER MADE ME.
c. Was it fun? - What made it fun?
IT WAS A BLAST! I LOVED THE ATTENTION AND THE FEELING I HAD JUST PROVIDED THESE PEOPLE WITH SOMETHING THEY HAD NEVER WHITNESSED BEFORE.
3. Formal training? - Lessons?
Significant "tutor"/"mentor" experience?
THE ONLY FORMAL TRAINING I HAVE RECEIVED WAS MY DRUM LESSONS AS A YOUNG BOY AND A BRIEF COURSE IN PIANO AT MONTEREY PENNINSULA COLLEGE IN THE LATE 70s. I HAVE NEVER REALLY GIVEN ANYBODY ANY LESSONS PER SAY BUT DID CONDUCT A WORKSHOP IN IMPROVISASTION IN SANTA CRUZ, CALIFORNIA IN THE LATE 80s. I WOULD HAVE TO SAY MY MENTORS ARE DON PRESTON , BUNK GARDNER AND JIMMY CARL BLACK OF THE MOTHERS OF INVENTION. I WAS IMPRESSED WITH ZAPPA AND THE MOTHERS AT A VERY EARLY AGE AND WAS FORTUNATE TO MEET THE MOTHERS IN THE 80s. I WAS INVITED (Talked 'em into it) TO GO ON THE ROAD WITH THEM DURING A REUNION TOUR AS THE "GRANDMOTHERS" IN 1981, I DROVE THEM AROUND THE SAN FRANCISCO AREA FOR THREE WEEKS AND HELPED WITH THEIR EQUIPMENT.
DON PRESTON AND I REALIZED WE HAD CERTAIN ARTISTIC INTERESTS IN COMMON AND HE BEGAN TO SHARE HIS EXPERIENCES WITH ZAPPA AND BEFORE HE MET ZAPPA WITH ME. DON TAUGHT ME THERE WERE MANY WAYS TO COMMUNICATE MUSICALLY WITH OTHER MUSICIANS AND WITH AN AUDIENCE. BUNK GARDNER OPENED MY EYES TO SINCERITY AND DEDICATION AND JIMMY CARL BLACK SHOWED ME JUST HOW MUCH FUN IT ALL CAN BE! I ENJOY A PERSONAL AND VERY IMPORTANT FRIENDSHIP WITH THESE WONDERFUL MUSICIANS TO THIS DAY AND THEY CONTINUE TO INRICH MY LIFE.
4. Have you taught?
I LIKE TO THINK I HAVE INSPIRED RATHER THAN TAUGHT.
5. Initial recording-experience memories?
MOST OF MY RECORDING EXPERIENCE HAS COME FROM MY OWN RECORDING STUDIO. WHILE LIVING IN MONTEREY, CALIFORNIA FROM THE LATE 70s TO THE MIDDLE 90s I ALWAYS HAD A SMALL RECORDING STUDIO AND ENJOYED MANY WONDERFUL EXPERIENCES WITH A GREAT BASS PLAYER AND GOOD FRIEND DEREK DEAN. WITH DEREK AND MANY OTHER FINE MUSICIANS AND ARTISTS OF MANY TYPES WE CREATED ‘BENT MUSIC" WHICH WE CONSIDERED AN ALTERNATIVE TO ALTERNATIVE MUSIC. AT THIS TIME I HAD BEGUN TO CONSINTRATE MORE ON GUITAR AND KEYBOARDS BUT STILL MADE PLENTY OF NOISE WITH TRADIONAL PERCUTIONS AND EXPERIMENTAL DEVICES. INSPIRED BY DON PRESTON I BEGAN TO EXPERIMENT WITH MANY DIFFERENT RECORDING TECHNICS.
6. What gear/stuff do you play in a performing context?
a. Presently :
I AM SEMI-RETIRED ENJOYING RAISING MY 16 AND 11 YEAR OLD SONS. THE ONLY PERFOMANCES OF SUCH I HAVE DONE FOR THE LAST FEW YEARS HAS BEEN AS A D.J. PLAYING CLASSIC ROCK AND THE BLUES. I DID PLAY SPOONS WITH A BLUE GRASS BAND THE OTHER NIGHT DURING A WEDDING PARTY.
b. In the Past:
GUITAR (69 GIBSON SG), MANY GUITAR EFFECTS, PRO-ONE SYNTHESIZER, YAMAHA DX-7, CLARANET, DRUMS, CANS, AND HOT DOGS.
c. Future aims and objectives?:
SHARE MY LOVE OF ENTERTAINMENT, MUSIC, AND PERFORMANCE ART WITH MY CHILDREN. 7. How, if at all, does the performance paradigm differ from the zeitgeist during the documentation/recording process? Which do you prefer, and why?
DO YOUR THING!
8. Five favorite recorded songs/compositions (by others).
HELP I’M A ROCK – MOTHERS OF INVENTION
JESUS WAS A LEPRECHAUN – SNAKEFINGER
BAT CHAIN PULLER – CAPTAIN BEEFHEART
COMMUNICATION BREAKDOWN – LED ZEPPELIN
HAIR – COWSILLS
9. If you could edit your ten favorite recorded/experienced sonic moments* together into a seamless loop, what would they be?
1. HENDRIX – STAR SPANGLED BANNER
2. INAGODADIVIDA DRUM SOLO
2. ANY YOKO ONO SCREAM
4. A GOOD ZAPPA SNORK
5. "HAVE MERCY" – JOHN LEE HOOKER
6. FIRST CHORD OF BEATLES "HELP"
7. WOO WOO WOO – CURLEY (THREE STOOGES)
8. "I AM NOT A CROOK" - NIXON
9. "STICK" – KINGSMEN (LOUIE LOUIE)
10. LAST NOTE OF BEATLES DAY IN THE LIFE
10. What are your feelings about improvisation?
NEVER ENOUGH!
11. What strategies have proven effective to you in terms of successful group interactivity?
ONCE THE BAND SAT IN THE AUDIENCE AND THE AUDIENCE TOOK THE STAGE AND PLAYED OUR INSTRUMENTS. (THEY PAID US!)
12. Are you friendly with any resources, publications, or collaboratives which might be of utility or interest to our readers?
http:/www.myspace.com/bentmusic2007
13. On what project(s) are you currently involved?
Electronic Cybernetic Computerized Convulsions
14. How can interested readers learn more about your work?
http://www.myspace.com/bentmusic2007
TAPES, VIDEOS AND DVDs AVAILABLE:
[email protected]
J E R R Y F O R D
Jerry Ford - Addenda:
RE: 1 Great remembrance. I find that when involved in a good improvisation, I feel exactly as I did as a child encountering something for the first time and doing it well. As a musician and a parent, do you find musical improvisation to be a means of recovering the experience of childlike wonder?
A GOOD JAM IS KIND OF LIKE CHRISTMAS MORNING, KIND OF SAD WHEN IT’S OVER.
Let’s explore a *phenomena* you mentioned, which I’ve heard mentioned by so many others over the years that it seems worth collecting data on: THE BEATLES ON THE 1964 ED SULLIVAN SHOW HAVING A GIGANTIC MOTIVATING EFFECT ON SCADS OF FUTURE-MUSICIANS.
RE: 2 What was it about that particular television performance that hit you so hard?
UNTIL THEN, MUSIC WAS BEING MADE "FOR" YOUNG PEOPLE. AFTER THAT NIGHT ON ED’S SHOW, MUSIC BEGAN TO BE MADE "BY" YOUNG PEOPLE ABOUT THINGS YOUNG PEOPLE WERE EXPERIENCING, IT OPENED THE DOOR FOR SELF-EXPRESSION FOR ANYBODY WHO PICKED UP ON IT, AND PRIMED THE PUMP FOR ALL THAT FOLLOWED. UNFORTUNATLY, MUSIC AND ART WILL ALWAYS BE A COMMODITY IN AMERICA AND MANY GROUPS SPRUNG UP JUST TO BE BOUGHT AND SOLD. BUT AS WE ALL KNOW, SOME VERY HEAVY MUSIC DERIVED FROM THE BEATLES' WORK AND, OF COURSE, THE BEATLES WERE INSPIRED BY THE BLUES.
RE: 3 Have you recorded with Don, Bunk, or Jimmy Carl? (If so, what’s it sound like?)
I GOT TO PLAY DRUMS BRIEFLY WITH THE GRANDMOTHERS IN SANTA CRUZ IN '81, AS JIMMY DELIVERED DON’S BABY (THAT TURNED OUT TO BE ZAPPA). IT SOUNDED LIKE A DRUM SOLO, WITH THE FOWLER BROTHERS GOING OFF ON TROMBONE AND TRUMPET, WITH BUNK ON HEAVENLY SAX WHILE DON SCREAMED AND JIMMY CURSED AND GRUNTED TO DENNY WALLY’S SLIDE GUITAR. (I think it was recorded but who knows where it is). THE GRANDMOTHERS ALSO JOINED ME ONCE ON KAZU AND WE PLAYED DON’S "ORGANIC SYNTH." WHICH WAS ALL OF US MAKING RUDE NOISES INTO THE MICS. (Again I would have to search the BENT archive to find the tapes and if I go in there I may never come out alive).
RE: 5 Please elaborate about Bent Music, and on the workshops. I attended two of them, and had a wonderful time. Remember the ‘make your own instrument’ theme?
THE BENT WORKSHOPS WERE INSPIRED BY DON PRESTON AS WAS BENT MUSIC. I SPENT A WEEK LIVING IN A LITTLE SHED BEHIND DON’S HOUSE IN L.A. JUST BEFORE WE "HIT THE ROAD" FOR THE GRANDMOTHERS' SECOND TOUR. DURING THIS TIME, DON AND I REALIZED WE HAD CERTAIN ARTISTIC INTERESTS IN COMMON. I HAD COMPLAINED TO HIM THAT I WAS SAD THAT I COULDN’T READ OR WRITE MUSIC WELL ENOUGH TO COMMUNICATE MY MUSICAL IDEAS TO OTHERS. DON TOOK ME INTO HIS STUDIO AND PULLED BOOKS AND FILMS FROM HIS ARCHIVE TO SHOW ME HOW OTHER PEOPLE HAD USED UNIQUE WAYS TO MUSICALLY AND ARTISTICALLY EXPRESS THEMSELVES. ONE GUY HAD FOUND A LITTLE VILLAGE IN EUROPE WHERE MANY OF THE BUILDINGS WERE EQUIPPED WITH STEAM WHISTLES ON THEIR ROOFS. HE TUNED ALL THE WHISTLES AND SAT ON A HILL SIDE AND CONDUCTED A WONDERFUL PIECE OF MUSIC.
THE BENT WORKSHOP WAS INTENDED TO GIVE ALL WHO PARTICIPATED A CHANCE TO ENJOY THE FEELING OF PERFORMING AND EXPERIENCE THEIR MUSICAL SELF. THE FIRST NIGHT I HAD BROUGHT IN MANY DIFFERENT INSTRUMENTS AND DEVICES AND PASSED THEM AROUND, I USED AN IDEA OF DON’S TO CONDUCT THE "BAND". I CONSTRUCTED A WOODEN BOX WITH A WINDOW IN IT AND USED AN OLD BAR-B-Q SPIT MOTOR TO PULL A ROLL OF PAPER ACROSS THE OPEN WINDOW. ON THE PAPER I HAD DREW COLORED DOTS, EACH PERFORMER WAS ASSIGNED A COLORED DOT AND INSTRUCTED TO PLAY WHAT THEY WANTED UNTIL THEIR DOT DISAPPEARED FROM THE SCREEN, THEN I RAISED AND LOWERED THE DOTS ON THE PAPER AND THE PERFORMERS WERE TOLD TO PLAY HIGH NOTES AS THE DOTS ROSE AND LOWER NOTES AS THE NOTES LOWERED ON THE SCREEN. NEXT I BEGAN TO MAKE SOME OF THE DOTS BIG AND SOME SMALL AND ADDED THAT THE PERFORMERS SHOULD PLAY LOUD ON THE BIG DOTS AND SOFTLY ON THE SMALL DOTS. IT BECAME A WONDERFUL PIECE OF IMPROVISATIONAL MUSIC, MOST OF THE PERFORMERS HAD ONLY DREAMED THAT SOME DAY THEY WOULD GET A CHANCE TO PARTICIPATE IN A PERFORMANCE OF ANY TYPE.
THE MAKE YOUR OWN INSTRUMENT NIGHT WAS INTENDED TO SHOW PEOPLE ONE DOES NOT HAVE TO HAVE A MILLION DOLLARS TO MAKE MUSIC, I ENCOURAGED EVERYONE TO GO TO THE LIBRARY AND RESEARCH POSSIBILITIES OF CONSTRUCTING INSTRUMENTS BASED ON OTHER CULTURES AND TO JUST USE THEIR IMAGINATIONS AS THEY DID WHEN THEY WERE CHILDREN. I REMEMBER I CREATED THREE "GUITARS" OUT OF ORANGE CRATES, AND A JAW HARP CONTRAPTION FROM A YARDSTICK AND A GUITAR STRING. I WAS PLEASENTLY AMAZED WHAT OTHER PEOPLE SHOWED UP WITH THAT NIGHT AND WE HAD A BLAST PERFORMING FOR EACH OTHER AND TOGETHER.
Thanks to Jerry Ford for his participation in GuitArt.
More information on JERRY FORD at:
http://www.myspace.com/bentmusic2007
Compiled by Leaping Cat Records for Inkanish Records to benefit Jimmy Carl Black
Jon Larsen & JCB - Don Preston & Bunk Gardner -Ed Mann - Captain Sensible - Jerry Ford & Derek Dean - The Wrong Object - RagacatZZ - Southern Comfort - Corky's Cats - The Moving Tones - Zappatika - Tony Roberts