| Guitarist Wayne Krantz Improvises at the Iridium in April |
| Written by Rich Monetti | |||
| Monday, 02 April 2012 12:34 | |||
 The only constant that could possibly classify Wayne Krantz as a musician is his continuing drive to recreate himself. Growing up in a home where the music was always playing, Rock 'n Roll and the guitar certainly got into his head. But his chosen instrument served as a vehicle in search of an alternative sound rather than the destination many of his generation settled into once the Beatles, the Stones and the Who hit our shores.
In turn, the self-imposed musical mystery carried him out of his Oregon hometown for New York City, where the world has attempted to pin him down as a Jazz, Rock, Blues and Fusion guitarist since he arrived in 1990. Regardless, he and his guitar work have landed him among artists such as Randy Brecker, Leni Stern, and most notably, on Steely Dan's Art Crimes Tour in 1996. With five upcoming April appearances at the Iridium and his 10th Album Howie 61 in tow, Krantz's categorical elusiveness is an ongoing testament to a journey he's still on and happily keeps his loyal fans guessing. TS:I'm still going to ask you what genre you are? WK:Like most people who create things, I don't really think that way. TS:But why not rest on your laurels after all this time and just go with it? WK:Things that are alive grow, so for me, the part of the life of music is the fact that it does change. It's part of the continuum. Of course, if you're somebody who's been playing one thing their whole life that
has a lot of power too, it's just not me.
TS:How does that take shape in Howie 61? WK:A takeoff on Bob Dylan's Highway 61, it blends blues based rock rifts and delivers improvisation on a group level. TS:Who among those might we know? WK:Vinnie Colaiuta, Tal Wilkenfeld and Pino Palladino - who've played with people like Jeff Beck, Eric Clapton and Herbie Hancock - should be familiar. We also got Anton Fig from Paul Shaffer's band on the David Letterman Show. TS:How many musicians all together? WK:About 20, including a British rhythm section. TS:By the numbers, just the logistics sound complicated. Tell me
about it?
For years, the records I've made have been band records and it was real exciting to pull some people together that I always wanted to play with but the organization was another thing. Taking place in New York, L.A. and London, there was a lot of traveling and organizing, but the musicians did everything they could to make it easier. TS:What of being in charge of all those personalities? WK:You're really just facilitating and bringing people together. Then it's a matter of conveying the ideas about what you want them to play. I've been a band leader since 1992 so there's nothing new
other than it being on a bigger scale. It was a great experience and I wouldn't mind proceeding that way for a while.
TS:You've broken again with the past by adding lyrics to your latest album? WK:I had three songs on my last album that included vocals and I've been experimenting with lyrics since around 1995. So it's taken all these years to figure out how to balance vocals with my improvised and exploratory sound. This record is more composed and song like so it's easier to fit vocals into that then it might have been ten years ago. TS:Very good. How has the wide availability of free music and the Internet impacted your ability to make a living? WK:Basically, it has made it possible for me to make a living. When the Internet exploded, I wanted to see if I could have a set up where I could have a direct connection to the audience without a middle man. Selling online, that's how I lived for 10 years. I never got rich but I got by. TS:Your new album has you affiliated with a label - why did you change? WK:While you do have contact with the audience through the Internet - it's hard to get connected with the music business. The music business is really what allows you to play gigs on a wider scale. TS:Like your upcoming tour? WK:Yes, I'm touring the U.S, Europe and Asia this summer and the fall. TS:What concerns did you have about being constrained creatively? WK:I've always been interested in being an individual but I wanted to see if it was possible to be on the professional end. I'm glad I checked it out. Aside from the world tour, I needed this kind of bankroll to go into the studio to do this kind of a record. TS:Tell me about the shows coming up at the Iridium? WK:A sit down room with tables, it's one of the nicer, comfortable rooms to go hear jazz. But while I typically like playing in clubs where it's more a rock atmosphere with standing and the energy that goes with it, I don't feel uncomfortable at all in this place and I'm really looking forward to it. TS:Generally, what does New York City and the music scene do for your vibe? WK:Ass kicking, it's got all these great musicians for you to either aspire to or exceed. TS:Tell me about your fans? WK:Their vibe is right in line with what I'm trying to do. They seem to sense that I've never made decisions based on what I thought people would like to hear or what would mean more money. That's pretty sincere in itself. TS:Finally, how does music feed your soul? WK:It's of the soul and been part of the expression of what I am. If it wasn't I might have gotten tired of all this but I still get up for it and still get really excited about it.
WAYNE KRANTZ – 5 Night Stand At The Iridium:
April 9 – Les Paul Night with Wayne Krantz
April 12- Wayne Krantz with Chris Potter, Anthony Tidd and Cliff Almond
April 13- Wayne Krantz with Chris Potter, Anthony Tidd and Cliff Almond
April 14- Wayne Krantz with Keith Carlock and Tim Lefebvre
April 15 Wayne Krantz with Keith Carlock an
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