In the world of contemporary jazz, few artists have carved a niche as distinct and innovative as Ari Joshua. Known for his extraordinary guitar skills and ability to expertly blend diverse musical genres, Ari continues to push the boundaries of jazz with each new release. His recent piece, “Tagine,” has been making waves for its intricate composition and captivating melodies, highlighting his flair for storytelling through music.
In this exclusive interview, we sit down with Ari Joshua to delve into the creative journey behind “Tagine.” We explore his collaboration with renowned musicians Joe Russo and Marco Benevento, uncovering how their unique styles and talents converged to create something truly special. Ari shares insights into the recording process, revealing the artistic decisions and spontaneous moments that shaped the final piece.
Join us as we unravel the musical fabric of Ari Joshua’s world, gaining a deeper understanding of the artistry and dedication behind his work.
Can you tell us more about the inspiration behind “Tagine” and how it came to be?
We used to jam at this Moroccan restaurant in the basement. There was a super chill vibe in there. The venue was in midtown Manhattan. It was a really special time and place. We played there just after 9-11 that was the time period. We were all pretty young and full of energy and potential.
How did your collaboration with Joe Russo and Marco Benevento start, and what was it like working with them on this track?
I just fell in love with their playing from the start. I was first working with Marco more so and we were looking to put a band together. I had some gigs in mind and I even wrote a whole batch of songs for them to play. They were taking off as the duo at the time, doing these weekly residencies. We were able to pin down a day in the studio, it was a pleasure to track with them, it was really fun I loved it.
What was the recording process like at Wombat Studios in the early 2000s? Do you have any memorable stories from those sessions?
Ross the studio owner was just getting word at the time they were going to tear down the whole block. The studio was on it’s last years. The Brookly Basketball Arena was to be built there. He had some great, all analog, and it was called Wombat cause we could record all night. We all met there the night before we tracked to load in and get sounds. It was one of those places in New York just made for and build for players. The rates were decent, and the engineer was the owner of the studio. He lived upstairs. I seem to recall Joe Russo was just getting over some kind of cold, and it was super cold outside. We was all wearing warm clothing but the vibe was lit. It was a warm feeling inside.
How did the weekly jam sessions at the Moroccan restaurant Tagine influence your music and this particular track?
I remember playing with Marco and Joe and this percussion player Rich as the main folks that came by and it was just on fire. I was like these are the guys I wanna be in a band with! We would play and after looking at each other like ‘You guys are awesome’. There was a feeling like we could all play anything, but we all liked to play the same music. More progressive and more influenced by rock n roll then jazz, but with a true improvisational spirit.
You mentioned that “Tagine” was written after 9-11. How did that unfortunate event impact the music and the recording process?
In order to get to the gig we had to determine the joint was still open. I can’t say we even had cell phones but somehow we were able to broadcast the sessions where we went. There was a full military shut down on the bridges, it was very post-apocalyptic, something you never expected to experience in the United States or in NYC. They did a full search of our vehicle and determined there was no threat, and let us in. I recall waking up to my roommates screaming on 911, where maybe 3-4 stops away on the subway from World Trade Centers. It was on my way to school every day. I took the train to school and saw folks getting on and off the train covered in WTC dust. Mostly workers and photographers. The smoke in the sky seems to stretch to the moon. I wrote all the material on this session for Marco and Joe specifically and this one was written just after that Tagine session. I wrote a lot in that time period. Some of my most beloved material came from writing at that time. The session went by pretty fast. Just 1st and 2nd takes, and move on. In my mind I thought we would be able to pick up and add more parts to the material but let me say that I am blessed it happened when it did and that I have this material to keep mixing and to share out there.
How would you describe the dark, jazzy vibe of “Tagine” and its influences from psychedelic jazz legends like John Coltrane and Miles Davis?
Well the spirit of Miles is there. There is a bit of a Miles ‘On the Corner’ vibe there. Joe plays with that same intensity a lot of great NYC drummers have. The music was also written with Tony Williams in mind, and was like a nod to ‘Emergency’. At the time of the recording the song was called like Tony meets Nirvana or some working title like that. The melody itself is a diminished type run, and I cut my teeth on a lot of Coltrane diminished ideas around that time, but I wouldn’t say Miles and Coltrane were the main influences, more so that they broadly influence everything I do. I closed my eyes and just felt the moment and this one just kind of all came at once, as if it was just in the air. There really was no particular influence, I was thinking of Marco and Joe and the crazy situation we were all in at that time.
What was it like playing at The Knitting Factory during that time, and how did it contribute to your musical development?
I had played all the rooms at the Knitting Factory in several configurations, but I was pretty young, and always as a side man on a gig. It was pretty special that Marco and Joe had that place as a weekly gig. It worked great, the organ just has a vibe, it’s timeless, they were really making their sound there at that gig. I saw so many unforgettable acts at that venue over the years and influenced me in a profound way.
Can you share more about the chemistry and dynamic between you, Joe Russo, and Marco Benevento during the recording of “Tagine”?
The chemistry was fantastic. I had sketches of music I wanted to try and they were open to all of it. A few songs Marco brought into the session to record that ended up being part of their duo sets, or already were part of them and I tried to keep the session moving along with some new easier ideas so we could play. I wish I had more time so really just improvise with those guys. Both to improvise and to rehearse some more progressive material. They just had the sounds that were in my head, like we were all the same age and it was that same time period. There are like another 8 songs or so I still have in the vault that I will share. The session was really easy and I kept it moving in an easy laid back way on purpose so we could just play through ideas.
How do you think this composition reflects the early explorations and virtuosity of you and your collaborators in your 20s?
There was a lot of listening going on, a lot of unspoken collaboration, there is a melody and a few bass parts, but there was also lots of room for us to experiment. There are like 3 takes of the tune, all very different. Someday I will share the other takes too. I think the recording is strong, there are three unique voices coming together and really sharing the floor.
What do you hope listeners take away from this track, especially those who are fans of jazz and jam bands?
I think it will be fun for fans of any of us to be able to hear us as we were developing, adn to hear the parts of our playing that was developed at that time. I don’t know there are alot of Jam Bands that can or enjoy playing the way we played, but I think they can all appreciate what we were creating. Also I encourage listeners to put on noise canceling headphones, and close your eyes and listen to the subtle stereo sounds of my music. It’s kind of the same with all my music.
How has your music evolved since those early days, and what elements from that time do you still incorporate into your work today?
Feel and tone are the most important threads for me in making auditory art. My music just is always evolving, but the tone, and the importance of the moment, and the ability to keep my ears open for possibilities and communication were there even back then and still carry through in everything I do.
Can you tell us about the design and layout process for “Tagine” and the contributions of Monte Mitchell and Forest Shore?
Monte Mitchell is one of my favorite designers, he has the look I want. I told him this song was a bit about 911, but also had a DMT type flavor, he nailed it, there is even a few easter eggs in there.
What was the role of Ross Bonadonna at Wombat Recording and Ari Raskin at Deep Water Studios in the production of this track?
Ross had some great analog gear and was super chill to work with. He was also able to work with us on a budget and get this done right. Ari is one of the most amazing engineers I know, just go to his website and look at who he has worked with, I mean who has he not worked with really… Anything he touches comes out balanced and ready to share.
How did Ed Brooks’ mastering at Resonant Mastering contribute to the final sound of “Tagine”?
Ed is one of the best in the business. Look him up. Go take your music to Ed and his company!
What are your thoughts on the accessibility of music today through streaming platforms and Bandcamp, and how do you feel about your music reaching a broader audience this way?
I am worried about the greed we see with the tech companies, and I am not seeing a lot of artists being included in the way I would like to see. For example if I got a salary to work at a tech company I bet I can make them 10x more successful by making sure to reward the right artists with funds, and resources. Meanwhile the fact that I can share my music across the globe and I seem to be reaching a good half a million new listeners a year, that in itself is pretty great. But the loss of quality from records to tape to cd to streaming, and the fact it really has taken away the artist’s ability to be full time is a concern.
Thank you so much for your time. Any words for our readers?
Thanks for digging my music. If you happen to want music lessons for you or any of your family members, we got you covered. I am available for 1 on 1 coaching, and if you get us at www.musicfactorynw.com and sign up you can fill out a form and we will have a great teacher help you and or your kids out, all with love and gratitude!
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