Here’s the plan: write at least one new composition every day. The idea is that to be creative you sometimes need to “let go” and just write things down fast, without too much self editing. It’s far too easy to get stuck in an endless loop of over-editing. It’s also essential to let go of the notions of “good” and “bad.” Artists too often get hung up on these points, and it can be detrimental.
The primary goal of such an exercise is to eliminate the artificial and often detrimental creative roadblocks inherent in excessive over-editing and second-guessing in the compositional process. Maintaining such a rigid compositional regimen requires a streamlined, almost improvisatory process, in which decisions must be made quickly and second-guessing is kept to an absolute minimum.
Thanks to George Harris for this short but sweet review in Jazz Weekly.
“I like a disc when I listen to the music and can’t tell who the leader is. That was the case here with electric pianist Tom Wetmore on his debut release. All nine songs here are his compositions, and he brings together a full sounding team that includes Jaleel Shaw/as, Eric Nevelof/ts-as, Brad Williams/g, Justin Sabaj/g, Michael League/b and Garrett Brown/dr. The sonic effect is reminiscent of late 60s-early 70s CTI-styled jazz, with some funky rhythms, yet still with enough complexity to allow sax solos by Shaw (on “Red Lights”) and Neveloff (on the title track) to have some intellectual meaning. The linear guitar work of Williams and Justin Sabaj weave in and out of the churning and at times tricky time signatures. Music melodic enough to keep you listening and complex enough to retain your interest.”
Check it out in its original form here:
This is truly exciting. Check out Jon Garelick’s brand new article in the Boston Phoenix! Jon is a truly insightful listener and a masterful writer. He also interviewed me for this piece. Here’s a taste:
“Tom Wetmore’s new The Desired Effect (Crosstown) is both tantalizingly familiar and utterly strange. Which is a good effect indeed…. Though there are sparkling solos throughout the album, it’s the overall sound of the pieces, the ensemble feel, that sticks with you. Most impressive is the three-way counterpoint that Wetmore explores — often with the lead saxophone playing the melody while both guitars weave contrapuntal lines underneath…. So you’re always getting a bright pop sheen on the surface with a complex pattern of inner voices below.”