Recording - August 2014 - 47
The Artist: Bandleader José Gurría
What made you decide to record at The
Bridge? What did you want to achieve
overall for your project, soundwise?
José Gurría: In 2010 I was the director of
the Los Angeles Youth Jazz Ensemble, and
we did a session at The Bridge in Glendale.
That session went very well and since then I
knew I wanted to track my orchestra album
there. They have world-class gear, of course,
and stellar sounding rooms, but what made
it for me were the people that work there.
The owner, Greg Curtis, certainly sets the
tone for everyone's work ethic.
I worked side by side with Greg on the
floor/mic plan (see Figure 1) and how we
were going to cater to Gurrisonic's
requirements two months in advance;
needless to say, on the day of the recording everything went very smoothly.
What are some of the challenges you faced as a composer/producer when trying
to capture the full spectrum of sounds from your orchestra in the studio?
My biggest fear was relating to time constraints. I was concerned with getting the
best performance possible out of everyone, given the budget restrictions. In addition
to that, the music has a very broad dynamic contour and I wanted to have a good representation of that aspect too.
I was also worried about the string section: as it could easily be overpowered by the
rest of the band. When I am arranging/orchestrating, I concentrate on having well
done orchestrations that are acoustically sound and that stand on their own without
sonic enhancements, but the threat of sound leakage was there.
How would you describe your music? It
is quite eclectic!
Some of my biggest influences are Thad
Jones, Bill Holman, Count Basie, and Duke
Ellington, but that doesn't mean I need to
clone what they did in order to stay in character. In this sense, I started to get closer
and closer to classical contemporary composers like Berio, Ligeti, Hindemith, Berg, et
al., and to a repertoire with more of a classical sensibility. I felt my vision could benefit more from the exploratory nature and
openness of these people's sounds than
from my jazz references and background.
The other half of the puzzle has been collaborating with the musicians that comprise
my band. When composing, I am thinking
about specific people from my band that will
bring a particular idea to new heights.
Gurrisonic is a lot about à la carte music for
the members of my band and they are all virtuosos; I like to challenge them and provide
beautiful environments for them to reach new
musical realms.
Fig. 1. Layout of the studio for the Gurrisonic recording sessions.
Diagram courtesy The Bridge Recording.
RECORDING August 2014
47
Recording - August 2014
Table of Contents for the Digital Edition of Recording - August 2014
Contents
Recording - August 2014 - Cover1
Recording - August 2014 - Cover2
Recording - August 2014 - 1
Recording - August 2014 - 2
Recording - August 2014 - 3
Recording - August 2014 - 4
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Recording - August 2014 - Contents
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