Her debut in Buenos Aires with King Crimson, her new show with Stick Men, and her desire to eat pizza

Her debut in Buenos Aires with King Crimson, her new show with Stick Men, and her desire to eat pizza

“Pizzas!” he warns. Pat Mastelotto about closing the interview with a video call before coming back to Buenos Aires to play Stick Men, the progressive rock trio formed with Tony Levin (stick) and Markus Reuter (guitar), will take the stage on Saturday, November 26. Konex City of Culture. Far from being a demagogue movement, the drummer has been familiar with the classic gastronomy of Buenos Aires for several years. In fact, in the mid-1990s, His first visit to the country with King Crimson was unlike any other: “Buenos Aires is very important to me, my first tour with King Crimson started there and the fanaticism for the band was so great that we stayed for about a month. We rented an apartment overlooking the Obelisk, traveled the whole country and returned to Buenos Aires. We stayed so long that we wrote a lot of songs and released an album with those shows (B’Boom: Live in ArgentinaRecorded in 1994 and released in 1995)”.

From that moment on, Argentina became a place to go again and again, for both King Crimson’s leader Robert Fripp and his musicians. Tony Levin and Pat Mastelotto, the band’s bassist and one of the biggest proponents of the Chapman stick or stick to dry (10-string instrument created in the 70s and played on a two-handed keyboard), returned to the country in 2011. repeatedly. “We haven’t been here for a long time. We will be playing a lot of new songs from the EP. tentacles and of course some King Crimson classics,” says Mastelotto about the trio’s next date.

Born in California in 1955, Mastelotto is your typical session musician whose training has made him versatile enough to play in many different projects. He built his name as a reference drummer by assisting new wave with Mr Mister and XTC, post disco with the Pointer Sisters, and also assisting with Al Jarreau and Patti LaBelle.. His arrival at King Crimson in the ’90s solidified him and also served as an apprenticeship. “We had a formation of three drummers,” he says. “And Robert Fripp told us to play every night as if every song was new. I remember it was a period of complete freedom. But What stuck in my mind the most was that he told us not to play if we didn’t know what to play.. This was very important because I understood how to deal with silences and dynamics. We were three drummers, we had to learn to listen to each other. It was great teaching.”

But managing silences and dynamics has always been a quest for Mastelotto. In 1982, a new wave group with many progressive winks, Mr. He founded Mister.. So much so that his big hit “Kyrie” is an adaptation of part of Christian liturgy from centuries ago (Kyrie eléison means “Christ have mercy”). “Note that in this song the drums start very late, almost a minute later,” he says. “While recording, I realized that arriving late would add more to the surprise effect, I needed to make room for the spatial sounds of the synthesizers first. For me, music is always about giving little surprises, albeit subtle ones.”

Aware that progressive music has been severely punished since the advent of punk as his disruptive response, Mastelotto makes his distinctions: program. And it seems to me that thinking in terms of progress is always positive. The Beatles were progressive. Then it all happened in the early 70s. programand historical records were recorded between 1971 and 1973: fragileYes; Dark side of the Moon, from Pink Floyd and of course Crimson. If you prog, everything was fine. And as with everything else, it came to be seen as something bad and humiliating. It was almost an insult in the ’80s (laughs), but I still think in terms of making progressive music. Bands like Tool and Dream Theater are making progressive music today, they’re very popular, and they always refer to ’70s bands as their inspiration.”

Some advice to Pat Mastelotto and his music students: “If you want to dedicate yourself to music, have a plan B, consider a safe job in case it doesn’t work out. Less and less work for musicians, that’s what’s alive. We broke up the most, but sadly it’s not a safe job for anyone. not a job opportunity”Courtesy MoonJune Music

For Mastelotto, it’s always about understanding what each piece of music wants. “Quantified hip hop or electronic beats, a computer will always decipher them better than a human, because you need a perfect tempo,” he explains. “For this reason Questlove sounds incredible to me, it humanized hip hop rhythm and worked the same way. but in general such ‘mistakes’ are suitable for rock or jazz, this natural transition is part of the essence, the rhythm of these styles. If you put programmed drums in a jazz band, it sounds awful”.

Nothing is black or white for Mastelotto, who also works with all kinds of drums and programs. “I’m not denying electronic drums, I use them a lot,” he explains. “I’ve had a LinnDrum for decades, it looks like the 808 and I love it, it was the first real sound drum machine. I use programs to compose and even record while traveling. You have to know when music needs this or that thing. I always tell my students that if they want to dedicate themselves to music, that they have a plan B, that they think of a safe job if it doesn’t work out. The truth is that there is less and less work for musicians, live is what is left to us the most.“But unfortunately it’s not a secure job opportunity for anyone.”

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