Ten Questions – Patrick O’Reilly of Tesseract – Jazz Room Friday Nov. 15, 2013

1. What guitars and amps do you own?

I play mostly Fender amplifiers and solid body guitars, but I like to experiment with other instruments and amps. My main amp at the moment is a 1977 Fender Champ, but I often use it in stereo with a ZT lunchbox. I also like to use unorthodox equipment. For example, my partially functioning battery operated amplifier “EMA” which I find to be as inspiring as it is unreliable.

2. What will be your set up this weekend?

This weekend I’ll be playing a Telecaster going through a long chain of effects pedals and electronics, into the house amp. I don’t have a consistent effects set-up. I usually just bring whatever I find exciting at the moment, however, you’re likely to see a few distortion/fuzz boxes, an Ernie Ball Jr. volume pedal, some Electro-Harmonix pedals, a selection of my modified delay pedals, and a bunch of weird stuff.

3. How do you believe you achieve your tone?(strings, pick, hands, effects, etc)

I try my best to consider all aspects of my signal path in as much detail as possible. Everything that happens in-between the initial intention in my mind and the sound that arrives at the listeners ear is a concern of mine. This includes hands, pick, strings, wiring, effects etc. My main concern is with the ideas I’m trying to communicate, and every stage of the signal chain presents opportunities to effect and shape my tone in ways that either take me closer to, or further from this sound ideal.

That being said, I’m not a purist when it comes to any aspect of my playing, including tone. Many aspects of what I do would generally be considered destructive to my tone. Some of this is just a necessary part of using certain types of equipment, but for the most part I introduce destructive elements consciously. I really enjoy pushing consumer electronics and effects pedals to their limit, and preferably beyond it. I find the idea of revealing hidden sounds from within these objects incredibly enticing.

4. Tell us about your original music?

I want my original music to be as honest an expression of who I am as I can make it.  There’s a lot of music that I identify with, and get a lot of satisfaction from playing. In creating original music I find the biggest challenge is to reconcile, and unify all these things that I like. I think this is why I’ve found establishing artificial parameters to be such a helpful tool.

In terms of what this actually sounds like. Most of my original music deals with odd-meters or other types of rhythmic cycles and asymmetrical phrase lengths. Another identifying feature is my use of effects pedals as an orchestration tool, and I utilize a lot of fingerpicking techniques, and some dissonant harmony. Hopefully it just sounds like me.

5.  Tell us about your approach to composing?

I’ve been very fortunate to study the theory and craft of composition for many years, but when I write music I find it is still mostly an intuitive process. During the composition process I’m generally not working in any analytical way, at least not consciously. It’s difficult to articulate this experience precisely, especially since it can be different every time. It sometimes feels that composing a piece is like trying to build this separate little world with it’s own rules, and once you figure out what the rules are you have only to follow them in order to complete the composition. At least that’s how I like it to feel.

6.  What are your favourite songs to play?

I really enjoy playing my original music. I feel like I’m constantly working on this ever-expanding collection of sounds that I really love, and original compositions are my opportunity to share these sounds with other people in a very considered way .

I also really love the challenge that comes from taking someone else’s music and attempting to make it feel like my own. Whether it’s a new composition by a friend of a jazz standard, the ability to be myself within the parameter’s of the tune is a skill that really tests my ability to control the materials I’m working with.

7.  Do you have a favourite scale or lick that you play?  Or what was the jazz scale that really changed your playing?

If I had to pick one it would be the chromatic scale. I really enjoying practicing scales, but I generally try not to think about them when I’m playing.

Sometimes I find that I have a hard time working with scales. I think I feel more free when I’m working with smaller materials. Maybe just a few notes I heard someone play in the last chorus, or the previous night.

8. What guitarist, song or album inspires you?

I find the incredible level of diversity among guitarists constantly stimulating. It seems no two guitarists ever really sound the same. There are just so many ways to play this thing. It invites you to really find your own path.

Some current favourites include: Nels Cline, Tosin Abasi, Ben Monder and Bo Madsen,

9.  What do you do to practice technique? (one or two things)

I like to work on technique by practicing as slowly and with as much accuracy as possible. Relaxation and economy of motion are my main technical concerns.

10. What can the audience expect to hear next Friday?

They’re going to hear five musicians who really enjoy playing together, trying to convey their original compositions honestly, and with as much creativity and invention as they can.

This band loves playing together, and we’re very aware how lucky we are whenever we get a chance to perform. We really want to convey the joy we experience playing together to every single person who listens.

http://www.tesseractmusic.com

Edwin Sheard – Alto Sax

Leland Whitty – Tenor Sax

Patrick O’Reilly – Guitar/Electronics

Julian Anderson-Bowes – Bass

Derek Gray – Drums