Outside Pedestrian's latest album, Time Zones, showcases their innovative approach to remote collaboration, genre-blending compositions, and heartfelt tributes, reflecting their adaptability and commitment to pushing musical boundaries.
1. Can
you share the inspiration behind the decision to collaborate remotely on this
album? How did the process differ creatively compared to recording in person?
By 2019, when Anthony Fesmire started working on his album "Abandoned
Places", the members of Outside Pedestrian all lived across the country,
from California to Massachusetts, so even before Covid, remote recording was
required to maintain a consistent musical connection. During the pandemic, the
Outside Pedestrian joined the trend of presenting "virtual"
performances - each member filming and audio-recording themselves in their own
space, then being combined into one video. After creating virtual performances
of several of their previous songs remotely, the next step - with in-person
recording off the table - was to remotely write and record new material. In
some ways collaborating remotely is easier, in that each participant has more
time to come up with a part or an idea and can do so at their own leisure,
rather than having to schedule time in a recording studio. In some ways remote
is harder; besides lacking the face-to-face element, the lack of time
constraints and the ease of digital editing makes it tempting to overthink or
over-edit a track. While Outside Pedestrian's previous material had both a
strong jazz and rock influence, since remote recording is more conducive to
rock (especially with the music being recorded to a click-track and with overdubs
- both considered taboo in many jazz circles) "Time Zones" has more
of a rock flavor than the first three albums.
2. This album features co-writing between Anthony Fesmire and David
Lockeretz, which has been rare in your past work. How did this collaboration
influence the direction and sound of the new record?
Both of them came up with ideas that the other might not have; both developed
the ideas in a way the other might not have. The forms of the new tunes are
more elaborate than the previous Outside Pedestrian material, much of which
followed the "melody, solos, melody" format common in jazz. With
these new tunes, the creative process typically included taking one or two
central themes, motifs or grooves and sending them in new directions, such as
varying the time signature, the key or texture. For example, in
"Messenger" instead of using the whole form of the tune for the
solos, each solo is over a different section of the tune, and has a different
groove and dynamic range.
3. The inclusion of two drummers, Steve Tashjian and David Oromaner, brings
a unique dynamic to the album. How did you approach integrating their
individual styles, particularly on tracks like “Walk, Don’t Run”?
Steve Tashjian tended to play on the more rock-oriented tracks and David
Oromaner on the more jazz-oriented tracks. On this album, not only does each
drummer have a distinctive voice with their playing, but since each of them
recorded their own tracks in their own studio, the drum tracks have different
audio qualities (compared to how it would sound if different drummers recorded
at the same studio). Both have played on prior Outside Pedestrian albums, and
both had performed on "Abandoned Places" so each drummer had a good
sense of what would work with this new material.
4. “Walk, Don’t Run” marks the first cover song on an Outside Pedestrian
album. What drew you to this piece, and how did you make it your own?
"Walk Don't Run" has a pedigree both in rock and jazz. While it was
made famous by the surf-rock band the Ventures, it was originally written as a
jazz tune by Johnny Smith, based on the chords to the standard "Softly As
In A Morning Sunrise" and was also covered by Chet Atkins in the late
1950s. Since the Ventures version features drums, it seemed like a good
opportunity to showcase both Steve Tashjian and David Oromaner, who groove
together and also trade off soloing. The Outside Pedestrian version takes the
rock feel of the Ventures but expands upon their version with additional
sections in different keys, a few reharmonizations and some reimagining of the
melody.
5. The album pays tribute to Jeff Beck and Wayne Shorter with “Envoy” and
“Messenger.” How have these legends influenced Outside Pedestrian’s music, and
what was your approach to honoring their legacy?
Wayne Shorter had a long career in which he performed and composed a seminal
body of work, as a solo artist and with Weather Report, Miles Davis and many
others. While he's thought of mainly as a jazz musician, he also played funk,
soul, rock and pop. "Messenger" pays homage to his early work on the
Blue Note label with a melody inspired by his saxophone lines of that era and
non-functional harmony (chord progressions that break away from the patterns
common in be-bop jazz and the Great American Songbook era). The groove is rock
and funk influenced, inspired in particular by a 1980s Shorter composition
called "The Three Marias." Jeff Beck was also influential to Outside
Pedestrian. While primarily remembered as a guitarist in the blues/rock vein,
his music also had elements of jazz, funk and reggae. "Envoy" is
based on "Goodbye Pork Pie Hat", a Charles Mingus tune that Beck
recorded. The groove borrows from "Behind the Veil", a
reggae-influenced ballad from Beck's album "Guitar Shop."
6. Your music spans a wide range of influences, from jazz to modern metal
and beyond. How do you strike a balance between these genres to maintain a
cohesive sound?
There is a blend of tunes that are fairly straightforward, such as
"Envoy" and then there are some that are all over the map, such as
"Rogues Gallery", which has elements of jazz, metal and a touch of
classical music, as it includes a through-composed section written in a style
influenced by J.S. Bach's two-part inventions for piano. However, even a tune
such as "Rogues" that goes in a lot of different directions is tied
together by recurring melodies and themes, and it has a definite structure. The
band's compositional mindset is that anything goes - as long as there is a
reason for it.
7. The band’s name has a fascinating origin tied to Anthony’s experience producing an album at a prison. How do you think this story reflects the essence of your music?
In the late 1990s Anthony Fesmire taught music in California state prisons, as part of a program designed to help rehabilitate inmates and prepare them for life after release. He built a recording studio at one of the sites, where most of the band's first album, "Pedestrian Crossing" was recorded. In order to enter the facility, visitors had to be buzzed through two gates: the inside pedestrian and outside pedestrian gates. The band decided that Outside Pedestrian would be a good name, since it implied that the music was outside of the "pedestrian" (mundane, predictable).
8. The COVID pandemic presented challenges but also inspired creative solutions like remote recording. How has this experience shaped the future of Outside Pedestrian’s music-making process?
Having now completed an album remotely, a precedent is set for having remote recording as an option when in-person recording isn't. With the band spread out geographically, future Outside Pedestrian albums will likely be recorded remotely, at least in part, and the writing of new material will take that into account.
9. You’ve all had successful individual careers. How do these diverse experiences come together to shape the unique sound of Outside Pedestrian?
Every situation in which a musician finds themselves can be a seed for a new idea. While the members of Outside Pedestrian have always had common ground musically and a chemistry built from a long history together, they have all taken different paths as well. Collectively, the band members have taught at institutions across the country, performed across the country and internationally and played almost every genre of music. Even though Outside Pedestrian is broadly speaking a jazz-rock trio, each player's experiences have informed their own voice and what they bring to the band's sound.
10. Over the years, Outside Pedestrian has explored various musical styles. Are there any new genres or concepts you’d like to incorporate into your future projects?
Having done four albums now (plus two solo records each from Lockeretz and Fesmire), the goal and challenge for the future is to find sounds and ideas different from what the band has done before. Genre-wise, Outside Pedestrian might continue to explore ways to incorporate elements of classical music, or modern genres such as minimalism, or perhaps world music - some of the previous material has a Latin or reggae influence, but there's still a lot of ground to explore out there. There may be new cover tunes or perhaps more homages to the musicians who have been influential.
11. Can you describe the recording process in unique spaces like Steve Tashjian’s Bomb Shelter Beats studio? Did the environment influence the music in any way?
Bomb Shelter Beats Studio a unique space that can create a wide sonic spectrum. Steve can open some of the moveable treatments to expose wood or concrete surfaces to open up the sound or close things off to create a tighter vibe. Concrete holds low frequency better than most materials, which helps on the more rock-oriented songs like "Wicked Chester" and "Seven On Four." And Steve also does a good job of modifying his kit for each song as well. He has a lot of different drum and microphone options that he uses specifically to meet the needs of the song.
12. What do you hope listeners take away from this album, especially given the new approaches and tributes it features?
To feel challenged but not tired. To feel like they have experienced something new but still relatable, like a mystery story where the outcome makes sense without being predictable.To inspire (with the tribute tracks) listeners to explore the music of Wayne Shorter and Jeff Beck. To be looking forward to the next Outside Pedestrian album.
Outside Pedestrian – Eclectic instrumental music: performance and education
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