5 Questions with Maurice Oliver
- April 27, 2011 10:57 am CT
Bill McCormick
In the early 90's popular music was easily divided and defined. There were the mindless, ubiquitous, catchy tunes that stuck in your head like a toothpaste commercial and held similar emotional appeal. Sadly that form of music will, like cockroaches, outlive us all. There were the grunge and, the nascent, nu-metal movements turning anger into an art form. They took all the power of punk and added a level of musicianship that had never been associated with the genre. In and around Chicago dance music was defined by the throbbing beats issued forth by Wax Trax! and its pale imitators.
It was into this maelstrom that a band called The Rhythm Method, led by Maurice Oliver, came into vogue. Sensuous jazz melodies laid over hypnotic grooves layered with hooks that lingered joyfully in your mind long after the song had faded. Before New Age destroyed mainstream jazz, and long before dance music splintered into its many sub-genres, here was a glimmer of what the next evolutionary step could be. Despite the lack of mainstream support, the Rhythm Method garnered fans worldwide and Maurice went on to become an international celebrity. Now, proudly calling Chicago his home, he's back with a brand new project that takes all he has done to another level of excellence.
Long before world beat and its related genres became cool, you were experimenting with fusing elements of native African instruments, jazz and electronica. What inspired you blend these styles?
The language of music has fascinated me since I was child in the womb. When my mom was pregnant with me and living in Harlem she used to go to matinees at the Apollo Theater.
I've always heard the similarities between different types of music. I grew up in a small mixed neighborhood on Staten Island NY. When the weather was warm you could hear. Polkas, jazz, salsa, drumming from the park, tarantellas, classical music, marches, African Music R&B, Blues, everything. I was fortunate to have encounters with great musicians like Mingus trombonist Jimmy Nepper and, Hair composer, Galt McDermott,
Pianist-vibes master, and mentor Karl Berger, Saxophonists Jimmy Guiffre, Sam Rivers, and Oliver Lake, Drummer, Elvin Jones, Art Blakey, and Tony Williams.
Percussionists master Babatunde Olatunji, Airto, Dom Romao, Nana Vasconcelos, and Cyro Baptista.
I studied electronic composition, and programming on one of the first Moog Modular units, and ARP 2500 synthesizers at the New School for Social Research
You wrote a song, "But You Must," for the Killing Zoe soundtrack. How did that come about?
Rhythm Method had performed at the first legal, corporate Rave. Rave the Ritz was the concert part of the "MusicTech Expo sponsored by EQ magazine, and advertisers. Most of the tastemakers, and advertising companies who were oriented to the "new music scene" in NY where there to hear, and see what was happening. Rhythm Method was the only act that actually performed live.
On the bill was: Moby, Joey, Beltram, Keoki, Kevin Sanderson, and Rozalla. "And we blew up the spot". We met a couple of guys named Tom and Andy who had a music company that did music for commercials, and film, we had a meeting and did some freelance work for them. When they got the contract for the soundtrack they contacted us and gave us 24 hours to deliver a 6 min composition based on Chinese dialects, and a sample of a gong. They had given clips to all other collaborators and told us "You have vision, and amazing ears go for it" and we did. It was the most successful part of the entire soundtrack.
You've toured all over the world bringing your musical vision to people. What are some of your favorite places or cities to play?
Well growing up in New York I've had the opportunity to there many, many times at everything from small clubs, raves, to Lincoln Center. My favorite city is Amsterdam, I lived there for many years, and all the music scenes are vibrant. Berlin is always at the top of the list. My group Rhythm Method with my brother Steve was the first American Techno group to perform "Live" at "Love Parade", and for relaxed gigs the Mayan Rivera is amazing. If all goes according to plan South Africa will be added soon.
Your new group, Chill Factor-5 , has been getting stunning reviews. This may be the most soulful music you've ever done. How did this project come about?
Strangely enough I'm working almost exclusively by myself, but I do use the talents of several musicians from around the globe for their unique talents. Ulrich Maiss an amazing cellist from Berlin is featured, former Joe Jackson Vinnie Zummo from NYC is on guitar, guitar synthesizer, accordion an vocals, as well as British Jazz woodwind player Clive Stevens, Guitarist Greg Minnik from Florida, And my good friend Julius Bertock from Byron Bay Australia on didgeridoos.
What do you have coming out next that fans should watch out for?
I'm releasing a new Chill EP entitled Coastal Vibrations which will be digital, as well as CD on demand at Amazon.com, I'm also in negotiations with a label in Berlin for licensing of Coastal Vibrations. My big project is the Spiritual Rhythm a project that's been a year's labor, and learning experience.
I received a DNA testing kit and have been following my DNA around the World. This has helped explain my deep feeling aptitude for African, Middle Eastern, Native American and Afro- Caribbean music and cultures. On Spiritual Rhythm I dig deep into the music of these indigenous peoples.