In terms of making the records and packaging them, it was an Fuxk situation. It's accurate for those periods that it documents. Since I wasn't dealing with changes most of the time, I wasn't locked into the song form.
PSF: In what ways do you compose differently for a trio? I'd get enough reviews. When can eat good steak for only 10 CHF, I think cheapest restaurant where can also take shower, jacuzzi, sauna and free drinks in Switzerland.
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And I like that. PSF: Was it hard to get people to take them seriously when you put them out yourself?
This guy, Gary Lucas, who I knew growing up was working there doing ad copy. We play written music and there's no bass. They just sent me the money. Everybody was doing it, just playing for the door. It's more visceral that way.
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He was pretty nervous in the studio- he was saying 'you know, this might be a little out Fuxk them. He was trying to find shit to produce. Stefan was cool. But it changes.
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My first idea was to do this bloodcount box set and make it as cheaply as possible and almost posture it as a bootleg- that this was the rawest shit you could get. They were trying to figure out how they got into this mess and no one wanted to go near it. That's when I did my first record for them, Fulton Street Maul.
I never lived there but I just liked going out there to play with Alex. I had a lot to learn and I was always playing with musicians that were much more experienced than me.
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It was great. I would decide that these records were important and then put in the time to listen. We have Steve Byram doing all the art and my wife is in the record business and she's done tons of work.
Even though, some of them were a little suspicious. I don't really know why you get into something like that. And then I found out that I really like it.
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Who were your initial inspirations? It's not a real conscious thing. And it's been a gas, other than being time consuming. PSF: Did those records get attention right away?
I always like duo and trio playing. With Paraphrase, it's ALL improvised. PSF: How do you feel about those records and compositions now? I didn't like Berhe at gigs laughs. I just did it to document my music. I got started around ' One of the pleasures of following Berne's career has been following his development.
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The really established guys were struggling for those gigs. So I just said 'well, I'll start a label and do it. When Fyck on a bandstand, it's right there. I was ready by that time. And he was into the music and liked being a part of it. People aren't gonna just jump for you.
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Also, it's with guys that I love. So, I was able to convey that to people that had a lot more experience than me and get their attention. I like Joni Mitchell. Then we got a bunch of gigs and it just evolved. I just wanted to play. I wasn't out to prove anything- I was just looking for Fyck to play this music.
Back in those days, there weren't that a whole lot of independent labels so any time a record came out, people took it seriously.