THE MOCK-UP

In an effort to test whether my recording process would be effective when fusion bossa nova/samba and country music, I decided to set up a mock recording session in Copenhagen with a group of local musicians.My goal for it  was not to test the technology or recording methods, but to step outside my usual approach I have in the studio. Typically, I rely heavily on verbal instructions and negotiations to guide musicians through the recording process. This time, I wanted to do something different: I aimed to let the demo and lead sheet provide the direction, especially in the early stages, without extensive verbal guidance.

I provided them with just the demo track and a lead sheet. I wanted to see how they would interpret the material on their own, testing their creativity and intuition without being "talked down" into a specific idea by me.

However, this approach brought its own set of challenges. The lack of detailed guidance led to some confusion and resistance from the musicians. They were not accustomed to having to invent the direction of the music whilst also working on playing the music. When they didn't have an auditory reference and only had the lead sheet, many more questions arose, and there was genuine uncertainty about the direction and which version, feel or attitude I wanted. This created a focus for the musicians that lay outside of realizing the song; they took individual ownership of the whole and their own input, which I found they found confusing and frustrating. Also, when they heard a demo for one song, I felt that they tried to be more faithful to the demo and recreate it in the studio, just with 'real' instruments and a slightly different feel.

It is important to note, that at this stage, I had not yet chosen the final artist for the project, so I hired a singer for the session to help bring the pieces together. Also, the musicians were not from one style of music; they were very skilled and trying to adopt the concept of fusion two styles together which of course led each person to try to go in one direction.

Despite these hurdles, the experience was incredibly valuable. I learned a great deal about the balance between providing direction and allowing creative freedom. One major takeaway was the importance of preparation and trust. While it’s essential to give musicians enough information to understand the project, it’s equally important to trust their abilities and let them play in their own style.

However, since the musicians didn't play from just one tradition that I knew I would get in Rio and Nashville, the music ended up being not emotionally available—it sounded like hand-played versions of the demos but without any special characteristics or genuine fusion. And fair enough, that was not the intention for it to succeed. The music worked, but there needed to be more structure to the process. 

This session reinforced the idea that collaboration works best when musicians are trusted to bring their own unique interpretations and skills to the table. By stepping back and allowing their imagination to be tested, I discovered new dimensions of creativity and authenticity in the music. My demos and the compositions would provide a framework for them to try to make it work.

PLANNING

As Subproject 2 was about to begin for real, I had to secure numerous agreements and ensure the feasibility of the project. The first priority was scheduling the recording dates in Rio and Nashville. Coordinating many people's schedules and allowing for flexibility was essential, so I booked flights and carefully planned around the time differences. 

In Nashville, musicians work on union wages with sessions lasting three hours and a maximum of three per day, while the studio is billed per day. In Rio, the musicians suggested a fixed salary per composition, which was beyond my budget for nine compositions. To treat everyone equally, I proposed using the Nashville union model, which the Rio musicians accepted.

Ensuring full control over the material after recording was crucial. I needed the freedom to edit, delete, or alter recordings as necessary. This was included in the union agreement in Nashville and confirmed in writing by the musicians in Rio. I also promised proper credit would be given to all contributors in the final versions.

Based on the mock-up in Denmark, I provided all necessary materials to the musicians, including lyrics, demos, and lead sheets many weeks ahead of the recordings, allowing them to prepare as they saw fit without specific requests from me.

My meticulous planning and negotiations covered both creative and logistical aspects, ensuring I maintained creative control while respecting the musicians' contributions. This comprehensive approach highlights my understanding of the complexities in music production, balancing creativity with business considerations.