From: orit@bengus.BGU.AC.IL Date: Sat, 28 May 94 18:01:44 +0400 Subject: Andy Summers on "Talkin Jazz" NBC SuperChannel (a European satellite channel) broadcast an interview with Andy Summers as its "Talkin Jazz" program last Sunday. The interview lasted about 20 minutes and was interspersed with snatches of the "Every Breath You Take" video and the full "Wrapped Around Your Finger" video. Not a single note of any Andy solo stuff, despite the fact that the interview seems to be for his record with John Etheridge. I've tried to transcribe it, but failed: his accent is beyond my ability to understand at times. If anybody else cares to try, mail me a blank audio tape and I'll tape it for you. (Audio because there's nothing to see: just Andy sitting in an armchair next to a fireplace and talking. He doesn't look a day older than he did in the Police.) Here's some of the general gist of what he said: About John Etheridge: They've been friends for a very long time, but didn't do anything together until now for various logistic reasons. About guitars: Acoustic guitars seem to be more "real" than electronic, because there are no effects to help you. You have to be a good player to play one. A great thing about guitars is that two people can play two guitars and really make music, which can't be done with, say, two trumpets. It's possible with two pianos, but it's more difficult. About playing Jazz: Most people know him as "the guitar player for the Police", but he has made many post-Police records which have been well-received, critically. Gradually, he's won acceptance as a Jazz player. It's not what people expect him to do, but it's what he wants to do. About the Police: He implies that while Sting gets all the credit for writing the Police material, it's really hard to tell, in a band, who did what and who wrote what. The credit is more a political thing. The great bands are always those with great tension. If everybody is mellow and friendly with one another, the material isn't as good. The Police had a magic, an energy, that fed off the tension. About the Jazz world: It would be nice to play whatever you want and still sell millions and pack Shea stadium, but that's not how it works. He doesn't feel the need to be #1 on the pop charts again, he's "done it", so to speak. It used to be important, he was raised with the need to succeed. But now he's willing to face the difficulties in playing jazz and thinks it's worthwhile. He doesn't like the way jazz people whine about not selling as well as rock. It's understandable why jazz doesn't sell well among young people - it's harder to enjoy. People shouldn't moan about it, if they want to sell they can just go play rock. The better and more enlightened players play both. But if you choose to play just one thing, you've no right to complain. That's about it. Orit