13 QUESTION METHOD: MICHAEL ROSS

Highlights of Michael Ross’ career include touring and recording with folk legend Eric Andersen, and with blues artist James Armstrong. He is also proud of his work with the San Francisco avant-pop band the Potato Eaters, and his production and playing with Me Jane and Voodoo Train. More recently, Ross realized that after many years of sprinkling his magic dust over the music of others, it was finally time to make some of his own. A sudden immersion in Electronica revealed a genre that valued magic dust above all. A penchant for seeing music in painterly terms goaded him to put his instincts to work creating looped landscapes. These demonstrated his true talent—a finely tuned feeling for the emotion of sound. Under the name prehab, he has been creating electronic music using the guitar as a sound-generating device.

1. Which was the first record you bought with your own money?
It might have been Midnight in Moscow by Kenny Ball and his Jazzmen. But the first one I purchased that I still have is Montgomeryland by Wes Montgomery and his brothers, with saxophonist Harold Land.

2. Which was the last record you bought with your own money?
On iTunes it was Elijah Torn’s You Are Lucky I Am Not a Vigilante. He is avant-guitarist David Torn’s son, and a brilliant electronic musician. The last disc that I bought was Raoul Björkenheim, William Parker and Hamid Drake dmg@the stone December 26, 2006. Björkenheim is like Jimi Hendrix doing free improv.

3. What was the first solo you learned from a record — and can you still play it?
I learned Billy Butler’s the solo from “Honky Tonk” by Bill Doggett. Having had to play it in many blues bands since, it is firmly imbedded.

4. Which recording of your own (or as a sideman) are you most proud of, and why?
Probably “End of Beauty” from my prehab work. It embodies the feeling of tristesse that is present in some of my favorite music. Also, nailing the guitar parts for “Party Down,” a Little Beaver tune that Lipbone Redding recorded for his last record.

5. What's the difference between playing live and playing in a studio?
Live playing provides the social interaction elements of music that help differentiate it from more lonely artistic pursuits like writing or painting. It also offers the freedom of sending ideas out into the ether knowing you won’t be held to them for eternity. For me, studio work is more like painting — layering colors. Through live looping I am trying to bring the two together.

6. What's the difference between a good gig and a bad gig?
A good gig is when all the elements are in place to create music: good musicians, good stage sound, good attitude, and functioning equipment. Lack of any of those factors can cause a bad gig. If there is an attentive responsive audience that is a plus, but not necessary. Also, money is nice.

7. What's the difference between a good guitar and a bad guitar?
A good guitar inspires you to play it — a bad one doesn’t. Also a good guitar has a distinct personality. There are too many adequate but bland instruments out there.

8. You play electric and acoustic. Do you approach the two differently?
Ultimately no. In either one the idea is to listen to the sound being made and let that lead you to the music.

9. Do you sound more like yourself on acoustic or electric?
In the end it is your touch and note choice that makes your sound, so I would hope that I sound like myself on both.

10. Do you sound like yourself on other people's guitars?
Absolutely — doesn’t everyone? The nicest thing anyone ever said about my playing was, “You play just like you are.” At least I think she meant it as a compliment.

11. Which living artist would you like to collaborate with, and why?
Joni Mitchell and/or John Martyn.

12. Which dead artist (music, or other arts) would you like to have collaborated with, and why?
Chet Baker and/or Tim Hardin.

13. What's your latest project about?
It is producing James Armstrong’s new release — trying to make a blues album that sounds like a real record made in 2008. Then it is back to my prehab stuff, which is about making the music that I would like to hear but that doesn’t yet exist, and somehow blending my roots-music background into the world of electronic sound. But then, on reflection, that is what all my projects have been.