Written interview with American pianist and composer Dan Siegel – Resolution.
Thank you for taking the time to have this interview with Jazz Blues EU. Tell us about your music. When did you start performing?
Dan Siegel: – I started performing professionally as the lead singer and rhythm guitar player in a band when I was 12. I had taken piano lessons since I was eight and had a strong foundation in music theory. My older brother had a guitar, but he wouldn’t let me touch it. I would sneak into his room to play it when he wasn’t there. Eventually I got this hand-me-down guitar and that’s what I played in the band. The thing weighed a ton, and the strings were a half inch off the neck. It was torture to play.
What do you consider to be your hometown and how does that affect your music?
I grew up in Eugene, Oregon in the Pacific Northwestern United States. The NW is very green, and it rains nine months out of the year. It’s a very earthy place. The culture is grounded in the outdoors and awareness of the natural world. I grew up listening to folk and rock music until a friend of mine turned me on to jazz when I was 18. The Pacific Northwest became somewhat of a jazz fusion hotbed in the late 70’s and early 80’s. I think where a person grows up has a definite impact on their attitudes and perspective in life, and writing music is an extension of who you are.
What performers have been your inspiration?
The people that inspired me were Chick Corea, Herbie Hancock, Bill Evans, Keith Jarrett, and Pat Metheny. They are all unique and equally brilliant.
What do you find most challenging about being an independent artist in today’s music industry?
Contemporary independent musicians must wear a lot of hats. If you are not signed to a record label, the various functions and responsibilities must be assumed by the independent musician or their representative. This means, you must take the time to monitor promotion and marketing of the music. It will take you away from the things associated with creating the music, like practicing, writing, and recording. This is not enjoyable, but a necessity. There’s an old saying, “if a tree falls in the woods and no one’s there to hear it, does it make a sound?” The same can be said of releasing a record without the proper amount of awareness of promotion.
What do you base your success on?
Success is personal for everyone. I consider myself successful because I am able to create music without the concern of commerciality. When I was younger and signed to a label, I felt the pressure to be commercial, whatever that was. It’s always hanging over your head. I quit chasing the parade long ago. There are many insecurities associated with being a musician, but still, we pursue it because we have no choice. To me, being successful is simply being able to create music that touches people. I am always surprised what songs resonate with people, but there’s really nothing more fundamental than that.
Can you talk about your experiences collaborating with other artists or musicians? How does it influence your creative process?
Since I live near Los Angeles, I have been exceptionally lucky to work with some of the best musicians in the world. Over the years, I have played and recorded with some amazingly talented musicians who are known for playing an assortment of different instruments from different genres. Collaborating with other musicians makes the music better, because each person gives up something of themselves in the process. Every player will approach a song from their own musical perspective. That’s what makes it magical. Sometimes, you might need to suggest a different direction, but if a player is experienced, they will take the advice and deliver it. It’s a combination of my conception and their talent. It’s fascinating to hear what different musicians bring to the party.
Do you have any news to share? Could you share the story behind your latest new CD DAN SIEGEL – Resolution what inspired its creation? How does your latest album fit into your creative path? Is this a goal you wanted to achieve?
I started writing the Resolution album over a year ago. The music revealed itself as something a bit different, and I just let it be what it was. As usual, I didn’t know if it would work. A friend of mine told me about Jay Bellerose, a drummer who approached things from a different angle. I checked out a YouTube video that I found, and thought, this guy is special and will understand this music. I sent him the piano demos, and he understood them. The music required a certain sensitivity, and the combination of Jay and Brian Bromberg on bass worked out great.
How do you approach the process of songwriting, and are there any specific themes or emotions you tend to explore in your music?
Composing is very organic for me. I don’t try to force anything into a theme or context. The music is what it is – it speaks for itself. If I don’t have any ideas, I don’t try to write. I can go months or even years without writing. It’s strange that when the inspiration happens, it’s like water. I have learned that when the tap is on, you better go with it. At any point, the tap gets turned off, and there’s nothing there. Usually when I finish a record, I don’t go near the piano for weeks, or months. I don’t have anything left to say.
As an indie musician, how do you navigate the balance between creative freedom and commercial appeal?
Commerciality is when music finds an audience. If you are an adolescent, you are attracted to different qualities than when you are an adult. Music has a unique power to bring people together, to share in common human experiences. The least commercial music I have made was when I was attempting to be commercial. It’s humorous, though it wasn’t at the time. Trust your instincts. If you’re trying to create music that will appeal to everyone, no one will like it.
What role does technology and social media play in promoting your music and connecting with your audience?
Like many people, I spend too much time glued to a screen. However, I am a social media imbecile. I get no pleasure from having to maintain the constant presence – it’s a real burden. I constantly get people trying to connect with me through those sites. I’m assuming that some people must think that I’m a snob because I don’t respond to an inquiry. It wasn’t long ago that I noticed that someone sent me a message six months ago but because I never checked the site, I didn’t respond. I finally responded six months later. Better late than never, I suppose.
Could you describe a memorable live performance experience or tour that has had a lasting impact on you and your music?
Many years ago, I played at a music festival in South Africa. Before I went on, the promoter told me I should play a song that was not my favorite. During the performance of the song, there were a couple thousand people singing along with the melody. It was very puzzling and moving. After the show a woman came up to me and said, “we are poor, but we spent what little money we have, to come to this show because music is very important in our lives.” The music was their refuge. I will never forget that, or underestimate the power of music.
In an era of streaming platforms, how do you feel about the changing landscape of music consumption and its impact on independent musicians?
There are positives and negatives. When the industry was based on physical sales, the record labels controlled entry into the business. Now, the playing field has been leveled, anyone can get in the game. The negative is that the streaming services offer exposure to so much music that we get overly saturated. We’re not better listeners. If something doesn’t hit us immediately, we skip over it. I think back to some of my favorite albums that I didn’t understand upon the first listen. Sometimes it takes a little longer to process something that’s a bit different. Streaming is the new reality. There are of course the inequitable payouts between songwriters and labels and the low per-stream payouts, but we have to live with it. It might be wishful thinking, but maybe the streaming companies will fix the inequitable division of royalties. It wouldn’t take much, though I’m not holding my breath.
Musicians often have a close relationship with their fanbase. How do you engage with your fans and build a dedicated community around your music?
As I said earlier, I’m not great at keeping up on social media. I respond to anyone who contacts me through my website: www.dansiegelmusic.com
Lastly, please share some final words with the fans.
Thank you for listening. Peace.
By Olivia Peevas
