The following was taken from a July 1999 interview done by Jeff Miers for Rockstar Magazine in Buffalo, NY.

Jeff was kind enough to sit down with Mike DiSanto and discuss music, the Buffalo scene, and various other topics. He was then even kinder when he printed this cool interview in Rockstar. Without further delay, here's what was said! (Thanks Jeff!!)

 

(Q): Bag is perhaps the funkiest buncha boys to emerge from the soft white underbelly of Buffalo since Rick James crawled his crack smokin' ass out from under a rock way back in da 70's. So, my question to you is an obvious one; From whence the funk, my friend?

(A): Hmm...I watched a lot of soul train growing up. I was a latch key kid, and I had a lot of spare time after my parents took away my super8 video camera for making what I considered "art" films. I could've really made something of myself. Instead I chose the dark side of the funk and much to the dismay of my mother still refuse to get a real job.

Whence the funk? Not too sure. I remember "I wish" by Stevie Wonder being one of my favorites as a kid. But then again most of my childhood is a blur. Lots of vague faded memories. I love early Stevie Wonder, and Parliament. Bootsy Collins is probably my dinner partner of choice.

(Q): Tell me about your guitar style, which seems to be a blend of real percussive, funked-out stuff and a real searching, inquisitive modal jazz type a' thing. Tell me about your approach to your instrument. (Not that instrument, silly!)

(A): Man you make me sound like I know what I'm doing. As far as "style" goes,... Anyone who knows me knows that my unorthodox approach to playing comes from the fact that I don't like the guitar that much. No joke. I dig percussion so much more. And piano, and horns... I'm a groove player. And an art film maker.

As far as the soloing thing goes I don't know. I'm not a trained player. I don't know scales and theory. I play by ear.

I did however, just stumble onto this "notes don't matter" thing. As long as I hit a "right" note on a strong beat, it seems to work. I try to exploit all the chromatic stuff in between. It's probably all the Coltrane I've been digging on as of late. He was so free. He played all the wrong notes right.

(Q): Seth Horan, Bag's bassist, is one of those funky, five-string bass playin' fancy boys. He's got some incredible chops. What the hell's he doing playing with you? Kidding, of course. Tell me about how you guys hooked up, and what Seth brings to the table as a player.

(A): We met at open mics. We dug each other’s playing and he stalked me for a while. I had to chase him out of my bushes with a BB gun. It was ugly, but I broke down eventually. I usually soften up around the holidays.

Seriously though, we exchanged #'s but I played solo acoustic and wasn't interested at all until he called me up on stage to play with him at the Stimulance open mic. I was hooked from then on.

Seth is a good writer and arranger and a very strong player. He has a very good sense of song and brings an stylistically eclectic mix to the bag.

Don't get me wrong he's a big wanker too. Can you call a player long winded? He makes ridiculous faces while soloing, and flat out refuses in an almost infantile manner, to wear clothes that match. But he's a monster fretless and upright bass player. I just wish he'd grow some sideburns.

(Q): I know how much you despise me for playing loud rock music through a Marshall amp. Have you always been such a stinkin' elitist, and how come you don't like distortion and only listen to Charlie Hunter when you should be listening to Exile On Main Street and Pet Sounds? And don't give me that speech about R&B and funk being somehow superior musical forms, either. Stand up and be a man, Mr. Bag!

(A): I am beginning to turn into a bit of a jazz snob, I'll admit but I still love R&B and funk immensely. My CD player spends as much time with Miles Davis, and Charles Mingus, as it does with Maxwell and Aretha Franklin. I love hip-hop too. I just bought the new Missy Elliott yesterday, and I'm listening to it now.

Rock is cool. Exile is a great album. Pet sounds... Whatever. Not my thing. That whole "it's good for what it is" @#!* doesn't wash with me. I gave it a chance. It wasn't bad at all. It was nice, but it didn't move me. I wouldn't buy it if it came with a bag of chips.

I'm a Dylan junkie though. The Beatles too. I love great songwriting.

(Q): You guys get out of town a lot. How has travelling and playing in other cities altered your perspective of Buffalo's music scene, if at all?

(A): There's trade-offs everywhere. NYC is cool, but too cool at the same time. College towns receive us well, but it's a big party scene. I like the jazz club atmosphere. Got to play Paris, and the south of France. They were the most receptive audiences I've had the pleasure to play among. Those people ate music right up. And I use the word "among" because that's what it felt like. I like Buffalo a lot. I think the scene is constantly improving.

(Q): Do you have any particularly favorite Buffalobands, besides spyro gyra?

(A): Oh, the stroking begins...

I love Emile Lattimer. What a performer. Wendel Rivera is wonderful. There's David Wasik and the Waz Trio (who we all (bag.) play with in a side project. Schwannoma (They broke up.) I dig girlpope a lot. And yes, I like the tails. I'm not at almost every one of your damn shows because I enjoy your company. I'd love to record some of your stuff on super8. With your permission of course. I'll keep it tasteful… miss the old Eulipion with Joe Goretti on Drums, and 12/8 path band is a must see.

(Q): What do you think was the best album released in the past year and why?

(A): David Ryan Harris. Great songwriter, incredible voice, and funky as hell. He's filed under rock suprisingly enough. He's got so much soul though. A close second is Maxwell's Embrya. I dug Lauryn Hill's album too.

(Q): Why do you think every single stinkin' unsigned musician in Buffalo ends up working at Record Theatre?

(A): I'd have to say Tom Colson. We refer to him simply, and affectionately as "the commander in chief."

(Q): Have you ever heard Brett Essler play drums? Don't you think he should start a new band? I mean, Milf have been broken up for a long time now, fer chrissakes!

(A): Oh, have I ever. Essler and I were supposed to start a Guess Who? tribute band and cash in on the sub-suburb cheese factor. It never got off the ground though. The only vocalist I know that can handle it is Matt Barber, and unfortunately for us all, he's way too big for this town. Oh dare to dream...

(Q): Eric and John, Bag's saxophonist/percussionist and drummer respectively, are both great musicians. Tell me about what they bring to the band.

(A): Eric brings charisma, and sometimes John brings his drums. Actually John was a godsend for us. John has an equal appreciation for Jazz and funk. He can do it all, and he moves more ass than Greyhound. If we could just get him to show up on time to gigs, I think we'd beon to something. I can't say enough about Eric. He's definitely the most energetic of us all. It's infectious on and off stage. He can turn a whole room full of people around. He's the type of player that changes the whole dynamic of a performance. He really, along with John, has taken ( bag.) to a new level. Eric and John along with some super8 blackmail tapes helped us land a gig for Thursday in the Square August 12th here in downtown Buffalo @ 5pm. (Shameless plug.)

Missy Elliott just ended, and Herbie Hancock's Secrets is in. Thought I'd keep you up to speed.

(Q): I've heard you say in the past that it's not necessarily your main motive to sign with a major label. You seem quite content to play music forthe joy of it, which is cool. What are your long-term plans, and what do you think of the state of the music industry today?

(A): In short, I don't like the whole "pop" scene. Too much production. Not enough soul. One hit song. 11 awful songs. Unfortunately most people will buy what they're told. For example) This year flavors of the week acts, such as Kid Rock, The Backstreet boys, and Ricky Martin will outsell great players and songwriters like Ben Harper, Me'shell Ndegeocello, and David Ryan Harris. Is it better music? I don't know. Will these pop gems stand the test of time like Exile on Main St, The White Album, and Electric Ladyland? (Okay fine! And Pet Sounds too. Happy?) I don't think so. I still listen to my Beatles, and Hendrix CDs. How much staying power does Livin' La Vida Loca have? Pop music today is like McDonalds food. It doesn't really taste great, but at least you know what it's gonna taste like, and it's easily accessible. You eat it because it's there, and you usually don't feel too well afterwards... (and how many billion served?)

Thanks Michael!

Talk to you later!

-Jeff Miers

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