Steve Nieve , 'Together' , 2011

Pretty self-explanatory
johnfoyle
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Re: Steve Nieve'e new album due Sept 30 '13

Postby johnfoyle » Sat Oct 19, 2013 8:03 am

Image

Steve did a free show in NY the other day.

John O
on the Costello-l F/book page commented -


Steve's voice seems to be a thinner version of Robert Wyatt's and his music is very much in the same vein. He performed a song about memories of his youth that even name-checked Soft Machine.

Ulysee sang very nicely and Steve mentioned that Ulysee sang a lyric that Elvis performs on the record.

Providing bass and some lovely vocals of his own was Joe Sumner, the real 'little Sting' who looks uncannily like his old man. Sumner even played one of his own songs.

The set ended with a sweetly gentle version PLU with Steve and Ulysee singing harmonies.

The big shocker was a gorgeous duet Steve and Ulysee did on Oliver's Army for an encore, a similar version to the Elvis and Steve live shows.



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Muriel Teodori posted this photo to f/book -

Cooper gig ny — with Hal Willner, François Poggio, Tall Ulysse and Steve Nieve.


The same show will be on in Hollywood next Thursday -

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http://www.standardculture.com/posts/82 ... -Adventure


Steve Nieve and Tall Ulyss' Musical Adventure

A chat with keyboardist, Rock 'n Roll Hall-of-famer, Steve Nieve and Parisian rock star Tall Ulyss on their coast-to-coast tour with performances at The Standards both East and West

Oct 17 2013

For the past 36 years keyboardist extraordinaire Steve Nieve has been best known for his collaboration with Elvis Costello. He was inducted into the Rock and Roll Hall of Fame in 2003 along with Elvis Costello and his band The Attractions. The multi–talented musician has several solo albums under his belt and has even written the score for an original opera, Welcome To The Voice, which was performed at Théâtre du Châtelet in Paris with Sting singing the lead. Tall Ullys is the lead singer of, Tall Ulysse, one of Paris’ coolest alternative rock bands. They’re touring coast-to-coast with gigs scheduled at both The Standard, East Village (part of the Annie O Music Series) and The Standard, Hollywood.

STANDARD CULTURE: Steve, you are a classically trained pianist but at the tender age of 19 you somehow found yourself playing keyboard in what would be one of the most influential rock bands in history. Please tell us the story of how this happened?


Steve Nieve: I had a wonderful time at the Royal College of Music, studying piano and composing. Nevertheless, I was constantly dreaming to be in a rock band. Each week when the Melody Maker and the New Musical Express came out, I spent my free time pouring over articles about Soft Machine, John Lennon, and Punk Rock. And one fateful Wednesday, I stumbled upon an advert: Stiff Records require keyboard player for Rocking Pop Combo. I applied for the audition, went at the appointed hour, played Alison and Less than Zero by ear on a Hammond Organ, first time I’d ever seen one. After my fifteen minutes I insisted to hang around and in the evening went to an Indian restaurant with Elvis before heading home. A nail-biting week or so later, I got the call, I got the post, and the rest is history…

Your newest album, ToGetHer, features collaborations with some very talented musicians. How did this record come about?

Steve Nieve: My friends on ToGetHer are great musicians and I have collaborated with all of them previously. I am not a singer. As soon as I began to write the songs for ToGetHer, it became an exercise in style, to compose arrange and produce songs that would suit my friends voices and allow them to coexist in a natural cohesive way. I also wanted to work with young artists, with enormous talent, like Tall Ulyss, Joe Sumner, Harper Simon, their powerful energies transform my music in new and rewarding directions.

What’s your favorite adventure to date in your life as a musician?


Steve Nieve: I have been very lucky to have so many musical adventures, performing with so many killer artists over the years. I would have to say that Welcome to the Voice at the Chatelet in Paris, directed by Muriel Teodori, with Sting and Sylvia Schwartz and the Orchestre de Paris, all the team, would be the top of my list.

Tall Ulyss, how does touring and playing with Steve differ from your experiences playing with your band, Tall Ulysse?

Tall Ulyss: Steve came to see me at the end of one of my shows. Us working together is a very different frame of mind, a different mentality that I am used to. We are playing very different kinds of music too. In my project I evolve in a modern rock, metal fueled, electro/dubstep based environment. With Steve it’s the research of the melody through minimalistic orchestration. All we need is piano and vocals. It’s a light and melancholic energy where I can let my more gentle side express itself. He is THE best collaborator to have when it comes to duet and I know that whatever he decides to play I will have an amazing ground for my voice to be supported. When I am on stage with Tall Ulysse we are playing a music with samples and a clic which makes a lot of already defined paths and where precision is key. With Steve it’s a wild world where anything can happen. He is a free spirited live musician that strives in changing waters.

On ToGetHer, you join Steve on the powerful song, “Save The World”. Tell us about the evolution of this song?


Tall Ulyss: When Steve offered me the chance to be involved in ToGetHer I knew it would be a challenge on my part! The big question was “how can we merge universes so far apart into one cohesive idea?” The theme of the song really helped us. A grandiose ideal with a melancholic realization that we would all like to save the world but can’t. We found a middle ground in the very eclectic world of rock! I brought the heavy drums, alternative rock vocals and grungy distortion, and he took care of that gorgeous rock and roll piano line, sensitive light pop vocal response and that classic Steve Nieve solo. Damn… how did we fit all this in one song?

You are both seasoned travelers, what secret travel item do you always bring with you to help make your journeys easier?


Steve Nieve: Muriel Teodori. I always purchase her the seat next to mine. The flying hours seem to go by in minutes. Plus, I always have a much deeper, passionate visit.

Tall Ulyss: I always carry my good luck bracelets on me that were offered by loved ones. That way they are always with me on stage, in a plane…

Whats up next for both of you?

Steve Nieve: After performing Tender Moment with Elvis on the Tonight Show on October 28, my next goal is to live 2 months in Los Angeles and find a director to compose film music for.

Tall Ulyss: My own EP is now mixed by Roger Bechirian. I guess the next step is an agent and a label. Watch out!

Steve Nieve and Tall Ulyss will be performing at Chez Andre at The Standard, East Village on October 17th and in mmhmmm at The Standard, Hollywood on October 24th.

johnfoyle
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Re: Steve Nieve's new album ToGetHer, Oct. 13

Postby johnfoyle » Fri Oct 25, 2013 1:25 pm

http://www.huffingtonpost.com/mike-rago ... 53552.html

10/24/2013



A Conversation with Steve Nieve


Mike Ragogna: Hi Steve, how are you doing today?

Steve Nieve: I'm fine, it's good to hear your voice.

MR: Yours, too, thank you sir. The title "ToGetHer," let's do some wordplay. You like did a groovy, "together" project; you recorded "together" with a cast of thousands; and it's like a romantic mission, you know, "to get her." So when you picked the material for this album did it start out with the concept of being a duet album or did you decide to make it a "together" project later?

SN: Well, I've always been writing songs and interested in creating songs. But when I started working on content for the album, I realized I'm not a singer, so I wanted to suggest it to a few of my friends to see who would be interested in collaborating with me. In the end, that was the thing that gave me the most pleasure, working with such great people. I just started to enjoy it so much that while some of the songs were written--not considering duets--I tried to deconstruct them a bit and try to think about them like that.

MR: So not so much, "I'm going to create a duets album."

SN: Yes, they were created really on their own and the idea was sort of an exercise of style in a way because I wanted to present a song to someone that would be good for them to sing. I think that the ones that worked the best were the ones that were not exactly written for someone precisely.

MR: You include a track with Elvis Costello, your musical buddy for years and years. After all of these years recording with Elvis, obviously things have changed since the early days. What is it like recording with him now versus the old days?

SN: I think in the old days, we were all young and fearless. Now I think we're even more fearless. I would say that would be the main difference. I can only speak for myself; the past is a bit of a blur to be honest. Things have changed and I feel more aware of what I'm doing now. That's the big difference.

MR: Before we leave the Elvis territory, I just want to say, do you understand how important your early recordings with Elvis Costello & The Attractions were to a certain demo of pop culture?

SN: Well, I look into certain books about music occasionally. There's a very good one out there by my good friend who's made a dictionary of rock. It's just a personal view and it's full of his anecdotes. I do realize the group, and the group I'm still in because now, The Imposters, have been together for a huge chunk of time. We're working with one of the masters of music, one of the great songwriters, so obviously, that's a great feel for me to be continually involved in that.

MR: Steve, how do you approach the creative process? Does it hit you and you have to run to an instrument?

SN: Mostly, I think that I've been working with Elvis for so long, I'm definitely influenced by the lyric writing. Working with someone who writes such amazing lyrics all the time has definitely pushed me to be a bit more aware of lyrics. When I listen to music, I always listen to the lyrics and I tend to really love songwriters who are making interesting lyrics. I write lyrics all the time and it's easy to do now. We've got our iPads and iPhones, we can write things down any time, anywhere.

MR: So you gravitate towards the lyrics.


SN: I think they made me aware of the fact that this aspect is so wonderful. I've been living in France for quite a number of years and it's a whole new world of lyric writing over here. I've had the chance to meet different artists there. I started working with Alain Chamfort who's singing on ToGetHer; I'm really happy that he came on board with me. He is a French composer who writes amazing melodies and a lot of Serge Gainsbourg songs have Alain Chamfort's music. So these kinds of encounters lead you into new worlds of music.

MR: Steve, you include big names like Sting, Ron Sexsmith and Joe Sumner, but you also feature Harper Simon. How did you come across Harper?

SN: I'll tell you, but the first three people you mentioned were involved in the opera that I wrote with Muriel Teodori that I called Welcome To The Voice, and in fact, most of the male cast, apart from Harper Simon, were involved in that opera in some way or another because we performed it once in New York and Ron Sexsmith was one of the characters. I'd met Ron many times but that's how I really got to know him. After that, we did Welcome To The Voice at the Théâtre du Châtelet in Paris. Muriel Teodori directed it on stage and that's how I met Joe Sumner, because he played the part of the friend and it was really incredible how he sang each night. It was a really stunning performance they did. But I bumped into Harper a lot of times at the Chateau Marmont, which is a place in America that I really adore, so I got to know him a little bit like. He was constantly hanging out at the hotel, and eventually, he asked me to play on his record. So then I worked on a song of his and then at some point, he was in Paris and I said, "Please, Harper, come and sing on one of my songs." I love what he did. It was kind of strange, but he brought a voice to that song, "Pandemonium" that I really didn't expect. It really added something great. I love the way he sang on that.

MR: I was trying to mimic your sound and the Farfisa came the closest I could find. This album has got to be a more personal album than not for you because it's apparent that you have a close relationship with a lot of the people on here. Do you see all these contributions to your project as having made something much bigger than the sum of the parts?

SN: I think that part of the initial impulse to make the record for me was really because I wanted to seduce Muriel Teodori.

MR: [laughs]

SN: After that, I think I stand a much better chance of seducing her because I've got someone like Sting or Elvis singing on it, because I can't sing like that.

MR: And you really did do your best, uh, ToGetHer. Ahem.

SN: Yes, that's why it's like that. I really love the graphics. My friend Dominic found the idea of ToGetHer, which is beautiful because he's a Frenchman and quite often, you see in foreign languages something that the foreigner wouldn't, I've noticed.

MR: And it's great to see one of the experimental artists, Laurie Anderson, on the album.

SN: I remember when "O Superman" came out and it was fantastic. She's always been a hero of mine. I met her because I got invited to The Century Of Song Festival, which she was performing at, and I guess it was she who invited me to be the opening part of her show. It was incredible. It's was in this little town in Germany; she had all the little electronic gizmos and pedals and things she uses. But above all, a friendship started and each time I come to New York now, it's great, I come and hang out with Laurie for a little while and I'm really happy that she's on my record. I love what she's done on that verse. She's totally transformed it into something new. And her violin playing is just superb.

MR: I also want to throw out there other milestones for you, like Welcome To The Voice, Windows and Mumu. What do you think looking back at those works? And what are your thoughts as far as where you've gone musically from there to here?

SN: I think that there's a sort of an environment of trying not to be a sort of hermit in a cave and trying to find ways of making music with other people. That's the heart of the project. I think that's the way that's going. I really enjoyed when we made Welcome To The Voice, the kind of gigantic nature of collaboration with that. By the time we got to the Théâtre du Châtelet, we had an orchestra of twenty-eight pieces. We had all of these soloists, amazing singers, opera singers, and in addition to that, the whole team of people required to put that together. It was just great, you know? I like making albums like that, and I also like the solitary piano solo album. It's going from one extreme to another.

MR: What advice do you have for new artists?

SN: Well one of things I think is great about the last two projects is the involvement of new artists. On this record, there's Tall Ulyss, a new French singer, and some other young people, because they come to things from a different viewpoint than someone like me who's been through it, making music for thirty years. Sometimes, they'll show you something you won't believe and it's very exciting, you know? They bring a sort of fearless energy to things. So I love that aspect of this project, I think Tall Ulyss, for example on the first track, pushed the sound into a completely new and exciting world that I'd never have the idea to go in. The same working with Joe; I love his band, Fiction Plane, but I'd never go anywhere near that world. Just working with people from different worlds is really enlightening and exquisite.

MR: Nice. What's on the horizon? What do you want to do next?


SN: That's a good question because at the moment, I'm pondering. I'm just in a thinking mood. I've got several unfinished projects around me, like some music for orchestra and flute and things like that. With Muriel, I've been working on a follow-up piece for Welcome To The Voice, something that I'm committed to working on, and obviously, more piano music. I really want to spend more time now just at the piano.


Save The World Final

http://www.youtube.com/watch?v=0mWIwBONQGE

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Re: Steve Nieve's new album ToGetHer, Oct. 13

Postby And No Coffee Table » Sun Oct 27, 2013 5:55 pm

Keyboard genius Steve Nieve's new album of duets features Elvis Costello, Sting
By Jim Bessman
Manhattan Local Music Examiner
October 27, 2013

Steve Nieve, Elvis Costello’s longtime keyboard genius band member, has a new album of duet performances called ToGetHer and co-starring Costello, Sting, Ron Sexmith, Tall Ulyss, Robert Wyatt, Harper Simon, Alain Chamfort, Muriel Teodori, Cali, Vanessa Paradis, Laurie Anderson, Joe Sumner and Glenn Tilbrook.

“All the people on it are people I’ve worked with in the past,” says Nieve, a member of Costello’s original band The Attractions and current group The Imposters.

“So they’re all people I’ve obviously developed relationships with, which is why the album hangs together the way it does: There’s a bond between all the people I collaborated with.”

His most recent albums focusing on pianistic soundscapes (Lazy Point, 2012, and Windows, 2004) and opera (Welcome To The Voice, 2007, with Teodori), ToGetHer is an acknowledged return to the song-orientation of Mumu (2001), this time with the duet approach.

“It started as a sort of Mumu 2 in the thought process, then became Twogether, then ToGetHer—which gave it another twist,” says Nieve. “And the songs came in pairs, in a way: ‘Up,’ and ‘Vertigo.’ ‘I Do Not Miss You (Nostalgia #2)’ and ‘Burn The Past.’ So it was kind of a duet among the songs as well.”

The music theorist further traces ToGetHer’s origins to a tour he did in 2010 with Tilbrook that also starred Vincent Segal on cello—who appears on ToGetHer, too.

“I did a lot with cello, then started working with Tall Ulyss, a young drummer. So there’s a lot of piano and drums worked into all the songs.”

Nieve notes that a short East Coast club tour with Ulyss allowed the material to mature prior to entering the studio, “like the way we did it in the early days of The Attractions. We worked the songs in a bit more, and after that the whole idea of working the songs as duets started to take over and became almost like an exercise of a style of writing, to see if I could make some songs that are suitable for people I’m collaborating with to sing.”

He’s now satisfied that his co-workers “all sound like they’re in a natural space.” And he’s especially grateful to the younger musicians.

“Working with them was a really enlightening part of the project for me,” he says. “People like Tall Ulyss, Joe Sumner, Harper Simon. We made a lot of good music together, but also there was a lot of discussion about the music they listen to: The way they look at music is so different from the way I look at music. I’m kind of a dreamy ethereal pianist on my own stuff, and they help me to get my focus slightly back on my energetic side, which was a good transfer.”

Nieve has promoted ToGetHer with performances in New York and Los Angeles, and music videos including a fan-participation concept for lead track “Save The World,” featuring Ulyss.

He’s enlisted people to scrawl “Save the world” on their hands and send iPhone photos for inclusion in the clip to his Facebook page, where “an astronomical number” have been submitted so far.

The photos will also be incorporated into a “constantly updated photo wall” on a forthcoming website dedicated to the album, “so people can continue to upload them.”

Tomorrow (Oct. 28) Nieve tapes an appearance on The Tonight Show with Jay Leno, with collaborators Costello and Sumner. They will perform ToGetHer's Costello duet "Tender Moment."

In December, Nieve has three shows with Costello & The Imposters in Japan. He then looks to explore his idea of making solo piano recordings of music by his favorite artists.

“The first is probably Neil Young, but there are so many people I’d love to do,” he says. “If I do it, it will be like an encyclopedia of piano!”

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Re: Steve Nieve's new album ToGetHer, Oct. 13

Postby charliestumpy » Mon Oct 28, 2013 5:21 am

'Sometimes via the senses, mostly in the mind (or pocket)'.

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Re: Steve Nieve's new album ToGetHer, Oct. 13

Postby krm » Sat Nov 02, 2013 5:28 am

sort of related...

http://www.youtube.com/watch?v=nhaQvDAmUhg

Tall Ulyss performs w Steve n glen tillbrook

johnfoyle
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Re: Steve Nieve's new album ToGetHer, Oct. 13

Postby johnfoyle » Tue Nov 26, 2013 5:56 pm

http://fashionweekonline.com/fashion-we ... o-together

Posted on 25 November 2013.

Conversation with Steve Nieve


by Paul Avion



I don’t claim to be an expert on music, although I used to enjoy writing songs. I know I cried when I heard Lou Reed passed on, though I never met him personally. I know an album like ToGetHer by songwriter Steve Nieve, also Elvis Costello’s legendary keyboardist, is something to get excited about. And Vanessa Paradis’ involvement is yet another example of how music and fashion come together in inventive, always surprising ways.

In terms of lineup, the phrase “all-star” draws the quickest sketch. ToGetHer includes an array of talent including Elvis Costello, Sting, Laurie Anderson, Vanessa Paradis, Ron Sexsmith, Glenn Tilbrook, Joe Sumner, Harper Simon, and Tall Ulysse, among others.

It’s a bold, fun album that — like Steve Nieve’s opera Welcome to the Voice with Muriel Teodorio — is all about discoveries beyond the comfort zone.

Q: Tell us about ToGetHer. Your already inestimable skills are backed by an impressive array of talent, from Elvis Costello to Sting, Vanessa Paradis, Laurie Anderson, Ron Sexsmith, Robert Wyatt, Harper Simon, Joe Sumner and French-based musician Tall Ulysse. Not to mention artists like Cali and Alain Chamfort. How did the project come together, and how long was it in gestation?

Steve: While working on the opera Welcome to the Voice — the strange and unique jigsaw puzzle I composed with Muriel Teodori — we realised how much we loved the duets.

I recommend to you the last track, “Unlikely Duet” with Barbara Bonney, one of the world’s most beautiful sopranos, singing with Sting. This led me to go further, compose with different friends in mind and to go inside their different genres to explore how certain juxtapositions might build into a coherent, modern song cycle. And how much more interesting than to work alone!

This led me to go further, compose with different friends in mind and to go inside their different genres.

It took a long time to achieve, finding the good moment to mix so many of the killer voices I’d already encountered on my musical path. I decided on ToGetHer to build a sort of bridge between all the great artists I’d already had the pleasure to work with previously. So there are many links that bond the music and the writing and the recording of this allbum.

Q: The title ToGetHer obviously has contrapuntal meanings: “ToGetHer” being two people in union, and “to get her” implying quite the opposite: some period of yearning before or after such a union. What was the inspiration behind the title, if you care to share?

Steve: The first album of songs was Mumu, dedicated to my love Muriel. This new album began code-named Mumu Too, then it became 2Gether when the duet aspect took hold. And finally my friend Dominique Quessada, philosopher, author of L’Insepare came up with the idea of ToGetHer, which is beautiful, because it returns to the idea of desire, the desire to seduce someone, which is the only reason to make music, or to do anything on purpose.


Thinking about 2. Joe Sumner and Glenn Tilbrook sing on two tracks of the record. I met Glenn when I was fifteen, before Squeeze was baptised Squeeze, and that was the beginning of unclassical music for me. That’s why I am so happy he sang with me on “Nostalgia”. He immediately knew how to add his voice into the chorus “I do not miss you at all” and it really belongs there. And some of the song ideas are in pairs, like “Up” and “Vertigo” or “Burn the Past” and “Nostalgia”.




Q: ”You Lie Sweetly” also has a possible double meaning: picturing a lover in repose, or a bitter observation that one’s lover is lying. It reminds me of some of the wordplay from your old bandmate Elvis Costello. (“No many how many foreign bodies you can take,” from “You’ll Never Be a Man” — where your classical piano figure is so prominent — implying both a string of lovers or substance abuse as ways to prove manhood.) Did some of his wordplay inspire some of the wordplay and double meanings of ToGetHer?


Steve: You guessed correctly, “You Lie Sweetly” is my music, and my lifelong friend Elvis composed words on it. It was tricky, he told me, being so short a song with very short phrases. He did such a brilliant text, and yes he is the king of double entendre. Sting sings this composition in a longing, poignant voice; his interpretation recalls the tone of his Dowland lute album, and enhances the classical style of composition.

Elvis, since I was eighteen, has been a constant inspiration, not only because of his incessantly complex and demanding texts, but also because his melodies are always so interesting, a strong music that constantly takes surprising turns; he never goes where you expect.

I think I’m unable to match this fearless quality [Elvis] has. Although I have been part of his music, working with him now for over thirty years together, when I approach my music, I deliberately research something more fragile, less self assured. I think our different temperaments when we work together compliment each other because we have certain contrasts, and I certainly would never try to emulate his genius for wordplay.


I’m a great admirer of many different lyric writers, the very minimalist lyric writing of Eno, certain French songwriters like Alain Souchon, the wordplay of Alain Bashung. Lyrics to me are the most important aspect of a song, above the music certainly. And Elvis has been a close companion since my musical adventure began.

I’m a great admirer of many different lyric writers, the very minimalist lyric writing of Eno, certain French songwriters like Alain Souchon, the wordplay of Alain Bashung.


Q: There’s such sadness in this album. “Halloween (Bonfire Night)” is a particularly beautiful track. The lyrics are amazing. I, myself, was served a breakup after an otherwise beautiful Halloween night, at the end of a happy relationship, so maybe that’s why a lyric like “this Halloween what will be your disguise” renders as particularly poignant for me: the things we never see coming. That’s such a heartbreaking and beautiful melody. Everyone should hear it.


Steve: Well, when Muriel and I produced the first workshop version of Welcome to the Voice, Ron played the part of the Friend (which, on the Deutsche Gramaphon recording, Robert Wyatt interpreted for us).

These two men are such beautiful singers, voices of velvet and silk; they have jazz deep in their bones. The way they phrase is so cool, it’s very interesting. They place the notes in the bar, in such a sexy laid-back rhythm, it would be challenging to notate exactly. I hope there will be future projects that bring me back to work again with Robert and Ron. Check out “Happiness” on Welcome to the Voice.



Q: I’m a huge Robert Wyatt fan. I think he’s what many artists would like to be, but fall short: someone who truly creates art for its own sake, and as such is able to explore anything, break every rule, with a kind of fearless aplomb. Likewise, you tackle almost every genre conceivable on this album. What was it like working with him? And what’s your feeling about the line between commercialism and art?


Steve: It’s always fascinating working with Robert because he is so smart, and speaks enthusiastically about everything in a thought-provoking way. He’s a rascal, and a prince, and he has such an ear for music, and working with him is like working with a Master composer. His melodies are truly original and unbelievable: take “Maryan”, how did he find that?

He is like Ravel, very complex; a brilliant arranger, too. Then his lyrics, I’m always completely blown away by Robert’s texts like “So when I say that I know me, how can I know that? What kind of spider understands arachnophobia? I have my senses and my sense of having senses. Do I guide them? Or they me?” Just reading it brings tears to your eyes, let alone hearing him sing it.

Wyatt is like Ravel, very complex; a brilliant arranger, too.

Commercialism and art? I recently attended a vernissage of Pete Doherty, who arrived to sing a few songs at the Gallery on the shabby outskirts of Paris, dressed in a Russian Red Army uniform. He created some blood paintings, using the blood of Amy Winehouse. 20,000 euros apiece. I leave you to tell me the limit between commerce and art?

Blood paintings, using the blood of Amy Winehouse, 20,000 euros apiece.

Q: Now let’s talk about your collaboration with Vanessa Paradis. How did that collaboration come about, and what was it like working with her?


Steve: I met Vanessa when she released her record Bliss, and I worked as her musical director for the touring behind that album.

Benmont Tench played most of the keys on that record; Vanessa’s music is very keyboard-orientated, so I had my work cut out for me. We’ve stayed friends ever since.

Vanessa is a superb actress; recently she’s done some of her finest work and is on an ascending peak.

She was extraordinary in Cafe de Flore, and her Jacqueline is the incarnation of a perfect love, from total generosity, to utter selfishness — a tour de force.

Vanessa is a superb actress; recently she’s done some of her finest work and is on an ascending peak.

Writing “Conversation” for her was necessary for me, because I am terribly shy; it looks like such good fun when people are discussing, why, for me is it like rafting down rapids?

If you want the excitement, you have to risk the danger factor. It was the first duet I recorded on ToGetHer, and thanks to Vanessa’s determination to sing that song with me, the ToGetHer journey began, and the album steered its own course.

Vanessa put all her energy into singing that lyric with me, her elegance and grace, and I would love a DJ to do a remix with just her voice singing.

If you want the excitement, you have to risk the danger factor.

Q: ”Save The World” was a collaboration with French-based artist Tall Ulysse. Is the song a refutation of those who would save the world, or does it contain a message of support? I volunteered in the slums of Kenya and still sponsor four kids there, so I know from experience that there’s often a painfully disappointing divide between idealism and the harsh realities of trying to help others.


Steve: There is a feeling of irony in the “no doubt” because I can’t help but doubt, seeing the disastrous mistakes that big corporations continue to inflict on people and on nature, greedily, just to make money. It’s an awkward subject for a song. I was impressed by an interview of Robert Wyatt where he was saying, we can’t do anything except bear witness to it all. I was also moved by Tall’s powerful heroic anthemic rock music. He added some exciting harmony lines to “Save the World” … our voices blend so well.


Tall Ulysse played all the drums on ToGetHer; I like the fluidity of his style, which goes really well with my playing. We played many times in duo, piano and drums, and I know we will continue to make music together. I want to work with young people. Some of the best moments of this record for me have been discovering new music and fresh ideas with Harper Simon, Tall Ulysse and Joe Sumner. Kids of the eighties have a different musical viewpoint than someone like me, and that’s really interesting and invigorating.

Some of the best moments of this record for me have been discovering new music and fresh ideas with Harper Simon, Tall Ulysse and Joe Sumner.

Q: There’s so much to try and canvas in the scope of this interview. What else can you tell us? What’s next? Touring? Rest? Another album?

Steve: Unlikely Production. Certainly, Muriel Teodori deserves a lot of credit for this album. She is a force of nature, a person who brings out the best in others, who thrives on collaborations with different artists, has an understanding of music that constantly inspires, she sings great, and she knows everything about everything.

Her brain is a wonder of the universe and is constantly steering me into all kinds of adventures. She is the mother of all muses, my Mnemosyne, and it’s for sure that the two records I’m most proud of Welcome to the Voice and ToGetHer are Muriel Teodori records. I can’t wait; my life is an ongoing project, with her.

johnfoyle
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Re: Steve Nieve's new album ToGetHer, Oct. 13

Postby johnfoyle » Fri Feb 28, 2014 7:45 am

Uncut, April '14

Image

johnfoyle
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Re: Steve Nieve's album ToGetHer - UK release April '14

Postby johnfoyle » Mon May 19, 2014 4:44 pm

Image

Steve in Cannes this evening. His partner Muriel is a film company executive.



Image


I was there last Thursday, very much on the outside looking in!

sulky lad
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Re: Steve Nieve's album ToGetHer - UK release April '14

Postby sulky lad » Wed May 21, 2014 1:27 am

Why are you posing by a poster of a man picking his nose ? :roll:

johnfoyle
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Re: Steve Nieve's album ToGetHer - UK release April '14

Postby johnfoyle » Wed Jun 11, 2014 12:46 pm

http://www.ticketfly.com/purchase/event/599045

Steve Nieve & Friends Together Tour

Tuesday Sep 23, 2014

Mississippi Studios
3939 N. Mississippi Ave.
Portland, OR

johnfoyle
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Re: Steve Nieve playing Portland, OR Sep 23, 2014

Postby johnfoyle » Sun Nov 16, 2014 5:52 am

A new Robert Wyatt compilation features a track from Steve's album -

Image

http://dominorecordco.com/uk/albums/05- ... very-time/



Steve Nieve + Robert Wyatt + Muriel Teodori - La Plus Belle Langue


Muriel told me in Germany that she and Robert did the vocal on this just the once. She would have liked to do it again but Robert said it was good and that was that. I agree.


Needless to say, Shipbuilding is also in the collection.

johnfoyle
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Re: Steve Nieve track on new Robert Wyatt compilation

Postby johnfoyle » Wed Feb 11, 2015 8:53 am

Witty ad. for Steve's album just now on f/book

Image

bronxapostle
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Re: Steve Nieve does soundtrack for Don't Forget Me , 2017

Postby bronxapostle » Sat Dec 02, 2017 7:57 am

King Foyle...is this one of your infamous CHANGING OF THE THREAD TITLE seven years later??? :twisted: :twisted: you know i ALWAYS get confused when this happens. PLEASE just start a new thread instead....what was this once named??? When DON'T FORGET ME caught my eye this morning, it reminded me of Spectacle 2009. I think it was a Neko Case song that Steve had played with her that night. Is this new working title from Steve any relation to that song?

johnfoyle
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Re: Steve Nieve does soundtrack for Don't Forget Me , 2017

Postby johnfoyle » Sun Dec 03, 2017 6:20 am

Good point , BA. I will transfer to a new thread.

bronxapostle
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Re: Steve Nieve does soundtrack for Don't Forget Me , 2017

Postby bronxapostle » Sun Dec 03, 2017 8:02 pm

johnfoyle wrote:Good point , BA. I will transfer to a new thread.


Thanks sir....glad to see TOGETHER thread returned. :D


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