Photo courtesy of the artist.
At the beginning of this summer, Desmond White took a personal leap that took the form of a guest post on Ethan Iverson’s blog. The post, in which White discusses his personal relationship with depression and anxiety, found huge resonance in the jazz community, particularly in New York. White will be returning to The Jazz Gallery this week to celebrate the release of a new series of songs, which follow up on his records “Short Stories” and “Glace” (Biophilia Records) with an experimental foray into electronics and mixed media, all while continuing at some level to explore the subject matter of music, mental health, and personal growth
Originally from Perth in Western Australia, White performs regularly with New York-based artists including Gilad Hekselman, Nir Felder, Camila Meza, Shai Maestro, Ari Hoenig, and numerous others. White is well regarded as a writer, producer, multi-instrumentalist, and singer across multiple genres. Our discussion with White via phone covered his new music, his continued thoughts on mental health in the New York jazz scene, and his composition process.
The Jazz Gallery: In your description of the upcoming show on The Jazz Gallery website, you mention “electronics and mixed media.” What’s going on there?
Desmond White: The music for the upcoming record has more electronic elements and programming than the previous one, which was more traditional “jazz-singer-songwriter.” On this one, some of the music will be played along to tracks, and there will be components of effects on the vocals, more synthesizers and keyboards. I’m also trying to incorporate footage I’ve been shooting. It’s definitely an experiment, but we’re trying it out.
TJG: Could you tell me a little about the footage?
DW: The footage is on the abstract side, but I try to capture stuff that’s in the neighborhood, things that resonate with me. I’m a massive David Lynch fan, and am awed by his marriage of sound and visuals. I know that he is very hands-on with his music. He sits down to work with the composer, and will write about how the music relates to the image. I’m a little bit the other way around, in the sense that the music is the focus and I’m trying to find an abstract image that connects to the theme of the song or the set.
TJG: It seems like what you’re doing could be described as “live film scoring” or a “live music video” or something. Do you think in those terms, or do you try to resist those labels?
DW: I don’t mind the labels so much. Mostly, I’m trying to move away from the look of “four or five men and women under spotlights on stage wearing nice shirts.” I’m trying to find a way to augment the visual component, giving a bit broader of an experience to the audience. It’s a total experiment.
TJG: Speaking about the audience experience, you write that your music examines “the human condition and our apparent need for a balance of order and entropy.” I wonder if that might have something to do with it, contrasting the ‘ordered’ appearance of the musicians on stage with more ‘abstract’ visuals?
DW: That idea relates more to the themes of the songs, some of which have to do with my direct personal experience with depression and anxiety, all very common things that many musicians have to deal with. In dealing with that, I’ve read many books and listened to many interviews with people, and a theme stuck with me: The research is currently saying that the entropic brain is more healthy than the ordered brain, and that depression and anxiety come from too much order, too much rigid thinking. It may seem counter-intuitive, but with this music, without being too explicit about it, I’m trying to find that balance between the ‘right’ chords and the ‘right’ groove, and then whatever happens on stage… I’m excited to have these musicians, because I know they have no fear of abandoning the material or the moment in order to explore whatever they want to do.