¡Colores!; 123; Ubik Sound: Capturing the Varied Sounds of New Mexico; Fred Wilson

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. . . This week, the sounds of New Mexico captured in one Albuquerque recording studio. The main thing by getting these many types of bands and performers in here is you just realize that they're all the same. . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . and now I just like the sound of it I got a lot of people think what is this an Eskimo word. I'd rather have it called that than something like turquoise sounds, say. Manny's tastes certainly go a lot broader than mine, he listens to all kinds of weird stuff.

To me it just doesn't seem like that it's that strange even to talk about because it's just that's what it is here. Manny has foresight, he understands the vast scope of music and how all music is interconnect and there isn't these lines of folk and rock and new age. I mean they all are intermixed anyway

and that's what Manny's done, he's just gone out and found the interesting and good musicians that in the area and cared enough to put them on tape and just do it. I never really thought it would take off the way it did when I started it but I just basically I just wanted I had this studio, I knew all these people I'd been playing with them before and I just wanted to record them and I had the equipment to do it in the ability and one thing led to another and I decided well let's just go for it. I'm an improviser who started playing the saxophone and from the very start tried to think about

ways to play the saxophone in ways that it hasn't been played before which in turn led to not just playing it differently but actually changing the instrument. What I've really been involved in is developing a personal language of music or an idiosyncratic personal language that is comprised of my personal vocabulary which hopefully when it comes together as a language which although it's not usually heard somehow can be understood. Tom came from just I guess the East Coast sort of the free jazz world and

played you know just making sounds and improvising with not so much using melodic structures or chords or whatever and again it's just his the way that he was so dedicated to what he was doing and he's just a really serious artist. What's really important to me is that is trying to get my personal statement out there which has developed over the course of my lifetime. It's just trying to share my love with what I'm doing with the rest of the world with as much of the world as I can and trying to say to people hey you can do what you want to do.

My particular music is a religious a religious traditional custom that the people have

in these different places. I started learning music you know when I was about 30 years old I'd always loved music I always loved music. I wanted to learn how to play my tachinas and I learned them I picked them up from here from Alcalde and I wanted to learn the other version which is San Juan right next to also over here and I picked up those and I have been playing ever since you know and I enjoy every bit of it. For the monochinas I really like the music you know they use it as a ritual and they're festivals but I have always thought that it's

just great to listen to it you know it's real mesmerizing real repetitive but there's just something there in that music and I wanted to get it on a tape and get it out so people could could buy it and listen to it. I had been listening to some of his recordings that he get different groups over there and I admire you know there's different people that participate when they put their talent you know or people in the different parts of the country you know they they listen to these different people and they enjoy it you know and I think that when they hear my music I think that they want to enjoy it too. I really think it's noodles. You're so cute and strong but so remote the bar you're so cute and strong now they make you labor turning those dynamos I don't think it's your pleasure.

I don't know what I am I guess I'm a performance poet and I take advantage of whatever it is that I have to take advantage of I mean I learned tap dancing I learned piano so why not bring these things back you know the ghosts of high school and incorporate them into your act that's why I do the songs. I told them let's just get all your songs on a tape and how it would be a music tape you know and then then he really got into it you got really got behind it and I've always I think his songs are really funny and his lyrics are really say things but they just have this whackiness they publish the poets just after their dad afraid that the living will go to their head

they write of the poets in hesitant praise now that they're done with and dead in the grave act a damn big old those poets of old now it's lucrative to write a cautious praise are you doing us or not you love music you won't get try to go go get try to chat on the web or make it go

by the secco is mainly can Kepler and Jeannie McCleary there's something about that music and also the way they play it and the way they play the folk music the way they're really dedicated to this learning the music and and and also that their sense of of community living here and having a world here not really needing the rest of the world to say that they exist for them to feel good it's just really hard to make a living is a musician I think a lot of times you have to sell yourself out to be real commercial and pop and and that the kind of music we do certainly isn't either of those things and we just do music because we love to do music and so if we had to sell out to do it we wouldn't do it

these things are real cake

I've always wanted to do this, and it's something that you have to do if you want to do it, and do it for your grandkids. I don't think I'm going to get rich off it, but I'd like to get some kind of fame. Fame is worth more than money. We believe in the grassroots appeal. We're not trying to be a big MTV heavy metal kind of deal, we're just trying to play nice songs with good melodies, and have fun. Many know his music, and if he likes us, then that gives me a little bit of security,

knowing that I'm not full of who this band really is good, if he likes us. You just go check these people out and see what they're doing, there's no threat, there's no being a hit for anything like that, it's just music, he's music. All right, tell me. If you think I'm going to live, all right, tell me, if you think I'm going to live, I don't

know what to say, but I know not right way. Fred Wilson is considered a master potter in the art of the art of the art of the art of the art world. His clay figurines, wood, and stone carvings have earned him a national reputation for portraying people as they are, and as they relate to one another.

I've known as a sculptor, I've known as a mirrorless, but I've also known as a pattern, and I do lots of things, and it's very easy for some people to say, oh yeah, he's the potter, and so right now I'm trying to work on getting them to see that I'm also the artist, the person who can do lots of things, a variety of things. Most of my things are about people, so when people ask me, what do you get your ideas,

I say to them, I get it from my dreams and from reality, and what I try to do is I try to emulate what is happening about life, and so all of them are sculptures about life and about people. They're about things that happen to people, they're about things of people and nature. One of the things that I've always done, I'd like to work in different materials, and I've always been in the philosophy, is that if you see something, you can draw it out of it. But if you take a piece of material and you start to say, I want to carve it left when it's saying right, then you're not listening to the materials, how is crossing materials, combining materials, mixing materials, and would say, hey, okay, what if I use clay and wood,

what if I use clay and fabric, what if I use, you know, saw beads, all of these different things to get at the final yourselves, and I think and know that in my life as an artist, that has really helped me. Sometimes when people look at my work and regardless, I use so many different materials, they say, it's overpowers them, I said, no, that's just the way I am, and that's just the way I think warmth should be in it, I think passion, and I think that love should be in it, and I think that they are itself, and then it stands on itself, it's what it is, it's what it's become. So it doesn't exist on its own, well, yes it does, but I mean art is a reflection of what

we are, whether it's a copy exactly what we are, I really, because really we don't know what we are, we don't even know sometimes where we are, so I think that artists have a very important position to express feeling, because one of the most difficult things with human beings is expressing feelings. I just never been the kind of artist, yeah I did it, you know, sure I got it, I mean that to me is sort of like eating a meal and you can't taste it, I mean that's, you know, or kissing a woman, you can't feel it, I mean that's a bit different, but anyway I think the beauty of it is to have lived in a life where I've been able to do it, and that's the fun part, to just be able to express yourself in those ways, because, you know, when you think of war and guns and bullets, you know, I think, yeah, it's got to be

something that you can do, and to me it's art, and that's passion, that's fire, that's life. Next week, we'll feature the music of one of Yabick's own recording artists, the legendary

Cleofus Ortiz. Cleofus has been playing the fiddle since he was 8 years old, and in 1987 was honored by then Governor Tony Anaya for his lifelong commitment to preserving New Mexico's folk music. We'll also meet a master's screen printer, Kate Crazin has perfected the aesthetics and technique of syringra feet. I hope you'll join us. For Coronos, I'm Mr. Reyes. I'll see you next week.