Universal Mind: Jordan Rudess in the spotlight ft. Yogi
This episode of Stalwarts Of Music with Aditya Veera features American keyboardist, composer, and software developer Jordan Rudess and a special guest, Yogeendra Hariprasad (Yogi), who is a founder, producer, and keyboardist.
The interview begins with Aditya asking Jordan about his early life in music and the influence of his teachers from Julliard School, such as Adele Marcus and Katherine Parker. Aditya inquires about the pressure Jordan felt to meet their expectations and how he stayed motivated. Jordan explains that he was led into classical education at a young age and didn't question it until later. He emphasizes his dedication to music and his constant quest for new discoveries.
Aditya then explores the role of mentors and parents in Jordan's musical journey. Jordan mentions his mother's support but acknowledges that neither of his parents were equipped to guide his music career. He describes how his own passion and curiosity led him forward, always seeking to learn and grow.
The conversation shifts to Jordan's involvement in music education. Aditya highlights the importance of indicators for qualitative learning and the value of musical certificates and degrees. Jordan clarifies that his online conservatory is not structured like a traditional school. It was born out of his desire to share knowledge, and he collaborates with tech-savvy individuals to create educational materials. He sees himself as both an artist and an educator.
Aditya points out Jordan's multifaceted roles, such as Chief Musical Officer at CME Music, Director of Music Technology at Roli Labs, and his innovations in music tech with Wizdom Music. He asks if Jordan ever experiences an identity crisis due to these varied roles. Jordan explains that all these roles are interconnected and reflect his passion for music and technology. He elaborates on his involvement in music technology and his willingness to connect people in the industry. He emphasizes that all these activities are part of who he is and his love for music and technology.
Aditya mentions that he spoke with Vijay Ganesh from Swarnabhoomi Music Academy, who had the privilege of spending time with Jordan Rudess in India. They discussed Jordan's social and people-oriented nature. Aditya then asks Jordan about a letter he wrote as an eight-year-old, claiming he could play better than Leonard Bernstein. Jordan recalls that his mother introduced him to Leonard Bernstein's music, and he admired Bernstein's versatility in classical and other genres. He speculates that his youthful confidence led him to write the letter, which he later forgot about until the Library of Congress rediscovered it.
Aditya congratulates Jordan on winning a Grammy Award and asks about its significance to him, given his longstanding commitment and passion for music. Jordan acknowledges that the Grammy holds value in terms of career opportunities and public recognition, especially as it immediately garners respect from people outside the music industry. He also appreciates the acknowledgment and respect from fellow musicians within the industry, especially in the metal category. Jordan reflects on Dream Theater's journey and how they navigated the transition to a more commercial world, ultimately appreciating the doors that the Grammy opened for them. He concludes that while they continue to create music, there is a notable reality to the Grammy's impact on their career.
Aditya inquires about Jordan Rudess' evolution as a musician from his 1993 album Listen to his latest release, Chase, and the improvements he's personally felt in terms of musicality. Jordan explains that he's constantly exploring new technologies for musical expression, which has enriched his music over the years. He mentions his inventions and applications, such as GeoShred, as well as a new instrument called an Osmose, which has recently caught his interest. Jordan emphasizes how technology, software, and physical instruments contribute to his musical evolution.
Aditya also asks about Jordan's creative process and the influences behind his music. Jordan describes himself as an improviser who enjoys playing spontaneously and letting music flow through him. He acknowledges the influence of artists like Gentle Giant and Rick Wakeman and his work with bands like Dream Theater and Liquid Tension Experiment. Jordan notes that all these influences blend together to create something original, which he believes is one of the most challenging yet rewarding aspects of music composition. He emphasizes the importance of merging various influences and allowing them to become part of his unique musical vocabulary. His creative process involves a fluid interplay of musical ideas drawn from a wide range of sources.
Aditya asks Jordan Rudess about his beliefs in the cycles of life and rebirth and how they relate to his musical career. Jordan mentions that his musical journey is not a linear progression but more like a circular path where past experiences and influences continue to shape his present and future musical endeavors. He emphasizes that he remains inspired and open to new musical discoveries, but there's no guarantee that his best work is still ahead of him. He leaves room for the unpredictability of life and music.
Jordan also talks about his experiences working with exceptional guitar players like John Petrucci, Vinnie Moore, and Stephen Wilson. He distinguishes between guitarists who are primarily players and those who are composers as well. He highlights the importance of the music they create and how it defines their impact in the industry.
Regarding spirituality, Jordan describes his music as a form of spirituality. He uses music for meditation and aims to create music that can help others enter a more spiritual or meditative state. He reflects on the significance of his albums in marking periods of his life and career. He mentions how each album represents a unique moment in time and how they serve as both personal and public milestones. Jordan also shares a memorable and humorous experience involving an earthquake in Mexico City during a live performance.
Aditya then introduces Yogi, who expresses his deep appreciation for Dream Theater's music and how it has been a life-altering experience for him. He plays the keyboard and mentions how Dream Theater's music inspired him to explore the keyboard in unconventional ways.
Yogi asks Jordan Rudess whether he has ever felt that he hit a ceiling in terms of exploring the capabilities of the keyboard as an instrument. Jordan responds by highlighting his continuous interest in the evolution of musical expression. He talks about the various hardware and software products he has been involved with, including the GeoShred, which is popular in India for its intelligent pitch control. Jordan also introduces a new keyboard called the Osmose, which he describes as a game-changer. He explains how the Osmose allows for new levels of expression and control, making it feel more like a continuous instrument, unlike traditional keyboards.
This exchange showcases Jordan Rudess' enthusiasm for innovation in music technology and his commitment to pushing the boundaries of musical expression through keyboards and other instruments.
Jordan Rudess acknowledges the possibility of having different keyboard layouts within GeoShred, including a more traditional keyboard layout with alternating rows of white and black keys. He recognizes that the current layout may not suit everyone's preferences, and there's room for innovation and customization in this area. While the current layout serves its purpose, he's open to exploring other interface options to make GeoShred more versatile and adaptable to users' needs.
Jordan Rudess describes the process of improvisation as a fluid and somewhat mysterious experience. He finds it challenging to articulate exactly how it works because it involves a dynamic interplay of musical ideas, muscle memory, and creative intuition.
Sometimes, during improvisation, he may be thinking about various musical elements or phrases that flow through his mind without consciously planning each note in advance. It's akin to the way people speak and form sentences without premeditating each word. The musical vocabulary he's developed over the years, including scales, arpeggios, and riffs, serves as building blocks that he can draw upon in the moment.
He also compares the improvisational process to learning a new instrument, like the guitar. While one can master technical skills like sweep arpeggios, true improvisation involves understanding how to weave these skills together into a coherent musical phrase within a specific context.
In the end, improvisation is a deeply intuitive and spontaneous process that combines a musician's knowledge, skills, and creative instincts, making it difficult to dissect or explain in a linear manner.
Jordan Rudess provides insightful perspectives on the concepts of form and structure in music composition. He acknowledges that the definition of what constitutes a "good" sound or composition can vary widely depending on the genre and artistic intention.
In progressive music, where he often operates, it's common to have complex and evolving structures that shift between different musical ideas. However, in more traditional forms, like pop songs or classical music, there might be a stronger emphasis on established forms and structures.
He also shares an interesting personal anecdote about attempting to compose a concerto but being told by an orchestrator that it didn't adhere to the specific form expected of a concerto. This experience highlights the importance of understanding and respecting the conventions and structures associated with different musical forms.
Jordan provides valuable insights into the balance between technicality and emotion in music composition and performance. He acknowledges the allure of technical prowess and the desire to showcase one's skills as a musician, but he also emphasizes the importance of serving the song's emotional and artistic needs.
He highlights the need to consider the audience and their ability to connect with the music, as well as the context in which the music is being created. In some cases, showcasing technical skill can be impressive, but it may not always serve the overall purpose of the composition.
Jordan also discusses the concept of technique and how it goes beyond just playing fast. Technique encompasses the ability to play beautifully at different tempos and dynamics, ultimately serving the expression and emotion of the music.
His advice for artists facing the challenge of balancing technicality and emotion is to consider the context of the music, the needs of the song, and the audience's expectations. Sometimes, it's necessary to get the desire for technical displays "out of your system" but also recognize when to focus on serving the music's emotional core.
Jordan expresses his thoughts on various aspects of music, including his preferences and concerns about the current state of the music industry. He discusses how he values music that has interesting musical qualities, regardless of genre, and mentions an appreciation for rap music when it exhibits unique rhythm or sonic elements. However, he does express his disinterest in music that lacks musical depth and relies on repetitive beats and explicit themes.
Regarding the responsibility of musicians to shape and guide the perception of music as an art form, Jordan acknowledges that many listeners still appreciate and gravitate toward more intellectual and progressive forms of music. He believes that musicians who create complex and high-quality music have a kind of mission to continue sharing their work with the world, even as mainstream music trends toward simpler and more accessible forms. He emphasizes the importance of these musicians persevering and not giving up due to changes in the music industry.
He also touches on the evolving music industry and how the business side of music has transformed significantly over time, impacting the careers of artists. He highlights that the current landscape is different from previous decades, which could have led to an entirely different career trajectory for bands like Dream Theater if they were active in the '70s or early '80s. Finally, Jordan humorously mentions misconceptions about musicians' wealth in the age of the internet, debunking exaggerated figures related to his earnings.
Overall, his insights offer valuable perspectives on music, artistry, and the music industry's challenges and changes.