I thought Jon had forgotten us but he's kept his word and given us his answers. So a big thumbs up to Jon for not only taking the time to do this but answering our questions in detail. Cheers mate!
What was JN's initial thoughts on working with such a tight duo as Anderson/Barre?
What was it like actually working with Anderson/Barre?
Looking back what are your thoughts on the duo - musically, historically and personally ie. how well do they get on?
That particular thought has never crossed my mind. The five of us had a common goal to sound as one and to let the music speak for itself. I can see why fans might see things that way but the reality when I was in the band was that the music was a collective responsibility, not an accompanying role.
When I joined Jethro Tull in 1995 I was not familiar with the band's music. Doane, Martin, Ian, Andy and myself played well together, laughed a lot and got on well. Having spent eleven years together it's no surprise that I've made strong friendships. On stage we united in our best efforts to play well and sound cohesive. It was a team effort. If I'd have ever felt that being in Jethro Tull meant being musically dictated to, I wouldn't have carried on as long as I did. Each person's presence was a vital part of the group’s overall sound. That's what makes a great band.
If you could put together your fantasy band to play with who would be in it?
Charlie Chaplin, a cake, a lovely horse and a bassoon. You did say fantasy.
Honestly I don't have a fantasy band as such. I have played some great music with great people.
Now you are safely out of our reach, what do you think about the Tull fanbase?
Out of reach? You're never out of reach! Like in everyday life politeness is repaid. Most people who approach me are polite and friendly. For those less so, I will spin a yarn or two and leave pretty pronto.
What was the best and worst gig you ever played with Tull?
Most gigs are memorable for some reason or other.
The worst(comedy version)? During a tour of the USA, late 90's, some bright spark thought it might be a good idea to play an outdoor show in Montana in October. Now, Montana doesn't have a micro climate like Naples. It was f**king freezing. ACTUALLY freezing. I also recall the promoter not paying after the show. Blood was boiled, words exchanged and limbs were very nearly actually removed. The day was saved after Doane threatened to perform his new “suite for lone conga and voice” unless payment was forthcoming. It was. Quickly.
The best? In 2004 we were invited to perform in Dubai, United Arab Emirates, and Mumbai, India, on a bill with the great Bansurai (wooden flute to you) master Pandit Hariprasad Chaurasia and his musicians. We each played a set and then jammed Indo Rock style together. You don't get a better introduction to Indian music than playing with the best, as HPC is. To state that Hariprasad is a master improviser is something of an understatement. Performances often last hours and these are improvised around ragas. Anyhow, he's a great man and we all had a blast. And an awful lot of Indian food. I saw Hariprasad fairly recently in London. Having performed I found him backstage being adored by respectful worshippers. He saw me, a big smile came to his face and greeted me warmly with a big hug. How's that for Anglo Indian relations!
How much input did you have in your parts both live and in the studio?
Obviously pretty much free reign in the studio and live wise reinterpretation was plentiful, it's just a question of taste. The only sensible way to approach back catalogue material is for me to take what I feel is important musically and then build around it. Studio wise it was as it is with any other artist. Individual songs are presented in different ways ranging from more complete musical ideas to straight forward guitar and vocal demos. With J-Tull Dot Com, I had complete free range and time by myself to write and record my parts. This worked well. The Christmas album was recorded together to capture a more intimate feel. All the live stuff on DVD and CD is as it was played live, no overdubs or repairs (on my part at least!) in the hard and cold light of day.
I'd like to ask Jon, did he feel like a proper member of Tull, or a working musician who was lucky to have such a regular gig? Also did he realise there were people who came to see and appreciate the whole band and not just Ian and Martin?
I enjoy working as a team and felt very much at home in the band.
I have had the good fortune to meet followers of the band all over the world. Some travel great distances to do so. Many people have told me how much they dig what we all did.
Equipment, what do you use now, what's your past set-ups been, any personal wish lists in terms of basses / guitars?
Right now, I'm using my old 1960 Fender Precision bass and also my 1964 Fendet Jazz with my SWR rig, SWR Redhead or Ampeg Portafex.
A guitar that I have used on a off for 20 years is my trusty Yamaha BB1100S bass. I used it exclusively from 1987 until 1996 and it appeared countless sessions as well as Divinities and Roots to Branches tours and the J-Tull Dot Com album. An Ibanez ATK 5 string made an apearance on the RTB tour, retiring when my Wal Custom 5 string bass appeared in 1996, which can also be heard on Dot Com and seen on Montreux DVD. A couple of Fender Jazz 5 string basses have also appeared since 1999 and a Fender Precision in 2001, present on Living With The Past DVD/CD. Following the Christmas Album I had a Wal Custom 4 string made which I toured with. My white Fender Jazz I bought in 2004, toured with and used on Aqualung Live CD.
My rig hasn't changed much since 1995. SWR SM900 head, breifly a SWR MoBass head and SWR 8x8 and 4x10 cabinets laterly adding an Avalon U5 DI, then a Radial DI. A few floor effects including EBS pedals, Sansamp Bass Driver and a tuner.
I used an Ampeg rig for the Phil Lynott Birthday Concert with Gary Moore and co. Very loud.
D'Addario strings for extra pleasure. Flatwounds for extra width.
Who has influenced you as a bass player and who do you admire as bass players?
Paul McCartney, Joe Osborn, are the two players whose style I like a great deal. I have a broad taste in music and listen to lots of different things.
I'm a great admirer of many bass players though I tend to avoid listening to music for the technical content. Music is my first influence. I like Paul McCartney and Joe Osborn a great deal and they happen to have been involved in interstellar music making.
Any particular drummer you would want to work with in a rhythm section?
In a dream Jim Keltner and Hal Blaine, of the LA based session team The Wrecking Crew, who've brought great craft to whatever music they're involved in. In reality I have played with some really great drummers; Doane Perry, of course, Bryan Downey of Thin Lizzy, Andy Newmark, Andy Gangadeen, Darrin Mooney and my old mate Simon Lea.
Bass and drums are a team. The good ones play well together bouncing ideas off of one another. Consequently some of my closest friends are drummers. One of my oldest pals is Simon Lea. We literally grew up together. His father was the local vicar, mine the organist. I remember listening to records together. A few years after that we were jamming together. Now we work together and it's as easy as pie. We know and trust one another and rarely need to tell the other what to play. Playing together is done with pure instinct. Simon is a great and truly versatile musician. Like Doane, Simon is a good friend, a great drummer so I already play with my dream drumming pals.
Given your diverse musical background as a player what really "rocks your boat" musically speaking....
Choral music, piano music, troubadors, three minute pop gems, masses, passions, folk music, Johann Sebastien Bach, Portishead, Peter Gabriel, Curtis Mayfield, The Cardigans, The Beatles, Beefheart, Kraftwerk, Miles Davis and co.
Sound, tension, atmosphere, character and honesty. Clever stuff leaves me cold.
And finally do you really think there's a future for vegetables in the wider musical world?
We must all learn and embrace vegetables. I'm a root man myself.
My question for Jon would be something along the lines of "let's leave the past in the past"...what is Jonathan Noyce up to these days? What projects and artists is he collaborating/working with now and when will we see some more of his work on the record stands? Additionally, is he touring...and if so, will we be able to see him on tour in the USA?
I've been writing music. There's rather a lot of it which now needs hammering into some kind of CD type shape. Lots of electronic based stuff, some with vocals. some without. Even some piano music. Some featuring Willy Porter which is currently being knocked into shape for future release.
I've appeared on a couple of Gary Moore releases the last couple of years, namely Old New Ballads Blues CD and the DVD One Night In Dublin:Tribute to Phil Lynott, which was basically a original line-up Thin Lizzy reunion with yours truly on bass.
Since 2007 I've been involved with London based group Archive. A live CD (Live at The Zenith) was released last year and we've just finished tracking the new studio CD for release in 2009. All new stuff, no back catalogue here chaps. Lots of creativity.
I've also found time to play with The Divine Comedy since 2006.
Studio sessions have been more and more bountiful as of late. You can currently hear me and my bass on a TK Maxx advertising campaign and in the new Angus, Thongs and Perfect Snogging film music. I have entered your subconscious. I want your souls.
Not sure when I'll be US bound.
And last but not least.....
Probably has been asked already,.... (edited by Col, complete question above)..... was not encouraged in Tull
And your address.....?!
I feel that I've touched on much of your questions a little earlier Ray. Recently I guested with Tull on the UK 40th anniversary tour. We laughed. Then I went back to my own bed. That was very nice. It was a little like having a walk on part in my life story, mind.
BTW, you missed out Captain Beefheart.
Be good.
Jon. London, underground, July 2008.
www.myspace/jonathanoyce