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Posts Tagged ‘jazz’

There are a lot of Eric Rasmussens in the world, many of whom I’ve recently discovered are tilling the same fields that I am. I’ve seen Eric Rasmussens at work in journalism, law, literary criticism, polemics, music and fiction. That’s bound to create confusion.

Again, my full name is Eric Randolph Rasmussen. I’ve written a companion piece for this post telling you who I am. Out of respect for the other Eric Rasmussens, I felt the need to give you a list of the ones I am not:

Eric Ralph Rasmussen, pro baseball player.

This one seems pretty obvious. This was the only other Eric Rasmussen I’d ever heard of growing up. I never worried people would confuse us. I can barely pitch, catch or bat.

Eric David Rasmussen, physician, medical ethicist, humanitarian

Again, I’m not too worried about you getting us confused. This guy has an interesting career and is worth your attention.

Eric Rasmussen, writer, editor of Barstow & Grand

This Eric Rasmussen is a Wisconsin-based fiction writer and very nice guy who sent me a nice note and has an excellent blog and lots of excellent fiction. I do not wish to steal his thunder.

Why the confusion: We are both literary fiction writers. I do not see any novels on his resume (he mentions an unpublished manuscript), and I have never published any short stories (outside of a few bad experiments on my blog) but there are obvious reasons people are going to confuse us. For that reason, I have made sure to put “Eric Randolph Rasmussen” on most of my fiction, but that doesn’t mean you’re going to see it on my journalism.

Eric Rasmussen, jazz saxophonist, composer, band leader of the Eric Rasmussen Quartet, director of instrumental music at Scottsdale Community College

Alto saxophone player Eric Rasmussen has played with a number of big jazz names (you can find some of his music here), and his musical focus is jazz while mine is alternative rock and punk, but there are several reasons people might get us confused, especially if they knew me back in the day in Oklahoma.

Why the confusion: Several reasons. We have both been New Yorkers, we have both lived all over the country, we are both composers and we both play alto saxophone (though he actually worked at it his entire career while I gave it up for two decades). I have mostly stayed away from jazz on my albums, but Salon de la Guerre fans know that I have wormed my way through all sorts of different genres and finally jumped into some jazz a few years ago, yanking out my long-dormant alto sax chops for two songs on Salon de la Guerre’s album Clam Fake. I have done only two extended improvisations with jazz saxophone, one of which is on a song called “Red Clay Moses,” which you can hear on YouTube.  Jazz sax player Eric Rasmussen deserves his many accolades, but “Red Clay Moses,” a cross between jazz and Sonic Youth guitar, is all mine.

Eric Dean Rasmussen, associate professor of English literature at the University of Stavanger.

I first followed Eric Dean Rasmussen for a couple of reasons: He was a literature guy and, more important, he was the first of us with the cunning to grab the Ericrasmussen.com domain name. There can be only one, Highlander!

That said, most of his work, as far as I can tell, is literary criticism and theory, subjects I’ve studiously avoided since college. I never worried too much people would confuse us. Besides, he was in Chicago and then later, apparently, Norway.

Why the confusion: Still, we are both lovers of literature, and we both somehow at some point met with (and wrote about) famous superhero literary publisher Barney Rosset, founder of the Grove Press and publisher of Samuel Beckett and Henry Miller. Eric Dean met Rosset through his work at a literary organization. I met Rosset at a bar. Though the other Eric was seemingly better prepared for the encounter and knew more about Rosset to begin with, I must give myself some points for not misspelling Rosset’s name. (I have some advantages being a journalist.)

I see that Eric Dean and I also have a very tenuous connection through the website Altx.com. He has articles posted there, and I used to be associated with a literary magazine called Io that had links to the site as well.

Eric Rasmussen, internationally renowned Shakespeare scholar, foundation professor at the University of Nevada at Reno

Again, I wasn’t too worried about being mistaken for a Shakespeare scholar, though we are both authors and we are both on Amazon. He’s even on YouTube!

Eric Rasmussen, actor.

I took an acting class once and I’m enthralled by the subject, but I have mostly left that field to my wife.

Eric Rasmussen, professor of communication.

I don’t see much room for confusion here, though I do have a communications degree (in journalism) from the University of Texas, and it could be somebody somewhere gets us confused.

Eric Rasmussen, Twin Cities broadcast news investigative reporter, KSTP TV

This guy’s been in Boston and Minneapolis. I’ve never been in front of a camera, but we are both journalists.

Eric B. Rasmussen, business professor at Indiana University. This guy is known for tweets deemed by many to be sexist and racist, and the university itself has called his online sentiments “vile.” I won’t link to him, and I am only including him here because I want to make sure people never confuse me with this person.

I will leave it at that. I recall seeing other people with my name also pursuing music journalism (an old part-time vocation of mine) and statistics and hockey, but I’m not too worried about being confused with those people. I’ll add names to this list later if I think anybody is going to mix me up with someone else.

 

 

 

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The Widowhood of Bunny Album Cover 2This week, I’m releasing my 14th album and my second symphonic/classical work. It’s called The Widowhood of Bunny, and it’s a sequel of sorts to my 2016 album Gravitas: A Life. Like the other album, it has a lot of jaunty classical piano and string arrangements (they remind my wife of movie soundtracks) but also some jazz elements inspired at least in part by 20th century masters such as George Gershwin and Aaron Copland. Like Gravitas, it’s an instrumental suite that follows the exploits of widow Bunny now that hubby Gravitas has dropped dead.

Like its predecessor, The Widowhood of Bunny was made on an iPhone 6S. Gravitas came together because I was stress-testing my phone and wanted to see how rich a sound I could get out of it — the project resulted, to my amusement, in my first 50-minute symphony. Bunny was a fluke, too, in a way. Earlier this year, I shoved a string section into one of my rock songs as a funny interruption (a satirical trick I learned from Frank Zappa that amuses me no end) and found the string part growing to almost five minutes long. I realized I would have to stop and either throw the incongruous thing in the trash as another dunce’s experiment, or save it by writing a new extended work. Then I wondered if my imagination could handle another long-form piece, and of course, idiot male posturing pride set in (“Why the hell not?”) and a determination to grow within this genre. My audience, after all, is small enough to not really give a shit.

Indeed, lately, I’ve been thinking … “Hmmmm … Son of Gravitas?”

I understand that the sing-songy, jaunty arrangements in these two albums could really turn off people who prefer my pop and rock tunes, annoy serious classical fans by thinking I’ve wandered into muzak or invite the deserved scorn heaped upon pretentious assholes everywhere. But I ask for patience: Bunny and works like it feed my rock music (and vice versa), and allow me to search and discover. I don’t know many good artists who can repeat themselves, even if they want to. I certainly can’t. It usually doesn’t work out for me to repeat concepts and stay within song genres, even if I’ve found a comfort zone within them. The minute I found my sweet spot in my singing voice, for example, I realized that relying on it made my songwriting weak.

But if you’re not a fan of this stuff, there’s good news: I’ve made four other albums this year, and through the luminous mysteries of music distributors, one of them is only days away. That one’s a neo-folk album of nothing but acoustic guitar songs, and I’ll be sharing that too, hopefully by the end of this week. The release of these two albums hopefully demonstrates to you my proud musical, schizophrenia and dedication to keeping it fresh.

I composed and produced the album during the summer of 2017. The work was created in Apple GarageBand for iPhone. Apple’s string arrangements are largely programed through manipulation and furious button pushing. However, Bunny‘s piano, electric piano, bassoon, flute, clarinet, oboe, glockenspiel, and bass violin parts were all performed by me on the program’s piano keyboard.

I’m including here the proper opening track off The Widowhood of Bunny (it follows a prologue). The album is now available on iTunes, Amazon, Spotify and other sites where music is (still) sold.

 

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