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You can read this and dozens of other stories at www.NotSoModernDrummer.com. The story below was written by David Barsalou for Not So Modern Drummer on August 31, 2023:
Once again, Paul Wertico pushes the sonically progressive envelope to its limits by creating ultra-modern music that occupies the space between Visual Arts and Experimental Jazz Idioms. Paul is continually exploring these advanced rhythmic concepts… Many of which verge on the sensory characteristics of ‘Synesthesia’… The perception of reality becomes significantly altered when an individual has Sound-Color ‘Synesthesia’. This is where someone can see specific colors when hearing certain sounds or music. Artists and Musicians often describe having this one specific form.
Synesthesia // sinəsˈTHēZH(ē)ə/
“Simply put, when one sense is activated, another unrelated sense is activated at the same time. This may, for instance, take the form of hearing music and simultaneously sensing the sound as swirls or patterns of color.”
Paul Wertico has always gone above and beyond the established definitions of ‘What Jazz Is’. Breaking everything down into a brand new melodic form of ‘Visualized Storytelling’. One never knows where Paul will be taking his next musical journey — With most of his drumming being spontaneous and in the moment. Thankfully, Paul always records everything… Meticulously preserving it for the enjoyment of future generations.
“This music is alive, even more than “live”; and, as happens to all living beings, it cannot be analyzed or vivisected. It pulsates, breathes, moves about and seeks its way with the unforeseeable spontaneity of an organism in full possession of its will and ability.”
— Chiara Bertoglio
Although I appreciated every tune on Paul’s recent album – ‘Drums Without Boundaries’, the standout for me was: (Deconstructing John Cage’s) Third Construction — John Cage (1912-1992) was an American ‘Avant Garde’ composer who dedicated his life to experimental music. He challenged the very definitions of music and musicianship. Cage once said…
“Music is about changing the mind – not to understand, but to be aware.”
Cage’s 1952 composition 4’ 33” emphasized the absence of sound. Cage sat at the piano for 4 minutes and 33 seconds without playing a note. He presented silence as a structure within musical notation. Cage’s intent was to focus attention from the performer to the audience. Cage’s conceptual development of 4′33″ was the direct result of his interaction with visual artists he associated with at Black Mountain College.
“In the absence of deliberate sound, musicians who present the work do nothing but be present for the duration specified by the title. The content of the composition is intended to be the sounds of the environment heard by the audience during a performance.“ — John Cage
Regarding John Cage: Between 1948 and 1953, Black Mountain College, in Asheville, North Carolina, was one of the leading experimental art schools in America. Cage first visited there in the spring of 1948.
The school attracted many notable students and teachers, including: Artists Josef and Anni Albers, Architect R. Buckminster Fuller, Abstract Painters Elaine and Willem de Kooning, Dancer and Choreographer Merce Cunningham, along with Painters Jasper Johns, and Robert Rauschenberg. It was Rauschenberg who influenced John Cage in the early 1950’s which was later proven to be immeasurable.
In the same spirit of experimentation, Paul Wertico appropriated John Cage’s ‘Third Construction’ improvising over the piece totally with brushes for 11 minutes and 25 seconds. Paul described this as the complete use and integration of ‘Horizontal’ drumming, creating forward motion and a smooth, continuous, seamless sideways flow – rather than employing a ‘Vertical’ up and down, jagged, stop-and-start type rhythmic approach.
In the spirit of ‘Postmodernism’, John Cage who died in 1992 became an unknowing collaborator with Paul Wertico. Yet, together they have created a truly original piece of music spanning diverse periods of time.
“Cage’s music reveals itself gradually, as happens with all temporal phenomena and with all friendships; Wertico’s receptivity is in turn unveiled and constantly challenged as the process progresses.” — Jeff Cebulski,
Paul Wertico recorded the album ‘Drums Without Boundaries’ with Italian musicians – bassist, Gianmarco Scaglia, vibraphonist Mirko Pedrotti, The Ichos Percussion Ensemble, and British guitarist Alex Munk. On this new project, Paul was both the leader and producer.
Those interested in the future of drumming need to look no further –
‘Paul Wertico’s album ‘Drums Without Boundaries’. Da Vinci Classics is available through AMAZON.
“Whatever the format, I really want as many people as possible to hear this music, since I can’t adequately express how proud I am of this project and of everyone involved in the making of it!”
— Paul Wertico
Paul Wertico: The Sound Painter
By David Barsalou
The original story can be seen: HERE
About Not So Modern Drummer:
The magazine is currently owned by George Lawrence who is a valued and passionate member of our drumming community. He was the drummer for the band Poco for 12 years, teacher at Memphis Drum Shop, recording session player, producer of the Nashville Drum Show and owner/administrator of DrumSellers.com which is Not So Modern Drummer’s buy and sell site. To get an understanding of his contributions you can learn more about him in an excellent Innovative Percussion Artist Feature HERE
The Not So Modern Drummer magazine was first published in 1988 by John Aldridge who created and ran the magazine until he sold it to Bill Ludwig III in 2005. In 2008 George purchased the magazine from Bill and is the editor, publisher, and photographer of the magazine. Consider supporting Not So Modern Drummer: HERE
