Dana Edelman has released three albums independently, now based in Cold Springs, New York, he's teamed up with Segue Records. Dana did an email interview with me in June/06.
How did you hook up with Segue Records?
Dana: First I’d like to thank you for thinking enough of my music to get in touch. A few years ago I moved to a small town along the Hudson River outside of New York City. My manager at the time hooked me up with a producer in Woodstock named John Wonderling. We did a few tunes and the deal was that he would shop the music to labels. He wasn’t really getting very far, so my manager stepped in and brought the disc over to Wayne Warnecke and Vaneese Thomas who had (and still do) a recording studio and an upstart label. Wayne’s an engineer and Vaneese (the daughter of Stax Records legend Rufus Thomas) is an incredible singer. They liked what they heard and invited us to dinner. I played a new song for them and Vaneese took to my voice and sound. So we started working together after that. The label became Segue Records. They’ve put out records by Vaneese Thomas, a rock band named Nine Men’s Morris, a posthumous Rufus release and now my CD called 'Mile 23'.
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How did songwriting come together for you on this disc?
Dana: Some of the songs are carry-overs from an independent CD I made. Other’s like 'Holy Land', 'Hit & Run' etc. (they all seem to start with the letter ‘H’) came just before we started recording. ‘Hardscrabble Road’ (see there’s the ‘H’ again) also was written around that time. I bring this one up because it was one of the most powerful experiences of my life. My uncle was passing away and his family asked if I would sing something at the funeral. I was mortified, thinking this would be the toughest gig ever. I said ‘I can’t promise anything’…and they were cool with whatever I decided to do. Saturday came and I knew he didn’t have much time left and I got this feeling to write something. The song hit me like lightning. The simple lyrics formed into the metaphor of his life (his beloved house) and I found myself, literally hands and knees on the floor. This had never happened before and I don’t imagine it will ever happen again. I truly believe that he was with me working up that tune and I am grateful to him for that gift – it was a very healing cathartic experience at a difficult time.
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Tell me about the recording experience of Mile 23.
Dana: The recording took a long time mostly because I was last in the pipeline. I just had to kind of grin and bear it. Musically, Wayne and Vaneese brought in some of the best New York players like famed drummer Shawn Pelton, bassist Wayne Pedzwater, guitarist Nick Moroch and pianist Robbie Kondor (among others). It was an incredible experience to work with musicians of that caliber. Vaneese as I said is a singer in that league and she worked with me closely on the vocals. I certainly gained a ton got out of that collaboration.
How was the recording of this disc different from your previous albums?
Dana: Someone else paid for it! Actually, working with a production team was a new experience. And they chose who to bring in and handled the sessions. Wayne and Vaneese are used to working with one or two takers, so I had to bone up quick.
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With that kind of experience around me, I was forced to rise to that level. Again, another skill I 'sort of gained' (well, almost anyway). Also there was a label manager chiming in from time to time. That was all new to me….
Promo plans?
Dana: It’s all you! Actually, there’s the usual live performance route. I feel like there’s a nice buzz that seems to be gaining ground with each passing gig; especially now that I embrace performing as opposed to being terrified by it. The CD’s getting airplay on various acoustic stations scattered around the US. I’m also taking advantage of what the internet has to offer. I can point people to itunes or the website which is in continual development, internet radio play is happening and there are some stations in Australia, Canada, the Netherlands etc. that are spinning some tunes. There are plenty of outlets on-line which is truly great. You don’t need to wait for someone to fall out of the sky and help you anymore. Just this morning we began shooting a video for “Slow Down Jane”. It’s not your typical music video. David Bradley, the director, is a great commercial editor. He’s working with some funky visual techniques which should be very interesting. Also, David Zeller-Ford, a fine documentarian/producer brought a three-camera crew to one of my recent concerts. We have plans to work that footage as well. I really love the idea of mixing music with other media like film/video and with the internet as an outlet, it’s all very exciting.
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Dana on label support
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'I’d say that an attractive model for a label would be one that doesn’t force you to change who you are, one that is willing to do the necessary grass roots work, as well as one that is not broke.'
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Are you looking for label support? What are you looking for in a label?
Dana: I’m not actively looking for anything specific right now. I am however very active in the music and art while keeping my eye on the industry. I’d say that an attractive model for a label would be one that doesn’t force you to change who you are, one that is willing to do the necessary grass roots work, as well as one that is not broke. It sucks for everyone involved when there ain’t no money.
How important is it to you to be hands on about all the non musical aspects? (fliers, cd artwork, web design)
Dana: Very important. I’m relatively visually inclined and tend to have lots of ideas when it comes to artwork or anything that has to do with the music. I’ve also learned that no one’s gonna do it for you -though I increasingly have grass roots support. It always comes back to me driving this thing forward, exhausting as it often can be. But music’s in the genes; it’s a huge part of who you are (if that’s who you are). So you tend to keep on going.
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Who are some of your favorite local bands to play shows with?
Dana: I used to live and play in Boston. Back then I would perform with people like Stephanie Corby and Cactus Highway. Ever since I moved, I usually work my own shows. I do collaborate with a lot of different musicians like NYC guitarist, Chris Foley, who’s active in many NY bands -namely Black Bunny. One thing I regret is that I’m not part of any real scene. There doesn’t seem to be anything going on like what happened in Grenwich Village during the 60’s; a bohemian artistic community with common goals. I’m always hoping something like that rises up again -but with a modern spin.
What are you working on right now?
Dana: I have a bag of tunes that will more than likely become my next record. I’ve been recording and experimenting in my basement studio and am loving what’s happening. I’m really beginning to open up and explore different types of sounds which I plan to blend with my more typical earthy acoustic musicality. I feel completely alive in creativity (Thank God) and can’t wait to see how this next project shapes up.
What are you reading right now?
Dana: The Art of Mixing (or something like that), ProTool for Dummies….that’s where my head is right now. I never thought I’d become a sound engineer, but nowadays I feel like you got to do everything; and why not?
Do you feel that you have any specific challenges or advantages being from/based in Cold Spring, New York?
Dana: Advantages absolutely. I’m within driving/train distance to NYC and that place gives me a great charge. It’s a perfect balance because I live way out in the hills on a quaint dirt road. I’ve met great filmmakers, producers…all kinds of talented people.
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The Playlist
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Dana's Playlist
Beck's 5-song EP, Hell Yes.
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