Q On the evidence of Little Bushman's debut album, Onus of Sand, and follow-up Pendulum, your music seems unlikely to suit those with limited attention spans.
Do you enjoy the longer format, the slow burn, taking the listener (and yourselves) on a journey?
A I think I have always been an advocate for the longer, journey-type songs. I just reckon that songwriters shouldn't use parameters like minutes and commercial radio to write songs.
On the other hand, if it feels right at three minutes, then don't flog it. I like to write and record what I would like to listen to at home or in the car.
And the same can be said for our live performances - basically, what I would want to go and see. I'm usually only just starting to warm into a track after the first five-minute intro.
Q Though some of your material seems inspired by Hendrix and Led Zeppelin, other songs seem equally informed by a jazz ethos, particularly a use of space.
Is it a case of what you don't play being as important as the notes you lay down?
A Yeah, the space thing is a "tool" that lots of different genres use in their music.
The '60s was one of the most experimental decades for a whole lot of different parts of the music world and we need space to be able to experiment.
I was at a Wynton Marsalis masterclass and he rattled off this quote (I think it was from Miles Davis) about some dude who was just blowing all over the place and Miles said, "Don't just play something - stand there!" Leaving space allows us to make room for others and also to just shut up and check out what else is going on in the band.
Q How important is the use of dynamics (for example, volume) to your music?
A Dynamics is a huge part of our music.
I get too bored if the song doesn't swell or decrescendo.
These days, when there is so much good music out there, I think the audience has an expectation of sorts to hear something adventurous or just to be taken somewhere and we'd be struggling if we didn't use dynamics.
Even within that one element there are heaps of different ways to use it, that is, Quiet, quiet... crank it!... crank it!... ssshhh...
Q Besides vocals, your major contribution to Little Bushman is via keyboards (in particular, a Fender Rhodes). Why that instrument? What makes it so special?
A I love the tone of the Rhodes. She is a beautiful instrument - a 1973 Suitcase. But really, I just enjoy being a rhythm-type support guy - not a soloist.
My dad, when he was teaching me guitar, used to say, "You've got to learn rhythm before you can play lead", and I guess I just stayed playing rhythm.
My sax stint with Fat Freddy's was more as a soloist/ensemble player but I just really love the sound of the Rhodes.
She makes anything you play sound choice!
Q How busy are you these days? Are you involved in any other projects? Are you still enjoying life on the farmlet in the Wairarapa?
A I would say I've got the perfect balance between work and play. The Wairarapa is big-sky country so there is plenty of space to create.
We have set up a little studio so I get to work on other little projects. I'm working on a couple of solo concept albums and a couple of films, which is really exciting. It keeps me off the golf course, that's for sure!
Q You always seem to have a store of ideas and songs. How's the muse? Who or what inspires you at the moment?
A I find there is plenty of fodder to write about.
I'm kind of steering clear of negative political stuff for a while or maybe I'll disguise it as a whole album dedicated to fast-food and permaculture.
I have thought about this very subject though and I reckon you can amalgamate it all beneath two basic umbrella categories: love and politics.
Everything in existence seems to fit under either one of those.
