Solo, by Dickie Landry

Solo

by Dickie Landry

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1.	12 Saxophones 11:33	buy track
2.	Ghosties 08:08	buy track
3.	St. Gallen 21:13	buy track

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Zydeco master Clifton Chenier's words cut to the core of this album and the artist whose work it collects Dickie Landry knew and worked with Chenier, and another of his favorite quotes comes from patron Dominique de Menil: "Too often virtuosity has been taken for art." she said. "Though virtuosity plays a part, it is not the essential part. Virtuosity can be acquired by labor. What great painters are struggling for is beyond virtuosity and labor. It is almost a grace, but one which descends only upon those who work ceaselessly, upon those who risk everything."

Landry grew up in the rural, French-speaking south Louisiana town of Cecilia, where Time magazine's weekly art page and other influences drew him to dream of a career as a jazz musician, a classical musician, or maybe a classical painter. When he saw fellow southerner Robert Rauschenberg's "Bed" in 1956, “That cut all ties to anything," Landry says. "If he could paint his bed and hang it in an exhibition, I was free to do whatever I wanted to do."

After recording with regional blue-eyed soul band The Swing Kings, Landry moved to New York City where, among many other things, he performed, recorded and exhibited his photographs, videotapes and drawings at Leo Castelli's contemporary art gallery. Castelli encouraged Landry to paint, but was in ill health when Landry began painting in 1994 and didn't get to see his canvases.

credits

released November 1, 2006

Produced by Dickie Landry
Covert painting, "Ogden Red Split" (1996) 48" x 64" Oil and acrylic on canvas by Dickie Landry
Executive Producer: Todd Mouton
Recordings © Dickie Landry, Avec Tu Music (BMI)
Originally released on CD in 2006 by the Way Down in Louisiana label as WDIL-1201

12 SAXOPHONES was recorded and mixed in 1997 by the late Dr. Tommy Comeaux in his home studio in Lafayette. "Tommy had about 50 vintage guitars and dobros on stands in one room," Landry says. "I played a few notes on my saxophone and all the sympathetic strings started vibrating. I said 'let's record that but Tommy insisted we work on our original plan, so I helped him set up his mixing board for the recording of a quadraphonic piece. I began playing and stopped after about 12 minutes. He asked if we were finished and I said, 'No, rewind the tape and let's overdub another solo with the delays.' When we finished with the second track he said, 'I get it. It sounds like an orchestra.' I then had him rewind the tape for a third pass, which resulted in '12 Saxophones.' A few months later, at a gig the night before he died, we planned to get together a week later to record my saxophone with his guitars. I am still searching for that situation.

GHOSTIES was recorded one evening in 1986 when I visited Richard Peck at his studio in New York City. His Roland D-70 synthesizer was set on a sound patch called Ghosties. I began playing and immediately asked him to turn his recorder on. This is my first pass, my breathing in and out yoga piece.

ST. GALLEN was recorded at the Kunstmuseum in St. Gallen, Switzerland in 1994 in a large rectangular room with a domed glass ceiling and incredible acoustics. Curator Roland Wespé invited me to perform for the opening of an art exhibition by friend and fellow Louisiana native Keith Sonnier. The day before the opening I played my tenor saxophone in this room for a few minutes and asked Assistant Curator Corrine Schatz if she could find a digital tape recorder with stereo mics. The reverb in the room was nearly identical to my quad delay performance system which utilizes four speakers, amps, a microphone, mixing board, engineer, etc. There's nothing here but my saxophone and the room.

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Dickie Landry Lafayette, Louisiana

dickielandry.com

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