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Kenn Morr
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KENN MORR
MOVE ON
Website Contact
CD-Baby
Op een bijgevoegde flyer wordt de volgende v...KENN MORR
MOVE ON
Website Contact
CD-Baby
Op een bijgevoegde flyer wordt de volgende vraag gesteld: wat heeft Kenn Morr gemeen met Bob Dylan, Simon & Garfunkel, Leonard Cohen, The Byrds, Johnny Cash, Louis Armstrong, Jimmy Cliff, Carl Perkins & Willie Nelson? Hebt u misschien enig idee? Wel, hier is het antwoord: hun platen werden allemaal ooit geproduceerd door de legendarische knoppenspecialist Bob Johnston. Ontgoocheld door dit antwoord? Dat hoeft niet echt want Bob Johnston heeft het allerbeste uit Kenn Morr gehaald en samengebundeld op diens album “New Moon Rising” uit 2004. De originaliteit van zijn songschrijverstalent, de melodieuze vlot in het gehoor liggende muziek en zijn muzikale, maniakale drang naar perfectie zitten vervat in dit werkje. Dat album betekende de grote doorbraak voor de uit Connecticut stammende Kenn Morr die in 2006 nog een album onder de titel “Coming Home” uitbracht en ons nu zijn nieuwste cd “Move On” heeft toegestuurd. Deze keer heeft hij de plaat zelf geproduceerd en voller doen klinken door toevoeging van een groter instrumentarium, inclusief piano, mandoline, viool, lap steel, mondharmonica en subtiel aanwezige percussie. Voor drie van de nummers zocht en kreeg hij sterke vocale ondersteuning: Rex Fowler zingt mee op het nummer “Don’t Turn Around” en de unieke stem van Annie Golden prijkt trots op “Still Need You Near” (een absoluut hoogtepunt op deze plaat) en op “Girl With The Auburn Hair”. Die kleine dame zal voor eeuwig in onze herinneringen blijven dankzij het liedje “Tell Me Your Plans” dat ze de hitlijsten inzong met The Shirts in 1978, alweer 30 jaar geleden. Dat leverde haar toen een glansrol op in de musical en in de film “Hair”. Maar we zouden het hier voornamelijk over Kenn Morr hebben en diens nieuwe cd “Move On”. Wel, dit werkje bevat 12 zelfgeschreven goede liedjes die stuk voor stuk een gedreven zanger laten horen met een pakkend stemgeluid. De meeste van deze nummers kan je na een paar beluisteringen probleemloos meeneuriën. De liedjes hebben een intiem karakter en bestaan uit eerlijke en op het persoonlijke leven geïnspireerde teksten. De titeltrack “Move On” is een muzikale brief aan een vriend met de raad om het trieste verleden te vergeten en optimistisch naar de toekomst te kijken. Ditzelfde onderwerp komt aan bod in de song “Don’t Turn Around”. Het liedje “Blue Morn” is een autobiografisch verhaal over hoe Kenn Morr de gebeurtenissen van 9/11 persoonlijk ervaren heeft. Hij bevond zich op die bewuste dag heel dicht bij Ground Zero en beschrijft in dit liedje hoe zijn vlucht uit New York verliep en wat zijn gevoelens bij dit weerzinwekkende gebeuren waren. Muzikaal verloopt de reis doorheen deze cd ook over diverse paden. Zo komen vleugjes reggae (“Get Back”), rock (“Let’s Take Tonight”), country (“River Song”) en Keltische invloeden aan bod en toont Kenn Morr ons dat hij een artiest met vele talenten is en in al die verschillende stijlen moeiteloos weet stand te houden. “Move On” is een heel mooie en aangename plaat van een man wiens stem mij steeds doet denken aan Elliott Murphy in zijn ballads. En dat is toch al een hele grote mijnheer, niet? “Everything Will Be Fine” zingt Kenn Morr in het laatste liedje op deze cd. Daar zijn wij inmiddels voor hem toch van overtuigd.
(valsam)
www.rootstime.be
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Kenn Morr- Move On
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Kenn Morr - "Move On" by "Lady" Jane Rushmore, Are U on Something.com
Kenn Morr, the insightful ...Kenn Morr - "Move On" by "Lady" Jane Rushmore, Are U on Something.com
Kenn Morr, the insightful troubadour from Connecticut, is back with the forth collection of home-spun melodies called "Move On."
This time out he has created an easy rollin', yet provocative tapestry that offers a lot of advice in the form of life lessons learned along the road. Morr's whispering, grainy vocals shout sincerity, nevertheless the lyrics will get you to thinking. Take the title cut "Move On" where he sings, "Gotta get yourself back," but then advises to "move on." This paradoxical tune, as with all the rest, begs to be listened to several times.
As always with Morr's projects there is some fine playing too – pleasant piano-violin jam in the middle of "Make You Mine," tasty and subdued jazz piano opening with a fine harmonica blend on "Blue Morn," etc. The music covers you like a cozy blanket in a tent near the campfire.
A standout track is "Once More." In the opening line the singer lies, saying he's "Got no words to say right now," then proceeds to lay down 19 lines and a chorus worth of words including some of the finest on the CD: "When you're running low on love you know its hard to pay the price."
If you are already a Kenn Morr fan you won't be disappointed with his current offering, and if you are new to his music, the latest work is a fine place to start. To purchase a copy go to www.kennmorr.com
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Kenn Morr-Move On
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Kenn Morr- "Move On" by Peter D. George, Northeast Sounds
¡§Move On,¡¨ Kenn Morr¡¦s fourth CD re...Kenn Morr- "Move On" by Peter D. George, Northeast Sounds
¡§Move On,¡¨ Kenn Morr¡¦s fourth CD release, finds the Long Island-bred, rural Connecticut-transplanted singer-songwriter and his tight trio fashioning an especially intimate song cycle. Seldom do you hear music so reflective and detailed„oso honest, and once you¡¦ve heard the album a time or two, you¡¦ll have a tough time getting the memorable tunes out of your head.
Morr composed all the songs, most of which speak of very personal experience, from the opening title track, ¡§Move On¡¨¡Xa musical letter counseling a friend to forget the broken past and embrace the future¡Xto ¡§Blue Morn,¡¨ an autobiographical account of the events of 9/11/01. Morr was near Ground Zero at the time and describes¡Xin a moving, yet surprisingly tuneful way¡Xthe rush to leave the city where the people ¡§were upside down¡¨ and ¡§order wasn¡¦t anywhere to be found.¡¨
The CD takes the listener on a journey from grown-up rock through reggae, country, and Celtic flavors. Morr¡¦s distinctively deep voice is the focus, and the singer also handles guitar, mandolin, lap steel, and harmonica. Dan Hocott supplies harmony vocals and deep bass grooves (stand-up, acoustic, and electric), while Bob Gaspar adds just the right colors on drums and an interesting assortment of percussion. Karen Nolan decorates a few of the songs with seductive violin.
Rex Fowler, voice of veteran folk ¡¥n¡¦ roll heroes Aztec Two-Step, contributes a memorable vocal to ¡§Don¡¦t Turn Around¡¨„oanother song about embracing the present and future and not dwelling in the past. Romance is a significant part of this song cycle, especially in the two guest appearances by stage, screen, and recording star Annie Golden, who shares the vocal on ¡§Still Need You Near¡¨ (a highlight) and adds a haunting, operatic refrain to ¡§Girl With the Auburn Hair.¡¨
¡§Get Back¡¨ is a sharp reggae number about returning to one¡¦s core values. ¡§Late Summer Skies¡¨ is one of the most evocative accounts of that catch-in-the-throat time of year that you¡¦re likely to hear, riding lush waves of insects, ocean, and wind.
Put on this beautifully textured collection of songs after a long day¡Xaccompanied, perhaps, by ¡§a smoke and a glass of red wine¡¨¡X¡§get lost in the music like leaves in the wind¡¨ and ¡§know everything will be fine,¡¨ as the beautiful concluding song suggests.
¡§Move On¡¨ is a richly rewarding CD to which you¡¦ll look forward to returning.
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Kenn Morr-Coming Home
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Coming Home – Kenn Morr
CD Review by Dr. Philip Lombard
On Kenn Morr's first two collecti...Coming Home – Kenn Morr
CD Review by Dr. Philip Lombard
On Kenn Morr's first two collections he teamed with talented producers, but on "Coming Home," this multi-talented artist decided to produce the album himself. The result has a lucid honesty that is refreshing and long overdue.
Morr has created an atmospheric CD about a man's search for himself. It's a collection of personal songs; not just about the singer/songwriter, but also about us all. This album asks many questions which lead to the ultimate question: What is our purpose? It is a musical journey well worth taking. In the end, the artist discovers he's "got no time for worry/too much time is dead" and "the morning sky reminds him that God is out there somewhere." How do you put Kenn Morr's distinct vocal sound into words? Well, think of an American Donovan blended with the soft whispering sound of Don Williams.
The album kicks off with the title track "Coming Home," which opens with a haunting guitar and lovely flowing female harmonies. It's reminiscent of a mid-70's laid-back Eric Clapton tune with a lyric that includes "When we say goodbye I die inside." It doesn't get any more honest than that. "Mesa Moon" sneaks up on you and is complex in it's simplicity. This tune features a very subtle Johnny Cash-type rhythm, which drives the guitar and violin. It's the most country flavored tune on the CD and is the gem of the album. It finds the troubadour out on the endless highway once again and features perfect harmonies that drift over Karen Nolan's violin. Listen to the ladies nail the word…My - i - ind …at the end before the picking guitar fade. If this is any indication of Mr. Morr's ability to write a great country song, then let's hope that someday he'll record a complete album of country music.
Another prize is "In The Name of Rock And Roll." A great title for a wonderful tune that sounds like Dire Straits Unplugged. It features the weaved sound of organ, drums and violin over and under Morr's whispering, talking blues vocal. It's a tune for anyone who's ever plugged in an electric guitar in an attempt to keep rock and roll alive. I'd love to hear Bob Dylan cut this great example of Morr's unique writing.
On "Baby It's Me," the musical mood is elevated. It's the next morning, our hero wakes up and begins to pick up the pieces but realizes that it all begins and ends with him. The melody is gentle on the mind and weaves it's way into your consciousness. The line "Down and out ain't where I want to be" says it all.
On "Cold Winds," Morr's production technique shines through with the crisp sound of violin and guitar that ease you into a flowing feel of the old west – the story of a man who "Got the word and it wasn't good." It's a tune about traveling on with a broken spirit and features a tasty harmonica break plus harmony vocals shared with Rex Fowler.
There are six additional tracks that make up a sensitive reflective CD that is a gift to the ears and senses in these troubling times.
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THE KENN MORR BAND HELP STOLI REACH FOR HIGHER GROUND
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THE KENN MORR BAND HELP STOLI REACH FOR HIGHER GROUND
May 3, 2010 | by Skope Staff
This is an ex...THE KENN MORR BAND HELP STOLI REACH FOR HIGHER GROUND
May 3, 2010 | by Skope Staff
This is an exciting week to be in and a fan of The Kenn Morr Band. I say that becuase I just finished listening to their unreleased new album, ‘Higher Ground’ and it is a wonderful listen. Kenn & the band will be heading to NYC’s Bitter End on this Friday night, May 7th, to officially release the album to the public. We got a chance to talk with Kenn and he was more than gracious on all fronts. He even offers Skope readers a free MP3 of the title track so enjoy!
Stoli: Where are we talking from today and what are you doing today?
KM: I’m at home getting ready to build a portable basketball hoop for my sons and hoping to get it finished before they get home from school.
Stoli: How has the response to your new album, ‘Higher Ground’ been so far?
KM: “Higher Ground” will not be officially released to the public until early May. We’re playing a show at The Bitter End on Friday May 7th to celebrate the release. However those close to me who have heard the album seem to feel it’s my best work to date.
Stoli: Did you know that the album would catch on so well in over eight countries in Europe and any plans to tour there once the volcanic ash subsides?
KM: I would LOVE to tour Europe. “Move On” was the first album I ever promoted there. I was real pleased by response. We’re hoping “Higher Ground” will help open some doors to make a tour feasible.
Stoli: What has moving to the Berkshires done to help elevate your musical creativity?
KM: This is an easy one. I live in Heaven. When each season comes I find myself saying “this is the prettiest season of them all…” regardless of whether it’s the chill of Autumn or the first snow of Winter or Spring’s thaw. Each season is amplified in this part of the world. I grew up on Long Island where the lines between the seasons were a little blurry. In the Berkshiresthere is little doubt when winter ends and spring sets in. Life here is a bit slower than down in NY. Less people. Less traffic. A lot of open roads (and believe it or not I write a lot while driving…) I’ve often said living here is almost “cheating” from a songwriter’s standpoint. I mean from the rivers to the mountains, hills, wildlife etc.. It just makes it easier. Plus we are located in an area that makes getting to New York City and Boston pretty easy. So I never feel cut-off from the rest of the world.
Kenn Morr “Higher Ground” MP3:
SKOPE IT HERE!
Stoli: You are a musician and father of two boys. How do you balance your music passion and being a mentor to your boys?
KM: Funny you should use the word “passion” because that’s exactly what my music is to me. But parenting is a WHOLE other level of passion. Nolan is 9 and James is 6. Being a good dad to them is far more important than whether or not my album sells. I never thought I’d say those words (much-less believe them) but it’s true. And ironically every member of my band has been a stay-at-home dad at one point in their life. Which is probably another reason we all get along so well. There’s a certain kinship that goes with being an “involved” father. I honestly cannot believe how much I love being a dad. It’s the only job I’ve ever had that matters. And it matters in a BIG way. The balance between music and parenting isn’t easy. But knowing my priorities is REAL easy.
Stoli: Can we expect the Morr boys to be getting into music in the future and do you encourage that?
KM: We have this wonderful recording studio at the house where(most of) my last three titles have been recorded. My son James has his little black drum kit in the studio. Both boys have shown interest in music. And there are instruments all over the house. So we make it “available” to them without pressuring them or being structured. I’ve made it clear to them I will do anything to help them learn to play and write etc. so long as it comes from THEM and not me. It’s really the only way. I don’t want to ever take something as wonderful as music and “force” it. So I try to “encourage” in a subtle way because I’d hate to chase them away. I didn’t start playing and writing until I was 19 years old and it only happened because I wanted it so badly. And once I started I couldn’t stop. “The Morr Brothers” have already cut songs in our studio. They love it. They switch off between instruments. James has taken some lessons and Nolan played some violin in school. But it’s all real laid-back. I guess this is a “wait and see”.
Stoli: You have put out 5 albums which is awesome. Do you think that with technology your fans will buy your music digitally right off your website one day?
KM: My CDs are currently available on my website at www.KennMorr.com. There’s a direct link to I-Tunes for downloads and to CD Baby if fans want the CD. So (thankfully) technology has already made it possible to purchase off the site. Which is wonderful.
Stoli: Where can readers pick up the new album both physically & digitally?
KM: Please go to www.KennMorr.com and click the links and the music will be in your hands instantly.
Stoli: You have alot of live shows coming up. What can we expect from a live Ken Morr show?
KM: You can expect to see four guys who love playing music together. And our vibe seems to be infectious to the audience. I also think injecting some humor into my raps between songs is a real important aspect. Much of what I write about is real life things. Real emotions, real situations and real feelings. So it’s nice to balance that with humor.
http://skopemag.com/wp-content/uploads/2010/05/Band_Shot_2_phixr1.jpghttp://skopemag.com/wp-content/uploads/2010/05/Band_Shot_2_phixr1.jpg
Stoli: I found your music to be very mellow but melodic which I like alot. Would you say that your music is a direct reflection of your personality?
KM: “Mellow and Melodic”…I like that. And I agree. I never made the connection between mellow, melodic and my personality. But I guess it’s undeniable. Much of the time I’m looking for the funny angles in life. In most situations. But my music let’s me express the more serious and reflective part of my personality. I’ve often said if I spoke about the things I sing about nobody would want to hang out with me. Music lets me express the more serious emotions. I’m able to sneak those emotions to the listener through mellow and melodic music (to use your words.)
Stoli: Have Tom, Dan, & Bob always been with the band and how did you all come together to make music?
KM: I’ve had the pleasure of playing with COUNTLESS musicians. And on Long Island there was no shortage of talented players due to the close proximity to New York City and all the major studios. When we moved to Connecticut to raise a family I started from scratch. And it did not take long to realize what I had been told. This area is literally a breeding ground for great players. I formed a few different bands and kept looking for the “right” players. Then one day I got an email from Bob Gaspar saying he purchased one of my CDs at a local store and he was wondering if I was looking for a drummer. Ironically I was looking for a drummer and asked Bob to come over. He blew me away the first time I heard him play. He plays mostly hand drums and percussion and is also great on a standard kit. I knew I had a vital “new” piece to my puzzle. We played at a coffeehouse and were approached by bassist Dan Hocott. He said he liked the sound and wondered if we’d be interested in jamming with him. He came to the studio shortly after and the three of us grooved like we had been playing together for a hundred years. The final piece of the puzzle came when my friend Ben heard me say I was looking for a multi-instrumentalist. Ben placed an add for a player (unbeknownst to me) and Tom Hagymasi responded. Tom plays fiddle, accordion, mandolin, bouzouki and sings wonderful harmonies. The first time the four of us jammed was amazing. And it’s still amazing to me. It’s the first time in my career where I can use the word “effortless” to describe playing with a band.
Stoli: For those just learning of the Kenn Morr band here at Skope, what is one thing you want them to know about you to remember you by?
KM: I’m hoping to be remembered by the songs and the honest and simple approach we have to the music and the joy we share when we play it. I have a big wooden carving hanging on the studio wall that says “SIMPLIFY”. That kind of says it all.
Stoli: What is coming up for Kenn Morr Band and where can we follow you guys online?
KM: As I mentioned, we are releasing “Higher Ground” on Friday May 7th at the (legendary) Bitter End on Bleaker St. in NYC. The show starts at 7 pm sharp and tickets are $15 which includes a copy of “Higher Ground”. We are also playing a Connecticut release show at the Buttonwood Tree Performing Arts Center in Middletown CT on Friday June 11th. The show starts at 8 pm and admission is $10.
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Kenn Morr
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Kenn Morr
by Gary Allen, The Music City Beat & Tennessee C...
Kenn Morr
by Gary Allen, The Music City Beat & Tennessee Concerts.com (March 2010)
Americana roots rocker and singer songwriter Kenn Morr may not stand out in a crowd yet, but he is writing songs that could
become part of American musical culture. As the drummer with JJ Cale, these songs sounded pleasantly familiar poetically and the
delivery sincere and as irresistible as the reluctant legend from Tulsa himself. I sense the same humility and musical integrity in him as Cale, who retains a quiet on stage demeanor that allows the music to speak for itself. We also have crossed paths with Kenn on his musical journey with legendary producer Bob Johnston, who recorded my former boss, Charlie Daniels on Dylan's Nashville recordings. He has also been compared to Leonard Cohen who took Daniels on his first European tour years before we made a name for ourselves.
Kenn plays guitar, piano, mandolin, lap steel, harmonica and has even produced himself in his own home studio. He pulled off an impressive first runnerup status in my Sonicbids "Best Song In The World Competition", and this round was stiff as Richard Nixon.
Humble and well grounded, he may back peddle the notion, but his songs rate up there with tunes from Music City's finest writers. The Connecticut troubadour has the rare ability to chart what appears to be familiar territory but taking a fresh new path. His latest CD Move On, is unique, the lyrics universal and his vocal delivery comparable to Gordon Lightfoot and Tom Petty at the top of their game.
Kenn's vocal patterns are guarded, genuine, original and intriguing. He seems to have an unending well of melodies that echo purpose and evoke deep thought and a well balanced laid back approach to life and song. I appreciate an unconventional style with conviction; Kenn along with his band are a pleasant and interesting combination. The songs from his fourth CD Move On, are honest and personal and seem to be from a kindler gentler place than where we live today. It takes masterful lyrics and thought provoking topics to take the audience on that trip.
Kenn has an eclectic style that successfully blends jazz, rock folk and countless textures and colors . I first saw Kenn on YouTube, and I flashed back to seeing a young Donovan opening for English rockers, Yes. Donovan also trekked back and forth to Nashville in the early days and cut several singles on small labels before radio gave him the proverbial nod. Kenn is radio ready, now he has to let radio jump on his bandwagon. JJ Cale says do what you do best and let your audience come around to you.
I advise Kenn to enjoy the family time and the mountain foothill scenery before record companies and promoters start pounding on his door with corporate sponsored deals and a year long itinerary. The power to realize your dreams are in your hands and in your songs. If you follow the music, all the rest will follow. Congratulations and much success! Artists of your caliber is what makes it all worthwhile for me to be involved. Merry Christmas & rock the new year with a joyful noise my friend!
- Gary Allen (JJ Cale, The Charlie Daniels Band)
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Kenn Morr Reaches for Higher Ground
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Wednesday, May 19, 2010
Kenn Morr Reaches For Higher Ground - (Are You On Something.Com May 2010)
...Wednesday, May 19, 2010
Kenn Morr Reaches For Higher Ground - (Are You On Something.Com May 2010)
Kenn Morr is a singer songwriter with an international fan base and five CD’s worth of his own material in release including “Today,” “New Moon Rising,” Coming Home.” Move On,” and his latest, and most mature work to date, “Higher Ground.” A few years ago on this site the late Dr. Philip Lombard wrote, “On Kenn Morr's first two collections he teamed with talented producers, but on "Coming Home," this multi-talented artist decided to produce the album himself. The result has a lucid honesty that is refreshing and long overdue……..How do you put Kenn Morr's distinct vocal sound into words? Well, think of an American Donovan blended with the soft whispering sound of Don Williams.” Morr recently took a few moments out of his busy touring schedule and talked about his new CD and shared some valuable insights on what it takes to be an independent artist in the 2000’s.
How’d you get into this whole music thing anyway? What was the first music you heard as a kid that got to you?
I grew up listening to Singer/Songwriters….Simon and Garfunkel…Cat Stevens and James Taylor. I’m the youngest of seven children. So most of my siblings were playing music of the time and a lot of it was the melodic, mostly-mellow music with deep lyrics. Songs that said something. Then when I got into junior high and high school I discovered Jackson Browne, Dan Fogelberg and CSN. When I got to college I was turned onto Gordon Lightfoot, but everything truly changed when my brother Walter made me a tape. One side all Dylan, with a lot of abstract cuts, and the other was Neil Young. And the rest is history. There was nothing else I wanted to do with my life.
How did you go from a guy who played music as a hobby to becoming a professional troubadour?
The first time I picked up a guitar I knew I never felt about anything the way I felt about playing music. Then I wrote my first in long line of horrible songs. But the process of writing became a source of relief for my mind. I was able to express a part of myself through music. And once that connection was made I decided I was going to pursue music.
One day on the way home from a gig my wife turned to me in the car and told me she thought I should quit my day job, sell the house, down-size and cut our expenses so I could be a full-time songwriter/musician. I’ll never forget where we were when she said it. I can point to the spot on the Hutchinson Parkway. It was that much of a powerful moment. I felt like there was somebody else who believed in me enough to completely change her lifestyle. I’ll never forget the feeling. It was a cross between relief and fear. Mostly relief. We placed the house on the market the next day and I quit the job within four months of that day.
Tell us about your new album.
It’s called “Higher Ground.”
Where did you record it?
In my home studio in Colebrook, CT. This is the first album in my career that was recorded with only the musicians in my touring band. It was a conscious decision to capture our vibe without bringing in guests. Fiddler Tom Hagymasi insisted I send the new songs to the band without any arrangements. He wanted to hear the songs in their most naked form. Just me and a guitar or piano. No harmonies, no embellishments. This was foreign to me. Even a bit scary. Because I had always felt it better to present songs the way I heard them in my head. With the harmony, with hooks etc. But looking back it was a great idea on Tom’s part and the record clearly reflects the imprint from Tom and, bassist, Dan Hocott, and percussionist Bob Gaspar.
What’s your favorite tune?
At the risk of choosing one “child” over another I’d have to say “Higher Ground”. That song wrote itself.
The CD came out real fine.
Thanks, the thing I really like about this record is it was written in a very short time and the recording process with these guys was effortless. And I think the music reflects that. Or at least I hope it does.
You are the definition of an independent artist. Of course you write your own material and every artist has their own way of creating the songs, but what happens next?
Once I write a song, I let it sit a while. If when I come back to the song…after having forgotten it… the song goes to the next step. The “demo” step where I work on arrangements, harmonies, instrumentation. This is so I can hear the song “fully-realized” without going through the whole formal process of recording it for a record. If after this process the song still holds up then it goes in the pile to be considered for a CD.
How do you select where or who to record with?
Fortunately these days that’s an easy question. I have a wonderful recording studio in my home. I’ve recorded in studios in Nashville, New York City, Long Island, Queens, Connecticut, Massachusetts upstate NY. Been there, done that. And none of those experiences come close to the comfort of recording in your own space on your own time-line with little overhead and no pressure. And while in the past I’ve worked with professional producers and studio musicians these days I have a band who is so in-tuned with the vision it was almost effortless to record “Higher Ground.”
Where does the financing come from?
The financing comes from us. Fortunately the expense of recording is greatly reduced with a home studio. I’ve mastered my last four releases in Nashville with Benny Quinn who is one of the best in the business. That’s the biggest expense in the recording process, but it’s also totally worth it. In the past when someone financed the project I felt bound to their vision rather than my own. Not a good feeling.
Once you are done how do you publicize your new CD?
That’s the magic question because that goes back to financing. You simply can’t make one of these records without promoting it. So it’s necessary to hire a radio promoter and a publicist. I have a wonderful publicist in Sweden who promotes to radio and press in Europe. He made some headway with my previous release, “Move On,” so we’re looking forward to sending “Higher Ground” through the same contacts and hopefully more channels. We will simultaneously be doing the same in the states.
How do you make it available to the public?
Thanks to the internet the music is available to the world at www.KennMorr.com. The ideal formula is a music fan either hears us on the radio, internet, reads about us or hears about us through word of mouth and goes to the site. There is a link to I-Tunes, CD Baby and several other distributors who help with the transaction.
Let’s talk about live gigs…You’ve opened for some big names; you do the coffee house/club date and you headline your own concerts outdoors…………..How do you get bookings?
I have an agent who helps with the dates. The smaller gigs are fun because they are real up-close and personal. It’s a great way to test material or raps/stories between songs. It’s also a great way to get names and email addresses of new fans and sell CDs.
Which is your favorite type of gig?
Last year I got a bit spoiled. We played Infinity Hall in Norfolk, CT, Sandisfield Arts Center in Sandisfield, Mass., Northwest Nature Center in Windsor, CT. so I’d have to say small theatres are my favorite venues. Recently we played the Bitter End in New York City and that was magical as well. The outdoor venues are also great because the audiences are of all ages. I guess the real answer is any venue where people go to seriously listen is my favorite type of venue. And to quote a famous phrase “size doesn’t matter.” (Laughs.)
When you perform live how much new material do you include?
Now that we have this new record available if I play a night where we are playing two sets, about 18 songs or so. I’d guess we’d play about seven of the new songs. It also depends on the older material I choose to play. A set list is like a puzzle. The pieces all have to go together. Pacing is very important. So that comes into play as well.
Got any stories from gigs gone past?
Every gig has a story. And there is the funny and there is the sad. I’ll never forget playing an in-store at Borders somewhere on Long Island. A woman sat in the audience crying the whole time. I couldn’t figure it out. After the show there was a sealed envelope on my amplifier. It was a note from the woman explaining her brother had just died and she was “sure” he would have loved my music. So while the experience itself was a bit bizarre after I read the note the experience suddenly seemed wonderful. That woman was using the music as her therapy.
Another time I can remember playing a tiny coffee house in Canton, CT. A couple was sitting real close to me for the last set. I was solo. It was informal enough for them to say “play us your favorite song that you’ve written.” I hesitated because I hesitate to have a “favorite.” My songs are like my children. So I looked at the husband, who made the request, and jokingly said “do you have any kids?” He said “Yes...two...” So I said “okay, who is your favorite child?” I thought he would say “I can’t choose between my children.” Instead he quickly answered “Timmy”. Well, his wife was horrified. I started a song and could hear her sternly explaining to her husband “he was trying to make a point. You’re not supposed to have a favorite child. And why is Timmy your favorite?” It turned into a tense scene. They left soon thereafter. Evening ruined by Kenn Morr.
Great stories. What’s the best and worst thing about being an independent artist?
The best thing is you create your art for its true purpose and you can listen to advice but don’t “have to” follow it. The bad part of being an Indy is the fact the financing is always an issue and it’s very difficult to get heard when the big machine runs things. And by “big machine” I mean the major labels. Let’s just say it’s not very easy doing this without the kind of financial backing a major label provides.
Where do you see yourself in five years from now?
Still making music. Ideally for more people at more venues in different places and other countries.
Thanks for your time Kenn. Any final thoughts?
Yes. I’d like to say thank you to you for this interview and I’d like to thank all of the wonderful people who have helped me over the years. Believe me, they know who they are. Finally and most-important I’d like to thank those who purchase the CDs, go to the shows etc. Words can never tell....
supersonic
Standin' Still
