Part of a continuing series of articles on the Chapman
Stick and the artists who play them.
Created and produced by Andy Long.
Since I began writing this series of
articles on Stick players some months ago, my knowledge
of the instrument and it's exponents has, understandably,
I now get e-mails from all around the world, keeping me
informed of the activities of Stickistas: One such e-mail
that recently grabbed my attention was from Guillermo
Cides has been another of the great Stick pioneers over
the last ten years or so and has performed with some great
names, including Roger Hodgson, Fish and Rick Wakeman.
He is also an established teacher, originally from Argentina
and now working in Spain. His latest venture, and the
subject of the said e-mail, is the establishment of the
'Stick Center' as a training resource for Stickistas.
I am thankful to David Sancho of Stick Center for acting
as a translator for this interview. Because of the language
issue I decided to present this feature as a straight
question and answer item, exactly as it took place, with
just a few linguistic corrections
Long : Tell me about your new Stick Center In Spain.
Where is it located?
GC : The Stick Center is
a virtual idea. This means that it's actions happen in different
places and ways. These places may be Music Schools, Concerts,
Seminars in selected places. Informative meetings for musicians
who wish to take a look and know about The Stick and/or
the tapping technique.
The Stick Center is a place for making music, editing CDs
and promoting artists, being a place for them to meet. As
with any virtual idea, it is possible to transport it to
any place necessary.
Now it is in Spain. Some time ago it was in Argentina (perhaps
the country where The Stick acquired it's most popularity
due to the diffusion made by artists by means of TV and
I consider that music is kind of an opportunity, and due
to this, the idea to meet musicians is not necessarily and
exclusively for teaching.
To teach something very new is an idea that implies the
use of a power. My objective is not to be a music "demonstrator"
but a music "artist". Regarding my 15 years of
experience in concerts around different countries, I just
can say I don't know more than others.
I just knew before. Information is just a matter of time,
not quantity, and it is on this concept that The Stick Center
is working its actions.
The Stick Center has representatives in several Spanish
cities who try to promote their activities by mean of artistic
actions, getting personally in contact with the interested
musicians, who get into artists later so the cycle starts
This is an idea I proposed to Emmett some time ago: to organise
Stick Centers in different places across the world, with
musicians who speak each country's language, and are linked
to every other Stick Center, sharing information about techniques,
CDs, books and artists. A network. This is still an open
project for whoever wants it.
What sort of training do you offer there?
GC : The first "training"
Stick Center was always implemented to be directed to the
audience. When I started giving my Stick concerts, the first
question to me was: Concerts of what?
That also was the question from some promoters. Artistic
actions always begin at the attempt to convince others that
your art is possible. Musicians get trained to be musicians,
but the audience have also to be trained to be an audience.
The second "training" will be to attempt to get
the musicians in contact with each other. This is something
that doesn't always happen.
The third "training" will attempt to get the musician
to discover ways of expression by means of his/her instrument,
helped by the Stick Center.
This is not just technique itself. Particularly in The Stick
I have seen everything one can imagine about techniques
No one has the answer, that means: everybody has it, and
it is possible to share this answer, to analyse it and to
practice it in a seminar or a private meeting.
The idea of playing in front of the audience, what is learned,
is based upon the fact that many techniques we learn are
fine-tuned when musicians play their songs for the audience.
The fourth "training" is on an individual basis.
Each musician is different from others regarding his/her
needs. Being in contact with us will help to answer his/her
questions, person to person or by mail.
This instruction is not just directed to Stickistas. There
is a phase for non-Stickistas, it is for everyone who wants
to be sure that The Stick is the instrument they need.
I believe that not everybody has to play the Stick and most
musicians do not have the possibility to meet a Stick before
making up their minds. For this reason we have created a
series of encounters with the Center's instruments to facilitate
the road to the future Stickistas.
AL : I believe that
you first started this idea of a Stick Center in Argentina,
how did it all begin?
When I got my first Stick in my hands, I knew nothing about
it. I didn't know about Emmett nor had CDs to understand
what to do with this instrument: No instructors were in
Argentina, so my learning was just self-instruction, at
the best Pavlov style: trial and error.
I gave my first concert a year and a half later. The idea
to form a Stick Center in Argentina was born from the necessity
to share some doubts and questions I had, with other musicians,
so I had to show many of them about the existence of The
The best way I found was making music with The Stick. Then
it grew up rapidly. I myself recorded my CDs (I have three
actually), I started my tours.
Then The Ensamble de Stickistas was born (Stickistas was
a name in Spanish I chose for the ensemble10 years ago,
many Stick Players use it nowadays) in with which we gave
concerts in different ways. We played at theaters, pubs,
shows, including with John Wetton (ex Asia, King Crimson...)
and Fish (ex Marillion).
I remember the official Ensamble de Stickistas presentation
in Buenos Aires... . It was at a theater, where the Stickistas
were distributed round the audience while one of them played
on the stage. Then the next Stickista appeared at the back
of the audience, and then a duo at the lateral, and then
a trio in the corner...It was fantastic. We also presented
The Stick Center in Spain this way.
: How can our readers keep in touch with the
work of the new Stick Center?
GC : An option is our web
page, of course. It is www.stickcenter.com. Another is our
mailing list, if they could send us an e-mail we will include
On a daily basis we update our website, there you can find
many mp3's from many artists and my CDs'. We are inviting
the whole world's Stickistas to send us their works, photographs
and news to include in our website and promote their works.
We also wait for the mail of musicians who do not touch
the Chapman Stick, but wish to be informed about our activities,
new CDs, new mp3, etc.
AL : You have worked
with some of the great names in progressive rock - Fish,
Wakeman, Wetton and others. Is progressive rock your first
GC : Not specially.
I came from a part of the rock, although this verb was transforming
for me. For some reason, the progressive music world has
found in my CDs some of their codes. But usually my concerts
go from one place to another. From -for example- The Spanish
Guitar Festival, The U-Zona Reggae Festival, or Jazz festivals,
added to the concerts I gave with Emerson, Lake &
Palmer, Roger Hodgson, Wakeman or others. This is kind of
an issue to CDs shops because they do not know where to
include my CDs! Especially now that I released my last CD
which is a Tribute to Bach interpreted totally with Stick.
How did you begin to work with these great artists?
GC : Well, many of
them received my works from the promoters. For example,
when Roger Hodgson went to Buenos Aires, the idea was proposed
to him to open his concerts with a musician playing a strange
10 stringed instrument. After the show, Roger said he enjoyed
my performance and he asked me to join his tour for 8 countries.
It was an excellent experience for me to play every day
for 5000 people.
I met Fish at Sheffield, when I was invited by the Classic
RocSociety to open Fish's presentation of his CD "Sunsets
on Empires". I met him again some years later in Buenos
Peter Hammill was listening to my first album "El Mundo
Interior de los Planetas" on the plane. When his promoter
told me that, I ran to his hotel. "The Stickman!!..."-he
Some years ago I was working with the Guitar Craft of Robert
Fripp. It was an interesting experience to know their personal
points of view about the music.
All of them are very charismatic musicians who understand
my attempts to make something different.
: Tell me about the effects you use. Looping
seems to be an integral part of your sound and you use the
GC : My concert sound
has different parts. I work from what I call "Acoustic
Stick", it is the pure sound from the instrument, no
processing. I also work with two Trace Elliot bass systems,
one for the guitar section of the Stick and the other for
the bass section. My processors are just simple multi-effects.
Loops are also part of my work, but just part of it. I utilise
loops as a way to make songs. I don't make "ambience"
generally but I attempt make songs with a loop format. On
my CD "Primitivo" you will find a Bach song in
a looped version.
I like to create extra-sharp sounds, and use my E-bow sometimes
to obtain long sounds. Generally, my intention is that the
effects serve the music and not the opposite.
en directo, abriendo el show de Jethro Tull en Argentina
: Your latest CD is an interpretation of the
work of Bach, played entirely on Stick. Why did you choose
to record this tribute?
GC : At first it is
a protest CD, like in the sixties. I was living in Holland
when I decided to do this work. I was very tired because
of the pressure I felt from the attitude of some people
to the music, say producers or the competitive environment
in which musicians seem to flow into in some moment. At
that time I decided that my contribution this Great Confusion
should be a tribute CD to the Beginning of much of our music.
And this was Bach.
This composer always attracted me not only because of his
compositional greatness, but also for the curious history
of his life: Full of work and dedication to both music and
his study of Gematry (the study of the mathematical relationship
of the musical notes).
I am not a classical musician, because of this it is just
a tribute CD which is not to be performed in a live concert,
at least not for now. For this I would need a symphonic
orchestra in order to interpret, for example, the Brandenburg
Any way, this tribute filled me with pleasure while I was
recording. So many people ask me how I obtained the violin
sounds. I don't use MIDI sounds.
This particular violin sound was based in a specific way
of vibrato, then a smooth distortion and finally a volume
pedal. The funny thing I did to obtain a more realistic
sound was that first I recorded a melodic viola line in
a channel: Then in an adjacent channel I recorded the sound
generated by a woodspoon, (yes, a wood spoon) being rasped
against the strings in rhythm with the melody.
This provided a similar sensation to that produced by the
violin bow. As you see, it was better using ingenuity than
merely expensive processors...
AL : Apart from the establishment of the new
Center, what are your immediate plans for the future.
GC : Someone asked
me once: How do you imagine your future with The Stick?
My answer was I am just living my future. This was what
I imagined I would do when imagining my future. My days
go fast in the middle of Stick concerts: Rehearsal with
the Ensamble de Stickistas Españoles (with which
we already started to play), the organisation of our next
seminar; new tests for a future CD; and finishing my book.
(Which will be edited by the Center). Lastly feeding my
horse in the country where I live!
Andy Long is our correspondent in the
U.K. and the author of numerous articles in Global Bass
for a number of issues. Andy will be continuing over 2002
with a series of interesting and provocative interviews
with some of the UK's best and brightest bass players.
Check out his official website at Third
Andy's CD Spiral with 3rd Day Rising is now available through
BSO at: http://www.bassstuffonline.com/cds.htm#al
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Copyright © 2002 Global Bass Online
Guillermo Cides official Web Page
The Stick Center thanks Andy Long for this interview.
The Stick Center