Noncommunicative, but some nuggets.
http://www.mydesert.com/article/20091203/LIFESTYLES01/91203020/Brian+Wilson+interview+reveals+no+plans+past+GershwinQUESTION: Have you gotten back into working on the Gershwin project?WILSON: Yeah.
How was it leaving the project to go on the road? Do you take a tape recorder or note pads so you can work on it?Yeah. I take a tape recorder with me.
So, how does that work for you? Do you come up with ideas while you’re working?Well, whenever I get inspired.
Do you have a routine where you sit down to make the inspiration come?No, it’s just whenever it happens, it happens.
Did it happen?Yeah. I got some stuff on tape.
Are you pleased with the way that project is going?Yes.
A lot of people are kind of surprised that you were influenced by Gershwin. Can you recall your first inspiration from the Gershwins?I first heard Gershwin when I was two years old. Then, later on, I learned how to play that pretty part in “Rhapsody In Blue.”
How old were you when you learned that -- the improvisational part of “Rhapsody,” right?Yeah. I was 28.
28? So you were already acclaimed as a genius and were looking for something new to do?Right.
Where did that lead you? Did it make you want to learn more about Gershwin?No, no. I just learned that part. I really didn’t learn anything else from him.
I know you got this project when you signed with Disney, but, how did you get (to finish) his compositions -- the scraps of them, so to speak?Well, the Disney people called us and asked if I would like to work on some unfinished tapes, and that’s what we did.
I know the Gershwin estate is very particular about even who gets to give a Gershwin concert. Did you have to go through any type of conversations with the family to assure them...No. They sent us the tapes.
Can you tell me what your inspiration for those tapes are?Ah, what my what?
What your inspiration is. Where you’re going to take them.I have no idea. I’m just working on it now. I haven’t got much done.
Gershwin is so New York and you’re so Southern California, will there be a meeting of geography here?No. Actually the stuff I’m going to do is completely different from his stuff.
Will it be like what you did with “Lucky Ol’ Sun” -- bringing the Brian Wilson-Beach Boys harmonies to it?No. We’re just doing piano stuff.
No vocals at all?No.
So you’re not using any Ira Gershwin material?No. We’re doing 10 Ira and George Gershwin songs, but we’re doing two unfinished piano things.
I was talking with Barry Manilow, who got some of Johnny Mercer’s unfinished material and turned that into what I think is his best album ever. He told me he thought you were perfect for this project. He calls you a genius.Great.
You’re performing against him. He’s at (the McCallum Theatre) the night you’re in Rancho Mirage... Ah, you’ve been coming out to Indian Wells for a while now, right?Right.
How do you feel about playing in this area now that you’re a part-time resident?You mean, Palm Springs?
Yeah.I like that place a lot. Yeah.
I know your wife likes to play golf. What have you found enjoyable about your home out here?In Palm Springs?
Yeah.Not much. I just like the weather.
So, going back to the Gershwin thing for a moment. I know Phil Ramone is also coming out with a Gershwin project in 2010. Do you feel any pressure to compete with him?No, no. They will probably be two different kinds of things.
They’ll be coming out around the same time. Do you concern yourself with the practicalities of how a piece does commercially?Well, yeah. I don’t know if this is going to sell, but they have a lot of money, so they can promote it.
Right. Are you looking at this as something that will top “SMiLE” or “Lucky Ol’ Sun”?No. It will be a completely different kind of album. It won’t top “SMiLE.” It’s not a concept album. It’s just an album of “Wilson Sings Gershwin.”
(edited out)
Are you working with any collaborators on this Gershwin project?Well, yeah. I’m working with my friend Paul Mertens. He’s one of my band members. He’s a horn player.
So you’ll have a horn arrangement on this?He’s going to make the horn and string arrangements for the Gershwin songs that Ira wrote and George wrote.
Are you working on any more popular music in addition to Gershwin now?No, not really.
Do you know where you’re going to go after that project?I don’t know.
You have another album to satisfy your contract with Disney, but you don’t know what that’s going to be yet?No.
OK. Do you ever have ideas that pop into your head that don’t fit the Gershwin project? And, if so, what do you do with them?Well, you mean if they’re not related to Gershwin?
Yeah.I just discard them.
Really?Yeah.
Wow. You write them down but you throw them away?Actually, my whole project now is Gershwin. Anything not Gershwin, I don’t use.
I would think you’d be afraid of losing some idea that might be valuable in five years to you.I don’t know.
You’re just so confident that you’re going to come up with new ideas, huh?Right. right.
How did you get so confident?I don’t know. I just have a lot of will power and creativity in me.
OK. Well, is there anything else you want to tell me?No. It’s a great interview. Thank you very much.
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