An in-depth interview with Willie Wisely in three questions

Having reviewed Willie Wisely’s show at Pan-O-Prog in Lakeville, in July, I briefly chatted with him between the first two sets. Because time was short, Wisely told me to send him any questions electronically and he would respond to them. Well, he certainly did. So rather than try to paraphrase his very complete answers in the review, here’s the transcript of questions and answers. Thanks to Wisely for his participation.

Question 1. As someone who has been in the local music scene for as long as you have, you seem to know everyone and can put bands together for things like Pan-O-Prog at will. Thinking of this one, how did you decide who to reach out to, and how quickly did this group come together?

Answer: I depend on a wide array of local musicians. Back in 90’s Minneapolis, among the scene of artists/bands who were playing their own songs (original music as opposed to cover songs), players were not in as many bands as they are today. But in today’s scene, enabled by all manner of technology, it’s easier (and smarter) for those talented enough to play in many settings, to do so. As a singer-songwriter, putting together the bands, this allows me a more painterly approach to building the on-stage team, using the unique colors and strengths that each player may bring. In one regard this makes for a lot more work, putting together unique combos of people all the time, some who’ve never played together before. But on the other hand, it allows me to be more whimsical with where I hear my music headed and how I want it played, right now. That said, I grew up in this Minneapolis scene before spending 18 years in Los Angeles, so It’s only natural that I’d call certain folks over and again from my deep past. For instance, drummer Peter Anderson and I have played together close to 40 years, and bassist John Fields over 25, but then guitarist Ryan Smith, off to my right at Pan-O-Prog… he and I had essentially never boarded a stage together, but for a song at his annual Replacements tribute last year. But I’ve been watching Ryan in his many projects for decades, always going to see he and Pony [Smith] in the Melismatics when they came to LA and am fully aware of his enormous capabilities, not to mention he teaches my son guitar. And to finish answering your question, astonishingly, we played that gig with a single two-hour rehearsal three weeks ago. So, we played Pan-O-Prog for three hours, but only rehearsed for two. That’s some upside-down math, but not if you’re as deeply talented as these cats.

Question 2. With as much original music as you have, how do you approach an event like this where you have decided to play a certain genre / covers?

Answer: Yeah, we only played three of my original songs over the afternoon. “Parador” in particular flew very high. Here’s a video from the third set.

I’ve played Pan-O-Prog three times prior, playing all originals at least two of those times. And I felt honestly appreciated by the crowd, which is wonderful. But, for a street festival of this kind, where the music (despite kicking out the jams and delivering a BIG show) cannot be the main focus. There’s thousands of kids, hours-long parades, food trucks by the dozens… my conclusion is that it’s best to play music where the message from my heart is less about my life, and more about me exploring my shared influences with the crowd. My few original songs, in the context of my heroes, wind up standing out more. Plus, they make utter sense given what the people just heard me play from artists they know and I feel like that leads people to be more deeply curious about what it is that I’ve created from scratch. And besides all that, conveying the spirit of high-water-mark 60’s, 70’ and 80’s rock, and the great abandon with which it was made, is something I feel deeply inspired to do in my life. Young audiences need to see that everything now has its precedent. That timeless and very cool stuff, which often matches and surpasses what is created now is out there and ready for their ears and imaginations. It’s important that we remember our collective music history. Otherwise, as a culture, we all start believing that “IT’S NEW, SO IT MUST BE GREAT”. That’s an idea I’m out to suffocate and crush – using my own longevity and commitment to this art form. If I really, really had my desert island druthers, everyone would just be listening to Bill Evans and Miles Davis all the time.

Question 3. What are the next performance or two upcoming?

Answer: Haha, I should have something booked, shouldn’t I? Something will hit the calendar soon, but right now the mode is “follow the love”. It seems that when I aggressively book a specific club or event or try to play at regular intervals, it winds up not being exactly fulfilling. So, waiting for vibey invitations, gigs in special places, things arranged by friends… has been the way to go. Those gigs seem authentic and devoid of ego and superficiality. I’m grateful for what life has handed me in the form of a day job, working in Business Development (acquisitions) at Concord, an indie label, publisher and theatrical company. Working in the music industry has always been something I’ve loved, in tandem with being an artist. Whether it was working at record stores, distributors, First Avenue & 7th St. Entry, managing bands, composing for film or corporate clients, producing albums for others, or even archival work, it’s always felt inspirational to the making of my own music… understanding the business of it, with a knowing view of why it’s needed and how it can serve creators.