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 Posted - 03/30/2002 : 08:19:59 AM
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Beyond face value
Tim Reynolds makes music for things that can't be put into words
By T. Christian Hampton
Correspondent
Guitarist Tim Reynolds is probably best known for his association with Dave Matthews. The two friends have recorded and toured together in the past few years -- something Reynolds says has given him enough of a glimpse of huge commercial success to know not to aspire to it. He performs Tuesday, Nov. 13 at the Georgia Theatre.
Special
''It doesn't take much for me to go into rant mode these days,'' says Tim Reynolds upon offering an unnecessary apology at the end of the interview, which he's given by phone from his tour bus in Wisconsin.
The conversation has consisted primarily of Reynolds sharing his opinions on most everything around him: national events, music, culture -- verbose outbursts that aren't rants in an angry sense, just evidence of a restless mind that would not be content existing in this world without trying to challenge and change it.
Currently residing in New Mexico, the guitarist is probably best known for his association with Dave Matthews. The two friends have recorded and toured together in the past few years, giving Reynolds enough of a glimpse of huge commercial success to know not to aspire to it.
''It's good to see what it's like, but knowing myself that's not where I need to go,'' he says.
Inside the cover of his latest CD, ''Nomadic Wavelength'' (TR Music), he offers to his fans a list of ''recommended websites for enacting social change.''
Reynolds says he decided to do this to let ''people know where they can go to get ... information that might help them see beyond the face values of things we are usually presented with, which isn't really as much information as we could use to make better judgments about things like foreign policy and world events.''
''These problems that are happening now are problems that go back for centuries between Christians and Moslems ... it's a deep thing and nobody can look at themselves and see (it) ... Our country is like the teen-ager that has no tendency for self-reflection ... That knowledge is also prevalent; everybody knows it, but nobody wants to take it to the next level and deal with it ... It's a simple thing, but society has become complex, and it's going to take a lot of time to de-complex it and get back to people understanding people individually.''
His active mind is evident in his music, too. His songs are instrumental, mainly based around acoustic guitar, but even without lyrics his need to question and be involved with his surroundings comes through.
Titles like ''Entity,'' ''Stranger in a Strained Land,'' ''Analyze'' and ''Repeat the Question'' reflect his individualistic nature. Reynolds translates his passions so purely into his music that listening to this album with one's eyes closed can invoke an emotional journey of self-reflection and frustration.
''(Music is) one of those things that comes from nowhere and then goes nowhere, in a way. It's kind of mysterious, you know, and that's the beauty of it ... You can describe it, but when it's happening the description doesn't mean anything. ... For me, music is my understanding of all those things that can't be put into words.''
Published in the Athens Banner-Herald on Thursday, November 8, 2001.
http://www.onlineathens.com/stories/110801/roc_1108010010.shtml
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Posted - 03/30/2002 : 08:42:43 AM
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A Chat With Tim Reynolds
A Luther student talks with the Dave Matthews friend and guitarist
by Lavonne Meyer, Staff Writer, Luther College Chips
Last Tuesday night, the long-awaited Acoustic Evening with Dave Matthews and Tim Reynolds became a reality for Luther concert-goers. Luther was the fifth concert on a 15-city tour of sites primarily in the Midwest and New England. Dave Matthews, of the Dave Matthews Band, and Tim Reynolds, leader of the group TR3, have been collaborating in music for ten years. They first met at a club named Miller's in Charlottesville, Virginia, where Matthews was a bartender and Reynolds frequently performed. Said Reynolds in a telephone interview Tuesday afternoon, "We just started hanging out. It was obvious he had musical talent and charisma."
When asked about touring with Matthews, Reynolds responded enthusiastically. "It's really great -- very lush," he said. He said he is able to enjoy "more luxurious accommodations than I would've experienced without him." Of including so many college sites on their latest tour, Reynolds said, "It's great -- although it's hard to get the vibe of each different place when you're only there for one day."
Of his own band, TR3, Reynolds commented, "I've had my own band for a while in Virginia." TR3 was established as an underground favorite when Reynolds and Matthews first met. "We had a sort of cult following, if you will," he said. Because they have been on the music scene for quite a while, they have "gone through different phases. It's been positive because we've been free to do what we wanted with our music. The bad part would be that we have not pushed ourselves in the commercial sense."
He added that his recent work with Matthews has also helped his own band's endeavors. "We were able to tour all over the U.S. last summer because of the exposure gained from working with Dave," Reynolds said. Overall, Reynolds has greatly enjoyed working with Dave Matthews and plans to continue to do so. "It's been a learning experience," he says, " a great learning experience."
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Posted - 03/30/2002 : 09:00:55 AM
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Tim Reynolds & Puke Matrix Theory
By Bob Makin
Long before there was a Dave Matthews Band, several DMB members played with an eclectic, virtuoso guitarist named Tim Reynolds. Reynolds used to perform with them at a Charlottesville joint called Miller's, where Matthews used to bartend. When Dave Matthews Band began to record, they would ask Reynolds to guest. Matthews and Reynolds also would tour colleges as an acoustic duo. One of those shows was captured on Live at Luther College, which recently was released on Matthews' Bama Rags Records. The release coincided with a brief tour between the longtime friends. Reynolds also recently toured with the entire Dave Matthews Band and plans to do so again this summer. When not working with Matthews and DMB, Reynolds leads his own band, Puke Matrix, formerly called TR3. I spoke with Reynolds about his tightness with DMB and his own musical vision.
Did you hook up with Dave Matthews at Miller's?
Yup, in the late '80s. I played there all the time. He was a bartender there. I knew the rest of band way before that. We played together Charlottesvilles since I moved there in '81. I would play with LeRoi and Carter. Dave moved to town in '87. Besides being a bartender he also did a lot of acting. He was the best actor in town, just a natural. He's brilliant.
How did those early days affect your eclectic style?
Getting together with Carter and all those guys. They were always cats who'd play all kinds of music. Stylistically, there were no barriers there. That's part of something we share together. Carter always played rock and jazz. Same with LeRoi. They all grew up Charlottesville. I move there in '81 from the Midwest. We all had a love for music but not just one kind. We'd all get together and play jazz at high society gigs, but we'd also play funk and rock.
It wasn't a big effort to stop and think, OK, we're playing jazz now. It would just come out in the music as one big thing. That developed over the years. I was always into other kinds of music. As soon as I learned rock, I got into progressive rock, then jazz. Then when I got sick of that, I got into world music. So now I've gone full circle, because industrial rock has gotten me back into rock. I like when the lines of music are blurred. I can get into Marilyn Manson, but then I also can bet into bebop guitarist Joe Pass. Trent Reznor is genious in his own way and Joe Pass is a technical wizard, yet he's not related to the way Trent puts music together with computers. He has a whole band on computer, whereas Pass is a whole band with his strings.
I like to play with effects then no effects. One day, I will not touch a guitar, but I'll make music with all these toys that make me sound like a guitarist. Music is like moods. A certain kind of music gets you in a certain mood. For years, I didn't like any modern rock. I didn't open to the esthetic of it. Then, when I was spending some time in the studio with Dave Matthews Band, I was driving one night and the harder stuff kept me awake. So now I've developed a taste for harder music that I never would have considered 10 years ago.
You've been guesting with the Dave Matthews Band and playing acoustically with Dave for some time. Why not just join DMB?
Before they ever started and during and after, I've been doing my own thing for years. It's not the biggest, most popular thing in the world but it means a lot to me, and I like to keep in touch with it. It's gotten more popular working with Dave. I'm doing more and more each year. I'm not in the media as much, but it's a steady thing.
I've been doing TR3 sine '84, but now it's called Puke Matrix. The name comes from the involuntary nature of how the music comes out. The guys in the band make me play wilder than anything else. They make do things I wouldn't think of. TR3 was a jazzy worldbeat thing, but I've wanted to rock out with a rock band since '95. We had to get a different agent, because we couldn't deal with it anymore. He wanted us to be this Grateful Dead jam band. I was like, "Fuck you! I want to rock." Now I'm having so much more fun playing music. That's why I like do all of Dave's gigs, then I go on to the other gig and it make it so fresh. I learn bunch from each and they feed off of each other.
How good of a guitarist is Dave Matthews?
He's really good. He has a unique style, very understated. But it's not like simple folk guitar. He wears his hand out playing those songs. His voicings are based on thirds, and he uses his pinky a lot. A lot of guitar players couldn't hang with his shit. Rock n roll is really about the rhythm guitar. Without the rhythms, the solos wouldn't have as much balls. They wouldn't be anything underneath to dance to it.
How much did the acoustic tour you did with Matthews in 1996 help shape the songs on Crash?
Not that much. When we did Crash, we did a lot of improvising in the studio. The songs would just come up. But Crash was already formed by the time we went out on the road. "Don't Drink the Water" came out of the acoustic shows. That drone jam.
Live at Luther College was recorded before DMB started playing arenas. But now, colleges no longer can afford to book Dave Matthews Band. How much do you think the recent acoustic tour was a thank you to the colleges who helped nuture Dave Matthews Band?
I'm sure that's part of it. I don't really know. But I'm sure comes into play. The main reason is also, because he totally likes to do this. He's really into it. These large venues aren't initmate. People are, like, rowdy, but it's not intimate. It's like, "Ssshhh!" especially on like a Friday night when everybody's partying.
You have your own live album coming out on soon on TR Records, a followup to "Sanctuary." What will that be like?
It's called "Somewhere Else Live." I wanted to divest from the name TR3. That's why we came up with the joke name Puke Matrix. We wanted to clear the area for punking. We don't have moshing, but we're having puking. Half the stuff has been done before, half is new stuff. It's an electric power trio, like Band of Gypsies trying be industiral without computers. I want control my shit for a while. This year, we might do something with a label later. We have few offers, but I want to rock out. People want me do somethng else. I can afford to do things on my own terms, so I want to keep it up. Once get into the pop arena, you have to spend a lot of time nurturing that. It's like being on a presidential campaign until you get to the top, then you can ride it a while. I just want to campaign below the presidential level. I want to hang out with my family and party and keep things fresh. The last thing I want to do is get burnt from being on the road.
You're a big fan of Nine Inch Nails and Marilyn Manson. What musical elements of music do you think your share with those bands?
I just like hard rock from back in the day. I grew up with that kind of music. Those guys harken back to it. Early Manson is like Black Sabbath and Alice Cooper, but it's definitely a modern take, not just copy cat. I hear where he copped some stuff rom that Bowie vibe too. I can relate to that.
I saw you play with DMB in Philly recently and I was really intrigued by the cool sounds you were getting out of your guitar. A lot of it seemed almost like sound effects more than straightahead playing, like the cool whale sounds and bleeps on "Deed Is Done." Comment on how you enjoy that and how it gives a twist to the music.
I've always been fan of that kind of stuff. One thing that happened ... years ago, I used to be able to sing real high and I found during the disco era, I could sing all the girl parts. Then I got into a car accident and severed my vocal chords. I could barely talk for years. Because I lost my ability to sing like that, I focused on different aspects of the guitar. Over the years, it made me take different things up on the guitar. I'm a fan of other instruments, so I like to experiment with sound. Over the years, I've really reconnected with that.
You are an incredibly eclectic musician who can play a variety of styles on a variety of instruments. Comment on how that adds to the spontaneous, improvisational nature of your music.
It just gives me different ideas of what things can sound like. That's almost as important as a musical note. The first time I heard Downward Spiral, those sounds reminded me of the first time I heard Led Zeppelin II. I was like, what the what hell this shit? It's like nothing I've ever heard before. It's the same way with avant garde or Coltrane.
You grew up in a pretty conservative household that initially didn't take your pursuit of music very well. Has your success changed that at all?
Oh yeah. We've long since buried that hatchet. My dad grew up in a fundamentalist scene. And he was in Vietnam. It kind of freaked him out when I got into this hippie music. But over the years he's come to realize that they sent him to bogus, bullshit war. He respects now that I'm making money.
Why move out to Sante Fe, N.M.?
It's like paradise. I'd been in Charlottesville 15 years. Coming from the Midest, that seemed exotic. But since '93, I've been going out there to see friends. I used to always say, "I want to move here someday." It's sunny almost all the time. It definitely has an effect on the mindset. Every day, I wake up, and it's like a sunny summer day. Even in winter, in the heat of the day, I can go in my back yard in a t-shirt and have a cup of coffee. It's nice and so pleasant.
http://www.jambands.com/mar99/features/reynolds.html
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Posted - 03/30/2002 : 09:13:30 AM
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Friday, April 27, 2001
Guitarist Tim Reynolds prefers simple performances without props
By Jennifer Slivka
Collegian Staff Writer
Crowbar, 420 E. College Ave. right before the sound check was almost completely devoid of human presence. The club was dark, not like it usually is at night when it's filled with concertgoers — but dusky, like an empty house.
Late day sunlight that peeked through the front door and upper-level windows was the only source of illumination, giving the club a sleepy atmosphere.
A man of small stature and altogether unassuming nature strolled into the Crowbar with his hands behind his back. He quietly absorbed the dark club surroundings and studied the pictures of musical acts on the walls like he was at a museum.
Later that night this quiet man, otherwise known as the 'guitar wizard' would have an attentive Crowbar crowd in the palm of his hand.
All Tim Reynolds needed was his guitar, and nothing else. Well maybe some floor pedals to add some experimental flavor to his solo acoustic performance, but that's it.
"I love the simplicity of it, but it's more of a challenge with no vocals and no props," Reynolds said. "If I don't do it, I'm taking the easy way out."
Reynolds knows what it is like to have those props, when his rock band TR3 would perform. According to Reynolds people had certain expectations from the band and it was harder to put everything together. It just wasn't generating enough business.
His solo tour however is generating enough business; therefore he has no plans in the near future for TR3. But he hopes eventually he will have enough money from his solo work to allow his to return to TR3.
But Reynolds really doesn't do it for the money. "For me, I can stretch this (acoustic performance) more," he said. "It's like meditation because you're physically there but not mentally."
Reynolds said that he often loses himself during long improvisations on stage, sometimes forgetting where he is. "If I start thinking about it, I'll get intimidated because of the surroundings," he said. "There's only microseconds of thought, but mostly nothing."
The current tour is in support of his recently released album Nomadic Wavelength, which Reynolds said is about trying to be an individual in society.
"This album has a lot of sonic experimentation with digital delays," Reynolds said. "It becomes electric even though it's acoustic."
He likens his new album more to his first solo acoustic album Stream because for half of the album he plays on a 12-string guitar, and the songwriting has "more interplay between time signatures."
Reynolds welcomes his fans to tape record his live performances because each performance is unique and he likes people to have access to his music.
http://www.collegian.psu.edu/archive/2001/04/04-27-01tdc/04-27-01darts-7.asp
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Posted - 03/30/2002 : 10:34:04 AM
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Here is a Press Release for the first show we met LizK at. I have edited out all the boring drivel about Wayne Brady. If you want to read it as well click the link at the bottom.
'WHOSE LINE IS IT ANYWAY?' COMIC WAYNE BRADY TO PERFORM APRIL 26
Also Performing Acoustic Guitarist Tim Reynolds
CHESTERTOWN, Md., April 4, 2001 -- Wayne Brady, comedy genius of the hit ABC show "Whose Line is it Anyway?", and acoustic guitar wizard Tim Reynolds, who has recorded and played with the Dave Matthews Band, will appear Thursday, April 26, 2001, at 8 p.m. in Washington College's Johnson Lifetime Fitness Center. General admission tickets are $25 in advance or $28 day of show. To order tickets, call TICKETMASTER at 410-481-SEAT or 800-551-SEAT.
(EDITED HERE BY FLUFFY)
Tim Reynolds is well known as an occasional guitarist with the Dave Matthews Band and has been called an "unplugged guru" with an uncommon command of melody and dissonance. Reynolds' horizons are so broad, his technical skills so immaculate, that it is difficult to attribute his playing to any one general style. With over 20 CDs in his discography, Reynolds has released his sixth solo CD, "Nomadic Wavelength," this April.
"I'm a fan of experimentation," says Reynolds. "So when it's just me on stage, I really have to focus my energy differently. It's much more crucial that I connect with my audience on some fundamental level."
http://www.washcoll.edu/wc/news/press_releases/01_4_9_brady_reynolds.html
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Posted - 03/30/2002 : 10:40:23 AM
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Solo Salvation
By picking and choosing his projects wisely, Tim Reynolds is picking and grinning his way toward artistic fulfillment
by Lee Abraham
Tim Reynolds has no regrets. Sure, he had a lock on fame and fortune if he would have joined the Dave Matthews Band, but Reynolds chose the trail less traveled, instead deciding to follow his own muse. That’s not say he turned his back on Matthews, an old buddy from back in the day, he didn’t. Quite the contrary. The two are tighter than ever. But by keeping his options open, Reynolds made it possible to keep their collaboration -and- friendship intact.
"I always kept my own thing going because by the time they were starting to get national recognition I was in my thirties," says Reynolds. "So I already knew myself enough to know that if I were to do that and make it a full time thing, I probably wouldn't hang with it. Whereas if I kind of stayed off to the side and did it whenever they did their records, the longevity would hang." Looking back, the decision still feels right. "Once I started doing my own thing, even though it wasn’t necessarily big and successful, I realized that was what I wanted to do."
-Doing his own thing- brought Reynolds a heavy rep as a fretboard stud. He’s earned it. The guy is one of the best guitar players on the planet. Didn’t start out that way though. Back in the mid ‘80s, Reynolds was struggling just to stay afloat. His salvation - a Monday night gig in Charlottesville, Virginia, playing solo. "I was so poor," he recalls, "that it was like the one gig that kind of kept me from being completely homeless. It started out with an electric guitar and effects, and I developed the effects to make it sound kind of orchestral. Then I dropped that mode and played sitar for a couple of years, just learning how to play instruments on this gig."
After the sitar phase Reynolds went to the 12 string guitar. Around that same time he crossed paths with a boisterous new bartender who had just been hired at the nightclub. His name - Dave Matthews. The two hit it off immediately. "He’s a very funny person," says Reynolds, "Very amazing sense of humor. Funnier than Jim Carey if you ask me. But it was so long ago, and we hung out so many times, I can’t really remember the very first time we met." While the introductions may not stand out, Reynolds vividly recalls their early jam sessions. "We’d do things that we thought were dark and evil, blood rock, or whatever," says an amused Reynolds. "He would do like rap versions of Amazing Grace. I would kind of do the music and he would do the vocals."
Knowing that he wanted to pursue his own projects, Reynolds encouraged Matthews to start a band of his own. What Reynolds didn’t know, was what a huge success that band would be. "When it first started out, I didn’t really think much of it," he recalls. "They would go out on the road and you could tell that they were at least being very successful locally. As in every town, people get really big locally, but you never think that necessarily translates into a national thing. As time went on, it was obvious that they were getting more national recognition."
"As soon as they made their first big record, right after that we did the acoustic tour," continues Reynolds. "So that was kind of like the other thing to do instead of join the band. We actually did those kind of gigs before they even did their first record locally, so that kind of developed for the joy of doing it." -Live At Luther College-, released in early ‘99, captures the unique chemistry between the two. A strong seller, the CD also helped Reynolds establish himself as a household name among the dorm room and frat house set.
Reynold’s new CD, -See Into Your Soul-, goes one step further, It’s -all- Reynolds. "Half the record is solo acoustic guitar recorded with no effects," he explains. "I started out playing bass, and doing that thumb, kind of slapping thing, and also played drums, so all those things come together to form what I do on guitar. The other half is a little harder to describe. It’s acoustic guitar but it’s also acoustic guitar through effects, so it doesn’t sound like acoustic guitar. It has more of -band- vibe. I like to rock out even though I play acoustic guitar and do solo gigs."
For Reynolds, it’s all about balance. Performing solo or with a band, electric, acoustic, or whatever, everything relates to the bigger musical picture. In the end though, it’s the solo acoustic stuff that gets Reynolds excited. "You can play lead guitar in a band and go wail and shred and all that, and it’s kind of fun, but in a way I can do that really easily," he says. "What I like about playing a solo thing is that you have to play the bass and the chords to make it sound like music. I wouldn’t really try to recreate the other half of the album live unless I had a band."
"I actually recorded the record that’s coming out now, last year. Since then I’ve written a bunch more acoustic stuff and some of it’s on the 12 string, so I’ll be playing a lot of 12 string. If there’s anything that I do that’s unique, which I don’t really know because I can’t really observe myself from anywhere other than inside of my own head, it will come out in this idiom as opposed to with a band."
http://www.mrlee.com/artistprofiles/tim%20reynolds.html
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Posted - 03/30/2002 : 11:51:40 AM
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Tim Reynolds shows a complex masterpiece
Travis Kroh
Staff Writer
Like most of the audience at last Saturday's concert at MSUM, I had only been exposed to Tim Reynolds' music through his work with Dave Matthews. Whatever our expectations were, few of usÊ got what we expected.
I'd venture to say that many in the crowd were surprised by the technology Reynolds used during his set. A lot of loops and sampling were peppered throughout the show, using four different guitars, primarily a six-string and 12-string pair of Martins.
Using samples he'd create right on stage, Reynolds weaved an intricate web of loops, and used it as a foundation for his unique brand of ultra-fast, ultra-complex acoustic work. The extensive use of technology during the show was a departure from the norm of acoustic guitarists, but as Reynolds said, "People generally like it because it's big and loud."
The variety of work that went into each tune was astounding. He could bounce his improvisation off of nearly anything, employing the use of prerecorded drum loops and bits and pieces of guitar taps and scrapes to manufacture and almost experimental-sounding masterpiece.
Reynolds himself was curiously silent throughout the show, only speaking a few lines between songs to make short commentary. Shortly before the end of the show, he quietly mentioned, "Remember, in an age when truth is the first victim of war, please think for yourself."
The opener, Greg Howard, played a Chapman Stick, which is an upright guitar-like instrument where the strings are tapped instead of plucked and played with both hands. I've never heard anything like it, and this guy was good.
Howard played a few covers, and it was cool to hear such a different take on stuff like Dave Matthews' "One Sweet World" and Bob Dylan's "All Along the Watchtower."
http://www.spectrum.ndsu.nodak.edu/Backissues/2001-02/11-02/ae/ae_timr.htm
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Posted - 03/30/2002 : 11:55:13 AM
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Time For Tim
Dave Matthews is coming to town with an old friend
By Jim Morekis
Tim Reynolds has a sweet gig. He's played guitar on all three Dave Matthews Band recordings. He's got his own solo career. And he doesn't have to tour with the band.
But he can join his good friend on a laid-back acoustic tour like the one hitting Spartanburg Feb. 8. Just Tim and Dave, like the good old days. In 1990, Reynolds was there, guitar in hand, when Dave Matthews took his first steps toward stardom in Charlottesville, Va. At a place called Miller's near the UVA campus, Matthews, then a bartender, approached Reynolds and asked if he could sing a Bob Marley song.
The pair's continuing musical friendship, though not quite on a level with Lennon-McCartney, has at the very least given us a much-needed alternative to "alternative."
Politically correct, critics' darlings, video-friendly...Dave Matthews and his band conquered first Charlottesville, then the music press, and finally the world. The band's third release, Crash, is already platinum, and it's a rare one if one of their arena shows doesn't sell out immediately.
"I don't tour with the full band," Reynolds says, not without satisfaction. "I've got a family and all that. When I go out on the road, I like to be fresh."
The acoustic gig at the Spartanburg Memorial Auditorium will be almost all Dave Matthew's material, in the familiar -- dare we say it? -- "Unplugged" format so popular these days.
"This will be just the Dave thing," Reynolds says. "I'll just play guitar. It's great to hear Dave sing with no one else, because he's such a good singer."
Reynolds and Matthews did a similar acoustic tour last year. It was so successful they decided to do the current tour, which also takes them to smaller cities with smaller venues than the Dave Matthews Band proper usually plays.
Reynolds says there are two big reasons the acoustic tours are so important.
"It's a different way to see what Dave does. It'll be mellow in relation to a concert with the band, but it'll have just as much energy," he says. "Dave talks more. He'll do the comedy/drama thing. He'll say something funny and then hit you with one of those deep songs of his."
Also, there's the obvious: "Dave's so popular, the big shows sell out," he says. The acoustic tour specifically stops at cities that aren't usually graced with the band's presence -- like, oh, say, Spartanburg.
On a typical Dave Matthews Band recording, the basic guitar parts come from the mind of Matthews himself. "The functional rhythm parts are always Dave," he says. "He writes the guts of it, because he writes all the songs."
The melodic fills and flashier parts are Reynolds', though. And much of the guitar parts that Matthews writes are actually played on the recordings by Reynolds.
A proverbial army brat, Reynolds was born in Wiesbaden, Germany, and traveled from post to post in the U.S. with his family. His father was a Pentecostal military man, which meant he got a dose of down-home religion along with the inevitable push-pull discipline and frugality of military life.
His first gig was playing bass before "writhing congregations of ecstatic worshippers." At his earliest opportunity, Reynolds left home to start his musical career.
In the mid-'80s in Charlottesville, Reynolds formed his own band, TR3, which has coexisted equally with the Dave Matthews projects ever since. In fact, he says, TR3 often shared double billing with the Dave Matthews Band in the early days.
You can hear the funky, experimental sounds of TR3 on the 1994 release, Light Up Ahead. It's got a wide-ranging feel, mixing straight jazz, rock, and funk, all played on a variety of instruments.
Unlike his role with Dave Matthews, Reynolds shoulders most of the singing with TR3. "I've got only one vocal cord that works, though, so it's a bit different," he says.
Multi-instrumentalist Reynolds performs sitar, mandolin, bass, and even violin with TR3, which he says has helped him view the acoustic guitar in a new light.
"It's as much about texture as anything," he says of the use of many different stringed instruments.
Reynolds recently finished a solo recording culled from his gigs at Miller's, Gossip of the Neurons. "It's just me and an acoustic guitar." He says he's happy with the way things have turned out for both him and Matthews, even though their outlooks are different.
"I've never really approached this as a business," he says. "I think in the long run, I may end up having a longer musical career because of that." Spend an acoustic evening with Dave Matthews and Tim Reynolds on Feb. 8 at the Spartanburg Memorial Auditorium beginning at 7:30 pm. Tickets are $22.50 and can be purchased at the box office or by calling (864) 233-2525.
http://archive.cln.com/greenville/newsstand/archives/020897/vibes2.htm
PS: THIS SHOW IS LONG OVER!!!!
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Posted - 03/30/2002 : 12:15:43 PM
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OUCH!! Here's one that must have been written by that misguided miscreant who wrote those horrible things about TR not having any focus or direction.
Main Entry: [2]miscreant
Function: noun
Date: 14th century
1 : INFIDEL, HERETIC
2 : one who behaves criminally or viciously
April 13, 2000
Spring Fair or ghetto fair?
BY TOM GUTTING
From the Gutt
Is Spring Fair over yet? I'm tired of it already. Ah, I won't rain on everyone's parade for once. I've just been to enough fairs in the past year to last a lifetime. It's got me kind of depressed as Spring Fair approaches.
Last summer, I spent about a week covering 4-H fairs in Indiana as an intern for the South Bend Tribune. It was not the highlight of my summer.
If you don't understand now why I'm tired of fairs, let me explain it to you more clearly.
Let's just say that people everywhere in Indiana love their fairs. And I've seen them come out in droves in St. Joseph, Elkhart, Marshall, LaPorte, Fulton and Starke counties.
They're not there for the carnival rides and crafts, which is what we associate with Spring Fair. Oh, no. They're there for all the 4-H stuff, especially the animal shows and beef auctions.
I should point out that I'm not trying to condemn 4-H, but you have to understand the association among the 4-H fairs and redneck America.
Every 4-H fair in Indiana is set up basically the same way. Near the entrance, you'll find the biggest attractions: barns for pigs, sheep, chickens, rabbits, cows, horses, goats and a bunch of other animals that have been raised by local 4-Hers hoping to win a big prize at the fair.
Nestled among these animal barns, too, is the project display building. All the different projects done by kids in 4-H classes are on display. These range from woodworking and leaf collections to growing vegetables, cake decorating and building model cars.
All of it — along with the smell of manure — helps create a deeply rural feel. And we haven't even gotten to the beef auctions and animal shows.
Maybe I'm just a cultural elitist, but I can't understand the fascination with watching nine and 10-year-olds sticking 1,000-pound cows in the feet with pointed pokers and prancing around a ring.
But that's a huge draw in good ol' Indiana. And it's as good as anything else around.
That must be why there are so many different categories of shows. And we haven't even gotten to the Midway yet!
You would be surprised, though, how similar our very own pride and joy — Spring Fair — is to all these little county fairs. But we're inferior to those good folk. Spring Fair is really just a bastardized version of a real fair.
What we do every April is a crappy crafts show mixed in with food and beer with a splash of third-rate entertainment on top.
Where are the games? Why can't I try to blow up a balloon with a squirt gun? Why can't I throw a lopsided baseball at wooden bottles and win a big stuffed animal for Sally Anne? Why, oh why, can't I be ripped off by carnies?
While I might not get lots of kicks at humble county fairs, at least they do it right. At least they have games that I might win at, rather than just a bunch of opportunities to blow money on food that might very well give me food poisoning.
I'm not getting anything back from Spring Fair. Not even good entertainment.
I love Spring Fair and all, but it's pretty sad when we can't get bigger acts than they do at the Elkhart County fair in Indiana.
Tim Reynolds? Why the hell do we, a top 10 university, get a half-assed Dave Matthews-wannabe instead of the real thing?
Don't even start with the sorry excuses about how big stars don't want to play small venues like Hopkins.
How come schools like Princeton and Yale get big-time acts every year, even when they're playing a tiny auditorium?
It's so poorly done. It's so Hopkins.
There are plenty of quality acts who play the fair circuit. Sure, they might be past their prime, but it's better than watching Tim Reynolds play while I'm trying to imagine being at a Dave Matthews concert.
I would rather see Steppenwolf (very active on the fair scene) or Def Leppard or some great group of old like that. At least it would be an evening of campy fun that would fill up Shriver.
And it wouldn't be pathetic.
But I'm being a knocker, not a booster. I should get on the bandwagon and be grateful for whatever we get here.
Besides, we're at Hopkins. The only thing we're good at is studying.
http://www.jhu.edu/~newslett/04-13-00/Features/4.html
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Fluffy
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Posted - 03/30/2002 : 12:27:24 PM
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ASTRAL PROJECTION REVIEW
TRANSLATED FROM FRENCH(sorry about the grammer Tericee)
Tim Reynolds: "Astral projection"
Label: Bama Rags
Distributor: Importation U.S.
Date of registration: 1999
Astral projection in the wall...
Then there, you say yourselves "oulamaisdidonc, I know this name?!!", and you are right surely! In fact, Tim Reynolds is a guitarist who is caught sometimes with the play of live with Dave Matthews , in duet of guitar folk lit by the jazzo-melody sonorites of the sarabands of notes which cherish the cortex of all one each one, and leave the sadness of a music too quickly stopped by an end. Therefore, I recapitulate, if you know it, it is that you know Dave Matthews, and yet, the exercise of the album reveals Tim Reynolds plus "Rock' roll", and much, but then really much less funk, jazz or even groove that what one could have believed of him. Accompanied by Houston Ross to low and John Gilmore to the battery, guitars, synthé, and the voice of Tim Reynolds engraves a scientist mixes of Massacre , Jon Spencer Blues Explosion , Marcus Miller and first Red Hot Chile Peppers . Seeking to precede the heaviness of rhythmic the rock'n'roll, this album develops the panel of influences which A had its author who shows being a polyglot guitarist of the fingers and kinds, talented in the exercise blues rock'n'roll of "Backdoor", highly skilled in the deferlantes punkrock of "I give up" and astonishing on "Free tibet". A good album for the fans of rock'n'roll in King' S X, but not for the fans of Dave Matthews more funks...
Note oubladi oublada, I have aaaaaauuuuxxx dooooooiiiiiiiiigts badly: (tiff)
http://translate.google.com/translate?hl=en&sl=fr&u=http://www.djouls.com/rock/timreynolds_astralproject.html&prev=/search%3Fq%3DTim%2BReynolds%26start%3D200%26hl%3Den%26sa%3DN
French Version for any French speaking board members. Pretty funny to look at even if you don't speak french. HEHE
http://www.djouls.com/rock/timreynolds_astralproject.html
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Posted - 03/30/2002 : 1:01:59 PM
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Acoustically Sound
Tim Reynolds finds solace in his new desert home as he experiments with new sounds
by Erik Ernst, a&e editor
Tim Reynolds is in an acoustic state of mind.
The virtuoso guitarist, who has gained fame for his mostly electric performances with the Dave Matthews Band has recently released an album of purely six- and 12-guitar pieces. He is currently in the midst of a nationwide tour that features only himself, his guitar and the audience.
"There's a really nice repore when everyone is in the same head space, which is no head space," Reynolds explained from his home in Santa Fe, N.M.
"It's almost meditative. It's a group mind that isn't really a mind, but a heart. These are just words for something that's really hard to explain."
His new album, Nomadic Wavelength, is a rediscovery of an earlier style for Reynolds. The album is much in the same spirit as one of Reynolds's earlier recordings, 1993's Stream. It is with the addition of effects on his acoustic guitars that gives the newer album its own distinct sound.
"(Initially) I wanted to record a lot of twelve-string solo pieces without any effects, much like Stream," Reynolds said, "But when I got into the studio I wanted to add a couple of other things. I had written the songs in the beginning of the year, and in my own little world, they were a personal advancement."
With the addition of effects and some subtle beats from an ashiko drum, Reynolds constructed an album that is different from the material he has released in past years. However, this is not surprising for a man who is constantly undertaking many different projects. It is the diversity of musical styles that he is able to partake in that makes his work exciting.
"That's the unconditional drive for me," Reynolds said, explaining how his evolving listening habits have mirrored his recording habits. "I never thought 17 years ago that I would be mad about metal now. A lot of that stuff just made me want to puke."
As he has grown, Reynolds has found an affinity for heavy metal groups whose music has deeper levels than just a thrashing sound.
"Like earlier Nine Inch Nails, I find that really intriguing," Reynolds said. "I would've never thought I would say that, because I listened to jazz and Ravi Shankar and stuff like that. (However), all that becomes more powerful when you listen to something with the raw power of metal. We all can love all kinds of music."
Reynolds, who started his career as a musician in Charlottesville, Va., became a Sante Fe resident in the last four years.
His new life in the sprawling West and his in-house recording studio has made it easy for Reynolds to forget the East.
"(I don't miss it) at all," Reynolds said, "only because where I live now is so big. It's like an expanding environment. Anytime you live anywhere for more than ten years, you feel like you need a new layer."
While Reynolds's relocation has helped him discover new directions in his music, it has also meant that he has had to leave behind his former band, a trio that went by various names like TR3 and Puke Matrix.
With the other band members still living on the East Coast, "The logistics are kind of silly," Reynolds said.
He has also found a new interest in electronic sounds and the Internet which has kept him busy.
"(It's) not that I want to be Joe Technology, because I'm not really good at it," Reynolds said, "but wanting to be the loner musician out West, for me, that is the kind of juice I'm on right now."
Some of the extra time that Reynolds has spent tinkering in the studio has led to extra treats for his fans. He has released a complete two-disc album, ID, on his Web site for free download. The album has twenty tracks with guitar, keyboard, bass and drum machine.
"Now that I have a studio," Reynolds said, "I can do that because it is just fun. I can have the fantasy thing for free and still have my other stuff available on the more traditional media."
"The Internet is a really great technology," he added. "I've seen lots of really cool things happen from it."
Reynolds's newfound love for electronic sounds has gotten him to start writing some things while he is on the road.
"(On this tour) I brought this rhythm machine along, so I can write new samples and program them in," Reynolds said. "I never really wrote on the road (before), except for improvisation at shows. And that's not really writing because its not recorded and you don't come back to it later."
Reynolds's writing style has varied over time, from simply improvising on his guitar to building on a pre-made structure from a drum track.
"When I was younger," Reynolds said, "people would tell me to play a song, and I would say 'F*** that, man, I don't play songs. I jam.' "
A lot of those sentiments have come out on projects like the recently re-issued album, Sticks and Stones - A Collection of Spontaneous Improvisations, on which Reynolds collaborated with Chapman Stick player Greg Howard.
As if releasing new material online and on CD and touring isn't enough, Reynolds is featured on another Dave Matthews Band album, Live In Chicago, which was recorded at the band's last show of the 1998 winter tour. Like most of Reynolds's plans, he is unsure about his future playing with the band.
The last Dave Matthews Band studio album he appeared on was 1998's Before These Crowded Streets.
"Definitely, that possibility is always in the air," Reynolds said.
For now, Reynolds is enjoying life with his family. His six-year-old daughter Eura has even started to take after her father. Her voice introduces Nomadic Wavelength with "Hi everybody. We're going to have the goodest time ever." She is also found singing along to Reynolds's strumming guitar on a hidden track at the conclusion of the album.
"She's a natural," Reynolds said. "She's into (music) you'd expect a 6-year-old to be into, and stuff that Dad does. I have a great copy of her singing a Britney Spears song while I am playing a punk, tri-town dark song."
Reynolds will play an acoustic set at UW-Platteville Monday at 9 p.m. For more information and to download the ID album, log on to www.timreynolds.com.
http://www.uwosh.edu/AT/10-24-01/A&E/story01.htm
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Posted - 03/30/2002 : 2:13:08 PM
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This is a Dave interview where he talks about TR's contribution to Crash. For the complete interview click on the link below. It it far to long to show it all here. I have enclosed the TRelated segment.
"We were more relaxed recording this one," says Matthews, 29, reclining on an overstuffed couch in a New York photographer's studio. "No question about it. We were anxious making Under the Table because it was our first time in a real studio. We used click tracks on everything and we recorded all the bass and drums tracks, then the guitars, then the violin, sax and vocals. This time, we cut our basic tracks live, standing in a circle, so we could see each other, which gave us the atmosphere of a live performance. We were able to play off each other and maintain a continuity from song to song."
As a result, Crash has an earthier, more organic sound than the band's debut effort, even though there is considerably more audible electric guitar on it, courtesy of Tim Reynolds. An old friend of Matthews, Reynolds also played on most of Under the Table, but his playing was largely obscured because he exclusively doubled Matthews's parts. "This time," Matthews notes, "we just said, 'Do what you feel,' and Tim added a lot. He became another voice in the band."
http://www.guitarworld.com/artistindex/9608.matthews.html
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Posted - 03/30/2002 : 3:13:59 PM
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Thursday, April 26, 2001
Mellow melodies
Reynolds shows acoustic genius
Reviewed By Jennifer Slivka
Collegian Staff Writer
Both floors of Crowbar, 420 E. College Ave. were comfortably packed with people eager to hear what guitarist Tim Reynolds had in store for them.
The stage went dark and one of Reynolds's crewmembers lit five chunky candles of varying heights in Gothic candleholders that reached to the floor, and stuck five sticks of soothing incense that smoldered underneath the candles. Otherwise the stage was bare.
As Reynolds strolled across the stage with guitar in hand, the crowd let out a hearty round of applause and shouts. Then it went quiet, and pretty much stayed that way.
PHOTO: Lea Anne McGoldrick
Tim Reynolds, who has performed with Dave Matthews on many occasions, played Tuesday night at Crowbar.
Reynolds didn't sing, in fact he barely spoke throughout the entire performance. But he didn't need to.
The few words he did say however, spurred a lot of laughter from the crowd.
"Good evening. All of the songs tonight are about ham," Reynolds said like comedian Andy Kaufman.
The smoke-filled Crowbar felt more like a music recital at times than it did a rock concert. The crowd was mellow, tame and totally absorbed in what Reynolds was doing up on stage.
The first few songs Reynolds played were unadulterated acoustic ballads. His melodies seemed to float above the crowd, but were anything but dull and boring.
In the middle of a song, Reynolds would suddenly switch time signatures and break into an upbeat intricate melody that would elicit an occasional holler of approval from the audience.
Reynolds really started to demonstrate just how much talent he has when he switched guitars and began to sonically experiment and improvise with the use of various floor pedals and switches.
At one point, Reynolds made his guitar whine and echo throughout the Crowbar like whales singing in the ocean.
He scratched, hit and plucked the strings of his guitar to create sounds you normally wouldn't think could come from an acoustic guitar. During one song, Reynolds used the knuckles of his right hand to strum the guitar and clapped his left hand up and down the neck of the guitar to distort the sound.
Reynolds took full advantage of his floor pedals by distorting the melodies he would temporarily record through them. He also created a fuller sounding musical atmosphere by having a certain guitar rift repeat in the background while he played on top of it.
This technology also helped him out when he needed to wipe the sweat off of his face, take a drink of water or tune his guitar.
His set lists are often hard to pin point because he often fuses different songs together during his live performances, but he did play a good number of songs from his new album Nomadic Wavelength (2001), and his last acoustic album See Into Your Soul (2000).
Peter Prince, who in many ways was the exact opposite of Reynolds, opened the show. He was flamboyant and rigid, where Reynolds was laid back and fluid.
Prince followed the theme of solo acoustic guitar by playing one, but that was about it.
Unlike Reynolds's intricate and clean technique, Prince's strumming was clunky and thick. But in a weird way, it worked for him.
His voice reminded me a bit of Joe Cocker without the huskiness, and his attitude reminded me a bit of James Brown without the polish.
The majority of Prince's songs had a blues feeling to them. Although his vocals often reached the point of screaming, when he mellowed his voice during his folk ballads, the result was much more pleasing.
His lyrics told stories, and often his facial expressions and comments to the audience gave off the impression that he might not be right in the head, or had drank an entire pot of coffee before the show.
photo by Lea Anne McGoldrick
http://www.collegian.psu.edu/archive/2001/04/04-26-01tdc/04-26-01darts-2.asp
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Posted - 11/13/2002 : 01:59:18 AM
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| TTT for Rach21. Thought you might want to look these over as well. ENJOY!!! |
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"THE MUSIC BUSINESS IS A CRUEL AND SHALLOW MONEY TRENCH-- A LONG PLASTIC HALLWAY WHERE THIEVES AND PIMPS RUN FREE AND GOOD MEN DIE LIKE DOGS. THERE'S ALSO A NEGATIVE SIDE..." -Hunter S. Thompson |
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TR stories/interviews
