Wonder, Work, Collaboration, I mean, a New Album

The New Album (Part the First): Wonder, Work, and Collaboration.

Starting again.

On an album I mean. The last one, people tell me and I believe them, came out great. I had an amazing team, including Pat Manske at the Zone engineering and mastering, David Beck producing, harmonizing, and playing way many instruments (especially his signature stand-up bass), Dees Stribling on percussion, Katie Shore on fiddle, Jordan Buchoz on pedal steel, Emily Keller on cello, and my brother Gordo on his incredible harmony vocals. It’s titled “Little Clarissa and Other Stories” and you can find it and give a listen just about anywhere — Spotify, Apple Music, You Tube, etc.

Collaboration.

The thing is I’m mostly a solo artist. Well, maybe I should say a duo artist, since I’ve moved back to Texas and sing regularly with my brother as The Ricke Brothers. But years I was just me, Joe Martyn Ricke, with my guitar, uke (and sometimes mandolin) and my songs. I heard other stuff going on in the songs, in my head I mean, but I couldn’t make that happen myself. Well, sometimes I recorded at home, usually in my bathroom for the good acoustics. I’d layer in several guitars and sometimes harmony vocals. That was worth doing, because it gave me a better since of how the songs could be “fleshed out” but it also left me hungering for more collaboration from other people. Especially people like those I mentioned above.

The Miracle Machine.

There was a brief exception, when I was together, off and on, with a couple of really talented Indiana boys — Sean Hoffman and John Bahler, who both had more bluegrass and Celtic roots (and cred) than I did. Sean’s fiddle and John’s mandolin, as well as their harmonies, really took the songs to new places. So much so that, putting this album together, I wanted to reunite “The Miracle Machine” as I had dubbed them for at least a good chunk of the songs. Unfortunately for me, John is now a full-time teacher (fortunate for his students) and can’t shake free. But Sean and his partner, Ellen Coplin, are coming down in early November to help me with the songs I like to call “the chamber music” songs — less percussion, less electricity, more string-y-ness. I’m also trying to twist David Beck’s arm (not too hard though) to use a bow on that bass for some of the songs.  

Starting Again.

Well, obviously, I can’t wait for them to get down here, but right now, “Bobcat Opossum” —their name as a performing duo — is busy touring. In the meantime, we have started on the new album with very much the same incredible cast as before. With Pat at the controls in the Zone, we got started with seven songs, doing our best to get the rhythm right, the basic guitar part, my vocal (to be improved upon in some cases), and some great percussion by Dees (with help from David on a bunch of instruments I don’t recognize by name).

Adding Owen.

There was another addition which I’m really excited about. I had heard Owen Stroud perform his own songs on the piano several times at the Redbird Listening Room and was sure he would fit in. Boy, was I right. I love collaboration, but I also know it’s not always easy. I got spoiled right away though with Owen. When we started to work on “Pretty Green Dress” I mentioned that I heard a certain melody running through it (other than the vocal), especially on transition. I hummed it. He told me to hum it to Owen. And . . . well you eventually get to hear the entire thing. When you say “woah”, just remember that I told you so.

Saxophone anyone?

There’s more to say, and lots more to do. Right now the task is mixing things and thinking about what else we have to do (other than record the other “chamber music” songs), the ones with more finger picking and more other acoustic strings. And getting Sean and Ellen down here. I need someone who plays saxophone and I will need some kind of background choir. Maybe David has plans for all of that, but don’t be shy about letting me know you can help.

Can’t calculate wonder.

I played basketball, I have worked in theater as both an actor and a director (and, like everyone else in theater, painting sets, etc.). This is like that. And I love it. It’s not always easy, but the sum is something something something its parts. I feel like that kid in his underwear cowboy boots in the picture (me at age 2). This is fun and full of wonder.

Stay tuned.