One from the Random Acts of Senseless Creativity files. After I thought about this track an hour ago I went looking for it, a journey through a labyrinth of old emails and various digital booby-traps. After a few small wrestling matches with the technology, I was able to place it here, where it can be found easily next time. I was happy to locate it and I’m glad to pass it on.
The underlying track for this is called Dog on a String, composed and performed by Paul Greenstein sometime after the turn of the twenty-first century, if memory serves. This was an improvisation I recorded, back on April 14, 2006, apparently. All parts were played for the love of making the track and for that reason alone.
For me this over-the-top jam captures the thrill of interactive invention — the joy of improvising over a groove you’re really digging.
Our ability to find joy and improvise has been sorely tested in the isolation of this COVID crisis. Mutual, playful improvisation, a vital part of human interaction, a free delight of life, fades during dark times, the habit of playing happily — another casualty of the pandemic. Playing together gives us joy, undeniable but easy to forget, sometimes. This track reminds me of how much fun play is.
Paul’s track was a delight, I greatly love that mysterious, soulful Indian singer, all of Paul’s parts are superb (if several lovely ones were drowned out by the overloud distorted guitar, sorry about that). It is also beautifully engineered, everything is exactly where you want it to be in the mix and the EQ. I’ll ask Paul for the original track, so I can post that beauty for you to hear.
Listening to this track I hear my excitement, the enthusiastic variations inspired by the sheer fun of following a wildly idiosyncratic groove.
Sensitive Dog starts with a dog lover’s question for Cesar Milan, who then considers the best way to interact with a dog who is very sensitive. Odd to say, I couldn’t tell you what key it’s in, I had no idea when I was playing it, most unusual for me, I followed the singer as best I could.
There are suboptimal notes, which I can’t begrudge someone inventing parts over a track he is greatly loving as he plays. If you don’t let yourself be distracted by the mistakes and take in the entire 1:56 as a piece, I think you’ll get what I’m talking about.
My only regret is the mix. If someone had been sitting at the controls (there were no controls, the overdub was recorded off the small amp that was also playing Dog on A String) and adjusting the volume on the distorted guitar, to allow Dog on A String’s many subtle nuances to be appreciated, the track would be infinitely better.
To me, the track is still cool, instant time-travel to a moment of great fun. A reminder of a vital thing, sadly easy to forget during dark days — the joy of carefree play with someone you enjoy. I hope you find it so too.