The stage is set for Sō Percussion to take on Bonnaroo 2015, photograph by Pratishtha Singh
For me, there’s a difference between improvisation and flexibility. I think with a lot of the music we play, there’s flexibility. So, you mentioned the cactus. When Eric and I play that piece, if we do a duo, we stick to the same form, but there are choices that can be made in lengths of things, or specific quarters. There’s a big form, and there’s flexibility within it. Actually, every piece we play on the show here had some kind of flexibility built in at different moments.
Sō Percussion, from left to right: Adam Sliwinski, Jason Treuting, Josh Quillen and Eric Cha-Beach
Sō Percussion, from left to right: Eric Cha-Beach, Adam Sliwinksi, Jason Treuting and Josh Quillen, photograph by Janette Beckman
What’s funny, is that more than just world music – it’s really a lot of Americana – like a lot of American string music that I think connects this piece (“Music for Wood and Strings”), he’s (Dessner) really thought about that a lot with that dulcimer feel in a different kind of harmony. I think you would connect to that too, a different kind of folk music.