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Kristopher Heels: Playing Begins with Listening

Have you ever heard somebody go on and on like they know what they’re talking about? I hear it every day, it seems. Convinced of their own brilliance they are equally also convinced you’re buying it, because, ironically they know less on the subject than they should. And thus,they are not aware of what they don’t know and how incomplete their banter can be. Yet, they keep on going. Even, if you’re no more astute on the subject, and aren’t really qualified to speak into it, you can still gain a sense of  genuine feeling for the message. Lacking or not.

10501998_10206720789240440_5738578383948077081_n Yeah. We all know folks like this.

Well, since music is a language, the same goes for musicians. There are musicians who play everything they know. There are musicians who play every thing they don’t know. And there are musicians who play the feel. The spirit. You know the difference. When you’re in the room with these people doing their thing, you can also gain a sense of who’s babbling and who’s genuine. Who’s communicating “with” you and not wanking “at” you.

Kristopher Heels is a remarkable musician, noted for his deep and intense musicality—specifically his expressiveness on guitar. I saw him shred through “hocus Pocus,” by Focus, one night and was blown away. Not too many cats willing to take that one on. I’ve seen him jump into random jams on open mic night improvising his strat to shreds.

His hands are both eloquent and fierce. His guitar playing is akin to a good storyteller as opposed to simply trying to play the scales as fast as possible. He can do that, but prefers having something to say. A guift on guitar, go see him.

For now, meet him. I recently caught up with Mr. Heels for this interview.

CS: Hi Kris. Hows it going?

KH: Hey Chuck. It’s going well. Thanks for the interview.

CS: Our pleasure. Let’s get started. When did you start playing music? I’ve seen you play. Even though you’re a guitar player, judging by your playing, I suspect you started out on a horn, early on? Wild guess.

KH: I do play sax and clarinet as well. As far as the influence it had on my guitar playing, I think that is more attributed to what I listened to early on. I was raised by my grandparents from the age of 6, and I used to listen to their record collection for hours upon hours. Lots of Glenn Miller, Tommy Dorsey, Benny Goodman… as well as the great clarinet player Pete Fountain. The phrasing and note selection of those players made an indelible mark on me.11947572_10207298695047724_4192529088916422839_n

CS: You’re a busy musician. You’re playing with multiple groups. Tell us about that.

KH: I have a lot of work. Some of my steady projects include my acoustic trio The Mix Tapes,  a quintet called Funkadelphia,  a trio called The Wayback Machine, another trio from up north called The Edge, and oldies band Dunes and The Del Tunes, but I still sub all the time. For example, I played Coleman’s on in December with New Day. I also took part in the Vinyl: Albums Live VI as part of the band recreating the Rolling Stones 1971 release, “Sticky Fingers” at the Palace this past January.

CS: You probably have a buncha guitars, right?

KH: I have all kinds of guitars, amps and effects.

CS: Got a favorite?

KH: I am not married to one rig. I try to find the right gear for the gig I am playing. For example, smaller gigs usually mean smaller space to set up and lower volume… so I bring a small combo and leave the piggy back at home. Jazz has a fatter, velvety tone… leave the Strat in it’s case and grab a Gibson. Though I do have one or 2 guitars I can do practically everything on, why work harder than need be? I try to get gear that I am not going to have to think about (fret over??? bad pun) so I can concentrate on listening to the other players in the band and letting their performances mold my own.12360300_951792374886478_5863563069832071141_n 

CS: You’ r e a very “musical” player. Free in that spirit. This means you’ve listened to a lot of music. Tell us about the music that shaped you.

KH: Wow, this going to be long. First and foremost would be Raymond Heels, my grandfather. He was a beautiful guitarist and organist with a singing voice like Louis Armstrong. Without him, there would be no need for this article today. From there, players like Sonny Rollins, Ornette Coleman, Phil Woods had a great impact on me. Todd Rundgren is a huge influence. One of my earliest rock and roll influences is James Honeyman Scott from the Pretenders. I LOVED those first 2 records, wore them out. As far as Jazz guitarists, Jim Hall, Joe Pass, John Scofield are biggies. I love Hendrix’ sense of abandon as well as his rhythm playing. Jeff Beck has taught me so much about being adventurous, taking chances, and that you don’t always have to be pretty. Johnny Marr’s playing is amazing. Many hours spent listening to the great playing of Larry Carlton, Denny Diaz and Wayne Shorter on the Steely Dan stuff. A local musician, Mark Copani, is an influence who became a friend. I really appreciate how supportive he was when I was trying to get it together. He’d actually let me sit in with his trio, Heavy Metal Bebop in the 90’s. Talk about trial by fire.

CS: What does music mean to you?

KH: Music has quite literally saved my life. Without this ability to express some of these emotions musically, I know I would be consumed. During some of the most catastrophic times in my life, music was like the very best friend who’d never leave your side—who was never bothered by your tears or fears. Who would hold you in a warm embrace all night, so long as the tone arm reached the runoff groove, picked itself up and started the side again. Whoa, kind of dark. Music has also brought me some of the greatest joy and best friends I will ever have. I cannot imagine my life without it.

CS: What do you look for in other guitar players; and musicians, in general?

KH: I think the absolute most important quality in any musician (and one that is sadly overlooked by many) is listening.

CS: Amen! That’s what I say.

guitar-756326KH: Often players (me being one) will spend so much time getting their playing together that they don’t really listen to the other guys (or gals) with whom they are playing. This kind of ego-centrism is not uncommo. and often results in great playing. The player is concentrating on their stuff so much… the execution is perfect. I learned though that by listening to the other members, and letting their playing shape yours, you end up with a more organic and musically satisfying sound. It goes both ways, you listen and respond and they listen to what you play and react accordingly. That’s why when you see a band, or hear a record where the band is really groovin’ hard, really feeding off each other, it’s just so moving. So engrossing. Other than that, I like a player with a good attitude that is easy to work with.

CS: Ok… the best part of the interview has arrived: Share a funny war story from gigland.

KH: Heh. I used to play the Great Laker in Oswego and Carmine the owner used to literally stand at the edge of stage screaming, veins bulging on his forehead… “You’re too ( expletive) loud!!” Then in between sets would play Journey’s ‘Escape’ record as loud as the human ear would endure through 4 Klipsch La Scala’s bolted to the walls.

Another time, I was out on the road with a rock band in  the early 90’s… We were in Myrtle Beach and one of the locals turned me on to a place where you buy stretch jeans. T’was the style at the time. So I was performing in these and stepped my leg off stage to a barrier in front of the stage whilst doing a solo. Anyway, due to the tightness of the pants, I couldnt bring my leg back to the stage and ended up falling into the gap, a good 5 foot drop. I had it on video. Itmade for a great “Kerrang” through my Marshall.

CS: Haha. Beautiful. Thats when you know you’ve hit the big time, man. Thanks for the honesty. Obviously you’ve learned a thing or two along the way about the perils of tight pants as it applies to the business of rock and roll. Please don your wisdom for the budding musicians out there?

KH Listen to everything. If you like Metal, listen to Jazz or Country. Get out of your comfort zone. There is no one best kind of music. The most beautiful, poignant, moving music is everywhere, regardless of style.  Also, play with others as much and as often as you can. There is only so much growth you can achieve in your bedroom.

CS: Indeed! So, what do you think about the music scene here in Syracuse?

KH: Syracuse and CNY has always been a well spring of talent. Lots of great performers, covering a wide range of styles. Sadly though, the transportation issue has really impacted the scene. I remember when you could go to a club practically 6 nights week and it was packed… people partying and listening to live music. The strict legislation that has been ratified has largely put stuff like that out of existence. People just don’t want to risk it. I remeber when bars used to get all night licenses for New Years Eve, the bands would perform til 4 or 5 AM. Now, I know places that close at 5 on New Years Eve… or don’t open period. The only places that have bands are hotels, where the spectator can stumble safely to their room.

CS: Whats good in your near music future?

KH: Well, I am playing the Valentines Day event “Beats in the Sheets: Music to get down to” at the Palace on 2/13. This isn’t music related, but I am taking part is St. Baldricks for my 6th year at Kitty Hoynes on 2/28. I am dedicating my participation to my fiancee’s mother Rosemary, who was sadly lost to lymphoma this past December. Please donate. Finally, later next year (November) I will be performing in the 3 annual Respect Celebrates CNY Women in Music. Anyone who has not caught this event yet is really missing something special. The 2015 event saw 25 women with styles ranging from the soul of Marcia Hagan, the swing of Nancy Kelly to the rocking power of Ashley Cox performing 32 songs. My bandmate and very close friend Joanna Jewett (a vocal colossus herself) organizes this every year and it promises to be amazing.

CS: Hmm… please have her get in touch with me abut 3 months before that show. In the meantime, how and where can we stay in touch Kristopher Heels’ music endeavors?

KH: I am on F acebook, though I am pretty bad at using it. I started a musician page, but, have done little to it. Maybe that will be my New Years resolution.

Chuck Schiele
Chuck Schiele is a lifelong, award-winning musician, art director, producer, editorialist, artist, activist, member Quatrocollective.com and fan of the CNY music scene. To be considered for this column, please write chuck.schiele@gmail.com.