The Rob Sbar Noesis is a virtuosic rock/fusion instrumental guitar trio that blends avant-garde and experimental forms of composition within a context of dynamic rock performances. The group has received critical acclaim throughout the fusion and progressive rock communities for their imaginative, complex arrangements and sheer chops, artfully redefining the contemporary instrumental guitar trio. Sbar's guitar style blends rock, modern and avant-garde jazz and fusion along with contemporary chromatic and post-tonal forms. The group's debut album, "Wagon Wheels and Atom Bombs", is based on a unified, cumulative sensory and arts concept, uniting the mediums of sound, painting and written word (aural, visual and cerebral).
An Interview with Rob Sbar
IC: Hi Rob, thanks for joining us for this interview.
Rob: It is my pleasure. Thank you for having me.
IC: You recently returned from the 105th NAMM Show in California. How many times have you been now, and who were you there representing this year?
Rob: This is my 4th year attending NAMM. This year most of my time was spent performing at the Madison amplifiers booth. They are fantastic amps, open and articulate, fulfilling my needs entirely. The guys at Madison are terrific as well. This year and in previous years I have also represented my other endorsers: Morley pedals, Seymour Duncan pickups and Curt Mangan strings.
IC: Traveling back a ways… what first attracted you to the guitar, and who were your initial influences?
Rob: Art and culture have been a significant part of my life since early childhood. It has always been clear to me that I would pursue the arts; I just had to find my paintbrush. The guitar became my central outlet from which my other art forms radiate. I have a deep and abiding passion for the instrument and for music as my form of expression since I was very young.
Growing up, much of my musical influence came from alternative and indie rock bands like Hüsker Dü, The Replacements, Sonic Youth and The Cure. Later, when I began to develop my musical and guitar skills, I became interested in many virtuosic guitar players who had an experimental or cerebral approach to the instrument like John McLaughlin, Shawn Lane, Steve Vai and Allan Holdsworth. These artists made their mark on my aesthetic sensibilities. In the years that followed, I began to more fully explore and examine my compositional development and became interested in such jazz composers as John Coltrane, Eric Dolphy, Chick Corea and Herbie Hancock, as well as contemporary chromatic composers like Elliot Carter, Stefan Wolpe and Edgar Varese.
IC: Do you play any other instruments?
Rob: I have concentrated most of my pursuits on the guitar, however I play piano as well and have studied the facilities of most applicable instruments in an effort to gain the knowledge to appropriately arrange and orchestrate all forms of ensemble from small groups to large ensembles and orchestras with finesse and acumen.
IC: The compositions on "Wagon Wheels and Atom Bombs" feature a great deal of depth and maturity, especially considering it was your group's debut album. What's your writing process like?
Rob: My concept on "Wagon Wheels and Atom Bombs" was to develop a project uniting various mediums of art and expression. In the case of this CD, I employed music, visual art and written word (aural, visual, and cerebral) in a unified and cumulative sensory and arts experience. These three elements are intended to complement each other and together tell a story from varied perspectives and dimensional viewpoints. My intention is to present in metaphorical representation a psychological and philosophical exploration of the individual as a part of, as well as displaced from, society. By using my own perspective as a template, I paint a symbolic self-portrait through multi-dimensional means. The purpose behind the three elements together, as well as each separate component, is to provoke multiple, simultaneous viewpoints in a cubistic or prismatic approach.
The project's title, "Wagon Wheels and Atom Bombs," is representational of two, feuding Dionysian entities existing within the individual. The wheel represents man's first significant invention that began to ease basic work activities and transportation, advancing society's productivity. The Atom Bomb often is considered to be man's final invention and perhaps will be responsible for society's demise. This represents our self-destructive impulse; we invented it to destroy ourselves. Here I represent the fine line between the impulse to be creative or productive versus the impulse to self-destruct through a process of self-realization.
I've been developing these philosophic concepts for many years and will be continuing to advance these concepts, carrying them over into the music and writings of "The Existence Of The Sun".
My general approach to composition involves establishing a musical setting for an ideological or philosophical concept or ideal. I attempt to illustrate this through the use various techniques and devices. I begin this process with a pre-composition component, attempting to trace out a map or sketch of what I intend to accomplish and the journey I wish to take the listener through in order to tell my story and convey the appropriate message. In this stage, I establish moods, settings and direction. I then make decisions about how I will employ such compositional devices as pitch sets, set theory, motives/motivic development and form. Similar to the process of a painter, I begin to paint my imagery onto the first canvas, tossing it aside when I feel it is time to move to the next canvas, taking the successful images with me to the next piece. I continue this process until I discover an appropriate path by which to conceive the final product.
I compose for The Rob Sbar Noesis employing a similar approach to how I write contemporary chamber and orchestral pieces. After the pre-composition phase I then begin composing in full score form, arranging the guitar, bass and drum parts together on a full staff. Because so much of my music tends to be highly contrapuntal, this tends to be my most successful approach. When I present the charts to the band, I simply give them a chart with just the drum and bass parts, jointly, excluding my parts, so they have a clearer, shorter and easier chart to read. My music is often quite florid and dense, so the clearer the chart I can present to the band, the less possibility for confusion.
My intention with The Rob Sbar Noesis has always been to establish a project whereas the intended result is a high level of skillful performances, along with a strong concentration on composition. I explore my compositional aesthetics in a stripped-down trio situation, allowing me control over both elements of composition and performance. Such compositional concepts are at work as modern, post-tonal and chromatic counterpoint and harmony with the use of wide and unusual intervallic combinations as well as rhythmically convoluted, cubistic and multi-faceted phrases that imply varied time and kaleidoscopic textures.
Portions of music and moods feature shifts from rhythmically disjunct harmonically atonal environments to modern approaches to jazz-oriented harmonies and into exotic scalar passages. This is intended to transport the listener through a manic and conflicting emotional and philosophical journey and the hysterics, desperation and sobriety of the accompanying written word portions.
Throughout my work, I am attempting to create an atmosphere musically and artistically that exist in its own dimensional world. This amalgamation of styles and genre result in a form of rock/fusion guitar music with elements of rock, modern and avant-garde jazz/fusion, as well as contemporary chromatic and post-tonal forms.
The music featured on "Wagon Wheels and Atom Bombs" is set to exist as the aural component of the entire multi-media storytelling and works simultaneously to written word and visual art portions. Ideally, the listener would absorb these portions together in order to fully accentuate my intended unified multi-sensory goals. This union of expression will be revisited on "The Existence Of Sun".
I will continually try to refine these concepts in achieving an increasingly purer result of my intended vision on "Existence". The exploration and continuing development of my form of synthesia or uniting of art forms into an accumulated sensory response will continue in this project as I attempt to achieve an even more significant and outspoken musical and artistic statement .
IC: How important a factor is improvisation in your music?
Rob: Improvisation has always had a significant and featured role in my music and playing. The act of improvisation is simply composition on the spot. The same principles are at play for both disciplines. The challenge with improvisation is to apply these concepts and execute them with the same artistry and flair that one would when sitting down to compose a piece. Ideally one's improvisation should sound composed and, adversely, one's compositions should have the same spontaneity as their improvisations.
In Jazz, improvisation tends to be one of the primary objectives, leaving the result of the piece in the hands of the performer. As a composer, I want to be able to control the execution and result of my music, which is why the principles of classical composition have always appealed to me. In this form, the composer has complete control of their piece, including details like dynamics, slurs/bowings, and accents/articulations, etc.
In an effort to satisfy both of these interests in my music, I compose the pieces in full detail, allowing certain sections for interpretation and improvisation. Playing both roles as composer and performer also allows me to retain control of the pieces' direction, leaving the result of the improv sections strictly to my own choices and sensibilities.
("Transfiguring Perceptions")
IC: What are your aspirations as a guitarist and a musician?
Rob: My general artistic goal is to create something of lasting and significant artistic value. I hope to continue to develop my concepts through the exploration and continuing development of my form of synthesia, uniting of art forms into an accumulated sensory response, in an effort to achieve an even more significant and outspoken musical and artistic statement.
IC: Your song "Transfiguring Perceptions" was featured on "Shawn Lane Remembered Vol. II". How did Shawn influence you? Did you know him personally?
Rob: Shawn was a deeply sensitive, brilliant and inspired musician/guitarist. His influence on the world of music, most significantly guitar, has been immeasurable. Unfortunately I never had the opportunity to know him personally but it has been my understanding that he was a kind and charitable man. I have also understood that he had a fully well-rounded, renaissance knowledge of numerous subjects, not to mention the uncanny ability to accept and assimilate new information. His understanding of all aspects of his musical pursuits and his ability and desire to continue to evolve and develop his skills, knowledge and art are among some of his most profound qualities and those that have truly influenced me. He was an artist who was able to conquer the intellectual as well as physical demands of the guitar and his music, not to be held back technically from fully pursuing his creative goals.
IC: Who are your favorite guitarists, and which albums had the greatest impact on you?
Rob: Players who artfully diversify or meld styles and who take chances, experimenting with both the facilities of the instrument, as well as musical forms themselves are those who most interest me. Most of the albums that had the greatest influence and impact on me are those that I discovered in my musically developmental years.
Some examples would be Hüsker Dü-"Zen Arcade", Stefan Wolpe-"Music For Any Instrument", The Electric Love Muffin-"Rassafranna", "The Smiths -anything, Eric Dolphy-"Out To Lunch", The Church-"Starfish" and "Heyday", John Coltrane-"A Love Supreme", Elliot Carter- Sonata for Flute, Oboe, Cello & Harpsichord/ Sonata for Cello & Piano/ Double Concerto for Harpsichord & Piano with Two Chamber Orchestras, The Cure-"The Head On The Door", among many others .
IC: Your upcoming CD (tentatively titled "The Existence of the Sun") is set to release later this year. How is the recording coming along?
Rob: The new CD is moving forward somewhat reasonably, however it has become a bit of a slow, methodical process as a result of my obsessive perfectionism. I am deeply dedicated to completing this project with profound and bold improvement from the last CD, so I am carefully working through the process with great detail. It is boldly important that the result be at least satisfactory to me, approximating my initial conception of this project.
IC: In what ways is Existence different from your previous release? How has your music evolved since then?
Rob: My CD, "Wagon Wheels and Atom Bombs," is the result of many years of developing and refining my musical and artistic aesthetic concepts. The result is one that I have found moderately acceptable but has never completely satisfied me. I do consciously realize that within the various elements of this recording and all of its processes there are certain portions that I would ideally improve upon. I believe that the live representations of the music are a giant leap from its studio versions. I also believe that this CD is an artistic stepping-stone that enabled me to continue to develop these concepts both musically and philosophically at that stage of my career and artistic development; I hope to continue to refine and evolve my approach throughout my career and on "The Existence of the Sun," as well as my future CDs.
From a completely aural perspective, the music on "Existence" will employ many of the compositional devices heard on "Wagon Wheels" as syncopated rhythmic phrases, alternating modal sections to unconventional post-tonal and chromatic harmonic counterpoint between the bass and highly active, kinetic and convoluted guitar lines. I also use opened harmony with a modern approach to chordal arrangement, rhythmically ambiguous environments and multiple juxtaposing sections contrasting unpredictably. Both highly structured as well as through-composed forms are featured and portions of repeated sections that have been harmonically altered and reharmonized are also prominently featured.
I frequently explore sharp atmospheric dichotomy through transforming moods and settings, employing alternating tempo shifts and disparate sections, including jarring movements from jazz-oriented sections to heavily fugal counterpoint between the guitar and bass lines and straight-ahead rock riffs and grooves. On this CD, many pieces will also feature a more conventional, melodic approach, usually set off by altering, syncopated rhythms, constant, unorthodox reharmonizations and sections of morphing musical environments intended to insinuate constantly changing moods and contemplations.
My process and its result have gone through an evolution and refining in these last 5 years since "Wagon Wheels." The initial vision of this project is still existent in its purity, but has become greatly elucidated. My intended amalgamation of styles and genre, as well as harmonic and contrapuntal usage has improved; however, the greatest evolution has been in the arrangements. I believe that the division of activity between the three instruments has become much clearer and more refined, as well as the fact that I am now working with two different players than on "Wagon Wheels."
"The Existence of the Sun" will also feature some of my contemporary chamber and solo works, as well as vignettes of such extremes, from traditional Jazz to Avant-garde to Pop and acoustic.
(Rob Sbar soloing live)
IC: There are some captivating videos of you and your band on YouTube. Do you plan to release any performance and/or instructional DVD's?
Rob: I hope to pursue both of these possibilities later this year, once enough of the CD is complete that I can begin to concentrate on these projects. When we begin touring and performing in support of "Existence" we will be able to capture the appropriate performance footage towards a full performance DVD. I also will have the time to focus on an instructional DVD and am planning to compile my educational and instructional concepts and teachings into an accompanying book form as well.
IC: In addition to writing and performing you're also a private instructor. Do you have any particular philosophies or approaches to teaching?
Rob: I have taught guitar, music theory, composition, arranging and orchestration privately, in music schools and at the college level. In this time, I have developed my own personal teaching concepts and methods for improving technique and chord/scale theory for various styles and genres of music.
My intention is to inspire each student's own sense of creativity and individuality by enlightening them to all the possibilities musically, technically and conceptually. I aim to mentor and guide each student, enabling them to find themselves artistically and their individual voice with the aid of a full sense of concept and creative spectrum as well as technically and theoretically.
As a teacher I carefully customize the lessons to each individual student's interests so that stylistically, technically as well as experience level all accommodate the student appropriately. That way the lessons are always geared towards the exact interests of the student, enabling them to get the most out of the experience.
IC: Your technique is quite impressive! What was your practice routine like when you were younger, and how much time do you spend developing your technique these days?
Rob: My intention as a guitarist was to never be held back creatively by my physical abilities, henceforth I made it my prerogative to conquer, physically, that which I could conceive creatively. It has always been of the utmost importance for me to equally balance my practical and technical skills with my inspiration and artistic conception. I've spent interminable hours examining the physiology of the human hand and would experiment with the optimal ways of harnessing its physicality, often allowing my passion to become obsession.
When I was younger I pursued intense practice sessions with not only passion, but also rage and a bit of desperation (a healthy response indeed). I still spend a great deal of time with technique and mechanics, when my schedule allows. Because practice time has become a greater commodity, I tend to concentrate on techniques that are completely new to me with the assumption that I will always be executing and developing my old techniques during performances, sessions and rehearsals.
IC: Do you have any advice for the aspiring guitarists out there?
Rob: The constantly changing industry has taken the concentration away from intense instrumental music as a largely marketable format. The marketplace is perhaps not as open to instrumental guitar music as it may have been in a previous time. This, however, should not dictate the choice that a musician makes to pursue this form. I believe that if an artist is honest in their intentions and works to be fluent at their craft, then the results and successes either artistically, spiritually, emotionally, or financially (or in various combinations) will come to them. Many instrumental composers and guitarists look toward other mediums in order to find their form of success. The medium of film, for example, is often perceived to be a viable and possibly lucrative alternative as an outlet for their form of expression; however, this does not permit any freedoms for an artist. It sets forth the issue of trying not only to appeal to a mass audience but also the problem of having to appeal to producers, directors and all of the various powers that be within the industry and throughout the production. Henceforth, one loses complete control over all elements and creates a new series of limitations as an artist. The music cannot exist on its own and relies heavily upon the visual created by a completely new set of artists. This awakens the 19th century dispute of "Absolute Music" versus "Program Music" as debated by Johannes Brahms and Richard Wagner. Here, the argument is of music existing on its own as opposed to music for the purpose of storytelling. Clearly, I am an advocate of both; however, Program Music can only exist in a pure form if the program it is supporting is conceived by the same artist.
One's art should center around not only your own personal satisfaction, but also achieving your expressed philosophical and practical goals. When others appreciate your work, it is incredibly gratifying; however, I imagine that it would be an empty result or pyrrhic victory if one was to achieve recognition or appreciation through work that was either ingenuine or made for the intended result of satisfying others. Satisfaction comes from achieving your existing personal artistic goals. The bonus is having others see what you honestly feel and, on some level, understand it.
Music is an abstract, diachronic art form that requires a balance of practical skills and techniques with inspiration and creativity. According to the 19th century German philosopher Arthur Schopenhauer, music surpasses the phenomenal or real world and exists without the world itself, stepping beyond it. It is a representation of the abstract world of Platonic ideas. In effect, music is a very elusive language and in order to speak using it in the most fluent and unencumbered manner, one must understand all levels of its vocabulary and grammar.
IC: What are you currently listening to? Which new musicians have caught your attention?
Rob: At this point, I listen to a wide variety of music. It is unpredictable where inspiration can be found; sometimes it creeps out of the most unusual places. For the most part, I listen to a combination of composers and musicians who have modern approaches to jazz and contemporary classical composition, as well as skilled and technical guitarists of varied genre with a dose of modern and alternative rock bands that have original approaches to that form. Balancing these combined styles in my listening diet has influenced my own approach to how I pursue my own music.
IC: If you could visit any musician or group in history, who would it be?
Rob: I always find it a bit anticlimactic when I meet iconic artists and personalities. I imagine that meeting even an historical musical personality could be a similar experience, or perhaps even disappointing. We tend to build these personalities up to be larger than life. The sobering effect of actually meeting these people and humanizing them can be disappointing, noticing all of their frailties and idiosyncrasies.
With that in mind, there are still many musicians and composers that I would like to have met throughout history in order to understand their artistic motivations better. Most interesting and beneficial to me would be those post-tonal and chromatic composers of the 20th Century that I have not met. Some examples would be Arnold Schoenberg, Anton Webern, and Edgar Varese. Perhaps the most significant to me would be German born avant-garde composer and avid socialist, Stefan Wolpe. Not only was he one of the most unique composers of the era, but he was also artistically and philosophically linked to such Modernist art movements as Expressionism and Abstract Expressionism, the Bauhaus, Dada and others. Wolpe's musical language and unusual pitch usage has been of particular interest to me as well, ranging from diatonicism to dodecaphony but not mutually exclusive in these modes of musical thought. Between these extremes lies a full spectrum of Wolpe's musical resources.
IC: And one last question. Aside from music, what inspires you?
Rob: My interests and capacities have always centered on the arts and humanities. From my earliest memories, I spent much of my time concentrating on my various artistic interests. These include philosophy, culture, visual arts, literature and, to some extent, film. I try to represent my interests in modernist and post-modern literature through my programmatic use of written and spoken word as an element of my performances and in my actual CD. Such authors as Thomas Pynchon, Robert Coover and Don DeLillo, have influenced my approach to the incorporation of varied cultural and pop culture references, as well as more abstract and surreal approaches to storytelling. Philosophers like Georg Wilhelm Friedrich Hegel, Friedrich Nietzsche and Jean-Paul Sartre have also contributed to my general artistic approach in music as well as the basis for my entire artistic concept. The work of 20th century painters like Pablo Picasso, Vassily Kandinsky and Salvador Dali have made their indelible mark on my dimensional and multi-dimensional sensibilities, as well as my abstraction of life, art and concept.
Essential Rob Sbar links: