Pomplin, Jon (Project 814) (August 2002)

File #82502: The Project 814 Report

There is a conspiracy afoot. A conspiracy to rid the world of some of the most pernicious pestilance known to man. The conspiracy is far from secret, as the instigators are acting out in the open, bringing their message to the masses with a loud voice, with song, and with wit. Yes, I said with song, for that goes to the very heart of the conspiracy. While we, the people, are inundated with shallow, simpering, so-called "music," out there, in the wilds of the industry, brave souls are trying to bring the rock back to rock, to shake the very foundations of the music establishment, to bring about the demise of the "boy band" disease, the "'rock' singer Barbies" affliction, and the myriad other musical ills that have laid waste to what once was a rich and varied landscape, where music was about more than just dancing (but you could dance to it, too). Behind this conspiracy, an at present relatively unknown quintet known only by their code name, Project 814. The secrets of Project 814 have been Declassified, thus we are able to share with you this transcript of a recent conversation with the lead conspirator of what he calls, and aptly so, "conspiracy rock," -- Mr. Jon Pomplin.

Progressiveworld.net: Good evening, Mr. Pomplin. Please, make yourself comfortable.

Jon Pomplin: Thanks for having me, it is a pleasure to be here.

PW: Having received the Declassified documents you submitted to us regarding Project 814, we have a few questions. [Pulls out profile] Your reference here to 1963: Are you alluding to certain events that took place in Dallas that year, or are you alluding to some other, previously top-secret event?

JP: Actually, there were a couple events that occurred that year that prompted the inference to the year 1963. As you know, the most significant event of that year was the assassination of JFK, considered by some the greatest of all unsolved conspiracy theories. I think that is when we as a society lost our innocence. It was the beginning of a fundamental change in the way the world looked at itself. Kennedy had been a leader in this with his "changing of the guard" youthful approach. But he was killed for it. It was the beginning of the end for the old-world mentality and the start of a revolution that would test the limits of all that we believed in. I think we are at a similar time now, only more directly in the world of art and music. The "old-world" is the corporate mentality of the major record and media conglomerates. The "revolution" if you will, is manifested in what some call the "indie" or underground music movement.

Of course the fact that it was the year I was born did have something to do with the choice of the year.

PW: Explain to us again the purpose behind the project.

JP: For many years I have had a passion for pushing the envelope both musically and lyrically. I believe that art is a reflection of life, a window to the soul, which allows us to take a look back in on ourselves from an outside perspective. I'd been writing pretty steadily for many years. Some of that material begged to be finally "declassified" and made available to the public. The time just felt right.

One of the things that drove me to this was the constant bombardment of lame songs coming out recently. They've been recycled so many times that you can't tell the difference in who it is that is performing it. No matter how many times you polish a turd, it is still a turd. I have gotten sick of the pre-packaged cookie cutter crap that has been forced upon the public. There is a lack of trust in those making the influential decisions in the music industry. Don't get me wrong here, there is still some excellent music coming out these days (like the new Rush CD Vapor Trails for example). It just seems that the focus of late has been appeal to the younger kids with money to burn. With companies like Clear Channel controlling a vast section of the music marketplace including radio stations and venues all over the country, the "good ole boys," the focus is no longer on good music, just profitability.

The "indie" and underground music scene is becoming the defacto "cure" to this control issue. It is through this rebellious "Fuck you - I'll do it my way" attitude that our freedom of expression as musicians is being exercised. The fans get access to music they can really dig.

Granted there are drawbacks. The fans have to put a little effort into uncovering the truth of what they want, but that's half the fun. The big one is the advent of cheaper quality recording gear, where any half-ass talentless wannabe with a little money can cut a CD. The Internet is flooded with that shit. Still, better to put in a little work and have the choice than to be told what is good by "big brother".

PW. Indeed. Has your antidote to the "boy band" (and related) diseases been met with much success? The evidence shows that it has met with much critical acclaim. Has that translated into inquires from the general populous?

JP: So far the response has been wonderful. Generally, the press and the public at large, especially the fans of jazz and progressive rock have been quite enthusiastic and supportive. One of the really cool things is that some of the best musicians in the world, players who I have had great respect and admiration for over the years, are praising it. That, in and of itself makes the whole thing a success.

PW: Yes, your sheet here indicates a great many names... the first being Dann Glenn...

JP: What is cool about that is the fact that Dann and I have become such good friends. He is my "Sensei." I have been studying fretless bass with him for quite a while now and have to say it is an incredible experience. Who better than "The Mad Professor of Bass" to study and hang out with. Thanks to Dann, I am rethinking and relearning a lot of my approach to the instrument and it has had a profound affect on my playing and composing skills. I really think that will be evident to the fans in the next release. Dann has also introduced me to lot of really cool bassists who may not be household names yet. Cats like Tony "Senny" Senatore and Tony "RC" Renaud are not only excellent bassists, they are really cool people and have become very good friends. Generally the community of bass players is a close one. I hope to do some recording with Dann in the future and he has shown some interest in helping produce a Project 814 CD. I've decided to do a solo jazz CD late next year and I plan on asking for his help there as well.

I think part of the positive response is the fact that the material deals with real life and really doesn't conform to any set standard. Of course, there are some people who are negative. That's cool too. I will stay true to myself and if people dig it, cool. If not, screw 'em.

PW: The documents show that this Project 814 was formulated in 1999, after a stint with Sea Of Monsters, what other influences led you down this path?

JP: The project was started late 1999 as an outlet for creative and musical ideas that could not be expressed in the environment that I was currently involved with, namely Sea of Monsters. We had begun work on the follow up release to the self titled CD after being signed to a recording contract with Cellar Records out of Illinois. It became apparent that the lack of focus and direction was leading that situation down the lonely path of self-destruction. My primary musical influences have always been jazz, classical and progressive music and the songs I write reflect that. It was obvious that the members of SOM couldn't and wouldn't attempt to bring this material to fruition, so I decided to enlist my fellow hired guns at Cellar and continue on. After several months of working on the project, and SOM not doing anything (including refusing to gig) I left the band to focus my energies on the solo work.

[at the word "hired guns" our intrepid interrogator quickly scribbles words across a single page, then flips through the papers in her files...]

PW: Tell us more about these "hired guns" -- Todd Joos (vocals), Mark Summers (guitars), James Miller (keyboards), and Bob "Bird" Brady and Albert Hurst on drums. You mentioned they were studio musicians at Cellar ... had you worked with them previously?

JP: Along with being the president of the record label (Cellar Records), Todd was the producer on the ill fated second Sea of Monsters release, so we had a pretty close working relationship before I even decided to do this project. I had worked with Jim, Mark and Bob on a couple session things and really dug their talent, attitude and professionalism. When I was putting this together I realized I was already working with some of the best players around, so I approached them to help work on the project. Todd had been producing the CD with me since the beginning as we were laying the music tracks down. It became obvious pretty early on that the singers we had auditioned for the project couldn't cut it. After some discussion, it made perfect sense to have Todd do the vocals. He has a great voice that really fits the music without being stereotypical for progressive bands these days. He also has had multiple hits on the Billboard charts in the past so his experience was another asset. Probably the best single choice I've made as far as Project 814 is concerned. Another cool thing was that I was able to let these guys play whatever they felt instead of trying to force my own vision on them. Each member made contributions that had a positive influence on the final outcome. That is what true creativity in the studio is all about. We all continue to work together on various other sessions, which has really helped us form a tighter ensemble.

Do you plan on making public appearances, sharing the information with the public at large?

JP: There have been discussions with various members and several of the guys are interested. Todd has a record company to run and we all are pretty busy with session work and other music and art related obligations. A major tour at this time is not really in the cards. However, there is a very good possibility that we may make some appearances at larger events in the near future. We will certainly support the next release with more live gigs. Personally, I would love to play one of the Progressive rock festivals. We certainly won't be doing any small club dates or anything like that. We have all done that enough in our careers that we don't want to go that route.

PW: Looking at (or rather listening to) the recorded document itself ... the sound we hear harks back to music of yore, when bands had their own identity ... weren't, as you say, the result of a "cookie cutter" mentality ... (oh, but it happened in the days of yore, too, of course ... just not as pervasive) ...

JP: Those are some of the bands I really admire. Art for the sake of art, before the money became more important than the music and the control of the corporate mentality took over the industry to the level it is at now. Of course there are still groups around doing it their own way, like Yes, Rush and others. Fortunately there are a few newer bands out there that have this same philosophy that I dig like Dream Theater, Spock's Beard and Balance of Power. There are a lot of jazz cats that never bought into that either. For example Jeff Berlin, Adam Nitti and Dann Glenn do it all themselves and are very successful at it. Declassified has been compared to Cream, Jethro Tull, Rush, Yes and others and that is a cool complement. However, I don't try to "emulate" anyone when I write, play or perform. However, it is the sum of our influences that helps to mold who we are, so I suspect there little of all those influences in my work.

PW: It seems like jazz and classical music form a part of your influence, in addition to the rock element ... and a touch of hard rock/metal as well. Which comes first, the music or the lyrics ... or the subject?

JP: That is a good question. I guess it depends on the song. In a sense, the subject comes first in that it starts out with a feeling and grows from there. Each song is different and sometimes the music is first, sometimes lyrics. I really consider myself a lyrical composer. I guess this comes from my writing and poetry background (I have written one book of poetry and am finishing up my first novel). Also, my grandmother was an accomplished poet and writer that was published in several books and magazines. She encouraged me to cultivate that ability and she became a tremendous inspiration. Depending on how the muse strikes me, I may come up with a musical part that I really like and add a lyrical element later on. Sometimes I'll write the lyrics and compose the music afterwards. There is always a melody and or rhythm in my head when I write lyrics, though it may not materialize in that form in the final cut. Having lyrical things rhythmically constructed makes adding music a little easier. Of course there are times when an instrumental piece works best, depending on the mood. I guess that comes from my love of jazz and classical music.

I generally write the music on bass though I've been writing more and more on piano and guitar. I'm really not into writing the traditional "pop" songs. There is a formula to that type of thing, which I think is somewhat limiting. I am not into creating music as a way to get rich. I write because I am compelled to. That is where the great composers from Ives to Mozart to Jaco to Anderson find their muse, in my opinion. As far as the subject matter, I draw from life and observations of everything around me.

PW: You just mentioned that you are writing a book -- in general what is it about? I mean, fiction, non-fiction, biography...or related to music, a how to/teaching type thing...?

JP: It is a science fiction thriller I started a few years ago. It began as a just something to do for relaxation because I love to write. Once it was started, it just kept growing from there. After I signed with Cellar Records, it got shelved. In order to be productive, I need a large block of time to focus on the story. Until recently I just never seemed to be able to do that. With the CD doing so well and the current break before we begin the next recording, I've been able to get back into it. I hope to get it finished and to the publisher before summer next year.

PW: Hmm... Moving to the document...album...itself... The first track is called "The Speed Of My Life." It certainly taps into something that many (if not all) have felt at one time or another ... especially in a society obsessed with speed (patience is a luxury).

JP: That is absolutely right. The only constant is the universe is change. At times it feels that the changes taking place seem to come at us faster than we can really handle. A lot of that has to do with the "I want it now" mentality I think we all get from time to time. Interesting how technology and progress were said to make life easier when in fact it fuels the obsession to do more in less time. Todd Joos co-wrote this one with me. When I saw the material he had, I said, "damn, I can relate to that." The song just took off from there. We both have had similar experiences in life and are around the same age so all the pieces just fell together. This was actually the last track we recorded on the CD.

PW: What was your intent with "Chaos (The Test Of Time)" - it's not quite as "cut and dried" as some of the other tracks...

This piece deals with spirituality and religion. My favorite cliché is "Religion is for those who don't want to go to hell, spirituality is for those who have been there." Well, I've been there. When the self-righteous say that their interpretation of God is the right one and everyone else is wrong, it proves that they have no concept of what "God" or a Higher Power truly is. It is just another example of a closed mind. All spiritual and religious writings have a common thread, despite their cultural differences. I don't want to get into a detailed discussion of my own beliefs because in the end, it's your own relationship with your higher power that is important. I wanted to write something that dealt with that very thing without being judgmental or condescending. The music is very complex yet has a very simplistic thread. "Innocence is the true defense against the test of time." Stay teachable....

PW: "X" takes a different approach to a subject explored often of late - domestic abuse ... objective, and yet directed at the abuser...

JP: This song actually appeared on the first Sea of Monsters CD but I never felt it was given the attention musically it really deserved. There are musical subtleties and obvious tension builders in there that help convey the story. I initially wrote this as a reflection of the devastation of alcoholism on the lives of all involved. It became apparent that the song was taking on a life of it's own as I wrote it. Abuse takes on many forms, some not as evident as others, but abuse none the less.

PW: "Courage, Honor, Glory" is certainly relevant right now, especially with President Bush making his case for "preemptive strikes" against Iraq, for example.

JP: It is interesting because this song has raised a bit of controversy. Most people understand the message, but there have been a few others that think it is meant to be un-American (not something that would be all that popular in the current world). War is a terrible thing that should never be entered into lightly. There should be a legitimate reason for the death and destruction caused. When war is the only option to protect freedom from fanatically evil people like Osama Bin Laden or Adolph Hitler, the sacrifices are required and I think all of us are willing to make them. When war and killing is for power or for some political or corporate money driven agenda, then it does nothing but dishonor the brave souls asked to conduct it and diminish our own ethical beliefs. To attack out of blind fear is wrong. All options must be weighed before we go off blasting the shit out of anything. Unfortunately, in the case of "Sodom" Hussein, I think the options have run out. The United States is the most powerful nation in the world. As such, there is a responsibility for the US to be prudent, honorable and objective without arrogance or betrayal.

PW:"The Demon Within" also seems "ripped from today's headlines," with it's tale of a runaway becoming a victim to a predator. At one point we hear sirens ... sirens that sound like they drive right on by... is there something telling in that?

JP: Yeah, it does. The lyrics came from a short story I was writing that my daughters suggested I turn into a song. There is a whole story line that goes along with this piece that would probably take up all the available space here. I have actually scripted a video that will expand upon this theme, if I get the chance to shoot it. Suffice to say that the sirens are an important element to the story. However, I like to leave the interpretation of its meaning for the listener to decide as they visualize it. I will say this though, the predator becomes the prey in the end. It is a very dark and sad song that deals with a tragedy that is so often played out these days.

PW: "Cathode Ray Reflections" targets the influence of entertainment (mainly violent entertainment) on our youth. Do you think it really exerts that kind of influence? Or are we just not paying attention to those who are susceptible to such influence?

JP: This song was written right after the tragedy at Columbine High School in Colorado. As a father, this event had a profound effect on me and to this day I cannot hear or play this song without remembering what had happened. I really don't think the entertainment industry is the cause of evil here. At the time, the news media, in it's infinite stupidity, started to look for the easy out and find someone to blame this on. The entertainment industry was an easy target because those pointing the finger don't understand what they are judging. They want to find a quick and easy answer to the question "how can this happen?" instead of really digging for the reason. This is typical of the so-called news media these days. They only care about ratings, not the truth. Yes there is a lot of violence in today's entertainment and music, which I think just mirrors our culture and exaggerates it. Could we have prevented this incident? Yes I think we could have. The question is "HOW" and I certainly don't have an answer to that. I wrote this for those who lost their lives before they really had the chance to live them, and to those who were left behind to deal with the pain. I hope in some infinitesimal way this piece of music helps people to remember so that it never happens again.

PW: "Running Out Of Time" treads all too familiar territory as well, not only in that it speaks about the disenfranchised (the p.c. way of saying homeless, of course) ... but in the musical realm as well (Bruce Hornsby, Phil Collins, to name two that come to mind). When an artist takes on just such a topic, you have to ask: ah, yes, and what are you doing to help?

JP: You are right on the money there. Awareness of the problem is only the beginning. I try to help when I can but there is only so much one person can do. I worked with a major charity in Chicago a few years back and it was an incredibly eye opening experience. Being the richest nation in the world, you'd think we could take care of our own. Hell the cost of one missile could feed thousands for a long time. Perhaps if one person could lead to two to three and so on, we could eliminate this problem. "Indifference is the crime." As far as the artists that you mention, I can't really say. They are welcome to come and jam with us though - :)

PW: Other than your present co-conspirators, if you were to conspire with anyone who would it be?

Funny you ask that, I was just talking with some people about who I'd want to work with if given the opportunity. There are a lot of cats out there I'd love to have a chance to collaborate with. Hell, I could probably name hundreds of them. I'd like to jam with some of the master jazz players out there. Of course there are the rock cats that I admire. There are some percussionists like Portnoy and Peart I'd like to work with. [P3...or PIII perhaps, if Intel didn't mind -SS] I think it would be cool to jam with some players with extensive classical backgrounds, too. I have always wanted to do a concept piece with a full symphony. We've started looking into the possibility of some guest artists having spots on the next CD. Nothing is set in stone yet. However, having classical and jazz trained musicians playing rock could be a really cool idea.

PW: So far we've focused in on your role as songwriter. But, our notes indicate that the "gun" you carry is a bass. What is your "weapon" of choice and why?

JP: On the CD I used American Fender Jazz and Rickenbacker 4001 basses. However, I now play Hot Wire basses exclusively and they will be featured on the next CD. Hot Wire is a small luthier company out of Germany that build custom basses. They built me a beautiful 5 string fretted that I named Aurora and a Hot Wire Dann Glenn signature fretless bass that Dann sold me named Venus. These are simply beautiful instruments and have a tone that just can't be beat. In fact the wood comes from the forest around where Mozart grew up. Venus was built to the same specifications as Jaco's "Bass of Doom" (Jaco and Dann were close friends up until Jaco passed). Aurora was built to my own specifications and I couldn't be happier with her. I've played a lot of basses in the 20 odd years I've been playing and these are the best. I am now an endorsing artist for Hot Wire and look forward to a long relationship with them. They can build just about anything. In fact, Dann's next bass will have no knobs and a wood pickup! Next year I am going to have them build me a couple more basses. A new 4 string fretted and a 6 string are definitely on the list. I am very interested in the Sharkey model that Hot Wire luthier Magnus (Krempel) developed. Perhaps a piccolo bass in the future, who knows.

PW: How did the endorsement with HotWire come about?

JP: Actually, that came about after I bought Venus from Dann. Dann introduced me to Bert Gerecht (CEO of HotWire) when I mentioned that I loved the sound of Venus so much and wanted a 5 string like her to augment my sound. Bert really dug the CD and after discussing what I was looking for in a fretted bass, he was very willing to help me come up with the perfect instrument. They built exactly what I wanted and I couldn't be happier. I felt that the instruments were so good that I just had to tell people about them and the endorsement thing came from there. I'll be doing some guitar shows sometime soon where I'll get to talk to other bassists about these wonderful instruments. I do it because I believe in their work and consider Bert a friend.

PW: If you could learn one new thing this year - either in music or out of - what would you like it to be? And why?

JP: If I could learn only one thing this year? I'd like to learn where bin Laden is so I can beat the living shit out of him, then let the families of the 9-11 victims have a turn. Other than that, becoming somewhat proficient on fretless bass is where I am focused on learning. Fretless has such a beautiful sounding tone and not a lot of cats play it correctly. I think it is going to fit really well into the progressive rock world. "Progressive" means "forward looking," "futuristic" and "avant-garde."

PW: If you could travel anywhere in the world, where would it be? And, of course, why?

JP: I'd love to go to Germany. I have some ancestry there plus the fact that there are some amazing musicians and fans over in Europe. Also, Hot Wire basses are made in Germany so I'd dig a chance to hang with Bert and Magnus and check out the shop. I'd dig seeing The Netherlands and Great Britain (Scotland), too. All of Europe is beautiful and I could really get lost there. I'd also love a chance to visit and play in Japan. They really seem to dig the CD there. Guess they have good taste :).

PW: They do indeed. Finally, will there be a second CD? Have you begun work on it or will that wait till after your solo CD is done?

JP: Some of the material for the new Project 814 CD is written and we are going to collaborate on other stuff. We start rehearsals for the second CD in a couple of weeks, with the recording sessions beginning in October 2002. It is going to a bit different from this last one since everyone is coming to the table with material. We are going to put the best songs we can on this CD. If that means someone else writes material, that's cool with me. These cats have great talent and songwriting skills so why not explore that. It is the music that is important, not the credit. Our goal is to create something 1000 times better than Declassified because that is what our fans expect. My solo CD will be pieced together during the off time and throughout the next several month, but I don't expect it to be completed until after the summer of 2003.

PW: Well, thank you, Jon. Any final thoughts before we release you? [interviewer smiles]

I think that it is the beginning of a really exciting time for progressive rock. There is some excellent music out there and the fans are certainly the best in the world. A big part of that is a direct result of the Internet and excellent information portals like Progressive World. I want to thank you for inviting me and for the great coffee. This has been a lot of fun.

PW: Well, as it happens, we secretly replaced your coffee with... oops, can't reveal that conspiracy. Ahem...thank you for taking the time to visit with us, Jon. And we look forward to your next report (CD, that is)

As will be announced next week, and as Jon revealed to us above, the next Project 814 release will go into rehersals in September... stay tuned... [that release became Disquise The Limit's Redemption]

Discography:
Declassified (2001)
Disguise The Limit - Redemption (2004)