Two weeks ago when DubMC's Dmitri Vietze facilitated a discussion titled "Digital Explosion and Live Performance" at the annual Arts Presenters conference, a somewhat spontaneous "case study" emerged as various people involved with the debut album of Vieux Farka Toure and the parallel remix album produced by Derek Beres shared different aspects of the project. Here we offer a Q & A with producer Beres about this new-model approach which supports: original source material and accompanying live performances as well as a remix project, whose tracks will be staggered over a few months, and for which there will also be a live dance party with DJs and Vieux playing live; and, exclusive downloads on various e-tailers and blogs, and even a fan-as-remixer project in collaboration with Creative Commons/Mixter. The intent here is to expose the inner workings of such a project and explore new models for cross-marketing world music.
Describe the mission of the Vieux Farka Toure remix project.
It’s twofold. First, the remixes are a way to lead people back to the source material, which is the root of anything Vieux does. Second, I wanted people to recognize both the foundation of African music, which shines through in the soulful, bluesy songs he writes, as well as a “future culture” that is not limited by geographical location but is nonetheless influenced by African music. Every aspect of the mission leads back to Vieux himself.