We recently connected with Ric Hordinski and have shared our conversation below.
Ric, thanks for taking the time to share your stories with us today What’s been the most meaningful project you’ve worked on?
I’ve been very lucky in my life and career to have worked with so many lovely people, most of whom have become (often life-long) friends. I’d say that nine times out of ten, the most meaningful project is the one I’m currently working on. I don’t really know another way to do this kind of work well. Of course, not everything we do will be amazing, but I find that as i’ve gotten more experience I’ve learned to find a way “inside” of almost any kind of thing. Whether it be a client asking me to play in a style that isn’t really “me” or making production or choices that I’d find off-putting.
Working on your own music, after helping other people with their records and tours, is always a maddening and somehow satisfying experience. there’s a definitely push-pull factor in alternating between touring and the studio and between producing and arranging for other folks and doing it for one’s self.
Ric, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
I left music school to tour with a band in Australia and the US and never really looked back. I went from that situation to touring with artists out of Nashville. I got away from that scene and started a band with my college friends (Over The Rhine.) We pretty quickly got signed and headed out on the road. After about 10 years and 10 records with them, I left to help other people make records and tour. Since then I’ve shared the stage with groups like My Morning Jacket, WuTang Clan, Iron and Wine, David Wilcox, Phil Keaggy and many others. In the studio, I’ve worked with people like The National, Feist, Over the Rhine, Kim Taylor, David Wilcox, Bill Kreutzmann (Grateful Dead), John Mayer and others
What do you think is the goal or mission that drives your creative journey?
I hope that I’ve always tried to do really solid, beautiful work. that’s the through-line. Whether I’m playing onstage at festival in front of 10,000 people or a small club with 50, I want to make a connection with the listener and have them feel that they’ve been served a thoughtful, well prepared musical offering.
How about pivoting – can you share the story of a time you’ve had to pivot?
I guess that the collapse of the music industry in the early 2000’s with the rise of streaming and social media has impacted every musician who functions the world at large. I struggle to not feel burdened by the need to constantly convince people that my work is worth listening to: using methods that largely stand aside from music itself (video, Social Media, etc.)
Contact Info:
- Website: https://www.richordinskimusic.com
- Instagram: @monkoustic
