and that is possible the way Ibanez and Korg wanted it ..
In the latter half of May 2013 I premiered the long extended work (45 minutes) “LSD: A Suite in Four Parts” at the in Switzerland. On the one hand, during the month of May in this year (2013) I was inspired by the rare presence of the New York guitarist and colleague of mine, who had a month long residency in Willisau, Switzerland. I wanted to take advantage of having him in the vicinity to be able to rehearse more than I could with my "working" quintet which is based in NY (of which he is also a part). Another aspect that led to some of the choices I made for this project were dependent on where I could produce it, and the timing was such that the Schaffhausen festival was a primary focus for rallying support for this project. This festival is themed on featuring Swiss artists and I had performed on this same festival 12 years before, with a performance of the The WHO trio has, since that time, continued evolving as a group. The most recent work has gone deeper and deeper into new terrains (we released a new CD in 2014 entitled "The WHO Zoo"), it made sense that this project should include this trio as it's centerpiece. I also knew I wanted to do a quintet modeled in part after a special "mixed" quintet project I had done in 1995 in NYC, and this included on a mixture of wind instruments, -cello, -piano and on electric and acoustic bass. Here are a few examples of that earlier project I posted recently on YouTube to help promote this current project. The music of this project was never released as I was unsuccessful in finding an interested producer.
Also on my mind since moving to Switzerland was that I wanted to come up with a project that I could involve the reed virtuoso and now fellow ex-pat in, aand this project provided the perfect opportunity. So all of these elements, eventually titled WHO + 2, Gerry Hemingway's music for Mixed Quintet, were in place before I composed any music, and as well I booked a second performance in Belgrade, Serbia on the same weekend. At first I thought I might revive some of the repertoire of this previous mixed quintet but slowly a process evolved over the course of the months leading up to the performance that led me to compose an extended suite of interconnected works. I knew that I wanted to compose partly out of what has been developing musically with the WHO trio, and so months before the first rehearsal of the quintet I took some sketches to Bänz and Michel that we experimented with so I could also learn what was possible in my thinking. I say that as I had been coming to some new considerations about rhythmic relationships based on experiments I had done in my teaching practice with subdivision. These experiments were in part, a new way of approaching my past fascination with multi-tempo work, mostly done in my quintets where I write works that managed 2 or 3 layers of speed simultaneously. Through the lens of subdivision I saw other possibilities now. I could imagine to train my musicians to be able to hear the beat divided in several ways at once. I will spare you of a more technical lesson, but you can probably imagine that this is not an easy thing to do. To me it is exciting territory as a composer, as it is a language I (and the WHO trio) know well as an improviser, and I am always interested in bringing these two worlds seamlessly together and indeed the results of this compositional and rehearsal process were for me quite compelling.
When I compose I am often interacting to some degree with what is present in my life at the time I am writing. An article about the 60th anniversary of discovery of LSD came on the radio during this period, and his , and the huge social impact his discovery had on my generation, let alone myself seemed very fitting. One of the things that was very parallel in what LSD provided it’s experiencer and as well this composition explored, was the varying states of perception. The drug LSD gave it's user the experience of looking at the familiar, say for instance a table, and seeing this table transformed into something that no longer conformed to what we previously understood to be a table. What was solid and fixed was now liquid and continually shifting. These experiential qualities were very similar to my musical concerns. You hear at the outset of the piece a conventional hip-hop beat, and it seems at first that everything is aligned in syncopation to that beat, but in fact each player relates to the drum part in a different way and in fact no one listens to the pulse of the drum beat in the way that the listener would assume. What results is that everyone is operating at slightly different speeds and this is how the perceptual idea of time and stasis is altered and developed. What is perhaps very interesting is the state that this creates in the player of this music, as it involved training all of us to focus on elements of time we maybe understood intuitively but now had to master competence at, so it could be played accurately. And this process yields very interesting results to the direction of improvisation, which like the table is constantly changing shape. Another influence was the art (very popular in the time of LSD usage) of the draftsman M.C. Escher. The first section of this suite is named after one of his pieces "" and you will of course see the comparison to exactly what I am referring to when I say this composition is about perception.
The second section of this work is called "White Lightening" which has several meanings in this context. It came first from the fact that the wonderful country singer George Jones, whom I saw several times, and whose singing I strongly feel is exquisite beyond definition or genre, passed on. So in my own memorial for his departure I listened again to a great deal of his music, and his rockabilly hit "White Lightening" crept directly into my musical materials. It was to some degree ironic as White Lightening was also the name of a very popular form of LSD, even though its original name is for moonshine, home brewed alcohol during the times of prohibition. My long term plan for this piece is to release a DVD of the whole Schaffhausen performance, but also realize a film weaving imagery with the performance of the piece, the DVD would also include the documentation of the whole Schaffhausen performance as well as the whole Belgrade performance and some some clips from rehearsals and soundchecks.
They wanted me to be the top pro photographer full-time.
I wanted to use quad in a subtle and dignified way, which meant creating a fairly conventional stereo soundfield across the front, creating a sense of depth to the rear using reverberant fields, and putting the occasional interesting musical phrase to the rear, all the while constantly monitoring for stereo and mono compatibility.
In the end, they were the truest in terms of what I needed to hear.”Klayton holds his ADAM monitors and subs in high regard because “you never want to have to think twice about whether you’re really hearing what you’re supposed to be,” crediting their folded-ribbon tweeter and dual woofers for the clarity he sought.
Encyclopedia of Electronic Music - S
With Peter, very often I would come up with what I thought was the right approach, but he would be coming at it from such all oblique angle that what I came up with was not at all what lie wanted.
From Analog to Digital with Klaus Schulze - EMusician
When the Beatles hit, I struck out on my own and began playing guitar and bass, while continuing to take piano lessons, and I taught myself the rock pieces I wanted to know.
What made you switch from drums to synthesizers
Peter also wanted to bring out the electronic instruments, rather than the guitars and more traditional instruments, so by default I was in the limelight.
Vangelis scoring Blade Runner - Vangelis | Nemo …
"We wanted it to be its own musical world that the listener can step into, and then return to again and again, and find something new to discover every time."