old meets new...again
music...an immersive moment in time
When I began to compose and perform music during the early 1970's I did so with an interest in bringing a sense of "experience" to the occasion. That meant an emphasis on the rudimentary aspects of musical technique and a dedication to the highest possible ideals regarding theater and a sense of the dramatic. For me, music wasn't simply something you performed or listen to. Music was an immersive moment in time.
the necessity of innovation
My earlier classical training informed my original compositions; but only to the degree that I would willingly honor the fundamentals of structure and musical organization while endeavoring to bring all those previous notions about what music "ought to sound like" into continual artistic scrutiny. Practically everything became open to reinterpretation. Consequently, I brought my practical experience with woodwinds, strings, brass, keyboards, percussion, and voice into my composition and performances but with a decidedly different focus. I had a guiding interest in engaging the imagination and participation of the audience by incorporating a variety of instruments and musical styles; often quite exotic and esoteric, with a theatrical acumen. That's where it really got creative for me.
celebrating the unorthodox
As a teenager I possessed a deep fascination with musical instruments and gadgets. Very quickly I discovered a love of invention and began to bastardize the traditionally acceptable uses of everyday objects and musical instruments by drafting them into the service of my compositions under a different role. Occasionally I'd hear a teacher or peer denigrate my personal musical style as "really rather unorthodox!"
Quite early on I began to experiment with home-made instruments, open reel tape recorders, analog tape delay equipment, and tape manipulation. I would soon discover that I was no pioneer.
Today I cite Terry Riley, Robert Fripp, Jean-Michel Jarre, Jon Lazell, Francesco Lupica, Geoff Cook, Jon Gibson, Arvo Pärt, Vladimir Ussachevsky, John Cage, Richard Maxfield, Harold Budd, Daniel Lanois, Ian Boddy, Klaus Schulze, Daphne Oram, Suzanne Ciani, and a handful of other musicians and inventors as the real pioneers who still occasionally return to the old practices in their new work, art, and music.
I stand on the shoulders of giants in every respect, and it is in honor of them that I dedicate my work.
departure and return
Although I stepped away from original composition and performance for well over two decades, today I am enjoying something of a personal renaissance; both musically and intellectually. It is in that spirit of renewal that I attempt to blend tradition with innovation; by composing and recording music using vintage musical instruments of a wide variety; both period and contemporary, odd musical creations of my own invention, a quirky blend of old-school analog synthesis and effects gear, computer hardware and software of my own devising, and what I term "found sounds;" field recordings that populate my work.