Credibility Pursuing Incredibility
We used the PAN Network. Hayes Modems at 300 then 1200 baud.
“The Random feature is a very simple, very brilliant idea which is incredibly usefull, not just for breaking sound habits, but also for giving you completely new ideas.”–Douglas Adams (Hitchikers Guide to Galaxy). Talking about Prophet-VS.
Note I wrote one for the T8 first. Later, Opcode made it a standard featureof their editors.
“Stanley–the feeling I got from your music was reminiscent of Weather Report’s Mysterious Traveler album. I was amazed at the spontaneity you accomplished playing with drum machine patterns. I was also impressed with the way you play synthesizers. Very tasty rhythms and sounds. I hear your influences as being similar to mine: Miles, Weather Report, Chick, Coltrane, … Did you play a Rhodes piano through a Mutron bi-phase or was that a sampled sound? That was the sound that made me think of Mysterious Traveller. What drum machine did you use? The patterns were great! Easy to jam with and sophisticated enough to add to the improvisational approach you choose. I think this music is releasable. “
Early session with Rick Davies – “the lake”. There are things that make this the best jam I’ve been in. Rick’s musicianship makes it.
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1984 10 20 The Garment produced by Leon at Dragon (Charlie’s house) where I flute out the T8 My first semi pro gig!
1984.04 Friday Night Music (at Cubberly Auditorium). The beginning of a long but not particularly influential association for me. I value FNM as a ritual, a process. The actual music and or images produced are a tertiary interest
1984.06 Miles Davis ?Concord
1984.12.31 Grateful Dead at the Civic [Thanks, Bill!]
Harry Colman was a huge influence. Not least of which, as a database designer, thankfully teaching me the benefits of year-month-day dating, Much left to say.
Jazz wedding casual; Bach Dancing and Dynamite.
No finer setting. This was the first time I performed with the Prophet-5—borrowed from the Service Dept. It had taken me a while to get used to it, but I managed to get the right sounds at the right time.
The question of context plays back into the synthesizer player’s duties. In other words, the syntheteur should be able to make appropriate gross selections but also appropriate subtle adjustments so that the instrument is as (expressive & compelling = musical) as possible. So from this experience on I became keenly interested in problems around how to use the programmable synthesizer in performance. Recordings of this typical jazz exists only to document a baseline against which to compare MUSIC for the INNER FILM [CD] which was my answer to those problems.