Spielen zum Sequenzer

>>Vor vielen Jahren hast du Level 42 verlassen, weil dir die Schizophrenie zwischen der Sequenzer-Doktrin und menschlicher Komponente zu sehr am Nervenkostüm zerrte…oh yeah! Mit einem Sequenzer live zu arbeiten, das ist hart für jeden! Allerdings muss ich mich aus heutiger Sicht da etwas korrigieren. In Wahrheit hatte ich damals einfach zu wenig Erfahrung im Umgang mit Sequenzern. Ich hatte die verschiedensten Möglichkeiten der Interaktion zwischen Drums und Maschine nicht tief genug ergründet. Mir fehlte die Gabe, solche Informationen wie Clicks, Percussion Loops und Keyboard Sequences musikalisch zu empfinden. Für mich waren diese Dinge immer nur kühle Diktatoren. Heute begegne ich den Dingen gelassener, ich spiele mit Kopfhörer, hab einen eigenen Submix und pegle meinen Monitor exakt so wie ich ihn brauche. Weil das Programm zu 95 % sequenzerbasiert, misch ich mir noch den entsprechenden Click hinzu. Seitdem ich in der Lage bin, mit diesen technischen Dingen entspannt umzugehen, hat sich die tür ein bisschen geöffnet. Entspanntes Spielen ist außerdem auch ein Schlüssel dazu kreativ zu sein. <<

Gary Husband im Interview in Sticks 02/2007

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2 Antworten to “Spielen zum Sequenzer”

  1. Maus Katze Specht « E-BEATS Says:

    […] eigentlich gar nicht…) für die herzlichen Glückwünsche und verrate einen ersten Vorsatz: Level 42 und viel heisses Wasser, quasi: […]

  2. the invitation to literally invent | E-BEATS Says:

    […] Gary Husband schreibt seinen persönlichen Nachruf zum Tod von Allan Holdsworth im FB auf: >>Yesterday I received the most devastating news of the passing of my spiritual and musical brother Allan Holdsworth. And along with that news came the realisation I had now witnessed the conclusion of the last chapter of probably what will always be known by me as the most significant musical relationship of my life. The journey that began in the later 1970s in a studio in London – a first time ever trial playing situation for us – where time and space seemed to evaporate and give vent to suddenly this otherworldly, uncannily effortless, intense communication and empathy of the nature and height I could have only dreamt possible. I remember wondering afterwards, as we were packing our gear, if we’d ever reach that again or even get to play together once more. And it did. And we did. And though the albums IOU, Metal Fatigue, Atavachron, Sand, Wardencliffe Tower, Then, Hard Hat Area etc, that serve to document the handful of decades we were able to develop together, I have vivid memories, still, of the experiences of many incredible improvisational musical heights together, in many live settings, of the kind I will not experience the like of again. With Allan I had the invitation to literally invent. I knew it was totally unique music. Yet strangely it was music I felt – almost as naturally as if it had come through me. The unique harmony, the unique signature pushes & pulls in tempo, the pauses and the inherent rubato, up alongside all the straighter grooves that all felt so completely natural to me I was mystified at so much of the confused reaction the music provoked in people. I had no idea why it was regarded convoluted, complex or unusual. So not only was this the most comfortable playing situation for me I also was afforded the luxury to approach and form all drum approaches to the pieces from my own imagination. Occasionally I’d come up with something, and I’d quickly know if it wasn’t an instant success. But mostly it was. And little was said, virtually nothing ever rehearsed, and it just all got recorded that way and performed that way while expanded upon live. IOU was to essentially document as good as possible version of pieces we had been performing for a good while. But from Unmerry-Go-Round – the wonderful piece where I worked alongside Allan to form the rhythmic structure – it was about an approach to drum composition – how the drums worked conceptually – as much as it was also the playing side of things. This started to really expand particularly on the recordings for the albums Atavachron and Sand. I would love to elaborate on all these periods. Perhaps in the form of a book sometime. […]<< […]

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