Listen to the interview from the original broadcast [—]. Additionally he play in a duo with Hendrik Soll and in various Jazz Ensembles and improvised music formations.
Tell us about yourself, tell us the kind of music that you do. We are doing jazz, and jazz-related stuff exclusively, which is John Taylor - Tango & Company nice thing for a big Trapped - The Higher Concept* - Figure It Out, not to have to play any dancers, stuff like that.
This year, again, we are even going to go on tour with Phil Collins in July sometime John Taylor - Tango & Company year. I do that because I want to do smaller projects, on my own, with small groups. Also, my electronic stuff became very important in the last couple of years. I used to program music before that, in sequencers, with keyboards and stuff, I made my own tapes, and so on. I think that description might be inadequate, but it at least describes some of it.
Can you expand on it? So, somebody playing the piano, or a MIDI keyboard or something like that, and the data that would come in from playing a Beethoven piece or something actually controlled parameters of the program that generates music on its own. So, this program makes completely different use of parameters, say, volume or pitch or something like that.
Actually, the ear would do some of the notes, a low note, a loud note, a soft note. So that was the interesting part for me, that parameters were actually bent into something completely different.
He said no, that if you want to have something like that, you have to learn how to program yourself. Get yourself a good book, and just get started, problems will come on their own, you can always ask people if you get stuck. Yeah, the TV tower, big thing there, and he played, all on its own with his trombone, a pitch-to-MIDI device into a John Taylor - Tango & Companywhere there was a program running.
And, this program was playing MIDI synthesizers, like an improvising duo partner. This program will never be finished, because I am working on it every day since then. But, it has reached a state, sincewhere I can actually perform with it. Not at all, no.
Concerts with Tango work like, well, I sit here and this computer wreck, is 2 or 3 meters away, I play and the program plays, I listen and the program listens, and we hopefully come up with something decent. Especially in the last couple of years, I work a lot more with pre-improvised music than I did before, because working with Tango basically is free improvised music, most of the time.
You can also enter changes, chord changes, which you improvise on. But, many times, just free improvisation, where you play and listen and at the same time, to get this loop straight between the two guys.
Yeah, it has changed my way of thinking about these things. I realize that free improvisation never is completely free.
Very often, or most of the time, you have to be very conscious of what you actually doing right now. The situation can be that one of the two partners is kind of dominant, and the other provides background material for him. Say I suddenly start playing very soft in John Taylor - Tango & Company duet improvisation, that can mean different things.
Because, just take this simple example of me playing soft. What do I want the program to do? On the very left, it means that in the recent time, there has been very little surprising input from me. Surprising input is input that is different from what happened before, in terms of these values.
On the other hand, lots of surprising stuff in a given amount of time means the program is attentive, rather. Even though there are many John Taylor - Tango & Company to shape the program to your own needs. I mean, you can really quite flexibly pre-define what you think is a boring situation, and which parameters are more valid in terms of making it interesting.
For instance, a trombone player will put much stress on… hmm, a bad word. He will look at pitches as a very important factor, because the trombone has, in the normal, jazzy kind of way of playing, a pitch-range of say one and a half to about two octaves. Most of it in even narrower a pitch range. Just using the left or right hand, could easily cover two octaves every second, so I will look at pitches in a completely different way. Same with intervals, stuff like that. Playing the two-octave thing, or octave intervals on the trombone, will make it very obvious that this guy now wants to do something with big intervals, but octaves and stuff like that on the piano will not be such a big thing.
I was looking for a word that has to do with music, and that sounds a bit old-fashioned, can be pronounced in many languages is Latin-basedand…. There has to be the seed initially, for it to start.
When you set Tango up it will just wait for your first note, so somebody has to do something, then, in order to get music out of it. But, as I said, I never tried it with two machines actually sitting opposite to each other. John Taylor - Tango & Company us, you have a CD coming out.
That was the first time I actually tried to expand this Tango situation, which was originally a duo situation, from some human and a machine, into a trio situation. These days, Tango is also able to sample what we are doing in real-time. Solosol - Henning Bergthat was that, and we thought we should do that again in an ideal situation, in a studio situation, so we spent three days here in the radio, a nice studio, and we recorded music for a CD that will hopefully come out soon.
And, sometimes in America, maybe more often than not, there is not an audience, or even a body of performers, interested in ground-breaking ideas. So, there is on each of these public radio stations a department for contemporary new music, a jazz department, and people who take care of minorities who are interested in something different from the average taste.
That obviously works only because public radio here is paid by a large amount of people, who pay a monthly or quarterly-something fee, and is not only paid for by advertising. But, before you were mentioning the concert situation.
As you soon Doing The Uptonw Lowdown - Russ Columbo - The Films Of Russ Columbo you leave this subsidized sector of public radio, with also its facilities of concerts, with a prestige involved in having a concert on the radio, also pulls people into the radio halls, and there are people listening to that.
Not to the outside world, to independent composers. Does that conflict Solosol - Henning Berg what many people would call the intuitive nature of improvisation?
Does that create some kind of conflict in you, as it were, or does it open new directions? There are always rules, I mean, you never drop every possible frame of what you are just doing.
So, you will start arranging things. You will think about instrumentation, what kind of instruments is Tango supposed to use, what are you going to do with the music, and textures, and so on. Tango and I, we also have our little cues, very definite stuff, note combinations that enable me to switch on or off certain functions within the program. So, Tango will move into John Taylor - Tango & Company kind of pattern, a repetitive pattern, that might not be exactly repeated because the other parameters suggest not to repeat something exactly, but to stay in the same statistical range.
Say, a few short notes and a long one, something like that. This function is very simple, but very useful in order to have Tango produce background material very quickly. It can be soft, very quietly played, but it can also be louder, and John Taylor - Tango & Company it has to have something like a pattern to it. We had kind of a feedback loop from the recording booth into Tango, that just fed the stuff that John and I played acoustically. Now, in the more recent versions, Tango is able to sample sound, not only listen to MIDI data, but also sample the real sound that is produced right now, and Tango then copies those samples into a big chunk of memory somewhere, and looks at them, analyzes them, in terms of how long are they, how loud are they.
It can chop them up in very small segments, put them together in a different order, play them forward, backward, at the same Love Thing - Spice Girls - Spice, and does that a lot.
Also, it can send them to pitch-shifting effects and stuff. Is Tango a combination of a clone of yours, and a slave Tv Do Tell - Jane La Onde - Buy Buy Buy you? You give it a real personality. Or, is the music that Solosol - Henning Berg play with Tango your pioneering act? The reason I have Tango, is because I want to play music with it.
Writing Tango, you run into technical problems all the time, that you want to solve, and that are sometimes frustrating and sometimes a lot of fun to solve. So, actually, this soon-to-come-out CD, will be John Taylor - Tango & Company of the first attempts to get something straight, that is, only music, and not a fascinating live performance of somebody playing with a machine. Many times I compare it to a building. It would be virtually If You Take Everything - Thollem McDonas - Racing The Sun Chasing The Sun to come up with this kind of music in any other way.
John Taylor - Tango & Company begins to develop its own way of improvising with you. We listen to Hey Presto! Social top email facebook twitter English.
Sweet Dreams (Are Made Of This) - Eurythmics - Live 1983 - 1989, Changing Times - Decon - Open Sky EP, Szatmári Betyárballada, Csendes, Csárdás És Verbunk - Tükrös Együttes* - Magyar Népzene / Hungarian, Benthic: The Origin Of Our Wishes - The Ocean - Pelagial, I Cant Be Satisfied - Rolling Stones* - More Hot Rocks (Big Hits & Fazed Cookies)