Let me tell you a story...
My music making began with formal lessons on clarinet and flute whilst at secondary school; this was to follow the traditional path of a classical education and graded music exams in theory and practice - this didn't last long.
After A level studies (not music), I continued my education at Liverpool John Moore university, where I did a degree in Fine Art specializing in sculpture, graduating in 1989.
Throughout this time I kept up with my musical interests solely as a hobby with an occasional jaunt live; usually art happenings with music; by now I had moved onto playing saxophone.
After finishing my sculpture degree I did study music with an intensive 12 month theory of music course. This led to a wider understanding of many idioms such as jazz, free-jazz, improvisation, contemporary classical, electro-acoustic and various folk forms.
My music making began with formal lessons on clarinet and flute whilst at secondary school; this was to follow the traditional path of a classical education and graded music exams in theory and practice - this didn't last long.
After A level studies (not music), I continued my education at Liverpool John Moore university, where I did a degree in Fine Art specializing in sculpture, graduating in 1989.
Throughout this time I kept up with my musical interests solely as a hobby with an occasional jaunt live; usually art happenings with music; by now I had moved onto playing saxophone.
After finishing my sculpture degree I did study music with an intensive 12 month theory of music course. This led to a wider understanding of many idioms such as jazz, free-jazz, improvisation, contemporary classical, electro-acoustic and various folk forms.
Ray Sax Gallon Drunk Astoria.
Gallon Drunk
In 1991 I moved from Liverpool to London and soon became friends with many people that were already in, or just starting their own bands, some of whom have gone on to become household names, and it wasn’t long before I myself was to join my first ‘proper’ band.
I used to go to a venue famous back then for great music nights: the Falcon in Camden Town, London. I saw many bands but there were none that really grabbed me or that I thought perhaps could have used a sax player, until I saw a band with pure energy, attitude and a great groove…
“They need saxophone…......................... ” I thought.
After the gig I found a couple of the band members and got talking to them. Trying to act as cool and nonchalant as I could muster, whilst inside being a writhing mass of emotions (along the lines of “They are cool road-weary warriors of the London circuit: I know nothing”; “They look damn cool: I look rubbish”; “They’re surrounded by cool friends who obviously don’t like me… ”), I casually inserted into the conversation hints about me playing a “bit of sax” and “had they thought about saxophone in their music?”
“Of course!” came the reply, “come to this address at this time and we’ll have a play together”. As simple as that…
The band was Gallon Drunk; they were fusing the mighty Bo Diddley groove with the attitude of The Birthday Party, all behind a wall of noise not dissimilar to Lou Reed’s Metal Machine Music. After a week of auditioning and some hurried rehearsals we went off to Europe for a short tour.
My job as sax player was to riff to the best of my ability - not very well at this stage - in a rock’n’roll style during the song sections of our set and then to make as much of free jazz noise as possible to add to the mayhem in the louder parts of songs; all of us dressed incongruously in sharp suits and the finest collection of Hawaiian shirts to be seen in Europe since the 1950s, this all adding to the overall commotion.
We did a number of shows and even got asked to appear on MTV Europe for an interview and a live session.
This was my first television experience, which went surprisingly well and got us some much needed press attention, so much so that on our return we were invited to play a UK tour as the support act for Nick Cave and the Bad Seeds.
In 1991 I moved from Liverpool to London and soon became friends with many people that were already in, or just starting their own bands, some of whom have gone on to become household names, and it wasn’t long before I myself was to join my first ‘proper’ band.
I used to go to a venue famous back then for great music nights: the Falcon in Camden Town, London. I saw many bands but there were none that really grabbed me or that I thought perhaps could have used a sax player, until I saw a band with pure energy, attitude and a great groove…
“They need saxophone…......................... ” I thought.
After the gig I found a couple of the band members and got talking to them. Trying to act as cool and nonchalant as I could muster, whilst inside being a writhing mass of emotions (along the lines of “They are cool road-weary warriors of the London circuit: I know nothing”; “They look damn cool: I look rubbish”; “They’re surrounded by cool friends who obviously don’t like me… ”), I casually inserted into the conversation hints about me playing a “bit of sax” and “had they thought about saxophone in their music?”
“Of course!” came the reply, “come to this address at this time and we’ll have a play together”. As simple as that…
The band was Gallon Drunk; they were fusing the mighty Bo Diddley groove with the attitude of The Birthday Party, all behind a wall of noise not dissimilar to Lou Reed’s Metal Machine Music. After a week of auditioning and some hurried rehearsals we went off to Europe for a short tour.
My job as sax player was to riff to the best of my ability - not very well at this stage - in a rock’n’roll style during the song sections of our set and then to make as much of free jazz noise as possible to add to the mayhem in the louder parts of songs; all of us dressed incongruously in sharp suits and the finest collection of Hawaiian shirts to be seen in Europe since the 1950s, this all adding to the overall commotion.
We did a number of shows and even got asked to appear on MTV Europe for an interview and a live session.
This was my first television experience, which went surprisingly well and got us some much needed press attention, so much so that on our return we were invited to play a UK tour as the support act for Nick Cave and the Bad Seeds.
Galllon Drunk, Astoria London.
Suddenly we were playing larger halls such as London’s Astoria Theatre,
which I remember vividly for the bad-taste pink leopard-print shirt I chose
to wear to mark this auspicious event and the sheer size of the stage we
had to work with.
Luckily our singer, James Johnston, flung himself around with such aplomb
that he seemed to encompass the whole space and take ownership of it
which went down very well with the capacity crowd.
A brief taste of life in a band was sweet but for me my tenure with this band had a cruel ending: my time with Gallon Drunk was over.
Time to form my own band and explore further noise and improvised music.
On a footnote for a short time James went on to become a member of The Bad Seeds himself.
which I remember vividly for the bad-taste pink leopard-print shirt I chose
to wear to mark this auspicious event and the sheer size of the stage we
had to work with.
Luckily our singer, James Johnston, flung himself around with such aplomb
that he seemed to encompass the whole space and take ownership of it
which went down very well with the capacity crowd.
A brief taste of life in a band was sweet but for me my tenure with this band had a cruel ending: my time with Gallon Drunk was over.
Time to form my own band and explore further noise and improvised music.
On a footnote for a short time James went on to become a member of The Bad Seeds himself.
Skree London
Skree
I called this band Skree and with my friend Richard Walker (who later formed his own band AMP) we based our development around a residency at the Royal College of Art, London.
Skree started off as a four-piece punk-jazz outfit - short snappy songs with hooks and elements of noise - but we soon morphed into a more freely-improvised jazz/rock style with a core membership and a revolving cast of guest musicians on various instruments, everything from cello to metal percussion.
It should be noted that the first incarnation of Skree featured guitarist Ian Grant who had recently relocated to London from L.A. where he had been playing with members of The Dogs D'Amour and The Quireboys. So a slight shift in musical direction – to say the least - but Ian’s short sharp power punk ideas suited what I was trying to say melodically at the time on alto sax. I had also had started to attend the London Musicians Collective and take part in workshops led by the legendary jazz drummer and educator John Stevens, whose unorthodox methods and approaches to making music (he would scare people) really started to inform the way I began to approach my own way of using sound. I subsequently started to use some of these approaches in Skree (but I didn’t, I don’t think, scare people!).
I called this band Skree and with my friend Richard Walker (who later formed his own band AMP) we based our development around a residency at the Royal College of Art, London.
Skree started off as a four-piece punk-jazz outfit - short snappy songs with hooks and elements of noise - but we soon morphed into a more freely-improvised jazz/rock style with a core membership and a revolving cast of guest musicians on various instruments, everything from cello to metal percussion.
It should be noted that the first incarnation of Skree featured guitarist Ian Grant who had recently relocated to London from L.A. where he had been playing with members of The Dogs D'Amour and The Quireboys. So a slight shift in musical direction – to say the least - but Ian’s short sharp power punk ideas suited what I was trying to say melodically at the time on alto sax. I had also had started to attend the London Musicians Collective and take part in workshops led by the legendary jazz drummer and educator John Stevens, whose unorthodox methods and approaches to making music (he would scare people) really started to inform the way I began to approach my own way of using sound. I subsequently started to use some of these approaches in Skree (but I didn’t, I don’t think, scare people!).
Over the next two years Skree recorded and released two albums and performed many gigs around London and the South East with our final show being at the famous punk venue The Hope and Anchor in North London. On this circuit we made many friends and often played shows with Map and Huge Baby two great underground bands. Simultaneously, I had begun to experiment more with electronically treating my sax, primarily to compete volume-wise with electric guitars/drums/bass but also to experiment with sounds and sample loops creating otherworldly noises and effects. This added many different colours to my palette, enabling me to enhance mood, atmosphere and dynamics.
As Skree started to dissolve I was approached by David Callahan, ex Wolfhounds singer/guitarist and the then leader of the band Moonshake and asked if I would like to contribute sax and flute to their 1994 album, The Sound Your Eyes Can Follow.
As Skree started to dissolve I was approached by David Callahan, ex Wolfhounds singer/guitarist and the then leader of the band Moonshake and asked if I would like to contribute sax and flute to their 1994 album, The Sound Your Eyes Can Follow.
David Callahan. Moonshake
Moonshake
At that time Moonshake were signed to the London label Too Pure who had a great roster of artists such as PJ Harvey, Stereolab and Th’ Faith Healers, all bands that I had been checking out live and on record for a while so I was very happy to be part of this label.
During the making of this record I was asked to become a full-time band member and, with contracts duly signed, upon the album’s release we went out on tour to Europe and then the USA where the band was starting to gain some success on the important college radio circuit.
From 1994-97 we made three critically acclaimed albums and undertook some gruelling tours. These encompassed everything from the searing heat of a summer tour spent playing outdoor festivals such as Lollapalooza (Headliners Metallica with the Wu Tang Clan joining in NY) through the American Midwest, to a winter tour of Scandinavia - rescued by the British Army at one point - and even a small foray into the newly-emerging former central and Eastern European countries. (A strange cabin deep in the forests of Slovenia run by bikers springs to mind here: we sort of feared for our security at that particular venue.)
At that time Moonshake were signed to the London label Too Pure who had a great roster of artists such as PJ Harvey, Stereolab and Th’ Faith Healers, all bands that I had been checking out live and on record for a while so I was very happy to be part of this label.
During the making of this record I was asked to become a full-time band member and, with contracts duly signed, upon the album’s release we went out on tour to Europe and then the USA where the band was starting to gain some success on the important college radio circuit.
From 1994-97 we made three critically acclaimed albums and undertook some gruelling tours. These encompassed everything from the searing heat of a summer tour spent playing outdoor festivals such as Lollapalooza (Headliners Metallica with the Wu Tang Clan joining in NY) through the American Midwest, to a winter tour of Scandinavia - rescued by the British Army at one point - and even a small foray into the newly-emerging former central and Eastern European countries. (A strange cabin deep in the forests of Slovenia run by bikers springs to mind here: we sort of feared for our security at that particular venue.)
Moonshake Press Shot.
On the Lollapalooza tour* we were relegated to the 3rd stage; in other words the back of a truck. This was quite a distance from the main arena and was to be our performance space for the next six weeks. Here, with other so-called ‘alternative’ artists, we played to a largely indifferent crowd of thrill-seeking metal fans.
Camaraderie soon developed between the bands on our stage and it was us against the big boys with their overzealous security (1); we quite soon lost interest in the corporate machine at work in the main arena. I hate to upset anyone in the Midwest but we were informed that this was a B Market tour to ram home the Metallica message and gross some serious money before moving on to the more important major cities…
We were considered the freaks for playing interesting music which therefore prompted more extreme behaviour from some of the other bands, Lutefisk from LA come to mind here. This, coupled with the surreal nature of finding ourselves dehydrating in the middle of flat dusty wastelands with hardly any shelter from the searing sun with a dilapidated van (2) so kindly provided by the record label (it had two seats for six people, the rear passenger seat being a sofa - and we actually paid for this as well), all added to the sense of other-worldliness.
Camaraderie soon developed between the bands on our stage and it was us against the big boys with their overzealous security (1); we quite soon lost interest in the corporate machine at work in the main arena. I hate to upset anyone in the Midwest but we were informed that this was a B Market tour to ram home the Metallica message and gross some serious money before moving on to the more important major cities…
We were considered the freaks for playing interesting music which therefore prompted more extreme behaviour from some of the other bands, Lutefisk from LA come to mind here. This, coupled with the surreal nature of finding ourselves dehydrating in the middle of flat dusty wastelands with hardly any shelter from the searing sun with a dilapidated van (2) so kindly provided by the record label (it had two seats for six people, the rear passenger seat being a sofa - and we actually paid for this as well), all added to the sense of other-worldliness.
 Moonshake play to another rapt crowd |
 Security have their hands full here |
1. Upon arrival in a godforsaken dust bowl that was to be that day’s festival site, myself and Kevin Bass (the drummer at the time) saw a lake in the distance and instantly thought what a nice idea it would be to escape the heat and relax for a while lakeside.
Once settled by the cool waters we were rudely interrupted by security who, as it turned out, were private security for the Metal Gods [sic] themselves, and who informed us that due to Metallica wanting to jet-ski on the (huge) lake we were not allowed to sit by said cooling waters, even though the fair rock stars would be some distance away. Despite much arguing and informing said security of our status as artists - how they laughed - and the showing of appropriate passes we were forced to leave by the threat of impending violence (and thus we didn’t get to enjoy the potential spectacle of members of Metallica involved in Spinal Tap-like incidents).
2. The tour-van-with-sofa finally ground to a halt on one of the most desolate highways in Canada, Route 40, Montreal to Quebec; luckily for us not too far from the town of Trois – Rivieres. After some serious negotiation with our label (involving quite a bit of shouting) they finally agreed to front the cash for a hire van to complete the rest of the tour. Suddenly a vehicle with regulation proper seats and, lo and behold, the strange magic that is A/C or air conditioning to give it its full and proper nomenclature. Now we were riding with the big boys, travelling in style in a vehicle more suited to the sensibilities of a classy English Art Rock band. We still ended up having to buy the no-longer-functioning-and-dumped-in-a-scrapyard van out of our earnings though, due to some strange deal/contractual hole that we found ourselves in with this particular record label.
*By now we were no longer signed to Too Pure but a Seattle based label called C/Z records who really wanted to push us in the American market.
Once settled by the cool waters we were rudely interrupted by security who, as it turned out, were private security for the Metal Gods [sic] themselves, and who informed us that due to Metallica wanting to jet-ski on the (huge) lake we were not allowed to sit by said cooling waters, even though the fair rock stars would be some distance away. Despite much arguing and informing said security of our status as artists - how they laughed - and the showing of appropriate passes we were forced to leave by the threat of impending violence (and thus we didn’t get to enjoy the potential spectacle of members of Metallica involved in Spinal Tap-like incidents).
2. The tour-van-with-sofa finally ground to a halt on one of the most desolate highways in Canada, Route 40, Montreal to Quebec; luckily for us not too far from the town of Trois – Rivieres. After some serious negotiation with our label (involving quite a bit of shouting) they finally agreed to front the cash for a hire van to complete the rest of the tour. Suddenly a vehicle with regulation proper seats and, lo and behold, the strange magic that is A/C or air conditioning to give it its full and proper nomenclature. Now we were riding with the big boys, travelling in style in a vehicle more suited to the sensibilities of a classy English Art Rock band. We still ended up having to buy the no-longer-functioning-and-dumped-in-a-scrapyard van out of our earnings though, due to some strange deal/contractual hole that we found ourselves in with this particular record label.
*By now we were no longer signed to Too Pure but a Seattle based label called C/Z records who really wanted to push us in the American market.
Tech talk.
By now I had a number of effects on my Sax.
Using an AKG pick up Pre Amp to Chorus, Delay, Reverb, Distortion, Whammy Wah and
Volume pedal, to control the output signal.
I also used a stage microphone playing and between the two inputs I could vary the mix between full on electric and / or acoustic.
This gave me a nice mix between effected and acoustic sax.
Later on in Spiritualized I would use the same set up with the addition of another distortion and a tremolo.
I also rehearsed for some time using a rack mounted effects unit in addition to the stomp boxes allowing me to split the signal into stereo between two Fender tweed 1960's amps.... That was fun.
By now I had a number of effects on my Sax.
Using an AKG pick up Pre Amp to Chorus, Delay, Reverb, Distortion, Whammy Wah and
Volume pedal, to control the output signal.
I also used a stage microphone playing and between the two inputs I could vary the mix between full on electric and / or acoustic.
This gave me a nice mix between effected and acoustic sax.
Later on in Spiritualized I would use the same set up with the addition of another distortion and a tremolo.
I also rehearsed for some time using a rack mounted effects unit in addition to the stomp boxes allowing me to split the signal into stereo between two Fender tweed 1960's amps.... That was fun.
Ray Sax and Flute. Moonshake.
Moonshake generally tour-managed ourselves, taking on board everything from equipment hire to route planning, tour accounts, merchandising and sales, hotel booking and visa applications. Days off were spent travelling as no show meant no money and occasionally getting club dates in between festival shows for much needed extra income.
If we were lucky, we could also save money by staying with another band or fans. Thanks to the other 3rd stage bands at Lollapalooza we did save some cash by staying with Capsize 7 in North Carolina and Lutefisk in L.A.
Finally, after three years, broken by endless touring and with diminishing returns financially, we finally called it a day. Amicably but all rather sad; it had been an adventure but by this point we agreed the band had finished.
Coming to terms with not having a band or a record label, I began to look for work and not long after the dissolution of Moonshake I was put in touch with singer/band leader Jason Pierce - J.Spaceman - formally of Spaceman 3 and now fronting his own band Spiritualized. They had just completed recording and mastering of their third album Ladies and Gentlemen we are Floating in Space and wanted a sax player to complete their touring band line-up.
If we were lucky, we could also save money by staying with another band or fans. Thanks to the other 3rd stage bands at Lollapalooza we did save some cash by staying with Capsize 7 in North Carolina and Lutefisk in L.A.
Finally, after three years, broken by endless touring and with diminishing returns financially, we finally called it a day. Amicably but all rather sad; it had been an adventure but by this point we agreed the band had finished.
Coming to terms with not having a band or a record label, I began to look for work and not long after the dissolution of Moonshake I was put in touch with singer/band leader Jason Pierce - J.Spaceman - formally of Spaceman 3 and now fronting his own band Spiritualized. They had just completed recording and mastering of their third album Ladies and Gentlemen we are Floating in Space and wanted a sax player to complete their touring band line-up.
Ray Spiritualized. Atmosphere.
Spiritualized
I had met Jason during my Moonshake days as he was a fan and often came to London concerts. After a brief phone call he asked me to come for an audition to see how I fitted into the line-up for the approaching tour, both musically and personality-wise.
Arriving at a very prestigious rehearsal complex in West London I was shown into the largest rehearsal space I had ever encountered, with a stage, a lighting rig, onstage mixer, front of house soundboard, full PA and a mass of other equipment. This was the sort of space that ‘proper’ bands use to rehearse the whole complex sequence of a show down to the finest detail. After a full day’s playing and a brief band meeting I must have been doing something right as I was asked if I would like to play with them as a hired hand and go on tour to promote the new record. Asking as to how long we would be on tour for and hearing the reply “About a year... “, I readily agreed.
For me this was a real step up the ladder: I was joining a relatively big band compared to my previous ones. They had a proper crew, a tour manager and press agents in fact the whole machine with all its various cogs and wheels in place for the releasing and promotion of a new record. Suddenly I saw that the music, although being central to the very existence of this industry, is in actuality only one part of a much bigger picture and so many more skills have to be mastered in order to be a successful touring machine.
We rehearsed various set combinations for about a month, getting inside the songs as much as possible, and then we went out on tour. Within a few months I was asked to become a full-time band member.
I think this may have been when we were on a Neil Young tour. Me and fellow new bandmember keyboard player Thighpaulsandra, were both told that the manager wanted to see us at a certain date later on the tour. Our initial thoughts at the time were “OK, this is it, short and sweet but we’re out for some reason”. Jason never would talk business or money with any band member this was always left to an ‘official’ to take care of, even in this pleasant case; no questions could be asked about what Frank the manager wanted to see us for. As it transpired it was all very pleasant, even if a bit awkward, but now we were ‘official’ members – for better or worse!
I think this may have been when we were on a Neil Young tour. Me and fellow new bandmember keyboard player Thighpaulsandra, were both told that the manager wanted to see us at a certain date later on the tour. Our initial thoughts at the time were “OK, this is it, short and sweet but we’re out for some reason”. Jason never would talk business or money with any band member this was always left to an ‘official’ to take care of, even in this pleasant case; no questions could be asked about what Frank the manager wanted to see us for. As it transpired it was all very pleasant, even if a bit awkward, but now we were ‘official’ members – for better or worse!
Spiritualized Birmingham UK, 1998.
With the new album getting great reviews and the concerts becoming looser but tighter as we grew accustomed to performing the songs live, the set was becoming one huge segueing mass of music held together by drones in various keys. We must have been doing something right as we started with small (800) capacity venues in the UK, but soon the demand for the band became so high that we were up to 3,000 capacity places, which culminated in our own headlining show at The Royal Albert Hall, London, which we recorded and subsequently released as a live album.
Spiritualized World Trade Centre
The year 1997 was turning out to be a great year for bands: suddenly British music had matured. Radiohead, Blur, Pulp, Oasis being the most well-known were amongst many others that all released fine albums and it felt like we were part of an amazing renaissance of music and culture from the UK.
A very exciting time indeed and also for me a real eye-opener in so many ways about the machinations of the music industry and, away from the making of actual music, how complex emotionally and psychologically it can be to deal with what is happening to and around you.
For example, playing in a so-called ‘big band in the UK’ able to sell out the Albert Hall you then find yourself on tour supporting Neil Young around America and suddenly you’re bottom of the bill and treated as such by some members of the elite rock world (not Neil Young and Crazy Horse - they were totally charming - but the arrogance of the business people, crew, security and some hyped bands was astounding).
You think 9,000 is a large crowd; suddenly you’re with someone that can play to 50,000 plus. It’s like moving from the top of the First Division into the bottom of the Premier League, a real emotional roller-coaster and eye-opener as to the sheer scale of work that goes into such mammoth shows as the Radiohead OK Computer tour or the Neil Young H.O.R.D.E. tour.
On reflection I see how the music world and that of perceived celebrity can easily send people over the edge. Observing, for example, the rise of Radiohead on the American leg of the OK Computer tour, the sudden press interest in our favourite fey indie darlings and the amount of demands on their time - all with no escape, constantly being watched and observed - can really lead to some forms of madness or at the least the need for some form of escapism. How difficult therefore to remain stable when all around all hell is breaking loose.
A very exciting time indeed and also for me a real eye-opener in so many ways about the machinations of the music industry and, away from the making of actual music, how complex emotionally and psychologically it can be to deal with what is happening to and around you.
For example, playing in a so-called ‘big band in the UK’ able to sell out the Albert Hall you then find yourself on tour supporting Neil Young around America and suddenly you’re bottom of the bill and treated as such by some members of the elite rock world (not Neil Young and Crazy Horse - they were totally charming - but the arrogance of the business people, crew, security and some hyped bands was astounding).
You think 9,000 is a large crowd; suddenly you’re with someone that can play to 50,000 plus. It’s like moving from the top of the First Division into the bottom of the Premier League, a real emotional roller-coaster and eye-opener as to the sheer scale of work that goes into such mammoth shows as the Radiohead OK Computer tour or the Neil Young H.O.R.D.E. tour.
On reflection I see how the music world and that of perceived celebrity can easily send people over the edge. Observing, for example, the rise of Radiohead on the American leg of the OK Computer tour, the sudden press interest in our favourite fey indie darlings and the amount of demands on their time - all with no escape, constantly being watched and observed - can really lead to some forms of madness or at the least the need for some form of escapism. How difficult therefore to remain stable when all around all hell is breaking loose.
Spiritualized Abbey Road Studio 2 Control Room.
During my five years with Spiritualized I did get to meet some of my heroes and play some amazing shows. We appeared on television and radio in the USA and Europe, even on Top of the Pops before its decommissioning and on Later With Jools Holland a number of times. We even, for a while, gained an entry to the Guinness Book of Records for playing the highest free standing gigs in the world: the CN Tower, Toronto and the World Trade Centre, NY.
Other than the aforementioned live album, I made another two studio albums and many singles as a member of Spiritualized. The Let It Come Down and Amazing Grace albums were both recorded at Air Lyndhurst and Abbey Road studios, London. Both took an incredible amount of planning and resources to pull off, being incredibly ambitious projects incorporating full orchestration, choirs, brass sections and many guests. Meeting George Martin was a treat and walking for the first time from the control room down the stairs into Studio 2, Abbey Road also felt somewhat special.
It was in Studio 2 that a guy wandered in one day as I was practicing some sax; everybody else was at lunch and I was doodling around, and he approached me for a chat. He seemed very knowledgeable about jazz and we discussed artists and music for a while. He then complimented me on my tone and walked off; only later was I told that this was legendary jazz drummer Ed Thigpen who has graced so many fine records with his talent.
Other than the aforementioned live album, I made another two studio albums and many singles as a member of Spiritualized. The Let It Come Down and Amazing Grace albums were both recorded at Air Lyndhurst and Abbey Road studios, London. Both took an incredible amount of planning and resources to pull off, being incredibly ambitious projects incorporating full orchestration, choirs, brass sections and many guests. Meeting George Martin was a treat and walking for the first time from the control room down the stairs into Studio 2, Abbey Road also felt somewhat special.
It was in Studio 2 that a guy wandered in one day as I was practicing some sax; everybody else was at lunch and I was doodling around, and he approached me for a chat. He seemed very knowledgeable about jazz and we discussed artists and music for a while. He then complimented me on my tone and walked off; only later was I told that this was legendary jazz drummer Ed Thigpen who has graced so many fine records with his talent.
Spiritualized : Thigh P, Sean, Ray and Damon
One of my fondest memories from my time with Spiritualized was recording with New Orleans legend Dr John for his album Anutha Zone.
He arrived at the studio with a tape full of demos and we were to have a chat and settle on the songs best suited for our band and him. Having made the choice we troop down the famous stairs into Studio 2 for a little practice. On one particular number I was to play a flute introduction then vamp some parts throughout the tune. After some practicing of the form, trying out ideas etc., the tape was set in motion, the red light was on and we were to record. Playing the flute in a live studio situation meant that I was in booth with headphones, isolated but in touch with the band. We start the number - flute intro over drone and sustained organ chords. First take something’s not quite right and the song is stopped.
I then here the voice of the good Dr in my cans: “A little too fiery” he says. “Lay back a bit”.
...........OK.
Take 2.
The song starts then stops again. “Not fiery enough” came the good Dr’s voice.
.........“OK” say I.
Take 3.
The song starts then grinds to a halt again…
Still not right.
Silence.
Then a few moments later the good Dr informs me that the first take was too red, the second too blue…
Silence again then the Dr’s growl suddenly says
“I’ve got it… play purple flute, yeah, that’s it, play purple flute… ”
So it was to be, in the correct mind-set I was to think purple when playing this intro - and it worked!
I then went on to play some live shows with Dr John, in a live band that included Paul Weller, Duffy from Primal Scream, some of the Beata Band and his usual musicians covering new songs and older Dr John classics: being such a fan of his music this was an amazing experience.
He arrived at the studio with a tape full of demos and we were to have a chat and settle on the songs best suited for our band and him. Having made the choice we troop down the famous stairs into Studio 2 for a little practice. On one particular number I was to play a flute introduction then vamp some parts throughout the tune. After some practicing of the form, trying out ideas etc., the tape was set in motion, the red light was on and we were to record. Playing the flute in a live studio situation meant that I was in booth with headphones, isolated but in touch with the band. We start the number - flute intro over drone and sustained organ chords. First take something’s not quite right and the song is stopped.
I then here the voice of the good Dr in my cans: “A little too fiery” he says. “Lay back a bit”.
...........OK.
Take 2.
The song starts then stops again. “Not fiery enough” came the good Dr’s voice.
.........“OK” say I.
Take 3.
The song starts then grinds to a halt again…
Still not right.
Silence.
Then a few moments later the good Dr informs me that the first take was too red, the second too blue…
Silence again then the Dr’s growl suddenly says
“I’ve got it… play purple flute, yeah, that’s it, play purple flute… ”
So it was to be, in the correct mind-set I was to think purple when playing this intro - and it worked!
I then went on to play some live shows with Dr John, in a live band that included Paul Weller, Duffy from Primal Scream, some of the Beata Band and his usual musicians covering new songs and older Dr John classics: being such a fan of his music this was an amazing experience.
To the Present
My time in Spiritualized was over in 2002; to be precise; it was in Athens, Greece that I last played with them. It had been fantastic but, in the end, as with many bands, it was uncomfortable for all concerned; messy really and should have been handled better, but as I said earlier, Jason always has an official to carry out ‘business’ activities on his behalf.
After some time grounding myself in reality again I decided to follow up my interest in improvisation and free music playing. Searching around I discovered that Eddie Prevost, founder member of legendary British improvising band AMM, was running classes and workshops in London. I was to spend a year with him attending classes and learning more about the techniques and reasoning behind the making of freely improvised music or instant composing as it was termed. I met and played with some of London’s finest improvisers and went to as many gigs as possible to absorb this music.
From the start of my music making I’d been interested in improvisation and its roots as the cause of all music no matter if, at a later date, it is arranged, transcribed and reproduced ad infinitum. For example, in Spiritualized we played lengthy improvisation passages in our sets with little distinction between them and the songs, each morphing from one to the other using pre-planned cues; the balance between the two different forms created an amazing amount of tension, release and sustaining power throughout the course of a set.
My time in Spiritualized was over in 2002; to be precise; it was in Athens, Greece that I last played with them. It had been fantastic but, in the end, as with many bands, it was uncomfortable for all concerned; messy really and should have been handled better, but as I said earlier, Jason always has an official to carry out ‘business’ activities on his behalf.
After some time grounding myself in reality again I decided to follow up my interest in improvisation and free music playing. Searching around I discovered that Eddie Prevost, founder member of legendary British improvising band AMM, was running classes and workshops in London. I was to spend a year with him attending classes and learning more about the techniques and reasoning behind the making of freely improvised music or instant composing as it was termed. I met and played with some of London’s finest improvisers and went to as many gigs as possible to absorb this music.
From the start of my music making I’d been interested in improvisation and its roots as the cause of all music no matter if, at a later date, it is arranged, transcribed and reproduced ad infinitum. For example, in Spiritualized we played lengthy improvisation passages in our sets with little distinction between them and the songs, each morphing from one to the other using pre-planned cues; the balance between the two different forms created an amazing amount of tension, release and sustaining power throughout the course of a set.
Which way now ?
Guelph Jazz Festival.
One sad aspect, though, was the attitude of some people towards the fact that I had played in rock bands, no matter how ‘left field’ they were. This automatically placed me on a much lower level in the hierarchy of improvisers; I found this way of thinking astounding in a supposedly free and open-minded musical world.
On a side note: many years later I had the privilege of playing alongside Fred Frith; whilst enjoying a few post-gig beers we got to discussing this particular attitude and he said he had experienced the same, almost venomous, hatred from others for the same reasons as me – apparently he’d sold out by playing with Henry Cow!
On a side note: many years later I had the privilege of playing alongside Fred Frith; whilst enjoying a few post-gig beers we got to discussing this particular attitude and he said he had experienced the same, almost venomous, hatred from others for the same reasons as me – apparently he’d sold out by playing with Henry Cow!
Solar Fire Trio
In 2003, for many reasons, I relocated to Liverpool. Here I continued to work as a musician and teacher and started to lead workshops in improvisation and music making/sound association. I joined an improvised music organisation and again got to play with many great visiting artists in theatres, clubs, contemporary dance events and art galleries.
I performed around the North West and on several occasions was invited to Europe for workshops and gigs. Playing around the NW led me to a meeting with Alto Sax player Dave Jackson and ex- Muffin Men drummer Steve Belger which prompted me to form my next band in 2005, The Solar Fire Trio.
This is a twin sax and drum power trio; our self-titled debut album was released in 2006, which got us a few UK dates supporting Julian Cope, who had made it album of the month on his website.
Rise Up, our follow-up release in 2007, again achieved many favourable reviews and in 2008 we released our third album Hand to Mouth.
I performed around the North West and on several occasions was invited to Europe for workshops and gigs. Playing around the NW led me to a meeting with Alto Sax player Dave Jackson and ex- Muffin Men drummer Steve Belger which prompted me to form my next band in 2005, The Solar Fire Trio.
This is a twin sax and drum power trio; our self-titled debut album was released in 2006, which got us a few UK dates supporting Julian Cope, who had made it album of the month on his website.
Rise Up, our follow-up release in 2007, again achieved many favourable reviews and in 2008 we released our third album Hand to Mouth.
Loka Mk 2 Toronto Canada
As well as playing concerts with local and international improvisers I had started to develop links to the new music scene in Poland. This stemmed from a series of workshops I held in the city of Krakow (Solvay Arts Centre) as well as shows I performed in Warsaw and Krakow with Micholaj Palosz, Tomek Choloniewski, Michal Dymny and Rafal Mazur.
I also continued to play in more mainstream situations (i.e. The Duke Spirit), compose music and tour with others, including Ninja Tune band Loka, which I’ve been a member of since 2006. We have done a number of shows including a Canadian tour which was memorable for a headlining appearance at the Guelph Jazz festival performing alongside such jazz luminaries as Charlie Haden and Anthony Braxton.
I also continued to play in more mainstream situations (i.e. The Duke Spirit), compose music and tour with others, including Ninja Tune band Loka, which I’ve been a member of since 2006. We have done a number of shows including a Canadian tour which was memorable for a headlining appearance at the Guelph Jazz festival performing alongside such jazz luminaries as Charlie Haden and Anthony Braxton.
In the UK Giles Peterson (BBC Radio 1) has been a fan and introduced us at London shows and also invited us on his show for a session. We have performed at other international festivals, one in Athens (whilst it suffered a heat wave: no good for sax tuning!) with bassist Bill Laswell and trumpeter Toshinori Kondo. Our new album Passing Place is due for release autumn 2011 and incorporates a full 30-piece Welsh brass band, orchestral percussion and Welsh choir – this not thinking small is down, in no small part, to the inspiration of one of the band’s founders, Mark Kyriacou.
I have also added my saxophone to a record by British band Soulsavers which was released August 2009. It also features Dr John on piano and the voices of great American singers Mark Lannegan, Mike Patton and Bonnie Prince Billy.
I have also added my saxophone to a record by British band Soulsavers which was released August 2009. It also features Dr John on piano and the voices of great American singers Mark Lannegan, Mike Patton and Bonnie Prince Billy.
In 2009 I moved to Warsaw, Poland where, for one album by each band I became a member of both the Trifonidis Free Orchestra and the Tricphonix Streetband.
I also started to meet and play with many other Polish Improvisers. I’ve found the atmosphere and location of this city to be perfect for me and the current scene of jazz and improvisers to be extremely healthy and forward-looking. There is a real passion for new music in Warsaw, which right now does not seem to be jaded, and of course Poland has a rich heritage of jazz artists who built the foundations of what’s currently happening.
I also started to meet and play with many other Polish Improvisers. I’ve found the atmosphere and location of this city to be perfect for me and the current scene of jazz and improvisers to be extremely healthy and forward-looking. There is a real passion for new music in Warsaw, which right now does not seem to be jaded, and of course Poland has a rich heritage of jazz artists who built the foundations of what’s currently happening.
Trifonidis Free Orchestra Headline Jazz Juniors Competion Krakow 2010
My Latest Bands include :
Light Star Guiding An electric composed / improvised band.
Casting Lots Totally improvised quartet, featuring Vocals / Cello / Percussion and Sax.
.. and currently inactive bands....
Osaka Vacuum a trio with cellist Mikolaj Palosz and drummer Pawel Szpura (our first CD Emerging View is released on Slowdown records)
Noise of Wings which I see as a composition vehicle for which I am uncovering and working on songs old and new; recording of first album complete.
Line of Fire A trio of Tenor and Baritone saxophones and drums. Pretty loud. Pretty in your face.
The KoM Trio Percussion, Electric Guitar and saxophone.
Infant Joy Quintet First release "New Ghosts" released on For Tune Records 2014.
Pulsaris "bee itch" cd released on For Tune Records in 2014.
Organic Panic Qt also have finally mixed our first release, which will be released 2015.
DCD Trio with Krakow based musicians Michal Dymny and Tomek Choloniewski on guitar and drums.
Plus many other Improvised Music Meetings with so many players, to many to mention...
I thank you all for including me in your / our ongoing journey in music.
Light Star Guiding An electric composed / improvised band.
Casting Lots Totally improvised quartet, featuring Vocals / Cello / Percussion and Sax.
.. and currently inactive bands....
Osaka Vacuum a trio with cellist Mikolaj Palosz and drummer Pawel Szpura (our first CD Emerging View is released on Slowdown records)
Noise of Wings which I see as a composition vehicle for which I am uncovering and working on songs old and new; recording of first album complete.
Line of Fire A trio of Tenor and Baritone saxophones and drums. Pretty loud. Pretty in your face.
The KoM Trio Percussion, Electric Guitar and saxophone.
Infant Joy Quintet First release "New Ghosts" released on For Tune Records 2014.
Pulsaris "bee itch" cd released on For Tune Records in 2014.
Organic Panic Qt also have finally mixed our first release, which will be released 2015.
DCD Trio with Krakow based musicians Michal Dymny and Tomek Choloniewski on guitar and drums.
Plus many other Improvised Music Meetings with so many players, to many to mention...
I thank you all for including me in your / our ongoing journey in music.
And not to forget the Warsaw Improvisers Orchestra, a project conceived for the exploration of large scale group improvising, currently ongoing.
This is a regular monthly meeting of musicians involved in the improvising scene around Warsaw and Poland.
It is a vehicle for conduction and / or composition.
We currently have over 50 members of the orchestra (unfortunately not all have played at one time, but that will occur at some future time) and people apply to join the regular monthly rehearsal and performance.
The entire point of this project was that I kept meeting so many different people playing or wanting to play improvised music and decided that a focal point was needed to draw everyone together, hence WIO.
I also wanted this group to meet and play every month so as to develop our own language and familiarity with conduction methods and improvising and I wanted the group to be democratic in its membership so that less experienced or new to this type of music making players could play alongside far more experienced musicians and
(I hope) learn from playing, asking questions, discussions etc..
I also wanted to have a vehicle for composition(al) activities and therefore have a number of musicians / instrumentation to draw upon for any ideas musicians may have.
For example I may have an idea for a drone piece using 4 - Contra Bass, Electronics Flute and Vocals.
Within the context of WIO I am able to make this happen.
This opportunity is also open for any member if they wish to utilize the musicians in such a way.
We are also open to guest Conductors to be apply for the chance to conduct - with their own methodology WIO.
The plans for 2015 include - Recording, Working with Dancers, Working with Improvised visuals (projections) and live scores for silent Films and some very Special Concerts in interesting spaces.
This is still a work in progress: editing and additions to be made...
Big Thanks to Lucy Cage for editorial guidance.
This is a regular monthly meeting of musicians involved in the improvising scene around Warsaw and Poland.
It is a vehicle for conduction and / or composition.
We currently have over 50 members of the orchestra (unfortunately not all have played at one time, but that will occur at some future time) and people apply to join the regular monthly rehearsal and performance.
The entire point of this project was that I kept meeting so many different people playing or wanting to play improvised music and decided that a focal point was needed to draw everyone together, hence WIO.
I also wanted this group to meet and play every month so as to develop our own language and familiarity with conduction methods and improvising and I wanted the group to be democratic in its membership so that less experienced or new to this type of music making players could play alongside far more experienced musicians and
(I hope) learn from playing, asking questions, discussions etc..
I also wanted to have a vehicle for composition(al) activities and therefore have a number of musicians / instrumentation to draw upon for any ideas musicians may have.
For example I may have an idea for a drone piece using 4 - Contra Bass, Electronics Flute and Vocals.
Within the context of WIO I am able to make this happen.
This opportunity is also open for any member if they wish to utilize the musicians in such a way.
We are also open to guest Conductors to be apply for the chance to conduct - with their own methodology WIO.
The plans for 2015 include - Recording, Working with Dancers, Working with Improvised visuals (projections) and live scores for silent Films and some very Special Concerts in interesting spaces.
This is still a work in progress: editing and additions to be made...
Big Thanks to Lucy Cage for editorial guidance.
