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Show e Composer At 80 RABBIT BUNDR1CK Keyboards with the Who ANTHONY DAVIS Avant-Garde Jazz Piano's Rising Star CONTEMPORARY _ 12-- mm*- LETTERS Send to: Contemporary Keyboard, 20605 Lazaneo, Cupertino, CA 95014. In reply to Jim Aikin's statements about the dearth of synthesizer symphonists [see CK, July '80], we are writing to inform you about our project in Los Angeles. For the past two-and-a-half years our group, the Synners, has been making synthesizer transcriptions of music written for other instruments. However, unlike Carlos and Tomita, our arrangements have been written for live performance and are faithful to the score; each new timbre is placed in accordance with the original orchestration of the work. As noted in CK's Keyboard News last March, we have performed several concerts at the LA Museum of Natural History and the Dorothy Chandler Pavilion. Our repertoire includes Beethoven's Eighth Symphony and the Overture-Fantasy to Tchaikovsky's Romeo And Juliet, among other works, and soon we will be adding original compositions too. Right now we are a trio. Our goal is to form a sextet, but finding synthesists with a well-rounded keyboard facility is extremely difficult. We've found that most good synthesizer players are limited to jazz or rock, and that good classically-trained synthesists are usually interested only in composition. The greatest obstacle we face, though, is money. We've had to beg, borrow, or rent most of our instruments and PA equipment to be able to perform. These and other concert production costs make it difficult to concertize at this time. We're concentrating on circulating our demo tapes to record companies, but this too is a very frustrating task; getting past the receptionist is often nearly impossible. Thank you for giving us this opportunity to spread the word about our project. Maybe this letter can help generate some interest in endeavors like ours. Brian Banks Anthony Marinelli Mark Curry Van Nuys, CA I just read your interview with Gary Numan [see CK, August '80], and after I wiped the tears from my eyes - some from crying and some from laughing - I decided to write and express my feelings about it. I can't believe you guys actually printed the article after you found out how untalented and stupid Numan is. I mean, the guy said himself that he has only been playing for about a year; that should have been enough of a clue to pass him by. All I can say is that I feel sorry for Bruce Dancis, who had to sit there and listen to that idiot tell the world he can't play. I hope that in the future you write about people who can. Paul Newman Plevna, MT I was shocked at your interview with pseudo-musician Gary Numan. My curiosity made me read the article, because I wondered what this person had to say about music, but when I read the bit about, "I'm not really much of a musician anyway," and his confession that he is "limited to a one-finger motion, two at most" on the keyboard, I just had to ask you why this piece was even printed. I certainly don't consider him a musician, and I'm sure most of your other readers don't either. Why not leave entertainers like Numan for the gossip magazines? I think you have a great publication; don't spoil your record. Peter Sturge Summit, NJ Gary Numan in the same magazine with Glenn Gould? Come on, now! A. Condoret New York, NY Having just read Jim Aikin's review of the Vangelis album Short Stories [see CK, August '80], I must comment on his slam to the Moody Blues. Every one of us who owns or plays a Mellotron, string synthesizer, or polyphonic synthesizer owes a large debt to the Moodies, particularly to Michael Pinder. This man pioneered the use of keyboard-created orchestrations, and most of the time he came up with songs and sounds that hold up even today. Listen to "The Voyage," from On The Threshold Of A Dream [Deram (dist. by London), 18025], or "My Song," on Every Good Boy Deserves Favour [Threshold (dist. by London), 5], among other cuts. Probably a lot of people never even knew that the orchestra was, in fact, a Mellotron. Even though Pinder has left the Moody Blues, he and the band should both receive more attention than some people I've seen reviewed in music magazines. But then, I personally feel that all critics should be melted down and used to pave over the Love Canal. Charles Thaxton Huntington Beach, CA Thanks for your interview with La Monte Young [see CK, August '80]. I hope it will helpto persuade a domestic record company to release some of his music. From all accounts it sounds like it would be an amazing and moving listening experience. Perhaps the lack of accessibility is due to the extreme time spans involved; The Well-Tuned Piano would no doubt require a four- or five-record set, but a large company like Columbia or Warner Brothers would not find this obstacle insurmountable. There are many in the buying public who would love to hear and read more about Young, Brian Eno, lohn Cage, the Residents, Terry Rilev. Devo, the Hying Lizards, and the other tringe folk who keep contemporary music from stagnating and dying for lack of any real interesting ideas. Anyone who is truly into these artists is welcome to write me and share information and ideas. Tom Furgas 1840 Paisley Rd, No. 3 Austintown, OH 44511 [Ed. Note: In the Feb. '80 Letters co/umojRau/ Ellingson offered his thoughts on Oscar Peter-"sorT^viclory in the Jazz Piano category of the 7979 CK Keyboard Poll, claiming that it was evidence of how "unsophisticated" our readers Continued 4 CONTEMPORARY KEYBOARD/OCTOBER 1980 |