T-Minus 10 weeks away …
FRIDAY, JULY 12
The Michigan Science Center presents:
5020 John R St., Detroit, 48202
5-8 p.m. (Moving between Various Locations) TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS, created by Patrick Grant. Musical processions leading guests through the DIA (Detroit Institute of Arts), The Detroit Historical Society, + spaces in-between, ending at the Charles H. Wright Museum of African American History.
SATURDAY, JULY 13
The Michigan Science Center
5020 John R St., Detroit, 48202
1 & 3:30 p.m. TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS. Commemorating the 50th Anniversary of the first crewed lunar landing in 1969, “MOONWALK” by Patrick Grant. Performances around the center and in the planetarium.
The 27th Annual CONCERT OF COLORS
The creator of Tilted Axes: Music for Mobile Electric Guitars discusses his recent album A Sequence of Waves and his Detroit Music Awards nomination for Outstanding Classical Recording.
“Only classical compositions and that kind of inter-related album architecture could pull together elements of rock, world, and techno into a cohesive whole that goes beyond mere pastiche and that is integrated into its core.” Ljubinko Zivkovic chats to experimental / prog musician Patrick Grant.
Read the complete interview HERE
All musicians have a few pieces in their lives that, when they heard it it for the very first time, it was an epiphany, it was something that said to them, “This is what you were meant to do,” almost like a memory that had been implanted since birth had been awakened. One of these moments for me was when a friend popped in a cassette tape (look it up kids) of “Who’s Next” by The Who and I heard the opening synthesizer part to “Baba O’Riley” only to end when more of the same on the albums closer “Won’t Get Fooled Again.” How surprising it would be, years later, to learn that Pete Townsend’s sequencer-driven, phase-shifting rhythm track was in turn inspired in part by Terry Riley’s minimalist manifesto “In C,” itself a study in loop-based composition though played on an indeterminate ensemble of acoustic instruments.
Previous to this I had been learning the classics through the side-door of Wendy Carlos’ and Isao Tomita’s transcriptions via the Moog. The other shoe had dropped. I could be cool now amongst my peers, always a primary concern to a teenager. The Who keep me going until, without the help of MTV or today’s internet, new bands started catching my attention on the late night Detroit airwaves (shows like Radios in Motion and The Electrifyin’ Mojo) and I moved sharply away from classic rock into a New Wave.
The personal note above has been added to show that things change quickly, one cannot get stuck in a rut. This is especially true if one wishes to stay on top of innovation. To illustrate this, here are two videos of Pete Townsend. This first one shows how the electronic rhythm track to that “Who’s Next “ album came into being:
Now compare this to the very same, if not heightened, enthusiasm he shows in a recent video, almost a tutorial really, that, camera in hand, he made himself in the studio (still his fascination of loop-based composition is thriving):
I can only hope that I’ll retain the same open mindedness 30 years down the road when I’m confronted by whatever means of music making we’ll have then.