Peter Gregson

Last weekend was spent totally over caffeinated in Red Bull's perfectly equipped studios (just off perhaps the best named street in London, More London) 

I was there working with super-producer kidkanevil (AKA Gerard) and Rob, his WhizzKid Modular Synth friend. 80 channels (mainly of cello), two days and a lot of Red Bull later, we finished "mod synth vs cello... fight" It was so much fun and, actually, one of the best sessions I've been a part of for a long time - I'm really looking forward to hearing the track when we go back to mix it fully in mid September!

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It's the morning after the night before, as they say. I had the most incredible time at Le Poisson Rouge, a crazy cool venue with amazing people and the most terrific audience I think I've ever played to - it was a great pleasure to be back in New York, and I can't wait to be back! 

A number of people asked for a programme which I dutifully couldn't provide, so here it is at last!

Gala Water - Sally Beamish [solo acoustic]

Tracing the Outline - John Metcalfe [electric]

Cello Counterpoint - Steve Reich [acoustic + track]

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Bow to String - Daniel Bjarnason [acoustic + track]

Vocal - Max Richter [solo electric cello]

Spem in Alium - Thomas Tallis [acoustic cello + cello] 

If you and enjoyed the Metcalfe/Richter electronicsy stuff, perhaps you'd like to check out my album, Terminal? I think you might like it...
I'm hoping to get some pictures and audio from the show up soon... it all ended with a really lovely meal at the terrifically tasty and conveniently placed Minetta Tavern where, it turns out, their wardrobes are fully dedicateable to the accommodation of my cellos. Clearly a new star-worthy measurement of a restaurant.

In more coffee related news, I've pretty much conquered every 5* (and above?) reviewed espresso bar on the west side of Manhattan, so this mornings job is to branch East and see what delights they have over there. I'm told Abraço is pretty extreme, so that's my morning sorted. I'm recording with the wonderful Slau this afternoon (he's sending the chopper to pick me up) for a Christmas album (the second Christmas album I'll have slaughtered, oh yes) and then some roof terracing this afternoon/evening.

Back home late tomorrow, so will have to pick up a few things for a few people and then hit my usual galleries before jumping on the plane!

I'm back in New York for a few days, and it's all like 

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It's exactly what it looks like.

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Is it too much to ask for a few more hours in the day? I mean, after you take out breakfast, morning walk to coffee, the gym, lunch, coffee, dinner and a walk home, it's pretty much gone, leaving little time for the ever-so-slightly more important tasks at hand, like commission deadlines and practicing my golf swing the cello.

I'm currently polishing the music for Courvoisier's Napoleonic Punch Machine, which is debuting at The Secret Garden Party in late July. It's a lot of fun, but a slightly odd brief - I'm keeping quiet, so if you want to hear more, you'll just have to come along! I'll be there on the 22nd reveling in, hopefully, the sun, but I'll be taking an umbrella(ella, ella) just in case.

Slightly more pressingly, I'm doing a concert next week at An Tobar. Literally here:

I'm pretty excited that somewhere so small can really justify a key change in its theme tune. It must be pretty incredible; not even Cheers had a modulation. 

It's a similarly huge programme as The Queen's Hall but without Cello Counterpoint... in fact, there are a few subtle changes with correspondingly subtle reasons: one of them being that there's a golf course on Tobermoray, and it wouldn't be big or clever to be so tired from playing to have to miss out on a cheeky round of golf, now would it? (As I said, there are other reasons, but that's one of the more present ones)

I will have the Secret Garden Party piece finished by then, and then I can focus on the next Courvoisier project (which actually goes public first...), what does your soul look like? Tickets are genuinely scarce, so if you'd like to come, sign up to the facebook event and drop me an email soonish. 

I think that's it for the rest of July... I'm off to buy some new shoes. Going to a dinner party tonight.

So, last night was The Queen's Hall, Edinburgh concert. My first public outing of Cello Counterpoint and a host of other things, including John Metcalfe's painfully wonderful Tracing the Outline. 

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Six speedy little days time and I'll be soundchecking at The Queen's Hall. Not long to go now, tickets are selling well and if you're thinking of coming, see you there! Ahead of this, I'm going to be on The Music Café (BBC Radio Scotland) on Wednesday afternoon, playing 'Minus' from Terminal and the Gigue from Bach's 3rd Cello Suite - I think there are a few questions by way of an interview, so I'd best be on good behavior.

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I've just finished my very tasty M&S sushi lunch on the train down to London, and am now knuckling into some work, but thought I'd update you on a few things.

Again, I'm in practice/writing exile right now, and it's oh-so-very productive. I really should do it more often, it's great! I wake up, go to the gym then get on with some practice or some writing, whichever feels better right then.

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Last night was another alt_classical - it was a great success, with Daisy Chute curating an evening of world folk music (I joined for a few of the pieces). There was a great atmosphere, and a really great audience! It was filmed by The Hospital, so I'll post that video as and when it's around.

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As I write this, I'm in self-imposed practice exile north of the border in charmingly rainy Edinburgh.

A few weeks ago, I looked at my diary and realised that, while May is pretty straight forward (as far as months go), June-Novemeber really, really aren't. In fact, I'd go as far as to say that they'll be the craziest 6 months of my life to date...
So, here I am in Edinburgh, amongst the rain and the accents, really laying in to some solid practice - I have 4 different programmes to learn for the next few months, and you have to start somewhere! Some of the current biggies, Cello Counterpoint, Bach 3, Tracing The Outline (new suite by John Metcalfe), Gala Water by Sally Beamish and Bow to String by Daníel Bjarnason, are all coming up over the next few months and in one concert, all in the same programme! Lots to do.

I have little pieces of news here and there, but they'll get their own posts in good time: most important of all, though, is that Terminal will be made into a CD and on sale in time for the concert at the Queens Hall in mid-June. I'm just approving Pantone colours and fonts etc today, but it's all very exciting! I'll post pics when they arrive.

I'm popping back to London on Monday for a few days; a barrage of meetings and the next instalment of alt_classical is coming up on Wednesday 19th at The Hospital - I'm performing with singer (and fellow Scot) Daisy Chute. Want to come? Drop me an email!

As is the only real way to start the day, I'm having poached eggs and an espresso. I will resume usual service on the blog soon, but in the meantime, little news flashes seem the best way to go. Back to the practice room I go...