It only just occurs to me that, amidst the craziness of editing and creating the final mixes of FLOW, I didn't actually write about it.
I took a bunch of photos during the process which really don't do justice to the excitement of the entire process (which was totally new to me) - I've written before about the thrill of starting a day in the studio with nothing and ending up with something. Well, it was like that, but with a whole other layer of brilliant things going on.
To be blunt, my real creative involvement in the project finished on December 6th when I submitted the finished piece, ready for choreographing. The venue mixes and album mixes hadn't been done, so there was still some work to go, but this could only really be done once we were in the venue in January.
After a (much needed) Christmas break, the rehearsal period kicked off in tremendous style. It hadn't occurred to me that the music, up until this point, was entirely abstract. It worked nicely as an album, but the entire piece changed for me the minute I saw the first workings of the choreography for the Frozen (Duet) movement. It took on an entirely different life, and from that point on, I cleared my diary to make myself available for as much of the choreographing month as humanly possible... to see people re-interpret and re-imagine your work is a truly overwhelming experience; with the dance, it was somehow complete. The piece ran for all of February and, typically, was the fastest month of my life. It was such a pleasure to work with everyone at The Print Room and the rest of the creative team! Oh, and for those who like that sort of thing, the soundtrack is available over at iTunes and all the other usual places and a film was made! I'll link to that as and when.
Now it's over, and I'm back in the US for some meetings and, if I'm honest, the weather. Certainly not the scrambled eggs. Someone needs to have serious words with America about acceptable egg scrambling technique.
2013 looks like it'll be all kinds of crazy and all kinds of exciting, but on the plus side, I'll finally get a chance to work on my studio tan...oh.
Well, the news is gradually oozing out and I'll write about it properly soon enough, but am very excited to say that my tech/music collaborations are now run through The Electric Creative Colab, a newly founded, Google funded incubator for developing prototypes and musical experiments, of which I am a co-founder.
It's an exciting time and I can't wait to share the projects with you all here - the work we do through this will feed directly into other projects as well as standalone pieces... Here's to a creative 2013!
Having just been reminded that it's been a good few months since my last blogpost, I think it's time for a pre-Christmas roundup.
Since my last post, I've been to Helsinki, Belgium, Avignon, Paris, Berlin, New York and Zurich - in each city, I've started writing a new post, but every time I've fallen at the final hurdle.. so here goes.
I spent the most incredible week working with Pekka Kuusisto ahead of our collaboration for Aldeburgh's 'Faster than Sound' situation next May. It was my first time in Finland, and it was wonderful. First of all, concert halls in Finland are awesome. Second, Finnish people are delightful and third, I like cold rainy places, so it was ideal.
Other than thinking and developing ideas for our concerts next year, I've been working on some sketches for my next album, and now have a workflow which makes working in hotels actually preferable to home, which is just as well I suppose. I'm developing a new-ish sound for me, it's really stripped back and really clean... I remember, years ago, reading a Phaidon book. I don't remember which one. It had two pages, side by side, with two images of glasses of water. On the left, the photo had all this clever depth of focus and lush filtering on it, and was captioned "this is a photograph of a glass of water". On the right, it was (if memory serves) a polaroid. It was titled "This is a glass of water". I loved the simplicity of that then, and I love it now. I'm trying to make that sound, which is in stark contrast to the ballet score I've just finished.
It's been really tricky, but incredibly rewarding, working with a new creative team; to listen to your own music come to life before your very eyes is like nothing I've ever seen or heard before. Between dance studios, recording studios, hotel room studios and the venue, it's been a comination of goosebumps and sweat (dance studios aren't ventilated), but oh me, oh my has it been worth it. It opens on February 4th, and it'd be awesome if you were there.
Because there are also 107 different things going on at precisely this time (which is great because I hate being bored), I'm currently faced with really specific problem: how to apply excitement to the correct place.
I'm in a very fortunate position to (currently) be excited by all of the work on my plate. Lucky me! However, it's really hard to segment it all... especially if variety is a desirable facet, and for me, it is. For a few projects next year, I'm finding that simply putting myself in a different space is enough; be that a studio, my living room or a different city, it really makes a difference. The influence of place on composition has fascinated me for a while, and it's something I'm really keen to revisit sometime...
One thing did haunt me this year, though. A campaign to place classical music in unexpected places.
I don’t want to sound like a petulant child, but I really don’t want to hear or perform music on a street corner, in a vintage clothes shop or in the corner of a disused coffee bean roasters near a busy underground station. I don’t think the works we spend our lives practicing and refining should be snuck into a shop so people don’t notice, then when they do, assume them to be a customer/fan/devotee for life.
The best coffee comes from places where they specialise in coffee. The most convenient coffee comes from McDonalds. Convenience and quality are not the same.
I want to present music somewhere where the it fits, where it sounds at its best, and where we both, audiences and performers alike, can feel inspired. Showing the elasticity of music does very little for this at this expositional stage of the 'customer acquisition journey' , except for screaming that we’re desperate for attention and have decided, somehow, that diluting quality of delivery is the answer to increasing popularity.
Here's one for you: maybe the role of music isn't to be popular. Maybe success (in our 'classical-ish' world) is a by-product of exquisite attention to detail and exceptional delivery.
I have no issue with the reaching out - my issue is that we feel the need to put all our eggs in the point of sale, not the product. This wouldn't represent an issue to me if we were consistent with this, but actually, the after-sale message is “thanks for listening, now come to the real thing”. Again, place is a thing. Relaxing music in a stressful environment doesn't magically de-stress the environment. Bach on a commuter train is not going to eleviate commuter hell; it turns it into muzak, and that is of very little benefit to anyone.
2013 is going to be a lot of quite big announcements, but I'll leave that for my January post. I'm just back up in Edinburgh now for Christmas and looking forward to a bit of a breather... see you in the New Year!
I'm totally obsessed with this album of remixes of Bon Iver songs, partly because I'm currently loving Bon Iver all over again:
It reminded me of a discussion the other day - I've been really struck by how reliant I am on label identity these days. Like, I'll listen to anything that 4AD, Nonesuch and Erased Tapes put out without giving it a second thought. I just know I like the musical aesthetic they go for.
Now, more than ever, I reckon label identity is mega important. If YouTube/iTunes listening techniques are going to inform our listening, I'm pretty sure there's got to be a revolt to 'lineage' again; people wanting to know where their music comes from, or in which stable it was bred (as it were)
So, in short, yay labels and yay people taking risks and yay for people sticking their necks out for things they love. More please.
(Also: last night I was at Portico Quartet's gig at the Roundhouse in London. They were promoting their new album which is absolutely essential listening immediately)
As I may have mentioned (all those months ago when I last took to these pages), I'm writing a ballet score at the moment. Honestly? It's the most intensely bizarre process. The commission is totally open, totally free to do what I do, and whilst that may sound luxurious in extremis, it is in fact, not. It's really difficult!
After the first playback of the that which is ready for such an occasion, I had to explain that I had written the music like a good pair of trousers. That is to say, I'd written it long. I figured that, although I may love this gesture, that corner, that precise Bb or this delicious low C#, it's got to fit the structure of the dance, and it may well be that those things have to be shoogled about a bit, and I'm happy with that. We're not talking about major issues here, we're talking about a bit here, a bit there, just to help the flow. Fine? Fine.
I will say this: editing music is hard. Really hard. Especially once it's committed to 'tape', as this has to be (crazy deadline and it's important to have split timings as there are to be projections, too). I'm spending the morning trying to make a whole section work, but a few minutes shorter. I'm talking about shaving 90 seconds from a 6min piece. This may not sound hard, but the pacing and tension is, so far as I can find, all in those 90 seconds.
Some of you may remember I scooted abruptly to San Francisco for a day in July... it was to present The Listening Machine at Twitter, and they made a short film for their Stories site!
You can read it and see the film over here.
I'm in Berlin this weekend presenting The Listening Machine at CampusParty with Dan Jones. For those of you who don't know, it's a massive tech&culture conference, and was being held art Templehoff, the former airport (and, as the driver proudly told me, the largest continuous building in Europe? . Either way, it was pretty awesome to eat gnocchi on a runway...
The biggest thing in my mind right now is how best to go about starting to write a full ballet score. This past week saw a series of R&D days in a dance studio with Hubert (choreographer) and some of the dancers (4 of them), and some rough sketches and ideas more music were played out through a proper old school boom box.
The theme of the piece of Water, and its various states are being considered through sound and motion. It feels a little simplistic to ask what water sounds like, but at the same time, it's quite a beautiful series of vocabularies to explore: icey, aspirated, fluid, brittle, bubbling etc. It's starting to take shape, and I'm spending a large chunk of September scribbling and scraping away on it.
Anyway - as I was walking through East Berlin this morning to see some friends for lunch, and heard these utterly fabulous bells:
I'm finally getting my next album (the followup to Terminal) off the hard drives and into the studio, so will update on that via The Twitters and suchlike. Concerts are fairly quiet over the next few months as I process this major bout of writing, but usual service will resume from November-ish.
The incredible thing about being grounded during August (self-imposed grounding, I wasn't badly behaved...) is that I'm around London for the Olympics.
"INSPIRE A GENERATION" posters are everywhere, but I hope someone up at DCMS keeps this going. We aren't just producing inspirational people between 27th July and 12th August, we produce them all the time.
Our artistic and cultural exports are inspiring people all around the world all year round, and in fact, have been for years! Although it's probably easier to see why an Olympic Gold medal is directly inspiring, we really shouldn't assume that the National Youth Orchestra are any less inspiring, or the LSO, or any exhibition that Tate Modern presents... or Sadler's Wells, or Punchdrunk, or Hussein Chalayan, or Danny Boyle's other incredible works - the list goes on and on... It isn't that we need to blow the trumpets, but now that they've been sounded, let's keep the momentum going and play them louder.
Sport isn't the only thing that can inspire a generation!
For a long time, I've been defending my fitness regime; it's like an elite athlete: occasional hotel gym visits and the occasional visit to the gym in London really keep my body guessing.
This weekend, I was particularly tired and bored. A vicious combination for my bank account.
I have contended that playing a concert is like running a marathon, it's high intensity and requires stamina. Everyone laughs, largely because I'm sitting down, so I decided to try and quantify it.
My goal is to track my cello effort in "Fuel", calories and steps. Somehow, this makes sense to me and feels like a really cool and useful thing to do. I'm collecting the data on the Nike+ app (iPhone and Mac) and making pithy comments about it on Twitter under #cellodata
OMG, my FuelBand was just under twice as active on stage as it was the day before in the gym. #cellodata
Some would say I'm late, others would say I've been biding my time, but video is going to be a big part of my next album..!
To get in the mood, I'm finally starting my YouTube channel - it's here - currently just some playlists, but new stuff will be there very soon! Soundcloud's going to be getting a hit soon, so if you're over there, have a look!
The Listening Machine...it's...alive!
I'm in Boston this week for a concert with NEC's Innovation Forum and some meetings, but am so proud to see this launch. It's going to change shape over the coming 6 months, so keep tuning in!
Can I just point out here, on The Website, that The Listening Machine is absolutely the most insane amount of work that I've ever actually had to do, ever? It even eclipses that GCSE art coursework debacle of 2002.
It's not enough to have to write 6 months of potential music, but it actually has to be, you know, orchestrated quite well - the reasons behind the quality are two fold: one, it's being played by The Britten Sinfonia and they're incredible, and two, it's running for 6 months so it had better sound good for a good long while.
The realisation struck me recently that I'm not actually writing 6 months of music (seriously, could you imagine?), rather, I'm producing 6 months of potential music. This might just sound like I'm being pretentious - and, to some extent, I am - but it has quite profound implications. This piece (this? singular? hmm) doesn't simply start on May 1st and end Oct 31st (it does, but stay with me). It actually starts again and again, and stops again and again - it has so many variables, so many different plots and sub plots, so many tricks and turns... it makes thinking about a structure really, really tricky, and that's usually a really nice place to start one's thoughts in moments of immense deadline endured stress. Instead, I'm dedicating my life, right now, to ternary form and the understanding that pulsing/filtering drones are objectively good in any creative process.
We spent last week at Mute's studio opposite my latest Fave sushi place, and then the next two weeks I'm "only" writing another 3hrs of music. Actually, in the grand scheme of things... that isn't very much, but I've decided the most important thing going forward is to really dominate the dynamics and articulations of the music we do actually record; we're doing some fierce computing to create the generative elements of this piece live, so it occurs that the food we put in it really ought to be varied and tactile. There's a chance that quarter-tone tunings will come into it, and there's mos-def going to be a large amount of sul pont action. Such things sound fabulous with Massed Strings.
There are any number of excitements in the coming months, not least of which is the release (drumroll) of Gabriel's Cello Multitracks on May 28th, but I'll be in touch about all such things in due course.
I'm sitting at Austin airport heading home after a manic week at SXSW. I was there for a sniff of Interactive, then the whole music/beer experience. It was really quite incredible.
I was there to do the Nonclassical Showcase, which I co-hosted with Steve Snowden (composer, gent and co-founder of Fast Forward Austin), and we had a really fun lineup - percussion, a sax quartet, a percussion trio, me, solo bass..it was pretty wild. We also had a really receptive audience, who completely proved that the only classical panel ("We used to call it Classical...") in the afternoon was basically pointless: everyone there got that this wasn't Mozart, but were still comfortable being in the room for a few hours, listening to some great/weird/loud/quiet music. It was absolutely ideal! There were people clapping in the 'wrong' place and just getting carried away with it all. Isn't this exactly what it's all about? People getting into music they didn't know before? Discovering something new and finding it refreshing? From where I was sitting, that's what we managed to do - and I'm thrilled to have been a part of it.
I'm hurtling back to London now to prepare for The Big Unveiling of goPlay. I'm stupendously excited by this - as I've mentioned before, it's probably best summed up as music controlling music, no buttons and no wires: an attempt to really approach 21st century chamber music. It's all very cool. Come along on Friday if you're in London and curious..
It's also full steam ahead with The Listening Machine, my collaboration with Dan Jones and the Britten Sinfonia. Really, it's an unholy amount of work but from the tests we've been playing around with over the last couple of days... it's really exciting and will be launched properly on May 1st on The Space as a digital installation / live soundtrack. Seriously. A lot of work.
I'm looking forward to April - although there's no travel, which I <3, there's no travel, which is tiring! So it's one part yay, one part boo. It's a nice problem to have, I suppose...!
Long form blogging a tour is, honestly, exhausting. So many things happen that can't be repeated for polite reasons, and so many things sadly get overlooked as of interest to those not actively sitting at airports, train stations and in hire cars who overlook them (usually the writer)
This trip is no exception. It was, simply, immense fun. It was Joby Burgess, Gabriel Prokofiev and me winding our way from Princeton to Chicago, via New York, Boston/Houston (I went to B., Joby to H.), Milwaukee, Madison and Chicago, playing some concerts, eating some food and drinking (some) beer. What's not to like?
Princeton: clearly, the Concerto for Bass Drum was the overriding thang for P-ton, but I'd like to point out that I was joined by Interpretative Dancers for our first Nonclassical Club Night on the tour, held at The Terrace Club.
One thing that did strike me was that the conference (around which our whole being in Princeton was based) was an incredibly lucrative affair. There were hundreds of delegates, all paying to discuss their business and findings. There were hotel bills, airfares, restaurant and bar tabs, Starbucks's's... it was a big thing. Really, when we hear people complaining that there's no money in the music industry, we should really make it very clear that there's less money in the performance and creation, and more in the discourse and dissemination, because this thing was doing well.
New York: a quick train and subway and taxi/roller coaster signalled the arrival in NYC, probably my favourite city in the world. We played with Todd Reynolds at Joe's Pub, an awesome venue - it was Todd playing his album 'Outerborough', me playing Gabriel's 'Cello Multitracks', then Todd and I played the gorg. Ravel Duo 3rd mv. It was ultra good.
Then, it was Bjork live the next night. She was simply incredible, which was interesting because I wasn't totally into the album on my iPod, but live was a totally different thing. There isn't a whole lot else to say... go and check out the Biophilia tour when it's near you. Totally worth it.
Boston: all meetings, but did go to the stage premiere of 'Wild Swans'. It was really good, if a little "small theatre"-ish. Big fan of the whole Boston/Cambridge thing.
Milwaukee: go on, if you're my age, you're instantly thinking of this video
That's a fact. Mill-y-walk-ay was great - we all co-ordinated our skedj's to meet at 889 MKE's main radio station for an interview with our concert host, DJ Madhatter. There were some lols to be had, some burritos and some hot-plate coffee, but then we played MOCT that night. What an incredible venue! Amazing audience, they loved the evening (we were joined by local group Unlooped) and DJ Madhatter played Gabriel's Concerto for Turntables, too. To be honest, soundcheck wasn't promising. Nothing worked first time round, and it was all concrete floor and high metal ceilings, so when it was empty, the acoustic was awful, but when it filled up, it was amazing! The next morning wasn't too good, though...
Madison: we hired an SUV. It was all things to all gas-guzzling-people, and it somehow managed to carry all our stuff -
(not pictured, the double back seat and all empty space filled with luggage, music and Gabriel)
So, one long straight road later, and we were in Madison. Gabriel had been once before and spoke very fondly of it, so we went and did a Classical Revolution hosted concert at The Brink. It was a properly luxurious soundcheck followed by some really tasty pizza, so all was good. It was also a very receptive audience, which makes a huge difference, too.
Chicago: now, dear reader, I should probably point out that, maybe 4-5 times a day, I had made a point of trying to get Starbucks to sell me a Trenta Cappuccino. They only do those ridiculous iced drinks in the new comedy size, and I was determined to have one the way I wanted it. It was starting to get annoying, actually, but it was the only thing I wanted. It got to the point that J+G started looking into it for me, just to shut me up. Sadly, no joy at any of the Oasis Services on the long road from Madison to Chicago. Anyway. We arrived, unpacked etc etc etc and re-liased at the HM's Consulate-General's Penthouse overlooking Chicago. Yep. We were being hosted for the evening, and in exchange, we had to play a little bit. No biggy. This was the backdrop -
I took the intent stares this to mean that everyone was focussed on me and my cello, but actually, even the locals were taken by the view!
Sadly, this party marked the end of my tour - London was missing me and I needed to be back for some goPlay stuff, so I left before the Club night and Chicago performance of the Concerto, which was a shame, but necessary. Speaking of which, I should probably be all up on the blogs for goPlay... so much to do, so little time!
Yesterday morning, I was checking in at London City Airport (surely the most civilised airport in the world?) and was greeted like a long lost friend. It was equal parts ego boost and nice start to the morning.
My suitcase was checked in and tagged HEAVY, my seats allocated and the usual glance to just above my head to check it wasn't a growth..."it's a cello - with a seat" - I moaned. This sentence, used verbatim hundreds of times a year by yours truly, has more tedious flying experiences and unfortunate arguments attached to it than you'll ever know.
"Oh we know! We're just wondering...would you give us a tune?"
Armed police are literally right *there*. Petulant ski-brats not far behind, but sod it. The lovely Laura at BA's LCY checkin desk asked so nicely that, yes, of course I'd play How Much Is That Doggy In The Window really loudly.
They smiled. I wasn't arrested, nor jeered at by the local brats.
"If only your flight had a business class cabin!" she joked.
Now, as some of you know, I literally never joke about upgrades. It is far too serious a topic to joke about, not here in the safe pages of my blog and certainly not there, at the hallowed check in desk.
"Are you saying that if I use the "Can I play you a tune" thing at checkin, I could get upgraded in the future?"
OK, BA. Game on. I'm now pitting all major airlines against each other in The Great Cello Challenge of 2012: the first to upgrade me because of playing a tune before boarding the plane will win my trade for the rest of time.
April: Air Canada.
I'm looking to settle down with an airline. I'll even take requests.
As some of you will know, I spent most of the summer recording Gabriel Prokofiev's gargantuan cello suite. It was a lot of work (really, really hard work) but as I sit, typing this update, I'm listening to it and it's still as exciting to listen to as it is to perform (in my totally unbiased opinion)
Quick backtrack: Nonclassical have this thing where they release an original composition alongside a bunch of remixes of that work. It's de rigour for electronica/dance types, but for those of us over here in the classicalish world, it's still pretty new... honestly, hearing these remixes it's one of the biggest thrills of my career to date. I'm so excited for it to be released to the unsuspecting world!
Release spiel taken straight from the label page:
Jerk Driver is one movement of Gabriel Prokofiev’s ‘Cello Multitracks’ suite, scored for nine cellos and premiered at LSO St. Luke’s in 2011. All the parts are played by cellist Peter Gregson, and this Single release also includes five remixes.
Cello Multitracks is perhaps the most vivid example yet of Prokofiev’s fascination with modern dance music: Jerk Driver is studded with references to Grime rhythms and a heavily Rave-influenced refrain. The suite was written and recorded in close collaboration with Peter Gregson, whose work with MIT Media Lab has helped earn him a high profile among musicians engaging with new technologies.
>>> Stay tuned for the forthcoming video for ‘Jerk Driver’
1. Jerk Driver
2. Jerk Driver – DJ Spooky Remix
3. Jerk Driver – Marcas Lancaster Remix
4. Jerk Driver – Back to the Source Remix
5. Jerk Driver – Keith Beattie Remix
6. Jerk Driver – Majiker Remix
7. Jerk Driver (Radio Edit)
We release the full ‘Cello Multitracks’ album in April.
PETER GREGSON LIVE DATES:
19th January: w/ J.D Twitch (Optimo) + full ensemble / soloists – XOYO, London
10th February: w/ Todd Reynolds, Joby Burgess ( + Gabriel Prokofiev DJ sets) – Joe’s Pub, NYC
11th February: w/ Joby Burgess ( + Gabriel Prokofiev DJ sets) – Terrace Club, Princeton
15th February: w/ DJ Madhatter, Joby Burgess ( + Gabriel Prokofiev DJ sets) – MOCT, Wilwaukee
16th February: w/ Joby Burgess ( + Gabriel Prokofiev DJ sets) – Brink Lounge, Madison
18th February: w/ Joby Burgess ( + Gabriel Prokofiev DJ sets) – Chicago (Venue TBC)
Stay tuned for audio teasers... they should be hitting the choobs very soon...
Saw a sign in Giraffe at LHR T1: "whatever type of music you play, whether it be Mexican folk or rock n roll, if you're sincere, what you are protecting has Life and Joy"
It's cute, it's in a great, bright orange font (I would have taken a photo, but my Blackberry camera is terrible, and my shiny new iPhone is yet to arrive - thanks, o2!)
It's a sign on the side of a restaurant at one of the busiest airports in the world, but it got me thinking. We live with this "protectionist" mindset; we, the custodians, are the only thing stopping music from being silenced in the world. Worse: we are the custodians of Beethoven and without us, he'd disappear.
Beethoven and his mates - they're big boys. They can take care of themselves and stand on their own two feet. Maybe instead of Protecting a culture like it's an endangered species, we can switch gear and live and breathe a culture in which we're proud? Important difference, IMHO
Best intentions let me down again, I'm afraid.
I performed Gabriel's Cello Suite at the resplendent Kings Place on Monday night - first time since we finished 'hyper mixing' it all - was great to get them really polished, but much nicer to let them out into the real world...! We're finalising artwork and such now, with the release looking like February following a number of shows in the UK, Paris and a number across the US. The remixes are coming back, too, and they're sounding awesome - it's incredibly exciting hearing other people's interpretations of your work...quite weird, actually.
Since I last wrote, I've been in the US a number of times for meetings, concerts, (parties), and starting my year long new music project with NEC in Boston! Completed a few commissions, some fun and some weird, and am currently back in Los Angeles for a few things, including Thanksgiving. It's a hard life.
Next year is looking really exciting - following the music I did for the E.Tautz fashion show at London Fashion Week, I've been commissioned to do the music (write and perform) for a show at New York fashion week in February...all will be revealed soon...but at 90mins of music, I've got a lot to do! Actually, the first few months of the year will be quite US heavy with concerts, so I'll be on of another year of good airline status! I still feel robbed by Virgin Atlantic - I missed my gold card by 1 return flight, but if I got the miles for my cello seat, I'd be laughing all the way to the Clubhouse. Anyway, it gives me something to aim for next year.
Recently, I've been sitting on a number of commissions and panels, boards and stuff about a whole wide range of issues - this isn't the time, nor the place, but I'll do a proper round up before the year's up. I'm still holding strong with my Optimism is the new Pessimism stance, but never fails to amaze me how many people in positions of power completely miss that they need influence to be successful, and that comes from listening, not speaking louder. Anyway, I'll do a proper summary soon.
The whole "why can't contemporary music be more like contemporary art" thing is tiring.
Why not look at this another way: new music that is designed to act like old music is not new music. if you want to look at something exciting for the future, if you want something bright and shiny to commission that is changing the landscape, go and look at generative music. I'm convinced this is the right space in which to be commissioning right now.
This stuff gets me so ridiculously excited, in fact, that Reactify and I are collaborating on a whole new performance interface to make it possible. Expect more news soon...
I'm really excited to be able to announce that, as of the November 1st, I'm going to be doing a year long project with the wonderful Entrepreneurial Music Department at the New England Conservatory in Boston!
I'm super excited, not just because I love Boston (I really, really do) but because NEC, under the leadership of Tony Woodcock and the Entrepreneurial Dept., headed up by Rachel Roberts, just feels like such an exciting place to be where everything's happening. I'll keep you posted!