Dating mike garson
Dating mike garson - Free adult primium video chat
“It was as simple as on the creative process line we both were always thinking out of the box, we were always willing to not stay in our wheelhouse, we were always searching, right or wrong,” Garson notes.“As a pianist and composer I was trained in so many styles, I forced that training because many jazz teachers wanted me to stay in jazz, many classical teachers wanted me to stay in classical and many avant garde composers wanted me to stay in the avant garde world. It was really because I had the ability to change styles.
“Mick was the musical director, so to speak, and he played the piano and he knew what he was looking for.I loved it all from punk to pop to rock to classical to fusion and I think because I didn’t have those barriers David picked up on that.“For example between’72 and ’74 David fired five bands and I was the only one that remained. Think about it: an English rock musician who’s only played rock might not have a clue to play jazz or gospel or pop or Motown; I had all those skills just because I trained very hard so I think on a mechanical basis it was because of that.“In terms of friendship that always remained but to be honest I was only hired for eight weeks and I ended up doing 1,000 concerts with him and I was probably the longest [serving band] member.Next in line would have been Carlos [Alomar] and then [Earl] Slick. “Everyone I meet today tells me David was the soundtrack for their life and he affected their life and he gave them permission to be who they were. My influences were coming from Oscar Peterson and Art Tatum and Vladimir Horowitz and Chopin and Mozart and Beethoven so I didn’t go in there starry-eyed, in fact the story goes he was looking to me for help and support when I was actually trying to figure out what he wanted.) is an avant-garde flight of fancy that critics quickly cited as the album’s ‘pivotal’ moment.More than four decades later it’s still the song he gets asked about most.Recorded in 1973 when David Bowie and his band were at the peak of their glam rock powers, Aladdin Sane is noted not only for songs such as The Jean Genie or Panic in Detroit, or photographer Brian Duffy’s famous shot of the singer in ‘lightning bolt’ make-up, but also for the introduction of an up-and-coming piano player from New York.
Mike Garson was then 27 years old when he cut his dazzling contributions to the album’s title track and the Brecht-like ballad Time.This one was like we were playing faithful to all those recordings and David’s voice was a little lower so it was actually very rich and lovely to listen to. We had played 113 shows and we had another 23 to do those would have been really joyful and that was sad.I don’t think it was what contributed to it, it was just bad planning.Garson says: “When I went in the studio these guys had a vision and Ken Scott was an amazing producer and engineer and David told me what he was looking for.All those great tracks – Lady Grinning Soul and Time and Aladdin Sane – were pretty much first takes.”After several years apart the pair reunited in the 1990s.The story goes I played about eight or ten seconds of the song Changes and he said ‘You have the gig’ and I knew this was going to be a fun ride.”Over the next 30 years Garson became the musician that Bowie turned to most often.