- 4 days ago
Ian Gillan is still very much in the moment. In a new interview on Joann Butler in Studio With... , the Deep Purple frontman says the band's current tour is 'probably the best we've ever done,' calling the schedule intense, even 'insane,' but still exciting after all these years. One of the biggest moments came when Ritchie Blackmore joined Deep Purple onstage in New York. Gillan says Blackmore reached out beforehand asking if he could 'step up in 'Smoke,'' a request that instantly made him smile. He describes the reunion as warm and magical, adding that whatever problems existed between them had been put behind them years ago. Gillan also gets into Deep Purple's new album, Splat! , and why the current lineup feels so connected to the band's classic sound. He says guitarist Simon McBride has brought a more grounded approach and that the new songs fit seamlessly alongside the older material live. The band's creative process remains refreshingly old-school too: they jam together, shape the songs as a group and record much of the album live in the studio. Of course, Joann also takes Gillan back into Deep Purple history. He recalls 'Highway Star' coming together on a bus ride to Brighton after a journalist asked how the band wrote songs -- and says they played it that same night. 'Smoke on the Water,' meanwhile, grew out of the real-life Montreux fire and eventually became one of the most played rock songs on radio. He also looks back on the early days of Deep Purple coming together, the instant chemistry he felt with Roger Glover, the story behind Child in Time , how the band reunited over curry and a phone call to Jon Lord, and the camaraderie that once connected Deep Purple, Led Zeppelin and Black Sabbath. This is a LifeMinute with Ian Gillan.
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00:00We were reunited with Richie Blackmore in New York.
00:03When he stepped on the stage, you know, that magic moment.
00:06It's been a long time.
00:07Jeep Purple were looking for a new singer and bass player
00:10after their first three records.
00:11Roger came along with me.
00:13And we joined not just as a singer and a bass player,
00:15but as a nascent songwriting team.
00:18One guy says, well, how do you write a song?
00:20I'm thinking, oh, my God, how are we going to answer that?
00:23Richie, he's rehearsing on his guitar.
00:25He just goes on an open string, ding, ding, ding, ding, ding, ding.
00:28He said, like that.
00:29We wrote it on the bus and we did it in the show that night.
00:32Wow.
00:32What about Smoke on the Water?
00:34It kind of got forgotten because it was seven minutes long.
00:37It never got played on the radio.
00:38And a guy called Rush Shaw from Warner Brothers cut it down to three minutes 20.
00:42It became the most played rock song ever in history on the radio.
00:46You're watching Joanne Butler in the studio with me,
00:49Ian Gillen from Deep Purple.
00:52Thank you so much for joining us on Life Minute.
00:55So cool to have you.
00:57Happy birthday.
00:58You just celebrated 81.
01:01Hard to believe.
01:02You look amazing.
01:03Well, thank you.
01:04So do you.
01:04Happy birthday.
01:07So how's the tour going?
01:09It's probably the best we've ever done.
01:12It's working out really good.
01:13The show is lovely.
01:14The band is cranking and I can't complain.
01:17It's a long one.
01:19We started at the beginning of June and we finish on the 19th of December in Mexico.
01:24Well, it's pretty intense.
01:26I would say insane rather than intense.
01:30It's wonderful.
01:31It's wonderful.
01:32Insanely intense.
01:33Both of those words.
01:34Yeah.
01:34That's amazing.
01:35How do you do it after all these decades?
01:37What still makes you able to get on that stage and do it?
01:41Well, you don't really need any motivation when you're lucky enough, as I am, to be in a great company,
01:46great band, great musicians, a great repertoire and great audiences.
01:51All the elements are there for anything you could dream of, really.
01:56So just get up and be happy, you know, and this I think if there wasn't the energy, it would
02:03be pretty much a drudge going through this routine every single day.
02:09But there's always something new happening in the show.
02:11And, of course, for different venue every night, that gives you a different kind of ambience.
02:16And, oh, it's just too exciting for words.
02:19Yeah.
02:19Amazing.
02:20And, of course, you were reunited just last week, was it, with Richie Blackmore in New York?
02:25Tell us about that.
02:26I think that was a big surprise for so many.
02:29I think it was lovely.
02:30It was fantastic.
02:31We've been in touch, Richie and I, for a few years now.
02:35And, I mean, a lot of water's gone under the bridge.
02:39I don't like using cliches, but that's a very apt one for this.
02:43And he wrote me a nice letter a few days before we got to New York and said, would it
02:49be all right, do you think?
02:50What do you reckon if I step up in smoke?
02:53So, I said, yeah, of course.
02:55Oh, it brought an instant smile to my face.
02:58I thought, well, of course, it would be wonderful.
03:00It would be fantastic.
03:00So, we set up and he only lives around the corner from Jones Beach on Long Island.
03:06So, it was just great when he stepped on the stage, you know, that magic moment.
03:10And it's been a long time.
03:12And, you know, you kind of forget everyone out there when we've mended all of those problems ourselves.
03:17But, of course, not everyone is aware of that.
03:20So, it was a wonderfully warm feeling.
03:23And we had a few drinks in the dressing room backstage afterwards.
03:26And I think he went home a bit tiddly.
03:29But it was great.
03:31Really a magic moment.
03:33Beautiful.
03:33He said recently to someone that it was like, he thought it would be like a healing.
03:38But he realized there really was none after 40 years.
03:41Did you feel the same way?
03:43Yeah.
03:44I mean, you know, life goes through so many different phases.
03:47And you can't really allow all these problems to continue to exist.
03:52They become destructive forces in their own right then.
03:56We've grown out of all that.
03:57Did you ever see Spinal Tap?
03:59Yes.
04:01It was like that for most of us, including the Beatles and everyone else.
04:05You know, there was when you get four or five guys, you know, in their late teens or early 20s,
04:10form a band and go out on the road.
04:13There's a camaraderie and a unit there that is almost makes them inseparable.
04:17And it gives them a great power and identity.
04:21But as things become enlarged, you know, you get into contact with the real world and a larger world.
04:28A lot of outside play comes into force.
04:32And, you know, human chemistry is the most complex of all the sciences.
04:37So we can't cater for it.
04:39We can't see it coming because we're young.
04:41And then you've got to cope with stuff that you never did before.
04:45And it's critical.
04:46So sometimes things go wrong.
04:48But that doesn't mean to say they have to stay that way.
04:51So as the years go by, you put it all behind you.
04:55Plus such creative forces, you know, on top of it all.
05:00Tell us about Splat, the new album.
05:03How would you describe it?
05:04Well, I'm always looking for an umbrella, kind of as I describe it, for the lyrics.
05:10I like all the songs on an album to feel as if they were written around about the same time
05:14and they come from the same place.
05:16And in this case, I was thinking of quite a few things that came together.
05:22And I conflated them into an idea of the critical extinction moment of humanity based on the population explosion and
05:33our inability to sustain life as it is.
05:37And it was just a thought.
05:39And so I had this picture of God and Darwin in the pub, down the pub, having a pint of
05:44beer.
05:44And God says to Darwin, Charlie, we've got to get the numbers right next time.
05:50And Darwin goes humby, humby, hum, because he doesn't like to interfere, you know.
05:55And then I thought of butterflies and metamorphosis and I thought of humanity morphing into a metaphysical state, an abstract
06:03life form, electrical life form, where we wouldn't need little tin cans to go around and explore the galaxies.
06:10But we could actually blink of an eye, be there.
06:13And it's quite complex, but it gave me the possibility that there was something hopeful after the end.
06:23And I'd had Splat in my mind as a title for some years, but it always seemed so terminal.
06:30I know everyone would be saying, oh, so this is the last album, right?
06:33But now we've managed to get something which has hope out of existential moments.
06:41And I think that's, it's almost, I mean, there's a song in there about a dead man walking and it's
06:48really hopeful.
06:49It's a good message.
06:51So, I mean, just for me, it keeps me happy and out of trouble.
06:55That's the kind of idea, that's what Splat meant.
06:57And, you know, when the old joke about when the insect hits the windscreen, what's the last thing that goes
07:03through his mind?
07:04Well, we all know that one.
07:05But when I hit the windscreen, the first thing that went through my mind was King Arthur, followed by Motorhead,
07:11followed by the Roman Empire and every other element of humanity that's existed.
07:17And they all go out into space as chess pieces.
07:22And then we sort of pixelate and collect together in some metaphysical form and start a new existence.
07:30I love it.
07:31Deep for sure.
07:32How about the sound?
07:33How would you describe the sound?
07:35The lineup hasn't really changed instrumentally.
07:39John Lord died, obviously, and Richie left.
07:42And we had Steve Morse for 25 years.
07:44And recently we got Simon McBride in the band.
07:49And I think his style and background are perhaps more compatible with the early Deep Purple.
07:56Steve was brilliant.
07:58But his roots are in Southern American rock and jazz and stuff like that, which took us in a new
08:04direction, which we all loved for 25 years.
08:07So it couldn't have been bad.
08:08Yes.
08:08But Simon's brought us back on to, I think, a more grounded approach.
08:12I think the easiest way of describing this is the new songs fit very well with the old songs.
08:17Yes.
08:18They're very compatible.
08:19And so they work very well live on stage.
08:22It's kind of seamless.
08:23Sound-wise on the record, we owe that to Bob Esrin, our producer, who's for the last five, six, God
08:30knows how many records, has done a great job in not only tightening up our arrangements, but also getting us
08:38a great sound.
08:39And that's really, I think, a difficult job to achieve for an old band like us.
08:47We've got, there are no leader in our band, there never has been.
08:50So we sit around for weeks, you know, debating this issue or that regarding an arrangement.
08:56Should we keep this phrase in or extend that or should we let loose here?
09:00And Bob goes, I'm not liking it.
09:04So we chop it and keep it sharp.
09:06And I think the arrangements have sharpened up a lot.
09:10And the sound he's got is perhaps more representative than what you might call the intervening years.
09:17What is the creative process like and how has it evolved over the years?
09:22It hasn't really changed.
09:23It's just tightened up a lot.
09:24We have two writing sessions, normally a week each.
09:28And we go to our place in Germany.
09:30They've got a big room there where we store our equipment in a small town near Oberhausen.
09:36So we spend a week there.
09:37We start at noon every day and we finish at six.
09:40And we stop at three o'clock for a cup of tea.
09:45And they just start cranking.
09:47And it's pure jamming.
09:49And if you're a fly on the wall, you might be hearing some film music or some jazz or some
09:54mood music or funk, soul, blues, rhythm and blues, rock and roll.
09:59And anything that comes to mind, everyone else picks up on it.
10:02And at the end of the first week, we normally have about 25 ideas.
10:07And we then do another session a few weeks later and come up with another 15, 20 ideas.
10:14Then we've got to chop those down to 15, which are the most promising for what you might call a
10:21melody.
10:22And I'm singing gibberish at this point.
10:24I'm just making up words that fit and rhyme and meter and that sort of thing.
10:30So then we move into the arrangement phase.
10:32We normally go to Nashville for that and spend a couple of weeks tightening things up.
10:36That's when Bob comes into the picture.
10:38And then we go straight from there into a wonderful studio, a big, big studio, one of the few remaining.
10:44By then, we've learned all the songs.
10:46We haven't got all the words, but we've got all the arrangements absolutely nailed.
10:51And most of the tunes from the vocal point of view.
10:55And we've rehearsed them pretty well.
10:57So the guys sit around in a circle and record everything live.
11:01The whole album is recorded live.
11:03With a few exceptions, you know, some cleanup bits and some tweaks and that sort of thing.
11:06But basically, it's a live recording.
11:09And I think that captures the moment and the edge.
11:14Yes.
11:15If you start overlaying tracks, then it becomes a bit dulled in impact, I think.
11:24It takes the sharpness away.
11:26So, yeah, live then.
11:28And then it's over to me to finish off the words and do the vocals and add them afterwards.
11:35And that's pretty much as it's been since day one in 1969.
11:39Wow.
11:40Except we used to take months and months writing and recording.
11:45Really?
11:45It took longer back then?
11:48Back then it did because we were having too much fun.
11:51Right, right.
11:52And maybe not so much fun.
11:54No, I was just saying we were having too much fun.
11:55And basically, we weren't sharp enough.
11:57And we weren't touring as much in those days.
11:59I know we did a lot of shows, but they were in small patches and that sort of thing.
12:04But now we're on the road a lot longer.
12:07Makes sense.
12:08But the whole thing actually takes about a year, you know, from beginning to the end of post-production.
12:12I always found it interesting that you guys, no one ever took the credit.
12:17Like you said, it was always equal, which is nice.
12:20So what did you guys argue about creatively?
12:23What were the tensions?
12:24They were lighthearted.
12:26And people would say, I don't like this or I don't like that.
12:28And so it would get bumped off.
12:30And I think the funniest moment when we were self-producing in the early days, we had a guy called
12:37Martin Birch who was very good.
12:38We put him down as producer, but really everyone was leaning over the control panel with their hands on their
12:46own levers.
12:47And so somebody once said the Deep Purple sound in the studio was basically everything has to be louder than
12:55everything else.
12:56That was the immature approach to it.
12:58We find things of it now.
13:00It worked, whatever you did.
13:02Yeah.
13:03What does a Deep Purple album still need to have for you to feel like it's Deep Purple?
13:07Well, I think we got lost a bit in the Middle Ages.
13:10We were trying too hard, I think, and we just lost direction, I think, a little bit.
13:15Roger came up with a great phrase.
13:17We're having a little ding-dong back and forth with Bob, as we always do in the studio.
13:22And Bob and Roger spoke up a wonderful phrase.
13:26He doesn't very often do this, but he just said, Bob, we mean it.
13:31So I think when Deep Purple means it, then we've got a good album.
13:35I know it's a bit obscure, but that's how I look at it.
13:38I'll take it.
13:40Do you have a favorite song?
13:42There's a funny story about that in a Japan interview because an interpreter came in reading off a list of
13:52questions because the journalist couldn't speak English.
13:57One of the questions was, what's your favorite album?
14:00And I said, Machine Head.
14:02And then she went out the door and came back in as if she'd never been there and was reintroduced.
14:08And my name is so-and-so, blah, blah, blah, blah.
14:10And I couldn't believe what I'm seeing or hearing.
14:14And so one of the questions was, what's your favorite album?
14:17And I said, oh, Fireball.
14:21And she just went to pieces and collapsed completely and eventually said, well, admitted she had been in the room
14:27earlier.
14:29And I said, but you said for a different magazine that Machine Head was your favorite.
14:33I said, that was over half an hour ago.
14:38Music is not one of those things.
14:39Like when you're a kid, you have a favorite color, a favorite pet, favorite car, favorite film actor, favorite pop
14:45star, whatever.
14:47But I think, you know, as you grow older, your favorite thing one day is not necessarily your favorite thing
14:52the next day.
14:53But my favorite album at the moment is, of course, Splat.
14:58My second favorite album is a live recording of an obscure band I had once called Repo Depot in Bucharest.
15:06It's up on my website.
15:08And it's utterly amazing.
15:10The first four minutes of chaos because there's no sound.
15:13But it reminds me of how things were.
15:17And my favorite song right now is one we do live on stage.
15:22It's called Lazy Sod.
15:23It's all about my sleek black cat and I that were in a bit too relaxed one day at home.
15:31It's an interesting story.
15:33My sleek black cat, by the way, is a 90-pound fuma.
15:36So it wants to be called Kitty.
15:38Wow, Kitty.
15:39Of course.
15:40Oh, boy.
15:41That's not really true.
15:43And I'd say I'm a truthful person, basically.
15:45But I do tell lies when I'm doing interviews.
15:52That poor lady in Japan.
15:53Is that when you wrote Highway Star after that?
15:56No, no.
15:56We were on Highway Star way before that.
15:58Oh.
15:59We were on a bus going down to a show in Brighton on the south coast of England.
16:03And we had some journalists on the bus riding with us.
16:07And one guy, I'm sitting face to face with Ritchie.
16:10And one guy says, well, how do you write a song?
16:13And I'm thinking, oh my God, how are we going to answer that?
16:17Ding, ding, ding.
16:18He's playing, he's rehearsing on his guitar.
16:20He just goes on an open string.
16:22Ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding.
16:24he said like that so we wrote it on the bus and we did it in the show that night
16:30amazing
16:30it did get adapted over the years but um it was it was one of those moments what about smoke
16:37on
16:37the water we were doing a show in montreal which is a summer resort so the last show of the
16:43season
16:43was in november or december i can't remember and it was frank zapper and the mothers and i was
16:50particularly keen to see it because they had flo and eddie from the turtles doing vocals in the in
16:54in the band and so we went along and some guy shot a flare gun into the ceiling it's a
17:00wooden building
17:01caught in the electrical trunking and place caught on fire everyone rushed out and we had to move
17:10and we ended up in the grand hotel we spent a few days limited time we had the rolling stones
17:17mobile recording unit outside in the truck and um on the last day as it started um our engineer said
17:28you're seven minutes short of an album and it was we're bereft of ideas what we're going to do
17:36so he said well that sound check we did at the beginning sounded pretty good maybe you can make
17:41something out of that and it was labeled as the dan dan song as in dan dan dan dan dan
17:47so we pulled it up
17:49and uh we wrote the biographical story of the making of the album in montreal as in we all came
17:58out to
17:58montreal on the lake geneva shoreline blah blah blah so that became the song interestingly after the album
18:06was released it kind of got forgotten um because it was seven minutes long it never got played on
18:11the radio or anything and a guy called rush shore from warner brothers came along to see us
18:16one day and saw the crowd reaction to smoke and took a second look at it went back did an
18:24edit cut it
18:24down to three minutes 20 and uh what was your uncle it it became the most played rock song ever
18:31in history
18:32on the radio incredible we're still we're still doing it in the show so what about child in time i
18:37gotta i gotta ask about that it's all over social media right now which i find interesting and then
18:43and the chemistry between you two richie and you and your voice is an instrument and it's just amazing
18:50john john lord wrote that basically we openly inspired by a song called bombay calling by a band called
18:59it's a beautiful day and um i think it was them and forgive me if not they nicked one of
19:07ours as
19:08well and uh in in terms there was he was playing these chords one day and i just started singing
19:15and
19:15um sweet child in time you'll see the line the line between good and bad it's all about we grew
19:22up in
19:22the cold war and it's about you know bullets flying around and bombs dropping and mutually assured
19:28destruction and all that kind of thing it was a young man's song and i did this um what has
19:34been
19:34described at the coven garden as uh tenor passaggio see a lot of everyone said oh he's screaming uh but
19:41the director of the choir there said well you're not screaming you're singing that's like saying
19:45Pavarotti's shouting but he had a category already tenor so he said i've your category is tenor
19:51which means going above tenor and um so it was a it was all written in five minutes in in
19:59the um
20:00community center in in um hanwell in middlesex just on the outside of london in 1969 or i think yeah
20:10did you always know you wanted to sing well i grew up in a musical family my granddad sang opera
20:17my
20:17grandmother taught ballet my uncle was a jazz pianist he played boogie woogie in stride i was a
20:23boy soprano in the church choir and then i started my first band at the age of 17 i was
20:29hugely inspired
20:30by the young elvis presley and um i just stopped a guy in the street one day in fact there's
20:36a song on
20:37the new album splat about the circumstances it's called my new movie and it's about somebody dreaming
20:43about making a movie and they just stopped someone in the street say what are you doing on wednesday
20:47let's let's do it and it was pretty much that and i asked this guy his name was andy and
20:53i said do you
20:54know anyone around here who plays guitar he said well i'm learning i said okay rehearsals my house
21:00saturday morning and about five guys turned up with you may not call them guitars but they had some strings
21:08and we got thrown out of the house of course after a while for wrecking the furniture and jumping up
21:12and down the youth club and uh we um we we they let us use the storage room to rehearse
21:22and i said we
21:23got no money he said well the payment will be a performance on saturday for the youth club so
21:30holy moly yeah so we songs i think we repeated them about six times and uh we did two shows
21:38two
21:39weeks running and then i got recruited into another band that had some equipment and uh um a residency
21:45so um yeah things picked up from there that was i was 17 that was 1962 what were you playing
21:52were you playing cover songs oh yeah elvis songs they were i got easy songs you know three chords
21:59bobby holly stuff and that sort of thing oh i think there was an elvis song in there somewhere
22:04amazing and then you met roger glover right episode six in 65 65 wow wow how did the invitation to
22:15join
22:15deep purple come to be and did you guys go together you're a package deal right yeah well the episode
22:22six had had seen its best days we'd been abroad a lot and we'd always been chasing fashion and chasing
22:29hits we i think we had 12 or 13 singles released and um they were okay they were good it
22:35was primarily
22:35a harmony band yes we weren't so strong instrumentally but um it was it was nearing the
22:42end i think and uh purple were looking for a new singer and bass player after their first three
22:47records i was a huge fan i had their records richie only lived around the corner and another friend
22:54mick underwood a drummer who worked with richie in earlier days recommended me he was in episode
23:00six at the time so he recommended me very unselfishly and um roger came along with me and we joined
23:10deep purple not just as a singer and a bass player but as a nascent songwriting team and we recorded
23:16uh deep purple and rock and we we changed and they changed and it's that human chemistry thing
23:22did you realize right at the time how special you all were together like did you know right away or
23:28yeah yeah yeah wow our first show was at the speakeasy in london and i just looked at roger went
23:37oh mate this is it this is this is it this is what we've been looking for amazing it's a
23:42moment like in
23:43the jersey boys when they when when they're in the studio and they were called sherry and you hear
23:47sherry for the first time after all the build-up and the you know the formation and friendships of
23:52the band and um the trouble and strife and then getting arrested in the church because it sounded
23:57great in there when they sang at night yes we do all those kind of things and uh then there's
24:02that
24:02magic moment you know when when you realize everything has just fallen into place it's fallen from the sky
24:09you don't know how or why yeah yeah i have goosebumps you came you left a couple times
24:18how did you know okay this is it it's been a while now well i was doing a show in
24:25hammersmith in london
24:27with my band gillen and uh our band had been through a fantastic time for a few years but it
24:34was also
24:35nearing the end and there were some bad vibes going around and it was time to stop and move on
24:41and i was i went for an indian meal after the show with a hero and friend of mine his
24:48name is
24:48rodney marsh he used to play football for my football team queens park rangers and manchester city and he
24:54also played for england and uh we were having a curry and drinking a few pints of lager and he
25:01said
25:01yeah the band's great he said but they're not as good as deep purple are they yeah you're probably
25:07right so um next morning i called john lord said have you ever thought about you know getting back
25:14together again and he said i've been sitting by the phone for six years waiting for it to ring and
25:19somebody to say that so um a year later it wasn't possible straight away i joined black sabbath for
25:25a year and um and then then we got together and made perfect strangers and that was 1984 85 any
25:33singers of today you particularly like oh too many to list yeah most of my friends and if i leave
25:39one
25:39out they'll be i hear you i don't have any either i know a lot of um people over the
25:46years and they're
25:47all friends and they're all great so um i love them all it's a marvelous business to be in and
25:54uh the
25:55rock and roll world is um i think it's a good club you know yeah we've all been through it
26:00and
26:01everyone there that's still around has paid their dues many times over what does music do for people
26:08well you talked earlier about the richie blackmore thing it's not just the music it's the camaraderie
26:13it's the atmosphere the sense of belonging i know what it was like in the early days with fans i
26:18mean
26:18deep purple led zeppelin and black sabbath we all knew each other we all got on great with we used
26:26to
26:26drink together in the speakeasy and various other places in those days and yet the fans encouraged i
26:32must say by um the music um journalists divided into i won't say bitter enemies but very competitive
26:42factions that they were all sort of supporting one or the other of the three and um so they were
26:49divided but we were not you've got to think of the fans as much as anything else um but they
26:55come
26:55afterwards when the music's made and you've done your thing then you sit down put your hands together
27:00and pray they like it oh they like it did you ever think you'd be doing it this long no
27:07well i didn't but i i do enjoy the moment and uh i've always been an optimist so um i
27:15never plan
27:16things i i've stepped off the rock and roll highway quite a few times if i sense something interesting
27:24out there in the down the country lane or around the corner i tend to take that route so it's
27:31always
27:31interesting do you do anything special to hone your voice or have you ever
27:37exercised it or do as few interviews as possible that's a good one that's my cue
27:44no it's um no i don't i think early days it was it was difficult when you're still learning and
27:49you're still experimenting and also you go through phases i mean when i was a boy soprano my voice was
27:55obviously very very high um when i was a young man in my late teens up to 30 i had
28:04a young man's voice
28:06when i moved into my middle age i lost a couple of semitones on the top end but i gained
28:13so much in
28:14the middle in the way of tone that i thought it was a good bargain and um so i didn't
28:20look back since
28:21then and since then it's been settled i think probably a key to most of all of this is the
28:26word
28:26key for the songs to be in the right key if you're straining all the time you're going to run
28:30into
28:31problems yes well i mean i'm i'm working differently now i've kind of taken a new approach in the last
28:38few years and um it sounds so much more energy it's more energy well i think the approach is different
28:46because of the different musicians you work with see it's determined by the key they like to play in
28:54and you really have no choice in it because they they present you with a a track with an idea
29:01song
29:02idea that's already established in in their key and they're loath to change it so you're going to find
29:08a tune in there some way and sometimes you've got to work around a natural harmony and make that the
29:12tune um it doesn't always work um but nowadays um i find i can very happily get a much bigger
29:22range
29:22if i start at a lower point i can actually use the melody the natural melody within the construction
29:30so i'm really happy at the moment we are too thank you for your beautiful gift thank you so much
29:37thank you jean what an honor cheers
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