Archive of the former Yahoo!Groups mailing list: MOTM

:: But that's not performing; that's twiddling.
:: Why would people travel long distances to hear a sequencer
:: go chugga-chugga-thump-thump with a twiddle here and there?

I would say that Robert's live performance had vastly more structure and
"meat" than "Bestiary" or "Outpost" (both of which do have structure, you
just have to listen for it). I'm not as familiar with the works earlier than
"Bestiary", but there were sections of the show that evoked a spacey "Last
Temptation of Christ" feel, percussion and all. I figured what I got was a
very carefully constructed "best of" medley of the high points of a number
of works. I've started a dialog with Robert on exactly how he structures
the show flow and stuff. I'll add to the discussion on this later when I've
more time.

Robert spent the majority of the show either playing one of his many bamboo
flutes or his steel guitar, so he was performing most of the time and not
"tweaking". At times, Elhardt, this was very melodic and beautiful and had
a definite verse/chorus/bridge/verse type structure. There would also be
another instrument in the mix doubling his flute melody or providing
counterpoint from time to time, proving that he wasn't just "noodling". He
spent very little time actually tweaking the MOTM, and when he did, it was
usually a practiced but quick tweak between getting from point A to point C.

Unlike the lethargic "drone guy" playing before him that moved at the speed
of a 3 toed sloth, Robert had to keep up this very carefully choreographed,
almost frantic, dance between the different instruments, often having a
flute tucked under his arm as he adjusted the MOTM or was playing his steel
guitar so he'd be sure to have it ready when needed. He moved around a lot
and was actually quite entertaining to watch.

As mentioned before, this was a great experience to me to see how somebody
else pulled it off, which he does an amazing job of. I've got a better idea
how to do what I want now. Best idea of style I can give anybody - throw
some Harry Partch, Tangerine Dream, Robert Rich, Kit Watkins, Michael Sterns
and Debussy into a blender and see what comes out... Why would I want to try
this live instead of just recording in the studio? First, I'm completely
nutz. Second, I ∗need∗ to. I can't explain that to anybody buy my wife, who
being a choreographer/dancer, understands. Third, I ∗know∗ there at least a
few folks out there that will appreciate it, and I could care less about
anybody else. Forth, because I think I can actually pull it off!

I've also got a second "live" ambition, and don't laugh, but I'm considering
forming a sorta "neo-classical" ensemble that would cover a pretty wide
range, from (oxymoron alert!) serious Mannheim Steamroller (Minus the
cheeze! ACK!) to some light chamber music and such. No sequencing or tape
playback please! I believe this would be pretty light hearted and just
darned fun to do, and would actually be able to make some money! Besides,
I'd maybe get to drag out my tenor recorder, which I need to be rehearsing
on more...

My 2 cents worth at this point in time.

Les