26 Oktober 2010

Indonesian Nightmare Strikes DEEP PURPLE

Tragedy and mayhem struck the Deep Purple tour December 4 in Jakarta, Indonesia, when one of the group’s road crew, Patsy Collins, a well-loved celebrity of the British rock scene and guitarist Tommy Bolin’s bodyguard, was killed in a six-story fall down a service elevator shaft at the band’s hotel. Then at a Deep Purple concert the following night, Indonesian police armed with machine guns, truncheons and a pack of Doberman pinschers waded into the audience, seriously injuring over 200 people.

Deep Purple played to an estimated 150,000 Indonesians in two shows at the outdoor Senyan Sports Stadium as part of their first tour since adding Bolin to the band. The first concert, which saw about 20,000 people break down fences to join 35,000 ticket holders, was relatively free of police reaction. “they let everybody be, “ keyboard player Jon Lord said. “There were machine-gun guards all over the place and they were pushing kids around, but there seemed to be no organized police thing.”
Back at the group’s hotel after the opening concert, Collins got into an argument with two other member of the road crew and left their room to go upstairs to his own. The elevators in the hotel were operating slowly, so the impatient Collins decided to walk up the fire escape stairs to the next floor, only to find the door on the next landing locked. Then, inside the stairwell on the sixth floor he found an unmarked, unlocked door. He opened it and hastily stepped in, plunging three-floors down the service elevator shaft, crashing through some hot water pipes. The explosion was heard by another of the band’s crew, who ran from the hotel lobby thingking a bomb had gone off. Boiling water cascaded through the lobby ceiling.
A set of larger pipes had stopped Collins’s fall, and though in shock, the stout, muscular man smashed through a door on the third floor, only to be trapped again by another locked door. Bleeding profusely and badly burned, Collins accidently stumbled back into the shaft. Falling three more floors to the main floor.
Amazingly, Collins got to his feet again, found an open door and staggered into the hotel lobby, muttering, “Hospital.” He walked outside the hotel, climbed into a parked minibus and then collapsed. Hospitalized, he died early the next morning from internal injuries and burns.
Surprisingly, the Jakartan police arrested the two crew members Collins had argued with and , later, the band’s manager, Rob Cooksey. The three were held on suspicion of murder and isolated from the jail’s other prisoners for two days, said Cooksey, “with a kind of threat hanging over us. All the time we were under suspicion of murder, they were making us sign autographs and things. You just wouldn’t believe the mentality.”
After interviewing two girls who were eyewitnesses to the accidental death, the police became convinced that in fact it was an accident and the three were released. “They’re all on the take, on the make,” said a disgusted Cooksey.
The night following the accident, with three of their entourage in jail, Deep Purple played their second show. About 6000 armed and helmeted policemen, backed by dogs, circulated throughout the stadium. Before the concert began, an announcement warned any Europeans in the audience to congregate near the side of the auditorium.
No sooner did the music begin, getting the rock-starved Indonesians to their feet dancing, than police waded into the crowd, savagely butting, clubbing, punching and kicking the boogying audience. Then the Dobermans were let loose, joining the attack. Deep Purple keyboardist Jon Lord later said, “Every time an effort to get up and boogie was made by any section, it was immediately pounded on.” He also recalled seeing one mammoth dog dragging a kid across the floor by his arm, its teeth sinking into the boy’s flesh.
The band played only half a set and left the stage frightened and sickened. “they went crazy said Cooksey of the Indonesian police. “It was like maneuvers for them. Just a nightmare.” And though Bolin thought that Collins had simply misread a sigh, Lord left Indonesia doubting that the death had been an accident. “Obviously the guys who were arrested had nothing to do with it, but I don’t personally believe that Patsy would step into a lift shaft. You don’t open a door and step into the darkness.”


By Peter Crescenti (submitted by Gord Jantzen)

12 Oktober 2010

Out Of My Mind

Update From Tony!

7th October 2010
Update From Tony!
I had a great time in the studio yesterday with Ian Gillan, Nicko McBrain and Jon Lord.  We had a brilliant time together laying down the track "Out of My Mind" and a lot of fun doing it, plenty of jokes and humor!  As expected everyone played so well.  What an exciting time!!
- Tony Iommi

In 1989 Tony Iommi and Ian Gillan were just a few names in a long list of talent involved in the recording of the Deep Purple track "Smoke on The Water."  This song was re-recorded to raise money for those affected by the Leinakan earthquake that struck Armenia in 1988.  In October of last year both Tony and Ian travelled to Armenia to see how the funds raised had helped the local community.  On their trip they visited a music school only to find it being run out of temporary accommodation, it was the only location not to have been rebuilt 20 years after the earthquake had struck.
The new track "Out of My Mind" is due to be released to raise money to build a new music school.  More information about the charity single, behind the scenes photos and details will follow soon!

Guitar Player Magazine

How many guitarists could go playing stadium rock with the band deemed loudest in the world by the Guinness Book of Records, to swinging through “Sweet Georgia Brown” in a small club? One of that select few is former Dixie Dregs leader Steve Morse

On a recent Monday night, Morse capped off a weekend with his rocking trio at New York’s Iridium by sitting in with the Les Paul Trio, augmented by SNL drummer Shawn Pelton. The lucky audience was treated to a rendition of “Somewhere Over the Rainbow” played with false harmonics, a two-step that launched some Dregs style twang, pedal-steel emulations on the Les Paul Mary Ford classic “Via Con Dios,” and a solo on a funky “Sweet Georgia Brown” that honored the melody while displaying the famous Morse chops.

We sat down with the veteran guitar hero to find out what it was like going from shredding to standards.

What is the difference between the way you play with Deep Purple and with your own band?
With my trio there is a lot more pressure because I am playing melodies and lots of difficult parts and changes. If it is a simple melody I try to enhance it by rolling in the right amount of synth or delay, or changing the pickup or tone setting. During difficult melodies, like “On the Pipe,” I have to adjust the balance between the wet amp and dry amp, then there is not even an eighth-note between the melody and playing this rising chord part, and I have to turn the synth on, go to a different pickup, etc. With my band the solos are really a chance to relax. With Purple we have a keyboard and melodies coming from the vocals. The only time I am in there crucially is during the solos.

Tonight you are playing with the Les Paul Trio. What was your relationship to Les Paul?
I have met him, but unfortunately never got to know him. I am very honored, because I love everything I know from listening to him play, and clips from his TV show. I love his inventiveness, his willingness to say, “This is the way it is always done, why don’t I try something different anyway.” That is the attitude that pushes any combination of science and art forward. And besides being a great player he was such a great performer.

How did you feel playing with his trio?
It was amazing. Every once in a while I get to do one-off gigs with incredible people. In this genre they are world-class players, doing this thing and dragging me along with them. I’m trying so hard to just remember what keys the song is in.

You sounded very comfortable playing through the chord changes. Do you have a background in jazz?
Yes. At the University of Miami I was technically a jazz major. But I wasn’t really because I studied classical guitar and did the music that became the Dregs—it was jazz-rock at best. The jazz guys tolerated me though they knew I wasn’t a jazz player. But being around all those players you can’t help but pick up the basics of playing over changes. A lot of the music that I personally love is played over changes. With rockabilly stuff it is possible to play like a jazz player and it fits perfectly in the style—the same with bluegrass. Because of that I am comfortable playing over changes—if I can remember them [laughs].

Swing and country seem very close.
Thank you for mentioning that because a lot of people think that there are these divisions between styles and as a player it almost comes down to what hat you are wearing and what kind of guitar you are playing—the note choices are all the same. I love to combine styles. I feel less comfortable defining a particular style. How can you leave out some things that are a part of you?

07 Oktober 2010

Roger Glover : Paintings & Pictures (1964-2010)

The first exhibition of Roger Glover’s art Paintings and Pictures 1964 - 2010 will open in Köln (Cologne), Germany, later this month and will run through the end of January.  "Between and during his travels all over the world, from time to time RG has felt the need to take up a brush, pencil, pen or camera, purely for his own enjoyment. Apart from the realist paintings he has a keen interest in abstraction, looking for subjects that appear to be unconscious in their design. In his photography also, he takes pleasure in finding accidental images with a particular fascination for the effects of time and decay on various surfaces. This is his Found Art. There are also some samples from a future project called March of the Corridors".

All works, except for the painting (high quality prints) are presented in the original. The limited edition, signed works can be purchased. The sale proceeds will go to charitable and social institutions which do not have a large lobby and have been selected by Roger himself:
The opening event will be held at 19:00 on Friday, October 22 with the artist himself in attendance. Other events during the exhibition:
  • Friday, December 3: Krysmah — Deep Purple, Rainbow, Whitesnake u.v.m. - Acoustic cover songs, 7 € admission
  • Tuesday, December 12: Gerd Schinkel, “rooted in the life” - on roots music, 5 € admission
  • Sunday, December 23: Manfred Stoffer photography — Deep Purple Live On Stage and Backstage, 5 € admission
  • Friday, January 28: Stargazer — Deep Purple, Rainbow, Whitesnake cover band, 9 € admission
  • Sunday, January 30: Didi Zill, Deep Purple’s long time photographer, 7 € admission
  • Monday, January 31: Peter Rüchel, “The Maker” from the Rockpalast, will read from his book + own experiences, 5 € admission
All events start at 19:30. All admission prices will be mostly donated to the charitable projects selected by Roger Glover.
K-8 Gallery
Ursulastr. 2, 50668, Köln (Cologne)
Telephone: 0221-7024660
Opening times: Mon-Thu 08-17, Fri 08-13, special events up to 22:00.

Formasi VIII (2002-saat ini)

Formasi VIII (2002-saat ini)
Ian Paice, Roger Glover, Ian Gillan, Don Airey & Steve Morse

Formasi VII (1994-2002)

Formasi VII (1994-2002)
Steve Morse, Roger Glover, Jon Lord, Ian Gillan, Ian Paice

Formasi VI (1993-1994)

Formasi VI (1993-1994)
Ian Gillan, Ian Paice, Joe Satriani, Roger Glover, Jon Lord

Formasi II-c (1992-1993)

Formasi V (1990-1992)

Formasi V (1990-1992)
Roger Glover, Jon Lord, Ritchie Blackmore, Joe Lynn Turner & Ian Paice

Formasi II-b (1984-1990)

Formasi II-b (1984-1990)
Ritchie Blackmore, Ian Paice, Jon Lord, Roger Glover & Ian Gillan

Formasi IV (1975-1976)

Formasi IV (1975-1976)
David Coverdale, Jon Lord, Tommy Bolin, Ian Paice & Glenn Hughes

Formasi III (1973-1975)

Formasi III (1973-1975)
Jon Lord, Ritchie Blackmore, Ian Paice, Glenn Hughes & David Coverdale

Formasi II-a (1969-1973)

Formasi II-a (1969-1973)
Roger Glover, Ian Paice, Ian Gillan, Ritchie Blackmore & Jon Lord

Formasi I (1968-1969)

Formasi I (1968-1969)
Rod Evans, Jon Lord, Ritchie Blackmore, Ian Paice dan Nick Simper



Salah satu pelopor musik Hard Rock kemudian berkembang menjadi Heavy Metal ini pada awal berdirinya merupakan ide dari bintang pop tahun 1960-an dan telah memperoleh kebesaran dengan band-nya, THE SEARCHER, dialah Christopher Crummy atau yang dikenal dengan nama Chris Curtis (Oldham, Lancs, tgl. 26 Agustus 1941).

Curtis melihat semakin berkembangnya musik Rock Progressive sehingga terbentuk suatu ide bersama rekannya di bisnis musik yang bersedia menolongnya.

Curtis mulai mendiskusikannya dengan Tony Edwards, yang bekerja di bisnis textile milik keluarganya di West End, London. Mereka pun diperkenalkan ke Vicki Wickham, seorang asisten produser acara TV : Ready, Steady, Go Pop Show.

Setelah setahun berjalan, secara formal Curtis lalu meminta pertolongan manajemen dan Edwards pun menghubungi teman bisnisnya, John Colletta, yang saat itu memiliki agen periklanan diatas perusahaan textile milik Edwards. Mereka lalu membuat keputusan untuk menggabungkan bisnis mereka dengan melakukan promosi band yang akan dibentuk Curtis.

Seiring dengan waktu, mereka sadar bahwa Curtis hanya memiliki mimpi besar yang hanya berisikan gagasan dan gagasan belaka. Sedangkan bagian yang paling nyata terletak kepada keberadaan teman Curtis yang juga musisi yang tinggal satu flat (Fulham's Gunter Grove) dengan Curtis, dialah Jon Lord.

Curtis pun masih bersemangat untuk membicarakan proyeknya tersebut dengan menampilkan kumpulan musisi terbaik. Salah satu musisi yang sangat diinginkan Curtis adalah Ritchie Blackmore, gitaris terkenal di Reeperbahn dan saat ini bermukim di Hamburg bersama kekasihnya, Babs.

Saat itu band telah terbentuk dengan formasi : Ritchie Blackmore (gitar), Jon Lord (organ), Chris Curtis (vokal), Dave Curtis (bass) dan Bobby Woodman Clarke (drum). Clarke merupakan referensi dari Blackmore berdasarkan promosi Melody Maker yang dibayar 25 Pound setiap minggunya. Sedangkan Dave Curtis tidak ada hubungannya dengan Chris Curtis.

Setelah melakukan jam, Blackmore melihat kelemahan Band terletak pada diri Chris Curtis sendiri, sehingga (sangat ironis) akhirnya Chris Curtis harus keluar dari Band disusul oleh Dave Curtis, sehingga Band hanya terdiri dari Blackmore, Lord dan Clarke saja.

Tak lama berselang, rekan Jon Lord semasa di The Flowerpot Men, Nick Simper (bass) ikut bergabung. Sedangkan untuk posisi vokal, Band telah melihat nama Ashley Holt, Rod Stewart dan Terry Raid.

Dari sekian pelamar, harapan terbesar terletak pada diri Mick Angus. Inkarnasi embrio ini ditambah lagi dengan saran Simper dan Lord untuk memilih Ian Gillan. Saat itu terjadi dilema apabila Gillan masuk ke dalam Band, sedangkan saat itu Gillan masih bergabung dengan EPISODE SIX.

Setelah kembali ke Slough dengan saat itu telah diberikan kepercayaan oleh Band, Angus mereferensikan teman akrabnya, Rod Evans.

Entah mengapa justru Rod Evans (ex. The Maze) bersama rekannya Ian Paice masuk kedalam Band. Dengan masuknya Paicey otomatis Clarke harus keluar dari Band.

Begitu banyak nama Band diusulkan seperti Orpheus dan Concrete God, namun Management mengusulkan nama Roundabout dan nama ini dipakai dalam tour.

Dalam tour di Tastrup, Denmark tgl. 20 April 1968, nama Band pun berubah menjadi DEEP PURPLE, yang diambil dari nama sebuah lagu favorit dari Neneknya Ritchie Blackmore.

Debut album Deep Purple, Shades Of Deep Purple direkam di bulan Mei 1968. Dalam relatif sangat singkat, hit single Deep Purple, Hush (dirilis bulan Juli 1968) menembus tangga lagu Amerika, dengan menduduki posisi no. 4.