Tangerine Dream

I love this show and who better to interview the great man than Stu Maconie;

http://www.bbc.co.uk/programmes/b01k6gw3

cheers, just listened to it. shame they always have to play tracks from the early stuff though. would be a breath of fresh air if a radio show played something from the last decade at least.

Indeed it would.

I thought it was 2 hours with Edgar. Turned out it was really just a few minutes, plus music.

Yes, me too. Worked out to about 17mins of which at least half, if not more, was taken up with excerpts from a few 70's tracks. It appears he only seems to play 'old' TD stuff. Would have been nice to hear something from the last few years because anybody listening to it who is not really in to TD at this time may think that that is how they sound today, which of course it is not. Still nice to hear a few words from the Maestro himself.

I guess it's because the programme is called "Freak Zone" that they seem to concentrate on older stuff. Didn't listen to the rest of the show - just fast forwarded until I heard the distinctive voice of Mr Froese.

I think the music played was good. Anything in the last 10 or even 20 years would have been just wrong IMO. I really love those early albums. So organic and evolving. Perhaps something from Force Majeure or Exit would have been a good choice also.

Enjoyed the interview but think that it wasn't as good as the one Edgar did in New York recently. Seems to me that Stuart Maconie is still stuck somewhere back in the 70s. Shame he didn't play any of TD's more recent output.

I enjoyed it,but would have liked to hear more from EF and less of the older tunes. Better than nothing though

I've got no complaints about the set list. It seems a small majority always seem to want something else. Possibly the best TD gig I have been to since the 'Logos' tour.

EDIT: wrong thread

I find the Chris Franke era their best. The music in the last 20 odd years for me is not my cup of tea. The days when you went to hear a concert like Logos and had an otherworldy experience are sadly gone in this music software age.

In the interview Edgar seems to be saying that live improvisation is no longer feasible because of new technology. Infact, new technology gives even greater freedom. It's entirely up to the artist how much they wish to pre-programme and how much they wish to play live.

Peter Beasley wrote:In the interview Edgar seems to be saying that live improvisation is no longer feasible because of new technology. Infact, new technology gives even greater freedom. It's entirely up to the artist how much they wish to pre-programme and how much they wish to play live.

I can't speak for EF obviously but I think he's probably in an excellent position to express that view. Perhaps the point is, with the tech offering so much more potential, improvisation cannot possibly make use of them all; there are just too many variables. Of course it's easier to whack up some chords & beats then noodle over the top but I think the point is more subtle than that.

redziller wrote:Perhaps the point is, with the tech offering so much more potential, improvisation cannot possibly make use of them all

Who says you have to make use of them all?

Peter Beasley wrote:

redziller wrote:Perhaps the point is, with the tech offering so much more potential, improvisation cannot possibly make use of them all

Who says you have to make use of them all?

It's the artist's choice naturally. If the artist believes they can produce their best work exploring more parameters than can be manipulated in real time then they may well chose to discard improvisation as a technique.

IMHO improvisation is over rated. Does the riff that's improvised alone and replayed later degrade? Is the improvistion from a jam that really works at the time reduced when reproduced but refined? Is the melody that's tweaked over time diminished?

Look at One Night in Space. I think it's fascinating how within the same structure we have many versions of BB's development of the lead finale. They are all different - what's worked out and what seemes to be a good idea at the time? Even if it seems like improvisation to the artist, it may all be worked out subconsciously in a mechanical way in the brain with prcesses the consciousness is unaware of.

As regards the interview I suspect EF's talking more about his way of making music than how it is for all musicians.