Around the end of November 2003, Colin agreed to answer some more questions for this site, most of which eminated from visitors to this site, along with a few duff ones from me. With that in mind I'd like to thank Geoff Proudley for his probing questions and for his contining support. My hat's off too to Colin for his time and effort (answering these very questions as he travelled the globe) and a big thanks to Jo, who produced some sterling work in putting it all together, and without whom we would not be reading this now! The questions are in no particular order, so here we go.......
COLIN TOWNS WEBSITE INTERVIEW (FEBRUARY 2004)
Q1: What are your views now on smashing up equipment! (OK, it was probably Bernie Tormé that smashed things but then they all did that didn't they?!? Hendrix, Blackmore....)
A: Human beings are strange - you could write and play beautiful music but if you smash up equipment or have more flashing lights more people react positively! Show man stuff, if you enjoy it - great!Q2: Did playing in Gillan damage your hearing? This may sound flippant but given that you often have to work with the great dynamic range of orchestra etc. these days (with some very quiet sections), do you ever curse all that heavy stuff that went into your eardrums?
A: I have slight damage in my right ear. Despite endless requests for understanding it fell on deaf ears. It doesn't affect me at all.Q3: Which lead synths did you use exactly on Second Sight and some of the other prominent Gillan solos e.g. Fighting Man?
A: ARP 2600Q4: Do you still have any of those flashing bow-ties from the Gillan days, and if so can I have one?
A: The tie is around somewhere. A guy at Covent Garden called Flash Harry made it!Q5: In an article by Carl Vanempten for Darker Than Blue (Deep Purple fanzine - 1992), he mentioned than you had been working on an album called Laugh Together, Cry Together. What happened to it?
A: I decided not to release it.Q6: You also recorded Midnight Festival, and collection of tracks which presumably was to be an album. That didn’t make the light of day either. Why?
A: Midnight Festival was a demo I think. I often record things and don't release them if they are not strong enough, I see no point. There's no point in the Gillan bits and pieces CDs!Q7: With regard to your flute playing, did you have any training or are you self-taught? I know the Full Circle stuff with flute / piano sounded great. It's always a classic marriage of instruments.
A: No training, I taught myself. It's not great but I did play a bit on a French movie I have just recorded called Double Zero. That's if it makes it to the movie!Q8: Can you recommend any good books on starting with scoring / writing for other players. That's still a route (although rather expensive) that Geoff Proudley would like to explore sometime.
A: There are many great books available. I used and listened to as many different types of writing / orchestration. Just remember there are no rules.Q9: What’s planned this year (2004) for a) the Mask Orchestra, b) Provocateur Records and c) yourself?
A: The Mask Orchestra will perform with the Birmingham Royal Ballet in October in Birmingham; moving down to Sadlers Wells in London and then onto Plymouth. The ballet I'm writing is based on the story of Orpheus (In The Underworld). The first two ballets of the evening have been performed already: Duke Ellington's Nutcracker Sweeties and the Shakespeare Suite. It's not decided if the band will be on stage or not.I've arranged Frank Zappa's music for the NDR Big Band in Hamburg called Hot Licks (And Funny Smells). We have a bunch of concerts coming up in Germany later in the year.
In July I'm working with the Orchestra della Sardegna in Sardinia with Maria Pia De Vito.
The label is holding it's breath at the moment, the music retail outlets are disappearing and not stocking as much jazz as they used to. We will resume releases then we know more about the situation. They main selling outlets will be on web and dowloading.
The French movie Crimson Rivers 2 - Angels of the Apocalypse has just opened in France. It will then open in Germany and onwards. The CD has been released in France.
The French movie Double Zero will be released in France in April. I'm in discussion with another French movie company for a film later on the year.
Not Only But Always is a film about Peter Cook and Dudley Moore which is about to start filimg. The tale Of Jack Frost is an animation that should be happening this year. Fungus The Bogeyman was delayed due to special effects problems and is due to be finished in July. Many things are in the pipeline.
Q10: Where and when can people get the chance to enjoy seeing the Mask Orchestra live in the UK? Have you any plans to play in Scotland?
A: We keep hammering on the festivals doors about the Mask Orchestra. Gigs could appear anytime, the ballet should help gigs to come in.Q11: You’re about to record a CD of Frank Zappa material. Can you tell us a bit about the type of music selected, will it be ‘jazzed up’ versions, and how did the initial idea come about for the CD? Are you a fan of his music?
A: I chose the pieces that I thought would work with the NDR Big Band. His humour is very important but I cannot copy it as it wouldn't work. However some of his music does make you smile so I've included the humour that way. I was approached by the NDR for the project probably because of my background and also because of the Kurt Weill was so successful. I'm a fan of his music but I don't have every CD like some of my friends. The music has been arranged for a big band so obviously it has jazz running through it but also rock, contemporary, classical, country all kinds really.
- Introduction
- Anthem
- Peaches
- Eat That Question
- Let's Make The Water Turn Black
- Watermelon In Easter Hay
- Brown Shoes Don't Make It
- Hot Rats (Willie The Pimp)
- King Kong
- Pound For A Brown
- Waka / Jawaka
- Stevies Spanking
- Sinister Footwear - 2nd Movement
- Little Umbrellas
- Swifty
- Black Napkins
- Bebop Tango
- G Spot Tornado
Q12: You mentioned the formation of an electric group some time ago, where you would play keyboards. Is this still an ongoing thing and do you plan to perform soon? What sort of music would it be - Jazz / rock / fusion or something else? There are a lot of rock fans that miss your talent in that arena.
A: The small group is still being developed, I'm not rushing it. There is a great deal of material and some of it is working. It will probably start life in Germany. The rock thing is in it. I'm looking at other things that may be a place to rekindle my songwriting.Q13. What can you tell me about the Eat This project, which included the assistance of Bernie Tormé too? What was your contribution to it?
A: I actually can't remember Eat This!Q14: Have you been working again with Bernie recently on his new, yet to be released, album? How was that meeting up with him again and what was the extent of your playing?
A: No I haven't played on Bernie's new CD. However I have seen Bernie and his family regularly for years, he lives near to me. He's my closest friend from the Gillan days. I think he is a great guitar player.Q15: Other than playing guitar on your Making Faces LP and Working Man single, on what other projects can you recall that Bernie has helped you out on? I hear he has also done so TV work for you, can you remember what they were?
A: I know that Bernie played on something but I can't remember what. It was a long time ago.Q16: If you could take just one album to your desert island, which one and why?
A: Probably Kind Of Blue by Miles Davis. Miles, Coltrane, Bill Evans and Cannonball Adderley are all on the album. They are some of my greatest inspirers.Q17: What was your luckiest career break?
A: Full Circle, I suddenly found I had something I could develop.Q18: Do you believe in fate or do we make our own futures?
A: Nothing comes from nothing. It doesn't always happen when you want it to but something always happens.Q19: Have you updated you recording set up since the Sound on Sound interview a few years back? I think you were working mainly with ADAT digital tape machines. I wonder if you have gone on to digital hard disc recording (e.g. ProTools) with all the fancy software editing tools. Now you can cut and paste whole passages of audio etc. at the click of a mouse. Which system do you work with now?
A: I use two radar machines at home and sometimes logic on my laptop for travelling. Film is now virtually all Protools. The engineer I use at my home studio sometimes hires the stuff in (normally 2 sets incase of breakdown). We recently had to cut and paste chunks of orchestra about, interesting but boring! There's always so much to do and not much time and momentum is crucial.Q20: I’ve had countless emails asking where they can find the Beatrix Potter CD soundtrack - it continues to be a very popular title. As it has been out of print for years, and given that Pickwick Records have folded, do you think it would be possible for a specialist record company to re-release it?
A: The Beatrix Potter CD was released on Pickwick and has been discontinued. They may re-release it some day but it's unlikely. Full Circle and Wolves of Willoughy Chase are sought after in France - so I was told the other day!Q21: Your house looks pretty amazing (snippets of it can be seen in the Frame programme). Do you have a gardener?
A: If I'm desperate I get the local garden centre to come once in Spring and once in Autumn otherwise I do it myself. It's very important as it's my escape when I'm searching for notes that won't come to my rescue!Q22: Do you record and mix exclusively at your Kent studio these days, or do you have to travel to London (for example, because the orchestra is too big for the space available, or for some technical wizardry that you don’t have)?
A: Both, I can record maybe 15 players in Kent. Crimson Rivers 2 had 80 players so that was not possible in my living room so it was record at a studio in London.Once again Colin, thank you very much for your valuable time