It's Psychedelic Baby Magazine

It's Psychedelic Baby is an independent music magazine. We are covering alternative, underground, non-commercial and non-mainstream artists in variety of shapes and genres. Exclusive interviews, reviews and articles. A place where musicians can express themselves. We serve an international readership.

Uncle Acid and the Deadbeats interview

Uncle Acid and the Deadbeats are fairly new band, that are influenced by psych from the 60’s and 70’s hard rock. They are one of the rare bands, that still got that “old school” dirty Rock’N’Roll sound. I spoke with Uncle Acid and he told me some interesting things about the band in our interview.


Where did you formed Uncle Acid and the Deadbeats?

Down the pub in Cambridge.

Did you have any other bands?

Not really, I'd say this is the first serious band I've been in.

Why Uncle Acid?

I don't know why I chose it. Its just an obscure name which I've grown to like. It's got a toxic, '60s counterculture sound to it. If 'Uncle Sam' represents governments, the establishment, war and all that crap
then I suppose 'Uncle Acid' represents the lowlife street trash. '60s burn-outs and all those left behind. The hippy nightmare!

You are obvious very influenced by Black Sabbath and perhaps Black Widow. Did any other more obscure bands had an impact on you?

Not really. I listen to some obscure bands, but the bands that actually influence me to do anything are pretty well known. Sabbath, The Beatles....everyone likes that stuff. It's still inspiring.

Occult based lyrics. Inspiration?

My imagination. It's like writing a book. I think of a basic story or theme for an album, then that in turn inspires me to write lyrics. I need to see a bigger picture in order for me to break things down into songs. I probably make things difficult for myself, but that's just the way it is. Writing normal songs is too hard for me.

Vol 1 is a self released album. What can you say about it? 

Well, both albums were self funded and self released. Vol. 1 was more like a demo. I had a load of songs that I wanted to put out just to prove to myself that I could do it. The budget was very low on that one. It was impossible to get good sounding drums with the gear we were using, so we had to either mix the drums right to the back or in some cases use terrible things like drum triggers. I do like some of

the songs on there though.

Somewhere I read you are a fan of exploitation horror films. Pick us a few!

I sometimes enjoy trashy biker exploitation films like Northville Cemetery Massacre and Hell's Angels 69. In terms of horror though, I prefer classier early '70s films like Horror Express, Blood On Satan's Claw or Dr Jekyll and Sister Hyde. There's something about the grainy, gothic atmosphere of those films that I love.

 "Blood Lust", tell us about the recording sessions. What gear do you guys use?

Tweed amps, Fuzz pedals, trash can reverbs, noisy p90 pickups, and ribbon mics. Some of it was old equipment and some of it was new hi-tech stuff with the big computers that they have now. It was recorded during a pretty bleak winter so of course it was cold, snowy and there was a lot of mechanical failure.

Well, I’m sure you have some favourite obscure albums to name….

BECKETT - BECKETT: Excellent 70's band. Maiden stole a few things from them. Someone needs to re release this on vinyl. One of the greatest unknown albums ever. Go find it now!!

THE NERVES - ONE WAY TICKET: I enjoy good 70's power pop now and
again. This band should have been huge.


SYMPHONY: Back to back albums from the late 60s that sound like two totally different bands. Both of these are worth getting for the title tracks alone.

W.A.S.P. - K.F.D: Yeah, maybe not that obscure but W.A.S.P. rule the world. This album is under appreciated because it sounds like a violent industrial pig slaughter.

What are some of your future plans? New album is coming out? Will it be also available on vinyl? I really prefer the vinyl version of new music, how bout’ you?
I don't like to plan things so who know what we'll be doing. Hopefully, we'll have a new album out by the end of the year, which will definitely be available on vinyl. It's certainly a better way of listening to music than mp3's or whatever people use now.

I would love to see you play in Slovenia! We have great avenue for alternative culture called Metelkova...

Well, hopefully one day we'll make it over there. A little European tour would be nice.

How do you see current music scene, I mean mostly some psych, doom bands. Do you like it? Any particular?

I think it's fine. I mostly listen to old music but I do enjoy newer stuff like The Devils Blood, Diagonal, Orchid, Blood Ceremony, Danava...I could go on and on, theres so many great bands around. Rock music will never be as big as it once was, but that's probably a good thing. It belongs in the shadows and in the underground. We'll let the morons have their X Factor winners and RnB whores. We're doing just fine down here.

Well, I hope we see you someday in the future and I wish you good luck with the upcoming album! I’m sure we will feature it on It’s Psychedelic Baby. Anything you would like to add? Perhaps a message to your fans and our readers?

Thanks. We love you all!

Interview made by Klemen Breznikar / 2012

© Copyright 2012

Weird Owl interview

Brooklyn band Weird Owl is one of the better examples of nowadays psych scene with some really catchy and chill out atmosphere especially on songs like "White Hidden Fire". They released an EP and two albums.


Thank you guys for taking your time! Weird Owl was formed in 2004 in Brooklyn. Tell me about the beginning…how did you guys came together? Why the name Weird Owl?

The story of how our name came to be is quite a tale. The four original members of the band had been on a hiking trip deep into the wilds of an uncharted forest, surviving only upon what we could forage from the land itself. We came across a strange, glowing pulsing rock that we presumed to be a meteorite. It had an eerie green glow about it, and upon closer inspection, we found out that it was emitting audible frequencies of a definite pattern. We wrapped it in a red cotton cloth and took it back to Brooklyn and hooked it up to some machinery we'd been developing for the band. We realized that the frequencies could be transposed on a graph of letters in order to spell out words. When we mapped out what the meteorite was spelling, we arrived at "W-E-I-R-D O-W-L". We took it as a sign that this rock was some sort of outer space ouija board and that it was giving us our name.

What did you play at the start?
We have always played our own variety of psychedelic music--a sound that we felt replicated the inner dimensions we'd cruised through to get where we were at any particular moment in linear time. A sonic architecture of the unconscious.

Nuclear Psychology is your first EP released back in 2007. This was your own release right? What can you tell me about the EP? It’s obvious you are a big Floyd fan, not just for the cover, but we can also hear a lot of influences in your music…

We put out this record ourselves. We never expected many people to hear it, and there are some things I wish we had done differently before releasing it. 

The cover was a quick joke having more to do with our self-presumed spot in the continuum of mind-music more than it has to do with any great reverence for Floyd. We felt as if we were the sons of a certain musical father (in a collective sense) and that it was now time for the son to assert his independence.

In 2009 you released Ever the Silver Cord Be Loosed on Tee Pee records. The album has a really great psych sound! Would you like to tell me how did the recording sessions went and what gear did you used?
Well, thank you very much. This recording session was unfortunately very quick due to our limited budget. We were only in the studio for 5 days or so and as a result, had to work very quickly and hastily. The sound on that record is mainly Fender guitars through Fender amps (I play a '72 Telecaster Custom reissue through a mid-60's Tremolux) as well as our trusty Roland VK-7 organ. There was also a bit of Wurlitzer, too.

I really dig the cover artwork…
Once again--thank you! My wife and I collaborated on the album's artwork. We have worked together a few times for different band projects. Most recently, we made a video for our song "Skin the Dawn" off of "Build Your Beast A Fire".

Your latest release is called Build Your Beast a Fire. Again you produced a really nice folky psych album. Do you like it more then predecessor? Would you like to tell more about the background of the album?
I like this record much more than ETSCBL, personally. We had much longer to work on the songs, and I feel that we were able to make a more consistent document of our sound. There is a variety amongst the songs, but they are cohesive as a collective unit, giving it a real album feel as opposed to a group of unrelated songs. We worked mainly with Justin Rice at his studio in Kingston, NY. It was a much more comfortable and welcoming vibe than we'd previously had in a studio environment, and I think that translates into an album you can nestle into like an old and well-loved blanket.

What are some of your future plans guys? Tour? Europe?
Right now, we are hunkered down and writing a lot of new material for our next release. We're not sure when it will come out or who will put it out, but we have gotten focused on a slightly different direction for us. I am excited for everyone to hear our new voice. It'll be a cosmic campfire freakout. We'd love to make it over to Europe and have talked about making it happen. Perhaps after our new record is done we'll make the trip.

Thank you very much again for your time. I hope we see you soon in Europe! Would you like to send a message to your fans and  to all It’s Psychedelic Baby readers?

Thanks very much for your interest; we are pleased to be included in the fine canon of Psychedelic Baby interview subjects. And to all of your readers: thanks for your support, and as times get weird, remember: only the Weird will Survive!

Trevor Tyrrell

 Interview made by Klemen Breznikar / 2012

© Copyright 2012

Clearlight & Delired Cameleon Family interview with Cyrille Verdeaux


Thank you very much for taking your time and effort, Cyrille. I would like to ask you first where did you grew up and what were some of the influences on you?

Thank YOU to be interested in interviewing me! 

I am born in an interesting place : the American Hospital of Neuilly sur Seine, (a rich neighborhood near Paris) in 1949 July 31st, a very very hot day according to my mom and without AC machines, of course. This detail is important because from this first day, I never could appreciate cold weather, only hot, deserter if possible. Right now I am in a hot and half of the year dry part of Brasil and my body is very happy there.

As you can imagine, just a few years after this horrible WWII, Paris wasn't as it use to be now : the most beautiful city in the World. It was poor and dirty for the main part. My father was working at the American Hospital as a doctor, thi is why I could be delivered in this safe environment by my mom. Interesting enough, I am born in the same hospital and even same bed and exactly 100 days after Dominique Strauss-Kahn's birth. I guess everybody knows now who is DS-K, not for good reasons probably, lol ! I need to say that my sexual life (and life in general actually) has been very, very different from this guy. And all things considered, I prefer mine than his!

About my first influences, it has been very open from the start, I was hearing the music that my parents were listening (they love claissic instrumental), the music that my big brother (7 years older than me) was listening (he loves Jazz essentially and became later a good trumpetist and one of the pilars of the Jazz Hot club de France) and the music that I could get with my little transistor radio, basically the first hours of rockn' roll, with Chubby Checker, Littel eva, Ray Charles, Bill Halley, Cochran, Buddy Holly, Chuck Berry and the french local glory, Jonnhy Hallyday. At 10 years old, I received as birthday gift a little teppaz turn table. I started to buy records on my own (actually I was stealing most of them until I gor caught !) I then understood that stealing records was wrong, really wrong ! So I started to steal money from my mom's wallet to buy the records in the store. A lot safer!

What? My parents should have giving me more pocket money, then I wouldn't have to steal it to buy music, that's all.

Now, no problem for young people like I was : they can free download everything they want from their home. This is why my personal humble indie online record Cie, went almost bankrupted, but this is an other story ! Now I linked it with, miraculously not bankrupted yet and I can still have some pocket money from my CD sales...
After 40 years of activity and creativity, I find it rather hard, but the whole World being in crisis, nothing we can do to escape from it for the moment.

You studied in Paris composition, harmony, and piano. Did you record anything before starting Clearlight? Any releases perhaps?

I began my musical studies at the national Conservatoire of Paris in 1965. The only tape recorders on the market back then were sophisticated "nagra" or revox, only for professionals. I made some tries with the cassette recorders but the sound was too horrible to please my ears, so no, I had no recording of anything audible before 1974, when a friend borrowed me his TEAC 4 tracks. It was few months after the end of my first band, Babylone, led by Christian Boule (RIP).

I recorded with the TEAC one night of full moon (in the sky with Lucy) the first improvised recording of what became later the "clearlight symphony", on the acoustic piano (a superb half grand Gaveau with an inspiring sound) that has always been in my family house. This night I was all alone and spent most of the night playing and recording. It was a true "clear Light" experience as it is described in Timothy Leary's books. This is why the title of this music couldn't be difficult to find. I had no idea that I would base all my future career on this very first recording, though... I even receive from time to time a mail from new young fans discovering this 40 years old creation with vintage gears.

What is the story behind Clearlight? How did you manage to get musicians such as Didier Malherbe, Steve Hillage, Tim Blake, Gilbert Artman , Christian Boulé and Martin Isaacs to work with you on the album?

It was quite fast. After this full moon recording, I added some organ parts (the synthesizers were still not existing on large scales, so I had only a Wurlitzer organ to make the symphonic parts above the piano track.)
I began to share this demo to some friends involved in musical critics but they all said they couldn't help me with this tape (2 pieces of 20 minutes each non stop, totally non commercial it was, compared to the requirement of 3 to 4 minutes songs that the show biz was imposing to musicians.) But one hero liked it, Jean Pierre Lentin (RIP) from the underground magazine Actuel ! Sometimes, one is enough and makes a great difference, because he is the one that suggested that I show it to Virgin. Why ? Because Tubular Bells, the first album released by Virgin, very new on the market, was beginning to become a big hit thanks to the great success of "The Exorcist" movie, were a few lines of Mike's album were used.

By coincidence, this album was also made of 2 parts of 20 minutes each, I guess this is why Jean Pierre suggested me to go to Virgin's office. He gave me the address in London of the squat of Tim Blake, Gong's synthesist (In London, a lot of artists were living in free squats in the 70's). I had met already twice Tim when Babylone was playing in the same festivals than Gong.

So I took my precious tape under the arm, bought a ticket Paris-London and arrived in London with as only tip, Tim Blake's squat address.

Luckily, I found there also my future manager, a French english teacher named Jacques Reland, that was sharing the squat with Tim and his girl friend Brigitte. My english was very bad at the time, so I was needing a guy assisting me to meet Virgin's A&R, (named Simon Draper) and I proposed to Jacques to make the translator, to study for me the contract and this is how heeventually became my manager during 4 years. Simon Draper was Richard Branson's right arm. In spite of the low quality level of this demo (nowdays, it would be totally utopic to hope to have the attention of any A&R for more than one minute with such a sound, but in this blessed time, everything was yet possible, especially at Virgin). Simon accepted an proposed a recording contract. Few weeks after, the contract was signed in Branson's office. I was really happy. Tim Blake also signed the contract as artistic producer for this project.

When I returned to France with the contract, I began to look for musicians. Virgin was a good name already and I could find easely the musicians needed. Tim helped me to convince Steve and Didier in London and I took care of the French crew (Christian Boule and Gilbert Artman) in Paris...

What is the main concept behind the album and what can you tell me about the recording and producing sessions?

When I listened back the day after the fruit of my magical night, the concept was easy : it was a rock symphonic album where both my scale in classic and rock knowledge was displayed. But it was also a spiritual "clear Light" experience where I had crossed the 7 bardos of consciousness according the the tibetan book of Death) and was transmitting these feelings to the piano. For side 1, more classical and drumless, I recorded first the piano parts at the Manor and the rest was recorded at David Vorhaus (white noise) home studio, . And for side 2, more rocky, I recorded all the parts at the Manor with my french fellows one nonth later, which gives this difference of sound and atmosphere between the 2 sides.

According to the contract, I was my own producer, Virgin was only advancing me a certain amount of money to pay the sessions, the musicians and the renting of the instruments and it was not enough money to record the 2 sides at the Manor with a real symphonic orchestra. Too bad, it would have been way batter and more identical to how this symphony sounds in my head).

What gear did you guys used?

As I said, I had a low budget, so the best I could do at this time where numeric sound samples didn't exist was to rent a mellotron to create all the symphonic orchestration with this imperfect tool. For instance, I couldn't use the notes more than 5 secondes each, because the tape was making a big "clack!" after these 5 secondes. It was the first time I had the opportunity to play this mythic instrument, so I spent a couple hours to find a good way to play all the parts inspite of this stupid 5 secondes of limitation. I also used a hammond for the organ parts, Tim used his EMS synthi for the galactic noises. That's it.

What can you tell me about the cover artwork?

Jean Claude Michel, (RIP) the painter, was a good friend. He was working at the time on illustrations for a book of anatomy, so he used one of his work on the human head to created the cover. Since he was listening to my music while painting, he added the psychedelic elements. A real masterpiece of surrealistic art, appreciated by everybody at Virgin when I brought it.

Later, it has been selected to figure in a book collecting the best rock albums covers. And the Clearlight Symphony figures now in the list of the 100 best progressive rock albums of all times published by the Billboard guide magazine. It was a good beginning, to say the least !

By a matter of facts, 2 of my albums do figure on this honorific billboard guide list, the other being "Clearlight Visions". Apparently, I am also the only french musician present on this list, but I find it a little unfair for Magma, for instance...Christian Vander's music should also figure in the list of best 100 progressive albums of all times, in my opinion.

In 1975 you released another Clearlight album called Forever Blowing Bubbles and then you started another project called Delired Cameleon Family. This was somehow a project for the movie called Visa de censure n°X, right. Would you like to tell me the story behind this release? I would also like to hear more about this film…

The story is quite simple. I had a friend, Yvan Coaquette, guitarist and former soundman of my first group Babylone that was friend with Pierre Clementi, a french famous actor. Between 2 movies, he was shooting his own small budget movie, mainly with his friends of the " nouvelle vague", Jean Pierre Kalfon, Valerie Lagrange and others and he was looking for a soundtrack, so Yvan introduced me to him, knowing that I was able to compose music for movies. So I worked a few days while watching the movie to find musical themes. When done, Philippe Constantin (RIP) and friend of Pierre proposed to be the producer and interface with EMI France and when I was ready we could obtain a budget to rent only 3 days of recording studio. 2 days to record and 1 to make the mix with the movie. Very ridiculous but better than nothing at all ! Then Yvan and I decided to invite all the good musicians friends that we had for a free non stop session. 16 hours/day. The 2 ingeeners were relaying 8 hours each ...It has been a lot of improvisation in this session, with a very special atmosphere of intense work, this is why I found this title : delired cameleon family. The movie itself was very special, with several fast motion pictures mixed together. Difficult to tell the story line of this movie, very very avant garde. This movie and soundtrack figures now in the permanent list of original psychedelic movies at the Musee Pompidou, in Paris. But it has been a commercial flop. The French market was not familiar with this kind of Art.

Les contes du singe fou is your third Clearlight album, but this time your style changed a lot. Same goes for Visions. Why do you think?

Forever blowing bubbles was the 2nd and last project with Virgin. I had a contract with 3 albums but when Richard Branson asked me to move out of Paris to live permanently in London to ease the promotion of the band, I had to refuse because my wife was 7 months pregnant when he requested it and of course my wife didn't want to leave Paris and her mom at this stage of her pregnancy. So, when you say NO to a Branson's request, this is it. Virgin cancelled my contract (without any compensation what so ever) and I couldn't do there with them my third project, almost ready, Les Contes du Singe Fou. I wanted to try a new form of concept for my 3rd project, a Space Opera type of album. I gave the theme and synopsis to my anglophone friend Francis Mandin, a great fan of YES and GENESIS.

After a few weeks, Francis brought me some wonderful lyrics in english. I had planned to have John Wetton (King Crimson) on vocal and bass, Bill Bruford (not a King Crimsoner anymore) has been approached but with the premature end of the Virgin contract, all that has been cancelled. So, I realised this album with a low budget in a parisian studio, instead, with an obscure small label ISADORA and not very known musicians, that didn't know how to promote music, so it has been also a commercial flop.

Seeing that, I decided to produce myself my 4th project, Clearlight Visions, I went back towards a more instrumental style, more simple to organise. That album was also my first where I was deciding everything. I paid myself musicians and studio, so that nobody could decide things for me. I asked to Didier Malherbe (sax-flute) and Didier Lockwood (electric and acoustic violin) to bring their talent, Christian Boule on guitar and Jacky Bouladoux on drums to complete the crew. I also began to use natural sounds (ocean waves, birds, woman having a climax (in spirale d'amour) to go with the music, which was very revotionnaire at this time where new age music didn't yet exist.

Valerie Lagrange, Cyrille Verdeaux and Christian Boulé

In 80’s till now you released many solo albums. Tell me something about that period of your life…

The 80's began with a very nice experience : Along with Frederic Rousseau and Jean Philippe Rikyel, a blind syntjesist genius, I decided to produce an album by renting a mixing table and an ATARI 8 tracks for one month, creating a home studio in the living room of the country house of my parents and the same familial piano that I used to learn music and record Clearlight Symphony's demo. The result has been "Messenger of the Son". But before to be able to propose it to various music labels, the worst thing that can happen to a human being happened to me : the accidental death of my 5 years old son, Jonathan.

I left France right away, leaving behind all my musical projects and went in an ashram in Arizona where I could learn yoga and meditation on an intense basis. After a few months, I met in Tucson some musicians such as Dean and Dudley Evenson, musicians and owners of the small new age label "Soundings of the Planet". I became good friends with them and began to release new age music on their label. Offrandes, Nocturnes digitales, Shamballa, Journey to Tantraland.

One year later, I moved for California. There a US fan of clearlight from the early days, Josh Goldstein, former manager of Happy the Man, offered me his services to represent me. He was a Vietnam vet and had lost a leg there in a crash helicopter, so he had received a good sum of money just before our meeting. He proposed to produce my new music. I completed the tracks of Messenger of the Son with some local musicians, and tried to submit this album to a Californian label. One was interested right away, Fred Catero, former chief engineer of CBS. He had recorded Bob Dylan, Blood Sweat and Tears, Chicago and many others stars during his CBS career. He was now retired and wanted to create his own label. I was very proud that he picked up Messenger of the son to figure in his list of first releases on his label. So Messenger of the Son became my 6th and last vinyl. Unfortunately, his label Catero records went bankrupted quite fast because his spirit of independence didn't please the local show biz mafia and they made impossible the distribution of his catalog... !

I didn't loose everything because Windham Hill new age label signed one of my Messenger of the son's song, Remember Jonathan, a kind of short requiem that I had composed just after the death of my son and had added to the Messenger album.

This very emotional piece is now for ever in the PIANO SAMPLER ALBUM 86 (but also in the CD of Messenger of the Son).

This Piano sampler album experienced huge sales, fortunately. I was sharing the royalties with 7 other pianists and yet I could finance the birth of my twin daughters in Santa cruz, CA.

In 1986, my french wife wanted to go back to France, so we packed and went back to France, where I decided to continue alone, to record new projects and my very first CD : Rhapsody for the blue Planet, followed the next year by a new Nocturnes Digitales. I also became teacher of music during this French stay. Money, money...Most of the labels selling my music didn't pay me correctly my royalties, so...I couldn't sue them, so I dropped the idea to continue to make money with my art only.

In the 90's, I met Pascal Menetrey (RIP). He had a huge collection of natural sounds and with his sound material and E-Mu sample gears, I recorded Ethnicolours and Tribal Hybrid Concept, to honour all the human tribes facing extinction. The style was new for me, based on house and tribal rythmics surrounding hundreds of different sound samples. It should be in the Guiness book of records in this category if it existed, lol ! Ethniclours was the yin version, more mellow, and Tribal Hybrid Concept the yang version, more wild.
Then I met Patrick Meynier, owner of a record store in Paris, Legend Music. With his help, I could remix Clearlight Visions in CD with several bonus tracks in it. Then with his wife violonist, Genevieve, I recorded Solar Trance fusion and Aerobix, 2 powerful albums of progressive house music, if I may say.
I was going all these years back and forth between France and California and in 1995 I met a good singer, Leah Davis, with whom I recorded Flowers from Heaven, along with other singers friends, Frances Key, Gunnar Amundson. I was recording where I could, song per song, the home studios were becoming more and more serious and well equipped in numeric and samll equipement. This album is the only one that has only songs in it. The lyrics created by the singers are all excellent and meaningful, making this album a very initiatic one, philosophically wise.

This bring us to the XXIthe century. I met an other clearlight fan, Dan Shapiro, living in Santa Barbara. First he proposed to produce a solo piano album, Piano for the 3rd ear. Then Dan told me about his huge fantaisy : to produce the re-recording of the Clearlight Symphony, with all the numeric sounds that didn't exist 30 years ago. I spent 3 weeks in a home studio in Santa Barbara, alone with a kurzweil 2600 and recorded Inner peace Concerto, a reprise of musical themes of the clearlight symphony with many improvments and new themes.

After that, we decided to create together my own music label as a little start up, We converted into numeric all my vinyl musics and made CDs with it. Plus, the label was releasing also the Kundalini Opera, a 7 hours synthesis of 7 of my CDs, each of these CDs harmonizing a specific chakra. I was mixing here all my knowledge in yoga and music together.
- Ethnicolours takes care of the 1st chakra
- Journey to Tantraland, the 2nd
- Solar transfusion, the 3rd
- Flowers from heaven, the 4th
- Rhapsodies for the blue planet the 5th
- Piano for the 3rd ear, the 6th
- Inner peace Concerto, the 7th

Inner Peace Concerto was sounding so great to his ears that Dan decided to pay for more sessions, with other musicians, a violonist, a sax-flute player, a drummer and an electric guitarist. I called this final result "Infinite Symphony" because it ends exactly as it begins, as a Moebius ring. Hey, I had a new band, eventually ready to go to play in progressive festivals.

Just a few days before the depart for our first festival, the drummer, Shaun Guerin, decided to kill himself because of some problems with his wife ! Unbelievable ! But true, alas...After that, the other musicians decided to quit the band idea and my last chance of restarting a public career with a Clearlight band stopped right there. And in top, I had to leave the Country, having no more reason to get a green card and a work visa.

I had met few years ago a charming Brasilia lady on Internet, and I decided to answer to her invitation to visit her in Brasilia. This is now where I live permanently and I am married with her. Life with its permanent ups and downs...I know exactly what it means !

What are some of your future plans?

To be honest, I have not much plans concerning music nowadays. My musical career is slowly but surely fading away. My label of sales of CD on line is almost ruined by the free download platforms. I have now to take care of it. This label is the ONLY ONE that pays me royalties in the whole universe, so thank you to buy my CDs there and nowhere else !

I have also worked on several musical videos clips with my friend Frances Key that we have released for free on youtube, having no offers to commercialize it. At least like that, we didn't work all these hundreds of hours for nothing ! People can enjoy it for free. But no future plans on this matter. Working for free can't last for ever for artists.

During my last stay in France, summer 2011, I recorded for the fun of it my best piano repertoire on a Bosendorfer 290 modele Imperial, the best piano in the world, and I put a teaser on yourtube. Here is the link: 

Thank you very much! Would you like to send a message to It’s Psychedelic Baby Magazine readers?

Yes, here is the message, that my guardian angel gave me to share it with everybody. It was in 1977, but I think it says it all even now:

EARTH BEINGS, listen...

Please read carefully the following message :

The time has come to realise that your unlimited expansion in all sectors are seriously threatening the harmonious balance of your sphere of birth.

Consequently, your survival and the survival of your children are now threatened, for the new ecologic datas you are creating are artificial, therefore devastating to your natural ecosystem.

Even before the right to freely travel and to express yourself, your very first rights must be those to breeze non cancerigen air, drink non polluted water and eat non toxic food, all conditions indispensable to your biological existence.

Several severe plagues of planetary dimension beginning to manifest, synonymous of dark and painful cuts in your rows, a new revolution, pacific and ecological this time, happens to be urgent and necessary.

To get rid of the ghost of your extinction, you, from the humblest to the almighties would only have the small price to pay of remembering that the Bill of human Rights passes necessarily after the Bill of Rights of the planet that welcomes and nurrishes you. Do respect and appreciate the natural harmony of Nature, fruit of hundreds of millions of years of preparation and evolution.

Consequently; it becomes important that each of you wakes up in order to effectuate the necessary corrections for the preservation of your destiny, individual as well as collective.
Understand that the more you will delay to concretise this revolution, the more dramatic will be your fate, for the natural forces making functionning your ecosystem are stronger than yours and will be able to find an other new balance than the one you think you can impose and it will often make you feel miserable.

To help you to remember or to finally realise that your blue planet (whom you still are the most precious fruit), is really alive, listen to her music. Then maybe, will you understand that she must be preserved from destruction, this being also your obvious personal interest.
Her voice is indeed necessary in the partition of the Symphony of the Spheres, primordial universal anthem for the establishment and development of Life.
So protect and share her

Thank you for your frequency

 Interview made by Klemen Breznikar / 2012

© Copyright 2012

Heiner Stadler interview

Heiner Stadler is a unique and serious – so almost by definition, under-appreciated -- contemporary American visionary. As composer and producer of extraordinary works collected on Jazz Alchemy, A Tribute to Monk and Bird, Retrospection and Brains On Fire, Stadler created mind-stretching music. Even 40 years after creation, his pieces bristle with fierce intelligence and passions, honoring their sources while shaking up preconceptions and conventions of jazz held to this very day.

It's as I wrote in annotation of Brains on Fire's recent reissue: "Sounds that emerge, converge, build and flow organically, as if born of their own seeds or cells, though they are actually prompted by pre-determined materials – individual's personal, vivid expressions that cohere as collectively-contrived constructions of multiple dimensions, plans not obvious or maybe even evident though the supporting structures and concepts are indeed there – intervals, motifs, scales and harmonies connecting and collecting, roaring in one dense space and splintering into divergent lines that yet cross, eddy, or otherwise come together – music that flares from a spark and shoots out from its player's imagination while the materials that kindled it are drawn out or echoed by others of the company . . . Those are impressions and suggestions of what's happening in Brains on Fire, each a possible path of investigation towards more appreciative comprehension of the interactions that occur and/or conditions that exist to give rise to such distinctive and powerful art."

Stadler has always sought, attracted and encouraged the best improvising musicians to "excel over their characteristic ways and exploit their talents as they don't in their own settings." He proved prescient in 1978, re-interpreting and expanding on the works of his bebop heroes at a time when tribute projects were rare; today there are many of them. By convening New York City's best improvisers to engage with the challenges of what he's composed based on the inspiration of earlier innovators, and simultaneously drawing on their own individuality, Heiner Stadler has made genuinely new music which retains its power to shock, surprise and also satisfy those who listen and hear it.

                                              – Howard Mandel,


It is a great pleasure to talk about your music, Heiner. Please tell me how are you these days?

I am O.K., thank you, writing music, producing records and running Labor Records, my label (

Let’s start at the beginning. Where were you born and what can you tell me about some of the early influences?

I was born during WWII (1942) in then occupied Poland. At the time of my birth my father, a German navy officer, was at sea. He never returned. He died when a torpedo struck his cruiser near Japan in 1943. When the Russians approached in 1945, my mother and I joined the large trek of German refugees escaping to the West ending eventually in a refugee camp in Oxboel, Denmark, where we stayed in horse stables for two years. In 1947 we settled in Hamburg, West Germany, where we had family. The aftermath of the war with its destruction and abject poverty certainly had a profound influence in my early life.

When did you first got involved with music?

I got involved with music during my teenage years. The key point was my discovery of jazz in the mid-1950s. I remember the first jazz record I ever bought. It was Sidney Bechet’s 78 rpm with “When the Saints Go Marching In” and “Basin Street Blues” on it. Initially, I listened to old time jazz (Louis Armstrong, New Orleans jazz), then bebop, skipping the swing era for reasons that probably had to do with a particular mindset and the way I explored and absorbed music during these formative years. The big attraction in jazz for me was that it seemed to represent a completely different view of life, a different space than the confines I had experienced when growing up.

Before we come to your album, I would like to talk about how did your career “shaped”. You moved to New York. Please let us know what happened there...

I arrived in New York during the summer of 1965 by boat and moved into an apartment in Manhattan on 82nd St. and Broadway. Not long thereafter, I met the friend of a fellow composer, an American, who was studying at the time in Germany. As it turned out, this friend was on very good terms with Miles Davis, who lived in the neighborhood. Before I fully realized what was happening, he had arranged for me to meet with Miles (hard to believe, but all true). I went over to his house with one of my scores. Miles looked at it, commented on it, showed me around (I distinctly remember his rehearsal space in the basement) and in the end arranged for me to take my music to one of the A&R men at Columbia Records. Nothing came of it. However, I learned right away that presenting written music was not the right approach; rather, I had to present something more tangible, like a demo. For this purpose, I got in touch with many musicians trying to interest them in rehearsing and eventually recording one of my compositions. “The Fugue #2” was the result of these efforts, a piece that took over 10 months, on and off, to rehearse with an often changing lineup of artists until we arrived at the setting you can hear on Brains/disc 2/track 4. The only last minute replacement was Joe Farrell who came in for John Gilmore, Sun Ra’s long time associate (he had a sudden engagement out of town with Olantunji, the African percussionist). It is interesting to note that musicians of the highest caliber attended these rehearsals. Aside from the musicians on the disc, participants included cornetist Thad Jones, the aforementioned tenor sax player John Gilmore, trumpeters Dizzy Reece and Virgil Jones, trombonist Tom McIntosh, pianist Roger Kellaway, bassist Reggie Johnson, and drummer Horacee Arnold. They were all very open, often curious and without any attitudes or negative energies. There was a very creative atmosphere that stood in contrast to the struggle ahead and the difficulties of getting any record company interested in recording my works.

In the early 70’s you started to record Brains on Fire, which was released as Vol. 1 and Vol. 2. We are really happy, we can enjoy this two records finally reissued by Labor Records. I would like to know what some of the strongest memories are from producing and recording Brains on Fire and how was it for you to work with some of the most talented musicians around?

One of my strongest memories includes the time I worked with Dee Dee Bridgewater and bassist Reggie Workman. They felt the music, initially, as something rather alien in character, but then embraced it and went on to perform it miraculously, a process not so unusual in jazz but particularly noteworthy here, given the nature of the melody and its underlying structure. 

Playing and recording with saxist Tyrone Washington, Reggie Workman and former Miles Davis drummer Lenny White was another event I’ll never forget. Just to feel and be surrounded by this level of musicianship had an enormous impact on me and inspired me to continue working out ways to dig deeper into the very fabric of the music.

How many pressings, you think were originally pressed?

I think in both cases, Brains on Fire 1 and 2, we pressed 500 pieces, sufficient at the time as we did not have any distribution. 

You record in so called "post-free jazz" period of time. You started to experiment the boundaries. What do you think had a great impact on your compositions?

After experiencing and exploring bebop and beyond, I was drawn early on to extended and organized approaches to jazz composition and improvisation – early George Russell, Charles Mingus, Ornette Coleman. My composition teacher, German composer Walter Steffens, was another major influence. He helped me to find ways I could apply to the new language that had evolved in jazz in the 50’s and 60’s. At the same time I developed a profound love and fascination for the blues, which subsequently informed many of my compositions regardless of how far out they went. The sonic world of French-American composer Edgard Varèse was an additional great inspiration for me. But regardless of the many outside sources I took in, I never had any aspiration to step out of the jazz realm; jazz is just too vast a source to be substituted by something that is not rooted or linked with one of America’s greatest heritages.

Let’s move on to your A Tribute to Monk and Bird album. It must had been a very hard job to decide and to do a tribute album to two of the most important jazz musicians. It’s really amazing you manage to stay on the “right” path and still wholly reinvent the compositions of Monk and Parker. Tell us more about this incredible album?

Bebop has often struck me as an amazing amalgam of abstraction, ecstasy and uberhipness. The idea with my Tribute was to incorporate this spirit into the newer forms of improvisation by infusing some of my favorite (and iconic) tunes with compositional ideas never used before with the purpose of making them the building blocks of the entire cycle. Basically, to create a sonic environment, in which each tune with its distinct qualities permeates all improvisations, so not to lose context. Not to overemphasize this point, but the idea of controlling the newly acquired freedom in jazz through an active intervention into the very process of improvisation, has been my primary concern in all my work. I have never found freedom without overarching reference points very stimulating. 

What happened next for you?

Beginning with the original production of Brains on Fire, I became a record producer (from JS Bach to John Lee Hooker, from John Cage to music from the Balkans) and label owner (s.a.). I continued writing music including what I suspect was the longest piece ever attempted in jazz. I was the recipient of four jazz composition grants from the National Endowment for the Arts and one grant from the Creative Artists Service Program of the State of New York. Regrettably, I did not have much luck getting my music recorded. The technical demands my compositions require might have been one of the reasons; the main impediment, however, is more mundane. Financial resources and consequently outlets for the kind of music I have pursued have always been very scarce and I do not see any prospect for change given the fact that jazz composition as a discipline was never given the kind of support contemporary classical music, a comparable discipline, has enjoyed.

What are you doing these days?

“Alchemy is a transformation more than two decades in the process, comprising wide-ranging variations on two compositions which Heiner Stadler wrote in the 60's and 70, and recorded at sessions in 1974, '75, and '88.”

I am producing new projects for my label and keeping Labor Records together. At the same time, I have been working for long time now on one of my most ambitious works to date, kind of an imaginary improvisation for piano and improvising percussionist. I consider this piece to be my ultimate attempt to capture and project the process of improvising up to its most minute details. My dream: To find a pianist who can feel the power of a Cecil Taylor improvisation paired with the technical and mental skills to negotiate and realize the intricacies of any music by, say, Boulez or Stockhausen.

I really appreciate your time! Would you like to send a message to your fans and It’s Psychedelic Baby readers?

Here is a quote I’d like to share with the readers. It pretty much tells it all and could be a wonderful guide wherever we want to go:

“What should one read Plato for when a saxophone can let us imagine another world just as well.”   –E.M. Cioran 

Interview made by Klemen Breznikar /2012
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Wishbone Ash & Nazarath 20.09.2012 Križanke, Ljubljana


Video interview with Andy. Wishbone Ash will be playing in Ljubljana (Križanke) at 20.09.2012.

Tickets: 34 € / 39 €