JM: The music of The Psychedelic Ensemble sounds like the efforts of a band, but it is a one-man project. Who is the man behind this project?

TPE: I am a composer and a musician who plays keyboards, guitar, drums, bass, and other instruments. I’ve worked in the music industry as a composer, performer, arranger, and producer for over 35 years. Along the way, I’ve also held positions teaching music, primarily composition and orchestration, at a few major universities in the United States.

JM: Can you tell us more about your musical background and what you have done so far?

TPE: As a young kid in the early 60s, like many kids of the time, I became intoxicated by the incredible music that was emerging. I got a cheap drum set and a Silvertone guitar; my family had an old upright piano in the house. I took lessons on these instruments and by the time I was fourteen I was proficient on all three. My interests turned to writing my own music and I began taking lessons in composition. I was studying classical composition, harmony, ear training, and counterpoint. I used to take the train on weekends into New York City to study with a well-known classical composer who accepted me as a student in his studio. He later won the Pulitzer Prize. It was an incredible opportunity and life-changing experience for me.

JM: So how did you get involved in progressive rock?

TPE: In my mid-teens I met some older guys at school who had an interest in progressive music and jazz. They invited me to jam and then to form a band. We were investigating rock, progressive music, jazz, and the avant-garde. These guys were well trained, mostly in classical music or jazz. Meeting them was another life-changing experience. We dabbled with music from Miles Davis to The Beatles. I began writing for the band original material that was a unique kind of progressive rock music. Little by little, this band gained popularity and in my late teens and early twenties we released two recordings that hit the mark. 

When the heyday of prog dried up after the 70s I became a sort of hired gun playing studio sessions, performing with other bands, producing recordings, and writing and arranging material for other artists. I turned momentarily to academia and earned a doctorate in composition. I then embarked on a career as a composer of contemporary classical music where I have been very successful. I have written for some of the leading soloists and ensembles performing today, and my works are regularly performed worldwide on major concert stages—Carnegie Hall and so forth.

JM: Was it your plan right from the start to perform everything yourself or did this evolve?

TPE: When I began writing Ecstasy, the first song from, The Art of Madness, I thought, this instrumental part I will re-record with so-and-so, and this instrument I will re-record with another so-and-so. Several performers with whom I had worked back in the 70s and 80s came to mind as contributing artists. I contacted most of them to ask if they were willing to play on the record. They agreed. But by the time the first song was finished I had decided I liked the sound as it was and decided to finish the album on my own. In retrospect, I think subconsciously I had always wanted to do an entire album on my own. Also, there was the problem of how to get so many musicians from different parts of the globe to record in one place at the same time.

JM: Were the musicians angry that they were not included on The Art of Madness?

No, not angry, but disappointed. When The Art of Madness was released I got phone calls and messages from them and each expressed regret that they were not included. I mentioned that I had ideas for a second album, The Myth of Dying, and perhaps I could arrange for them to appear as guests. Again, they agreed. But when I finished the first song, Transcendence, from The Myth of Dying I liked that the song sounded like a performance by the same band that produced The Art of Madness. So, I finished the album on my own.

JM: So will The Psychedelic Ensemble ever include these musicians on a recording?

I have promised, crossing my heart, that I will produce a third album with contributions from several of these fantastic players. I think other players will bring a different sensibility to the sound of The Psychedelic Ensemble. Soloing styles, for example, will be different because the musicians I have in mind play and think differently about improvisation principles.

JM: I suspect it would simplify things for you to enlist other musicians and technicians for the next record.

TPE: Yes, it certainly would. Even though I would write the material, the other musicians would offer up ideas that would certainly enhance the project. That is something I miss when I work alone. One of the wonderful things about working with a group of musicians whom you respect and who are truly gifted is artistic interaction. With the right people involved, great ideas can emerge in rehearsal, performance, and recording.

Also it is a daunting task to record and perform every part by one’s self. I set up the microphones, control the recording process, edit the takes, mix the album, and produce and master the recordings. It would be nice to have help in those areas. On the other hand, I like that I can sit and work as long as I want and re-record or remix as much as I deem necessary and not worry about driving anyone crazy with my mania to get things as close to perfect as possible.

JM: If you were to describe your music in a few words, how would you categorize it?

TPE: My music mixes progressive rock, progressive folk, fusion, and classical influences, all of which, I believe, are synthesized into a personal language.

JM: Can you tell us more about the concept of your debut album, The Art of Madness?

TPE: It’s funny, some reviews and blogs to which I’ve been alerted consider if The Art of Madness is autobiographical. It isn’t. I’ll admit I’m a bit eccentric, but I am not insane. (Laughs) A guy actually wrote to ask if The Myth of Dying, whose principal character is roaming through the afterlife, is a true story! Look, I’m neither insane nor dead--at least not yet.

Anyway, I had been thinking about recording a progressive concept record for several months. I kicked around a few ideas, but none hit the mark. Around the same time, I saw in New York an exhibit of works by psychiatric patients from the Living Museum, a kind of sanctuary for creative activity at the Creedmoor Psychiatric Center in Queens. The exhibit blew my mind. Later, and by chance, I heard the curator of the Living Museum and psychiatrist, Janos Marton, on an NPR interview. Marton remarked that, “creativity and artistic production is almost a symptom of mental illness.” That provocative remark, and the indelible images of the artwork I had seen in New York, provided the concept for The Art of Madness. In fact, the work opens with the actual NPR excerpt of Janos Marton speaking the provocative idea that “creativity and artistic production are almost a symptom of mental illness.”

JM: So how did you unfold this initial idea into a dramatic concept?

TPE: I decided to create a drama partitioned into three sections: the transfiguration of the protagonist into madness, his suffering of different manifestations of madness, and a resolution of his trauma. So on the album an ordinary man suddenly descends into a world of madness. There he has psychotic visions that he recreates in the form of art and music as he suffers various manifestations of mental illness—panic, breakdown, despair, and the like. In the end, the protagonist recognizes that from his madness springs his artistic production. So rather than suffer his madness, he embraces it.

JM: Where do you see the main differences between your first and your second album?

TPE: The principle difference lies in the concepts of the records. I believe that The Art of Madness is introspective and psychological in its orientation whereas The Myth of Dying is more extroverted and mystical. Similarities exist in the concepts of both albums, though. I believe, for example, there is a similar pathos associated with the protagonists on both albums.

JM: And what about musical differences?

TPE: The second album, The Myth of Dying, is less laid back than The Art of Madness. The second album has an edge to it. That is not to say that lyrical aspects are not found in the second album—I think, for example, of the folk-like song The Realm of the Skeptics, or the instrumental and introspective Mysterium of the Divine, and parts of Transcendence—but for the most part, The Myth is more aggressive than The Art.

Also I used acoustic guitar more at the core of The Art of Madness. The Myth, on the other hand, uses electric guitar, organ, and synthesizers more at the foreground.
The harmonic language, arranging, form, vocal styles, and melodic writing are largely the same on the two albums.

JM: How are the reviews concerning both albums so far?

TPE: I have been very fortunate and I am honored to have received so many wonderful reviews of the music in important sources. Most of the reviews have focused on The Art of Madness because The Myth of Dying was just released. But I know of several forthcoming reviews of the new album. I’m very grateful to the critics who have clearly invested a great deal of time investigating my music. I have my web guy post all of the reviews on The Psychedelic Ensemble website if anyone wishes to read them.

JM: Meanwhile both albums are distributed by MUSEA? How did it happen that a U.S. album is distributed by a French label?

TPE: Well, I received several offers from labels around the world and, in the end, I felt that Musea was the right choice for the music. I like the manner in which Musea postures its label and artists. Also, Musea is often tauted as the leading progressive rock label, so I felt fortunate that they offered me a deal on both records.

JM: Are you familiar with the Prog scene in general and specifically the festival scene in the U.S. with NearFest, RosFest, etc.?

TPE: No, not really. I should be, but I don’t pay that much attention to any one scene—prog, classical, or jazz. For better or worse, I’m off doing my own thing.

I certainly know of the more illustrious prog festivals like RosFest and NearFest—I grew up not far from Bethlehem, Pennsylvania where NearFest is held—but I don’t know much about new progressive bands. I listen to music recommended to me by friends and former band mates who insist I check out so-and-so. Most of the time I listen to classical music, contemporary classical music—Stravinsky, Stockhausen, Berio, et al—and older progressive rock—Yes, ELP, Tull, King Crimson.

JM: Are there plans of forming a band to play your music live?

TPE: Well, yes and no. Some of the musicians I mentioned earlier in this interview have prompted me to consider touring with one or both of the records. During the last year some of us have had very long and serious talks about the practical aspects of taking The Psychedelic Ensemble on tour. There is interest from performers, but it is a big project and a financial investment. We figure we would need about 10 musicians, some of whom would need to double on more than one instrument. Touring is an on-going discussion. Let’s put it this way: If there is interest from the progressive rock community to hear The Psychedelic Ensemble live, then it will happen.

JM: What are your plans for the near future?

TPE: I am under commission to write two classical chamber works for eminent performers. I put these commissions aside to write and record The Myth of Dying. I have contractual obligations to finish these commissions and The Myth put me behind schedule. So I’m in hurry-mode to finish the new chamber works. Also, I have been asked to produce some new records by a few young bands. One of the bands I liked, so I am negotiating with their people right now about producing their new record in early 2011. I’m most enthusiastic about an idea I have for a new record by The Psychedelic Ensemble. Hopefully, that will materialize.
 
JM: One last question: if your task would be to create an album exclusively consisting of cover versions, which songs would you select?

TPE: That is a terrific question!  In my home studio, my son and I record a lot of covers. It is a way of owning for a moment music you really love. Also it forces one to really investigate in great detail what other musicians do. You learn from that investigation. Covering music makes me nervous though. When you take on a great song by one of the great artists you better have something to contribute and provide a perspective on the song that is equally important. That's a daunting task.

Speaking of daunting tasks, there are Beatle's songs I would love to cover. Which songs would depend on the day I sat down to record because my favorite Beatle's songs change by the day. But today I would like to record Don't Let Me Down and Fool on the Hill. I would love to do an extended Hammond B3 organ solo on Don't Let Me Down and I think my voice would work on this song. I have in mind an interesting twist on Fool on the Hill I'd like to explore with some exotic instruments, a different groove, and solos of extended proportions.

Speaking of Hammond B3, I would love to cover Dazed and Confused by Zeppelin and open up on an organ solo. I'd love to include electric violin here and there in unison with the guitar and I would like to hear a great electric violin solo. I don't think I could keep up with Jimmy's inventive guitar playing and meticulous technique, but I would approach the solo in my own way. I'd like to do the same with You Gotta Move by the Stones.

I would cover Promise of a Fisherman by Santana. I love Carlos's playing--I think he is my favorite guitarist--and I think Promise is one of his most beautiful compositions. It affords lots of room for experimentation and soloing.

Manic Depression is a Hendrix tune I'd love to investigate. I am perpetually amazed at how much sound was produced by his trio. It sounds like an orchestra. My music is very dense and heavily orchestrated. I could learn from investigating how to produce such a full sound with bare-bones instrumentation.

I'd love to cover with my old band mates Echidna's Arf of You by Zappa because I dig the complexity of the work. Siberian Khatru, too, by Yes.

Finally, I would love to explore in detail It's Five O'Clock by Aphrodite's Child. What a beautiful song. With all due respect, I always felt this tune could have been opened up more compositionally and in solos, and that's what I would do.

Well, that's a weird list, I know. Ask me the same question tomorrow and I'll have a different list altogether. A final comment: I really love your question about covers. Do you know the Italian composer Luciano Berio? Well, I heard him speak once in Chicago. He was talking about the hypothetical idea of speaking with Beethoven. Someone asked him, "would you ask Beethoven to discuss his music?" Berio said, "No, I would ask Beethoven to discuss the music he was listening to when he wrote such-and-such a piece. That would be far more interesting and revealing of Beethoven and his music." He continued: "What Beethoven found interesting or important in, say, Haydn, would speak far more about Beethoven's own ear, mind, and music than his own analysis of one of his pieces."

I always thought this was a great point and I wish more reviews would explore this question deeply with musicians. I know, say, Jimmy Page has said Delta blues influenced him, but let's go deeper--what specifics and details are influential? What specifically about Delta performance practice, harmony, melody writing, etc. influenced Page? What did the guitarists do tonally and technically that he extracted? I'd love to know that because it would speak volumes about Page’s musical mind and ear. You should interview him!

Just rambling on a Sunday afternoon . . .