Interview
(Progressive Newsletter Nr.62 05/08)
excerpts from an interview with Doran Usher (Keyboards)
It was a while before anyone offered me a deal, and when they did, due to touring commitments with Purple, it was a while before I had the time to record an album.
I was truly surprised of your Jazz Rock / Fusion and Progressive Rock influences, something which can’t be found that much in your musical past. Where these influences more or less hidden?
No not hidden. From 1975-79 I was a member of fusion band Colosseum II which featured Jon Hiseman and Gary Moore. We made three albums and a rather famous half hour Sight and Sound show for BBC2, all of which I have recently rediscovered, and have been quite amazed at how good we sounded.
Why did you choose to play with more or less unknown musicians instead of contacting the “big names" you have played with?
The musicians were not unknown to me – far from it. As I wasn’t making a strictly rock album and had severe constraints on budget and time, I booked the best musicians I knew who could read music, wouldn’t be fazed by complex time signatures, and could work quickly. They also had to be happy to go for a quiet pint at the end of the day. This counts out most rock musicians I know!
Do you think that this may also be the reason for that this album sounds really fresh, very naturally?
Yes I think so. It was a very happy time for all involved despite the musical pressure everyone was under. Also the room at Chapel Studios and the wonderful engineer there, Ewan Davies, played a big part in the sound of the recordings.
Where did you find those very good musicians on your current albums
I’ve known all the musicians for years - you kinda meet up on the circuit or at a session, or charity gig etc. and keep in touch. Darrin Mooney plays drums with Primal Scream and Gary Moore, Laurence Cottle bass with Eric Clapton, Eno and Bill Bruford - he also played on my last album K2 in 1988. Rob Harris is Jamiroquai’s guitarist, and to me the best six-stringer in England – he also lives near me and has been a friend of the family for many years. I met violinist Lidia Baich at a Pavarotti and Friends gig when she was playing with Bocelli, and I was there with Purple. She is one of the top classical players in Europe. Good players are hard to find and I was lucky that all the pieces of the player jigsaw fell into place as they did.
How did you manage that “A light in the sky” doesn’t sound like a typical solo album by keyboarder?
I recorded it live with a band, in a proper recording studio, not at home on a computer, sending out the results to other musicians by e-mail.
You've played on a lot of albums over the years. Is there a band or an album which you did enjoy the most?
I think Black Sabbath "Never say die" and Judas Priest "Painkiller" is the answer to the question.
Since 2001 you’re a member of Deep Purple. Is there still the pressure for you to sound and play like Jon Lord or in which way can include your own personality in the music of Deep Purple?
I always keep in mind what Jon did with Purple, but as in any musical situation just try to play the best I can and let my light shine. I do use synthesisers more than Jon did however.
On which other projects are you’re working at the moment?
Just played organ on Michael Schenker’s upcoming solo album, same on Carl Sentance’s, keyboards on the upcoming Judas Priest epic, and I’m producing a couple of young bands in my own studio, the Pretty Young Things and Impact.
Kristian Selm © Progressive Newsletter 2008