интервью Бёртона Грина
о креативности и поиске своего языка...
о Бернарде Соллмане......concert of John Zorn doing his Ornette Coleman covers, and Cecil Taylor showed up. After a while Cecil turns to me and says, "Burton, why are all these young cats trying to recreate the museum?"
про альбом Presenting Burton GreeneHow did you hook up with ESP's Bernard Stollman?
Bernard was a New York lawyer so everybody thought he was smart, but he was a foolish idealist like the rest of us. The only reason that label survived at all was because of his parents' money. They were in the clothing business or something.
John Hammond at Columbia ... "You're the cat who plays the synthesizer. Burton, you've got to add the synthesizer to that record." The record was already done, but he said, "we'll pay you to work on the synthesizer." The magic word.
I drank a quarter bottle of Scotch. I rolled in the studio like Napoleon (laughs). There were wall-to-wall Moogs in the studio and five assistant Walter Sears engineers each getting $80 an hour to help me create. They said: "What will it be sir?" I said, "I'd like a Sine Generator 17 to start with, please. 17B." "OK, sir, yes.." (imitates the noises of a Moog) I said, "Hmm it's a little thin.." They said "what about a BX.." I didn't know sine from sawtooth! Hammond was like, "that's my boy!" We ended up with all this weird shit and had to find a place to put it. I said to [drummer] Shelly [Rusten]: "There's a little part of your solo there that we can.. enhance." He said "don't you put that shit on top of my solo, man!" (laughs)
