"Now comes Garson to step forward with a tribute album to Bowie, entitled The Bowie Variations For Piano. There is probably no other side musician more qualified to interpret Bowie’s music than the classically trained jazz musician who happens to be, as Bowie once put it, 'the best rock pianist in the world because he does not play rock.'"
IE: Where did the idea to make such an album come from?
MG: I had been thinking about the Bowie album for a very long time, and I was thinking of doing it as a jazz treatment with a band and guitar and sax, but that didn’t feel good. I was thinking of doing covers with a lot of great singers I worked with, and that didn’t fly for me. So each time I’d let it go for months and months. I even talked, 10 years ago, to Tony Visconti [a longtime producer of Bowie’s albums] about a concept, and he was into it, but some record company at the time, I don’t know who they were, they didn’t have the budget I was looking for, and I was not going to do it with a small budget. It had to be done right. Then, a good friend of mine who’s a journalist in France and also a singer/songwriter and has written a book on David Bowie, his name is Jérôme Soligny, he said, ‘Mike, the obvious thing is playing solo piano. Just play the music how you feel,’ and I said, ‘Jesus, why didn’t I think of something so simple?’” (laughs).
IE: Was the album recorded live?
MG: Well, the whole album is an improvised album. There’s three or four tracks that has piano overdubs, as you probably heard on “Let’s Dance’ and “‘Heroes’” and on the “Tribute to David,” there’s a delay where the same track plays about a quarter to a half second later than the first track … very subtle, and “‘Heroes’” has three pianos and “Let’s Dance” has three pianos and there’s a crazy medley that, at the very end, I add an extra hand, like a third hand … but everything was improvised, even the overdubs, so I would record them when I felt them, and it was a very interesting process.
IE: One of the most interesting pieces on the album has to be your medley of some the later period Bowie songs.
MG: On the medley, I actually use part of my solo from Earthling, on “Battle for Britain,” and I altered it and changed it. Then I did “Loneliest Guy,” which I played the accompaniment part on the Reality CD, but here I played a little melody and improvised very slow, and then on “Disco King,” I used some of the original recording material. I had some of my original MIDI files that I had of my playing mixed with some improvisations … That was the hardest work to put together cause it was the longest. It’s about seven minutes. And “Life on Mars,” the first two minutes of that, I make up my own piece, totally my own piece inspired by David’s song and then I go into the song. That one you can hear the melody pretty straight. “Space Oddity” has two versions, and they’re pretty self-evident, although the second one gets a little more adventurous. But because I’m an instrumentalist, and I’ve never focused a whole lot on lyrics, it’s very easy for me to hear it and see it that way, but a lot of people who are used to those words and his phrasing, I’m telling ‘ya, they probably wouldn’t recognize seven or eight out of the 11 songs. They just wouldn’t know it. Like “Heroes,” it was just some approximation of the bass line, and I hardly play the melody, and when I did, it was kind of tongue-in-cheek, and then I had that Philip Glass line going, and then I had all my improvisation above that. So it’s a very honest album, Hans … because that’s all I do. I’m an improvising musician.
IE: How did you choose the songs?
MG: Well, I didn’t want to do any of the ones I was known for. If there is a Volume 2 of the Bowie variations, I would do “Aladdin Sane” and “Time” and “Lady Grinning Soul” in my own way because I’m known for those. I didn’t think that was fair on the first one.
Labels: David Bowie, Independent Ethos, Interview, Mike Garson, Reference Recordings, The Bowie Variations