1982.07 Summer Jazz Workshop, Mountain View Community School of Arts and Music

Seriously studying jazz for the first time, frustration with the disorganization of scales and modes encourages thinking about a comprehnsive scale catalog, which becomes Music Possible. Thanks to Bay Area jazz educator Peter Spitzer for his work, and several informative classes since.

1982.09.14 Chet and I worked on keeping the various MIDI developers together; the forerunning of what became the MMA. His review emboldens me.

"Tech manuals are consistently praised as the finest in the industry. A 'loyal opponent,' Stanley's penetrating analyses of company policies should be listened to more carefully by upper management." Chet Wood, SCI Engineering Supervisor

1982.11.27 Jazz wedding casual; Bach Dancing and Dynamite.

No finer setting. This was the first time I performed with the Prophet-5. It had taken me a while to get used to it, but I managed to get the right sounds at the right time.

The question of context plays back into the synthesizer player's duties. In other words, the syntheteur should be able to make appropriate gross selections but also appropriate subtle adjustments so that the instrument is as (expressive & compelling = musical) as possible. So from this experience on I became keenly interested in problems around how to use the programmable synthesizer in performance. A CD of this discardable jazz exists only to document a baseline against which to compare Music for the Inner Film which was my answer to those problems.