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Seth Elgart on In War Times, Jazz, and Synthesizers

On Saturday, Seth Elgart, a synthesizer muscian who writes a blog called Box of Textures, “Thoughts on music, synthesizers, recording and other things,” wrote to me and asked if he could post some thoughts about In War Times.  I read his piece and was delighted, because it is all about how my father’s discovery of jazz, in the thirties, as woven into In War Times, took Elgart back to his own musical awakening, which occurred when he first heard synthesizer music.  He says that he got his first Minimoog in 1979. 

Here’s the beginning of his piece:

In War Times 

In Which a Science Fiction Author Writing About Jazz Completely and Unexpectedly Illuminates Why I Play Synthesizers
 
If I was 10 years older I’d probably be a sax player instead of a synthesist.
 
But I didn’t know that until I started reading Kathleen Ann Goonan’s book In War Times. Goonan writes amazing novels. They’re thick, heavy, and deep. In the best of ways, of course. And they’re filled with music, with jazz. Now I like jazz, but would not call myself an aficionado. Keith Jarrett, Branford Marsalis, Etta James, even, all favorites of mine along with many others. I’m much more of a rocker, though. But if I’d been born in 1940 or ’50 instead of 1960 maybe I would have turned out much like her characters.
 
The beauty of Goonan’s writing is how I feel almost immediately immersed, even though I’ve never been to those 52nd Street jazz clubs, or to the ones in Harlem. And when I was the impressionable age her characters were when they were listening to their first jazz platters, for me there was Switched on Bach, Yes, ELP, Genesis, Todd Rundgren’s Utopia, Larry Fast, and later, in high school, Tangerine Dream. . .
 
Continue to read at Box of Textures.  And give a listen to his sythesizer music; his first cd is K2, available online.  Perfect writing music. 
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