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The town treats him well: He has received a McKnight Fellowship for composition, numerous commissions for compositions, and enough work for commercials and industrials to support himself. Olson reports that the Twin Cities' music scene is burgeoning as never before. Yamaha KX88, TX816, REV7, D1500 digital delay, CP-80, and three SPX90s, Akai S900, Minimoog with JL Cooper MIDI interface, LinnDrum. He's often been known to say things like 'when making a compositional decision, do the thing that makes your music feel right to you, regardless of whether or not it's the thing the makes sense'. He is always striving to tap into and trust his own innate musical instincts giving them preeminence over self-conscious formalism. His work is constructed in a very linear through-composed fashion, with ideas growing, developing and transforming from one to another in an organic evolutionary way. In fact, now more than ever, Mike sees his compositional process as a kind of slowed down improvisation. Even the strictly noted music comes from improvisational source material. Mike's compositional techniques and processes have gone through many changes and refinements over the years: from strictly prescribed through the use of conventional music notation, to guided improvisation, but improvisation in some form has always been at the heart of his music. Not having to subordinate his artistic vision to that of another, gives his music a more purely personal character. He is not reliant on grants and commissions to cover his expenses, though when those cash infusions come they are always welcome and helpful. It's a somewhat symbiotic relationship that serves to enhance both.Īn obvious advantage to this duel track approach to creating music, is the removal of commerce from Mike's art music making process. This expressive ability then feeds back into his client work, making it richer and stronger. While his art music work is constantly pushing him to go beyond his comfort level, break boundaries, learn new skills and techniques, and develop his ability to express with his music the inexpressible core of who he is as a person. The composition and audio production work that he does for his clients is constantly developing and refining his skills, (his craft), which in tern improves the quality of his art music. The two sensibilities have a way of reenforcing each other. He is only trying to create music that he finds aesthetically and emotionally satisfying on a deeply personal level. On the other hand, when he is creating a personal art music piece, he answers to nobody but himself. The work he does for clients is his craft, and he brings as much of his artistic sensibilities to it as the project will allow. It's just that he sees a distinction between the two. It wasn't long after Mike began doing music work for corporate clients, that he made what was for him an important distinction, or separation, between the music he created for clients and his own personal 'art' music. This is not to say that he doesn't care about the quality of the work that he does for clients. Not long after this, they would be in a band together.

(What are the odds? Remember, there were no cellphone cameras in those days.) The picture was taken in the Waconia High School choir room one day after school, and shows Mike and Bear immersed in joyous exploration. Those initial piano exploration/improvisations happen with, (and really because of) Mike's friend Bear. The same thing was happening to him, and one day Mike just happened upon him monkeying around at the piano and joined in. Amazingly, there's actually a photograph of one of these initial piano encounters with Bear. What followed was a rapid and passionate musical immersion, which lead quickly to his first Rock and Jazz Fusion band experiences. He stumbled upon his ability to improvise quite by accident toward the end of his senior year of high school. He sang in choirs all through high school and college, but the real spark that started him on his musical path was his discovery of the piano and improvisation.

Software ornette coleman the shape of jazz to come zip