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GR: Do you remember any punk band names or song titles? Are there any recordings of any of this stuff? SI: I don't have any recordings, sorry. GR: Did you go to many punk shows? Do you remember any bands you saw at the time? Did you feel any connection to that scene? SI: We would open for various bands at the Axiom. It was crazy and we listened to other bands. I think the Flaming Lips are still around, yes? And the Butthole Surfers and a bunch of bands whose names I can't remember. GR: The story goes that you were inspired by the Sun Ra Arkestra. How did you come across seeing him? SI: I first listened to Sun Ra on a Disney record when I was a teenager. They did a version of "Pink Elephants." It was great. I was intrigued! And you know they did "Spider Man," so I wanted to see them live. GR: What was it about the show that made you decide you wanted to play such adventurous music? SI: Sun Ra has very beautiful music. He came out of the big-band era from Chicago and Fletcher Henderson. He was also the first to bring the Moog and electric keyboards into jazz. He is so wacky and fun. His music is totally unique. GR: Was there ever a time when you were delineating the differences between music as art and entertainment? Was it always clear-cut for you? Are you still questioning it? SI: Never thought about it that way. I understand it can be two very separate things or also the same thing sometimes. GR: You are a school-trained musician. What do you think were some of the most helpful and/or pivotal points in your musical education that helped define what you do? SI: You have to love it. I think having this affinity for it allows me to have the endurance and discipline to explore it and to continue through it. It is constantly an immense education--and I am not speaking only musically. I tell students to practice, practice, practice, and enjoy playing music. Explore it! Have fun! GR: Looking back, what are some of your most rewarding collaborative experiences? SI: Too many to name. Currently I am collaborating with Pulitzer Prize poet Yusef Komunyakaa on a new chamber opera. I just finished composing "Shangri-La," and the workshop performance will be conducted by Cuban composer and conductor Tania Leon. This has been an amazing experience. GR: "Free music" is one of the most abused terms around. How would you describe what you do to someone who's not necessarily in the music scene? SI: I might say "creative music." Also "avant-garde" in the true essence of the word, not as in any style. That word has been coined for styles now, believe it or not! "Experimental." But it also depends on which ensemble I am playing with. My trio is electro-acoustic experimental music with a chamber vibe. My quartet is jazz. And I have a Filipino trip-hop band, too, S.I. Electric Kulintang, in which I explore the nature of trance music and its relation to grooves. |