I quit playing for decades, my last big formal gig being a World Expo. The political requirements were way too steep to continue. I’m a wall flower in high-end social gatherings, preferring to carry on a discussion with the chair or the drapes rather than with that glittering person who just walked up to congratulate me and ask all sorts of personal questions. Classical music patrons and their ‘need-to-know’s make me squirm and look longingly for the exit.
Forrest struggled for years trying to find other rock musicians willing to commit themselves to excellence. Well, ‘rock’ musician is mostly synonymous with “in it for the sex, booze, drugs, and fame.” Then, suddenly, sometime in the last few years, Forrest turned around and realized that he had a good, dedicated musician right there in the house — a captive session musician who had no escape, never mind that she was trained in classical concert flute and piano.
So he began arranging pieces for us, and, with effort, got me somewhat familiar with electronica. Somewhat. (I’m still struggling with foot switching and remembering that the flute acts like an antenna sometimes, especially with distortion patches.)
When all is said and done, we’re not just some flute tooting along with a guitar. We really don’t do boring, and that’s all because of original custom arrangements and an audio vision of what the piece should sound like, all accomplished by our use of electronics, which can turn the guitar into anything from a harpsichord to a petulant child and the flute into a saxophone, screaming electric guitar, an organ, or a chorus.
Our goal is to make each piece uniquely listenable, even considering that we’re just a flute and a guitar making the music happen. — D. L. Keur (Dawn)