Akai me30pii midi patchbay how to#
Akai me30pii midi patchbay pro#
Akai me30pii midi patchbay professional#

Akai me30pii midi patchbay professional#

After that band finished, I had to learn to live the real life of a professional musician, which means that you can go a long time without a deal. 'Lee Fardon had a deal - I was getting paid for it, and it had happened so easily.

Akai me30pii midi patchbay pro#

The next stop on the road to full-fledged pro musician status was the Monochrome Set - although this was preceded by a period of the proverbial 'paying your dues'. From then on everything was fine I realised that you can play anything and just call it jazz!'

Akai me30pii midi patchbay how to#

I learned how to improvise by reaching rock bottom. I was so embarrassed, but that was it it couldn't have gotten any worse. I didn't know what to do and ended up playing A a lot. They'd say: 'This one starts in A', so I'd sort of play A, and they went off at speed. The first time I was invited to jam, I dragged along my Vox Continental and I didn't know the musicians had been in this group for years and knew all these numbers together. When you haven't got a clue how to do it, you're too scared to try things out in case you do it wrong. I actually learned to improvise by making a complete idiot of myself, which I think was a good thing, because improvising is all about being 'free'. 'The guitarist in the band was really into jazz-rock, and he got me into improvising and learning about chords beyond major 7ths. She knew plenty of chords from juvenile piano lessons, and had a good sense of rhythm, so working out simple parts wasn't a problem, but she freely admits that improvising and jamming, such an important part of being a musician in contemporary music, were skills that came later. The drummer suggested that I do it.'Ĭarrie was offered a choice of instrument a liking for the Doors and Elvis Costello led to the choice of a Vox Continental, a hip instrument at the time, used by Steve Nieve in Elvis Costello's Attractions. Instead of getting another girl and a keyboard player, we decided to get a girl who sang and played keyboards. 'To cut a long story short, there was another backing singer and a keyboard player, and they both left at the same time.

It turned out that this band - Lee Fardon And The Legionnaires - had a deal with Arista records, and I got the job.

I'd always been interested in music, though I'd never considered it as a career, but I said I'd have a go. A friend of a friend was in a band that needed backing singers. 'I had a year off after school, then I got a job to earn money - I wanted the money to go to America and be an actress. It's on these kinds of breaks that many a career has been built, and Booth's break seems to have been up there with the luckiest. It was a fluke.' So speaks Carrie Booth of the lucky break that took her from a temporary job as a seamstress into the keyboard playing job in a band with a record contract, and from there to progressively more high-profile session work - from the Thompson Twins to Deborah Harry, from the rather fabulous, if now sadly forgotten, Monochrome Set, through Japan offshoot the Dolphin Brothers to her current gig providing keyboards with the flamboyant Shakespear's Sister. 'That's how I got into electronic keyboards I'd never used them before.