As told to Andy Letcher
When asked for his biography to accompany this interview, Matt’s response was “It’s complicated!”. Well, for those that want to know more about him, simply visit his website at http://www.dragonflymusic.co.uk/
Border Pipes
Gordon Mooney’s early work awoke in me a strong sense of a distinct Border piping tradition and the possibility of rediscovering it more fully. I had ideas about what a reinvigorated Border piping tradition might be like, but no way to try them out: I had to learn to play the instrument.
I try to see piping (and musicians, and people in general) as an ecology rather than a hierarchy: listeners, learners, scholars, amateurs, professionals, maintainers, innovators – all are interdependent.
The Beatles; Jimi Hendrix; Robert Fripp (I was a 1960s teenager).
I rarely play albums (I’ve been enjoying the new Dave Faulkner and Steve Turner).
Those I already play and as many others as I could manage – some keyboard facility would be useful for composing / arranging.
Rudolstadt 2004 was a personal high; I’ve enjoyed the Blowouts and Pipers’ Gatherings I’ve been to. I generally prefer more intimate performance settings.
Sweet Border Soul.
Bellows. I find the notion of oral bagpipes repugnant.
Not for me; other peoples are OK in small doses.
Playing
Cane chanter reed, plastic tongue/brass body drone reeds
That people I’ve not met play music I’ve composed, arranged, or discovered – and doing likewise for William Dixon.
Small ones happen all the time, but a particularly uncomfortable one was while I was depping in Bag o Cats at a late night Regatta gig for drunk posh boys when my pipes refused to cooperate.
Are your pipes different from ‘the bagpipes’?
Be hungry for music.
In a remarkable universe they are rather remarkable.
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