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Edwin "Eddie" Jobson: Miscellaneous information
Compiled by Ron Chrisley, 17 July, 1991; Updated 30 August 1994
Additions/corrections welcome: ronc@cogs.susx.ac.uk
School of Cognitive & Computing Sciences
University of Sussex, Falmer, Brighton, BN1 9QH, UK
Tel: +44 273 678581; Fax: +44 273 671 320
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from an Interview with Alan White, 1993:
MOT: Going back to just before 90125 Eddie Jobson was invited to join
the band, in fact he's the one we see in the "Owner of a Lonely Heart" video.
Did he actually ever play with the band?
AW: Just in rehearsal. I don't think he got on with a couple of the
members in the band, maybe I should just leave it at that! He was just
a funny character to have to deal with in a band, it just didn't seem
right. And really I think Tony Kaye really never left the band or
anything, it was just a real odd thing that came down; I think Tony
Kaye didn't fall out with the rest of the band, he fell out with
[90125 producer] Trevor Horn and they hadn't got on to well. And now
it's pretty solid.
MOT: Did Eddie ever play violin in those rehearsals?
AW: Yeah he did, a couple of times he worked the violin and it was
quite interesting...you had to see a solo electric violin played along
with Yes, but he did, he had it out a couple of times. And he's not a
bad guy, I mean I don't mind him at all, it's just like he was a
little bit of a prima donna kind of thing. You know we all turned up
for the video and he had to have his own room and put his own makeup
on himself and stuff and we were kind of looking at each other, going,
"He's putting his own makeup on, he doesn't want to use the makeup
artist!" (laughs) And those kind of things, you know, and I thought we
might be getting ourselves into some hot water here, but I think
that's what everybody [else in the band] thought.
----------------------------------------------------------------------
The entire contents of this Alan White interview are
(c) 1993, Mike Tiano
200 SW Clark St. #C
Issaquah, WA 98027
for Notes From The Edge,
Jeff Hunnicutt, Editor
All rights reserved
----------------------------------------------------------------------
>
> I have a LOT of info about UK, Jobson etc. Could you substantiate your
> claim that Wetton & Jobson hate each other? Not that I would find it
> that surprising.
Sure. Here's an excerpt from an interview with Wetton in MUSIC
magazine, a local Florida music rag, from January 1986:
Int: How did you know that U.K. was the wrong course? (toward mass
acceptance in the pop world)
Wetton: I was working with someone I couldn't stand -- Eddie Jobson.
Int: You had a hard time with Eddie?
Wetton: Well, he was a big believer in instrumental music and
everything being over seven minutes long and I wasn't
particularly a big fan of that. We just got further apart until it
came to one big row and I just didn't even want to see the guy again.
Int: Was it something that built up over a long period of time?
Wetton: No, it was just a mutual hate, really.
Int: It lasted quite a while for a mutual hatred, didn't it?
Wetton: Uh, Yes, about four years it was. We stuck together at the time
because we thought that there was something actually valid
happening between the two of us. But it turned out there
wasn't, really.
[and later...]
Int: So you're saying that even though the band [Asia] works together,
there's still a bitterness between you.
Wetton: Of course there is -- and there always will be.
Int: Doesn't that make for a difficult working situation?
Wetton: No, not really. No, I can work with people I despise. I
managed to work with Eddie Jobson for three years and I can't stand
the sight of the guy.
=====
-- Jason Bilsky- fuzzbox@world.std.com
===================
Date: Tue, 11 May 93 11:01
From: ntakahas@etlnao.etl.go.jp (TAKAHASHI Naoto)
A couple of years ago, "Keyboard Magazine" (published in Japan; it is
different from "Keyboard" which is published in U.S.) had an interview
with Jobson. According to the interview, Jobson did a recording and
named it "Theme of Mystery" after having finished "Theme of Secret" .
It was done exclusively with the Synclavier as "Secret". He passed the
tape to Peter Baumann, but Baumann did not like it. So the tape was
left unreleased.
In the interview, Jobson also said that he had reformed Zinc: a skin
headed vocalist, an excellent guitarist and a drummer. The new Zinc
lacked bassist and a sequencer would be used to play the base lines.
He also mentioned that he had ordered two new electric violins.
TAKAHASHI Naoto
Electrotechnical Laboratory, 1-1-4 Umezono, Tsukuba, 305 Japan
TEL. +81-298-58-5168
FAX. +81-298-58-5930
=====
Date: Wed, 12 May 93 13:35:46 JST
From: ntakahas@etlnao.etl.go.jp (TAKAHASHI Naoto)
I re-checked the interview and found some minor mistakes. So let me
correct them.
1. The story about the "Mystery" album was not mentioned in his
interview; it was reported as 'the latest Jobson news' in a volume of
Keyboard Magazine.
2. The number of the new electric violins he ordered was three, not
two. One of the three is the green one that he used in "The Green
Album". The other two are pink and 'varies its colour as played'.
Very interesting! If you ever transcribe it into English, I'd love a
copy...
It is not short. So, someday, someday :-)
Oh, if you ever learn Japanese, I'd love to send you a copy...
TAKAHASHI Naoto
Electrotechnical Laboratory, 1-1-4 Umezono, Tsukuba, 305 Japan
TEL. +81-298-58-5168
FAX. +81-298-58-5930
===========
Newsgroups: alt.music.progressive
From: afirmin@Ingres.COM (Anthony Firmin)
Date: 16 Jun 93 00:51:49 GMT
Matt Thallmayer (mathias@elroy.ocis.temple.edu) wrote:
: I was looking over the Pete Frame family tree for Jethro Tull
: from the 20th Anniversary box set, and I noticed that Eddie
: Jobson played with Yes in June of '83. Let's see now that makes
You are correct he was a member of Yes, for about 2 months. However I
thought it was later in the year !?
: Curved Air, Roxy Music, King Crimson, Zappa, UK, Jethro Tull,
: and Yes. What's next? Eddie(Job)son, Lake & Palmer 8-). (I'm
: sorry, I couldn't resist.)
From what I remember there were some problems Tony Kaye and the 90125
tour (that is he didn't want to!!) so Jobson joined and did rehearsals
with the band.
- own up now, who cheered -
There was an extensive interview with Yes in the English rock
newspaper 'Sounds' around the time of EJ's arrival and I distinctly
remember a picture of CS sitting in a large chair surrounded by the
rest of the band. Can't remember much more about it other than TK
changed his mind a few weeks after the interview was published,
rejoined the band and the rest ( as they say) is history. - okay, who
booed ? - I don't believe anything was recorded, but, considering the
(reported) availability of studio outtakes - I don't have any myself -
somebody, somewhere must have a bootlegged tape of the rehearsals. I
guess this now prompts more questions than it answers !!
..Anthony
(I am not anti-Kaye but I know others are. If you are listen again to
the first record - it has some excellent playing on it). I also love
UK/Jobson's playing but don't hold it against me !!
-----------
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==========
From: craigs@pyrtech.mis.pyramid.com (Craig Shipley)
Newsgroups: alt.music.progressive
Date: 15 Jun 1993 20:53:03 -0700
Organization: Pyramid Technology Corporation
NNTP-Posting-Host: pyrtech.mis.pyramid.com
In article <1993Jun14.171410.11287@cronkite.ocis.temple.edu> mathias@elroy.ocis.temple.edu (Matt Thallmayer) writes:
>
>I was looking over the Pete Frame family tree for Jethro Tull
>from the 20th Anniversary box set, and I noticed that Eddie
>Jobson played with Yes in June of '83. Let's see now that makes
>Curved Air, Roxy Music, King Crimson, Zappa, UK, Jethro Tull,
>and Yes. What's next? Eddie(Job)son, Lake & Palmer 8-). (I'm
>sorry, I couldn't resist.)
>
>Anyway, my querys are: What were the circumstances of Jobson/Yes?
>Why didn't it work out? Was any material recorded? Did they perform?
>
Well, I'll be damnned! Guess what I just happen to have in my
briefcase? The July '84 issue of KEYBOARD, with an interview of Tony
Kaye!! Let's see, ah, here it is, the Jobson situation. Seems that
Jobson was proclaimed the keyboardist for the 90210, errr, 90125 tour
lineup. Kaye apparently did do tthe majority of the keyboard parts,
but at some point, his involvement was "interrupted", reason
unexplained. The article states that in the interum a number of the
keyboard parts were in fact recorded by Rabin and Trevor Horn, prior
to Jobson's involvement. Jobson flew to England for the "Owner Of A
Lonely Heart" video shoot and a photo session. Somewhere during that
time, Kaye got back into the group. But within two months, Jobson was
out and Kaye was _the_ keyboardist. Seems that the band was going to
go on the road with both keboardists, but Jobson objected to the
arrangement and resigned.
As for the material recorded, beats me. From what the article states,
the keyboard work on 90125 is by Rabin, Kaye and Horn. It dosen't seem
likely that Jobson recorded anything with Yes.
Did they perform; no, not at all from what this article states. It was
Kaye all the way on the tour (with a little off-stage help from Casey
Young, the keyboard systems designer & off-stage synthesist).
The article also talks about the band Cinema. It was Squire, White,
Kaye & Rabin to start with. Rabin did the vocals. The band felt that
there was something missing in the vocal department, so Squire got
Anderson to do some additional vocals. At some point in time, Anderson
became an intregal part of Cinema. Shortly thereafter, Cinema became
Yes.
Confused? That's OK, me too!
>Mathias
----m------- Craig Shipley aka: craigs@pyrtech.pyramid.com
---mmm----- Pyramid Technology Corporation***std disclaimer apply***
--mmmmm--- 10010 Junction Dr. Suite 112
-mmmmmmm- Annapolis Junction, MD 20701 (301) 725-5705
=====
Info from Glen Gafter:
"Nevermore" and "Mental Medication" tunes 'ditched from live set -
too many overdubs.'
U.K. "Waiting for You" [might be listed in Billboard magazine 12-8-79,
I will check into] said was played live.
From same article - monikers for unnamed tunes by band on first tour:
Bill Composition, first tour "Tune 2"
(probably Forever Until Sunday)
"Anything She Needs" - "Tune 1"
=====
Date: Mon, 16 May 94 16:58:15 EDT
From: bs3@aip.org (ben_stein)
In-Reply-To: Ron Chrisley's message of 05/16/94
To: ronc@cogs.susx.ac.uk (Ron Chrisley)
Subject: Re: Jobson after UK
I spoke to the CLIO organization about Eddie's CLIO award. They were
quite helpful. The CLIOs apparently have two categories related to
music, scoring and jingles. I didn't want to trouble them overly (as
their list of categories and winners sounded rather extensive and
difficult to access) so I asked them to check between 1988 and 1993 in
the scoring category. This is what they told me.
Eddie was the winner in the scoring category in 1988 for the Amtrak
"California Zephyr" commercial.
He was a finalist in 1989 for the Amtrak "Empire Builder" commercial.
In 1992, he had two final entries: Bermuda Tourism (for a commercial
entitled "Pink Places") and Martel Cognac ("The Art of Cognac").
--Ben
=====
[From the Fall 1992 issue of Korg Proview]
[Transcribed by Ben Stein]
Inside the 01/W with the Multifaceted Eddie Jobson
ProView: What led to your involvement with Korg?
Eddie: I was most taken with the M1: the natural quality of the
sounds, the tremendous number of useable timbres and transparency
of the effects. I later heard the Wavestation and concluded that
Korg was really making great sound instruments. Now that I've
been working with the 01/W, I'm particularly impressed with the
way in which sounds can be multi-layered without losing their
tonal integrity and spatial placement.
PV: What special techniques did you use in creating your 01/W
Pro Performance Sequence "Sketch for Orchestra #4"?
Eddie: The sequence was created on an external sequencer and
transmitted over the sixteen MIDI channels. I prepared the sound
palette by first copying two combinations--the main strings and
horn/trombone combi.--into tracks 1 through 8 and 9 through 16.
I then selected programs for the unused tracks. Having created
the palette, I then played with the effects to create an ambient
hall and chorus setting that worked well with all the sounds
individually and together; it was necessary to use the chorus
because the strings really needed it. Once the orchestra was
sitting in their empty rehearsal hall, I could start to write the
piece. Occasionally, if I needed additional sounds, such as the
pizzicato strings, I simply typed in program changes onto a track
which wasn't being used at that point. Then it was a question of
careful performance of each instrument using a volume pedal on
MIDI control 7 for both expression and for blending each part
into the mix; mod wheel, of course, for vibrato control; and
pitch wheel for creating purposefully out-of-tune notes on some
instruments, such as the clarinet, to add to the realism.
PV: Your sequence seems to have a lot of different time changes.
Did you use any kind of metronome or click?
Eddie: You know, it's very funny but I never think in terms of
time signatures. I'm happy to try to answer the question but
it's really not important to me personally--I'd be just as happy
if everything I wrote was in 4/4. The feel of the piece is most
important to me, in this 01/W sequence the programming may be
something of a clever exerciese but the music shouldn't be; when
I'm writing, it really is about trying to communicate something;
a series of emotions, a place and time, an atmosphere, a mood, or
just a feel good grove...how many beats there are in a bar isn't
that relevant. Consequently, I rarely use a click track and
wouldn't think of it for a piece like this; I'm not going to go
in after the fact and try to program in rubatos! I just play
each part as though I were that instrumentalist--listening to all
the other players and trying to be part of the ensemble.
Obviously, it's important to think like an oboist or flautist as
you're performing those parts.
PV: Are there any studio projects, live performances or new
sequences on the horizon?
Eddie: I have no immediate plans to record another album or go
back on tour although I am toying with the idea of both.
However, I've enjoyed programming, and look forward to doing more
of it in the future.
[Caption accompanying b/w photo of Jobson] A "Musician's
Musician," Eddie Jobson is an award-winning keyboard player,
classical composer and almost single-handedly established the
violin as a legitimate rock instrument. His bio includes stints
with Roxy Music, Frank Zappa, U.K., Procul Harum, Incredible
String Band, Jethro Tull, Yes, Joachim Kuhn, Ryuichi Sakamoto and
a number of solo projects.]