 |
Tom Constanten | |
|---|---|
| Born | March 19, 1944 Long Branch, New Jersey, U.S. |
| Origin | San Francisco, California, U.S. |
| Genres | Rock, psychedelia, classical |
| Occupation | Musician |
| Instruments |
|
| Years active | 1960s–present |
| Website | tomconstanten.com |
Tom Constanten (born March 19, 1944) is an American keyboardist, best known for playing with the Grateful Dead from 1968 to 1970, for which he was inducted into the Rock and Roll Hall of Fame in 1994.
Born in Long Branch, New Jersey, and known among friends and colleagues as T.C., Tom Constanten wrote orchestral pieces as a teenager while growing up in Las Vegas, Nevada. He briefly studied astronomy and music at the University of California, Berkeley, where he met future Grateful Dead bassist Phil Lesh in the summer of 1961. The two became roommates and dropped out; shortly thereafter, they enrolled in a graduate-level course taught by Italian modernist composer Luciano Berio at nearby Mills College. Constanten also studied piano with Mario Feninger. In 1962, he lived in Brussels and Paris, met Umberto Eco, and studied on a scholarship with members of the Darmstadt School, including Berio, Henri Pousseur, Karlheinz Stockhausen and Pierre Boulez. [1] [2]
After briefly rooming with Lesh in Las Vegas and returning to the San Francisco Bay Area, Constanten performed with an improvisational quintet formed by Steve Reich. The group's unusual style was influenced by both jazz and Stockhausen. In a 1964 performance, the ensemble played serialism-influenced compositions by both Constanten and Lesh. Although he walked out from the performance, minimalist composer Terry Riley later allowed the ensemble to premiere In C . However, only Reich and one other member of the group, saxophonist-composer Jon Gibson, appeared in the performance. [3]
Faced with the possibility of conscription amid the escalation of the Vietnam War, Constanten preemptively enlisted in the United States Air Force in 1965 as a computer programmer. Although the Air Force was deployed in southeast Asia, he was not given a security clearance after divulging his past communist sympathies and remained stationed domestically at Nellis Air Force Base near Las Vegas; while on leave, he used LSD and composed music on military mainframe computers, including the IBM 1401. By 1967, he had been promoted to sergeant. During this period, he first collaborated with the Grateful Dead as a session musician on Anthem of the Sun (1968); Constanten used several compensatory three-day passes to travel to Los Angeles to record with the band. [4]
After sitting in with the band during live performances as his schedule permitted, the day after an honorable discharge, Constanten made his stage debut with the Dead as their permanent keyboardist on November 23, 1968, at the Memorial Auditorium in Athens, Ohio. He later remarked that "it was a case of being an Air Force sergeant one day and a rock & roll star the next." [5] He remained with the group for three albums and left by mutual agreement after the band's infamous New Orleans drug bust following a January 30, 1970, show at the Warehouse. "It was like a magic carpet ride that was there for me to step on," he says. "I would have been a fool not to." Although Constanten nominally replaced founding keyboardist Ron "Pigpen" McKernan, the latter musician stayed on with the band as a frontman-percussionist; in light of their mutual abstinence from psychedelics, they became "as close as two heterosexual males could be," shared a house in Novato, California, and bunked together while touring.
While he had successfully contributed to their complex experimental music, his instrumental style was then grounded in classical technique and bore little consanguinity with the folk, blues, and country and western stylings that would largely anchor the band's oeuvre throughout the early 1970s. Although he performed with a full panoply of keyboard instruments (including piano and harpsichord) on 1969's Aoxomoxoa , Constanten initially played a double-manual Vox Continental II combo organ on stage before switching to McKernan's Hammond B-3 in the spring of 1969; nevertheless, he was dissatisfied with the comparatively dulcet timbres of both instruments vis-à-vis guitarists Jerry Garcia and Bob Weir in a live performance context: "[T]heir sounds ranged from barely acceptable to cringeworthy. For another, I couldn't find a place for the sustained sound of an organ in a guitar band context—ahhh, for a piano! Furthermore, the action of an organ keyboard, electronic or not, was sufficiently different from that of a piano, which was all I'd known until then, to be an obstacle to my getting a feel for the music. Basically, I wasn't an organist. A Merl Saunders or a Melvin Seals could've stepped in... but they weren't there. As if that weren't enough, the amplification technology of the times was much kinder to guitars, with their direct pickups, than it was to pianos. All the electric keyboards available then, you might recall, represented some sort of cheesy compromise with the real thing..." [5]
Several band members and employees felt that he did not fit in with the Dead ethos despite his longstanding friendships with Lesh and Garcia; for example, he was a member of the Church of Scientology throughout his tenure with the band and thus declined to become re-involved with LSD and other drugs. [6] [7] According to band manager Rock Scully, "He was so different. You know, he was like a crew cut. He was like a Marine in a prison camp full of Japanese. He was like our boss in a way. Nobody could go for the hard-wire technology of his brainpower. I was told I was too hard on him, too. But I had no beef." [8]
Echoing Scully's sentiments, drummer Bill Kreutzmann noted in his 2015 memoir that he "got along really well" with Constanten and thought he was "a cool enough guy"; however, he felt that "[Constanten] had this thing where, for whatever reason, he would perform at rehearsals pretty darn well, but then, when we'd be in front of an audience, it was like he froze or something. He couldn't let go... [H]e couldn't trust the music to lead... [I]f you can't do that, you can't be in the band." Although Kreutzmann "felt no animosity" toward Constanten upon his departure, he did not consider him to be a "card-carrying member" of the Grateful Dead. [9] Constanten's last concert as a member of the Dead was on January 31, 1970, at the Warehouse in New Orleans, Louisiana. He played with the band again on April 28, 1971 at the Fillmore East in New York, which was released on Ladies and Gentlemen... the Grateful Dead. [10]
After leaving the Grateful Dead, Constanten collaborated with Joe McCord, a mime who performed as "Rubber Duck." This culminated in Constanten writing the music for McCord's Tarot, a mime play based on the tarot deck that was performed at the Chelsea Theater Center in Brooklyn, New York, in 1970. Although a proposed Off-Broadway run in Manhattan never occurred, the musicians associated with the project (including Constanten, former Country Joe and the Fish drummer Gary "Chicken" Hirsh and composer Paul Dresher) performed several shows at the Village Gate before relocating to Los Angeles, where they continued to perform as Touchstone, an instrumental rock band. During this period, Constanten worked on a proposed musical version of Frankenstein for Hair producer Michael Butler, who also considered mounting a production of Tarot. Touchstone's debut album (Tarot) was released by United Artists Records in 1972 and contained much of the music intended for the play; however, according to Constanten, "United Artists Records was cool to instrumental bands, though, so they didn’t promote the album a whole lot. The fact that the show didn’t catch fire during the New York run didn’t help. So the second album our contract mentioned (and we had material for) evaporated into the fog on the Hollywood hills." [11] [12]
Shortly thereafter, Constanten held a Creative Associate fellowship in composition at the University at Buffalo's new music-oriented Center of the Creative and Performing Arts during the 1974–1975 academic year. In 1986, he was an artist in residence at Harvard University. [13] [14] He has also taught at the San Francisco Art Institute. From 1986 to 1993, he was the house pianist for the radio program West Coast Weekend , playing solo piano and interstitial music. [15] In 1994, he was inducted into the Rock and Roll Hall of Fame with the Grateful Dead. In 1995 he conducted a short tour as "keyboardist for hire" with Western Massachusetts jam band yeP!, performing by surprise with them in the parking lot at the June 15 Grateful Dead concert at Franklin County State Airport in Highgate, Vermont. This was his first time playing Dead-adjacent since he parted ways with them, though he did not interact with the members of the band.
Constanten continues to tour as a solo pianist. He has also played with the reconstituted lineup of Jefferson Starship as a touring member, most notably during the Heroes of Woodstock tour; several of his performances with the group are showcased in the Mick's Picks series of live albums. [16] He has also sat in with a variety of Grateful Dead tribute bands, including Dark Star Orchestra and Terrapin Flyer. As of 2015, Constanten is a member of Alphonso Johnson's Jazz Is Dead, an instrumental Grateful Dead cover band that interprets classic Dead songs with jazz influences. [17] After meeting Grateful Dead sound engineer Bob Bralove at Jerry Garcia's memorial service, the duo formed Dose Hermanos, a showcase for their improvisational keyboard work; since 1998, they have toured irregularly and released five albums. [18] In 2017, he performed with the Airplane Family & Friends with Live Dead & Riders '69, a band which focuses on the "San Francisco sound" similar to the Dead. [19]
In 2002, Tom Constanten stated in an interview: [2]
I know of no path that is better marked than the study of music. Maybe I just think so because it's the path I'm on. There's the old question "How come there's never enough time to do it right, but there's always enough time to do it over." Well, here's an answer. Settle down. Do it right. However long it takes. That's the direct route to the fast lane!
Constanten currently[ when? ] resides in Oakland area. In 2012, he recovered from a heart attack. [20] On August 16, 2016, Constanten reported on Facebook that he was in the hospital with a broken neck, after slipping and falling on wet cement on August 10, while walking to the post office from his car in a heavy rain. [21]
{{cite web}}: CS1 maint: archived copy as title (link)| International | |
|---|---|
| National | |
| Artists | |
| Other | |
The Grateful Dead was an American rock band formed in Palo Alto, California in 1965. Known for their eclectic style that fused elements of rock, blues, jazz, folk, country, bluegrass, rock and roll, gospel, reggae, and world music with psychedelia, the band is famous for improvisation during their live performances, and for their devoted fan base, known as "Deadheads". According to the musician and writer Lenny Kaye, the music of the Grateful Dead "touches on ground that most other groups don't even know exists." For the range of their influences and the structure of their live performances, the Grateful Dead are considered "the pioneering godfathers of the jam band world".
Ronald Charles McKernan, known as Pigpen, was an American musician. He was a founding member of the San Francisco band the Grateful Dead and played in the group from 1965 to 1972.
Live/Dead is the first official live album released by the rock band Grateful Dead. Recorded over a series of concerts in early 1969 and released later the same year, it was the first live rock album to use 16-track recording.
Keith Richard Godchaux was an American pianist best known for his tenure in the rock group the Grateful Dead from 1971 to 1979. Following their departure from the Dead, he and his wife Donna formed the Heart of Gold Band in 1980, but Godchaux died from injuries sustained in a car accident shortly after their first concert.
Infrared Roses is a live compilation album by the Grateful Dead. It is a conglomeration of their famous improvisational segments "Drums" and "Space".
Anthem of the Sun is the second studio album by American rock band the Grateful Dead, released on July 16, 1968, by Warner Bros-Seven Arts. It is the first album to feature second drummer Mickey Hart. The band was also joined by Tom Constanten, who contributed avant-garde instrumental and studio techniques influenced by composers John Cage and Karlheinz Stockhausen. The album was assembled through a collage-like editing approach helmed by members Jerry Garcia and Phil Lesh, in which disparate studio and live performance tapes were blended together to create new hybrid recordings. The band also supplemented their performances with instruments such as prepared piano, kazoo, harpsichord, timpani, trumpet, and güiro. The result is an experimental studio amalgam that is neither a pure studio album nor a live album.
Aoxomoxoa is the third studio album by American rock band the Grateful Dead, released on June 20, 1969, by Warner Bros.-Seven Arts. It was one of the first rock albums to be recorded using 16-track technology. The title is a meaningless palindrome, usually pronounced.
Dark Star Orchestra is a Grateful Dead cover band formed in Chicago, Illinois. They serve now as an international touring tribute band to the rock group the Grateful Dead. Since 1997, the band has been "celebrating the Grateful Dead concert experience."
Fillmore West 1969: The Complete Recordings is a 10-CD live album by the rock band the Grateful Dead. It contains four complete concerts recorded on February 27, February 28, March 1, and March 2, 1969, at the Fillmore West in San Francisco. The album was remixed from the original 16-track concert soundboard tapes. It was released as a box set in November 2005, in a limited edition of 10,000 copies.
What a Long Strange Trip It's Been is the second compilation album by American rock band Grateful Dead. It was released August 18, 1977, by Warner Bros. Records, three and a half years after the Skeletons from the Closet compilation. Both albums are subtitled "The Best of the Grateful Dead". Unlike the previous compilation, What a Long Strange Trip It's Been is a double album.
Live at the Fillmore East 2-11-69 is a double live album by the Grateful Dead recorded during the Live/Dead tour on February 11, 1969, at the Fillmore East in New York City. The first disc represents the early show that night, the second the late show. The Dead opened for Janis Joplin. This album contains the first Grateful Dead CD release of the Beatles' "Hey Jude".
Dick's Picks Volume 16 is the 16th live album in the Dick's Picks series of releases by the Grateful Dead. It was recorded on November 8, 1969 at the Fillmore Auditorium in San Francisco, California. It contains the first live performance of "Cumberland Blues". There is a monologue by someone not in the band during the song "Caution" shortly before the segue to "The Main Ten," who has never been definitively identified.
Fillmore West 1969 is a three-CD live album by the rock band the Grateful Dead. It contains selected songs recorded at the Fillmore West in San Francisco on February 27 through March 2, 1969. The album was remixed and remastered from the original 16-track concert soundboard tapes. The album is packaged as a hardcover booklet, with photos of the band and an essay by Dennis McNally.
Bob Bralove is a keyboard–synthesizer player who worked as a sound technician with the Grateful Dead from 1986 to 1995. Throughout his tenure, he performed as an auxiliary musician throughout "Drums" and "Space", the band's signature aleatoric music segments. Accordingly, he played a key role in their integration of MIDI technology, first working with drummers Mickey Hart and Bill Kreutzmann, keyboardist Brent Mydland, and later guitarist Bob Weir and synthesizer/piano player Vince Welnick. He also co-wrote several songs with Weir and Welnick, including "Picasso Moon" on Built to Last (1989) and "Way to Go Home" and "Easy Answers", which were slated to appear on the band's unfinished fourteenth studio album. Perhaps his most significant project with the band was curating excerpts from "Drums" and "Space" on Infrared Roses, a 1991 compilation album. "Parallelogram" and "Little Nemo in Nightland" are some of his most notable "compositions" from this release.
Road Trips Volume 4 Number 1 is a live album by the rock band the Grateful Dead. The 13th of the Road Trips series of archival releases, it contains two complete performances by the band, recorded on May 23 and 24, 1969. It was released as a three-disc CD on November 16, 2010.
Dave's Picks Volume 6 is a three-CD live album by the rock band the Grateful Dead. It contains two complete concerts: one from December 20, 1969, at the Fillmore Auditorium in San Francisco and the second from February 2, 1970, at the Fox Theatre in St. Louis. It was produced as a limited edition of 13,000 numbered copies, and was released on May 1, 2013.
Dave's Picks Volume 10 is a three-CD live album by the rock band the Grateful Dead. It contains the complete concert recorded on December 12, 1969, at the Thelma music venue in Los Angeles, California. It was produced as a limited edition of 14,000 numbered copies, and was released on May 1, 2014.
Dave's Picks Volume 19 is a three-CD live album by the rock band the Grateful Dead. It contains the complete concert recorded on January 23, 1970, at the Honolulu Civic Auditorium in Honolulu, Hawaii. It also includes bonus tracks recorded the following night at the same venue, keyboardist Tom Constanten's last show with the band. It was produced as a limited edition of 16,500 copies, and was released on August 1, 2016.
Fillmore West 1969: February 27th is a live album by the rock band the Grateful Dead. As the name suggests, it was recorded on February 27, 1969, at the Fillmore West in San Francisco. It was produced as a four-disc vinyl LP, in a limited edition of 9,000 copies. It was released on April 21, 2018, in conjunction with Record Store Day.
Dave's Picks Volume 30 is a 3-CD live album by the rock band the Grateful Dead. It contains the complete early and late shows recorded on January 2, 1970 at the Fillmore East in New York City, along with five songs from the band's performances at the same venue the following night. It was released on May 3, 2019 in a limited edition of 20,000 copies.
