Originally conceived as a film music cue, this track showcases the Gavin contributed an awesome glissentar performance that just nails it Was then shaped with a wall of ebo guitars from Trevor and later Nigel With Trevor providing samples from sources he refuses to reveal… it Section came about from Tom playing an Erik Satie type ambient piece This is actually three different compositions condensed into one. Playing on four of his studio albums for Pagan and EMI. Greg sang and played trumpet in Tom’sīand Bluespeak, whilst Trevor was a member of Greg’s band for ten years, Then emailed to Greg Johnson in Los Angeles who blew the trumpet contribution It features the ever excellent Nigel Gavin on glissentar, aįretless twelve string cross between a guitar and an oud. The track went through a number of rewrites before the final With words earned him the reputation as "the William Faulkner of jazz”. Mose was not only known for his skills as a pianist, but also his way T his a line delivered by jazzman Mose Allison in a Radio NZ interview.
Sample from Peter Scott - a frequent contributor to Trip to the Moon CDs in the past. Guitar part that Tom recorded unbeknownst to Trevor, who was jammingĪlong whilst looking for a guitar sound - it ended up being the final This track evolved from a rhythm loop created by Tom, and a The Wikileaks websites is aĭefining website that endorses the belief that we are indeed living in Switzerland for breaking bank secrecy laws. Rudolf Elmer at a press conference in London. The data was held on two discs handed over by System” is a quote from a former Swiss banker who passed on dataĬontaining account details of 2,000 prominent people to Wikileaks'įounder Julian Assange. The famous line "I know how the system works. With a wailing monosynth solo by Tom towards the end, leading into theĪ groove put together by Tom with Jim Langabeer contributing on ‘…from slinky virtual jazz, imaginary cinema-noir, ambient soundscapes and retroactive space-age synthesis…it’s a perfect Sunday afternoon pause.’Ī short orchestral overture to the album, featuring strings and tympani '…an experimental supernova, with moments that burst into a jazz-electronic heaven.' 'Here jazz, lounge, world music, imagined soundtracks and contemporary art music meet, and the genre-denying music alludes to much more through sonic samples, ambient passages, beat-driven trip-hop.Yes, a real trip, and any line between genres is invisible.'