John O‘Hara (Jethro Tull)

Artist Interview

By Jamie Franklin

I tour a Fantom-XR sound module with Complete Piano, Complete Orchestra and Symphonic Strings expansion cards, and a VK-8M Organ module. I hire an RD-700 stage piano as a controller and back-up piano. A MOTU Traveller is my digital line mixer giving me a monitor feed, an in-ear feed and a mix for the front of house engineer. My Fantini accordion is sent direct to the Traveller. Three Boss stereo volume pedals let me mix and layer all the units. 22kg is just right for most flights.

What is it about the VK-8M organ that works for you?

It sounds fantastic, but I guess you were hoping I’d say that. There was a memorable moment where our engineer tried to find out what the gritty, slightly distorted sound was under the organ sound. Eventually I told him that it was tone wheel leakage. It adds a truly authentic quality to the sound. I use the D Beam for controlling the rotary speed a lot of the time and being able to alter the colour of the sound live with the harmonic bars gives it an authentic organ feel.

Your father was a musician and you played together for many years. How much did he influence you growing up?

From early on Dad and I used to play duets together, either piano and guitar or piano and trumpet. As well as running his own bands, Dad was always transcribing from records, showing me the importance of listening to other players. I started playing drums and keyboards in several of his bands giving me the experience of working with other musicians.

You worked as composer and musical director for the Bristol Old Vic Theatre. How was this experience, and how did it lead you to playing accordion/keyboards?

This taught me a lot. As a composer it was about learning to develop a musical voice and as a musical director, learning how to communicate those ideas. We worked on productions back to back for over 10 years in many styles from 60s rock music to 80s soul, many Shakespeare titles and musical theatre. It taught me how to get the most out of a working week, and out of fellow musicians.

Who is your favourite keys player of all time?

I’ve always been a lover of jazz. Herbie Hancock has to be at the top of the list, I’ve always admired his playing. You can’t go wrong by transcribing some of his recordings. He moves with the times exploring all possibilities of electric and acoustic music.  

You’ve also composed music for TV. How does this differ from opera and stage?

Theatre is a live art form and ideally should have live music. For me, it’s the interaction between the musician, the actor and the audience that is unique to that one performance that makes good theatre. Composing for TV involves other more technical challenges such as syncing to picture, time codes etc... but the music often serves the same purpose; it’s the glue in the links for documentaries or the atmospheric theme in drama that seem to work best.

You also teach at Bath and Bristol universities. What is the most important aspect of music you pass on to your students?

For me, music has always been a sharing experience - whether performing solo or as an ensemble you are still sharing it with the greater community. Remembering to listen and react is the key.

What has been your best and worst stage memory?

One of the best Tull memories was sharing the stage with Peter Frampton at Jones beach, Long Island last year. He shows great joy in what he does. The worst was conducting an orchestra that had the wrong set list, hence did not raise bow to string when I was hoping they would!

Favourite album and why?

There are too many. I love listening to Pat Metheny, in particular the work he has done with pianist Lyle May (another totally inspiring musician). I was a Genesis fan and I’m a John Scofield fan, so maybe one of theirs.

If you had to keep just one piece of Roland gear, which would it be?

Probably the Fantom. I’m very happy with the piano card I have in it and can easily imagine it’s the real thing. But also there are so many useful sounds for live performance.

Can you tell us a bit about the Quadrophenia stage show you’ve been working on?

Tom Critchley, Jeff Young and I have been trying to mount a stage version of the album for 10 years or so and at last we have the support to do so. Pete Townshend’s music has been wonderful to work with and he has given us the freedom to adapt it for a nine-piece band and a cast of sixteen. It follows the journey of troubled adolescent Jimmy, exploring the four different aspects of his personality as he tries to make sense of the world around him. The show tours the UK for about six months starting at Plymouth Theatre Royal 9th May. It's rock music on the stage, I think it’s amazing.