Gilmour, Jim (Saga) (September 2006)

Keyboardist Jim Gilmour is best known for his work with Saga, the Canadian progressive rock band. But he also recently released his second solo album, Great Escape, via ProgRock records (to whom Saga are also signed). Joshua Turner caught up with Jim in early 2006 and several times throughout the first part of the year; this is a compendium of their conversations, conducted via email.

Joshua Turner: Do you have any tours or concerts lined up at the moment with either your solo project or Saga?

Jim Gilmour: Saga has just completed a very successful European tour in support of our new CD Trust. All the shows were sold out, and the album went top 20 in Germany. More concerts in North America and Europe will be announced soon at www.sagaontour.com. Check my website - www.jimgilmour.net - for activities to promote the Great Escape. [*]

JT: I heard at one point Saga was being considered for RoSfest. I go to that event annually and would have liked to see you there. Is this true and if so, what happened?

JG: There are no plans for a Saga concert at this year's RoSFest.

JT: Many festivals are popping up these days. Do you see yourself at one of them in the near future?

JG: Unfortunately no. My priority is promoting the new Saga album.

JT: Let's talk about the new album, Great Escape? How did you come up with the name? Does it have anything to do with that Steve McQueen movie from the sixties? That would be my guess.

JG: My CD is called Great Escape for several reasons. The creative process was pure escapism incorporating all the music styles I love - classic rock, today's sounds, jazz, folk and pop music. It's also the title of my favorite wartime story of the mass escape of 76 Allied POW's from Stalag Luft III in March of 1944.

JT: Why did you decide to market this under your name instead of coming up with a band name?

JG: No special reason. From start to finish the Great Escape was my own concept and vision. I wrote all the music and played all the instruments, except the drums and guitars.

JT: It seems as if a lot of thought went into the track listing. If you look at the length of the tracks, they shrink and then sprout back up again. The longest songs are found at each end of the album. The first track hovers around the 7 minute mark. The last is almost double in size. Towards the middle they get down to 3 minutes. Is this a coincidence that the songs shrink and grow in this matter or was this intentional?

JG: Yes, it's just a coincidence. A friend suggested I include a hidden track, so I added the piano improvisation piece at the end of the "Last Portage" song.

JT: The instrumental found in this section is very aloof and giddy. It kind of reminds me of the theme song to The Incredible Hulk with Bill Bixby. What mood were you in when you came up with this one?

JG: I don't remember. I just made it up as I went along.

JT: When listening to a Saga song, it's immediately recognizable, especially your unique style on the keyboards. These songs, however, sound quite a bit different from Saga. Can you explain this phenomenon? Did you set out to make an album that was different?

JG: In Saga, the creative process is a group effort and each member is an important contributor to the band's distinctive sound. With a solo album, the sky is the limit. You are free to express yourself in anyway, shape, or form you wish. Modern technology allows me to be at home and every day I sit at my Korg keyboards and let my imagination run wild.

JT: I see some patterns in the song titles and lyrics, but I haven't quite put it together. Is there a concept flowing through these songs and if so, what is it?

JG: The Great Escape is a collection of songs inspired by my many camping and hiking experiences in the vast Canadian wilderness.

JT: I see some mention of your wife in the credits. What part did she play in this album?

JG: Denise inspires and supports me in so many ways. I would be lost without her expert advice and loving attention and affection. The life of an artist can sometimes be difficult, so you need to be surrounded by positive influences to keep you moving forward. Denise always encourages me to do great things and she motivates me to improve my skills as a musician. She is my guardian angel and my best friend. I love her smile and I admire her lust for life. I consider myself very fortunate to have her in my world. Plus, she's the best camping partner. [**]

JT: I have a couple curiosities to ask about the songs? What are you singing about in "No Sign?"

JG: The words are a reference to the care you must take when hiking and camping in the backwoods. It can be a dangerous place if you're alone and inexperienced. You must be prepared for everything from bad weather to personal injury.

JT: What, when, or where is "Algonquin?"

JG: Algonquin is a 7,725 square kilometre Provincial Park in Canada.

JT: In "Lost Along The Way" where are you going and what's got you sidetracked?

JG: It's so easy to get lost when you're backpacking. Sometimes a marked trail just disappears, you take a wrong turn, or the map is incorrect. It's always comforting to have someone with you when you make an important decision about a new direction or the next path to take. That goes for most decisions in life as well.

JT: Why is it that the jazzy instrumental to follow makes you think of a "Killarny Sunrise?"

JG: It's just a fun and made-up title for a summer-sounding song.

JT: What in the heck is going on in, "Northwind?"

JG: Ever stand in an open field with the sun shining in your face and the wind at your back. A quiet still surrounds you and suddenly the chaos of your world disappears. It's a peaceful feeling that just overwhelms you.

JT: What inspired the upbeat, almost whimsical jazz beat in "Radiant Lake?"

JG: The song is a celebration of the life outdoors. It's about happy times in beautiful places.

JT: Where is "Carden Isle?"

JG: "Carden Isle" is a made-up name for my favorite island in Algonquin Park.

JT: Why did you decide to put a piano improvisation here at this point in the album?

JG: No special reason. It's just the right place for the track.

JT: Was it decided ahead of time you would do something extemporaneous or did you already have this material recorded beforehand?

JG: Both. It's been 10 years since the release of my first album Instrumental Encounters and I thought it was time to follow my heart and create the ultimate progressive keyboard album.

JT: This is a very impressive track. To my ears, it doesn't sound improvisational at all. Can you just put together a song like this on a whim?

JG: For sure! When Saga reunited in 1993, we entered an extensive period of innovation and creativity that's never ended. As a result, my playing has matured and I'm always writing new material.

JT: Why is a song about a "Wasteland" relatively uplifting? I get the impression it's about bittersweet memories caused by a past relationship. Please elaborate.

JG: Actually, the song is about a friend and his battle with cancer.

JT: Ah. Something tells me there is an inside joke to "Canoe Do It?" Am I on to something or it is just the obvious play on words?

JG: It's just a play on words - "Can You Do It." [I knew this, but was "fishing" for more. -JT]

JT: This song is very inspirational. What were you thinking about when you wrote this one?

JG: "Canoe Do It?" is another song about the life outdoors. It's about happy times in my canoe, drifting aimlessly for days without a care in the world.

JT: The canoe terms comes back again in "Last Portage." Are you an avid canoeist yourself?

JG: Absolutely!

JT: What's this song about and why does this epic end the album?

JG: Portaging is the traditional term for carrying boats and gear, usually around a rapid or between lakes. It's hard work, but a simple pleasure when you're with a friend. It's also a great way to spot wildlife.

JT: Every single cut on the album is great and it's hard to settle on one. There are a lot of ties for second place. As for my favorite, I'd probably choose "Last Portage" if I was forced to make a decision. This track really moves, literally. It's like Saga, Yes, Kansas, and ELP all rolled into one. This will really raise some eyebrows. The harmonies are great and the instrumental passages had my full attention. Since I shared mine, what's your favorite and why does it make you so proud?

JG: I love all the tracks for different reasons. I worked very hard to create something special and I am extremely happy with the result.

JT: Let's talk about some influences that jump out at me? While you definitely have unique characteristics that are specific to your style, I do hear some similarities between your style and Symphony X's keyboardist, Michael Pinella. Are the two of you influencing one another?

JG: To be honest, I haven't paid much attention to the current progressive scene. These days my focus is playing jazz and studying jazz improvisation. I'm also very busy working on Saga projects and my own solo adventures.

JT: What's your take on Rick Wakeman, Keith Emerson, Tony Banks, and/or Steve Walsh? Were these among your heroes?

JG: All of these names are great artists with a record of excellence in music, but my favorite keyboard players are: Keith Emerson, Lyle Mays, Eddie Jobson, and Patrick Moraz. I also love the work of Rob Garza and Eric Hilton from the group Thievery Corporation.

JT: I get the impression you've been greatly influenced by classical composers as well. Is this true?

JG: Absolutely! My favorite composer is Claude Debussy. Debussy is considered the most important composer of piano music since Frederic Chopin.

JT: In general, tell me about any "significant" influences that we haven't already covered.

JG: On my first solo album Instrumental Encounters, the music and sounds were influenced by Vangelis and Yanni. On the Great Escape, I was listening to Pat Metheny, pianist Bill Evans, and Thievery Corporation.

JT: To change gears, let's discuss your songwriting? Do you write the lyrics or the melodies first? I believe it's the latter, because in songs like "Algonquin" it seems like you are quite comfortable formulating instrumental sequences. In all cases, you do a good job working the instruments around your words, but that's my hunch. Am I correct? Please explain your songwriting process.

JG: I always write the music first and then I add the lyrics.

JT: The instrumental aspects of the album are uplifting. When you sing, your lyrics are quite existential. What motivates these thoughts when you're writing these meaningful verses?

JG: On the Great Escape it was my many camping and hiking experiences. Canada is home to some of the most beautiful and inspiring outdoor places in the world.

JT: You write songs both with and without lyrics. Which is more closely aligned with your comfort zone?

JG: I'm comfortable with both. You will find the same on many Saga albums.

JT: Unlike other keyboardists, you work a lot of melodies into your songs and play the keyboards like a lead instrument. Many keyboardists these days are lost in the mix or just use the instrument to add atmosphere. Personally, I enjoy a wall of sound and feel keyboards should be front and center at all times. Can you add to this?

JG: I agree! More keyboards! More keyboards! [This makes me laugh. -JT]

JT: I wanted to inquire about your singing? First and foremost, you're a very good singer, which is rare among keyboardists. To be honest, I thought it was someone else until I read otherwise. Come to think of it, I can't even think of a keyboardist who can hold a note. If I was pressed, I'd probably say Kevin Moore or Clive Nolan, but the fact you can sing, puts you in a special class. What prompted you to sing when other keyboardists stick solely to their instrument?

JG: I was a singer before I became a keyboardist. In fact, I attended opera school around the time I was enrolled in the Faculty of Music program at the University of Toronto.

JT: You sing with a lot of emotion, almost as if you're telling a story or instructing a class. Can you give me an idea of what drives your musical expression?

JG: I just love to sing.

JT: It seems as if Trust is a continuation on the last album. I've taken it for a test drive and it certainly has that Saga feel about it, but it's captivating in a whole new way. The theme eludes me as I have nothing else to go on. Can you give me a brief insight into the subject matter of that album?

JG: Michael Sadler said it best in a recent interview with InsideOut Music America. "Trust is a word which gives rise to many different reactions. It can be something good, something painfully necessary, something frustrating or hopeful, each depending on the situation and the people who use the word or hear it. A few songs deal with this topic, but all in all 'Trust' is just a collection of well written songs by a band of good friends for an audience helping us to have fun with the things we are doing."

JT: Any idea what else we can expect from the studio, either with your solo work or Saga?

JG: For many years, Saga fans have requested a CD featuring the distinctive musical elements that characterized songs like "Will It Be You" and "Don't Be Late." They wanted more soaring vocals parts and more epic keyboard and guitar sounds. So that's what we gave them. On our new CD Trust, we deliberately merged our older Saga sound with new modern inspirations to keep things interesting for us. As for me, I'm already working on another solo CD. The working title and theme is Group Of Seven. Expect more songs without words, and some great jazz improvisation added to the mix.

JT: Any plans in the works for live albums or DVDs?

JG: Look for Saga's Worlds Apart live in concert DVD this fall.

JT: Are you in any other projects these days aside from what's been mentioned? Had you ever considered playing a different instrument or pursuing a different career?

JG: I'm always looking for new opportunities, especially in film. I would love to provide the soundtrack music to an independent movie or feature flick. Working with other artists, especially jazz musicians would also be an exciting and rewarding experience.

JT: Going back to the beginning, how did you get involved in music?

JG: At the age of 9, I got my first instrument - the accordion. I competed in several accordion competitions in North America, where I once finished in second place. At 17, I began taking lessons and practicing the piano and the clarinet. Around the same time, I also enrolled in the Faculty of Music program at the University of Toronto and attended opera school.

JT: When did you decide you wanted to be a keyboardist and join a band?

JG: I believe I was 20. Inspired by Eddie Jobson of the progressive rock band UK, I bought my first synthesizer - a Yamaha CS-80.

JT: I wanted to touch upon the others who contributed to the album? John Bianchini provides some very elegant guitars and also contributes substantially with the production aspects of the album. How do you know this musician and how did he get involved in the project?

JG: All of the players are exceptional artists who also happen to be my friends. You know Christian [Simpson] from the last Saga album Network. He shared drumming duties with Roger Banks, who can be heard on several projects engineered by Tom Lord-Alge. Christian and Roger are both exceptional musicians and I used the drummer whose technique and style best complimented the song I was recording. John Bianchini and I have worked on several projects together, and he also produced and played on my first solo CD. It's been my dream to work with a female vocalist, so I added Corrina Tofani's angelic voice to several songs.

JT: By the way, who was responsible for all the artwork and graphics design?

JG: Penny Crichton is the artist. Her work can also be found on many Saga CDs. [Penny did the original artwork (the first cover seen above); Moritz Stübig designed the compass image (the second cover seen above) -ed.]

JT: What's the meaning and the motivation behind the artwork? I'm especially curious about the compass.

JG: A compass is a navigational instrument for finding directions. It's the best instrument to have if you're ever lost. The magnetic needle tells you where north is. I thought it best represented the theme of the album - my traveling and adventure experiences in the wilderness.

JT: Can you tell me about a Spinal Tap moment that you may have experienced in your career? This would be some practical joke, mishap, or just something out of the ordinary that occurred in concert, on the road, or in the studio.

JG: I will never forget my very first performance with Saga in front of a sold-out crowd at the legendary Maple Leaf Gardens - home of my favourite hockey team, the Toronto Maple Leafs. As you can imagine, I was feeling very nervous that day, since my friends and family were going to be in attendance. Instead of taking a limousine to the show, I rode the public transit subway system (TTC). I also walked straight through the front entrance of the Gardens with all the fans to get to my dressing room.

The first time we played behind the old Iron Curtain is another great story. We were the first Canadian band to play in Budapest and I remember the show was on a very cold and dreary day. The armed military were everywhere. For diplomatic reasons, the Canadian Ambassador and many Russian observers were also around. Thinking back, I can recall the Government requesting Saga to remove "Careful Where You Step" from the set list. At the time, the lyrics were considered too controversial. In a moment of defiance, we decided to play the song in support of the fans that came to the show. Here's another funny story. I accidentally spilled shaving creme all over my passport, which distorted my photograph. Customs didn't believe it was my face in the picture, and it was hours later when they finally cleared the band to return home.

JT: What's the worst part about being a musician?

JG: Being on the road is a difficult existence. You never sleep or eat properly and you rarely get time to enjoy the country you are in. You just keep moving all day long, from place-to-place-to place.

JT: I'd like to find out about your current musical tastes? What's the last CD that you purchased?

JG: Morph The Cat by Donald Fagen of Steely Dan.

JT: Along the same lines, what's the last concert that you attended as a fan?

JG: The last concert I attended was by the Canadian band Blue Rodeo.

JT: I'd like to find out some of your favorites? What is your favorite album of all-time? Is there any CD or tape for that matter that you've worn out?

JG: Bill Evans - Alone, Kate Bush - Aerial (latest release), Yes - Close To The Edge, ELP - Brain Salad Surgery and UK - UK (debut album).

JT: Who is your all-time favorite band?

JG: My favorite band is Yes.

JT: Let's talk about some favorites that aren't necessarily related to music? What is your favorite movie?

JG: The Great Escape. The 1963 film starring: Richard Attenborough, James Garner, Steve McQueen, James Coburn and Charles Bronson.

JT: I knew it! What is your favorite TV show?

JG: Survivorman. It's about a guy named Les Stroud whose abandoned in remote locations around the world without supplies, and he has to survive alone in the wild for seven days while filming his experience. Great stuff!

JT: Do you have a favorite book?

JG: I just finished reading 2 riveting adventure stories written by Don Starkell. Paddle to the Amazon is about Don and his son's incredible 12,181-mile canoe trip from Winnipeg, Canada, to the mouth of the Amazon. Paddle to the Arctic chronicles Don's three attempts to navigate Canada's Northwest Passage (the Arctic) by sea kayak in the year's 1990-1992.

JT: You mentioned the Toronto Maple Leafs are your favorite hockey team? Are you a sports fan (in general) and if so, who are your favorite teams?

JG: My favorites teams are: the Glasgow Celtics (soccer), the Toronto Maple Leafs (hockey), and the Toronto Blue Jays (baseball).

JT: I like to ask this question, because it helps me to identify with the artist, but do you have any pets?

JG: I have a pet cockatiel bird named Nigel.

JT: Not your typical pet, given the responses I've had before.

Your album was quite impressive. It's laden with numerous nuggets that range from symphonic rock to classical music. It's packed with all kinds of goodies and it doesn't quit from beginning to end. There really isn't a weak spot and it's apparent you spent a lot of time putting this one together. If I hadn't already said, terrific job on this release! It's accessible, but by no means does it ever get formulaic. I found myself on pins and needles trying to determine which way it would go.

Then again, it's well-organized and flows very smoothly. Progressive Rock fans will gobble this one up. In general, the variety is probably the album's biggest strength. There is a lot of heartfelt material on this disc and it's obvious you put a lot of yourself into the music. I'm sure you'll pick up a lot of fans with this one and hope you're discovered by the masses. Good luck with your future albums as well as any live events. I hope to see another solo album from you and look forward to seeing you perform live someday.

Before we wrap up, is there anything you'd like to say to your fans at this time?

JG: Thanks for all your great support. It means a lot to me. See you on tour with Saga, or on the trails in the great Canadian wilderness.

[* In time since this interview was conducted, the sagaontour.com site went up for sale; the band's website will be reborn soon at the previous www.saga-world.com domain {and then it moved again to sagaontour.ca (some years ago, but this addendum appended 2015)} -ed.]

[**His expressiveness about his wife reminds me of an episode from Everybody Loves Raymond when Romano's character forgets his wedding vows - JT]

Discography:
Saga (1978)
Images At Twilight (1979/1987/2002)
Silent Knight (1980/2002)
Worlds Apart (1981/2003)
In Transit (1982)
Heads Or Tails (1983)
Behavior (1985/2002)
Wildest Dreams (1987)
The Beginner''s Guide to Throwing Shapes (1989)
The Security of Illusion (1993/2003)
Defining Moments (1994)
Instrumental Encounters (1990s)
Steel Umbrellas (1995/2002)
Gen 13 (1996)
Pleasure and The Pain (1997)
Detour - Live (1998)
Full Circle (1999)
House Of Cards (2001)
Marathon (2003)
Network (2004)
Chapters Live (2005)
Great Escape (2005)
Trust (2006)
Remember When, The Very Best Of Saga (2006)
Worlds Apart Revisited - Live (2006)
10,000 Days (2007)
Human Condition (2009)
Heads Or Tails - Live (2011)
2012-2020 (2012)
Spin It Again (2014)
Sagacity (2014)

Silhouette (DVD) (2003)