MP3 E.J. Gold - Spacing Out
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AVANT GARDE: Experimental, AVANT GARDE: Sound Collage
Sound itself is an instrument in Gold's hands, used to explore inner spaces and far-off dimensions. His compositions have been described as bold, brash, brilliant, exciting, disturbing, death-defying, magnificent, electrifying and more. His range of style is broad and includes jazz, rock, classical, blues, ethnic and inter-galactic. Always ahead of his time, Gold continues to surprise us with his musical creations.
E.J. Gold wears an extraordinary number of hats including songwriter, composer, sculptor, painter, video game designer, and legendary online competition gamer. Born in New York City, Gold grew up in a highly creative and
intellectually stimulating environment. Son of H.L. Gold, the world famous founding editor of Galaxy Science Fiction magazine, Goldâs formative years were spent amongst an artistically rich milieu made up of not only the greatest science fiction writers of the 20th century, but also dancers, actors, musicians, magicians, and intellectuals. His stepfather was the marketing director of Capitol Records, where Gold would often spend time with Peggy Lee, George Shearing and Vic Damone.
Goldâs diverse musical influences reach back to childhood. As a student at the experimental Downtown Community School he took part in their innovative music program featuring instruction from legends such as Pete Seeger. Avant garde composer John Cage was among the circle of his fatherâs friends becoming a strong inspiration to Goldâs later work.
Moving to LA as a young adult, Gold quickly became involved on the cutting edge of the art and music scene. He staged various Happenings, launched innovative art installations and became a feature writer and photographer for musical fanzines. A member of the California Nine, a guerrilla artist group of the sixties, Gold was also recognized for his invention of soft and breathing sculptures.
Throughout his career, Gold. has worked in virtually all aspects of the music industry. He photographed many of the leading rock musicians in Hollywood during the heyday of the Summer of Love. Some of Gold's photo credits between 1966 and 1969 include Harry Nilsson, The Family Tree, the Jefferson Airplane, Don & the Good Times, and the Monkees. During this period he also spent time at Columbia Recording Studios with the Turtles, and Paul Revere and the Raiders. He counted Jim Morrison among his friends and used to participate in the all star jam sessions held in the basement of LAâs legendary Psychedelic Supermarket where, on any given night, one could find the likes of Eric Clapton or Ginger Baker sitting in.
Goldâs approach to music composition is often intuitive and improvisational giving a feeling of vibrancy and vitality to his pieces. He is fearless in his experimentation, reaching across all genres of music from classical to rap, from the absurd to the sublime. Musical parody, owing a debt to the comedic stylings of Spike Jones, showcases the lighter side of Goldâs recordings. More serious music aficionados will detect the influence of Harry Partchâs 43 tone scale in his jazz saxophone playing found in the Zaphod series.
Gold has an amazing natural ability with musical instruments. He plays guitar, acoustic and electric bass, trap drums, hand drums, percussion, saxophone, harmonium, and harmonica. Recently he picked up a flute and recorded an inspired and evocative solo album never having touched the instrument before.
During the last two decades, Gold has recorded with many musicians in his intimate private recording studio in Northern California. Some of the artists who have traveled to his musical sanctuary include Jimmi Accardi, Evan Lurie, Harry Nilsson, Isaac James, Borrina Mapaka, Tito Rios, Cynthia Henderson and Dru Kristel. Gold often collaborates with grammy award-winning engineer Oz Fritz on various music projects, including the support and mentoring of the local art and musical community among whom he is known as an innovative and original composer, musician, educator and musician's friend.
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