Come and See My Concert!

Exciting news for you today: On Friday 13th October I will be giving a live concert premiere of my complete suite of 12 ‘Miniatures’ for solo piano! At the keys will be the unsurpassable and unsuppressable Mister Jack Mitchell Smith, and I will also be there giving anecdotes and witty repartee regarding each of the pieces.

It goes without saying that any support you can give would be hugely appreciated – either by buying tickets, sharing the event on social media, telling your friends, or even putting up a poster in your car. Because at the end of the day, the more people that come along, the more likely it is Jack will be paid! : D
 
Concert poster:
'Miniatures'
12 exquisite new piano solos by local composer Michael A. Grant
Performed by Jack Mitchell Smith
Featuring commentary from the composer
Friday 13th October
8:00 pm
Emmanuel Church
6 Barlow Moor Road, Didsbury, M20 6TR
£7.50, or £5 if booked before 1/10
To learn more and book tickets, visit miniaturesconcert.eventbrite.co.uk
The performance will begin at 8:00 pm, and will showcase the fantastic grand piano of Didsbury’s Emmanuel Church (6 Barlow Moor Road, M20 6TR). Tickets are an absolute steal as well – £7.50 at full price, or if you book before the start of October they’re only £5! In this day and age that’s practically free!

But enough talk – here are some links:

Tickets: miniaturesconcert.eventbrite.co.uk
Facebook event: https://fb.me/e/3IrKfXDJp
Learn more about ‘Miniatures’: www.michaelgrantmusician.com/miniatures

And to send you on your way, here’s a clip of Jack performing Miniature no. 4, ‘Cascades’:

New Music Monday, #35: ‘Dancin’ With A Lollipop Stick’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to celebrate the joys of crossing the road safely because it’s…


What’s it called?
Dancin’ With A Lollipop Stick.

What’s it from?
According to the apocryphal tales, ‘The Attack of the Dancing Demon Lollipop Man from Hell’ was to be the crowning glory in the career of esteemed filmmaker Armando Allegro, telling the story of an ordinary man who becomes possessed by the spirit of an evil road safety officer (with horrific consequences). Sadly the film itself has been lost forever, however parts of the soundtrack did survive to be later reconstructed by myself and the enigmatic Mister James Ure. This EP, released in 2022, is the result of those reconstructions.

What’s it all about?
This is a parody of the famous song ‘Singin’ in the Rain’, and will originally have occurred at an early stage in the film. The main character is in high spirits, having achieved success in his personal and professional lives, and dances his way down the street in celebration. Little does he know the misfortune that will soon begin to arise…

Listen out for…
The flute/glockenspiel riff in the opening four bars. If it sounds familiar, that’s because it’s taken from the pervading ostinato of the Main Theme but adapted to sound like the corresponding motif from ‘Singin’ in the Rain’.

Find out more at…
www.michaelgrantmusician.com/lollipop

New Music Monday, #34: ‘Let’s Go On a Four-Day Bender’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to get absolutely blotted because it’s…


What’s it called?
Let’s Go On a Four-Day Bender.

What’s it from?
My 2019 ragtime musical ‘It’s Not Really the Apocalypse’, which tells the story of four old friends who wake up one morning to discover they are the only people remaining on planet Earth.

What’s it all about?
This cheeky little number comes right at the beginning of the show. Our four protagonists are gathered in their local pub, drowning their sorrows after having all been made redundant in one fell swoop. Things are looking bleak, until Gary comes up with a bright idea.

Listen out for…
The section in the instrumental where the pianists (deliberately) get a little out of time (4:10, 4:16), which is meant to represent a synchronised dance between the characters where one of them keeps getting out of step. Also note the concluding a cappella section (5:10), which is a parody of the finale to Leonard Bernstein’s philosophical opera ‘Candide’. So you could well say that, where other musicals end, this one begins!

Find out more at…
www.michaelgrantmusician.com/inrta

Trad. Jazz Travels

I scream, you scream, everybody wants… TRAD. JAZZ! That’s the kind of awesome insight you can usually expect from my posts on The Jelly Roll Jazz Band’s Facebook page, however today I’m going to talk about a couple of different bands with whom I’ve been clarinetting recently.

Let’s start with a gig I did back on 19th July over at Romanby Jazz & Swing Cabaret Club in Northallerton. I was deco-delighted to be asked to help out with the 5-piece band ‘Deco Delight‘ when their regular clarionettist had to pull out at short notice, and we had a super afternoon entertaining a very appreciative audience with all sorts of vintage swing. What’s more, I got a couple of photos to share with you:
 
Various jazzy musical instruments arranged in a pleasing formation.
If you’re gonna take one instrument, you might as well take them all.

 
A gentleman almost entirely obscured by a humongous tuba.

Good to see that the inimitable Richard Slater has fully recovered from his recent operation to replace his entire torso with a massive tuba.

 
One trad. jazz gig is never really enough though, so on 25th July I hot-footed it over to Leeds Jazz Club to perform there for the first time with my regular cronies, ‘The Dixie Beats‘. And what a successful evening it was! So successful that they’ve asked us back, and we’ll be performing there again on Tuesday 24th October. Get it in the diary!
 
The stage at Leeds Jazz Club, all set up ready for a performance by The Dixie Beats.

The stage at Leeds Jazz Club, all ready to be rocked by The Dixie Beats.

 
This is all well and good, but it’s not much use writing about music, is it? It has to be heard! And in that spirit, I’ve got a li’l video clip here of me playing my part in a song called ‘Root Hog Or Die’ that we played at Leeds. May it bring you much joy and happiness for the rest of your days (despite the morbid title).
 

New Music Monday, #33: ‘Spring’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to be transported to a world of mystical phantasmagoria because it’s…


What’s it called?
Spring.

What’s it from?
‘Music for the Moving Image’, my ever-expanding album showcasing pieces that I’ve written for various film projects, with all the pesky sound effects and dialogue removed.

What’s it all about?
At the end of 2021 I was looking for a challenge to help me flex my film composing muscles, so I took it upon myself to write a brand new score for the Blender open movie ‘Spring’. No mean feat when you consider the picture is a whole 8 minutes long, and I was determined to give it the grand ‘all the bells and whistles’ treatment by writing a large-scale score for full symphonic orchestra. It was a lot of work, but to my mind worth the effort, and I am very proud of the results to this day.

The film itself is a little abstract, but the gist is that a young girl has to travel into a deep dark forest and make friends with some giant monster trees, in order to collect some kind of glowing blob that will usher in the season of spring. Told you it was abstract…

Listen out for…
The big build-up from 5:29 to its climax at 6:12. This accompanies a particularly beautiful section of the film – all the monsters have been tamed and the world gradually moves from darkness to light, coming back to life as the ice thaws and the flowers begin to grow. It’s difficult not to be inspired by such imagery, and that 43-second section of music is one of my favourites that I’ve written to date.

Find out more at…
https://youtu.be/cWMGJ3Mi0nE , where you can watch the film in its entirety to the accompaniment of my enrapturing music.

New Music Monday, #32: ‘The Solitary Life’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to dance like nobody’s watching (because you’re all on your own) because it’s…


What’s it called?
The Solitary Life.

What’s it from?
My 2019 ragtime musical ‘It’s Not Really the Apocalypse’, which tells the story of four old friends who wake up one morning to discover they are the only people remaining on planet Earth.

What’s it all about?
Gary has finally had enough of his friends, and broken off from the group to live a life of complete freedom alone in the wilderness. He’s having a great time – or is he? The more he tries to deny it, the more he realises that life without his companions is maybe not everything he’d hoped.

Listen out for…
The comical middle section at 2:02, featuring Gary’s desperate attempts at a song and dance despite having no-one to enjoy it with. Note that the following instrumental section is supposed to represent the character engaging in an elaborate one-man ballroom dance, which builds to a frenzy before pootling out as his enthusiasm fades (2:39-3:16).

Find out more at…
www.michaelgrantmusician.com/inrta

New Music Monday, #31: ‘Lolli-Pop Music’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to look both ways before crossing the road because it’s…


What’s it called?
Lolli-Pop Music.

What’s it from?
According to the apocryphal tales, ‘The Attack of the Dancing Demon Lollipop Man from Hell’ was to be the crowning glory in the career of esteemed filmmaker Armando Allegro, telling the story of an ordinary man who becomes possessed by the spirit of an evil road safety officer (with horrific consequences). Sadly the film itself has been lost forever, however parts of the soundtrack did survive to be later reconstructed by myself and the enigmatic Mister James Ure. This EP, released in 2022, is the result of those reconstructions.

What’s it all about?
This song will originally have played over the film’s end credits, and provides a light-hearted take on what it would be like to be relentlessly hunted down by a vengeful lollipop man.

Listen out for…
The choir of robotic synthesised backing vocals which appears in every chorus, courtesy of Mister Dan Wackett and his Vocaloids.

Find out more at…
www.michaelgrantmusician.com/lollipop

‘Michael Grant – A World of Woodwind’: Newspaper Article

It may have escaped your notice, but I am in fact something of a Big Deal, you know. Don’t believe me? What if I told you I recently featured in a newspaper article dedicated entirely to meeeeee!

A big ‘thank you’ to Andy from Didsbury Post for not only taking an interest in my exploits but also putting together a really well-written little article. Next stop: The Guardian!
 
'Michael Grant - A Word of Woodwind' newspaper article
“Michael Grant – A World of Woodwind

“by Andy Rayner

“It may seem somewhat absurd that a film about an inept French detective could be the spark for a successful musical career, and although Michael Grant may not be directly indebted to Inspector Clouseau, he can certainly trace his musical beginnings back to the iconic theme tune from the Pink Panther film series. Growing up in the seaside town of Scarborough, he was a seven-year-old primary school pupil when his teacher brought a clarinet into class and played a rendition of Henry Mancini’s classic piece, inspiring Michael to take up the instrument himself.

“By the age of 14, Michael had passed his grade 8 clarinet exam, and moved on to the bassoon. Being interested in musical theatre, this gave him an opening into playing in the orchestra for local amateur dramatic productions, where he discovered that woodwind players are expected to be extremely versatile. After landing a place in the pit for one particular show, he was informed by the producer that he would be required to play saxophone as well – with just five weeks to learn it before the run began! Next up was the flute, and having a completely different embouchure from the reed instruments this became his biggest challenge, which of course he successfully overcame to give him a good spread of diversity within the woodwind family.

“I expected Michael to tell me that he went on to music college after sixth form, but in fact he ended up at Durham University studying chemistry. Despite being immersed the the sciences, he discovered a fantastic music scene in the city and was eventually playing in three different orchestras as well as singing in a barbershop choir. After graduation, he returned home to Scarborough and was so busy with music that thoughts of a scientific career were firmly put on the back burner. With regular engagements in London, he moved to the capital but then found that gigs and sessions were being offered all over the country.

“Michael decided that Manchester was the place to be to make the best of these opportunities, so he is now based in Didsbury and is busier than ever. It has also given him the opportunity to pursue another passion, trad jazz, and he plays regularly with the Dixie Beats, a 6-piece outfit based in Bolton. Composition and arranging are two more fields where Michael is involved, and he has recently written a whole CD’s worth of piano pieces that have been recorded by professional pianist Jack Mitchell Smith under the title of ‘Miniatures’ – an interesting collection that is well worth a listen. Michael’s big ambition is to become a successful composer of film music, and with his talent he could well become the successor to John Williams and Hans Zimmer – or even the next Henry Mancini…”

New Music Monday, #30: ‘Lullaby’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to drift off to sleep because it’s…


What’s it called?
Lullaby.

What’s it from?
‘Miniatures’, my 2023 album of classical piano compositions.

What’s it all about?
Well, I suppose it’s called ‘Lullaby’, which must mean it’s about going to sleep, right? Except I’m fairly sure I came up with the title after writing the music, so really it’s just an abstract composition with a generally soothing atmosphere. Having said that, I have enjoyed reading other people’s perspectives which highlight the more sinister soundworld that lurks just below the surface:

“There is a certain mystery within this particular one – it’s very pleasant yet there is just something in there to create a little less pure relaxation and a tad more trepidation.”

 
“”Lullaby” is much gentler and quieter, but it is also tinged with a melancholy tone that is likely to be even more soothing for restless adults than babies.”

– Kathy Parsons (mainlypiano.com)

 
Listen out for…
There’s one note in particular that I think must be my favourite – it’s the C# incorporated into a B minor chord which generates a poignant clash at 2:54:
 

Sheet music excerpt from 'Lullaby', from 'Miniatures' by Michael A. Grant.

 
Oh, and this isn’t necessarily something to ‘listen out for’, but anyone with a sense of humour will surely appreciate the expression marking I wrote on my original sketch:
 
Original sketch of 'Lullaby', displaying the expression marking "Don't wake the baby, whatever you do!"
Find out more at…
www.michaelgrantmusician.com/miniatures

New Music Monday, #29: ‘Bridgerton’

Every Monday throughout 2023 I will be highlighting a different piece of music that I have either written or been closely involved with. And this week, prepare to go back to the Holden Days (with a twist) because it’s…


What’s it called?
Bridgerton.

What’s it from?
‘Music for the Moving Image’, my ever-expanding album showcasing pieces that I’ve written for various film projects, with all the pesky sound effects and dialogue removed.

What’s it all about?
I wrote this as my entry for the 2022 Spitfire Audio Scoring Competition, where the task was to compose a new score for a short clip from everyone’s favourite historical-ish period drama. So I did! Having not watched any of the series, I can’t really say I have the faintest clue what’s going on, but hopefully that’s not obvious by my choice of musical notes and sounds.

Listen out for…
The really really nice tune I wrote at 0:52, which I think appropriately combines classical textures and instrumentation with a more contemporary harmonic backing (to try and link the two styles that the series is known for).

Find out more at…
https://youtu.be/efqO5BX-QHU , where you can watch the full film to the accompaniment of my lovely music.

Also, I seem to remember writing a very informative blog post about the piece when I first released it: https://www.michaelgrantmusician.com/2022/10/film-music-bridgerton-re-scored-by.html/