Alan Parsons Live Project Comes to MTU

If in doubt, play loud. — Alan Parsons.

While the Department of Fine Arts hasn't historically been the one to make headlines for Michigan Tech, it made the front page this Winter Carnival. Thanks to some orchestral string-pulling on family ties, students in the new technology of fine arts program had the opportunity to work with a world-renowned band and production crew—The Alan Parsons Live Project.

With a career spanning more than three decades, Alan Parsons has remained a pioneer of rock-'n'-roll sound technology. He and his crew spent Winter Carnival as artists-in-residence, sharing what they know with Michigan Tech students.

An idea is born

Milt Olsson, department chair of fine arts, dreamed up the Alan Parsons Live Project residency more than a year ago when he and his wife, Trudy, traveled to Sheboygan, Wisconsin, to see their son perform. PJ Olsson, who now lives in Houghton, just happens to be the lead singer for the Alan Parsons Live Project. While taking in the incredible show, Milt found inspiration. "Wouldn't it be cool if we could somehow bring this to Michigan Tech?" he thought.

Milt envisioned seeing students in his department working with the professionals, gaining experience and the opportunity of a lifetime. He and PJ started sowing seeds with Parsons. Milt's dreams got even bigger when PJ described an opera house gig in Detroit with an orchestra—what if he could integrate the Keweenaw Symphony Orchestra into this vision?

The performance in Detroit involved a few songs with orchestral arrangement; the dream concert would integrate orchestration into the entire full-scale rock show. And Parsons agreed.

Milt and colleague Mike Irish, director of jazz studies, spent the winter semester break transcribing music. "I received a big box with five scores in it—photocopies of the actual scores used for recording sessions. There was a note on them: 'These are the scores. Parts don't exist anymore.'"

"Milt and Mike entered each note into a computer to create a computerized score from which they could develop orchestral arrangements. Playing rock-'n'-roll was a unique experience for classically trained musicians, but Milt believed, "When you start with goodwill, great music, and a determination to make it work, it all comes together."

Parsons Project residency

The fine arts department made the Parsons Project residency an interdepartmental educational marvel. Orchestra members from all degree programs enjoyed an extraordinary performance experience; students from the humanities department recorded the residency; and students in the new fine arts programs studied under the veteran artists and helped produce the show.

Sixty orchestral and six rock band members create an interesting challenge for a sound engineer. Luckily, Alan Parsons travels with the best—sound engineer Gregg Rubin, who has also worked with such performers as Harry Connick, Jr. He managed to keep the sound in balance and provide education along the way.

Lighting designer Martin Thomas, whose resume experience includes work with Boyz II Men and Disney/ABC, also had challenges—keeping the orchestra lit for reading music without sacrificing the drama of the light show.

These challenges allowed the students to experience, firsthand, real issues in the industry. Student apprentices worked with the crews, picking up tips not found in a course syllabus.

Steve Littlepage, a second-year student majoring in mechanical engineering and audio production technology, was the stage manager for the productions and coordinated rentals. (Surprisingly, groups that tour the world don't always travel with their own equipment.) Rental negotiations were not easy, especially because of Houghton's distance from major rental hubs.

In the end, the instruments, monitors, sound, lighting, and stage equipment all came together—then Littlepage and his crew had to set up the lights, truss, and soundboard and connect everything possible before the band arrived. "It was a very busy week," said Littlepage with a dry smile.

After the band arrived, the Alan Parsons production crew directed the fine arts students and Rozsa staff in final preparations. When they weren't setting up or rehearsing, the crew led workshops on lighting, sound, production management, recording, and performance.

Christopher Plummer, assistant professor of technical theatre, appreciated the artists teaching the students individually. "It was great to see these little 'moments' happening throughout the week." He also valued their display of professionalism which reinforced the idea that "it's not about the equipment but about the artistic vision and figuring out how to make do with what you've got."

Students said the workshops had broad appeal, noting that Thomas intentionally requested a lighting board that they hadn't seen before. Adam Herman, a second-year mechanical engineering major with a minor in technical theatre said, "Everyone benefited from learning the different techniques and shortcuts that the crew learned on the road."

Orchestra members enjoyed the personable style of Alan Parsons who led them in rehearsals with comments like, "If in doubt, play loud." And to the brass, "Make it sound like a Salvation Army band in the park."

The performance

While there was joy in the journey, the two performances were the real test. Anticipation ran high. Everyone was talking about the big act in town.

The special effects fog drifted over the auditorium, fluorescent green spotlights roamed over the crowd, a low rumble of music ignited the crowd's enthusiasm, and the show opened to a wild reception.

But that was only the beginning. PJ's energetic front-man tactics fired up the crowd, and the restless lights were perfectly on cue with the music, which brought people of all ages and backgrounds together. Singing along from their seats, concertgoers were wrapped up in the beautiful sounds of the Keweenaw Symphony Orchestra backing up the talented rock band.

Genuine respect grew between the world-renowned and local artists sharing the stage. At one point when he wasn't playing, drummer Steve Murphy stood up to take a digital photo of the orchestra.

A world-class spectacle of sound and light, the concert was also a Houghton family's celebration of music. And under the spotlight for perhaps the most impressive performance of his career, Milt Olsson had the privilege of taking a bow with his son—two generations united by music.

He reflected, "To be on the same stage taking a bow with a legendary rock artist on one side of me and my son on the other was an unforgettable moment." He added mischievously, "And my wife cried."

       © 2006, Michigan Tech Magazine

       Michigan Tech Magazine | Spring 2006 | http://www.mtu.edu/alumni