Atlanta’s own Jonn Serrie is internationally known as a pioneer in the field of space music . He is now releasing his "best of" album, a two CD set of "Continuous flow" space music called Century Seasons, and a collaborative album with Gary Stroutsos called Hidden World. Aquarius had the honor of interviewing him recently, and the privilege of sharing his comments with its readers.
Q. Jonn, why does space music speak to so many people?
A. I think space music creates unlimited vistas for our imagination to explore and it’s the perfect vehicle to do just that. This music can carry you to worlds within your soul as well as to the farthest reaches of galactic space. It can touch all levels of human experience. The challenge for the composer is the same as it’s been for all artists; What do you want to say and how do you want to say it, using the tools at your command?
Q. How did you become interested in composing space music?
A. I used to play church organ and I was more interested in the slower movements of the classical tradition, using textures rather than notes. When I first heard electronic music I was most impressed with the textural possibilities. My other interest in space and aviation became the focus for my music in that it offered an intriguing palette of ideas to draw from.
Q. Your music is featured in planetariums around the world, and you’ve even done a special concert for NASA. Would you tell us about the 30th Anniversary Celebration of Apollo 11 and its goal?
A. It was an incredible time, a real honor for me as a participant. NASA gathered all the former employees and astronauts from the Apollo program for a celebration of the moon landing and the success of America's space program. I was the musical finale that evening. Neil Armstrong was the special guest speaker; a rare opportunity seeing him in person because he is a very private individual. I got to meet him along with Buzz Aldrin, Wally Schirra, John Young and many other amazing wonderful people. As a pilot, you couldn’t ask for better company to trade aviation stories with!
Q. Would you tell us about your work with George Lucas on the first interactive planetarium show?
A. That was a project we did for the Hayden Planetarium in New York. I was part of a team of top professionals in the industry working with Lucasfilm Ltd. We produced the show at Industrial Light and Magic in San Francisco. I worked with Gary Rydstrom on the sound design, music and mix. It was the first time the audience could interact with the characters on the dome and shape the intent and outcome of the show. The technology was new at the time, but now it has become the standard for all interactive presentations including those designed for the World’s Fair.
Q. Your music has been used in many healing environments. Could you tell us how you view music as a healing agent?
A. Music comes from the heart and soul. To me, its always been a mystery how we as human beings can feel and use the power of this language. Music reaches into the deepest part of us and can transform our consciousness from suffering to the highest states of spiritual knowledge and love. I’ve seen it work in my own life and in the lives of those around me.
Q. You recently worked with Gary Stroutsos on "Hidden World." Would you tell readers about this Native American-influenced work?
A. "Hidden World" was a great experiment that turned out wonderfully. We didn’t even meet until the final mastering sessions at Narada. David Lanz was responsible for getting us together initially and from there Gary and I traded tapes back and forth, filling in each other’s ideas. I had a good experience with Native Americans on Spiritkeepers, so when Gary and I communicated on that same level it just clicked. Gary is a great player and I look forward to performing in concert with him. Our first performance will be in Philadelphia in October with Chuck Van Zyl’s organization.
Q. What can you tell us about your creative process?
A. That’s hard to talk about, but it has a lot to do with weightlessness. This music has an anti-gravity feel to it, just like flying does. The two go hand in hand so I can say that when I’m not making music, I’m usually in the air. Having a firm understanding of the science of synthesis, programming and engineering comes in very handy, as does flight safety!
Q. What is the most important goal you hope to accomplish with your music?
A. I think the most important goal is to dissolve the veils of source and destination so that my audience knows the music the way I do, and I can know the music the way they do. The goal is a true synergy of consciousness.
Q. What is the one interview question you’ve never been asked, and always wanted to answer?
A. "So why didn’t you become a plumber when you had the chance?" Not cut out for it, I guess.......
Thank you so much for visiting with Aquarius, Jonn, and best of luck with your beautiful new albums!
Thank you!
