Colin Hart’s book of memoirs A Hart Life is due to be published by Wymer on September 26, 2011. The book first saw the light of day in Japan a couple of years ago, and now will be finally available in English. This edition is co-authored by Dick Allix with forewords by Roger Glover and Paul Mann.

ISBN: 978-0-9557542-7-2 (Deluxe slipcase with bonus book)*
ISBN: 978-0-9557542-8-9 (hardback)

*) Bonus book: Hart’s Life 1971-2001, 80 pages of photos and memorabilia from Colin’s collection including reproduction of tour itineraries, faxes, letters and more.

Colin Hart has spent over 30 years working for Deep Purple and Rainbow, retiring in 2001 as their tour manager. He has stories to tell.

Thanks to Daniel Bengtsson for the info.

A number of digital download packages for the recently released Phoenix Rising are available at the brand spanking new Deep Purple video store. We are being assured that all the video files are DRM free and playable worldwide.
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Contrary to what you might have read on other music news sites, the venue for June 6 Deep Purple show in Montreal has not changed. It will be held at Salle Wilfrid-Pelletier located inside the Place des Arts complex. Yes, we are sure.

The source of misinformation was an error in a press release issued by a PR company who shall remain nameless.

Thanks to Arlene Slavin for the info.

The 2006 Deep Purple appearance at the Montreux Jazz Festival, released on DVD as We All Came Down to Montreux, has entered rotation on the Direct TV channel 101 Network. It will be on the air tonight, May 23 at 9:00 p.m. EDT and at midnight May 24 EDT. Direct TV repeats their programming frequently, so check your listings for further viewing times. As far as we understand, 101 Network is proprietary and is available only to Direct TV customers.

Thanks to Tracy Heyder for the info.

Steve Morse plays guitar on the opening track “Lost For Words” on prog legend John Wetton‘s (King Crimson, Roxy Music, Uriah Heep, UK, Asia) new solo album “Raised in Captivity”. A short MP3 clip of the song is available here and a full stream of the song can be found on the Frontiers Records web radio.

Glenn Hughes is currently on tour in the UK and a couple more of his interviews have appeared in the press.

Northhampton Chronicle & Echo has a Q&A style piece covering topics as diverse as Stevie Wonder and Glenn’s cooking habits:

Does it surprise you what a strong following Deep Purple still has, decades after the band first started out?

Deep Purple has a very strong backbone of fans. In the 70s there were these iconic bands, there were 10 of them in Britain, including The Who and Genesis. These bands attracted the largest fan bases and I was in two of those bands. It is incredible I’m still able to do what I do.

Read more in Northhampton Chronicle & Echo.

Glenn was also interviewed by Mark Taylor of Get Ready To Rock prior to his May 15 solo show in Cambridge.

Part 1

Part 2

Glenn will be holding a signing session on May 29 between 1-3 p.m. at the GuitarGuitar store in Birmingham. The event is sponsored by Laney Amplification.

Thanks to BraveWords and Blabbermouth for the info.

Jon Lord is working on the definitive studio recording of Concerto for Group and Orchestra, originally composed and first performed in 1969.

Jon wants to record the Concerto in a studio environment to capture what he believes is the definitive edition of the piece after he’s been honing the score through more than 30 performances since he left Deep Purple in 2002.

The Royal Liverpool Philharmonic Orchestra and conductor Paul Mann are confirmed for the new recording which will be completed later this year.

No other Deep Purple members – current or former – are involved in the recording. The musicians who are involved will be announced in due course.

Read the full story on Jon Lord’s official website.

I had a chance to preview Gettin’ Tighter: The Story of Mk.IV Deep Purple (a.k.a. Phoenix Rising documentary). Here are my first impressions.

First of all, it is a misnomer to call it a Mark 4 documentary. It starts with the demise of Mark 2 and we don’t get into Mark 4 territory until half way through the film. Which will be good for casual fans as it provides enough background to Jon Lord’s opinion expressed in the documentary that the 1976 collapse of Deep Purple was a logical conclusion to a series of events that started with the departure of Gillan and Glover in 1973.

The documentary is created around two extensive interviews with Jon Lord and Glenn Hughes, who both narrate the story. For the die hard fans there are few revelations, although I have found interesting tidbits here and there that I didn’t know before and they were enough to keep my attention. For example, one such tidbit was Jon Lord admitting that he refused to play in Indonesia as recently as late 1990s due to the memories of the infamous 1975 visit still being too painful.

Historic footage was restored and remastered to the best of abilities allowed by current technology. For this the the video team deserves utmost kudos. I imagine that the material they had to work with was rarely of pristine quality.

Phoenix Rising is due to be released on May 20.

Order it from a store near you
despite what the vendor might say, there is no DVD-Audio package, see formats details:

DVD+CD

CD+DVD

Blue-ray

2LP+DVD

The Hartford Advocate took a rather unorthodox approach of promoting the upcoming Deep Purple gig by publishing an interesting speculative article about the merits of teaming a rock band with a classical orchestra:

Deep Purple weren’t the first to do the rockers-with-orchestra thing (the Moody Blues used the London Festival Orchestra for 1967’s Days of Future Passed), but Concerto was a significant and early example of an experiment several bands tested. In a similar vein, there’s Metallica’s S&M (1999), Scorpions’ Moment of Glory (2000), KISS’ Symphony: Alive IV (2003), Dream Theater’s Score (2006), and Mono’s Holy Ground: NYC Live With The Wordless Music Orchestra (2010). Deep Purple even went back to the well with a 1999 live album, as did the Moody Blues with a 1993 live album.

While this extravagant practice hasn’t been milked to death, the angle’s been utilized by a broad enough roster of bands to carve its own niche. This interest in the approach raises some intriguing questions about the power of rock songs as-is versus their souped-up re-takes. Just how useful are these band/orchestra collaborations on an artistic level? What makes some work and others not? Novelty aside, is “Rock and Roll All Nite” really worth experiencing with strings, brass and other orchestral trimmings?

Read more in Hartford Advocate.

A new interview with Glenn Hughes has been published on Backstage Axxess. Here Glenn talks mostly about Black Country Communion:

Thom: The first thing I would like to talk about is the upcoming Black Country Communion album. In a day an age where it is unusual for bands to come out with an album a year, why did you decide to get back in the studio so quickly and with all of your busy schedules how did you find the time to write and to record “Black Country Communion 2.”

Glenn: Kevin asked us to begin writing the follow up last summer and Joe and I had very busy schedules but I decided to free up three months and begin writing. The main reason we got back in the studio was so that when we tour this year we will have twenty-four songs to choose from instead of twelve. I come from an era in the sixties and seventies when bands were recording an album every ten months. For me, I don’t just do it for a living, it is a passion, I love to write songs so this wasn’t difficult for me at all.

Thom: What can we expect from your second album, how will it be different from its predecessor?

Glenn: It’s a lot darker than the first album. It’s hard for me to talk about it if you haven’t heard it, so I can just say that after you listen to it you will see what I mean.

Read more on BackstageAxxess.com