Norda Mullen, current flautist (since 2003) for The Moody Blues, interviewed with me from her Ogunquit summer house in September of 2011. The daughter of a classical violinist, Mullen was greatly influenced by her older sibling’s love of ’60s pop. She discusses the “Moodies” and the varying “moods” between pop and classical music.
Benjamin Meiklejohn: What are some of your earliest memories of playing pop flute?
Norda Mullen: My sister was having a party and we weren’t allowed in the party room. I was in my parents’ bedroom and didn’t have anything to do. They kept playing the Moodies’ album Days of Future Passed and I kept hearing “Nights in White Satin.” I was sitting there and my flute was with me, and I thought “oh wow, I’ll play that flute solo,” so I figured it out by ear. And the Jethro Tull album called Stand Up which has their version of the Bach piece “Bourée” — that too I figured out. My sister played flute also. It’s a duet on that version, so she and I figured out both parts. That was very cool because you just “got” that you could play by ear and not have to read everything.
BM: During your classical training at Interlochen and Northwestern, did your mentors and peers know about your pop interests?
NM: My hidden identity? I never let on in the classical world that I enjoyed playing by ear. The two never really clashed, but it was good to juxtapose them. The timing of the two never really merged until I started doing it professionally. I know many classical players that have never played by ear, and it wasn’t my case so I was very lucky to have done that preparation.
BM: There seems to be a thick line dividing those genres [rock and classical]. Have you encountered any stigma attached [to playing both]?
NM: It never came up but I do think that a lot of classical musicians, when they hear that I toured with The Moody Blues, they wouldn’t judge me, but I think they’d judge rock and roll. Some really get it, but 80 percent of them don’t even think about it as anything valid.
BM: How about on the rock side?
NM: I think The Moodies are happy with what I’ve done. I don’t know how they’d feel if they spent a day with Ian Anderson, if they’d come back and say, “Can’t you play a little more like him?” I think the way I play is a perfect fit for what their music demands. They’re such a symphonic sound. That’s what they did; they recorded with an orchestra. They were one of the first bands that did that.
BM: When you think of pop bands that infuse classical music, the Moodies come up as one of the first and best at it. How does it feel to play with them?
NM: They are the pioneers of it really. They combined them well. It’s timeless music as a result and it appeals to a lot of people because of it. It has a wide range of acceptance because it combines so many elements, and why not? Why shouldn’t music combine many elements? It’s all music.
BM: Was it difficult replacing Ray Thomas?
NM: It was difficult because the fans didn’t know he was leaving; they were confused. Musically it wasn’t difficult, but replacing an original member wasn’t easy. I think I’ve grown on the fans, and they’re used to me by now, but I’ve always respected the fact that I’m not him.
BM: What’s your favorite song to play with the Moodies?
NM: “Are You Sitting Comfortably?” because there’s a great flute solo in the middle. Actually I wrote that solo — kind of expanded from what Ray did into my own solo. I love the song “The Actor,” and of course “Nights in White Satin” and “Tuesday Afternoon.” “Never Comes The Day” has a fun jamming part I play on harmonica. There’s so many of them; it’s hard to pick a favorite. I also like “Isn’t Life Strange?”, a beautiful John Lodge song. I was in love with that when I was about 14, so I really enjoy playing it. There’s a little bit of noodling I get to do on “Peak Hour.”
BM: How about your own projects?
NM: I’m working on a solo album right now. I think it will be out in early winter of 2012. I’m also in a flute choir in LA that has seven of us, called Resonance. We just completed a second CD called The Magnificent Seven. It’s a CD of movie and TV themes, but jazz arrangements of them. As a guest soloist, we had Tim Weisberg, a huge, great jazz flute player.
BM: Do you still play classical compositions?
NM: I do. I have so much flute music, and it really just depends on my mood every day. I practice all my exercises, my scales and long tones. Literally, I still think about and work on everything. Actually, I found out that my teacher from Interlochen, Alexander Murray, also a flautist for the London Symphony Orchestra, was at his home in London [where Mullen currently lives] and I emailed him to say “I would love to have a lesson with you.” I had not seen him since I was 17. We talked about vibrato and how to warm up. You can never go back to basics enough. I learned so much in that two hours; he had so much to teach me.
BM: What pop bands that showcase orchestral instruments do you listen to?
NM: Well, I love this band Elbow. They’re amazing, a pop band. There’s a great performance of them recording with the BBC orchestra at Abbey Road-fantastic-with choir and orchestra. I love, love, love their music. They are my favorite for that kind of thing, combining orchestras-like the Moodies did-orchestras with pop songs-fantastic!
BM: What advice would you give an orchestral player who wants to play pop?
NM: Play as much by ear as you can. Put down the music stand, put away any sheet music. Let there be nothing in your vision and turn on the radio. Play along whether you like it or not and see what you can come up with. Don’t judge yourself, just keep doing it and you’ll get better at it. Just pretend that the band has hired you on your instrument and play along. And don’t try to tell your orchestra-mates what you’re doing because they’re just going to not listen anyway. It’s not even a judgment; it’s just a fact, kind of like whether you’re an ophthalmologist or a knee doctor. Then try to link it up with what you have learned—the key, the chords, the theory of it—after you’ve figured out the sound of it. There are no set rules. It’s not like classical music in that way. That’s the one obstacle classical players have, myself included — they are used to it being a set way, and that’s the thing you have to abandon. Then you’re free. Anything [instrument] can be transferred to rock if played right.
The Moody Blues and Norda Mullen performed on Tuesday, September 13, 2011, at 8 p.m. at Portland’s Merrill Auditorium. This interview was conducted in advance of that performance.
Reference:
- classicalmusicme.blogspot.com/2011/09/moody-bluess-norda-mullen-mulls-moods.html
- nordamullen.com
- moodybluestoday.com
