Some people ‘get’ Inside the Heliosphere very quickly. They tend to be people who are especially into music or the whole space/science thing. It’s hard to think of anyone I know more passionate about and, certain-ly, more qualified in both subjects than Jason.

It was my extreme good fortune to meet him in England through a couple of musical friends, Derek Day and Ali Shayesteh, as he toured as bass player for the former on a tour organised by the latter. We immediately hit it off and, on only our second meeting, when I told him about Helio-sphere, he didn’t hesitate in agreeing to be marooned past even the Kui-per Belt with a paltry seven albums. I’m glad two of his choices were his compositions because it meant that both you and I got to have our lives enriched by them too.

Jason is so impressive on so many objective levels. He lives and thrives by his talent, drive and imagination. To be an LA musician in the 21st Century takes more than a few good tunes and some ability, believe me. And if this weren’t enough, he scored a Mars expedition NASA gig. No, not playing at the staff Christmas party. Listen to the interview and prepare to be inspired as to what can be achieved if we put our minds and energies into life.

For example writing a piece of music, engaging an orchestral arranger and flying to Budapest to record it with a professional orchestra.

This interview was so much fun. Recorded in a Koreatown, Los Angeles ho-tel room, the city and hills and Hollywood sign before us, we took a while to settle down; find our rhythm. The first five minutes was all flight of ideas, streams of cascading consciousness and I loved having to really be on my toes. Three hours later I felt like we had managed to bottle some of the lightning that makes Jason such a fascinating and wonderful bloke. Meeting him was absolutely one of the highlights of a great year.

Almost Walking on the Moon (and not just for the space association) but in the end the opening Stewart Copeland drum fill won through. One of my two favourite musicians, (along with Eddie Van Halen) and this song, this moment is completely Copeland, utterly distinctive.

Obvious choice; the G chord alone on the opening riff would have been enough…

Bit of a toss up, could have been Abacab or Dodo/Lurker from Abacab. Dodo/Lurker was my inspiration for Ghost 1 and 2.

My first record (it’s my record so I’m picking a two-parter). With regards to my own shit, I felt that the two selections from my first album, as well as the new orchestral work, (choice six), altogether encapsulate some of my favourite recorded moments of my own sounds. Certainly with Ghost 1 and 2 it’s a diverse collection.