Since the '80s he and his company, "The Organ Workshop", have designed and built digital church organs which are installed throughout the UK and the world.

This extraordinary recording is his first solo release. Never one to shirk a challenge, he plays the pinnacle of the Baroque keyboard repertoire on an instrument of his own making. An outstanding achievement of technical accomplishment from any standpoint.
(Cover notes)

From the very opening theme, Hugh Banton uses the light and shade available to him from his instrument well. Just taking the fifth variation (a two part invention) as an example, the two voices used are wisely chosen and we are treated to a delicacy of sound which is never less than delightful. And the quality and personality of the playing is consistently good throughout the whole disc.

With good sleeve-notes, and information on the instrument, whether you are a purist or not, this release is thoroughly enjoyable. Alright, sometimes, the nature of the sound reminded me slightly of the computer-originated versions of the classics produced by Tomita in the past, but is that so bad?

The organ module uses 'real-time computing' to generate the sounds and there are no samples of actual organ pipes. The open architecture of the system means that the organ's stops can be voiced individually to suit the requirements of each of the variations. A PC-based voicing programme, linked to the module, enables literally hundreds of details to be manipulated. Additionally there are algorithms for simulating the behaviour of the wind supply in a 'real' instrument.

The various departments of the organ were recorded in multi-track to facilitate maximum separation during the final stereo mastering. In this way it has been possible to enhance the contrapuntal detail in each of the pieces, and to give the recording as a whole a clarity which it is notoriously difficult to achieve with conventional recordings of pipe organs.

Hugh Banton started in the organ-designing and building business in 1974 when Van der Graaf Generator were about to reform. He had previously reconstructed Hammond organs and had decided that the sound VdGG needed was simply not available from any commercially-available organ then on sale. So he constructed his own, which, in a ‘Melody Maker’ article of the time, he said was ‘capable of knocking down walls’!

Here we have Johann Sebastian Bach’s 1741 harpsichord variations re-scored note-for-note for the double manual and bass pedal electronic organ designed and built by Hugh and his company played as they were originally intended (even if on a different instrument). Those familiar with ‘Sky’s version of Bach’s Toccata and Fugue (all rocked up and the original beauty lost), and who might be expecting a similar thing from a former Rock band organist will probably be surprised at the very classical nature of this recording. No drums, no guitars, no loss of the beauty of the original is intended or delivered here.

But for those whose musical taste has, over the years, extended beyond prog. rock (and even pomp. rock) to include the classical (but nonetheless rhythmic and compelling) work of Bach this album is a genuine feast.

I cannot fault Hugh Banton’s interpretation of the difficult counterpoint and harmonies included in this piece and I am convinced that no classical reviewer will either.

Fans of VdGG should, by listening to this album, be able to appreciate just what calibre of musicians Van der Graaf employed - this is wonderful stuff. Hugh learnt his organ playing skills at Wakefield Cathedral (in the north of England), put them to rock use in VdGG, mesmerised us all with the power of the electronic organ in a rock band, but has now returned to his roots.

Let’s hope that, with the collaboration with Peter Hammill’s cd label (FIE 9128 - in the shops now) perhaps we can look forward to Hugh playing one day again, even if only in a one-night stand, with Peter, David and Guy.