The Adelaide Review talks to Jon Lord about his love for all types of music. He sees music as one giant house.
– It is as simple as choosing which room you want to walk into.
The interview focuses on the making of The Concerto for Group and Orchestra and the new ground that was being explored.
– It was a young man’s scream of ‘Yes, it can be done’ – not just a scream at the classical establishment, but at the rock establishment too.
– I found myself slap bang up against the attitude of the Philharmonic Orchestra, Jon Lord says – and explains his gratitude for Sir Malcolm Arnold’s enthusiasm towards the Concerto.
Jon Lord - The Official Website 
I grew up on a Grimsby council estate and reached puberty and in the process discovered girls around the time ‘Deepest Purple’ was No 1 in the UK album charts, so I bought it and loved the interaction on ‘Speed king’, well 12/13 year olds are very impressionable! I was there in the rain at Knebworth and have a lot of time for Jon Lord, I respect him as as a musician but I respect him as a man even more, he was in my town on Februray 6th 2002 and he is welcome back any time, thanks for everything Jon, for helping a pimply kid chat girls up over the record section in WH Smith, for some great music but most of all for me discovering that great organ sound and ever since having an open mind, I listen to your music to this day and if I ever run into you, I will stand you a pint and get you some decent fish ‘n’ chips. Good luck mate!
Jon,
I was remembering when I first heard your solo lines on “Hush”, and being so impressed by your work with the blues scale that I went home and tried to figure out how you got so many different things going only to find out when I was about 16 that it was an overdub! I shared that story with my students, as now I am a band director in Oregon. I realize you probably don’t remember coming to the Salem Armory in 1972, but I was there to see you perform the songs off of Machine Head . We all went home completely excited about the music, and especially myself as I found myself from that point on trying to learn all of your riffs from every album after that! When ” Rat Bat Blue” came out, I played that song over and over listening to your chops. I bought a copy of the ” Gemini Suite” that was a demo, and loved that work as well. I found a copy of ” April” from your Tetragrammaton days, and was just amazed how you incorporated a chamber idea with rock music. Your work as a musician stills stands the test of time, and many of the students I have at school still listen to and recognize your work. Thanks for the great years of musical excellence! I need to pick up a copy of your new material as well. Best wishes on your new endeavors!