No Peter was referring to people still writing who worked for HP at one time or another I think we all learned and took away something from HP along the way.
Harry Pearson taught me how to recreate archived information into a 3 dimensional space,to define the ambiance of that space, to position musicians in that space in a realistic way and to appreciate the beauty of the sound created at that time in that space. For teaching me how to mentally do that I owe him eternal gratitude.
However now that I had the space and the performers there,it took a new generation of writers and thinkers (mainly the equally controversial Roy Gregory) to teach me to wonder what those performers are actually doing in that space? What are the composers trying to tell me,what are the interpretations of that intention meant to tell me and how are these performers interacting with each other to make music a living,breathing extension of the human psyche..
Does this new way of listening make Pearson's chocolate,caramel,brown, grey, white, yin yang colours in a slightly curtailed 3 dimensional space irrelevant? Of course not. Without that beauty I'll have a threadbare, unrealistic, rhytmic buzziness ,leaving me wondering what or who is creating that racket and where are they?
Even before HP left the magazine he founded, his reviews were few and far between and the length of his reviews were more like capsule reviews. That didn't change with HP Soundings and I doubt it will change with the merger. I was hoping to see HP return to his form of the early days of TAS when he wrote lengthy reviews which I found meaningful at the time.
I agree. The articles on HPsoundings were good, and one could hope the frequency and quantity would increase, but that didn't happen. I wish Chris and Harry all the luck in the world, though. I've enjoyed both of their writings immensely. It will take effort to succeed.