WH-1030 Alex de Grassi Southern Exposure Windham Hill

WH 1030 de grassi southern exposure

WH 1030 de grassi southern exposure

Southern Exposure Review

A tour de force of finger-picking guitar, and in many ways the album that would set de Grassi’s direction for years, Southern Exposure is an understated delight.

Technically impressive, and hewing to a fast-paced solo guitar sound, Southern Exposure nonetheless shows many moods. From the ringing rhythms of Overland, to the final notes of the humming Subway, De Grassi provides an album that rewards close listening, yet maintains a cheerful veneer of joy. Where Turning: Turning Back was more pensive, and Clockwork played on group dynamics developing in rhythm and melody, Southern Exposure sets a style that De Grassi is still exploring today.

Highly recommended.

Southern Exposure Tunings

http://www.stropes.com/index.php?glbm=20&fa=12&cdid=137Track Listing

Side One: 18:15

  • Overland 2:29
  • Blue and White 4:16
  • 36 4:40
  • Cumulus 4:55
  • Southern Exposure 1:55

Side Two 19:41

  • Western 4:02
  • Street Waltz 3:37
  • Heavy Feet 4:39
  • Empty Room 3:04
  • Subway 4:19

Southern Exposure Samples

Overland

Southern Exposure

Western

Credits

WH 1030 alex de grassi southern exposure back cover

Alex de Grassi, 1983. Photo by Bud Lee, Courtesy TWA Ambassador Magazine

Produced by Alex de Grassi and Steven Miller

  • Recorded in May, 1983, at the Music Annex, Menlo Park, CA
  • Engineered by Steven Miller
  • Assistant engineers Russel Bond and Roger Wiersma
  • Digital editing and transfer by Mark Boeddeker, Master Digital, Venice, CA
  • Mastered by Bernie Grundman at A&M
  • Matrix and pressings by Soundome, Irvine, CA
  • Cover photo by Barry Brukoff
  • Liner photo by Bud Lee, courtesy TWA Ambassador Magazine
  • Design by Anne Ackerman Robinson

This album was recorded live to two-track digital, using a Sony PCM 1600

  • All compositions by Alex de Grassi
  • All selections Tropo Music (BMI)
  • Administered by Windham Hill Music (BMI)

My guitar was built by Ervin Somogyi of Berkeley, CA

Special thanks to Lila for always listening, and to an anonymous voice in the audience for the title “Subway”.

  • Manufactured by Windham Hill Records
  • A Division of Windham Hill Productions Inc.
  • Box 9388, Stanford, CA 94305
  • (c) (p) Windham Hill Records 1983
  • Distributed by A&M

Other Alex de Grassi recordings on Windham Hill Records

1. Turning: Turning Back

2. Slow Circle

3. Clockwork

4. Southern Exposure

WH 1029 Shadowfax Shadowdance

WH 1029 Shadowfax Shadowdance

WH 1029 Shadowfax Shadowdance

WH 1029 Shadowfax Shadowdance

Review

Shadowdance confidently strides into the Windham Hill catalog with the showstopping New Electric India, electric guitar and thundering bass resounding. This is a slightly different approach than the bands eponymous label debut which was specifically composed to work within Windham Hill’s established acoustic sound. After the success of the first, the band was clearly given a little more freedom to follow their live sound than they dared on their original Windham Hill release. While Shadowfax has incredible depth texture and flow, Shadowdance brings dynamics and drive to the band’s gorgeous melodic sensibility.

From the opening note of New Electric India through the closing hum of the track Shadowdance, every note carries you through a churning river of sound depositing you at the end both thrilled and relaxed. Indeed, maybe the water analogy comes easily because Shadowdance has been used at the plankton exhibit at the Monterey Bay Aquarium for the last 20 years.

Side Two carries the torch with the Don Cherry-penned track Brown Rice – a standout from the live performances, and closes with the more conventional fusion track A Song for My Brother, a fan favorite.

The sound quality is again extraordinary. Ackerman once again looked to Mobile Fidelity for the mastering and RTI for the pressings. Playing the album on my current vinyl rig was a shocker: the recording is so dynamic and detailed. I’m sure that in part that’s because this album is seared into my memory from countless plays on a Maxell cassette. In 1984-85, I was an exchange student to Yugoslavia, specifically Serbia, and due to space restrictions I could only bring 10 cassettes for my year there.  Shadowfax/Shadowdance was the one Windham Hill tape I brought. Truly, for me, this was a “Desert Island Disk.”

Unfortunately, Stuart Nevitt, Chuck Greenberg and Bruce Malament  have all passed away.

Shadowfax on Facebook

Chuck Greenberg on iLike

New York Times Obituary for Chuck Greenberg

Joy Greenberg has written the biography “A Pause in the Rain” about Chuck, and maintains his web site:  http://www.chuckgreenberg.com/cgindex.htm

You can find Joy’s site, and samples from her book here: http://www.joyhornergreenberg.com/jghome.htm She shares fascinating anecdotes and details about the band, as well as personal remembrances, in an easy engaging style; I highly recommend it for any Shadowfax fan.

Joy has generously permitted the reprint of an excerpt here:

Excerpt from the Chuck Greenberg biography “A Pause in the Rain” by Joy Greenberg

The success of Shadowfax enabled the band to go into production on a second album. For material, they didn’t have to look too far. Intuitive businessman that he was, Chuck began thinking about all those old Watercourse Way masters over at Passport Records.

Although Watercourse Way had been out for eight years, the band had never received a dime in royalties. Chuck knew that there were many copies in print, however, and that the demand for them would increase with the release of the new Shadowfax. He also believed that if Shadowfax turned out to be a hit, there might be a renewed interest in the band’s first album, Watercourse Way. However, he wasn’t willing for Passport to be the beneficiary of any newfound success, particularly since he felt that Passport had burned the band for nonpayment of royalties. So, Chuck and the band’s attorney Steven Lowy devised a scheme to buy back all the old master tapes. Chuck knew he’d have to move quickly—before the release of Shadowfax. Once Passport suspected it might be able to gain more mileage out of Watercourse Way, the price for the masters would go up.

It worked—Chuck made them an offer and Passport was only too happy to rid themselves of what they perceived to be a “dead horse.” On the very day that the Billboard review hit the stands raving about Shadowfax, Chuck was collecting the master tapes from the Passport warehouse and blithely walking out the door with them.

Gaining the rights to Watercourse Way turned out to be more significant than even Chuck imagined at the time. In addition to re- releasing it en toto, Windham Hill selected one of its cuts, a lilting Chuck/G.E. duet called “Petite Aubade,” to be on the first of their Winter Solstice series, which went on to achieve Gold Record status. It also made it possible to “borrow” those tunes which the band felt were basically worthy but which had not succeeded as well on Watercourse Way as they had expected. For this reason, the title song from Watercourse Way, along with G.E.’s “Song for My Brother” were selected to be rerecorded for the second Windham Hill Shadowfax album, Shadowdance.

As with Shadowfax, Chuck and G.E. shared song writing duties on Shadowdance, with the exception of a piece by Don Cherry which was a medley of two tunes, “Brown Rice/Karmapa Chenno.” G.E., Phil, and Chuck were big fans of Cherry’s music and had been performing “Brown Rice” live, traditionally as the closing number of their set. It was the only non-Shadowfax composition they ever recorded or performed, and likewise one of the few with lyrics. Nonetheless, it was a testament to the band’s arranging skills. A consistent and perennial show-stopper, “Brown Rice” featured rap-like (before it was in style) nursery rhyme lyrics growled out by G.E. and backed by his searing guitar, with Chuck screaming on tenor sax, building to a crescendo then switching to a wailing lyricon—all pushed forcefully by Phil and Stu’s rhythm section.

Shadowdance became another showcase for Chuck’s burgeoning production genius. Although it cost slightly more than Shadowfax to create, he brought it in on time and under budget. In addition to the seven touring band members, he enlisted Emil Richards in the studio again, with Michael Spiro and Mickey Lehockey to beef up the percussion. The title tune from Shadowdance went on to become a featured number live, often receiving the greatest recognition and applause whenever they performed it and deservedly so. “Shadowdance” combined all the best qualities of Shadowfax: a catchy melody, rhythmic beat and interesting assortment of instruments.

Virtuoso percussionist Emil Richards had filled up the whole room at Group IV Sound with his esoteric collection of instruments from around the world, and the result was astounding. “Shadowdance” became a consistently sought tune by filmmakers, TV and radio shows for background music. After more than a decade, it is still being used by the Monterey Bay Aquarium for what I call its “dancing plankton” exhibit.

The band was also now able to afford a better recording studio when they set out to do Shadowdance, finding in Group IV the perfect place financially, personally, and technologically. A few years earlier, Chuck had performed on a movie soundtrack at Group IV and managed to cut a deal for himself through the owners to use the place at night—traditionally “dead” time––at a bargain rate. Without Angel Ballestier and the rest at Group IV, it would have been impossible to cut such high quality records for the price. So began an illustrious multi-record liaison between band and studio.

Shadowfax 1983 band lineup

WH 1029 Shadowfax Shadowdance back cover

Shadowfax members are active on the web, catch up with them on Facebook and MySpace.

Samples

Shadowdance

A Song for My Brother

Track Listings

Side One: 20:51

  • New Electric India 5:12,  Stinson Ξ
  • Watercourse Way 5:06, Greenberg-Stinson Ο Ξ
  • Ghost Bird 5:04, Stinson Ξ
  • Shadowdance 5:20, Greenberg Ο

Side Two 17:14

  • Brown Rice/Karmapa Chenno 4:18, D. Cherry ◊
  • Distant Voice 3:46, Stinson-Greenberg Ξ Ο
  • A Song for my Brother 9:04, Stinson Ξ

Ξ Selections Greenshadow Music  (BMI)

Ο Selections Dream Wheel Music (BMI)

All Selections Administered by Windham Hill Music (BMI)

◊ Selection Eternal River Music (BMI)

Credits

SHADOWFAX:

Additional Instrumentation:

  • Emil Richards: Paiste gamelon gongs, bass flapamba, metal and bamboo angklung, wood block marimba, marimba on Shadowdance; Chinese water cymbals, kanjgeera on New Electric India. The percussion ensemble on Shadowdance was conducted by Emil Richards.
  • Michael Spiro: conga, chekere, guiro on Brown Rice; hand percussion on Watercourse Way, Brown Rice.
  • Mick Lehocky: percussion on Shadowdance and Brown Rice.
  • Adam Rudolph: tabla on New Electric India

Produced by Chuck Greenberg

  • Recorded and mixed at Group IV Audio, Hollywood, CA
  • Additional Recording at Fiddler Studio, Hollywood, CA
  • Recording and mix engineer: Harry Andronis
  • Assistant engineers: Andy d’Addario and Mike Gilbert
  • Synthesizer Programming: Todd McKinney and Mike Gilbert
  • Original half-speed mastering by Jack Hunt at Mobile Fidelity
  • Matrix and pressings by RTI, Camarillo, CA
  • Cover photo by John F. Cooper
  • Liner photos by Carol Sincora and John Bonetti
  • Design by Anne Ackerman Robinson

This recording was made on Studer 24-track recorders and Trident consoltes with Ampex 456 tape at 30 inches per second. It was mixed to a Studer Mark III half-inch two-track recorder. No noise reduction, compression or limiting was used.

Thanks to Jilll and Don Stegman, Bruce Howard, World Percussion Inc. Phil Manor, Mike Flynn, Christ Andronis, Steven Lowy, Denni Sands and all at Group IV, and Charles Horton at TEAC.

Special thanks to Will Ackerman and Anne Ackerman Robinson for having the faith to make this album possible.

Other Shadowfax albums on Windham Hill

1. Shadowfax 1981

2. Shadowdance 1983

3. The Dreams of Children 1984

4. Too Far to Whisper 1986

WH 1028 William Ackerman Past Light

WH 1028 William-Ackerman-Past-Light

WH 1028 William-Ackerman-Past-Light

WH 1028 William Ackerman Past Light

Review

With 1983′s Past Light, Will Ackerman expands on the collaborations that he began to explore in earnest on 1981′s Passage, for an album that melds Ackerman’s meditative style with a larger vision of dynamic group performances.

Past Light is Ackerman’s fifth solo album, and twenty-eighth Windham Hill release. He must have been in the thick of the Windham Hill explosion, and it shows in a number of ways: the incredible stable of artists with whom he collaborates (Mark Isham, Michael Hedges, Darol Anger, Stein/Walder, Greenberg and Szmadzinski from Shadowfax, even Bay Area neighbors Kronos Quartet); the continued development of an aesthetic for group performances of Windham Hill artists, first seen on albums like Alex De Grassi’s Clockwork; and a confidence to keep pushing his vision farther, while hewing to his unique style, born out of Fahey and Kottke, but by now all his own.

While it still has poignant moments, there’s less mournfulness on Past Light than was present on Passage. There is less Erik Satie contemplation and more Robbie Basho exuberance in emotion, though stylistically Ackerman is wholly his own man.

The album opens with “Visiting” which varies enough in pacing and dynamics so that listeners are engaged and relaxed, taken on a journey with many uplifting moments. Where George Winston and Alex De Grassi write songs that are evocative of specific places at a certain time (a stream in January, a trip to Philadelphia) and Michael Hedges songs are paeans to rhythms, harmonics and dynamics, Ackerman’s work always strikes me as being about mood in and of itself. Each piece seems to be about that feeling you get when… (fill in your own very personal blank here.) Less intense and immediate than Passage, but profoundly evocative.

The fact that the moods here are varied, and often include the golden sunshine of Chuck Greenberg’s Lyricon just makes Past Light appealing to a wider audience, and a friendlier play for stalwart fans. Overall, it feels like Will was in a really good spot. Emotionally, the album it feels most like is Ackerman’s 2011 New England Roads (my current favorite of all of his albums, dare I even say it, over In Search of the Turtle’s Navel, and available exclusively at Target).

Samples

Visiting

Three Observations of One Ocean

Pacific II

Night Slip

Synopsis II

Track Listing

Side One: 22:11

  • Pacific II (1980) 3:09

Side Two 23:17

Liner Notes

“One always goes to great lengths at times like these to thank a phalanx of individuals for their contributions to the project as a whole. This will be no exception. Often the musicians who joined me on Past Light were given little more than a basic form in which to work, and it is no false modesty to to say that many of the compositions represented in these recordings are pure collaborations on the part of these friends and myself. To them I am sincerely grateful. I must also thank my co-producer, Steve Miller, for having the talent and vision that enabled me to try new ideas.”

William Ackerman

Credits

Produced by William Ackerman and Steven Miller

  • Engineered and mixed by Steven Miller
  • Recorded at Mobius Music, San Francisco, assistant engineer Oliver DiCicco, and at Different Fur Studios, San Francisco, assistant engineer Don Mack.
  • Mixed at Different Fur Studios, assistant engineer Dale Everingham.
  • Original mastering by Bernie Grundman, A&M Records, Hollywood, CA
  • Matrix and pressings by the Pressing Plant, Irvine, CA
  • Graphic design by Anne Ackerman Robinson and William Ackerman.
  • Photography by John Cooper, Summit, New Jersey
  • All compositions by William Ackerman
  • All selections Windham Hill Music, (BMI)

This recording was made on a Studer 24 track recorder at thirty inches per second. No noise reduction or compression was employed. The recordings were mixed digitally on a Sony PCM 1600 system, Kef speakers were used for audio monitoring and referencing on this recording.

Thanks to Harn Soper for loaning “Rain to River” back to me to record and to Dan Snow for the dream that inspired “Night Slip”. Thanks to Ervin Somogyi for the construction of my newest six-string and to Adamas strings.

  • Manufactured by Windham Hill Records
  • Windham Hill Productions Inc.
  • PO Box 9388, Stanford, CA 94305
  • Distributed by A&M Records, Inc.

Other original William Ackerman albums

  1. In Search of the Turtle’s Navel 1976
  2. It Takes a Year 1977
  3. Childhood and Memory 1979
  4. Passage 1981
  5. Past Light 1983
  6. Conferring with the Moon 1986
  7. Imaginary Roads 1988
  8. The Opening of Doors 1992
  9. The Sound of Wind Driven Rain 1998
  10. Hearing Voices 2001
  11. Returning 2004
  12. Meditations 2008
  13. New England Roads 2010

WH-1026 Windham Hill Artists An Evening with Windham Hill Live

WH 1026 evening with windham hill live

WH 1026 evening with windham hill live

WH-1026 An Evening with Windham Hill Live featuring George Winston, Alex deGrassi,  William Ackerman, Michael Hedges, Liz Story, Scott Cossu, Darol Anger, Chuck Greenberg

Review

Truly one of the great Windham Hill albums of all time, “An Evening with Windham Hill” features the classic Windham Hill artists at artistic peak of the label. While Ackerman, Winston, de Grassi continue to perform and record, often with even greater artistry than here, this album represents a clarity of vision and cohesion of styles that places it at the pinnacle of Windham Hill’s output.

Relaxed but uplifting, complex but with clarity, An Evening with Windham Hill is a required recording for any fan of the label.

Most telling about the label overall is Alex de Grassi’s introduction to Turning: Turning Back where he recounts how people tell him that they play the music at weddings and births – but “it’s really just about a trip Philadelphia.” de Grassi was writing about everyday places and moods – but touched a special chord with his fans.

Track Listings

Side One 19:59

Rickover’s Dream 4:30

  • Michael Hedges – Guitar
  • Composed by Michael Hedges
  • Michael Hedges Music (BMI)

Turning: Turning Back 9:00

  • Alex deGrassi – Guitar
  • Composed by Alex deGrassi

Clockwork 6:23

  • Alex deGrassi – Guitar
  • Chuck Greenberg – Lyricon
  • Darol Anger – Violin
  • Michael Manring – Bass
  • Michael Spiro – Percussion
  • Composed by Alex deGrassi
  • Tropo Music (BMI)

Side Two 22:01

Spare Change 5:29

  • Michael Hedges – Guitar
  • Liz Story – Piano
  • Michael Manring – Bass
  • Composed by Michael Hedges
  • Michael Hedges Music (BMI)

Visiting 4:48

  • Will Ackerman – Guitar
  • Chuck Greenberg – Lyricon
  • Michael Manring – Bass
  • Composed by Will Ackerman

Hawk Circle 5:10

  • Will Ackerman – Guitar
  • George Winston – Piano
  • Michael Hedges – Guitar
  • Composed by Will Ackerman

Reflections/Lotus Feet 6:25

  • George Winston – Piano
  • Reflections Composed by George Winston
  • Windham Hill Music (BMI)
  • Lotus Feet Composed by John McLaughlin
  • Warner Tamerlane Publishing Corp. and Chinmoy Music Inc. (BMI)

Samples

Reflections/Lotus Feet

Liner Notes and Credits

  • Produced by William Ackerman
  • AlexDe Grassi
  • Steven Miller

On October 9th, 1982, a group of ten Windham Hill musicians gathered for two shows at the Berklee Performance Center, Boston, Massachusetts. It was during those two shows that these recordings were made. The success of the Berklee Performance Center shows made it inevitable that other Windham Hill Evenings would follow, including Carnegie Hall, Davies Symphony Hall in San Francisco, the Wax Museum in Washington, DC, and Symphony Hall in Boston to date.

  • William Ackerman
  • Chief Executive Officer
  • Windham Hill Productions Inc.
  • Engineered and Mixed by Steven Miller
  • Recorded by the Fedco Audio Labs Remote Truck
  • Remote Recording Crew – Bill Straus (Crew Chief), Nick Gutfreund and Bob Dickson.
  • Mixed at Different Fur Studios, San Francisco
  • Assistant Engineer – Don Mack
  • Original half-speed mastering by Bernie Grundman, A&M
  • Matrix and Pressings by The Pressing Plant, Irvine, CA
  • Cover photo by Jerry Lukowicz
  • Design by Anne Ackerman Robinson

All selections published by Windham Hill Music (BMI) except where noted. KEF speakers were used for audio monitoring and referencing on this recording.

Thanks to Steve Backer, Fred Taylor, Bill Strauss, Sue Auclair, Eric Jackson, Ron Della Chiesa and Al Goldman.

  • Manufactured by Windham Hill Records
  • Windham Hill Productions Inc.
  • Box 9388, Stanford, CA 94305

WH 1025 George Winston December

WH 1025 George Winston December WHS C-1025

WH 1025 George Winston December WHS C-1025

George Winston December

Comments

Frozen branches overhead, snowy drives in the evening, and the quiet of a snow covered landscape. Winston invokes all of these on his landmark album December. While Winston named his compositions after moments in time – months or seasons, he was really playing music about places – creeks, and trees, passes and roads in Montana and the high-plains and prairies.

The music holds up year-round thanks to its simplicity and beauty. Even the carols are stripped down enough that they can be enjoyed even as we endure the heat of a July afternoon. In his discography, December stands as a crowd-pleaser – neither as resonant and redolent as Autumn, nor as cold and brittle as the first side of Winter Into Spring. December is an album that inspired a million insipid imitators, yet always maintains a beautiful and thoughtful poise; relaxed, yet energetic.

December is often incorrectly identified as the album that made Windham Hill Records a crossover success. That honor goes to George Winston’s Autumn, which sold millions of copies and was the breakthrough success for the label. That being said, December was another high-tide mark for the label, and laid the groundwork for the extraordinarily popular Winter Solstice series.

It is curious that with all of the detailed credits, there is no listing of which brand of piano is played by  by George Winston. According to engineer Harn Soper, Winston used a Yamaha grand for Autumn. Based on the sound, I would imagine it was another Yamaha for this recording. It should also be noted that in the recoding of Autumn, Winston would indeed drop and pickup in mid-song, only to be edited together later. This saves an enormous amount of time during the recording section, and I certainly can’t hear it in the recordings, which is remarkable given that Winston will often hold the sustain pedal down throughout an entire song, and the reverberations must undoubtably be different as he plays through a track different times.

WH 1025 George Winston December Back WHS C-1025

WH 1025 George Winston December Back WHS C-1025

Track Listing

Side One: 20:56

  • Thanksgiving 4:04
  • Jesus, Jesus, Rest Your Head 2:40 - An Appalachain carol of the late Eighteen Hundreds, Collected by the eminent folklorist John Jacob Niles.
  • Joy 3:13 - Inspired by an arrangement by David Qualey
  • Prelude 1:16
  • Carol of the Bells - A Nineteenth Century Ukranian carol.
  • Night 5:47
  • – Part One: Snow 1:51
  • – Part Two: Midnight 1:56
  • – Part Three: Minstrels 2:00
  • Minstrels was inspired by St. Basil’s Hymn, a traditional Greek Children’s New Years’s Carol based upon a rendition by Malcolm Dalglish.


Side Two: 18:18

  • Variations on the Kanon by Johann Pachelbel 5:21 – Composed circa 1699, the Kanon was originally an organ piece.
  • The Holly and the Ivy 4:52 – An Eighteenth Century English carol based upon an earlier French carol.
  • Some Children See Him 3:43 – Composed in 1951 by jazz trumpeter Alfred S. Burt (1921-1954), Some Children See Him was one of fifteen carols written as gifts for friends. The piece was originally a song with lyrics by Wilha Hutson expressing the universal love of children.
  • Peace 4:02

Samples

Thanksgiving

Prelude

Carol of the Bells

Night, Part Three: Minstrels

Variations on the Kanon (Live)

The Holly and the Ivy

Peace

Credits

  • Recorded in September and October of 1982 at Different Fur Recording, San Francisco, CA
  • Engineered by Steven Miller
  • Second Engineer on the Steven Miller sessions: Karen Kirsch
  • Engineering by Karen Kirsch on Carol of the Bells and Variations on the Kanon by Pachelbel.
  • Half-Speed Mastering by Jack Hunt of JVC Cutting Center
  • Matrix and Pressing by Record Technology Inc., Camarillo, CA
  • Photos by Greg Edmonds
  • Design by Anne and Will Ackerman
  • Thanksgiving, Prelude, Snow, Midnight and Peace composed by George Winston and published by Windham Hill Music BMI.
  • Some Children See Him composed by A. S. Burt and published by Hollis Music Inc. BMI.
  • All other compositions are traditional and in the public domain.
  • Special Thanks to Steven Miller and Cathy Econom for their valuable contributions in production.

Liner Notes

This recording was mande direct to two-track using a Studer A 80 VU MK III half-inch recorder at thirty inches per second. No noise reductin was employed. KEF speakers were used for audio monitoring and referencing on this recording.

There is a great wealth of traditional and contemporary music to draw from in doing an album for the winter season. These four albums have been most inspirational to me in conceiving of this album and in doing albums for the seasons.

Thanks to Doc Bochenek, Larry Boden, Mario Cassetta, Janea Chadwick, Megan Corwin, John Creger, George Cromarty, Jane Crosier, Alex de Grassi, Melissa Dufffy, Sylvan Grey, Howard Johnston, Gail Kennedy, Jerrol Kimmel, Silvia Kohan, Marin Moon, Steve Reich, Bola Sete, Sari Spieler, Liz Story, Marie Winchester

  • Manufactured by Windham Hill Records
  • A Division of Windham Hill Productions Inc.
  • Box 9388 Stanford, CA 94305
  • (c) (p) Windham Hill Records 1982

WH 1024 Windham Hill Records Sampler ’82

Windham Hill Records Sampler ’82

Selections from the Windham Hill Records Album Catalogue

Review

Windham Hill was truly hitting its stride in 1981-82. It took four years for Ackerman to release the first nine Windham Hill Albums, and of those, only six remained in print. Numbers 14-23 came in just over a single year, and each became a defining album for the label – either the first release of important new artists such as Liz Story, or genre-establishing discs like Alex de Grassi’s Clockwork. Sampler ’82 excises one track from each of the nine discs that Windham Hill released since the initial sampler came out in 1981.

Side One opens with the rather somber “Remedios” and continues in a generally solemn vein throughout the side, with Hedges’ “The Happy Couple” being the happy exception. Side Two picks things up a bit, and ends with the upbeat “Clockwork,” an ensemble piece which will be familiar to any Windham fan today thanks to its appearance on countless samplers since its initial release.

Ackerman was enraptured with the new digital technology of the time – his album Passage was one of the first commercial digital releases in the world. Each of the tracks here were remastered in digital – at some expense to the dynamics, detail and warmth of each of the recordings. Indeed, only “The Happy Couple” benefits from the increased detail and brightness of the remastering. Nonetheless, unless you’re a die-hard vinyl fan with a revealing system, the sound quality is still excellent.

In the end, I’m sure Sampler ’82 has its fans – it was the first introduction to many of these artists for many tens of thousands of people. However, the album is a broad overview rather than a cohesive statement of where the label was at the time, and each of the albums represented are strong and complete on their own. Nonetheless, while I do hesitate to second-guess Ackerman’s selections, for the modern listener, I would recommend you skip this one and buy the individual albums from the era. Sampler ’82 is an important snapshot of Windham Hill’s development, but not necessarily the place to start as a listener.

Track Listing

Side One:

  • Remedios 5:46
  • William Ackerman
  • Passage C-1014
  • Windham Hill Music BMI
  • Produced by William Ackerman
  • Blossom/Meadow 4:04
  • George Winston
  • Winter into Spring C-1019
  • Windham Hill Music BMI
  • Produced by George Winston and William Ackerman
  • The Happy Couple 3:20
  • Michael Hedges
  • Breakfast in the Field C-1017
  • Michael Hedges Music BMI
  • Administered by Windham Hill Music BMI
  • Produced by William Ackerman
  • Minou’s Waltz
  • Ira Stein & Russel Walder
  • Elements C-1020
  • Windham Hill Music BMI
  • Produced by William Ackerman
  • A Thousand Teardrops
  • Shadowfax
  • Shadowfax C-1022
  • Greenshadow Music BMI
  • Administered by Windham Hill Music BMI
  • Produced by Chuck Greenberg

Side Two:

  • Wedding Rain 5:44
  • Liz Story
  • Solid Colors C-1023
  • Windham Hill Music BMI
  • Produced by William Ackerman
  • Tideline 4:34
  • Darol Anger & Barbara Higbie
  • Tideline C-1021
  • Slow Baby Music BMI
  • Administered by Windham Hill Music BMI
  • Produced by Darol Anger
  • Purple Mountain 5:29
  • Scott Cossu
  • Wind Dance C-1016
  • Silver Crow Music BMI
  • Administered by Windham Hill Music BMI
  • Produced by George Winston
  • Clockwork
  • Alex de Grassi
  • Clockwork C-1018
  • Tropo Music BMI
  • Administered by Windham Hill Music BMI
  • Produced by Alex de Grassi

Liner Notes

  • Digital Transfers, Editing and Mastering by Jack Hunt, JVC Cutting Ctr., Hollywood, CA
  • Cover Photo by Tom Szalay
  • Design by William and Anne Ackerman
  • Manufactured by Windham Hill Records
  • A Division of Windham Hill Productions Inc.
  • Box 9388 Stanford, CA 94305
  • (c) (p) Windham Hill Records 1982

All of the recordings included in the Windham Hill Sampler ’82 are thirty inches per second, no noise reduction analog masters with the exception of “Remedios” which is a digital recording. This collection was transferred to digital and mastered as a digital recording to maintain the sound quality of the master recordings. KEF speakers were used in audio referencing.

WH 1022 Shadowfax Shadowfax

WH 1022 Shadowfax Shadowfax

Review

Shadowfax is the eponymous second release from the atmospheric fusion group, and the twenty-second release on Windham Hill. With a strong Asian and Native American influence on the music, there is a different feel to this release than the folk, classical and chamber jazz releases of their label-mates. And while this is fusion and not rock – there are rock underpinnings throughout the album. While this release isn’t as dynamic as all later albums, there is a drive and flow that comes through even on the quietest tracks.

As for the sound – this recording is an excellent litmus test of your system. While you can enjoy the music anywhere, it will sound compressed and more like atmospheric background music than the eastern-inspired jazz that it is. If you play the vinyl and your system doesn’t sound detailed and dynamic, then your system could use some extra resolving power. You can follow each instrument throughout every song and each piece comes to life. Phil’s bass is tight and yet full-bodied, and the ever-present percussion sparkles throughout each track. When I see someone dismiss this album as lacking any engagement or dynamics, I blame their reproduction of it, not the music. That being said, for the first 10 years I owned this album, I mainly played it on a home-made cassette through an old Sony receiver, and enjoyed it just as much as I do today.

As a bit of trivia, the closing sound on Vajra that I always took as a dog is actually Emil Richards dragging a rubber balled mallet over a marimba key, according to Phil Maggini in a 2013 Facebook comment.

Shadowfax members are active on the web, catch up with them on Facebook and MySpace.

Unfortunately, Stuart Nevitt, Chuck Greenberg and Bruce Malament  have all passed away. Links to their obituaries are below.

http://www.facebook.com/shadowfaxmusic?ref=ts#!/shadowfaxmusic?v=wall&viewas=1196427542&ref=ts

http://www.ilike.com/artist/Chuck+Greenberg/

New York Times Obituary for Chuck Greenberg: http://www.nytimes.com/1995/09/09/obituaries/chuck-greenberg-musician-dies-at-45.html

Joy Greenberg has written the biography “A Pause in the Rain” about Chuck, and maintains his web site:  http://www.chuckgreenberg.com/cgindex.htm

You can find Joy’s site, and samples from her book here: http://www.joyhornergreenberg.com/jghome.htm She shares fascinating anecdotes and details about the band, as well as personal remembrances, in an easy engaging style; I highly recommend it for any Shadowfax fan.

Joy has generously permitted the reprint of an excerpt here:

Excerpt from “A Pause in the Rain” by Joy Greenberg:

There soon evolved a microcosmic musical community that could provide work for a lot of people. The timing was perfect—it became a little engine, allowing everyone to play and record with each other. Phil and Chuck became creatures of habit, starting a rehearsal schedule with a day-in-day-out routine, knowing the process was essential to their growth and viability as musicians. Robit did, indeed, manage to attract the backing of a label and cut the album Resident Alien with Chuck, Phil, drummer Stu Nevitt and guitarist G.E backing him up. By then Stu and G.E. had moved out from Chicago and were rehearsing with Chuck and Phil in a variety of bands, including one fronted by another old friend from the Windy City, Morris Dollison, aka Cash McCall. The Cash McCall band featured all the blues songs, like “Sweet Home Chicago,” the guys had grown up listening to and playing.

“It was through this musical network that Chuck’s—and Shadowfax’s—Big Break arrived. Robit had met another guitarist, Alex de Grassi, in London, where he was playing music in the streets, subways and folk clubs during the summer of ’73. Robit had kept in touch with Alex and had been urging him to collaborate somehow with Chuck.

Meanwhile, Alex had established himself as the premier solo instrumental guitarist on the seminal New Age label, Windham Hill. As Windham Hill cofounder Will Ackerman’s cousin, Alex was in an influential position, something that did not go unnoticed by Chuck. He admired Alex’s artistry and was eager to meet him. The feeling was mutual; Alex sent Chuck the tape of a guitar part to a new piece he was working on and invited Chuck to contribute a lyricon part. Chuck was only too happy to oblige. Then one day in the latter part of ’81, Chuck, Robit and I drove up to San Francisco from L.A. in Ruby. I dropped them off at Alex’s house in Noe Valley and went out to visit some friends while Chuck and Alex rehearsed some tunes for Alex’s upcoming album Clockwork. When I returned later, I heard a gorgeous melody emanating from Alex’s as I parked the car in front. It was the song, “Clockwork.”

Alex was impressed as well. They ended up recording two pieces. “Everybody went apeshit,” Alex said.

Indeed, they did. It seemed that all who heard Chuck’s lyricon were enchanted. Alex’s album Clockwork scored a big hit on radio and at retail, as well as with the powers at Windham Hill. As a result of its success, Chuck was emboldened to propose an album to Will Ackerman, who initially believed that Chuck wanted to do a solo project. Chuck’s task became convincing Will that what Will really wanted was a Shadowfax album, something he managed to accomplish without Will’s ever hearing the band play.

Chuck sensed that Will would not approve of the “outside,” heavily electrified, screaming-for-attention tunes that had been recorded by Shadowfax on Watercourse Way. It just didn’t jibe with the primarily acoustic, mellow, laid back sounds for which Windham Hill was gaining recognition. And Chuck knew better than to invite Will to a showcase and see this “electric fusion monster quartet”—the antithesis of Windham Hill music—live. It would have been an invitation to disaster, sending the self-avowed hater of electronic music running for cover. Will’s interest in recording Chuck was based upon Chuck’s essentially acoustic approach to Alex’s record Clockwork. To accept this offer on the basis of Will’s perception, completely ignoring the nature of his label’s musical direction, and to present him with an electric manifesto, would have been unfair to him and deal suicide. No, meeting and hearing Shadowfax was definitely not the way to get a deal with Will.

However, the band had a card up its sleeve—one it could play without any negative sense of compromise or loss of musical integrity. There had always been an acoustic side of the band that they very much enjoyed but that was never allowed to come to fruition. Now they simply took advantage of the opportunity to explore it further, creating a discipline that was at once challenging and creative. Chuck figured out how to convince Will that Shadowfax would be the perfect ensemble addition to the label’s roster of solo artists.

Fortunately, Will Ackerman was so smitten by Chuck’s lyricon from the moment he heard it that he was willing to go ahead with Chuck’s plan to record. “Suddenly there was this indescribable, ethereal sound,” Will said. He and Alex were sitting in a park in Silicon Valley, listening to “Clockwork,” and this “unbelievable sound, the music of angels.” Alex told him that “the angel responsible for this sound was one Chuck Greenberg, and that the instrument was called the lyricon.” When Chuck joined Alex in concert at the Great American Music Hall, Will was there, and “there was that sound of angels again.” After the show he spoke with Chuck, who promptly told him about Shadowfax, and it was decided, more or less on the spot, to record a Shadowfax album.

At first, I was incredulous that Chuck would want to go to all the extra trouble to get the band back together: At this point I had never heard them play live.

“Why bother with them when you have the chance to do your own thing?”

“Because,” he said, “I will always have the opportunity to do my own thing, but I may not always be able to work with this band. And we never finished what we started out to say.”

Track Listing

Side One 18:02

  1. Angel’s Flight 4:00 C. Greenberg
  2. Vajra 4:20 G.E. Stinson
  3. Wheel of Dreams 4:46 G.E. Stinson & C. Greenberg
  4. Oriental Eyes 4:56 P. Maggini

Side Two 16:23

  1. Move the Clouds 3:08 G.E. Stinson
  2. A Thousand Teardrops 4:15 C. Greenberg
  3. Ariki (Hummingbird Spirit) 3:10 G.E. Stinson & C. Greenberg
  4. Marie 5:50, G.E. Stinson

Samples

Stream the entire album via MySpace

Angel’s Flight

Shadowfax

Emil Richards, circa 1970's. photo courtesy Phil Maggini.

Emil Richards, circa 1970′s. photo courtesy Phil Maggini.

Additional Instrumentation:

  • Emil Richards: contra bass marimba, conga, Thai vibes on Ariki; kelon vibes anvil, gong on Oriental Eyes, contra bass marimba, rhythm logs, bell tree, tambourine on Vajra; vibes and crotales on Wheel of Dreams, windchimes and bells on Angel’s Flight. The percussion ensemble on Ariki was arramged by Emil Richards.
  • Alex de Grassi: 12 string acoustic guitar on the right channel of Vajra
  • Scott Cossu: piano on A Thousand Teardrops
  • Jamii Szmadzinski: violin and baritone violin on Move the Clouds and Marie
  • Bruce Malament: Fender Rhodes on Oriental Eyes

Credits

  • Produced by Chuck Greenberg
  • Recorded in May and June of 1982 at Studio America, Pasadena, CA
  • Recorded and Mixed by Joe Pollard
  • Second Engineer: Max Reese
  • Assistant Engineers: Pitt Kinsolving and Shep Lonsdale
  • Original Half-Speed Mastering by Jack Hunt, JVC Cutting Center
  • Matrix and Pressing by Record Technology Inc., Camarillo, CA
  • Cover Photo by Greg Edmonds
  • Design by Anne Ackerman

This recording was made on a modified MCI JH 16 recorder at 30 inches per second, and mixed to a Studer Mark III half-inch two-track recorder, using no noise reduction, limiting or compression.

Thanks to Joy Horner, Dave Below, Marty Lishon, and World Percussion. Thanks also to Sherman Clay Pianos for the use of the Kimball Bosendorfer Grand Piano, and to Zeus Audio Systems. Special thanks to Joe Pollard, to Emil Richards for the magic, and to Windham Hill.

  • All Selections Greenshadow Music (BMI)
  • Administered by Windham Hill Music (BMI)
  • Manufactured by Windham Hill Productions Inc.

(c) (p) Windham Hill Records 1982

WH-1022

WHS-C 1022

WH 1021 Darol Anger Barbara Higbie Tideline

Review

Darol Anger and Barbara Higbie’s Tideline is a foggy windswept day at Stinson Beach, or rather time spent sipping coffee inside a weathered redwood beach house near Stinson, warm and rich, but with an undercurrent of cool tumult always nearby. From the rolling sea rhythms of Tideline to the Japanese music box references in “Onyame,” the album flows effortlessly through moods and moments. The closest analog to Tideline may be another classic, Herbie Hancock’s “Maiden Voyage.”

Technically impressive while putting the music first, the album stands on its own as a must-have for any Windham Hill collector. It is even more important as a development in the ensemble sound of Windham Hill at the time, and also as the kernel for the Darol Anger/Barbara Higbie Quintet which would come to be known as Montreaux.

Samples

True Story

Gualala (at the link)

Track Listing

SIDE ONE: 20:32

Tideline ◊ (4:34)

Movie ◊ (1:47)

Above the Fog ◊ (3:50)

Keep Sleeping 0 (4:22) octave violin and piano

Onyame ◊ (5:49) violin, mandolin, piano

SIDE TWO (20:38)

True Story ◊ (4:22)

Fortunate ◊ (4:22)

Gemini 0 (1:02) mandolin and piano

Gualala 0 (5:41) piano, octave violins, cello

Lifeline ♦ (6:13)

◊ Written by Barbara Higbie and Published by Slow Baby Music (BMI)

o Written by Darol Anger and Published by Fiddlistics Music (BMI)

♦ Written by Barbara Higbie and Darol Anger and Published by Slow Baby Music (BMI)

Credits

  • All Publishing Administered by Windham Hill Music (BMI)
  • Alll selections are violin and piano unless otherwise noted.
  • Darol Anger: violin, octave violin, mandolin, octave mandolin, cello
  • Barbara Higbie: piano
  • Mike Marshall: madnolin on Onyame
  • Produced by Darol Anger
  • Co-produced by Barbara Higbie
  • Executive Producer: William Ackerman
  • Recorded Frebruary 14-16, 1982 at Different Fur Recording, San Francisco, CA
  • Engineered and mixed by Howard Johnston
  • Assistant Engineer: Anne de Venzio
  • Half-Speed Mastering by STan Ricker Mobile Fidelity Sound Labs
  • Matrix and Pressings by Record Technology, Inc. Camarillo, CA
  • Cover Photo by Alan Levinson
  • Liner Photo by Irene Young
  • Design by Anne Ackerman
  • Manufactured by Windahm Hill Records
  • A Division of Windham Hill Productions, Inc.
  • Box 9388, Stanford, CA 94305
  • (c) (P) Windham Hill Records, 1982

Liner Notes

This recording was made as a multi-track on a Studer A 80 MK III recorder at 30 inches per second, through a Harrison board and mixed onto a Studer A 80 VU KMIII half-inch two track recorder. The Yamaha C-70 piano was miked with a matched pair of Neumann U67 microphones and a single Neumann U47 microphone. The violin was miked with a single Neumann KM 84 and a single AKG 414 microphone. A single AKG 451 EB microphone was employed as an ambient source.

Thanks to Tom Paddock for the use of his U 67 tube microphones; Stephen Gilchrist, and John Monteleone for hand-built mandolins; Will Ackerman, Anne Ackerman, Marin and the Windham Hill Family; Susan Skaggs; Doc Howard and Queen Anne; Tom and Pat of Different Fur; Katrina Krimsky, Irene Young; Mike Marshall; David Dawg; CM; Dave Balakrishnan; Dix; our parents, ancestors, and the big bang. Support new acoustic music.

  • Darol Anger and Barbara Higbie
  • Tideline
  • WHS C-1021
  • WH-1021

WHS C-1020 Ira Stein Russel Walder Elements

Review

Ira Stein and Russel Walder’s “Elements” is a misty morning cup of coffee. Energetic, even upbeat moments abound, but the overall mood is warm, wistful, and well-paced with a real sense of rhythm and  flow from one moment to the next.

“Elements” is the recording debut for both Ira Stein and Russel Walder, and the twentieth album released on Windham Hill Records.

Stein’s playing is remarkable throughout, with both a solid command and a light touch on his instrument – with moments that remind one of the percolating playing of fellow Bay Area pianist Vince Guaraldi. Stein also composed all the tracks. More than most Windham Hill albums, “Elements” feels like jazz – the players so imbue their parts with feeling that each note sounds as if it could only be conceived in the moment.

Walder had been training with some of the shining lights in modern acoustic music – Paul McCandles and Ralph Towner, and his training and own personal magic are apparent. Under lesser skills, the 0boe can become grating with its high piercing tone. Here, Walder’s tone and touch give us playing that is sweet, yet complex, almost mimicking a human voice more like a tenor sax than an oboe.

I recently traded e-mails with Walder, and he shared some thoughts on his Windham Hill releases:

Elements and Transit came at the very beginning of my career. It was a very exciting time in music and for me personally. Windham Hill was the magic door to everything that has happened since. I recently returned from a music tour to Spain and I remember going there with Windham Hill and it was a circle that completed itself. I also just came back from a tour of India with my new band and it was the first time since Windham Hill that I have have played in anything other than as a soloist.”

Walder has recorded a significant body of work, and fans of “Transit” in particular should check out his album “Rise,” available at Walder’s current sites:

www.nomadsoulrecords.com
http://www.cdbaby.com/cd/russelwalder

As part of the overall Windham Hill vision of 1982, “Elements” shares more than a little DNA with Darol Anger and Barbara Higbie’s “Tideline,” released immediately after this. Both albums are central to the reasons I love Windham Hill music, although over the years, I find myself reaching for the glorious “Transit” over this release. No slur on “Elements,” it’s just that “Transit” is a masterpiece. Similarly, I sometimes play “Birth of the Cool” by Miles Davis. But more often than not, I’ll reach for “Kind of Blue” first.

Recommended.

“Keyboardist Ira Stein and oboist Russel Walder met in 1981 at a series of master classes taught at the Naropa Institute by two of their major influences, Ralph Towner and Paul McCandless. Shortly thereafter, Stein And Walder produced a demo and were signed to Windham Hill. Over the years, their sound has expanded from the acoustic duets of their 1982 debut, Elements, to a satisfying blend of electronic keyboards, drums, bass, and intricate studio enhancements.”

~ Linda Kohanov, All Music Guide

Walder was born and raised in Deerfield, Illinois. Following his graduation from Deerfield High School, he briefly attended the University of Arizona in Tucson Arizona.

He then also attended The Boston Conservatory of Music, and The California Institute of the Arts.[1] He also studied privately with teachers at The New England Conservatory of Music. At age 17 he toured Europe and North American with the United States Youth Symphony appearing in Carnegie Hall and Royal Albert Hall among many notable venues. Walder came onto the contemporary jazz instrumental scene quickly in 1982, at the age of 19, after joining Windham Hill Records and then recording Elements with pianist Ira Stein. The pair met at Naropa Institute while studying with the jazz fusion group Oregon. Walder also studied with Oregon Jazz legend Paul McCandles. After the success of Elements, Walders next recording, 1986′s Transit, again with Stein, also included performances by Bruce Hornsby and mixing by Mark Isham.

~ Wikipedia biography for Russel Walder

Comments

Have a thought, memory or experience to share about this album or any of the musicians? Share it in the comments section below.

Track Listing

Side One: 17:04

Elements 11:14

Minou’s Waltz 5:50

Side Two: 19:51

The Epic 1:20

Rice Fields 6:00

Eden 5:44

Caravan 6:27

Samples

Have a sample to share? Post it and pass it along.

Liner Notes

Ira Stein, Piano

Russel Walder, Oboe

Produced by William Ackerman

  • Engineered and Mixed by Edward Bannon, Tres Virgos Studios, San Rafael, CA
  • Assistant Engineer: Robert L. Missback
  • Half-Speed Mastering by Jack Hunt, JVC Cutting Center
  • Matrix and Pressings by Record Technology Inc. Camarillo, CA
  • Cover Photo by Jerry Lukowicz, San Francisco, CA
  • Liner Photos by Anne Ackerman, Ira Stein (l.), Russel Walder (r.)
  • Design by Anne Ackerman
  • Thanks to Steven Miller for his contributions to production
  • All Compositions by Ira Stein
  • All Selections Windham Hill Music (BMI)
  • Manufactured by Windham Hill Records
  • A Division of Windham Hill Productions Inc.
  • Box 9388 Stanford, CA 94305

©(P) Windham Hill Records 1982

This recording was made on an MCI JH-24 recorder at 30 inches per second, and mixed onto an Ampex ATR 102 two-track. Teh principal microphones both for the 1932 Baldwin grand piano and the oboe were Crown PZM(tm) phase coherent microphones. No noise reduction, limiting or compression was employed.

KEF speakers were used for audio monitoring and referencing on this recording.

Credits

Many thanks to Toni and Dad, Marily and Fred, Barb and Clint, Deb, David, Paul McCandles, Ralph Towner, Glen Moore, Collin Walcott, Art Lande, Allen Vogel, Cynthia Maser, Howard Weisel, Dick Fister, Nika, Fellow Calartians, Harobed and Dominique.

Dedicated to Rudy G. and Minou.

Engineer Edward Bannon in the Tres Virgos recording Studio in San Rafael, circa 1980.

(photo from http://tresvirgosstudio.com/history)

WH 1019 George Winston Winter Into Spring

WH 1019 George Winston Winter into Spring

Review

There’s a certain simplicity in any art that it takes a master to achieve. Whether it’s the quick study in a notebook that a Picasso or Matisse can use to convey motion, mood and sentiment, or the way an actor can almost imperceptibly move their face to convey a deep undercurrent of emotion, it’s a skill that is highly underrated.

Winter Into Spring is the third George Winston album released, his second on Windham Hill, and the 19th Windham Hill album. Winston’s “Autumn” had given Will Ackerman a new level of financial freedom to fuel his artistic vision.

From the time “Winter Into Spring” first dropped onto the turntables of George Winston fans everywhere, there was a sense that some portions of the songs “were so simple a child could play them.” The magic is that they were so simple that no child actually would play them.  And those few bars that were so noticeable in their simplicity and purity soon gave way to Winston’s lushly chromatic songs. Truly, it takes a mature artist to be able to strip down a song, and still have a complex and lingering effect. Songs that drew from classical and jazz traditions, but mainly the beautiful and deceptively simple traditions of folk music. Comparing the two albums is necessary, as so many millions of copies of Autumn have been sold, but it’s also problematic, in that Autumn has a different emotional appeal, much as the seasons themselves draw on different aspects of the listener’s experience. Where “Autumn” is all amber hues and slowly changing colors, “Winter Into Spring” is crisp footsteps in the snow, cold moonlit nights, and then finally the burst of weak radiance of a Spring sun and wild mustard flowers. As always, Winston finds inspiration not just in the seasons, but as the seasons exist in the plains states – Montana in particular.

To this reviewer, “Winter Into Spring” is now my go-to Winston album, if only because I’ve heard “Autumn” so many times that it’s hard to have any perspective on it any more. But the other factor is that as I’ve matured, I’ve also appreciated the development of maturing artists more. “Winter Into Spring” reminds us all of the universal edict that it takes the longest to get to the simplest solutions. Winston’s playing on later albums will simplify even more – but for me “Winter Into Spring” is the right place for my ear and mind right now.

Harn Soper, who recorded “Autumn,” tells me that Winston would press down on the sustain pedal near the beginning of a song, and just keep his foot down, with the slow decay of the notes blending into the next key. This is what gives Winston’s composition a richness that was missing from so many solo pianists, and helped him define the genre of “new age” solo piano. There is plenty of that subtle density of sound here still.

Track Listing

Side One (21:51)

January Stars (6:38)

February Sea (5:13)

Ocean Waves (O Mar) (7:15)*

Reflection (2:45)

Side Two: (22:19)

Rain/Dance (10:10)

Blossom/Meadow (4:04)

The Venice Dreamer (8:05)

- Part One: Introduction

- Part Two

Samples

January Stars

February Sea

Ocean Waves – Original arrangement for Guitar by Bola Sete

Reflection

Rain/Dance

Blossom/Meadow

The Venice Dreamer – Part Two

Credits

Executive Producer: William Ackerman

Produced by George Winston and William Ackerman

Recorded March 1982 Different Fur Recording, San Francisco, CA

Engineered by Howard Johnston

Assistant Engineer: Karen Kirsch

Half-speed mastering by Stan Ricker, Mobile Fidelity Sound Labs

Matrix and pressins by Record Technology Inc., Camarillo, CA

Vinyl Compound: Quiex Premium by Vitec

Cover Photography by Ron May

Design by Anne Ackerman

All compositions by George Winston except where noted*

All selections Windham Hill Music (BMI) except where noted*

*Composed by Dorival Caymmi, 1939

*Published by Mangione (Brazil)

*Arranged by Bola Sete

Manufactured by Windham Hill Records, Division of Windham Hill Productions, Inc.

PO Box 9388, Stanford, CA 94305

©(p) Windham Hill Records 1982

This recording was made direct to two track using a Studer A 80 VU MKIII half-inch recorder at 30 inches per second through a Harrison board. The Yamaha C-70 piano was miked with a matched pair of Neumann U-67 microphones, a pair of Neumann KM 84 microphones and an AKG 451 EB was used as an ambient microphone. No noise reduction or reverberation was employed.

Thanks to Megan Gorwin, Scott Cossu, Alex de Grassi, Cathy Econom, Silvan Grey, Daniel Hecht, Michael Hedges, Paul Horn, Jerrel Kimmel, Steve Reich, L Subramaniam, and thanks to Bola Sete for his inspiration and specifically for his arrangement of Ocean Waves from his guitar LP “Ocean” Lost Lake Arts 82.

Other LP’s by George Winston

Autumn, Windham Hill Records C-1012

Ballads and Blues, Lost Lake Arts 84

In Memory of David Fleck

QUIEX VINYL

This is the first reference I have ever seen to Quiex Vinyl – a virgin vinyl compound with superior sound qualities. The Classic Records re-issue label uses the current formulation of Quiex extensively. I have several Blue Note and Led Zeppelin pressings using Quiex SVP from Classic that all sound great. Unfortunately, I’ve been unable to locate the manufacturer – if you know, let me know so that I can properly credit them.