Solid Colors is the auspicious debut of Liz Story. In the wake of the massive success of George Winston’s December a river of cassette demo tapes that would have stretched around the world came pouring into William Ackerman’s Palo Alto PO Box 9388. Liz Story’s recording was the beautiful bucket drawn from the torrent.
Rich, dense, and impressionistic – but always still pretty – Story draws from jazz, particularly as expressed by pianist Bill Evans, in much the same way as George Winston drew from folk. Liz Story’s style has continued to develop over the years. She continues to record, and each release deserves close listening.
The recording quality, as always, is excellent, with Story’s rich harmonics lovingly presented, and while the vinyl is the standard, even the CD transfer holds up well.
Solid Colors is a must-have recording for any fan of piano jazz, new age music, or Windham Hill.
Here’s the review I wish that I had written, by James Rotundi from Amazon: Story’s remarkable 1983 debut is the intellectual sister of Winston’s December–a discursive series of solo piano improvisations that draw on the rich jazz harmony of pioneers like Bill Evans, Story’s acknowledged chief inspiration. Yet Colors is almost minimalist next to Evans’s more densely textured works–a spacious blend of polychords, breezy runs, and finely timed sustenutos, with an accessible spirit and memorable melodies–like the uplifting figure she plays over a simple descending bassline in “Hymn,” or the indelible major-key main theme of “Things with Wings.” More economical than Keith Jarrett, more florid and changeable than Winston, Story finds a compelling middle ground here between jazz harmony and classical technique, outside improv and sturdy songcraft, complex performance and inner stillness. –James Rotondi
All Selections Windham Hill Music (BMI) except where noted
*Peace Piece is Acorn Music (BMI), Composed by Bill Evans
Manufactured by Windham Hill Records
A Division of Windham Hill Productions Inc.
Box 9388, Stanford, CA 94305
(c) (p) Windham Hill Records, 1982
This recording was made direct to two-track using a Studer A80 VU MKIII half-inch recorder at 30 inches per second through a Harrison board. No noise reduction, limiting or compression was used. KEF speakers were used for audio monitoring and referencing on this reecording.
Our thanks to Steven Miller for his many contributions in production.
Without You is for Terry.
Peace Piece is a homage to its composer, Bill Evans.
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.
New York Times Obituary for Chuck Greenberg: http://www.nytimes.com/1995/09/09/obituaries/chuck-greenberg-musician-dies-at-45.html
In a 2019 Facebook post, GE Stinson writes:
“Even though I have subjective personal issues with both albums (Shadowfax and Shadowdance), I like those records for different reasons. For us, the eponymous WH album was about focusing on a different aspect of our musical roots. Creating the music for both of those albums was an intense, wonderful experience, pivotal for the band, and done under a lot of pressure and stress. It’s a cliche but true that, at that point, Shadowfax was a family… with all the love, sadness, anger, forgiveness, etc that comes with any family.”
Stinson continues “The band had just reunited, we were able to record and do gigs so we were all happy about that. Each album had its own set of problems, struggles, and we were working with a very limited budgets but we made it work and, for the most part, we had fun.”
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.”
Side One 18:02
Angel’s Flight 4:00 C. Greenberg
Vajra 4:20 G.E. Stinson
Wheel of Dreams 4:46 G.E. Stinson & C. Greenberg
Oriental Eyes 4:56 P. Maggini
Side Two 16:23
Move the Clouds 3:08 G.E. Stinson
A Thousand Teardrops 4:15 C. Greenberg
Ariki (Hummingbird Spirit) 3:10 G.E. Stinson & C. Greenberg
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
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.
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.
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)
All Publishing Administered by Windham Hill Music (BMI)
Alll selections are violin and piano unless otherwise noted.
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
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.