WH 1029 Shadowfax Shadowdance

WH 1029 Shadowfax Shadowdance
WH 1029 Shadowfax Shadowdance

WH 1029 Shadowfax Shadowdance


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.



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)



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


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).




Pacific II


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


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