George Winston is touring North America on the heels of the May release of his new album Restless Wind. Washington, Colorado, Indiana, Ohio, Pennsylvania, Virginia, New York and Michigan will all see him bring his show to intimate theaters before the end of the year. George has toured fairly continuously over the years and his live shows are a joy for any fan: the ability to hear classics like Colors/Dance conjured up right in front of you is a treat that shouldn’t be missed.
See full tour dates here: http://www.georgewinston.com/concerts/
For a taste of George in concert, see his 2013 show in California’s Lesher Center.
New Dual SHM CD Edition from Japan’s Belle Antique Records
2019 sees a new CD release of Shadowfax’s Watercourse Way. The Japanese label Belle Antique includes both the original Passport Records edition, and the remastered Windham Hill edition, including original artwork replicas. The CDs can be found at CD Japan.
If you’ve ever loved Liz’s music, now is the time to come through for her.
“Pianist/composer, three-time Grammy nominee, LIZ STORY, (Windham Hill recording artist) is undergoing emergency brain surgery.
She was diagnosed with bilateral subdural hematomas which are putting so much pressure on her brain, that, once on stage, she could not remember how to play the piano at a performance Friday night at the MIM (Musical Instrument Museum) in Phoenix, AZ.”
Like many artists, she has no health insurance and has spent years caring for others.
or GoFundMe: https://www.gofundme.com/liz-story-medical-fundraiser?utm_source=facebook&utm_medium=social&utm_campaign=fb_dn_cpgntopnavlarge_r&fbclid=IwAR3wgHliQXC67cfD6lHat5Y4A0ar9V5kQkZ6inFQFvmNrJhTxmz7p_hVOuw
Her friend Elaine Spinelli writes:
My dear friend, pianist/composer, three-time Grammy nominee, LIZ STORY, (Windham Hill recording artist) is undergoing emergency brain surgery this morning after being diagnosed with bilateral subdural hematomas which are putting so much pressure on her brain, that, once on stage, she could not remember how to play the piano at a performance Friday night at the MIM (Musical Instrument Museum) in Phoenix, AZ.
Liz’s husband died due to complications from injuries he sustained after being struck in a rear-end collision.
Liz then selflessly left her home and music studio in Prescott, AZ for 6 years, to single-handedly care for her parents in Los Angeles, both of whom suffered from dementia, and who passed in their late 90s. Liz has never financially recovered from the loss of her husband and subsequent debt, and from her absence from her work, in order to care for her parents. She really could use all the help she could possibly have!
As is true for many musicians, she has no health insurance; and, her home became severely run down in her absence; she hasn’t been in a position, financially, to repair the plumbing, broken refrigerator and various other major problems. She paid a contractor thousands to work on her house while she was in Los Angeles caring for her parents, only to find shoddy, sub-standard work when she returned.
If you can find it in your hearts to help, no donation is too great, or too small. Thank you for taking the time to read this, and for your generosity.
There’s lots of Windhaming on Facebook! I regularly publish video clips from YouTube, news from artists, and observations. It’s a nice feed and reminder of old favorites and things going on with many of the artists. I publish roughly weekly, but really just when the mood strikes. So if you’ve been here, and not there, over the past year you’ve missed 52 posts.
I’m very pleased to announce that Grasstops will also be re-releasing the stunning 1982 solo guitar debut album of Windhaming friend Dennis Taylor – Dayspring. Windhaming is also scheduled to do the analog-to-digital conversion and the first listen indicates this will be a treat for Windham Hill fans.
Grasstops is the brainchild of guitarist Kyle Fosburgh, a brilliant young guitarist and label founder. His playing starts where Basho and Fahey ended, and he perfectly captures a gorgeous combination of darkness and light, complexity and gentle beauty.
In other Windham Hill related artists, I’ve been listening to a lot of Jeff Pearce. Jeff worked with Ackerman, and the album covers certainly show they have the same taste in design… but the music pushes farther in to ambient territory, while remaining accessible to new age fans. In my book, he’s doing work on the level of Harold Budd and Brian Eno. There’s just no higher praise.
I saw George Winston live! Like many fans, Winston’s Autumn is what started me on Windham Hill. I’ve heard the album too many times, and just don’t enjoy it like I used to. But live? There’s so much there. Winston always stretched out (the last time I saw his was 1985). In the absence of new material, seeing George play live is an absolute must for any fan. Gorgeous and better than he was on the albums, even recent ones.
I saw Alex de Grassi and Michael Manring live! Seriously, it kills me that these folks aren’t selling out huge halls, Both artists are better than ever. Just outstanding live performers. I spend a fortune on music, but as Shadowfax’s GE Stinson passionately argues on his Facebook page, the current music industry is bad for artists and therefore bad for music – if there’s no money to be made on Spotify or iTunes, and CD sales are down, where will the money come from? Vinyl lovers like me are growing their purchases by 30-40% every year… but I doubt we’ll ever be more than 5-10% of total music purchases.
Of course, Windham Hill is not my only musical interest, sometimes I’m chasing other labels – like Blue Note, Concord Jazz and Erased Tapes. Windhaming readers will likely enjoy the work of Nils Frahm, A Winged Victory for the Sullen and Olafur Arnalds on the Erased Tapes label.
Why did it take so long to publish Liz Story’s Unaccountable Effect?
I created the site when I was between work in 2009, and had a lot more time. My clients have been keeping me quite busy, but a few weird things conspired for this post. First, I absolutely love the album and wanted to do it justice. I got Liz Story’s email after a show a couple of years back and hoped to get some comments from her on the album – alas, no response ever came. I also happened to drop my copy and scratch up side 2, which meant more time passed before I picked up another copy at Amoeba. Finally, I just realized I was letting perfection be the enemy of the good, and decided it was time to publish another page. The original intention of the site was simply to publish liner notes. Wanting to do a good job just slowed me down.
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.
The first true ensemble album in the Windham Hill style – Clockwork really defined the label’s sound for the next several years. Alex de Grassi proves that not only is he one of his generations finest guitarists, he has a larger musical vision, ambition and extraordinary taste in collaborators. The players all bring both a technical and lyrical deftness to their parts, and as the album name implies, there is a musical interplay that creates a rhythmic whole that is greater than the sum of the parts. Fans of de Grassi’s solo guitar work are rewarded on the second side with the Bougainvillea Suite opening – gorgeous and thoughtful guitar music.
Clockwork can be hard to find, and it is not the last word in either de Grassi’s or the label’s collective work, but it’s important as a new creative step in the genre-defining label, and a worthy listen in and of itself.
Have a thought, memory or experience to share about this album or any of the musicians? Share it in the comments section below.
guitar, piano, percussion
Two Color Dream 6:25
guitar, fretless bass, soprano sax, drums
Graphic Design by Anne Ackerman
Cover Monoprint and Liner Photo by Anne Ackerman
All Compositions by Alex de Grassi
All Selections Tropo Music BMI
Administered by Windham Hill Music BMI
Manufactured by Windham Hill Music BMI
Manufactured by Windham Hill Records Box 9388, Stanford, CA 94305
Michael Hedges was playing in a Palo Alto coffeeshop when William Ackerman heard him and signed him on the spot. Good move. Hedges is arguably the best acoustic guitarist to ever play, with apologies to Ackerman, de Grassi, Django Reinhardt and Bucky Pizzarelli.
“Breakfast in the Field” is Hedges’ first album, and the seventeenth Windham Hill release. It’s a deceptive album – what sounds simple has incredible technical skills behind it; what sounds pastoral becomes funky and urban. When the album came out, the buzz was not only that you had to hear Michael Hedges, but you had to see him playing. His style was so new and different that it made it seem as if the instrument had simply been waiting all these generations for its true master to come along. “Breakfast” gives you the first taste of the tremendous talent that Hedges developed before he died at the age of 43 in a car crash north of San Francisco.
Because “Breakfast in the Field” opens with two slow-paced songs, the casual listener could easily be fooled into playing the album quietly as background music. But turn it up, pay a little attention, and it will quickly become apparent just how much this 34-minute acoustic album can rock.
Michael Manring, who was so omnipresent on Windham Hill that it seemed as if he functioned as a house bassist, makes his first appearance here. George Winston, on the heels of “Autumn” and his successful contribution to William Ackerman’s “Passage” also performs here. In both cases, the effect is to complement and not overwhelm the immersive soundscapes created by Hedges.
In a 1987 concert, Hedges gives an introduction to “The Funky Avocado” that is revealing about his open-minded approach to composition and how he brought in so many influences to his work. Says Hedges: “This tune has a little bit of a cross cultural bent to it, but it has more of an American bent to it. from the time where I lived above a health food store just down the street from a gay disco called The Pink Hippopotamus. I used to be trying to write music up there, trying to… maybe it would be just after dinner and I’d be trying to get some work done, and The Pink Hippo was always sending me back ‘boom boom boom’ and maybe the bass line would come through, ‘bum Bum BUM bum Bum BUM,’ so rather than trying to compete with it, I decided to try to incorporate some of the elements. So that’s how ‘The Funky Avocado’ came about. It starts out with a medium R&B tempo, slows down into some heavy rock and it finishes up in a fit of disco fury”.
The sound quality is outstanding – Michael’s guitar is full of body and resonance, detailed, and all of one cloth. There’s an interesting side story regarding the guitar Hedges used for several of the tracks: “Eleven Small Roaches,” “Babytoes” and “Two Days Old”. As noted on Hedges’ memorialized “Nomadland” site: “If Michael’s art is driven by openness, the fates were on his side just after he finished The Road To Return. At a concert in Oregon in 1994, Michael was approached by a woman who returned a guitar to him which had been stolen from his van fifteen years earlier while opening for Jerry Garcia. The custom guitar (built by luthier Ken DuBourg and heard on much of Breakfast in the Field) was in dreadful condition, but Michael invested in its restoration and the instrument’s presence wound up becoming the inspiration for several of the tunes heard on Oracle.”
“As Michael points out, Oracle fits perfectly into the chronology of his own life—“The Road to Return was a search for ‘Who am I?’ Then my old guitar was returned and I thought, ‘Yeah, this is part of who I am.’ Now, I’m open. I have a feeling something new is on the horizon for me, because, after all, how many ways can you slap a guitar? Since I’ve been writing songs, I’m more conscious of the music I’m after. It shouldn’t be seen as a new phase of my playing, but just more of me.”
This is an essential recording for any guitarist, lover of acoustic music or Windham Hill.
Have a thought, memory or experience to share about this album or Michael Hedges? Leave a comment below.
The Happy Couple 3:20
Eleven Small Roaches 3:00
The Funky Avocado 2:03
Baby Toes 2:10
Breakfast in the Field 2:24
Two Days Old 4:46
Peg Leg Speed King 3:20
The Unexpected Visitor 2:46
Silent Anticipations 3:23
Michael was a phenomenal live performer. Samples below are largely from concerts – he tells great stories about each song, and you get a sense of his showmanship.
This album was recorded without overdubs or multitracking on a MCI JH 110 A analogue two-track tape recorder at 30 inches per second through a Neve 8036 console with minimal equalization. No noise reduction was employed. The guitar was close-miked in stereo with a matched pair of AKG 452 EB condenser microphones in a cardioid pattern.
This album is dedicated to my teachers of composition: E. J. Ulrich who sent me on my way, Jean Ivey who let me go my own way, and Morris Cotel who asked me where I was going and why.
Thanks to Ervin Somogyi of Berkeley, CA who built the splendid guitar used on most of the tunes in this recording. Thanks also to Ken DuBourg of Arbutus, MD who made the guitar used on Eleven Small Roaches, Babytoes, and Two Days Old.
Windham Hell is an “Ambient Neoclassical Avant-garde Metal” band from Snowqualmie, WA.
No connection to Windham Hill, but I can’t resist a really good pun.
While I grew up on metal as a kid in the 70’s, I’m not much of an afficianado of more current work, but it’s clear that there is more here than your standard teenage wannabe dark metal group. If you like Windham Hill AND Metal, they might be worth checking out. As an aside, if you like Windham Hill AND Goth, you must check out Dean Can Dance.
Current Artist Web Site: http://www.myspace.com/windhamhell
Oh, and as long we’re on humor, violins and metal, check out the “Violin Hero” video from Bay Area string metal group Judgement Day. It’s worth it just to watch the opening bit.
Scott Cossu’s “Wind Dance” is the artists first album, and the 16th release on Windham Hill. Wind Dance is the first ensemble recording on Windham Hill that most people are familiar with, but Linda Waterfall’s “Mary’s Garden” and the eponymous “Kidd Afrika” R&B album predates it by some 5 years.
Cossu is a thoughtful and talented player, and the second side of the album in particular is strong. Nonetheless, “Wind Dance” is lighter than Cossu’s later works. Cossu and labelmate de Grassi explore music that will be familiar to listeners of the Pat Metheny Group recordings of the time.
Reviews at the time were deservedly positive. From Cossu’s web site:
“Cossu weds ethnic diversity to his natural style of ethereal piano. His enticing polyrhythms are fit for ecstatic dancing. A sparkling record.” – The Boston Globe
“Undoubtedly, Scott Cossu is one of the jazz luminaries of the future.” -Billboard Magazine
Recommended for Scott Cossu fans, Windham Hill collectors, or fans of Pat Metheny’s early work. Otherwise, look to Scott Cossu’s later recordings which are overall stronger.
Dan Reiter’s Biography from the 1981 “Passage” Album:
DAN REITER, CELLO
Dan Reiter, 29, has for the past six years been co-principal cellist with the Oakland Symphony. He attended the conservatory at Cincinatti University and studied with Jack Kirstein. In addition to his work with the symphony, Dan composes unusual chamber music – incorporating folk and jazz elements along with classical – for his trio of clarinet, bass, and cello.
Terrific compilation from the first fourteen Windham Hill Releases – or more specifically, nine of the first fourteen. By 1981, the musical direction of the label was crystal clear, with an emphasis on acoustic instrumental music. The blues/R&B party album by Kidd Afrika, the upbeat folk/pop of Linda Waterfall, and the vocal poems from Robbie Basho’s “Visions of the Country” would all remain footnotes from the label’s formation.
What remains is an excellent overview – missing only a track from Ackerman’s just released “Passage” or the essential “Impending Death of the Virgin Spirit.” The preponderance of solo guitar work is balanced by one long solo piano piece on each side – Bill Quist’s “3 Gymnopedies” on the first, and George Winston’s “Moon” on the second. This is also a master class in the subtle differences in styles of finger-picking guitarists, giving the listener a variety of techniques and tones – from the classically-tinged style of David Qualey, through the intensely soulful playing of Robbie Basho to Will Ackerman’s and de Grassi’s developing styles.
Sampler ’81 is well worth picking up; it’s a great overview of the early Windham Hill style, and some of the cuts are from the Qualey, Hecht and Basho albums which are hard to find and often collected only by completists.
Share your thoughts, memories or experiences with this album using the comments field at the bottom of this post.
In addition to the original artists’ performances below, you’ll note two excellent cover versions of the de Grassi and Ackerman tracks. De Grassi and Ackerman are good about sharing their tunings, and YouTube hosts dozens of performers who have learned the songs and uploaded their performances. It’s great to see that so many people who are touched by this music learn it and pass it on.
Bricklayer’s Beautiful Daugher – Ackerman
Santa Cruz – Qualey
3 Gymnopedies – Quist/Satie
Children’s Dance – de Grassi (cover version, but masterfully done)