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

WHS C-1007 Kidd Afrika Kidd Afrika


Original Release Date: 1979

Current Artist Web Site: http://www.myspace.com/kiddafrika

Review

Kidd Afrika is the seventh Windham Hill Album and the first Kidd Afrika album. For the first 10 Windham Hill albums, I suspect William Ackerman subscribed to the “I only publish one kind of music. The good kind.” theory. In the first three years of giving Windham Hill a go as a business, he released three of his own solo guitar albums, a lovely folk/pop album by Seattle musician Linda Waterfall, another solo guitar album by his cousin Alex De Grassi, and this immensely fun R&B/Blues party album by Kidd Afrika. This music is great fun. Really. Buy it now and put it on repeat at your next party. Don’t have a party planned?  Schedule one just so you can play it and have a great time.

Track Listing

Side One

  1. I Believe in You Don Davis (Groovesville Music, MI) (3:25)
  2. Handouts T. J. Politzer (KiddTunes, BMI) (3:50)
  3. She’s My Lady T. J. Politzer (KiddTunes, BMI) (5:25)
  4. I’m Gonna Be More T. J. Politzer (KiddTunes, BMI)(7:42)
  5. Spread the News Around Sonny Terry (Prestige Music, BMI) (2:13)

Side Two

  1. Don’t Mess with Mr. T Marvin Gaye (Jobete Music Co. ASCAP; and 20th Century Music Corporation, ASCAP) (6:20)
  2. Take the Bait T. J. Politzer (KiddTunes, BMI) (5:26)
  3. Marmalade and Jam T. J. Politzer (KiddTunes, BMI)(4:00)
  4. Apologize T. J. Politzer (KiddTunes, BMI) (3:19)

Credits

BACK COVER

  • Produced by Ned Neltner and Kidd Afrika
  • Engineered by Tim Rock at the Music Farm, Seattle, Washington, except for I BELIEVE IN YOU Engineered by Ron Gangnes at Kay Smith Studios, Seattle Washington
  • Mastered by Ken Perry at Capitol
  • Photos by Fred Milkie Studios in Seattle
  • Cover by Jack Nesbitt and David Imanaka
  • Insert by Jack Nesbitt
  • Released through Windham Hill Records, Box 9388 Stanford, CA 94305
  • Management by Don V. Ball 815 N 45th St., Seattle WA 98103 (206) 632-9690 and Ivan Buchbinder, PO Box 601 Bellingham, WA 98225 (206) 734-1435 — PLEASE NOTE THESE NUMBERS WERE PRINTED IN 1977AND LIKELY NOT CURRENT.

INSERT

(Includes complete lyrics, and the following additional credits)

THE PLAYERS

Teddy Joe Politzer

Lead Vocal, lead electric and acoustic guitars, vibes on TAKE THE BAIT, mandolin on MARMALADE AND JAM.

Larry Ryan

Electric and acoustic rhythm guitars, vocals.

Donny Morrow

Drums, percussion, vocals, Fender Rhodes piano on DON’T MESS WITH MR. T.

James Lilly

Fender Bass, vocals.

Peter Moss

Tenor and alto sax and horn arrangements on I BELIEVE IN YOU, I’M GONNA BE MORE, and APOLOGIZE with the West Seattle Horns, Ned Neltner on coronet and Les Clinkingbeard on baritone.

All selections published by KiddTunes ©1978, BMI except for SPREAD THIS NEWS AROUND, (Sonny Terry), Prestige ©1962, BMI; DONT MESS WITH MR. T, (Marvin Gaye), Jobete/20th Century Music Corporation ©1972, ASCAP; I BELIEVE IN YOU, (Don Davis), Groovesville Music, © 1973 BMI.

Used by Permission. All Rights Reserved.

We dedicate this project to our friends and fans in appreciation of all their help, support, and inspiration. Thank You All. Donny, Larry, Teddy Joe, James.

Additional copies and other releases are available through Windham Hill Records.

Notes

Kudos to the kids of the band members; they have made the album available digitally and set up a MySpace page. The album is available for listening and downloading from the Kidd Afrika page on Rhapsody. It’s also available at the Amazon MP3 store, and a few other sources, so pick your poison. Sure, the quality of the MP3 stores isn’t quite HDTracks quality, but hey, it will do until the unlikely event the album is re-issued.

In a 2016 Facebook post, Ackerman added some details about this, and the othe early Windham Hill instrumental title, Kidd Afrika: “Linda Waterfall (Mary’s Garden) and Kidd Afrika were personal choices of mine … Linda was at Stanford with me and was close to JB White and Frank Light (the “White Light Band”) who were as good as any duo on the radio at the time…. no, I mean REALLY as good as anything on the radio at that time. Linda was equally brilliant …. Kidd Afrika included Larry Ryan who was a faculty brat like me… his dad was in the English Dept. at Stanford along with my dad and a lot of memories include Larry.”

Recorded at the Kaye-Smith Studios in Seattle – from Wikipedia: Kaye-Smith 1969-1982 – Kaye-Smith was a joint venture between actor/comedian Danny Kaye and businessman Lester Smith. Kaye-Smith owned several radio stations includingKJR, the dominant AM top 40 station in Seattle during the 1960s and 1970s. Together, they also owned Seattle’s Kaye-Smith studios (where records by HeartSteve Miller andBTO were recorded), Concerts West (with Pat O’Day, a booking and promotion company that handled Jimi HendrixLed ZeppelinBad CompanyEaglesPaul McCartney, and others); and were original owners of the Seattle Mariners baseball team.