Tag Archives: william ackerman

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

 

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

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 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.

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

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.

WH 1017 Michael Hedges Breakfast in the Field

WH 1017 Breakfast in the Field Hedges

Review

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.

Comments

Have a thought, memory or experience to share about this album or Michael Hedges? Leave a comment below.

Track Listing

Side One

  • Layover 2:30
  • 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

Side Two

  • Two Days Old 4:46
  • Peg Leg Speed King 3:20
  • The Unexpected Visitor 2:46
  • Silent Anticipations 3:23
  • Lenono 4:03

Samples

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.

The Happy Couple

Eleven Small Roaches

Baby Toes

Breakfast in the Field

The Unexpected Visitor

Silent Anticipations

Lenono

Credits

  • Michael Hedges: Guitar
  • Michael Manring: Fretless Bass
  • George Winston: Piano
  • All Compositions by Michael Hedges
  • All Selections Michael Hedges Music (BMI)
  • Administered by Windham Hill Music (BMI)
  • Manufactured by Windham Hill Records Box 9388, Stanford, CA 94305

©(p) Windham Hill Records 1981

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.

WHS C-1015 Windham Hill Artists – Windham Hill Records Sampler ’81

Review

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.

Comments

Share your thoughts, memories or experiences with this album using the comments field at the bottom of this post.

Track Listing

Side One

  • Santa Cruz 2:09
  • David Qualey
  • Soliloquy WH-1011
  • Glenwood Music Corp. ASCAP
  • Produced by David Qualey

Side Two

  • Produced by William Ackerman Except Where Indicated
  • ©(p) Windham Hill Records 1981

Samples

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)

Seattle – Ackerman (cover version)

Credits

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

WHSD C-1014 William Ackerman Passage

Review

A  musically and technologically transformative album, “Passage” is William Ackerman’s fourth release and the fourteenth  Windham Hill Records issue.

Musically, “Passage” represents a breakthrough for Ackerman. His prior album “Childhood and Memory” still showed the folk-music roots he learned at the side of Robbie Basho and John Fahey. Here, Ackerman recasts four of his earlier compositions into his developing style. By adding accompaniment from talented classical and folk performers the songs project nuances and colors that his solo guitar only implied. It also shows the direction of future many future ensemble albums.

After years of playing Windham Hill music for friends and family, I do need to say that there are those who simply find the pace and tone of this album depressing. I find it relaxing and fulfilling, but I’ve seen the response in enough people that it’s worth mentioning. I have the same reaction when I listen to Joy Division – it’s like a Dementor has entered the room. Music should cause an emotional response, and Passage does so beautifully, however, your response may vary.

Importantly, Ackerman released “Passage” right on the heels of  George Winston’s “Autumn”, giving the many fans of that album a natural step deeper into Ackerman’s vision of new acoustic music. The album clocks in at an all too brief 27 minutes – and each composition is a model of restraint and balance, making it seem even shorter. Nonetheless, this is an album well worth seeking out – the versions of the songs performed here are brilliant, and yet not the versions that have made it onto the Windham Hill compilations. If you like “Remedios” or “the Impeding Death of the Virgin Spirit,” these are the definitive versions.

Technically, “Passage” is important as one of the first purely digital albums released worldwide. Seeking to convey the music, Ackerman was driven to produce the finest audiophile-quality pressings, when audiophile was a term barely heard outside of a small group of passionate hobbyists. While early digital recordings often sound thin and etched in comparison to the best analog pieces, Harn Soper and the engineering team at the Music Annex avoided this. Rather the flat frequency response provides clarity. The vinyl, mastered by Stan Ricker at Mobile Fidelity Sound Labs and pressed by RTI of Camarillo sounds terrific, and perhaps the analog sheen provided by the vinyl works sympathetically with the early digital technology.

Fishman Transducers, in their customer profiles, shares their story of the formation of Windham Hill:

The label was regarded as an audiophile label, offering record pressings of far greater quality than the competition. Half speed mastering, standard at Windham Hill, was nearly unheard of in a competitively priced record label. The label experimented with vinyl compounds and a host of other innovations. SONY approached Windham Hill with the first digital processor in the US, the SONY PCM 1600 and Ackerman’s own PASSAGE LP was among the first purely digital releases in the world. Windham Hill became the source of the first digital simulcast and experimented with the first digital audio laserdiscs (winning Gold awards in Japan for a series of videos created in cooperation with Paramount Home Video in the US.

Comments

If you have thoughts, memories or experiences to share about this album, or have questions about its recording, we encourage you to use the comments section at the end of this post.

Track Listing

Side One

  1. Remedios 5:06
  2. Processional 3:46
  3. The Impending Death of the Virgin Spirit 6:02
  4. Pacific I 2:10

Side Two

  1. The Bricklayer’s Beautiful Daughter 3:49
  2. Hawk Circle 5:03
  3. Anne’s Song 3:31
  4. Passage 4:25

Samples

Remedios

Processional

Credits

  • Graphic Design by Anne Ackerman
  • Cover Photo by Jerry Marcaccini
  • Inside Photography by Ron May
  • Liner Photo by Anne Ackerman
  • All Compositions by William Ackerman
  • All Selections Windham Hill Music BMI
  • Manufactured by Windham Hill Records
  • Box 9388 Stanford, CA 94305
  • ©(p) Windham Hill Records, 1981

Liner Notes

Back Cover

I am most grateful to the musicians who composed and performed on PASSAGE, and to the many individuals who contributed their technical expertise to bring this audiophile recording about. The musical program of PASSAGE consists of eight pieces: four are new renditions of previously recorded compolistions while the others are recent compositions and previously unrecorded. Steel string guitar is the ocus of the album, but duets feature violin, piano, cello, and english horn hopefully add scope both to the musical program and to the range of tonalities highlighted by the digital recording process.

William Ackerman

Inside Gatefold

This album was recorded on the Sony PCM 1600 Digital Recording System. The guitar was miked in stereo with two AKG 452 EB microphones. A Neve 8036 console was used in conjunction with an EMT 240 stereo reverberation system. The control room monitors used were UREI 813 Time Align Monitors powered by a BGW amplifier and equalized through two White 1/3 Octave equalizers.

My thanks to Kellie Johnson who built the six-string used for the majority of this recording. My thanks also to Guild Guitars for providing the custom D-40-C heard in these recordings, Adamas Strings, and Gryphon Stringed instruments of Palo Alto for their careful work.

Darol Anger, Robert Hubbard, Dan Reiter and George Winston composed the parts they performed on the duets – Remedios, Pacific I, Impending Death of the Virgin Spirit, and Hawk Circle, respectively.

Other LPs by William Ackerman:

  • Turtle’s Navel 1976 C1001
  • It Takes A Year 1977 C1003
  • Childhood and Memory 1979 C1006

This album is also available on coassette CTC 1014 and audiophile cassette A CTC 1014.

Darol Anger, violin

Darol Anger got his start on the violin after hearing a strolling violinist play “Never On Sunday.” From there it was all downhill. He took up electric guitar in high school in an effort to become popular, but nothing happened so he turned to fiddling. Nothing happened then, either, but he stuck to it, screeching and scratching his way through countless oldtimejugrootsrockreggaebluesswing-bebop&showtune type bands. He was a founding member of the David Grisman Quintet, with whom he continues to play Dawg music and jazz nonstandards. Darol has released on solo album, “Fiddlestics,” on the Kaleidoscope label.

Robert Hubbard, english horn

Robert Hubbard has played oboe and english horn throughout the San Francisco bay area for the past twenty years. A member of the San Jose Symphony, and co-founded the Midsummer Mozart Festival, his musical tastes tend to be less than well-rounded.

The prospect of appearing on this album, however, has lured him from his insular habitat, the dank and musty depths of the classical concert hall, into the fresh air and sunlight of Will Ackerman’s inimitable music.

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.

George Winston, piano

Pianist George Winston’s first Windham Hill album, “Autumn,” has brought him instant acclaim and popularity throughout the country. His impressionistic music draws upon such diverse sources as Harlem stride pianist Fats Waller, New Orleans R&B progenitor Professor Longhair, jazz pianist Vince Guaraldi, and steel-string guitarist Alex De Grassi. George’s first recording, Ballads and Blues, 1972, was recently reissued on Lost Lake Arts.

Research Notes

Roger Prior

In a May 5, 1979 article, Roger Prior, listed here as the digital consultant, is referenced as the manager for Sony Digital products. The article goes on to reference the Sony PCM-1600 used here as the first digital recording device and a “foothold for Sony.” It also points out that jazz and classical recordings would be first to take up the technology because those idioms required no more than two-track recording, and that’s what the digital recorders of the day offered.

Mobile Fidelity Sound Labs (MoFi)

In 1980, Mobile Fidelity Sound Labs were really just coming into popular awareness with the recent releases of the “Original Master Recording” series of popular albums including Supertramp’s Crime of the Century and the Beatles’ Remasters. Today, they are widely recognized as the finest pressings available for any album. And yet, fundamentally, every Windham Hill album released from 1978 on was produced in substantially the same way by the same people who made Mobile Fidelity the pinnacle of vinyl pressings.

In the credits above, I linked to the current Mobile Fidelity site. Mobile Fidelity has remained an iconic re-issue label even after having changed hands and going through a turbulent business history. More information about Mobile Fidelity Sound Labs history here: http://www.mofi.com/store/pc/viewcontent.asp?idpage=14

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.

WHS C-1012 George Winston Autumn

WH 1012 Autum George Winston

Current Artist Web Site: http://www.georgewinston.com/

George Winston’s “Autumn” page: http://www.georgewinston.com/recordings/01934-11610-2.php

Review

“Autumn” is the second album by George Winston, and the twelfth album released by Windham Hill. This is the breakthrough release that propelled Windham Hill from small, passionate “folk” label to genre-defining, multi-platinum selling label, and for good reason.

In context of the label’s development, this was really just the first album with crossover appeal – Winston’s December and later, the Winter Solstice albums brought Windham Hill more and more into mainstream consciousness.

Autumn found an audience who had loved Keith Jarrett’s enduringly popular The Koln Concert from 1976, and wanted more. Indeed , there’s a fair resemblance in mood, artistry and overall feel. But where Jarrett was improvising, Winston wrote densely rich compositions that drew from folk, rock and classical influences into something new. Moods shift and tempos vary – giving  life to the otherwise serious nature of the compositions. Over the last 30 years Winston has continued developing his performances of most of the pieces here to great success. Few are the artists who can reinvent such iconic performances into something significantly better than the original, but Winston does it. Or maybe I’ve simply listened to the album to death – it’s been such a regular companion of mine that it’s difficult to find anything new in it. However, if you have only ever had a passing experience with Autumn, consider this an essential recording that will reward revisiting.

Like Alex De Grassi, Winston writes music that is meant to evoke a place. That he succeeds brilliantly is evidenced by the myriad people who post YouTube videos of snowy roads, high-def landscapes, and mountain creeks to the soundtrack of Autumn. For Winston, it’s Montana itself that’s the muse. Sure the albums have seasonal titles, but it’s the season as experienced in Montana.

Comments

If you have thoughts or experiences about this album, or have questions about its recording, please leave a comment, share a memory, or ask a question in the comments section below.

Track Listing

Side One: September (26:22)

  • Colors/Dance 10:25
  • Woods 6:47
  • Longing/Love 9:10

Side Two: October (20:16)

  • Road 4:14
  • Moon 7:44
  • Sea 2:42
  • Stars 5:36

Recorded Jun 19 & 20, 1980

Samples

First, visit the Dancing Cat (George Winston) YouTube page featuring “Woods”. It’s a pleasure to hear a new performance of this song.

  • Colors/Dance 10:25

  • Woods 6:47
  • Longing/Love 9:10
  • Road 4:14
  • Moon 7:44
  • Stars 5:36

Credits

  • All Compositions by George Winston
  • Al Selections Windham Hill Music BMI
  • Manufactured by Windham Hill Records
  • Box 9388 Stanford CA 94305
  • © (P) Windham Hill Records 1980

Liner Notes from the 20th Anniversary Edition

SEPTEMBER

1. Colors/Dance (10:25)

Inspired by the blazing yellow cottonwoods of Miles City and Billings, Montana, where I mainly grew up.

The middle section of improvisation over two chords was inspired by the great band The Doors (Ray Manzarek, Robby Krieger, John Densmore and the late Jim Morrison [1943-1971]), particularly the improvisation on two chords in the instrumental section ofLight My Fire from their first album in 1967, THE DOORS (Elektra). This section was also inspired by the modal improvisation over different sets of two chords by the late, great saxophonist John Coltrane (1926-1967). This style of improvisation appears in the middle of Coltrane’s version of My Favorite Things from the 1960 album of the same name (which also inspired The Doors) and his version of Greensleeves from the 1961 recording THE COMPLETE AFRICA/BRASS SESSIONS (Impulse!). Another inspiration was the Coltrane-influenced version by the great jazz organist Jimmy Smith, from his 1965 album ORGAN GRINDER SWING (Verve). I was also inspired by a similar improvisation by the late, great composer/guitarist Frank Zappa on his song Black Napkins, especially from hearing him play it live in 1975. He recorded it several times, including on his albums MAKE A JAZZ NOISE HERE (Rykodisc), FRANK ZAPPA PLAYS THE MUSIC OF FRANK ZAPPA––A MEMORIAL TRIBUTE (available from the family site at www.zappa.com), YOU CAN’T DO THAT ON STAGE ANYMORE VOL. 6 (Rykodisc) and ZOOT ALLURES (Rykodisc). His music has been very inspirational to me in general, especially his 1969 instrumental album HOT RATS (Rykodisk).

The Doors’ first album, which is like one long song from the beginning to the end, is the album that most inspired AUTUMN, which I recorded thirteen years later in 1980. Of all the composers whose music I love to interpret, The Doors’ and Jim Morrison’s songs have taken the longest for me to make them sound how I want—some have taken 34 years. I now play ten Doors songs at the solo piano dances I am currently doing, and I do a solo piano version of one of Jim Morrison’s songs, Bird of Prey, that he sang a cappella on his poetry album, AN AMERICAN PRAYER (Elektra). Jim Morrison has inspired and influenced my playing more than any other vocalist. (The Doors’ official website is www.thedoors.com.)

When I play this song live I now play it as a medley with Tamarack Pines, the song that begins my album FOREST. Colors/Dancewas composed in 1979.

2. Woods (6:47)

Also inspired by the trees in Miles City, Montana, which was built around the Yellowstone River in Eastern Montana. Composed in 1974.

3. Longing/Love (9:10)

Composed in 1975


OCTOBER

4. Road (4:14)

Composed in 1971

5. Moon (7:44)

The second half is influenced by traditional Japanese koto music. When I play this live I now play it with Lights in the Sky from the FOREST album. The first half was composed in 1973, and the second half was composed in 1979.

6. Sea (2:42)

Particularly influenced by The Doors. The introduction is inspired by the late, great guitarist and composer John Fahey (1939-2001). Composed in 1973.

7. Stars (5:36)

Inspired by composer Dominic Frontiere’s great soundtracks for the first year of the television series THE OUTER LIMITS from 1962-1963, some of which are on the soundtrack album THE OUTER LIMITS ORIGINAL SOUNDTRACK (Crescendo Records).

Also inspired by Russian composer Aram Khachaturian’s (1903-1978) Adagio, from the Gayaneh ballet suite of 1942 (which was prominently used in the soundtrack of the film 2001), and by Lullaby, from the same suite. Composed in 1973.


Produced by William Ackerman
Recorded June 19 & 20, 1980
Engineered by Harn Soper and Russell Bond (Stars)
Mastered by Bernie Grundman at Bernie Grundman Mastering, Hollywood, CA
Cover photo by Ron May
Design by William Ackerman

All pieces composed by George Winston
All selections published by Imaginary Road Music/Dancing Cat Music (BMI)

Special thanks to Henry Roeland Byrd (the late Professor Longhair), Thomas “Fats” Waller, the late Bola Sete, the late John Fahey, Alex deGrassi, John Creger, Steve Reich, Dominic Frontiere, Nels Cline, Russell Bond, Megan Corwin, the late Frank Zappa and the members of The Doors: Ray Manzarek, Robby Krieger, John Densmore and the late Jim Morrison

  • Vinyl pressings released as WHS C-1012; WH 1012.
  • CD released as WD 1012
  • Also released on BASF Chrome Cassette.

Research Notes

George Winston lives in Santa Cruz, CA and owns Dancing Cat Records. Dancing Cat promotes George Winston and published Hawaiian slack-key guitar recordings and concerts.

From The Music Annex web site:

We built and finished our first room, Studio A, in the summer of 1976. The other rooms were started shortly after that and we’ve eventually ended up with 5 studio spaces, Studios A, B, C and a Mastering Suite, as well as our Studio D, a converted video sound stage with an audio control room attached.

Our location turned out to have benefits we didn’t realize would be so instrumental to our longevity till later on. Being located smack dab between San Francisco and San Jose has given us a unique blend of clients both in the music and the corporate/advertising world. Before the dawn of “Silicon Valley” started to rise in the early 80’s our forte was “quality analog recording of acoustic instruments”, and many musicians became privy to our prowess at capturing the essence of performance by not letting technology get in the way of the creative process… getting the recording right the first time… and knowing when to let the “tape” continue to roll.

Progressive record labels like Windham Hill and SUGO Music, companies that became known for their unique musical artists and progressive recording techniques, found their way to our door. All of the important, early Windham Hill records, when their signature sound was just being defined, were recorded here: Will Ackerman, Alex deGrassi, Michael Hedges, George Winston, Scott Cossu and many others.