Posts Tagged Robert Rich

2015 in Review: Many Seeds Got Planted

This year’s composition and recording trajectory might best be described as an ellipse. The two focal points were (1) my two live shows in June and July, and (2) an 8-day recording blitz in August. Everything gravitated around those two periods.

I usually take advantage of the statutory holidays from January to May to spend time in The Keep, and that’s when much of a year’s composition work gets done. Somehow, that didn’t happen this year – but I’ll do my best to rectify that in ’16.

This year, it took the two summer performances to get my composition mojo going, with some surprising results. I started each show with a trio of solo guitar pieces, beginning with First Day Apart, and concluding with Fading Angel (which opens the next album, and which was born as a post-First Day Apart live improv), with a new improvisation in between.

Imagine my delight when the two performances, and two rehearsals, yielded three releasable versions of this new improv piece! It was clear at once that an album of solo guitar improvisations should be compiled, which is already nearly half-done. I’ll try one on the 12-string, and one on the fretless, and one on the mandolin…

My wife Dasi, whose photography graces the Divinations and Memory Palace albums, took a bunch of great photos of an early-November sky over Lake Michigan, with the color schemes changing constantly. So, artwork for the improv album is already in hand.

Another releasable artifact from these shows is a riotous version of Rebuild From Memory, which has cemented my resolve to put together a live album someday.

Dasi went camping with friends for two weeks in August. Thus freed from any obligation to keep our apartment fit for civilized habitation, I hunkered down in The Keep and recorded four pieces (about 65 minutes’ worth of music) in eight days. Three of them are for Album 4: Souls Adrift, in Disrepair.

The fourth piece is for a singer friend of mine, and I’ll put the finishing touches on that after she sends it back. That is simply going to be amazing. She’s a terrific singer whom I’ve wanted to work with since I discovered her ten years ago.

Another piece for the Souls Adrift album was written and mostly recorded a few weeks later, so only one piece remains to finish that album. It’s written and just needs to be recorded.

So… what’s the plan for 2016? The answer was somewhat simplified when, in the past few months, I made a critical decision that was a long time coming: after the albums in progress, all new solo work will be written in Just Intonation. A liner note on a Robert Rich album opened that door for me some years back, and I’m finally stepping through.

That has really tightened my focus, which is always a good thing. Some contemplated projects have necessarily fallen away. The Concerto for Ambient Orchestra, in which nearly a dozen of my peers had expressed interest in participating, will now be a solo project – hopefully before 2040…

Another project simply ran out of gas: the covers album I had planned since 2010. Hope remains for three of those pieces, though: one is Arvo Pärt’s Fratres, though I’m still struggling with trying to arrange it for one guitar. Some of those chord changes are simply crazy. The other – and more likely – one is… big secret. It’s going to be a riot, and probably a standalone release. Luckily for me, the original music is in the public domain now. The third one is another work in progress, which I hope will make it onto the live album.

All my dreams of classical prestige have bitten the dust, although if some ambitious string quartet or choir should take a shine to me…

Of course, collaborations will be exempt from the JI Directive. Chris Russell and I knew long ago that we wanted to make a second album. It won’t be Memory Palace II. That’s just a matter of finding one more burner on the stove. Another duo with a new collaborator is still at the hopeful stage.

So, 2016 will be mostly about finishing work in progress. Barring something unforeseen, Album 5 will be the Guitar Improv album, and Album 6 will be an initiation/journey story project, inspired by a workshop I played three years ago, which could grow to a double-CD. I entertain grandiose hopes of recording at least some of that in a large church (and using their pipe organ). Album 7 includes the collaboration with the singer, and maybe another guest artist or two. Those albums, hopefully culminating in a live release, will mark the end of a phase – my solo Equal-Temperament composition phase and, hopefully, my recording apprenticeship.

Hopefully before 2040… because the JI World is beckoning, and it promises to be even more exciting than everything that’s happened so far.

2015 was also a stellar year for hearing some of my musical heroes play live, and meeting them for the first time. That would be Steve Roach (twice), Robert Rich (whom I finally met properly at my third concert of his), and long-time Americana idols Eric Tingstad & Nancy Rumbel. Much gratitude for their endless inspiration.

I also got to hear prog-rock demigod Steve Hackett for the first time, a few weeks ago, and hope to do so again. I don’t listen to much rock anymore, but he’s always been one of the cats…

Happy 2016 to all!

GM in Keep, Dec 27-15

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The Receding Horizon: 2012 in Review

Three things are inevitable: death, taxes and year-end reviews…

2012. What a year it was! And it didn’t end early, after all…

First of all, many thanks to everyone who supported my musical explorations this year. Whether it was attending (or helping facilitate) a live event, spreading the word, keeping up with the music online, or whatever – y’all know who you are. Muchas gracias!

This year, I played my first live shows (six in all), which were a major learning experience, significantly changed the way I set up my gear, and yielded one album’s worth of finished music and a second album’s worth of work in progress.

In November we finished recording for the first album, The Separate Ones, completing a nearly seven-year odyssey. I expect to release it (on CD and by download) in late January. There will be a CD Release party at Royal Coffee in Chicago, and a streaming feature on StillStream (details to follow when ready).

In early November, I revisited the recordings of my live show on April 1, the multimedia jam with art painters Royce Deans and Tali Farchi, and determined to release them on yet-to-be-titled Album #4. The recordings need remixing and perhaps a few added brush strokes. Hopefully the entire art package will be Royce & Tali’s work.

With most of 2012’s studio time involving preparation for live events, the only finished compositions to emerge this year were Darklight Canon, which will be included on Album #4, and Snowdance in Starlight, which appears on the Free Floating netlabel’s third Christmas/winter collection, all|is|calm 2012.

In other compilation news this year, my early piece Last of His Breed made it onto two Sound For Good compilations: Oceans and S4G-Mix-I. The latter was a survey of the label’s entire output to that point, so being included was quite a feather in the old cap. Many thanks to Jack Hertz and Crazy Dymond, respectively, for choosing it! Last of His Breed was the last (and my favorite) of four formative early jams which launched my ambient journey in spring 2004.

Mini Djembe and Thunder Tube

Besides changing significantly in its arrangement, The Keep acquired some new gear this year: a Roland Loop Station, djembe, clay pot drum, mini-djembe, thunder tube, claves and a big loud shaker. I also picked up a couple of baskets for rocks and Go stones, cut five new claves from downed branches, made one shaker out of locust bean pods and another out of plastic curtain rings, and bagged fallen leaves for sampling. Many thanks to John Briggs for the loan of a mini-darbuka.

Now it’s time to be a studio hermit for a few months, so I can get some albums finished.

New Toys Dec 25-12

L-R: Centipede, Loud Shaker, Locust Bean Pod Shaker, unfinished Claves

So far, the best-laid plans for 2013 shape up something like this:

Pastimes of Creation, the Keshava-Lila trio album, just needs one more bit of recording. I hope to release it in mid-March.

Memory Palace, a collaboration album with Chris Russell (for which half of my parts are done), for the Relaxed Machinery label.

Album #4, which will be submitted to rM.

By this time, it should be spring (at least), at which point I’ll come out of the cave and play a home concert – at my place. If all goes well, the program will be six improvised pieces from the two September shows, which I hope to have worked up into final form. Those pieces should be Album #5. Highlights of their gestation can be heard on my Events page.

Album #6, Nuances of Illusion, with violinist Ezra Azmon (who tears it up on Like a Riven Cloud from The Separate Ones) providing source material for recycling. These last two will probably be released on my Kalindi Music label.

Then – after a short vacation – work on the long-planned covers album will begin the next phase.

Some compilation pieces and guest appearances are also in process:

Butterfly Effects, the James Johnson recycling album on rM, is cued up for release early in ‘13. My piece Two Fractured Mirrors is included, along with pieces from Altus, Disturbed Earth, Scott M2, Northcape and othersI also dreamed up the album’s title and acted as Info & Project Manager.

I’ll have pieces with Chris Russell (Particles and Waves) and Peter James (in progress) on the second rM artists’ comp, inFUSE, which title struck me through a nice dialogue with John Koch-Northrup and Steve Brand.

I’ve submitted a piece, Radiant Perception, for the Free Floating compilation a.m. If it makes the cut, a.m. will be the fourth Free Floating collection to include a piece of mine. Radiant Perception was the immediate follow-up to Exquisite Divination of Patterns (from Conception), and these – along with Crystalline (from all|is|calm 2011) – form a clearly-bound trilogy of softsynth pieces.

So far, the only live events I’m contemplating for ‘13 are a repeat at Daley Plaza and hopefully expanding the Carving Through Shadow workshop into an all-day deep dive. I’m always open to offers, of course…

Finally, as usual, it was a great year for music from my peers. In December alone, Steve Roach, Steve Brand and Max Corbacho all released awesome new work, to end the year on a high chord. Other releases of note came from Robert Rich, Lucette Bourdin, Andrew Lahiff, Chris Russell and Peter James. Low Volume Music by Steve Roach & Dirk Serries (returning from a ten-year hiatus) was the year’s coolest surprise and a major highlight.

Bring on the lucky ’13!

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