Synopsis
Marcel and I met back in 87 and we have been working together since. His technical wizardry and wonderful musicality allowed for a symbiotic collaborative relationship. He has been a wonderful collaborator and great friend.
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I met Peder back around early 90's , he always struck me as a highly intelligent, creative renaissance man who plays brilliant harp. I recorded him, on tracks on a few projects and each time I have a composition where I hear a spot for a harmonica, I try to find him wherever his teepee is anchored.
At times , I think him born in the wrong era, meaning that I see him as a native, hunting, gathering, living off the land. He has a great touch with the brush as well, wonderful artist who capture scenes of the natural world. While crafting this piece, it naturally lead into a section that begged for a harmonica solo, thus Peder did his thing, let those blown notes soar with the piece, really breathed sunshine into it. |
Robert and I met back in late 80s. Plenty of ja sessions, musical events and recording sessions. I'd like to think that as I went through my musical journey, Robert seem to always be in the periphery. He played in my masters recital that was perhaps a apex in that journey. He has been a musical brother since.
We ran into each other in Chico co-op and I came to find out that he was moving into a town rather close to where I was,
This was the the beginning of a musical adventure. Robert wasn't only a versatile musician, he is a builder. He built a creative space where we could push envelops and explore sonic territories.
While crafting this piece , the first configuration was an acoustic bass and his percussion. We have know each other so well musically after decades of musical kinship that his touches nourished the piece into form as he has with many pieces we collaborated on.
We ran into each other in Chico co-op and I came to find out that he was moving into a town rather close to where I was,
This was the the beginning of a musical adventure. Robert wasn't only a versatile musician, he is a builder. He built a creative space where we could push envelops and explore sonic territories.
While crafting this piece , the first configuration was an acoustic bass and his percussion. We have know each other so well musically after decades of musical kinship that his touches nourished the piece into form as he has with many pieces we collaborated on.
I met Hoytus some years ago and we have been playing together since then. I have never met another guitarist that complimented my style as well as he does. I think it is because of his accommodating nature that allows the space that him and I give each other.
At times on recording as we always record our jams, I sometimes could not discern who is playing what as I sometimes hear is approach and phrasing so similar to mine.But we are distinct enough to keep it interesting. We always seem to hit a groove and be in a zone. particularly in improvised sections. I love playing with this wonderful musician. For this piece, neither of us are playing our main instrument, me on a banjo, him on acoustic bass. |
I once said to Gordy."just saying your name has a melody to it.." We met in late 80's and I knew then I was in the presence of a special soul. As I was into martial arts like him, we had many things in common. Although my musical path was charted in different directions, we found points of intersection. He was kind enough to lay tracks on recording projects. One favorite memory was in an incredible musicians party. There must have been 20 guitarists jamming outdoors under the trees. Then as the party went on, guitars were scattered in the grass abandoned as others frolicked about. Then it got a bit darker and louder. Gordy and I met at the spot , we both were retrieving our instrument to put them away in their cases. He then said to me, "Have you ever heard the sound of a guitar being stepped on, breaking? It's the most horrible sound.." We had a good laugh. We saw each other and connected at music festivals and have alway wanted to do a project with him. When I was gifted this 1921 tenor banjo, I knew not much of the instrument. I knew I had to reach out to the banjo-ologist. He shared knowledge he was passionate about. So when I crafted this composition, I really wanted Gordy to be part of it, with time, distance and other constraints , and although I wanted hi m to play though the whole piece , the piece naturally segued to a cool section with his banjo playing along . I also spent an afternoon on their sanctuary by the creek, talked about real things, explored the banjo, played some, then recorded sound and vision~ a great exclamation for this piece.
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