Willow is Daniel Hecht’s third album, after Guitar (1973) and Fireheart/Firewater (1977), and the thirteenth album in the Windham Hill discography. Willow is a pleasant laid-back guitar album. Compared to the breakthrough compositions that Ackerman, De Grassi and Basho were releasing at this time, it is much more conventional in style. It also takes a different tack than David Qualey’s classically-informed “Soliliquy.”
Most listeners, this writer included, will find “Willow” unexciting in comparison to the work of his label-mates. Nonetheless, there is much to recommend here. Hecht’s playing is confident, with a good sense of space and timing. His compositions are familiar and unchallenging. But I’ve learned long ago that there are many who will cherish the simple, even simplistic, art over the more technically complex. Sometimes that person is me – I’d be more likely to play “Willow” when others are around than Robbie Basho’s albums – though there’s no doubt that Basho’s intense artistry outclasses Hecht’s competent but modest charms. Indeed, “Willow” will be a pleasant diversion for the completist collector; but hardly worth pursuing to the ends of the earth.
Hecht never released another Windham Hill album, though “Willow” continued in print for many years. In 1989, he gave up playing guitar to take up writing, where he has had much success. As Hecht tells it on his site:
“A medical condition affected my hands and made playing pretty impossible. Giving up the guitar was tough, but I’m glad I did. For one thing, my compositions were very “athletic,” requiring constant practice – time-consuming and boring. And I just couldn’t get as good as I wanted to be I played a lot of concerts with terrific musicians like Alex De Grassi and Michael Hedges, and after a while I realized I didn’t have the level of talent. But I feel fortunate to have been deflected into writing. Telling stories comes naturally to me, and I seem to have an endless well of ideas, observations and interests to draw from.”
If you have thoughts, memories or experiences 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.
“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.
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.
Photographs and quotes used by permission of David Qualey
Review
David Qualey’s Soliloquy is the guitarist’s third album, and the eleventh Windham Hill release.
David describes himself as a classical guitarist. But he’s one who idolized Chet Atkins, played guitar in casino halls and folk-rock groups before moving to Germany to make a living as a guitarist. His varied background shows on Soliloquy. The solo guitar compositions, all his own, are clearly influenced by classical guitar – but have a compositional freedom that is at once immediate and timeless.
Owners of many of the Windham Hill reissues will immediately recognize the track “Santa Cruz” which captures the funky and cheery nature of the California beach town. The rest of the album is full of surprises – humor, delicacy, and grace are all present in turns throughout the album. The one emotion missing: plaintiveness, that beautifully aching longing that so impregnates a William Ackerman album. Here, Qualey’s work is beautiful, but fun, friendly and full of heart.
In his biography, Qualey tells of how Soliloquy came to be:
“It was in 1979 that Will Ackerman of Windham Hill Records in California heard of my music and wanted to get something of mine out on his new label. He got in touch with me and asked me to rerecorded the pieces from my Stockfisch album Only Guitar, which I did in my new studio, and delivered it personally to him in Palo Alto. This LP/CD was titled Soliloquy and was to be the one and only complete solo LP/CD of mine with Windham Hill.”
Qualey had just built his own recording studio and the quality is extraordinary. The recording and mastering by Stan Ricker pay off in an album that’s dynamic – capturing the gentle nuances and full power of Qualey’s playing. There is also enough detail to satisfy those who want to hear the zing of the guitar strings as well as the harmonic resonances of the body.
Because Qualey never recorded another Windham Hill album, I overlooked this entry into the catalog for years, to my loss. While it represents a stylistic twist from the De Grassi/Ackerman albums, it’s one that will appeal to virtually every fan of the rest of the label’s output.
Says Qualey, “I was featured on several samplers over the coming years but we just never could agree on the music content for a second LP/CD. Windham Hill had achieved considerable success by the early 80’s and had their idea of what type or kind music they wanted to present on their label. Being that my LP’s were always a mixture of musical moods, which was my idea and way, I did not like someone else mixing into my LP creations. I think you get the picture? Ackerman and I just couldn’t meet at the same place on the street…, so we just each left it at that. He went on to become a super successful businessman and I remained a guitarist living in Europe.”
Highly recommended.
Track Listing
Side One
Opus 20 3:29
Homfeld Suite 3:42
Opus 21 2:34
Opus 19 3:22
Opus 18 2:09
Opus 22 3:47
Side Two
Norwegian’s Fantasy 2:27
Solo for Strings 3:00
Santa Cruz 2:09
Soliliquy 2:12
Sylvia’s Waltz 2:36
Sunset 4:09
Samples:
Opus 20
Homfeld Suite
Opus 18
Santa Cruz
Credits
Produced by David Qualey
Recorded by David Qualey, Dehmke, West Germany, 1979
“This American Classical Guitarist now living in Germany manages to inject leagues of emotion into his already superb compositions.” Dan Forte, Guitar Player
Stockfisch features other David Qualey releases in their current site.
Dan Forte is editor at large for Vintage Guitar Magazine. From his spoke.com biography: Dan Forte grew up in Northern California, listening to his father’s Chet Atkins and Barney Kessel albums, along with his older brothers’ 45s of Elvis, Chuck Berry, and Buddy Holly. Duane Eddy and the Ventures were his earliest inspirations on guitar, which he took up at age 12. By the time he graduated from Stanford University, he was already freelancing for Guitar Player magazine and joined its editorial staff in 1976. In 1983 he toured with the original Ventures, subbing for Don Wilson on rhythm guitar for two weeks. An ASCAP/Deems Taylor Award winner for excellence in music journalism, Dan has interviewed such legends as Frank Zappa, Eric Clapton, Buck Owens, Jimmy Reed, George Harrison, James Jamerson, and Carlos Santana for Rolling Stone, Musician, and numerous other publications, and annotated albums by Eddy, Tony Rice, Stevie Ray Vaughan, Tommy Tedesco, and Albert Collins, among others. He currently lives in Austin, Texas.
“The Art of the Acoustic Steel String Guitar” is the tenth Windham Hill release and the eleventh album by the artist. Because it varies somewhat stylistically from the direction that future Windham Hill albums would take, the label re-issued it under the “Lost Lake Arts” imprint as LL83.
Basho was a brilliant guitarist whose goal was to make the steel-string guitar an serious concert instrument. His work, more than others influenced William Ackerman as a guitarist. The music is admittedly and acquired taste for most, but repeated listenings will reward any who have interest in compelling and intense musicality.
Track Listing
Side One: 26:35
1. THE GRAIL AND THE LOTUS 6:36 – A Neo-Gothic construction for six string, combining East and West.
2 CATHEDRALS ET FLEUR DI LIS 7:00 – A 12th century French cathedral in the province with gardens, flowers and birds. Now comes a rainstorm, and hear the organ sounding within the church. After the rainstorm, doves flying from the cathedral windows, adn the immortal chimes.
3. PASHA II 6:33 – Islamic Hymn for the Goddess of the Rose
4. A STUDY FOR STEEL STRING 2:59 – Vivaldi and trumpets for six string guitar.
5. ACKERMAN SPECIAL 1:16 – German Rococo
6. APRES MIDI AMERICAN 1:56 – Nature Mood
Side Two: 24:42
1. VARIATIONS ON GRIEG 5:02 – A romance for six string in C tuning (the Sun Tuning)
2. SCOTTISH RITES4:38 – A study for 12-string thinking of Vaughan Williams
3. PAVAN INDIA 7:11 – A mini-raga for 6 string
4. VARIATIONS ON EZUMI 4:03 – A guitar piece based upon a them by Kemio Ito
5. VARIATIONS ON CLAIRE DE LUNE 3:36 No one can ever match the Claire de Lune by Presti and La Goya ( a husband and wife team on Nonesuch) but I thought this 12-string version was a good way to end the evening.
Credits
Coming Soon.
Liner Notes
It was in 1972 that I first heard Robbie Basho. Since that time I’ve been to hundreds of performances, but very few are as carved in my memory as that one. Only 50 or so people were in that tiny Berkeley rehearsal hall. I’d reviewed Robbie’s “Song of the Stallion” for Guitar Player Magazine, and he wanted me to hear hmi live. Frakly, I went to the concert out of courtesy. But I left a believer.
Robbie’s music has a way of totally captivating listeners, of enabling use to transcent our troubles, our daily concerns. We find ourselves in places we’ve perhaps never been, in times we probably never saw. WE get to experience those places and times, not with music that recreates bubbling brooks or galloping horses, but iwth performances that let us feel what Basho calls the “theatre” of America or India or generations poset or those to come.
The great classical guitarist, Andres Segovia, spent three decades before he was able to create a concert following for the solo guitar. Similarly, Robbie Basho is working to develop such an audience for the American steel string guitar. For nearly twenty years he has been touring the world to assimilate its diverse musical forms and instruments into his own approach toward the 6- and 12-string guitars. “My main desire,” he says, “is to establish the steel string as a concert instrument indigenous to America. To this end, Basho has refused to compromise his art in any way.
“Slow Circle” is Alex De Grassi’s second album and the ninth album released on Windham Hill Records. For this album, Ackerman commissioned liner notes by Tom Wheeler, which I will only second here because they so perfectly capture this album. See the full piece below.
The mood is classic Windham Hill. Where Ackerman tries to capture a mood directly, De Grassi writes songs to capture a sense of place: rural, but not necessarily grand places with natural beauty. “Causeway” is really about the causeway going over the Great Salt Lake in Utah. Klamath is really about Klamath in Northern California, and so forth. This makes his songs less poignant, overall, cheerier and more relaxed.
The sound quality is faultless – recording again by Harn Soper at the Music Annex, the recording doesn’t cast a soundstage – rather it puts you almost in the position of the guitarist himself. The reverberant body of the guitar is constant presence, and obviously a well-considered part of De Grassi’s playing.
Alex DeGrassi is an acoustic guitar impressionist. At the heart of his music is an aesthetic sensibility that embraces both the beautiful and the abstract. His songs are at once enjoyable and provocative, combining classical harmonies, the deceptive simplicity of various ethnic and folk musics, and a freedom from convention befitting a jazz composer.
SLOW CIRCLE is especially communicative, for at every turn it hints of an accumulation of experiences worth sharing. Alex’s poetic intuition is acute, imparting to SLOW CIRCLE a visual suggestiveness, a timeless quality evoking not just rain or snow, but dreams of rain, memories of snow.
There is much variety here, though not in the usual sense of a guitarist displaying his facility with various established styles. Rather there is a single, cohesive style, a new voice. The strong tonal anchor of each piece is explored in a variety of ways, encompassing a variety of moods – intense and serene, cheerful and introspective, romantic and invigorating. There are delicate minuets that lilt and twirl, meditative tone poems, and thematic, self-accompanied melodies, all punctuated with deft harmonics.
Alex’s compositional hallmark is his special gift for the unexpected – the chordal twist, the elegant juxtaposition. Instead of ignoring classical harmony and consonance, he filters them through his own perception and presents a new harmony, a new consonance. He can tinge an original melody with the echo of a childhood favorite, a fusion that brings to mind Samuel Johnson’s remark about the poetry of Alexander Pope: “New things ar made familiar, and familiar things are made new.”
Alex fingerpicks a clear and bright sounding steel string guitar. Like his compositions, his playing is sensitive and inspired. Staccato flurries are executed with confidence, and the dense, blurry-fast arpeggios are as stunning for their articulation as for their speed. Poignant passages are played with grace, and Alex’s attention to detail, his appreciation for nuance, pervades every corner. In short, his technique is potentially virtuosic, scary, the kind that shoves fellow pickers to the cliff of decision: should I practice like a madman, or chuck it all together?
With SLOW CIRCLE, Alex DeGrassi establishes his artistry in the first moments of the first piece, and there soon emerges an identity so distinct and so inseparable from the songs that it’s hard to imagine another guitarist attempting them. There is a good chance that SLOW CIRCLES’s energy will take you in, that its eloquence will speak to you, and that its lingering spirit will bring you back.
“The Piano Solos of Erik Satie” is the eighth album released by Windham Hill and the only album released by Bay Area pianist Bill Quist. While this is the only classical album released on Windham Hill, you’d be excused for thinking these solos were written in the months prior to recording – or 400 years before that. They are minimal and modern in conception, and yet with an irreducible simplicity that sounds timeless. Satie gained fame primarily through the orchestrated arrangements done by his friend, composer Claude Debussy. Here, stripped of any ornamentation, the pieces are riveting and yet mesmerizing. You must pay attention but can’t help drifting into the repetitive, percussive nature of the compositions. Anyone who has seen the Megalovania Sheet Music will notice a similar contemporary feel to this unique album.
For his part, Quist performs the works with sincerity but no sentimentality. Because of this, pieces like the well-known “3 Gymnopedies” are pretty, even beautiful without being precious or sappy. The artist Henri Matisse said he wanted his art to be “like a comfortable armchair to a tired businessman”. That is, it should provide comfort, a pleasant rest and full engagement. It should refresh and rejuvenate the mind. While this ambition seems limited, in many ways I believe it to be the highest form of art. Why should all art be challenging? There is a place for art to challenge; there is also a place for art to affirm life or allow for meditation or at least pleasant contemplation. This is the function of this album – music that is engaging, with moments of beauty. However, the album can also fade into the background because of the repetitive nature of the compositions, Quist’s metronomic timing, and the gently pulsing dynamics of the performance.
This was the second Windham Hill album recorded by Harn Soper at the Music Annex (De Grassi’s Turning: Turning Back being the first.) Soper close-miked the piano – and perhaps because of this a good deal of the natural harmonics of the piano come through. These harmonics – without the natural reverberation of a concert hall may also contribute to the direct, immediate and unsentimental nature of the recording.
Highly recommended.
I’ve not found any online samples of the album, but below is a good version of the first of the Gymnopedies. Music starts at the 35 second mark.
2019 Edit:
In the Windham Hill Lovers’ Facebook Group, several members were rightly praising this album. Will Ackerman commented:
“When all is said and done, Erik Satie is the center of my musical world. When I’m asked about influences in my musical life I cite Erik Satie, a pianist, over any guitarist. The stark simplicity of the pieces magically create harmonies I’ve never heard elsewhere in my life. It was Eric Satie who gave me permission to strip my own pieces down to their essential elements. I have been talking of late about doing a new Satie recording…. I’ve learned so much about piano since recording the Satie recording with Bill Quist. With our piano at Imaginary Road, our mics and Tom Eaton’s brilliant and unique approach to recording piano, I think we can offer something really brilliant. We are just waiting for our new piano stools to arrive before we resume recording the final parts. I owe Sarah Clebsch (who I’m still in touch with) for playing me Satie when I was (I think) 17. That experience utterly changed my life and offered a perspective on music that had much to do with what Windham Hill became.”
Credits
Many thanks to Will Ackerman, Harn Soper, Bill Armstrong for the use of his piano, Frances Stewart, Barbara(s)/Chevalier/Pace/Kafetx/Th.Dorothy Cheal, Hank Dutt of the Kronos Quartet, Starbucks, Club Mardi, Louis Magor and Kathy Smith. My love to PRC.
We have purposefully avoided much that is regarded as standard in the recording of solo piano. Unlike most recordings of this nature, we chose to record not in a concert hall, but rather in the studio using contemporary close-miking techniques. We feel that the sense of proximity to the intrument and pianist achieved in these recordings will add enormously to the listener’s appreciation for both the subtleties of the piano itself and for the nuances and dynamics of Qilliam Quist’s interpretation of Erik Satie’s music.
Two Neumann U 87 microphones were placed within twenty-four inches of the soundboard of a nine-foot Mason-Hamlin. Only a slight equalization curve was applied to the signal so as to preserve the natural overtones of the instrument. The recording was made on an MCI recorder/reproducer at 15 IPS using dbx noise reduction. WILL ACKERMAN/HARN SOPER
William Quist was born in 1951 and began his musical studies with his mother. More advanced training began with Charles Wilson of Michigan who prepared Quist for his eventual five-year enrollment in the Interlochen Arts Academy. He attended college for several years, but found it more valuable to receive coaching and the practical experiencee of freelance performing. He has worked with Noel Lee in Paris, and with Ned Rorem and Rosario Mazzeo of the Boston Symphony. Since moving to the San Francisco Bay Area eight years ago, Quist has concentrated primarily on the repertoire of Chamber Music. He is an adept accompanist, and works regularly with fellow pianist Richard Sechrist in teh duo of Sechrist and Quist. Quist’s performances have been extensive on the West Coast, including broadcasts on San Francisco’s KQED-FM and appearances with the San Francisco Symphony. This is William Quist’s first recording.
About Erik Satie
With the possible exception of Charles Ives, there is no more enigmatic figure in the music of our century than Erik Satie (1866-1925). But while Ives has in recent years been dusted off adn dubbed a Major Composer, Satie has remained if not peripheral at least overshadowed. Both musically and historically he looms too large to ignore; and he is too peculiar, his oevre too small, to command a place in the standard repertoire alongside his contemporary and friend Debussy. Satie’s music seems almost to resist assimilation or easy acceptance. It does not beguile. yet as you listen to this record you may find the music reaching you in unexpected ways. Its magic is subtle, but once you have imbibed Satie’s Apollonian nectar, you may find the champagne of Chopin and Brahms’ heavy lager less fulfilling draughts.
The man from whom this reticent yet compelling music came forth was born in Honfluer, Normandy, of a French father and a Scottish mother, and spent his adult life in Paris, where he earned a meager living as a cabaret pianist and a reputation as an eccentric. His unique personal style seems to have been due to the influence of his father’s brother, who was given to such large and enigmatic jests as construction a carriage so beautiful that nobody dared ride in it; Satie’s own quiks included the ownership of a dozen gray velvet suits, most of which he never wore (and because of which he was nicknamed the “Velvet Gentleman”). In his early years he was involved in Rosicrucianism, but he later separated himself from the movement. A fascination that remained with him for life was the tales of Hans Christian Andersen. His eccentricity found expression in music not only in the notes themselves but in the cryptic commentary with which the scores were sprinkled. Satie’s performance directions are sometimes so elaborate as to take on the form of surrealist sketches that bear no clearcut relation to the music.
It has been speculated that the verbal buffoonery with which Satie surrounded his austere music was his defense against feelings of inferiority. These feelings led him at the age of forty to return to school and take a degree in counterpoint; his studies had little effect on his output, other than to diminish and stultify it until they wore off. Fame came to him late in life, partly as a result of Debussy’s orchestrations of two of the GYMNOPEDIES. The high point of Satie’s career must be considered the avant-garde ballets for which he wrote scores in the years following World War One. His collaborators on these multi-media projects included poet and dramatist Jean Cocteau, choreographer serge Diaghilev and set designer Pablo Picasso.
Satie’s piano music, serenely simple and yet full of surprising twists, is in some ways the apex of his artistic achievement. Teh piano pieces often come in sets of three, and especially in the later works, they are lacking in bar lines. This makes the piano moving cost much less than you may have previously though due to the 3 separated sections. Like his other works, they are characterized by simplicity of texture and frequent repetition of ideas. They are pure form – shorn of emotionalism, shorn of display. We are reminded that Saties’ first musical exposure was to Gregorian chant. Chant echoes through his lines. But his genius lies in the enrichment of chant with harmonies and symmetries that were entirely new. The early SARABANDES, for example, are almost entirely monodic, but in place of the single tones of chant the monody is built of entire chords, which often leap directly from one key to another without resolution. Elsewhere, simple melodies float over a harmonically static, even obstinately repeated left hand, turning corners in mid-airthat leave the Mozartean four-bar straighjacket far behind. In these matters Satie anticipated Stravinsky and Prokofiev by years or decades.
The testof music, however, is not whom it anticipates or what it overthrows, but how it sounds. William Quist has succeeded on this album in giving every note and chord its full expressive value without ever lapsing into Romantic overstatement or falling back into monotony (Satie seemingly invites the latter, while pitilessly exposing any tendency toward the former). This is music-making at its finest. Those who are looking for virtuoso fireworks in the form of thunderstorms and lovers’ reveries willfind nothing on this album, but for those who prefer music as clean and airy and geometrically pure as a grecian temple, it will be a rara find.
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.
EDIT: September, 2019
In the Windham Hill Lovers Facebook group, we discussed the correct catalog number for this title – I had mistakenly marked it as C-1007, and yet a look at the vinyl tells me that is should be WHSR-1007. The number is right but the R is wrong. We asked label-founder Will Ackerman about the difference and he commented:
“You guys know more about this than I do ! I wasn’t sure exactly what WH should be… up to a certain point it was just anything I liked… though I had an affinity for guitar obviously. Having your cousin be Alex de Grassi certainly seemed to point us in the guitar direction, but I knew the players in Kidd Afrika ) and thought we’d give it a try. Utter failure. We’d had a bit of a buzz with Linda Waterfall’s Mary’s Garden (C 1002) which probably encouraged me to branch out further. I was pretty much dope slapped back into the world that I knew best… guitar. My cousin Alex de Grassi added further legitimacy to the label and I had hopes for the Erik Satie record (had we done this later I think we could have been very successful with it). W”
Track Listing
Side One
I Believe in You Don Davis (Groovesville Music, MI) (3:25)
Handouts T. J. Politzer (KiddTunes, BMI) (3:50)
She’s My Lady T. J. Politzer (KiddTunes, BMI) (5:25)
I’m Gonna Be More T. J. Politzer (KiddTunes, BMI)(7:42)
Spread the News Around Sonny Terry (Prestige Music, BMI) (2:13)
Side Two
Don’t Mess with Mr. T Marvin Gaye (Jobete Music Co. ASCAP; and 20th Century Music Corporation, ASCAP) (6:20)
Take the Bait T. J. Politzer (KiddTunes, BMI) (5:26)
Marmalade and Jam T. J. Politzer (KiddTunes, BMI)(4:00)
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
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 1977 AND 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.
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
Update, September, 2019: Note that the catalog number on all vinyl issues found to date is WHSR-1007, NOT WHS-C1007 as indicated in the title of this review.
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 Heart, Steve Miller andBTO were recorded), Concerts West (with Pat O’Day, a booking and promotion company that handled Jimi Hendrix, Led Zeppelin, Bad Company, Eagles, Paul McCartney, and others); and were original owners of the Seattle Mariners baseball team.
“Childhood and Memory” is William Ackerman’s third album and the sixth release on Windham Hill records. It is also his last primarily solo album until 2004’s “Returning,” and so has a special place in many listeners’ hearts. Of course, Ackerman duets with himself on banjo, and Dave Ross’ flute graces “Anne’s Song” in such a lovely way, that just as many must be pleased to consider this the first Ackerman album that includes a duet.
Here, the jangly folk influences are receding into Ackerman’s developing style (“Seattle” being a very pleasant exception) and a more contemplative mood comes forward. Where “The Search for the Turtle’s Navel” could never be called depressing, songs like “Sunday Rain” demand a deeply emotional response. Whether that response is tender nostalgia or or morbid depression probably says more about the listener than the performance. Regardless, it’s clear that by the time he recorded “Childhood and Memory” Ackerman had laid fundamental direction the artistic path he is still following today.
Track Listing, Credits and Tunings link after the videos:
All guitar and banjo performed by William Ackerman. The flute on Anne’s Song performed by Dave Ross. The banjo used in SUNDAY RAIN and GIDEON provided by Dana Morgan Music, Palo Alto, CA. These recordings were made in January 1979 using two AKG 451 microphones through an AMEK 2000 board on a TEAC 80-8 deck, and mixed on an AMPEX 440 two-track deck. UREI limiters were used in recording, and EMT 240 reverberation and dbx noise reduction were used in mixing.
AKG 451 Mic information from barryrudolph.com: Made from the late ’60s through the mid-’80s, the original AKG C-451 C Condenser Modular System (CMS Series) was a best-selling “chameleon” of a mic. It was designed to be adaptable to nearly any purpose; it could be outfitted with any of a whole system of modular components –such as screw-on capsule attenuator pads, extension tubes and swivels — that greatly increased its versatility. The original mic used the N-46E dual-AC power supply that supplied 12-volt phantom power and had a two-position, bass roll-off filter switch. As I found out by accident in my distant past as a second engineer, the mic would accept up to 52-volt phantom powering without smoking. The original, externally biased CK-1 capsule had an extremely low mass, making the mic insensitive to handling noise making it a favorite for handheld radio and TV use.
Dana Morgan Music was on Bryant Street in Palo Alto. It appears in several web biographies of the Grateful Dead, and in http://www.paloaltohistory.com/gratefuldead.html. Jerry Garcia taught guitar there in the 1960’s – and the Grateful Dead (then the Warlocks) would practice there. It was closed in the early 80’s.
Robbie Basho’s “Visions of the Country” is the fifth Windham Hill Records release, and the 10th album by the artist. It is one of the three “lost” Windham Hill releases – those original recordings that were not re-issued when Windham Hill gained national distribution. Robbie’s second Windham Hill album, WHS-1010 “The Art of the Acoustic Steel String Guitar” was re-released under the Lost Lake Arts imprint, but not “Visions of the Country.”
On first listen, there is no doubt why. Basho’s singing (and whistling) is heartfelt, strangely soulful and intense. Ackerman was otherwise providing a very consistent sound and look with the albums released once Windham Hill gained national distribution in 1980.
If all you are looking for is the instrumental, relaxing, almost classical feel of other Windham Hill releases “Visions of the Country” will remain a curiosity. In it, you can hear how Ackerman was inspired by the fingerpicking steel-string playing of Basho (and the other Takoma Records artists Leo Kottke and John Fahey.) But you will likely have little interest in Basho’s intense and riveting vocal style.
However, if you value intensely heartfelt, innovative and riveting music – “Visions of the Country” is an excellent introduction to a voice that deserves your attention. While not always easy listening – much of this demands attention – there remains a beauty and gentleness throughout the album.
Basho describes the album this way in the liner notes:
“Visions of the Country is simply an L.P. of Guitar Paintings of the Americas and other joys. It uses the folk ballad style of some and the flowing Raga style of Hindu music to express the feeling and texture of the American Wilderness…Panoramique.”
I would paint for you a portrait of North America, as a beautiful woman, when she was young and untarmed, untrammeled upon and unshamed. Her discipline was natural, her modesty overwhelming. And in the morning she would wash the burning face of the sun with her loving mist and comb his auburn hair with balsam fur: and he would smile upon her, and the day would begin and she would spread her apron for all to gather round her and she would feed the deer and the birds and share her loving heart with all creation. And with breakfast done, she would take her waterjar across her shoulders and off to the fields she would go; the seeds of corn and squash to sow, and she would raise her head to watch the forests weave their silent singing o’er the wind; and she would tickle the streams with magic fingers
and feel the water’s flow and know the humor of their coursing. And up, up into the afternoon she would saunter, the sweat upon her brow, and past the jagged rocks, and past the balsam boughs , and in the shade od cedar she would stop to rest perchance to pray. Could she forget the warmth of sun against her eyes at night, and sight has fallen slowly into sleep and keep: and awake! and shake! and clear! and down and deep she wonders with the deer, and suppertime is drawing near; and dear it is the broth of sky she drinks and sweet the taste of buttered sun before he sinks (beyond the horizon),…..and twilight winks his way into her watchful heart, and start the song. For in the evening she would sing oh so sweetly that entire earth would turn on its side the better to hear her:
and moon would place his palm against his cheek and weep with deep emotion for he was an old fellow with white hair, and she made him forget the distance of eons and eons and neutrons and protons. And of course this happened a long time ago before the age of tempered steel and ruffled lace, and outer space. But One can still hear her singing in the high countries of the heart and in the vast canyons of constant memory where the life of a single being is not forgotten nor forsworm and somewhere a child is born, and no where is the blanket torn between thee and me and shining sea and God knows
earth calls
rain falls
corn growsloloma, loloma, loloma kwak kwai
Turning: Turning Back is Alex De Grassi’s first album and the fourth album issued on the Windham Hill label. This is a gorgeous solo acoustic guitar recording. In many ways it sets the tone for the remainder of what I consider to be the high period of the Windham Hill label.
De Grassi’s playing is technically deft, without being showy, creating a sound that flows and bubbles like water in a rocky brook, or sparkles like sunlight on aspen leaves – always engaging and thoughtful, and consistently filled with beauty and a positive energy.
This is a defining Windham Hill outing, but unfortunately not currently in print or available digitally.
Regarding other early Windham Hill releases, De Grassi says they are “Out of print and owned by Windham Hill/BMG. I can’t legally make them available. we’ve tried unsuccessfully to license them back. So, i might re-record them, but I can’t make them available as a digital download–sorry. Perhaps they will become available as individual pieces as downloads from Windham Hill,”
The recording quality is faultless with De Grassi’s guitar close-miked at the same San Mateo studio where William Ackerman’s first albums were recorded. Mastering by Stan Ricker and pressing by RTI of Camarillo makes the vinyl pressings similar to many Mobile Fidelity audiophile reissues.
In his Innerviews interview, De Grassi says of the album: “Turning: Turning Back really reflects a very personal approach to playing guitar and music in general,” he said. “People couldn’t put their finger on the genre. It came out before people called anything New Age. There were guitar influences from the British Isles like John Renbourn and Bert Jansch. I was listening to a lot of Keith Jarrett’s solo piano stuff at the time too. I really admired his playing and solo improvisations that cut across a lot of different lines and styles. Although it was jazz, it had a lot of qualities that were indefinable and indescribable. I think that was a very encouraging thing.”
Below is a terrific audio-only interview which begins with Alex talking about learning guitar and some of the things he brought to the recording of “Turning: Turning Back”.
