With Islands, Scott Cossu builds on the group efforts of his first two Windham Hill releases, with a star-studded group of collaborators. Mining much of the same territory as Spyro Gyra and the Pat Metheny group, Cossu adds a romanticism and sweetness that belies the genuine complexity and ambitious appropriation of influences. Islands is Cossu’s second release on Windham Hill, following Wind Dance.
If you’re coming new to Scott Cossu, you may be in for a treat. But for me, this is a tough album to review. I’ve heard the tracks that made it onto samplers (Ohana and Oristano Sojourn) too many times; they had lost freshness, and only hearing the non-sampler tracks allowed me to appreciate the album as a whole. The relatively flat and thin recording (when compared to other Windham Hill releases) doesn’t help. This was the early days of digital, and the recording doesn’t do justice to the amazing musicianship that courses throughout the album. What a treat to listen to the album anew.
After opening with the high-energy, if over-synthesized Ohana, Cossu fears nothing by delving into the near eight minute Gypsy Dance – wending its way from a quiet piano piece through a spirited two-step between piano and violin. St. Croix is a richly colorful and plaintive conversation between piano and horn, and Islands gives a cheery Caribbean vibe with the facile flute playing of Dave Valentin.
Cossu seems to save his more relaxed and experimental tracks for the second side, from the 7 minute crescendo of Harlequin Messenger to the pastoral Fawn, the feel is just right – searching, and with an optimistic, but not cloying or celebratory quality, Cossu’s musicianship and compositional skills shine.
I would call Islands underappreciated, but apparently it’s just me who was a late adopter. Both fans and critics celebrate Islands. You might, too. Thanks to the magic of YouTube and the very excellent WindhamHillLovers channel, you can listen for yourself below.
Mark Egan and Danny Gottlieb courtesy of Antilles Records
Tom Varner courtesy of Soul Note Records
Special thanks to Will Ackerman, Anned Robinso, Steven Miller, Steve Lowy and all the people at Windham hill for their long and continued support. Also to my family, Robin, Jenny and our Creator.
Islands: Recorded on Manhattan, the most famous island, represents my progression of travels and my love of islands, their inspirations and the gypsy spirit within. May this music help unite us all as a family of islands.
(c) (p) Windham Hill Records, 1984.
<<note: liner notes taken from the Canadian release, WH-9-1033 – it’s just what I had on hand>>
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.
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.
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:
G.E. Stinson: 6&12 string guitars, vocal on Brown Rice
Stuart Nevitt: drums, percussion, kelon vibes on Shadowdance
Jared Stewart: piano, synthesizers
Jamii Szmadzinski: violin, baritone violin, alto psaltry on New Electric India
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.
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.
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).
“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.”
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.
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.
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.
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.
Shadowfax is the eponymous second release from the atmospheric fusion group, and the twenty-second release on Windham Hill. With a strong Asian and Native American influence on the music, there is a different feel to this release than the folk, classical and chamber jazz releases of their label-mates. And while this is fusion and not rock – there are rock underpinnings throughout the album. While this release isn’t as dynamic as all later albums, there is a drive and flow that comes through even on the quietest tracks.
As for the sound – this recording is an excellent litmus test of your system. While you can enjoy the music anywhere, it will sound compressed and more like atmospheric background music than the eastern-inspired jazz that it is. If you play the vinyl and your system doesn’t sound detailed and dynamic, then your system could use some extra resolving power. You can follow each instrument throughout every song and each piece comes to life. Phil’s bass is tight and yet full-bodied, and the ever-present percussion sparkles throughout each track. When I see someone dismiss this album as lacking any engagement or dynamics, I blame their reproduction of it, not the music. That being said, for the first 10 years I owned this album, I mainly played it on a home-made cassette through an old Sony receiver, and enjoyed it just as much as I do today.
As a bit of trivia, the closing sound on Vajra that I always took as a dog is actually Emil Richards dragging a rubber balled mallet over a marimba key, according to Phil Maggini in a 2013 Facebook comment.
Shadowfax members are active on the web, catch up with them on Facebook and MySpace.
Unfortunately, Stuart Nevitt, Chuck Greenberg and Bruce Malament have all passed away. Links to their obituaries are below.
New York Times Obituary for Chuck Greenberg: http://www.nytimes.com/1995/09/09/obituaries/chuck-greenberg-musician-dies-at-45.html
In a 2019 Facebook post, GE Stinson writes:
“Even though I have subjective personal issues with both albums (Shadowfax and Shadowdance), I like those records for different reasons. For us, the eponymous WH album was about focusing on a different aspect of our musical roots. Creating the music for both of those albums was an intense, wonderful experience, pivotal for the band, and done under a lot of pressure and stress. It’s a cliche but true that, at that point, Shadowfax was a family… with all the love, sadness, anger, forgiveness, etc that comes with any family.”
Stinson continues “The band had just reunited, we were able to record and do gigs so we were all happy about that. Each album had its own set of problems, struggles, and we were working with a very limited budgets but we made it work and, for the most part, we had fun.”
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 “A Pause in the Rain” by Joy Greenberg:
There soon evolved a microcosmic musical community that could provide work for a lot of people. The timing was perfect—it became a little engine, allowing everyone to play and record with each other. Phil and Chuck became creatures of habit, starting a rehearsal schedule with a day-in-day-out routine, knowing the process was essential to their growth and viability as musicians. Robit did, indeed, manage to attract the backing of a label and cut the album Resident Alien with Chuck, Phil, drummer Stu Nevitt and guitarist G.E backing him up. By then Stu and G.E. had moved out from Chicago and were rehearsing with Chuck and Phil in a variety of bands, including one fronted by another old friend from the Windy City, Morris Dollison, aka Cash McCall. The Cash McCall band featured all the blues songs, like “Sweet Home Chicago,” the guys had grown up listening to and playing.
“It was through this musical network that Chuck’s—and Shadowfax’s—Big Break arrived. Robit had met another guitarist, Alex de Grassi, in London, where he was playing music in the streets, subways and folk clubs during the summer of ’73. Robit had kept in touch with Alex and had been urging him to collaborate somehow with Chuck.
Meanwhile, Alex had established himself as the premier solo instrumental guitarist on the seminal New Age label, Windham Hill. As Windham Hill cofounder Will Ackerman’s cousin, Alex was in an influential position, something that did not go unnoticed by Chuck. He admired Alex’s artistry and was eager to meet him. The feeling was mutual; Alex sent Chuck the tape of a guitar part to a new piece he was working on and invited Chuck to contribute a lyricon part. Chuck was only too happy to oblige. Then one day in the latter part of ’81, Chuck, Robit and I drove up to San Francisco from L.A. in Ruby. I dropped them off at Alex’s house in Noe Valley and went out to visit some friends while Chuck and Alex rehearsed some tunes for Alex’s upcoming album Clockwork. When I returned later, I heard a gorgeous melody emanating from Alex’s as I parked the car in front. It was the song, “Clockwork.”
Alex was impressed as well. They ended up recording two pieces. “Everybody went apeshit,” Alex said.
Indeed, they did. It seemed that all who heard Chuck’s lyricon were enchanted. Alex’s album Clockwork scored a big hit on radio and at retail, as well as with the powers at Windham Hill. As a result of its success, Chuck was emboldened to propose an album to Will Ackerman, who initially believed that Chuck wanted to do a solo project. Chuck’s task became convincing Will that what Will really wanted was a Shadowfax album, something he managed to accomplish without Will’s ever hearing the band play.
Chuck sensed that Will would not approve of the “outside,” heavily electrified, screaming-for-attention tunes that had been recorded by Shadowfax on Watercourse Way. It just didn’t jibe with the primarily acoustic, mellow, laid back sounds for which Windham Hill was gaining recognition. And Chuck knew better than to invite Will to a showcase and see this “electric fusion monster quartet”—the antithesis of Windham Hill music—live. It would have been an invitation to disaster, sending the self-avowed hater of electronic music running for cover. Will’s interest in recording Chuck was based upon Chuck’s essentially acoustic approach to Alex’s record Clockwork. To accept this offer on the basis of Will’s perception, completely ignoring the nature of his label’s musical direction, and to present him with an electric manifesto, would have been unfair to him and deal suicide. No, meeting and hearing Shadowfax was definitely not the way to get a deal with Will.
However, the band had a card up its sleeve—one it could play without any negative sense of compromise or loss of musical integrity. There had always been an acoustic side of the band that they very much enjoyed but that was never allowed to come to fruition. Now they simply took advantage of the opportunity to explore it further, creating a discipline that was at once challenging and creative. Chuck figured out how to convince Will that Shadowfax would be the perfect ensemble addition to the label’s roster of solo artists.
Fortunately, Will Ackerman was so smitten by Chuck’s lyricon from the moment he heard it that he was willing to go ahead with Chuck’s plan to record. “Suddenly there was this indescribable, ethereal sound,” Will said. He and Alex were sitting in a park in Silicon Valley, listening to “Clockwork,” and this “unbelievable sound, the music of angels.” Alex told him that “the angel responsible for this sound was one Chuck Greenberg, and that the instrument was called the lyricon.” When Chuck joined Alex in concert at the Great American Music Hall, Will was there, and “there was that sound of angels again.” After the show he spoke with Chuck, who promptly told him about Shadowfax, and it was decided, more or less on the spot, to record a Shadowfax album.
At first, I was incredulous that Chuck would want to go to all the extra trouble to get the band back together: At this point I had never heard them play live.
“Why bother with them when you have the chance to do your own thing?”
“Because,” he said, “I will always have the opportunity to do my own thing, but I may not always be able to work with this band. And we never finished what we started out to say.”
Track Listing
Side One 18:02
Angel’s Flight 4:00 C. Greenberg
Vajra 4:20 G.E. Stinson
Wheel of Dreams 4:46 G.E. Stinson & C. Greenberg
Oriental Eyes 4:56 P. Maggini
Side Two 16:23
Move the Clouds 3:08 G.E. Stinson
A Thousand Teardrops 4:15 C. Greenberg
Ariki (Hummingbird Spirit) 3:10 G.E. Stinson & C. Greenberg
Emil Richards, circa 1970’s. photo courtesy Phil Maggini.
Additional Instrumentation:
Emil Richards: contra bass marimba, conga, Thai vibes on Ariki; kelon vibes anvil, gong on Oriental Eyes, contra bass marimba, rhythm logs, bell tree, tambourine on Vajra; vibes and crotales on Wheel of Dreams, windchimes and bells on Angel’s Flight. The percussion ensemble on Ariki was arramged by Emil Richards.
Alex de Grassi: 12 string acoustic guitar on the right channel of Vajra
Recorded in May and June of 1982 at Studio America, Pasadena, CA
Recorded and Mixed by Joe Pollard
Second Engineer: Max Reese
Assistant Engineers: Pitt Kinsolving and Shep Lonsdale
Original Half-Speed Mastering by Jack Hunt, JVC Cutting Center
Matrix and Pressing by Record Technology Inc., Camarillo, CA
Cover Photo by Greg Edmonds
Design by Anne Ackerman
This recording was made on a modified MCI JH 16 recorder at 30 inches per second, and mixed to a Studer Mark III half-inch two-track recorder, using no noise reduction, limiting or compression.
Thanks to Joy Horner, Dave Below, Marty Lishon, and World Percussion. Thanks also to Sherman Clay Pianos for the use of the Kimball Bosendorfer Grand Piano, and to Zeus Audio Systems. Special thanks to Joe Pollard, to Emil Richards for the magic, and to Windham Hill.
Darol Anger and Barbara Higbie’s Tideline is a foggy windswept day at Stinson Beach, or rather time spent sipping coffee inside a weathered redwood beach house near Stinson, warm and rich, but with an undercurrent of cool tumult always nearby. From the rolling sea rhythms of Tideline to the Japanese music box references in “Onyame,” the album flows effortlessly through moods and moments. The closest analog to Tideline may be another classic, Herbie Hancock’s “Maiden Voyage.”
Technically impressive while putting the music first, the album stands on its own as a must-have for any Windham Hill collector. It is even more important as a development in the ensemble sound of Windham Hill at the time, and also as the kernel for the Darol Anger/Barbara Higbie Quintet which would come to be known as Montreaux.
Samples
True Story
https://www.youtube.com/watch?v=Z0aCtDww5vM
Track Listing
SIDE ONE: 20:32
Tideline ◊ (4:34)
Movie ◊ (1:47)
Above the Fog ◊ (3:50)
Keep Sleeping 0 (4:22) octave violin and piano
Onyame ◊ (5:49) violin, mandolin, piano
SIDE TWO (20:38)
True Story ◊ (4:22)
Fortunate ◊ (4:22)
Gemini 0 (1:02) mandolin and piano
Gualala 0 (5:41) piano, octave violins, cello
Lifeline ♦ (6:13)
◊ Written by Barbara Higbie and Published by Slow Baby Music (BMI)
o Written by Darol Anger and Published by Fiddlistics Music (BMI)
♦ Written by Barbara Higbie and Darol Anger and Published by Slow Baby Music (BMI)
Credits
All Publishing Administered by Windham Hill Music (BMI)
Alll selections are violin and piano unless otherwise noted.
Recorded Frebruary 14-16, 1982 at Different Fur Recording, San Francisco, CA
Engineered and mixed by Howard Johnston
Assistant Engineer: Anne de Venzio
Half-Speed Mastering by STan Ricker Mobile Fidelity Sound Labs
Matrix and Pressings by Record Technology, Inc. Camarillo, CA
Cover Photo by Alan Levinson
Liner Photo by Irene Young
Design by Anne Ackerman
Manufactured by Windahm Hill Records
A Division of Windham Hill Productions, Inc.
Box 9388, Stanford, CA 94305
(c) (P) Windham Hill Records, 1982
Liner Notes
This recording was made as a multi-track on a Studer A 80 MK III recorder at 30 inches per second, through a Harrison board and mixed onto a Studer A 80 VU KMIII half-inch two track recorder. The Yamaha C-70 piano was miked with a matched pair of Neumann U67 microphones and a single Neumann U47 microphone. The violin was miked with a single Neumann KM 84 and a single AKG 414 microphone. A single AKG 451 EB microphone was employed as an ambient source.
Thanks to Tom Paddock for the use of his U 67 tube microphones; Stephen Gilchrist, and John Monteleone for hand-built mandolins; Will Ackerman, Anne Ackerman, Marin and the Windham Hill Family; Susan Skaggs; Doc Howard and Queen Anne; Tom and Pat of Different Fur; Katrina Krimsky, Irene Young; Mike Marshall; David Dawg; CM; Dave Balakrishnan; Dix; our parents, ancestors, and the big bang. Support new acoustic music.
The first true ensemble album in the Windham Hill style – Clockwork really defined the label’s sound for the next several years. Alex de Grassi proves that not only is he one of his generations finest guitarists, he has a larger musical vision, ambition and extraordinary taste in collaborators. The players all bring both a technical and lyrical deftness to their parts, and as the album name implies, there is a musical interplay that creates a rhythmic whole that is greater than the sum of the parts. Fans of de Grassi’s solo guitar work are rewarded on the second side with the Bougainvillea Suite opening – gorgeous and thoughtful guitar music.
Clockwork can be hard to find, and it is not the last word in either de Grassi’s or the label’s collective work, but it’s important as a new creative step in the genre-defining label, and a worthy listen in and of itself.
Recommended.
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:
Thirty-six 6:34
guitar, piano, percussion
Two Color Dream 6:25
guitar, fretless bass, soprano sax, drums
Graphic Design by Anne Ackerman
Cover Monoprint and Liner Photo by Anne Ackerman
All Compositions by Alex de Grassi
All Selections Tropo Music BMI
Administered by Windham Hill Music BMI
Manufactured by Windham Hill Music BMI
Manufactured by Windham Hill Records Box 9388, Stanford, CA 94305
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.
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.
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.
