Colours of Sound Simon Pilbrow with Brent Fischer Orchestra Orchestra CR201709Fischer Brent Pilbrow Simon with Sound of Colours

PASTE OFA TAG HERE 6. Fast Fingers 5:53 10. Try For Ages 6:12 Personnel as per Australia Personnel as per A Fischer’s Line Simon Pilbrow Guest Clarinet Soloist: Ken Peplowski Guest Clarinet Soloist: Ken Peplowski Solos: Sheppard, Stever, Peplowski, Solos: Peplowski, Budman with McChesney, Pilbrow, Brinker The Brent Fischer Orchestra 11. September 7:03 7. A Fischer’s Line 6:16 Trumpet: Carl Saunders* Clarinets: Alex Budman (also Soprano Sax)*, Vibraphone: Brent Fischer Colours of Sound Brian Clancy, Sean Franz, Lee Callet Piano: Simon Pilbrow* Bass Clarinet: Gene Cipriano Electric Bass: Brent Fischer Simon Pilbrow - Composer, Piano Flugel: Carl Saunders Drums: Ray Brinker Brent Fischer - Producer, Arranger, Conductor, Vibraphone, Trombones: Scott Whitfeld* Strings as per Autumn Breeze Marimba, Electric Bass Piano: Simon Pilbrow* Electric Bass: Brent Fischer 12. Blue Six 5:53 Special Guest Artists: Drums: Ray Brinker Reeds: Bob Sheppard*, Bob Carr Trumpets: Jeff Bunnell, Ron Stout Ken Peplowski - Clarinet solos on Try For Ages and Fast Fingers 8. Surprise 4:54 Trombone: Scott Whitfeld* Bobby Shew - Trumpet solos on Blue Six and Surprise Personnel as per Studio City, except - Bass Trombone: Craig Gosnell Larry Koonse - Guitar on New Beginning and Autumn Breeze Bass: Chuck Berghofer Piano: Simon Pilbrow* Guest Trumpet Soloist: Bobby Shew Bass: Chuck Berghofer Chief Recording, Editing and Mixing Engineer: Matt Brownlie Solos: Sheppard, Shew, Martin Drums: Ray Brinker* Production Team: Sid Fenley, Kyle MacAulay, Claris Dodge, Guest Trumpet Soloist: Bobby Shew Ruth Nichols, Matt Wong, Lorenzo Ferrero 9. Joyful 4:57 Alto Flute: Alex Budman* (* denotes solo) Vibraphone: Brent Fischer Woodwinds: Bob Sheppard - Soprano, Alto and Tenor Saxes, Alro Flute; Sal Lozano - Alto Sax; Piano: Simon Pilbrow* Alex Budman - Soprano, Alto and Tenor Saxes, Flute, Alto Flute, Clarinet and Bass Clarinet; Bass: Chuck Berghofer Kirsten Edkins - Alto Sax, Alto Flute; Brian Clancy - Tenor Sax, Alto Flute and Clarinet; Sean Drums: Ray Brinker Franz - Clarinet; Gene Cipriano - Bass Clarinet; Bob Carr - Baritone Sax; Lee Callet - Baritone © P 2017 Simon Pilbrow All rights reserved. Unauthorized copying or distribution of this copyrighted work is illegal. Sax, Bass Clarinet. Trumpets: Rob Schaer, Mike Stever, Kye Palmer, Jeff Bunnell, Ron Stout, Carl Saunders 1. Australia 5:53 Piano: Simon Pilbrow* Trombones: Charlie Loper, Andy Martin, Bob McChesney, Scott Whitfield Reeds: - Bob Sheppard, Sal Lozano, Electric Bass: Brent Fischer Bass Trombone: Craig Gosnell, Steve Hughes Alex Budman, Brian Clancy*, Bob Carr Drums: Ray Brinker Acoustic Bass: Chuck Berghofer (tracks 1,2,4,6, 8-10,12 ) Trumpets: Mike Stever, Kye Palmer, Electric Bass: Brent Fischer (tracks 3, 5, 7, 11) Jeff Bunnell, Ron Stout, Carl Saunders* 4. Remembering Woody Shaw 5:31 Drums: Ray Brinker Trombones: Charlie Loper, Bob McChesney, Reeds: Bob Sheppard*, Bob Carr Strings - Concertmaster, Principal Violin: Assa Drori Scott Whitfield* Trumpets: Jeff Bunnell, Ron Stout* Violin: Alex Gorlovsky, Raphael Rishik, Susan Rishik Bass Trombone: Craig Gosnell Trombone: Scott Whitfield* Viola: Elizabeth Wilson, Lynn Grants Vibraphone: Brent Fischer Bass Trombone: Craig Gosnell Cello: Maurice Grants, Kevan Torfeh Piano: Simon Pilbrow* Piano: Simon Pilbrow* Contrabass: Oscar Hidalgo Bass: Chuck Berghofer Bass: Chuck Berghofer Drums: Ray Brinker Drums: Ray Brinker Recorded at NRG Studios in North Hollywood, CA; Mountain Road Studios in Albuquerque, NM and Clare Fischer Studios in Studio City, CA. 2. A New Beginning 5:21 5. Autumn Breeze 6:37 Soprano Saxophone: Alex Budman* Alto Flute: Alex Budman* Mastered by Steve Baughman and Mauricio Iragorri at Next Level Mastering Guitar: Larry Koonse* Guitar: Larry Koonse CD Concept: Silmon Pilbrow and Brent Fischer Piano: Simon Pilbrow Piano: Simon Pilbrow* Art Direction, Design and Layout by Ruth Nichols Bass: Chuck Berghofer Electric Bass: Brent Fischer Brent Fischer plays Contour Basses; Ken Peplowski plays Buffet Crampon Clarinets; Bob Drums: Ray Brinker Drums: Ray Brinker Sheppard uses D’Addario Reeds and MacSax Saxophone Mouthpieces; Bobby Shew, Andy Violins: Assa Drori, Alex Gorlovsky, Raphael Martin and Rob Schaer are Yamaha Performing Artists; Sal Lozano plays Selmer Saxophones 3. Studio City 6:22 Rishik, Susan Rishik and Vandoren Reeds; Kirsten Edkins endorses D’Addario Winds; Jeff Bunnell endorses BACH Reeds: Alex Budman*, Kirsten Edkins, Bob Violas: Elizabeth Wilson, Lynn Grants trumpets; Scott Whitfield plays Getzen trombones and is a Warburton artist; Craig Gosnell Sheppard, Brian Clancy, Lee Callet Cellos: Maurice Grants, Kevan Torfeh is a Greenhoe Trombones artist; Ray Brinker plays Yamaha drums, Zildjian cymbals, Vic Firth Trumpets: Rob Schaer, Mike Stever, Contrabass: Oscar Hidalgo drumsticks and Remo drum heads. Jeff Bunnell, Ron Stout Space Photos courtesy of NASA.gov; Session photos by Ruth Nichols Trombones: Charlie Loper, Andy Martin, (* denotes solo) Many thanks to Royer Labs for the use of their Ribbon Microphones Scott Whitfield Special thanks to AEA Ribbon Mics and Preamps Bass Trombone: Steve Hughes CD Manufacturing and Printing by Discmakers Vibraphone: Brent Fischer All Compositions by Simon Pilbrow - APRA (Surprise cont.) accelerates into the main tempo - his father Clare would have loved it – and reap- Music is something we all listen to everyday to enhance our lives. Even though I’ve been in the music industry pears later before the fnal melody. for nearly 40 years, I am still excited to hear bold music statements by gifted composers. Simon Pilbrow is on a unique path of his own making, having created an enormous library of brilliant sonic works of art over the decades. I’ve had the honor of getting to know in great detail nearly 200 of his singular originals and have care- Joyful fully chosen 12 that I feel represent the breadth of his accomplishments. This 2005 piece came to me while in church, and it has a “straight-8’s” rhythmic feel. Brent told me that it reminded him of some of Vince Guaraldi’s composing for “Peanuts”! On the day of the record- It has been a fantastic journey to bring these songs to life and I’ve enjoyed the challenge immensely. Working ing, Brent wrote a fabulous 16-bar chord sequence as an interlude at the conclusion of each solo, together with Simon, I meticulously assembled the stellar teams of professionals, both in front of and behind and presented it to us moments before recording it, which we ran through and incorporated. Alex’s the microphones, that has led to the music we place before you. From the emotional message to the caring alto fute and Brent’s vibraphone blend nicely on the melody. attention to detail and enthusiasm we both encountered in all of the varied instrumental settings we hope you will delight in here, there has been a great camaraderie in all facets of production. Enjoy! --Brent Fischer Try For Ages Written in 2011, the title is an anagram of Gary Foster, our good friend, frst-class reed player and a ffty-year musical associate of Clare Fischer. The A-section is loosely based on a 12-bar blues I have been privileged to know Brent Fischer for about six years. He is an accomplished composer, brilliant ar- structure, but with a twist, as the frame shifts between keys a minor third apart. The anagram came ranger and orchestrator, terrifc organizer, conductor, electric bassist and vibraphonist. Our musical association into my head while I was in our yard doing some bricklaying, which helped to cement it in my mind. began in 2011, after I wrote to his father, the innovative pianist/composer, Dr. Clare Fischer (1928-2012), to Brent has arranged it for clarinet choir and it features excellent solos and interplay between Alex on express my appreciation for his music. I have remained in contact with both Brent and Clare’s wife Donna since bass clarinet and guest Ken Peplowski on clarinet. then, but sadly, Clare’s health was already in decline and he died in 2012. His music lives on, thanks to Brent’s commitment to preserving his father’s musical legacy, leading many continuing Clare Fischer ensembles, unearthing previously unheard compositions, orchestrating and recording them and releasing albums to critical September acclaim. Written for my wife Jean in September 2014, this is a Latin tune in 5. When I wrote it, I envisaged a string ensemble backing, and Brent has woven intricate fve-part string parts behind the melody. Carl At some point in our dialogues, I mentioned that I had written a number of Jazz compositions, several of which Saunders takes the melody and plays the warm fugelhorn solo. were held in the Gerry Mulligan collection in the US Library of Congress, but never recorded them. Brent was interested to hear them and suggested that I might like to record them one day with top US musicians. After Blue Six several visits to LA and after much discussion, we decided in February 2017 to proceed, and set an ambitious This bebop blues tune was written in early 1981, in memory of much loved trumpet great, Blue schedule, to prepare twelve pieces for recording in late May. Brent arranged four of them for big band, two for Mitchell (1930-79). Blue was a distinguished alumnus of the Horace Silver band, as was our guest clarinet choir, two for a nonet, two with strings and two for quintet, with particular soloists and section players in mind. Brent assembled a dream-team of exceptional musicians – all are highly accomplished players and trumpeter, Bobby Shew, decades later. While most blues tunes are organized into three 4-bar sec- incredible improvisers - who executed his inspiring but demanding charts brilliantly and played wonderful solos. tions, this one unusually has two similar 6-bar sections. Brent arranged this for nonet, featuring The rhythm section of bassist Chuck Berghofer and drummer Ray Brinker was pivotal because of their great commanding solos by Bob Sheppard and Bobby Shew. versatility and experience. Brent’s enthusiasm has been unwavering, and it has been a great honour to col- --Simon Pilbrow laborate with him and be surrounded by such extraordinary players. Australia Autumn Breeze This cheerful tune from 2014 is loosely based on “Rhythm Changes”, and the A-section has a com- I have long enjoyed the compositions of Brazilian artist, Antonio Carlos Jobim and I would readily pletely pentatonic melody, although I discovered this only after I wrote it! It features the remarkable admit his infuence. I wrote this particular Bossa Nova tune in 2008, and the melody is based around trumpeter Carl Saunders, young tenor titan Brian Clancy, and masterful trombonist Scott Whitfeld. a simple motif that wanders away from its home key centre and works its way back again. It was conceived to be a gentle, relaxed kind of tune, and features Alex’s sensitive alto fute playing, Larry A New Beginning Koonse’s sympathetic guitar accompaniment and Brent’s exquisite string harmonies. Over many years, I have written a number of waltzes for my wife, Jean. They are each subtitled “Waltz For Jean” and this turns out to be the very frst one that I wrote for her in early 1989, shortly Fast Fingers before we became engaged. It features Alex Budman’s affable interpretation and sparkling solo on This is a lively bebop tune I wrote in 2010. The main section came to me while at the piano, noodling soprano sax, and a splendid solo from guest guitarist Larry Koonse. around in triple octaves. The bridge is a more serpentine melody with a repeating, diminished scale phrase. Pianists noted for double- or triple-octave lines included Phineas Newborn, Oscar Peterson Studio City and Roland Hanna, but this tune was inspired by Benny Green who has pushed the possibilities Coming to LA several times in recent years has been inspirational on many levels, not the least of even further! This mighty arrangement features a visceral alto sax solo from Sheppard, blistering which has been the opportunity spend time at the Fischer home, and absorb some of the rich musi- trumpet from Mike Stever, virtuoso clarinet from guest Ken Peplowski, peppery trombone from Bob cal ambience. It has been a pleasure to step inside this hub of musical creativity - to listen to Clare McChesney, an exuberant, layered solo free-for all, before piano trades with brilliant drummer Ray Fischer Big Band rehearsals, to explore Clare’s sheet music archive, play on his piano, and observe Brinker. Brent at work. “Studio City”, a bright, up-tempo Latin tune inspired by our LA visits, was written in 2015. It is a “Thank-you” to the Fischers – Brent and Clare’s wife Donna, for their warm welcome A Fischer’s Line and kind hospitality. If there is some subliminal Fischer infuence in this piece, I would be proud to Dedicated to the memory of Clare Fischer, and written in 2012, I originally conceived this for clari- admit it. Brent’s lively arrangement features a gregarious Alex Budman alto sax solo and Brent’s nets in four-part harmony. Brent expanded it for a fve-part clarinet choir with powerful vamping luminescent marimba solo. solos from Scott’s trombone and Alex’s soprano sax and clarinet later. It was a treat to have Gene Cipriano on bass clarinet, at 89, purportedly the most recorded saxophone player in history! Remembering Woody Shaw I have long admired the great Woody Shaw, for his trailblazing trumpet playing and for his outstand- Surprise ing compositions. I met him in 1981 when he played in Melbourne, and he was very friendly. I was This is a happy tune that I wrote in 1990, and was another of those tunes that came to me as I sat deeply saddened to learn of his death in 1989, and wrote this tune soon afterward, reviving it a few down at the piano. The “Surprise” title was partly because the tune came out of nowhere, partly years ago and giving it some renovations. When I analyze it now, it has a certain logic to its form: the because of the abrupt chord change in the second bar of the melody, and also because my wife melody is in three sections with the “A” section phrase being a statement, the “B” a question, and happened to enter the room at that very moment! Solo features include the muscular tenor of Bob the musical tension resolving in the “C” answer. Bob Sheppard opens the melody on soprano sax, Sheppard, the effervescent bebop trumpet of Bobby Shew, and the breathtaking, leaping trombone and later joins Whitfeld in vigorous solo exchanges. The marvelous trumpet solo is from Ron Stout. lines of Andy Martin. Brent composed a beautiful chorale opening for the tune, which slowly Australia Autumn Breeze This cheerful tune from 2014 is loosely based on “Rhythm Changes”, and the A-section has a com- I have long enjoyed the compositions of Brazilian artist, Antonio Carlos Jobim and I would readily pletely pentatonic melody, although I discovered this only after I wrote it! It features the remarkable admit his infuence. I wrote this particular Bossa Nova tune in 2008, and the melody is based around trumpeter Carl Saunders, young tenor titan Brian Clancy, and masterful trombonist Scott Whitfeld. a simple motif that wanders away from its home key centre and works its way back again. It was conceived to be a gentle, relaxed kind of tune, and features Alex’s sensitive alto fute playing, Larry A New Beginning Koonse’s sympathetic guitar accompaniment and Brent’s exquisite string harmonies. Over many years, I have written a number of waltzes for my wife, Jean. They are each subtitled “Waltz For Jean” and this turns out to be the very frst one that I wrote for her in early 1989, shortly Fast Fingers before we became engaged. It features Alex Budman’s affable interpretation and sparkling solo on This is a lively bebop tune I wrote in 2010. The main section came to me while at the piano, noodling soprano sax, and a splendid solo from guest guitarist Larry Koonse. around in triple octaves. The bridge is a more serpentine melody with a repeating, diminished scale phrase. Pianists noted for double- or triple-octave lines included Phineas Newborn, Oscar Peterson Studio City and Roland Hanna, but this tune was inspired by Benny Green who has pushed the possibilities Coming to LA several times in recent years has been inspirational on many levels, not the least of even further! This mighty arrangement features a visceral alto sax solo from Sheppard, blistering which has been the opportunity spend time at the Fischer home, and absorb some of the rich musi- trumpet from Mike Stever, virtuoso clarinet from guest Ken Peplowski, peppery trombone from Bob cal ambience. It has been a pleasure to step inside this hub of musical creativity - to listen to Clare McChesney, an exuberant, layered solo free-for all, before piano trades with brilliant drummer Ray Fischer Big Band rehearsals, to explore Clare’s sheet music archive, play on his piano, and observe Brinker. Brent at work. “Studio City”, a bright, up-tempo Latin tune inspired by our LA visits, was written in 2015. It is a “Thank-you” to the Fischers – Brent and Clare’s wife Donna, for their warm welcome A Fischer’s Line and kind hospitality. If there is some subliminal Fischer infuence in this piece, I would be proud to Dedicated to the memory of Clare Fischer, and written in 2012, I originally conceived this for clari- admit it. Brent’s lively arrangement features a gregarious Alex Budman alto sax solo and Brent’s nets in four-part harmony. Brent expanded it for a fve-part clarinet choir with powerful vamping luminescent marimba solo. solos from Scott’s trombone and Alex’s soprano sax and clarinet later. It was a treat to have Gene Cipriano on bass clarinet, at 89, purportedly the most recorded saxophone player in history! Remembering Woody Shaw I have long admired the great Woody Shaw, for his trailblazing trumpet playing and for his outstand- Surprise ing compositions. I met him in 1981 when he played in Melbourne, and he was very friendly. I was This is a happy tune that I wrote in 1990, and was another of those tunes that came to me as I sat deeply saddened to learn of his death in 1989, and wrote this tune soon afterward, reviving it a few down at the piano. The “Surprise” title was partly because the tune came out of nowhere, partly years ago and giving it some renovations. When I analyze it now, it has a certain logic to its form: the because of the abrupt chord change in the second bar of the melody, and also because my wife melody is in three sections with the “A” section phrase being a statement, the “B” a question, and happened to enter the room at that very moment! Solo features include the muscular tenor of Bob the musical tension resolving in the “C” answer. Bob Sheppard opens the melody on soprano sax, Sheppard, the effervescent bebop trumpet of Bobby Shew, and the breathtaking, leaping trombone and later joins Whitfeld in vigorous solo exchanges. The marvelous trumpet solo is from Ron Stout. lines of Andy Martin. Brent composed a beautiful chorale opening for the tune, which slowly (Surprise cont.) accelerates into the main tempo - his father Clare would have loved it – and reap- Music is something we all listen to everyday to enhance our lives. Even though I’ve been in the music industry pears later before the final melody. for nearly 40 years, I am still excited to hear bold music statements by gifted composers. Simon Pilbrow is on a unique path of his own making, having created an enormous library of brilliant sonic works of art over the decades. I’ve had the honor of getting to know in great detail nearly 200 of his singular originals and have care- Joyful fully chosen 12 that I feel represent the breadth of his accomplishments. This 2005 piece came to me while in church, and it has a “straight-8’s” rhythmic feel. Brent told me that it reminded him of some of Vince Guaraldi’s composing for “Peanuts”! On the day of the record- It has been a fantastic journey to bring these songs to life and I’ve enjoyed the challenge immensely. Working ing, Brent wrote a fabulous 16-bar chord sequence as an interlude at the conclusion of each solo, together with Simon, I meticulously assembled the stellar teams of professionals, both in front of and behind and presented it to us moments before recording it, which we ran through and incorporated. Alex’s the microphones, that has led to the music we place before you. From the emotional message to the caring alto flute and Brent’s vibraphone blend nicely on the melody. attention to detail and enthusiasm we both encountered in all of the varied instrumental settings we hope you will delight in here, there has been a great camaraderie in all facets of production. Enjoy! --Brent Fischer Try For Ages Written in 2011, the title is an anagram of Gary Foster, our good friend, first-class reed player and a fifty-year musical associate of Clare Fischer. The A-section is loosely based on a 12-bar blues I have been privileged to know Brent Fischer for about six years. He is an accomplished composer, brilliant ar- structure, but with a twist, as the frame shifts between keys a minor third apart. The anagram came ranger and orchestrator, terrific organizer, conductor, electric bassist and vibraphonist. Our musical association into my head while I was in our yard doing some bricklaying, which helped to cement it in my mind. began in 2011, after I wrote to his father, the innovative pianist/composer, Dr. Clare Fischer (1928-2012), to Brent has arranged it for clarinet choir and it features excellent solos and interplay between Alex on express my appreciation for his music. I have remained in contact with both Brent and Clare’s wife Donna since bass clarinet and guest Ken Peplowski on clarinet. then, but sadly, Clare’s health was already in decline and he died in 2012. His music lives on, thanks to Brent’s commitment to preserving his father’s musical legacy, leading many continuing Clare Fischer ensembles, unearthing previously unheard compositions, orchestrating and recording them and releasing albums to critical September acclaim. Written for my wife Jean in September 2014, this is a Latin tune in 5. When I wrote it, I envisaged a string ensemble backing, and Brent has woven intricate five-part string parts behind the melody. Carl At some point in our dialogues, I mentioned that I had written a number of Jazz compositions, several of which Saunders takes the melody and plays the warm flugelhorn solo. were held in the Gerry Mulligan collection in the US Library of Congress, but never recorded them. Brent was interested to hear them and suggested that I might like to record them one day with top US musicians. After Blue Six several visits to LA and after much discussion, we decided in February 2017 to proceed, and set an ambitious This bebop blues tune was written in early 1981, in memory of much loved trumpet great, Blue schedule, to prepare twelve pieces for recording in late May. Brent arranged four of them for big band, two for Mitchell (1930-79). Blue was a distinguished alumnus of the Horace Silver band, as was our guest clarinet choir, two for a nonet, two with strings and two for quintet, with particular soloists and section players in mind. Brent assembled a dream-team of exceptional musicians – all are highly accomplished players and trumpeter, Bobby Shew, decades later. While most blues tunes are organized into three 4-bar sec- incredible improvisers - who executed his inspiring but demanding charts brilliantly and played wonderful solos. tions, this one unusually has two similar 6-bar sections. Brent arranged this for nonet, featuring The rhythm section of bassist Chuck Berghofer and drummer Ray Brinker was pivotal because of their great commanding solos by Bob Sheppard and Bobby Shew. versatility and experience. Brent’s enthusiasm has been unwavering, and it has been a great honour to col- --Simon Pilbrow laborate with him and be surrounded by such extraordinary players. Trumpets: Rob Schaer, Mike Stever, Kye Palmer, Jeff Bunnell, Ron Stout, Carl Saunders 1. Australia 5:53 Piano: Simon Pilbrow* Trombones: Charlie Loper, Andy Martin, Bob McChesney, Scott Whitfeld Reeds: - Bob Sheppard, Sal Lozano, Electric Bass: Brent Fischer Bass Trombone: Craig Gosnell, Steve Hughes Alex Budman, Brian Clancy*, Bob Carr Drums: Ray Brinker Acoustic Bass: Chuck Berghofer (tracks 1,2,4,6, 8-10,12 ) Trumpets: Mike Stever, Kye Palmer, Electric Bass: Brent Fischer (tracks 3, 5, 7, 11) Jeff Bunnell, Ron Stout, Carl Saunders* 4. Remembering Woody Shaw 5:31 Drums: Ray Brinker Trombones: Charlie Loper, Bob McChesney, Reeds: Bob Sheppard*, Bob Carr Strings - Concertmaster, Principal Violin: Assa Drori Scott Whitfeld* Trumpets: Jeff Bunnell, Ron Stout* Violin: Alex Gorlovsky, Raphael Rishik, Susan Rishik Bass Trombone: Craig Gosnell Trombone: Scott Whitfeld* Viola: Elizabeth Wilson, Lynn Grants Vibraphone: Brent Fischer Bass Trombone: Craig Gosnell Cello: Maurice Grants, Kevan Torfeh Piano: Simon Pilbrow* Piano: Simon Pilbrow* Contrabass: Oscar Hildalgo Bass: Chuck Berghofer Bass: Chuck Berghofer Drums: Ray Brinker Drums: Ray Brinker Recorded at NRG Studios in North Hollywood, CA; Mountain Road Studios in Albuquerque, NM and Clare Fischer Studios in Studio City, CA. 2. A New Beginning 5:21 5. Autumn Breeze 6:37 Soprano Saxophone: Alex Budman* Alto Flute: Alex Budman* Mastered by Steve Baughman and Mauricio Iragorri at Next Level Mastering Guitar: Larry Koonse* Guitar: Larry Koonse CD Concept: Silmon Pilbrow and Brent Fischer Piano: Simon Pilbrow Piano: Simon Pilbrow* Art Direction, Design and Layout by Ruth Nichols Bass: Chuck Berghofer Electric Bass: Brent Fischer Brent Fischer plays Contour Basses; Ken Peplowski plays Buffet Crampon Clarinets; Bob Drums: Ray Brinker Drums: Ray Brinker Sheppard uses D’Addario Reeds and MacSax Saxophone Mouthpieces; Bobby Shew, Andy Violins: Assa Drori, Alex Gorlovsky, Raphael Martin and Rob Schaer are Yamaha Performing Artists; Sal Lozano plays Selmer Saxophones 3. Studio City 6:22 Rishik, Susan Rishik and Vandoren Reeds; Kirsten Edkins endorses D’Addario Winds; Jeff Bunnell endorses BACH Reeds: Alex Budman*, Kirsten Edkins, Bob Violas: Elizabeth Wilson, Lynn Grants trumpets; Scott Whitfeld plays Getzen trombones and is a Warburton artist; Craig Gosnell Sheppard, Brian Clancy, Lee Callet Cellos: Maurice Grants, Kevan Torfeh is a Greenhoe Trombones artist; Ray Brinker plays Yamaha drums, Zildjian cymbals, Vic Firth Trumpets: Rob Schaer, Mike Stever, Contrabass: Oscar Hidalgo drumsticks and Remo drum heads. Jeff Bunnell, Ron Stout Space Photos courtesy of NASA.gov; Session photos by Ruth Nichols Trombones: Charlie Loper, Andy Martin, (* denotes solo) Many thanks to Royer Labs for the use of their Ribbon Microphones Scott Whitfeld Special thanks to AEA Ribbon Mics and Preamps Bass Trombone: Steve Hughes CD Manufacturing and Printing by Discmakers Vibraphone: Brent Fischer All Compositions by Simon Pilbrow - APRA 6. Fast Fingers 5:53 10. Try For Ages 6:12 Personnel as per Australia Personnel as per A Fischer’s Line Simon Pilbrow Guest Clarinet Soloist: Ken Peplowski Guest Clarinet Soloist: Ken Peplowski Solos: Sheppard, Stever, Peplowski, Solos: Peplowski, Budman with McChesney, Pilbrow, Brinker The Brent Fischer Orchestra 11. September 7:03 7. A Fischer’s Line 6:16 Trumpet: Carl Saunders* Clarinets: Alex Budman (also Soprano Sax)*, Vibraphone: Brent Fischer Colours of Sound Brian Clancy, Sean Franz, Lee Callet Piano: Simon Pilbrow* Bass Clarinet: Gene Cipriano Electric Bass: Brent Fischer Simon Pilbrow - Composer, Piano Flugel: Carl Saunders Drums: Ray Brinker Brent Fischer - Producer, Arranger, Conductor, Vibraphone, Trombones: Scott Whitfeld* Strings as per Autumn Breeze Marimba, Electric Bass Piano: Simon Pilbrow* Electric Bass: Brent Fischer 12. Blue Six 5:53 Special Guest Artists: Drums: Ray Brinker Reeds: Bob Sheppard*, Bob Carr Trumpets: Jeff Bunnell, Ron Stout Ken Peplowski - Clarinet solos on Try For Ages and Fast Fingers 8. Surprise 4:54 Trombone: Scott Whitfeld* Bobby Shew - Trumpet solos on Blue Six and Surprise Personnel as per Studio City, except - Bass Trombone: Craig Gosnell Larry Koonse - Guitar on New Beginning and Autumn Breeze Bass: Chuck Berghofer Piano: Simon Pilbrow* Guest Trumpet Soloist: Bobby Shew Bass: Chuck Berghofer Chief Recording, Editing and Mixing Engineer: Matt Brownlie Solos: Sheppard, Shew, Martin Drums: Ray Brinker* Production Team: Sid Fenley, Kyle MacAulay, Claris Dodge, Guest Trumpet Soloist: Bobby Shew Ruth Nichols, Matt Wong, Lorenzo Ferrero 9. Joyful 4:57 Alto Flute: Alex Budman* (* denotes solo) Vibraphone: Brent Fischer Woodwinds: Bob Sheppard - Soprano, Alto and Tenor Saxes, Alro Flute; Sal Lozano - Alto Sax; Piano: Simon Pilbrow* Alex Budman - Soprano, Alto and Tenor Saxes, Flute, Alto Flute, Clarinet and Bass Clarinet; Bass: Chuck Berghofer Kirsten Edkins - Alto Sax, Alto Flute; Brian Clancy - Tenor Sax, Alto Flute and Clarinet; Sean Drums: Ray Brinker Franz - Clarinet; Gene Cipriano - Bass Clarinet; Bob Carr - Baritone Sax; Lee Callet - Baritone © P 2017 Simon Pilbrow All rights reserved. Unauthorized copying or distribution of this copyrighted work is illegal. Sax, Bass Clarinet.