Miki Yamanaka's Powerful New Album ​Human Dust Suite ​Will Be

Total Page:16

File Type:pdf, Size:1020Kb

Miki Yamanaka's Powerful New Album ​Human Dust Suite ​Will Be For Immediate Release Press Contact: Lydia Liebman Promotions [email protected] 570 - 730 - 5297 Miki Yamanaka’s Powerful New Album Human Dust Suite will be released on September ​ ​ 18, 2020 via Outside in Music ​ ​ New York-based musician and composer Miki Yamanaka’s dynamic new album Human Dust ​ ​ th ​ Suite will be released on Outside in Music on September 18 ,​ 2020. A follow up to her ​ ​ ​ ​ ​ critically acclaimed debut Miki (Cellar Live, 2018), Human Dust Suite paints a profound portrait ​ ​ of the human experience, with the eponymously named 5-part suite as the centerpiece. Yamanaka, who on this outing performs on vibraphone in addition to piano, is joined by alto saxophonist Anthony Orji, bassist Orlando le Fleming, and drummer Jochen Rueckert. ​ ​ ​ ​ ​ ​ Human Dust Suite takes its name and inspiration from Hungarian-American conceptual artist Agnes Denes’ striking photograph “Human Dust”. Produced in 1969, the subject of Denes’ ​ ​ ​ photograph is, at first, startling: a mound of human remains after cremation. When Yamanaka first encountered the work on display at The Art Institute of Chicago, she realized something ​ obvious, yet deeply profound: “in the end, we all end up the same way.” This moment inspired her to compose the “Human Dust Suite”, each movement representative of a different body part. Each title symbolizes something greater that leads to happiness- like Movement III, “Tummy”, inspired by a love for food and nourishment, and IV, “Feet Go Bad First”, because, as Yamanaka says in her liner notes, “how awesome to be able to walk and to run.” This introspective meditation on humankind speaks to the strength and unity of humans, as a response to the scene of human frailty that Denes’ artwork seems to conjure. Master organist Larry Goldings writes in the album’s liner notes that ““The Human Dust Suite” is the centerpiece of this record, and a wonderful example of the breadth of Miki’s musical vision.” He goes on to say, “...let the music herein be a reminder that great jazz requires togetherness. And Miki Yamanaka and her band have their togetherness, together.” In a time of social distancing, Goldings’ words resonate deeply. While “Human Dust Suite” is the heart of the album, it is bookended by three songs on each side that are decidedly more lighthearted and showcase Yamanka’s range as a composer. The album’s opening track, “Pre-School” is inspired by jazz great Lee Konitz while “March” is ​ ​ Yamanaka’s tribute to an idol, Mulgrew Miller, whose playing and composing had a profound effect on her. Her original composition “First Day of Spring”, which particularly highlights Orji, ​ ​ ​ comes next before launching into the “Human Dust Suite”. ​ ​ Two originals come next. “O 2017” is described as a “palate cleanser” and features the leader on vibraphone. “This song and “Hatsu” (from the suite), were written for two parts, and I decided ​ ​ to overdub those melodies and harmonies on vibes,” said Yamanaka, adding that she practiced her vibraphone chops diligently at Smalls Jazz Club, where she is a regular performer. “After ​ ​ The Night” is the final original, before leading into an innovative 5/4 take on Randy Weston’s “Berkshire Blues”. ​ Human Dust Suite is a career milestone for the Kobe, Japan native, who has lived in New York City since 2012. A student of Jason Lindner, Jeb Patton, Fred Hersch, Sam Yahel, and Larry ​ ​ ​ ​ ​ ​ ​ ​ ​ Goldings, in 2015 she was one of three pianists selected to participate in “Betty Carter’s Jazz ​ Ahead”, an intensive composition residency at the Kennedy Center. She earned her Master of Music degree from Queens College. Miki has appeared in concert with many notable musicians including Steve Nelson, Seamus Blake, Jerry Dodgion, Victor Lewis, Rich Perry, Antonio ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Hart, and Peter Bernstein. She holds residencies at Smalls and Mezzrow Jazz Clubs in New ​ ​ ​ York City and has had multiple week-long engagements at Dizzy’s Club Coca Cola since 2016. She is the current pianist in the Philip Harper Quintet, the Roxy Coss Quintet, and the ​ ​ ​ ​ Antonio Hart Group. Miki recorded an EP, “Songs Without Lyrics” in 2012, which featured ​ Lawrence “Lo” Leathers, Tivon Pennicott, and Spencer Murphy and released her ​ ​ ​ ​ aforementioned album, “Miki” with Steve Nelson, Orlando le Fleming, and Bill Stewart in ​ ​ ​ ​ ​ 2018. .
Recommended publications
  • Gerry Teekens, Whose Criss Cross Label Was a Harbor to Several Jazz Generations, Dies at 83
    ♫ Donate Live Stream · WBGO LOADING... Saturday Afternoon Jazz On the Air Music News Listen & Connect Calendars & Events Support About Search Gerry Teekens, Whose Criss Cross Label Was a Harbor to Several Jazz Generations, Dies at 83 By DAVID R. ADLER • NOV 6, 2019 ! Twitter " Facebook # Google+ $ Email LEO VAN VELZEN / LEOVANVELZEN.COM Gerry Teekens, founder and proprietor of Criss Cross Jazz, an unassuming Dutch indie label that became a vital repository of recorded jazz from the 1980s onward, died on Oct. 31. He was 83. His death was confirmed by his son, Jerry Teekens, Jr. At the news, tributes poured in from Criss Cross artists old and new, including soprano saxophonist Sam Newsome and guitarist David Gilmore. Formerly a professional drummer, Teekens founded Criss Cross in 1981 with a mission to document swinging, straight-ahead jazz of the highest caliber. At first the roster featured musicians as revered as guitarist Jimmy Raney and saxophonist Warne Marsh, but it grew to include the young and the promising: saxophonists Kenny Garrett, Chris Potter and Mark Turner, to name but a few, and pianists Orrin Evans, Bill Charlap and Benny Green. Countdown Watch later Share Multiple times a year, Teekens would cross the ocean from Enschede, Netherlands (thus the Criss Cross name), taking up at Rudy Van Gelder’s famed studio in New Jersey (and later at Systems Two in Brooklyn) for a full week of recording — knocking out an album a day, in the old-school way. In recent years the Criss Cross aesthetic began to broaden, with artists like alto saxophonist David Binney and trumpeter Alex Sipiagin using electronics and synthesizers, moving beyond the strictures of one-take-and-done while still remaining on board with the label.
    [Show full text]
  • SCHOOL of MUSIC and DANCE Monday, February 25,2013,7 P.M
    UPCOMING JAZZ CONCERTS AT UO March 1 NASA Conference Jazz Concert – OJE w/guest artist Seamus Blake, (saxophone) 8 UO Honors Combos Concert – (7:30 p.m., rm. 190) 15 UO Combos @ The Jazz Station (5:30 – 7:15) Spring 2013 UO Jazz Ensembles April Winter Concert 12 UO Combos @ The Jazz Station (5:30 – 7:15) 21 UO Combos @ The Jazz Station (5:30 – 7:15) Jazz Lab Band II Steve Sharp, director May 10 UO Honors Combos Concert – the Oregon Jazz Ensemble (7:30 p.m., rm. 190) Steve Owen, director 12 - 16 Guest Artist Residency – John Hollenbeck and The Refuge Trio featuring Seamus Blake 14 John Hollenbeck and The Refuge Trio Saxophone w/ OJE (Beall Hall) 7:00 p.m. 17 UO Honors Combos Concert – (7:30 p.m., rm. 190) 24 Annual Spring Concert – UO Jazz Ensembles (Beall Hall) 8:00 p.m. 31 UO Combos @ The Jazz Station (5:30 – 11:00 p.m.) Recording of UO concerts and events without prior permission is prohibited. Performances sponsored by the UO School of Music and Dance are sometimes video recorded and photographed for a variety of uses, including both live simulcast and digital archive on the UO website, or for publicity and publications. Images of audience members may be included in these recordings and photos. By attending this event, audience members Beall Concert Hall imply approval for the use of their image by the UO and the School of Music and Dance. Monday, February 25, 2013, 7 p.m. Season 112, Program 55 SCHOOL OF MUSIC AND DANCE PROGRAM PERSONNEL Jazz Ensemble II OREGON JAZZ ENSEMBLE Adams Apple comp.
    [Show full text]
  • Saxophonist & Composer PHILLIP JOHNSTON NEW RELEASES
    ever needing to hear another take on “I’m In The Mood a lute with a short fingerboard and 11-13 strings, For Love”? Yeah, probably, but this one is fine. “And traditionally used in Arabian, Egyptian, Jewish, Now The Queen” is much more interesting; Goldings Palestinian, Iraqi, Persian, Turkish and Armenian music. opens it with some deeply unsettling noises that could In the jazz world, the oud has been explored by Ahmed come off a Supersilent album, as Stewart bows his Abdul-Malik, Rabih Abou-Khalil and Anouar Brahem. cymbals and rattles his kit like he’s stress-testing the Canadian guitarist Gordon Grdina comes forth mounting hardware. Although the piece has a powerful with a strong, individual voice and the ensemble is melody, it appears as a series of unexpected surges, assimilated like it’s a new discovery of something punctuation at the end of long bursts of disjointed around for a long time. Percussionist Hamin Honari Toy Tunes weirdness. “Toy Tune” builds on a deceptively simple provides extraordinary accompaniment, especially for Larry Goldings/Peter Bernstein/Bill Stewart (Pirouet) head, allowing the trio to meander around for seven listeners used to the American drumset. As he is by Phil Freeman minutes, making it the longest track. “Maybe” is an credited on tombak and daf (traditional Iranian drums), ideal closer, a gentle tune delivered without disruption one wonders from where all of his nuanced sounds Organ player Larry Goldings, guitarist Peter Bernstein or undue exuberance, bringing the mood down to a emanate. The texture and timbre of Honari’s percussion and drummer Bill Stewart first convened as a trio for soothing simmer as the music fades away.
    [Show full text]
  • Opus 5, Pentasonic
    Criss 1351 CD PENTASON IC OPUSS 1. THE SABOTEUR SEAMUS BLAKE tenor & soprano sax (D. Edwards) 6.28 ALEX SIPIAGIN trumpet, fl uegelhorn 2. VIDELLES DREAMS DAVID KIKOSKI piano, Fender Rhodes (A. Sipiagin) 7.46 BORIS KOZLOV bass SEAMUS BLAKE 3. SIGN OF LIFE DONALD EDWARDS drums ALEX SIPIAGIN (S. Bl ake) 8.12 4. DUCKTONES DAVID KIKOSKI (D. Edwards) 8.14 5. LITTLE DANCER BORIS KOZLOV (A. Sipiagin) 8.48 Produced by Gerry Teekens Recording Engineer: Michael Marciano DONALD EDWARDS 6. THREE DAYS OF MAYBE Mixing: Michael Marciano (B. Kozlov) 5.47 Mastering: Michael Marciano Recorded: April 4, 2012 7. DANNY ® © 2012 Criss Cross Jazz (S. Blake) 9.05 Recorded at Systems Two Recording Studios, Brooklyn, N.Y. Photography: Govert Driessen .11 . 8. RED CLAY ,· -4,. (F. Hubbard) 7.29 Cover Design: Geny Teekens/Bloemendaal in Vorm J 9. CHARLIE'S WIG Criss Cross Jau, Postbox 121 4 (C . Parker) 3.25 7500 BE Enschede, Holland [email protected] w--- _.. www.crisscrossJau.com ~- .• ., TOTAL TIME: 55.34 J1m~~ ~~~1,11~ /' - All rights reserved. Unauthorized dupllcatlon Is a vlolallon of applicable laws. Made in Holland Pentasonic voice , offers: "I played classical marimba for 13 years, and that Strictly speaking, the term Pentasonic doesn't exist, and yet it evokes enabled me to understand harmony as a drummer, and to be able something essential about the fiery jazz modernism of Opus 5, to write for varied instruments. I also played in the gospel church for the leaderless quintet making its sophomore appearance here. years. There are different sides to me, and to everyone in this band, To drummer Donald Edwards, a native of Baton Rouge, Louisiana, and I think that comes through on the record." "pentasonic" simply means "the sound of five guys," and that definition works well.
    [Show full text]
  • Jonny King — Biography
    Jonny King Biography Jonny King has been described by Downbeat as "one of the strongest piano voices" of his generation and a "bandleader who kicks ass." JazzTimes likewise wrote that he “represents the best of what jazz has to offer” as both a performer and composer. A native New Yorker, he grew up in the City's jazz clubs, participating first as a fan and then as a performer. Before he was a teenager, King had already performed onstage with Dizzy Gillespie and appeared on television at the piano alongside his early idol, Earl “Fatha” Hines. Before he was 20, he was already sitting in with Art Blakey and playing his first gigs in New York's many restaurants and clubs. King is primarily self-taught, having neither received any formal music education nor attended any jazz schools. He gratefully credits pianists Mulgrew Miller and Tony Aless as important influences, mentors and personal teachers. Beyond their private instruction, King learned music in the most old-school of ways -- by obsessively listening to records, attending jam sessions, and soaking up as much live and recorded music possible, from the most traditional to the most avant-garde. He continues to approach music the same way, both as a performer and composer. Beginning in the 1990s, King became a steady presence on the City's club scene, featuring his own bands at The Jazz Standard, Smalls, and legendary clubs like Sweet Basil's and Bradley's, his home-away-from-home, where he performed regularly both as leader and sideman. He toured as a member of Joshua Redman's Quartet and the Blue Note Records cooperative band OTB, and worked as the pianist in groups led by saxophonists Steve Wilson, Eddie Harris, Vincent Herring and many others.
    [Show full text]
  • New York Quartet
    NEW YORK STANDARDS QUARTET Tim Armacost David Berkman Gene Jackson Ugonna Okegwo 1 "Power of 10" is notable for its powerful music, intelligent interactions, excellent solos...The New York Standards Quartet takes music many listeners are familiar with, styles we can put a name to, and creates a program that illustrates just how alive jazz can be. RIC Richard Kamins, Hartford Courant 2 new york standards quartet biography When we formed the New York Standards Quartet (nysq) ten years ago, the concept was a straightforward one: play jazz standards in our own way. After playing a lot of original music (we all compose and lead bands that do that) we thought it would be fun and liberating to play music based on simpler, standard jazz tunes that we had grown up playing. By playing jazz standard tunes like “Confirmation” and “All the Things You Are,” we put the focus on the playing of the tune—what we do with it, not so much the tune itself. These tunes are blank slates to write on, with a lot of freedom and room for interpretation. We’ve expanded our approach to include arrangements and reinventions of these tunes, as well as original compositions that have a close connection to forms and harmonies derived from standards. The band has been touring and developing together for ten years, and it shows in the music. Audience response has been phenomenal, and bookings are pouring in from festivals and venues around the world. The New York Standards Quartet is Tim Armacost (Billy Hart, Ray Drummond, Kenny Barron) on saxes and flute, David Berkman (Tom Harrell, Cecil McBee, Vanguard Orchestra) on piano, Gene Jackson (Herbie Hancock, Wayne Shorter, Dave Holland) on drums, and Ugonna Okegwo (Brad Mehkdau, Tom Harrell, Kurt Rosenwinkel) on bass.
    [Show full text]
  • Bioteepelongversion 2017
    Biography Joris Teepe (updated 2017) Joris Teepe Bassist, Band Leader, Recording Artist, Composer, Producer, Educator Dutch born Joris Teepe graduated in 1991 from the Amsterdam Conservatory in The Netherlands and moved shortly thereafter to New York. He has been traveling between New York and Amsterdam ever since although New York has been his main home. Recently (since 2013) he has an additional residence in Amsterdam. Arriving in New York in 1992 with just his bass and a suitcase, he quickly became a bassist in great demand. He has been working with the "who is who in Jazz" such as Benny Golson, Lee Konitz, Dave Liebman, Randy Brecker & Barry Harris, but is mostly known for his 9 year stint with the Rashied Ali Quintet (2000- 2009). Joris Teepe established himself not only as a sideman but has gained respect as a bandleader (14 CD’s), composer, record producer and educator. Teepe leads his own groups and his own New York Big Band that plays only his original music. Noteworthy is that he composed several large symphonic works (for Jazz Band and full symphony orchestra). Teepe is director of Jazz Studies in Groningen, one of the biggest universities in the Netherlands and he is Bass Professor at Queens College in New York. Website: www.joristeepe.com Facebook: https://www.facebook.com/joris.teepe In 2004 Joris Teepe has been nominated for the Bird Award at the North Sea Jazz Festival in the category “Artist deserving wider recognition”. Bassist Teepe has developed an extensive knowledge of every aspect of jazz performance and never denies his artistic vision and adventurous personality.
    [Show full text]
  • May 2008AAJ-NY.Qxd
    NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com AHMAD JAMAL IT'S MAGIC Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar NEW YORK May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June.
    [Show full text]
  • Joshua Redman/Brad Mehldau
    JOSHUA REDMAN/BRAD MEHLDAU DUO Friday, September 23, 2016, at 7:30pm Tryon Festival Theatre THE ACT OF GIVING OF ACT THE THANK YOU TO THE SPONSORS OF THIS PERFORMANCE PROGRAM Krannert Center honors the spirited generosity of these committed sponsors whose support JOSHUA REDMAN/BRAD MEHLDAU DUO of this performance continues to strengthen the impact of the arts in our community. Joshua Redman, saxophone Brad Mehldau, piano * * The program will be announced from the stage. This performance will last for approximately 90 minutes and will be presented with no intermission. Saxophonist Joshua Redman and pianist Brad Mehldau first performed together in Redman’s renowned quartet which gained prominence during the ‘90s “young jazz lion” period. Over the next two decades, both Grammy-nominated musicians grew as extraordinary leaders in their own ensembles, reaching international and critical acclaim while forging their own distinctive voices as modern-day icons in the ALICE & JAMES FARON JANICE BAHR & ERWIN HOFFMAN jazz/contemporary music vernacular. In 2011, the two finally converged their shared musical genius, First-Time Sponsors First-Time Sponsors skill, and simpatico to unequivocal critical acclaim. Two Current Sponsorships In 2016, by popular demand, Redman and Mehldau renew their longstanding musical relationship and join as an intimate duo creating music that swings and deeply connects to the spirit. A new live album from their recent European tour was released on Nonesuch Records in September 2016. LISA & MARK KLINGER ANONYMOUS Three Previous
    [Show full text]
  • The James Taylor Encyclopedia
    The James Taylor Encyclopedia An unofficial compendium for JT’s biggest fans Joel Risberg GeekTV Press Copyright 2005 by Joel Risberg All rights reserved Published 2005 Printed in the United States of America James Taylor Online www.james-taylor.com [email protected] Cover photo by Joana Franca. This book is not approved or endorsed by James Taylor, his record labels, or his management. For Sandra, who brings me snacks. CONTENTS BIOGRAPHY 1 TIMELINE 16 SONG ORIGINS 27 STUDIO ALBUMS 31 SINGLES 43 WORK ON OTHER ALBUMS 44 OTHER COMPOSITIONS 51 CONCERT VIDEOS 52 SINGLE-SONG MUSIC VIDEOS 57 APPEARANCES IN OTHER VIDEOS 58 MISCELLANEOUS WORK 59 NON-U.S. ALBUMS 60 BOOTLEGS 63 CONCERTS ON TELEVISION 70 RADIO APPEARANCES 74 MAJOR LIVE PERFORMANCES 75 TV APPEARANCES 76 MAJOR ARTICLES AND INTERVIEWS 83 SHEET MUSIC AND MUSIC BOOKS 87 SAMPLE SET LISTS 89 JT’S FAMILY 92 RECORDINGS BY JT ALUMNI 96 POINTERS 100 1971 Time cover story – and nearly every piece of writing about James Taylor since then – characterized the musician Aas a troubled soul and the inevitable product of a family of means that expected quite a lot of its kids. To some extent, it was true. James did find inspiration for much of his life’s work in his emotional torment and the many years he spent fighting drug addiction and depression. And he did hail from an affluent, musically talented family that could afford to send its progeny to exclusive prep schools and expensive private mental hospitals. But now James Taylor in his fifties has the benefit of hindsight to moderate any lingering grudges against a press that persistently pigeonholed him – first as a sort of Kurt Cobain of his day, and much later as a sleepy crooner with his most creative years behind him.
    [Show full text]
  • Jazz Birthdays
    JazzWeek with airplay data powered by jazzweek.com • August 18, 2008 Volume 4, Number 37 • $7.95 Jazz Album No. 1: Roy Hargrove, Earfood Smooth Album No. 1: The Sax Pack, The Sax (Groovin’ High/Emarcy) Pack (Shanachie) World Music No. 1: Wayne Wallace, The Na- Smooth Single No. 1: The Sax Pack, “Fallin’ ture of the Beat (Patois) For You” (w/ Steve Cole, Jeff Kashiwa & Kim Waters) (Shanachie) Jazz Album Chart . 3 Jazz Radio Currents . 8 Smooth Jazz Album Chart . 4 Jazz Radio Panel . 11 Smooth Singles Chart . 5 Key Non-Monitored Jazz Stations . 12 World Music Album Chart. 6 Smooth Jazz Current Tracks. 13 Jazz Add Dates. 7 Smooth Jazz Station Panel. 14 Jazz Birthdays August 18 August 26 September 2 Adam Makowicz (1940) Jimmy Rushing (1903) Phil Napoleon (1901) David Benoit (1953) Clifford Jarvis (1941) Laurindo Almeida (1917) August 19 Branford Marsalis (1960) Horace Silver (1928) Jimmy Rowles (1918) August 27 Clifford Jordan (1931) Walter Davis, Jr. (1932) August 20 Lester Young (1909) Frank Rosolino (1926) Alice Coltrane (1937) September 3 Jimmy Raney (1927) Sonny Sharrock (1940) Roy Brooks (1938) Milford Graves (1941) August 28 September 4 Enrico Rava (1943) Kenny Drew (1928) Meade “Lux” Lewis (1905) August 21 Michael Gregory Jackson (1953) Gerald Wilson (1918) Count Basie (1904) August 29 David Liebman (1946) Art Farmer (1928) Charlie Parker (1920) Lonnie Plaxico (1960) Bireli Lagrene (1966) August 22 Dinah Washington (1924) Malachi Favors (1937) Bennie Maupin (1940) September 5 Doug Raney (1956) Albert Mangelsdorff (1928) August 23 Charles
    [Show full text]
  • James Taylor, March 2015
    jamestaylor.com concordmusicgroup.com P&C2015 JAMES TAYLOR. UNDER EXCLUSIVE LICENSE TO CONCORD MUSIC GROUP, INC. 100 N. CRESCENT DRIVE, BEVERLY HILLS, CA 90210. ALL RIGHTS RESERVED. UNAUTHORIZED DUPLICATION IS A VIOLATION OF APPLICABLE LAWS. It’s been a while. I guess we started this project in January 2010 when Jimmy Johnson and Steve Gadd joined me and Dave O’Donnell in the barn next to my house to record some demos: bass, drums & guitar. None of these tracks had any lyrics; I whistled the melody. I took 2013 off, more or less, to write but it wasn’t until September, with deadlines looming, that I really got down to it. These days, life is full and lyric writing needs empty time, so the only thing for it was to borrow Bee & Val’s place in Newport for a week at a time; thanks, guys. After a few quiet days, the songs started to come through. I walked around town, I rowed around the harbor and I cooked my meals with one call to home at dinnertime. I had a different notebook for each song; written down on the right page and edited on the left. Bits of lyrics on napkins, and envelopes and little scraps of music recorded on my phone… In January 2014, I brought the band — Jimmy Johnson, Bass; Larry Goldings, Pianos; Mike Landau, Guitars and Steve Gadd, Drums — to our home, where Ellyn Kusmin and Dave O’Donnell had transformed the barn into a studio, “aqueduct for our porpoises”… Ralph and JP came down from Vermont to help set us up and we got started.
    [Show full text]