Folktale & Fusions: 1.) varied musical compositions with unique construction that impart a certain sonic character or signature 2.) music styling percolating during the Covid Pause 3.) assemblage of originals that vary in shape and texture from a toe tapping rag, to expressive fusions that vary compositionally blending baroque, country, roots and rock with jazz sensibility and Frissel-tinged Americana. 4.) varied originals and interpretive folktales where country meets ambient, interpretative folktales, baroque-rock mashups, post-bop blues, classically derived fusions, influenced by but not jazz, 5.) hard to classify collection of compositions performed by a collective of musicians varying in number (duo, trio, combo etc.,)
A theme for me amplified by the Covid pause has been meeting people where they are. Meeting in the middle musically provides the vantage point from where to bend ears and bring folks in. Folktales and Fusions are a way in. Many of these compositions are simple folk song structure yet the melodies harmony and improvisations come from jazz. These pieces vary in shape and texture from the toe tapping NoHo Rag, to a collection of expressive fusions that vary compositionally blending baroque, country, roots and rock with jazz sensibility.
About a few of the songs:
What’s this NOHO Rag…? Guitarist Steve Thomas moved to the Northampton during the pandemic and penned the song capturing the vibe of this town in perpetual motion. Adding to the fun, Steve is joined by World-renown Saxophonist Chris Cheek on Baritone.
A great example of a “fusion” is Mr. G Stringie Thingie – Mr. G is Maura Giuliani who was a 17th century guitar virtuoso. I got the idea to meld a few etudes with connective progressive fusion sections. It took 10 years to get around to recording the quartet arrangement that was floating around in my head. It’s nice to hear the fugue like guitar, piano, bass interaction come together in this quartet version thanks to Bob Ponte, Maggie Rizzi and Frank Basile. Subsequently, we tracked the Haute Baroque duo version featuring Chris Cheek’s multi-dimensional Blasting Baritone.
Like MGST, A/ttitude main themes are classical guitar etudes. In this case, its the Matteo Carcassi etude in A that forms the basis for the melody lines intersecting with bluesy guitar. It’s then punctuated by an airy solo section, finished off with a Beethoven-esk ending.
JB Blues is one of my older post-bop blues compositions. It’s essentially an ode to the two guitar greats that have heavily influenced aspects of my sound, Joe Pass and Barney Kessel. The song is laced with lots Kessel-esk harmonic forms and Bopish Pass motifs.
Stay tuned, more to come!