Notes
The opening/verse guitar riff to Message in a Bottle is, without question, one of the best in rock history. I wanted to twist it up and arrange it in an off-kilter but still recognizable way. For the nerds out there, the verse is in 5/8, the chorus is in 6/8.
While Dominic Miller has been Sting's primary recording and touring guitarist (his right and left-hand man?) for over three decades, he's also an excellent acoustic jazz guitarist in his own right. His compositions and recordings never cease to intrigue me. His song Baden was written as a tribute to the great Brazilian guitarist Baden Powell.
Manuel Ponce composed Malgré Tout for solo piano as an homage to his friend, sculptor Jesús Contreras. Despite losing his right arm due to complications from cancer, Contreras never stopped working. His first significant piece after the amputation was a sculpture titled "Malgré Tout," a French term meaning "nevertheless" or "despite it all." Out of respect, Ponce composed the piece to be played with the left hand alone.
Edgar Meyer is a mastermind who effortlessly glides between musical worlds. He doesn't simply transition between classical, folk, jazz, and bluegrass—he finds fascinating connections that blur the lines between genres. Sliding Down broke my heart when I first heard it on his album Uncommon Ritual. It's a modern melody that sounds timeless.
Bert Ligon, one of my mentors from graduate school, composed Cascade for string orchestra with a jazz rhythm section. From the composer himself: While driving by the Cascade Mountain outside of Banff, I tried to imagine the basic form of Gershwin's "I Got Rhythm" (a staple for jazz improvisers) with chord changes and style as if James Taylor was accompanying fiddlers like Darol Anger and Matt Glaser. Cascade is the result.
The history of St. James Infirmary is a beautiful transcontinental mess. An early version originated in the British Isles, later transplanting to Appalachia and, subsequently, to New Orleans, where the song as we know it was born. Despite the different and evolving versions of the song, some things remain the same: minor key, melancholy sentiment, and undeniably beautiful.
I once saw Richard Galliano in concert, having no idea who he was. I left the show astounded by his fusion of jazz, tango, and classical elements. While his style is rich and multi-faceted, his interpretations of Astor Piazzolla and French popular music are perhaps his most soulful. La Valse à Margaux is a beautiful example of the latter.
Amar Pelos Dois, composed by singer/songwriter Luísa Sobral, was Portugal's submission to the 2017 Eurovision song competition. In a competition loaded with bombastic, slickly produced pop songs, her song was an outlier—an understated and heartbreaking ballad. It won Eurovision that year, and currently holds the record for most votes in the competition's history.
Almost two decades ago, I found myself in a low place, bitter and despondent about music, the guitar, and life direction. I had the curious fortune to end up playing guitar on cruise ships, a trajectory that took me around the globe and completely changed my worldview. Getting lost in Spain and drinking red wine (tinto) changed my life for the better. All the works on this record, one way or another, strike me with that same sense of inspiration and fascination I rekindled in the cafes and bars of Barcelona and Mallorca.
I've arranged all the works on this recording, except "Baden," which was originally written for guitar. Oli Whitworth (oliwhitworth.com) mixed and mastered this album, making me sound volumes better than I actually am. Sean de Burca (sdeburca.com) designed all artwork, making this whole project look far cooler than it is.
Endless thanks:
Rachel, my love. Mom and Dad. Bert Ligon. Oli Whitworth. Sean de Burca. Tim Fischer. Devin Sherman. Crossrock cases. Bill Piburn. Manley Mallard. Pablo, Yates, Berg.
Razzle–I'll always miss you, sweet girl.