In 2016 I was fortunate enough to be awarded both the Industry and Orkeztra prizes in the Composition Competition for world music ensemble Orkeztra Glasso Bashalde with the piece ‘Tango In Pusan’. One part of the prize was recording time, generously provided by Adrian Akkerman at his Incubator Studio.
At the time, I was working in a band with
At the time, I was working in a band with
In 2016 I was fortunate enough to be awarded both the Industry and Orkeztra prizes in the Composition Competition for world music ensemble Orkeztra Glasso Bashalde with the piece ‘Tango In Pusan’. One part of the prize was recording time, generously provided by Adrian Akkerman at his Incubator Studio.
At the time, I was working in a band with Tristan Courtney, Danny McKenna and Garrett Costigan, and I felt we were all getting along together pretty well musically. On a whim, I asked them to come and record a number of songs I'd written over the years that couldn't find a home in any of my other projects. Happily, during the sessions, we continued to get along together pretty well musically.
After this initial recording session, I worked on the album with Mark Stanley at Red Room Studio in fits and starts for six years. Looking back, I can't understand why it took me so long, especially considering how much fun I had with the entire process from start to finish.
Several of the songs are written for people I admire. 'Foster' was inspired by the life and music of Stephen Foster, 'Squeaky' is for my friend Josh Bridges, 'One For Mont' is for cleverhorse and Antelodic alto saxophonist and dear friend Monty Mackenzie, and Punch is an imaginary meeting between Bill Frisell and the Punch Brothers.
My family life features in 'One Lip', 'Peering Around Corners' and 'Fern Hill'. 'The Chaining Tree' was inspired by a story Gideon Brazil told me about the justice system in Fryerstown during the Victorian Gold Rush of the 1850s.
At the time, I was working in a band with Tristan Courtney, Danny McKenna and Garrett Costigan, and I felt we were all getting along together pretty well musically. On a whim, I asked them to come and record a number of songs I'd written over the years that couldn't find a home in any of my other projects. Happily, during the sessions, we continued to get along together pretty well musically.
After this initial recording session, I worked on the album with Mark Stanley at Red Room Studio in fits and starts for six years. Looking back, I can't understand why it took me so long, especially considering how much fun I had with the entire process from start to finish.
Several of the songs are written for people I admire. 'Foster' was inspired by the life and music of Stephen Foster, 'Squeaky' is for my friend Josh Bridges, 'One For Mont' is for cleverhorse and Antelodic alto saxophonist and dear friend Monty Mackenzie, and Punch is an imaginary meeting between Bill Frisell and the Punch Brothers.
My family life features in 'One Lip', 'Peering Around Corners' and 'Fern Hill'. 'The Chaining Tree' was inspired by a story Gideon Brazil told me about the justice system in Fryerstown during the Victorian Gold Rush of the 1850s.
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Two Roads 2:450:00/2:45
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0:00/5:18
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One Lip 4:550:00/4:55
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Foster 4:290:00/4:29
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The Chaining Tree 5:390:00/5:39
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Fern Hill 3:350:00/3:35
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Squeaky 5:060:00/5:06
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0:00/5:00
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One For Mont 4:430:00/4:43
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Punch 5:460:00/5:46
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Tired Bluegrass 2:430:00/2:43