My premiere CD; "I Saw You"!
I wrote these songs over a period of years, some several years ago and some during the recording process. Many are directly personal. Some might say, "Oh! You just wrote down what happened!", but the truth is, writing about personal things in a way that's interesting to others, is not that simple.
I've been playing guitar for about ten years, and have always wanted to record, but not wanting to jump the gun, and be unhappy with what I did, I waited. Finally, I reached the point where I felt all the big changes had happened. Although things can always evolve, I'm proud of these results! I hope you enjoy the CD (or songs, but hearing the whole album is always better!) and keep these songs with you for the times when you need them.
Compact Disc with images and info!
The realization of this CD would not have been possible without the efforts of many other people, directly and indirectly. My family has always been supportive of my career as a professional, symphonic oboist, and then in learning guitar and performing as a songwriter (well, nearly always!). Many people along the way were invaluable, such as the late Penny Nichols, who was enthusiastic, clear eyed and encouraging from the first meeting at Summersongs in Ashokan, NY (now Stonypoint). Her grasp of the craft of song writing, as well as her approach to singing and presenting will always stay with me.
More directly, several other musicians participated in the recording of this CD. Jud Caswell was the engneer and co-producer, and his musicianship, musical insight and song writing expertise were key to getting things "right". April Reed-Cox, who performed on cello, is an imaginative and thoughtful musician who added brilliant flashes of inventiveness to the tracks she played ("There Is No God", "When The End Comes", "The La Brea Tar Pits", "Letting Go"). No one I know can "fiddle" around on cello like her!
Percussonist Alfred Lund, (another Maine magician) was sensitive and responsive to input, in addition to bringing years of experience with laying down a beat...or swelling on a cymbal when needed! Bassist Mark Dann, a fixture of the NYC, New Folk scene, did a masterful job of adding bass to the tracks, always looking to give the track the foundation it needed without over shadowing the other players (also, met and became friends through Summersongs!). Jud Caswell added valuable color on various instruments, including guitar, electric guitar, tin whistle, mandolin and bodhran, all while keeping an expert ear on the process for big picture issues and of course, optimal sound. His impeccable ears were worn through with listening, seeking, editing, mixing, re-recording and mastering. I can't thank him enough!
As they say, last but not least are the two women in my life who did more to help me reach this goal than any others, and they are my partner Dr. Carolyn Hoban, who has kept me on track for 20 years, and my late mother Lillian Anderson, who was always helping me and my siblings get instruments, get to rehearsals and performances, and get through disappointment. She gave me the abilities with music and words that have carried me throughout my career and life. If I've left anyone out, my apologies. I thank all who have been there along the way. The list is too long.