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Q: Does 'Altea',
the 12th track on 'Third World' refer to the Spanish Mediterranean
coastal town near Benidorm? Also, why after about 3.53 minutes of
phrases is there silence for almost 15 minutes before you re-appear on
a beautiful tune with a background feminine voice speaking French,
apparently on the phone? What does this lapse mean? - From Isabel
A: 'Altea'
is written after the Spanish town. I wrote it while I was there a few
years ago. I love the place (or the region) because it's kind of
mysterious or witchy in a positive sort of way. I love the language
they speak there and it comes as no surprise to hear that many artists
and poets go there for inspiration. The gap after it was intentional.
I wanted the listener to get a surprise track fifteen minutes later.
The reason for this is because I didn't think that tune (titles 'Apres
le Beep') should be on the album because it wasn't musically related
to the other tunes but at the same time I wanted to 'show' it. The
woman speaking is my wife (who is French) and she is basically giving
me shit on the answer phone (hence the title) because I was I didn't
live up to her expectations on a certain incident. I found this
amusing but still quite therapeutic putting it on my album plus the
concept of having the last laugh. She thinks it's funny too now.
Q: I love the first song 'Always' on your 'Third World' album. I wish
it was longer! Sorry to keep asking, but what inspired you to write
it? I think it's beautiful. - From Anna
A:
'Always' is about relentless love for someone. There is one note that
keeps repeating which is this feeling. The chords around it are like
different ways of saying 'I love you'.
Q: On the
track 'One More Second', the section w/Dave Heath did you write
something specifically for the flute and the other woodwind sections
on the album, or did he improvise around the melody and the mood of
the pieces? Also has your niece Claudia, who sings on 'Count It Off',
sung on anything else either with you or another artist or has plans
to do so? Finally, did you record the master edition of 'Bachiana'? -
from Jackie
A: David
improvised around a theme I proposed to him. He expanded on it.
Claudia is new to the industry. I am proud to have her on my record. I
decided against 'Bachiana' in the end.
Q: I was
wondering if there is a story behind how you arrived at the final song
order for 'Fourth Wall'? Also, once you've completed an album, do you
consider it "done", or do you still hear things you'd like to change
in the songs? - from Amy
A: I came
to the order decision at the last minute. The other one just didn't
feel right. I am much happier with the new order which I believe runs
smoother. Whenever I hear anything I have done I can always hear how I
could improve it. But whether I can or not is a different matter. I
don't think I have made the perfect recording or performance of any
tune so far in my career. This is partly what drives me to improve. I
sometimes listen to my old albums. The more distance or time I have
from them the easier they are to listen to. I can accept them more
because they remind me of where I was spiritually and emotionally. The
fresher they are (like 'Fourth Wall') the harder it is because I can
hear possible changes or alterations all the time simply because what
I hear is my place in the universe right now.
Q: In
'Lyre String' why did you decide not to choose Willam's vocal to be
included in the mix? I thought the vocal piece is pretty good as well
but your instrumental of the piece is superb too. - from Linda
A: I
decided not to use lyrics in 'Lyre's String' to keep the album's
instrumental feel. I do really like Williams's version too and I am
sure I will use it some day.
Q: Why did
you change the running order at the last minute? Has it to do with the
changes you made on 'Count It Off'? - from Peter
A: It was
a last minute change. The other order stopped working for me. I think
this is better. The only place for 'Count it Off' was at the end.
Q: I
notice in the liner notes on 'Fourth Wall' that you play keyboards for
some of the tunes too, which I don't think I or many fans know about.
Do you learn to play keyboards since childhood as well? Finally, how
do you decide on the sequencing of the tunes? Do you relate to them as
a sequence to tell a complete story or do they have individual meaning
for you now that the album is completed? - from Linda
A: I am
not a serious keyboard player. I can just about handle playing the
chords I want to hear. The sequencing is decided by the mood and the
keys.
Q:
'Meeting Point' is a classic. It reminds me of Jan Grabarek's airy
compositions. Was all of Rhani's percussion tracked in one take? Have
you picked a label yet? - from Michael
A: That
was Rhani all in one take except for the chorus where he overdubbed a
Moroccan tambourine. I am sticking with the European label and am
still looking for a US label.
Q: I have
a question regarding the mastering and final order of 'Fourth Wall'.
What happened with 'Bachiana' and 'Barock'? Those were roughs that
were placed on your site some weeks ago, but as I see the final order,
they are not showing up. - from Martin
A: 'Barock'
is still there but is now called 'Three Souls'. 'Bachiana' is a great
tune but I couldn't make it fit with the others.
Q: I have
a question about your new album. Does Sting sometimes comment on your
demo tracks? How important are his comments for you? - from Margitta
A: Sting
does make comments on my music which I find useful sometimes. He just
uses pure instinct and likes or dislikes music from the heart. He is
brutally honest with me but I am happy to say he likes most of my new
album. His favourite is 'Iguazu'.
Q: I was
fascinated by your and Sting's performance of and comments about
playing Bach in the hallway of Sting's home on the 'All This Time' DVD.
Have you and Sting ever considered recording a CD of Bach's Partitas
together? - from Patti
A: I
recorded an album 'Shapes' which have two or three of these partitas
recorded with my own arrangements. I dare not do them for real. I
would prefer to leave that to the specialists like Julian Bream or
John Williams.
Q: The
song 'Presto' on the 'Shapes' album... is it two guitars that are
playing or do you play the whole thing alone? - from Normand
A: I only
wish I could do this with one guitar. The main part is as written for
violin on one guitar (an octave lower). I added a rhythm guitar
arrangement. I then added a bass line and finally I played all the
percussion on the guitar. Oh, and some hand claps. One could call it
cheating but the thing about making a record is you are in a recording
environment which is a perfect place to experiment. I can do a solo
version of this tune which also works live but when in the studio, why
not!
Q: How can
I get the notes for the 'Presto'? It is wonderful. I'm not a very good
guitarist, but I would train for hours to play this. - From Josef
A: I took
the notes from the J S Bach book of Partitas and Sonatas. I am playing
exactly the same notes but adding different parts on bass and rhythm.
Glad you like it!
Q: The
more I listen to 'Shapes' the more beautiful I think it is. All the
songs are amazing but there are two that I particularly like: one is
the first track and the other is 'Mi Fe'. It surprised me the fact
that Alejandro Lerner participated in the album. I am not a fan of him
but I must say that I really love that song. I wanted to ask you how
he came to play with you and who wrote the lyrics of 'Mi Fe'. - From
Myrian
A: I am so
glad you like the album. The first is my favourite too. I have known
Alejandro for a few years having collaborated with him on his albums
and a songwriting retreat in France. I wanted a Latin song on the
album so I thought it natural to ask him. He wrote the lyrics.
Q: I
noticed that on 'Ave Maria', Sting and Placido Domingo recorded their
parts in separate studios. Did you attend both sessions? What is it
like to work with Placido Domingo? His voice is such an incredible
gift. Is he as gracious and professional as he comes across? - from
Dawn
A:
Actually, I wasn't there for either Sting's or Placido's vocals
because they had to do their performances where they were. Sting in
Paris and Placido in Italy while I was busy trying to finish the album
in England. But I know all about the sessions. Placido had sung an
opera in Rome and then gone to an ambassadorial dinner before going to
the studio at 1:00am. Unbelievable dedication. He was there until
3:00am. He says he likes recording after an opera because his vocal
chords are looser. I am so happy to have him on the record. I have
since seen him and talked about his experience and of course thanked
him. I think his performance on 'Misa Criolla' is magical. Sting did
the usual amazing vocal.
Q: Your
version of 'Gymopaedie Number 1' by Eric Satie on 'Shapes' is one of
the best things I have ever heard. - from Des
A: I am so
glad you like this version of Satie. I really think his music lends
itself to this style. I am looking forward to experimenting with
Debussy and Ravel.
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