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And who better to sing the vocals than one of the finest tenors of all
time - Placido Domingo.
When asked how he managed to retain the services of the world-renown
tenor, the connection comes from an unexpected quadrant of Dominic's
life. The delivery of the answer is also representative of his dry
sense of humour, which sneaks up on you when least expected.
"I went to college with his son, Joe. [London Guildhall]. It's kind of
a funny story. Joe was my best buddy when I was 19 or 20. Joe would
say to me, 'my father is performing tonight at the Opera House in
Covent Garden, do you want to go?' So, we would go there, hang out
backstage, eat the man's food, drink a little of his champagne while
he was onstage singing Othello."
"We didn't give it much thought. We really didn't even watch the
opera. And then afterwards, it was sort of 'yeah, great show… loved
the vocals… you ROCK!'," Dominic says laughing remembering his antics
of half a lifetime ago.
As time went on and Dominic continued on his own musical journey, he
would think of Placido from time to time, wondering if the great man
remembered him as "the crazy young dude wandering in and out of opera
houses." He remembers thinking to himself that "I wish Placido knew
what I was doing now."
Enter Shapes. Dominic once again thought of his friend's father. "I
called up Joe and said, 'Hey, do you think your dad would be
interesting in doing something with me?'"
Joe explained that indeed, his father was aware of Dominic’s career -
particularly his association with Sting - and had listened to his
recordings, watched him on numerous TV appearances over the years and
was quite happy at his success.
With Placido committed to the project, "the last thing I wanted to do
is give him another aria to perform." That's when it became obvious
that 'Misa Criolla' would be the perfect vehicle for his voice.
When it came time to lay the vocal track, Dominic was at Lake House,
Sting's Wiltshire estate, rehearsing and unable to go to Rome where
Placido would be recording the vocals. Similarly, Placido also had a
hectic schedule.
On the night recording was scheduled, Placido had his own performance,
followed by an evening engagement. He entered the studio at 1am. and
finished the track by 3:30am. Further, Placido, although a Madrid
native, delivered his performance in a South American Spanish accent,
staying true to the composition, Dominic says with respect and
admiration.
For 'Ave Maria', the third vocal track, Dominic felt strongly about
enlisting the aid of an Irish singer - preferably female. It was in
homage to the Irish side of his ancestry and the Catholicism of his
childhood. He originally invited Enya to perform the vocals, but when
she was unavailable, he prevailed on noted Clannad member Moya
Brennan. In addition to being a great singer in her own right, Moya is
Enya's sister and "sings all of the great backing vocals on Enya's
tracks," Dominic says.
"When Schubert wrote this, all I can imagine is he must have been in
some kind of spiritual state. Regardless of any beliefs anyone may or
may not have, this music gives one a sense of faith. Schubert is a
composer I will always want to listen to. Be it to interpret his work
or to just absorb myself into listening to him. This is the only piece
I recorded which I couldn't and didn't change because of its
perfection," he explains.
In terms of technical challenges, the piece Dominic found most
challenging to perform was Bach's 'Presto'. "It's pretty fast and it's
all arpeggios. It's kind of like finger yoga." But in addition to
technical demands, Dominic had fun adding different bass lines, rhythm
parts, hand clapping, etc. "In the end, it sounds like a South
American folk tune. God only knows what he'd think if he [Bach] could
hear this. Maybe I'll find out some time."
The project also presented Dominic with the opportunity to work with
other "best-in-their class" musicians. For example, Richard Cottle
contributes on keyboards and programming. Richard's resume includes
the likes of Tina Turner, Celine Dion, Mick Jagger and Eric Clapton.
On piano is Jason Rebello, with whom Dominic has worked with over the
past five years on Sting projects. Noted percussionist, Miles Bould,
had previously worked with Dominic on his 'Second Nature' release and
also with a plethora of other recording artists, including Sting, Joe
Cocker, Joan Armatrading and Julia Fordham.
Bassist Pino Palladino rounds out the list of former and current
Miller collaborators. Pino is part of Dominic's trio effort, along
with Manu Katché, called the Tweeters. Pino's discography has crossed
the 200 CD mark and reads like a music superstar who's who. Just
looking at the "C's" for example, his session credits include Phil
Collins, Eric Clapton and David Crosby projects.
The list of musical contributors would not be complete without a nod
to the Budapest Film Orchestra, conducted and arranged by Nick Ingam.
The forty-piece string section helps lift and carry each piece into an
ethereal level.
And what about Dominic's own "tool of the trade?" His weapon of choice
is what he calls "his baby" - a 1986 Miguel Rodriguez classical guitar
made from spruce (top) and Brazilian rosewood (sides and back).
"Everyone has a Spanish guitar in the house, however, this is the
crème de la crème of guitars. The difference in sound is astronomical.
I first bought it when recording the 'Soul Cages' with Sting," Dominic
says.
But as much as he loves the guitar, seemingly Dominic has gone out of
his way to lose it. "You don't know how many times I've left it behind
in taxis, restaurants and hotels. I've had to chase after taxis and
phone restaurants. And I always get it back. Somehow it's like someone
is watching over me," he says laughing.
Finally, what would any new major release be without marketing.
Dominic has his first stylist designed album cover and his first solo
video currently being aired on Classic FMTV in the U.K.
The video is of the second track, Albioni's 'Adagio in G Minor' and is
done in a Vertigo theme, he explains. "They've got me standing at the
top of a tall building in London and then at the edge of a cliff at
Beachy Head [Sussex, England], a spot known for suicides. "I'm right
at the edge and they've got me harnessed in! And that's where I'm
going to jump off of if the CD doesn't do well," he quips.
The first public appearance for the CD was the Classical Brit awards
on May 22nd at London's Royal Albert Hall. Due to air on ITV in the
U.K. on June 1st (ITV 10.45pm), the performance will also feature
Sting who joined Dominic for 'Shape Of My Heart'. A second push for
the CD will be in the fall.
When asked about public appearances for the CD, Dominic does not rule
that out. "I don’t want to do it in opera halls. I want to do it in
clubs and small theaters. The whole point is that I want it to be
modern. I wouldn't take an orchestra with me. I would use individual
musicians," Dominic says.
'Shapes' clearly represents a new point of light in Dominic's already
illustrious career. The joy and spirit conveyed in the music has its
genesis in the personal peace he has attained. Having married his
second wife Fanny almost a year ago, the couple is expecting their
first child (and Dominic's fifth) later this summer.
"This renewed happiness and clarity has really influenced me a lot in
my music - and in every decision, really," Dominic says.
'Shapes' is a word with origins attributed to pre-12th century. It is
defined by Webster's as "the visible makeup characteristic of a
particular item or kind of item." In this context, 'Shapes' is beauty,
it is depth, it is modern, it is ancient and it is most definitely
breathtaking.
We invite you to take your own journey through Dominic Miller's
'Shapes'. You will not be disappointed.
© Sting.com & Sophia Dilberakis
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