One of my life’s most edifying moments occurred at Ronnie Scott’s Jazz Club in 2018 when my wife took me to a gig and pre-show Q&A with the globally acclaimed guitarist Al di Meola. The host took questions from the audience - mostly requests or queries as to practise time and how long he’d been playing - and relayed them to Al in a kind of interview style and, as I had my hand in the air, I was invited in turn to ask my question which was; ‘is practise time also composing time’?
Someone coughed and I was asked to repeat my question which I did with faltering confidence. An awkward pause ensued and the host leaned into Al and repeated my question with some deliberation. Al looked puzzled but then, in a split second exclaimed brightly ‘Oh! That’s a good question!’ and then stared up at the ceiling for what seemed like five seconds before peering straight back at me, saying quite loudly; ‘Is practise time also composing time? Yes!’. My one conversation with a genius.
Moonbathing, then, is the result of practising and coming up with compositions along the way: in our back garden for the neighbours if it’s ‘play-throughs’, or the front patio for ‘drills’ which can be conveniently subsumed by London traffic noise. The tuning E-A-D-G-B-E is the standard throughout, there is no double tracking nor any effects but bum notes were edited out and cleaner ones dropped in although, of course, single passes would have been ideal.
It’s a wholly solo effort comprising original instrumental guitar pieces - chordal melody and rythmn, - with a kind of jazz/bossa vibe borne of those many nights beneath a benignly indifferent moon when practise time becomes creative time.
DSP London October 2019
in the night garden
spell-bound by the soft guitars
we’ll go moonbathing
[haiku]
At long last, I'm thrilled to announce the release of the new album...