This WordPress blog idea makes so much sense to me that I have officially moved all of the content found here, plus new posts already, over to seanharkness.com.

[Subscribers, please update your info]

Improvements over BOTH this old blog and the old SH.com include:

• A music player on the front page  [Click ~ OPEN BREAKAWAY PLAYER ~ and it will continue uninterrupted while you surf articles on different pages]

• Updated Guitars & Basses page with new instruments and click-able sounds

• the ability for me to post MP3s to the site.  I’ll be posting new songs, music of the various projects and pursuits [see: Allen Gary Palmer's new poetry with live guitar accompaniment]

• Smoother layout theme with thumb-nailed listings for ease of use

• Links at the bottom to product endorsements and affiliations

And of course, the usual ability to leave comments, interact, share, etc.

SHOWS – the first button next to HOME embeds a constantly updated calendar

PRODUCTS – all my Artist CDs, and soon to come: guitar related products & materials

ABOUT – the latest bio information, to be updated regularly

PHOTOS – fully downloadable images for press releases of all kinds

GUITARS – Click on an image of all my working instruments to hear them.  Great for producers and music directors

WORKING LIFE – Stories and articles I write about my experiences in this wacky business

REVIEWS – Things other people have to say about what they hear and see

Please visit, leave comments, and let me know what you think about the all new interactive seanharkness.com.  Or anything, for that matter.

SH

Recorded half in New York City and Half in Toronto, Mike and Sean made use of the influences of these two wonderful cities to bring this music to light.

This is the first collaboration of Harkness/Herriott (H2)… to be followed by many more!

“Mike Herriott and Sean Harkness cleverly use their friendship as an additional instrument in their new recording ‘Flights’…It’s a perfect musical pairing like Cabernet and steak that you can taste for yourself…” – TIM TAMASHIRO, CBC

“You can cut the chemistry with a knife.  Both of them put beauty and feeling first… their compositions create feelings and moods that you will want to revisit again and again.”

- RYAN PRESTONE, Jazz Inside magazine

“I love this combination of guitar and flugelhorn; to my ears, these instruments were meant for each other. Harkness and Herriott prove this point, on this… This is an album that you would buy for your friends, it’s that good. I am already
looking forward to their next release!” – ARNOLD VAN KLAVEREN, CFUV

#1 on CFUV, Vancouver’s premier Jazz radio station

US: 1.201.239.1428    /    Canada: 1.647.888.6707

Songs:

1.     Spring Break
2.     Leap Year
3.     Myffed
4.     Nod To John
5.     Kyra’s Song
6.     Hedge Your Bets
7.     Gambled
8.     And Lost
9.     Armario
10.  Hammock Time

 Songs 3, and 5 © 2009 Mike Herriott, Herriott Music, SOCAN

Songs 1, 2, 4, 6, 7, 8, 9, and 10 © 2009 Sean Harkness Music/BMI

Credits:

Mike Herriott: Flugelhorn

Sean Harkness: Guitars

Mark Miller: trombone [2]

Jim Vivian: bass [1, 4, 7, 9]

Kevin Coady: drums [1,4,7,9]

Tracks  2, 3, 5, 8, and 10- recorded at KMA Studios in the Brill building, New York City May 72, 2009

Tracks 1, 4, 6, 7, and 9– recorded at Canterbury Studio, Toronto August 97, 2009

New York recording engineer: Casey Flynn

Toronto recording engineer: Jeremy Darby

Mixed at Chung King Studios, New York City by Ron Allaire, Sean Harkness, and Mike Herriott

Mastered at Taloowa by Chris Muth

Cover design ____

From Sean Harkness:

Every person I have ever met has in some way contributed to the life experiences that serve as the inspiration for this music.  Special thanks for this project: Taka, John, and Jeff Harkness; The Suzuki family; The Kawamura family; Ron Allaire; David ‘Roz’ Rosner,

Guitars used: Gibson-ish custom jazzbox with Thomastik-Enfield flatwounds (.014), Fender Sub-sonic baritone electric guitar on ‘Leap Year’

From Mike Herriott:

I am thrilled to have had the opportunity to meet and work with Sean. I am grateful to those who brought us together in music and acted as a catalyst for the creation of the music contained on this recording:  the late, great Sam Lutfiyya, Mark Miller, Jim Vivian, Kevin Coady, my family and friends.

Equipment used: Yamaha YFL-6310Z flugelhorn, signature “HERRIOTT FL” Wedge Mouthpiece made by Dr. Dave Harrison, Vancouver, BC

This collection of songs unites Eric Knights’ impassioned saxophone with the organic sophistication of Sean Harkness’ guitars.  Drawing on influences as diverse as James Taylor, Steely Dan, Marvin Gaye, Jeff Beck, and Kirk Whalum, acoustic guitars and unprocessed saxophone define an exciting and infectious sound.  In each song there is a story told; only it is a guitar, saxophone, or interplay of the two that tells it.  Songs without words need to have a more compelling melody, and these two testify with heart and soul. Whether they perform as a duo [Tuck & Patti style] or with their cream-of-the-crop NYC backing band this act is equally at home sharing a stage with Dave Matthews or David Sanborn.

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About the Duo:

Sean Harkness and Eric Knight met traveling together with a Broadway show all over the US and Japan for 8 months.  Most nights they would go out after the show to explore the town and find the jam.  Everywhere they went the crowds went crazy and they realized what they have is a rare combination.  They had to make this record!

Credits:

Guitars & Basses: Sean HarknessAlto Sax: Eric Knight
Trumpet: Don Harris 9
Piano: Matt King 1, 7,9,10 /
Doug Oberhamer 3
Drums: Jonathan Mover 6,9,11
Drums: Ricky Lawson 1,7,10
Drums: Simon Phillips 4
Drums: Thierry Arpino 2, 3*
Drums: Joel Rosenblatt 5, 8
Percussion: Jeff Haynes 1, 2,4,6,7,9,10
[*Thierry Arpino 3]

Guitars & Basses: Walden signature steel string / Yairi classic / Custom Gibson ES125 jazz box /
Wilson Stlye ‘S’ electric / Fender Subsonic baritone / Custom Ibanez fretless bass / G&L 5 string bass

Sax: Selmer Paris Super Action 80 Series II / Claude Lakey mouthpiece / Vandoren Reeds

Humans: all genuine, non-simulated, and un-digitized.

Produced by Sean Harkness with Ron Allaire at Skyline Studios, NYC
Additional engineering: Steve Geuting
With special thanks to Jonathan Mover and DrumHead magazine
Mastered by Chris Muth at Taloowa
Photography: Bill Bernstein / Design: J Sylvester (jdesignnyc.com)

Jimmy’s Night Out is for Jimmy Norman
Celinda is for Celinda Jane Hardy Harkness, 1941-2003
Heaven Sent is for Layla Divina Behrends Heaven

Sean Harkness: Every person I have ever met has in some way contributed to the life experiences that serve as the inspiration for this music.  Special thanks for this project: Taka, John, and Jeff Harkness; The Suzuki family; The Kawamura family; Jonathan Mover; Ron Allaire; Heather Smith; Amos Halfi  ; The Drummers; Doug and Matt, John Edman; Randall B. Plourde; Liz Story; Brian Camelio; Dan Bryson; Judy Murray; Karen & Rob Kohler

Eric Knight: Special thanks to my mother and father for bringing the gift of music into my life. To my wife Jennifer for the support, motivation, and love. To Sean Harkness for allowing my voice to be heard through your beautiful music.

Sean was visiting  Okinawa in September of 2003 and met the legendary Rinken Teruya of Rinken Band fame.  Upon hearing Sean play one of his solo pieces (Coming Home) Rinken san sent him home with the complete catalogue of Rinken Band CDs – all 24 of them – with instructions to select 10 songs and come back with solo guitar arrangements to make a CD!  Urakaji (“breeze/wind over Urasoe Village”) is Harkness’s first completely SOLO guitar CD.  10 of the 12 songs were composed by Rinken san and arranged by Sean, the other 2 are are Sean’s original compositions.  This recording reflects

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the spontaneity of Rinken – all live takes, no edits! – and the magical spirit of Rinken’s Okinawa, as told by Sean’s guitar.  Guitars used are steel string acoustic (thanks to David Ralston), a nylon string classical acoustic (thanks to Takako Suzuki), and Sean’s Fender Subsonic electric baritone guitar.

* * *

“Sean has so far composed many musical works with full-scale arrangements …his artful and beautiful harmony [also hides] a big charm as music of the calm healing system.  Here Sean, who plays an active part in New York, added international flavor to the music of Rinken.  Whether familiar with Rinken’s music or not, I want the people to let their body feel the [breeze/wind] of his fingerstyle guitar playing.”
- Review from the Nihon Keizai Shinbun, Japan’s ‘Wall Street Journal’

Credits:

Musicians & Staff

Guitars: Sean Harkness
Guitar Arrangements: Sean Harkness

Producer: Rinken Teruya
Recording Engineer: Rinken Teruya, Jin (ajima inc.)
Assistant Engineer: Junko Nakamura (Kalahaai)
Mixing Engineer: Rinken Teruya (ajima inc.)
Recording Studio: ajima Studio in Chatan, Okinawa
Mastering Studio: Sony Music Studios Tokyo, Japan
Production Manager: Yoshiyaki Nakanishi (ajima inc)
Director: Tetsuya Tasaki (Rinken Records)
Artist Management: Miwa Hayakawa (Mercer Street Music Inc.)
Cover Photo: Kvon (www.kvonphotography.com)
Other Photos: Rinken Teruya (ajima inc.) Haruki Yoshida (Digital Magic)
Art Director: Haruki Yoshida (Digital Magic)

Special Thanks

The Suzuki family, the Harkness family, the entire staff at ajima inc., Hideki Ninomiya (Mercer Street Music Inc.), David Ralston*, Gachapine, Bokunen Naga, Al DiMarco, Liz Story, Steve Gentile, Randall Plourde (Evergreen Programs, VT)

Guitars Used:

Steel String Acoustic: Alvarez Yairi WY-1* on songs 2, 5, 6, 7, 8, 9, 10

Classical Acoustic: Yamaha CG-151C on songs 1, 3, 12
Baritone Electric: Fender Sub-Sonic on songs 4, 11

* * *

Urakaji Full Story:

In September of 2003 during one visit to Japan, my [then] girlfriend Takako and I flew from Tokyo to sunny Okinawa to visit her brother and his family for five days.  Okinawa is a lovely island country with a rich, ancient history, and its own very distinct culture, language, and music.  It lies roughly halfway between Japan and Taiwan in the East China Sea and is presently a possession of Japan.

Through the international network of musician friends (“hey, I’m going to Okinawa next week – who should I call?”) I was introduced to Nakanishi san, the manager for Rinken Teruya of Rinken Band fame.   On a Friday afternoon Taka and I were given a tour of their music complex which consisted of a recording studio, a restaurant, bar, theatre, rehearsal rooms, and offices – all on the western beach of Chatan.  We were also invited to a Rinken Band concert that evening.

The show was magical, with an 8-piece ensemble, colorful costumes, light show, dancing, laughing…  The music was mostly composed by Rinken, but was firmly rooted in the tradition of Okinawan culture.  Rinken’s wife Tomoko was awe-inspiring with her exotic singing and her stunning  presence on stage.  The
audience was ALL ages, and about half Japanese and half Okinawan.  It was very interesting to see the Japanese folks sitting still and pleasantly smiling while the Okinawans were standing, dancing with their hands in the air and often shouting and whistling on the upbeats, as is part of the traditional dancing.

After the show the band is already waiting just outside the main entrance, in costume, to have their pictures taken (the Japanese love their pictures!), sign autographs, etc.  Taka and I watch on, cheekbones aching with long smiles, taking in the magic vibe these folks had going on.   As the crowd was thinning Rinken himself came over, sat down next to me and asked, “Who are you?”

Fortunately, Taka was there, because that was pretty much the extent of his English.  When she explained to him that I was a guitarist from New York City traveling in Japan, he suggested that we meet him in 10 minutes or so in his office and we’d have some tea.  On the way, Taka and I went to our car to fetch one of my CDs for him, which naturally was in my guitar case.

When we appeared in his office, I reached into my guitar case to give him a CD. He said (in Japanese), “I don’t want a CD, thanks – please play me a song!”  So, I took out the guitar and played him ‘Coming Home’.  When it was over, he just sat there with a very thoughtful look on his face,  not saying a word.  Strange reaction, I thought to myself.  After a while, he began speaking very quickly to Taka, who then translated.

The plan was this: he sent me home that night with a Rinken Band Greatest Hits CD and instructions to please create a solo guitar arrangement for the song of my choice.  When it’s ready, he said, come back over to the studio and we’ll record a demo to see how it goes.

I spent all of the next day (apologies to the Suzuki family!) working on TWO songs, which we recorded the following day.  Time in the studio together with the three of us (Rinken, Taka as translator, and myself) was such a complete blast that he sent us home with the full Rinken Band catalogue – 26 CDs and 2 DVDs – with the assignment of creating a full album’s worth of solo guitar arrangements. We drew up the paperwork and made plans for a return visit to Okinawa to make a new CD for Rinken’s label.  Taka was also invited to come as interpreter. Very exciting stuff!

The more time I spent learning about Rinken and sifting through his mountain of songs and videos at home, the more excited I got about returning to Okinawa. Rinken’s instrument is the Sanshin, which has three strings that pass over a stretched snakeskin head.  It appears to be an early predecessor to the banjo.  It is generally used to outline the melody while laying down a very clear rhythm.  The lines are usually simple and clear, repetitive, and blossoming from that joyful scale that most Okinawan songs come from [1, 3, 4 5, 7 – or do, mi, fa, sol, ti].

Having no idea about his history, and unable to understand the lyrics, it was interesting to discover that the songs I selected were all hits at one time or another.  The music speaks for itself!

I listened very carefully for songs that had strong, well-developed melodies, and for songs that seemed to lend themselves to a guitar arrangement.  Each song got a different treatment – one felt like a good acoustic rock anthem (think waving lighters during the slow song at a rock concert), one became a bossa nova, a couple went to the baritone electric, many to the steel string acoustic, a few to the classical nylon string guitar.  Countless hours later, I sent Rinken a demo recording of what I’d done and we made travel plans.

Meanwhile, Taka and I were making big progress in our relationship.  No longer
were we alternating visits between Tokyo and New York every two months.  Now she was well into a series of three-month tourist visas staying with me in New York.  The US immigration offices didn’t know it, but we were living together!  Every three months we would travel together to Japan to visit with her family, grow my musical connections there, and reset her visa.  During one of these visits, in February of 2004 we went to Okinawa to do the recording with Rinken.  I had big plans for that trip myself – I had a diamond ring in my pocket!

With a hearty blessing from Taka’s father, we arrived in Okinawa two days ahead of our recording schedule so that I could find a good place and time to propose.  We met Rinken san that first night and had a lovely dinner together at his restaurant, after which he asked what time I’d  be at the studio the next morning.  Awkward moment.  Luckily, Taka needed to  be excused from the table, and I took the opportunity to explain (in my developing but still pitiful Japanese) that I was hoping to find a nice beach tomorrow to give Taka the ring. He smiled his huge smile and said that he understood.

Our hotel phone rang very early the next morning and it was Rinken san inviting us to spend the day on his friend’s boat. I thought then that maybe he didn’t understand after all.  When he said to please invite Taka’s brother and family as well I realized that he was one step ahead of me!

The glass-bottomed boat reached the coral reef way out in the sea looking over Urasoe City and the splendor of the Okinawan islands.  Taka and I took a little walk topside.  “What a beautiful day”, I said.  She agreed.  I asked, “We could work together to make every day for the rest of our lives just as beautiful – what do you say?” while handing her a lovely diamond ring.  She agreed that this was a wonderful idea.  We went back into the boat and shared our happy news with her brother and our new friends.

I had told Rinken that we were very interested to see Okinawa – the real Okinawa.  Not the American military base, not the Japanese tourist attractions – we wanted to see  his Okinawa.  We started recording the next day at around 10:00 in the morning: getting sounds, making a plan, trying different things out.  A few hours later Rinken says in English “I’m hungry!”  That was our first four-hour lunch.  We worked another couple of hours in the afternoon, then a long dinner.  For 6 days we repeated this same scenario.

We went go-cart racing up in the north.  We went to his sister and brother’s musical instrument shop in the city.  We met his mom; learned about his father who was a prominent figure in the Okinawan music scene his whole life.  We met his friend Bokunen the renowned woodcut artist who co-wrote many songs with Rinken as lyricist.  We met friends, family, visited favorite cafes and restaurants.  We went to a marine science underwater observatory, then to the space telescope on top of the mountain.  Every day was an adventure.  While I’m sure all of these things contributed to the spirit  of the recording, fortunately I was musically fairly well prepared since we spent so little time recording!

When the new CD titled ‘Urakaji’ was released that  summer Taka and I once
again left New York for Tokyo and a series of solo guitar performances.  We got a wonderful review from the Nihon Keizai Shinbun, which is their equivalent to the Wall Street Journal.  It read:

“Sean has so far composed many musical works with full-scale arrangements …his artful and beautiful harmony [also hides] a big charm as music of the calm healing system.  Here Sean, who plays an active part in New York, added international flavor to the music of Rinken.  Whether familiar with Rinken’s music or not, I invite the people to let their body feel the [breeze/wind] of his fingerstyle guitar playing.”

‘Urakaji’ means literally ‘island country breeze’.   It also refers to Urasoe City where our enchanted boat ride took place.  The two characters on the cover mean ‘island country’ (same as the Urasoe city name) and ‘wind’ [or ‘breeze’].

The prominent New York design artist Jay Sylvester has reworked the original
Okinawan album art (which features photos taken by  Rinken during our delightful visit), my wife Takako translated the Japanese to English, and we now have a very special product that we’re happy to share with the American market.

SH

Trio Of One was Harkness’s first completely independent solo venture.  Still composing at that time for the trio format – two acoustic guitars and bass – these songs are a very honest glimpse into Sean’s world at that time.  Recorded in 2000 in Los Angeles, Harkness multi-tracked all of the guitars and bass.  Brian Camelio plays one of the guitars on his own composition “Reunion”, and Sean is joined by L.A. bassist Chad Watson on the Brasilian flavored “Convidado”.

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* * *

Credits:
Produced by Sean Harkness
Co-produced and engineered by Gilberto ‘Gil’ Morales
Recorded at Love Tribe Studio, Los Angeles, CA
“Reunion” recorded live at Skyline Studios, NYC by Bo Boddie
Mastered by John Matousek @ Masterworks, L.A., CA
Design: J Sylvester Design, NYC
Illustrations: William Pond
Photography: Andrew Vaughan

Sean Harkness played:

• Alvarez-Yairi CY-118 classical guitar
• Custom Taylor 514-C acoustic guitar
• Ibanez Musician fretless bass modified by Chip Wilson, New Orleans, LA
• Pyramid, Thomastik-Infeld, and D’Addarrio strings
• B-Band transducers for live performances

Brian Camelio plays a Yamaha acoustic guitar on “Reunion”

Chad “Mercury” Watson plays upright bass on Convidado

All of my family, friends, and anyone I’ve met contributed to the life experiences that serve as the inspiration for this music.  My eternal thanks to you all.

Special thanks for support with this project:

Rich Acocella; Brian Camelio; Jim Coleman; ”Professor” Pete Desrosiers; Steve Gentile; John Harkness; Fred Kewley; Lisa Lynne Franco; Gil Morales; Jonathan Mover; Panasonic Pro Audio; Randall B. Plourde; Bill Pond; Steve Remote; Jay Sylvester; Taylor Guitars; Tuck & Patti; Andy Vaughan; Vintage Studio Rentals [LA]; Chad Watson; Chip Wilson; Brian, Jeff, and Keith @ Little Big Feet Studio; Coco, Dawn, Marty, Jan/Lois, Bob, Marie, and all the people of my favorite Caribbean island.

All mixes tested and approved on Rollerblades™ and a Sony Walkman™.  No animals were harmed in the making of this recording [except for a few crickets].

Music and Art Careers Mentored by Randall B. PLourde at Evergreen of Vermont (802) 862-6674

All compositions © 2001 Sean Harkness Music BMI

“Reunion” © (p) 1997 WTM Series ASCAP

Windham Hill Records released Mr. Harkness’s first solo CD after many singles on various compilations.  The very first single was Summer Solstice [track #2 here] and was the title track to the first Summer Solstice compilation.  Producer Brian Keane was Sean’s first guitar teacher in 1978 and they kept in touch over the years…  Keane’s signature production style created a very [overly?] lush presentation for Harkness’s compositions, which were always conceived as trios: two acoustic guitars and bass.

Credits:

1. Siempre Conmigo (5:24)
2. Summer Solstice (3:59)
3. Aloft (5:21)
4. Paradise Reef (5:01)
5. Cuchullain’s Dream (4:03)
6. Puesta Del Sol (4:51)
7. Coming Home (5:13)
8. Coconuts (4:34)
9. Luna Baillando (3:48)
10. Green Mountain Trail (3:46)
11. Wynkus McGynkus (3:51)
12. Harlem River Drive (4:35)

Sean Harkness: acoustic and electric guitars, fretless electric bass
Liz Story: piano (‘Aloft’)
Gil Goldstein: accordion (‘Puesta’)
Jay Rowe: synthesizers (‘Siempre’, ‘Paradise’)
Federico Gonzales Pena: Synthesizers (‘Summer Solstice’)
Brian Keane: additional synthesizers
Phil Bowler: bass (‘Puesta’)
Emedin Rivera: percussion (‘Siempre’, ‘Aloft’, ‘Coconuts’, ‘Luna’)Steve Scales: percussion (‘Summer Solstice’)
Mark Walker: drums (‘Paradise’,'Harlem River’)
Yomo Toro: requinto, cuatro (‘Puesta’)
Ken Gioffre: tenor saxophone (‘Coconuts’), Jaime Finnegan: trumpet (‘Coconuts’)

Produced by Brian Keane

Recorded and mixed by Brian Keane, Jeff Frez-Albrecht, and Sean Harkness at Little Big Feet Studios, Monroe, CT, assisted by Tom Skarupa, David Anderson, and Mark Chernhoff.

“Coming Home” mixed by Phil Magnotti.  Additional recording on “Aloft” at the Carriage House, Stamford, CT by Brian Keane, assisted by Jeff Frez-Albrecht and Andy Katz.

Digital editing by Keith ‘Only Because I Care’ Chrigwin at Little Big Feet Studio

Mastered by Marian Conaty and Brian Keane at BMG Studios, NYC

Liz Story appears courtesy of Windham Hill Records

Yomo Toro appears courtesy of Rounder Records

Artist management [at that time]: Fred Kewley Management, Nashville, TN

Legal affairs: Jon M. Waxman, Esq.

Music and Art Careers mentored by Randall B. Plourde at Evergreen of Vermont (802) 862-6674

Thanks to my immediate family: John, Lin, Jeff, and Florence Harkness

My extended family: Rich Acocella, Tuck Andress & Patti Cathcart, Jim Branca, Gamal Buhaina, Chris Butler, Brian Camelio, Keith Chirgwin, Francie Conway, Peter Desrosiers, Jeff Frez-Albrecht, Pete Gardiner, Steve Gentile, Uncle Hugh [Hardy], Eric Hoh, Chad Hollister, Brian Keane, Jerry Lavine, Miss Lizzie [Forest], Chris Mayone, Leslie McCurdy, Jon Mover, Allen Palmer, Chris Peterman, the Phillips Family, Randall Plourde, Bill Pond, Smadar, Chin & Scott Sonu, Liz Story, the Vaughans, Vytas Valliusaitis, Jerry Winner, Bill Whitefield, Chip Wilson, Monique Winstanley, Jimmy Yozell

A special thanks to Ron McCarrell, Larry Hamby, Lisa Matlosz, Andrea Franklin, Janet Miner, Sonny Mediana, Laura Chapman, and all the friendly and helpful staff at Windham Hill

w/Will Ackerman at 30th Anniversary of Windham Hill

A&R: Larry Hamby

A&R Administrator: Andrea Franklin

Art direction: Sonny Mediana ~ Design: Jonny Lee ~ Front cover photography/Image: Tomas Gibson/Sanae Robinson ~ Photography: Carol Weinberg

Phil Ramone shook my hand as he walked off the stage with Dionne Warwick.  Someone handed me a thick glass tile…

…with the words:

BISTRO
AWARDS
2011
Outstanding Achievement
SEAN HARKNESS
INSTRUMENTALIST

 …etched into it from the back.

I walked up to the microphone.  As the applause died down I directed my focus stage left towards the table where my wife Taka, my father and his girlfriend Melanie, and my brother Jeff were sitting and I began,

“Family…” then to the whole room, “friends and colleagues, members of the Bistro Committee, thank you!”

Just then, a brash voice from a table just in front of me hollers, “Hey, your ZIPPER’S down!”

And it was.  Really.  All the way.

After a few pithy remarks and the laughter died down, I continued with what I had to say:

“My favorite part of The Show is the opening announcement.  You know, the ‘Voice Of God’ that says: [in my poor French accent – imitating J.P. Perreaux] ‘ladies and gentlemen, please turn off your cell phones and electronic devices…’  I like that moment because it calls everyone to the present.  Right here, right now, completely ready for whatever is about to happen.  Hopefully something wonderful.

“We in this Grand Tribe of ours – and when I say ‘we’, I mean everyone, from the sound booths and back-stages to the rehearsal halls, recording studios, the directors and composers and actors and dancers and singers and musicians, and everyone involved in the Entertainment Industry – we are in the Business of Creating Moments for People.  And at the same time, we do that for each other; and for ourselves.

“Personally, I am absolutely thrilled to be a part of that process, and with these people, each and every time.  I also think it’s wonderful that we stop from time to time and acknowledge that, and each other, with these [point towards the slab of glass with my name on it].

“I’ve never had one of these before.

“But my words are not enough to express the profound gratitude I feel, so I composed a piece of music for you, for this moment, right here and now.  Let’s see if it works…”

Then I played this [link to mp3 coming soon – sorry!] solo guitar piece (on my new signature Walden 12-string guitar!).

There was what felt like a hearty response to that, and as it faded, I sat down on the stool behind me in a silence that seemed to last an hour.  I was about to play as an accompanist for Liz Lark Brown, coming up right after me.  Someone was supposed to follow my song with her introduction… and didn’t.  I finally broke the silence with “ok, back to work…”  Slightly awkward moment.  But not nearly as awkward as having my fly down for my first ever award acceptance speech.

Liz eventually came up with Nate Buccierri, Joe Iconis, Heidi Weymueller, and Matt Wigton and performed ‘Oh So Quiet’  from her show ‘Tarnished’.  Big fun.

A couple songs later, I came back up to play Folsom Prison Blues with Carole Bufford and Nate.  More fun!

My father had driven all the way up from southwestern Virginia with his girlfriend the day before.  They announced then that they were planning to marry.  How ‘bout that?!  My brother flew in from Denver that day.  My wife wore a beautiful Kimono for the occasion, also to remind people about Japan and their continuing need for support.  It was a very, very special evening.  One I will never forget.

***

The MAC Award night was different in that the Manhattan Association of Clubs and Cabarets gives awards to people by vote from within the club, like the Grammys.  I had no idea if I would win or not.BB King’s is a great room for a party like this, and it was a full house.  It was also the 25th anniversary of the MAC Awards, so they had all this old film footage, pictures, and stories that were at once informative, poignant, and hilarious.

Taka came with me and we made a real night of it, sitting at the Miranda Music table with Kitty Skrobela, Tracy Stark, Marcus Simeone and Greg.  Miranda artists collectively brought in three awards that night, so there was much rejoicing.

Unsure as to whether or not I would win anything, or what the program of events was, I was minding my alcohol intake.  Well into the event, I decided that a glass of good Scotch wouldn’t render me completely unfit to speak if I had to, so I found my good buddy Steve Doyle and we hit the bar.  Just as I put the glass to my lips, I heard my name called.  I ran up to the stage to accept the MAC award for ‘New York Debut – Male’.  How exciting!  The lovely Lorinda Lisitza handed me a big chunk of Plexiglas and gestured towards the podium with the mic sticking out of it.  It was clear I had to say something, so I went up and asked,

“So how many people here actually saw my show?” [medium applause]  “Now that there’s an award for it, if I was to run it again, how many of you would like to see the show?”  [livelier applause...]

[I thought to myself – shit, I wish I had prepared something…  Probably ought to say some Thank-Yous…]

“I’d like to thank my delicious wife Taka for her love and support, the folks that helped make the show work: J.P. for making it sound right, and Eddie the bartender, Lorinda, and the staff for making it feel right in the room …and I’d like to thank Tanya Holt and my lawyer for helping me to finally get paid…”

Oops.

Well, it got a big laugh.  I beat a hasty retreat from the stage after that.

This year the winners were to perform after their acceptance speech.  I had the new jazz-box this time – the Wilson Nouvelle Oval [separate blog post coming very soon] – and sang my own very modern interpretation of the classic ‘Out Of Nowhere’, complete with a full quote of the Star Trek theme during the instrumental break.  It felt great to do that for some reason.

During the opening vamp I spoke briefly about how I’d come to New York fifteen years ago and was just getting over the culture shock; how New York was just now starting to really feel like home, thanks in large part to the people in this room who within the last couple years seemed to appear as if from out of nowhere…

Then once again, Liz Lark Brown & Co. came up right after me.  This time we did Kyrie Eleyson and brought the house down.  So much wonderful energy in that song, and a sparkling chemistry between Liz, Heidi, Nate, Matt, and me.Then there were photos and interviews and… wow.  What a year this has been so far.  Never an award before and now two.  It is most gratifying to be recognized.  It never occurred to me that it would be; that has no bearing on why I do what I do.  But as it’s all happening I feel very fulfilled to be a part of something much larger than myself.  Thanks!

SH

This post will attempt to catch up with the activities that have kept me busy since my last entry of the same nature.  The Bistro and MAC Awards will have their own entry, H2 Duo has its own, Walden gets an article, the New York Times article will post separately, and I must post a very special entry for Chip Wilson’s creation: the Nouvelle Oval archtop jazz guitar.  This here post is about day-to-day life.  In no way does that imply mundane, anything but.  So, let’s get right to it…

Since our return from that glorious excursion to St. Croix with Carole Demas, the first project was Randie Shane.  She had seen my solo show [which just won a MAC Award!...] and wanted to do something on that level of intimate, authentic, and unpretentious.  We performed as a duo, she was relaxed and generous, the song choices were both fun and meaningful, and it was a success.  We thoroughly enjoyed the process of arranging songs from John Mayer, Sondheim, Ben Folds… even the classic Ian Herman arrangement of “I’ll be Seeing You” from the Broadway musical “Swing!”.  And Ian was in the audience opening night…

Then Mark Miller’s septet hit at Mile’s Café, with Nicki and Anton Denner, William “Beaver” Bausch, Gary Wong, Cliff Lyons, Mark and me.  Taka came to immortalize us in pixels, and we all found our way to my new favorite izakaya afterwards for a round.  Mark’s music is soul-flippingly beautiful, by the way.  Keep an eye out, he’s coming up.  In fact, he’ll be arranging music for Canadian Brass and H2 this year.

The next night was a show at the Duplex with Colleen McHugh and the Red Carpet Trio [that’s my name for it…].  Tedd Firth, Steve Doyle, and me.  Colleen is one of the special ones.  Not little bus with a helmet special, I mean talented for real.  Chops for days, repertoire, and the ability to improvise and hold her own in uncharted waters makes for an exciting show.  Nothing dull here.  Check her out in the New York Times.

New Jersey Shakespeare Theatre has an annual fundraising Gala that I’ve now done three times, under the musical direction of Doug Oberhamer.  Doug sets the gold standard.  It’s always fun with him, and in a room full of stars, both in the audience and on stage.  Good gig.  Looking forward to next year already.

Terese Genecco’s monthly gig at Iridium was notable this month for the new special guest she’s got on board now – Nicolas King.  Sixteen years old and stealing the show wherever he goes.  A very exciting talent to be around.

Annie Kozuch and I started working on her Feinstein’s show [August 15] with pianist Frank Ponzio.  Oooh, I’m  gonna’ like working with these two.  Very musical, lovely people.  More as it comes on them.

The Player’s Club hosted our Trio with Jimmy Norman on Thursday the 31 of March.  Brute Force was the host, and Freddie Simpson, Steve Loecher, and I played Jimmy’s songs and standards to a very appreciative audience.

Duvid Swirsky, Craig, Jim Blazer

Craig Taubman had me working in April.  We were in the New York area for a couple dates, and then in Dallas.  I love Craig.  That gig fills my soul.  He gets a separate entry one of these days too.  I have so many pictures and notes from my travels with him that it might even be a book someday.  Or blackmail.  While we were in Dallas I also got to see my dear friends Andy Maliskas and Stacy Cassidy and had a great visit.

Andy M. & Stacy C.

Here’s one for ya:  at Jillian Lauraine’s Barbara Streisand tribute concert ["Hello Gorgeous" at the Laurie Beechman Theatre, Saturday, April 9] I not only played in the band, but I also sang a medley of duets with her.  I summoned my best Neil Diamond for “You Don’t Bring Me Flowers”, and then channeled Barry Gibb for “Guilty”.  It worked!  She was fabulous.  I’d do it again in a heartbeat.  We have more coming – a reprise of that show in October, and we started developing a new show that will have us sharing the spotlight even more.

Todd Murray came to town and did his beautiful song “And I’m Leaving Today” at a MAC showcase with Alex and Steve and I.  Daryl Glen had me in the studio for a few tracks.  Melissa Heche [see Ears] did her show at Triad, this time with Skip Ward on bass along with the rest of the great band from last time.

Tycoon Dog got me back on the horse, kicking off their season with a long run of outdoor shows stretching into October.  Come see this one, it’s fun.  Rockin’.

Doug Acosta had a fun event at Astra with Matt Ray, Ritt Henn, Beaver Bausch, and me.  Lina Koutrakos and Dan Gross created this wonderful new musical theatre piece called Souhtern Rain.  We workshopped it a bit last year, now we’re doing recordings, then they get funding, then it goes to Broadway and we all live happily ever after.  Right?

Diane Hess and I finally got together and recorded a guitar/voice duet at Michael Ferraiuolo’s studio.  After playing it down a few times I was stunned to learn that she had composed it – sounded like an old standard.  Beautiful piece.

Elizabeth Tryon now has Doug Oberhamer musically directing and accompanying her and we had a lovely evening at Frank & Mary Skillern’s private theatre in the Upper East Side.

Marcus Simeone brought me back in the studio with the Miranda Music family; Sarah Rice had me onstage at Birdland for Zani’s Furry Friends benefit; I helped Larry Kerchner present three wonderful songs at the New York Sheet Music Society’s annual Songwriter Series; and one evening I got to visit and jam a little with Brian Kramer.  Brian and I met in Stockholm, Sweden, where he lives.  The Brooklyn-born guitarist has quite a scene going on over there and it was a treat to catch him on a return visit to New York.

Me, Brian, and Speedo

Now to head upstate to work with Jeff Haynes on a project for Pete Seeger…  Thanks for reading along.  Let me know your thoughts, reactions, feelings, innermost desires, and philosophical musings.

SH

There is now talk of having me come to the Summer NAMM show in Nashville this July to demonstrate it, followed by a clinic tour of the Northeast.  They did release it at this past April’s Musik MESSE in Frankfurt, Germany.  At last year’s MESSE they had a billboard up with my image on it:

Then this year they featured that image on the cover of their 2011 product catalog:

I wrote a short piece for them to describe my experience with the 12 string so far:

Walden 1012e-SH_______________________________________

I came to realize that although I have been getting many requests to use a 12-string on shows and recordings, I have never actually owned one.  A great many of my heroes had incorporated them into their art – from Pat Metheny to Glen Campbell, Ralph Towner to Mick Ralphs – I knew it was a craving I had to indulge.  I called Walden.

The Supra Natura 1070 was such a perfect instrument for me that I wanted a 12-string in the same line.  I have never been a big fan of dreadnaught guitars for a variety of reasons, and I wondered if the Grand Auditorium body could sprout a 12-string neck?  Apparently, it could – now here it is; they did it!

Like all my other guitars, I need my 12-string to be versatile, the way the G1070ce is.  I never know from one week to the next what the project will be.  And then there’s my original music, where I’m constantly drawing on as many influences as I’m aware of at any given time.  I need a guitar that can keep up.

So far I’ve used the G1012e-SH on recordings with other instruments, and in layers with other guitars.  I’ve also used it in very intimate performance situations: solo, in duet with voice, and a duet with trombone.  In all cases, it has held its own just fine.  It has a full range without exaggerating or overpowering any frequency.  Just nice and even, full bodied sound.  It has a voice I can control easily, yet it rings out loud and clear with its own character.

I’m proud to bring this instrument out on a gig.  It always gets comments, both from other performers and from people in the audience.  The only complaint I have at this point is that it’s really hard to put down.  A guitarist has to sleep once in a while too, you know?

Thanks Walden,

Sean Harkness

SH

East Meets West Guitar Trio

This evening found me at La Lanterna In NYC’s Greenwich Village watching three of the world’s most accomplished guitarists interacting as a trio.  I’m friendly with Paul Meyers [recently acquainted], am familiar with Gene Bertoncini [of course], and was just introduced to John Stowell.  What follows is a stream-of-consciousness account of the East Meets West Guitar Trio’s performance.

The iPad was on the table, along with some fine Italian meats and cheeses, the best olive oil, and a glass of Taliskar.  I typed as the music flowed.  To keep it real, I didn’t even edit or spell correct.  The iPad OS has some interesting otto phil for misspellings, but hey – that just makes it more interesting on some level.  Let me know if you enjoy this type of entry.  i enjoyed doing it, might just do more…

* * *

Weird chords… from all.

Gene…
Swingin’ bass line with odd voicings.  Lots of misfrets, following the muse

Stowell, more clear, round dark.  Articulate.  Oops.

Paul, nylon, takes the thread, with love…  Ooh.. More weird chords with yummy lines in between

Is there a song here?

There it is.  One at a time, now all three.  Gene chord melody, John bass line, paul lite comp and counter melody.

Gene first solo.  Paul walks, low D.  After a spell John adds lite chords.  They listen so attentively to one another.  Lite touch, not jack Wilkins.  Gene sounds better with these guys.

As gene’s solo ends, paul lite-argues with the the owner to please close the door or it will be too cold…  Smiles…

John solos, more linear than gene. Digestible, not too heady.  Swingin’!  Paul still walks…  Now gene light comps…  They’ve done this before.

Paul goes now… Gene walks.  Bright lines!  Playful motifs, conversational. Also swingin’.  Here come the silly chords…  Wee!

Now John adds lite chords.  Paul takes it up a notch….  Gene takes four, now John, now paul, many rounds, HeY NoW!  An orchestrated out chorus!

So much trading, complimenting…

Hearty applause from all 7 of us at La lanterna…

More weird gene chords, something’s coming…  Paul melody…  Brazilian..  I should known this but I don’t.

I now have a three cheese plate with prosciutto and salami…  Patee..  Best olive oil…  Perhaps I have died.

John is so clear.

Gene is smiling and just tapping a light rhythm on his neck..

Gene solos now, such elegant ideas, not so polished, but full with love.. Big slides..  Interplay instead of a big finish, goes into the song, not the credit.  Love.  John leads it now, clear as the snow.  I should know this song.  Bonfa?  Jobim?

paul up voicing, John bass, gene noodle…  Big yummy chord finish…

O grande amour!  Paul gives title!  Jobim it was.

Now for the jitterbug waltz…  Gene starts, lollipop so open.
Now we’re talkin’.

Gene is sooo not polished.  It’s charming.  His ideas work.  Paul has such elegant harmony.  John’s class is understated, yet plenty present.

Now it half time swings in four…  Paul solos.  Blues lick???  Ok, back to bebop.

Now we waltz again.  Gene, oh gene.  John interpolates the yummy ‘A’ melody…  Dead air while John goes…. Big silly chord, fast licks, back and forth, chord solos, out head… Dancing, harmony, swing, tag out…

Gene blazes the trail to the bridge… Careful now ,  strange chord end…   Oh yeah!  Gene tunes down the low E to meet the D they’ve been in, banjo style.  Nice!!

Tuning… Together letting all strings ring and adjusting…

“Everything I love” by cole porter, the bill evens reharm….  John Stowell solo.  Methinks he’s heard lennie breau.  Paul stands erect, head up, eyes closed,… “Yeah!” Says he…gene looks down, around… John waves his head around as he navigates the turbid waters of the improv over these crazy chords…

I’m getting drunk on serious olive oil.  And these heady sounds…  This is a convincing possibility for paradise.

Now he comes into a cohesive time.  Big fat chords with a common ringing high note.  Gorgeous.  Constant structure… Sharp 11s

Now gene goes solo.  Hitori de…  Rio is here, giving back rubs to the guitarists, and smiles.  Serious guitar lover from japan.

Deftly negotiating different feels and approaches to a common thread.
John and paul (!) Join in with full rhythm, swing this time.  Medium, strong.  Clear melody now.  Ahhhhh.  Gene takes it over, two GTRs comp, now John takes the next eight, now paul…  Nice arrangement!

Each leaves the other a motif to play with, paul just took a big one! Now gene, now John, so clean.  Paul’s eight… Alone!  Angular, now gene, equally so, John more refined.  Paul snaps on two and four then takes his eight alone, they really trade!

My goose liver pate smells like feet.  Good thing it tastes better.  Way better.

Now they all go together!  And it’s not a mess!  Fun!

I sense a big finish coming…  And such listening, interaction, trust…

Big sharp eleven chord!

One more with thanks…

Gene!s solo is as rich as my pate.  John takes it alone now, softly, so clean.  Gene goes bluesy Brasilia
Paul comps now while gene continues single note.  Exploring all sides of the equation.  John adds tastefully.

Paul takes it, turning the beat around in the first four, over the bar line shit.  Nice.  Goes single note, big round ones.  Confident, ascending, hint of blues, gene hits a Spanish chord on the five…  Paul responds, now george benson-ish stuff…  Big chords in a melodic line.  Now octaves a la Wes.

John takes it with legato picking.  Nice contrast to paul’s finger style.  Two nylons and an electric solid body with a funky design from some offbeat dude in Oregon.  With good graphite trees.

Trading little ones now.  The room is dark, the tables small and close, the kitchen serious, the waiter condescending and bumbling at the same time, the Italian fare curling my toes good, the spontaneous counterpoint, now the chords, big major sevenths, now an out melody.  I’m at once thrilled, and sad that it’s almost over.

Gene takes a light approach…  Long tag… Vamp on the one, now a sharp nine…  Brown out.

This one’s gonna’ cost me.

Paul imitates a linguica!  Now just snapping on the guitar bodies… In rhythm…  Basic pulse….  Done with a giggle.

He says it’s their first show!  World premiere!

Paul thanks the crowd.  They break.  Bills are paid, friends unite, chatter resumes, thank yous and pleasantries.  Many guitar players meeting, agreeing.  New alliances  forged, shared.

I say good bye to paul, thanks for the heads up, good bye to John, clear as a bell, loved it, goodbye to gene, thanks for sharing yourself with us.  Again.  Almost at the door…  …what’s his name?  Sean Harkness ?  Hey Sean!  (says Gene!) Come see me on Monday nights in the room that used to be the zinc bar.  No cover!  Bring a guitar.

Maybe I imagined that last part….

SH