In recording Returning my primary objective was to be sure that every note I played would have a real emotional connection to it. If I played well, but failed to find the emotion I would scrap it. The songs proved to be surprising to me.
I just read Jamie Bonk’s December interview with Will Ackerman, founder of Windham Hill records. It is a great interview and makes me wonder whether it was actually easier for Will to be that open (click on the title of the post and read more!) using email as the medium? Jamie Bonk does good interviews.
Tangent: around 1987 or ’88 I made a cassette tape of my music and sent it to Alex DeGrassi. He was kind enough to to send me a letter, basically stating that I needed to become more original. A year or two later I recorded another cassette that contained Heart Still/Beating, Barcelona Nights and Waiting 4 Stars to Fall and led to Frank Howell asking me to do the album Marita: Shadows and Storms, which became NF. To me the seeds of NF where right there in that cassette I sent to Alex DeGrassi…
In case you are wondering why DeGrassi? I remember hearing an album of his at a friend’s house. I liked it, but I still don’t own any of his recordings. Strange, isn’t it?