Process

My arrangements are like solving a puzzle, finding the mystery within the pieces. Initially, I am intrigued by a turn of melodic phrase, rhythm, or unique harmony of a musical work, and how they weave together. I then aim to understand a piece’s adaptability to solo guitar. Through many improvisations and revisions an arrangement takes shape, usually simplifying to keep it ergonomic while hopefully distilling the essence of the original. Some remain more faithful to the originals while others explore a more free arrangement, opening the path toward composition. My Gismonti pieces are closer to transcriptions of the original guitar works, while my Blackbird by the Beatles is in the style of Gismonti, and Kashmir by Led Zeppelin is recast as an acoustic folk ballad.

To date I have several Beatles classics from 1964 to 1969 and a number of Brazilian works by Gismonti from 1969 to 1993. Lilac Wine by Nina Simone and Timeless by John Abercrombie represent works honoring jazz traditions. Each piece is a meditation on the magic of music, unlocking its hidden power. Other suites include works crossing many styles from glam rock by David Bowie, to art rock by U2, and the experimental music of Radiohead. Representing the West Coast, I have two blues by local favorite Soundgarden (I played for Chris Cornell’s wedding in 1990 while I was attending Cornish College of the Arts), and an elemental world music inspired Schism by Tool to the 5 + 7 rhythm of “I know – the pie-ces fit.” ∞

“It does not matter if fast or slow, but that they make you go somewhere during the interpretation, it touches something. The music has the power but you have to know what you are doing in order to touch the power.” – Egberto Gismonti