I always thought when people said " he listens to 80's music" that was me - its not I'm a child of the 70's in particular ( almost the 60's). So here you see the take on Mason Williams Classical Gas- which I played to destruction when I was young - but also Roy Woods Electric Light Orchestra work - 1st Movt. Jumping Bizz. Apparently he too played Classical Gas alot and wrote his own take on that idea. I loved his work - slightly mad always over the top - but brilliant.I think he's still out there doing it. 

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An improvised reflection on the darker nights, cooler days and changing colours of the Autumn months .

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WhenI played along with Tony ( saxophone)  and Lekan ( hand drums) this was the tune we used to open with . I can't find a recording of us playing it together - but I hope you get the gist . Have a good Friday 

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Another piece involving the great Andres Segovia - this time a composition. Written for his admirer and I think at one stage biographer - a duet . 
David takes the lead - I accompany. From 1997

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Todays recording is a bit of an anomaly. Its taken from an old multitrack reel to reel recording and has various overdubs. The title is down to the influences: Burt Bacharach ( the piano part - straight from Close to You) the style ( intended to be Earl Klugh) the wallpaper approach to the arrangement ( influenced by a Claus Ogerman / Jan Ackerman collaboration which I loved.)

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This is a recent recording. Talking about new starts, watching other lives, reflecting on what's gone on. It uses a tuning I first tried with Rob's Hybrid guitar. As the string tension was so high you could tune down to C in the bass without any issues so, for those interested this uses, CGDGBD - a sort of DADGAD but lower. I wanted to experiment with different chord shapes and that low tuning helped. 

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Albert Roussel - an unusual musician . A former Naval Officer he also worked for the Red Cross in World War One before he retired to Brittany towards the end of his relatively short life. A piece dedicated to the great Andres Segovia. Recorded on a Liam Romanillos guitar which I had for a short while.

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From the recording Phases - a sentimental version of the  St Aidan theme with saxophone and multitrack guitar part for a relaxed ,and very wet in the UK , Sunday morning. From about 2003. 

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Taken from the nursery rhyme -
Monday's child is fair of face/ Tuesday's child is full of grace/Wednesday's child is full of woe/ Thursday's child has far to go/Friday's child is loving and giving/ Saturday's child works hard for his living/And the child that is born on the Sabbath day/Is bonny and blithe, and good and gay. The song was written at the time when you realise, as a parent, your children are starting to move on. It feels both good and bad. I am a Saturdays Child. The last track from the Can't Stop 
album.

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A children's song really. Using a guitar accompaniment a little in the style of Laura Marling - whose relaxed way of playing and writing I enjoyed in the 2000's .

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