To Be Continued
SLAMCD 293
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Howard Riley, solo piano. As Howard says in the sleeve note, a studio recording is a very different project than a live concert recording ´┐½½ on many levels. After I first spoke to him about a studio date, Howard ´┐½½ always the thinker ´┐½½ waited 9 months before actually going into the studio... well worth the wait, I think. The choice of Porcupine Studios and of course its piano, was also important ´┐½½ he had recorded there with his trio as early as 1988 (SLAMCD 215) when the engineer was Ted Taylor, father of the present day Nick Taylor.

It is typical of Howard to include, among his own compositions and improvisation, something from what is sometimes referred to as ´┐½½The Great American Songbook' ´┐½½ in this case Jerome Kern's "The Folks Who Live on The Hill".

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Details Reviews
Detail

Album title: "To Be Continued"

Catalogue: SLAMCD 293

Track details/titles:

1. To Be Continued..................................... 6'23"

2. East West.................................................. 4'51"

3. Just Maybe................................................ 6'35"

4. Two Part Intention................................... 8'48"

5. The Folks Who Live on The Hill............ 7'08"

6. Solving The Problem.............................. 4'21"

7. Descending Thoughts............................ 5'21"

8. Haunted.................................................... 7'36"

9. One More Thing....................................... 3'04"

All compositions by Howard Riley (PRS/MCPS), except for Track 5 by J. Kern/O. Hammerstein II.

Recording date/location: 19th June 2013 at Porcupine Studios, London.

Engineer: Nick Taylor

Cover/artwork and photos: Irmgard H´┐½½ppe

Sleeve-note for CD:

For the performer, studio and live recordings require different mindsets. Theoretically the former gives unlimited possibilities for re-takes; with the latter, you play and that's it. They demand different disciplines.

This recording is my first in a studio for three years. The Lithuanian label NoBusiness has released live recordings during that period, so when SLAM suggested a studio date I was happy to accept. Conceptually I decided to simply let the recording reflect my current musical situation, which in turn led me to the album title. In recent years specific projects have become fashionable, but for me the most rewarding project has always been the long-term development of musical identity.

Finally many thanks to Nick Taylor for his engineering skills, to Irmgard H´┐½½ppe for her artwork and to George Haslam for providing this recording opportunity.

Howard Riley

June 2013


 
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