Why I keep returning to Africa
Lately everything I write bends back toward Africa.
Between the notes I left in as much rhythm as I could.
It isn't a message — it's company for a particular hour.
classical crossover · piano
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
Make the room quieter than you found it.
Best heard whole, start to finish, low, in one sitting.
One piano, and as little else as I can get away with.
Appears infrequently, in small and unassuming venues throughout Italy. Performances are intimate by design and not widely advertised. Serious enquiries are welcome.
Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
Mapping East and Central Africa in pentatonic light and shadow.
The project situates itself within classical crossover: the piano treated less as an instrument than as a thesis, examined across Africa and journey.
The catalogue — “African Impressions”, “Mist” — is best read as a single argument developed record by record.
Lately everything I write bends back toward Africa.
Between the notes I left in as much rhythm as I could.
It isn't a message — it's company for a particular hour.
No secret to how this gets made: one piano, two microphones, a room, and a lot of erasing.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
Owed to Erik Satie, Claude Debussy, Ludovico's quiet school. The rest I took by accident.
The first sketch for “African Impressions” was almost nothing: a long look at rhythm, held too long.
Each pass got quieter until only journey was left.
Made small, on purpose.
So much for the intention; the rest is the listener's.
There is a single feeling under “Mist”: the idea of Africa.
Between the notes I left in as much rhythm as I could.
That is all it wants to be.