This ensemble is essentially a working trio (Rob, Clint, and I) which has been augmented with a guest (first Lou and then Louise). I didn’t start out with the intention of playing so many instruments but as the arrangements came together it seemed to make sense. The tunes, a mixture of originals and standards, also suggested themselves as we began to discuss the recording.
I have worked regularly with Rob Cheramy for many years. His playing and writing have been a constant source of inspiration not only for me but for musicians throughout the western Canadian jazz community. Someone once said old musicians need to work as often as possible with young musicians. I don’t think I quite qualify as old but Clint Ryder certainly qualifies as young. He is perhaps the most serious 22 year old I know and is definitely one of the finest bass players I’ve worked with. Lou Williamson is both a great percussionist and a great friend. The role of the drums on this date was very delicate. Everything was to be recorded live off the floor so Lou had to provide energy without being too strong. As usual his playing was perfect.
You can never do as much as you like on a project like this so early on I began to imagine the next one. Our moments in the studio with Louise Rose were like a wonderful dream which ended too soon. I am already looking forward to the next opportunity. Louise’s strength, both musical and personal, is well known. We recorded Dreamsville twice. Both versions can only be described as magical and it was the clock that decided which one we used.
Paul Horn is a legend. His incredibly vast experience in all aspects of the music business make him the kind of producer anyone would love to have. I can’t thank him enough for all the help, inspiration, and friendship that he freely gave all of us.
Recorded November 1997
Seacoaast Sound, Victoria, BC