Our second trio cd, EnCore, more ambitious, we think, than Core 3.0, is the natural evolution one would expect from a group whose aim is to grow as a unit even as we strive to grow individually. There was much experimentation in the arrangements, a lot of trial and error, but the choices made were those we intuitively recognized as right. Thanks here to Mike and Miki for so many great ideas. As a composer and guitarist I consider myself fortunate to work with these talented, creative musicians who embrace new music with openness and a sense of adventure. There’s also a lot to be said for the comfort and trust accrued from time playing together.

When I write I tend towards simple, singable melodies that strike a chord (no pun intended) within me. The harmonization, on the other hand, informed by years of experimentation and an aversion to the same old, may be complex but remains essentially an emotional process. There is no formula. And as a guitarist I have always striven to bring out the more dimensional pianistic aspect of the instrument for the simple reason that that’s the way I hear it.

About the tunes-

The Gathering Storm (with apologies to Sir Winston Churchill) starts with a guitar and cymbal filigree over which the bass states the melody. The guitar then reiterates the melody as the bass plays a 6/4 ostinato over the basic 4/4 rhythm. The end is a variation of the intro with a delicate unison melody followed by the storm of Miki’s solo.

The first chorus of Karenina is played on solo 8-string guitar. It’s a simple melodic theme over changing harmony.

Three Fall is a waltz whose intro serves as an interlude between solos and in my usual fashion the harmony goes to a few out of the way places as it wends its way home. I like the way the tension that builds toward the end of the first chorus is relieved when the bass repeats the guitar’s melody on a friendlier harmonic path to the end.

Played in 7/4 time, Sing Me a Puzzle is based on a simple, childlike melody and strikes me as a musical jigsaw puzzle. After the initial melody and brief guitar solo, Miki crescendos over a vamp that ends with sudden silence. Then the final pieces are put in place as Mike’s melodic bass comes to the fore. A little guitar cascading at the end and we’re out.

Currents Above, Currents Below is a ballad that ebbs and flows with its own inner logic. At one point the tempo triples but in such a way as to be organic, almost expected. Mike and Miki make it all happen seamlessly. I find it especially poignant when Mike plays eight bars of the melody in his upper register. The tune ends as it began, solo guitar.

Spring Overture is a feel-good tune. Once again the intro serves as an interlude between solos. Mike and I take one chorus each (each chorus is divided into three sections) and Miki solos over the four-chord vamp. The piece brought to my mind that welcome day when we know that winter is in full retreat.

The solo guitar portion of The Road Taken and the remainder of the first chorus where I am joined by the bass are obviously through-composed .The duet was the simplest, most elegant way to offer this tune. After the melody chorus the slow bossa tempo seemed just right.

Come Each Simple Idea is the closest we have to your up-tempo standard 32 bar tune even though it lacks the final two measures. Most tunes I write come from a simple idea that just requires a little fleshing out, a little space in which to do what it will.

The Circus Left Town brought to mind the longing of a child for the magic that once was before his eyes and now visits him in fragments of recollection. Listen to Miki’s drumming and picture the man on the flying trapeze.

Little Tears was originally written as a waltz but we thought it would be more interesting to break it up into sections of 4/4 and 3/4. The funk bass line after the initial 5 chords was Mike’s idea and a pretty good one at that.

The Threads That Hold the World is a solo guitar piece, my summation to the jury.

-Fred Fried