When I lived in Topanga, I very serendipitously met a Tai Chi / Qigong instructor / musician named Bill Fiorella. He was deep into herbal medicine and Traditional Chinese medicine. We had lived somewhat parallel lives having spent time and giving focus to very similar pursuits in our search for wisdom. We were brothers who had finally met. Bill eventually signed me to his start up label, Lone Pine Records. Through that is how I met Toby Williams, the deeply talented drummer who played on the ‘Campfire Cook’ album. Toby is an Afro-Indigenous master of the groove who grew up in Chicago via New Orleans. His father was in Earth, Wind and Fire, and at 19 he toured as drummer for Curtis Mayfield. Toby and I hit it off immediately as we bonded in and over the spirit and subject matter of the music.
This new album brought us three back together along with a few friends from Bill’s scene in Wisconsin. It had been 10 years (!) since we recorded the album Campfire Cook. We all arrived in Topanga, and gathered at a beautiful house up on a mountain to play and record music for three days. It rained so hard the night I arrived that I couldn’t open the solid wood door to the house, it was swollen shut. Heavy rain. Eventually I busted in, the peaceful feeling of the house centered between the baby grand piano and the windows looking out over the canyon.
I hadn’t shown anyone the songs, per usual. Samur and Cameron from Seahorse sound came the first day to set up remote in the living room. At the end of the three days we had 14 songs done and a great time was had. Each night after 10 hours of music making we’d go down into town to our friend Matt’s place ‘Endless Color’ for some great food and vibes. This was Toby’s first session since his son passed away suddenly, and there was a feeling and sensitivity around that which also permeated the music.
Where the mountains meet the sea music comes more easily. I was thrilled when I got home and listened to the songs in the timberframe. Everyone had brought their A game. We had 2 guitars, flutes, piano, and drums. I could hear synths and space for more vocals, which I recorded at home in the timberframe. I also had my friend Jesse Murphy come in and play bass on the songs, the way that only he can. He is a master of the low end. At the same time. I’d been hearing mixes that Nick Kinsey was doing and I took note. I was loving the way he situates vocals in the mix and his overall approach. We have worked together on several projects, and I wanted him to mix the album, which he did.
So here we are, ready for mastering. It is music for our relationships with Mother Earth and each other. We are part of her. Music is so important for shaping our lives and our narratives. Valuable perspectives can be found, rooted in Indigenous values that we once all shared and I would like to once share again with everyone. Let’s be proactive in restoring our relationships to all our relatives here. I know this new music will help feed and shape those relationships in generative ways.” – MON
