Peter Phippen
CD Review
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Summerland
by Dr. Kathleen Joyce-Grendahl
One of the most challenging feats for a professional recording artist to achieve is musical innovation and a fresh approach to a CD project, rather than repetition and a rehashing of musical ideas, harmonic exploration, and engineering techniques. Many artists cringe when they hear someone say, “Oh, that sounds just like your last recording,” or when an individual can quickly single out an artist just by listening to a few seconds of a song, meaning that the artist has not changed his or her sound over time and has become musically predictable. While uniformity in sound and approach can be comforting to some listeners, it is not a motivating factor for someone to buy that individual’s latest musical endeavor.
Peter Phippen’s music has always been on the edge of distinction. He refuses to wallow in musical reiteration. Peter is always eager and primed to embrace an original sound, ground-breaking ways of playing, mastering, listening, arranging, and engineering. His latest CD Summerland, due out on June 21, 2010, is exceptionally unique. The music within this recording is imaginative, with new textures and eclectic instrumentation, and I believe that it is his best work yet. Peter is generous with his resonant, sultry melodies and delicate musical phrasing throughout the CD. The high degree of true musicianship on Summerland is exceptional, with the genius of Peter’s flute artistry; the creative mastery of Colombian Enrique Rueda who made the unique instruments heard on this recording; the professional musical beauty and gifted engineering/mastering of Ivar Lunde, Jr.; the percussive colorations of Tiit Raid; the ethereal, haunting vocals of Sylwia Bialas; and the additional percussive grooves of Jason Introwitz.
On Summerland, Peter Phippen truly spreads his wings and gives musical flight to his heart, mind, and soul. As he is a true child of nature, Peter shines and glows that idea throughout the CD. He states that, with Summerland, he “wanted to create something that is natural, organic, and earthy,” a reflection of his approach to all things in life. Although the musicians had no preconceived notions prior to going into the studio with regard to the project’s overall personality, Peter wanted the CD to be primal and intuitive. The artists simply went into the studio and played. All musicians were in separate rooms throughout the recording studio, unable to see each other during the music making process. Except for a few produced musical selections, the CD is primarily improvisations with very few overdubs added later. Peter’s goal with Summerland was to create a musical offering imbued with pure honesty and authentic musicianship, not a digitally manipulated product. He wanted something down-to-earth and genuine, able to touch the hearts and inner recesses of every listener.
Summerland commences with “Returning Home,” a song named by Enrique Rueda because it reminded him of going home to Colombia every winter season. Here, Peter presents soulful melodic musings on a Native American bird-head flute gifted to him by Michael Graham Allen (Coyote Oldman). Enrique Rueda accompanies him on the sail harp, an intriguing instrument and work of art created by Enrique with a body made of wood and skin/membrane. The manner in which he plays the sail harp is reminiscent in sound of the Japanese koto. An appealing and novel texture, as well as a gentle, creative interplay, is prominent between the two instruments on this selection. Peter and Enrique do not impede each other’s melodic explorations; rather, they flawlessly balance each other with tender, dovetailing musical phrases. “Returning Home” is a live improvisation; the splendor and charm of this song is a true testament to the musical proficiency of both Peter and Enrique.
“Vail” is what Peter refers to as a “production piece,” built in the studio from improvisations and mastered to create the end product. While many people are quick to point out to Peter that he misspelled the title of this song, he actually is using an ancient spelling of the word “veil.” The concept of the vail is as close to the spirit world as someone can get while still alive. Here, Peter plays a Patrick Olwell B major transverse bamboo flute. Jason Introwitz accompanies him on a low conga, giving the piece a primal heartbeat effect; Ivar Lunde, Jr. provides subsonic soundscapes; and the numinous, alluring vocals and vocal layerings are by Sylwia Bialas. Ivar and Peter sent a rough mix of “Vail” to Sylwia who lives in Germany, and she sent back vocals that were subsequently added to the mix at Ivar’s Skyline Studios in Eau Claire, Wisconsin. The effect of this selection is truly captivating to the ear!
The instrumentation on “Freedom” is unusual, with this being the first time that the oboe da caccia has been combined with a world flute. On this selection, Peter plays his Patrick Olwell bamboo flute in B major and a Nigerian gourd flute, as well as a Gibson electric bass. Ivar Lunde, Jr. expertly graces the ear with the oboe da caccia on “Freedom.” There is also a percussion loop from Ivar comprised of a grooving udu played with brushes and a quiet bass drum. The soothing melodic interplay and the delicate, finessed musical phrasing over a steady percussive groove is simply outstanding.
A live improvisation, “Green Fields” has an oriental flair to it, with long, gentle notes full of passion and release played by Peter on a 1930s 1.8 shakuhachi. Enrique Rueda accompanies Peter using the Renaissance harp. The musical interaction and phrasing between the harp and the shakuhachi is exquisite and soulful, full of introspection and peace.
Peter thought it would be a gift to the listener to include a song on Summerland that was devoid of any type of flute, offering the ear something different to contemplate and upon which to poignantly reflect. “Reflection” is a Renaissance harp solo, an enchanting improvisation performed by Enrique Rueda, a gifted artist and a true musical treasure. To me, “Understanding” has a medieval quality to it. It has a slow-moving harmony drone flute intertwining with a more active, melodious oboe da caccia line. Both parts were improvisations that were later combined to create “Understanding.”
On “Close,” Peter masterfully plays a Butch Hall Anasazi flute while being accompanied by Tiit Raid on six Rototoms®. Peter prefers to utilize true Anasazi flutes that lack a notch on the rim. The resonance that he skillfully draws forth from the Anasazi is truly mesmerizing. This selection is exotic, mellow, serene, and satiated with longing.
Peter again plays his trademark Patrick Olwell bamboo flute in B major on “Peace,” another production piece. There is an amiable little repetitive motif that is played throughout the selection that lends a certain charm to the music, almost bird-like in its pronouncement. Wind chimes, nipple gongs, and the sail harp accompany the gentle flute reverie. “Peace” is like an aural depiction of the movement of wind, the breeze flowing wistfully through the trees and fields of grass. It is a musical depiction of the perfect summer day!
“Solstice” is otherworldly in temperament, with a deliberate, unhurried Anasazi melody, an active Colombian Andean bandola line, and an ethereal vocal choir that is very fey-like in character. This selection swims in enchantment, of unseen beings floating in one’s peripheral vision just out of reach, but apparent enough to challenge the imagination and one’s inner sense of truth.
Peter utilizes a 1950s shakuhachi on “Other.” This selection is overtly Avant-Garde in its persona. Here, the musicians are absolutely thinking outside of the box, but their expert musicianship is ever present. “Other” is a cleansing of the musical palate, daring the listener to explore the unknown, the wild things that lurk on the periphery. The percussion is abstract, as is the shakuhachi line at times. This is a live improvisation with no overdubs. The waterdrum and Enrique Rueda’s sound sculptures provide unusual accompaniment. “Other” stretches the ear and tickles the imagination.
Peter stated that the selection “Summerland” was the most organic of all the pieces and therefore had to be the title track. This is a live take, with no alterations. Peter uses a Michael Graham Allen Anasazi without the embouchure notch. The flute is in the key of A, but in “Summerland” Peter plays it in the key of B minor. Enrique Rueda accompanies Peter on the Puerto Rican eight-string cuatro. Tiit Raid plays light gong throughout. It is a gentle musical exploration evoking soft winds and gentle conversation.
Summerland is Peter Phippen’s best work to date. The music is expressive and heartfelt, nudging the senses and the soul, inviting the listener to soar in the skies of light and darkness. It is music that is fresh and thoughtful. Summerland is truly a gift to be cherished.
To purchase Summerland, please visit: Amazon.com or www.promotionmusicrecords.com/Phippen.html