RECORDINGS

THE PLEASURE OF RUINS (released February 2013)

Genesis

After Leschen’s last two solo albums (Black Horses and New Sun Rising) were done and dusted, visiting bluegrass songwriter Peter Rowan suggested he form a jazz trio and the idea for an ensemble was seeded.

In April 2012 Rich attended a Victoria Theatre (Devonport) show of New Folk groups, where he asked percussionista Chris Koole (Beyondsemble), if he would be interested in recording tunes he accumulated in the old grey matter, some tunes they gigged previously with Craig Denham and Peter Scott (Crawfish Mambo).  Though Chris was keen, he couldn’t participate due to gigging conflicts, but, suggested Vanessa McGowan (e.g., Caitlin Smith band, the Rodger Fox Big Band, etc.) as a bassist who also performed that Victoria night with her duo Tattletale Saints. Leschen had met Vanessa previously while organizing the Bunker Hill Folk Review, and agreed to the project: the cumulative historical accidents morphed into a musical blessing.

Rich says, “it was wonderful to work with Vanessa on The Pleasure. We met 4 or 5 times during the two or three months leading up to the October 2012 studio sessions.”  From the first sound bytes, he was pleasantly bitten, impressed by Vanessa’s sensitivity and the reflectivity in the solo pairings that mirrored, balanced, and accented the lyrical, musical, and emotional content of each composition, improvised or otherwise. His folk proclivities of having tunes with crooked timings (e.g., Clitheroe Kid in 5’s and 7’s) were rendered neat by Vanessa’s handiwork.

Recording Details

The Pleasure of Ruins was recorded at Braeburn Studio by acoustic sound-master, Robbie Duncan.  An old pro at recording singer/songwriters, he was offered the unique of challenge recording Vanessa’s 200-year old bass.  While Leschen had 4 microphones (including voice), Robbie started Vanessa with one microphone, then 2, then 3, then finally 4 to achieve the roominess captured on the recording. The treble edges, the full boom bottoms, and all the slapping and creaking of the bass in its natural habitat, are preserved, thriving in the wilds of live recording.

There was also a challenge with Rich’s health.  During the recording he had glandular fever, which limited his daily activities and resulted in a scratchy voice that couldn’t last the full strain of a full days work.  Vanessa fixed him up with a lavender oil treatment she received from songstress Frances Dickinson (two drops into boiling water, build a tent, and breathe), and Leschen persisted. Amazingly, they recorded 5 songs during their second day (one or two in only two takes).

Denniston Overture: