George Winston Live in Concert: Music for Contemplative Solitude

Given my predilection for 20th century classical, ambient, and drone music I seldom have the opportunity to experience my favorite artists performing live as few visit the States, (or in many cases they stopped breathing many years ago). So when I learned that George Winston, legend and icon of Ackerman’s Windham Hill record label was offering a concert performance in my fair city I simply couldn’t pass up the opportunity.

For the few of my readers yet unfamiliar with Winston’s beautiful music, on his website he describes his style as “rural folk piano.” tags him as Neoclassical New Age, Christmas Music, Modern Classical, and Jazz and employs descriptors including, “pastoral, peaceful, passionate,” and “bittersweet.”

Winston has two primary concert themes – a Summer Show and a Winter Show, each showcasing selections from his catalog related to those seasons. This week I had the pleasure of attending The Summer Show which was a treat as I’d previously gravitated toward his autumnal and wintery early recordings like his certified triple-platinum 1982 classic, December. This concert offered fresh, new content from one of my favorite pianists in an intimate live setting. And intimate it was, indeed! Only twenty or so rows of folding chairs were set up immediately in front of the stage and there were but two hundred in attendance and I was honored to be among them.

Initially I’d wondered if the experience would be a drowsy evening of so-called new age key-plinking, but it was nothing of the sort. Winston live would never be mistaken for a Steve Roach sleep concert – even at 70 and in his health condition Winston was lively, spirited, bursting with zestful energy, and his performances were dynamic and varied tremendously as he transformed from interpreting one musical period or performer to the next.

The performance featured not only standards from his early Windham Hill repertoire but also Winston’s own stylistic interpretations of Vince Guaraldi’s jazz, the classic stride-piano technique of numerous New Orleans R&B pianists like Henry Butler, James Booker, Professor Longhair, Dr. John, and John Cleary, Hawaiian Slack Key solo guitar, (a unique fingerstyle tradition of the island), and Winston’s distinctive harmonica stylings as well.

For Christmas of 2013, Jay Gabler penned an incredibly thorough feature on Winston published by Classical MPR. The article summarizes the Winston concert experience so effectively that little more needs to be said so I will encourage my readers to visit his full original write-up. But a few of his key remarks really touch upon what I appreciated specifically about this concert experience so I’ll share a few excerpts.

One particularly captivating number was “Muted Dream,” from his latest 2017 effort, Spring Carousel – A Cancer Research Benefit, which sounded like a prepared piano composition. (George manipulates the strings inside the piano during the piece.) Gabler describes the technique thusly:

Winston acknowledged the influence of towering minimalist composer Steve Reich; in a Cage-ian flourish, Winston sometimes reaches inside the piano to mute the strings as he plays. Winston also shares the interest of minimalist composers — and, by extension, ambient musicians such as Brian Eno — in crossing the boundaries of genre to grab rhythmic ideas from jazz, from pop, and from international musical traditions.

And regarding the fascinating slack-key style:

Winston is a practitioner, fan, and preservationist of guitar music played in the Hawaiian slack-key tradition; with its open tuning and alternating-bass pattern, the slack-key style is just the kind of thing that might interest 20th-century musical adventurers from John Adams to Sonic Youth.

Of Winston’s harmonica playing, Gabler notes:

Harmonica is yet another of George Winston’s musical interests; he offered a sample of his technique at the Fitzgerald, and his approach is fascinating. As Winston plays, he effects rapid dynamic changes; he doesn’t sound like Larry Adler or Little Walter so much as he sounds like a Steve Reich tape loop in which a snippet of sound is played over and over again at different pitches and tempos, creating a hypnotic effect that can be disrupted by sudden stops, starts, and reversals.

But my favorite segment of the feature is Gabler’s summary of Winston’s characteristic and trademark sound:

Winston’s music sounds distinctly urban, with its smooth sonorities and delicate textures, but it evokes a sense of the rural and the vernacular in its sense of suspended time, of burbling placidity that flows like a brook rather than marching like a fugue.

Quite poetic! For those musicians among my readers curious about Winston’s choice in instruments, the Summer Show program included the following information:


Piano: George Winston plays Steinway pianos

Guitar: Martin D – 35 (1966) with a low 7th string added

Harmonica: combining Hohner Big Rivers with key of low D Cross Harp reed plates

Winston has released fourteen solo piano albums, as well as four benefit EPs and five soundtracks, and the concert inspired me to venture further beyond my familiarity with his early Windham classics to explore his complete catalog.

It was equally wonderful to experience him playing early staples like the hauntingly captivating and magical “Woods” from his very first Windham Hill release, Autumn (1980) and “Variations on the Kanon” (by Pachelbel) from December live, up close, and personal. He closed with a Doors cover, as featured on his album, Night Divides the Day – The Music of the Doors released in 2002, and for his encore concluded with a charming traditional fiddle tune, “Sandy River Belle.”

It was a concert to remember, and instantly became one of my favorite live music experiences. An RYM user described Winston’s music as that of “contemplative solitude” and it was precisely the medicinal music I needed at this transitional time in my life. Thank you, George.

Read Along With Me / Smell the Gumbo

Last Sunday I took a trip back to my home town to celebrate my 30th birthday.  While I was there I picked up a number of records and ordered a few more that should arrive in the next few weeks.  I’ll save those for a future post.

These first three discs were found at the local public market / community garage sale.  Each is a book and record, two from 1976 and one from 1980.  They’ll be fun additions to my children’s LP collection.

Superman Book & Record (1976)

Star Trek Book & Record (1976)
Return of the King Book & Record (1980)
The third pic is a storybook record of Disney’s animated film, Return of the King.  It will sit nicely beside my other two Tolkein LPs.

Rankin / Bass' The Hobbit LP (1977)
Rankin/Bass’ The Hobbit (1977)

Ralph Bakshi's Lord of the Rings (1978)

Ralph Bakshi’s Lord of the Rings (1978)

While I was in town I visited all my favorite record shops.  In the first I went digging for Dr. John records missing from my collection.

Dr. John’s earliest recordings were far more experimental than the Cajun/Zydeco sound he’s best known for.  His first record, Gris Gris was an unparalleled exercise in gritty bayou voodoo – pure psychedelic gumbo blues with funky Afro-Caribbean drumming.

Dr. John - Gris Gris (1968)
According to the liner notes on Gris Gris, the band consisted of “Dr. Poo Pah Doo of Destine Tambourine and Dr. Ditmus of Conga, Dr. Boudreaux of Funky Knuckle Skins and Dr. Battiste of Scorpio in Bass Clef, Dr. McLean of Mandolin Comp. School, Dr. Mann of Bottleneck Learning, Dr. Bolden of The Immortal Flute Fleet, The Baron of Ronyards, Dido, China, Goncy O’Leary, Shirley Marie Laveaux, Dr. Durden, Governor Plas Johnson, Senator Bob West Bowing, Croaker Jean Freunx, Sister Stephanie and St. Theresa, John Gumbo, Cecilia La Favorite, Karla Le Jean who were all dreged up from The Rigolets by the Zombie of the Second Line. Under the eight visions of Professor Longhair reincannted the charts of now.”

Can you smell the gumbo?

The first Dr John album I spotted in the shop was a compilation of cutting room floor material released without his consent.  One of at least six unauthorized Dr John albums each named Zu Zu Man (this one on Trip records), it is rumored that other singer’s vocals were substituted for his own on some of the tracks.  The fantastic cover pic implies that these are Gris Gris era tunes, but after a quick sampling you can instantly tell they’re from much later on.  I decided to pass on Zu Zu man and kept looking.

Dr John - Zu Zu Man (Trip Records 1989)

Here’s another of the many Zu Zu man album covers…

Dr. John - Zu Zu Man (Thunderbolt 1989)
Then I found a disc that I had seen there a year earlier, and it was still in the same spot!  I later learned it had been placed on hold three times but was never picked up, so it was my lucky day.

Dr. John, the Night Tripper - Remedies (1970)
Remedies was Dr. John’s third full length album, and is often overlooked.  While side A isn’t particularly impressive, the second side is an obscure treat for fans of the first record.  “Angola Anthem” (a song about the Louisiana State Penitentiary) fills side B at 17:35 long.  If you’ve never heard early Dr. John, don’t listen to “Angola Anthem” until you’ve fully digested Gris Gris and the darker portions of Sun Moon & Herbs.