Beauty Without Warning

Beauty is everywhere and in everything, but we so often fail to take notice because we are so preoccupied with the details of daily life. Then suddenly beauty will force itself into our awareness, reawakening something within us. We need to carry the wisdom of those awakened moments into every minute of every day, as this will make us more aware of the needs of our fellow man.

These compositions speak of a way of being - a way for human beings to interact. They each begin with an “accord”, a section of music written out note for note that the players agree to perform faithfully. The following improvisational sections are “free” - they have no preordained plan. They must, however, develop the character and spirit of the accord, knowing that in the end another accord must be reached, affirming the beauty of both order and freedom.
Although all people are born with the right of freedom, we gather into social organisms and it becomes necessary that we establish certain frameworks (our accords). In this way we can live well together and coordinate our efforts for the benefit and betterment of all. Beyond this we must be free to do as our inner calling directs us. We can work together most effectively when we all keep in mind the nature of our societal accords and shape our actions based on that awareness. It is to this spirit of cooperation/freedom that I dedicate these compositions.You could describe this music as pan-american. Much of it was inspired by my trips through latin america (and Spain) over the last couple of years. However, being North American and not Latino, it was important to me to blend in the traditional music of the United States.
All compositions and arrangements by Michael Kent Smith ©2005
performances by Michael Kent Smith and Brian Duke

Song Title

Instrumentation

Notes

  
The Missing Chapter Michael: Robinson classical guitar, electric bass
Brian: Hi-hat, snare, floor-tom,		 This was originally written for a theatrical work titled “Smith to Sandburgh” that never came to fruition (at least not yet). The play was based on the work of Carl Sandburgh and was a combination of music, the work of Sandburgh and the work of Chicago poet Marc Smith. This song was to be an instrumental interlude to giving a break to the intensity of the second act. I once saw an encounter between Sandburgh and Frank Lloyd Wright on t.v. and Sandburgh was messing with Wright in a big way (albeit jokingly). I tried to capture that spirit of playfulness tempered with respect in the song.  
Joy and Sorrow Michael: Robinson classical guitar, electric bass, palmas
Brian: Hi-hat, palmas, bongos, shekre		 This piece was written after I returned from a flamenco study trip to southern Spain and it bears the mark of the music I heard there. A few months after writing the piece and giving it its title, I encountered Pablo Casal’s autobiography in the library and saw that he titled it “Joys and Sorrows”. This pleased me greatly because he was a great man and a great musician and, in my opinion, he was one of the greatest men of the 20th century. If you don’t know his life story, I encourage you to read the book.  
Beauty Without Warning Michael: Robinson classical guitar, electric bass
Brian: Woodblocks, ride cymbal, shekre		 Beauty Without Warning is the spiritual centerpiece of the album. A stately guitar melody rides over a firm, steady bass line, then gives way to the bass guitar so it can play a melody of its own. The two join together to play a four bar phrase in unison. The give and take between the parts represents the spirit cooperation - sometimes it’s one, sometimes the other and sometimes both together in unison.  
Folk Song #1

 Michael: Robinson classical guitar, electric bass, McSpadden mountain dulcimer, cymbals I wrote Folk Song #1 a few years ago while listening to a lot of British Isles folk music. It came to me all at once and it took me no more than 15 minutes to write the piece. This particular arrangement was created in Mexico for a series of concerts I did there in the fall of 2004. The Mexican people loved the mountain dulcimer and asked me to work more of it into the show. I knew it would sound great in “Folk Song” but I had to figure out how to switch between guitar and dulcimer during the song. To solve the problem, we put a short bass solo before and after the dulcimer part to allow me time to pull a quick switch. The arrangemet worked so well that it’s now “official”.  
Rosas del Jardí­n Michael: Prudencio Saez classical guitar, electric bass, djembe
Brian: bongos, shekre		 A slightly frenetic but fun piece. The theme is based on an improvisation I did a few years back in a jazz tune and I transcribed it and framed it in a completely different rhythmic feel. The title means “Roses of the Garden” and refers to the wonderful rose bush in the sun garden on the south side of my house.  
July’s Dance Michael: Robinson classical guitar, electric bass, cowbell
Brian: Hi-hat, palmas, bongos, shekre		 This piece has a rhythm that has the influence of both Peru and Brazil. The title doesn’t actually refer to the month of July. July is the name of a woman I know who has a Peruvian father and Brazilian mother and she was very interested in this particular combination of rhythms - for obvious reasons. I think it’s Brian Duke’s part on the Peruvian cajón that really makes the song go.  
El Mundo que Encierra Michael: Robinson classical guitar, electric bass
Brian: Cymbal, djembe, shekre, floor-tom		 The title means “The World that Encloses”. The warm bed of strings at the beginning wraps itself around you as the tune unfolds. Those “strings” at the beginning are created by looping some samples of my right hand knuckles gently vibrating the guitar strings over the sound hole while my left hand moves through a set of harmonies  
Rueben’s Train Michael: McSpadden Mountain Dulcimer, electric bass
Brian: Djembe, dumbec, shekre, egg shaker		 This is a traditional American folk tune twice removed. The original version is in a major key, but I learned it from a David Schnaufer recording in a minor key, then I put my own variations on the tune. Someone who knows the original tune may hardly recognize it, but that’s one of the beauties of folk music - they have undergone all kinds of modifications, but still stood the test of time.  
Mother Nature’s Shadow Michael: Robinson classical guitar, fuzz bass
Brian: Cymbals, floor-tom, shekre		 I wrote this immediately after the tsunami hit in southeast asia. It was a terrible tragedy, but the shadow of mother nature is always present and can and will strike again  
Dick Tracy Michael: Godin electric classical guitar, electric bass
Brian: Djembe, bongos, shekre, cowbell		 Dick Tracy is a tune I wrote almost 10 years ago but never recorded. It’s a blast to play and audiences seem to enjoy it so I decided to finally record it.  
Caballito Nicoyano Michael: Prudencio Saez classical guitar, electric bass Caballito Nicoyano is a tradtional Costa Rican folk song. When I was in Casta Rica last year, I lived with a family that had a 10 year old son who was studying the trumpet. In order to start lessons on an instrument in Costa Rica you must play recorder for 2 year first to learn musical fundamentals. The boy had done his 2 years and had his lesson book which was basically a collection of Costa Rican folk songs. The tunes all had a guitar accompaniment, so he and I spent plenty of time jamming. Several of the pieces were so beautiful that I photocopied them to bring home. This is one of them, but I’ve got a dozen more!  

Pages