About the Albums
Talking to Myself
When I look inwards, this picture of me is who I see. If I had to guess, I would say most of us still see the younger self, in ourselves. The same is true of who I am as a musician. I have gained decades of experience in the field of music. I have also had the good fortune of having shared the stage, and learned, from many musical legends. However, to this day, I am still that kid. It’s like that song (which according to my mom, was playing in the room as I was being born) “Those Were The Days”. A line from the lyrics encapsulates the feeling – “oh my friend we’re older but no wiser, for in our hearts the dreams are still the same”.
My grandfather played records all day. Through the eyes of a boy, his library was like what I imagined the Library of Alexandria must have been like. Books everywhere, but also lots of records, all accompanied by the smell of booze, olives, leather and moisture. His tastes in music spanned the globe. By the time I was five, I had heard the world. One sunny day (when is it not sunny in Puerto Rico) when I was four, he put on a record that changed my life – West meets East by Yehudi Menuhin and Ravi Shankar. When I heard what was coming out of the record player (well…more like a piece of furniture with huge speakers at either side), I said – “I have to play THAT”. From that moment, I knew I was a musician and nothing else would do. Truth be told, I meant I wanted to play the sitar, however, I’m not sure if there was even one single sitar in Puerto Rico at the time – so a violin had to do.
This album is going back to that library for me. I am fully trained as a classical musician, and that has been my life – however, it’s time to get back to those sounds. From Blues to Ragas and everything in between. There were times when we even spent entire afternoons listening to records of Churchill speaking – nothing was off the table. There were at least three or four different languages heard every day coming from the record player in that room. Obviously, my training and life experience influences what my younger version might have written, but all my training and experience have not changed how I feel.
In composing these pieces, I had a few rules. One - they had to be short. More or less between two and four minutes (yes, I know there is a track that is over six minutes – but you try and reduce the journey of a twenty minute raga!!) Two - they had to be immediately understood by the listener. Three - they had to be somewhat pop song formulaic. Four - they had to be written down on staff paper for all to play – no improvisation (although I do take some small liberties from time to time). Five - they had to make you want to play them.
There are many people in my life, who can in good authority, say they raised me. However, it was the one person that would have never said that, that made one of the biggest, unknown impacts in my life. He taught me very little from the perspective of school type learning. What he did do, was to allow me access into his life, without altering who he was, just because I was watching. Here’s to osmosis. Enjoy!!
PS – I find it amusing, that this picture of me, was taken in the same room that was the library. Eventually the library became my bedroom – but that is a completely different, and bourbon recommended, conversation.
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Baylamoose
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This album is an exploration into what classical music means now and what possibilities lie ahead for not only the viola but the genre.
I composed every track you will hear. I performed every instrument (*except the piccolo, as performed by my wife, Amy Taylor). I engineered and mastered the album myself.
As a classical musician for over 50 years, I am always searching for innovative ways to approach the viola and classical music. From a Viola Etude inspired by the likes of Eddie Van Halen, to a Viola Quintet arranged for all level of player, I aimed to push the boundaries and redefine the category of classical music.
1. Tucutoco is loosely based on two characters from the poem La Danza Negra by Puerto Rican poet Luis Palés Matos. It’s a love story between the violin and the cello. They intertwine like two dancers - sometimes together and sometimes in contrast to one another. The percussion provides the fuel and madness of the dance.
2. Maia is dedicated to the daughter of a good friend from my school days in Puerto Rico. Maia was newly learning to play the violin and seeing her excitement and enthusiasm for the instrument inspired this Puerto Rican Danza.
3. The Immigrant is a Viola Quintet commissioned by the American Viola Society for the AVS festival. Each viola part is written for varying levels of experience, from beginner to professional. “The Immigrant” is meant to be music personified, recalling its own voyage through time.
4. 1791 Mozart and Rossini were early inspirations when I started learning the violin at age 5. However, I have always loved listening to different styles of music from Ravi Shankar to Duran Duran. “1791” is a tribute to a popular album from the 80’s called, Hooked on Classics, that utilized classical instruments, in addition to percussion.
5. Blue Eddie is a viola etude in the style of Eddie Van Halen. Van Halen was an innovator and a hugely talented artist. I wanted to compose something that would challenge my own use of the viola, the sounds it can produce and how it does so. Just as Van Halen utilized extended techniques for the guitar, “Blue Eddie” pushes the technical limits of the viola.
6. Yom HaShoah (Day of Remembrance of the Holocaust). This piece is written for string quintet and is dedicated to those lost in the Holocaust.
7. But Peter is scored for string quintet, celesta and percussion and is a celebration of childhood and the freedom of imagination. ... but Peter how do you get to Neverland?
8. Devil’s Shake started out as an updated version of the Devil’s Trill by Tartini composed in the mid 1700’s. The viola plays the principal role and, as such, a few liberties were added to enhance the ‘trill’. By adding the bow to match the speed of the left hand trill, it gives the feeling of being shaken, not stirred.
9. Whistle a Tune Every album I create has a piece written for my wife to play. The piccolo much like the viola is underrepresented in the repertoire. I wanted something upbeat and fun, and the sound of the piccolo reminded me of a whistler out for a stroll on a sunny day.