"Innsbruck" is a burner (an up tempo tune). It was composed seven years ago about 45 minutes from Innsbruck, Austria in the majestic mountains of Southern Tyrol. I sat down one afternoon in the summer on my dad's Steinway and wrote this tune. We always knew it was a keeper, but through the years it never made it on any of my albums. The tune is an elusive piece. It was just a little tricky to record and I'm very happy that it finally made it onto disk. "False Evidence" starts out with a Rubato guitar intro and has a nice spacey feeling due to the use of unusual harmonies and the modified calypso feel. The song is giving us false evidence. Someone has turned the facts upside down. Why are they being so vague? What are they trying to hide? "Dark Road" features my saxophone playing. The impromptu intro came to us at the spur of the moment. The minute that melody comes in Joey creates a beautiful swing groove with his brushes. The melody is dark and haunting. Maybe the road is haunted too? Who is behind you? "Three Sides" approaches the improvisational aspect from a different angle. The tune has three different sections, each with it's own distinctive flavor. The whole piece has a more through-composed feel, at least as through-composed as you can get in a jazz setting. Back on guitar, "Flight Home" evokes the anticipation of joy of coming home. Finally after a long journey we're coming home. This is a real pleasant piece to listen to. We have worked on so many different feels with this one. We even had a rock feel, but that sounded way too commercial and would not fit on a jazz album. We do have two versions of this tune on this CD. This is the one with Joey on the drum set. "Many Moons from Now" is a composition originally written when we had a five piece band with a singer. Many moons from know you will ask me... We experimented a lot with the feel of this tune. We went from ¾ to 4/4, from swing to bossa and finally landed at a jazz/reggae feel. We had a lot of fun recording this tune since we have played it in so many different ways. "When will I see you again" has been previously recorded on the CD named "The Stefan Gaspar Project". Back then we had a version with a singer. It's just such a beautiful jazz ballad, we couldn't resist giving it another rendition. Without any chordal instrument to outline the harmonies, the sparseness of the arrangement is captivating. "You don't belong" also has been previously recorded on the CD named "The Stefan Gaspar Project". This nice little Samba played on guitar needed some more life on another recording. "Red Barn" brings us back to the material written specifically for this trio. It starts out with a hypnotizing vamp which Andy uses to paint the first glimpses of the tune. The guitar states the melody after which the vamp kicks back in, this time the guitar stretches out a bit before going back to the harmonies of the tune. In the B section Andy takes over the soloing again ending his solo on the Vamp again. Thus the form of the tune is almost reversed in a sense. I love the old red barns with the varnished paint. It's a true sign of the Midwest. If they only could tell stories of what they have seen and what they have been through. "Village Path" is another saxophone number. This time we embraced a very open solo order. The sax and the bass are constantly trading melodic snippets. It's a winding path. Around every corner is a new find. A composition like this works best when played in a trio setting. The players are really listening on this one. Creativity in it's most spontaneous form. On the next tune we took it even one step further. "No Name" has no written melody, only some suggested chord changes. Every once in a while we have to play something a little more out. This piece has a lot of energy! "Beautiful Mallorie" was written for my little daughter who at the time of the composition was three years old. She is my little princess. I love the melody of this tune. But of course I love my Mallorie much more. "How many Daggers" speaks of all the disappointment one can experience in life. It is a very angular ballad with very dense harmonies which come out even without any chordal instrument. The recording session closes with "With closed Eyes" a beautiful little guitar ballad. Joey does some nice mallet work on this one. Just close your eyes! The last two tracks are bonus tracks from the "original Lakehouse recordings" made in the little cabin in Missouri. "Flight Home" has a completely different feel. Joey is playing the "box" on this one and only does percussion. It certainly brings back memories from the lake. ...and since I love my little daughter so much, her tune gets another rendition as well! The CD finishes with "Beautiful Mallorie" also recorded on the lake. Please enjoy our music. We have poured our heart and soul into this recording and we believe it is our best one yet. Many thanks to Andy and Joey for their continued support, their creativity and their musicianship. Even though all composition were mine, the process of bringing these tunes to life could not have been possible without them.