Adventure Music announces the release of Vignette, a duo recording by harpist Maeve Gilchrist and bassist/ producer Viktor Krauss.
This first-time collaboration weaves a spell in music that is intimate and cinematic. Gilchrist's command of her unusual instrument is as striking on Vignette as on her highly acclaimed previous two Adventure Music albums, 20 Chandler St. (2014) and Song of Delight (2011). She moves seamlessly from roots in the British Isles into an exploratory, modern approach. Krauss, as bassist, multi-instrumentalist, and studio wizard, reveals new depths in this work.
Originally from Edinburgh, Scotland, Maeve Gilchrist is an in-demand composer and innovator of her native lever harp. A Berklee College of Music graduate and now part of it’s visiting faculty she is the first-ever instructor of lever harp at the school. Based in Brooklyn, she has toured with the likes of Tony Trischka, Ambrose Akinmusire and Darol Anger. Viktor Krauss is a Nashville legend, having played and with an array of well-known musicians such as Lyle Lovett, Bill Frisell, Buddy Miller, and Jerry Douglas. The production is intoxicating on Vignette. Krauss not only plays acoustic and electric bass, he weaves in subtle touches of cello, guitar, percussion, and electronics, while Gilchrist plays bits of piano and vintage synthesizer throughout. The co-production is a feast for the ears, where tube amps, subtle space echo, and an emphasis on round, warm tones create serene, tactile beauty.
The title track finds Krauss adding a heartbreaking bowed melody to the pensive harp, while Farika has a more upbeat groove reminiscent of W. African kora music. Philo is full of enigmatic, modern harmony and ghostly harmonics. Says Gilchrist, "Viktor and I co-wrote much of the music, sending sound snippets back and forth. We had a week of explorations before going into the studio. That was an amazing time of hearing things coalesce, playing with slight electronic augmentations of the natural acoustic sounds. I wanted us to make a record that was breath filled, sonically satisfying- a textural exploration. It was a dream collaboration." Krauss adds, "it's unusual for someone to play everything you want to hear. Our process has been completely effortless."
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