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Engineer Kavi Alexander writes in the liner notes about "Misterio", "The impassioned beauty of the music of Strunz & Farah reflects the commingling of elements particular to their respective cultures, rooted in Latin America and the Middle East. Technically, their improvisational style is a synthesis stemming from an eclectic musical language that is international in its scope and embrace. Their compositions are executed with both fingernails and plectra, rendering a uniqueness to their craft. The moods of their music evoke images such as that of the Persian musician Ziryab in the court of the Moors in Spain, the lush countryside of tropical America bathed in a soft rain, the echoes of the Mezquita in the indigo night, the dancing Yaqui shaman lit by firelight at the edge of dawn. This is a journey of the heart through its own night and dreams, seeking light and finding ultimately within itself the sun."
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06:54 |
Preludio
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Instrumental
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06:39 |
Anoranza
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Instrumental
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05:30 |
Arcades
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Instrumental
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06:55 |
Ziyrab
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Instrumental
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04:29 |
Misterio
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Instrumental
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05:15 |
Lluvia Suave
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Instrumental
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06:55 |
Burabampo
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Instrumental
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Jorge Strunz |
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Acoustic Nylon String Guitar, Percussion on "Burabampo" |
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Ardeshir Farah |
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Acoustic Nylon String Guitar, Percussion on "Burabampo" |
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Ciro Hurtado |
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Acoustic Nylon String Guitar on "Preludio", "Anoranza" and "Lluvia Suave" |
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Charlie Bisharat |
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Violin on "Arcades" and "Ziryab", Percussion on "Burabampo" |
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Luis Perez |
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Mesoamerican Percussion and Winds on "Lluvia Suave" and "Burabampo", Chant on "Burabampo" |
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Kathlyn Powell |
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Percussion on "Burabampo", Cover Painting, Lettering, Art Direction |
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Kavichandran Alexander |
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Engineering, Production, Liner Notes |
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Tim De Paravinci |
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Technical Consultation |
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Bill Healander |
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Technical Consultation |
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Chris Donnelly |
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Technical Maintenance |
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John Dent |
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Mastering |
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Marina Lorca |
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Cover Painting Inspiration |
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Michael Sexton |
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Photography |
Recorded at Christ The King Chapel, St. Anthony`s Seminary, Santa Barbara, CA, December 12 and 13, 1988.
This is a pure analog recording done exclusively with custom-built vacuum-tube electronics. The microphone set-up was the classic Blumlein arrangement. No noise reduction, equalization, compression, or limiting of any sort was used in the making of this record.
Mastered at The Exchange (London) on a custom-built system designed by Tim De Paravinci of EAR, UK.
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Vol. 17, No. 2: Feb.-Mar. 2012
