Lazy Smoke - Corridor of Faces - COMPACT DISCS [CD]

Album Tracks 1. Give Me the Good Earth 2. Launching Place 3. I'll Be Gone 4. Earth Hymn 5. Sky High 6. Be Not Too Hard 7. Earth Hymn Part 2 8. Be No Too Hard (Single Edit) 9. I'll Be Gone (Single Edit) 10. Earth Hymn Part 2A (Single Edit)

On a new double-album of solo organ works by Leo Sowerby (1895-1968) and another prominent Chicago composer, Frank Ferko (b. 1950), versatile keyboard virtuoso David Schrader plays four of Sowerby's Inchgreatest hitsInch for organ, including the monumental Symphony in G major, plus the rarely heard InchMarchInch from Suite for Organ, on the 68-rank Wicks Opus 2918 at St. Ita's Catholic Church, Chicago. The world-premiere recording of Sowerby's late Two Sketches is available on the album's digital editions. Schrader plays a diverse program of eight Ferko compositions, all world-premiere recordings, including several based on music by 12th-century composer and Christian mystic Hildegard von Bingen. Schrader performs on three noteworthy manual-action organs at the House of Hope Presbyterian Church, St. Paul, Minnesota, including the instrument for which one of the works was specially written. Album Tracks 1. Music for Elizabeth Chapel 2. Variations on InchVeni Creator SpiritusInch 3. Angels - Chaconne for Organ 4. Symphonie Brève 5. Missa O Ecclesia Communion 6. Variations on a Hungarian Folk Tune 7. Tired Old Nun 8. Mass for Dedication 9. Comes Autumn Time H 124A 10. Pageant H 205 11. Toccata H 259 12. From Suite for Organ H22 IV. March 13. Symphony in G Major H 206

From 2014 to 2017, Vundabar's Brandon Hagen cared for a loved one that had fallen into a debilitating state of mental and physical decline. For four years his sickness and the eventual loss that followed became the focal point of Hagen's life as well as his family's. It was the bell jar under which they lived. Hagen was fractured into two selves; one, largely insular, racked by grief and loss and the other putting it on, touring relentlessly and hoping to be as affable as possible lest he ruin the opportunities at hand. These were the fencings and borders he made for himself and for a time he let them stand. He presented a shell of charisma and withdrew into isolation and despair, convinced he was doing right by the old dogma of stoicism. He didn't tell a soul out of shame and embarrassment; whose he didn't know. Unsurprisingly these two poles couldn't stand for long. The tension bore down on Hagen's skull until it felt something might break. It reared it's ugly head from time to time. He became withdrawn, irritable and inactive and suffered more than one nervous break. It came to a point where he had to deal with it or it was going to deal with him. In reflection Hagen realized the point that had led his loved one to a collapse and subsequent dissolution held parallels to his own. As a child, bereft of stability, he created a larger than life persona to live within. He buried his insecurities and traumas deep and kept them there for most of his adult life, until, unable to maintain the house on stilts he'd built for himself, he collapsed completely. And here Hagen was in the face of this loss, about to repeat the cycle. Hagen wondered was this stoicism, this shame, this impasse even his own or had it been pressed upon him. From the earliest memories of boyhood he could recall one of the most integral attributes of male-ness being an ability to suppress emotion. Conce