Riley Lee, Shoalhaven Rise - 55m 31s

Tracks & Durations

1. Looking South	8:04
2. Shoalhaven Rise	6:37
3. Metamorphic	4:05
4. Summer Rain	2:17
5. Flametree	3:49
6. Golden Mean	5:31
7. The Gathering	4:16
8. Illumination	4:34
9. Mangrove Hockett	4:04
10. Zenzerro	5:15
11. Voices & Rituals	6:51

Note: The information about this album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

A rare blend of composers, musicians, musical instruments, and recording circumstances, Riley Lee, Michael Askill and Michael Atherton bring the world a beautiful new music recording, Shoalhaven Rise.

Lee first suggested in 1994 that Askill and Atherton collaborate to produce a recording with him. In 1995, Lee was awarded an Artist in Residency by the Bundanon Trust at its Riversdale property on the Shoalhaven River. Lee subsequently invited the two Michaels to compose and record the project with him on location there.

Spending several days together and in the company of internationally reknown painter Arthur Boyd and surrounded by Boyd's paintings, many of which deal with Australia's isolation from European culture and religion, and the tranquility of the surroundings, a magical musical journey evolved. The music room alone seemed an enchanted heaven, not only full of Boyd's paintings, but also books and ceramics, with windows overlooking the Shoalhaven River and an unspoiled countryside, vibrantly alive.

The musicians were especially fascinated by Boyd's expressionistic crucifixion paintings. On the track Voices and Rituals, Boyd is answering questions concerning those paintings and makes his musical debut playing the boned waterphone.

While some of the titles do allude to Boyd's paintings and ideas, most are fantastical - Zenzerro is Italian for ginger, but contains Zen and Zero (0) ; Golden Mean refers to the ratio 5-8-13, etc., found in nature and architecture; and Flametree is a native Australian tree with blazing flowers. The cover illustration (painted after meeting the musicians and listening to the music) reflects Boyd's translation of the project.

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