Solo Piano Vol. 1

Last year, due to the gen­eros­i­ty of Alis­tair and Helen Hyatt I was able to spend two hours record­ing my first solo piano album in superb Echo Moun­tain Record­ing Stu­dios. With such lim­it­ed time, I sat down and played for about an hour straight and record­ed almost all of these songs in a sin­gle take. The sec­ond hour I spent with engi­neer Josh Blake doing mix­ing and mas­ter­ing, and was able to come up with 12 tracks out of the ses­sion that I want­ed to release. Since it’s been almost a year, I’ve been think­ing about my next solo album, which I may be able to record at home. I’m also con­sid­er­ing putting out an album where every track has a dif­fer­ent singer, or small com­bo with it, a “Fletch­er & Friends” sort of con­cept.

Take a lis­ten, and if you dig it, order a CD or spend some mon­ey on the digi­tial down­load. Below is the entire album embed­ded here, or you can find my record­ings at music.andrewjfletcher.com

Here are the lin­er notes:

Dear Lis­ten­er,

Thank you for buy­ing my CD. Your sup­port means that I get to con­tin­ue my work as a stride piano play­er and keep the tra­di­tion alive and vital for the next gen­er­a­tion. My approach to this record­ing was to show you on a CD what I do at my numer­ous solo per­for­mances in Asheville and beyond, but with a more relaxed and thought­ful sen­si­bil­i­ty at the piano. I sound the way I do thanks to my men­tor Reese Gray and my teacher Pam McNeil, as well as the excel­lent edu­ca­tion I got on the job with my first band, Fire­crack­er Jazz Band. Come out and see a live show some­time and make sure to intro­duce your self.

Cheers to you!

Dear Moogfest…

This is in response to Moogfest’s dam­age con­trol spin-zone press release pub­lished today. I rec­om­mend you read it before con­tin­u­ing on.


Dear Moogfest,

Thanks for the $14 mil­lion in eco­nom­ic activ­i­ty. But, maybe Asheville would be even more thank­ful if Moog would have planned for the future and cre­at­ed an Asheville-appro­pri­ate event that could have been suc­cess­ful year after year. That could have brought in a lot more than $14 mil­lion over the years. Maybe Moog could have brought in some prof­it to be shared with their new employ­ee own­ers too. That would have been pro-Asheville for sure. Now before I con­tin­ue, remem­ber that this is what Moog pitched as the rai­son de vivre of the fes­ti­val:

Beyond a tra­di­tion­al music fes­ti­val, Moogfest aims to be an engine for dri­ving eco­nom­ic devel­op­ment in West­ern North Car­oli­na … the long-term goal say Moogfest orga­niz­ers, ‘is to inspire big think­ing start-ups, entre­pre­neurs, and inno­va­tors to con­sid­er Asheville as a com­mu­ni­ty to relo­cate their for­ward think­ing busi­ness­es, just as Bob Moog did in 1978’…”

Moog Music Pres­i­dent Mike Adams took the risk on financ­ing this spec­u­la­tive ven­ture because of the poten­tial pay­off for the community’s future – help­ing to attract new busi­ness­es and cre­ate jobs in West­ern North Car­oli­na.”

(News­flash: Durham is evi­dent­ly now in West­ern North Car­oli­na)

Con­tin­ue read­ing →

Ben Lovett’s Black Curtain

Last May I was in part of a music video for Asheville/L.A./Atlanta musi­cian Ben Lovett. I’ve known him for a cou­ple years, and he caught me play­ing my mobile piano rig in town a cou­ple times and asked me if I would play piano in his music video. Play­ing music in a video is sort of like play­ing cha­rades for the blind — there’s not a sin­gle micro­phone at the entire shoot. You sit and lis­ten to the same song, at dif­fer­ent speeds, for about 10 hours in a row and you’re cov­ered in make­up applied like peanut but­ter. It’s mis­er­able and it’s not even musi­cal. What counts though is the results and the peo­ple you get to work with. And Ben Lovett con­sis­tent­ly pro­duces stuff with more pol­ish than almost any­body in Asheville. He’s a great guy to work with and a great guy to work for.

I’m very hap­py with how it turned out. I have a very small part in it. Look for me at the piano, duh. Here’s the video.

The still pho­tog­ra­phy on set was done by Dorn­Broth­ers Pho­tog­ra­phy. You should like them.