|STEVE HACKETT MOMENTUM||
01. Cavalcanti (6:13)
02. Sleeping Sea (3:27)
03. Portrait Of A Brazilian Lady (5:15)
04. When The Bell Breaks (3:03)
05. Bed, A Chair And A Guitar (2:44)
06. Concert For Munich (4:55)
07. Last Rites Of Innocence (5:28)
08. Trouble Spirit (2:30)
09. Variation On A Theme By Chopin (4:55)
10. Pierrot (2:53)
11. Momentum (2:38)
12. Bouree (1:34)
13. An Open Window (9:02)
14. The Vigil (6:19)
Total playing time: 60:56
All tracks by Steve Hackett
A descending sequence, one of my favorites on the album, using 'Moorish' harmonies. Slightly dissonant, but necessary to lead you to a very murky place. I imagined predators in their element at the bottom of the sea at night. After I'd heard Debussy's The Sunken Cathedral I decided to end with the sound of a bell intoning.
Portrait Of A Brazilian Lady
Very Brazilian harmonies here, very unhurried. A portrait of Kim's grandmother hangs in the house at Petropolis - sometimes it seems to be sad, but when you look at it from a distance for a while the mouth seems to dart into a smile. A capricious free spirit - Vov:o Nina!
When The Bell Breaks
A tremolo piece similar to many guitar studies where the top line is played with three fingers and the bass notes with the thumb. A flamenco technique that gives the impression of two guitars playing instead of one - again a very 'watery' effect - or the guitar doing an impression of a mandolin.
A Bed, A Chair & A Guitar
When I was growing up Dad thought that I would be happy if all I had in life was a bed, a chair and a guitar. I've got a bit more furniture now, Dad, and a few more guitars - but he'd sussed my teenage priorities! There's a traditional piece I first heard played by Bert Jansch called Nicola which starts off this little trilogy in classical style, then folk and finally jazz.
Concert For Munich
This one's dedicated to Tony Stratton-Smith who originally commissioned it for a film about the Manchester United football team who fought their way back to the top against all expectations. Tony was a man governed by his passions, but was able to inspire many musicians during his lifetime - a true patron of the arts. It would take a book to cover all his activities as author, journalist, record company boss and friend. God bless you, Tony!
Last Rites Of Innocence
There's a logic to baroque music that makes it stick very closely to form, almost like an unbroken dance - that's the main influence here. I tried also to highlight the degree of independent bass lines possible whilst playing the top strings, much the same as with a string trio or quartet.
The full message was 'troubled spirit, there are many victories ahead'. I 'heard' a spirit message which helped me through one of my darkest moments. Musically, it starts in turmoil, then is transformed into pure joy at the personal realisation that we exist only by the grace of something approaching Divine Will. I've never been truly depressed since.
Variation On A Theme By Chopin
Sometimes I try to play the guitar in a pianistic style and it's Chopin I think of when the piano is used at its best - underplayed, gentle and melancholic.
This was the first thing recorded for this album. I imagined the single-teared clown as a doll - a child believing her doll could dance.
This was the last thing written for the record on its original release - Spanish influence all the way.
This fabulous piece shows why Bach is still an unbeatable bass player and the most fluent of all chordsmiths.
An Open Window
This was written just a little too late to be included on Momentum at the time of its first release, but I'm glad it can join the rest now - a latecomer, but well worth the wait. I didn't set out to write such a long piece, I just found that there was a lot to say with a piece that kept demanding a change of pace.
This is very much in a Venetian style and for me conjures the warmth of candlelight (dedicated to Louise Wheeler).
John Hackett: Flute
Produced by Steve Hackett & John Acock
Recorded & mixed by John Acock except tracks 12-14 mixed by Billy Budis
Mastered by Ian Anderson
Design: Lippa Pearce
Artwork: Kim Poor & Lippa Pearce
(P) © 1988 Camino Records