rudy perrone: Press

Since Windham Hill emerged in the mid-70's there have been an unprecedented number of guitar recordings released. It's consequently become nearly impossible to create something in that genre which is truly original and even unique. Rudy Perrone manages to accomplish this with apparent ease in "The Language of Spirits". Using a raft of different guitars and guitar-like stringed instruments, Rudy offers an astounding range of instrument textures and musical styles while somehow never losing the singular voice that is so distinctively his. This is an achievement of performance skill and compositional inventiveness to be sure, but these are not mere academic experiments; this is music of the heart and it connects on a profound level. That players like Michael Manring and Glen Velez are a part of this creation only adds to the remarkable impact offerred in "The Language of Spirits".

The Language of Spirits was produced by New Age guitar pioneer Will Ackerman, and you can feel the Windham Hill effect over the course of this CD. Since his emergence as a guitar pioneer back in the late 70's, Perrone has appeared on a number of film soundtracks, children's music, progressive rock, folk and classical/new age releases. The Language of Spirits is really just that - a summoning up of acoustic guitar imagery in the spirit of Ackerman's Windham Hill sound as well as echoing the early music of Ralph Towner in the Paul Winter Consort. Several artists assist Perrone on his third acoustic guitar CD including Tim Story, Michael Manring, Glen Velez and Ackerman too on Parlor Guitar. The Language of Spirits is highly atmospheric, meditative stuff that breezes by as the hours flash by.

Rudy Perrone
The Language of Spirits



I’d like to introduce you to a wonderful talent, Rudy Perrone. Rudy is not only a special talent, but he is a wonderful person. I connected with him in the wonderful Spanish restaurant Costa de Espana in Port Jefferson, NY. I stopped in for some tapas & sangria after a Saturday evening concert performance last month and to my delight caught Rudy playing his second set featuring all original material. We immediately hit it off, exchanged cards and set up this interview right away. Rudy has a bunch of great news upcoming, and I’m proud to break it to the readers of 20th Century guitar. His 2003 release “Guitar in the Kitchen” went to #59 on the world ambient charts. The guitar work, compositions and success of this recording caught the attention of Iconic musician/producer Will Ackerman, and since their first meeting at a Windham Hill Winter Solstice concert at IMAC in Huntington, NY., has lead to the May 1st 2007 Square Box label release titled “The Language of Spirits” . Rudy created a truly magnificent record, featuring all original material with Will Ackerman producing and collaborations including such artists as Will Ackerman, Michael Manring, Glen Velez, Eugene Friesen, Tim Story , and Jill Haley. Recorded at Ackerman’s state of the art studio in Vermont and mastered at Gateway Mastering in Maine by Bob Ludwig , the recording quality is as good as it gets.

In addition, Rudy is featured on the November 2006 release titled “Woodsongs”. This CD collection is a sampler and is part of New Land Music, Ackerman’s most recent label venture with Adam Werner and Kelvyn Evans, and is distributed by Backroads Music , New Land’s recently acquired distribution network. Continuing in the Windham Hill tradition of featuring a variety of guitarists, it includes Will Ackerman, Alex de Grassi, and Rudy Perrone ( see website for complete list of guitarists). Backroads Music will distribute and promote a variety of acoustic guitar labels, one of them being Square Box records. Touring dates booked already include Five Towns College, April 18th and Theatre Three in Port Jefferson, May 6th. Other tour dates will be planned for the fall of this year. Rudy is looking forward to about 30 – 40 dates to promote the “Language of Spirits ” CD and the “Woodsongs” acoustic guitar collection.












Rudy and I sat down at his home in Eastern Long Island and he gave me a preview of his Language of Spirits CD. I must say it is a wonderful project. Rudy demonstrates a beautiful compositional style that is upheld with a wonderful technique, combining to make a CD that takes the listener on a seamless journey. Rudy stands with great courage outside of definition; Eclectic in style, his playing is influenced by jazz harmony, motivated by classical sound and technique and retains the presence of all great rock players. I hope you get a chance to see and hear him in the future.


GS. It is a pleasure to meet with you again Rudy. So how did playing the guitar start for you?

R.P. I started playing guitar at 10 years of age, and had become interested initially, from watching the Beatles on the Ed Sullivan show a year or so before. At that time my family was living in upstate N.Y., and we shared a 200 acre farm with some friends. Their daughters, 3 teenagers, were huge Beatle fans, so I received a major dose of their music daily. After my family moved back to Long Island I began the daily search of discovering how to play the guitar. It was a forever thing, and an exiting time for a young kid to be searching. Like many young players at the time, I listened to much of the music coming over from Britain and some R&B, and had put a band together and started playing out by the time I was 12. Fortunately for me, I had an older brother who was a drummer in a rock band by then, and I had the opportunity to hang out with musicians 4 or 5 years older than I was. -Also, he just happened to be the most talented drummer around, so I got to meet the best players. Thanks Joe! You were my inspiration! He turned me on to some of the great rock guitar music from that period, Cream, Hendrix, Led Zepplin etc…each laced with some of the finest soloists in rock history. I had spent a few years learning chordal and rhythm playing previously, but starting focusing more on what we called “Lead Guitar”, the next step up ! I spent most of my time learning every solo I liked, note by note. This I realized later on, had been my ear training, which over time enabled me to pick anything from a recording quite accurately. At the time, music books didn’t include scored solos, and some of the later transcriptions I’d seen (after learning how to read music) weren’t very accurate. So learning from the recordings was the only way, and quite immediate, to learn the latest guitar playing techniques. I then spent years just listening, transcribing and analyzing all aspects of guitar playing on records, keeping an eye out for new and exciting ideas, performances and compositions ….all flowing through the hands of an inspiring generation of players. It was a very exciting time for guitar music within popular culture; there we so many great records coming out ….







GS. Who were your principle instructors?

R.P. I did have a few influential teachers along the way. The first one that comes to mind is my high school music professor, Skip Persia. He was a Jazz pianist, and a dedicated teacher. I studied music theory with Skip five days a week for two years, in addition to a daily music appreciation class. We started with Gregorian chant, we’d analyze it, and then he’d assign us to write something in that style. He did this with every musical style we covered, Baroque, Classical, Modern, etc…
In terms of the Baroque, we spent a full year on Bach alone! Four part analysis and a lot of counterpoint study. Some other composers whose works were inspiring and influential were , Debussy, Stravinsky, and Milton Babbitt (12 tone approach) . Skip was a great motivator , he opened our ears to all styles, and taught us the rules accordingly. He then encouraged us to break those same rules! After graduating I went to Berklee College of music which I had become familiar with from playing at the Berklee Jazz Festivals the two years prior. After Berklee I worked closely in the jazz style with guitarist, David Belser. David studied with Ted Dunbar who was head of the Guitar Dept. at Rutgers University, and a close friend and colleague of Wes Montgomery. We focused on chord/scale relationships, tonal harmonic concepts, fretboard analysis for upper structure voicings and harmony/ tension as colors in music. We worked through a lot of standard jazz tunes in a bebop style , and also spent some time with a George Russel harmonic approach called the Lydian Chromatic concept. This is all about creating tensions and color. He was a great teacher and friend. I consider David my only guitar teacher aside from all the recording artists and books I’ve learned from.

GS. Your upcoming CD is fantastic. Not only is the playing and composition great, but the guitar sound is so pure and natural. Can you tell us a bit about the project, where it was recorded, etc….?

R.P. Thanks Gerry. I say that for everyone involved. I was very fortunate to have the opportunity to work with Will Ackerman and record the new CD at his studio in Vermont, Imaginary Road. The studio’s chief engineer Corin Nelsen, has worked with Will for 20 years and both received Grammy’s for Will’s “ Returning” CD, – Best New Age Recording in 2004. “The Language of Spirits” was recorded in that exact environment, Studio A, same mics and production team, which also included Taylor Barefoot (engineer) during some basic tracks. We used a Protools setup, and recorded and mixed the songs at Imaginary Road. We mastered the record with our beloved Bob Ludwig at Gateway, and created a record that was very connected and synergistic of everyone involved. We all share both professional and personal friendships.








Will has a great collection of old Neuman microphones that he has been using for years which were reworked by Klaus Heine at German Masterworks in Oregon.The set up of eight superb mics, coupled with the acoustic room design and seasoned, talented engineers and producer helped produce a simple, pure sound. The rest was all about the composition,
the soul of the piece, and the heart inside the dynamics and the tempo. Before any recording was done, Will and I discussed at quite some length, the possibility of co-creating a synergy between the two of us for recording these songs. It is a rare find and I’m very happy to say, I believe we succeeded. I think Will would agree…

GS. What is the balance in your compositions between scored work & improvisation?

R.P. Umm…I usually score material after it is written. Parts of the songs develop / appear in the moments they appear….I don’t labor too much over things at that initial stage ,and let those free form ideas take whichever form they may.. When I know I’m heading into the studio, then I’ll begin to score parts, dynamics, and articulations if I need to for other musicians / orchestral ideas. But first there is the process of playing / arranging the composition on my instrument, and finding what feels like home for the song. So right there, is an improvisational/composing crossing. This takes however long it may. When it seems to make sense, it has its form. I know your experience as a classical player is much the same; you have to live with the piece. I think the only difference may be that you start with the notes and staff in front of you, and I start with an invisible musical motif. I don’t sight read all that well, as I’m sure you can from constantly reading scored works, I read through transcribed guitar pieces slowly and memorize them. Thankfully, from my classical and jazz studies, I’m comfortable scoring out anything I have to in order to communicate to orchestral players. I do think that scoring the composition is of great importance and usefulness; it preserves the work for future generations. I loved sitting with the old Bach pieces and reading them off the page…You transcend time that way…Classical music in the general sense was written….no tape recorders , no downloads ! Guitar music was passed down by either the written page or the age old lineage concept…person to person.
In regard to “The Language of Spirits” project, I did bring in some scored melody ideas and chordal arrangements in a lead sheet style. I think one of the characteristics that helped to unify this project was the “compositional purity” of it. This is a quality that shines through via Will’s production influence and an innate ability he has, of knowing how to get to and capture, the simplest form of things. Miles was once quoted as saying “Inside a melody is always another melody.” In terms of production, the gist of our work together was to identify / clarify the melodies and a spatial place within each song, and co-orchestrate everyone’s musical contributions, notably both the melodic and dynamic, into a meaningful unified collaboration of colors and textures, with the guitar in the center of it all.




The both of us along with the other musicians would work through the arrangements and discuss the “thematic concept” of each selection. Inspiring to work with, his talent to immediately understand the compositional concept and communicate it to the rest of the team is part of the magic of this record. Often it isn’t mentioned, but the work of our engineer Corin Nelsen, was imprinted on every note and sound, with a skill that allowed the process to unfold creatively from inception to finalization, effortlessly. Collectively, I think we were able to create an instrumental dialogue by breathing notes, dynamics, and tempo together. Hence the CD’s title, The Language of Spirits. It refers to the receiving of the music from that field of potential and creativity called Spirit, and to the dance within and around it that we all share in that experience. Every musician was extraordinarily receptive and “There”…in the moment…Somewhere between the scored work and improvisation…

GS. What musicians joined you on the project?

R.P. Will (Ackerman) joined me on “One Day” adding this beautiful Parlor guitar color, Michael Manring - Fretless Bass on “The Prophet, Audience, One Day, Crossing Paths, and May Apple”, his ability as a composer / bassist are stunning. His sensitivity and awareness of line, dynamic and harmony are purely inspirational. Eugene Friesen - Cello on “Audience”, I’d call him the Van Gogh of the cello…No one sounds like him, and his playing has a built in undertow…Massive and free… Glen Velez - Frame Drums, Assorted Percussion and Overtone Voice on “Audience, One Day, and May Apple”, Glen’s sense of time and his mastery of frame drums and countless percussion instruments brings a heightened awareness to the luring qualities of time and space, while texturally enhancing the compositions. Every instrument he picks up , he just makes them sound so clear and alive…it makes me laugh! Jill Haley – English Horn on “One Day” and “ Crossing Paths”, what a beautiful sound. Her playing transcends time for me. Somewhere between the 15th and 21st centuries is this beautiful soaring voice of Jill’s English Horn, such a lovely addition to the songs…and Tim Story- Piano, Keyboards and Orchestration for strings and woodwinds on “Arrows”, which included orchestral instrumentalists Kimberly Bryden- Oboe, and Martha Reikow- Cello. Tim’s work has always moved me deeply. His work on “Arrows” is extraordinary. With every listen, the orchestration deepens the call from a vulnerable place in heart and spirit…from guitar to piano, cello to oboe …in and out of silence.















GS. In addition to a beautiful technique, you have a great sound. Naturally this begs the question, what instrument(s) do you play?

R.P. On this recording I used a 1998 Del Pilar Cedar/Cyprus Flamenco, A Martin 000-28 Golden Era, and a 1986 Seagull tuned in a high strung style. I also used a Froggy Bottom Baritone (but tuned up to pitch) and a 3 string Mc Nally Strumstick.

GS. What strings you prefer?

R.P. I’ve used D’Addario Pro-Art’e Extra Hard Tension, and I’m checking out the Aranjuez 700’s as well. I also like the Martin SP’s for steel string.

GS. When necessary, do you use amplification?

R.P. I start with an Avalon 737 mic preamp, into a T.C. electronics M2000 effects unit , ( I like their reverb ), the T.C. splits the signal to a stereo BGW 150 power amp which runs to two NS 20 studio monitor speakers ( I had learned of the Yamaha N.S.10’s , a studio standard 2 way speaker, from working with Bob Clearmountain in the mid 80’s ). The NS 20 is a 3 way passive speaker and sounds great for full range acoustic / electric guitars in small venues.

GS. Do you have a preference to any particular microphone(s)?

R.P. I’ve found the most success with old Neumans, as well as the AKG 414’s, and combinations of both. They have captured the voice of the acoustic guitar best throughout the years, with the help of our trusty engineers…..

GS. OK. .here’s my variation on a theme made popular by James Lipton of “the Actor’s studio”. Let’s try a bit of Guitar legend word association. I’ll name a guitarist; give me your immediate response.

Jimmy Page… In terms of acoustic, this is honestly who I initially learned from. Check out his 12 string voicings from the 3rd album…Amazing! Page was a major influence and inspiration from early on, both his electric and acoustic work.











Jeff Beck…The Scariest guitar sound ever! Love his work on Roger Waters’ “Amused to Death”

Joe Pass…The definitive mutli-line Jazz player

Julian Bream…Fantastic!

Django Reinhardt…Always picked out the right notes.

Sabicas…Probably the best guitar performance I’ve ever seen. I saw him in March1976 at Stonybrook University. I’ll never forget that performance, he put a harmonic melody above two lines he was holding, it blew my mind. This was the one time I came home and pondered “Maybe I should find something else to do outside of guitar” The upside of the story is I wrote a song titled “The last day of March” on the Guitar in the Kitchen CD. This was in homage to him

John Williams… A great tone and power sound, I listened to him early on, he was one of the guitarists on a classical guitar record set I had which also included Segovia, Yepes , Montoya, Almeida, Diaz and De Plata.

Steve Howe… My personal all time favorite. His ability to play multiple styles and guitars so well, and to transcend into a world of his own, was nothing short of inspiring. His melodic work with Yes is landmark stuff, and the Tales’ tour, which also included the entire Close to the Edge LP, was probably the most memorable performance I’d seen by an eclectic rock player. In a word…. stunning.

Christopher Parkening… Truly a beautiful player. He makes everything look and sound effortless

Andres Segovia… Extraordinary! Saw him in the 80’s and even in an advanced age he had such a sound and rapport with the audience. Segovia is a true inspiration. The gentleman father of the classical guitar. I have learned the most from Segovia in my fingerstyle playing, from listening to his recordings.I bow to a true master…












GS. Rudy, Thanks for your time and sharing your talent with us. Hope to see you again soon.
R.P. Thanks so much Gerry, had a great afternoon. My best to Ray Matuza, Rob Silverstein and all at 20th Century Guitar. Have a safe tour in France with Michelle and the Serenade concert series….
For more on Rudy, check out his website @ www.rudyperrone.com

“The Prophet”- The Prophet is a simple melody/song composed over the days following the September 11th attack on the World Trade Center in New York, 2001. Looking to find some sanity in the middle of such insanity and surreal activity, I was wondering where to go with what I was seeing. Inside the once peaceful and quieting place of meditation, were unreal, yet, very real intrusions of a destructive nature. Watching the towers fall over and over again, I remember questioning whether our global race of human beings might ever bring down its self-inflicting borders, replacing its divisive aspects in order to move in a direction of unification. I sensed the discipline and simple connection inherent in all bringers of peace; simplicity, selflessness, purity and love. One of two pieces written at that time, The Prophet was in complete contrast to the darker, haunting “Lament.” Michael’s (Michael Manring) bass work is beautifully placed in union with the guitar, enhancing its narrative song. ………...The simple development throughout the piece is brought about by doubling the lead voice in octaves, when it appears for the second time in the B phrase, and taking the melody up an octave and voicing the underlying chords in an open voicing. Very subtle changes that offer a shift in color and perspective…..

" GUITAR IN THE KITCHEN ' # 59 , JANUARY 2003'

Finally, a guitar album that is pure. Straightforward and no nonsense performances from this excellent guitarist....Dan Bayer, WKAR / Lansing MI

LOVE THIS !! Great for late rainy winter nights.... Valerie Lawe / Atlantic Crossing

Greattt music. unlike the usual Gi Dussault, The Upper Room with Joe Kelly WVOF , Fairfield CT

***** ZEN-LIKE TOUCHSTONE Peaceful,passionate and purely sublime.This CD transends all genre and will hold you immediately captivated by its spell.It is beautiful in its understated simplicity,yet layered with such texture that will provoke the spirit and imagination and leave any listener in a better place. It's guaranteed pleasure for the senses. Don't just get one copy......grab one for a valued friend as well.