'Chill 22' - Robin Hill from the new album 'Standing on Air'

Today we released a video of 'Chill 22', the first track from the new album 'Standing on Air'

The album itself, featuring all original compositions by Robin and on which he plays all the instruments, will be available in January 2012, but we thought it would be nice for you all to have a sneak preview.

This composition was inspired by Robin's newly acquired Manuel Reyes guitar which was made by the master luthier in 1963. This instrument is capable of producing not only the aggressive rasp of the Andalusian flamenco, but also a beautiful sweetness of tone when played with sensitively and expression.

As he was in a hotel at the time, the title of the track was taken from his room key and initials, 'Chill 22', his first name being Charles.

As time went on the piece evolved.

Chill 22 has a laid back jazz groove yet the incisive triplets and use of rasgueados reflect Robin's love of flamenco music. The cuica drum, rainstick and shakers are Brazilian inspired.

Alongside these latin and flamenco elements you may also discover a quote from Igor Stravinsky's, 'Rite of Spring'.
This is one of Robin's favourite classical pieces and the tongue in cheek reference opening the guitar solo pays tribute to this.

Generally the album as a whole not only reflects Robin's diverse musical tastes but also his constant extensive travelling.

The influences of many countries can be heard in each and every track and he often returns home with an indigenous instrument from some far flung land.

Chill 22 also features a Neapolitan mandolin.
Back in 2008 Robin was in Sorrento when he came across the most beautiful mandolin.
The story about how we came about purchasing it is quite amusing, and restores ones faith in humanity.
Here's 'The Mystery of the Mandolin'.
The use of the mandolin was also an opportunity for Robin to use his enviable plectrum technique acquired after many years of playing electric guitar....

You will have to wait a little longer to hear all 14 original compositions from, 'Standing on Air', but for now, sit back and enjoy 'Chill 22'.

Miles Davis, Stravinsky, Herrmann and The Beatles - A Musical Connection?

One of the nice parts of Robin being home for a few weeks is that we get to spend time together listening to music.
Generally the whole family is involved in this practice and occasionally some strange conversations ensue.

It's so important for everyone to listen to a variety of styles, but more so for musicians.
For centuries musicians from all genres have listened to and learnt from their predecessors. Inevitably they are influenced by the music they hear and especially those pieces which have a powerful effect on them.

The whole conversation started as we listened to the Psycho Suite by Bernard Herrmann.
The original handwritten score for this seminal piece of film music was recently offered for auction but, suprisingly, didn't reach it's minimum price.

Herrmann always will be associated with the many fabulous scores he wrote to complement some of Alfred Hitchcock's most successful films.
One of the most famous being 'Psycho'.
Most people recognise the famous dissonant violin glissandi which are inextricably linked to the famous shower scene, but in fact the entire score is an outstanding piece of music.

This brought the conversation round to George Martin and The Beatles.
Apparently, after seeing Psycho, George Martin was inspired to write the string quartet arrangement for Eleanor Rigby.
When you listen to the original Beatles track rcorded in 1966 you can certainly hear the 'Psycho' influence.

But our musical connections route continued.
Robin felt there was another connection to Igor Stravinsky's 'The Rite of Spring'.
As we listened we both could hear echoes of Herrmann's Psycho Suite.
Could it be that Bernard Herrmann had been inspired by The Rite of Spring?

Then an even more unusual twist.
Robin realised there was a possible connection between the second lyrical theme from the Psycho score and Miles Davis' second contrasting lyrical theme from 'Milestones'....could it be that Herrmann was, wittingly or unwittingly, also influenced by Milestones?

We could certainly hear similarities between this and the second theme of Psycho which provides a perfect release of the tension created by the initial rhythmic and nervous twitching of the strings.
'Milestones' predates Psycho and could well have been part of Herrman's musical landscape.
No music is composed in a vacuum and influences can be very diverse and, sometimes, completely unexpected.