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Kevin Kastning & Carl Clements | Watercolor Sky

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United States - Massachusetts

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New Age: Neo-Classical Jazz: Chamber Jazz Moods: Mood: Intellectual
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Watercolor Sky

by Kevin Kastning & Carl Clements

Kevin Kastning and Carl Clements create lyrical and contemplative music of richly textured multi-course guitars and beautiful and floating woodwinds. "Watercolor Sky" is a meditative and peaceful set of seven new compositions; an introspective music.
Genre: New Age: Neo-Classical
Release Date: 

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  Song Share Time Download
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1. A Transparency Through
Kevin Kastning & Carl Clements
10:42 $0.99
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2. The Sharing of Color and Visible
Kevin Kastning & Carl Clements
9:08 $0.99
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3. This Daytime Haunted
Kevin Kastning & Carl Clements
6:59 $0.99
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4. In Spiral Streams
Kevin Kastning & Carl Clements
9:03 $0.99
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5. Complete and Early If Later
Kevin Kastning & Carl Clements
4:57 $0.99
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6. While Still and Moving
Kevin Kastning & Carl Clements
10:08 $0.99
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7. Distant Interior Winds
Kevin Kastning & Carl Clements
10:10 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The following are excerpts from reviews from Kevin and Carl's 2013 Greydisc release "Nowhere, Now Here."
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Kevin Kastning, acoustic guitarist extraordinaire, and Carl Clements, reeds player of repute, team up again on Nowhere, Now Here, their latest foray into sonic landscapes of gently rolling hills, autumnal mists, and big skies. On this song Kevin plays one of his inventions, the acoustic monster that is the 30-string contra-soprano guitar, the instrument featured in the video montage. Accompanied by Carl's soprano saxophone, the duo weaves a tapestry of delicate yet strong sound that sets the scene for the record. Occupying a space where melodious free jazz, acoustic improvisation, chamber music and ambient music meet for a nice civilised cuppa, these songs are all highly intricate affairs, the two players complementing each other's highly developed sense of space and musicality perfectly. All the compositions are credited to the two of them, and it is not indicated anywhere on the CD or in the press release if this is an improvised or scored work. It certainly sounds like it was scored, but conversely, and given the high skill levels of these two musicians, it could easily have been improvised. The other inventions of Kevin's to feature on this set are the 17-string and 16-string Contraguitars, and Carl also plays tenor sax and alto flute, the latter given a first showcase on the sublime Somewhen. The modal melodies and spaces left are superbly highlighted on the feather-light and suitably titled Incomparably Light And Repose, and, like all the other compositions here, will reveal so much more when listened to on a good set of headphones. Greydisc Records are known for their high quality audio, and this CD is no exception. Thankfully, you will not find any of that modern malaise here; the loudness and compression that is prevalent nowadays in all genres of music as a sop to the cloth-eared mp3 generation. Deceptive Corridors Passing features more of Carl's breathy alto flute and some dexterous picking from Kevin, again on the 30-string guitar. There is a lot going on here, background becomes foreground and vice versa as we float off on a blissful reverie. This album is near on capacity length for a CD, but such is the nature of this deeply involving music that one does not really notice the passage of time. I would recommend however that you do not use this as background music as a lot of it will pass overhead un-noticed, a fate that it does not deserve. The spatial exploration continues on Rust In Form, an extremely unhurried oxidisation of song structure, by the sound of it, and quite a challenge. When the pace picks up on the following Overmorrow II, another combo of the 30-string and the alto flute, Carl gets quite animated and some fast contrapuntal fretwork from Kevin presents us with a neat examination of the duo's intuitive interplay. I would like to hear these two in a band format, possibly playing a take on jazz fusion that I've no doubt would be breathtaking. When these songs take on form, Carl is the lead player, as on the following Woven Sunlight And Leaving, wherein his soprano sax calls out through the mists, a beautiful keening but not strained sound, which Kevin follows with nimble-fingered ease, this time on the 17-string Contraguitar. The 30-string really comes into its own on First Hovering; First Vanishing. This instrument has an astonishing range. Kevin Kastning and Carl Clements have fashioned a truly inventive and natural sounding album, but it is as far removed from rock music as can be. It is however, most definitely progressive, and that's what it's all about, as far as I'm concerned. --DPRP Magazine (HOLLAND)
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If you're by now familiar with the work of Kevin Kastning and his mysterious world of neoclassicial chamber jazz and I've penned many a critique in FAME of his stuff, so what the hell's yer excuse, Jeremiah? this CD, highly anticipated by me and his ever growing legion of sonically literate fans, is going to intrigue your obviously sophisticated palate due to its simultaneously idiosyncratic and baroque wonts. Nowhere, Now Here expands the Kastning catalogue modally by re-ushering in a horn player rather than a second guitarist and percussionist, as has previously mostly been the case. As I've said, in many ways Carl Clements is a soul brother to my all-time favorite sax player, Jan Garbarek, because of his almost monastically outré stylings and thinkery blended with a bit of Charles Lloyd (Somewhen) and others. The imagery suggested by Kastning himself, in his many outings, has ever been of a Redon / Ernst / Miro / Klee / Pollock / Greco / Dali / Matta / Tanguy / etc. bent, and Clements injects an almost abruptly more the-rest-of-Oregon-esque element into what heretofore reflected a hell of a lot of Ralph Towner per se. Incomparably Light and Repose in fact sounds damnably like that magnificent band's earliest period (Music of Another Present Era and so on) rather then the Towner / Abercrombie collaborations frequently so meltingly, hauntingly displayed. Though the liner notes do not say one way or the other, Kevin has worked almost exclusively in improvisational modes, so I'm guessing that's the case here as well, even though his entire oeuvre at first appears meticulously charted. Too, the gent's forever working with luthiers to produce new stringed instruments, and Nowhere features, among other things, the 30-string contra-soprano guitar and 17-string Contraguitar, as the composer (Kevin and I agree that all music writing is improvisational from the git-go) continues to wring from the material world that which will perfectly reduplicate what wafts through his incisive mind and imagination. Nowhere, Now Here is another in a continuing set of entablatures of worlds we know, dream of, guess at, and are endlessly surprised by. You can start wherever you please in his lengthy catalogue and be just as at home and hypnotized as with any other of the CDs this one, that one, it doesn't matter. All that's required is that you listen. The rest will take care of itself. --FAME Magazine (USA)
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If you thought Toulouse Englehardt was playing guitar from Mars, Kastning is playing guitar from the next galaxy. Never covering the same recording ground twice, Kastning hooks up again with duet partner, sax/flute player Clements for a set of duo/chamber jazz from the future that should probably have been released on a label with a name like ECM Squared'. Deceptively simple stuff that will somehow turn your head to Silly Putty as it finds the vortex of jazz/new age/world/25th Century, Kastning is the new Charlie Christian--but of the distant future. If you're an acoustic guitar fan and you aren't hip to him yet, take your Smartphone or tablet to the bathroom the next time you think you'll be in there long enough to get some real reading done and run his name through our search box. Get on board, he's a once in a generation talent. --Midwest Record Magazine (USA)
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Kevin Kastning (USA) & Carl Clements (USA) are contemporary music explorers. Kevin Kastning invented the 36-string Double Contraguitar and the 30-string Contra-Soprano guitar; this is the first album on which both instruments appear, and the recording debut of the 36-string Double Contraguitar on this new recording entitled Watercolor Sky. In addition, Carl Clements utilizes not only tenor and soprano saxophones, but also alto flute and the Bansuri flute. New England's Yankee Magazine calls Kevin ... a pioneer in modern acoustic guitar composition. Of Carl, AcousticMusic.com said: catch the remarkable tone Clements invokes...Clements is... conversationally inclined, explorative, emotionally invested... Clements.. wastes no time mesmerizing the listener as the guitar paints backdrops for his pensees and visions. This album was recorded using the high recording standards of Greydisc Records; a recording of depth and detailed resolution. Guitar Player Magazine called the Kastning & Clements 2012 release Dreaming As I Knew sublimely beautiful. DPRP Magazine of Holland said of Dreaming As I Knew: Together, Kevin and Carl create gentle excursions of interwoven beauty that as indicated before, while having a deeply dream-like quality in keeping with the album s title, are also very intricate in construction. Watercolor Sky invokes new acoustic landscapes of imagination and deep introspection using a pallet of guitar-family instruments invented by Kevin, wonderfully paired with Carl s classic woodwind instruments to evoke a stunning beauty.

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