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Michael Guy | Crossing Unknown Waters

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New Age: Contemporary Instrumental Classical: Piano solo Moods: Type: Improvisational
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Crossing Unknown Waters

by Michael Guy

Full piano solo with expressive combination of classical harmony & post-70's jazz that covers the keyboard in full orchestral style (from a recital of July 2010 in Florida)
Genre: New Age: Contemporary Instrumental
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  Song Share Time Download
1. Crossing Unknown Waters
6:49 $1.25
Downloads are available as MP3-320 files.


Album Notes
Crossing Unknown Waters – “The good road & the road of difficulties…”
(Solo piano music from a ‘Robison Crusoe’ of American music!)

Well, err - yes - In the last 7 years since leaving Daytona Beach and selling my real estate, and what with my favorite studio clothes increasingly ripped and torn, I do feel as though I am alone shipwrecked on this tropical island -- IF only it were a real tropical island and not a bug, invested, rain-forest in the middle most portion of Central Florida! Eeeks, the stories are so fascinating and humorous (if would be comedy IF it were not so real) that I've considered writing a follow up novel to this experience called: "Tales from Lake Stink-hole" ! The stories are a bit funnier told rather than written and what with the fact that my 2006 novel, "The LAST Renaissance Man" has only sold to a few friends and some strange unknown purchases (I'm also think )pirates! but if you've read about my novel that would fit right in as it is a combo musical/nautical adventure tale)

Anyway, that's were my latest piano/composing studio is located. Along the way since buying the house here, I have made some very private but incredibly inspired composer's recordings of my piano work while working on other things here and this take is one of them from July 2010. After recording and remixing my 2010 jazz keyboard CD: Unrequited in summer 2010 (recorded in June 2009) I was sort of at the end of that 'inspirational run' - and some more very spontaneous sessions emerged almost as an after-though to CD: Unrequited (STILL available on Amazon only and singles from it at my CDbaby store) - BUT, since them the playing as become almost incidental and I haven't had a dime worth of royalties to really make an investment to a new recording. Still by February 2011 or was it 2012, enough very decent tracks consisting of live improvisation variations on themes from my 2 previous CDs have at least been recorded - Sadly, just as many and more have gone off to the astral realms of the invisible for no ears to every hear but the angels!

BEFORE I give the background and some more interesting bio history of my compositional efforts, here is the Schedule for my CDbaby singles page eCD release: Crossing Unknown Waters (eventually 12 downloads of my digital/piano digital sound-canvas improvs from recent sessions after July 2010 (mostly done in JUNE) – Why only on CDbaby and why no physical CD? Well, I don’t have the funds and frankly the world has enough plastic garbage that is not being recycled and in the Ocean’s to last us to the next civilization cycle (which may be a highly evolved civilization of cockroaches!) DOWNLOAD my single jazz/classical TRACKS at about .99 – THE CLEAN without adding more plastic crap to the world!
His personal website: http://www.miguy7.webs.com/
Facebook: https://www.facebook.com/iGuy84
Download mp3s of his music at:

August 2014: CDbaby upcoming singles submission/blog work for
CROSSING UNKNOWN WATERS (eCD 2014) –TitleTRACKrelease /August 15, (Time= 6:49)
Single#2 scheduled release by Aug. 22nd> “Hymn to ‘The Farther Shore’ (approx. time 11:39) – piano solo recorded JUNE 2012 with digital strings and choirs
Single#3 scheduled release by Sept. 2014> “VARIATIONS on Unrequited’ (approx. time 8:44) piano solo recorded JUNE 2012 doubling sound canvas module programs & piano by Kurzweil

Back around that definitive year of 1983 when my previous 10 years of composing and practicing piano suddenly leaped into an individual expression that was both uniquely my own and at the same time truly in tune with the Progressive newness of then jazz/new age music (along with at least the initial inspiration of so called ‘classical minimalism’ which soon was abused!) – I gladly accepted my material poverty in the spirit of many young twenty-something musicians as the price to pay for such upbeat-exciting musical experiments. This was long before the digital portable revolution and computers and the idea that just because it was suave and polished recorded music that it made it “good” has always been scorned by inventive composer/pianists. Unlike their guitar carrying comrades who transport their equipment with ease, the pianist of those times had to play whatever junk was around in his sessions or at his gigs. In just another 10 years that would seem incredible to any youngster what with the abundance of coming “plastic keyboards and synths” -- at that time I only played real pianos! Unfortunately, I jokingly referred to myself as a “broken piano specialist”! I sometimes even wrote material to purposely avoid the broken keys and take advantage of whatever pings and noises each keyboard I was forced to compose and practice on was capable of producing--Hey, in Vermont in the Spring of ’83 I once wrote a 5-page sonata called my ‘Back-country Sonata” which was in Db because there were so many white keys that you would press and just wouldn’t sound or would make a horrible anemic whine instead of a tone, I recorded that on my Realistic Superscope cassette recorder and somewhere I still have it waiting to be digitalized! Imagine such a spontaneous, crazy history, all in true Lo-Fi just waiting for me to find the time to burn to CD and rip to mp3! Ives, would have all taken it in stride as normal for his upbringing and time. And thankfully off-beat, out of tune and bizarre voicings just sound better on those kind of pianos – how well both good ‘ol Ives & Stravinsky knew this. It is the soul & mind & heart that makes music, not the instruments which are only has capable as the musicians yielding them. Having said that, I am thankful that orchestral musicians never have had tutelage like I have had. My game is a different one, requiring a lot of knowledge gained slowly, imagination and perseverance but not always or necessarily do the better composers always come from an academic background but performers who require such skilled techniques and training must. Some composers have come from the Conservatories of the world but Brahms, Ives, even Mahler they were only passing phases in their development. Luckily my music is warm and accessible without being derivative but until I get a chance to get my more inventive improvisations “out there” any will always be those who only can compare an unknown like me to someone they already know…
IF you are NOT convinced in what you do, no one EVER will be. It is what makes composers tick…. (and year after year they get out of bed each morning and go to their scores and their pianos and especially in my case, good old fashioned large-sized score manuscript, felt tip or calligraphy pens! How I love that world of scores & ink…. It is my private portable paradise.
Thinking of it, my dear old college-model (Igor S.) Yea, if you don’t’ know who I am referring to you really do need to brush up on your music history. Well good old Strav. Would have loved it – why the ‘Rite… was composed on just such an instrument as I not only had to play at my solo club gigs but often recorded on. Money for studios? Who had that!
Not to get carried away with long ago Reminiscent memories that may be blown out of proportion. STILL, I must add: IF, I could have been mentally flashed a vision of what my life is like right now in 2014 and what I have been through in my ‘woodsy enclave’ in the Florida outback since I had to sell my parents house in Daytona Beach in 2007 – Well, I think I would have run from any piano and any dreams of ‘making it’ – Except for a few bright lights along the way like listening to my beloved jazz players and even a few ethnic and new age players, I have to wonder why I poured so much into this in such a close-minded and materialistic civilization such as we have become; one where not only ‘money and name recognition’ calls the most shots but one that seems hell-bent on piling up wealth even at the expense of our own world’s ecological sanity! Yet, IF you do have the apparatus for getting your name and stuff out there I was never against it and it was what I too was seeking because I knew despite the ‘cheap, broken instruments’ my stuff was original, upbeat and sometimes very warm and personal American music. Well, I didn’t have the apparatus in 83-85 (what with $200 a month income if I was lucky) and once I was forced to enter the world of ‘kidney dialysis’ in New York City in the month of October 1984 – all those concerns were behind me. Now, it was just about how to stay alive!
“Clutching rainbows in my hand, I watch as all my youthful dreams were ground into sand…” So my own song “The Farther Shore” sings from my 1994 lyric song. Inevitable that it would change the course of my life BUT also turn me ever more into the “solitary effort’ that most all composers who have had to forgo the usual public performing careers have been forced to make. Perhaps, it is because some creations, especially, if along the way you discover that you have a penchant for big bold maestoso pieces that fall outside the realm of pop and even jazz, some of these styles must just be built up in the quiet backwaters of an ‘island life’ that is outside the public eye. You won’t make money, and IF you don’t ever rise outside it, it is a tragedy-par-none especially for the best of those efforts. (IF death gives me any foreshadowing I will be destroying scores and deleting files like there is no tomorrow! – as there will not be for me!) Besides, I had to teach myself, not only piano and theory (well, except for those early years of the part-writing and lessons at community colleges and 4 years schools – while I messed up my education for good) But, gladly it turns out that I had a love for and a talent for those essential tools for the orchestral composer. Something that many performers never gain. So the law of compensation was at work.
NOW, on to another attempt to make some of these improvisations (if not my written scores) accessible to any truly important listeners (hopefully someone who will take an investment orientated interest in promoting my music – That attempt, which of course lags behind the actual creation & recording of the music by years is this summer being called by me here at CDbaby: “Crossing Unknown Waters” – an eCD of a collection of piano/digital keyboard solos done since following the recording of ‘Unrequited’ in June 2009. These takes were mostly recordings of ‘private recitals’ from summer 2010 & June 2012, 2013! (I know but immediate release was impossible due to lack of funds and support! Really…. That story goes on & on & on….) No gigs out there, no fans here…. But some music just goes on and out to the ethereal dreamer’s dimension!

……. To be continued in a future blog: “The good road & the road of difficulties…” (by Sept 1)



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