Keyboard Magazine - March 2008 - (Page 31) range as wide as his imagination. “When you’re playing solo, you really want to exploit the whole piano. Solo is an opportunity to not be in sync with bass and drums. If you feel like, ‘Okay, this could slow down a little bit,’ then you just slow it down a little bit. You are in control.” ALONE TOGETHER “I certainly thought of some things I wanted to do on this recording,” Terrasson tells me. “I wanted the record to have a sense of playfulness, of having fun. Also, not having too much of a serious, cathedraltype thing hanging over it. That’s where the challenge was.” Terrasson produced Mirror on his own, recording 25 tunes over a two-day period. “For some previous recordings, I had a global image or concept, like A Paris, for instance,” he continues. “But for this one, everything was laid out on its own. We had a list of tunes and just recorded everything.” Out of the initial 25, 11 would make the final cut. The songs on Mirror showcase the many sides of Terrasson’s musical personality — a playful stomp through “Cherokee,” the plaintive, Jarrett-tinged reading of “Everything Happens To Me,” the modern, shifting harmonies and rolling bass figures on “Mirror,” and a fresh reading of Carole King’s “You’ve Got A Friend.” The album is a musical snapshot of an 03-2008 keyboard 31 Photo by Kaysh Shinn JACKY’S TOOLBOX Terrasson’s studio merges the best of old and new world technologies — a Steinway Model B seven-foot grand piano is the centerpiece of his music room. “It’s nice,” he says. “I wish I could have a [Steinway ninefoot model] D in here, for the touch — to be used to how it feels when you get one on the road.” He records his piano through an Apogee DUET portable FireWire interface into Logic Audio on his Apple iMac and assorted laptops. “I like Logic Audio because of the arranging capabilities,” he says. “I use it for MIDI and samples.”
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