3rd February 2022




Q: You’re a long way from your hometown of Darlington.


DB: I am yes! At the moment in Baltimore, Maryland, USA. My wife is American and at the moment we are living between the UK and USA and the eventual plan is to get the immigration visa so I can so I can live over here but in the long term, I’m not sure where we will be based. We were thinking about Europe but the Brexit screwed that up - slightly. (laughs)


Q: Normally when I chat to musicians and they say where they are from, I can usually name a couple of other famous musicians from the area but I can’t think of anyone else from Darlington.


DB: (laughs) There are a few people from close to Darlington like Eddie Jobson who is from Stockton and Chris Rea is from Middlesboro and Alan White in Yes is from Ferryhill which is only up the road but I can’t think of anyone else in the music field.


Q: I was actually going to say anybody from any field…


DB: (laughs) Well George Stevenson was from Newcastle but he got some notoriety as he built the Stockton & Darlington Railway, which was the first actual railway but there isn’t much else really which is probably why I left. Now having said that, I’ve been back to Darlington in a few recent years and generally speaking, it’s nicer than it was when I left which was when I was eighteen.


To The Far Away


Q: You’ve had great reviews everywhere for this album.


DB: Yeah, it’s been great!


Q: Well, I have to say, of your four solo albums, this is the perfect fusion of Celtic music and Progressive Rock.


DB: Certainly with this album I wanted to capture some of the excitement from the Iona, some of the things we originated in the band. This is going back thirty years ago now but when we were doing our second album, The Book Of Kells (1992) and Troy Donockley  - a fantastic Uillean pipe player - came on board, we discovered this sound playing melodies in unison on electric guitar, Uillean pipes and low whistle. It was this glorious sound and we made that feature once Troy was a full-time member. That was something I always liked and something I wanted to feature on this album a bit more than the previous big Progressive album, Celestial Fire. On that album I was exploring more of my Progressive Rock roots but on this one I wanted to combine more of the Celtic sound we came up with in Iona so from that point of view, it is more balanced. When I was growing up a teenager I was listening to all kinds of music. As well as listening to all the Progressive bands of the seventies, I was studying Classical music but also listening to a lot of Folk and then when I got to music college, I did Jazz course so I have all these different influences and I think they have come together in the latest album.


Q: The track that hit me immediately, on the first listen, was Ghost Light which is a magnificent piece…


DB: Thank you.


Q: …but then on the second or third listen I loved Girl In The Magical Sky. That crescendo you go through at the end is terrific. How does that all come together, the process of you writing that?


DB: Several tracks on the album came from little ideas that I came up with on a twelve-string travel guitar which is made by a company called Vintage in Leeds. It has a really nice sound and I was experimenting with some different tunings on it and came up with a whole load of ideas, riffs and chord progressions and this would have been about three years ago. Then when I was working on ideas for this album I listened to them and one of those was the chord progression at the beginning of Girl In The Magical Sky. So it started off really simply and then I had an idea for a vocal melody over that which eventually ended up being sung in Irish Gaelic. It just kind of evolved really and the idea for the title was from a photograph I took of my wife, Sharon, before the pandemic. We were walking down the country lane I live on in Lincolnshire and there was just this incredible sky, it was absolutely other-worldly and I took loads of photos and got this one of Sharon walking down the lane and this amazing sky in the background. That formed the basis as the title and then as the pandemic came about (we were due to be married back in March 2020 and literally a few days before I was due to travel to America, everything was shut down and we eventually got married in December 2020) the track took on a new meaning. I was pondering our walks on the lane and the idea that we were apart for all this time and hoping to be back together and I suppose the crescendo is that hope that we will be back together.


Q: That crescendo, is it written or does it come from a jam because every time it feels like it’s going to end, it goes tat little bit more.


DB: I was thinking that the title sounds like it could be a Beatles title – Lucy In The Sky kind of thing – and then thought it would be good to have a Beatle-esque crescendo with lots of different instruments coming in like Mellotrons and flutes and goodness knows what else and then I improvised a guitar solo over the top of it but I was trying to come up with a solo that was really melodic and not completely random, melodic that would carry the song into a higher plane. Actually, I recorded that in this room here in Baltimore and I didn’t have an electric guitar with me at the time so I borrowed a Fender Strat off a friend and it sounded great. I had it for a few days, recorded a few different takes and that’s how it came out.


Q: That’s the wonderful thing about digital these days isn’t it in that you can record it in your front room.

DB: Yeah I was using a program called Amplitude 5 which is a software series of amps and speaker cabinets. Technology has come on so much and it just sounds great.


Q: Other than that, how was the rest of the album done? Did you get into a studio at all with everybody?


DB: No because it was all done during the lockdown. I finally finished it last August (2021) and there wasn’t the possibility that any of us could get together at the time. I’ve got a small studio set-up at home and some really good microphones so I can record all my acoustic instruments pretty well and then basically it was a case of sending off files to the different musicians, them sending them back and me doing the final mix. By the time it came to mastering, it was possible to meet with people in their hoses so I went to my friend Nigel who is a fantastic mastering engineer and we did the final mastering at his place. It was good to have that outside ear for the last bit at least.


Q: Taking your musicians hat off and putting your producer’s hat on for a moment and having been forced into doing file swapping rather than be in a studio, which do you prefer?


DB: Yeah I’ve been a producer and engineer for years now and up until 2018 I had a purpose built studio for 14 years and file swapping has been going on right back to Celestial Fire in 2013. A lot more of it was recorded in my studio but there were a few musicians, like the bass player, Randy George, who was living in Los Angeles at the time, so there was a certain amount of file sharing back then but this is the first time I’ve worked on something completely file shared. Basically, it just takes longer because you can’t make those instant decisions. I always do fairly detailed demos including drum tracks and bass tracks and I sent those to Frank Van Essen who is on drums and John Poole who is on bass and there were some instances where I asked them to change things but actually such good musicians there wasn’t very much to change. They are really into the music as well and all the people on the album I’ve worked with before, I know how they play and what they will bring to the table so although the demos are detailed, I keep if free for them to bring their own thing. That’s what makes something great when you have that collaboration and it’s still possible to do that, it’s just not quite as immediate.

Q: How many instruments do you play?


DB: Piano was my first instrument and guitar I took up when I was about 13 or 14 so it’s basically keyboards and guitars but I went off into playing the bouzouki and mandolin. It was about 20 or 25 years ago and my friend in Iona had a bouzouki which was made by Fylde’s in Cumbria and I tried it and loved the sound of it and I got one. It’s called an Octavius bouzouki so it’s like a twelve-string guitar in that it has octave strings but there are four lots of two strings. The bouzouki originated in Turkey or Greece and had a round back but in the 1960s, the Irish Folk musicians started to bring them back from Greece and using them in Irish Folk music and redesigned it to have a flat back so mine is actually an Irish bouzouki. My theory is that having a flat back meant they could have bigger bellies to drink more beer. (laughs) It’s a really versatile instrument and you can use it for playing single lines or chords and then from that I got a Fylde’s mandolin as well.


Q: Are you one of those people where is someone for example has a balalaika, you’ll be picking it up and trying to play it?

DB: Probably yes. When I did my first solo album Veil Of Gossamer in 2004, I was originally thinking that I would play all the instruments because I can play a little bit of percussion and whistle and stuff like that and I had a small harp but then my abilities are limited on other instruments so I eventually thought it would be better to get other people to play the parts properly (laughs). I think I played fifteen instruments on Veil Of Gossamer but less on this one. I did some backing vocals as well.


Q: The entire album flows remarkably well Dave. After that crescendo we were just talking about, my thought was wondering where the album could go because that could have been the last track of a side two album from the seventies but you seem to be able to create wonderful ups and downs and the pauses are just right. Were you conscious of that when putting a running order together?


DB: Not really, no. I think because I grew up listening to concept albums by Yes and Genesis and others and also Classical music as well where is there is always a sense of journey, I’ve always felt that my albums should be a journey from the beginning to the end. The running order has always been really important to me even though a lot of people don’t listen to things in order now but to me it’s still very important. You know, if you are going to listen to a symphony, you aren’t going to listen to 4th Movement first and it’s the same kind of thinking. For this album as well, it was following the story of myself and Sharon being separated and eventually reunited so I wanted that sense of longing, then the sense of journey, then hope and finally happiness at being together at the end. That was the overall shape and obviously within that there are different facets but yes, I do think about the gaps between tracks as well. I think that’s really important as well. Sometimes you have a massive track and I think your brain needs to digest it for a few seconds before moving on to something else.


Q: Fully agree. I read something some time back that the brain will sync your heart rate to the music you are listening to and thus if you are listening to a slow ballad, that pause between the tracks can give your heart the right amount of time to readjust before the next one comes in at a different tempo.


DB: That’s an interesting thought that I have not thought about before but it makes sense. I think it can also have an effect on how fast you drive as well. A friend of mine said he was listening to Celestial Fire, one of the tracks on there that is fast and rocky and he said he was speeding, got pulled over and got a ticket and he blamed my track on Celestial Fire. (laughs)


Q: He didn’t pull you in for the court case did he? ‘Your honour, in my defense…’


DB: (laughs) No he didn’t.


Q: We have digressed. Going back to the album, you wrote it, produced it, arranged it, demoed it and played a lot of the instruments: how did you know when the canvas was finished?


DB: That is a good point a sometimes it is hard to have different hats on at the same time. Whenever I start an album, the first thing I do is go back and listen to the ideas I’ve recorded since the last album to see if any of them seem suitable for the project I am working on. I put together a short-list of previous demo tracks, work on those and decide which I can use and which I can develop into longer tracks which means fairly early on I have a kind of list of tracks. Then, even at that demo stage, I’m putting them into a running order, so it’s not just a last-minute thing. That helps because once you have an overall shape of something, then you can join the dots together.


Q: Fascinating. I’ve never heard of anyone doing it that way. Everyone I’ve talked to always says the running order is last, after the writing and after the recording.


DB: I just find it easier. It’s hard when you are starting from a completely blank canvas, the problem being how to get started in the first place. One of the other things I do between albums is come up with track names which I jot down and I’ll go through those and see if they fit any of the song ideas. That really helps me to focus on the project and there are now also so many potential sounds you can use now with sound libraries, it can be overwhelming but once you have a title for a piece and what you want to say within it, it focuses you on what kind of sounds to use to be able to interpret that idea. It just seems like a more logical way of working to me.


Q: That’s the arrangement part and ‘Arrangement’ is an often-overlooked term these days. Whenever someone asks me what an arranger does, I play them three versions of In The Mood; Glenn Miller’s, Duke Ellington’s and Benny Goodman’s and show them how the instruments interact with each other in the same piece of music from the same era.


DB: Exactly. I studied arrangement at music college and it’s interesting what you can do with a tune by keeping the tune but totally rearranging it for a different mood and atmosphere. From that point of view, I’m quite old style and have an old school approach.


Q: ELP of course were the masters of taking an orchestral piece and arranging it for a three-piece Rock band.


DB: Yes and another aspect of arranging is how to arrange the piece so that it has the shape to it as well. Climaxes and emotional impacts at certain points and I am always mindful of that with tunes I come up with and I try different ways of arranging them and see how it works. Sometimes I’ll completely re-harmonize a melody or change the chords to see if it works better or change it from major to minor. Arranging is crucial, certainly in what I do with a huge array of instruments to choose from.




Q: Going back to growing up in Darlington, you said you listened to Prog and Folk and studied Classical and you also had quite a musical family I believe.


DB: A lot of the original albums I played came from my older sister. She was nine years older than me and had loads of great albums. All The Beatles’ albums and lots of Blues albums because she was a Blues singer, Hendrix, the Woodstock album and all these amazing records and she was in a local band called Nimrod Fisk who did a lot of Jethro Tull covers but crucially, she played organ with them as well and they kept their Hammond organ in our front room and when everyone was out, I’d sneak in and switch it on. I did spend a long time listening to my sister’s albums and absorbing all that music and then when I was quite small, my Mum played organ and accordion in the working men’s clubs and every week we’d buy sheet music from the latest chart hits so I would hear her playing all those and then listen to Top of the Pops and try and play them from the sheet music. My parents were separated but when I went to see my Dad, he was more into Country music with some Jazz and some Blues; he originally taught me how to play the guitar. There were different influences in the family but it was really through my friends at school that I really got into Rock music and later Jazz and Folk.


Q: So when it comes to guitar, who would you site as influences because when I listen to your playing, I can’t hear where it comes from.

DB: That’s probably good! You know, I think every player is a kind of amalgamation of all their influences and hopefully you end with a sound of your own. Eric Johnson is a great example of that. I can hear just a few notes and immediately I know it’s him but also I know he listed to listened to Jeff Beck, John McLaughlin, Wes Montgomery so he has those influences as well but he has something unique. My early influences were people like Ritchie Blackmore – I absolutely loved his playing – and Jon Lord was probably my biggest influence on me wanting to be a Rock keyboard player. Then I discovered Jeff Beck, Alan Holdsworth, McLaughlin, Eric Clapton with Cream…so many. I started on piano when I was eight years old but the reason I wanted to play guitar later was because of listening to these guitarists and hearing how they could bend notes, having a real emotional quality in their playing that is difficult to get on a piano. Certainly Holdsworth was a pioneer of Legato playing and that was a big influence on me when I first heard him play back in the late 70s but then in the last few years I’ve started playing without a plectrum and that’s an influence from Jeff Beck’s style and the sound he gets just with his fingers.




Q: So when are we going to see Mr Bainbridge back out on the road? Is your band still called Celestial Fire?


DB: Yeah. When Iona came to a natural end in about 2015, I still wanted a vehicle to play the Iona back catalogue but also to play my own solo stuff so I put Celestial Fire together with that in mind. We did quite a few gigs and a live DVD but then Covid hit so I haven’t really had time to think about putting anything together again with regards to Celestial Fire. Certainly I want to start to be able to play some of my solo music live again and I do some of it with Sally Minnear when we play together as a duo but obviously not the big Prog pieces as they are impossible to do with two people. I have an idea that when Covid settles down to put Celestial Fire together again but augment it with an uillean pipe player so I can play material off the new album so it would probably be a six-piece band or something but I don’t know when that is going to happen. I play with Lifesigns as well and we have some gigs coming up in April so hopefully later in the year I can put something together. 


Q: Strawbs as well?


DB: There was going to be a tour in June with Strawbs but Dave Cousins has announced that he is retiring from live performances for the foreseeable future for health reasons so he’s going to concentrate on writing.


Q: We wish him all the best. Dave, a pleasure to talk to you and I’ll look forward to seeing you somewhere in 2022.*


DB: Let’s hope so. Take care Glenn.



To The Far Away and Dave’s other recordings can be purchased here:


*Since this interview was conducted, it has been announced that Dave will be on the Cruise to the Edge with Lifesigns as well as two other sessions on the cruise; Fernando Perdomo's Out To sea Band and Gabriel Alonso.








Q: 通常、ミュージシャンと話をしていて、彼らが出身地を言うと、たいていその地域出身の有名なミュージシャンを何人か挙げることができますが、ダーリントン出身者は他に思いつきませんね。






『To The Far Away(遥か彼方へ)』




Q: さて、あなたの4枚のソロアルバムの中で、この作品はケルト音楽とプログレッシブ・ロックの完璧な融合と言わざるを得ませんね。

DB:確かに今回のアルバムでは、アイオナでの興奮や、バンドの中で生まれたものを取り込みたかったんだ。もう30年も前のことだけど、2枚目のアルバム『The Book Of Kells』(1992年)を制作している時に、トロイ・ドノックリー(素晴らしいウイリアンパイプ奏者)が参加して、エレキギター、ウイリアンパイプ、ローホイッスルでメロディーをユニゾンするサウンドを発見したんだ。この素晴らしいサウンドを、トロイがフルメンバーになってからフィーチャーすることにしたんだ。このサウンドはずっと気に入っていて、前作のプログレッシブ・アルバム『Celestial Fire』よりも、このアルバムでもう少しフィーチャーしたかったんだ。前作では自分のルーツであるプログレッシブ・ロックをより追求したけど、今作ではアイオナで培ったケルト的なサウンドをより融合させたかったので、その点ではよりバランスの取れた作品になったと思う。僕は10代の頃、あらゆる音楽を聴いていた。70年代のプログレッシブ・バンドを聴きながら、クラシックを勉強し、フォークもたくさん聴いて、音楽大学ではジャズのコースに進んだ。


Q:一聴してすぐにピンときたのは、壮大な作品である「Ghost Light」ですが......。



Q: ...でも、2回目、3回目に聴いたとき、「Girl In The Magical Sky」が気に入りました。最後のクレッシェンドが素晴らしいですね。あの曲はどのように作られたのですか?

DB: アルバムの中のいくつかの曲は、リーズのVintageという会社が作っている12弦のトラベル・ギターで思いついた、ちょっとしたアイディアから生まれたものなんだ。このギターはとてもいい音で、いろいろなチューニングを試しているうちに、たくさんのアイデアやリフ、コード進行が浮かんできた。3年前のことだ。そして、このアルバムのためのアイデアを練っているときに、それらを聴いてみたら、その中のひとつが「Girl In The Magical Sky」の冒頭のコード進行だったんだ。最初はとてもシンプルなものだったんだけど、その上にボーカルのメロディーを乗せるというアイディアがあって、最終的にはアイリッシュ・ゲール語で歌うことになったんだ。タイトルのアイデアは、パンデミックの前に妻のシャロンと撮った写真から得たものだ。リンカンシャーにある僕の家の田舎道を歩いていたら、信じられないような空が広がっていて、まるで別世界のようだった。何枚も写真を撮って、シャロンが田舎道を歩いている写真と背景にあるこの素晴らしい空の写真を撮ったんだ。それがタイトルとなり、その後パンデミック(僕たちは2020年3月に結婚する予定だったが、文字通り僕がアメリカに行く数日前にすべてが停止し、結局僕たちは2020年12月に結婚した)が起こると、この曲は新しい意味を持つようになった。僕は、僕たちの車道での散歩と、ずっと離れていた二人がまた一緒に戻ることを望んでいるということを考えていたんだ。このクレッシェンドは、僕たちが一緒に戻るというその希望なのだろうね。


Q: あのクレッシェンドは作曲されたものなのか、それともジャムから生まれたものなのでしょうか?

DB: タイトルはビートルズの「Lucy In The Sky」のような感じかなと思っている。メロトロンやフルートなどいろいろな楽器が入るビートルズ風のクレッシェンドがいいと思って、その上にギターソロを即興で弾いた。でも、僕は本当にメロディックなソロを考えていて、完全にランダムではなく、曲をより高い次元に運ぶようなメロディーを考えていた。実はこの曲はボルチモアのこの部屋で録音したんだけど、その時はエレキギターを持っていなかったから、友人からフェンダーのストラトを借りて、とてもいい音で録れたんだ。それを数日持っていて、何度かテイクを変えて録音したら、こうなったんだよ。


Q: それが最近のデジタルの素晴らしいところで、自宅の玄関先で録音できるのですね。
DB: そうだね。アンプとスピーカー・キャビネットのソフトウェア・シリーズであるAmplitude 5というプログラムを使っていた。技術の進歩は目覚しいものがあるし、サウンドも素晴らしいよ。






DB:ああ、僕はもう何年もプロデューサーやエンジニアをやっていて、2018年までは14年間、専用のスタジオを持っていた。ファイル交換は2013年の『Celestial Fire』まで遡るその多くは僕のスタジオで録音されたんだけど、ベースのランディ・ジョージなど、当時ロサンゼルスに住んでいたミュージシャンもいたので、当時からある程度のファイルシェアはあったけど、完全にファイルシェアされたものに取り組んだのは今回が初めてだった。基本的に、即断即決ができない分、時間がかかるんだ。いつもドラムやベースのトラックなど、かなり細かいところまでデモを作って、それをドラムのフランク・ファン・エッセンとベースのジョン・プールに送って、変えてもらうこともあったんだけど、実際いいミュージシャンなので、それほど変えるところはなかったね。このアルバムに参加している人たちは全員、以前一緒に仕事をしたことがあり、彼らのプレイや持ち味を理解しているので、デモは細かく作ってあるけど、彼らが自由に持ち込めるようにしてある。このようなコラボレーションをすることで、素晴らしい作品を作ることができるんだ。


Q: あなたはいくつの楽器を演奏するのですか?

DB: ピアノが最初の楽器で、ギターは13、14歳の頃に始めたので、基本的にはキーボードとギターだけど、ブズーキとマンドリンにも手を出した。20年か25年ほど前、アイオナの友人がカンブリアのフィールズ社製のブズーキを持っていて、試奏したところ、その音が気に入って手に入れた。オクタヴィウス・ブズーキと呼ばれるもので、12弦ギターのようにオクターブ弦があって、2本の弦が4つ並んでいます。ブズーキの原産地はトルコかギリシャで、背中が丸い形をしていたんだけど、1960年代にアイルランドのフォークミュージシャンがギリシャから持ち帰ってアイリッシュフォークミュージックで使い始め、背中を平らに設計し直したので、僕のはアイリッシュブズーキと呼ばれるようになったんだ。僕が思うに、背中が平らだとお腹が楽になってビールをたくさん飲めるようになるから、そうしたんじゃないかな(笑)。この楽器は本当に万能で、単音でもコードでも演奏できるんだ。 その後フィルのマンドリンも手に入れた。


Q: あなたは、例えば誰かがバラライカを持っていたら、それをすぐ手に取って弾きたくなるような人なのでしょうか?
DB: おそらくそうだろうね。2004年に最初のソロ・アルバム『Veil Of Gossamer』を作った時、当初は自分がすべての楽器を演奏しようと考えていた。パーカッションやホイッスルなども少しは演奏できるし、小さなハープも持っていたけど、他の楽器は能力が限られているので、結局他の人にきちんと演奏してもらった方がいいと思ったんだ(笑)。『Veil Of Gossamer』では15個の楽器を演奏したけど、今回はもっと少なかったと思う。バッキング・ヴォーカルもやったよ。






DB:今まで考えもしなかった面白い考え方だけど、理にかなっているね。また、スピードの出し方にも影響があると思う。僕の友人は、『Celestial Fire』を聴いていて、その中の高速でロックな曲を聴いていたら、スピード違反をして、車を止められて切符を切られたと言って、『Celestial Fire』のせいだと文句を言ってたよ(笑)。











Q:編曲の部分ですが、「編曲」という言葉は最近よく見聞きします。アレンジャーとは何をする人なのかと聞かれたら、私はグレン・ミラー、デューク・エリントン、ベニー・グッドマンの3バージョンの「In The Mood」を聴かせて、同じ時代の同じ曲の中で楽器がどのように作用しあっているかを見せるんです。



Q: ELPはもちろんオーケストラの曲を3人組のロックバンド用にアレンジする名人です。

DB: そうだね。また、アレンジのもう一つの側面として、作品をいかにして形にするかということがある。クライマックスや感情的なインパクトを与えるポイントがあるので、自分が作った曲は常にそれを意識して、いろいろなアレンジを試して、それがどう作用するかを確認するようにしている。時には、メロディーを完全に調和させたり、コードを変えたりして、より効果的かどうか、メジャーからマイナーに変えてみたりする。アレンジは非常に重要で、僕の仕事では膨大な数の楽器の中から選択することになる。


Q: ダーリントンで育った頃の話に戻りますが、プログレやフォークを聴き、クラシックを勉強したと言っていましたが、あなたの家族はかなり音楽的だったのですね。



Q: ギターに関して、あなたが影響を受けた人物は誰でしょうか?
DB: その質問はいいね!どのプレイヤーも自分が影響を受けたものを組み合わせて、自分自身のサウンドを作り上げているのだと思う。エリック・ジョンソンはそのいい例だ。彼はジェフ・ベック、ジョン・マクラフリン、ウェス・モンゴメリーなどを聴いてきているので、それらの影響も受けつつ、何かユニークなものを作り出しているんだ。僕が最初に影響を受けたのはリッチー・ブラックモアで、彼の演奏は本当に大好きだった。ジョン・ロードの影響も大きかったよ。彼を聴いて、ロックのキーボード・プレイヤーになりたいと思ったんだ。それからジェフ・ベック、アラン・ホールズワース、マクラフリン、クリームのエリック・クラプトン...たくさんのアーティストに出会った。8歳のときにピアノを始めたんだけど、その後ギターを弾きたいと思ったのは、これらのギタリストの演奏を聴いて、彼らがいかに音をベンドするか、ピアノでは得がたい真のエモーショナルな演奏ができるかを知ったからなんだ。確かにホールズワースはレガート奏法のパイオニアで、70年代後半に初めて彼の演奏を聴いたときは大きな影響を受けた。でも、ここ数年はドラムを使わずに演奏するようになり、それはジェフ・ベックのスタイルの指だけで出す音の影響も受けているよ。



Q: では、ベインブリッジさんが再びツアーに出るのはいつになるのでしょうか?あなたのバンド名はまだCelestial Fireなのですか?

DB:そうだね。2015年頃にアイオナが自然消滅した時、やはりアイオナのバックカタログを演奏しつつ、自分のソロ作品も演奏できる手段が欲しかったので、それを念頭に置いてCelestial Fireを組んだんだ。ライブも結構やったし、ライブDVDも作ったけど、その後新型コロナウィルスが大流行したから、Celestial Fireに関してまた何かまとめようという時間がなかったんだ。確かに、自分のソロ曲をまたライブで演奏できるようにしたいし、サリー・ミネアとデュオで演奏する時も、いくつか演奏するんだけど、明らかに大きなプログレ作品は2人では不可能だから、演奏しない。コロナ禍が落ち着いたら、Celestial Fireを再び結成して、ウイリアンパイプ奏者を加え、6人編成のバンドで新しいアルバムからの曲を演奏できるようにするというアイディアがあるんだ。でもいつになるかは分からない。僕はLifesignsとも一緒に演奏していて、4月にいくつかのライブが予定されているから、今年の後半には何かまとめられると思う。 









To The Far AwayとDaveの他の録音は、ここで購入することができます。



Dave Bainbridge by Paul Johnson Hi Resc.jpg
Photo: Paul Johnson