"In Spring" is a follow-up digital-only EP to my "In Autumn" EP from late 2021, and "In Winter" EP from early 2021. The approach to "In Spring" was the same as the previous two EP's: I sat down and played a few songs for a semi-captive audience of my wife, youngest daughter, and cat- who left halfway through the set. Probably not a good omen.

"In Spring" is a follow-up digital-only EP to my "In Autumn" EP from late 2021, and "In Winter" EP from early 2021. The approach to "In Spring" was the same as the previous two EP's: I sat down and played a few songs for a semi-captive audience of my wife, youngest daughter, and cat- who left halfway through the set. Probably not a good omen.

Unlike the previous EP's, this one was played at the piano. The last time i recorded any piano pieces was in early 2012, so it has been ten years since i sat down to create new piano music. As with the previous EP's, I've included new pieces and "self-covers"- which are new arrangements of songs that i've recorded previously. The "self-covers" for "In Spring" include a Chapman Stick® song from my 2008 album "Rainshadow Sky", and a guitar piece from my 1995 album "The Hidden Rift" (although this particular guitar piece was written on a piano in 1994, but more on that in a bit.... )


1) Sorrow in Spring- i won't lie: Spring is not my favorite of seasons. I get why people like it, though, but it's one of the seasons i'd fast-forward through if i could (and i'd fast-forward FASTER through Summer, which i refer to as "mosquito and poison ivy season"). "Sorrow in Spring" is a Chapman Stick® song from my 2008 album "Rainshadow Sky", and i thought it would translate well to the piano. And i think it did.

2) A Midnight Path- this song came from a midnight walk on the path by our stream. My wife and I installed solar lights along the path, on both sides of the stream, and on the bridge we built across the stream last summer, so when the sun goes down, that whole area of our woods looks ethereal and enchanted. And early Spring is the perfect time for these "ethereal and enchanted" walks, since there aren't leaves on the trees, so there's always a clear view of the beautiful night sky. AND- in early Spring, there are no bats. Our woods are full of bats, and i understand they do valuable things, like eat mosquitoes and scare the living daylights out of potential trespassers. But they also scare the living daylights out of people walking the path at midnight, seeking inspiration for songs.

3) Parting Words- this song appeared in guitar form on my 1995 album "The Hidden Rift". But it was written, in spring of 1994, on my grandfather's piano, which was then residing in the first house my wife and I bought. After my grandmother's funeral in 1993, my brother and father brought the piano out from Missouri to Indiana, and it sat in our new living room, unplayed for a few months. When i did get around to playing it, "Parting Words" leapt out, almost fully formed. Since i was starting work on a guitar album, i thought it would be a good song to include- if i could get it to "fit" on the guitar. After many attempts (and failures), I found the right alternate tuning for the song on my guitar, and "Parting Words" fit well there. But it's nice to hear it again on piano; it brings back nearly 30 year old memories.

4) These Slow Tears- Of course, in Spring there is rain, and on the afternoon of April 2 when i performed/recorded these pieces, it rained. So it seemed the right time for a very short piano/rain duet. Looking outside while recording, i watched the rain move like slow tears down the window, and this improvisation revealed itself- and then it revealed the next song:

5) For as Long as I Can Hold On. I'm keeping the story behind this song to myself. The title came from a quiet answer to a gentle question in a conversation with a dear friend.