Sleeve notes

Once I had resolved the music to a standard I was happy with, I started to ponder the two fundamentals of realisation: where to record it and how to select musicians sensitive to the needs of my score. As a composer who has dwelt largely within the confines of popular music, I needed all the help and support I could get.

I started to look around my hometown of Glasgow, a city already rich with musical heritage. As luck would have it a new studio which specialised in orchestral music, Clockwork Sessions, had recently opened. It was one of those fortuitous coincidences that seem to inhabit my life. I met the most amazing production team there, headed by Producer Kobus Frick, and musical arranger Rudi De Groote. Musically, Rudi and I hit it off from the get-go and I have to say that I will forever be indebted to him for his beautiful arrangements and lasting friendship. The addition of the prodigious talents of Grammy award-winning Recording/Mixing Engineer David Donaldson was the icing on the cake.

With the credibility of Kobus Frick and Rudi de Groote behind me we were able to handpick musicians from both the main Scottish Orchestras including Charl de Villiers on piano, and 1st Violin Lara Croft, and last but not least the selection of two conductors, the marvellous Adam Robinson and Gordon Bragg, both of whom embraced The Prairie Suite with the fortitude of those early pioneers, Sometimes the stars align.