 |
I was first introduced to Jon Mutchler and his music in early 2002, when he sent me “Prone to Wander,” a collection of original arrangements of hymns, and “Piercing the Heart,” a collection of standards and show tunes, for review. I was very impressed with his music and playing, and we became internet friends. I found it fascinating to learn that Jon is the pastor of his own church, a piano teacher, and the father of seven kids. Knowing that, it wasn’t surprising that almost five years went by before “Incarnation,” a CD of Christmas improvisations, was released; it became one of my favorite Christmas CDs. A few months ago, Jon emailed me that he had two new CDs to review - a second CD of hymns (“Still Prone to Wander”) and a tribute to his sister and her husband and their oceanside retreat in northern Washington State (“La Place Sur La Mer”). I decided that an interview with Jon was long-overdue, so here it is!
KP: We hadn’t heard too much new from you for a couple of years, and then suddenly you have two new albums, “Still Prone To Wander” and “La Place Sur La Mer,” released very close together. Did you have a sudden burst of inspiration or something? Let’s talk about the two albums.
Mutchler: Kathy, as I think about the answer I realize that I've been working on three CDs these last couple of years. As you know, my Christmas album ("Incarnation: Nativity Reflections") came out in late 2006. At the same time, I was also working hard on a special project, "La Place Sur La Mer" (“The Place by the Sea”). This is a CD I conceived in early 2006 as a work to celebrate and express my joy at my sister's success at opening a beach-side retreat of that same name near Port Angeles, WA (www.MagicalBeach.com). My sis, Lyndee, has always been a supporter and friend of my music and I desired to do a project that focused on the special life she and her husband enjoy and share at La Place.
However, that album took much longer than I had planned. The creative process took more twists and turns than I anticipated and since most of the material is original, it took more time to get it "just right." It reminds me of Beethoven, who would often labor and rework pieces to get them as he wanted--writing and rewriting. Thus, he produced only nine symphonies and five piano concertos compared to Mozart, who gave us 40 and 20, respectively, AND died 22 years younger. No, I'm not Beethoven, but I felt I understood what he went through--trying to get things "just right." So, it took a while.
Anyway, I was finally wrapping up “La Place Sur La Mer” this summer when I began to reflect on the milestone of our church's (and my ministry's) 20th anniversary. That inspired me to do a second album of hymns (in 2001 I released “Prone to Wander”) to mark that special occasion . I got my Yamaha C7 tuned, set up my studio, sent my family out of town for a vacation, and in four days in July, “Still Prone to Wander” was born. It was such a beautiful and satisfying experience to have a project flow so easily. As a result, both projects went to press at the same time, but they're very different. That should explain why.
KP: Tell us about the music on each album.
Mutchler: About half of “La Place Sur La Mer” is original songs, improvisations, and reflections on my sister Lyndee's home and the geography of the area. Some of the titles include “Lyndee's Garden,” “Twilight at Freshwater Bay,” and “Orca: Black and White.” You have described these tunes well in your review. There are another five or six cover tunes that fit the theme of the album as well, including works by Gershwin and The Beatles. Lyndee and Allen's wedding song was Seals and Croft’s “Summer Breeze,” and I've included my interpretation of it.
On “Still Prone to Wander,” I chose hymns that most people know and that are common to most church traditions: “The Doxology;” “A Mighty Fortress;” “Come, Thou Fount of Every Blessing;” “We Gather Together.” I've recorded them differently than I've ever heard them done before. I sort of cut loose, broke free, and decided to play FOR ME and not for someone else. Perhaps, in a sense, I was playing for God, because in “Still Prone” I express my greatest range of emotions and passions on the piano. One example, I think, is the hymn, “I Need Thee Every Hour.” To me, it sounds like I am playing as if praying to God - with earnestness, honestly, and longing for Him. Anyway, there wasn't any planning for this CD. I just sat down, recorded, and this is what occurred. It was a very profound experience. I was taken aback with what came out.
KP: Both albums are great, but “Still Prone” is very powerful both musically and emotionally. You did an exceptional job with it. How did you do the cover for “La Place”? You didn’t really put that grand piano in the surf, did you?
Mutchler: Ah, no! There’s a little Photoshopping going on. The piano is my sister's rare
|
|
