Many musicians develop a strong attachment to their instrument, which often goes beyond the simple act of familiarity that one may associate with a set of fine woodworking tools. In the case of the musician/luthier, this can lead them deeper into their music, exploring unique and untested waters. Buck Curran is just one example that springs to mind, a luthier who understands how string, wood and resonance work together and whose music is still very much a personal journey of discovery.
William Eaton is currently the Director of Roberto-Venn School of Luthiery in Pheonix, Arizona, but back in 1978, he released a private-press album simply titled “Music By William Eaton”. I’ve seen him described as a New Age guitarist, a term that has many misconceptions, although it seems to be getting dragged away from the commercialism that once plagued it. What it most definitely is, is experimental – a conscious decision made by the musician. In his own words:
“When I started building instruments, playing guitar took on a whole new dimension. From the conception to the birth of each instrument, new layers of meaning unfolded. Cycles, connections and interdependencies became apparent as I contemplated the growth of trees from seed to old age, and the transformation from raw wood to the building of a musical instrument. I sought out quiet natural environments to play and listen to the “voice” of my 6 string, 12 string, 26 string (Elesion Harmonium) and double-neck quadraphonic electric guitar. Deep canyons contained a beautiful resonant quality and echo. A starlit night with a full moon provided all the reflection and endless space by which to project music into the cosmos. The sound of a bubbling stream and singing birds added a natural symphonic tapestry to a melody or chord pattern. As I perceived it, everything was participating in a serendipitous dance. Everything was part of the music.
“During this time, I decided to record an instrumental album of music. The idea was simple; it would be a series of tone poems with no titles or any information attached, only the words ‘Music by William Eaton.’ While some of the songs evolved out of composed chord progressions, most of the songs were played spontaneously, only on the occasion of the recording. These improvised songs haven’t been played since.”
The Morning Trip label, who have previously re-issued albums by other guitarists, including Daniel Hecht’s 1973 self-released debut album, have repressed the album (July 2021) following its initial 2020 reissue. Their description reads:
The atmospheric recording techniques, mixed with a hint of Fahey/Takoma-lineage, make for a listening experience akin to the mountainscape drawing represented on the album cover. The experience may seem simple at first, but like any great trip in nature, new details consistently reveal themselves upon each listen.
The album is spread over 18 pieces, all untitled, denoted by just the side and number, e.g. Untitled A1. Listening through, I was very drawn to the second track (A2); the solemn noted opening paves the way for the bright fingerwork that follows. It’s one of the lengthier tracks on the album at 5:24, allowing space for movement. However, one thing this album is not short of is variety, so while you initially may feel that consuming 18 tracks in one sitting is a demanding listening session, you will also find you’ve slipped into the mood of the next track. Before you realise it, you’re halfway through. Little moments reveal themselves, like a distant birdcall (second track below) or an unusual resonance…it’s a unique listening experience that will reward the time you set aside for it.
It can be ordered via Bandcamp: https://williameaton.bandcamp.com/