~ Words are an inefficient way of discussing something as immediately felt as music. While I normally prefer to let music speak for itself, the choices involved in collating and presenting a series of disparate improvisations probably warrant some explanation. While I make music in a variety of spheres, these unplanned improvisations are possibly the most direct and honest representation of my musical personality and language at the moment. Although form and cohesion suffer for lack of pre-ordained structure to consolidate ideas, the corollary is that expression is less inhibited by negotiating the demands of those frameworks, and is thus possibly a more authentic - if less refined - reflection of my intent.

~ There were no grand intentions of concept or utility when undertaking these improvisations, so the authenticity of intent in their creation is the primary unifying factor of the collection, and they are arranged in sequence and collected in an album-length format entirely out of convention. Titles have been accorded much later, with no articulate reasoning behind them, but the unsubstantiated and abstract decision-making involved in choosing their names seems consistent with the spontaneous nature of their recording, and is not much different from the irrational choices we make every day, in smaller or larger forms.

~ Recording quality differs, and extraneous noises reflect the unprepared nature of the recordings and their varying environments. They have been mixed according to my limited abilities, and can hopefully be heard without regard for any flaws. However, given these flaws, my lack of motives in the original creation of the improvisations, and the lack of cost in producing this collection, I find it hard to justify asking listeners to pay for the music, or making any profit from it - donations can still be made, but I will be ensuring they go to charities and people who need it.

~ I’m wary of ascribing any philosophy or deeper intent to something spontaneous - and disconnected from other parts of even itself, let alone things beyond it - but I think improvising requires a deep and earnest willingness to communicate and explore, and a vulnerability that is probably lacking in other forms of expression and interaction. In the case that it is only myself in the room, improvisation reflects my connection to my identity and my relation to the world, and is a way of organising myself, rather than simply organising sound. Although enjoyable and fulfilling, it is not so much an effortless and passive outlet, but something that requires deep engagement, and makes demands of me to improve. I fundamentally believe in it as a form of communicating and engaging with the world, and hope that this is apparent in the form I have given it. Whether as a genuine insight into the depths of my playing, or as an unimportant glimpse of passive ramblings, I hope there is something in this playing that people are able to enjoy.