Morgan Fisher: Inside Satie
Wonderfully & expertly interpreted Satie works
- A1 Gnossienne #1 (Cabaret Piano)
- A2 Gymnopedie #1 (Sugar Plum Piano/Water Bell Synthesizer)
- A3 Gnossienne #3 (Street Corner Mouth Accordion)
- A4 Gnossienne #3 (Organ Ripple Synthesizer)
- A5 Gymnopedie #1 (Hesitant Piano/Confident Lips)
- A6 Gnossienne #1 (French Ice Piano/Siberian Snow Synthesizer)
- B1 Gnossienne #1 (German Haiku Pianica)
- B2 Gymnopedie #3 (Family Piano/A Hint Of La-La-La)
- B3 Gnossienne #2 (Perrier Swing Synthesizer)
- B4 Gymnopedie #2 (Resonant Concert Piano/Tide Synthesizer)
- B5 Gymnopedie #1 (Festival Soft Fanfare Synthesizer)
’Sacred Summits returns after a two-year hiatus with an album of interpretations of the
music of Eric Satie by acclaimed composer Morgan Fisher.
Active for over 50 years Morgan’s career has moved from 60’s number one hit wonders
Love Affair, to 70’s rock’n’roll keyboardist in Mott The Hoople, before finally on to 80’s
ambient, improvisation and soundtracks, working with the likes of Yoko Ono, Haroumi
Hosono and Dip In The Pool.
Based in Japan since the mid-80s, Fisher’s long-standing admiration for Erik Satie (1866-
1925) led to these Inside Satie recordings. Satie’s unique work as a precursor to artistic
movements such as minimalism, surrealism and repetitive music are acknowledged but for
long periods he was not given the accolades his music warranted.
A strange, eccentric, surreal man, he was never as acclaimed as the established masters,
but influenced not only the likes of Debussy but also many of the Dada artists. On this
album Morgan played his music freely after just a brief look at the scores. Recorded in just
three days, it features piano, melodica, synthesisers, and Morgan’s favoured tape delay
system.
“INSIDE SATIE is one of the first albums I recorded in Japan shortly after moving here in
1985. In three days I improvised on several of my favourite Satie themes. Mostly I played
piano as well as the rich, analog-sounding Yamaha GS-1 (precursor of the DX-7), and
sometimes used long tape delays to build layers of sound. All the pieces were recorded in
single takes - no overdubs (no time!)”.’