Stuart Weber - Stuart Weber The Fifth Row '2018

Tracks list

Tracklist
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01. Bourrée alla polacca
02. 8 Humoresques, Op. 101, B. 187 (Arr. for Guitar)
03. Sacagawea
04. Lute Sonata No. 18 in D Major: VII. Passacaglia
05. Texas Girl at the Funeral of Her Father
06. Spanish Creek
07. 10 Easy Piano Pieces, Sz. 39, BB 51: No. 5, Evening in the Country (Arr. for
Guitar)
08. Jefferson Waltz
09. Toccata (Darkness)
10. Walk Away
11. America the Beautiful (Arr. for Guitar)

The Fifth Row: An Acoustic tour of Historic Theaters. Many old theaters I have
played in across the country share a remarkably common story; they have been
saved from the wrecking ball by a few volunteers dedicated to preservation, and
to bringing live entertainment back to their community. 

As compelling a story as that is, my interest in these historic theaters was to
discover what unique qualities they may offer as a recording space. I learned
long ago that focusing on the sound coming off the guitar is not as important as
listening to the room in which the guitar is being played. We may perform from
stage, but our ears have to be in the house. The Fifth Row to be precise.
Inherent in each theater is a unique sound quality, an acoustic fingerprint
that, with careful microphone placement can itself be captured and preserved. 

The eleven theaters included on this recording are in various degrees of
revival. Some have undergone exquisite restoration, while others are waiting and
searching for the financial means to pay for the expensive renovations. Their
architectural styles vary as well, from 17th century European to Art Deco, from
Egyptian to Swiss Chalet. Some are grand, some are humble, and all have a story
to tell. 

I limited my geographic scope to a five state area in the Rocky Mountain region.
Here, the explosive growth of the late 19th century and early 20th century saw a
crop of Opera houses spring up to cash in on citizens far removed from the
cultural amenities of the Eastern states. In the “boom” half of the
familiar cycle, these gems were the real gold mines. Unfortunately most of these
original houses are gone, many to fire, others to neglect and economic despair. 

A second surge of theater construction in the 1920’s was in direct
response to the burgeoning movie craze. These palaces were often intended for
multi use, able to accommodate the talkies, but also equipped with deep stages
and towering flies to hoist sets for plays and musicals that traveled through
town. 

Another factor in my choosing the theaters of the Northern Rockies was purely
logistical. I live in Montana, and location recordings require a considerable
amount of equipment, which meant driving. The long distances between these
theaters gave me plenty of time to think. I was crossing the same ground that
vaudeville acts of 125 years ago traveled as they toured the mining town
circuit. The similarities don’t go much beyond that, since I am speeding
down a modern highway in my air-conditioned Grand Cherokee listening to a mix in
surround sound. Yet there is a connection. My art is my work. 

The process was relatively simple. After setting mics and levels in the late
afternoon I ate an early dinner, drew my curtains closed in the hotel and was in
bed by 7:00. Up at midnight, I began pacing myself so that by 3:00am, when the
recording light went on, I would be playing my best. I am not a night person by
nature, but I discovered early on in this project that, while theaters may have
been designed with acoustic excellence in mind, they were built long before the
rumble of heavy truck traffic and the drone of modern society penetrated their
walls. If my recording was going to succeed, it would have to be while the town
slept. I worked alone, theater locked, and all the lights off except for a floor
lamp next to me on stage that I could guarantee was quiet. Virtually every
theater manager warned me of spirits that roamed the balconies and projection
rooms, but I had no such encounters. In the dead of the night I pushed myself
hard, through take after take, searching for my best. If their existence were a
reality they left me alone, assuming I had my hands full wrestling with my own
demons, seeking perfection. The truth is I loved working in those spaces.

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