“Silesian Mist” (Composed by Reynold D. Philipsek 2018 copyright) Guitar and mandolin – reynold, Acoustic bass – Matt Senjem, Percussion- Michael Bissonnette My family’s roots are in Eastern Europe. My paternal origins are in Opole (Poland) in Upper Silesia. I tried to honor this heritage with this piece of music. The main theme is in 11/4 and serves as a […]
“The Pubs of London” Written and arranged by Reynold D. Philipsek 1994 copyright Zino-Reph Music (BMI) guitars, synth, glockenspiel and vocals-Reynold Zane Schaefer- trombone and trumpet Lowell Larson-trombone Steve Read-Smith-drums Luke Kramer- bass (from “Global Home Movie.”) I had already spent much time in England before 1994 but by this time I had a good friend who was living and
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“Astoria”composed by Reynold D. Philipsek2008 copyrightguitar-reynoldharmonica-Clint HooverThis is an outtake clip from the documentary “A Life Well Played”.It was just recently rediscovered.The clip is of Clint Hoover (harmonica) and me playing “Astoria” ( a song we recorded in 2008).Clint and I eventually went on to form the quartet East Side with Matt Senjem and Michael Bissonnette.We made two albums.Clint has
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“Silesian Mist” (composed by reynold d. philipsek 2018 copyright Zino-Rephi Music BMI) guitar, mandolin-reynold percussion-michael bissonnette acoustic bass-matt senjem My family comes from the eastern part of Europe (Poland, Ukraine and Bohemia or Silesia). My natural tendency is toward harmonies that reflect an Eastern European bent which are basically minor scalar things with flattened fifths and raised sevenths. That might
“1965” composed and performed by Reynold D. Philipsek copyright 2012 Zino-Rephi Music (BMI) 1965 when I was 12 years old was a big year for music in my opinion. I already played guitar and was writing some very primitive music of my own. The Beatles were big on my list as were Wes Montgomery and Burt Bacharach. This song somehow
“Vienna Blues” written and performed by Reynold Philipsek 2011 copyright zino-rephi music (BMI) The Second Viennese school of Schoenberg, Berg, and Webern has long been of interest to me. The idea of composing a melody line comprised of all 12 notes without repeating any is a tough job. I have written two pieces based on a 12 tone line and