Gordon Giltrap – On Starfield and a Lifetime of Music

1. Your new album Starfield is full of personal and collaborative pieces. How did it feel to revisit the title track with lyrics inspired by a dream about your late wife?

It was very emotional experience and very hard to put into words. Grief is a very personal thing and everyone deals with it in their own way.The dream in question brought me a degree of comfort and helped me come to terms with her passing and reassured me that their is something beyond the physical body and that the soul goes on. This of course is just my personal belief.

2. Susy Wall’s vocal performance on the vocal version of “Starfield” adds a haunting new layer. What was it about her voice that felt like the perfect fit for this track?

I had worked with Susy before and her gentle delivery brought shivers and a tear to the eye.

3. “12 Towers at Dawn” began as one of your medieval-flavored pieces and evolved into a progressive rock collaboration. What was it like hearing your music interpreted by Alessandro Corvaglia?

Alessandro took that piece to a different level beyond my imagination.

4. You’ve described “Small Pockets of Joy” as a nod to Pete Townshend’s ‘Substitute.’ What draws you to that kind of musical inspiration, and how do you channel it into your own acoustic language?

The piece follows a similar chord structure as Substitute and Pete is one of my major guitar influences with his Incredible rhythmic and exciting strumming style that you can hear in much of my early work.

5. You’ve long been known for storytelling through the guitar. How do you know when a composition wants to remain instrumental—or when it’s asking for lyrics and voice, as with Starfield (Vocal)?

The vocal element is a relatively new thing for me and one which I find quite exciting.

6. The inclusion of sonic soundscapes in “The Dodo’s Dream” creates such a rich atmosphere. How do you approach collaboration with artists who bring a more electronic or ambient palette to your acoustic work?

The man in question is Paul White one of the most respected people in the business and also a fine blues influenced guitarists so I knew he would be perfect for my piece so I just let him do his own thing the end result was of course delightful.

7. After decades in the industry, you’ve remained a vital voice in British guitar music. What keeps you inspired to write, record, and share new projects like Starfield?

I really don’t know maybe it’s just a desire to try new things and move forward.It really is a desire to discover new tunes on the guitar and see where it leads you.

8. You’re generously donating all royalties from Starfield to the Teenage Cancer Trust. What inspired that decision, and what does the charity mean to you personally?

I have a friend who’s teenage son was diagnosed with cancer and being one who had cancer and survived I know what it’s like to be struck down by it.Its a very worthwhile charity.

9. Your music has always had a cinematic vibe. Have visual arts, like Rodney Matthews’ work, often played a role in shaping your musical imagination?

Yes indeed from Visionary 1976 onwards to The Peacock Party 1981 and latterly The Brotherhood Suite inspired by Pre Raphaelite paintings on the Brush and Stone album with Rick Wakeman.

10. You’ve said some of your pieces came together quickly, like “Starfield (Instrumental)” in just 20 minutes. Do your best pieces tend to arrive suddenly, or do they more often come through slow refinement?

Pieces that come quickly are the best so one doesn’t get bogged down with technique.

11. Many guitarists admire your technical brilliance, but it’s your emotion and phrasing that truly resonate. What advice would you give younger players about finding their own expressive voice on the instrument?

Think about the tune which is of paramount importance and will hopefully touch people on a deeper level.

12. Looking back ove early solo works to collaborative projects and this latest album—what would you say has been the most surprising part of your journey in music?

Collaborating with other musicians and sharing their creativity is a joy.

Information: home – Gordon Giltrap