1. A contract of concern 6:41

2. Same Sun Shines on Everyone 4:38

3. Don’t Step on my Shadow 4:59

4. Shot 3:08

5. Every Different Shade of Fly 3:43

6. Love-Dog, Content Prisoner 3:45

7. Good Crazy 4:57

8. In Love with Another Girl 5:25

9. Daily Drive 4:06

10. Hollywood Ending 5:25

Edible Music

The rhythm section remained constant throughout the sessions: Kenny McDougald on the trap kit, Larry Antonino playing one of his many impressive basses & Tiki Pasillas adding percussive spice. Rob Mullins romped the ebony & ivory of the nine foot grand piano on all but one song. Preston Glass played a vintage Wurlitzer piano or the equally elder Rhodes piano depending on the orchestration & shared instruments with Rob for selected racks; Preston gracing the grand piano for Same Sun Shines on Everyone. Alan Glass & Phil Gates complimented each other on guitar for the first two sessions, while Grant Geissman & Duane’ Neillson locked in for the final three sessions. Craig Thomas played baritone, tenor, alto & soprano sax, as was needed, on every song except “Daily Drive”. Johnny Britt of the band Impromp2 joined us, exacting the trumpet & flugelhorn for that poignant song.

Filling out and headlining the list of incredible musicians to perform, Booker T. Jones, of Stax Records fame, arrived to lay down two overdubs on the Hammond B-3 organ. Filmmaker Todd Felderstein documented Ryan & Booker T. having lunch that day. When Todd stopped rolling, he remarked, “You guy didn’t talk about music at all…” Ryan contested, “…but we talked about real life…manifestations of love…growing up…actually learning from your mistakes…” It truly wasn’t the average type of lunchtime conversation, but nothing about these sessions was average.

The cast of female vocalists included diva Roberta Freeman singing on the duet “Don’t Step on my Shadow.” Backing Ryan was Elaine Gibbs & Julia Jordan. Elaine, with raw, robust quality, gave identity to songs like “A contract of concern” & “Love-Dog, Content Prisoner.” Julia, complimenting Ryan with her warm, sultry tone, solidified the bridge section of “Daily Drive” & added greater sensuality to songs like “Good Crazy.”

The recording sessions wrapped on the 20th of March & mixing sessions began the following day. Three full days yielded not enough time to compete the process. Engineer Christopher Henry, Preston & Ryan worked into the night on Saturday to meet the Monday morning deadline. However, they still weren’t satisfied that the mixes were complete. Chris, Ryan & 2nd Engineer Lucas Loo assembled in Studio A on Sunday night at 10pm— just twelve hours before the mastering session. Preston attended via telephone/computer until 2am, but Chris, Ryan & Lucas didn’t finish the mixes until after 5am.

Less than five hours later, 10am, 26th of March, Preston & Ryan convened with Michael McDonald in the Mastering Suite at Private Island Trax. In five hours time, Michael had the finishing touches in place & EDIBLE MUSIC was complete. The recordings turned out so flavorful & delicious, it must be sinful to partake. Yet the words & music have such sustenance, they easily feed any wary mind & soul. Beyond any doubt this album testifies a true talent for musical composition & the recording process: the debut release of Ryan Cox, An Inquiry into the Nature and Causes of EDIBLE MUSIC.

Though no part of this product is literally edible, it stands as a timeless source of mana. It pays homage to the most fundamental of all human resources: food.

——-Zephyr Morgan, Hollywood, CA, April 2007