Wellington-based pianist Samuel Philip Cooper released his debut album in 2020 to raise awareness around mental health and raise funds for the Voices of Hope Mental Health Charity through a Givealittle fundraiser and physical CD sales. In January of this year, he was sat at home one night reflecting on what had happened so far and what the future may hold, and in that quiet time he sat and gently improvised some music which has now become the basis for this, his new single. He worked with producer Jonas Persson to record this and other pieces on a Grotian grand piano at Massey University Recording Studio in Wellington which will be released gradually over the next 12-18 months which are all again centered on raising awareness and support on mental health.
The result is something that is delicate and refined, no rush over a tumble of notes but instead each sequence and chords are carefully chosen with use of the sustain pedal which allows Samuel to create a very different world. This is far more restrained that what I have heard from him previously, with a melody which keeps changing and engaging the listener, and a touch which at times is so gentle that the notes can only just be heard. Consequently, the only way to get the best from this piece is by playing it on headphones and paying close attention – it is not music to be played in the background or when there are distractions as it would just get lost. It is only in the final seconds that he allows himself to play more dramatically, as he moves to the finale.
Some piano music can seem like a stream or a babbling brook, but this is more like gentle rainfall hitting leaves in a forest, but the sun is still shining and who knows what magic will appear in the rainbow? It is lulling, soothing, relaxing and a complete antithesis of what can often be found in the charts or on popular radio. I would have liked it to have been longer, as at 2:20 it does seem rather short, and there is more here which could have been developed, but there is a depth within the simplicity which is sublime.
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About the author Kev Rowland
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From 1990 – 2006 I ran Feedback fanzine in the UK, writing about bands that were rarely covered in the mainstream press, many of whom were in the underground scene. I built close ties with many British Progressive groups in particular, including writing the newsletter for Freewill, getting gigs for Credo and writing the introduction to Galahad’s OCMDII compilation. I reviewed literally thousands of cassettes and then CDs from bands from throughout the world, and was lucky enough to interview many of them. During this period I also contributed to the French progzine Acid Dragon, wrote for the music newspaper Rock ‘n’ Reel and was also involved with the Ghostland website. In 2006 I moved to NZ, and stopped running Feedback (which was then renamed Amplified after I left, at my request) having produced over 80 editions with more than 11,000 pages of print and heaven knows how many reviews
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