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Listen! For some, TRAGEDY is every day...

  1. Robbie Shakespeare Session Listen 2The Call 08-Mar-2010
  2. Days 19-23: February 8-12, 2010 Listen 2The Call 13-Feb-2010
  3. Day 18: Sunday, February 7, 2010 Listen 2The Call 13-Feb-2010
  4. Day 17: Saturday, February 6, 2010 (Bob Marley Day) Listen 2The Call 12-Feb-2010
  5. Day 16: Friday, February 5, 2010 Listen 2The Call 12-Feb-2010
  6. Day 15: Thursday February 4, 2010 Listen 2The Call 11-Feb-2010
  7. Day 14: Wednesday February 3, 2010 Listen 2The Call 11-Feb-2010
  8. Day 13: Tuesday Feb 2, 2010 Listen 2The Call 10-Feb-2010
  9. Day 10-12: Saturday, January 29 – Monday, February 1, 2010 Listen 2The Call 07-Feb-2010
  10. Day 9: Friday, January 28, 2010 Listen 2The Call 06-Feb-2010
  11. Day 8: Thursday Jan 28, 2010 Listen 2The Call 05-Feb-2010
  12. Day 7: Wednesday Jan 27, 2010 Listen 2The Call 04-Feb-2010
  13. Day 6: Tuesday January 26, 2010 Listen 2The Call 03-Feb-2010
  14. Day 5: Monday, January 25, 2010 Listen 2The Call 03-Feb-2010
  15. Day 4: Sunday January 24, 2010 Listen 2The Call 02-Feb-2010
  16. Day 3: Saturday January 23, 2010 Listen 2The Call 01-Feb-2010
  17. Day 2: Friday, January 22, 2010 Listen 2The Call 31-Jan-2010
  18. Day 1: Thursday, January 21, 2010 Listen 2The Call 31-Jan-2010

Day 8: Thursday Jan 28, 2010

Listen 2The Call - Friday, February 05, 2010
Tuff Gong
Artiste: Gramps Morgan

The Tuff Gong recording session was a walk in the park for Gramps, and a brisk one. It all happened so fast, he flowed with the creativity of a natural and the precision of a surgeon 1-2-3-4:

1. Gramps Morgan entered the studio, greeting the team.

2. Gramps listened only to the first line of the song: 'Hear the Calling, listen to the voice within...'

3. Gramps entered the sound booth, put on the headset, and said, "Run tune."

4. Gramps poured perfect ad libs throughout an entire song he had never heard before.

The One Take Wonder asked Handel if he wanted to do another take.

“Course Not! That's a wrap!”

The rest of the session belonged to Handel who used the time to consider various options and possibilities.  After just about 1 week, he had over 11 voices to choose from, percussions and guitar to place, and much, much more to come. It is early yet, and while we may not know  the order and placement of all the voices in the song, some parts have already become staples of the project because they flowed so well together. The question still remained, however: How do you make so many sessions gel as if all artists were recording together with an ordered script?

We left Handel studying the architecture of this musical structure. If only we could hear what he hears...


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