Shadowfax -

Shadowfax was an American jazz band from Chicago that first appeared with the 1976 Passport Records jazz-rock release Watercourse Way. After six quiet years, they reemerged as a new age act on Windham Hill Records.

Members: Chuck Greenberg (Lyricon, saxophone, flute, oboe, recorder, 1972-95), Phil Maggini (bass, 1972-95), Stuart Nevitt (drums, tabla, percussion, 1972-95), Greg Stinson (guitar, sitar, vocals, 1972-90), Doug Maluchnik (keyboards), Jamii Szmadzinski (violin), Jared Stewart (keyboards), Emil Richards (percussion), David Lewis (keyboards), Charlie Bisharat (violin), Ramon Yslas (percussion), Armen Chakmakian (keyboards), Andy Abad (guitar)

Background

Shadowfax formed in Chicago in 1972 when multi‑reedist Chuck Greenberg (1970–1995) joined forces with guitarist G.E. Stinson and bassist Phil Maggini around a shared interest in blues, jazz‑rock and improvisation. Greenberg toured earlier in the Midwest as a backing musician for the Bee Gees, and his experience on the road brought him into contact with studio‑session opportunities in Chicago’s jazz and blues scene.

By 1974 the group expanded its rhythmic foundation by recruiting drummer‑percussionist Stuart Nevitt. They performed in clubs around the Midwest while refining their instrumental identity.

In the years preceding their debut recording the members drew on their blues‑rock roots while exploring wind‑synth and fusion textures; Greenberg helped develop the Lyricon (the first electronic wind instrument) with engineer Bill Bernardi, which would become a signature voice of the band.

Their early set‑lists featured a mix of guitar‑driven improvisation, reeds and flute interplay, and novel keyboard sequencing. The name “Shadowfax” was adopted as a nod to the swift mythic horse in The Lord of the Rings by J. R. R. Tolkien, reflecting their aim at fluid, soaring instrumental motion.

Watercourse Way

Shadowfax released their debut album, Watercourse Way, in 1976 on Passport Records.

The album presents their early electric–acoustic hybrid with sharply contoured guitar lines, layered woodwinds, and shifting rhythmic patterns.

They employ a wide range of uncommon timbres, using sitar, lujon metallophone, bamboo percussion, and rare keyboards like the ARP 2600, Mini Moog, Chamberlin, Oberheim digital sequencer, and Baldwin and Rhodes electric pianos. Greenberg plays soprano sax, oboe, bass clarinet, flute, and multiple recorders, while the Lyricon adds processed wind-synth textures throughout.

Watercourse splits between dense, fast-tempo electric pieces and acoustic, chamber-like interludes. “The Shape of a Word” opens with brisk, fractured patterns for electric guitar, grand piano, and Mellotron textures (via Chamberlin) that tilt between clustered runs and brief suspended passages. “Linear Dance” maintains a rapid, percussive pace with sharp vocal phrasing, propelled by drums, tabla, and electric bass.

“Petite Aubade” contrasts with quiet, sectional writing for flute, recorder, classical guitar, harpsichord, and piano. “Book of Hours” shifts from bright, overlapping keyboard figures into a slower, reed-led midsection with sitar coloration before regaining its earlier intensity. “Watercourse Way” alternates 12-string patterns, reeds, cowbell, and hand percussion in measured cycles. “Song for My Brother” spans gradual crescendos with floating textures for piano, electric guitar, and Chamberlin, ending in a sustained electric solo framed by rhythmic accents on bells and bongos.

Guitarist G.E. Stinson wrote “The Shape of a Word,” “Linear Dance,” and “Song for My Brother,” and co-wrote “Petite Aubade” and “Watercourse Way” with multi-reedist Chuck Greenberg. Keyboardist Doug Maluchnik composed “Book of Hours.”

A1. “The Shape of a Word” (7:29)
A2. “Linear Dance” (5:51)
A3. “Petite Aubade” (5:59)

B1. “Book of Hours” (6:37)
B2. “Watercourse Way” (6:04)
B3. “Song for My Brother” (9:41)

Sessions occurred in November 1975 at the House Of Music in West Orange, New Jersey, with producer Larry Fast, who oversaw Watercourse Way between his first two electronic albums under the moniker Synergy. He also worked on 1975/76 titles by Nektar (Recycled) and Sylvia Robinson (“Red Vibration”).

Watercourse Way features a painting by an uncredited artist that depicts a highland waterfall cascading through rocky terrain beneath an eagle in flight, with snow-capped peaks rising in the distance.

Shadowfax

Shadowfax released their self-titled second album in 1982 on Windham Hill Records.

The album presents a measured, acoustic–electric blend centered on Lyricon, soprano sax, 12-string patterns, and lightly pulsed percussion. It marks their first Windham Hill release and refocuses the band around compact, sectional writing with an emphasis on texture and timbral contrast.

Guitarist G.E. Stinson wrote “Vajra,” “Move the Clouds,” “Marie,” and co-wrote “Wheel of Dreams” and “Ariki (Hummingbird Spirit)” with Lyricon player Chuck Greenberg, who also composed “Angel’s Flight” and “A Thousand Teardrops.” Bassist Phil Maggini wrote “Oriental Eyes.”

The material divides between fast, briskly accented pieces with sharp rhythmic pulses and slower, suspended themes sustained by long-tone reeds and ringing guitar voicings. “Angel’s Flight” moves in steady, bright cycles led by Lyricon contours. “Vajra” uses tightly patterned 12-string figures over active percussion. “Wheel of Dreams” shifts from clipped, mid-tempo motifs into wider, open sections for reeds. “Oriental Eyes” develops in slow arcs for Rhodes, bass, and tuned percussion.

“Move the Clouds” has a rapid acoustic figure that frames short, rising reed lines. “A Thousand Teardrops” unfolds at a gradual pace with layered keyboard tones beneath elongated phrasing. “Ariki (Hummingbird Spirit)” runs on persistent, lightly accented percussion with short, recurrent guitar shapes. “Marie” closes with extended violin lines and a midsection that thickens in pace and harmonic density.

A1. “Angel’s Flight” (4:05)
A2. “Vajra” (4:26)
A3. “Wheel of Dreams” (4:51)
A4. “Oriental Eyes” (4:59)

B1. “Move the Clouds” (3:11)
B2. “A Thousand Teardrops” (4:21)
B3. “Ariki (Hummingbird Spirit)” (3:18)
B4. “Marie” (5:57)

Sessions occurred in May–June 1982 at Studio America in Pasadena, California, with Chuck Greenberg as producer and an unnamed in-house engineer.

Shadowfax charted at No. 19 on the Billboard Jazz Albums chart.

Shadowdance

Shadowfax released their third album, Shadowdance, in November 1983 on Windham Hill Records.

The album presents tightly arranged acoustic–electric pieces that center on 12-string patterns, Lyricon themes, and layered global percussion. It marks their second Windham Hill title and refines the compact, sectional writing introduced on Shadowfax with a greater emphasis on shifting meters and timbral contrast.

Guitarist G.E. Stinson wrote “New Electric India,” “Ghost Bird,” “A Song for My Brother,” and co-wrote “Petite Aubade” and “Watercourse Way” with reedist Chuck Greenberg, who also composed the title track “Shadowdance.” They cover two compositions by Don Cherry on “Brown Rice/Karmapa Chenno.”

Shadowdance divides between fast, percussion-driven pieces with sharply accented rhythmic cycles and slower themes that develop in suspended arcs for reeds, violin, and 12-string guitar. “New Electric India” moves at a mid-fast pace with a sitar-like lead timbre over a steady, bright pattern enhanced by water cymbals and kanjīra. “Watercourse Way” unfolds as an ensemble piece with violin lines over measured guitar figures.

“Ghost Bird” rides a low, persistent bass line that parallels the tenor sax in tight unison. “Shadowdance” alternates between extended and shortened meters, placing its strongest accents at the end of each measure; the theme reappears in incremental layers across successive cycles. “Brown Rice/Karmapa Chenno” uses whispered vocals over hand percussion and short, rising motifs. “Distant Voices” proceeds at a slow, open pace with flute and guitar shading. “A Song for My Brother” extends across multiple sections with gradual dynamic rises for violin, reeds, and keyboards.

A1. “New Electric India” (5:12)
A2. “Watercourse Way” (5:06)
A3. “Ghost Bird” (5:04)
A4. “Shadowdance” (5:20)

B1. “Brown Rice/Karmapa Chenno” (4:18) — covers two Don Cherry compositions first recorded in the 1970s; this version incorporates whispered vocals over hand percussion
B2. “Distant Voices” (3:46)
B3. “A Song for My Brother” (9:04)

Sessions occurred in 1983 at an unlisted California studio with Chuck Greenberg as producer and an unnamed engineer.

Shadowdance reached No. 145 on the Billboard Top LPs & Tape chart and No. 13 on the Jazz LPs chart.

The Dreams of Children

Shadowfax released their fourth album, The Dreams of Children, in February 1985 on Windham Hill Records.

The album presents concise, acoustic–electric pieces with Lyricon leads, violin lines, and hand percussion in measured, mid-tempo settings. It marks their third Windham Hill release and refines their blend of contoured reed themes, layered guitars, and global percussion accents.

Dreams divides between steady, lightly accented themes and pieces driven by brisk percussion cycles. “Another Country” moves in simple, even-meter pulses with flute lines over clustered hand percussion. “Snowline” follows with medium-paced phrases for reeds and keyboards. “The Big Song” opens in a slow, open frame before settling into a direct, beat-centered pattern.

“The Dreams of Children” develops in broad arcs with subdued dynamics. “Word from the Village” uses chant-like vocals over alternating sections with and without saxophone. “Kindred Spirits” opens with heavy bass and keyboard figures in firm, forward motion. “Shaman Song” centers on violin phrasing above active percussion with short, rising patterns. “Above the Wailing Wall” features guitar and violin statements that break into variant lines before the piece closes.

A1. “Another Country” (4:20)
A2. “Snowline” (4:30)
A3. “The Big Song” (4:00)
A4. “The Dreams of Children” (4:50)

B1. “Word from the Village” (4:40)
B2. “Kindred Spirits” (4:15)
B3. “Shaman Song” (5:20)
B4. “Above the Wailing Wall” (4:50)

Chuck Greenberg wrote “Another Country,” “Snowline,” and the title track. He co-wrote “The Big Song” with keyboardist David C. Lewis and guitarist G.E. Stinson, who also composed “Word from the Village,” “Kindred Spirits,” and “Above the Wailing Wall.” Bassist Phil Maggini contributed “Shaman Song.”

Sessions occurred in 1984 at an unlisted California studio with Chuck Greenberg as producer and an unnamed engineer.

The Dreams of Children reached No. 126 on the Billboard 200 and No. 10 on the Jazz Albums chart.

Too Far to Whisper

Shadowfax released their fifth album, Too Far to Whisper, in 1986 on Windham Hill Records.

The album presents compact pieces built on steady, mid-tempo patterns with layers of reeds, violin, guitars, and global percussion. It marks their final Windham Hill release and expands their palette with increased electric texture and occasional vocals.

Chuck Greenberg leads on reeds and Lyricon with violinist Charlie Bisharat, guitarist G.E. Stinson, keyboardist David C. Lewis, bassist Phil Maggini, and percussionist Stuart Nevitt. The group augments its sound with three guest percussionists, including Emil Richards and Adam Rudolph.

The material shifts between brisk, accent-heavy pieces and slower, open-frame passages. “Too Far to Whisper” opens the album in medium pace with entwined violin and reed motifs. “What Goes Around” uses a clipped rhythm pattern under vocal passages. “China Blue” centers on circling bass figures and contoured violin lines. “The Orangutan Gang (Strikes Back)” moves in short, percussive bursts with sudden turns.

“Road to Hanna” sets measured violin phrasing over a subdued rhythmic base. “Streetnoise” carries a firm pulse with alternating Lyricon and sax voices. “Slim Limbs Akimbo” uses chiming percussion in irregular cycles. “Tsunami” moves from quiet patterns to stronger, low-end accents. “Maceo” rides a mid-paced beat with sax figures in rising arcs. “Ritual” closes the album with intersecting parts for reeds, guitar, and percussion.

A1. “Too Far to Whisper” (4:36)
A2. “What Goes Around” (4:29)
A3. “China Blue” (4:11)
A4. “The Orangutan Gang (Strikes Back)” (3:53)
A5. “Road to Hanna” (4:08)

B1. “Streetnoise” (4:17)
B2. “Slim Limbs Akimbo” (4:03)
B3. “Tsunami” (4:40)
B4. “Maceo” (4:01)
B5. “Ritual” (3:44)

Guitarist G.E. Stinson wrote “Too Far to Whisper” and “What Goes Around,” and co-wrote “Ritual” with reedist Chuck Greenberg, who also composed “Streetnoise.” Bassist Phil Maggini contributed “China Blue” and “Maceo,” and third-wrote “Ritual.” Keyboardist David C. Lewis wrote “The Orangutan Gang (Strikes Back)” and “Tsunami,” while violinist Charlie Bisharat composed “Road to Hanna.”

Sessions occurred in February 1986 at an unlisted California studio with Chuck Greenberg as producer.

Too Far to Whisper reached No. 118 on the Billboard 200 and No. 24 on the Jazz Albums chart.

Folksongs for a Nuclear Village

Shadowfax released their sixth album, Folksongs for a Nuclear Village, on March 30, 1988, on Windham Hill Records.

The album presents tightly arranged pieces with denser percussion, sequenced keyboards, and expanded electric texture. It marks their first release for Capitol and accelerates their shift toward rhythm-centered arrangements with multi-layered reeds and violin.

Chuck Greenberg leads on Lyricon, multiple saxophones, and flutes with guitarist G.E. Stinson, violinist Charles Bisharat, keyboardist David C. Lewis, bassist Phil Maggini, and percussionist Stuart Nevitt. They augment the lineup with three guest percussionists, including Emil Richards.

Nuclear Village divides between steady, percussion-heavy tracks and spacious mid-tempo pieces with contoured themes. “The Firewalker” opens with intersecting reed figures above active percussion cycles. “We Used to Laugh” follows with steady pacing under sax phrases that rise and fall in short arcs. “Solar Wind” sets bright keyboard patterns against lighter rhythmic motion. “Behind Green Eyes” moves in measured pulses with violin lines that break into angled turns.

“Lucky Mud” combines hand percussion, sampled drums, and compact guitar figures. “Madagascar Cafe” uses quick changes with bright accents from mallet percussion. “Against the Grain” and “No Society” place Bisharat’s violin over firm rhythmic bases with sequenced keyboard layers. “Elephant Ego” unfolds between soft passages and louder, drum-driven surges. “Folksong for a Nuclear Village” closes the album with alternating calm sections and denser ensemble passages built on recurring patterns.

A1. “The Firewalker” (4:54)
A2. “We Used to Laugh” (4:07)
A3. “Solar Wind” (5:08)
A4. “Behind Green Eyes” (5:17)
A5. “Lucky Mud” (4:40)

B1. “Madagascar Cafe” (3:06)
B2. “Against the Grain” (3:42)
B3. “No Society” (4:16)
B4. “Elephant Ego” (5:00)
B5. “Folksong for a Nuclear Village” (5:13)

Chuck Greenberg wrote “The Firewalker” and “We Used to Laugh.” Keyboardist David C. Lewis composed “Solar Wind” and “Elephant Ego.” Violinist Charles Bisharat contributed “Against the Grain” and “No Society.” Percussionist Stuart Nevitt wrote “Lucky Mud” and co-wrote “Madagascar Cafe” with guitarist G.E. Stinson, who also co-wrote the title track with bassist Phil Maggini, composer of “Behind Green Eyes.”

Sessions occurred in late 1987 at Powertrax in Hollywood with producers David Kershenbaum and Harry Andronis.

Folksongs for a Nuclear Village reached No. 168 on the Billboard 200, No. 10 on the Contemporary Jazz chart, and No. 9 on the New Age Albums chart.

Discography: