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Eric Scott describes “50 minutes from Paris” (Day 031) as “a collection of piano miniatures. At the time I was composing much of “Paris: A Musical Overpass,” my musical attitudes were to embrace methods of formal composition formerly unexplored by me…so I was researching listening to the entire Satie catalogue, looking for a pattern in his compositional evolution…

“I wanted to find parallels in my own work; some of that was purely for inspirational. He seemed like such a sad but brilliant little man, and so unappreciated by many, that I felt I might begin to do justice by first understanding that, and to get the feeling of my playing right. So during that period, I became much more interested in music that could speak in very short phrases, and eloquently enough not to require a full orchestra or band of any sort. ‘Sports et Divertissements,’ ‘Sonneries de la Rose et Croix’ and ‘Embryons Desseches’ were best examples of where I wanted to go next with that music. But for some reason, I made this album instead!”

Works include “Trocadèro No. 1“, “Un Moment, S.V.P.“, “Accept Small Services”, “Arts Et Mètiers No. 1”, “Cité Universitaire”, “Segue No. 1”, “Ronde No. 3”, “Pyramide”, “Trocadèro No. 2“, “Rond-Point d’Etoile”, “Allez…!”, “Parc De Sceaux | 26.6.86”, “Segue No. 2”, “La Géode”, “Arts et Mètiers No. 2”, “Un Moment Revisité”, “L’Air du Polisson” and “Parc De Sceaux (Full-Length)”.