Margaret Slovak’s New Christmas Album “A Star Light Does Fall”

The Austin, Texas guitarist, Margaret Slovak, talks of her newest recording, A Star’s Light Does Fall – a delightful album of intimate, reflective Christmas music.

JB:  You speak of this album being in the tradition of Pat Metheny/Charlie Haden’s Beyond the Missouri Sky.  Tell us about the impact of that album upon you when you first heard it.

MS:  When I first heard Beyond the Missouri Sky, I was blown away on many levels: the emotional depth and stunning beauty of Pat and Charlie’s playing, their magical interplay, their incredible improvisational explorations, and the lyrical nature of the songs. I also love the way that they use space throughout the album; the music really breathes. So, when Chris and I started to record our album, Beyond the Missouri Sky was a huge inspiration.

JB:  In the tradition of guitar/bass albums, in addition to the above-mentioned Metheny/Haden, other classics are Jim Hall/Ron Carter, Joe Pass/Niels-Henning Orsted Pedersen, Bill Frisell/Thomas Morgan, and many others.  Talk about the unique freedoms and special challenges of performing as a guitar/bass duet.

MS:  I love playing duo with bass players! Although I also enjoy playing with pianists, drummers, and other instruments, there’s a special connection between guitar and bass that allows for a high level of interplay. We can trade roles easily – I can play single note lines, chords, arpeggios, bass lines, and chord-melody combinations, and so can Chris. In addition, the guitar/bass duo format allows each of us great harmonic and melodic freedom when improvising and comping. But there are challenges! The duo time feel has to be strong, and there is more space with just two instruments; every note we play is very exposed. But that’s also the beauty of it; as Chris once said, space becomes another player in the room!

JB:  Other than that, the Metheny/Haden album was all ballads, talk about why you chose all ballads as well.

MS:  We wanted to record a Christmas album that could bring comfort and peace to people, especially those facing life and health challenges or grieving the loss of a loved one. For me personally, in times of difficulty, I always reach for that classic Johnny Hartman and John Coltrane’s album of ballads.
 

JB:  You choose a number of traditional Christmas songs.  Let me ask about a couple of the lesser-known ones:

“Infant Eyes” by Wayne Shorter:

MS:  This gorgeous composition by Wayne Shorter is an absolute gem; I have always loved it. Although it is not really a Christmas song, my understanding is that Wayne Shorter wrote it for his infant daughter Miyako. It seems to embrace the mystical beauty of staring into an infant’s eyes, which are full of wonder and magic. Their eyes and hearts are open; nothing prevents them from having a total embrace with the world. For me, it captures the essence of hope and renewal, which is a feeling I wanted to convey during this season.

Paul Stookey’s “Christmas Dinner”

I first heard this song, written in 1963 by Paul Stookey of Peter Paul and Mary, when I was a small child. Although we recorded an instrumental version, the lyrics are very moving, and the melody is so simple and beautiful. I think of the lyrics when I play the song. The moral of the story, that we are to share whatever we have with those less fortunate, is relevant to our times.

Leonard Cohen’s “Hallelujah”

Although it’s not a traditional Christmas song, “I love the way “Hallelujah” welcomes people of all faiths to listen, to enjoy, and to take comfort from it. Leonard Cohen’s composition is amazing; the melodic and harmonic structures are simply beautiful, perfect, and elegant. 

JB:  What do you appreciate about making music with Austin, Texas bassist Chris Maresh?

MS:  I first started playing with Chris in November 2023. We had an immediate musical connection, which may have something to do with the fact that we both had Czech fathers who were musicians! Chris is an amazing electric and acoustic bassist, composer, and arranger; even though he has incredible chops, he never overplays, and his melodic lines are lyrical and gorgeous. He hears things orchestrally and has a deep emotional component to his playing; he also has perfect time and big ears! We worked on the arrangements together for this album; it was really fun and inspiring to exchange ideas and come up with new and unique ways to play these songs. Chris is a joy to work with!

JB:  What do you appreciate about the Godin nylon-string guitar you use here?

MS:  I had a car accident in 2003; I injured my right hand, arm, shoulder, and brachial plexus nerves. I had 8 corrective surgeries and went through years of physical therapy.  Because of these injuries, I can no longer play full-bodied guitars; I have to keep my right arm close to my side when I play. My Godin ACS Koa solid body nylon string is the perfect instrument for me; it allows me to keep my arm in the best possible position to reduce pain and increase the function of the nerves that control my hand. Even though it needs to be amplified, it still has an acoustic feel and response, and the Koa wood soundboard gives it a very beautiful tone. 

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