The first couple of hours recording were probably the most intense I’ve had for a while. Getting the sound sorted (including foldback headphones for the orchestra, a separate setup for Josh, and a completely separate mixer and in-ear monitoring setup for Lance), almost looked as if it wasn’t going to happen. During the first break I called a meeting with Josh, Lance, Steve G, Keith Warren, Marc Taddei, and Graeme to see what could be done. Interestingly I found out much later that the orchestra panicked at my calling this meeting and Keith Warren (wise pro that he is) instinctively went to reassure them. Why they panicked, and why they needed reassuring? Somebody tell me.

I found it a challenge to work with the orchestra’s resistance in the afternoon session. Admittedly it was loud in the town hall, even with Lance sealed off in a pseudo-booth under the balcony.  Orchestras have always been a mystery to me. I really envy the composers who have played in orchestras; not just for learning orchestration “from the inside”, but also for being able to decipher orchestral culture.

Speaking to the NZSO in the afternoon and announcing we were aiming at multiple full-takes of the concerto once we had all the individual sections covered, I was shocked at the reaction - groans and complaints. I mean, weren’t we paying for this? What were they expecting? It was equally surprising to me how many players came up to me individually and apologized for the orchestra’s behavior. Anyway, as usual they played their asses off and now we have so much energy caught on tape I’ll find it exhausting just auditioning the takes.

Following the recording session of the saxophone concerto, the American Ambassador to New Zealand, William McCormack, generously hosted a reception to honor Joshua Redman. It was attended by Prime Minister - and Minister of the Arts - Helen Clark. What a day! The surreal intensity of the day’s recording experience was actually exceeded by my own stress of having to speak to the assembled guests after Ambassador McCormick and before the Prime Minister and Joshua. There was a lovely moment where the Prime Minister and US Ambassador were each presented with a (framed) front page of the saxophone concerto score, signed by both Josh and myself.

It’s largely thanks to Richard Benge (Cultural Attache at the US Embassy) that this reception took place. Richard has been wonderfully supportive and made it possible for Duncan and I to meet with Ambassador McCormick earlier in the year. Richard also arranged for a powerful Waiata to be sung by Zane Jarvis at the start of the reception's formalities.