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RON KORB |
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If the premise behind World Café and Asia Beauty was to unite the global sonic arts and designs, the 2024 CD release of Global Canvas takes similar genre elements to dizzying heights. By adding in mysterious elements of World Beat, Jazz, neoclassical and more, Korb transcends musical borders by focusing on what unites all great music. It’s almost impossible to pick one or more highlights, as from start to finish there is a parallel connection in play between the tracks. Also worth noting is the Global Canvas album features a number of two-part musical inventions; a main piece preceded by a short prelude that serves as a sonic invitation to the main theme. A good example is Track 3 and 4, “Desire Prelude” and “Desire”. Featuring Indian percussion master Muthu Kumar on tabla, both tracks present the perfect showcase for Korb’s bass flute and flute, also assisted here by Ray Hickey Jr. on koto and guitar along with Bill Evans on grand piano and master drummer Larry Crowe on percussion. Global Canvas tracks like “La La Formosa” and “La La Formosa Positude”, “Havana Sun” and “Bass Flute Bossa” bring elements of Latin and Brazilian Bossa Nova to the fore. There are ample influences from Jobim to Ravi Shankar to smooth jazz and Afro-Cuban rhythms on the track “Havana Sun”, which also features some very Chick Corea influenced piano sounds by way of Latin Grammy winning Afro-Cuban pianist Hilario Duran. Quieter moments on Global Canvas include the Chinese music elements on “Kindness”, another meditative foray that features cello by Margaret Maria and sublime erhu of Xiaoqiu Lin. If anyone ever doubted Korb’s devotion to Asian music, this track is a masterful ear-opener.
That same spirit of spry jazzy fusion found on “Blue Heron” also springs to life on “Azure Nights” which features the same lineup of players including the guitar work of Bill Bridges. Another solo piece here “Angkor Wat” is essentially a solo flute while “Hinamatsuri” is a low-key tribute to Japanese flute music with koto, shamisen and guitar played by Ray Hickey Jr. and shinobue and flute by Ron. “Peace Flute” near the end of the album is another tour-de-force that takes the bass flute well into the musical stratosphere. Global Canvas closes with another 2-part piece called “Three Kingdoms Prelude” followed by “Three Kingdoms”. With Korb on both bamboo flute, bass flute and flute, “Three Kingdoms” is a perfect mix of Asian sounds and Celtic style. Overall, it’s the perfect way to end a wonderful album. Whether your tastes run to Chinese and Japanese style music, Celtic, jazz fusion, World Music or all of the above, Global Canvas is the perfect way to soothe your senses while celebrating the greatness of Ron Korb’s infinite musical imagination.
mwe3.com presents the 2025 interview with RON KORB Ron Korb: Covid feels like a distant memory now, but it was an era that taught me a lot about patience and self-reflection. When it came to creating Global Canvas, I took my time with it. There were songs I worked on slowly, some of which had been sitting in the attic for quite a while that I am so happy they are now finally out for the public to enjoy. During the pandemic, I had the privilege of contributing to several albums, including those by Stewart Copeland, Ricky Kej, and Masa Takumi, which went on to win Grammys. I also had the opportunity to work on music by Darlene Koldenhoven, Liona Boyd, and behind the scenes, I helped Mychael Danna and Tim Clement on the re-release of North of Niagara. Additionally, I played Chinese, Japanese and Western flutes in the film score for The 800, which became the highest-grossing film of 2020 and the first non-English language film in history to top the annual global box office list. mwe3: Tell us how you assembled such an all-star group of musicians for Global Canvas. Have you recorded with some of these artists on your earlier albums? Ron Korb: For Global Canvas... many of the musicians I worked with on previous albums. In other cases, they were people I knew or had performed with but never had the chance to record. You will see a few of my regular band on there, who I have worked with for decades. I suppose you noticed all the players are Canadian. There are so many amazing musicians in Toronto it is not hard to assemble an all-star group. When I record an album I book a rehearsal studio so we can workshop the parts so as a band we can confidently lay down the bed tracks live off the floor. mwe3: You wrote all the tracks, so who else was involved in the production and arrangements on Global Canvas? What is involved in producing and arranging an album with so much sweeping and diverse music? The engineering and mastering is also excellent. Clearly you had some incredible ears working with you on this album. My good friend Bill Bridges helped with some of the string arrangements. Gary Honess recorded and mixed the entire album, just like he did for the last three. We’ve developed this unspoken shorthand over the years, which makes the process really fast and smooth. The mastering was done by Ryoji Hata at Sound Essence in NYC, who also worked on the Grammy-winning Sakura project. He was incredibly helpful, pointing out small details in the mixes that we could improve before he added the final touches. mwe3: Can you tell us how many albums you have released as a solo artist? I am only familiar with three of your most recent album releases but you have a very impressive discography to your name. What are some of your favorites among your own releases and tell us something about your appearances on other artist’s albums? I had forgotten that you worked with Mychael Danna on his albums too. What is he doing these days? Ron Korb: I have about 33 albums some of which are compilations but even those albums featured songs unique to those records. I have only 15 to 20 available depending which streaming service you use. For the moment, I would say Global Canvas is my favorite along with some of the more recent albums that you reviewed like Asia Beauty. Europa is an album that I feel is often overlooked, but it has some really strong tracks, as does Behind The Mask. For my fans, I think Celtic Heartland and Japanese Mysteries still hold the most appeal. As for Mychael Danna, I feel very honored to have played on some of his seminal albums like Sirens, Skys and the score for Exotica. He lives in Los Angeles and is still busy composing film scores. mwe3: How many different flutes are you playing on Global Canvas? What brands and models of flutes do you play on the new album and do you have an endorsement deal with a flute company? As far as concert flute I use my Muramatsu soldered tone hole SR flute with an Albert Cooper Gold headjoint, and Brannen Cooper Gold flute. For my earlier albums I played a Sankyo which was also very good. My bass flute is from Altus in Japan who have been generous to lend me a bass flute in various countries when I am on tour. While I wouldn’t call it an endorsement deal, I do have a close association with Geoffrey Ellis in Northern California, with whom I’ve developed some wooden flutes and a line of headjoints for the concert flute. mwe3: I remember enjoying your 2018 album World Café and your 2015 album Asia Beauty. How would you compare the basic musical premise of those earlier albums with the 2024 album release of Global Canvas? It seems that you have built upon those two albums and have added even more different musical influences. Is that one way you would describe the differences? Ron Korb: World Café focused on music from the Latin world, drawing inspiration from places like South America, Cuba, other parts of the Caribbean, and Spain, with a touch of French and Italian influence. Asia Beauty, on the other hand, was based on a story I wrote, inspired by the culture and history of China. It highlights traditional woodwinds, plucked and bowed strings, all mixed with Western instruments. Global Canvas is more eclectic, expanding into other regions like Korea, Japan, Cambodia, Brazil, and even India, with the track "Desire". Exploring the music of Korea was a whole new musical vocabulary for me and it was very exciting to work with the unique scales and rhythms. The beginning, middle and end of the albums are inspired but the legend of Manpassjoek - the Korean creation myth of the bamboo flute. mwe3: Global Canvas starts off with “Dream Of The King Prelude” and moves into “Dream Of The King”. Is it a two part piece of music and can you expound on making it a kind of two part piece of music? You have several two-part pieces on Global Canvas. Do you like recording multi-part tracks? Have you done that before? "Dream Of The King" carries a double meaning. In the Manpassjoek legend, the King dreams of his quest for the flute. For the artist, it can symbolize how creative ideas come to life, often a mix of unrelated inspirations. This approach lets all these different styles coexist within the same record. The front cover of me looking down is intended to convey that visually. There is a blank canvas which is one’s mind where the ideas appear. It is like the Peter Gabriel song “Are The Dreams Made Real”... “Were once just a dream, In somebody's head”... mwe3: Those first two tracks are followed by another 2-part musical piece of music “Desire Prelude” and “Desire”. These two pieces are connected by the Indian percussion of Muthu Kumar. There is also a Japanese Koto sound on “Desire”. You being part Japanese, I imagine these instruments fit together perfectly in your mind. Is that mix of diverse instruments a trademark of your approach which would fit in two different cultural influences like tabla and koto to create a unifying sound? Also the piano sound of Bill Evans adds in a very magisterial approach as well. Ron Korb: A mix of diverse instruments is something I often do. I tend to conceive music in terms of colors, and sometimes an exotic instrument is the perfect way to add a splash of vibrancy. "Desire" captures that feeling of attraction that isn’t expressed in words but is simply felt—it's a very Japanese sensibility. Muthu, who studied with the late Zakir Hussain and played with artists like Alice Coltrane, did an incredible job. He created soulful, sensual, and detailed rhythmic parts on the tabla that perfectly contrast with the lighter elegance of the koto. Bill’s piano, with its undulating figure, helps fill out the harmony while adding richness, just like the acoustic guitar does. mwe3: Following the mix of Koto and Tabla, you return to Cuba for the “Havana Sun” track. How does “Havana Sun” fit into the Global Canvas album? You worked with piano wizard Hilario Duran before. What is the chemistry between you and the other musicians on that track with those players? Dreams often present a jumble of different images, and because it’s a Global Canvas, it allows for a wide variety of musical styles. "Havana Sun" is a straightforward Afro-Cuban piece, with contributions from authentic Cuban musicians like Latin Grammy winner Hilario Duran, Papiosco, and Roberto. In some ways, with this album, we were able to dive deeper into some of the pieces. "Havana Sun" was another track we rehearsed before heading into the studio. Through that workshopping, we were able to add authentic details and build a chemistry that really helped the groove. mwe3: What inspired “La La Formosa” and the title? Is Formosa related to Taiwan? There’s a wide range of percussion on that track and again the piano work of Bill Evans is excellent. There is also a follow up called “La La Formosa Positude” with even more percussion. Tell us about those two tracks. Ron Korb: Even though I explored different styles of Latin music on World Cafe, we only really touched on a Brazilian feel with “Take My Hand”. For Global Canvas, I was determined to write a Bossa Nova and a samba, and I wanted to incorporate a parade samba with my friend, Latin percussion specialist Rick Shadrach Lazar. He actually runs a group called Samba Squad. Yes, ‘Ilha Formosa’ (Beautiful Island) is the name given by Portuguese sailors in 1542. The southern tip of Taiwan has stunning beaches and a relaxed vibe, which is where I drew inspiration for the melody of the song. We recorded the bed tracks live, and Rick skillfully overdubbed the intricate percussion parts, adding that special touch to bring it all together. mwe3: “Kindness” has a very kind sounding track that is easy on the ears. Is it kind of Chinese sounding in its style? The Erhu is quite prominent in the track and there are some intriguing key changes too. Some of the instruments like Janggu and Buk are kind of unknown. Ron Korb: I’m glad you feel that way, especially given its namesake. The erhu and bawu are definitely unconventional sounds to the Western ear, but I trust they bring a unique quality to the song. I wanted the piece to be beautiful, but in a slightly eccentric way. The janggu, a two-headed drum, creates some really interesting patterns, while the buk grounds the piece with its steadier pulse. Originally, I had planned to use the Korean gayageum, but when that wasn’t available, we decided to go with the harp instead. My friend Sharlene Wallace did an amazing job throughout the album, bringing her talent and touch to each piece. mwe3: The Brazilian flavored tracks, “Bossa Prelude” moves into “Bass Flute Bossa”. Tell us about working with acoustic guitarist André Valério on that track and the second part “Bass Flute Bossa”. I think they are connected. I was immediately taken by the Jobim / Brazilian sound of these tracks. How big of an influence is / was Brazilian music on your music and is Brazilian music one of the best sounds for your flute as the sound is so linear? Ron Korb: I wouldn’t say I was directly influenced by the Brazilian sound growing up, but I’ve always loved Jobim’s memorable standards since my teens. Back then, what I heard more were the interpretations by American jazz musicians. In recent years, though, I’ve been listening to more authentic Brazilian music. As I mentioned, I was determined to write a Bossa for this album. Writing a Bossa Nova isn’t easy—it’s a very specific style with a distinct approach to harmony and melody. The flute fits well in Brazilian music, and they often used alto flute in their classic '60s arrangements, but I had never heard a bass flute used in that context. André, being from Brazil, brought a genuine Bossa groove that was incredibly helpful. Though I had already played the song with some jazz musicians who thought my harmony was fine, when André heard it, he made some great suggestions. Without changing the melody or structure, we adjusted some of the chords, adding more dissonance, which made the piece sound more authentic. mwe3: Tell us about “Angkor Wat”. What instrument are you playing on that track and what does the title signify? Is there a Cambodian / Buddhist connection to the title? Have you been to Cambodia and what about the country’s music interests you say compared to Chinese or Japanese music? The music is entirely different than Japanese or Chinese music and back then the project wasn’t so much about appreciation but more about preservation and revitalization. We visited the amazing Angkor Wat, and when we returned to Phnom Penh, I acquired a Pie Pook, a single reed instrument, from Cambodian master flutist Yim Saing, which I used on this recording. mwe3: “Azure Nights” has a kind of Brazilian / Latin vibe to its sound. Also it’s one of the best ensemble pieces on Global Canvas. It’s almost fusion jazz, and the drum sound is excellent. What is the most clear musical influence of “Azure Nights”? Ron Korb: This song is based on an old piece I wrote when I was a staff writer in Japan. I pitched it to my publisher, but they weren’t interested, so it ended up in the attic for a while. I’ve always loved the main melody, though, so I kept the verse but completely rewrote the other sections, transforming it into a Latin piece. Interestingly, there are no guest musicians on this one—it's just my regular band playing so I'm sure they’d really appreciate your compliment. The title refers to that beautiful blue sky you find in places like Toledo, Spain, just after sunset. mwe3: “Blue Heron” is another key, classic track on Global Canvas. Interesting. Tell us about the ensemble playing on “Blue Heron”. It sounds like progressive fusion in a way. Also tell us about the wonderful key changes in “Blue Heron”. Is that track among the great fusion jazz tracks you have made and did you do the string arrangement on “Blue Heron” too? Ron Korb: This song I wrote as a piano feature with all those punctuated high chords of course the piano solo in the breakdown. The band likes playing it and Bill says the opening riff reminds him of McCoy Tyner. This is a song I did work on the string parts with Bill Bridges. He did a mock up in Sibelius were we could tweak the erhu, violin and cello parts. The song is actually meant to create the feeling of a Blue Heron in flight. I wrote this song for the grand opening of the Blue Heron Preserve in Ohio. mwe3: Is “Hinamatsuri” the most Japanese sounding track on Global Canvas and what does the title mean or imply? Tell us about the flutes you play on that track and what can you add about the instruments that Ray Hickey Jr. is playing on the track? Masterful! “Hinamatsuri”is an annual tradition in Japan, also known as Girls' Day or Dolls' Day, where a display of beautiful ornamental dolls representing the Emperor, Empress, attendants, and musicians in traditional court dress are arranged on cascading platforms covered with red carpet material. In the Kurosawa film Dreams, there’s a vignette called The Peach Orchard, where life-size living Hinamatsuri dolls appear. That was the inspiration for this piece. mwe3: The flute solo track, “Peace Flute” is excellent too. Did you want to have one key solo track on Global Canvas? The bass flute is one of the great flute sounds of all time. Ron Korb: Bass flute is one of the signature flutes I play, and no matter how many times someone hears it, it always seems to come as a surprise—especially live. It was important to include a relaxing solo flute piece on the album to align with the legend of Manpassjoek. During the “Dream Of The King” part of the fable, the King is told that "a bamboo flute will bring peace to everything under the sky." In fact, Manpasikjeok means "a flute that calms down ten-thousand waves." mwe3: Tell us about the “Three Kingdoms Prelude” and the track “Three Kingdoms”. What inspired those two tracks and are they related? Tell us about the percussion sounds on that “Three Kingdoms” track? Ron Korb: The song "Three Kingdoms" takes its name from the Samguk Yusa (Tales of the Three Kingdoms) where the Manpasikjeoklegend is taken. The Three Kingdoms are the Goguryeo, Baekje, and Silla states of the Korean Peninsula in the 5th century that would eventually shape what we know as the Koreas today. This piece incorporates the Ujo scale and a 3/4 time signature, allowing the Korean drummer to weave in the Gutgeori rhythm patterns on the janggu and buk. The “Three Kingdoms Prelude” is designed to set the scene for the listener, with the Korean drums playing a prominent role and the final track has a dramatic energy intended to evoke imagery of an ancient, mystical world. mwe3: Do you think that Global Canvas will be equally embraced by the New Age and World Music communities? It seems like there are a number of genres and different groupings of music fans that should appreciate it. Ron Korb: Ha ha... hope so. Only time will tell. So far the singles that have been released are doing very well. Each track has its own distinct personality, which makes it able to stand alone, separate from the full album. Hopefully, that will help them find their way onto playlists in various music communities. Ron Korb: Well, thank you for calling it a masterpiece! I’ll be performing these songs live for years to come. Thankfully, I have been told by listeners throughout the years, the type of instrumental music I am involved with has a timeless appeal for many people. Albums like Japanese Mysteries (1993) and Celtic Heartland (2000) continue to generate tens of thousands of streams every month. Back in the day, it was always a special moment to hear your music on the radio. But now, my greatest joy comes from simply hearing that someone is streaming my music on their personal playlist. That’s a whole new level of connection...
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In the spirit of his classic album releases World Café (2018) and Asia Beauty (2015), the 2024 album by Global music artist, flutist / composer Ron Korb, Global Canvas will be appreciated by music fans far and wide, much like the vast musical spectrum he inhabits. Surpassing his musical identity while focusing on the music universe that unites cultures and blurs borders, the 17-track, 53-minute Global Canvas is the most adventurous and eclectic outing yet by Ron Korb.
By the time we reach track 11, “Blue Heron”, you also realize that Ron Korb is also a master of jazz fusion. In the spirit of the great flute masters like Charles Lloyd and Mutter Slater (of the UK prog-rock band Stackridge), “Blue Heron” is an exotic journey featuring Ron’s bamboo flute and bass flute while also featuring a plethora of strings and the great drumming of Larry Crowe.
mwe3: How have you been these past few years? With all the craziness in the world, how have you been in this post-Covid era? Is that one reason why your 2024 album Global Canvas has taken a while to complete and is now released at the close of 2024 and still releasing singles in 2025? But I know you also appeared on a couple other albums by other artists we both admire including the latest Jim “Kimo” West solo album. What have you been up to as it has led to your new album Global Canvas?
Ron Korb: There’s a lot of logistics and spreadsheets involved, keeping track of all the little tasks that need to be done. For the songs, I usually start by writing a lead sheet and sometimes a rough midi mock-up. Then, I’ll score the overdubbing instruments.
Ron Korb: On this album I only play about 6 different types of flutes but really utilize the bass flute this time with it really showcased in “Bass Flute Bossa” and “Peace Flute.
Ron Korb: The concept of the album is that an artist always starts with a blank canvas, and then one idea builds on top of another. As I mentioned, the cover represents musical ideas or dreams flowing, and if you look closely, you can see brushstrokes.
Ron Korb: I met Peter Gabriel when I was recording “Celtic Heartland” at Real World who introduced me to the Cambodian Human Rights activist Arn Chorn Pond. Arn invited me to Cambodia where we recorded master musicians who had survived the Killing Fields. 
Ron Korb: Yes, this is really the only purely Japanese track, and I play the traditional Japanese Shinobue on it. There are also Shamisen and Koto parts featured as well.