Win Ridabock

Win Ridabock

Win Ridabock grew up in the music revolution of the Beatles and at that time, was heavily influenced by Ringo Starr. His first drum was a Slingerland green pearl snare on which he began taking lessons in Darien, Connecticut. During this time, Win and a group of friends played music in their respective garages, and began experimenting with covers such as Soft Machine, Hendrix, Cream, and the Beatles.

This was also an era of deep listening to many of the most influential bands of all time. Win's passion for music matured as his interests evolved from rock to jazz, from jazz to classical, classical to world music and into infinity. Win reflects on the past: "Musician's were exploring and discovering new ideas. Musical territory that had not been heard before...melodically, rhythmically, lyrically...it was a true renaissance".

Geographically speaking, Win was fortunate to live such a short trip train trip from New York City, where he frequented places like the Fillmore, the Gaslight, the Slugs, the Bottom Line, the Blue Note and the Village Vanguard. These adventures into the old, dark, and at times, down-right scary New York, but interestingly enough, helped shape the future of a generation of young musicians.

Somewhere in the midst of exploring, playing and listening to music, Win was presented a flute from his youngest brother, Jeff. A consummate natural, he began to play right away and the drums "just faded away". Early on he was influenced by Ian Anderson of Jethro Tull. The notion came to Win that he could play "loud rock flute...I wanted to play amplified flute loud. And I mean loud. Loud like Jimi, feed back and all...that's what I was hearing in my head."

During the late 70's, wanting to broaden his music experience and knowledge, Win spent a year studying at the Creative Music Studio in Woodstock, New York. Later, his studies brought him west to the Naropa Institute in Colorado, where Win had the honor and privilege to have studied with Paul McCandless, Glen Moore, Ralph Towner and Colin Walcott of the group Oregon. At this same time, he met and studied improvised music with Bill Douglas and world renowned cellist, David Darling, co-founder of Music for People.

Today, Win is a professional entrepenuer who manages his own business in which he assists musicians and the public, alike, to treat thier interiors with acoustical treatment(s) to sound-proof rooms. From industrial noise applications, project recording studios, editing rooms, auditoriums, churches, workshops, right down to the basement walls, he is just a phone call away. Visit Win at www.silentsource.com
This site was prepared with admiration of the musician and with love by a friend. Though it was prepared externally, Win will personally maintain and manage all e-mails, comments, blogs, etc.

An on-line Interview with Win Ridabock 6/29/06

I asked Win to reflect upon some of his feelings and early influences of music in general. He writes poignantly about what he calls "the early days". Win's mind is razor-sharp and articulate as he writes this passionate message to me.

" There is so much music out there it's hard to put it into words but let's give it a go, shall we?.....early days? Somewhere in all this one must consider the art of the song, how it is shaped instrumentally, what is being conveyed lyrically, and as far as flute as an accompanying instrument, making space for the singer's voice and words to be heard, and at the same time giving expression to those words musically. Lyrics have a very important part in how a soloist will respond in turn. The theme of a song is important to adhere to. To embellish yes, but not to get outside of the theme as to become a distraction rather than supporting the song.

Who influenced you?

My main major song smiths would be people like James Taylor, Richie Havens, Joni Mitchell, Stevie Wonder, Bruce Cockburn, Jack Bruce.

Your passion for music is infectious and so evident. Are there other areas of music that ignite those same feelings?

...the jazz scene and the art of improvisation. Much more of what I listen to and find musically compelling. You know about the early influences and exposure to our great jazz artists - and then there was Miles. Miles Davis! He be the man. When Bitches Brew came out - - it was all over!! And how that opened everyone that followed - just incredible. Talk about hearing something in your head. The harder part is getting it out of your head! Miles certainly did that, and taught us all that we could do that too if we wanted.

Win finishes this school of thought by recalling fond memories of his teen years. It was always about music when he and the local guys got together to jam and Win recalls the best of jams in a friend's renovated basement classroom in Stamford, Connecticut. Read on, or would it be more appropriate to say "Rock on"?

The jams we used to have at Ray's at the school building he lived at in Stamford were in many ways shaped I think by that musical freedom and expression. I was running my flute mic through a wah-wah pedal then, which was totally coming from Miles (and Hendrix) Come to think of it, Miles was coming from Hendrix at the time. Imagine that?!? Those jams were some of the most memorable early musical experiences ever! I have a pile of cassettes of them I've wanted to clean up and digitize some day. Yeah, right Win. Anyway, we were all stretching our limits in that basement classroom. It was never made public but we loved it. Yeah, Miles. He did that.

You wear your passion on your sleeve! What are you listening to these days?

Somewhere along the line came the ECM label out of Norway. This was, and still is, a major stepping stone in improvised music. It had it all for me. A blend of European classical and folk musics, with American jazz rhythm and harmony, in a balance. And the sound of the recordings was like none other....crystaline and crisp....very distinctive. I'm still listening and have been hearing many other jazz artists from the Scandinavian countries. All part of my lure to those parts of the world, along with my Viking heritage, and I've been fortunate enough to have been to Iceland and Norway thus far and to see the incredible beauty of the lands that are so inspirational to the music coming from there.

Win is one of the most genuine and nicest guys that you will ever meet. His energy is pure of heart. When you hear a flute playing, think of Win...think of his devotion and love for all that is music, music, music.

Though he is not currently seeking to be signed onto a recording label, he would most certainly welcome interacting with serious musicians who may be interested in having Win lay down flute track(s). Contact Win at: Silent Source

-Interview by: de la Mysterioso