This short musical passage composed, performed and produced by Derek Mason, speaks volumes about the spiritual quest of the human spirit for the meaning of life. Derek created this “Lord of All” piece in 2002 and released in it 2002 and 2003. He played it on the same classical guitar he used for his solo guitar work on cruise ships in the next 3 years. This music has since become more than a contemplative guitar piece. It is now a fitting expression of Derek’s desire to connect with the Lord of The Universe.
I first published this music video on February 14, 2016, on the eve of the one year anniversary of the passing of my husband Derek Mason.
In this memorial, I want to honour you, Derek, in many ways, and especially in this: that you loved God above all. I wouldn’t have it any other way, although I miss you terribly. What is saving me from terrible dispair is the vision of eternity we shared together. We still share in that vision through Agape, which preserves the love between the two of us as eternal and sacred.
I always remember you saying, many times, especially in your last 18 months on Terra Firma, “I want to go to heaven”You said it passionately, sometimes with a faint sparkle of tears in your eyes. Many people didn’t know that about you, Derek, that you grew to love God, the Lord of All, first and foremost, and that you kept your spiritual antennae directed to the voice of God, throughout much of your life struggle. I’m sure that is why this piece of music sounds so searching.
Derek Mason’s memorable contribution to the dramatic music of Colours of Edzizafilm –
For the award-winning music soundtrack of this environmental trek movie, Violist-composer Thomas Beckman worked with music producer Derek J. Mason during the summer and autumn of 2014 in Derek’s Vancouver BC production studio. It was an honour for me to provide supports in the studio, and to hear the the initial music production for the film. I witnessed directly the depth of Derek’s contribution to the improvisational flow in the first music pieces produced for this impressive environmental documentary film. In ways that Thomas Beckman so kindly expressed in his tribute to Derek Mason, Derek’s musicianship and dedication, which were always woven into his service as a record producer, were also an intrinsic part of the composition of the first three music pieces that were recorded for the film’s soundtrack. This initial production was in progress less than a half-year before Derek Mason passed away on February 15, 2015. While the creativity, passion and skill of Thomas is the core of this music, our hearts also want to recognize and honour the musical sensitivity and love of dramatic music that Derek contributed to this film as its first music producer. His work was cut very short by his tragic illness and passing from this planet he had so loved so much. How fitting it is that his last music project for film was in celebration of our Earth’s remaining places of wilderness.
Here is a video that helped bring the environmental trek documentary film and its music to the attention of CBC and some international film festivals. You’ll see Derek Mason working in his Vancouver studio with Thomas Beckman in the some of the recording and production for this music soundtrack. Derek was a servant, and it’s evident here as you watch the video. He worked together with Thomas and percussionist Jarrett Plett on the project together until late October, 2014. In early 2015, Thomas and Jarrett carried on with producer Sam Ryan for the post-production mixing and mastering of the brilliant music score ofColours of Edziza.
Jerrett Plett, Thomas Beckman and Derek Mason celebrating their music soundtrack work for “Colours of Edziza” film
Nina is an amazing lyricist. In many of her songs, she breaks through the cracks in a heart like rays of bending light piercing darkness. She struck us to be as much a poet here as Leonard Cohen.
Derek Mason completed this album recording and production for Nina Winkler in late autumn, 2014. It was a project of more than a year, not including Nina’s prolific songwriting which spanned several of her young years. Between her acting gigs and other travelling, Nina worked with Derek in the DMMP studio. They nurtured and fed the essential seeds of the tunes Nina brought in support her abundantly deep lyrical content. The result is a quality and fascinating album.
We share here some sample clips from the album, which is fully loaded with ten highly artistic collaborations produced by Derek Mason in the autumn of his life. It’s a timeless album in several ways, and will stand the test of time, despite its obscurity at the time of this writing.
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Please go toNina Winkler’s iTunes page where you can learn more about Nina as an artist, and purchase her highly artistic recordings. The title track, “Let The Wind Take You Away,” features acoustic guitar by Nina — a perfect backdrop for the essence evoked in her song. Nina plays piano on several tracks, and Derek contributed various keyboard instruments, drums, bass, etc., throughout.
Here’s the teaser-trailer Nina published just before she released her debut album:
Derek Mason’s muses and music honoring a favorite Christmas tradition
In late 2014 at one of the three last Christmas-time gatherings Derek Mason was able to attend, he reflected on “Las Posadas,” a Latin American Christmas Advent custom that had inspired him. Derek recalled how extended families took part in this humble tradition that re-enacted the Nativity drama of the Holy couple looking for a place to give birth to the infant Jesus. I captured this footage and some of the portraits in this at our friend Ted’s annual pre-Christmas gathering on December 13, 2014. I never thought to start recording this casual conversation until near its end. Although it’s just a snippet, I wanted to share it during this sacred season, as a memorial dedication to my dear late husband and to the beauty of humble family Christmas traditions throughout the world. Las Posadas Advent re-enactments, which started in Spain, are now more common throughout Mexico and Central American countries such as Guatemala and El Salvador where Derek twice traveled.
The music at the end of this short is “Ode to Our Lady” a 21/2 minute Spanish guitar piece Derek composed, performed and recorded in his home studio, circa 2002-2003. He had dedicated it to the Hispanic people’s love of the Mother of Jesus and the Holy Family