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Morningwood’s conception is a thing of Manhattan legend: a veteran musician, Pedro Yanowitz, strikes up a conversation with a spitfire 22-year-old, female, film student, Chantal Claret, at a four-in-the-morning, insider cocktail party at the iconic Dakota Building on Central Park West. By the party’s end, Pedro had talked Chantal into becoming his partner—musically speaking.

“It’s why you live in a city like New York” says Yanowitz, “—the possibility that a life-changing encounter could be at the next intersection, or subway stop, or cocktail party.”

“We came up with the name Morningwood on our first phone call,” recounts Claret, “before we made a note of music together.”

The formula clicked and the duo began gaining a reputation around the city as incredible live performers. Soon, Morningwood’s buzz built and led them to Capitol Records.

“Our debut on Capitol,” Yanowitz hesitates, “…it didn’t reach its potential. And after that album, our backs were against the ropes going into a second effort.”

“We wrote this album with no idea if it would even get picked up and put out there,” says Claret.

“The initial writing was so stressful for the both of us,” explains Yanowitz, “Chantal had just moved out to Los Angeles and the entire music industry was in such turmoil that bands were just throwing in the towel left and right.”


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