Liner Notes Natural Selection

Total Page：16

File Type：pdf, Size：1020Kb

Thank you to the following people who have given me inspira6on and support in many different ways. You are all part of this recording in some capacity and I’m eternally grateful: Stephanie Ahn-Weiss, Vivienne Ahn-Weiss, Trevor Dunn, MaG Mitchell, Ben Monder, Craig Taborn, Ron Saint Germain, Joe Gastwirt, Mimi Chakarova, Seth Rosner, Yulun Wang, Chris Weller, David Brenner, Inge de Pauw, Miles Okazaki, Samir ChaGerjee, Adam Schatz, Brice Rosenbloom, John Zorn, my family, friends, Patreon supporters, and fans. Special thanks to David Breskin and Chelsea Hadley for your con6nued support. It means the world to me. I feel extremely fortunate to have had the opportunity to play this music many 6mes live while on tour with my bandmates before we recorded in the studio. This gave us an opportunity to get to know the music in a more in6mate way, which helped the session really come alive. I have always been interested in trying to maintain threads in my music. This album, in a way, is a sequel to the first Starebaby recording. Since our debut album was heavily influenced by Twin Peaks: The Return, I decided to compose pieces that acted as tulpas: beings that are created through spiritual or mental powers that take on similar forms as the original. I did this through composi6onal, conceptual, and prac6cal means. For example, “Episode 18” is a tulpa of “Episode 8” in that both pieces were composed exclusively on electric bass and drum set, alterna6ng between brutally heavy and atmospheric musical passages. Both pieces also contain sets of intertwined rhythmic/melodic cycles that overlap with one another to create a snake-like dizzying effect. There are many examples of these types of threads all over the recording. I invite you to listen for other connec6ons between the two albums. As I write these notes, I feel compelled to honor Neil Peart, who passed away a week ago. The impact he has had on me as a musician is profound. I wish to dedicate this record in his memory. - Dan Weiss – January, 2020 .

Copy Link

Recommended publications

How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
[Show full text]
“The First Thing You Notice About David Breskin Is That He's Got Chops up The
“The first thing you notice about David Breskin is that he’s got chops up the wazoo and is fabulously intelligent. It may take longer to start seeing through his fierce and faceted eye or to notice how many of our lived-in worlds it sees in all their dazzle of simultaneity and fact. This is poetry in which the intimate and public worlds do not exclude each other but mutually refract their signs and lights, and where even the self on which the world imposes its unrelenting politics can earn, with ingenuity and effort, its meed of radiance.” —Rafi Zabor, author of The Bear Comes Home, PEN/Faulkner Award Winner “In David Breskin’s Escape Velocity, ferocity and speed don’t preclude clarity of critique, and the tectonic instabilities of metaphor’s capacity for disruption is married to a clarity of focus, producing a vivid, Baroque pageantry that defies chronology in favor of synchronicity, that gives us panoramas of wrecks. Rare to find poetry that is so confrontational, so avid to go to the hot spots, to risk being brutal in the service of truth while preserving such formal elegance. Unflinching, these poems roar like Cassandra with disastrous moment: it’s a transfixing sound.” —Dean Young, author of Skid “David Breskin’s Escape Velocity is torqued with rage at the world as he finds it, ‘a micro avalanche of each soul’s presence.’ With formal precison and clarity, he elucidates the sorrows of our times, an unflinching and brave indictment of the spoils of life’s wars, both personal and political.
[Show full text]
Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance.
[Show full text]
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M.
[Show full text]
Late Winter 2019 at Seattle Theatre Group
OCTOBER–NOVEMBER 2019 My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. Untitled-3 1 4/30/19 12:11 PM October 2019 | Volume 16, No. 1 WELCOMEFrom Seattle Theatre Group, a non-profit arts organization We proudly welcome you to the start of Seattle Theatre Group’s 2019/2020 Performing Arts Season, featuring a lineup of proficient, innovative artists who bring a wide range of talent to our historic venues! As the people’s theatre, where all are welcomed and represented, STG is committed to advocating for greater participation in the arts by granting access for all, reducing barriers, and including diverse people, cultures, and perspectives on our stages. This season has been carefully curated to support these values, and as we kick off our season with these fall events, we look forward to the varied experiences and conversations we hope these performances will inspire.
[Show full text]
Miscelánea: a Journal of English and American Studies 26 (2002): Pp
revista de estudios ingleses y norteamericanos miscelánea vol. 26 Volumen de literatura, 2002 cine y estudios culturales Miscelánea: A Journal of English and American Vol. 26 • 2002 Studies se publica con la ayuda económica del (Volumen de literatura, cine y estudios cultruales) Departamento de Filología Inglesa y Alemana de la facultad de Filosofía y Letras y del Vicerrectorado de Investigación de la Universidad de Zaragoza. Dirección, coordinación, tratamiento de textos y edi- ción electrónica (vol. 26): Publicación semestral (2 vols. al año) del María Dolores Herrero Granado, Directora Departamento de Filología Inglesa y Alemana de la Rosa Lorés Sanz, Subdirectora Universidad de Zaragoza. Published twice a year by Hilaria Loyo Gómez, Subdirectora the Department of English and German Philology, University of Zaragoza, Spain. Editor de estilo Timothy Bozman Las suscripciones deberán dirigirse a / Please address subscriptions to: Auxiliares de redacción M.ª Mar Azcona Montoliu Revista Miscelánea Ana Matamala Adell Servicio de Publicaciones de la Universidad de Zaragoza Diseño gráfico Edificio de Geológicas Isidro Ferrer Ciudad Universitaria 50009 Zaragoza Maquetación Prensas Universitarias de Zaragoza Precio de la suscripción (anual)/ Edificio de Geológicas Subscription price (2 volumes): Ciudad Universitaria 15 euros 50009 Zaragoza (IVA incluido/ VAT included) Imprime: Edición y © : Litocian, S. L. Departamento de Filología Inglesa y Alemana de la Universidad de Zaragoza Selección de textos: ISSN: 1137-6368 Consejo de redacción de Miscelánea Depósito legal: Z-3207-1994 a journal of english and american studies miscelánea 3 Universidad de Zaragoza 2002 Departamento de Filología Inglesa y Alemana Edición electrónica Internet homepage: http://fyl.unizar.es/miscelanea/miscelanea.html 4 miscelánea Directora Consejo de Redacción/ M.
[Show full text]
53133 Angel City Jazz Festival 2018 Program Working.Indd 1 9/26/18 11:46 AM Organized by the Museum of Modern Art
53133_Angel City Jazz Festival 2018 Program Working.indd 1 9/26/18 11:46 AM Organized by The Museum of Modern Art ADRIAN PIPER, EVERYTHING #2.8, 2003. PHOTOGRAPH PHOTOCOPIED ON GRAPH PAPER AND SANDED WITH SANDPAPER, WITH PRINTED TEXT. 8½ × 11 IN (21.6 × 27.9 CM). PRIVATE COLLECTION. © ADRIAN PIPER RESEARCH ARCHIVE FOUNDATION BERLIN 1 MUSEUM hammer.ucla.edu | @hammer_museum Free Admission 53133_Angel City Jazz Festival 2018 Program Working.indd 2 9/26/18 11:46 AM ANGEL CITY JAZZ FESTIVAL First and foremost, I’d like to thank you for choosing to To help usher in the newest generation of innovative attend one (or more) of our concerts. You clearly have a composers/improvisers, Angel City Arts is hosting the 7th thirst and curiosity for interesting music and I’m conﬁdent Angel City Arts Young Artist Competition this year. Every you’ll ﬁnd the experience of listening to these world class fall, just before the festival, high school and college aged musicians extremely rewarding. This edition of our small- students from the L.A. area converge to compete for a $1,500 but-mighty festival is a bit different from festivals past, as cash prize and a prominent slot to perform at the festival we decided not to have an overarching theme, which we’ve at the Los Angeles County Museum of Art (LACMA) and a always thought provided a welcoming framework from scholarship to the University of California, San Diego (UCSD) which to enter the sometimes daunting and insular world of Jazz Camp. As our Young Artist Competition continues to jazz and new music.
[Show full text]
Pyroclastic Records
label SpoTligHT Frisell and Julian Lage, pianists Craig Taborn and together individuals with an interest in the music. Angelica Sanchez, drummers Billy Drummond and “Through their donations we are able to support artists pyroclastic Marcus Gilmore and reedplayers Tim Berne and Don with the infrastructure of hiring a publicist, printing Byron). Every aspect of the date was carefully thought CDs and getting them a bit of money to record and do by john sharpe through, from the palindromic sequencing of the artwork and everything. So trying to do it right as compositions and improvisations and video by much as we can.” She laughs: “This really is a non- Not content with forging new models on the filmmaker Mimi Chakarova to the stylish packaging. profit business, literally.” bandstand, pianist Kris Davis seeks to achieve similar She developed the concept in collaboration with a Pyroclastic licenses a release for seven years from ends with her Pyroclastic Records imprint, which she longtime ally, producer David Breskin, whose the artist; after that it will be their choice to continue has set up as a non-profit organization dedicated to involvement has been crucial. Davis elaborates: “He with the label or do with the album as they wish. In the supporting innovative artists who create art for non- also runs The Shifting Foundation, which has meantime the label will seek to recoup all the commercial purposes. The label likely came to the supported probably my last four or five CDs. That’s production costs and thereafter split any revenues attention of many jazz fans thanks to the sustained how I’ve been able to create these large-scale projects 50/50 with the artist.
[Show full text]
Liner Notes, Visit Our Web Site
“When we escape from the place we spend most of our time . we start thinking about obscure possibilities . that never would have occurred to us if we’d stayed back on the farm.” —Jonah Lerner 1 In his 2009 essay about the transformative power of travel, science writer Jonah Lerner concludes, “When we get home, home is still the same. But something in our mind has been changed, and that changes everything.” The same thing can be said about listening to music, especially music that causes you to lose your bearings in a territory that cannot be fenced into any familiar category. The Celestial Septet, comprising the Nels Cline Singers and Rova Saxophone Quartet, is a vehicle for time and space travel through dense, narrow thickets and airy, wide expanses of boundary-blurred extrapolations of jazz, rock, late-20th-century European modernism and American minimalism, and 21st-century postmodern fusions. The trip is challenging, but the open-minded listener/traveler cannot help but come through the experience with new perspectives on sound and music. As individual entities, the Singers and Rova ramble in musical regions that have been variously and inadequately called “avant-garde,” “creative,” “improvised,” “new,” “noise,” and “free.” Such labels are more convenient than instructive. Similarly, the groups’ respective names are somewhat deceptive and limited when it comes to describing the configurations of personnel and instrumentation. The singer-less Singers—Nels Cline, Devin Hoff, and Scott Amendola—are ostensibly a guitar-bass-drums trio. But the approaches taken by Cline on acoustic and electric guitars and various effects, Hoff on acoustic contrabass, and Amendola on drum kit, percussion, live electronics, and effects expand the threesome’s musical possibilities exponentially.
[Show full text]
Liner Notes by David R. Adler
When she was composing the pieces for Diatom Ribbons, pianist Kris Davis was musing about diatoms and larger themes of nature and science. She was also looking for opportunities to explore new musical relationships with drummer Terri Lyne Carrington and vocalist Esperanza Spalding (both Grammy winners) and ground-breaking turntablist Val Jeanty. Carrington, Jeanty and Spalding first worked with Davis on a series of tribute concerts to the late Geri Allen, and there were sparks right away. “We did ten concerts of Geri’s music,” Davis says, “so we were diving into her world. And then Cecil Taylor passed away not long after and I started revisiting all my favorite albums of his. Around this time I was also preparing to play some Monk compositions for the Monk Centennial. Between these concerts and playing/transcribing music by Olivier Messiaen, Henry Threadgill and Youssou N’Dour—there were all these influences going on here.” A January 2018 residency at The Stone in New York proved the perfect opportunity for Davis to investigate further. She asked Carrington and Jeanty to join her in a wholly improvised gig, Carrington’s very first in fact, “and it was super killing,” she says. “And Val’s role in it, her hip-hop influence, being able to shape the music using words and also ‘nature’ sounds and percussion—it opened a whole new palette for me to consider when I was conceptualizing this project.” Other new relationships blossomed. Davis and Marc Ribot connected through recent performances of John Zorn’s Bagatelles. She met JD Allen on one of the Monk Centennial gigs and they were eager to do more together.
[Show full text]
Genre, Auteur and Identity in Contemporary Hollywood Cinema: Clint Eastwood’S White Hunter, Black Heart1
GENRE, AUTEUR AND IDENTITY IN CONTEMPORARY HOLLYWOOD CINEMA: CLINT EASTWOOD’S WHITE HUNTER, BLACK HEART1 LUIS MIGUEL GARCÍA MAINAR University of Zaragoza 21 In keeping with contemporary enthusiasm for popular culture products, recent US American film criticism has shown great interest in the study of clearly codified artistic forms, with special emphasis on generic conventions and their attendant ideologies. This interest seems to be based on a distinction between generic and personal films, the assumption being that the former are more appropriate objects of study because they show a consistency and predictability that the latter lack. Critical interest does not, however, run parallel with Hollywood’s production, and the truth is that genre pieces do still coexist with a considerable number of more personal films, which show a relatively more realistic approach and pay more attention than the average Hollywood narrative to the construction of their characters. These films, presumably targeted at more mature audiences than the generic majority, seem to join forces with the independent cinema of the 80s and 90s, which has often exhibited a return to well-crafted stories and characters typical of classical cinema. In this paper I would like to concentrate on the study of Clint Eastwood’s White Hunter, Black Heart (1990) as a film with an interest in portraying the experience of the “self” through textual forms that fall outside Hollywood’s generic codes. The mention of Clint Eastwood already indicates the relevance of his presence, both as actor and director, to the understanding of the film, illustrating the persistence of forms of auteurism in contemporary Hollywood.
[Show full text]
Unforgiven. 070903
Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 1 Clint Eastwood’s Unforgiven. Ditte Friedman -- -- Draft for Lic.Theol. Seminar Draft 2007 September 21 Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 2 Contents 1 Introduction 1.1 Background 1.2 Purpose and Problem 1.3 Material 1.4 Theory and Method 2. The Western 2.1 The Western as Idea 2.2 A New World Genre Begins 2.3 The Western as Genre 2.4 A Genre Finds a Voice 2.5 The New Western: the Development of Character 3 Background and Synopsis 4 Reading Unforgiven 4.1 The Critics 4.2 Deeper Readings and Thematic Analysis 4.2.1 Socio-Cultural Inquiry The American West as Nomos The Western as Nomos Law Justice 4.2.2 Historical Frame Evolving Democratic Polity Community Nation Building The American West as History An Inquiry into How We Understand History 4.2.3 Social Issues Gender Relations Property Rights Feminism Violence 4.2.4 Film-specific Commentary Western Movies Revisionism in Western Movies Genre Reconstruction, Transformation, and Revival The General Nature of Film Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 3 4.2.5 Nomothetic Issues Myth and Iconography Transcendence Motion The Land 5 Analysis: Reflections on Unforgiven 6 Conclusion 7 Films Cited 8 Television Shows Cited 9 References Ditte Friedman. Clint Eastwood’s Unforgiven. 070903. 4 2. The Western A voice of one calling: “In the desert prepare the way for the LORD; make straight in the wilderness a highway for our God. Every valley shall be raised up, every mountain and hill made low; the rough ground shall become level, the rugged places a plain.
[Show full text]