4.27.13 Richard Sears Trio “Volume One ~ Los Gatos 2012”

New Release
Richard Sears Trio
volume one ~ Los Gatos 2012

RICHARD_SEARS_TRIO_LOS_GATOS_NEW

“These original compositions were developed over five years, drawing on impressions from time in Northern California, Los Angeles, and New York. In August 2012, we retreated to the peace and isolation of the Santa Cruz Mountains to record this album over a three day period. The sound of the recording, as well as the mood of our performance, were shaped by the large room where the recording took place, a vaulted redwood interior overlooking treetops and an expansive canyon. It is our pleasure to share this music with you and we hope it brings the same enjoyment that went into its creation.” – Richard Sears

1. Upenss
2. 23rd and Fig
3. Good Morning Rain
4. Neighbor Greg
5. Over the Hill
6. Radio Flyer
7. Upness – reprise

RICHARD SEARS  piano
MARTIN NEVIN  bass
KEVIN YOKOTA  drums

all compositions by Richard Sears

Engineered, Mixed and Mastered by Jeff Cressman

Album Art / Photo + Design by: Kio Griffith

Richard Sears website

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4.1.13 “No Beethoven” An Autobiography & Chronicle of Weather Report by Peter Erskine » Fuzz/E/Books

Fuzz/E/Books new release
No Beethoven
An Autobiography & Chronicle of Weather Report
by Peter Erskine

no-beethoven-book-cover

No Beethoven” chronicles the life and times of drummer Peter Erskine, with the legendary band Weather Report being the nexus to this first-hand account. Erskine was in the midst of the modern American jazz music scene as it underwent its most dynamic change. From the last days of the big band era to the height of fusion…there never was a band quite like Weather Report, and there has never been a more insightful, personal or authentic telling of that band’s story and the musicians — Joe Zawinul, Wayne Shorter, and Jaco Pastorius — who changed music forever…to the European wave as represented by Manfred Eicher’s ECM label, to the dawning of the age of the musician as entrepreneur and educator…Peter Erskine is a musician of his times with an incredibly rich story to tell. Many stories to tell! He was there…and now you can be, too. With never-before published photographs.

“No Beethoven” includes chapters dedicated to Weather Report and the musicians Joe Zawinul, Jaco Pastorius and Wayne Shorter, plus the bands Steps Ahead, Steely Dan, and artists such as Elvin Jones, Joni Mitchell, Freddie Hubbard, Diana Krall, Steve Gadd, producer Manfred Eicher, composers John Williams and  Mark-Anthony Turnage, et al. The book provides a revealing look at the creative process involved in performing music on-stage and in the recording studio, as well as a behind-the-scenes look at how the musical instrument industry operates.

This is a book for all musicians and fans of music. As famed drummer and Rush founder Neil Peart writes:  “‘No Beethoven’ is among the best musical autobiographies I have read. Peter’s story is absorbing and compelling, full of well-drawn characters and incidents both humorous and serious. It flows with the same ease and naturalness as his drumming, and under that good-humored gloss, it conveys the same profundity of experience and ideas. This book should be read not only by every drummer, but by every musician. Even dedicated “amateurs” of music will find it entertaining and worthwhile.”

No Beethoven iBook on iTunes 

Peter Erskine website

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 No Beethoven
Authored by: Peter Erskine
Edited by: Rick Mattingly
Book Design by: Kio Griffith

3.3.13 Flower Of The Season 2013 » “Notaway: Quest For Freedom”

Body Weather Laboratory presents
MARCH 1/2/3 2013
FLOWER OF THE SEASON 2013: NOTAWAY: QUEST FOR FREEDOM
1416 Electric Ave, Venice, CA, 90291

Notaway

featuring

OGURI – dance
YASUNARI TAMAI -dance

with
WADADA LEO SMITH’s GOLDEN QUARTET

WADADA LEO SMITH – trumpet / composition
ANTHONY DAVIS – piano
JOHN LINDBERG – bass
PHEEROAN AKLAFF – drums

FRIDAY March 1 » 8:00pm
SATURDAY March 2 » 5:00pm + 8:00pm
SUNDAY March 3 » 3:00pm

Purchase Tickets:
http://flower2013.brownpapertickets.com/

General Admission: $22 [presale] $25 [day of show]
Students & Seniors: $20 Children (under18yrs): $17 [no presale, ID required]

Electric Lodge
1416 Electric Ave.
Venice CA 90291
310-823-0710

Free parking at Electric Lodge

bodyweather@gmail.com

https://www.facebook.com/bodyweather
http://lightningshadow.com/
Flower Of The Season 2013 is
produced by Body Weather Laboratory and Arcane Collective

supported by the City of Los Angeles, Department of Cultural Affairs, Los Angeles County Arts Commission,Metabolic Studio, CalArts and the Electric Lodge

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Body Weather Laboratory and Arcane Collective present Flower of the Season 2013. Now in its 9th year, Flower of the Season produces outstanding dance within a deeply considered, minimal yet encompassing approach to space and theatricality. This year, the series introduces the exquisite work of Yasunari Tamai and Oguri. Music composed by Wadada Leo Smith. Live music performed byWadada Leo Smith‘s Golden Quartet.

OGURI-Artistic Director/Choreographer

A native of Japan, He joined famed dancer Min Tanaka’s company, Mai-Juku, in 1985. Oguri was a founding member of Body Weather Farm where for five years, he lived, worked, and hosted annual international art festivals. A resident of California since 1990, 1998 Oguri produces full-evening solo and ensemble work in the theater, improvises with musicians, works site-specifically in nature and urban landscapes, develops multi-media works, and collaborates with sculptors, painters, poets, literature, daily life imagery and simple materials to transform space and time with dance. Oguri teaches and performs worldwide. Oguri has received numerous grants and awards. 2005 Irvine ‘Dance: Creation to Performance’ grant for his evening length work “Caddy! Caddy! Caddy!, William Faulkner Dance Project” which toured in November 2009 with a NEA grant.

YASUNARI TAMAI-Choreographer

Born in Tokyo, joined Min Tanaka’s Mai-Juku dance group in 1983. From 1986 to the present he has been a resident of the Body Weather Farm in Hakushu, practicing organic farming and dance. He performs nationally and internationally as a member of Min Tanaka’s Tokason dance troupe and presenting solo work. He received a grant from Japan Arts Fund for his solo dance work, Don Quixote on the Mountaintop at Sogetsu Hall, Tokyo.

WADADA LEO SMITH-Composer

Trumpeter and multi-instrumentalist, composer and improviser have been active in creative contemporary music for over forty years. His systemic music language Ankhrasmation is significant in his development as an artist and educator.

Born in Leland, Mississippi, Smith’s early musical life began in the high school concert and marching bands. At the age of thirteen, he became involved with the Delta Blues and Improvisation music traditions. He received his formal musical education with his stepfather Alex Wallace, the U.S. Military band program Sherwood School of Music and Wesleyan University. Mr. Smith has studied a variety of music cultures: African, Japanese, Indonesian, European and American.

Body Weather Laboratory website

Electric Lodge website

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Photography:

Roger Burns [Wadada Leo Smith]
Owen O’Connor [Oguri]
Hitomi Tanizawa [Yasunari Tamai]

Flyer Art + Design by: Kio Griffith

2.12.13 Daniel Rosenboom’s “Book Of Omens” » Ninewinds

Ninewinds New Release
Daniel Rosenboom’s
Book Of Omens

BOOK_OF_OMENS_4Panel_Digi

DANIEL ROSENBOOM – trumpet + flugelhorn
VINNY GOLIA – tenor saxophone, contralto clarinet + alto flute
JAKE VOSSLER – electric guitar
TIM LEFEBVRE – electric bass + FX
MATT MAYHALL – drums

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Recorded on March 30th, 2012 at Kingsize Soundlabs, Los Angeles, CA.

Produced by Daniel Rosenboom

Sound Engineered by John Baffa

Mixed and Mastered by John Baffa and Daniel Rosenboom at TV Tray Studios, Simi Valley, CA.

Album Art + Design by: Kio Griffith

All music © Daniel Rosenboom Music (ASCAP), 2013. All rights reserved.

Daniel Rosenboom website
Ninewinds website

10.8.12 Angel City Jazz Festival 2012 » “Artists & Legends”

Angel City Arts presents
Angel City Jazz Festival 2012
Artists & Legends

a_angelcityjazzposterfront

OCTOBER 5 – 14, 2012

Friday, October 5
LACMA [Los Angeles County Museum of Art]
5905 Wilshire Blvd Los Angeles 90036

5:00pm Winner of Angel city Arts Young Artist Competition
6:30pm The Phil Ranelin Jazz Ensemble

Phil Ranelin – trombone
Mahesh Balasooriya– piano
Pablo Calogero – reeds
Randal Fisher – tenor sax
Trevor Ware – bass
Don Littleton – drums

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Saturday, October 6
REDCAT
Walt Disney Concert Hall Complex
631 W. 2nd St.Los Angeles, CA 90012

7:30pm  Symposium – Honoring and Breaking with Lineage

Greg Burk – moderator
Ruth Price – panelist
Bobby Bradford – panelist
Steve Isoardi – panelist

8:30pm Anthony Wilson, Larry Goldings & Jim Keltner

Anthony Wilson – guitar
Larry Goldings – keyboards
Jim Keltner – drums

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Sunday, October 7
John Anson Ford Amphitheater
2580 Cahuenga Blvd. Hollywood, 90068

5:00pm Peter Erskine’s New Trio

Vardan Ovsepian – piano
Damian Erskine – bass
Peter Erskine – drums

6:00pm Mark Dresser Quintet with special guest Bobby Bradford

Marty Erlich – saxophone
Michael Dessen – trombone
Denman Maroney – hyperpiano
Mark Dresser – bass
Michael Sarin – drums
Special Guest Bobby Bradford – cornet

7:00pm Ambrose Akinmusire Quintet

Ambrose Akinmusire – trumpet
Walter Smith III – tenor saxophone
Sam Harris – piano
Harish Raghavan – bass
Justin Brown – drums

8:30pm Archie Shepp Quartet

Archie Shepp – saxophone
Tom Mclung – piano
Steve McCraven – drums
Avery Sharpe – bass

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Friday, October 12
REDCAT
Walt Disney Concert Hall Complex,
631 W. 2nd St.Los Angeles, CA 90012

8:00pm Marilyn Crispell Solo/Duo
9:30pm Myra Melford and Snowy Egret

Myra Melford – piano, harmonium
Kirk Knuffke – trumpet
Liberty Ellman – acoustic guitar
Stomu Takeishi – acoustic bass guitar
Tyshawn Sorey – drums
Oguri – dance

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Saturday, October 13
UCLA – Royce Hall
340 Royce Drive, Los Angeles, CA 90095
Royce Hall is located in North Campus.

8:00pm Bill Frisell – Bill Morrison – The Great Flood

Bill Frisell – guitar
Ron Miles – trumpet
Tony Scherr – bass
Kenny Wollesen – Drums

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Sunday, October 14
UCLA – Royce Hall
340 Royce Drive, Los Angeles, CA 90095
Royce Hall is located in North Campus.

8:00pm Vijay Iyer with special guest Steve Coleman

In Trio:

Vijay Iyer – piano
Stephan Crump – bass
Marcus Gilmore – drums

In Quartet:

Vijay Iyer – piano
Stephan Crump – bass
Marcus Gilmore – drums
Special Guest Steve Coleman – saxophone

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Every year the Angel City Jazz Festival introduces a loosely knit theme around which our two-week festival of cutting-edge music is assembled. Last year’s theme was Global Jam, featuring improvising artists from around the world, and the previous year’s theme was Rethinking Jazz, with musical celebrations centered around painting, film, dance, and even food. The theme for the fifth annual Angel City Jazz Festival is Artists & Legends, an opportunity for creative artists to celebrate their legendary mentors in concert.

 Angel City’s founder Rocco Somazzi and co-artistic director Jeff Gauthier hit upon this theme during a particularly moving event at last year’s festival. During this event, Drummer/percussionist Alex Cline offered a tribute to composer/woodwind player Roscoe Mitchell as prelude to a performance by Mitchell’s trio. This tribute was a personal re-imagining of Mitchell’s landmark composition “People in Sorrow” with an all-star large ensemble.  The feelings that arose from one artist honoring another on the same stage were very special, and allowed the listener to view both artists in a very different light. This is the kind of tribute that could only happen in an aural tradition like jazz, where so much value is placed on mentorship, musical lineage and respect.

The lineup for Artists & Legends provides many opportunities to explore musical lineage. Just as saxophonist Archie Shepp cut his teeth with Cecil Taylor and John Coltrane in the ’60s, a line can be drawn from Shepp to Monk Institute award-winning trumpeter Ambrose Akinmusire, who often tours Europe with Shepp. And as cornetist Bobby Bradford performed and recorded with Ornette Coleman in the ’60s and ’70s, a line can be traced from Bradford to bassist Mark Dresser, who began playing in bands with Bradford in the early ’70s.

Other artist and legend pairings include pianists Myra Melford and Marilyn Crispell – two of the most inspiring women in jazz – and guitarist/composer Bill Frisell and filmmaker Bill Morrison, whose film The Great Flood honors the legendary blues musicians of the Mississippi Delta.  Vijay Iyer, the #1 pianist in the 2012 Down Beat Critics Poll, was influenced by innovative saxophonist Steve Coleman, whose avant-funk-influenced M-Base techniques revolutionized jazz.  Peter Erskine, who has played drums with everyone from Stan Kenton to Weather Report, performs with his nephew, bassist Damian Erskine, and rising-star pianist Vardan Ovsepian. Pairing the local legend Phil Ranelin with the winners of Angel City’s Young Artists Competition is a tribute to Ranelin’s ability to connect with younger audiences and musicians, and the trio of Anthony Wilson, Larry Goldings and the legendary Jim Keltner spans two generations and many musical genres. The symposium “Honoring and Breaking With Lineage” specifically addresses the festival’s focus.

In a further expression of the Artists and Legends theme, Angel City’s Rocco Somazzi has joined forces with the Jazz Bakery’s Ruth Price to co-produce the 2012 Angel City Jazz Festival and Young Artists Competition. These two organizations working together – the upstart cutting-edge music festival and the legendary jazz club that is on its way to building a new Frank Gehry-designed performance center in Culver City – bodes well for the future of jazz in Los Angeles.

A new collaboration for 2012 is the festival’s association with CAP UCLA (formerly UCLA Live) for two concerts at Royce Hall, complimenting our continuing co-productions with the John Anson Ford Amphitheatre, REDCAT and LACMA.  Angel City would like to thank Kristy Edmunds and Phil Rosenthal of CAP UCLA, Lauren Pratt and Mark Murphy of REDCAT, Mitchell Glickman of LACMA, Laura Zucker of the LA County Arts Commission, and the entire staff of the Ford Amphitheatre for their generous assistance in producing events at the 2012 Angel City Jazz Festival.  Angel City would also like to thank our esteemed board of directors and interim executive director Rob Woodworth, who graciously stepped up to manage the day-to-day production of the festival.  We would also like to express our deep appreciation to our talented graphic designer Kio Griffith, and our crack publicist Susan von Seggern, both of whom contributed mightily to the success of this year’s festival.  Walter Thurman and Lithocraft printed this beautiful program, and Greg Burk assisted with the bios and copyediting.

Angel City Arts, the non-profit organization associated with the Angel City Jazz Festival, has received generous support from several distinguished philanthropic organizations. The Herb Alpert Foundation and mediaThe Foundation continued their annual support, and this year we received new grants from Chamber Music America, the Doris Duke Foundation, The Shifting Foundation and the Los Angeles County Arts Commission. We are grateful to our talented grant writer Heidi Lesemann for opening many of these doors for us. We would also like to thank our many individual donors without whom the festival would not exist.

Leading up to this important presidential election, Angel City seeks to elevate and transcend the public discourse in some small way by placing a spotlight on respect, collaboration, and the musical lineage that is unique to jazz.  We hope that you enjoy the 2012 Angel City Jazz Festival, and that this discussion about Artists & Legends will serve to illuminate your listening experience.

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ANGEL CITY JAZZ FESTIVAL  STAFF

Rocco Somazzi  Creative Director
Jeff Gauthier  Co-Producer
Ruth Price Co-Producer
Rob Woodworth Executive Director
Wayne Peet  Audio
Susan Von Seggern  Public Relations
Mark Rini, Groov Marketing  Radio Promotion
Kio Griffith  Art Direction / Graphic Design
Leroy Downs   MC
Greg Burk  copyeditor

Grant Support

The Herb Alpert Foundation
Chamber Music America
Doris Duke Foundation
mediaThe Foundation
The Shifting Foundation
LA County Arts Commission

SPONSORS & PARTNERS

The Jazz Bakery
CAP-UCLA
LACMA
REDCAT
The Blue Whale
Cryptogramphone Records
KPCC
KPFK
KJZZ
Fusicology
Los Angeles Jazz Collective
Lithocraft

BOARD of DIRECTORS

Debbie Drooz
Walter Thurman
Bill Weidmer
Rocco Somazzi

FRIENDS

Myles Regan   Photography
Obstacle Web Design
Lauren Pratt   CalArts
Phil Rosenthal
Kristy Edmunds
Joe Walker
Greg Burk
Mitch Glickman
Joon Lee
Gary Fukushima
Betto arcos
Mark Maxwell
John Schneider
Yatrika Shaw Rais

Special thanks to the Los Angeles County Board of Supervisors for their continuing support of the Ford Amphitheatre season, a program of the Los Angeles County Arts Commission.

Angel City Arts website
Angel City Jazz Festival website

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 Poster [and related promotional materials]: Art + Design by: Kio Griffith

6.28.12 Alex Cline “For People in Sorrow” » Cryptogramophone

Cryptogramophone New Release
Alex Cline
For People in Sorrow
an homage and re-imagining by Alex Cline of the composition by Roscoe Mitchell

OLIVER LAKE  saxophones, flute
VINNY GOLIA   woodwinds
DAN CLUCAS   cornet, flute
DWIGHT TRIBLE   voice
JEFF GAUTHIER   electric violin
MAGGIE PARKINS   cello
MARK DRESSER   bass
MYRA MELFORD   piano, harmonium
ZEENA PARKINS  harp
G.E. STINSON   electric guitar, electronics
ALEX CLINE   percussion
SISTER DANG NGHIEM  chant, bell (pre-recorded)
LARRY WARD  opening poem
WILL SALMON  conductor

________________________________________________________

FOR PEOPLE IN SORROW
an homage and personal re-imagining by Alex Cline of the composition by Roscoe Mitchell

I first heard the original recording of Roscoe Mitchell’s piece “People in Sorrow” on the LP of the same name by the Art Ensemble of Chicago when I was a teenager in high school.  This was an unprecedentedly miserable time of my life, but it was also an exciting time, as I was hearing a lot of creative music, most of it in the “jazz” genre, that was tremendously inspiring to me, something that awakened in me a sense that perhaps there was something akin to a greater purpose in life and which I feel ultimately contributed heavily to my surviving that otherwise grim period.  My experience with my favorite recordings at the time was that some were so compelling to me that I found myself listening to them constantly, while others I felt were so profound and affecting that I could only listen to them occasionally, when conditions were right, as they required a type of concentrated listening bordering on reverent attention.  People in Sorrow was one of the latter types of recordings.  The music itself became like some sort of raft carrying me safely across seas of my own bitterness and confusion or a torch lighting the darkness.  The album itself was recorded during the Art Ensemble’s sojourn to Paris, France, in 1969, a time in our planet’s history I can easily recall despite my youth at the time, a time following the great strides and anguished toll of the Civil Rights Movement and the revolutionary spirit of an idealistic youth culture as the country and the world reeled from the impact of huge changes and upheaval in the form of political assassinations, the Vietnam War, the threat of nuclear annihilation, and the ultimate deterioration of the peace-and-love promise of the counterculture into disillusionment, anger, and violence.  As a white middle-class Los Angeles teenager in the early 1970s, my encounter with the Art Ensemble’s music, the Association for the Advancement of Creative Musicians (AACM), and their artistic direction was among the manifestations at the time that provided me with some refuge while raising in me questions about my own racial, class, and global sense of identity. While I didn’t know what inspired Roscoe Mitchell to title his piece “People in Sorrow” (and I still don’t), as I listened to its meditative and poignant collective creativity I felt in touch with both my own suffering as well as the world’s and somehow consoled by the beauty and immediacy of the music at the same time.  Something that I feel is an expression of this sort of experience with suffering as well as an element unavoidably found in the roots of this seemingly esoteric form of music is the blues.   For me, “People in Sorrow” was one of the deeply influential musical performances I experienced at the time that served as a potent example of magnificent validity of free improvisation and of the transformational power of music.

Almost forty years later, looking back and realizing the impact of “People in Sorrow” on my own musical and personal journey, for a number of reasons I found myself entertaining the idea of acknowledging it and giving back in the form of organizing a performance of my own personal arrangement of the piece, a re-imagining that might serve as a suitable tribute to the piece, to its composer, to the group that played it, and to the organization that supplied the foundation for the group’s artistic endeavors,  while also using the piece as a vehicle in which to  present my own interpretation as an offering of sorts.  I waffled on the idea for a few years, not wanting to possibly unintentionally indulge an idea that might actually be arrogant, presumptuous, inappropriate, egregiously audacious, or somehow insensitive, weighing the efficacy or folly of the mere notion of possibly trying to recreate a masterpiece while feeling inspired to honor the work, hopefully drawing deserved attention to it and to its creator(s) in the process.  The idea became something more like an aspiration of mine, and eventually I decided to go ahead with attempting to realize it.  The result is this concert.

In presenting my own take on “People in Sorrow,” I have endeavored to create some new areas of musical exploration in it while consciously making reference to many sections heard in the original recorded performance.  While I realize that many of these sections were most likely improvised and consequently happened spontaneously during the recording of the piece back in 1969, I have elected to retain some of these sections’ identities out of respect and appreciation for the original recording.  The piece itself is essentially one simple but beautiful theme that recurs throughout, interpreted in a variety of ways and settings, while being connected with and surrounded by extensive free improvisation.  My version of the piece retains this approach, allowing each of the highly capable musicians I invited to participate to bring their own special voices and distinctive talents to the realization of it in an uninterrupted flow of what could perhaps be described as guided improvisational sections.

As part of my personal vision of the performance, I also invited Sister Dang Nghiem, a Buddhist nun and disciple of the Venerable Thich Nhat Hanh, to contribute what she felt might be an appropriate chant in Vietnamese which would be recorded on video and projected at a certain point in the piece.  After accepting my rather usual invitation, Sister D (as she’s known) chose to chant the following verses (presented here in English translation), a gatha for listening to the bell and the Verses of Consecration used as part of the Ceremony for Closing the Coffin:

Listening to the Bell

Listen, listen,

This wonderful sound brings me back to my true home.

Verses of Consecration

This water’s shape is round or square

according to the container that holds it.

In the spring warmth, it is liquid; in the winter cold, it is solid.

When its path is open, it flows.

When its path is obstructed, it stands still.

How vast it is, yet its source is so small it is difficult to find.

How wonderful it is in its streams which flow endlessly.

In the jade rivulets, the dragon remains hidden.

In the deep pond, water holds the bright halo

of the autumn moon.

On the tip of the king’s pen, water becomes

the compassion of clemency.

On the willow branch, it becomes

the clear fresh balm of compassion.

Only one drop of the water of compassion is needed,

and the Ten Directions are all purified.

Today, as a musician who chooses to follow in the footsteps of the many great artists who inspired me so many years ago and continue to do so, and as a person who aspires and practices to understand and ultimately transform suffering, this occasion holds special significance for me.  Performing this piece offers me a unique opportunity to enable and enjoy an overt confluence of the streams of both my musical and spiritual practices.  That such an illustrious and distinguished gathering of participants was willing to share the experience with me and to contribute the depth of their own unique and accomplished artistry to this project awes me; that we were able to realize this dream of mine on a concert with Roscoe Mitchell himself frankly rather overwhelms me.  I bow deeply and humbly in gratitude and offer this music to all who suffer, to all people in sorrow, that all may embrace and transform their suffering and find peace, healing, and happiness, the true happiness that our suffering helps make possible.

Alex Cline, Culver City, CA, USA, September 2011

________________________________________________________

A Wild Thing

The bones of our ancestors still dance
At ease in the field of magic stardust

An ounce of poetry from long ago
The crane says, “I never saw a wild thing feel sorry for itself.  A tiny bird will drop dead, frozen, from a bough of a tree without having once felt sorry for itself”. *

In the thick jungles of Costa Rica I was told mother
My mother had passed away
Through the veil of no coming and no going she went
Heart broken I wandered for days
Walking jungle trails
Going no where but sorrow
Trapped in a cloud of sadness.

The cry of an unknown bird cracked open the moment
Ripe!  Ripe!   Ripe it was! For something, for anything, to heal my savaged soul.

Music of my roots rose up from the earth,
Like a rainbow bridge supporting every step as I climbed grief’s holy mountain
A path wet with the salt of bitter tears.

Sometimes I forget music’s vibrations can touch and quake places
The Mind dares not go, kneading, holding, inviting
With notes of wonder and surprise,
Healing pain, the pain of the second sorrow, created by an arrow fashioned by my own hands
Plucked from my own quiver and shot with my own bow,
Into my own heart.

Picked up on the dusty road of wounded souls
The sacred carriage of music lifted me up from the edge of grief’s deep pit
On the wings of sound I rode to the mysteries of grace and peace
Moment!  By moment!  By moment!

The music says, ‘Take up your rightful residence in your Hale Mana, your spiritual house.”
The music says, “Come on in, come on in, come on in,
Enter the clear light of sweet music.”

The music says,
“Take your stand on the back of the fearless dragon of wisdom and compassion
Let go of the gossamer threads of regret
Still attached to your beating heart.
Now catch your precious breath
Right now!  Right now! Right now!”

Music is a wild thing
Music is a wild thing
Music is a wild thing

Larry Ward, October 2011
* A reference to the DH Lawrence poem titled “Self- Pity. Original text: Pansies, London, Martin Secker, 1929

________________________________________________________

This performance is dedicated to Roscoe Mitchell with sincere thanks; to Shaku Gyo Joseph Jarman and Famoudou Don Moye; to the memory of Lester Bowie, Malachi Favors Maghostut, and Philip Wilson; and to the AACM and its many members and supporters.

Special thanks to Rocco Somazzi, Jeff Gauthier, Wayne Peet, Carole Kim, Nels Cline, JC Earle, Dave Bondi, Christopher Allis, Phil Stein, Karen and Xinwan Cline, and to my teachers.

Music composed by Roscoe Mitchell, Art Ensemble of Chicago Publsihing Company, Inc. ASCAP

Arranged by Alex Cline

Poem by Larry Ward

Recorded at REDCAT, Los Angeles, CA  October 2, 2011 by Wayne Peet

Mixed and mastered by Wayne Peet at Newzone Studio, Los Angeles, CA

Live sound: Ian Burch and  Wayne Peet

Video documentation: Carole Kim, Adam Levine, Donovan Vim Crony

Video Editor: Carole Kim

Video performance of Sister Dang Nghiem recorded September 6. 2011, at the Ocean of Peace Meditation Hall, Deer Park Monastery, Escondido, CA. Video and sound: JC Earle

Video projection: Dave Bondi

Producer: Alex Cline

Executive producers: Jeff Gauthier and Nels Cline

Associate producer for music, REDCAT: Lauren Pratt

Calligraphy:  Thich Nhat Hanh [line from his poem “Message,” used by kind permission]

Calligraphy photograph:  Monica Andriacchi

Concert, rehearsal/sound check photography:  Ernestine Lona [except photos of Larry Ward and Sister Dang Nghiem, which come from the video]

Harp rental:  Carol Robbins

“Everything else” :  Lauren Pratt

Alex Cline uses Paiste cymbals and gongs, Attack drumheads, and Vic Firth implements of invitation.

Album Art + Design:  Alex Cline + Kio Griffith

Recorded live at the Angel City Jazz Festival, October 2, 2011.

Alex Cline 

Cryptogramophone website

5.26.12 Dennis Banks + Kitaro “Let Mother Earth Speak” » Domo Music Group

Domo Music Group New Release
Dennis Banks & Kitaro
Let Mother Earth Speak

dennis-banks-kitaro

Hello, this is Dennis Banks. I am Anishinaabe, from the land of the Ojibwe people, in Northern Minnesota. My people have long been of the Mide Society, a very strong spiritual belief. I would like to talk to you about some of those beliefs. They are very strong beliefs, very strong.

First, you must understand of our relationship that we have with Mother Earth. This is the planet that we call Mother Earth and we believe that we are the Children of this Earth. We believe that we are all that is, that we are, comes from, our Mother the Earth. All living species, we are related to all the four leggeds, all the winged things, every blade of grass, the smallest insect. We are related to. We are related to the air, we are related to the water and there are certain ceremonies in connection to all of these. The Moon is looked upon as our Grandmother, and the Sun, is looked upon as our oldest Brother…

DENNIS BANKS  spoken word narration + vocals
KITARO   analog + digital instrumentation
TOMOKO KOSHIKAWA background vocals
Kirilola☆ background vocals

All songs composed and arranged by Dennis Banks And Kitaro

Produced by Kitaro

Recorded and Mixed by Kitaro at Mochi 2 Studio, CA
Engineered by Timothy Beach
Mastered by Tim Gennert at Prairie Sun Recording, Cotali, CA

Executive Producer: Eiichi Naito

Artists & Repertoire: Dino Malito

Business & Legal: Howard Sapper

Domo Music Group: Hitoshi Saito, Atsuko Mizuta

Photography: Hideo Nakajima (Kitaro back cover photo), Takeo Koshikawa (Dennis Banks cover photo) & Kitaro (Forest photo / tray card) additional photography by Dick Bancroft, Takeo Koshikawa, Richard Erdoes and Alice Lambert

Album Art + Design: Kio Griffith / 9rpm.com

Special Thanks to:
Masaou Yamamoto of Piazza Trading & Co.,Ltd., Keiko Takahashi, Ojibwa Warrior Productions, LLC, American Indian Movement, Nowa Cumig Institute, Meyer Sound Laboratories, Sennheiser Electronic Corporation, Korg Japan, Korg U.S.A., Yamaha, Sugi Guitar, Toby Dubes & Nobuko Nin, the staff at Domo Music Group, Kitaro’s friends and fans around the World.

This project is dedicated to the Spirits of Floyd Red Crow Westerman.

Domo Music Group website