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An acknowledgment to those who have come before.
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This piece is composed by the brilliant musician who also happens to be an exceptional composer, pianist, drumset player, and bandleader - Jack DeJohnette. Always an inspiration for his musicality and compositions, in any setting, DeJohnette also writes beautiful melodies. There are many different versions of this piece, utilizing different instrumentation`s. This version utilizes a superimposed metric modulation, i.e., the feel changes but the actual length of the verse and chorus do not. The bridge has been extended for both soloists, as a pseudo tihai (a North Indian rhythmic device)setting up the new pulse for Alan`s solo. Check out Ken`s Pipa solo, and the pandeiro groove Randy lays down for Alan. East meet West meets East...
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Dedicated to my mentor, teacher and friend - John Bergamo.
Stanley Clarke and Chick Corea wrote this piece in dedication to John Coltrane. (Stanley Clarke`s Journey to Love album with John McLaughlin back in 1975.) I did a straight version of this with Svajati back in 1984 with piano/gtr/bs and tabla. Since then I have added North Indian elements to it - oboe, guitar and bass get symmetrically shorter solos bracketed by a recurring melodic fragment, while still retaining the harmonic shape of the piece. The full melody is then played by all - staggered. Randy and I get to trade solos on this one, cueing the band back in to play the full melody - all the while retaining the harmonic shape and rhythmic cycle. Back to the top.
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The original guitarist for Quarteto was (primarily) a flamenco guitarist. When Ken came in he brought his great sound(s),open heart and mind, and a fluidity with jazz harmony together with a history of playing a wide variety of stringed instruments in a wide variety of setting from very different disciplines. (Quarteto reflects the more folkloric aspects of improvisation - musicos who learned improvisation through an oral tradition - through actual performance rather than a text book. Fluid with diverse forms and substance from various traditions - not bound by any. Every culture has its virtuosos and I thought it would be interesting for the group to utilize that.) Ken can make music over one scale or over the thorniest of harmonic roadblocks, and still make it sound effortless. He has a unique sound on each instrument, and unlike other string players, he does not tune the ethnic string instruments like a guitar. He plays them in their own tunings which makes it all the more authentic and beautiful. He graciously brought in Lucia one day and let us "Quarteto-ize" it
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I used to play this piece on piano for years - since 1983 to be exact. The music takes me to a place I like to be. Ken opens the tune on unaccompanied nylon string guitar, and Alan makes the melody soar. Ken plays a wonderful electric sitar solo on this one (another one of his many stringed instruments) and Alan`s solo is especially poignant.
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I have been very fortunate to be surrounded by musicians who continually challenge themselves to make music they (possibly)have not been able to do in other settings. Alfred and I first played together back in 1978. We are not (by the way) brothers. Alfred is Cuban-American, I am Mexican -American. This piece was originally a bass solo - we did it as a duet for awhile with drumset. He asked if I would be interested in playing this with bass and percussion. Alfred is a wonderful musician, an accomplished guitarist and composer in his own right, he has tons of music already recorded that he will one day share with the rest of the world. The only electronic instrument in an otherwise all acoustic group, (I feel everyone`s playing is particularly electric.) Alfred brings his great touch, tone and (quiet) spirit to the group. (Note - the bass part on this piece is played in real time, there are no overdubs.)
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| Paul Carman is a multi-reed player who makes his home in Idwyllwild, CA. Best known for his alto playing in Frank Zappa`s The Best Band you never heard in your life, he is a band leader, and past member of Continuum. He allowed me to "tweak" this tune, add the pala, tihai, and percussion solos out front and back. It is VERY different from his groups recorded version,(Paul Carman and ESP on the 9Winds label). It is slightly different than Continuum`s version, (also available on 9winds) e.g., soprano and guitar play the melody, not alto and synthesizer. We also added a guitar solo over what was the coda on Continuum`s version. Randy and I get to trade solos on this one, primarily in diminishing cycles of 7 with a Tihai in 33 beats. Alan`s solo is over another great groove laid down by Randy Gloss on tar-rine primarily in 4/4. Alfred solos in 7/4 over a recurring harmonic cycle, and Ken solos over a repeating rhythmic cycle of 46/4(!) at the outro. Great playing by all.
I guess this is a good time to explain why there are 5 members in a group called Quarteto Nuevo. The group was originally a quartet for a year,but I kept hearing additional percussion in my head and decided to add an additional percussionist. But the person had to be special. A musician first who would never lose sight of their ears for the sake of technique. Randy Gloss came in and brought his wonderful colors, rhythms, space,dedication and spirit to the group,(Track 1 is a good example of Randys musicality - he didn`t hear a part so he didn`t play a part) adding a dimension that I could not have possibly imagined to the group. He is the 5th member of the "quartet".
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This improvisation starts off with Alan Lechusza, bringing in his native instruments of the Americas to set the tone. (Alan`s ancestry is native American). Throughout the recording Alan plays music that is impossible to play on a breath instrument. (Alan has never admitted this to me, but other horn players have told me as much - "When does he breathe?") And off the top of my head I cannot think of too many improvising oboists, other than the great Paul McCandless,and Yusel Lateef.
It amazes me that Alan still shows up for rehearsals with a smile on his face, and a cup of coffee in his hand always ready to play and make music not possible to play on his respective instruments. He is also a gifted multi-woodwind player, composer and improviser. He is one to watch and listen for.
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Dedicated to my father Don Alberto Garcia.
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Another brilliant musician who happens to play drums (and guitar), Paul Motian. Primarily known for his work with pianist Bill Evans, Keith Jarrett as well as his own brilliant groups, and turning the notion of what a drummer should play on its ear. Mr. Motian is also an inspired conceptualist. This is the one piece that I didn`t touch- rhythmically, harmonically, or melodically. Its beauty is its simplicity. It is a joy to play and makes my heart smile.
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CD Information
