SPRING BREAK (PT 1)
Unlike an 80’s titty comedy, my spring break didn’t come with sun, bikinis and irresponsible drinking.
Where did you go?
In a previous post, I made my 95 day hiatus seem as if one particular event was the driving force for the absence, when, in reality, it just sort of happened. It was the culmination of
many little events. However, the purpose of this post is not to delve into the why’s, but the how’s. How did I spend my time? What did I learn? Things of that nature.
In part one of this discovery, I answer one of the most asked questions of my career, “What's your inspiration?” Here, I will examine the first and deepest part of my inspiration: Music. Through this examination,
I answer one of the “How’s” of my spring break.
Specifically?
Last spring, I got deep into a very specific portion of my music collection, dedicated to the great Manfred Eicher and the ECM label.
Specifically, the early years, 1969 to about 1984. I have a significant portion of the catalog on original vinyl. There is a point to it being on vinyl and
it’s just as important as the music itself. This is only an examination, post fact. In actuality, I just started doing it and then it ended up becoming a “thing” for me.
I simply started with an early sonic gem, that I found from a German collector and I just kept going.
Why This Label?
I started collecting this label in vinyl for sonic purity in the analog signal chain and the exploration of genre bending forms and idioms from what were, at the time, new artists.
The 1970’s are a terrible decade for BeBop and straight ahead. Minus a few standouts, the old guard did not move to the next decade well. At ECM, there was a European renaissance, mixing
metaphors and styles in mostly all acoustic music. They did it in glorious recording studio environments with very exacting standards.
These production standards can be heard and felt in both the sound and presentation of the entire catalog.
Alright Already.
Space, expansion, exploration, juxtaposition, complex, engaging …these are typical words used to describe this music. I could go on, but let’s try this a different way. I can write a great
deal about these titles, but instead I want the reader to have an opportunity to develop their own palette. Let me be clear. This music is not approachable. If you have been on a diet of pop music,
you are in for an uphill climb. Your Americanized western ears will have a tough time. The attention span of the streaming audience
listener was not even a consideration in these artistic endeavors. The truth is, you may never "get it". But if you do, I promise a new world awaits. Below are some examples to start your journey.
Matchbook
Gary Burton and Ralph Towner
An odd instrument pairing that is sonic bliss. It has every emotion, blended in a wide space, stretching time and littered with mind-altering nuance. I could go on, but just listen.
The Köln Concert
Keith Jarrett
FUUUUUCK. That's the first word that came out of my mouth when this performance hits its crescendo. This is a solo piano concert and this album changed the genre. Vera Brandes
was a 17-year-old concert promoter and this was one of her first efforts. It was a disaster. Take an out of tune 5 foot rehearsal piano set up on stage by accident, with no time
to get the 9½-foot, 97-key concert Bösendorfer, no dinner for the artist, a massively delayed 11:30pm start time, a terrible storm and a tired Keith Jarrett, wearing a back brace who had to drive
in from Zurich the night before. (no airline ticket on his rider) Listen for the mark where he stomps time as a crescendo builder and wrings every drop of sound out of that piano. Just brilliant.
In the end, talent can’t be stopped and the performance is nothing short of amazing. Look up Vera Brandes as well. She was a pioneer.
The Colours Of Chloë
Eberhard Weber
Magical thematic expression from a small ensemble led by a bass composer and performer with mind-bending abilities. The slight use of analog synthesizers and the electric piano is a
great juxtaposition to the acoustic instruments. It has slight psychedelic vibes and pushes a little too much fusion at times but it’s a wonderful journey. A stellar exploration of the
mind and soul. An Evening With Vincent Van Ritz is a great example.
Terje Rypdal
Terje Rypdal / Miroslav Vitous / Jack DeJohnette
An undulating expressive small group that separates and distances itself with an icy coolness and otherworldly sound. Deep meditative long form repeating mnemonics in trio form, with outstanding playing.
Jack DeJohnette is in sublime understated form. Will is a great example of the album and may be the most approachable for the uninitiated.
Ondas
Mike Nock
Space and emotion, combined with evocative soundscapes and restrained playing. The mind has ample room to traverse the sonic landscape laid before you.
Forgotten Love is a standout and I like visionary almost as much.
Solstice
Ralph Towner
Lush sonic textures and stellar playing with unusual instrument pairings make for a wonderful exploration of the conscious. Much gets made of the first track, Oceanus, but I prefer the expansive space of Drifting Petals. A touch too much finger picking in some sections for my taste, but amazing performances nonetheless.
MORE???
This is just a few artists. In the end, I went through 67 different recordings in my 95-day spring break. I took the time to absorb the entire album in one sitting.
Holding the jacket, like a book and a concert ticket at the same time, I engaged with every note. I listened. I was shaking my head and there were moments of bewilderment.
Surprise even. Sometimes even disappointment, but always a great journey. Note choice, restraint, technique and craft come together for some amazing art in this period and on this label.
I hope some of these artists, obscure as they may be, show you a path.
Wrap Up.
It wasn’t a sexy spring break. No bikini-clad, booze-filled nights. In fact, if you don’t want to meet any women, or sexy men, go to the jazz section of any record store.
At best, all you will find is the occasional weird beard and dirty shirt dude arguing, most likely with me, over turntable tone arms and 1920’s era Bix Beiderbecke records.
However, the avenues and ideas explored, expanded my thinking in new ways that have yet to fully flesh out in my work. A priceless foundation for new material. I find music engaging.
It keeps me looking for answers to questions not yet asked. That kind of artistic exploration alters a storyteller's path. It should be pretty clear by now, that exploration through sound is completely relevant and influential to my work.
I also hope this gives better insight into my creative process and a glimpse at my inspiration. My musical taste and collection is deep. Like make Barry Judd look like a lightweight deep.
The ECM catalog is one portion of my collection. For me, the jacket and full album play experience is paramount. It is the sonic equivalent to a museum’s passageways and rooms, showcasing the totality of an idea in time and space. If you do stream the material, try to listen to the entire album as intended.
I know the music will be unapproachable for many of you, so I get it you can’t. But try just one and see what you discover.