John Blevins exciting new recording on pfMENTUM

Dedicated to creative music—and the musicians that make it. John Blevins: Matterhorn On the latest pfMENTUM release, John Blevins leads his ensemble Matterhorn through an exciting set of compositions and improvisations that reflect both the jazz-rock experiments of the late 1960s and contemporary sonic explorations. You can check out the album—and a free track!—here.   Members John Blevins (Trumpet/ Compositions), …

John Blevins: Matterhorn (PFMCD092)

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[playlist ids="765"]

John Blevins: Matterhorn

(Please note: this is for the CD version, the vinyl version will be linked here when available.)

1. Identity Theft
2. Unaware
3. Brink
4. Nascent
5. Little Dickens
6. See
7. Breathe
8. Hear
9. See (alternate take)

John Blevins – Trumpet
Drew Williams – Tenor Saxophone
Brad Mulholland – Alto Saxophone/Flute/Clarinet
Nick Grinder – Trombone
Marta Sanchez – Fender Rhodes
Jeff Mclaughlin – Guitar
Marty Kenney – Bass
Nathan Ellman-Bell – Drums/Percussion
John Doing – Congas

Produced by John Blevins and Shane Endsley

Recorded at Grand Street Recording in Williamsburg, Brooklyn by Jake Lummus on July 21 and 22, 2014

Edited and mixed by Jake Lummus and John Blevins, Autumn 2014

Mastered by Liberty Ellman on December 12, 2014

All compositions © and& ℗ 2015 John Blevins Music (ASCAP)

Original artwork and design by Sam Gezari

THANK YOU to Nathan, Marty, Jeff, Nick, Drew, Brad, Marta, and John for their dedication to this music. It’s an honor to play with you.

Special thanks to Shane Endsley, Jake Lummus, Liberty Ellman, Leah Jubara, Matt Hurley, Simon Yu, Sam Gezari, Daniel Stessen, and to Bill Jubara and everyone who supported this project on Kickstarter. Special thanks to my loving, supportive family and especially to Amanda.

For Ray and Howell.

pfMENTUM CD092

PFMCD092

Jeff Kaiser and Phil Skaller: Endless Pie (PFMCD072)

Louis Lopez 1 Comment

[playlist ids="528"]
Endless Pie is…
Jeff Kaiser: trumpet, flugelhorn, voice, electronics
Phil Skaller: prepared piano

Two CDs:
Total run time 109 minutes

Recorded live in Studio A
University of California San Diego, November 21-22, 2010
Recording engineers: Joe Kucera and Clint Davis

Mixing, mastering, design: Jeff Kaiser, July 2012

All compositions © 2012:Jeff Kaiser Music, ASCAP • Phil Skaller, ASCAP

Blueberry (Disc One)

1. Unchangeable Fundament 13:15
2. Image of a Punctiform 3:35
3. People from the Machinations 8:50
4. Two Unknowns, the One Being 6:07
5. Galileo Uses Propaganda 6:39
6. Anticipated by Bacon 4:42
7. No Immediate Theoretical 3:36
8. Alongside a Moving Tower 3:42

Cherry (Disc Two)

1. The Puppet Does Not Have a Soul 14:54
2. Backward Intersection 5:29
3. Occured without Noticeable 2:37
4. Absence of any Proper Notion 5:29
5. Behave Very Much Like After-Images 7:44
6. We Must Retain 6:34
7. The Problem of Telescopic Vision 2:27
8. As Some Relics 6:04
9. Well-Determined Exceptions 1:31
10. This Paratactic 5:19

pfMENTUM CD072

PFMCD072

Rich West: Mayo Grout’s Known Universe (PFMCD055)

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[playlist ids="478"]
Rich West

FEATURING:
Tony Atherton
Ace Farren Ford
Bruce Friedman
Paul Green
Emily Hay
Eric Johnson
Haskel Joseph
David Kendall
Steuart Liebig
Jill Meschke
Walter Zooi

1. I’m a Cockroach; Adapt, Adapt – part one 18:05
2. Short I Am 3:22
3. On Her Wrists She Wore Her Interest 10:09
4. Newness 5:13
5. I’m a Cockroach; Adapt, Adapt – part two 6:28
6. Five-Lane Parasite 5:47
7. ES-1 10:33
Total Playing time: 59:43
© 2009 Book Crazy, BMI

1 and 5 recorded at Architecture, Los Angeles, CA, Jan. 21, 2003
mixed 2003–2006, Scott Fraser, engineering
2, 3 and 6 recorded at Architecture sometime in 1995
mixed 2003–2006, Scott Fraser, engineering
4 and 7 recorded at Rick Cox’s studio above John Carter’s in Los Angeles, CA, sometime in 1991, Rick Cox, engineering
Editing by Phyllis West
Emily Hay: flute 1–7; voice 4
Bruce Friedman: trumpet 1, 5
David Kendall: bass guitar 1, 5; electronics 1
Haskel Joseph: guitar 1–3, 5, 6
Ace Farren Ford: vocals 1
Tony Atherton: alto sax 2–4, 6, 7
Steuart Liebig: bass guitar 2–3, 6
Eric Johnson: bassoon 4, 7
Walter Zooi: trumpet 4, 7
Jill Meschke: keyboards 4, 7
Paul Green: bass guitar 4, 7
Rich West: drums 1–7; subjected to voice 3
Layout and design by Jeremy Drake

Of
AG.

The jet-like whirring sound started again. Neighbor Riley was angry but knew that going over to Grout’s house would be a futile journey. Didn’t anyone else on the block hear the world’s-end racket? “I’m just doing some work,” Grout had yelled when Riley had first complained. Then, three days ago, Riley had summoned up the courage to bang on the garage door with his fists. Grout had popped his head out of a side door. “What kind of work?” Riley had asked. “Just some power sawing. I’ll be done in half an hour.” Of course, it had gone on much longer than that. This time, convinced that any plea for quiet would send Grout into a rage, Riley called the police, feeling his chest tighten as he punched in the numbers. “It seems you’ve been using a lot of energy, sir, and we‘d like to know what it‘s all about,” said the patrol officer. After the initial obligatory round of yelling for civil rights, Harry Grout had invited the two cops into the garage to see for themselves. Within a month ten reporters called, then a mystery-man got very interested in the project, and Grout was able to convince some very rich investors to procure private equity interests…

(Please purchase the CD To see how the story finishes.)

pfMENTUM CD055

PFMCD055

Andrew Pask / Jonathan Besser: Griffith Park (PFMCD041)

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[playlist ids="448"]
Andrew Pask/Jonathan Besser

JONATHAN BESSER: Piano
ANDREW PASK: Soprano Saxophone, Bass Clarinet, Live Processing

1. Magnificent Photon—2:20
2. Steam Engine Love Letter—2:58
3. Dust Bunny Meditation—3:13
4. Chessboard Cowboy—4:00
5. Coldwater Light Bulb—2:43
6. Tomato Blade—2:22
7. The Fried Judge—4:27
8. Fruit Cake—5:55
9. Cloud Formation Microscope—3:44
10. Geosynchronous Hibernation—0:52
11. Sleeping Wheel—5:12
12. Wellington Harbour—5:57

All tunes composed by Andrew Pask and Jonathan Besser, except “Wellington Harbour,” composed by Jonathan Besser, © 2006, Andrew Pask, Kaleidacousticon/ASCAP, and Jonathan Besser, Besser Music/APRA

Recorded, mixed and mastered by Wayne Peet at Newzone Studio, Los Angeles, California, June and October 2005
Photography by Annette Wu; design and layout by Steuart Liebig
www.kaleidacousticon.com
www.jonathanbesser.com

Liner Notes:

Jonathan and I were walking in Griffith Park when Wayne Peet called to say he had an opening at his recording studio. (Wayne Peet, more than anyone I have ever met, is a musician and an engineer. And is masterful at both.)

So off we went.

Jonathan and I played together many times when I lived in New Zealand, but the last time we played was in Macau, circa nineteen-ninety-something, at the Captain’s Bar of the Mandarin Oriental Hotel. Jonathan was on tour in China with Ed Ware and Nick van Dyke and I was living in Hong Kong playing in bars and doing gigs with Cantopop stars.

It was really fun to go back into the studio and record after so much time. Just as it happens in spoken conversation with a good friend, we just seemed to pick up where we left off . . .

–Andrew Pask, Los Angeles, California, April 2006

pfMENTUM CD041

PFMENTUM CD041

The Empty Cage Quartet: Hello the Damage! (PFMCD040)

Louis Lopez 1 Comment

[playlist ids="446"]
Jason Mears: alto saxophone, clarinet, wood flutes
Kris Tiner: trumpet, flugelhorn
Paul Kikuchi: drums, percussion
Ivan Johnson: contrabass

Disc 1: First Set (24:20 / 21:17)
1. Attack of the Eye People (Mears)
Who Are They If We Are Them? (Mears)
The Mactavish Rag (Tiner)
2. And Who Is Not Small (Tiner)
Function-3 (Tiner)

Disc 2: Second Set (42:57)
1. Swan-Neck Deformity (Kikuchi)
The Empty Cage (Mears)
Swim Swim Swim, Eat Eat Eat (Mears)

Recorded live at Café Metropol in Los Angeles, California on Friday, December 30, 2005
Recorded live to two track by Paul Kikuchi
Mastered by David Christensen and Paul Kikuchi
Cover photo and album design: Kio Griffith
Band photos: Allen D. Glass II
Thank you to Kio Griffith, Misato Nagare, Dottie Grossman, David Christensen, Rocco Somazzi, Allen D. Glass II, Jeff Kaiser and Vinny Golia
© 2006 Jason Mears Music, ASCAP and Kris Tiner Music, ASCAP
For more information: www.mtkjquartet.com

Finale
When the camera pulls back
on people you care about
because you have followed
their story all season
and you know
what makes them happy
and what hurts them
and you love them
and want to protect them,
that’s your cue to sit back,
let the music take care of them now.

When I wrote that, I wasn’t thinking about The Empty Cage Quartet, but I see a connection. They share a common view, something about expansiveness or maybe a sense of what I can only call “mission.” These guys actually care about us, and want to make us better through their musical example, God help them. It’s a tall order, admittedly, but saxophonist Jason Mears and trumpeter Kris Tiner talk seriously about the band as a positive model for social change, incorporating and expanding upon what they learned under the tutelage of people like Wadada Leo Smith and Vinny Golia.

Mears, Tiner, Kikuchi and Johnson (“The MTKJ;” now “The Empty Cage Quartet”) came together at The California Institute of the Arts, in Southern California, circa 2002. They began playing music that was admittedly “horrible” (Kris Tiner’s word), at first, but which has evolved to a very telepathic kind of communication that transcends historical models of creative new music and almost doesn’t require language in its usual sense. They’re bent on transcending the clichés of “free jazz,” with its historically associated bias toward self-expression at the expense of everything else. They all contribute tunes and are dedicated to finding ways of getting around traditional improvisation and composition, to create music that is “continuous” and spontaneous. At the same time, in their musical explorations, they incorporate and honor the earlier forms they want to transcend. There is, for example, homage to without imitation of the Anthony Braxton and Ornette Coleman quartets.

So they use a system which in effect means that, in performance, any player can cue a composition at any time. For that to work on a level that approaches art requires the ability to almost literally read each other’s minds. Forget about not paying attention. Forget about playing on chord changes. It’s very akin to linking arms and jumping off the proverbial edge-of-the-cliff. It takes enormous mutual trust, acquired through the time-honored method of playing and touring. It is a truism that there’s no substitute for playing together a lot over a period of time in different settings and circumstances. The bonding that emerges from this kind of intensity has created, for these four, a unity that is probably more rock-solid than that of most “real” families.

And that makes them happy. They like it when audiences are touched and even inspired by the music they make together. Drummer Kikuchi tells about a gig in Olympia, WA, when the audience behaved as if they were at a rock show, yelling and “getting into” the show, letting the music take them to new places.

A word about the title of this CD: “Hello the Damage” was the all-too-literal English translation of part of a French review damning the group’s last CD. Anyone familiar with the often hilarious nonsense masquerading as “translation” on the Babelfish web site will sympathize.

This is a band whose musical growth rate has been amazing. They’re dedicated to doing something new, and the strength of their musicianship and vision are collectively and individually impressive enough to make that happen.

I’m going to leave the last word (well, almost) here to Kris Tiner, who, talking about how much he appreciates the work of Thelonious Monk, Charles Ives and Morton Feldman, says, “You can tell they love music.” Amen.

Dottie Grossman
Los Angeles, CA
April, 2006

[Ed. from a reviewer friend: This expression (in french “bonjour les dégâts…”, “damage” is a plural in french, it makes it more spectacular) became famous after is was used in an advertisement against alcohol when driving : “Un verre ça va, trois verres bonjour les dégâts” “One drink is alright, three drinks, hello the damage” : nobody speaks about 2 drinks, the case becomes a hole where reason gets drowned).]

pfMENTUM CD040

PFMCD040

Steuart Liebig / The Mentones: Nowhere Calling (PFMCD039)

Louis Lopez 0 Comments

[playlist ids="445,443"]
The Mentones
Tony Atherton: alto saxophone
Bill Barrett: chromatic harmonica
Joseph Berardi: drumset, percussion
Steuart Liebig: contrabassguitars

chatterbox – – 4:17
double-blade axe – – 3:58
coal – – 4:41
back seat, white cadillac – – 7:08
hardcase – – 2:30
iodine cream – – 4:10
manchild hustle – – 3:16
way high lonesome – – 4:55
the single-double two-step – – 1:58
rocking chair – – 6:29
angel city dust – – 3:47
daisy man – – 2:00
rooster rocket – -1:53

© 2006, steuart liebig/sisong music (ascap)

photos/montages by steuart liebig;
band photos by amparo fernandez;
inside photo from david witham video, processed by joseph berardi;
layout by steuart liebig
recorded at newzone studio, by wayne peet; mixed at newzone studio, by wayne peet and steuart liebig, mar vista, california, 2006

gear thanks: fodera basses, thomastik-infeld strings, rick turner and raven labs; pat missin; paiste cymbals and attack drums heads

Liner Notes by Nels Cline:
The Mentones. The name conjures up some preconceptions: a sort of retro outfit, maybe a blues/rock or R&B thing. Dudes. Maybe Texan dudes. Or Oklahomans. The kind of band dudes get rowdy to, or maybe even couples shake their tailfeathers to. Interestingly, although the name is derived from bandleader/composer/bassist Steuart Liebig’s street name in Los Angeles County, there are shards of truth in these preconceptions. But they certainly don’t tell the tale. The Mentones—and yes, they ARE all men— actually do play a kind of blues boogie, though their brand of this is calculatedly skewed in a kind of Bartokian way. This is an all-instrumental thing, so already we’re talking some kind of FUSION band, right? The kind men might dig, since the rumbling roots of the band’s concept are blues, boogie, and some kind of out jazz freakout. HOWEVER: I have watched women groove mightily to The Mentones! I’ve heard them applaud their taut, economical solo workouts! And it’s not because these guys are working the image thing, OK? Not a hipster hat, no sharkskin, no stage presence is in evidence (sorry, cats)! What, then, IS this SoCal combo all about? Why are these hepcats and hepkittens in major DIGULATION MODE?? *** If one follows the prolific and mercurial output of CONTRABASS guitarist Steuart Liebig, one quickly gets dazzled—if not fully bogged down—in the myriad projects he has formed and for which he composes. I have truly lost count of how many bands Steuart is doing concurrently— it’s well over five—and each one operates within tight conceptual parameters. The Mentones is Herr Liebig’s rockingest combo, and it is specifically created to simultaneously refer to and mangle elements of blues, R&B, and, to my mind, surf and the old “instrumental hits” idea, particularly as it played out in the mid-60s. I am also repeatedly reminded of the early quartet music of Ornette Coleman, not stylistically, but in the tight and focused ensemble statements. There are no 5-minute solo forays here. Each piece is highly compressed, and some are over before you even know they’ve started. There appear to be other tightly controlled parameters. For example, it all seems to be about meaty vamps and unison or octave melodies between alto saxophone and harmonica. It’s a thing! I know this because I’ve known Steuart for 30 years! It’s how he thinks and works. His writing for octets, chamber trios, is rife with neo-modernist harmonies. But not in The Mentones. I cherish a fantasy (apologies in advance to Oliver Reed): Lee Marvin, looking for a out-of-the-limelight spot to have a drink or five, stops into a Salvadoran joint like Culver City’s Club Tropical. On the dance floor, The Mentones are at it, pounding out the mighty Liebig salvo, “Hardcase.” Marvin walks right up to the band, his towering, manly frame blocking the view of many of the reverent denizens. As they WHOMP! the song’s abrupt conclusion Marvin, a few Patron Silvers into his evening asks, to no band member in particular, “What are you guys supposed to be, some kind of LOCRIAN BLUES BAND?!” Too bad Lee’s joined his ancestors, but man, he’d be right! With melodies derived from obscure modes (Steuart is positively besotted with flatted fifths) or completely chromatic, the CHUG and CHURN of the bass and drums ram the solar plexus while the peculiar (and totally singular) melodies dance like satyrs in the cerebellum. *** A few words about the men of The Mentones: On alto saxophone is Tony Atherton. Sure, he sounds like he’s sucked up plenty of the toxic stench in Naked City, or perhaps worshipped at the feet of Big Satan. But the maniacal frothing of his playing is totally ROCK ’N ROLL. If he was around in the late 50s, he’d have been the kid in high school who hung out with all the older nighthawks, jamming into the wee hours—or at least as long as the benzedrine in his inhaler lasted. His imposingly tall frame and gentle demeanor barely mask what is obvious: he is a TOTALLY GONE CAT. After negotiating the written material to a tee, he then uncorks the reedy gusher of his horn/psyche. Bill Barrett plays the harmonica. Simply stated, he is one of the most cogent and arresting soloists ON ANY INSTRUMENT playing today. I kid you not. Listen to this shit! He goes from classic blues harp to fucking campfire memories to ghostly shakuhachi rushes without ever losing the moan and shriek of the blues. His playing is consistently haunted. It haunts the music like a spectre, imbuing each moment it inhabits with what David Briggs called “The Spook.” Drummer Joe Berardi has credits longer than the ‘thank yous’ on a Mariah Carey record. I’ve seen him in so many situations spreading his excellence around that it’s dizzying. Do some homework on this man. In The Mentones, Joe really GETS DOWN. Whether playing prepared drums, a tin can, or just laying it down normal-style, this is a BURNER for Joe (and beautifully recorded, I might add). There remains one question: how can a man so consistently well dressed SHRED like that? As for the fearless leader himself, Steuart Liebig here eschews his effects pedal dazzle for a virtuosic though never out-of- the-pocket piledrive through the lexicon of bass and guitar. You see, Steuart bought one of those 6-string basses right when they came out. These things were the fulfillment of a dream, much in the way the MiniMoog was the fulfillment of a dream for Jan Hammer. If only these select individuals were the only ones to bring these instruments to light! Anyway, now Steuart has 3 or 4 of these monster basses. One fretless, one fretted/flatwound, one fretless, one fretted/roundwound, all customized, stickered, slathered with the foam of the mad scientist he is. He plays slide, digs deep into involuntary bowel movement frequencies, and skitters around in the guitar’s range like a musician version of the Manster. AND OH YES, he writes all these neo-Peter Gunn, Locrian, Willie Dixon jams. When The Mentones perform, Steuart name checks his bandmates about 23 times—per set! But I hope that you, the holder of this fine CD, can take a minute to let the names of these men seep into your over-stimulated brain. *** By the way, this disc really starts to ramp up around track 9 (programmers take note!), so all you kids put on your crash helmets and don’t miss the exciting conclusion of Nowhere Calling! Cowabunga!
Nels Cline—Glendale, CA, April 1, 2006

pfMENTUM CD039

PFM039

Dottie Grossman / Michael Vlatkovich: Call and Response (PFMCD021)

Louis Lopez 1 Comment

[playlist ids="402,399,401"]
Call and Response
Poems written and read by Dottie Grossman
Trombone improvisations by Michael Vlatkovich

1. If we lived on a mountaintop :44
2. The lady from Calcutta 1:05
3. What if another caveman 1:12
4. This poem is part cartoon :44
5. I’m grown up now :55
6. The hum of a place :58
7. In a sleep
In the dream
In recurring Cary Grant 1:34
8. Today I bought 1:04
9. In the canyons below 1:27
10. In the evening 1:33
11. There has been :44
12. Three Henny Youngman Poems 1:12
13. Dear Terre Haute 1:05
14. We waited the storm out 1:23
15. On a navy-blue night 1:29
16. Two about movie stars 1:34
17. The man who is more like
The murderer on his way 1:40
18. Ten P.M. 2:12
19. Six Short Cat Poems 2:04
20. The Man Who Loves His Job Makes A Poem 1:09
21. You make me laugh easily 1:27
22. Three Henny Youngman poems :58
23. Two appropriations 2:26
24. My hairdresser tells me 1:52
25. Daughter 2:52
26. In my pre-adolescent :46
27. Once upon a time 1:32
28. Two short ones 2:00
29. Three short ones 2:09
30. The weekend begins 1:35
31. Two in a row 2:46
32. Two about geography 2:02
33. Two more in a row 2:40
34. Two that seem to go together 1:19
35. …And three more Henny Youngman Poems 2:08

(c) 2004 Dottie Grossman and Michael Vlatkovich • Executive Producer: Jeff Gauthier
Art: Billy Mintz • Design and Layout: Jeff Kaiser and Dottie Grossman
Engineers: Garth Powell and Scott Looney • Best Boys: Garth Powell and Jeff Gauthier
Recorded: 6 March 2004, 1510 Studios, Oakland, CA
Recorded in real time with no overdubs or edits

A sampling of the poetry…

1.
If we lived on a mountaintop,
the fog would rise up every night,
so thick you could run a comb through it.
Every morning would look like a barbershop,
with wet floors full of leftover curls.

2.
The lady from Calcutta
is taking a breather
in the California sun.
She sits by the freeway
eating ice cream
and thinks that the freeway
is a kind of Ganges,
all foamy and shining with light.
Oh, lady from Calcutta,
you never had it so good.

3.
What if another caveman
had my hands,
after they saw me
through my teens
and spent the sixties
with me?
Could somebody else
respect that?
And would the tracery
of my lifeline
meander differently
on, say, you?

4.
This poem is part cartoon
and part injection.
I hope it has the clarity of wind chimes
or the bloody sparkle of broken glass.

5.
I’m grown up, now,
but I still find
human babies
menacing:
especially
the way they bob
their smiling,
ornamental heads.
I don’t trust them
when the filtered light
of winter
cleans the empty beach
between storms
and exposes
the desert hideouts
of dead Indians
and their toys.

6.
The hum of a place
tells me everything’s working.
I love the electrical breaths
of us and our gear,
doing pushups.

7. Three Poems…

1.
In a sleep
ruffled by guilt,
I dream of my family,
praying together,
childishly.
They are so small
that I suddenly understand
their common nightmare,
and why they call themselves
by one name.

2.
In the dream
of skyscrapers
as paper dolls,
each has its wardrobe
of tenants
that can be moved
around forever.

3.
In recurring Cary Grant
Dream Number One,
he appears on Christmas Eve
to bless the animals.

pfMENTUM CD021

PFMCD021

The Jeff Kaiser Ockodektet: The Alchemical Mass and The Kaiser / Diaz-Infante Sextet: Suite Solutio (PFMCD019)

Louis Lopez 1 Comment

[playlist ids="396,393,395"]
The Jeff Kaiser Ockodektet: The Alchemical Mass

The Kaiser/Diaz-Infante Sextet: Suite Solutio

The Jeff Kaiser Ockodektet with The Ojai Camerata

Woodwinds: Vinny Golia, Eric Barber, Jason Mears * Trumpet/Flugelhorn: Kris Tiner * Trombone: Michael Vlatkovich
Tuba: Mark Weaver * Bass: Jim Connolly * Prepared Acoustic Guitar: Ernesto Diaz-Infante * Acoustic Piano: Wayne Peet
Percussion: Brad Dutz * Drum Set: Richie West * Jeff Kaiser: Conductor, Flugelhorn

The Ojai Camerata:
Sopranos: Diane Besocke, Candace Delbo, Eleanor Land,
Laura Johnson-Bickford, Lu Setnicka
Altos: Gwen Erickson, Lisa Gordon, Katherine Halsey,
Holly Mitchem, Zoe Pietrycha
Tenors: Carla Aiello, Jaye Hersh, J.B. White
Basses: Dave Farber, Jim Halverson, Kurt Meyer, Bill Wagner
Dr. Wyant Morton, Director

The Alchemical Mass
Conducted by Jeff Kaiser and Dr. Wyant Morton
1. Introitus 10:28
[Eric Barber, Soprano Sax * Vinny Golia, Sopranino Sax]
2. Kyrie 3:00
3. Collecta and Gloria 2:33
[Kris Tiner, Flugelhorn]
4. Epistola and Graduale 1:44
5. Offertorium 9:03
[Jeff Kaiser, Flugelhorn * Jason Mears, Alto Sax]
6. Ave Maria and Commune 7:16

Kaiser/Diaz-Infante Sextet
Trumpet/Flugelhorn: Jeff Kaiser * Prepared Acoustic Guitar: Ernesto Diaz-Infante
Trombone: Scot Ray * Bass: Jim Connolly * Percussion: Brad Dutz * Drum Set: Richie West

Suite Solutio
7. Part I 2:38
8. Part II 1:25
9. Part III 5:06
10. Part IV 5:49
11. Part V 4:19
Total Playing Time 53:21

All compositions and arrangements by Jeff Kaiser * (C)2004 Jeff Kaiser Music, ASCAP
The Alchemical Mass was recorded 4.26.03 at the First United Methodist Church in Ventura, CA
Recorded, mixed, and mastered by Wayne Peet
Suite Solutio was recorded 2.25.01 at Zircon Skye in Ojai, CA
Recorded by Jeff Evans * Mixed and mastered by Jeff Kaiser
Photographs by Michael Kelly * Design and layout by Jeff Kaiser

The Alchemical Mass is dedicated to Keith McMullen for his friendship and unending supply of prima materia.
In Stercore Invenitur

Liner Notes:

“Obscurum Per Obscurius.”
[Explaining the obscure by the more obscure.]

-Anonymous Alchemical Quote

“It is true that alchemy always stood on the verge of heresy and that certain decrees leave no doubt as to the Church’s attitude towards it, but on the other hand it was effectively protected by the obscurity of its symbolism, which could always be explained by harmless allegory…The alchemists ran counter to the Church in preferring to seek through knowledge rather than to find through faith, though as medieval people they never thought of themselves as anything but good Christians…But in reality they were in much the same position as modern man, who prefers immediate personal experience to belief in traditional ideas, or rather has it forced upon him…For this reason there have always been people who, not satisfied with the dominants of conscious life, set forth – under cover and by devious paths, to their destruction or salvation – to seek direct experience of the eternal roots…”

-C.G. Jung, Psychology and Alchemy

Nicholas Melchior Cibenensis – chaplain and court astrologer to Ladislaus I (King of Hungary and Bohemia) and then Louis II – wrote the text of The Alchemical Mass between 1490 and 1516. Following the death of Louis II in 1526, Cibenensis fled to Vienna…where Ferdinand I would execute him in 1531. The original text is quite long and has been paraphrased for this composition.

Introitus Missae:
Fundamentum vero artis est corporum solutio quae, non in aquam nubis, sed in aquam mercurialem resolvenda sunt, ex qua generatur verus lapis philosophorum. [The basis of the Art is the dissolution of the bodies…]
Versus: Introitus vitrioli, et salis vitri, aequales partes, dans solutionis testimonium: Gloria patri, et filio, per spiritum sanctum.

Kyrie:
Kyrie, fons bonitatis, inspirator sacrae artis, a quo bona cuncta tuis fidelibus procedunt, Eleison.
Christe, Hagie, lapis benedicte artis scientiae qui pro mundi salute inspirasti lumen scientiae, Eleison.
Kyrie, ignis divine, pectora nostra juva, ut pro tua laude pariter sacramenta artis expandere possimus, Eleison.
[Our Lord, fount of goodness, inspirer of the sacred art, from whom all good things come to your faithful, have mercy. Christ, Holy one, blessed stone of the art of the science who for the salvation of the world hast inspired the light of the science, have mercy. Our Lord, divine fire, help our hearts, that we may be able, to your praise, to expand the sacraments of the art, have mercy.]

Collecta:
Deus largitor totius bonitatis, qui maxime in fine temporum; sola tua bonitate et sapientia famulo tuo. N.N. non suis meritis praecedentibus: sed tua ineffabili pietate, et gratia praeveniente, lumen sacrae artis alchemiae inspirasti, praesta quae sumus, ut quod ex tuae maiestatis dono accepit, ad salutem corporis, et animae eius prosit, in ipsoque omnia vitia mortifica, et gratiam virtutis infunde, ut eandem sacram artem solum modo ad laudem, et gloriam nominis tui, et fidei Christianae propagationem, fideliter expendat, per dominum nostrum Jesum Christum, Amen.
[May thy servant N.N. practice the sacred Art of alchemy to the glory of God…]

Gloria in excelsis

Epistola:
O altitudo divitiarum sapientiae, et scientiae Dei.
[O profound, wise and knowledgeable God.]

Graduale:
Surge aquilo et veni auster: perfla hortum meum, et fluant aromata illius.
[Arise north wind, and come south wind, blow through my garden and let the aromatical spices flow.]

Ave Maria:
Salve, O caeli iubar speciosum, mundi lumen radiosum; hic cum luna copularis, sit copula martialis, et Mercurii coniunctio. Ecce res est una, radix una, essentia una…qui est lapis philosophorum. Hic est thesaurus thesaurorum, summa medicina philosophorum, caeleste secretum antiquorum, beatus, qui hoc invenerit.
[Hail beautiful lamp of heaven, shining light of the world! Here art thou united with the moon, here is made the band of Mars and the conjunction of Mercury. And behold it is one thing, one root, one essence…this being the stone of the philosophers. It is the treasure of treasures, the supreme philosophical potion, the divine secret of the ancients. Blessed is he that finds such thing.]

Commune: Regem nostrum venientem ex igne, illuminatum, et diademate coronatum, ipsum honorate in perpetuum. Amen.
[Glory be to our king who comes out of the fire, who is illumined, and crowned with the diadem, for ever and ever. Amen.]

I wish to thank Dr. Wyant Morton and the Ojai Camerata for commissioning this work and The City of Ventura’s Office of Cultural Affairs for a grant to fund The Jeff Kaiser Ockodektet. I would also like to thank Adam McLean, author of over 40 books on alchemical and hermetic literature, who took the time out of his busy schedule to send me the complete Latin text of The Alchemical Mass with translation. Visit his web site at: www.levity.com/alchemy/ for text and art on all facets of alchemy.

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