Guerino Mazzola / Alex Lubet: Deep State (PFMCD119)

Jeff Kaiser Leave a Comment

[playlist ids="1368"]

Deep State

Guerino Mazzola grand piano (all tracks except Kaddish)
Alex Lubet acoustic guitar (ag), soprano ukulele (su), National steel guitar (ns), mountain dulcimer (md)

1. Life (ag) 5:30
2. Liberty (su) 3:25
3. Pursuit of Happiness (ag) 5:52
4. Perfect Union (su) 4:57
5. Verinoqu’es 3:44
6. Blessings of Liberty (ns) 7:45
7. Establishment Claws (ag) 5:29
9. Freedom of Speech (su) 4:25
10. Kaddish (md) 4:11
11. Bare Arms (su) 4:38
12. Neither Slavery nor Servitude (ns) 3:49
13. The Power to Enforce (su) 3:55

Steve Barnett recording, mixing, and mastering producer; digital editor (Barnett Music Productions, Minneapolis, Minnesota)
Preston Smith recording, mixing, and mastering engineer (Perfect Record, St. Paul, Minnesota)
Recorded at Ted Mann Concert Hall, School of Music, University of Minnesota, Minneapolis, May 22 and 23, 2017
Edited, Mixed, and Mastered at Perfect Record, St. Paul, Minnesota
Graphic Design by Ted Killian

All music © 2018. Verinoqu’es by Guerino Mazzola (SUISA). Kaddish by Alex Lubet (ASCAP) All other compositions by Mazzola and Lubet (SUISA and ASCAP). All Rights Reserved.

Thanks to the University of Minnesota Imagine Fund for recording and post-production expenses
Learn more about Deep State at www.alexlubet.com or www.encyclospace.org.

pfMENTUM
PFMCD119
www.pfmentum.com

Jason Robinson / Janus Ensemble: Resonant Geographies (PFMLP115)

Jeff Kaiser Leave a Comment

[playlist ids="1360"]

PLEASE NOTE: THIS PAGE IS FOR PURCHASING THE DOUBLE LP (VINYL) VERSION.
Please click here for the CD.

Resonant Geographies
Jason Robinson

Jason Robinson’s Janus Ensemble:
Jason Robinson—tenor and soprano saxophones, alto flute
JD Parran—alto and contra alto clarinets, bass flute
Oscar Noriega—Bb and bass clarinets, alto saxophone
Marty Ehrlich—bass clarinet, alto saxophone, flute
Michael Dessen—trombone
Bill Lowe—bass trombone, tuba
Marcus Rojas—tuba
Liberty Ellman—guitar
Drew Gress—bass
George Schuller—drums
Ches Smith—drums, glockenspiel

Recorded at Systems Two, Brooklyn, NY, January 5-6, 2016
Engineered and mixed by Mike Marciano
Produced by Jason Robinson
Recording session produced by Steph Robinson
Recording session assistant: Jamie Sandel
Mastered by Rich Breen, Dogmatic Studios, Burbank, CA
All images by David Gloman. Cover, West Worthington Falls, 2016, 17×21 inches, acrylic on paper (detail). Side A label, Bear Den Falls, 2016, 17×22 inches, acrylic on paper (detail). Side B label, Westfield River, 2016, 17×21 inches, acrylic on paper (detail). Side C label, Gold in Brook Falls, 2016, 11×14 inches, acrylic on paper (detail). Side D label, Gunn Brook Falls, 2015, 18×23 inches, acrylic on paper (detail).
Photography by Scott Friedlander, (c) 2016, used with permission
Graphic design by Ted Killian

Track Titles:

Side A:
Facing East (10:41)
Futures Unimagined (8:12)

Side B:
Confluence (6:55)
Dreaming (8:24)

Side C:
Facing West (6:31)
Circuitry Unbound (8:44)

Side D:
Outcropping (12:14)

All compositions by Jason Robinson (ASCAP)
All rights reserved ℗ and © 2018 Jason Robinson

https://youtu.be/-43JeWvAKRI

Arriving in Montreal in the middle of the Janus Ensemble tour, I watched as my fellow trombonist Bill Lowe wrangled his enormous tuba and bass trombone cases out of the van, through sub-zero winds and icy sidewalks, and into the tiny club where we’d soon perform. This would be a challenge for someone half Bill’s age, but he was unfazed, focused only on warming up all that metal in time for the soundcheck.

We’d been driving all day and I’d spent much of it listening to Bill’s inspiring stories. For a half century, he’s contributed to expanding the ways that African American music is understood, starting out working with celebrated musical innovators in 1960s London and 1970s New York City and continuing through an extensive career that encompasses music making, community engagement, festival organizing, and academic work. As Taylor Ho Bynum points out, despite all this, Bill has “existed somewhat under the radar, partly because he’s been equally committed to teaching and scholarship throughout his career, and partly because the top-down, star-focused version of jazz history rarely leaves room for the artists in the trenches who are the lifeblood of the music.”1

That night, this “lifeblood” was a large band crammed onto the stage without a spare inch, working through a wide-ranging set of Jason Robinson’s music. “Futures Unimagined,” a piece we played and also part of this album, is typical of Jason’s compositional range and sensibility. It begins with an introduction where the only indication in the score is “collective improvisation – start sparse,” giving the band time for a spacious, internal dialogue that differs wildly each time, but eventually coalesces into more intricate notations and then a blues-inflected song form. There, one lush, recurring melodic phrase is scored for trombone on top of clarinets, an allusion to a specific color and orchestration developed by Duke Ellington in his 1930 composition “Mood Indigo.” As if to heighten the connection, Bill’s brilliant trombone solo on this piece combines throat growling and a harmon mute in his own version of a technique pioneered by Ellington’s trombonist “Tricky” Sam Nanton. Eventually the piece ends with a flourish of improvisational dialogue among two drumset players, George Schuller and Ches Smith, cutting to a sparse snare drum gesture played eight times in perfect unison by both drummers, an elusive and only temporary closure before we continue to the next chapter of the suite.

Almost a century ago, Duke Ellington’s early ensemble music helped establish an important new practice of composing music not only for specific instruments, but also for individual improvisers, drawing on each musician’s personal sound for inspiration and raw material. It’s an approach that has since expanded in infinite directions, especially in African American-based improvised music, but always with a powerful dialectic at its core: It depends on and highlights individuality, and it’s also a deeply collective mode of creativity.

That spirit infuses Resonant Geographies, an extended suite Jason has composed for these eleven improvisers, most of whom have performed in his Janus Ensemble since 2008. Compositionally, the suite is a series of sonic reflections on specific locations that have been important to Jason, each movement a kind of tone poem moving through a range of textures and forms related to that memory. But the suite is just as much animated by musical geographies, both those of the improvisers in this band who bring different relationships to jazz traditions, and those of the composers past and present whose influences echo throughout the score, filtered through Jason’s own compositional sensibility.

Multi-reedist J.D. Parran is another individual who has inspired both Jason and me for many years and brings his unique history to this album. Reflecting on his experience growing up in inner city St. Louis during the 1960s, J.D. describes how he was fortunate to have excellent school music teachers that were part of the “talented tenth group of African American educators.” He comments that these teachers, many of whom had recently migrated from the south, were “very, very special in what they had to go through—in mostly traditionally black colleges and universities—to get their education, and the rigorous kind of training that they received.”2

Rigor: “The quality of being extremely thorough, exhaustive, or accurate.” I associate this quality with Parran himself, one of those rare people I’d describe as a master musician. He’s achieved astonishing technique on multiple reed instruments, including less common ones such as the bass saxophone and alto clarinet, and he’s worked as both an interpreter and an improviser across wide-ranging forms of contemporary music, from his early years with mentors in the Black Artist Group (BAG), an important St. Louis collective, through graduate-level formal training and decades of trans-disciplinary, creative collaborations based in New York City. As an improviser, he’s woven all of these diverse experiences into a “very, very special” sound all his own.

I first heard J.D. in the late 1990s, at a solo concert on which he played several reed instruments. I remember being especially stunned by his interpretation of “St. Louis Blues” on bass clarinet. Thinking back now on his sound, I’m reminded of these words:
“In the context of improvised musics that exhibit strong influences from African- American ways of music-making, musical sound—or rather, ‘one’s own sound’—becomes a carrier for history and cultural identity. As Yusef Lateef maintains, ‘The sound of the improvisation seems to tell us what kind of person is improvising. We feel that we can hear character or personality in the way the musician improvises.’”3 —George E. Lewis4

For this album, one place where Jason features J.D. is on “Dreaming,” the middle movement of the suite. Midway into the piece, J.D. interprets a melody that Jason composed to highlight the unique timbre of the alto clarinet, shifting between gradient inflection and incredible precision of pitch with a rich, fluid tone. He then improvises a solo that slowly blooms across multiple registers and propels the band through a kaleidescopic transformation, interacting especially with the dense, rhythmic composite coming from the two drummers. Here as in many other moments on this album, George and Ches are expert alchemists, constantly discovering new ways to mix their two distinct drumset sounds in a dialogue that grounds the band but is always shifting.

In the final section of “Dreaming,” the ensemble navigates a scored section of tempo shifts and dramatic gestures for low brass and reeds. These two effects together make for another historical citation, as specific as the Ellington one: here the reference is to the second movement of Charles Mingus’ album The Black Saint and the Sinner Lady, a landmark recording in the history of long-form suites composed for improvisers.

Hearing this Mingus trace isn’t necessary for enjoying the track’s explosive ending, but the point is that this model of composition always includes such imaginary dialogues, honoring one’s sources in ways that range from explicit to oblique. And the references aren’t always to the distant past—for example, the hocketed texture scored for two tubas and trombone over a churning rhythm section in “Facing West” points towards the work of contemporary composer Henry Threadgill, whose imaginative bands Jason has cited as a formative influence on the instrumentation of the Janus Ensemble. Here again, Jason’s choice of soloist adds to this connection, as this music launches into an otherworldly solo by virtuoso tubist Marcus Rojas, one of several musicians in this band who has played in Threadgill’s ensembles.

This interweaving of personal and collective histories is a reminder of something important about developing one’s “own sound”: you don’t do it alone. This kind of music requires extensive solitary practice and study, but our sounds as improvisers also evolve through infinite reactions and interactions with others, including the musicians we work with and others we know only through records, like the one you are holding now.

This is Jason’s third recording with the Janus Ensemble, which he has been leading in flexible configurations since 2008. All the musicians on this album have been part of the ensemble since then, except for two new additions on this record, the phenomenal reed player Oscar Noriega and myself on trombone. Though I’m new to the Janus ensemble, Jason and I have been close collaborators and friends for about 20 years, working in numerous bands and projects together. We first met when he moved to San Diego for the same reason I did: to study music with George Lewis and Anthony Davis in a graduate program at UC San Diego

Lewis and Davis radically expanded the questions we were asking about music and inspired us in endless ways. They modeled a creative practice that is rigorous in craft, wide open in creative possibility, and always with a thoughtful, complex and individual connection to the world. They encouraged us to develop our own communities and our own music, not just adopt theirs, but they also introduced us, figuratively and literally, to many other artists who would become important inspirations and mentors, including J.D. Parran and Marty Ehrlich, both on this record.

When I first met Jason, he had been playing on various scenes in northern California and had been mentored by the late Mel Graves, a bassist who ran a vibrant and highly original jazz program at Sonoma State University. Jason was immersed in music with typical intensity, having already released an album of his music on his own label while still in his early 20s. He was inquisitive, deep into the saxophone, creating music with darting, angular lines and exuberant grooves. His music had a driving quality, an optimistic, forward momentum, but always with a sense of openness to shifts in direction, whether subtle or extreme.

I still hear that same musical DNA in Jason’s sound, but deepened through two decades of work and expanded to a broader palette through collaborations like this one. This suite is carefully crafted to feature all of the improvisers in both solo and collective contexts while also covering a wide-ranging compositional terrain. Some sections delve deep into texture and sound, either through detailed score notations that exploit the band’s unusual instrumentation, or through improvisations set within imaginative backdrops. Other stretches of music revel in the rich rhythmic and harmonic language of jazz traditions, sometimes recalling the buoyant energies of early big band music and other times with a more abstract lens that evokes later “creative orchestra” explorations. What ties it all together and makes the work a long-form composition rather than just a sequence of varied parts is the dialogue among these different soundworlds, not just between movements but within them; none of the tracks end where they begin, and each travels unpredictably through a different blend of historical references, individual expressions and sonic explorations.

The band you hear on this record is diverse in generation as well as musical backgrounds, and along with those mentioned above, the lineup includes other equally renowned composer-improvisers. Multi-reedist Marty Ehrlich, like J.D. Parran, began his long history of contributions to this music working with musicians from BAG and the AACM in St. Louis during the late 1960s, and over the decades since has created a wide-ranging body of creative work as a composer and collaborator. The versatile bassist and composer Drew Gress has long been one of the most in-demand improvisers on the NYC scene, grounding bands led by an incredible range of contemporary innovators, and the same can be said of acclaimed guitarist and composer Liberty Ellman, another musician here connected to Henry Threadgill, in Liberty’s case through working closely with Threadgill over many years alongside his own projects.

This band encompasses a fascinating cross-section of jazz-inspired contemporary music scenes, broad and difficult to categorize, but one thread running through the Janus Ensemble and Jason’s music is the idea that this wide range of creative expression and method is central to jazz traditions, and always has been. Many people in the jazz industry still seem eager to reinforce old fault lines and put every new record in a particular box, with avant-garde flavors on one side and “traditional” ones on the other. But music like this embodies a more expansive stance, a recognition that a wide spectrum of expressive possibilities is always present to begin with, endlessly woven into new forms by individuals responding to changing contexts. Speaking in Arthur Taylor’s classic 1972 book of musician-to-musician interviews, the great drummer Philly Joe Jones harshly critiques “bag carriers” who superficially imitate the screams of the avant-garde, but he also cites artists like John Coltrane to distinguish experimentalists who are committed to a deep, integrative craft. In response to a question about “freedom music,” Jones deftly deconstructs conventional discursive boundaries by commenting that “everybody’s been playing free. Every time you play a solo you’re free to play what you want to play. That’s freedom right there.”5 I hope you can enjoy this new music by Jason Robinson and the Janus Ensemble in that spirit. Thanks for listening. — Michael Dessen

Works cited
1. Taylor Ho Bynum, “Guest Post: Taylor Ho Bynum on Bill Lowe,” in Destination: Out, Feb. 1, 2012, accessed June 20, 2017 <http://destination-out.com/?p=3384>.
2. Interview with J.D. Parran by Yusef Jones, accessed June 2017: <https://www.youtube.com/watch?v=DMYc63l6OMg>.
3. Yusef A. Lateef, “The Pleasures of Voice in Improvised Music,” in Roberta Thelwell, ed., Views on Black American Music: Selected Proceedings from the Fourteenth, Fifteenth, Sixteenth and Seventeenth Annual Black Musicians’ Conferences, University of Massachusetts at Amherst, No. 3 (1985–1988) pp. 43–46.
4. George E. Lewis, “Too Many Notes: Computers, Complexity and Culture in ‘Voyager,’” Leonardo Music Journal, Vol. 10 (2000), pp. 33-39.
5. Art Taylor. Notes and Tones : Musician-to-Musician Interviews. New York: Da Capo Press, 1993, pp. 47-48.
_______________________________________________________
Resonant Geographies is a meditation on place, memory, relationships, and community. Each movement of the suite is inspired by specific places, a canvas of various experiences and memories for me over a number of years. These are not the sounds of places in a narrow sense, but what is contained here might as well be considered a sounding of those places. A subtle but important distinction. A proportion, a relationship, a scent, a feeling. Like the shifting translucent blues and oranges of a rejuvenating and boundless sunset along the north coast of California, or the warm embraces or knowing glances of friends and loved ones, this project is a process. It continues to unfold. Great heartache, struggle, discovery, and rebirth accompanied/s its long stages. My heart smiles again. I hope that you, the listener, find yourself in the sounds contained here. And I hope we are all guided by compassion and empathy as we sound places, relationships, communities.

This album is dedicated to George Finney Thomason.

I’ve been drawn to the ocean for as long as I can remember. Some of my earliest memories are standing on giant rocks extending into the majestic Pacific some four hours north of San Francisco, while staring with amazement at the spray created by crashing waves, enchanted by the patterns of mussels on rocks, the endless volume of water, the mysterious and beckoning horizon. And the smell—salt, seaweed, richly moist, oxygenated air. I feel at home in this wondrous meeting of water, land, and air. I can still see my great grandfather standing on the bluffs, the rocks, the beaches, and hear his voice as he guides and encourages me to explore. What kind of place is the vast, unimaginably large expanse of the ocean? — Jason Robinson

Deepest thanks to my musical collaborators and friends heard on this recording, whose collaborative spirits and finely tuned personal sound approaches make immeasurable contributions to the music. Thanks also to numerous others who helped make this project possible: Mike Marciano, Rich Breen, Jeff Kaiser, Glenn Siegel, Priscilla Page, Matan Rubinstein, Paul Lichter, Eric Lewis, Jim Staley, Jamie Sandel, and my colleagues at Amherst College. And without the love and support of my closest friends and family, none of this would have been possible. Let’s put this on the turntable, Piccolo. It’s about time!

This recording was made possible by the H. Axel Schupf ’57 Fund for Intellectual Life at Amherst College.

pfMENTUM
PFMLP115
www.pfmentum.com

Jason Robinson / Janus Ensemble: Resonant Geographies (PFMCD115)

Jeff Kaiser Leave a Comment

[playlist ids="1360"]

PLEASE NOTE: THIS PAGE IS FOR PURCHASING THE CD VERSION.
Click here for the double LP (vinyl)

Resonant Geographies
Jason Robinson

Jason Robinson’s Janus Ensemble:
Jason Robinson—tenor and soprano saxophones, alto flute
JD Parran—alto and contra alto clarinets, bass flute
Oscar Noriega—Bb and bass clarinets, alto saxophone
Marty Ehrlich—bass clarinet, alto saxophone, flute
Michael Dessen—trombone
Bill Lowe—bass trombone, tuba
Marcus Rojas—tuba
Liberty Ellman—guitar
Drew Gress—bass
George Schuller—drums
Ches Smith—drums, glockenspiel

Recorded at Systems Two, Brooklyn, NY, January 5-6, 2016
Engineered and mixed by Mike Marciano
Produced by Jason Robinson
Recording session produced by Steph Robinson
Recording session assistant: Jamie Sandel
Mastered by Rich Breen, Dogmatic Studios, Burbank, CA
All images by David Gloman. Cover, West Worthington Falls, 2016, 17×21 inches, acrylic on paper (detail). Side A label, Bear Den Falls, 2016, 17×22 inches, acrylic on paper (detail). Side B label, Westfield River, 2016, 17×21 inches, acrylic on paper (detail). Side C label, Gold in Brook Falls, 2016, 11×14 inches, acrylic on paper (detail). Side D label, Gunn Brook Falls, 2015, 18×23 inches, acrylic on paper (detail).
Photography by Scott Friedlander, (c) 2016, used with permission
Graphic design by Ted Killian

Track Titles:

Facing East (10:41)
Futures Unimagined (8:12)
Confluence (6:55)
Dreaming (8:24)
Facing West (6:31)
Circuitry Unbound (8:44)
Outcropping (12:14)

All compositions by Jason Robinson (ASCAP)
All rights reserved ℗ and © 2018 Jason Robinson

https://youtu.be/-43JeWvAKRI

Arriving in Montreal in the middle of the Janus Ensemble tour, I watched as my fellow trombonist Bill Lowe wrangled his enormous tuba and bass trombone cases out of the van, through sub-zero winds and icy sidewalks, and into the tiny club where we’d soon perform. This would be a challenge for someone half Bill’s age, but he was unfazed, focused only on warming up all that metal in time for the soundcheck.

We’d been driving all day and I’d spent much of it listening to Bill’s inspiring stories. For a half century, he’s contributed to expanding the ways that African American music is understood, starting out working with celebrated musical innovators in 1960s London and 1970s New York City and continuing through an extensive career that encompasses music making, community engagement, festival organizing, and academic work. As Taylor Ho Bynum points out, despite all this, Bill has “existed somewhat under the radar, partly because he’s been equally committed to teaching and scholarship throughout his career, and partly because the top-down, star-focused version of jazz history rarely leaves room for the artists in the trenches who are the lifeblood of the music.”1

That night, this “lifeblood” was a large band crammed onto the stage without a spare inch, working through a wide-ranging set of Jason Robinson’s music. “Futures Unimagined,” a piece we played and also part of this album, is typical of Jason’s compositional range and sensibility. It begins with an introduction where the only indication in the score is “collective improvisation – start sparse,” giving the band time for a spacious, internal dialogue that differs wildly each time, but eventually coalesces into more intricate notations and then a blues-inflected song form. There, one lush, recurring melodic phrase is scored for trombone on top of clarinets, an allusion to a specific color and orchestration developed by Duke Ellington in his 1930 composition “Mood Indigo.” As if to heighten the connection, Bill’s brilliant trombone solo on this piece combines throat growling and a harmon mute in his own version of a technique pioneered by Ellington’s trombonist “Tricky” Sam Nanton. Eventually the piece ends with a flourish of improvisational dialogue among two drumset players, George Schuller and Ches Smith, cutting to a sparse snare drum gesture played eight times in perfect unison by both drummers, an elusive and only temporary closure before we continue to the next chapter of the suite.

Almost a century ago, Duke Ellington’s early ensemble music helped establish an important new practice of composing music not only for specific instruments, but also for individual improvisers, drawing on each musician’s personal sound for inspiration and raw material. It’s an approach that has since expanded in infinite directions, especially in African American-based improvised music, but always with a powerful dialectic at its core: It depends on and highlights individuality, and it’s also a deeply collective mode of creativity.

That spirit infuses Resonant Geographies, an extended suite Jason has composed for these eleven improvisers, most of whom have performed in his Janus Ensemble since 2008. Compositionally, the suite is a series of sonic reflections on specific locations that have been important to Jason, each movement a kind of tone poem moving through a range of textures and forms related to that memory. But the suite is just as much animated by musical geographies, both those of the improvisers in this band who bring different relationships to jazz traditions, and those of the composers past and present whose influences echo throughout the score, filtered through Jason’s own compositional sensibility.

Multi-reedist J.D. Parran is another individual who has inspired both Jason and me for many years and brings his unique history to this album. Reflecting on his experience growing up in inner city St. Louis during the 1960s, J.D. describes how he was fortunate to have excellent school music teachers that were part of the “talented tenth group of African American educators.” He comments that these teachers, many of whom had recently migrated from the south, were “very, very special in what they had to go through—in mostly traditionally black colleges and universities—to get their education, and the rigorous kind of training that they received.”2

Rigor: “The quality of being extremely thorough, exhaustive, or accurate.” I associate this quality with Parran himself, one of those rare people I’d describe as a master musician. He’s achieved astonishing technique on multiple reed instruments, including less common ones such as the bass saxophone and alto clarinet, and he’s worked as both an interpreter and an improviser across wide-ranging forms of contemporary music, from his early years with mentors in the Black Artist Group (BAG), an important St. Louis collective, through graduate-level formal training and decades of trans-disciplinary, creative collaborations based in New York City. As an improviser, he’s woven all of these diverse experiences into a “very, very special” sound all his own.

I first heard J.D. in the late 1990s, at a solo concert on which he played several reed instruments. I remember being especially stunned by his interpretation of “St. Louis Blues” on bass clarinet. Thinking back now on his sound, I’m reminded of these words:
“In the context of improvised musics that exhibit strong influences from African- American ways of music-making, musical sound—or rather, ‘one’s own sound’—becomes a carrier for history and cultural identity. As Yusef Lateef maintains, ‘The sound of the improvisation seems to tell us what kind of person is improvising. We feel that we can hear character or personality in the way the musician improvises.’”3 —George E. Lewis4

For this album, one place where Jason features J.D. is on “Dreaming,” the middle movement of the suite. Midway into the piece, J.D. interprets a melody that Jason composed to highlight the unique timbre of the alto clarinet, shifting between gradient inflection and incredible precision of pitch with a rich, fluid tone. He then improvises a solo that slowly blooms across multiple registers and propels the band through a kaleidescopic transformation, interacting especially with the dense, rhythmic composite coming from the two drummers. Here as in many other moments on this album, George and Ches are expert alchemists, constantly discovering new ways to mix their two distinct drumset sounds in a dialogue that grounds the band but is always shifting.

In the final section of “Dreaming,” the ensemble navigates a scored section of tempo shifts and dramatic gestures for low brass and reeds. These two effects together make for another historical citation, as specific as the Ellington one: here the reference is to the second movement of Charles Mingus’ album The Black Saint and the Sinner Lady, a landmark recording in the history of long-form suites composed for improvisers.

Hearing this Mingus trace isn’t necessary for enjoying the track’s explosive ending, but the point is that this model of composition always includes such imaginary dialogues, honoring one’s sources in ways that range from explicit to oblique. And the references aren’t always to the distant past—for example, the hocketed texture scored for two tubas and trombone over a churning rhythm section in “Facing West” points towards the work of contemporary composer Henry Threadgill, whose imaginative bands Jason has cited as a formative influence on the instrumentation of the Janus Ensemble. Here again, Jason’s choice of soloist adds to this connection, as this music launches into an otherworldly solo by virtuoso tubist Marcus Rojas, one of several musicians in this band who has played in Threadgill’s ensembles.

This interweaving of personal and collective histories is a reminder of something important about developing one’s “own sound”: you don’t do it alone. This kind of music requires extensive solitary practice and study, but our sounds as improvisers also evolve through infinite reactions and interactions with others, including the musicians we work with and others we know only through records, like the one you are holding now.

This is Jason’s third recording with the Janus Ensemble, which he has been leading in flexible configurations since 2008. All the musicians on this album have been part of the ensemble since then, except for two new additions on this record, the phenomenal reed player Oscar Noriega and myself on trombone. Though I’m new to the Janus ensemble, Jason and I have been close collaborators and friends for about 20 years, working in numerous bands and projects together. We first met when he moved to San Diego for the same reason I did: to study music with George Lewis and Anthony Davis in a graduate program at UC San Diego

Lewis and Davis radically expanded the questions we were asking about music and inspired us in endless ways. They modeled a creative practice that is rigorous in craft, wide open in creative possibility, and always with a thoughtful, complex and individual connection to the world. They encouraged us to develop our own communities and our own music, not just adopt theirs, but they also introduced us, figuratively and literally, to many other artists who would become important inspirations and mentors, including J.D. Parran and Marty Ehrlich, both on this record.

When I first met Jason, he had been playing on various scenes in northern California and had been mentored by the late Mel Graves, a bassist who ran a vibrant and highly original jazz program at Sonoma State University. Jason was immersed in music with typical intensity, having already released an album of his music on his own label while still in his early 20s. He was inquisitive, deep into the saxophone, creating music with darting, angular lines and exuberant grooves. His music had a driving quality, an optimistic, forward momentum, but always with a sense of openness to shifts in direction, whether subtle or extreme.

I still hear that same musical DNA in Jason’s sound, but deepened through two decades of work and expanded to a broader palette through collaborations like this one. This suite is carefully crafted to feature all of the improvisers in both solo and collective contexts while also covering a wide-ranging compositional terrain. Some sections delve deep into texture and sound, either through detailed score notations that exploit the band’s unusual instrumentation, or through improvisations set within imaginative backdrops. Other stretches of music revel in the rich rhythmic and harmonic language of jazz traditions, sometimes recalling the buoyant energies of early big band music and other times with a more abstract lens that evokes later “creative orchestra” explorations. What ties it all together and makes the work a long-form composition rather than just a sequence of varied parts is the dialogue among these different soundworlds, not just between movements but within them; none of the tracks end where they begin, and each travels unpredictably through a different blend of historical references, individual expressions and sonic explorations.

The band you hear on this record is diverse in generation as well as musical backgrounds, and along with those mentioned above, the lineup includes other equally renowned composer-improvisers. Multi-reedist Marty Ehrlich, like J.D. Parran, began his long history of contributions to this music working with musicians from BAG and the AACM in St. Louis during the late 1960s, and over the decades since has created a wide-ranging body of creative work as a composer and collaborator. The versatile bassist and composer Drew Gress has long been one of the most in-demand improvisers on the NYC scene, grounding bands led by an incredible range of contemporary innovators, and the same can be said of acclaimed guitarist and composer Liberty Ellman, another musician here connected to Henry Threadgill, in Liberty’s case through working closely with Threadgill over many years alongside his own projects.

This band encompasses a fascinating cross-section of jazz-inspired contemporary music scenes, broad and difficult to categorize, but one thread running through the Janus Ensemble and Jason’s music is the idea that this wide range of creative expression and method is central to jazz traditions, and always has been. Many people in the jazz industry still seem eager to reinforce old fault lines and put every new record in a particular box, with avant-garde flavors on one side and “traditional” ones on the other. But music like this embodies a more expansive stance, a recognition that a wide spectrum of expressive possibilities is always present to begin with, endlessly woven into new forms by individuals responding to changing contexts. Speaking in Arthur Taylor’s classic 1972 book of musician-to-musician interviews, the great drummer Philly Joe Jones harshly critiques “bag carriers” who superficially imitate the screams of the avant-garde, but he also cites artists like John Coltrane to distinguish experimentalists who are committed to a deep, integrative craft. In response to a question about “freedom music,” Jones deftly deconstructs conventional discursive boundaries by commenting that “everybody’s been playing free. Every time you play a solo you’re free to play what you want to play. That’s freedom right there.”5 I hope you can enjoy this new music by Jason Robinson and the Janus Ensemble in that spirit. Thanks for listening. — Michael Dessen

Works cited
1. Taylor Ho Bynum, “Guest Post: Taylor Ho Bynum on Bill Lowe,” in Destination: Out, Feb. 1, 2012, accessed June 20, 2017 <http://destination-out.com/?p=3384>.
2. Interview with J.D. Parran by Yusef Jones, accessed June 2017: <https://www.youtube.com/watch?v=DMYc63l6OMg>.
3. Yusef A. Lateef, “The Pleasures of Voice in Improvised Music,” in Roberta Thelwell, ed., Views on Black American Music: Selected Proceedings from the Fourteenth, Fifteenth, Sixteenth and Seventeenth Annual Black Musicians’ Conferences, University of Massachusetts at Amherst, No. 3 (1985–1988) pp. 43–46.
4. George E. Lewis, “Too Many Notes: Computers, Complexity and Culture in ‘Voyager,’” Leonardo Music Journal, Vol. 10 (2000), pp. 33-39.
5. Art Taylor. Notes and Tones : Musician-to-Musician Interviews. New York: Da Capo Press, 1993, pp. 47-48.
_______________________________________________________
Resonant Geographies is a meditation on place, memory, relationships, and community. Each movement of the suite is inspired by specific places, a canvas of various experiences and memories for me over a number of years. These are not the sounds of places in a narrow sense, but what is contained here might as well be considered a sounding of those places. A subtle but important distinction. A proportion, a relationship, a scent, a feeling. Like the shifting translucent blues and oranges of a rejuvenating and boundless sunset along the north coast of California, or the warm embraces or knowing glances of friends and loved ones, this project is a process. It continues to unfold. Great heartache, struggle, discovery, and rebirth accompanied/s its long stages. My heart smiles again. I hope that you, the listener, find yourself in the sounds contained here. And I hope we are all guided by compassion and empathy as we sound places, relationships, communities.

This album is dedicated to George Finney Thomason.

I’ve been drawn to the ocean for as long as I can remember. Some of my earliest memories are standing on giant rocks extending into the majestic Pacific some four hours north of San Francisco, while staring with amazement at the spray created by crashing waves, enchanted by the patterns of mussels on rocks, the endless volume of water, the mysterious and beckoning horizon. And the smell—salt, seaweed, richly moist, oxygenated air. I feel at home in this wondrous meeting of water, land, and air. I can still see my great grandfather standing on the bluffs, the rocks, the beaches, and hear his voice as he guides and encourages me to explore. What kind of place is the vast, unimaginably large expanse of the ocean? — Jason Robinson

Deepest thanks to my musical collaborators and friends heard on this recording, whose collaborative spirits and finely tuned personal sound approaches make immeasurable contributions to the music. Thanks also to numerous others who helped make this project possible: Mike Marciano, Rich Breen, Jeff Kaiser, Glenn Siegel, Priscilla Page, Matan Rubinstein, Paul Lichter, Eric Lewis, Jim Staley, Jamie Sandel, and my colleagues at Amherst College. And without the love and support of my closest friends and family, none of this would have been possible. Let’s put this on the turntable, Piccolo. It’s about time!

This recording was made possible by the H. Axel Schupf ’57 Fund for Intellectual Life at Amherst College.

pfMENTUM
PFMCD115
www.pfmentum.com

John Blevins: Matterhorn (PFMCD092)

Jeff Kaiser 1 Comment

[playlist ids="765"]

John Blevins: Matterhorn

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

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

Odeya Nini: Vougheauxyice (Voice) (PFMCD083)

Jeff Kaiser 1 Comment

[playlist ids="551"]
Vougheauxyice (Voice)

Odeya Nini: Voice

1. Mi See Ti 3:37
2. Dalai 6:16
3. Everyday Cantor 3:07
4. Idiomia 4:35
5. Tunnel 6:22
6. Tapestry of Synonyms 6:34
7. There Are So Many Things That I Have To Tell You 9:52
8. Cyclicality 6:36

1-4 were recorded in a private home in Joshua Tree, CA, September 25, 2012.
5 was recorded in an aqueduct in San Francisquito Canyon, CA, April 1, 2013.
7 was recorded at California Institute for the Arts, June 2012.

All tracks except 7 were recorded and mixed by Justin Asher
7 was recorded and mixed by Brian Saia
6 was edited by Odeya Nini
Mastered by Joe Panzner

Except for track 6, all of the pieces are in a single take, no editing. 1-5 are compositions with an open form. There is a compositional road map, but they are not performed the same way twice. 7 and 8 are improvised. Several microphones where set up in the space for 1-5, allowing for the voice to be recorded with movement and gesturing.

Photography – Adeline Newmann and Odeya Nini
Design and layout – Thea Lorentzen
Art – Saul Alpert Abrams

NOTES:

Vougheauxyice (Voice)

The voice is an instrument that both listens and reveals. It takes from all that is around us and all that is inside us as it communicates a free and composed response outward. In this work I explore the language of the voice like a dancer. I think of shape, form, gesture and the vast range of motion in the voice’s movement through space. The voice is often thought of as intangible, but in this work I try to mold its natural physical tendencies, sensing its vibrations, and feeling the touch of its waves on my skin and in my bones.

Mi See Ti

A simple melody alluding false solfege syllables that repeat themselves, diverging more and more. A play with forms of interpretation from contained and proper, to unruly swells.

In performance this piece incorporates theatrical elements, changes of facial expression and a collapsing of the body to the floor between each iteration. It questions ideas of beauty in the voice, presentation, intention, the relationship and cohesion (or negation) of the body’s expression simultaneous to the expression of the voice, and the role of the singer as an exhibitionist.

Dalai

Dalai was written while spending time in Mongolia in the summer of 2012. I learned that the meaning of the word Dalai, that we know so well from Dalai Lama, means ocean in Mongolian. Traveling in the Gobi desert, the power of the wind was omnipresent, and absolutely striking to me. It was possible to see the storms and changes of weather traversing the endlessly flat desert from miles away—often surprisingly quick—bringing gusts more powerful than I had ever experienced. Every turn of the head gave variation to the sound of the howling wind: so violent at times and peaceful in its aftermath. The obsession with wind was an easy to acquire, the more I listened, the more I realized the sound of crashing waves and the ocean’s movements were the sounds of wind. In a landlocked country such as Mongolia, I sensed the ocean all around me. Wind, ocean, breath.

Everyday Cantor

Everyday Cantor features voice and field recording. The sounds of sacred song in the everyday act of showering. Is there a difference between singing in a cathedral or singing under the shower head? The devotional voice reveals itself and then becomes drenched in everyday simplicity.

Idiomia

Inspired by random sequences of bird calls and the meaning that comes out of non verbal sonic communication. The answer is in the ear of the beholder. The voice has dynamic expression, calls, yells, gentle flutters, overtones, ingressive and egressive breathing. What is it saying? The mind wants to distill the voice, but allow it to migrate.

Tunnel

Tunnel is an improvisation on a traditional Yemenite Jewish folk song called Tzur Manoti. My Yemenite roots have always been strong in me, I see them on my face, and hear them in my voice. I often question how I fit along the continuum of my spiritually devoted ancestors, having arrived at this experimental art form. In this song I find a passageway between who I am today and the narrative of kindred souls. The result is a contemporary translation which keeps me present in my explorations (and realizations) of free form, allying me with my deep past.

Tapestry of Synonyms

We are what we hear. A collage of field recordings collected over the last four years including goats, monks, trains, plates, horses, helicopters, microwaves, wind storms, rain on tents, creaking cabinet doors, dragging chairs, tin foil crumbling, fire crackling, locks clacking, teeth brushing, family and friends from California, New York, Mexico, Mongolia Italy and Israel.

The collection of textures from our environment are juxtaposed with the voice, which we often do not consider as related. However, whether in texture or song, we do find part of our surroundings, mimicking, blending, connecting.

There is only reverb added to some of these field recordings. Besides being sliced and pasted, there are no other manipulation or altering effects.

The voice of Archie Carey, my grandmother Rachel Nini and my parents David and Tamar Nini are included.

There Are So Many Things that I Have To Tell You

Language can be tricky, slippery and twofold. This piece is a stream of consciousness improvisation with words, surfacing moods and thoughts otherwise submerged.

I sit in front of my loop pedal and amp, not knowing what stories will emerge, and allow them to flow. No story quite like the last, It is always a new and exciting journey.

Cyclicality

One voice layers on another, and another and another, shifting, morphing, coasting.

Beneath all these layers, I am still only one.

Thank you to all these wonderful people and places who created this album with their patient and skillful talents, generosity, inspiration and love. Endless gratitude.

Justin Asher, Joe Panzner, Brian Saia, Julie Tolentino + Feral Studios, CalArts, Adeline Newmann, Saul Alpert Abrams, Thea Lorentzen, Pieter Performance Space, Gerry Hemingway (for teaching me that music is sound in time), and ALL the incredible people who supported this album on Kickstarter.

Thank you to my dear family, Achinoam, Roy, Sharra, to my grandmother Rachel whose voice of many lives always plays in my ear, and especially to my parents David and Tamar Nini for their endless unquestioning love and support. My voice is your voice.

. . . and to Archie, for absolutely everything. This album is for you.

pfMENTUM CD083

PFMCD083

Bubbeleh (PFMCD082)

Jeff Kaiser 1 Comment

[playlist ids="549"]
Andrew Conrad: Clarinet, Tenor Sax
Greg Zilboorg: Trumpet
Lauren Baba: Violin, Viola
Max Kutner: Guitar
Philip Rankin: Wurlitzer, Synthesizer, Melodica, Pump Organ, Tack Piano, Clave, Guiro
Rusty Kennedy: Bass
Colin Woodford: Drums, Congas, Shakers, Rattles, and Ankle Bells

1. Dybbuk Square Dance 3:29
2. Fear of Heights 5:07
3. Schmutzy Glasses 5:26
4. Woulda…Coulda…MESHUGGAH!!! 3:44
5. (An Honest) Living 2:19
6. Choots-Pah 3:55
7. Grepse 4:17
8. Simcha Boytchik Hintele (Puppy Party) 3:35
9. Mosesque 6:56
10. Bubberella 4:30
11. Czytzfachykz 4:54

1, 2, 5, 9, 10 composed by Max Kutner, © 2014 Maladept Music, ASCAP

4, 6, 7, 8 composed by Philip Rankin, © 2014 Jewish Shark Attack, ASCAP

3 composed by Greg Zilboorg, © 2014 Shouting Dog, ASCAP

11 composed by Rusty Kennedy, © 2014 Jewish Shark Attack, ASCAP

Recorded by Samur Khouja at Seahorse Sound Studios, Los Angeles, August 20-22, 2013
Assistant Engineer: Alex DeGroot
Mixed by Brian Saia, October-December 2013
Mastered by John Baffa at TVTray Studios, Simi Valley, CA, December 2013
Produced by Maxwell Ryan דוד Kutner and Philip Jason שַׂמֵחַ Rankin
Executive Producer: William Ross Gibson
Associate Producer: Debra Fredericks, Tamasaurus Rex
Logo by Dawn Chan * Layout and design by J. Carver

Max and Phil would like to thank the band: Greg, Rusty, Lauren, Andrew and Colin. Everyone who helped record this album: Samur, John and especially Brian. KT Pierce for photography and building our website. Phil would like to thank his Mother, Jill; his Father, David; his sister Michele; and his dog, Max. Max would like to thank his family: Leslie, Samantha, Stephanie, Art and Michael for their tireless, inexhaustible support and encouragement. Most importantly we would like to thank everybody who donated to our Indiegogo Campaign. This album would not have been made possible without your generous donations.

pfMENTUM CD082

PFMCD082

Danny Gouker: Signal Problems (PFMCD080)

Jeff Kaiser 1 Comment

[playlist ids="545"]
Signal Problems

Danny Gouker: Trumpet, Compositions
Eric Trudel: Tenor Saxophone
Adam Hopkins: Bass
Nathan Ellman-bell: Drums

1. Icebreaker 2:24
2. Pogo Stick 5:20
3. Spectacled Bear 6:21
4. Do You See What Happens? 1:44
5. Not Yet, Gorilla 6:38
6. Made for TV pt. 2 3:06
7. Chloroform 2:15
8. We’re All In It Together 4:28
9. Slippy Sloop 9:28
10. When You Fell From Heaven 7:54

All music ©2014, Daniel Allen Gouker ASCAP
Recorded at the Bunker Studio, Brooklyn, NY, January 7 and January 12, 2013
Engineered by Aaron Nevezie
Mixed by Nathaniel Morgan, October 2013
Mastered by Jeff Kaiser, November 2013
Produced by Danny Gouker and Zack Branch
Artwork and Layout by T.J. Huff

Special thanks to: Laurie Frink, Dave Ballou, Ralph Alessi, numerous supportive family and friends, Mary and Toby Gouker, and Jenny Cirri (soon to be Mrs. Gouker).

pfMENTUM CD080

PFMCD080

Zen Widow: Screaming in Daytime (Makes Men Forget) (PFMCD069)

Jeff Kaiser Leave a Comment

[playlist ids="522"]
Zen Widow
Featuring Wadada Leo Smith

Zen Widow is:
Gianni Gebbia (alto saxophone)
Matthew Goodheart (grand piano, electro-acoustic gongs and cymbals)
Garth Powell (drums and percussion)
Special guest artist—Wadada Leo Smith (trumpet)

1. Gifts We Have Forgotten 13:05
2. Notated Memory 12:05
3. Black On White Paper 7:05
4. This Seeming Dream 7:36
5. Musa Physics 15:42
Total Time: 55:41

“Screaming in Daytime (makes men forget)” is Zen Widow’s third album, our first collaboration with Wadada Leo Smith, and it is in large part homage to tenor firebrand: Glenn Spearman.

Many of the melodies are constructed from fragments of his compositions. We inverted, rearranged, and modified what wasn’t completely new or created on the spot. Wishing to maintain the essence of Glenn’s rich compositional style was the priority, without resorting to a typical “tribute” collection of an artist’s past works.
All four of us worked with and deeply respected Glenn. I was a young artist right out of music school when I first worked with him. Already a master of the free jazz idiom, he was both thoughtful and generous to treat me as an equal given his age and experience. Although I frequently find myself thinking about the music we shared, this disc represents where the four of us are today—looking up and outward towards our friend.

The San Francisco Bay Area has been the home of a multitude of great artists as it continues to be. Yet, the fire and passion that was stoked throughout our community left a vacuum with Glenn’s passing. That loss is felt to this day. Glenn’s work with Cecil Taylor, Jimmy Lyons, The Glenn Spearman Double Trio with Larry Ochs, The Creative Music Orchestra with Marco Eneidi, and numerous other projects were all testaments to Glenn’s spirit and incredible power.

As improvisers we try to be in the moment, but it’s still hard not to gaze back and think of Glenn.

—Garth Powell 2012

I am very honored to dedicate this recording to Glenn Spearman, I worked with him only once at the Beanbenders concert series in Berkeley. I was very impressed by his solid sound, his gentleness and kindness of spirit. This recording is a double honor for me because of the great sounds of Wadada. He was the original soloist in the trio where I started my musical career with Peter Kowald and Gunther Baby Sommer. Wadada’s trumpet voice is the ideal to show our gratitude to Glenn.

Drops of Gold are falling forever in the long and everlasting dharma of the Great Black Music.

—Jòraku Gianni Gebbia 2012

In February of 1998, my group “Trio and. . .” played at the closing night of Radio Valencia in San Francisco. Performing was my regular line up of Glenn Spearman on tenor and Donald Robinson on drums, with Wadada Leo Smith as guest. The night was intense, beautiful, a fulfillment, these great artists sounding above those simple musical structures of my own making. A few weeks before I had been asked “If you could play with any musicians you wanted, who would it be?” My answer was: this group.

I did not know it at the time, but it was the beginning of an end of an era in Bay Area improvised music. Whatever forces drive certain moments in musicking, they had secretly begun to diverge. The group of artists centered around Radio Valencia moved to other venues. Glenn, in his own words, “went to join the ancestors” some nine months later. The scene slowly evolved into something else. The movement of that night, the deep interaction between Glenn and Wadada over the flux of the rhythm section, remains a personal embodiment of that time. All of these musicians had a profound impact on me, so generous in their time and artistry in support of a younger man struggling to find his formation. Glenn was my mentor; he brought me inside of his world, working closely, hours playing, absorbed in the details of his and our music. He taught me focus and intensity, maturity of vision. From Wadada I learned the concentrated, delicate, sensuous detail of shape and sculpture in each utterance. From Donald: flow, patience, attention, integrity.

To revisit Glenn’s music, over a decade after his death, with the collaborative Zen Widow and (once again) the generous addition of Wadada Leo Smith, moves into sound that complex network of events that exist as cadences in our lives. Glenn’s unending musicality calls back from the ancestors to play among the living.
I still learn from these artists, all of them. If asked again, if I could again play with any musicians I wanted, the answer again would be: this group.

—Matthew Goodheart 2012

Recorded Live to two-track analog at Ocean Way Recording—Studio A—Hollywood, California by Mike Ross (second engineer Patrick Spain)

Production and generous implementation of Audioquest microphone cables with DBS technology by Joe Harley

Mastered by Bernie Grundman—Bernie Grundman Mastering, Hollywood, California

Disc Manufacturing and 1:1 glass mastering—Groove House, Woodland Hills, California

Graphic Layout and Design—John Benz, Petaluma, California

Photography: Front Cover: Heike Neubauer–Antoci, Mettanest Studio, Dresden, Germany
Back Cover Group Photo: David Swann Photography
Inside Face Group Photo: David Goggin

Special thanks to Shantee Maggie Baker, John Benz, Michael Ehlers, Marco Eniedi, David Goggin, Bernie Grundman, Joe Harley, Jeff Kaiser, Wayne Powell, Mike Ross, David and Susan Thompson, everyone at Ocean Way Recording Hollywood, and all of our friends across the world who tirelessly create and support improvised music.

All compositions by Gebbia, Goodheart, Powell, and Smith. Evolving Door Music BMI 2012, SIAE 2012
© 2012 All Rights Reserved

pfMENTUM CD069

PFMCD069

Jeff Kaiser / Tom McNalley / Ted Byrnes: External Logic Machine (PFMCD066)

Jeff Kaiser Leave a Comment

[playlist ids="516"]
Jeff Kaiser • Tom McNalley • Ted Byrnes

ONLY AVAILABLE DIGITALLY:

External Logic Machine
Jeff Kaiser: Bb trumpet, quatertone trumpet, flugelhorn
Tom McNalley: Acoustic guitar, tricone resonator guitar
Ted Byrnes: percussion

1. A Disciplinarian Society
2. Attention to the Locality
3. Blood and Genes
4. Cooperation Among Productive Sites
5. For an Entire Working Life
6. Frontier and The Idea
7. He Gave Us A Toolbox
8. Hibernation
9. In Order to Preserve Order
10. Particularly Clear in the Case
11. Potential Rationale
12. The Disequilibria of Circulation
13. Thousands of Daily Practices

Recorded by Jeff Kaiser and Ben Power 3.23.2011 at the ICAM Studio, University of California San Diego
Mixed and Mastered by Jeff Kaiser
Design and layout by Ted Byrnes and Jason Tauritz

All compositions ©2011 Jeff Kaiser Music, ASCAP; Tom McNalley Music, ASCAP

pfMENTUM CD066

PFMCD066