New York, NY
- Thinking about the 2 piano reduction to Stravinsky's Symphony of Psalms- got to buy it and check out the harmony
- #Liveandlearn. It's all about challenging oneself- the infinity of possibility. It's great to feel so mediocre next to #orchestra pros!
- Whoa...this is one hell of a mountain to climb! My piece has some promise, but what an enormous challenge to REALLY #orchestrate well.
- Gregg August is a phenomenal bassist, traveled the world playing all types of music, studied with Homer Mensch, toured with Ray Barretto...
- Want to also give some well deserved praise for the composers joining me at tomorrow's @BPOrchestra reading presented by @AmerCompOrch.
|The WheeliTunes Artist's PageiTunes Album Page|
|1.||The Wheel: I. American Farewell||06:04||$0.99|
|2.||The Wheel: II. Blues Circle||06:59||$0.99|
|3.||The Wheel: III. Rising||09:37||$0.99|
|4.||The Wheel: IV. We Have Been the Victims of a Broken Promise||07:44||$0.99|
|5.||The Wheel: V. Ceaseless Motion (Watch the Future Roll By)||07:31||$0.99|
|6.||In Memoriam: Dana Brayton||08:08||$0.99|
The Wheel, a five movement suite for double quartet and guitar, is something round: The tires are chunky and capable of taking you off the well-worn musical paths into new territory. In this case we enjoy the ride between classical and jazz worlds; it is better to travel than to arrive.
Harrison comments, "The impulse for this multi movement suite came from a longstanding determination to make music that equally represents improvisation and notation. I wanted to assemble a body of work that contained the intimacy, complexity, and beauty of acoustic concert music and merge it with the raw, grooving spontaneity of jazz. Though by no means a new idea, I felt that it was an area still ripe with possibility.
"Two classic ensembles join forces from their respective worlds: string quartet and jazz quintet. Rather than writing jazz music and then pasting on the strings, like icing on a cake, I started by writing string quartet music with Appalachian, African, and modern classical sensibilities. The improvisation stems from a bedrock of notation, and comes in a variety of forms, from more typical solos over changes, to duo improvising, to free ensemble ‘blowing.' Hopefully there are seamless transitions between the soul and spontaneity of improvising and the structure of written notes, resulting in a kind of music that truly IS both worlds, and does not just borrow from them."
Joel Harrison is a musical jack-of-all-trades, who is just at home with improvised music as with rock and American, Asian, and African ethnic music. Every movement establishes its own emphases and functions as an independent piece, as in jazz. And yet it is only from the totality of all the pieces that a statement emerges; that this is a true (and attractive) fusion of opposites.
Guitarist JOEL HARRISON has proven to be a compelling com- poser with a seemingly endless arsenal of ideas whether based in Jazz, Folk musics, or chamber works, among others. The Wheel, Harrison’s latest venture, presents the main suite, subtitled A five movement suite for double quartet and guitar, alongside a memorial, with the pieces interpreted by an ensemble heavily focused on its strings that both color and serve as the driving force of the music.
The six composition program (American Farewell / Blues Circle / Rising / We Have Been The Victims Of A Broken Promise / Ceaseless Motion (Watch The Future Roll By) / In Memoriam: Dana Brayton. 46:13. Feb. 9-10, 2007, Brooklyn, NY) matches Harrison’s typi- cally chameleon-like influences, from the Appalachian shadings of “American Farewell” to the Ghanaian strings-polyphony of “Blues Circle” to the beautiful sadness of “We Have Been The Victims Of A Broken Promise.” As strong as the compositions are, the solos of Alessi, Binney (on “Rising” in particular), and Harrison himself on the intense closer, the mini-suite, “In Memoriam: Dana Brayton” are outstanding. Add to that the fact that the exceptional rhythm team of Horner and Weiss is truly inspired. While Harrison has made his share of diverse records, none matches The Wheel for its scope and success, certainly something rare within the Classical- meets-Jazz setting.
- Jay Collins, Cadence
A wildly diverse improviser/composer/arranger with a penchant for unorthodox instrumental combinations, guitarist Joel Harrison has sustained one of the most unpredictable discographies of the last decade with his chimerical mix of jazz, blues, chamber music, African and Indian folk music, Appalachian tunes and old school country songs.
Nothing in his expansive output approaches the episodic grandeur of The Wheel however. A five part suite written for a combined string quartet and jazz quintet, Harrison's long-form work succeeds where many similar experiments have faltered.
- Troy Collins, All About Jazz
Let me start out by saying you don't sit back in your chair and listen to The Wheel, the latest by composer and guitarist Joel Harrison, you are swept up by it! This work is a five movement suite for two quartets and guitar. The compositions combine the subtle and complex emotions of a string quartet with the raw energy of a jazz quartet and feature the delicate and sometimes not-so-delicate presence of Harrison's guitar. A masterful work of composition in which the visual and emotional canvass of classical music is merged effectively with the palette of color that jazz phasing and tonal variety can impart. The result is a steady flow of environment in which the listener is swept up and carried away, sometimes on the gentlest of breezes and at other times as if on the edge of a tornado. While on this journey your mind cannot sit still, the music evokes scenes from broad landscapes, over fields, great oceans, rooftops, and forests. You find yourself reaching down to grab something to hold on to, and just when the thrill of flying has overwhelmed you, Harrison lands you in the gentlest of pastures and surrounds you with the warmth of the sun.
The title The Wheel, is a foreboding of the movements that are coming, but the rate of acceleration and deceleration that one experiences during these movements makes you sure that the wheel comes off the ground more than once. The first movement, "American Farewell" is built on a four bar melody which is made familiar to the listener in the opening section in which the lamenting nature of the melody is dropped on you in the first interval, a minor 3rd that Harrison uses again in the last movement. But the emotional landscape covered by this movement is what excites me about this piece and the CD in general. There is a movie running in your head and the soundtrack is made up of these movements. During this movie you are given a grand tour of jazz. The trumpet solo in the second movement "Blues Circle" is a case in point. Ralph Alessi treats the composition exquisitely and brings to the piece a transitional stability that any hardcore jazz fan can appreciate. This followed by the strings plucking technique again lends itself to the transcendental nature of the entire CD. You close out feeling a folk music that is the roots of blues and jazz from some faraway world, very organic.
The third movement, "Rising", is a melodic romp that has some intriguing intervals. These create a sense of anxiety and movement that has you looking over your shoulder like the villain in an action movie. I found this composition to be the epitome of the merger of strings and horns as a means to communicate the theme that Harrison is trying to convey. It is fast, focused and forceful. The sax solo is welcomed as a reprieve from all the motion that the piece conveys. But you are not set still, not by any stretch! Movement continues to be the key word here.
In listening to the fourth movement, "We Have Been the Victims of a Broken Promise", you start to get some sense of the emotion that is the source of Harrison's compositions. As the liner notes allude to, a sense of loss is conveyed in the piece. Some reflection, some inward time is called for. The title is a line taken from a Martin Luther King essay that Harrison was reading at the time, "Letter from a Birmingham Jail" and provides the canvass for this piece. The scene you will create will depend on your experience and ability to resonate with the title itself. But the music will be an effective sound track for your thoughts. Haunting, sad and yet beautiful, like memories of a passed friend. This is my favorite piece, just for the listening pleasure it brings. The gentle brush with Harrison's chords in the middle of this song convey to me that notion that while he is an accomplished guitarist, he is all about the other eight musicians expressing the music. They are not sidemen to a leader, but a deeply invested group of collaborators.
The final movement, "Ceaseless Motion (Watch the Future Roll By)", is Harrison's last attempt at disturbing your physical presence. The sense of urgency, the notion of time going by, movement being frozen while the scenes rush by you and you are helpless to slow it down, pervades this piece. You never catch up to the changing scenery of the composition. This far into the CD you thought you were conditioned to anticipate shifts and movements but this fifth and final piece uses changes to throw you off. I loved it, it was pure excitement, what Classical and Jazz music should be, a disruption of your comfort with the situation at hand. The complexity of the counterpoint and driving beat of the rhythm section accentuated about four minutes in is what this entire piece is all about. The strings at that point are tearing at your center, demanding that you feel the motion, feel the rush, and feel The Wheel as it turns ever faster, moving you along or leaving you behind.
As new music goes, this is the most refreshing Jazz I have heard in years. It is explosive, emotional, technical and playful. It is a true listening experience. Harrison's compositions are alive, graphic and intensely colorful. This disc warrants listening to. Once you do, you will go back and listen again, because you will feel sure that you missed something in all that movement.
- Chuck Vecoli, Jazz Review