Release Date: June 10, 2016
Catalog #: AR0001
Format: Digital & Physical
21st Century
Cuban
Jazz
Percussion
Piano
Voice

Abrazo: The Havana Sessions

Timothy Lee Miller composer
Don Bowyer composer
Bunny Beck composer
Roger Bourland composer
John A. Carollo composer
Margaret Brandman composer
Mel Mobley composer
Michael Murray composer

For nearly 60 years, cultural and economic exchange between the United States and Cuba has been hindered and hobbled as a result of the U.S. embargo on trade and travel. Influence from each has seeped through to both sides, but only with the restoration of diplomatic connections between the two countries in December 2014 did it become possible for real cooperation to occur.

In November 2015, less than one year after these initial steps toward fully opening relations, PARMA Recordings produced the first of its recording projects in Havana. The resulting album, ABRAZO: THE HAVANA SESSIONS on the newly-minted Ansonica Records label, presents works for big band, small jazz combo, choir, and chamber ensembles by composers Bunny Beck, Roger Bourland, Don Bowyer, Margaret Brandman, John Carollo, Timothy Miller, Mel Mobley, and Michael Murray performed by current or former members of the National Symphony Orchestra of Cuba, the Buena Vista Social Club, Irakere, and many more.

“Producing new music by living composers is my passion, and hearing musicians play with this level of preparation, dedication, and ingenuity was invigorating,” says PARMA CEO Bob Lord. “We went right to the source, and sure enough they brought a totally new dimension to the music – a Cuban dimension, a feel and a sound and a perspective unlike anything else in the world.”

Spine-tingling sounds abound on the album, particularly on the choral recordings. Roger Bourland’s Alarcón Madrigals, Book 3, set to the bilingual poetry of Francisco X Alarcón, and Michael Murray’s After the Fall, composed to commemorate the first anniversary of the events of September 11, 2001, both veer from hushed, intimate valleys of close harmony to ebullient, expansive peaks of counterpoint.

Bunny Beck’s two Jazz Suites, arranged by Juan Manuel Ceruto, take the composer’s work on a tour through beloved Cuban styles such as son, dazon, cha-cha-cha, and more. The ensemble, featuring acclaimed pianist Rolando Luna, plays with a breathless intensity that is frequently contrasted by the delicate, lilting beauty of the compositions. It’s New York jazz by way of the Malecón. The tracks feature vocals by Will Dailey, recording artist, performer and producer, and five time winner in the Boston Music Award: Best Male Singer-Songwriter.

In Mel Mobley’s lively trio Coloring with Water, brash brass punches through long melodic lines, navigating complex metric modulations and thorny harmonies. What comes through to the ear, however, is the sound of a composer who knows how to get the listener’s pulse racing.

Programmatic concepts are central to John Carollo’s Burlesque and Margaret Brandman’s Warm Winds in Havana. Carollo’s trademark humor and playfulness is in full effect on this coquettish type of pas de deux for trumpet and guitar, while Brandman’s sax quartet is given an exhilarating, penetrating interpretation by Javier Zalba and his ensemble. The intricately interlocked sounds of Cuban percussion augment the latter piece with particular flair.

Produced by Havana native Dayron Ortega, PARMA’s Lead Producer in Cuba, the big band recordings on ABRAZO showcase the Cuban sound at possibly its very best. Trombone features prominently in Don Bowyer’s eerily catchy Bugs and Gas, a crackerjack chart rippling with syncopations and grin-inducing counter-melodies, and Tim Miller’s Hot Miami Nights and On An Autumn Day are true show-stoppers – expert arrangements played with both feverish brilliance and true jazz cool.

Cuba and America have been separated for far too long. Embrace the sounds of ABRAZO.

Listen

Hear the full album on YouTube

“The musicians deliver an outstanding form of Latin Jazz infused with Cuban styles like son, danzón, cha-cha-cha, and more.”

World Music Central

Track Listing & Credits

# Title Composer Performer
DISC ONE:
01 Hot Miami Nights Timothy Lee Miller Joaquín Betancourt, conductor; Yuniet Lombida Prieto, Javier Zalba, alto saxophone; Michel Herrera, Osmel Cuellar, tenor saxophone; Evaristo Denis, baritone saxophone; Lázaro Oviedo, Tommy Laurent García, Alberto Mesa, Julio Rigal, trumpet; Yoandy Argudín, Diana Saíz, Osley Patridge, Ivanovi Garzón “El Pipi,” trombone; Raúl Verdecia “El Chino,” guitar; Lázaro Rivero “El Fino,” bass; Emilio Morales, piano; Enrique Plá, drums; Bernardo Bolaños, congas 5:10
02 On an Autumn Day Timothy Lee Miller Joaquín Betancourt, conductor; Yuniet Lombida Prieto, Javier Zalba, alto saxophone and flute; Michel Herrera, Osmel Cuellar, tenor saxophone; Evaristo Denis, baritone saxophone; Lázaro Oviedo, Tommy Laurent García, Alberto Mesa, Julio Rigal, trumpet; Yoandy Argudín, Diana Saíz, Osley Patridge, Ivanovi Garzón “El Pipi,” trombone; Raúl Verdecia “El Chino,” classical guitar; Lázaro Rivero “El Fino,” acoustic bass; Emilio Morales, piano; Enrique Plá, drum set; Bernardo Bolaños, güiro, miscellaneous percussion 4:46
03 Bugs and Gas Don Bowyer Joaquín Betancourt, conductor; Yuniet Lombida Prieto, Javier Zalba, alto saxophone; Michel Herrera, Osmel Cuellar, tenor saxophone; Evaristo Denis, baritone saxophone; Lázaro Oviedo, Tommy Laurent García, Alberto Mesa, Julio Rigal, trumpet; Don Bowyer, Yoandy Argudín, Diana Saiz, Osley Patridge, Ivanovi Garzón “El Pipi,” trombone; Lázaro Rivero “El Fino,” bass; Emilio Morales, piano; Enrique Plá, drums and bell; Bernardo Bolaños, congas, miscellaneous percussion 6:10
04 Jazz Instrumental Suite: Impressions Bunny Beck, arr. Juan Manuel Ceruto Carlos Miyares, tenor saxophone; Yasek Manzano, trumpet; Yoandy Argudín, trombone; Lazaro Rivero, bass; Rolando Luna, piano; Oliver Valdez, drums; Mary Paz, congas 4:14
05 Jazz Instrumental Suite: Smooth Cruisin' Bunny Beck, arr. Juan Manuel Ceruto Carlos Miyares, tenor saxophone; Yasek Manzano, trumpet; Yoandy Argudín, trombone; Lazaro Rivero, bass; Rolando Luna, piano; Oliver Valdez, drums; Mary Paz, congas 4:18
06 Jazz Instrumental Suite: Obligations Bunny Beck, arr. Juan Manuel Ceruto Carlos Miyares, tenor saxophone; Yasek Manzano, trumpet; Yoandy Argudín, trombone; Lazaro Rivero, bass; Rolando Luna, piano; Oliver Valdez, drums; Mary Paz, congas 3:30
07 Jazz Vocal Suite: Why Do I? Bunny Beck, arr. Juan Manuel Ceruto Carlos Miyares, tenor saxophone; Yasek Manzano, trumpet; Yoandy Argudín, trombone; Lazaro Rivero, bass; Rolando Luna, piano; Oliver Valdez, drums; Mary Paz, congas; Will Dailey, vocals 2:37
08 Jazz Vocal Suite: So Easy to Say Bunny Beck, arr. Juan Manuel Ceruto Carlos Miyares, tenor saxophone; Yasek Manzano, trumpet; Yoandy Argudín, trombone; Lazaro Rivero, bass; Rolando Luna, piano; Oliver Valdez, drums; Mary Paz, congas; Will Dailey, vocals 3:04
09 Jazz Vocal Suite: It's in the Stars Bunny Beck, arr. Juan Manuel Ceruto Carlos Miyares, tenor saxophone; Yasek Manzano, trumpet; Yoandy Argudín, trombone; Lazaro Rivero, bass; Rolando Luna, piano; Oliver Valdez, drums; Mary Paz, congas; Will Dailey, vocals 2:53
DISC TWO:
01 Alarcón Madrigals, Book 3: Cuerpo en llamas Roger Bourland Vocal Luna | Wilmia Verrier Quiñones, conductor 1:23
02 Alarcón Madrigals, Book 3: Lamentario Roger Bourland Vocal Luna | Wilmia Verrier Quiñones, conductor 2:06
03 Alarcón Madrigals, Book 3: Como loca flor Roger Bourland Vocal Luna | Wilmia Verrier Quiñones, conductor 1:53
04 Alarcón Madrigals, Book 3: In Ixtli in Yollotl (Face and Heart) Roger Bourland Vocal Luna | Wilmia Verrier Quiñones, conductor 2:52
05 Alarcón Madrigals, Book 3: Polvo Estelar Roger Bourland Vocal Luna | Wilmia Verrier Quiñones, conductor 2:04
06 Burlesque: I. Honolulu Stomp John A. Carollo Fadev Sanjudo Rodríguez, trumpet; Merlyn de la Caridad Corona Pérez, guitar 2:02
07 Burlesque: II. Baile, Baile, Me Hermosa Rosa John A. Carollo Fadev Sanjudo Rodríguez, trumpet; Merlyn de la Caridad Corona Pérez, guitar 4:18
08 Burlesque: III. Luca Has a Cadenza John A. Carollo Fadev Sanjudo Rodríguez, trumpet; Merlyn de la Caridad Corona Pérez, guitar 5:07
09 Burlesque: IV. Life is a Strange Instrument John A. Carollo Fadev Sanjudo Rodríguez, trumpet; Merlyn de la Caridad Corona Pérez, guitar 3:57
10 Burlesque: V. Rosa Discovers a Strange Instrument John A. Carollo Fadev Sanjudo Rodríguez, trumpet; Merlyn de la Caridad Corona Pérez, guitar 3:30
11 Warm Winds in Havana: I. Prelude, "Havana Promenade" Margaret Brandman Leonardo Jiménez, soprano saxophone; Yuniet Lombida Prieto, alto saxophone; Aliet Gonzales, tenor saxophone; Javier Zalba, baritone saxophone; Andres Coayo, percussion 1:28
12 Warm Winds in Havana: II. Salida del Sol (Sunrise) Margaret Brandman Leonardo Jiménez, soprano saxophone; Yuniet Lombida Prieto, alto saxophone; Aliet Gonzales, tenor saxophone; Javier Zalba, baritone saxophone; Andres Coayo, percussion 1:55
13 Warm Winds in Havana: III. Danza del Día (Dance of the Day) Margaret Brandman Leonardo Jiménez, soprano saxophone; Yuniet Lombida Prieto, alto saxophone; Aliet Gonzales, tenor saxophone; Javier Zalba, baritone saxophone; Andres Coayo, percussion 1:33
14 Warm Winds in Havana: IV. Ritmo de la Noche ( Rhythm of the Night) Margaret Brandman Leonardo Jiménez, soprano saxophone; Yuniet Lombida Prieto, alto saxophone; Aliet Gonzales, tenor saxophone; Javier Zalba, baritone saxophone; Andres Coayo, percussion 1:43
15 Coloring with Water Mel Mobley Maricel Gonzales Valdés, trombone; Susana Venereo Martín, french horn; Fadev Sanjudo Rodríguez, trumpet 4:19
16 After the Fall: I. After the Fall Michael Murray Schola Cantorum Coralina | Alina Orraca, conductor 2:06
17 After the Fall: II. We Michael Murray Schola Cantorum Coralina | Alina Orraca, conductor 2:33
18 After the Fall: III. Changing Home Michael Murray Schola Cantorum Coralina | Alina Orraca, conductor 3:19

HOT MIAMI NIGHTS
Recorded November 11, 2015 at Abdala 1, in Havana, Cuba
Recording Session Producer Dayron Ortega
Recording Session Engineer José Raúl Varona
Assistant Recording Session Engineer Edian Correa

ON AN AUTUMN DAY
Recorded November 11, 2015 at Abdala 1, in Havana, Cuba
Recording Session Producer Dayron Ortega
Recording Session Engineer José Raúl Varona
Assistant Recording Session Engineer Edian Correa

BUGS & GAS
Recorded November 11, 2015 at Abdala 1, in Havana, Cuba
Recording Session Producer Dayron Ortega
Recording Session Engineer José Raúl Varona
Assistant Recording Session Engineer Edian Correa

JAZZ INSTRUMENTAL SUITE, JAZZ VOCAL SUITE
Recorded November 12, 2015 at Abdala 1, in Havana, Cuba
Recording Session Producer Juan Manuel Ceruto
Recording Session Engineer Maykel Barzagas

Vocals for Vocal Jazz Suite recorded February 10, 2016 at MixOne Studios in Boston MA
Recording Session Producer Matt Konrad
Recording Session Engineer Adam Weiss

ALARCÓN MADRIGALS, BOOK 3
Recorded November 9-10, 2015 at Bellas Artes Concert Hall, in Havana, Cuba
Recording Session Producer Wilmia Verrier Quiñones
Recording Session Engineer Miguel Parera Rodriguez

BURLESQUE
Recorded November 9 & 12, 2015 at Dbega Studios, in Havana, Cuba
Recording Session Producer Dayron Ortega
Recording Session Engineer José Raúl Varona

WARM WINDS IN HAVANA
Recorded November 13, 2015 at Abdala 1, in Havana, Cuba
Recording Session Producer Dayron Ortega
Recording Session Engineer José Raúl Varona
Assistant Recording Session Engineer Edian Correa

COLORING WITH WATER
Recorded November 9, 2015 at Dbega Studios, in Havana, Cuba
Recording Session Producer Dayron Ortega
Recording Session Engineer Carlos De Vega

AFTER THE FALL
Poem by Jodi Kanter
Recorded November 10, 2015 at Abdala 1, in Havana, Cuba
Recording Session Producer Bob Lord
Recording Session Engineer Dayana Rodríguez

Special thanks to
Teresa Fernandez Rodriguez
Gillian Trelles
Jo Lamprey
Peter Solomon
William Shaheen
Chris Chase
John Ahlgren

Executive Producer Bob Lord

Executive A&R Coordinator Sam Renshaw
A&R Coordinators Chris Robinson, Alex Bourne

Audio Director Jeff LeRoy
Editing and Mixing Shaun Michaud (disc 1: tracks 1-6; disc 2: tracks 1-5, 16-18)
Editing and Mixing Nate Hunter (disc 1: tracks 7-9; disc 2: tracks 6-15)
Mastering Shaun Michaud (disc 1: tracks 1-3; disc 2: tracks 1-5, 11-18)
Mastering Nate Hunter (disc 1: tracks 4-9; disc 2: tracks 6-10)

Art & Production Director Brett Picknell
Graphic Design Emily Roulo, Ryan Harrison
Marketing Morgan MacLeod

Artist Information

Timothy Lee Miller

Composer

Timothy Lee Miller (b. 1961) is an American composer, arranger and publisher writing unique contemporary concert music for chamber ensembles, orchestra, wind ensemble, chorus and solo voice, as well as jazz music. He has also written for several small film and television projects, however, his primary focus is concert music. He has earned degrees from the University of Tennessee (BS Music Ed, 1984), the University of Miami (MM Media Writing and Production, 1990) and Vermont College of Fine Arts (MFA Composition, 2013). His principle composition teachers have been John Anthony Lennon, James Progris, Tamar Diesendruck, Jonathan Bailey Holland, Andy Jaffe, John Fitz Rogers and Roger Zahab. He has received numerous commissions and awards, including several ASCAP awards. His works have been performed throughout the US and Europe. His music is recorded on ERMMedia, Navona and Ansonica Records, and Phoenix Classics.

Donald Bowyer Composer

Donald W. Bowyer

Composer

Don Bowyer is Dean of the College of Fine Arts at Arkansas State University. Having previously taught at every level from kindergarten through university in the United States, the U.S. Virgin Islands, and Sweden, Bowyer received his Doctor of Arts from the University of Northern Colorado, Master of Arts from California State University-Northridge, and Bachelor of Arts from West Virginia Wesleyan College.

Bunny Beck

Composer

As a composer, Bunny composes contemporary classical music as well as jazz and ballads. Her most recent works include “Breathe” for jazz ensemble, “Suite for Sarro” for string trio, “Fantasy for Saxophones”, (quartet) “Fantasy for Brass” (quintet) and the suite “Two Rivers and An Ocean” for mixed percussion ensemble. Her client commissions include arrangements. Bunny holds a Master of Fine Arts degree in Music Composition from the Vermont College of Fine Arts.

Roger Bourland Composer

Roger Bourland

Composer

Roger Bourland (b. Dec. 13, 1952, Evanston, Illinois) received his education from the University of Wisconsin/Madison (B.Mus),the New England Conservatory of Music (M.M.), and Harvard University (A.M., Ph.D.). His teachers have included Leon Kirchner, Gunther Schuller, Donald Martino, John Harbison, and Randall Thompson. He received the Koussevitzky Prize in Composition at Tanglewood, the John Knowles Paine Fellowship at Harvard, two ASCAP Grants to Young Composers, numerous Meet the Composers grants, and was a co-founder of the Boston-based consortium “Composers in Red Sneakers.” Bourland has composed over one hundred works for all media: solo, instrumental, chamber, vocal and choral music, electro-acoustic music, and music for orchestra, wind ensemble, and other large ensembles, which are published by Yelton Rhodes Music, ECS Publishing, Dorn Publications, Inc. and Associated Music Publishers, Inc. His works have been recorded on Northeastern Records, 1750 Arch, Open Loop, Cambria, and GM Recordings.

John A. Carollo

Composer

John A. Carollo studied piano as a child and was a member of a Catholic Church choir which sang for the congregation during weekend services. In 1986, he began composing for the piano and graduated from San Diego State University with a Masters Degree in Psychology.  After moving to Honolulu HI in 1987, he started a career as a mental health counselor and social worker with the State of Hawaii, Department of Health.  In 1997, he began private composition lessons with Dr. Robert Wehrman.

Margaret Brandman

Composer

In a career of over 45 years, composer/pianist Margaret Brandman has composed a variety of music ranging from orchestral, chamber and choral works, to instrumental solos, and works for solo voice with piano accompaniment.

Mel Mobley

Composer

A native of Texas, Mel Mobley (b. 1966) currently resides and teaches in Monroe, Louisiana. He holds degrees from the University of Texas, University of South Florida, and University of Illinois. Active as a performer, composer, and advocate of new music, Mel has been involved in new music festivals and performances all around the country. Performed here and abroad, his works include orchestral, band, chamber, choral, and electronic music. His largest work to date, a chamber opera titled Sylvan Beach, premiered in the spring of 2010. His percussion trio with piano titled [pleez], (plez), /pliz/ was released on the 2013 Revello Records compact disc, Piano Concerti with Percussion Orchestra.

Michael Murray

Composer

The music of composer Michael Murray (b. 1964) has been described as “well crafted,” “expertly and adroitly handled,” and consisting of “pleasing washes of sounds and tone colors.” Reviewers have praised his writing for voice as “excellent,” “lovely,” and “a gift to singers.” In addition to works for the concert hall, he has written music for film, theater productions, dance, and visual arts installations. He currently lives in Springfield, Missouri, where he teaches composition and music theory at Missouri State University.

Notes / Texts

Hot Miami Nights (arr. 2001) – original content written January 31, 1991 as a piece called Montage for a contest for a TV station theme in Miami, Florida; transformed into an arrangement for big band in 2001; first performance was July 30, 2014 by Diane Moser’s Composers Big Band at Trumpets Jazz Club in Monclair, New Jersey.

On An Autumn Day (arr. 2015) – originally written in November 1990 as the theme music for a movie project, but it was rejected by the director; transformed into an arrangement for big band in December 1991; premiered as a sextet in August 2011 by the Vermont Jazz Ensemble in Montpelier, Vermont; a new arrangement for big band in a bossa nova style in September 2015.

This piece was composed as a commission by Cecille Spina, in honor of her husband, Don Spina. Don had recently retired after a career spent decommissioning biological and chemical weapons. Workers in that field refer to those weapons as “bugs and gas.”

The piece was composed to have an eerie quality, with the bass line outlining a blues progression in two different keys a triton apart. The wide vibrato line in the trombones is meant to suggest the buzzing of “bugs.” Overall, the tone of the piece should sound a little frantic, as I would be if I had to work with biological and chemical weapons.

The composition was originally written with a double-time swing feel in the drums. When the opportunity arose to record in Havana, with Cuban musicians, I decided to change the feel to a double-time son feel.

I composed my Jazz Instrumental Suite for piano. For the Havana recording, Ceruto arranged my music for a 7 piece ensemble. The musicians are fabulous performers! and the results “speak” for themselves!

WHY DO I?
Written by Bunny Beck, May 2011

WHY DO I
THINK ABOUT YOU?
WHY DO I
DREAM ABOUT YOU?
I CAN’T BELIEVE I FOUND YOU,
IS IT REAL?

IT WAS ONLY FATE THAT ENTERED,
I WAS LONELY –
A HEART UNMENDED,
I AM SO UNDEFENDED,
HOW DO I FEEL?

IT NEVER HAPPENED BEFORE,
MY LIFE WAS SUCH A BORING GAME,
I SOUGHT FORTUNE AND FAME –
ALWAYS THE SAME –
WHAT A SHAME.

BUT NOW I SEE THAT I AM SLOWLY CHANGING,
HOPEFULLY REARRANGING
MY LIFE TO BE WITH YOU. (end)

Copyright 2012

SO EASY TO SAY
Written by Bunny Beck, December 14, 2010

SO EASY TO SAY,
SO EASY TO DO,
I’VE GOT ALL DAY
TO HANG AROUND LOVIN’ YOU.

IT’S COMIN’ ON NIGHT,
STARS START TO SHINE,
I THINK THINGS ARE ALRIGHT
I THINK YOU’RE STILL MINE.

BUT BABY WHAT I DON’T KNOW,
IS YOU’VE HAD A CHANGE OF HEART,
YOUR LOVE HAS LOST ITS GLOW,
AND YOU’RE FEELING FAR APART.

OH WHAT CAN I SAY?
WHAT CAN I DO?
I’LL FIND A WAY
TO KEEP FROM LOSING YOU.

WHATEVER IT TAKES
TO HOLD YOU TONIGHT,
TO KEEP OUR LOVE STRONG
AND WE’LL BE ALL RIGHT.

Copyright 2011

IT’S IN THE STARS
Written by Bunny Beck, January 2007

IT’S IN THE STARS, I SEE
THAT WE ARE DESTINED TO BE
IN LOVE WITH EACH OTHER, DARLING
IT’S JUST YOU AND ME…
WE WERE FATED TO MEET ONE DAY,
I KNEW THE MOMENT OUR EYES MET
YOU’D BEEN SENT MY WAY.

IT’S IN THE STARS, SO CLEAR
THAT AS I HOLD YOU SO DEAR
WE MELD AND DISCOVER
THAT THERE’S NO OTHER MAGIC LOVER
WHO THRILLS OUR HEARTS
AND HAS CAPTURED OUR SOULS, DARLING
THIS WAS MEANT TO BE.

IT WAS LIKE A DREAM,
QUIET, TENDER, GENTLY…BUILDING,
I WAS UNDER YOUR SPELL…
YOUR SWEET CARESSES LIT A GLOW
AND THEN DESIRE, EMBRACED US
AND HELD US – OH HELD US SO WELL…

IT’S IN THE STARS SO BRIGHT
THAT WE ARE CERTAIN IT’S RIGHT
TO CHERISH EACH OTHER
OUR SPIRITS BOUND IN WONDER,
NOW AND FOREVER,
WE’LL BE TOGETHER,
FOR IT’S IN THE STARS.

Copyright 2007 by Bunny Beck

The late poet Adrienne Rich suggested I look into the poetry of Francisco X Alarcón back in 1993 when I wrote my first set of Francisco’s poems set to my music which I called Alarcón Madrigals. Then Alarcón Madrigals, Book 2 came and then Alarcón Madrigals, Book 3, which is where we are here. For Vocal Luna, I reset several of the madrigals so that there would be more Spanish. Francisco urged me to NOT make it all Spanish, but keep some English in the set, which is what I have done especially in the third madrigal, Como loca flora, where both languages are set. Alarcón usually provides his poetry bilingually: Spanish on the left page, English on the right.

This set was commissioned and premiered in 2006 by conductor Iris Levine and her Los Angeles women’s chorus, Vox Femina. (Vox also commissioned and premiered Alarcón Madrigals, Book 2.)

The conductor of this recording, Maestra Wilmia Verrier Quiñones, paid me the highest compliment by saying that the music and poetry fit together perfectly. My job as a compoer, in my view, is to convey what the poetry is saying, feeling and implying through music. I was thrilled to work with Wilmia and Vocal Luna on this recording: they brought their own passions and metabolisms to my music through their terrific and sensitive performances.

Burlesque is a story about Rosa who doesn’t know much about music or musical instruments. Two musicians see her and begin playing and she starts dancing wildly to the jungle rhythm; she eyes the musicians, one playing a trumpet, the other, an acoustic guitar, strange instruments to her eyes! She approaches them and begins a seductive striptease, her eyes being focused on the trumpet player whose name is Luca. Luca plays a big Cadenza to impress her! Rosa discovers that, after hearing this music, life can be a strange instrument and the most beautiful when played well. The trumpet and guitar players play the finale to further impress her; they then leave their instruments on the stage whereupon Rosa discovers the strange instrument that Luca played for her. She lies on the stage floor with Luca’s trumpet in a full embrace, smiling with satisfaction and feeling content with life.

PRELUDE – HAVANA PROMENADE

Saxophones and Percussion

While in Havana, the composer was treated to a lively street parade with people dancing on stilts – just the sort of activity this for which this “Havana Promenade” is suited. The introduction begins with two punchy Baritone eighth notes answered with a syncopated chordal figure played by the remaining three saxophones in the ensemble. The music in these first two bars would be the signal for the parade to start. Two bars later the percussion joins in and the fun begins in earnest. Once the intro is over, the solo Baritone underlying figure establishes the feel for the central section of the piece. The higher pitched instruments play a counter melody to the baritone line which helps build excitement. The piece finishes with a reprise of the rather funky introductory material.

SALIDA DEL SOL (SUNRISE)

The motif of this moderately paced and gentle work is a descending syncopated theme in 7/4 time which is shared around between the instruments creating warm colours. Once this theme has been fully explored, the music then floats into the contrasting theme in the style of a jazz waltz.

DANZA DEL DÍA (DANCE OF THE DAY)

In contrast to the previous movement this brisk work begins in quadruple time enlivened by syncopated chordal effects. The second theme is in triple time featuring flowing melodic lines treated in a contrapuntal manner. The mysterious sparse rhythmic figure in the contrasting middle section forms a platform over which the soprano and alto saxophones enter into a conversation followed by a short coda employing both the homophonic chordal rhythm and the melodic themes from earlier in the piece.

RITMO DE LA NOCHE (RHYTHM OF THE NIGHT)

In this final movement repeated sixteenth notes occurring in layers between the instruments create a shimmering effect which leads into a bouncy answering figure.

The rhythmic effect is then contrasted with expressive soaring melodic lines. In the development section of the piece, both ideas are combined as the flowing melody line is underpinned with the rhythmic motif established in the opening bars of the composition. The added percussion, supports and amplifies the rhythmic saxophone lines, lending an authentic Cuban feel to this work.

The music for the 3 movements is published by Furore Music (Germany)

Coloring was written for the Black Bayou Brass, a brass trio based in northern Louisiana. Compositional techniques juxtapose the use of pitch sets and metric modulations onto pop rhythms and blues figures. However, the focus is on interplay between the instruments. While small chamber groups rely on their strong sense of ensemble in order to play intricate musical ideas, each member must also be able to take on multiple roles in terms of melody, bass line, and harmony. Coloring uses the intricate interplay of those roles on top of syncopated rhythms to create familiar structures both in rhythm and pitch but with shifting colors and tempi. The outcome is a short, intimate journey that plays with the perception of musical time and musical style while using a minimal amount of source material.

After the Fall was written to commemorate the first anniversary of the events of September 11, 2001. Although the piece was created as a response to this specific event and its aftermath, its expression of the universal themes of loss and hope can be understood in a wider context.

poems by Jodi Kanter (2002)

AFTER THE FALL

After the fall
Just after the fall
Not one day later
When the praying started
Or three months later
When the burning ended
Or two years later
When the stone was erected
But then, just after the fall

Somebody spoke it
For we who were speechless
A single word
Impossible as spring
And yet someone spoke it
An electric whisper
Like wind on your neck
More suggestion than sound:
Again.

II. WE

We stood,

We heard. We watched. We wept.
We hoped. We wept. We prayed.
We fell. We embraced. We wept.

We raged. We stormed. We sang.
We trembled. We sang. We guarded.
We remembered. We returned. We sang.

We stood.

III. CHANGING HOME

When we slept
But didn’t know we slept
Change had gentle breath
Home was a small, close place and
Freedom had slowly grown old.

When we awoke
Inside the flames
Change had angry eyes
Freedom was a frightened place and
Home had suddenly grown old.

Now when we sleep
Our rest is hard
Since change has hungry hands
And home is a place we will make
Before we grow old.