(Moore Music- 2011)
- DOWNLOAD ONLY RELEASE -
Jonathan Freilich- guitar
Stanton Moore- Drums
Skerik- Tenor Saxophone
Todd Sickafoose- Bass
Mike Dillon- Vibes etc.
All compositions by Jonathan
Freilich (DerKop Music, BMI) except Ghosts by Albert
Ayler.
Recorded and mixed by Mike Napolitano
at Galactic studios and his house Nov. 2006.
“Ghosts” recorded by Ben Ellman
Artwork by Joan Long
Special thanks to Ben Ellman, Bubba Freilich,
Yvonne Karnos, and the other members of Galactic. Also
thanks to my other band of over a decade who supplied
so much support and had no problem with this: James Singleton,
Tim Green, Doug Garrison, Rick Trolsen |
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JONATHAN
FREILICH BAND
Electric Eggplant
featuring Stanton Moore, Skerik, Mike Dillon, Todd
Sickafoose
1. THE ASPHALT IS HARSH; WHERE'S
THE GRASS?
2. BLUES FOR KRISHNAMURTHI
3. BRIEF REPAIRS ON THE GRADUALLY UNRAVELLING SPOOL IN THE SENSE CONTINUUM
4. CANTICLE FOR A NULLIBIST
5. CONTEMPLATING THE UNIVERSAL APERTURES
6. UNIVERSAL INTERLUDE
7. GHOSTS
8. MUSING ON ALTERED STOPS
9. REWARD FOR BIG MAN MORRICONE
10. WHERE DO YOU STORE TENSION?
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FRIENDS AND OTHER NATURAL STRUCTURES
This recording came about when my old friend, Stanton
Moore, suggested that I do a recording of my compositions
with him and some of the people that he had formed associations
with since our time playing together in The New Orleans
Klezmer All-Stars.
I was interested in the idea because it was clear that
there was a sound there that hadn’t been used as a way
to interpret the kind of tunes that I had been playing
with my other quintet, Naked On The Floor. Stanton had
played for the first incarnation of that group too, when
it was just a trio. He was interested in the way that
I try to keep each of the tunes I write to having their
own distinctive sound. So, when getting ready to do this
record, I tried to accent that feature of the compositions.
Stanton, Skerik, Mike Dillon, and Todd Sickafoose spend
a good deal of energy taking kinds of music that don’t
usually have popular appeal, and working out great ways
to deliver it to audiences that don’t normally hear those
sounds. They frequently employ different improvisational
modes and make much reference to various pop styles that
retain excitement. Much is made of improvisation these
days (as if there was a time where that wasn’t a component
in music) and that is always the case when societies
become too rigid and concerned with security. Nonetheless,
a composed musical structure can present a radical alternate
model or even just a slightly shaded modification. It
is important to me to make structures that will be interesting
to the players and break them out of their ability to
use a regular “bag of tricks” on the pieces. It should
be as if the tune is a cannon for a musical human cannonball
who gets shot into an exotic arena for a bit of time
and gets to look around. He finds that he is still himself
but that he is in a new stage and still has the exhilaration
from being a projectile. He may find an idea- such as
“ Although, I can’t change the world, I can change my
attitude towards it.” The composed structure here is
not a fixed format but a moveable transportation device
for self-exploration in a new environment.
Some listeners demand a more morbid seriousness; the
description may sound like too much of a game. However,
if the involvement is deep enough then the game becomes
like life and death...it’s a matter of concentration
and intensity. Then any kind of catharsis can happen.
I enjoyed the whole collaboration, and
with Master Mike Napolitano too. The support structure
of old friends was a pleasure. I hope you enjoy the music
and that perhaps you get a chance to hear us play live
for you in the future. - Jonathan
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