Paul Austerlitz
Journey
Innova 223
Chapter One:
In-Vocation
1 Bara
Sw Yọ (traditional Yorb-Cuban, arr. Austerlitz); PA,
BO, SD, RH, KKO, RG
Chapter Two: Palo and Beyond
2 Underground
Palo
(Austerlitz); PA, BO, BM, PR, JD
3 One
Peace
(Austerlitz, BMI, Roope Music); PA, BO, SD, RH, KKO
4 Journey (Austerlitz,
BMI, Roope Music); PA, DZ, RH, KKO
5 Thunder
Flow
(traditional Yorb-Cuban, arr. Austerlitz); PA, BM, PR, JD
Chapter Three:
Merengue and Bebop
6 Ornithology (Parker, arr.
Austerlitz); PA, GR, JV, WV, JF, JD
7 Sisterhood
is Powerful
(Austerlitz, BMI, Roope Music); PA, BO, BM, PR, JF, JD
8 Santiago (Hernndez;
arr. Austerlitz); PA, AT, JF
Chapter Four: Poetry
and Song
9 Mountains
Music
(Austerlitz/Fradkin, BMI, Roope Music); PA, RC, GR, JV, WV, JF
10 A Place
Inside
(Austerlitz, BMI, Roope Music); PA, RC, BO, BM, PR, JF, JD
11 East
Broadway Merengue,
featuring Michael S. Harper reading
The
Latin American Poem (Rollins/Austerlitz: BMI, Sonrol Music); PA, GR, JV, WV,
JF, MSH
12 Two
Poems, featuring Michael S. Harper reading
Brer Sterling and the Rocker and
Twiddlin
Thumbs (Austerlitz, BMI, Roope Music); PA, SD, RH, MSH
13 Word-Consciousness-Arena (Austerlitz,
BMI, Roope Music), featuring
Michael
S. Harper reading Corrected
Review; PA, BO, SD, RH, KKO, JF, MSH
Chapter Five:
Out-Vocation
14 Bara
Sw Yọ (Reprise) (traditional Yorb-Cuban, arr.
Austerlitz); PA
Paul Austerlitz
(PA):
contrabass clarinet,
bass clarinet, clarinet,
tenor saxophone, voice
Barry Olsen
(BO): piano
Gustavo Rodrguez
(GR): keyboards
Angelina Tallaj
(AT): piano
Santi DeBriano
(SD): acoustic bass
Bernie Mioso
(BM): acoustic bass
Dave Zinno
(DZ): acoustic bass
Juan Valdz (JV): electric bass
Phoenix Rivera
(PR): drum set
Royal Hartigan
(RH): drum set
Wellington
Valenzuela (WV): drum set
Kwaku Kwaakye Obeng
(KKO): donno, cowbell
Jos Duluc
(JD): palos, balsi, gira, voice
Julio Figueroa
(JF): tambora, conga, bong, gira
Michael S. Harper
(MSH): poet
Regie Gibson
(RG): spoken word
Renee
Cologne (RC): voice
As an
ethnomusicologist specializing in African-based traditions of the Dominican
Republic and as an improvising musician dedicated to mastering the bass
clarinet, my life has been a journey blessed with opportunities to sojourn with
great musicians from across the planet. This CD is a creative corollary
to my ethnomusicological studies generally and to my books, Merengue:
Dominican Music and Dominican Identity and Jazz
Consciousness, particularly.
Among the most important things I have learned my travels is that when
the prime movers of life and death (manifesting in various ways throughout the
world and among Afro-Dominicans as Las 21 Divisiones) call
us, we must respond. Because the Word comes first, I believe that
music is rooted in conversation, and in African-based traditions, this
relies on the drum as much as the voice.
The drum speaks, and we respond by dancing outwardly (as to merengue) or
inwardly (to more meditative sounds).
Michael S. Harper affirms that African American improvised music (also
known as jazz) is an arena of word-consciousness, one peace of powerful
sisterhood and brotherhood. I offer the creative fruit of my ethnomusicological
journey as a universal communion.
Born in
Finland but moving to New York City at one year of age, I was introduced to
African American and Afro-Latin music on the streets and the likes of
Stravinsky and Sibelius at home. I went to Bennington College, where the
trumpeter-composer Bill Dixon encouraged me to play the bass clarinet (in
addition to Bb clarinet and saxophone) and the visionary-percussionist Milford
Graves introduced me to Afro-Caribbean sounds and musical philosophies from
around the planet. I later went to
graduate school, developed professional and personal ties in the Dominican
Republic, and became a professor of ethnomusicology.
In 2005, I
was named a MaColl Johnson Fellow in Music Composition by the Rhode Island
Foundation. This, combined with residencies at the Yaddo and Omi Artists
Colonies, gave me the space and time to complete the compositions heard
here. This CD presents
musical conversations between many close friends with whom I have sojourned on
my journey. A confluence of the bass clarinets wooden timbre, drums, and
the human voice fills these sound waves. One of the top jazz-poets of
all time, Michael S. Harper took me under his wing when I was teaching at Brown
University, insisting that I play music in addition to
writing about it (thanks, Padre!). For more than two decades, I exchanged musical and other
thoughts with the great Ghanaian drummer-composer Kwaku Kwaakye Obeng; some of
our conversations are heard here. I have been sharing good times and
great music with Julio Figueroa and Jos Duluc in the Dominican Republic since
1991. To my mind, Figueroa is
simply the single best living player of the tambora drum,
which provides the soul-beat of merengue. Dulucs inimitable talents span
singing, drumming, dancing, song-writing, politicizing, and philosophizing. Both of my Dominican brothers gave
their all to this recording.
My music
calls upon the various world influences that I have encountered on my journey.
Bara
Sw Yọ is an arrangement of a Yorb-Cuban invocation to the rş
(spirit) of auspicious beginnings and crossroads, ş-Elẹgbra,
featuring the great spoken-word artist Regie Gibson reciting a translation of
the Yorb song. Underground
Palo is perhaps the first recorded fusion of jazz with Afro-Dominican
palos
ritual drumming. It is dedicated
to the late, great multi-instrumentalist Mario Rivera, who was the first
musician to blend palos with jazz (regrettably, Rivera never recorded his
innovation). Underground Palo is
inspired by John Coltranes Song of the Underground Railroad, which, in turn,
was based on the spiritual, Follow the Drinkin Gourd. Dulucs words, like the traditions of
Dominican palos and the African American freedom-train, say Me voy!:
"I am leaving this place because I refuse to be bound!" One Peace
employs an original improvisational language based on themes inspired by Igor
Stravinsky. Like my
ethnomusicological travels, the four segments of Journey
pass through various world traditions, combining Indian raga,
Debussy scales, Kwaku Kwaakye Obengs talking donno
drum, and Ghanaian rhythms adapted to clarinet choir. Thunder
Flow is a traditional Yorb-Cuban song dedicated
to the rş Şng, here combined with the rarely-recorded Afro-Dominican pri-pr
rhythm which features the balsi or Dominican talking drum, whose tones are controlled by the
drummers foot. Ornithology
fuses bebop, hip-hop, and merengue, featuring majestic tambora
drumming by Julio Figueroa and my contrabass and soprano clarinets. Sisterhood is Powerful
blends palos, bolero, merengue, and bebop. Santiago was composed as a light-classical
solo piano piece based on merengue by the great Dominican composer Julio
Alberto Hernndez in 1927; my arrangement adds the tambora and
a New Orleans -tinged clarinet, pointing to Caribbean connections between early
merengue and
early jazz. I composed Mountains
Music at Bennington College as a setting of my friend Ava Fradkins
poem about Vermonts land-sound-scape.
A Place Inside features the great
pianist Barry Olsen and the astounding Dominican trap drummer Phoenix Rivera
(he is Mario Riveras son).
Dominicanizing a Sonny Rollins theme and juxtaposing it with South
African–inflected sounds, the confluence of Afro-diasporic styles in East
Broadway Merengue parallels Michael S. Harpers intoned message. Two Poems
again feature Harpers jazz-infused words, as does the penultimate testament of
this trip, Word-Consciousness-Arena. Solo contra-bass
clarinet multiphonics (no overdubbing) invoke new crossroads as we move to the
end with a reprise of Bara Sw Yọ.
-Paul
Austerlitz, Gettysburg,
Pennsylvania,
March 9, 2008
CREDITS
Supported
by The MaColl Johnson Fellowship of the Rhode Island Foundation, Gettysburg
College, Yaddo Artists Colony, and Omi Artists Colony. Recorded at Kaleidoscope Studies
in New Jersey (tracks 1, 2, 3, 4, 5, 7, 8, 9, 10, 12, 13, 14), John Sippell
Studio in Rhode Island (track 4),
Enkiu Studios in Santo Domingo (tracks 6, 9, 11), and Audio Proceso Studios in
Santo Domingo (tracks 7, 10, 13) in 2006 and 2007. Track 1 recorded at Francis Phan Studios and tracks 11, 12, & 13 at and Brown University Studios. Mixed at Kaleidoscope Sound Studios by Randy Crafton and
mastered by Gene Paul at DP Plus Studios in 2007. Yorb translation by Olfọlkẹmi
Alld. Photo credits: C. Keitner (photos of Austerlitz), K.K. Obeng (photo of
Obeng), M.S. Harper (photo of Harper), J. Sussman (photo of Duluc).
This
CD is dedicated to the memories and legacies of Mario Rivera and Bony
Raposo. Thanks to all who
contributed! I want to express
special appreciation for the advice and support of Randy Crafton, Gene Lee,
Hafez Modirzadeh, Dave Liebman, Bobby Sanabria, Chris Washburne, Barry Olsen,
Bobby Parra, Milford Graves, Robert Farris Thompson, Michael S. Harper, Jos
Duluc, Julio Figueroa, Kwaku Kwaakye Obeng, Regie Gibson, R.A. Fish, Marty
Cuevas, Angel Fernndez, Philip Blackburn, Marta Robertson, Olfọlkẹmi Alld,
and Magaly. Praise and great
thanks to Las 21 Divisiones!
innova
is supported by an endowment from the
McKnight
Foundation.
Philip
Blackburn, innova director
Chris
Campbell, operations manager
www.innova.mu
Also by Paul Austerlitz: Double Take (innova 604)