This section alternates with djembe fills in 7/8 (Mark Ivester from Seattle). The main head is a bass ostinato that outlines a sus7th chord, but the actual changes run through many colors- dominant, minor, lydian, etc. We start off with Kendall playing a solo in 6/8 (tapping his South African roots) with conga accompaniment by Paul Tchounga (a Cameroonian). Asp Of Ire: I really like messing with conventional notions about music, this song is a good example of that. The title comes from the color-wheel, blue and orange are complementary colors, so 'blues' became 'oranges'.ģ. I suspect the fact that 'I-IV-I' sounds the same in either direction, has a lot to do with it. The chord progression is essentially a 12-bar blues backwards! Although it is difficult to recognize a backward blues progression, it still retains its 'bluesy''-ness. It isn't until the head-out that we hear the combined melody and changes. When the solos begin we finally hear the chord changes for the first time. This is definitely a nod to Ornette Coleman. I wanted to start with just the alto sax then slowly build it up, as different instruments join in for this melody. It's a 12-bar melody that gets stated over and over. When it's just drums, bass, and soprano sax, the frequency spectrum is very open, improving clarity.Ģ. The solos were free but still we used the perfect-5th motif a lot. There are no chord changes per se, but we created a harmonic-structure based off-of the melody. Take The Fifth: I wanted to write a tune that used primarily perfect 5th intervals (hence the title). Many of the 25 players I knew from other projects, so it became a fun experiment to combine different guys together. I had also wanted to document the various musicians I was making music with at the time. I also wanted to connect the two through compositional devices, borrowing a melody from disc-1 and using it as a background line on disc-2, etc. While the instrumentation helped differentiate the two. I've heard people categorize the blue/red discs as jazz/fusion, but I really see it as acoustic/electric. I wanted each disc to have a distinctive sound. This was my debut project and to this day I am very proud of this double CD. Paul Tchounga: Conga, Philibongos, ShakerĪndy Suzuki: Soprano Sax, Bass Clarinet, Clarinet,Īndy Suzuki: Alto Sax, Flute, Alto Flute, Clarinet,Īndy Suzuki: Tenor Sax, Soprano Sax, Flute, Clarinet Mastered by Dave Schultz at DigiPrep, Hollywood, CAĪll compositions and arrangements by Andy Suzuki (Onymous Music/ASCAP),Įxcept 'Tico Tico' composed by Zequinha Abreu (Southern Music/ASCAP) Mixed by Michael Lord at Michael Lord Productions, Seattle, WA Studio, Torrance, CAĬoordinators: Dianna Mich Newell, Yvonne Wish Studio, Van Nuys, CAĪssistant Engineers: Brian Virtue, Ulysses Noriega Production Information "Andy Suzuki -double CD"
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