Khiva
from northstation by northstation
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about
Outside my grandmother's house in the countryside of western Connecticut, at night there are the most incredible insect sounds. It had been a rainy day, and it was rather cool at night. I took a walk around, carrying my tape recorder. On a grassy mound near the convergence of two dirt driveways, I found a great balance of crickets, tree frogs, and other night creatures. They were combining to make the most beautiful, open, shifting chord texture. Maybe something like a Miles Davis piece from the cool period, organic and shifting, but tonally centered. This recording became the starting place for the tune Khiva.
The melody was essentially already there in the recording. The notes of it arose spontaneously while listening and playing. We felt Mark McCoin, being such a textural player, and having great ears, would bring a lot of breath to the tune. Artie Moore was an obvious choice as well. It's all about the ability to listen. I sketched out a very open structure for it before the recording date, discussed rhythm ideas with Mark, and we did a few takes of the tune, improvising around the basic chords and structure, and one of those takes is what you hear on the record.
We put the insect recording from my grandmother's house up on the faders, and Gannon controlled it as we were playing. (That part being structurally important to the music, and being entirely up to him how it was worked during the take, naturally he gets the musician credit for Faders.)
- JM
The melody was essentially already there in the recording. The notes of it arose spontaneously while listening and playing. We felt Mark McCoin, being such a textural player, and having great ears, would bring a lot of breath to the tune. Artie Moore was an obvious choice as well. It's all about the ability to listen. I sketched out a very open structure for it before the recording date, discussed rhythm ideas with Mark, and we did a few takes of the tune, improvising around the basic chords and structure, and one of those takes is what you hear on the record.
We put the insect recording from my grandmother's house up on the faders, and Gannon controlled it as we were playing. (That part being structurally important to the music, and being entirely up to him how it was worked during the take, naturally he gets the musician credit for Faders.)
- JM
credits
from northstation,
released April 24, 2000
(Written by J. Moore, D. Banach)
Derek Banach - TRUMPET, POCKET TRUMPET
Jeremiah Moore - RHODES PIANO, CRASH, INSECT DRONES
Artie Moore - ACOUSTIC BASS
Mark McCoin - DRAGON DRUM, CYMBALS, POD SHAKERS, INDIAN COWBELLS, METAL SHAKERS
Gannon Kashiwa - PROCESSING, FADERS
(Written by J. Moore, D. Banach)
Derek Banach - TRUMPET, POCKET TRUMPET
Jeremiah Moore - RHODES PIANO, CRASH, INSECT DRONES
Artie Moore - ACOUSTIC BASS
Mark McCoin - DRAGON DRUM, CYMBALS, POD SHAKERS, INDIAN COWBELLS, METAL SHAKERS
Gannon Kashiwa - PROCESSING, FADERS
license
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tags
discography
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Apr 2000