Together with musicians living across the globe, Clifford Brown III explores the art and the science of live collaboration in an avant-garde fusion of jazz and world music. Revolution Cafe was built, layer upon layer, as each musician was free to choose what and where to play, with no instruction or direction. The final product has emerged organically, ripening to maturity with each new part shared and mixed in. Join the revolution – enjoy the musings, the intensity, the imaginings of your co-conspirators, 16 world-class musicians.
This album is groundbreaking. Recently a number of musicians I know including myself have begun doing section work via the internet. How this works is “Producer A” and his artist are finishing up their record, as usual with finishing up a record most of the money has been spent. So when “Producer A” and his artist decide it would be really cool to replace all the synth horns or piano or whatever with real live recorded instruments they can’t afford to book new studio time and fly out musicians and pay a daily rate. Well, in step me and some of my buddies. Using modern prosumer recording equipment and micro studio recording techniques along with musicians who may be in the area to work on something else we can get that last minute addition recorded and back to Producer A usually in a couple days and at a cost of about $40 and hour per musician with no room rate. The freshest example in my mind is a producer wanted sax and trumpet to amend the synth horns he already had. We got him his parts in about 2 days for $120. This was not possible before high speed internet connection became robust, efficient and prevalent.
Concourse In Atmosphere is an extension of this compartmental recording process. The only difference is that Revolution Cafes artist got to start with a blank canvas, filling the silence with their choice of sounds and moods on a first come first serve basis. I met these artist using another new tool available for about the last 10 years but really only coming into its own right recently as it too is dependent on a robust high speed internet connection. On this social network (Indaba) musicians from all over the world gather to try their luck at contest, talk shit, and generally do everything possible to get their work a bit of attention. Indaba is a virtual mirror and microcosm for the music business today. The sight is set up for Track’s not so much for albums. I blame iTunes but that’s a different blog.
This marks my 3rd independent release as an artist/ producer/ record label. The journey has been long. The path has been plagues with pitfalls and I with extensive help from my spouse, Katy I was able to side step most of them. I can’t tell you the emotional extremes that are invoked when putting parts of ones self up for sale on the open market. Those times when the reception you hoped for isn’t the reception you receive it can be easy to give up. To go to your room, smoke a bowl and just try to put the whole thing out of mind. I’ll admit there were days that I just couldn’t take it. Not knowing weather this record would be released or not until that last pledge came in. I took that day off, went to the park and flew my kites for hours. The key seems to have been keeping everything in perspective. The music is honest, the intention has been presented, now its up to the listener to value the art from within. I consider it a huge achievement to see this music released for you to listen to, explore and ultimately judge. Thank you so much to those 37 of you who funded this project and gave this music a chance. We are currently seeing national radio airplay and so far a wonderfully kind reception.
1 – Masking Identities and Baring Souls
On this track: James Small, drum kit; O. Andrew Schreibner, Congas and percussion; Casey Cameron, Fender Rhodes piano; Murat Bayhan, hand drums; Randolf Smeets, clarinet; Stephen Norfleet, tenor saxophone; Clifford Brown III, trumpet; Radha Divine, chanting; Paul Morrow, guitar
2 – Cruisin’
On this track: Clifford Brown III, trumpet and percussion; Andreas Schweitzer, bass and electric piano; Andrea Marras, violin; James Small, drum kit; O. Andrew Schreibner, congas, chimes, and shakers; Radha Divine, chanting.
3 – Nocturno
El más allá y el más acá son irreales
Es ya difusa la luz en la noche
Es un soplo profundo la piel encendida.
Tu voz hieré el silencio
Temblando en la penumbra.
Caer de tu cuerpo
Del abismo de tu cuerpo
El silencio de la noche
Es un suspiro….
After, you fall
The Beyond and the “Here” are unreal
The light is now diffused in the night
A deep breath, and the burned skin is shed.
Your voice injured the silence
It trembles in the shadows
Fall from your body
From the abyss
From the abyss of your body
The silence of the night
Is just a breath…
On this track: Natalia Bocco, vocals; Radha Divine, chanting; Casey Cameron, piano; Stephen Norfleet, tenor saxophone; Clifford Brown III, trumpet; O. Andrew Schreibner, percussion; James Small, drum kit; Arthur Chico Lopez, bass and bongos; Crystal Berger, zills; Paul Morrow, guitar
4 – Water Rising
On this track: Radha Divine, chanting; Arthur Chico Lopez, bass and bongos; Casey Cameron, organ and piano; James Small, drum kit; Stephen Norfleet, tenor saxophone; Clifford Brown III, trumpet and percussion; O. Andrew Schreibner, congas; Paul Morrow, guitar; Randolf Smeets, clarinet.
5 – Drought (Coffee and Laptops)
On this track: Radha Divine, chanting; Casey Cameron, Fender Rhodes piano; Steven Husted, bass; James Small, drum kit; Clifford Brown III, trumpet and kalimba thumb piano; O. Andrew Schreibner, congas and percussion; Paul Morrow, guitar.
6 – Shadow in the Abyss
On this track: Radha Divine, chanting; Casey Cameron, Fender Rhodes piano; Steven Husted, bass; Clifford Brown III, trumpet; O. Andrew Schreibner, percussion and congas; James Small, drum kit; Paul Morrow, guitar.
7 – Rush
On this track: Radha Divine, chanting; Casey Cameron, Fender Rhodes piano; Steven Husted, bass; Clifford Brown III, trumpet; O. Andrew Schreibner, percussion and congas; Mike Olmos, trumpet.