Undertow / Path of Heart: Eric Johnsen

 

From Bret "Jazz Video Guy" Primack.

Undertow (Johnsen) Electric Guitar: Nguyên Lê Elecric Bass: Romain Labaye From leaving behind the security of partnership, to facing a new, precarious world as an older single person, Undertow begins the second set of music on this album. And like First Impressions, Undertow serves as a prelude of sorts. Yet it’s purely electronic nature distinguishes itself from the rest of the album. Most of the tracks are synthesized and programmed by Eric, save for the two featured French artists: bassist Romain Labaye, and guitarist extraordinaire Nguyên Lê. Along with pianists Noé Secula and Jerry Léonide, working with these French musicians brought Eric into contact with the depth of musical artistry and camaraderie that can be found in that country. “It was a joy to with these guys,” Eric explained. “They are technically superb, highly intuitive, and have the ability to get inside my music with very little direction and take it to new places.” In particular, Nguyên’s short but searing solo here perfectly reflects the message of the piece: in the realm of late-term relationships, beware of underlying currents when playing in the surf zone. Path of Heart (Johnsen) Voice: Song Yi Jeon, Piano: Doug Martin, Bass: Roberto Koch, Drums: Chris Wabich, Flute: Itai Kriss, Tabla: Ehren Hanson, Percussion: Tony Redhouse, Background Voices: Eric Johnsen, Cello: Ted Buchholz, String Quintet: Violin, Viola:Tim Kantor, Cello: Ted Buchholz, Bass: Philip Alejo and String Chamber Orchestra Undertow goes straight into Path of Heart without pause, save for the static, sustained sonority in the strings that connects the two. Path of Heart is inspired by the writings of Carlos Castaneda. In a particular passage, the sorcerer Don Juan describes to his apprentice the purpose of his life journey: For me there is only the traveling on paths that have heart, on any path that may have heart, and the only worthwhile challenge is to traverse its full length – and there I travel looking, looking breathlessly. (Such an approach to life was also embraced by Eric’s late dear friend, Manny Aldaz, to whom the piece is dedicated.) An abrupt transition into a mystical “swamp” begins this winding musical path, featuring flute and cello, before solo strings take over to complete the extensive introduction. After the improvisational ensemble states the two main themes, strings briefly return to the forefront, before morphing into a string quintet that accompanies the opening of the flute solo. Piano and drum solos follow, before the ensemble restates the second theme, with strings and voice finally bringing the piece back to the mystical realm – though, like the path of a sorcerer, without ever truly getting home; from this path there is no longer a home from which to go back. Eric Johnsen’s Liminality seeks to explore liminal spaces: that space at the threshold of profound change; the state of suspension between the death of what was, and the birth of what will be -- or could be.Combining an improvisational chamber ensemble with strings, Liminality weaves together jazz, fusion, and world beats with chamber and orchestral elements. The music ranges from strictly composed to purely improvisational. Textures range from the power of the full ensemble with chamber string orchestra to the delicacies of solo and duet performances. At times the music floats in ethereal spaces; at other times it is rhythmically driving, anchored by American, Indian, and Afro-Cuban influences. All music composed and produced by Eric Johnsen. For more info: http://ericjohnsenmusic.com