Search - Daniel Kelly :: Emerge

I recently began playing in the trio setting again after many years of exploring music in different contexts. For years, I had led quartets, in which I had played various keyboards, samplers, electronics and effects in addition to the piano. (You can hear that approach on my CD, Duets with Ghosts). I performed modern classical music as a part of the Bang on a Can All-Stars, collaborated with theater artists in multi-media works and even composed a feature film soundtrack. A couple of years ago, I began performing all-improvised piano solo concerts. The challenge was thrilling and I felt as if my relationship with the piano was deepening. I even recorded an improvised solo CD, Portal. It was a natural progression to explore my compositions with a trio and translate some of that excitement I had been feeling to the trio context. This CD represents the emergence of my renewed interest in playing trio. 1. Moroccan Nutchuck - The CD starts with a huge sound as Daniel plays low octaves on the piano announcing a take-no-prisoners attitude. This tune explores two different grooves in 7/4 meter. The initial groove has a mid-tempo funk feel where Daniel solos on Fender Rhodes. Halfway through the tune, the band gradually speeds up and Daniel returns to the piano, soloing over an angular bass line with rhythmic intensity. After a cacophonous climax, the band slows down again to the original tempo with Daniel playing hints of the melody on the rhodes. 2. Obfyor has a propulsive drum and bass rhythm. The band solidly states the theme then builds through Daniel s solo into an open exploratory section. The B section returns and develops into an explosive drum solo. The title is an invented word. 3. Transience is an atmospheric ballad. Chris Tarry supports the melody with undulating bass swells. The title reflects the passing moments of our lives and is a meditation on the transience of our existence. 4. Emerge begins with prepared piano and Jordan Perlson playing all sorts of small objects. The melody is stated over a baiao groove. In the middle of Daniel s solo, the bass drops out and Daniel freely improvises with Jordan s drumming while breaking away from the form of the tune and introducing new harmonic structures. The momentum continues as the bass returns and the band surges forward. 5. Anima/Animus The titles Anima/Animus and Doppelganger reflect Daniel s interest in the ideas of psychologist Carl Jung. Anima/Animus transitions between a lyrical melody (the feminine Anima) and an Afro-Cuban tumbao (the masculine Animus). Daniel has spent many years playing Afro-Cuban jazz in New York City playing with heavy-hitters in the scene such as drummer/bandleader Bobby Sanabria and conga legend Candido Camero. 6. Doppelganger - Daniel returns to the rhodes this time with a heavy rock tune, Doppelganger, the name Jung gave to one s shadow self. The keyboard manipulated with bizarre effects reflects some of Daniel s previous work on his CD Duets with Ghosts where he used the field recordings of chain gangs, Dada poets and even his great-grandfather intertwined with electronic sounds in his compositions. 7. The idea of Michelangelo s Uncarved Block is presented in the book Free Play by Stephen Nachmanovitch. Imagining the sculptor looking at a huge stone and seeing the figure residing within was the inspiration for this piece. 8. July 25th and Song for Katherine (9) are both dedicated to Daniel s wife. 10. Canary Effect was inspired by an independent film of the same name that Daniel saw a film festival at Haskell Indian Nations University while on tour. This film detailed the long list of crimes against the native people of this country with rage and intelligence.