Philly-based guitartist and composer Steve Giordano likes to write tunes amid the rolling hills of the Morris Arboretum. Some of that garden's cool autumnal tones seem to have been transplanted to this self-produced and contemplative set. Giordano, who composed six of the seven tunes — Ralph Towner's handsome "Beneath an Evening Sky" is the only import — assembles a jazz quintet recording that nearly anyone can appreciate for its understated beauty.
The quintet features a true team approach with trumpeter/flugelhornist Bob Meashey and alto saxophonist Peter Cobb enhancing the total sound more than starring in it. Bassist Brian Howell and drummer John Mosemann help carry out the group concept, teasing out subtle Brazilian vibes on "Samba Five" and "A Beauty Within" and setting the table for Giordano's ruminative plucking on "Synergy."
Giordano weaves together elements of Wayne Shorter to Maurice Ravel on this marvelously slow set, where the energy is closer to chamomile than Blue Mountain coffee.
Karl Stark
The Philadelphia Inquirer
The Music Report
Sunday, October 17, 2004
Liner Notes
This project Sea Dreams defines the mainstream of my, what I call, impressionistic jazz compositions. This concept has been in development for over a decade with my band now called Steve Giordano's Spacetet. The music on this CD is not meant to be flashy or technical. Although harmonically complex, the music is soothingly comprehensible. Putting this music together has been a labor of love with the musicians in my Spacetet. Most compositions were written within the last year, from July to December of 2003.
Only so much can be written on score paper. Realizing these compositions and developing the solo sections in a manner that promotes interactivity requires egoless sensitivity.
I am lucky to be surrounded by great musicians who put the music before themselves because they realize sincere musical expression is far more rewarding than compliments.
The decision to name the group Spacetet as opposed to the traditional jazz-tet was a move in the direction of opening up and expanding our audience. We want to introduce this music to non-jazz audiences. We also want to open up the jazz listener who is usually geared toward the traditional jazz concept which emphasizes the hero soloists. Our music is truly jazz, but more subtle in nature, emphasizing textures and interactivity within the solos using lots of space. Some music may be described as spacey, creating images of the cosmos, which of course, is mostly space. Certainly this music is not that spacey, otherwise one might have to wait years between musical events but you get the idea.
Impressionistic to me means imagery without predictable destination, open to imagination and controlled by the feelings and moods of the beholder in the moment. The sea, the cosmos, computer generated graphics, even closing your eyes, are all conducive to imagination. Impressionistic composers Debussy and Ravel created beautiful music. Regardless of their personal lives, their music emitted beauty. I feel the same way. My music reflects beauty and the romantic and my love for life. Impressionistic jazz to me means compositions that explore music through the heart with beauty and gentleness without being predictable or consciously traditional, with the solos preserving the composition's atmosphere. This is well achieved on this CD. My Spacetet transported the compositions from my heart and, so brilliantly through their heart and imagination, made my compositions come to life more beautifully than I could have imagined.
Sea Dreams, the opener, was composed mid summer 2003 at the Morris Arboretum. I guess that opening harmony reminded me of the sea. I love John Mosemann's exotic cymbal work at the intro. The solo section is based on the mood of the theme rather than a literal translation. My influences are clearly Ravel and Herbie Hancock on this one (what a combo!). Check out the loose approach of bassist Brian Howell and how he and Mosemann make the solos sparkle and constantly change. Sort of like the ..err.. the sea.
Through Time, one of the two emotional ballads on this disk, was also composed in the summer of 2003 at the Arboretum. I really can't describe my feelings behind ballads in words other than to say they are sincere expressions of my deepest reflections at that time. The "A" section is stated in a vague manner showing mystery but clears up on the repeat. Bob Meashey's beautiful and soulful fluglehorn solo highlights this one for me along with Peter Cobb's tasty alto.
Samba Five shows my love for Brazilian music but with an odd time signature twist. Despite the 5/4 environment, it flows quite naturally, never sounding awkward. Another recent composition, (summer 2003) Samba Five features a repetitive jovial melody traveling through various keys. This composition, set in the middle of the CD, offers a romantic yet light-hearted break from all the other impressionistic selections. I just couldn't resist the opportunity to do an overdubbed solo using my archtop guitar played over my pre-recorded nylon classical.
Beneath an Evening Sky is Ralph Towner's composition. It's the only non-original on the CD. Ralph Towner continues to be one of my favorite composer/guitarists on the scene today. John Mosemann's percussion work is outstanding here as he colors by using various textures along with total silence - a difficult but deep concept. I hope Ralph Towner gets an opportunity to hear his composition played with such care and tenderness.
A Beauty Within was written two years back (2002) and is a Brazilian samba with a legato romantic melody. The intro bass solo is over pure E minor to Ab minor relationship done in rubato. I decided to intro this way since the first chord at the top of the theme is a combination of these 2 triads voiced: Ab - E - G - B - Eb. I originally wrote this for cello and guitar because of the nature of the melody. The combination of the alto sax and fluglehorn produce a unique texture while playing in unison. The sensitivity of the Spacetet really manifests here in the ensemble playing.
Synergy was composed almost a decade ago and is influenced by the great Wayne Shorter. This piece has mystery, love and sadness all blended together. My personal highlight is Peter Cobb's alto sax treatment of the melody. Peter's tone and phrasing has warmth and compassion. Bob Meashey and I performed this piece on an earlier duo recording entitled "Distant Trains" and his solo shows how deeply he knows this tune. Unfortunately, ballads that stay ballads seem to be a lost art these days in jazz. I hope this recording can inspire some more ballad writing and playing.
Time Passage is the most abstract piece on this CD. I composed it in November of 2003 very recently before the recording. It's 6/4 time signature has a profound effect of time flow sort of like slow motion. I guess it's those 2 extra beats. Mosemann's heartbeat bass drum pulses through the entire piece reminding us of the passage of time (in slow motion, of course). I don't know if I would describe this piece as dark or emotionally beautiful. I think it's a mix for me. The harmonic structure is bizarre with a haunting melody. The solos are sparse and blended into the background instead of out front. I overdubbed a 2nd guitar part improvising over the bizarre harmonies. In any case, I thought is was a perfect closer leaving the listener somewhere in space - the cosmos that is.
Steve Giordano
Steve Giordano's Spacetet:
Bob Meashey - trumpet, fluglehorn
Brian Howell - bass
John Mosemann - drums, percussion
Peter Cobb - alto sax
Steve Giordano - guitars
Recorded on February 15th, 2004 at Red Rock Recording
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