ABOUT
The title of the album and suite come from Friedrich Nietzsche’s Three Metamorphoses from Thus Spoke Zarathustra. Metamorphoses is concerned with what propels each new phase of human growth, so it seemed fitting to frame this as a suite – each track individual unto itself, yet when listened to as a whole representing the arc of the personal struggle to know more and be more. I can relate to that as a musician trying to achieve new levels of understanding that always seem to elude. When I started composing, I wanted something more than philosophy to tie the movements of the suite together. I decided simple is the best and came up with a three-note phrase (based on intervals of a tone and a third) which is present either melodically or harmonically in all three of the movements.
The Camel has a pensive and heavy Middle Eastern vibe and features the gifted improvising of pianist Adrean Farrugia. This movement is the first movement I composed, it is also the movement in which the three note phrase/cell I used as the basis for the entire suite is most easily identified (the ostinato figure played by bass and piano but those with keen ears will also recognize it as the basis for the melody). The Lion’s freedom is frenetic and this track is a nod to the up-tempo music of the Bebop Lions – when jazz broke free of popular form and prided itself on being inventive, dynamic and appealing to the intellectual. The Child is an up-tempo tune with a quirky rhythmic intervallic melody, which jumps around and moves between horns and bass/piano in parts. I intended for it to sound like kids playing, falling down, jumping up and having a ball.
Narcomedusae – being a huge fan of both Star Wars and scuba diving, this is named for the Darth Vader jellyfish. Here the melody has a floating quality and undulates like waves over the pulsating feel of the rhythm section. For me this song has a feel like the serenity of jellyfish suspended and bobbing in ocean tides. Strawberry Qwik – named for the beverage I buy every time I see it and every time I do, I swear it’s the last time! Whenever I play it I have the same feeling at the end of each chorus – maybe I should take another… it might be better this time. For a Derailed Painter – a contrafact is a musical composition consisting of a new melody overlaid on a familiar harmonic structure. Here I’ve referenced Joni Mitchell’s “Help Me”.
Deliciously Ambiguous – leaves the listener feeling slightly unbalanced. With dominant chords and no strong resolution point it keeps you wondering where does the phrase end? Corridor – There is a long corridor at my old school lined with doors on either side. In my mind, that corridor became a symbol for my growth as a musician. I imagine that behind each door there is a technique or skill that I must learn in order to become a great musician. The idea was, that once I had opened each door and learned every skill and reached the end of the corridor that I would then be a master musician. The problem I have found is that the last door at the end of every corridor leads to another corridor filled with even more doors. It’s an exciting but humbling thought! The Last Say – This tune had no name going into the session. I had a bass groove in 13/4 and a simple call and answer melody. I wasn’t going to record it, I didn’t think it was ready, but we finished the session with time to spare so decided to give it a go and record it. The version on the album was the first and only take of the tune and was the last song recorded for the session. Turns out it is my favorite song on the record.
PERSONNEL
Johnny Griffith • Tenor Sax
Jeremy Pelt • Trumpet
Adrean Farrugia • Piano
Jon Maharaj • Bass
Ethan Ardelli • Drums