MP3 Mathieu, Marsh & Wilsey - The Bloom
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20 MP3 Songs in this album (57:02) !
Related styles: Avant Garde: Classical Avant-Garde, Avant Garde: Structured Improvisation, Instrumental
People who are interested in George Marsh Jennifer Wilsey W. A. Mathieu should consider this download.
W. Allaudin Mathieu, piano / Jennifer Wilsey, marimba and percussion / George Marsh, drum set and percussion
Allaudin: People are going to want to know how we came to play the way we do.
Jennifer: I always wanted to play a certain way. As a teenager Iâd sit at the piano at night and improvise in the dark. It was a feeling of communion with myself, with being-ness through sound, and now I get to experience that same communion with others.
Allaudin: When I was seventeen Iâd play the piano for my girlfriend, a beautiful dancer, and that created a kind of heaven world for me. I hadnât the slightest idea what I was playing, but I loved her so much it sounded beautiful. Then I started actually listening to it, and building a musical language that came from that love-feeling.
George: For me itâs a bang-wop-ding song Iâve always been singing â maybe a weird way to sing, but itâs how I sing, how I play. When the playing and the listening are the same thing, the music just happens. And knowing that your buddies are also playing and listening, you just do it and music happens.
Allaudin: It does it.
George: Making sound and being responded to gets more surprising all the time. The music we make can take you anywhere â from a roller coaster to a slow stroll or anything in between.
Allaudin: Whatâs constant is the way we trust one another. Thatâs the way Viola Spolin taught theater gamesâ¦.
Jennifer: .â¦and it works two ways: our improvisational approach depends on our sense of trust and the music helps our sense of trust to grow.
George: Trust is a kind of love.
Jennifer: Whole-being listening is the presence in which love can arise. Pauline Oliveros has said, âWhere thereâs listening thereâs musicâ, whatâs also true is that where thereâs listening thereâs love.
George: The games help and the structures help, but you have to go past the games into pure feeling.
Jennifer: I like the continuum between the more structured pieces, like Bloomsicles, Ga Ga Ga, and Gong-a-ji to the looser structures of the games like the Duet Circles, all the way to âjust play.â
Allaudin: Iâm glad we spent so many years learning so many different ways of playing together but, yeah, the real magic is when the games disappearâ¦.
George: â¦.when the music opens into the surprise of the unification of us three.
Jennifer: Itâs an unfolding that happens inside the music through listening together, a flowering of the moment.
George: â¦.and a flower doesnât have an agenda other than what it is.
Allaudin: A blooming flower is a slow-mo version of how it feels in the middle of an unfolding improvisation.
George: When you really look at a flower it pulls you in into its sexuality.
Jennifer: Well, a bloom is born, it reproduces, and then it dies. Thatâs a part of the attraction of improvisation, dealing with beginnings and endings.
Allaudin: Sex and deathâ¦.
George: Oh no! Not againâ¦.
Jennifer: You know, this conversation weâre having right now isnât all that different from the music we play.
Allaudin: Itâs part of The Great Conversation going on all the time, the human improvisation opening out everywhere at once.
George: Itâs music, man itâs bloominâ music.
William Allaudin Mathieu is a composer, pianist, teacher, and author of four books on music: The Listening Book,
The Musical Life, Harmonic Experience, and Bridge of Waves. He has composed a variety of chamber and choral works, numerous song cycles, and recorded prolifically, including the duet album with George Marsh, Game/No Game. He was an arranger for the Stan Kenton and Duke Ellington bands, a founding member of the Second City Theater, director of the Sufi Choir, and has been a teacher of improvisation and composition for five decades.
Jennifer Wilsey Marsh performs, composes and teaches music with a focus on improvisation, polyrhythm, and Deep Listening® practices. A concert percussionist, she has performed internationally with diverse artists and ensembles, including Timeless Pulse (with Thomas Buckner, Pauline Oliveros, George Marsh, and David Wessel), The Good Sound Band, and Petr Kotik and the S.E.M. Ensemble. Jenniferâs recordings can be heard on the Deep Listening, Mutable, Taiga, and Pitch-A-Tent labels. She teaches and directs at Sonoma State University, and offers creative music lessons for children and adults in her Santa Rosa, California studio.
George Marsh is a drumset and percussion artist, composer, and teacher, currently with the David Grisman Quintet. He wrote Inner Drumming, which deals with energy flow inside the body, and can be heard on many CDs including those with John Abercrombie, Terry Riley, Pauline Oliveros, Allaudin Mathieu, David Grisman, Jerry Garcia, Denny Zeitlin, Maria Muldaur, and Noam Lemish. Modern Drummer magazine says âMarsh is, in himself, one of the most versatile percussion sections in jazz.â George teaches at University of California Santa Cruz, at Sonoma State University, and at his studio in Santa Rosa, California.
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