Check out this interview with Steve Coleman. I find his outlook fascinating. Coleman talks about how great thinkers are able to build new connections between concepts or ideas to create different ways of understanding. They are able to see things that most people can’t. It’s interesting to note that in many cases, what these people see is an undeniable connection between all living creatures. This also includes our connection and reliance upon a healthy environment in which to live (Earth). Seemingly obvious concepts? One only needs to look around at what’s going on in the world today to see the emotional complexity of really understanding the concept of inter-relationship.

Listening and trying to understand Steve Coleman’s music was the beginning of finding my voice as a composer. It has been a long time since I have listened to his music with any regularity, but I still am grateful for his musical vision and the spark it gave me. The following quote from the article is basically how I have come to see my relationship with music:

“See, for me the music and the way of thinking about life are not separate. So if I answer your questions and tend to talk about philosophy a lot, it’s because that’s where everything’s really coming from. The music is just sort of an expression of that as music. I spend all my time really thinking about life, and then being a musician I try to use the craft of music to express that.”

I spent the whole weekend in the studio mixing and tracking for the new record. The full mixes we have so far sound amazing. If anybody out there has a recording project coming up, consider doing it at Looking Glass Studios with Ichiho Nishiki. She has tremendous ears for studio work. Watching her work has given me a lot of insight into the artistry of the recording and mixing process.

Some interesting details are emerging about the new Philip Glass Ensemble piece. First of all, we are performing it on the last day of the annual World Expo. This year’s theme is water and sustainable development. Second of all, it’s being coordinated with a fireworks display!

The recording session at Looking Glass went really well. I’m going back in 3 weeks to record a saxophone piece and mix some of the tracks. I can’t wait to have it done!

I’m currently involved in a play/benefit fundraiser for the people of Darfur. I’m happy to be a part of this - there has been a significant amount of money raised through ticket sales and high end fundraising. Prominent organizations like OXFAM have lent their support as well.

Also on the horizon is the debut of Ben Gallina’s new group Salo, for which he has written beautiful and challenging music. A little farther in the future I’ll be performing a John Cage piece at the World Financial Center. And of course, I’ll mention that the David Crowell Ensemble is performing on May 14th at the Tank, in anticipation of our recording date at the Looking Glass Studios. We’ll be performing a lot of brand new music, as well as some old favorites.

Once we get all that music down, I’m going to start working on a new piece for the NOW Ensemble.

I’ve been to a couple cool events this week. First up, a pre-screening of the new Philip Glass documentary “Glass: A Portrait of Philip in 12 Parts” at MoMA. Last night I went to a great concert by eighth blackbird, which featured the New York premiere of the new Steve Reich piece, as well as an inventive collaborative work by the Bang on a Can composers.

This weekend I’ve got some things going on. First up, finishing the BIG swifty album. I may be biased, but I think it’s turning out really well. I’ve also got a rehearsal with the David Crowell Ensemble to go over new material for our upcoming gig and recording session at Looking Glass studios.

Next week I’m going to see Satyagraha at the Met, which has been receiving rave reviews for both the music and staging. And then, in a couple of weeks I’m going to see Habib Koite!

I just finished working on a piece for the Alarm Will Sound open call for scores. They’re doing a concert of New York City composers next March @ Alice Tully Hall. The piece is called “the jewel tree.” It was fun to write because I know some of the people in the group. I could say to myself - so and so will play this, and it will sound great. Those I don’t know personally I went to school with, and therefore have some sense of their playing. It felt like a comfortable project to work on. I also got some very helpful advice on the score from the ever exuberant and generous Julia Wolfe.

I’ve also been informed that although I will not be receiving an award this year, the annual ASCAP Morton Gould Young Composer competition has declared me a “finalist.”

Looking toward the future a bit, I’ve been planning a trip to Europe this fall. I’m going to Zaragoza, Spain (one of the oldest cities in Europe, with substantial Moorish and Islamic influences) to premiere a new piece by PG. Since I’ll already be on “the other side of the pond”, I’m thinking about visiting my friend and fellow composer Neil O’Connor in Dublin, and then zipping down to France to study at Thich Nhat Hanh’s residence in Dordogne. Any other ideas? Email me!!

After further listening, I might actually have to declare Toumani Diabate’s new solo kora CD “Mande Variations” POSSIBLY THE BEST CD I HAVE EVER HEARD!

First, let’s discuss the stunning virtuosity of this album. As far as rhythmic complexity and phrasing, the only music I’ve heard that comes close in sophistication is Indian Classical music (which I want to learn more about). Toumani is often playing 3 or more different rhythms at once with his 21 strings, using his thumb to pluck out the bass, and his other fingers to strum chords and play soloistic lines in the upper registers of the instrument. Mixed in with this rhythmic genius are plenty of rubato sections that let the music breathe, as well as bring it extra life and vitality. Frankly, I don’t know how you get to this point. Toumani does say in the liner notes that even as a child he practiced all day, everyday, even as his friends were outside playing.

But let’s put all that aside. After all, virtuosity doesn’t mean anything unless it’s put to good use. One of the major lessons a conservatory training teaches (whether it intends to or not) is that practicing technique all day does not bring you that much closer to discovering the music you have to express, which is deeply personal and based on your own experience of life. This music sounds to me like a deeply spiritual expression of life. It is some of the deepest music I have heard. You cannot ask for more than that.

I really wish that this man was our president. This essay explores how mindfulness can help us actually understand our current political situations.

The best CD I have heard in a long time - “Mande Variations” by Toumani Diabate. This is a solo recording by the Malian kora master. The kora is a West African harp with 21 strings.

Press Release:

I am deeply concerned over the situation that has been developing in Tibet following peaceful protests in many parts of Tibet, including Lhasa, in recent days. These protests are a manifestation of the deep-rooted resentment of the Tibetan people under the present governance.

As I have always said, unity and stability under brute force is at best a temporary solution. It is unrealistic to expect unity and stability under such a rule and would therefore not be conducive to finding a peaceful and lasting solution.

I therefore appeal to the Chinese leadership to stop using force and address the long-simmering resentment of the Tibetan people through dialogue with the Tibetan people. I also urge my fellow Tibetans not to resort to violence.

–H.H. the Dalai Lama

Inspired by a recent performance of Andrew Sterman’s project “Path to Peace” I’ve looked with more detail into Mahatma Gandhi’s Satyagraha philosophy of non-violent resistance. I think there are a lot of similarities between India’s past struggles and Tibet’s current struggles, and of course many other struggles worldwide, past and present. I view the Dalai Lama as a modern day Gandhi and can only hope he and the rest of the Tibetan community are as successful in their resistance as Gandhi was in his.