Thursday 5 September 2013

BRASS JAW - 'MINTED'




BRASS JAW - 'MINTED' 
'Onliner Notes'




We hope you are enjoying our new album 'Minted'. If you haven't got your copy, you can get it by clicking HERE


Below you'll find some notes on the tunes on the album. Liner notes, but online...so 'Onliner Notes' if you like ;-)






BRASS JAW - 'MINTED' 


1. Heads Down, Thumbs Up (3:31) (P.Towndrow)

'Heads Down, Thumbs Up' was children's classroom game from the 1980s thought to have originated in West Central Scotland, where all four members of Brass Jaw grew up. It is thought to derive from and earlier game called 'Seven Up', which is referenced in Mark Twain's 'River Intelligence'. This takes us full circle, all the way back to the music's birth place. The Mississippi. 

The phrase could also describe the posture of the modern citizen sending SMS's, tweets, emails, updating Facebook, and engaging many other secretive activities on their hand held device.

The tune combines raucous melodic assertion with odd time signature misbehaviour, paving the way for solos first from Paul, then Konrad. 

2. Always The Last Word (3:26) (A.Beauvoisin)

"A man convinced against his will is of the same opinion still" Benjamin Franklin

This was one of those rare occasions where a composition was written and finished within half an hour.  The original concept for this piece was that it would emulate a jam session between the three lead voices however when encompassed with the other material within the CD it seemed more fitting as a trumpet feature.

3. For Those Of Us (4:38) (R.Quigley)

"Ave, Caesar, morituri te salutant" or "Hail Caesar, those of us about to die salute you" was chanted by Gladiators before they fought.
This tune is built over a 3/4 vamp figure and features solo and collective improvisations. The 'fade out' effect at the end of this tune was achieved by the musicians walking away from the mics into the depths of the building.
4. Imaginary Friend (6:36) (R.Quigley)

Anyone who has observed a child at play, or indeed remembers what it was like to be one will be aware of the fanciful worlds that children create around them. Blissful ignorance is a blessing to them as the realities and uncertainties of the world which surround them have not yet been revealed. Unfortunately, many people often carry these fanciful ideas into adulthood, where they are no longer cute, nor blissful. Just damaging and often destructive. This composition represents an emotional journey across the spectrum of delusion; from innocence to ignorance.
5. Walk Tall (2:41) (Joe Zawinul)

"There are times when things don't lay the way they're supposed to lay. But regardless, you're supposed to raise your head up high and Walk Tall!" That's how Cannonball Adderley famously introduced this classic Joe Zawinul number. We can do nothing but agree with his sentiments both verbally and musically. Here we go! Walk Tall!
6. Comin' Home Baby (3:50) (Ben Tucker)

This is our version of a tune written by pianist Ben Tucker in 1961 for The Donald Bailey Quartet. It was later adopted by flautist Herbie Mann and later became a hit for Mel Torme .

We often start our live shows with this tune as it gives us all a chance to blow freely and get used to the evening's acoustic!
7. Talisman Home (2:54) (R.Quigley)

Named following a typical late night Brass Jaw adventure in Eastern Europe. The musicians are spread out over a town square late at night. Paul is arguing with two ladies who are offering to dance for him for 10Euro if he comes to their club. Paul is offering to dance for them for FREE if they come to his. Ryan has ducked into a smokey burger joint in search of sustenance, and Konrad is frantically trying to find a phone signal so he can call home. Meanwhile, Allon is doing his best to round up the Brass Jaw troops as he is the only one who knows where the hotel is, or as he put it, their 'Talisman Home'.

The music owes much to the minimalist styles of Steve Reich and Philip Glass, and the intricate weaving together of parts sees the ensemble work both apart and together.
8. Propeller Beanie (3:46)  (P.Towndrow)

The Bill Waterson cartoon strip, Calvin and Hobbes provides the inspiration for this tune. A feature of this strip was the vivid 'realism' of Calvin's childish daydreams juxtaposed with the stark and often heartbreaking adult reality. The story in question sees Calvin save up tokens from a cereal packet in order to obtain a hat which he believes will allow him to fly. It doesn't. Instead…it breaks.

The composition exposes and then combines two main themes, one angular and dissonant, the other dreamlike and consonant. 

http://www.gocomics.com/calvinandhobbes/2010/04/12
9. I Can Hear Your Smile (3:04) (R.Quigley)

When you're on the phone to a loved one, it's always possible to tell what sort of mood they are in by the subtleties in their voice. Sometimes, if you listen hard enough, you can even hear them smile.

This reflective ballad throws the melody duties around the group; first Ryan, then Konrad, then Paul.
10. Lester Gibson Blues (3:08) (P.Towndrow)

Lester Gibson is a real legend. He exists in the past present and future. He is a symmetrical and Zen-like figure but one who is not to be messed with. If you don't know who he is, you'd be right to think you wish you did.

As with several of Paul's previous compositions 'Blues' does not refer to a standard 12 bar structure, but more to the overall flavour of the piece. Inspiration here comes from the funky horns of James Brown and also features some big band style soli writing combined with some trademark Brass Jaw collective improvisation.
11. Little Allegory (3:04) (K.Wiszniewski)

"Little Allegory" is based on a painting by Scottish artist (Konrad's uncle), Adrian Wiszniewski. The painting depicts an idyllic country scene, reflected by the impressionistic nature of the music. All is not as it seems and the piece takes a few twists and turns.

http://artsalesindex.artinfo.com/asi/lots/4553974

12. Last October (3:19)  (A.Beauvoisin)

This composition explores the texture of four individual lines working together to create a unified whole. The inspiration for this piece was a personal tipping point where what was, is no longer. 
13. Pulling A Quigley (6:00) (A.Beauvoisin)

A tribute to Ryan Quigley's incredible luck.  Its relentless frequency of occurrence on tour has lead to the band coining the phrase "he's pulled a Quigley" as he strolls to his business class upgrade. This also has brought into question the assertion that "there are only ever coincidences".

14. Sunny (2:31) (Bobby Hebb)

This is our take on a great popular song. We usually play this at the end of our shows and it is universally popular. We've enjoyed playing this song in countries all over the world.
15. Charles Franklin Blues (3:26)  (P.Towndrow)

This is a reworking of a tune which first appeared on our album 'Deal With It'. The tune is a dedication to soul singer Aretha Franklin, but owes equally to the great jazz bassist and bandleader Charlie Mingus. The two names were put together to form a fictional character. This version features the first ever five-piece incarnation of Brass Jaw, with trombonist Michael Owers joining us. As before the 'fade-in' effect is a result of the musicians moving towards the mics from positions further away in the hall.






No comments:

Post a Comment