Drummer Eisenstadt in an octet performing the entire album of Wayne Shorter's "The All Seeing Eye", and adds a series of octets he wrote for the same octet.
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Label: Poobah Records
Catalog ID: PBS 007CD
Squidco Product Code: 9801
Packaging: Jewel Tray
Recorded at Paramount Studio C, Los Angeles, CA 7.07.06 by Krish Sharma
Andrew Pask-clarinet, bass clarinet
Brian Walsh-clarinet, bass clarinet
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1. The All-Seeing Eye
4. Face of the Deep
6. Without Roots I
7. Without Roots II
8. Without Roots III
9. What We Were Told I
10. What We Were Told II
11. What We Were Told III
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"As it turns out, The All Seeing Eye + Octets is the last recording I made while living on the West Coast. It was a very fruitful period from 1999-2005/06. I lived in New York on and off in 2005, and moved for good fall 2006. I feel very fortunate to have had many wonderful musical opportunities while in Los Angeles. I'm proud that this recording features a broad cross-section of creative musicians there.
At first it was my intention to record the 5 songs from Wayne Shorter's The All Seeing Eye and leave it at that. Seemed an ambitious enough undertaking. I've been inspired by that music for years, and wanted to pay tribute by re-imagining it with new forms and different instrumentation.
In the process of preparing for rehearsals, performance, and recording, I realized that I had at my disposal an ensemble of vast instrumental range and skill. I decided to arrange two large ensemble pieces of mine, "Without Roots" and "What We Were Told", for octet, and added a second trumpet and conductor. We went into Paramount Studio C, a wonderful old Hollywood live room full of wood and stone, and recorded The All Seeing Eye + Octets in one long, fulfilling day.
I chose to steer clear of the saxophones and trombone from the original 1965 recording and instead decided on a woodwind trio (clarinet, bass clarinet, and bassoon). I wanted to blend the inner voices in the ensemble as much as possible, and to balance that much wood with just the right amount of metal: trumpet(s) and vibraphone. The balance made for an ideal mixture; sheer and lush at the same time. String bass and drumset provide the underpinning.
The only clear strategy was to approach the music in less of a hard-swinging, quiet interludes, solo-after-solo sort of way and more as open-ended chamber music with grooves, which ends up mirroring the overall structure of my two octets.
"Without Roots" and "What We Were Told" were both written for large ensembles originally (21 and 15 musicians respectively). Arranging them for octet offered the chance to streamline the compositions, so by the time of the recording session the pieces were in fighting trim.
The All Seeing Eye is about form, freedom, and balance. All these concepts should inform one's life-view as much as one's compositional palette."-Harris Eisenstadt, from the liner notes
• Show Bio for Harris Eisenstadt
"One of only a handful of drummers equally well known for his work as a composer, Brooklyn-based Harris Eisenstadt (b. Toronto, 1975) is among the most individual and prolific musicians of his generation. His resume includes studies with some of the most respected names in jazz and improvised music, West African and Afro-Cuban drumming, and performance credits in jazz, film, theater, poetry, dance, contemporary concert music and opera.
Eisenstadt has performed all over the globe, received grants from organizations such as Meet The Composer, American Composers Forum, Canada Council for the Arts, and appeared on more than 60 recordings since 2000, including twenty as a leader. Recordings of his compositions often appear on the Songlines, Clean Feed, No Business, and 482 Music labels, and are consistently included on critics' best-of lists. Recent honors: Rising Star Percussion Percussion, Arranger, and Composer categories of the Downbeat international critics poll; Best Album, Drummer, Composer categories of the El Intruso international critics poll.
His first work for orchestra, Palimpsest, was premiered by the American Composers Orchestra, as part of the Jazz Composers Orchestra Institute at Miller Theater, Columbia University (2011). Eisenstadt's second orchestral work, Four Songs, commissioned by the Brooklyn Conservatory Community Orchestra, was premiered at the Brooklyn Museum (2013). His first string quartet, Whatever Will Happen, That Will Also Be, was premiered as part of Eisenstadt's twelve-set residency at The Stone in NYC (2015). As a writer and radio producer, he has contributed to National Public Radio and AfroPop Worldwide. Eisenstadt is also an active AfroCuban batá drummer in New York and a longtime researcher in African and diaspora vernacular traditions. He has travelled to West Africa twice (Gambia, Senegal) to research Mandinka and Wolof music, and to Cuba twice (Matanzas, Havana) to research Afro-Cuban music."-Harris Eisenstadt Website (http://www.harriseisenstadt.com/bio/)
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• Show Bio for Sara Schoenbeck
"Sara Schoenbeck is a bassoonist who dedicates herself to expanding the sound and role of the bassoon in the worlds of classical, contemporary notated and improvised music. The Wire magazine places her in the "tiny club of bassoon pioneers" at work in contemporary music today and the New York Times has called her "riveting, mixing textural experiments with a big, confident sound."
Originally from California, Sara spent her time on the west coast freelancing in various orchestral bassoon sections such as Santa Barbara Symphony, California Symphony, Redlands, Mancini Orchestra, the Dakah Hip Hop Orchestra and touring as a member of creative music ensembles Gravitas Quartet with Wayne Horvitz, Ron Miles and Peggy Lee, Anthony Braxton's 12+1(tet) and Vinny Golia's Large Ensemble. Sara also recorded for various sound and film projects including the Matrix 2 and 3 and Spanglish.
Sara now calls Brooklyn home and performs regularly with Petr Kotek's SEM ensemble, the composers group WetInk, Wordless Music Orchestra, LPR, Anthony Braxton's Tri-Centric Orchestra, Gravitas, Harris Eisenstadt's Golden State Quartet,the Lyrica Chamber Orchestra as well as performing with many other creative and inspiring musicians in the New York scene.
She has performed at major venues and festivals throughout North America and Europe, including Carnegie Hall, Lincoln Center Out of Doors, the Kitchen, Iridium, Disney Hall, SXSW, New Orleans Jazz Festival, Berlin Jazz Festival, Free Music Festival in Antwerp Belgium, Biennale Musica in Venice Italy, Montreal Jazz Festival, Ottawa Jazz Festival, the Vancouver International Jazz Festival and the San Francisco Jazz Festival to name a few. Sara received her BFA from the San Francisco Conservatory of Music and MFA from the California Institute of the Arts."-Sara Schoenbeck Website (http://saraschoenbeck.weebly.com/bio.html)
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