Description
You may also order the CD via mail at:
stevegiordano.com
Utopia Liner Notes

Utopia - “a perfect world” can take on different meanings for different people. For myself, a jazz musician, Utopia is a state of mind - a blissful consciousness I experience when playing with the sensitive, interactive musicians that comprise my Spacetet. Our philosophy, in the studio making this recording, is to explore as we play together, much like we do at rehearsals. We rarely do more than one take of each piece, preserving freshness and the “in the moment” spirit. So, the paradox of Utopia lies not in a perfect musical world of a predetermined, controlled music, but a perfect musical world of egoless sensitivity that transcends each musician into new musical places only possible through interaction. For me, the art of jazz is perfecting the process, not the improvisation. Much like life, jazz music lives in the moment - striving for perfection while ever growing in our experiences. Utopia is our sincere effort to share with the listener, interactive creations incased within a variety of original compositions. The composed parts of each piece were written on paper, but the manifestation of time interpretation, harmonic choices, the usage of space, and melodic improvisations are not written nor should they be. They are a product of sensitive, interactive playing, striving for a pseudo perfection found only in that moment.



Utopia is the second Spacetet CD, the first being Sea Dreams. This time we did a mixture of spacey impressionistic music combined with progressive straight ahead. The only non-original composition on this CD is Egberto Gizmonti’s “Parque Laje” - a beautiful moody Brazilian piece. We hope you enjoy listening to the music as much as we enjoyed making it.

Steve Giordano

Credits
Tracks:

1. Bon Appitit (Steve Giordano) 6:44

2. Over Easy (Bob Meashey) 8:52

3. Parque Laje (Egberto Gismonti) 5:54

4. Love of Life (Steve Giordano) 9:56

5. Almost There (Steve Giordano) 9:15

6. Deep in Thought (Steve Giordano) 9:32

7. One for Stevie (Steve Giordano) 7:26

8. Utopia (Steve Giordano) 8:23


Steve Giordano Spacetet Personnel:

Peter Cobb - alto sax

Steve Giordano - guitars

Brian Howell - acoustic bass

Bob Meashey - trumpet, flugle horn

John Mosemann - drums, percussion


Recording Information:

Recorded at Red Rock Recording

Stroudsburg, PA

Engineer: Kent Heckman

Description
This is a limited time offer of an entire recording session. We will eventually turn this into one CD removing some cuts.

Erik Dutko and I have established a loose interactive way of playing as a duo. This CD is a combination of this duo with my Spacetet's engine Brian Howell and John Mosemann. It's sensitive and energetic filled with exploration.

Steve Giordano

Credits
Steve Giordano - guitars
Erik Dutko - guitar
Brian Howell - bass
John Mosemann - drums

Recorded at Red Rock Recording 2005

Description
This project Sea Dreams defines the mainstream of my, what I call, impressionistic jazz compositions. This concept has been in development for over a decade with my band now called Steve Giordano's Spacetet. The music on this CD is not meant to be flashy or technical. Although harmonically complex, the music is soothingly comprehensible. Putting this music together has been a labor of love with the musicians in my Spacetet. Most compositions were written within the last year, from July to December of 2003.

Only so much can be written on score paper. Realizing these compositions and developing the solo sections in a manner that promotes interactivity requires egoless sensitivity.
I am lucky to be surrounded by great musicians who put the music before themselves because they realize sincere musical expression is far more rewarding than compliments.

The decision to name the group Spacetet as opposed to the traditional jazz-tet was a move in the direction of opening up and expanding our audience. We want to introduce this music to non-jazz audiences. We also want to open up the jazz listener who is usually geared toward the traditional jazz concept which emphasizes the hero soloists. Our music is truly jazz, but more subtle in nature, emphasizing textures and interactivity within the solos using lots of space. Some music may be described as spacey, creating images of the cosmos, which of course, is mostly space. Certainly this music is not that spacey, otherwise one might have to wait years between musical events but you get the idea.

Impressionistic to me means imagery without predictable destination, open to imagination and controlled by the feelings and moods of the beholder in the moment. The sea, the cosmos, computer generated graphics, even closing your eyes, are all conducive to imagination. Impressionistic composers Debussy and Ravel created beautiful music. Regardless of their personal lives, their music emitted beauty. I feel the same way. My music reflects beauty and the romantic and my love for life. Impressionistic jazz to me means compositions that explore music through the heart with beauty and gentleness without being predictable or consciously traditional, with the solos preserving the composition's atmosphere. This is well achieved on this CD. My Spacetet transported the compositions from my heart and, so brilliantly through their heart and imagination, made my compositions come to life more beautifully than I could have imagined.

Sea Dreams, the opener, was composed mid summer 2003 at the Morris Arboretum. I guess that opening harmony reminded me of the sea. I love John Mosemann's exotic cymbal work at the intro. The solo section is based on the mood of the theme rather than a literal translation. My influences are clearly Ravel and Herbie Hancock on this one (what a combo!). Check out the loose approach of bassist Brian Howell and how he and Mosemann make the solos sparkle and constantly change. Sort of like the ..err.. the sea.

Through Time, one of the two emotional ballads on this disk, was also composed in the summer of 2003 at the Arboretum. I really can't describe my feelings behind ballads in words other than to say they are sincere expressions of my deepest reflections at that time. The "A" section is stated in a vague manner showing mystery but clears up on the repeat. Bob Meashey's beautiful and soulful fluglehorn solo highlights this one for me along with Peter Cobb's tasty alto.

Samba Five shows my love for Brazilian music but with an odd time signature twist. Despite the 5/4 environment, it flows quite naturally, never sounding awkward. Another recent composition, (summer 2003) Samba Five features a repetitive jovial melody traveling through various keys. This composition, set in the middle of the CD, offers a romantic yet light-hearted break from all the other impressionistic selections. I just couldn't resist the opportunity to do an overdubbed solo using my archtop guitar played over my pre-recorded nylon classical.

Beneath an Evening Sky is Ralph Towner's composition. It's the only non-original on the CD. Ralph Towner continues to be one of my favorite composer/guitarists on the scene today. John Mosemann's percussion work is outstanding here as he colors by using various textures along with total silence - a difficult but deep concept. I hope Ralph Towner gets an opportunity to hear his composition played with such care and tenderness.

A Beauty Within was written two years back (2002) and is a Brazilian samba with a legato romantic melody. The intro bass solo is over pure E minor to Ab minor relationship done in rubato. I decided to intro this way since the first chord at the top of the theme is a combination of these 2 triads voiced: Ab - E - G - B - Eb. I originally wrote this for cello and guitar because of the nature of the melody. The combination of the alto sax and fluglehorn produce a unique texture while playing in unison. The sensitivity of the Spacetet really manifests here in the ensemble playing.

Synergy was composed almost a decade ago and is influenced by the great Wayne Shorter. This piece has mystery, love and sadness all blended together. My personal highlight is Peter Cobb's alto sax treatment of the melody. Peter's tone and phrasing has warmth and compassion. Bob Meashey and I performed this piece on an earlier duo recording entitled "Distant Trains" and his solo shows how deeply he knows this tune. Unfortunately, ballads that stay ballads seem to be a lost art these days in jazz. I hope this recording can inspire some more ballad writing and playing.

Time Passage is the most abstract piece on this CD. I composed it in November of 2003 very recently before the recording. It's 6/4 time signature has a profound effect of time flow sort of like slow motion. I guess it's those 2 extra beats. Mosemann's heartbeat bass drum pulses through the entire piece reminding us of the passage of time (in slow motion, of course). I don't know if I would describe this piece as dark or emotionally beautiful. I think it's a mix for me. The harmonic structure is bizarre with a haunting melody. The solos are sparse and blended into the background instead of out front. I overdubbed a 2nd guitar part improvising over the bizarre harmonies. In any case, I thought is was a perfect closer leaving the listener somewhere in space - the cosmos that is.

Steve Giordano







Credits
Steve Giordano's Spacetet:

Bob Meashey - trumpet, fluglehorn
Brian Howell - bass
John Mosemann - drums, percussion
Peter Cobb - alto sax
Steve Giordano - guitars

Recorded on February 15th, 2004 at Red Rock Recording

Description
The Concept:
The Symbiosis project is an interactive, symbiotic, group improvisation collection of various pieces from sessions dating from 1990 to the present. The goal of the music is to explore each other's musical vocabulary in an alternative way other then playing jazz compositions, where there is a preset form and style already built in. This music has no musical planning of any kind although we often experiment with techniques to vary the process to avoid habitual tendencies. The resultant is we find ourselves on an unknown journey in strange new worlds. Sort of like Star Trek, but actually living it.

The Process:
Starting about midnight, we set up our equipment for about an hour, relax, then role the tape. No one has to start right away, so we sort of meditate (wasting tape) until someone does something.
It could be anything from one note, a bass figure, a noise, a chord, etc. The piece has begun! The person who first plays obviously has a concept so we don't rush to come in. That's the first rule; don't play for the sake of playing. Soon there is a character defined and that is where the journey begins. That's when there IS a right and a wrong thing to play. So I guess at this point, I have to define what "free" improvisation is by our terms. There is no random here. Only communication, requiring the utmost sensitivity. The price of exploring a new world in a spontaneous fashion can be scary and sometimes disorienting. The more sensitive we are the greater the pleasure thus; the greater the pain if something doesn't go as expected. It's a worthwhile trade off. In solo playing, a musician can go anywhere and do anything with no interaction with others than himself. When other musicians are involved, there must be communication and listening. Yes, there are some rough edges. This is not pre-composed music. This is simultaneous adventure taking within parameters defined by the music itself, deep in the present. The people I choose to make this music with are among the finest and most sensitive jazz musicians anywhere. There is no show boating, selfishness, or inflated egos. The music always comes first, not the personnel. Unlike some other free improvisational mind sets, Symbiosis is just that — feeding off each other's musical thoughts and feelings.

Listening:
From a listener's perspective, what's in it for the listener? Are we, the players, having all the fun? As a listener, I have always enjoyed the moods, the unexpected, and the feelings from wordless music. I also love the sounds themselves; a string section, percussion, woodwinds, brass, (of course) guitars, and last but not least, synthesizers. A common mistake some people make is to compare a synth to a real instrument only to be disappointed. Although fascinating, mimicking a real instrument is only scratching the surface. A synth can create virtually any sound on earth and beyond. It is limitless. Again, although a synth can mimic nature's sounds, the best has yet to come. Imagine a bassoon or french horn going well out of range to play impossible notes or never running out of air. Imagine how a waterfall would sound mixed with a flute all in the same sound. Imagine hearing a beautiful sound that is from an instrument that we have yet to create. All that said, we hope you enjoy the music of Symbiosis.

Steve Giordano

Credits
Steve Giordano: guitars, guitar synthesizer, keyboards.

John Swana: EVI (electronic valve controller) , keyboards.

Tony Micelli: KAT (a vibes-like controller), keyboards.

Bob Meashey: trumpet, fluegle horn.

Joe Mullen: drums, percussion, midi drums.

Description
Music, for me, has always been an abstract way of expressing feelings with no literal connections. Music expressed without words seems truer to feelings since feelings are such a mixture of sensations. Words, for me, seem more analogous to actual feelings whereas music/art seem to include this mixture of sensations. I feel blessed to have musical gifts and I never lose focus of this. Anyone who can express their feelings through art is lucky indeed.

Not being a visual artist, I don't usually have a color connection with music, but the music on this CD seems blue to me as I hear it today; a deep blue; moody, a dark shade with warmth and tenderness and some sorrow all at once. A mixture. I am guessing the reason for this is more personal to me but I have a feeling some listeners may experience some similar notions. Some of my personal feelings come from the organ; Hammond B-3. Two great organists that I had the pleasure to play and record with, Richard "Groove" Holmes and Don Patterson, passed, and I loved them both musically and as people. On this CD, organist George Mesterhazy clearly shows his regard for these two influences but offers his unique identity as a creative artist. Drummer Joe Mullen has been in my quartet for a decade and a half but we parted ways a year ago. Joe's approach to music will always be a force in my musical thoughts.

The music on this CD is full of exploration. In fact, this recording was the first time the three of us played together. We did standards except for a little free improv jam at the end. The only real preparation, aside from a lifetime of playing music, was me giving George chord charts loosely based on my arrangements that Joe already knew, for the standards. We had an absolute ball playing together. It was totality unpredictable and interactive and we heightened each other's musical awareness and that is the ultimate goal for playing creative music. We stretched out to the max going out on a limb. Everyone played for the music itself. It is sincerity at our best.

Don Antonelli the sound engineer at Alemada studio did a superb job with the mix and the sound really capturing the music.

My personal highlights:
Stella by Starlight (Victor Young) - I love the way we did this opener because it sets the mood for the whole album. It is very open sounding, loose, emotional and Joe's contribution makes George and I go insane with flurries of passion.

Moment's Notice (John Coltrane) - Taken from my arrangement for my Muse recording in 1980, this up-tempo version got hot quickly while maintaining spontaneity.

In your own Sweet way (Dave Brubeck) - The intro took on it's own personality with the guitar motif surrounded by moving harmonies from the organ thus creating a unique texture setting up the melody.

The Days of Wine and Roses (Mancini) - This is my personal favorite on the CD. George's intro is beautiful setting up the melody. The tempo is very slow and moody. This is how I like to play ballads. No double time, lots of feel and over the bar line phrasing.

*Ceora is a special addition to this project with Bob Meashey playing trumpet. Any jazz musician will be able to realize the melodic genius hearing Bob's solo on this cut. I don't think Bob thinks about theory at all when he plays (unless he is reading) and just hears melodies - not licks.



Steve Giordano




Credits


Blue Night

Steve Giordano - guitar
George Mesterhazy - Hammond B3 organ
Joe Mullen (drums)
*Bob Meashey - trumpet
*Bobby Shomo drums

Recorded at Alemeda Studio
Don Antonelli engineer

Description
Distant Trains

Bob Meashey and I have been making music together for almost twenty years. It has been my pleasure as a musician to play with Bob. Bob has inspired me in many musical ways. As a guitarist, I have always been harmonically oriented but playing with Bob has put me on a melodic path – striving for meaningful melodies. Playing a duo with Bob is an amazing experience. One could think of a guitar/trumpet duo as a lonely experience for the guitarist when soloing because there would be no accompaniment but that all changes with the presence of Bob Meashey. This is hard to explain but I always feel Bob’s presence when I play a solo in our duo even though Bob is not playing. I think the reason is because Bob fully understands everything I am doing (short of mishaps) no matter how far I go in my travels. This is very subtle but energizes and inspires me to create.

The Distant Trains CD exemplifies many of the creative concepts I speak about through all my teaching such as dynamics, implication, space, reharmonization, spontaneous arranging, metric modulation, symbiotic listening, all in one little package. We didn’t even plan the tunes we would do at the studio.

Chick Corea’s marvelous Tones for Jones’ Bones the opener, starts with guitar freely going through the entire tune’s harmonic structure freely, at my own pace in Rubato fashion. Bob then enters the same way until finally playing the head.

Love of Life is my 3/4 composition with challenging harmonies and a warm emotional color. This composition reflects how I really feel about life.

Friends another Chick Corea composition is jovial, easy to listen to (notice how Chick borrows a phrase from Igor Stravinsky’s Right of Spring on the bridge melody) but very complicated to solo on. The melodic possibilities over this harmonic structure however, are staggering.

Dave Brubeck’s In Your Own Sweet Way, now a jazz standard, has a swing feel but always a looseness always exploring new ways to stretch it out. There is a lot of energy behind this take. The ending vamp shows no matter how far I take things, Bob is always there…

Synergy is my heart-felt ballad on the album. Bob’s Harmon mute intro sets the mood for the flugle horn melody. I always felt this composition could be a good movie theme…definitely a bitter/sweet quality. As always, Bob’s extraordinary gift of melody making shines through.

Distant Trains the title tune, composed by an unknown musician named Robert Claire. We have tried to find this man but to no avail. We only had a lead sheet found in NYC to go from but over the years, as with the evolution of most tunes, it has developed and evolved to what you will hear on this recording. It’s in 6/4 time which can lead to many possibilities and connections to poly-rhythms. I think Robert would be pleased to hear how much love went into his short but beautiful composition.

For me, the Distant Trains CD epitomizes my rapport with Bob Meashey. It’s symbiotic, sensitive, and dynamic. I hope this record can inspire other duos in any combination to make music in this intimate setting. Enjoy!

Steve Giordano






Credits
Bob Meashey - trumpet/fluglehorn
Steve Giordano - classical guitar

recorded at the Music Center 2000
Glen Ferricone - sound engineer