SAUNTERS, WALKS, AMBLES

patrick brennan - saxophone, with lisle ellis - bass

creative improvised music projects, CIMP #187

RECOR

DINGS

RECOR

DINGS

RECOR

DINGS

And skips and leaps and broods. But what really distinguishes this duet session isn't legs as much as ears. Listeners interested in the art of subtlety should run, sprint, dash to get this human and humane date.

- John Chaocna in signal to noise

Patrick Brennan and Lisle Ellis strike me as purists in their musical pursuits, and to that point, from what I can tell, live their lives around their artistic needs. One senses that at this point in their lives they never seriously consider approaching their artistic work in any other manner than what their art suggests to them. The result of such a path is music which is both naturally matter of fact and richly invested with invention and surprise. The music here seems as natural as the flow of breath and conversation.

- From Producer's Notes by Robert Rusch

Crepuscule with Nellie / bucket-a-blood / Misterioso (solo)

saunter, walk, amble: 1. elsewise / 2. far elseway / 3. blootzway / 4. sweet flat

Misterioso / ornithine / teletropic / Expression / Nonaah

precipining / Chronology / backAtchya

This is a different kind of recording for me because it is the first time I've gone into a studio to record something other than my own compositions, Monk and Ornette, Coltrane and Roscoe (Mitchell) have each made some of the sounds that initially pullled me into music. When I began playing solo concerts a few years ago, I started thinking some of their music out loud. Compositions of theirs became terrains I'd be walking around in.

It's important for me that each of these musicians have invented music from a perspective that's more fundemental than style or idiom, but from where sound and people first meet, before it gets constellated as music. This is why their music is affecting, and also why it's a challenge to musicians. It might seem paradoxical that some music can get more personal, even idiosyncratic, when it's coming from closer to the root.

If a musician can get to know a music's character to the point that one's able to actually think it as it's being created, that music also becomes one's own, and one begins playing it one's own way. It's a give and take participation, and there's freedom here. Dialogues are music's invisible connective tisue.

Lisle Ellis hears this way too. When Bob (Rusch) suggested recording this project with a bassist, I immediately thought of him. I knew his instincts. The acquaintance and trust were already there. We went over these compositions together, and we invented some of our own. What we played for this recording arrived as we listened for it.

- patrick brennan, artist notes

Creative Improvised Music Projects

CIMP: The Cadence Building, Redwood, New York 13679 Phone:(315)287-2852 Fax:(315)287-2860 www.cadencebuilding.com/Cadence/C.I.M.P.html

CIMP records are produced to provide music that rewards repeated and in-depth listenings. These records are not intended to be backround music; they present some of the best creative improvised music available, captured as accurately and honestly as possible. CIMP records are digitally recorded live to two tracks, allowing for a vanishingly low noise floor and tremendous dynamic range. There is no compression, homogenization, eq-ing, post recording splicing, or other electronic fiddling with CIMP performances in any way. Our recordings capture the full dynamic range one would experience in a live concert. This method is demanding not only for listeners, but for the performers as well, Listeners will hear exactly what was played: real musicians in a real space, interacting musically in real time.