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Another new CD, another set of challenges. This time a whole new set of textures result from the use of 12 string guitars replacing the tuned percussives. Vinny's back to playing hand drums on this record, whereas it was all kit on the last one. Tony's here on stick, upright, and 5 string bass, and I'm playing fretless on a couple of tunes. There's an interesting flow to the record, alternating between heavier rhythinc bits and more ambient things. And in spots it's a fair bit heavier than anything I've done to date. There's also something I've never done on record before, which is a cover song. (A solo guitar version of Peter Gabriel's "Here Comes the Flood")
Jon Durant | Tony Levin | Vinny Sabatino
Things Behind the Sun (2005)
JD's 5th recording brings yet another shift in his musical vision. While maintaining many of the "minimalist" elements of "Brief Light," the tuned percussion ostinatas, and multiple interlocking guitar parts, "Things Behind The Sun" offers a much jazzier element than any of his CDs since "Three if by Air."
"Things Behind The Sun" is his most guitaristic recording to date, offering glimpses of chordal work never before heard on JDs records. In many pieces the customary cloud guitars have been replaced with layered voicings across intricate chord progressions that bring to mind such diverse influences as Eberhard Weber and Allan Holdsworth.
While he is accompanied by his usual mates Tony Levin and Vinny Sabatino, this time around they're put in a different context: Vinny's playing straight ahead drum kit, with heavy reliance on colorful cymbal work, and Tony's exclusively playing his electric upright bass. On the haunting closing track, "They Left By The Water," JD's cloud textures are complimented by Joe Cunningham on the Bulgarian Frula (a recorder-like instrument). Oh, and on the track "Labyrinth of the World," that's JD on guitar synth playing a Duduk sample.
Brief Light (2002)
is a CD of film-esque music, many guitars, and the occasional synth tuned percussion bit. My personal favorite of all my work to date, it is a testament to the hard work put in by all involved. Brief Light is a combination of all the elements of music that have inspired me over the years--ECM-style jazz, Prog Rock, Minimalist composer Steve Reich, Peter Gabriel's Soundtracks.
Persimmon begins with a haunting bit of cloud guitar, and immediately you are hit with the pulsing minimalistic tribal rhythms. Tony's bass slides enticingly, Vinny's percussion percolates and the guitar drifts around tantalizing the pallate. Rosemary is based around a guitar loop, and incorporates a melody which lingers in the memory. Nice piano work by Michael on this one. River undualates over a gong loop, and builds with a rapturous lead guitar solo at the end. Behind Stone Walls is centered around a filtered guitar rhythm, and Tony and Vinny jumping all over it at the end. Some slighly outside guitar stuff on there too... Evidence is built around a synth pattern, with some fabulous drumming from Vinny and some very nice upright bass from Tony. In Her Memories was originally written on piano over one of the cloud guitar loops, then rearranged on guitar, and finally re-built with piano, this time played by Michael. The Wind at Night is an example of a daily dose of guitarage around here. Odd cloud loop with blasting lead over the top. The title track sums up the whole CD for me. The closer, Friday (later), is a duet with my good friend and former teacher Randy Roos. He took a piece from an unreleased CD of mine and added some beautiful synth textures to make a lush end to this delightful recording. I hope you like it!
jd
Anatomy of a Wish (1999) is the only one of my CDs that was originally conceived as a CD. All the others happened in a totally free-form way, without thought given to what they might become. This might be the my only complaint about this record.That said: Tony Levin is amazing as always, Michael Manring graces "Driving North" with his fluid fretless playing, and Vinny Sabatino is his usual totally creative rhythmic self. I particularly enjoy the total group improv "Minaret" and some of the prettier pieces, such as "Stretching The Night Sky" and "The Day That Never Was."
jd
Silent Extinction Beyond The Zero (1997) was my first CD after dropping out of the corporate world to start Alchemy Records. Recorded in bursts of creativity when I was suddenly freed from a regular schedule, this CD is full of strange energies. The ominous opener was built with screaming guitar over a strange loop. Percussion was added later, leading to the timeless feel of the guitar. Tony Levin's delightful contributions to Tears Trickle Down and Clutching Razors were a total joy for me. The guitar solo on Danger Boy is still a favorite. Raw, bloody.jd
Three If By Air (1994) was written and recorded while I was still working for Lexicon. Back then, I was doing a lot of clinics, and was often asked if I had any recordings. So I made this figuring it would be nice to have a documentation of some of the material I'd been working on. This is the most ECM-influenced of all my CDs, and all the parts are played my me, either on guitar or keys. The recording made me realize that it's really hard to convey the ECM essence while playing drums on keyboards, especially when you're neither a drummer nor keyboardist! Nevertheless, this CD has some pieces that I really enjoy, in particular the opener Pale and Crystal and the lengthy Sombrero Fallout and Final Frontiers. (The latter wouldn't have sounded too out of place on Brief Light, really.)