Asleep, Just Like The Others

Asleep, Just Like The Others (13:05)

Composed by Robin Jessome.

This is another extended-ish work for large jazz ensemble...essentially the continuation of Tell The Truth.

The piece is built on essentially two halves...the first, a spacey/ethereal clarinet solo section which builds to a point, leading into the second half, a more brassy ostinato-based 5/4 section with a trombone solo which itself builds into a full tutti melody out. I think the structure works well (some of the proportions may be a bit off in performance...some sections were really open while I sorted other stuff out :P ) but overall, the energy builds well and given the limited rehearsal time, the band pulls some pretty difficult music off quite well with minimal damage - a few clams and missed cues, but who cares!

Again apparent is my penchant towards really dark textures.

There were some performance peculiarities, but overall the thing remained relatively intact. I'm sure you'll point out some of the weird bits.

Hindsight: this was my recital, hence the trombone solo which will be retasked as a flugelhorn solo. It may or may not remain in time at first and THEN stretch out...as opposed to vice versa, as in this performance. Dunno yet. I'd like to develop that ostinato a bit more - I was worried it was getting to the "enough is enough" point, but in retrospect, it feels like it wants a bit more of that groove (like 4 before 'H')

There were some typos in the clarinet part, so please ignore the Bartokian angularity of her final line in the opening, over letter 'A' :whistling: that was my fault. Also: the beginning is, apparently, really high...it'll be just as effective down an octave.

Soloists:

Alexis Marsh (clarinet)

Robin Jessome (trombone)

Others:

Ben Dietschi/Gordon Hyland (tenor sax), Natalie Robinson/Ryan Brouwer (trumpet), Heather Segger (trombone), Holly Dronyk (tuba), Mark Godfrey (bass), Mark Segger (drums).

Recorded in Toronto, April 20 2009.

LISTEN, MP3

LOOK, PDF

asleep like the others SCORE.pdf

Amazing piece. Some wonderful effects. I really like how smoothly you slide in and out of free improve then back into more traditional structure.

You really start cooking at the end. I wish that part had gone on a little longer, brought in another lead or two while the rest of the band continued in that groove. But it guess it doesn't hurt to leave the audience wanting more.

Very difficult score to follow (because of improvisation). But I liked it!

What can one say? WELL performed. I would have loved to see more of the drum notation (in detail). One can call it very modern jazz I suppose. Post Modern Music! YES! It must be most-podern jazz! :D

I still prefer Gershwin :)

The cover art was inspirational and the speech at the end too!

Well done!

WOW, you gave the TUBA lots to do!! *cackle* I'd'a got so lost counting those rests... and not being sure how many were supposed to be counted anyways. To me it seemed very difficult to put together and make it sound convincing, but obviously you had something in mind and got your players to do it for you. I doubt an ensemble would be able to half pull it off without you there to instruct, what do you say?

So congrats, it was a wonderful journey. I don't quite get the whole "Asleep" thing, or how it relates to Tell the Truth - maybe you could enlighten me. But it seemed like a very successful expression of yourself, and expression is something I value. Nice playing, as well. I have to wonder if you had to nudge the clarinet and drummer around to get them to do what you wanted. Heh, she complained about a high concert D? You can get it very reliably with a little bit of pliability using the throat A key as a clarino extension - very bendable and easy to control. However, I loved it in the slightly lower register. Perhaps it's more sneeky that way, more haunting - especially that odd eerie throat A the cropped up in the second measure. *shivers* Hey, something makes me think you'd LOVE to use a contrabass clarinet sometime. Makes the most creepy sound - seems so suitable for your kind of writing.

*Clap clap clapclapclap clap clap clap clapclap clap*

I could learn a thing or two from you. :hmmm:

;)

hey guys! Thanks so much for listening. I, personally feel that with a bit more familiarity, the performance could have brought a lot more to it - but given one rehearsal, you work with what you got, eh!

@ Glenn - something I've been very interested in lately is the juxtaposition and layering of structured vs free elements. I agree entirely with you wanting more at the end - the groove with that ostinato had finally kicked into high gear, just as I was finishing the tune :pinch: I will likely re-visit and extend it a bit, working more with trying to develop that a bit more.

@ Pieter - you found the score difficult to follow? I suppose because there are a lot of "open" sections, which were cued/conducted in performance. I'm glad you liked it, but I know that with a bit more rehearsal, we can get a much better performance ...

@ James - Sorry about the lame tuba part... I promise you, my tuba writing is getting more interesting, especially now that I have SERIOUS players on my team. I do have a clear idea of what I want...usually what I put on the page gets us very close (sometimes, not at all). It does take a some refinement in rehearsal from me...the trick is, to have musicians who think on a similar or at least compatible wavelength.

Re: the title, sleepyness has little to do with it...it's just a cool little phrase. My titles are generally little more than ways of verbally distinguishing one piece from another. ;) And be nice to Alexis...she's a saxophonist. ;)

Thanks again for listening, I'm glad you enjoyed it!

Well Robin, I listened to this and Tell the Truth. I love both of them. I adore the colors and textures within the piece. I can't comment much on anything else, technically, so...

:thumbsup: :thumbsup:

Well Robin, I listened to this and Tell the Truth. I love both of them. I adore the colors and textures within the piece. I can't comment much on anything else, technically, so...

:thumbsup: :thumbsup:

Thank you for listening! I'm happy you like the colours/textures - musically,all that stuff is my main focus, and I try hard to make them effective....

Structure is another thing I love to work with...and don't know if this piece is 100% successful...anyone?

Nice work Rob: one of your best experiments yet.

Page 6: clarinet should read 'sparse'.

At the end of page 7, the bass and piano need more space... appears crushed at the minute.

Lots of this is very cool. Like the stuff leading into and following the build into J.

At the end, should be "cymbal" roll.

One musical suggestion: Maybe you could make the ending a bit 'bigger'.. nothing overblown, but just more of a bang? Either that, or you could fade away to nothing again.

You've had a lot of building intensity throughout the piece....wouldn't want the ending to seem weak in comparison.

Anyway, good job. :)

Nice work Rob: one of your best experiments yet.

One musical suggestion: Maybe you could make the ending a bit 'bigger'.. nothing overblown, but just more of a bang? Either that, or you could fade away to nothing again.

You've had a lot of building intensity throughout the piece....wouldn't want the ending to seem weak in comparison.

Anyway, good job. :)

Thanks Daniel!

Since I feel that ostinato could use a bit more development, perhaps expanding on the ending/out-section would help here. Continuing the build in energy towards the ending...though I do like the way it quickly peters out in the last 2 bars. :hmmm:

Page 6: clarinet should read 'sparse'.

At the end of page 7, the bass and piano need more space... appears crushed at the minute.

Lots of this is very cool. Like the stuff leading into and following the build into J.

At the end, should be "cymbal" roll.

:laugh: Thanks for spying those typos...shows how much I edit my scores, eh! The crushed bits are simply me trying to keep the structure intact in the score and save some paper...

100% wowwwwwwww

100% wowwwwwwww

Thank you. I appreciate you taking the time to listen! :)

I like this better then Tell the Truth, it seems alot.. lazier :P

I still stand by my comment of Tell the Truth being fantastic though!

I like this better then Tell the Truth, it seems alot.. lazier :P

I still stand by my comment of Tell the Truth being fantastic though!

Thank you. This one does has a different kind of intensity...a more flowy and ethereal type of direction.

Thanks for the comments! :)

Great opening! (I'll do this running commentary style)

The piano + clarinet effects were awesome. I especially liked how you exploited the ranges of the clarinet and matched them up with the sound you wanted to portray. Instead of having the throat tones stick out, you made full use of them. It sounds like part of the romantic era, even. I guess I expected more modality out of you.

Ah, but then you descend into dissonance, and the tension begins to rise with the motion in the piano. So far, everything has its place and works very well. The bass entrance was impeccable. I felt that the repeated piano part as a way to introduce instruments worked up until just after the drumset entered. But then again, it does set up this brooding and dark mood. Just something to mull over.

Ahhhhhhhh *dislikes Saxophone player's tone* But as quickly as the tension was building, you reduced the texture almost immediately. At this point, I feel like there is a slight lack of direction. I don't know where you are taking me, the listener. The crossing of ideas between the brass/rhythm section and clarinet to introduce the next section was masterful. It seems like each idea you have flows seamlessly to the next, creating a story, rather than simple sentences.

When the trombone solo starts, I felt a little bit of inconsistency in the mood... you were neither there nor here, if you know what I mean. I like your solo style. It's pretty vocal. And when the ostinato returns, you show off your chops like I'd expect you to. Now nearing the end, I like your use of parallel fourths. The textures here are very very exquisite. But I don't sense a closing anywhere close.... I wonder how you'll do it.

Oh.

Well, I dunno... I expected more of a gradual fall back to the original clarinet texture. But that's just me.

Very enjoyable listen! :)

All I have to say is AMAZING... IMPROVE = 120 out of 100 and THE SCORE = 500 out 20... LOL... AMAZING

Ananth - thanks for listening...I'll reply running commentary style.

The piano + clarinet effects were awesome. I especially liked how you exploited the ranges of the clarinet and matched them up with the sound you wanted to portray. Instead of having the throat tones stick out, you made full use of them. It sounds like part of the romantic era, even. I guess I expected more modality out of you.

To be honest, I didn't really consider the particular qualities of the "throat tones" and such. I was concerned with register, and had originally wanted all of this bit in the upper end, but apparently the high stuff is ... hard? So some of it got dropped it down an octave...which, in the end, sounds great as well. I really should learn more about the clarinet...I understand the "break" is an important thing to consider? Also, after the initial hint at the melody it's all improvised until the drums come in.

Re: modality - I'm not sure how much more modal this could get! It's entire thing is based on that single scale (pretty much) - C Aeolian. :whistling:

Ah, but then you descend into dissonance, and the tension begins to rise with the motion in the piano. So far, everything has its place and works very well. The bass entrance was impeccable. I felt that the repeated piano part as a way to introduce instruments worked up until just after the drumset entered. But then again, it does set up this brooding and dark mood. Just something to mull over.

Tee hee....dissonance. (I don't hear much). Yes, the bass snuck in perfectly, and I think with a bit more rehearsal I'd be able to get the drums in with less...obviousness. I think the groove where he comes in is a bit too busy right off the bat, and could use with a bit more finesse, to give it somewhere to build from as the horns come in.

Ahhhhhhhh *dislikes Saxophone player's tone* But as quickly as the tension was building, you reduced the texture almost immediately. At this point, I feel like there is a slight lack of direction. I don't know where you are taking me, the listener. The crossing of ideas between the brass/rhythm section and clarinet to introduce the next section was masterful. It seems like each idea you have flows seamlessly to the next, creating a story, rather than simple sentences.

I see where you're coming from. The transition into "E" was meant to bring down the energy after the clarinet solo to give us something to work with with the new grove came around. I think it worked, but perhaps the initial "pulling out of the carpet" was a bit awkward - resulting in that feeling of "lack of direction".

When the trombone solo starts, I felt a little bit of inconsistency in the mood... you were neither there nor here, if you know what I mean. I like your solo style. It's pretty vocal. And when the ostinato returns, you show off your chops like I'd expect you to. Now nearing the end, I like your use of parallel fourths. The textures here are very very exquisite.

You're spot on with this one - the texture/transition didn't really work. I think keeping this section in TIME with some groove (sparse, but simmering) would help maintain a sense of direction. It will be re-written, likely re-tasked as a flugelhorn solo.

But I don't sense a closing anywhere close.... I wonder how you'll do it.

Oh.

Well, I dunno... I expected more of a gradual fall back to the original clarinet texture. But that's just me.

I agree here as well. I like the way the piece evolves, coming to the melody out of the solo, but the ending needs a bit of adjustment ;)

....

Thanks so much for listening, I appreciate all the kind words and am glad you noticed some things that will definitely help! Glad you liked it - check out Tell The Truth & Run Fast if you're feeling bored...you'll hate the sax sound but I think you'll like it (overall, I feel it's a stronger piece than this one)...

:)

I am extremely impressed by this. Unfortunately, I don't have the expertise to make helpful comments like some other people here, but this is wonderful. I was enraptured the whole time, the style of this piece is one I really enjoy. Robin, I just want to say personally, thank you, both for bringing this music into the world, and for being one of the people here who inspire me to become better myself.

Peace.

I am extremely impressed by this. Unfortunately, I don't have the expertise to make helpful comments like some other people here, but this is wonderful. I was enraptured the whole time, the style of this piece is one I really enjoy. Robin, I just want to say personally, thank you, both for bringing this music into the world, and for being one of the people here who inspire me to become better myself.

Peace.

Thank you for the comments - I'm very glad you liked it! This demonstrates my current state-of-musical-mind, and I'm pleased that people seem to dig it.

:)

You might also like: http://www.youngcomposers.com/forum/tell-truth-run-fast-20045.html Check it out, if you haven't already!

Hi Robin,

I really like this piece (and Tell the Truth). I don't normally listen to a lot of jazz (apart from a bit of Mingus and more recently a Brecker CD I never knew I had until a couple of weeks ago) but I really enjoyed this, especially the atmospheric textures and the cool 5/4 rhythms. My one criticism is that the whole thing seemed maybe a little too rooted in C aeolian. A modulation would have been nice just to spice things up a little bit. But apart from that, really nice work!

Spoon

EDIT: Just realised that you do mark in G phrygian. To me that still felt like C aeolian though (after all, both scales have the same notes), especially at C where you brought back the rising scale in the bass starting on C that you hinted at in the opening.

Hi Robin,

I really like this piece (and Tell the Truth). I don't normally listen to a lot of jazz (apart from a bit of Mingus and more recently a Brecker CD I never knew I had until a couple of weeks ago) but I really enjoyed this, especially the atmospheric textures and the cool 5/4 rhythms. My one criticism is that the whole thing seemed maybe a little too rooted in C aeolian. A modulation would have been nice just to spice things up a little bit. But apart from that, really nice work!

Spoon

EDIT: Just realised that you do mark in G phrygian. To me that still felt like C aeolian though (after all, both scales have the same notes), especially at C where you brought back the rising scale in the bass starting on C that you hinted at in the opening.

Thanks for listening, I'm happy you enjoyed it!

Re: the harmonic ambiguity - my approach to harmonic content is generally from a strict modal perspective. I tend to sit on harmonic textures for a long time whilst exploring it - melodically, rhythmically. I feel the root movement (i.e. at "C") is enough to build some forward energy, and the whole second half - the trombone solo / ostinato are all over C, I think the rhythmic and groove differences are sufficient enough to maintain interest....for me anyway.

You're the first to notice that....and maybe you're right. Perhaps a quick change-of-gears to perk the ears a little would work, especially coming out of the clarinet solo into the transition out of "D" ... :hmmm:

Thanks for listening!

Blunt Object - Asleep, Just Like The Others (part 1)

Blunt Object - Asleep, Just Like The Others (part 2)