Weaving Through Motion David Friedman & David Samuels

• 1 Turn Left 06:36
• 2 Two Minds, One Thought 04:48
• 3 'Round Midnight 04:52
• 4 Confession 03:20
• 5 Ona 04:21
• 6 Almost Blue 04:14
• 7 No (Changes) - With compliments to the band 'Yes' 02:31
• 8 Álom 05:16
• 9 Batuna 05:59
• 10 The Guilded Cage 03:50
• 11 The Windmills Of Your Mind 07:22
• 12 Waltz For Hannah 04:50
• Total Runtime 57:59

Info for Weaving Through Motion

“Solo records are a wonderful opportunity to create own textures”, David Friedman rejoices about his new album “Weaving Through Motion”. It is in fact only his second solo-CD and at the same time a kind of anniversary. 20 years ago Friedman’s first solo album named “Air Sculpture” appeared, also on Traumton. Of course the American hasn’t been deedless in Berlin before and since then; he played concerts and recorded albums with notables such as Chet Baker, John Scofield, Wayne Shorter, Dino Saluzzi, Jean-Louis Matinier, Bobby McFerrin and many others - just never alone. “Usually the label and the studio don’t give you much time to unhurriedly develop something”, Friedman explains. This was completely different on his current production. With the producer Wolfgang Loos he tried out many ideas, improvised, developed melodies and harmonies. By carefully overlaying individual motifs as overdubs “a vertical sound architecture” evolved in the end.

In other words: the pieces on “Weaving Through Motion” emanate an individual beauty. It shimmers gently, cryptically, decidedly stays away from heavy make-up or pretentious accessories. Thereby it immediately appears attractive, but not boastful. With each further regard - in this case of course with each further listening - the pieces allure a little more, reveal additional nuances. Some seem to eradiate a contemplative, almost Zen-like calmness, though without the strictness of a tee-ceremony or a calligraphy. Friedman’s music flows without haste, but with a distinct aim. “It was important to me, that every piece creates its own atmosphere”, he describes his basic idea. One could add: an atmosphere that competently combines lightness with depth.

Alone the encounter of the two instruments brings forth oscillating dialogs. The metal bars of the vibraphone develop a floating, sometimes airy sound; the rather dry patterns of the wooden marimba associate earthy timbres. Not as a harsh contrast, but rather a mutually enriching communication. This time he did without extra percussion, which Friedman had additionally played in 1994. Nevertheless, many pieces exhibit a sublime rhythmic energy, partly also groove, like on “No (Changes)”, a personal approach to the rock-band Yes. “Compared to my first solo album, I thought more freely this time and less in odd meters”, Friedman comments, “I was after the challenge of creating melodies out of nothingness that stay in your ear.”

Four non-originals, arranged in typical Friedman-style, are to be found on the CD. He had wanted to record Thelonious Monk’s Round Midnight for a long time already, “only its main theme” however. Friedman also shows a forceful volition to reshaping in his interpretation of Michel Legrand’s “Windmills of Your Mind”. “I always thought his basic idea was kitschy and ingenious at the same time”, Friedman says, “now I have changed the harmonic structure and a couple of harmonies, left out a part and underlayed it with a groove in 7/4 instead of 4/4 time.” David Friedman used to play the piece Atom by Ferenc Snetberger together with the guitarist; the Hungarian temper is in his nature, because he has family roots in this region. David Friedman was born in 1944 in New York City and grew up in the jazz-metropolis. “Jazz was very important back then and present everywhere”, he remembers, “all of its pioneers who had defined the style were still alive. In Manhattan you could see really fantastic swing players playing in clubs even during the daytime. And if you dared going to Harlem… I played there with Hubert Laws as one of two white guys among many Afro-Americans.” In 1977 he performed at the festival in Moers for the first time, right after the Art Ensemble Of Chicago. This was a provocation for the local free jazz audience. Just like today Friedman was interested in the connection of melody, structure and improvisation at that time. “What has always fascinated me, is improvisation that is not atonal, but rather sounds tonal and harmonic”, he says drawing the connection to the melodic playing of Keith Jarret or Dave Liebman.

“If a piece doesn’t motivate dreaming, it seems shallow to me”, Friedman says, “it has to spur my imagination.” After all, that is the power of music: “To put people into a different mood, transferring them into a different world for a short time.” With a wink of the eye Friedman calls it “aural tourism” and declares: “the notes play a secondary role, as long as the atmospheric tension remains.”

David Friedman, vibraphone, marimba

David Friedman born March 10, 1944, New York, United States is an American jazz percussionist. His primary instruments are vibraphone and marimba.

David Friedman is considered to be one of the most influential vibraphonists in the history of the instrument. Internationally renowned as a vibraphonist, marimbist, composer and jazz educator, he has his own musical message, born of fascinatingly diverse musical influences.

Having worked with such varied musical personalities as Leonard Bernstein, Luciano Berio, Bobby McFerrin, Wayne Shorter and Yoko Ono, few jazz musicians can claim as broad a spectrum of performing and recording experience.

The list doesn`t stop there. Friedman has been heard either live or on recordings with, among others, Joe Henderson, Horace Silver, Johnny Griffin, Hubert Laws, Jane Ira Bloom, Ron Carter and John Scofield. Friedman's vibraphone and compositions are both featured on Chet Baker's award winning Enja release Peace, with bassist Buster Williams and drummer Joe Chambers.

A dedicated and renowned educator, David Friedman founded the jazz program at Berlin's University of the Arts, and served as its head for sixteen years. He continues to perform masterclasses throughout Europe, North America and Japan. His book, Vibraphone Technique, Dampening and Pedaling, is considered to be the Bible of mallet instruction books.

In 1977, Friedman co-founded the unique vibe-marimba quartet Double Image, with Dave Samuels. Their first recording, Double Image, was nominated for a German "Grammy", and has just been re-released as a special edition by Enja Records. Friedman's Enja release Shades of Change, with pianist Geri Allen, bassist Anthony Cox and drummer Ronnie Burrage, was voted by Downbeat magazine as "One of the year's best 20 CD's".

Friedman's trio playing with star drummer Daniel Humair and bassist J.F. Jenny-Clarke, documented on their 1992 live release Ternaire, showcases modern, interactive jazz improvisation, ranging from an agressive driving swing to tender lyricism. Friedman's project with bandoneonist Dino Saluzzi, Astor Piazzola's heir to modern tango, is a synthesis of American jazz and ethnic improvisation. The gifted bassist Anthony Coxcompletes the trio. Their 1996 CD release, Rios, on Intuition Records, has been called “a true work of art" by the Chicago Tribune.

One of Friedman's unique accomplishments is his solo mallet recording, which utilizes multiple vibe and marimba overdubs to create richly textured soundscapes. The first recording of its kind ever done by a mallet performer, it is aptly entitled Air Sculpture (Traumton Records). Jazz Friends Review writes: "This music is made of the same fabric dreams are made of. This daring recording is riveting." Germany's Die Woche callsAir Sculpture, "a humble masterpiece!"

Friedman's project Other Worlds is a trio with an instrumentation and sound all its own. Featuring the exciting French accordianist Jean-Louis Matinier and the brilliant American bass virtuoso Anthony Cox, their CD, Other Worlds, was recorded in November 1996 for Intuition Records and released in December 1997. It's a spellbinding musical journey, featuring original compositions and improvisational dialogues of incredible depth and beauty. Jazzthetik remarks: "You feel your ears being drawn to the speakers as if by magic! Other Worlds is a true musical adventure". For more visit: www.david-friedman.de

Dave Samuels
has established himself as the top mallet player of his generation. He is recognized for his fresh new sound and creative approach to both the vibraphone and marimba. Samuels has demonstrated his versatility and gained world wide recognition by performing and recording with a broad scope of artists ranging from Gerry Mulligan, Oscar Peterson, Chet Baker, Stan Getz, Carla Bley and Pat Metheny to the Yellowjackets, Bruce Hornsby, Frank Zappa, The Fantasy Band and Spyro Gyra.

For over a decade, Samuels has been performing and recording with his group The Caribbean Jazz Project whose most recent CD ‘Afro Bop Alliance’ serves notice that the CJP is the most thoroughly inventive Latin Jazz ensembles of this or any era. The album received a Latin Grammy and was also nominated for a Grammy. Previous cd’s ‘Her and Now – Live in Concert’ and ‘Birds of a Feather’ were nominated for “Best Latin Jazz Recording,”. Their recording ‘The Gathering’ won the Grammy in 2003 for ‘Best Latin Jazz Recording’. Some of his other recording projects include ‘Remembrances’, a percussion recording that features a commissioned marimba concerto for chamber orchestra and soloist composed by Jeff Beal, and ‘Tjaderized - A Tribute to Cal Tjader’ (Verve) that features contributions from some of Cal’s former bandmates Chick Corea, Eddie Palmieri, Clare Fischer, Ray Barretto, Michael Wolff and Karl Perazzo as well as performances by Dave Valentin and David Sanchez.

Another one of Samuels project's Double Image—the vibe-marimba duo consisting of Dave Samuels & David Friedman—celebrates thirty years of performing together. It was 1974 when these two masters of mallet percussion first created the unique combination of vibraphone and marimba. What emerged was a totally new sound and approach that has set a new standard for mallet percussionists everywhere. Their recordings have received critical acclaim and their performances have been described as “spellbinding”. Double Image performs music which spans many styles - from jazz standards and original compositions to through-composed pieces and spontaneous improvisations.

Samuels’ longtime association with Spyro Gyra lasted from 1977 to 1994 and includes 20 recordings. During that time, the Grammy-nominated group was named #1 Contemporary Jazz Artist and Contemporary Jazz Group of the ´80s by Billboard magazine .

In addition to his playing, Samuels is a respected educator and author and some of his new works can be found at MalletWorks.com and JazzBooks.com. Samuels has been voted “Best Vibes Player” in both Jazziz and Modern Drummer magazines and received numerous Grammy nominations.

This album contains no booklet.