STEUART LIEBIG/
LANE ENDS MERGE LEFT

Tune Notes

 

Paint As You Like and Die Happy
This 6-part piece was written especially for two concerts in October 1998. The title is a quote by Henry Miller that I found quite by accident. It struck my fancy not only because I like the sentiment and because it sounds a little goofy as a title, but because the music was written as sort of a sonic image of memories of a particular set of three of Miller's books that have resonated in my psyche long after having read them many years ago: Sexus, Plexus and Nexus, collectively known as The Rosy Crucifixion. It was only recently that I understood this overarching title as I believe Miller meant it: The "melding" of the divine and the worldly, the sacred and the profane. Since duality is something that I find fascinating, it resonates even more for me. For those who have read Miller's work with all of its metaphysical ramblings and carnal escapades, the title may work quite well. The music here is not to be taken as any sort of literal musical tone painting, or musical depiction of events or personalities from the book. Rather, the memory of those books has colored the process behind the composition of the music.

A Sunday Portrait
Also written for the concerts in October 1998, this tune is an hommage to the Bill Evans Trio.

The Fifth Book
For the October 1998 concerts, this piece is sort of the beginning of my Monteverdi damage - - influenced by my reacquainting myself with his fifth book of madrigals.

A Weed Is a Plant Out of Place
This piece was inspired by a line in The Killer Inside, a novel by Jim Thompson.

Not Silent
Sort of an hommage to Miles Davis' In a Silent Way.

Parallel Lions
An semi-strange tune that incorporates inspiration from both Claudio Monteverdi and James Brown.

The Slow, Sweet Waves of Regret
A strange little groove piece to cleanse the palette after all the long pieces.

A Lost Road
A little benediction and showcase for Alex.

 

 

 

 

 

 

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