Forward to Get Back
Andy Milne
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Producer:
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Andy Milne
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Executive Producer:
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Mike Kelly
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Musicians: |
Andy Milne – piano, keyboards |
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Special Guests:
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Ralph Alessi – trumpet (3, 5)
Steve Coleman – alto saxophone (4, 7, 10) Matthew Garrison – electric bass (1, 9) |
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Recorded By:
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Joe Marciano @ Systems Two – Brooklyn, NY |
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Mixed By:
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Joe Marciano & Andy Milne @ Systems Two – Brooklyn, NY
(May 1st & 2nd, 1997) |
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Mastered By:
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Allen Tucker @ Foothill Digital – New York, NY
(May 5th, 1997) |
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Color Photography:
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Kent Taylor
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Studio Photography:
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Sophia Wong
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Graphic Design:
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Kristin Kelly Colombano
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Hockey photo courtesy of Upper Canada College Archives
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Publishing:
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All compositions by Andy Milne and published by Triborg Publishing, (SESAC/GEMA), except: |
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| Special Thanks: |
To Mark, Reggie, Robin, Matt, Ralph, & Steve for giving to this recording, your personalities and bringing the music to life! · To Joe, Nancy, & Allen for knowing your shit and always being ready to kick ass! · To Natalie Bullock, Sophia Wong, Belinda Edmondson & Chris Jackson for donating time and compassion to the overall cause. · To Gene Lake for the drums and continued support. · To The Kokobar in Fort Green, Brooklyn, for giving me the chance to prepare for this recording. · To my wife Sophia for having the guts to put up with and support me throughout this very intense time of my life!
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Acknowledgements:
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So as to offer some sort of cryptic history of my life, I’ll try to give credit in the order in which it appeared. Betty Davis for passing on the gift. My Family for continuous love and support. Jim Nicol for giving me the bug. Oscar Peterson, Don Thompson, David Mott, Richard Perry, John Gittins, Frank Falco, Rob Mee, Alma Pick, just cause. Tom Kerr, Rob Sandler, Tim Posgate for early encouragement. Alain de Grosbois, Paul Raynor, and The Canadian Government (when they were giving and not taking), for schooling my business chops. Steve Coleman, Stanley Cowell, Rufus Reid, Marvin “Smitty” Smith, and Kenny Wheeler because the Banff experience changed my life forever. Cassandra Wilson, Greg Osby, David Gilmore, Gene Lake, Reggie Washington, James Weidman, Geri Allen, Ravi Coltrane, Black Indian, Sub-Zero, & Kokayi, Robin Eubanks, and Muhal Richard Abrams for helping a kid from Canada make the transition to the Big Apple. Debby & David Beatty, Otto & Linda Hooks, Kye Epps, Laila Jenkins, Catherine Conway, and Carolyn Jackson, for making my tours that much more possible. Betty-Jean Lifton, for the inspiration for Betwixt. Niles Lang, for finding a means. Eve-Marie Breglia for shooting me. George Mitchell, Kevin Dempsey, Bill Mahar, Remi Bulduc, Dave Binney, Kevin Bruce Harris, Bill McClellan, Gene Lake, Maritri Garrett, Matthew Garrison, Audrey Martells, Monique Miller, & Wardell Howell for putting your voice on some of this music along the way. | |
| Acknowledgements – Part 2: |
Art Tatum, Duke Ellington, Thelonious Monk, Herbie Nichols, Cecil Taylor, Randy Weston, Oscar Peterson, Geri Allen, Herbie Hancock, Bill Evans, Miles Davis, Booker Little, Bela Bartok, Ludwig Van Beethoven, Prince, Sting, James Brown, Stevie Wonder, Michael Jackson, Joni Mitchell, Bruce Cockburn, Jaco Pastorius, Ray Brown, Marcus Miller, Dave Holland, Tony Williams, Max Roach, Elvin Jones, Ed Thigpen, Sarah Vaughan, Carmen McRae, Charlie Parker, Wayne Shorter, Gene Roddenberry, Shunryu Suzuki, and Bill Cosby, to name but a few.
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Born of a Jamaican mother and a Pakistani father, raised in a white anglophone Canadian family, I grew up hearing the music of Canadian folk artists like Joni Mitchell & Neil Young as well as The Beatles & Billy Joel. When I was still quite young, my brother-in-law gave me my first recordings of Oscar Peterson, Duke Ellington, and McCoy Tyner. From this early exposure to jazz, and perhaps due to some sort of ancestral calling, I spent much of my time as a young boy seeking out radio stations from bordering American cities which played jazz and other forms of popular black music.
I believe every creative artist has a meaningful personal explanation for their quest. As I evolve and uncover more information about who I am, I realize that my musical disposition emerges from a reservoir of eclectic cultural experiences that have had a profound impact on myself as an musician and individual. Upon joining forces with Steve Coleman and the other members of The M-BASE Collective in 1991, I observed how many creative musicians developed their own creative voice through examining their cultural/personal and musical pasts. Although I have yet to make contact with any of my birth/blood relatives, I have learned to reconcile many of the complexities of my upbringing
“Forward to Get Back” draws its inspiration from some of my earliest sonic memories through my present surroundings, both musical and spiritual. It is an expression of my unique life’s experience. I want this recording to both satisfy and surprise.
A final note to those of you who are not familiar with me. My last name is not pronounced: Mills, Miller, Mill, Milen, Millen, Millin, Milin, Millie, Miln, Milnie, Milny, Milné, or Milnee.
Quite simply, it rhymes with “kiln n. (a furnace or oven for burning, baking, or drying clay). … Milne
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“Milne masterfully surfs the aural ocean on waves of funk and swing; splashing drops of Herbie, Geri Allen and his own rippling grooves. …Andy Milne thrills. He’s a definite comer.” Jazz Times Magazine |
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“Milne, like his mentor Coleman, is clearly reaching for something beyond the post-bop pale. He states his case boldly and eloquently on Forward to get Back ”
Music from the Four Corners – Bill Milkowski |