The irony is not lost on Andy Milne.
It was the fall of 2017 and the lauded jazz pianist, professor and composer had just finished recording The Seasons of Being, his most ambitious work to date. A musical suite based on the diagnostic principles of homeopathic healing as tailored to its individual musicians, it was the culmination of the music-as-remedy theory Milne had been working on for nearly a decade. He was elated. Then doctors told him he had been living with prostate cancer the whole time.
“The album references there’s pain in the healing, but part of it is acknowledging. You have to know something is there to heal,” he explains over the phone from his New York apartment.
In retrospect, it made sense. From its conception many years ago, The Seasons of Being had consumed Milne’s mind, bringing into focus moments from his past which had previously appeared unrelated. Weaving elements of his upbringing in small-town Ontario, subconsciously exploring his relationship to his adopted father, and the medical field as a whole, it came together as a theory that had the potential of re-imagining how musicians improvised. In other words, it was his life’s thesis, and seeking it would take him deeper into his own confused heritage then perhaps he expected to go.
“I feel like every piece of this journey was important to bring about change in my life,” he says. “It goes back to me being adopted and my dad being a doctor and not knowing my medical history. Trying to understand my whole life, to piece all this information together. It’s a broken code. Not knowing what’s on the other side.”
“Take, for example, Three-Way Mirror [which features saxophonist Michael Attias, poet John Moon and cellist Christopher Hoffman]. I had three individuals who all shared the same pathology and I wanted to experiment in a way, to join their experiences into one piece of music. They all shared the pathology of Sepia. From the point of view of relating to people, they’re content keeping to themselves. The famous person who embodies this pathology is Humphrey Bogart. So Three-Way Mirror is the idea of taking these three people and relating them into this one experience. The songs focus the attention on [their] cure: to be conjoined with the world. Even though there are two very distinct pieces of music in that one composition, both sections have a sense of wanting to embrace the soloist.”
Almost a year after the survey, Milne presented the work to Dapp Theory. “I wanted them removed enough from the survey that they weren’t thinking about it.” The results proved a success instantaneously and, by 2015, The Seasons of Being was affecting audiences. “I had people telling me it took them to this place of great pain, where they lost a child. When you have that power, it takes them to a very powerful place. It’s part of the healing.”
“For me, because I was adopted, I have a very interesting perspective on nature vs. nurture. It’s hard not to ask yourself where something comes from. When it comes to having health problems, you don’t know where to look.”
Likewise, band members told Milne they were feeling better following their improvisations.
Still suffering from back pain, Milne entered the studio to record The Seasons of Being with his father in mind. “He passed shortly before I started composing this music. But you reflect on the way your parents affect your work. For me, because I was adopted, I have a very interesting perspective on nature vs. nurture. It’s hard not to ask yourself where something comes from. When it comes to having health problems, you don’t know where to look.”
Shortly after recording wrapped, Milne was diagnosed with prostate cancer. Following surgery in December of that year, his back pain disappeared. Ten months of cancer treatment followed.
As fate would have it, those months would prove to be some of the most successful of his career. He was offered a position at the University of Michigan, where he recently joined the Department of Jazz & Contemporary Improvisation. And on his birthday, he was preparing to perform at Jazz at Lincoln Center when he discovered he had earned his first Juno nomination, Group Jazz Album of the Year.
For Milne, who had always made his way musically back to his Canadian roots, co-writing with Bruce Cockburn or working on a score for William Shatner’s documentaries, the nomination was further proof of concept. And with a promising bill-of-health recently delivered, he sees the awards show as a sort of coming out party.
“[The Seasons of Being] was not just for the musicians playing to be plugged into this really optimized environment where they feel totally calibrated with the situation you’re plugging them into, but it’s also for the people experiencing the result of that optimization,” he explains. “It’s an album for me that’s very personal and very hard fought. I have an enormous amount of gratitude that my peers saw the artistic merit in what I’ve created here because I put a lot of myself into it. It’s revealing a lot of trauma.”