Forward in All Directions
Andy Milne & Dapp Theory
Producers: | Jimmy Haslip and Andy Milne |
Executive Producer: | James Nicol |
Musicians: | Andy Milne – piano, prepared piano, Fender Rhodes & synthesizers Aaron Kruziki – soprano saxophone, clarinet, bass clarinet, douduk, alto saxophone & additional keyboard programming John Moon – vocal poetics (2,4,5) Christopher Tordini – acoustic & electric bass Kenny Grohowski – drums & percussion |
Special Guests: | Ben Monder – guitar (4,8,10) Jean Baylor – lead vocal (5) Gretchen Parlato – additional vocals (5) |
All music composed and arranged by: Andy Milne Published by: Triborg Publishing (SESAC/GEMA) |
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Recorded by: | Tom Tedesco @ Tedesco Studios – Paramus, NJ (April 5th-6th, 2012 & January 8th 2013) |
Additional Recording: | Andy Milne, Marcus Baylor |
Mixed by: | Rich Breen @ Dogmatic Sound – Los Angeles, CA (Feb. 8th-12th, 2013) |
Mastered by: | Graemme Brown @ Zen Mastering – Vancouver, BC (April 2014) |
Design: | Brian Hanlon (www.ogmediagroup.com) |
Photography: | Hal Horowitz |
Special Thanks: | Gail Boyd, La Tanya Hall, Paul Pesco, John McCormick, The Jazz Gallery, Bobby Colomby, Ina Dittke, Avery Brooks, Bill Mays, Benoit Delbecq, Quinsin Nachoff, Chris Stover, Fred Hersch, everyone who supported the Kickstarter campaign, AND my entire family. |
Very Special Thanks to: | Very Special Thanks to Jimmy, Rich, Tom, Graemme, Ben, Jean, Gretchen, Kenny, Chris, John and Aaron for the artistry you shared on this recording. |
I dedicate this recording in memory of my sister Vicki, whose honesty, generosity and tenacity broke the sound barrier. |
Although I didn’t realize it, I started making this CD sometime around 2005 as I began to allow my creative energies to develop beyond Dapp Theory. I say, “didn’t realize,” because during the subsequent years I would discover how profoundly my expanding creative horizons would influence and enrich my vision for Dapp Theory. This recording is a celebration of that journey and an expression of the creative potential and power of unintended consequences. By the time it is released, it will also mark the 15th anniversary of the band’s 1st recording.I first met bassist/producer Jimmy Haslip in 2002 when Dapp Theory was completing an epic four-week engagement in Rocco Somazi’s venue in Los Angeles. Jimmy came to hear us at the insistence of legendary producer Bobby Colomby, who loved the band and wanted everyone in LA to hear us. In attendance that night was an unbelievable who’s who of the LA jazz community. Jimmy instantly became a close personal friend and fan of the band, eager to help further my career goals. When Jimmy was making the decision to leave The Yellowjackets, I coincidentally asked him if he’d produce the next Dapp Theory CD. My timing proved to be ideal and I moved swiftly into planning mode, launching a Kickstarter campaign to help bolster my budget. Jimmy’s depth of experience and his grounded and relaxed being-ness was essential in my completing this recording. His ears, instincts, and resourcefulness were an amazing asset and his unrelenting support made him an invaluable partner.
Spoken language affords our species multiple dialects of communication, however, a misplaced accented syllable can lead to humorous or disturbing miscommunication. As humanity navigates the general contraction of the globe and its resources, we are tasked with the challenge of balancing a singular interpretation of reality against the stratification of universal comprehension. For centuries, music has offered humankind an alternative to the shortcomings of spoken language. As a reliable source of truthful expression, it has the capacity to reveal a vast storehouse of biokinetic, biogenetic and spiritual answers to what makes us tick. Stay tuned– I’m just scratching the surface.
—Andy Milne
“…an album that brims with both emphatic and implied elements. Forward, yes, but never simply forward in a neat, linear fashion.”
Jazziz Magazine |
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“As Jazz moves further into the 21st Century it continues to enrich itself from various sources. The music here proves it can do so without diluting its artistic integrity.” New York City Jazz Record |