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by Ann Moss

A dynamic new recording project featuring some of the extraordinary new and recent American vocal/chamber music I have championed over the past decade, recorded with a dream team of collaborators from the chamber music, new music, and jazz communities.
Genre: Classical: Vocal Music
Release Date: 

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  Song Share Time Download
1. Practice Your Flamenco
Ann Moss & Jeremías García
5:32 $0.99
2. Silver Apples: The Moon
Ann Moss & Steven Bailey
3:06 $0.99
3. Silver Apples: Eldorado III
Ann Moss & Steven Bailey
4:46 $0.99
4. Silver Apples: The Cat and the Moon
Ann Moss & Steven Bailey
3:43 $0.99
5. Silver Apples: Carpe Luna
Ann Moss & Steven Bailey
3:23 $0.99
6. For Love: Kore
Ann Moss & Karen Rosenak
4:02 $0.99
7. For Love: The Rain
Ann Moss & Karen Rosenak
3:10 $0.99
8. For Love: Water Music
Ann Moss & Karen Rosenak
1:27 $0.99
9. Seven Songs: The Return
Ann Moss & Hausmann String Quartet
2:13 $0.99
10. Seven Songs: The Going
Ann Moss & Hausmann String Quartet
2:44 $0.99
11. Seven Songs: Breakfast
Ann Moss & Hausmann String Quartet
1:13 $0.99
12. Seven Songs: All Being Well
Ann Moss & Hausmann String Quartet
3:34 $0.99
13. Seven Songs: Long Tom
Ann Moss & Hausmann String Quartet
3:12 $0.99
14. Seven Songs: Back
Ann Moss & Hausmann String Quartet
2:51 $0.99
15. Seven Songs: Lament
Ann Moss & Hausmann String Quartet
2:55 $0.99
16. Joni Mitchell Suite: Conversation
Ann Moss & Jeremías García
3:52 $0.99
17. Joni Mitchell Suite: The Arrangement
Ann Moss & Matt Berkeley
3:38 $0.99
18. Joni Mitchell Suite: The Hissing of Summer Lawns
Ann Moss, Eric Chin, Jeremiah Shaw, Matt Berkeley, Dewayne Pate & Joe Bagale
3:16 $0.99
19. Joni Mitchell Suite: The Dry Cleaner from Des Moines
Ann Moss, Matt Berkeley, Dewayne Pate & Joe Bagale
3:39 $0.99
20. Joni Mitchell Suite: Cactus Tree
Ann Moss & Hausmann String Quartet
5:22 $0.99
Downloads are available as MP3-320 files.


Album Notes
CURRENTS is a dynamic new recording project featuring some of the extraordinary new and recent American vocal/chamber music I have championed over the past decade. Produced by the legendary Leslie Ann Jones at Skywalker Sound, and recorded with a dream team of collaborators from the chamber music, new music, and jazz communities, the repertoire on CURRENTS includes two works composed especially for me by American composers Liam Wade and Vartan Aghababian; an unpublished song cycle by the late John Thow; a haunting, lyric ballad for soprano and Flamenco guitar by Weslie Brown; and five new arrangements created especially for this recording of songs by one of the most beloved songwriters of all time, Joni Mitchell.

Hausmann String Quartet
Steven Bailey - Piano
Karen Rosenak - Piano
Jeremías García - Guitar
Matt Berkeley - Acoustic Piano, Hammond B3, Fender Rhodes
Dewayne Pate - Bass
Joe Bagale - Drums
Produced by Leslie Ann Jones
Recorded by Leslie Ann Jones and Dann Michael Thompson
Edited by Robert Gatley
Mixed by Leslie Ann Jones
Recorded and mixed at Skywalker Sound, a Lucasfilm, Ltd., company
Marin County, CA
Mastered by Michael Romanowski at Michael Romanowski Mastering, San Francisco, CA
Executive Producers Jake Heggie, William and Bonnie Wade
Photo Credit Debra A. Zeller
ⓟ&Ⓒ 2013 All Rights Reserved.


Poetry and Notes:

Music and lyrics by Weslie Brown

The framework of Weslie's epic ballad “Practice Your Flamenco” had taken nearly ten years to come to fruition when she revealed it to me and Flamenco Guitarist Jeremías García in 2008. The lead sheet was unlike most scores I encounter -- a simple pop tune over chord changes -- and I was captivated by her gorgeous melody and haunting lyric. We transposed it a fifth higher than initially conceived, allowing me to explore a wider color palette and vocal range, and the three of us experimented with rhythmic textures and sketched out an intro and coda. If it is possible for a classical singer to have a hit single, then this is mine.

As you sail out of my harbor
All the winds will multiply
I will climb into my tower
And I'll wave our last goodbye.
May your travels bring you pleasure
And the freedom of the sea
When you practice your Flamenco
Always sing to me.

You're bound to have another lover
In the comfort of silk sheets
If you wonder how to please her
Just remember what pleased me
As we danced inside my tower
All your secrets seemed so sweet
And you'd practice your Flamenco
Singing just for me.

Was there ever life without you?
Did we meet out of the blue?
And must I go on believing
I'll be empty without you?


Music by Liam Wade (b. 1978)

Liam and I chose the moon-themed poems for his enchanting song cycle. Steven and I contributed musical ideas which Liam incorporated into his score. He left us a great deal of room for improvisation in these magically whimsical songs, allowing for a fresh perspective in every performance. Working in the studio with Leslie and Dann, the cycle evolved in totally unexpected ways revealing still new surprises.

The Moon
Poem by Robert Louis Stevenson

The moon has a face like the clock in the hall;
She shines on thieves on the garden wall,
On streets and fields and harbour quays,
And birdies asleep in the forks of the trees.
The squalling cat and the squeaking mouse,
The howling dog by the door of the house,
The bat that lies in bed at noon,
All love to be out by the light of the moon.
But all of the things that belong to the day
Cuddle to sleep to be out of her way;
And flowers and children close their eyes
Till up in the morning the sun shall arise.

Eldorado III
Poem by Edgar Allen Poe

Gaily bedight,
A gallant knight,
In sunshine and in shadow,
Had journeyed long,
Singing a song,
In search of Eldorado.
But he grew old
This knight so bold
And o'er his heart a shadow
Fell as he found
No spot of ground
That looked like Eldorado.
And, as his strength
Failed him at length,
He met a pilgrim shadow
"Shadow," said he,
"Where can it be
This land of Eldorado?"
"Over the Mountains
Of the Moon,
Down the Valley of the Shadow,
Ride, boldly ride,"
The shade replied
"If you seek for Eldorado!"

The Cat and The Moon
Poem by William Butler Yeats

The cat went here and there
And the moon spun round like a top,
And the nearest kin to the moon,
The creeping cat, looked up.
Black Minnaloushe stared at the moon,
For, wander and wail as he would,
The pure cold light in the sky
Troubled his animal blood.
Minnaloushe runs in the grass
Lifting his delicate feet.
Do you dance, Minnaloushe, do you dance?
When two close kindred meet.
What better than call a dance?
Maybe the moon may learn,
Tired of that courtly fashion,
A new dance turn.
Minnaloushe creeps through the grass
From moonlit place to place,
The sacred moon overhead
Has taken a new phase.
Does Minnaloushe know that his pupils
Will pass from change to change,
And that from round to crescent,
From crescent to round they range?
Minnaloushe creeps through the grass
Alone, important and wise,
And lifts to the changing moon
His changing eyes.

Carpe Luna
Poem by Lisa DeSiro

After practicing
self-perfection --
my mind alone,
my fingers, my arms,
my body
the only sound
in the world
for hours --
I left the room,
scuffed down empty halls
to a door, pushed
myself out
into sudden silence.
And there was the moon,
gleaming, round
as a snowball, frozen
amid shallow drifts of cloud.
I reached up
tall as the night sky,
grabbed that moon
and melted it
with my bare hands.


Music by John Thow (1949-2007)
Poems by Robert Creeley

Although we never met in real life, after performing John Thow’s contemplative and delicately wrought cycle I feel a strong connection to him. My first introduction to his work came when I was asked to sing at his memorial service, and in reading through the manuscript which he was still revising at the time of his passing, the strange beauty of John’s music and Creeley’s poems immediately spoke to me on a visceral level. I feel especially fortunate for this unique opportunity to record and share an unknown song cycle of great beauty.

The Rain
Water Music

These poems appear in For Love: Poems 1950-1960 by Robert Creeley
(New York: Scribners, 1962) ISBN 0-684-71738-7


Music by Vartan Aghababian (b. 1964)
Poems by Wilfrid Wilson Gibson

Vartan and I conceived the idea for Seven Songs in the early winter of 2002 as our country was entering into armed conflicts in Iraq and Afghanistan. With imagery ranging from soldiers in the trenches, to wives and mothers on the home front, to the plight of veterans returning to broken lives, this powerful work evokes compassion for those who have given their lives or lost loved ones in the past, and challenges us to question our modern military actions and motivations.

The Return

He went, and he was gay to go;
And I smiled on him as he went.
My son, ‘twas well he couldn’t know
My darkest dread, nor what it meant —
Just what it meant to smile and smile
And let my son go cheerily —
My son … and wondering all the while
What stranger would come back to me.

The Going

He’s gone.
I do not understand.
I only know
That as he turned to go
And waved his hand,
In his young eyes a sudden glory shone,
And I was dazzled with a sunset glow,
And he was gone.

23rd April 1915


We ate our breakfast lying on our backs,
Because the shells were screeching overhead.
I bet a rasher to a loaf of bread
That Hull United would beat Halifax
When Jimmy Strainthorpe played full-back instead
Of Billy Bradford. Ginger raised his head
And cursed, and took the bet; and dropt back dead.
We ate our breakfast lying on our backs,
Because the shells were screeching overhead.

All Being Well

All being well, I’ll come to you,
Sweetheart, before the year is through;
And we shall find so much to do,
So much to tell.

I read your letter through and through,
And dreamt of all we’d say and do,
Till in my heart the thought of you
Rang like a bell.

Now the bell tolls, my love, for you;
For long before the year is through
You’ve gone where there is naught to do
And naught to tell.

Yet mayn’t I find when life is through
The best is still to say and do,
When I at last may come to you,
All being well?

Long Tom

He talked of Delhi brothels half the night,
Quaking with fever; And then, dragging tight
The frowsy blankets to his chattering chin,
Cursed for an hour because they were so thin

And nothing would keep out the gnawing cold –
Scarce forty years of age, and yet so old,
Haggard and worn with burning eyes set deep –
Until at last he cursed himself asleep.

Before I’d shut my eyes reveille came;
And as I dressed by the one candle-flame
The mellow golden light fell on his face
Still sleeping, touching it to tender grace,

Rounding the features life had scarred so deep,
Till youth came back to him in quiet sleep:
And then what women saw in him I knew
And why they’d loved him all his brief life through.


They ask me where I’ve been,
And what I’ve done and seen,
But what can I reply
Who know it wasn’t I,
But someone just like me,
Who went across the sea
And with my head and hands
Killed men in foreign lands…
Though I must bear the blame
Because he bore my name.


We who are left, how shall we look again
Happily upon the sun or feel the rain,
Without remembering how they who went
Ungrudgingly, and spent
Their all for us, loved too the sun and rain?

A bird among the rain-wet lilac sings –
But we, how shall we turn to little things,
And listen to the birds and winds and streams
Made holy by their dreams,
Nor feel the heart-break at the heart of things?


Words and music by Joni Mitchell (except for The Hissing of Summer Lawns - Mitchell/Guerin, and The Dry Cleaner From Des Moines - Mitchell/Mingus)
Arranged by Liam Wade & Ann Moss (unless otherwise noted)

This suite explores the broad, multifaceted spectrum of musical worlds I inhabit. Collaboratively re-imagined and conceived, our arrangements highlight Mitchell’s artistic ties to the canon of classical vocal music, further cemented by her inclusion in the Great American Songbook.

Conversation (1970, arr. Garcia/Moss)
The Arrangement (1970, arr. Berkeley/Moss)
The Hissing of Summer Lawns (1975)
The Dry Cleaner From Des Moines (1979)
Cactus Tree (1968)

Lyrics for Joni Mitchell’s songs can be viewed at her website.


Soprano ANN MOSS is an ardent and acclaimed champion of contemporary vocal music who performs and collaborates with a dynamic array of American composers. Her high, silvery, flexible voice has been singled out by Opera News for its “beautifully pure floated high notes” and by San Francisco Classical Voice for its “powerful expression.” In addition to working closely with well-known composers such as Jake Heggie, John Harbison, Aaron Jay Kernis, Eric Sawyer, Ivan Fedele, and Wayne Peterson, Ann seeks out and performs works by new and emerging voices at forums, festivals and concert series across the USA. September 2013 marks the release of her debut CD CURRENTS, produced by multiple Grammy Award-winner Leslie Ann Jones and recorded at Skywalker Sound, a Lucasfilm, Ltd., company. CURRENTS features a dream team of collaborators from the chamber music, new music, and jazz communities performing some of the extraordinary new and recent American vocal/chamber music Ann has championed over the past decade.

Ann Moss has sung premieres and performed contemporary repertoire with M2B, Earplay, Eco Ensemble, One Art Ensemble, New Music Works, San Francisco Lyric Opera, the Ives String Quartet, Alexander String Quartet, Hausmann Quartet, Sanford Dole Ensemble, Composers in Red Sneakers, at the Sacramento Festival of New American Music, Fresno New Music Festival, PARMA Festival, SF Song Festival, Other Minds Festival, Switchboard Music Festival, Sonic Harvest, CNMAT, and in frequent recitals of contemporary art song. In the 2013-2014 season she performs the west coast premiere of Henri Dutilleux’s "Le temps l’horloge" for Soprano and Orchestra, composed in 2007 for Renee Flemming, Schoenberg’s epic String Quartet No. 2 on a concert tour with the Hausmann Quartet, as well as premiering new chamber works composed for her by Vartan Aghababian and Liam Wade.

Ann Moss is co-founder and Artistic Director of CMASH, a new-music repertory group dedicated to fostering and sustaining long-term collaborative relationships between composers and performers. She has been personally responsible for the creation and premiere of over fifty art songs, works of vocal chamber music and operatic roles, from composers such as Liam Wade, Kurt Erickson, Sanford Dole, Miriam Miller, Vartan Aghababian, Heather Gilligan, Weslie Brown, Matthew O’Malley, Ruth Huber, Allen Shearer, Kenneth Froelich, Garrett Shatzer, Carlos Gamboa, Joshua Fishbein, Jessica Rugani, Jacob Bertrand, and Erik Jekabson. Ann is also a founding member of One Art Ensemble, a chamber ensemble highlighting new and historic works for soprano, viola and piano. Ann Moss served on the 2008 & 2011 faculty at CSU Summer Arts' Composer/Performer Collaboration Workshop, and has delivered lectures on composition for the solo voice at MIT, University of Texas Pan America, Sacramento State University, California State University Los Angeles, and Cosumnes River College.



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Music is fantastic
First time I heard a Jonie Mitchell arrangement done this way and I've got to say it is just fantastic. The album as a whole has something for everyone and Ann Moss's voice is just beautiful in all registers. Thank you for providing us with a great album to be remembered for years to come!!