David Darling & Eve Kodiak | The Return Of Desire: Improvisations

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darlingkodiakmusic.com daviddarling.com evekodiak.com

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New Age: Contemporary Instrumental Classical: Contemporary Moods: Type: Improvisational
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The Return Of Desire: Improvisations

by David Darling & Eve Kodiak

Contemporary sound based on a foundation of classical and world music. Spontaneous cello and piano duet creates a gentle, meditative atmosphere, for subtle and complex listening that opens the heart.
Genre: New Age: Contemporary Instrumental
Release Date: 

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  Song Share Time Download
1. Intimations
3:43 album only
2. Imagining You
9:35 album only
3. Grieving
2:47 album only
4. Breathing Cycles
1:42 album only
5. Entering The Now
4:19 album only
6. Reminiscence
2:58 album only
7. Blue-Green Berceuse
2:53 album only
8. Bridge Across The Waters
3:56 album only
9. Mystery
5:23 album only
10. Meeting of Eyes
9:24 album only
11. Who Are You? Who Am I? Who Are We?
5:34 album only
12. Approach
6:31 album only
13. Opening Hearts
2:02 album only
14. Cycles of Desire
4:12 album only


Album Notes
The Return of Desire is what can happen when two classically-trained musicians get together with no plan other than being in the moment.

Eve Kodiak: “We did not know what we were going to play . . . I’d intended to make an album that actually recorded the process of creating relationship. But I had no idea of the intimacy that this would require. There was no moment when David and I were not intensely listening to the music being created between us – because we began with no chord changes, no melodies, no assumptions, nothing except our commitment to play this moment together.”
David Darling: “When I play with a pianist, they sometimes end up going someplace I just can’t go. With Eve, that never happened. I don’t know whether it’s because she knows my music so well, or just feels it the way I do, even my rubato. . . but after the first day, we took a drive and listened to what we had recorded, and every take seemed perfect. It was a miracle.”

DD: “The weekend after we finished the CD, I listened over and over, and I realized that it could never have been recorded by players who didn’t have strong classical backgrounds.”
EK: “We exchange many different musical languages. I tend toward those Ralph Vaughn Williams-, Aaron Copland- type folk melodies. David leans more towards dark, complex romantic harmonies – Mahler, Schoenberg. We share Middle Eastern sensibilities, David with his Rumi improvisations and me with my Jewish background, as well as a feel for jazz, a reverence for Bach . . . plus about a hundred other things. So when one of us makes a musical leap, the other can jump right in after.”
DD: “I once sat behind Eve, watching her as she played. . . she has complete control of every sound and nuance.”
EK: “Each one of David’s notes tells a story.”

DD: “I remember the wonder of my mother’s piano . . . of putting my hands down on the keys and hearing instant music! Even now, I like to begin the day by just putting my hands down on the piano and listening. . . I always have paper and pencil ready to write down the first chord of the day.”
EK: “ My younger brother played the cello, so from the time I was ten until the time I left home at eighteen, I heard the cello being practiced almost every day of my life . . . my favorite sound in the world is the four open strings of a cello, and I have begun many pieces with those four mystical tones.”
DD: “I began playing the cello when I was seven. I loved the cello! It was an instrument I could put my arms around and hold.”
EK: “I started improvising on the piano at the age of three, but secretly, only while my mother was on the telephone. I believed that, as long as she kept talking, she would not hear my musical explorations . . .”


David Darling, cellist, improviser, composer, educator, was Grammy-nominated for his solo album Cello Blue. Former member of the Paul Winter Consort, he is an ECM recording artist and the composer of film scores for directors such as Wim Wenders and Jean Luc Godard.


David is also artistic director of Music for People, a non-profit organization dedicated to making the joys of improvisation available to all people, at all levels of musical experience. Music for People holds workshops throughout the year in the U.S.A. and Europe, and graduates of this unique program are sprinkled all over the world.


Eve Kodiak, pianist, improviser, composer, educator, kinesiologist is the creator of SOUND INTELLIGENCE, a new approach to learning that combines music and developmental movement. She is the author of CD/Book sets for sensory integration such as Rappin’ on the Reflexes and Feelin’ Free, which are used by teachers, parents, practitioners, and children on five continents. Her next set, Anyone Can Improvise! Making the Piano Your Own is scheduled to be released in December, 2008.


Eve is a member of The Lydian Center for Innovative Medicine, where she practices her unique combination of kinesiology and sound healing, working with people at all ages and stages.



Eve Kodiak: It’s hard to believe how quickly this album has manifested. It’s June 26, 2008, and three months ago, The Return of Desire: Improvisations for Cello and Piano was not even a thought.
Three months ago, I took a workshop with Gina Ogden, Ph.D., whose new book, The Return of Desire, published by Shambala Press, was to be released July 8. I’d brought some of my work CD’s, solo piano improvisations I was developing for healing purposes, and Gina exclaimed, “We need music for The Return of Desire!” We talked; she was serious.
I’d wanted to make an album with David Darling for two years, from the first moment I put his Cello Blue in the CD player. I was suddenly encompassed by a rich musical landscape; it was like Narnia before the animals appeared. As if in a dream, I sat down at the piano and began playing butterflies above its still waters. I belonged in that landscape; I never wanted to leave.
After Gina’s workshop, I went back to my office and improvised over a haunting circle of fifths chord progression. That night I emailed David.
In the wee hours, I woke up, the phrase “the return of desire,” resonating in my mind. I grabbed a pencil, and began writing lyrics. I wasn’t writing to anyone in particular, the words were flowing out of the feel of desire itself, the feel of that chord progression, bits of imagery glinting from the fragments of my life like shards of broken glass –

I almost remember
the scent of your hair
singed by sunlight
and brushing a bare
shoulder. . . I remember
a glimpse of fire!
Your eyes met mine and held them –
the return of desire.

The story of this song is far too complicated to tell here. It is currently a vocal single, with singer Nanette Perrotte. It’s downloadable with Gina’s book, and will eventually be part of a new vocal album.
As for this instrumental album: when I arrived at David’s studio in the middle of May, he had a thick folder of ideas I’d been sending – CD’s I’d recorded, track lists, musical ideas. He hadn’t given them much more than a glance; he was waiting for me to make some decisions.
The decision I made was to jettison all of it. It was a decision both practical and philosophical. I’ve discovered that, with improvisations, you usually want either the first take - or the two hundredth. We were on a tight schedule; first takes seemed like the
practical way to go. And, philosophically speaking, I was interested in creating music in which the medium was also the message. I wanted this CD not only to be about desire, but to record the process of two souls, beginning at point zero, in the activity of desire, attempting to find one another.
I didn’t talk to David about this intention; that would have marred the blank slate I was envisioning. So we started each improvisation only with a short image, like “early morning birds.” (This becam Intimations). Or a tiny musical instruction, like “Start with that ostinato on A.” (This became Imagining You). Once we began, we usually recorded series of pieces that followed one from the other, with no verbal cues at all. We chose about 75% of them, and put the rest in a folder for another album.
The names for the most of the pieces came later. When I listened to the music we had recorded, the titles just wrote themselves. The Return of Desire: Improvisations fulfilled my original intention in ways I could never have planned, or even imagined. Rather than describing my idea of relationship, the process of making the CD taught me about what relationship is.
We recorded most of the album in one three-day period. We met twice more to mix, and record the few pieces we still needed to create the whole. This process took less than three weeks. I then took it to the mastering studio, to bring out its luster.
Now, when I listen to The Return of Desire: Improvisations, I re-experience the two of us listening as we play, listening with an attention so complete that it is, in itself, a kind of beauty. It seems, as David says, like a miracle.






to write a review

Henry Seale

David Darling has long been a favorite of mine, but this is for my money his best yet, thanks to the seamless rapport between him and Eve Kodiak, whom I have previously known only as a sensitive interpreter of the classical piano repertoire. Her improvisational skills are a revelation, and this collaboration goes a long way toward transcending the New Age genre in which Darling's CDs have tended to be classified. Let's have more from these two gifted artists.

Damiel Faxon

Return of Desire
When I first heard the Return of Desire I was amazed, "What is that?" I usually don't like very much classical music but I couldn't resist listening to this. I looked on the CD cover to see what it was about and it said it was improvised. I have always thought improvisation is just something fun to do, but this CD was almost completely improv, and at first it sounded completely structured. But then, after I listened to it for a while I started to hear that this music was not written down or memorized, but music from the moment. I have never heard anything like it. It is completely unique.

Sue-Ellen Hershman-Tcherepnin

Return of Desire
When first-rate musicians gather to create music that is unstructured and free, first-rate music arises - brilliant, expressive and deep! We are blessed to have such soulful artists in our midst.


Genuine and Loving
This is a very tender recording. Sparse and reflective at many points, at other times jovial. Mostly, it is two very talented musicians that shared time and space in musical connectivity to produce a highly organic album. There is raw but warm emotion in the light passages. They are saying, in effect 'allow this music to envelope you in the spirit of humanity and all the wonder of our true consciousness setting us free.' Simply exquisite.

Dr. Allen Austill

The Return of Desire
“The Return of Desire,” is a stunning CD by Eve Kodiak on piano and David Darling on Cello, and is an hour of simply beautiful music. I enjoy it week after week, even while reading or writing or talking on the phone. And, of course, doing nothing but listening to the two instruments interact with one another is a truly glorious experience. It is a rare and unusual piece of music that I can only recommend with one hundred percent enthusiasm.
Dr. Allen Austill, Dean Emeritus and former Chancellor, New School University, New York City, New York.

Ora Bullit

The Return of Desire: Improvisations
The first thing I do every morning is roll over and push the button on the CD player. I listen to this music twice a day, every day. It is the most healing thing I do.

John O'Leary

The Mystery of Collaboration
I’m endlessly fascinated by collaborative undertakings that achieve exponentially greater success than individual efforts—especially in the case of two-person songwriting partnerships. Lennon-McCartney is the classic (and my favorite) example. I recently heard a CD of two talented performers which drove home to me—yet again—the power of collaborative creativity. It wasn’t a rock & roll partnership I was hearing (which is what I usually prattle about) but more of an impressionistic aural blend of two classically trained musicians in full improvisational glory. But whatever the idiom, the outcome was a confirmation that surrendering one’s ego to a collaborative project can be a win to the third power. The CD I’m referring to is “The Return of Desire: Improvisations” performed by Eve Kodiak on piano and David Darling on cello. Eve is a respected kinesiologist, cranial-sacral therapist, and author as well as a classical pianist and composer. David is a cellist and composer (once nominated for a Grammy) who has performed or recorded with the Paul Winter Consort, Bobby McFerrin, Spyro Gyra, and the Nashville Symphony Orchestra. Eve and David together weave their instrumental magic on this suite of original pieces . . .
excerpted from rockandrolllessons.blogspot.com
posted August 11, 2008

Barbara Polikoff

It is hard to believe that this compelling music is improvised, and yet, listening to it repeatedly, as I have done, makes you feel, yes, this is not music labored over, revised, vetted, but music springing direct from the soul and musical sensibility of the two musicians, cellist Darling, and pianist, Kodiak. And like spontaneous verbal expressions of love, grief, joy, regret, longing, are never said exactly the same way again. This what makes the music so immediate. You are there with the musicians at the moment oreation. You are on the musical journey with them, and though the route has not been planned, once accomplished it has the enivitability of all fine art. Listen to this music stretched out on a couch, a hammock, the floor, opening yourself to its riches. I hope you will find them as I did, precious, restorative, affirming.

Barbara Garland Polikoff
Highland Park, Il.