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Jason Kao Hwang | Blood

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Blood

by Jason Kao Hwang

Blood meditates upon the emotional traumas of war retained within the body as unspoken vibrations that reverberate throughout communities and across generations. The violence of deeply held memories are not relived but rise within our voice as strength.
Genre: Jazz: World Fusion
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1. Breath Within the Bomb
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2. Surge, Pt. 1
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3. Surge, Pt. 2
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4. Evolution
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5. Declarations
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ABOUT THIS ALBUM


Album Notes
BLOOD
performed by Jason Kao Hwang/Burning Bridge

Jason Kao Hwang - composer/violin
Taylor Ho Bynum - cornet/flugelhorn
Joseph Daley - tuba
Andrew Drury - drum set
Ken Filiano - string bass
Sun Li - pipa
Steve Swell - trombone
Wang Guowei - erhu


While driving down on an unlit road, my headlights flashed upon the bleeding carcass of a deer. My heart rate exploded as I swerved away, narrowly avoiding a collision. This overwhelming shock made me reflect upon my mother’s harrowing experiences in China during World War II. She was in a pharmacy struck by a Japanese bomb. Knocked unconscious, she awoke as the lone survivor surrounded by the dead. I also thought about Butch Morris and Billy Bang, musicians I’ve worked with who fought in Viet Nam. The magnitude of pain and sorrow that they endured is unimaginable.

Blood meditates upon the emotional traumas of war retained within the body as unspoken vibrations that reverberate throughout communities and across generations. Through Blood the violence of deeply held memories are not relived but transposed into our sound. Blood in our sound rise within our voices as strength flows into wholeness.

Extreme danger triggers powerful forces of “fight or flight”. This conflict can produce an immobility response, which penetrates and remains within the body as emotional trauma. Similarly, when a bomb explodes, there is blast wave outward that leaves a near vacuum in its wake. This is filled by an equally deadly blast wind in the opposite direction. Within an explosion, Blood was created. - Jason Kao Hwang


LINER NOTES by Scott Currie

Blood by Jason Kao Hwang and his Burning Bridge ensemble represents the latest masterwork to date in the oeuvre of one of the jazz avant-garde’s most original compositional voices: an uncompromising artistic vision as captivating as it is challenging. Hwang succeeds here at incorporating improvisational statements into unified compositional schemes with what strikes me as a cinematic, directorial style, an engaging conception of sonic cinéma vérité. His mastery of musical mise-en-scène allows him to place his outstanding cast of artists within well-structured soundscapes, across which he pans with lyrical lines and propulsive rhythms that his soloists continue seamlessly, as he zooms in to foreground their candid improvised responses to the challenging situations in which they find themselves. The compositional stage-sets he conceives showcase an activist aesthetic of polycultural hybridity, in which uniquely orchestrated sounds combine to evoke overtones of his own Asian American history and location. Building upon Burning Bridge’s acclaimed debut recording (2012, Innova), he brings experimental jazz styles into mutually enriching dialogue with traditional Chinese music in order to confront, contemplate, and counteract the unspeakable violence whose disturbing, unrelenting echoes engendered this piece.

He explores this harrowing theme across some 28 painstakingly staged scenes, comprising a continuous play of sound divided into five acts. The first act begins and ends with the reverberations of distant bass explosions with flying treble debris, in between which ensemble lines guide brass soloists through unfolding ritual contexts, and freeze-frame sustained tones launch duos or trios into intense dialogue; collective improvisations flow seamlessly into individual statements, which in turn give way to lyrical contrapuntal melodies before returning again to ensemble extemporization. The second act opens with a mournful ceremonial procession that suddenly transforms into a bluesy strut over a sinewy rhythm-section groove that carries violin and cornet solos into juxtaposition with subsequent erhu and pipa solos, which lead into a climactic syncopated ensemble passage. The third act returns to the ritualized austerity of the first, with a tuba solo over processional strings, followed by freeze-frame pipa-percussion and trombone-erhu-bass dialogues, flowing into aggressively rhythmic ensemble figures that set off an explosive drum solo, over which a concluding free-rhythm coda ultimately marches off. The fourth act brings the beat back, with an angular ensemble passage launching a series of bluesy solos over a muscular shuffle groove, which further propels violin-led call-and-response exchanges into collective improvisation that resolves into to a world-weary ensemble reprise; even the funky violin solo and light-hearted string passage that follow cannot prevent the return of repressed, collectively improvised, traumatic memories. The final act expands the first’s reverberating booms and flying debris into bass and tuba solo salvos underscored by string shrapnel, introduced, bridged, and concluded by poignant ensemble prayers for peace.

The impassioned realization of this ambitious script owes much to the empathetic artistry of the virtuoso ensemble Hwang has assembled and sustained since 2009, with support from Chamber Music America, the Doris Duke Foundation, and U.S. Artists International, as well as performances at Edgefest, the Vision Festival, the Victoriaville Festival de Musique Actuelle, the Chicago World Music Festival, the University of Massachusetts, Flushing Town Hall, Roulette, and the Bop Shop.

With Burning Bridge, composer/violinist Jason Kao Hwang sets the boundaries of aesthetic sensibilities, cultural assumptions, and his personal history ablaze. Hwang burns bridges between the traditional roles of the ensemble’s instrumentation—whether jazz, classical, or traditional Chinese—to forge a single musical voice that resonates with distinct cultural overtones. With the poetic complexities inherent to this sound, the music possesses all the attributes of any human being. Burning Bridge is the experience, not the representation. Burning Bridge by Jason Kao Hwang was founded in 2009 with support from Chamber Music America’s 2009 New Jazz Works: Commissioning and Ensemble Development program funded through the generosity of the Doris Duke Charitable Foundation.

DESCRIPTION:
Burning Bridge was featured in the 2018 summer issue of Chamber Music America Magazine. Burning Bridge was chosen on the following Best Jazz Recordings of 2012 lists: Kevin Whitehead, NPR, Fresh Air; Ed Hazell, Jazziz; Robert Iannapollo, NYC Jazz Record; Steve Koenig, Acoustic Levitation; Giuseppe Segala, All About Jazz, Italy; Lloyd Sachs, JazzTimes

In 2015, Burning Bridge, with the support of U.S. Artists International, performed at the Festival de Musique Actuelle in Victoriaville, Canada. They have also performed at the University of Massachusetts, Flushing Town Hall (NYC), Vision Festival (NYC), Roulette (NYC), Chicago World Music Festival, Edgefest (Ann Arbor, MI), and the Bop Shop (Rochester, NY).

Blood was recorded on March 11 and 12, 2018 at Kaleidoscope Sound in Union City, NJ.

Producer/Mix Engineer: Jason Kao Hwang
Recording Engineer: Kyle Cassel
Mix Consultants: Andrew Drury, Ken Filiano
Mastering Engineer: Paul Zinman, SoundByte Production
Liner Notes: Scott Currie
Art and Design: Bill Mazza


Our deepest thanks to the GoFundeMe supporters who contributed over $6000 to produce this recording: Mimi Hwang, Kaikay Hwang, Scott D. Miller, Tom Swafford, Luis Torregrosa, Philip Perret, Nancy Meli Walker, Ed Hazell, Joseph Daley, Leila Kronenberger, Melyssa Clibbon, Larry Blood, Eric Salazar, Jamie Baum, Carol Kraus, Lynne McVeigh, Ron Alden, Kyoko Kitamura,Wilfred Loh, Taiyo Ebato, Taylor Ho Bynum, Fred Eurich, Rob Miller, Suzanne Lam, Robert & Donna Iannapollo, Douglas Cohen, Peter Pohly, Peter Schulz, Marc Andren, Tom Kohn, Mark Chung, Peter Marter, Han-earl Park, Albey Jane, Kaoru Watanabe, Masaki Yamagata, David Sewelson, Peter Kuhn, Midori Licht, Ken Irwin, Chris McIntyre, Jeff Song, James Keepnews, Dinah Kierstead , Piotr Michalowski, Patrick Frisco, Laura Chen-Schultz, Brenda Vincent, Jean Chiang, Jean Tsien, Dan Edes, Eric Chen, Kathleen Schwallie, Miguel Vidal, Pei Lee, Phil Jones, Michael Resil, William Parker, Florence Barrau-Adams, Diane Moser, Lars Bjorn, Patrick Grant, Stephen Schmidt, David Simons, Robert Sutherland-Cohen, Pauli Hallman, Bill Mazza, Elizabeth Panzer, Alexander Walton, Kenneth Lam, Gregg Miller, Ramsey Ameen, Bill McConaghy, Michael McNeill, Akira Abe, Michelle Kinney, Abby London-Crawford, Geoffrey Lee, Ben Stapp, Patrick Brennan and Anonymous Donors. Blood was recorded on March 11 and 12, 2018 at Kaleidoscope Sound in Union City, NJ.

Producer/Mix Engineer: Jason Kao Hwang
Recording Engineer: Kyle Cassel
Mix Consultants: Andrew Drury, Ken Filiano
Mastering Engineer: Paul Zinman, SoundByte Production
Liner Notes: Scott Currie
Art and Design: Bill Mazza

SELECT REVIEWS FROM THE FIRST BURNING BRIDGE CD:

Violinist Jason Kao Hwang stands at the crossroads of his influences - classical, jazz and traditional Chinese music - and sets the divisions between them ablaze. DOWNBEAT, Shaun Brady - May 1, 2013

Another key feature is the interplay between Chinese and Western instruments. Hwang frequently plays them off against each other... But rather than displaying an opposition or contrast, it's amazing how the two complement each other. This is also true of ensemble passages, where the blend can be invigorating and intoxicating....Hwang's composition, while epic in scope, conveys the intimacy of lives lived in a foreign culture. - The New York City Jazz Record, Robert Iannapollo

Burning Bridge is an incredibly personal journey that transcends the traditional review by becoming a complete experience for the critic and for the average listener... A truly stunning release of intimate beauty and simplicity.
Critical Jazz, Brent Black - June 12, 2013

Hwang has his finger firmly on the racing pulse of the 21st century, where everything interconnected and boundaries of time and geography seem hopelessly quaint. If there is a war cry for music of the new millennium, it might well be: Burn the bridges – there’s no going back. Stephen Brookes, The Washington Post, November 22, 2010

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