Pitts, Wirth, Pearlman & Bloom | 42 (Adult Music)

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Jazz: Modern Creative Jazz World: World Fusion Moods: Instrumental
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42 (Adult Music)

by Pitts, Wirth, Pearlman & Bloom

And now for something completely different! No rules, no marketing categories to fit, just high art composed and improvised in the studio by musicians with backgrounds in Jazz, Funk, Classical, Afro Pop, and Rock.
Genre: Jazz: Modern Creative Jazz
Release Date: 

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  Song Share Time Download
clip
1. I Want You Baby
Pitts, Wirth, Pearlman & Bloom
10:41 album only
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2. Morning Star
Pitts, Wirth, Pearlman & Bloom
2:32 album only
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3. Old School: To Yusef Lateef With Love
Pitts, Wirth, Pearlman & Bloom
2:34 album only
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4. One Fish, Two Fish
Pitts, Wirth, Pearlman & Bloom
8:31 album only
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5. Smiling Eyes
Pitts, Wirth, Pearlman & Bloom
5:35 album only
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6. Redwood Foreigner
Pitts, Wirth, Pearlman, Bloom & Hill
6:06 album only
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7. Rudy
Pitts, Wirth, Pearlman & Bloom
7:26 album only
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8. 42
Pitts, Wirth, Pearlman & Bloom
2:13 album only
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9. Whoville
Pitts, Wirth, Pearlman & Bloom
4:28 album only
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10. Paul's Rondo Beach Party
Pitts, Wirth, Pearlman & Bloom
2:40 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
A baby is born and it quickly becomes aware of a huge amount of sounds. Eventually the brain starts sorting these sounds and some become language, some become environmental, and some combine into a very pleasant and intriguing creation. As we develop, our ears and brains arrange more of what we hear, rhythm hypnotizes us in a directly primal fashion, repetitive phrases create tensions and releases so when changes occurs, it tickles us anew. Tones magically pull and push towards each other. Depending on where one is born, these tones and rhythms can be vastly different. As we grow older, we crave new sounds that produce more of these sensations.

We are surrounded and bombarded with music everywhere: on television, on the radio, in stores, on the internet, on our phones, in cars, and this “music” has different purposes. Some is said to calm you down, some will make you spend more money, some will make you look at a product, some will make you feel happy or sexy, some will make you want to dance. That boom, boom, boom, is primal indeed.

Most of the music available and used in advertising is targeted at the 12-17 year old humans and for most of the population, this is where the ears and brains slow down arranging sounds and get on with the business of obtaining shelter and food. We have strong and positive associations with much of the music of our youth and it connects to those memories every time we hear those songs. For the vast majority of the population, that’s enough, that music brings them joy and we can all agree, that is what music, and the arts in general, is for.

But have you ever heard a song you loved as a kid but now as an adult you find it thin and flat, not nearly as pleasing as you recall? Blame your brain for this because it is still looking to be surprised, teased, saddened, excited, elated, calmed, thrilled, but what it has heard before, perhaps many times, won’t do that anymore. Consciously, but mostly unconsciously, every time it hears something different, it records that moment, a new rhythm, a new harmony, an unexpected twist, shift or resolution. The memory of the joy one experienced as a youngster while listening to this music can not override the boredom of the brain to provide satisfaction. This is good news otherwise there would be nothing but nursery rhymes surrounding us our entire lives.

If your brain is pleased with the music of your youth or music like it, you should get another record because you will not be able to process the music here. I don’t mean that as some elitist condensation at all, let me explain. Years ago I was producing Jazz for Greenpeace, a benefit concert by about 50 top jazz artists in Detroit. Greenpeace representatives met with me at Alvin’s bar where I held a monday night jam session. As the pre-production meetings would wind down, musicians would take the stage and start performing jazz standards. Through continued conversation I determined that one of the organizers could not hear any organization in the music, she did not hear repetitive forms, could not hear the bass lines or interplay of the various instruments. The music was so new to her ears that her brain could not process the relationships of all the rhythms and notes - it was all cacophony to her. She honestly thought we were just tooting away with no organization whatsoever. I started guiding her through the music by pointing out where the forms would start again, where the melody could be heard ghosting throughout, and where instruments were reacting to each other. Her face registered absolute amazement as her brain began to organize what had been noise - she heard it! It was if she could suddenly understand French. This was all in one sitting! When the brain gets a hook and starts processing, fasten your seatbelts. My point is that unless you have nurtured your brain beyond popular music, your are less likely to hear the organization or interplay of this music and consequently derive any pleasure from it. That said, I believe this recording can meet all kinds of people wherever they fall on the spectrum but perhaps your chances are better if you have had some exposure to music that doesn't rely on four on the floor beats and vocalist acrobatics.

Wes Wirth is a bonafide genius. I’ve met many musicians over time and some have distinguished themselves as top artists, more than one even received the famed MacArthur “genius” grant. Wes immersed himself in the study of global musics, arts, environment, history, science, and embodies the renaissance man. When he plays, it’s much more than placing notes and intricate lines, it’s about being in a state that connects with a deeper, spiritual, if you wish, mindset that gives a profound and meaningfulness to a performance. This transcends any genre and is what music is really about. He composes so much that we could not even get through much of his material - more to come. He introduced me to Paul Bloom who was still in high school but attending one of his classes at New England Conservatory. Takes one to know one I suppose.

Paul came in with an entire suite of material he had composed inspired by Dr. Seuss. His compositions were flawless, complete poems, pure ideas polished with just the right amount of craft and inspiration without pretense, and he plays the same way. You can hear him approach a tune without any preconceptions, without any agendas of prowess, just pure response to being in the moment. Most professional musicians go a lifetime without reaching this space.

Ric Pearlman cares deeply about the music and is always challenging himself, and us, to reinvent what we do and to get out of our comfort zones. If it hadn’t been for Ric, this project would never have happened. I heard him playing on a commercial gig with such power and vigor - the likes I hadn’t heard in the Boston area for 10 years - that I ran up to him in the middle of his set to get his number. I knew we had to do something.

I had all kinds of notions about what we should do but after the first rehearsal it was obvious the best thing was let go entirely and see what happens. Turns out it was all I could do to hang on! After a while we discovered that playing without any constraints produced music that was as good as anything we had written, in fact, several of the tunes we recorded were made up on the spot. Reacting and using our compositional senses really can be rewarding but it also means failing which is a very important part of the R&D going on here. The late great trumpeter, composer/arranger Herbie Williams told me he would prefer to hear young artists struggling to play rather than accomplished musicians playing a perfectly crafted performance. He relished the unexpected, even mistakes, which for his ears were only creative challenges to his mind begging for solutions. I think Herbie would have liked this recording because while this is not a perfect album with perfect solos, it does contain some truly authentic creativity that teases the brain and takes the listener on some journeys into different places. So what does it all mean? You have the answer in your hands.

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