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Shifting Times

by Arthur Durkee

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1.
Elasticity 05:34
2.
3.
Pulse 1 04:49
4.
Interlude: Night Swimmers Walt Whitman, from "Leaves of Grass" . . . It seems to me that everything in the light and air ought to be happy, Whoever is not in his coffin and the dark grave, let him know he has enough. I see a beautiful gigantic swimmer swimming naked through the eddies of the sea, His brown hair lies close and even to his head, he strikes out with courageous arms, he urges himself with his legs, I see his white body, I see his undaunted eyes, I hate the swift-running eddies that would dash him head-foremost on the rocks. What are you doing, you ruffianly red-trickled waves? Will you kill the courageous giant? Will you kill him in the prime of his middle age? Steady and long he struggles, He is baffled, banged, bruised—he holds out while his strength holds out, The slapping eddies are spotted with his blood — they bear him away, they roll him, swing him, turn him, His beautiful body is borne in the circling eddies, it is continually bruised on rocks, Swiftly and out of sight is borne the brave corpse. . . . ("Night Swimmers" is the provisional title of an extended poem in "Leaves of Grass." The title does not appear in every edition, and the poem itself changed somewhat between early and later editions. This is a long passage that was one of the poems of Whitman's that first caught and held my imagination, lo these many years of reading his poems.)
5.
Pulse 2 07:12
6.
Interlude: Piedra del Sol (Sunstone) Octavio Paz (trans. Eliot Weinberger) Un sauce de cristal, un chopo de agua, un alto surtidor que el viento arquea, un árbol bien plantado mas danzante, un caminar de río que se curva, avanza, retrocede, da un rodeo y llega siempre: un caminar tranquilo de estrella o primavera sin premura, agua que con los párpados cerrados mana toda la noche profecías, unánime presencia en oleaje, ola tras ola hasta cubrirlo todo, verde soberanía sin ocaso como el deslumbramiento de las alas cuando se abren en mitad del cielo . . . • willow of crystal, a poplar of water, a pillar of fountain by the wind drawn over, tree that is firmly rooted and that dances, turning course of a river that goes curving, advances and retreats, goes roundabout, arriving forever: the calm course of a star or the spring, appearing without urgency, water behind a stillness of closed eyelids flowing all night and pouring out prophecies, a single presence in the procession of waves wave over wave until all is overlapped, in a green sovereignty without decline a bright hallucination of many wings when they all open at the height of the sky . . .
7.
Pulse 3 05:36
8.
Interlude: Cold Mountain a poem by the great Zen poet of ancient China, Han Shan, trans. Kazuaki Tanahashi & Peter Levitt A hand moves a brush freely, the body as remarkable as rare jade. But life comes to an end and death makes one a nameless spirit. From ancient times it has been this way, so here’s what you can do: Come inside the white cloud, I will teach you the purple mushroom song.
9.
Adrift 05:19
10.
11.

about

The music on this album of original Chapman Stick pieces is built on ideas from ostinato looping performance both improvised and structured, Indonesian gamelan, avant-garde experimental music using indeterminacy, and minimalist music, with its interest in gradual process, small cellular melodies that repeat and layer, go in and out of metrical phase with each other, and thereby create additive melodies.

The music is modal rather than harmonic or tonal, for the most part. Each piece typically has a sustained mood, while the overall album is conceived as a suite of movements on a larger theme.

This is much less an album of songs than it is an album-length suite of experimental new music performed on Chapman Stick. "Pulse" developed from ideas I came up with while improvising both in studio and at open mic performances with just Stick and looping devices. The pieces recorded with Anton Kapela on drums are in-studio live performances, mostly improvised in the moment, with minimal editing in post.

In other words, all of this music is partially improvised based on structured improv or composed themes, usually modular or cellular automata in form. In some cases, the improvised ideas were later made into formal compositions. However, like a Terry Riley or Steve Reich or Morton Feldman or Javanese gamelan piece, each time the piece is performed it will be slightly or radically different.

Minimalism is actually maximalism.

This album is therefore an essay in variations on a theme.



Sources and inspirations, gratefully acknowledged for this collection of music as a way to give honor to my artistic lineage:

Terry Riley, Steve Reich, Javanese gamelan, Sundanese gamelan,
West African xylophone and drum ensembles, John Coltrane,
John Cage, Morton Feldman, Mike Oldfield, Robert Fripp, John Conway (the mathematician who invented the game of “life” and other cellular automata theory), Bill Laswell, Kraftwerk.



The "Interlude" pieces are all connected in my mind to poems and poets important to me: Walt Whitman, Octavio Paz, Han Shan (Cold Mountain). I include as "song lyrics" the individual fragments of their work that the mood of each piece made me remember.



Djam Karet (Flextime at the Edge of the Universe)

“Djam karet” is in idiomatic Indonesian phrase that means, literally, “rubber time.” In practice, that’s like saying “manaña” in Spanish, with the implication that it will happen “alter, dude.” Basically, in Indonesia “the train always arrives, but not on time.”

credits

released July 6, 2019

Conceived and Created by Arthur Durkee
Tracks 1 and 11 co-produced by Anton Kapela
Track 7 co-produced by Eddie Estrin

P & © 2019 Arthur Durkee. All Rights Reserved.

Recorded at Dragonsweyr, 2017-2019
Tracks 1 and 11 recorded at Clutch Studio, Madison, WI
Engineered at Clutch by Anton Kapela, with AD
Track 7 recorded by Dragonsweyr Remote

All tracks mixed and mastered by AD at Dragonsweyr 2019
with Anton Kapela

Arthur Durkee: Chapman Stick, loops, sound design, effects
Anton Kapela: drums and sound design on "Elasticity" and "Djam Karet"
Eddie Estrin: WaveDrum, percussion on "Pulse 3"

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Arthur Durkee Ann Arbor, Michigan

Arthur Durkee is a composer & songwriter who records & performs on Chapman Stick, bass, analog modular synths, bamboo & wood flutes, keys, frame drums, and voice. He has won awards for composed, notated music as well as for his recordings, & is a published poet, & designer & illustrator. ... more

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