Side A
The bells at the beginning of "Bells Of Beliefs," a piece composed by Benjamin Koppel, call us to settle into some place within us, to let go of the outside world, to find a new focus. There might be something spiritual here, but with a darkness that mixes with the light, for one cannot be summoned without the other. We are led downward. And then a new place is opened within. There is a lonesome feel here, as if our thoughts echo in a vast chamber built ages ago and now occupied only by ourselves and ghosts. Then it feels as if the ghosts themselves are communicating with us, as the sax swells, which somehow actually relaxes us, for we are not alone after all. Though it is still up to us which direction we wish to move. There is soon a sense of urgency, as sounds splash upon the rock walls, soak our clothes with sweat, rush forward and upward into the farthest corners. A larger power lifts its hands as if to call us to order. Soon the drums take over, dancing this way and that, preparing us for something. Then we relax, lean against the wall, inhale our own memories and let go.
Side B
"Night Seeing," the second side's opening track, eases in. Lights in the distance are not easy to make out, and a feeling of melancholy comes over us as memory mixes with the hazy images before us. Are we having trouble looking ahead, or looking behind? We take tentative steps into patches of light as we find them. Perhaps those bits of lights are leading us somewhere deliberately, perhaps to understanding, the cheerful tones indicate, and we are hopeful, trusting. We are then alone for a moment, making us wonder, had we somehow gotten it wrong, strayed in some way? If we close our eyes, it all seems a dream. We can dance forward, the piano solo encourages us, and takes our hand then when we hesitate. Then the saxophone calls to us - from our left, our right, then above us, and soon all around us - and we spin, trying to follow, trying to understand. And somehow we find ourselves on a lower level, in darker spaces, and we want to cry out. But who would answer? Before we dare cry out, the bass answers with a voice more certain, and we move forward again, now eagerly along our way. There is a splattering of light, but that too is fleeting, as we find ourselves again in darkness. There is something solemn about it, something final.
As Jack DeJohnette's "Ahmad The Terrible" begins, it is like a creature stretching and walking about, strutting. There is an unusual vibe to this one, its different sections like beginning different dances, trying them on for size, like fresh skins. The drums roll us forward over the landscape, while the saxophone makes strong declarations of self, of place. There is an excitement, though perhaps an unspoken question remains underneath. The bass introduces us to another character who has some knowledge to impart, but who will not do it directly. Follow me over hills, through twisted paths, it seems to say, and watch your step. A sprite curious if you'll be able to follow along, to keep up without getting tied up. The piano seems to indicate some measure of success, because now we've arrived at a gathering, a hall where there is a feast, where there is dancing. Women in great dresses spin past, a wind of perfume and promises, all fleeting, intangible, yet also eternal, if forever out of reach. Things begin to spin faster, to swirl, a repeated dance. We are caught in its motion, a glorious ride. The dance slows in the end.
Record Track List
Side A
Side B
"Night Seeing," the second side's opening track, eases in. Lights in the distance are not easy to make out, and a feeling of melancholy comes over us as memory mixes with the hazy images before us. Are we having trouble looking ahead, or looking behind? We take tentative steps into patches of light as we find them. Perhaps those bits of lights are leading us somewhere deliberately, perhaps to understanding, the cheerful tones indicate, and we are hopeful, trusting. We are then alone for a moment, making us wonder, had we somehow gotten it wrong, strayed in some way? If we close our eyes, it all seems a dream. We can dance forward, the piano solo encourages us, and takes our hand then when we hesitate. Then the saxophone calls to us - from our left, our right, then above us, and soon all around us - and we spin, trying to follow, trying to understand. And somehow we find ourselves on a lower level, in darker spaces, and we want to cry out. But who would answer? Before we dare cry out, the bass answers with a voice more certain, and we move forward again, now eagerly along our way. There is a splattering of light, but that too is fleeting, as we find ourselves again in darkness. There is something solemn about it, something final.
As Jack DeJohnette's "Ahmad The Terrible" begins, it is like a creature stretching and walking about, strutting. There is an unusual vibe to this one, its different sections like beginning different dances, trying them on for size, like fresh skins. The drums roll us forward over the landscape, while the saxophone makes strong declarations of self, of place. There is an excitement, though perhaps an unspoken question remains underneath. The bass introduces us to another character who has some knowledge to impart, but who will not do it directly. Follow me over hills, through twisted paths, it seems to say, and watch your step. A sprite curious if you'll be able to follow along, to keep up without getting tied up. The piano seems to indicate some measure of success, because now we've arrived at a gathering, a hall where there is a feast, where there is dancing. Women in great dresses spin past, a wind of perfume and promises, all fleeting, intangible, yet also eternal, if forever out of reach. Things begin to spin faster, to swirl, a repeated dance. We are caught in its motion, a glorious ride. The dance slows in the end.
Record Track List
Side A
- Free I
- Bells Of Beliefs
Side B
- Night Seeing
- Ahmad The Terrible
The Art Of The Quartet Volume 1 was released on May 15, 2025 through Cowbell Music.
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