To close the album, "Evocations: district.Columbia" the track, "Untrained Timeless Tuning" consists of improvisations on piano (keyboard) and xaphoon (bamboo sax). The age-old American sound of piano and woodwind hearkens to the unique sonic fusion that is completely unique and characteristic of the country. Especially in the use of a certain type of improvisation, the classic sounds evince an internal discovery of not only the human soul, but the soul of the land known to Americans as home.
In such a time as today, when war after war knocks at our doorstep, we can be reminded of the cultural heritage that more prominently identifies us as a unified people: music, the one common language of humanity. So, the sound is masked with electronic innovation into the 21st century, where the piano sound is a controller, and the woodwind is a recent invention. The first xaphoon was made only forty years ago on the island of Hawaii.
Further, the title, "Untrained Timeless Tuning" speaks to that harmony that is basic to all regardless of class, education, ethnicity or religious identification. There is a way to shared harmony, and it emerges through a music untrained by the classism and privilege of modern higher education. Whether speech, or instrumentation, the music that is untrained, while in tune with the essence of human life as pain, raw and blunt, is the very timelessness that high art seeks to capture. That timelessness is bred in every interaction and exchange whether within or between us always.
When we speak of Re-Writing our STORY, as in the chapbook wherein this piece is written, this very realization is the voice that carries our experience to such wonderful stretches of the imagination; present and transformational. So, the traditional keyboard and woodwind sound is transformed into an electronic movement of triumph in contemporary sound creativity.
lyrics
Untrained Timeless Tuning
One proud, unseemly yet everlasting hoary wind
Escaping into the breathless fold of a storm-brought love
Escalating above the tumult of grounded trees
Lowered to rest in the silent play of her touch
With Mother Nature in lust at the American shoulder-sculpted God
President of inveterate honor
Failing to maintain true gaze
Into the outpouring blind Persian mystic call
To fray our sterling enveloped studio message
Apart from the leaking gauze
A city, wounded with loosening fear
A deadly oath
Rushing towards early traffic in the Brazilian grist
A panicking pleasure on Wednesday
Mid-week business urge to blaspheme the classical
Station of the near-retired family prize
Where loss disturbs the graying open
In a lawn-tempered drive through perfect memory
In the ingenious art
Instilled as ice on the brain
In a factory filled with fish-worn Guatemalan eyes
Beating on the beached flesh of an antiquarian whale
Bone-dry with anxious grace
Peaceful with a warming hatred
Bringing in close seeds, fostered yet unprepared for the raised urban soil
Feeding off the solar imprint of ancestral law
In northern skies, thinning in an atmospheric sense
Towards dismayed reason
Over all human failings, since recorded time
Since the fine rumblings of surplus rent astir religious imaginings
In caves of word-horded greed
Angelic money in the form of ideas
Bled on the knife-edge cloak-whispering cold of Calgary’s busted future
To sweep the blue rug of worldly instrumentation
Catching on the tongue of the popular drug
Inside song and the vocal push to color and make lush
The southerly child and the unredeemed passion
Inside the traumatized infancy
Resonating to heart’s untrained timeless tuning
My ancestors are from the lands in and around what is now Norway, Poland, Germany and Greece. They lived above the Arctic
Circle, spoke Yiddish, were Romaniote Greek, English settlers during the revolutionary war of America, and from Germany pioneered in 19th century Alberta, Canada where they also took Blackfoot names. They were buried in religious fame; and so I also go by Menachem ben Asser....more
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