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Brutality

by Aaron Clarke

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1.
IN THE YEAR two-thousand seventeen, THIS... ...is still considered “bizarre”; THIS… ...is still “revered”; and THIS… ...is still laughed off as not being “real” music. Let’s delve further into this, shall we? Music schools, CONSERVE-atories; this is where musical prejudice is bred, amongst people who ought to know better. Where do we get off saying Mozart matters but Tupac doesn’t? Why is the symphony any more serious or important than the jazz club? And on that note, why is jazz a second-class citizen to classical? Not to mention all the other genres, which are persona non grata. The narrowest bits of big band and bebop are all that sneak into the university classroom or concert hall. When was the last time you saw a celebration of improvised music at all? The written note has been, and apparently remains, the only important one. This attempt to keep most music out of serious discussion comes from a place of fear; FEAR of possibly having to move out of one’s comfort zone; FEAR at what most people will DO with this sacred thing called “music”; FEAR of PROGRESS. To the musically conservative, I say this: It’s been happening, and it’s gonna keep on happening, whether you choose to take note or not. Music is progressing and expanding and experimenting out there in the real world. So while you keep hacking away at Handel and Haydn, just know that you’re not creating the future - you’re trying to revive the past.
2.
Philadelphia 05:18
3.
Lost Time 06:57
4.
Paroxysm 09:36

about

"Brutality" was recorded at the end of my senior year of college, just a few days before graduating. The album consists of the songs from the "jazz" portion of my senior recital, with most of the folks who had performed it live appearing here. Almost all of the songs on this record are first takes (with the exception of the beginning of "Fear of Progress," which was done in multiple takes for editing purposes), all recorded in one session late on a Wednesday night. I mention that because I think the level of musicianship and creativity exhibited here by my four partners in crime is just fantastic, and it all took place on an average, late night, with little in the way of correction or do-overs. I truly can't overstate how appreciative I am to have had the talents of these wonderful musicians to bring this music to life.

Thanks: to Ali, Hunter, Max, and Alex, for being stellar people (yes, even you Max) and recording this music with me; to David Clarke, Dan Sonenberg, Hunter (again), and Cole Barbour, for giving helpful advice and listening to rough mixes; to any of you who buy this, for supporting new music!

credits

released October 22, 2017

Ali Sarnacchiaro - voice on track 1
Hunter McKay - tenor sax
Max Richardson - trumpet
Aaron Clarke - guitar, synth bass on tracks 2, 3, and 4
Alex Ouellette - drums

Cover art edited by Ryan Lepage
Mixed by Aaron Clarke
Recorded at the University of Southern Maine on May 10, 2017; synth bass overdubs in October, 2017

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Aaron Clarke Boston, Massachusetts

Aaron Clarke is a composer and musician from Rockland, Maine. He is a recent graduate from the University of Southern Maine, where he received a Bachelor of Music in Composition, studying under Dan Sonenberg. Clarke plays guitar, drums, percussion, and sings. ... more

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