Music

We Sick

deVon Russell Gray, Nathan Hanson, Davu Seru

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We Sick

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The Wire--"Ecstatic free jazz can tip over into ranting expressionism, but there's no risk of that here. We Sick is a clear-eyed, rigorous dissection of a huge historic event, aspiring to and achieving high political art. Its unaffected anger is richly earned and musically compelling."

The Quietus-- "Although for most of its duration We Sick

The Wire--"Ecstatic free jazz can tip over into ranting expressionism, but there's no risk of that here. We Sick is a clear-eyed, rigorous dissection of a huge historic event, aspiring to and achieving high political art. Its unaffected anger is richly earned and musically compelling."

The Quietus-- "Although for most of its duration We Sick appears like a sobering realisation and solemn acceptance of an endless fight, the album’s dénouement is hopeful, with Hanson’s snaking saxophones lines and Gray’s energetic chords leaving the next page open for a different story."

MOJO-- "As with the Art Ensemble Of Chicago, Matthew Shipp or Muhal Richard Abrams, it’s further proof abstract jazz can deliver a real emotional punch, finding beauty and connection amid the darkest of lows."

In his 1963 speech, “The House Negro and the Field Negro” Malcolm X assigns blame to those in his time who show concern for a master class whom he believes, on sound reason, does not deserve it. Why not just care for yourself?

“We Sick” thinks backwards through this reasoning to the Word of all Adam's children, received through the power of Eve’s vulnerable questioning. We think that we are all–insofar as we serve anything beyond ourselves–both master and servant. We remember that we embody both power and vulnerability; we remember that we have been contaminated, sullied, corrupted, sinner-saints from the karmic jump. We point to this Malcolm in order to point away, since he would keep transforming before being deemed impure and dispatched back to paradise. We take responsibility for being bad at purity, which is to say we each vow: “I take responsibility for this life.” Like the choice to submit to vaccination, or sound.

The music of We Sick is surrender: lyricism as it moves from interior to exterior, moaning within the living space of a sanctuary. The sanctuary recorded here–a church 150 years old and rendered vacant by COVID–became an ensemble member through its acoustics and ambiance. We recorded together on December 28, 2020 weeks after police murdered George Floyd and several months into the coronavirus pandemic and quarantine. Across the street from our sanctuary, the National Guard surrounded the Minnesota State Capitol. Their heavily armed presence provided a tangible reminder of the old dharma that house is field, white is Black and that–without question–we sick.

The music made that day reflects the feelings of isolation from community, hunger for justice, and the weariness of the wait. We offer it to you as a humble confession and renewed covenant.

deVon Russell Gray, piano Nathan Hanson, saxophones Davu Seru, drums

All pieces spontaneously composed by deVon Russell Gray (BMI), Nathan Hanson (Hansonic Publishing, ASCAP) and Davu Seru (BMI). © and (p) 2023. All Rights Reserved.

Engineered by Caleb Anderson Mixed by Brett Bullion Mastered by Huntley Miller

Recorded at Christ Lutheran Church on Capitol Hill, St. Paul, MN on December, 28, 2020. Cover art: “We Sick” by Lara Hanson (larahanson.com) Layout by Jamie Breiwick, B-Side Graphics

Thank you to Christ Lutheran Church on Capitol Hill, August Seru, Emily Seru, Lara Hanson, Rafael Hanson, Janette Gray, Felicia Frelix, and Naimah Pétigny.

Davu Seru is an affiliate of the Association for the Advancement of Creative Musicians (AACM).

innova® is the label of the American Composers Forum. Director of Recordings: Chris Campbell Manager of Recordings: Tim Igel Innova is supported by an endowment from the McKnight Foundation.

deVon Russell Gray, piano Nathan Hanson, saxophones Davu Seru, drums

All pieces spontaneously composed by deVon Russell Gray (BMI), Nathan Hanson (Hansonic Publishing, ASCAP) and Davu Seru (BMI). © and (p) 2023. All Rights Reserved.

Engineered by Caleb Anderson Mixed by Brett Bullion Mastered by Huntley Miller

Recorded at Christ Lutheran Church on Capitol Hill, St. Paul, MN on December, 28, 2020. Cover art: “We Sick” by Lara Hanson (larahanson.com) Layout by Jamie Breiwick, B-Side Graphics

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    Paths Open and Tolling

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Weights and Measures

Nathan Hanson, Chris Bates

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Weights and Measures

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After three decades of playing together, saxophonist Nathan Hanson and bassist Chris Bates release their first record. Recorded in a 150 year old church, the improvised compositions were largely inspired by the writings of John Nystrom who proposed a new system of weights, arithmetic, music notation and timekeeping in the 19th Century. Weights and

After three decades of playing together, saxophonist Nathan Hanson and bassist Chris Bates release their first record. Recorded in a 150 year old church, the improvised compositions were largely inspired by the writings of John Nystrom who proposed a new system of weights, arithmetic, music notation and timekeeping in the 19th Century. Weights and Measures is a document that quantifies a response to the losses and the blessings, and the disorientation of the moment. credits released January 27, 2023

Nathan Hanson - soprano and tenor saxophones Chris Bates - double bass

All pieces spontaneously composed by Nathan Hanson (Hansonic Publishing, ASCAP) and Chris Bates (Chrisbass Music, BMI).

Engineered and mixed by Caleb Anderson Mastered by David Bates at 1100fps

Recorded at Christ Lutheran Church on Capitol Hill, St. Paul, MN on March 29, 2021 Cover art: "One Turn of the Dial" by Lara Hanson / larahanson.com Artist photo by Benny Moreno Layout by Jamie Breiwick at B Side Graphics

Nathan Hanson thanks Lara and Rafael Hanson, Christ Lutheran Church on Capitol Hill, Benny Moreno, Jesse Goin.

Chris Bates thanks LeeAnn, Otis and Colin, for constant love and support. Dave and JT Bates for brotherly gifts as we journey through the world together. All my musical friends and extended family who inspire me daily. Extra special thanks to Kent McLagan for building my 'forever bass' recorded here with Roswell and DPA Microphones.

Gratitude to Dennis Gonzalez.

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Four Serious Allegations

Fake Accent

https://erikfratzke.bandcamp.com/album/four-serious-allegations

Twin Cities based multi-instrumentalist and composer Erik Fratzke is best known as the bassist of the lauded group Happy Apple, alongside drummer Dave King and saxophonist Mike Lewis. But for his debut as a leader, Four Serious Allegations, Fratzke’s band Fake Accent charts novel

https://erikfratzke.bandcamp.com/album/four-serious-allegations

Twin Cities based multi-instrumentalist and composer Erik Fratzke is best known as the bassist of the lauded group Happy Apple, alongside drummer Dave King and saxophonist Mike Lewis. But for his debut as a leader, Four Serious Allegations, Fratzke’s band Fake Accent charts novel terrain with a focus on small group improvisational dynamics and obsolete consumer electronics, which is influenced by a large swath of disparate 20th century work – composer Iannis Xenakis, musique concrete, early hip-hop, doom metal, Conlon Nancarrow, harmolodic funk, “slow cinema,” and “therapeutic architecture.” Fake Accent astounds in their ability to harness these myriad streams and direct them in a deeply compelling and seamless way.

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