Jerry Bergonzi -Tenor and Soprano sax
Felipe Salles - Soprano Sax on 3 and 8
Nando Michelin - Piano
Fernando Huergo - Bass
Jeff Ballard - Drums and percussion
The more exciting experience for an artist after the original creation, is to inspire other artists. In his imaginative interpretation of my novel Einstein’s dreams, jazz artist Nando Michelin has translated images and ideas into sounds, creating a musical exploration of time that is both beautiful and haunting
- Alan Lightman
Einstein’s Dreams reflects on the feeling of trying to see time (and in our case also harmony) through a different perspective, without losing the practical, natural side of it. Chords that create certain ambiguity, Major / minor, as well as rhythmic uneven subdivisions are introduced, and will be used throughout the whole recording as a way of looking for that feeling of approaching time as something that could be understood in several different ways. Three bar phrases and 5 against 4 rhythmic figures try to force the listener into accepting new ways of conceiving time. 3D refers to the April 19th dream. There is a theme that evolves in three different ways.Each one, developed by a different soloist, has a radically different character although rooted on the same source, and coexisting as the same track. Clocks and Heartbeats (April 24th) shows two times. The first, rigid, kept by drums and bass, also using a very rigid harmony. The second, exposed by piano and sax, shows all the natural uneven rhythmic flow of spoken language, as well as the use of two different pentatonic scales that create a neither-major-nor-minor sound. Towards the Freezing Point (May 14th) shows metric modulations that create a slowing down effect. Also note that this fits the chapter in which time brings order (May 11th). Cause and Effect was written thinking of both the May 3rd and May 20th dreams. In this tune we find harmony rhythm and melody interacting in a way in which none of them are cause or effect continuously. The soloing is approached as if there is no relation to what we played before or what the others are playing, which would also be the way a player without memory would perform. On Sudden Glimpse (May 22nd) the melody is performed by the piano and shortly there after the sax starts playing the same melody, the drums bring in a “sudden glimpse” of the future, in which the feel will be more about the rhythmic strength of the “Candombe” than the beauty of melody or harmony. Even though there is a struggle to keep playing in a nice phrasing fashion, the drums end up pushing the rest of us into using only a very rhythmic vamp and disregarding the rest. This tune is dedicated to my lovely wife Paula. Constant Movement is a very obvious interpretation of May 29th’s dream. The piano creates a very hectic movement effect against which the melody is played. The tune develops keeping that feeling of “faster is better”. Eye of the Beholder implies different time feels (12/8 and 4/4) and different quarter notes, the piano uses one in the solo while the sax uses another, but the listener can find both of them during the melody. Unmeasurable Quality was arranged keeping the June 10th dream in mind. We play against the melody and not against a constant rhythmic beat. The metronome marking may fluctuate, as we use the melodic rhythm created by the saxophone as point of reference to link the band together...