Bar code: 8427328435284
01. The Earliest Ending [Feat. The Westerlies] 0:50
02. Sleep [Feat. Matthew Stevens] 2:20
03. Good Help 5:34
04. Grey Mirror [Feat. Matthew Stevens] 7:10
05. Church 5:17
06. Lake Cycle [Feat. The Westerlies] 4:05
07. Small Worlds [Feat. Matthew Stevens] 7:17
08. Green-Wood 2:18
09. Church [Feat. The Westerlies] 1:21
10. Untitled Interlude 2:00
11. The Latest Beginning [Feat. The Westerlies] 1:09
12. Lake Cycle 2:56
13. Small Worlds [Feat. The Westerlies] 2:53
14. The Earliest Ending [Feat. Matthew Stevens] 6:11
All compositions by Jamie Reynolds
Tracks #1,6,9,11 & 13 arranged by Andy Clausen and Jamie Reynolds
Jamie Reynolds (piano), Matthew Stevens (guitar), Orlando LeFleming (bass), Eric Doob (drums). The Westerlies [on #1,8,11,13 & 15]: Andy Clausen, Willem de Koch (trombone), Zubin Hensler, Riley Mulherkar (trumpet).
Recorded at The Clubhouse, Rhinebeck, NY, December 1 & 2, 2015
Additional recording at The Bunker Studio, Brooklyn, NY, January 5, 2016
Mixed and edited by Pete Rende
Additional editing by Zach Brown
Mastered by Nate Wood
Album photography by Matthew Stylianou
Album design by Paulina Teller & Matthew Stylianou
Produced by Matthew Stevens & Jamie Reynolds
Executive producer: Jordi Pujol
The idea for this record came to me a few years ago. I was wondering how to convey the energy and particular reality of certain emotions and thoughts that I have. I noticed that some of them were tied up with the sound of the guitar—that big, dynamic, rhythmic, searing vibe we all know and love. Others were linked to the warm, brilliant sounds of the brass ensembles that I grew up listening to and playing in (I played the trumpet through high school). The question: how to harness the sound of guitar and brass ensemble for my next record? The answer: use guitar and a brass ensemble! Simple. The Wurlitzer 200A is a meaningful instrument for me… it sounds like the inside of my head, if you know what I mean. So it’s on the record as well, sometimes on its own with the band and other times laid on top of the piano.
Matthew Stevens (I call him Matt Stevens) and I grew up playing music together in Toronto. We met at the age of 8 or 9, and one of our first musical endeavors was performing the Bach- Gounod “Ave Maria” in a living-room recital at my house. I remember it so clearly… Matt has gone on to become a unique voice on the instrument. I know his sound really well and it’s so different from what I do, and yet I’ve always felt totally comfortable and happy when we play music. Matt also has great listening chops and can quickly think of lots of ways to approach things differently avd solve problems, so he was an obvious choice to help produce.
I can’t remember who told me I would love a record these young brass guys calling themselves The Westerlies had put out, but they were right…their debut record went straight to my innermost musical space and stayed there. Just the sound of them playing together, their tones blending so perfectly while somehow remaining distinct, the virtuosity and beautiful expressiveness of the music…it really did it for me, and I wrote them a fan email asking if they would be into collaborating. They were a dream to work with…Andy did the bulk of the arranging and did a fantastic job.
Instead of writing new pieces for The Westerlies to play, I wanted to see what it would be like to hear the same songs expressed from two angles on the same record. Hence the mirror-image nature; the versions by the brass and the jazz quartet are recognizably the same song, but could not be more different in timbre and feeling. There is consonance and dissonance, the harsh and the smooth, the spontaneous and the carefully wrought. I hope you enjoy it.
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