Timeline, by Steve Giordano's Spacetet

Timeline

by Steve Giordano's Spacetet

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Compact Disc (CD) + Digital Album

Timeline physical CD.

Includes unlimited streaming of Timeline via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.	Delores Street 10:32	info	buy track
2.	Riverflo 08:07	info	buy track
3.	Intrepid Fox 08:11	info	buy track
4.	Summer Waltz 09:52	info	buy track
5.	Fantasia 07:18	info	buy track
6.	Stella by Starlight 11:39	info	buy track
7.	With Love 08:12	info	buy track
8.	Villino Anna 06:46	info	buy track

about

Timeline is the third CD of the Spacetet recorded at Red Rock Recording and the first on the Dreambox label. Engineer Kent Heckman did a superb job capturing the interactive subtleties contained within the music. I personally feel this is our best recorded CD thus far. The current Spacetet has been together for 4 years to date developing both new compositions and our rapport within our interactive ensemble playing. Timing of a recording for the Spacetet is extremely important for newer compositions because the timeline of a composition has three general stages:
Stage one – realization – this is where we try to capture the sound that replicates the composer’s original vision of the piece. This can be a trying process since only so much can be written on paper, so some things need to be discussed. Patience and an ego-less mentality are needed here. Although there is some freedom within the piece, we are on the conservative side of exploration at this stage.
Stage two – individualization – this is where the creativity of each band member starts to manifest, as their knowledge, familiarity, and feel for the piece allows them to depart even more from the written page, and onto a more personal contribution. This is done in a most delicate way that only enhances the original vision of the composer.
Stage three – crystalization – this final stage is a double edged sword. On the one hand the composition is ripe, tight, and played with conviction. As this stage progresses however, creative musicians get restless to break habits and begin to experiment again seeking diversity. While this in itself isn’t a bad thing, there are times when things are more forced and done out of restlessness rather than inspiration and thus becoming less organic. Don’t get me wrong, it’s all good and always creative, but I like the timing of a recording to be somewhere between the end of stage two and the beginning of stage three in the recording studio. Also noted here is this “formula” only applies to original compositions. Jazz standards are played all our musical jazz lives and with various musicians throughout. They are usually way into stage three so their creative success in an ensemble depends on the goals, depth, experience and interactivity between the players.