Issa Music – Featured Selection: (8) “Seventh Hell” August 1, 2012Posted by rwf1954 in fusion jazz, Issa, Issa Legend, jazz, Jesus in India, music, mystic jazz, new age jazz, Saint Issa legend.
Tags: fusion jazz, Issa, Issa legend, jazz, Jesus in India, music, mystic jazz, new age jazz, Saint Issa legend
- (Each month, I will feature a detailed description of one of the thirteen selections from my CD “Issa Music” with a link to the full piece. That link will remain up for one month. After that, the link at this post will be to a one minute clip. One minute clips of all the Issa Pieces are available at my website. Detailed notes on all the pieces are also available there. The full length pieces available with these blog posts are before mastering for CD release. The complete Issa Music CD is available for sale, along with downloads of individual mastered selections.)
- (“Issa Music” is an East-meets-West mystic jazz CD released inspired by the “Legend of Issa.” Did Jesus journey to India and study Buddhism and Hinduism before his world-changing spiritual mission in Roman-occupied Judea? If so, are West and East spiritually connected in ways we have never imagined? “Issa Music” celebrates this idea with a blend of eastern and western modes and timbres.)
Play this month’s selection: “Seventh Hell”
Background on “Seventh Hell”: In the fifth Issa piece of Set Two, fourteenth overall, I made optimal use of the programming capabilities of the MIDI and Roland Mesa software to create a rollicking background for a wild theme in 7/8, and a B section in 3½/4. For the A section, I programmed a complex bass/TX module drum ostinato. Over it, I placed a deliberately disturbing, disjointed melody line. The B section is a twisted waltz, still with a seven feel, but in a more graspable 3½/4 than the 7/8. But the twisted waltz is not intended to instill peace and tranquility. It has a mocking quality, as if the devil is welcoming the listener to “Seventh Hell,” saying “Welcome to my world. What did you do or fail to do to deserve to be here?” The piece ends with the juxtaposition of the 7/8 and the 3½/4, climaxing with huge blows of disturbing cluster chords, pounding through rising lines that seem to rise up just to get sucked back into those big chords. That section took a long time to get just right. It may sound disjointed and unsettling, but it is my experience that disjointed and unsettling are harder to get just right than easy flowing fours and eights.