Issa Music – Featured Selection: (10) “Eastern Boogie” October 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: “Eastern Boogie”
Background on “Eastern Boogie”: This piece, the fourth Issa piece created in Set One, took the “Issa Music” concept into a new direction. I felt I wasn’t getting enough “East” into my East-West fusion concept. So I went exotic modal, using a scale with some augmented seconds in it, and with the flat second of the scale, but keeping the major third. I came up with an exotic little ditty that seemed to work well. The bass line fit nicely under it, a bass line that allowed a lot of room for improvisation. The A section seemed to lead logically to the B section, which was derived as a sort of harmonic mirror image of the A section. The bass line for the section starts away from the tonality but slides back into it. The melodic part of the section seemed to grow right out of it. So I simply introduced the A and B sections, then improvised over the bass lines to those sections, running up and down and in an out of those modes. I used the technology to vary the timbres, instruments and textures of the backing tracks and leads. Now I had a pattern I could follow throughout the project—opening sections introducing a theme/mode/harmonic setup, followed by improvisation with exotic instrumental combinations utilized to develop the musical ideas.