Issa Music – Featured Selection: (12) “East Meets West” December 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: “East Meets West”
Background on “East Meets West”: This was the ninth and final “Issa Music” piece of the first set, completed in late 1988. The title explains what I was trying to do here—to depict a contrast musically, a collision as “East Meets West.” “West” is first—a powerful brute force wall of sound starts it off. Exploding gongs, a big pipe organ, joined by a choir, arpeggiating strings and eventually synth brasses, state these block chords that form a simple melodic line, fanfares eventually sounding above. It sounds like triumph, like overpowering triumph and strength. This is followed by the “East” answer. It’s the same chord progression, even the same melodies, now stated over an unassuming rhythm, less assertive, more complex, more subtle. A strange trumpet line joins the second half of this section as if trying to fit into the “East” idea, but not totally comfortable. Section One is restated a second time, just to remind us of that brute power again. But we end with the “East” statement of the same harmonic idea, as if it will outlast the big power theme of “West.” But the exploding gong at the end asks us—will it?