Myra Melford, THE LARGE ENDS THE WAY (1995)

    Duration: 13 minutes
    Instrumentation: jazz octet
    Premiered Myra Melford’s The Same River Twice in 1995 at Roulette Intermedium in New York City
    Copyright/publisher: Sun on the Sound Publishing, BMI


    Duration: 5 minutes
    Instrumentation: jazz octet
    Commissioned by Chamber Music America’s New Works Presentation
    Premiered by Myra Melford’s Be Bread Sextet in October 2006 at the Legion of Honor in San Francisco
    Copyright/publisher: Sun on the Sound Publishing, BMI

    The composer writes:
    The Large Ends the Way was composed for my quintet, The Same River Twice, and was an attempt to synthesize much of what I was thinking about at the time. I was fascinated by the philosophy of Heraclitus and was working with several of his aphorisms as guides for composition such as (I paraphrase here) ‘the hidden harmony is better than the obvious one,’ or ‘you can’t step twice into the same river’, which seemed apt for music written for improvisers. While providing a substantial amount of notated material, I still leave much room for the performers’ own expression. This piece was inspired by two additional extra-musical ideas: the elegance, simplicity and overwhelming power of the Vietnam Veterans’ Memorial in Washington, D.C., and Book of the Tiger by Kiichi Hogen (c. 1200), a Japanese martial artist, from which the title comes. I was a student of aikido and Zen at the time, and attempting to express the feeling of being centered in both movement and stillness.

    “The Whole Tree Gone was written 10 years later for my sextet, Be Bread. The title comes from a poem by Rumi, the 12th century Sufi mystic, and is a metaphor for the power of devotion and practice (fire) to destroy the ego or worldly concerns (the tree) and bring one into the ecstasy of union with the Beloved; the experience of a sudden, violent, perhaps painful, destruction leading to clarity of vision and a sense of well-being. Again, much of the music, though through-composed, opens up for moments of improvised play by different voices within the ensemble.”

    About the composer:
    For pianist, composer and Guggenheim fellow Myra Melford, the personal and the poetic have always been intimately and deeply connected. Raised outside Chicago in a house designed by the renowned architect Frank Lloyd Wright, Melford grew up literally surrounded by art. Where most of us find the beauty in our childhood homes through the memories and associations we make within its four walls, Melford saw early on that aesthetic expression could both be built from and be a structure for profound emotions.

    Over a career spanning more than two decades, Melford has taken that lesson to heart, crafting a singular sound world that harmonizes the intricate and the expressive, the meditative and the assertive, the cerebral and the playful. Drawing inspiration from a vast spectrum of cultural and spiritual traditions and artistic disciplines, she has found a “spark of recognition” in sources as diverse as the writings of the 13th-century Persian poet Rumi and the Uruguayan journalist Eduardo Galeano, the wisdom of Zen Buddhism and the Huichol Indians of Mexico, and the music of mentors like Jaki Byard, Don Pullen and Henry Threadgill.

    The latest incarnation of this ever-evolving cross-disciplinary dialogue is Language of Dreams, which had its premiere in November 2013 at the Yerba Buena Center for the Arts. The multimedia work is inspired by Uruguayan writer Eduardo Galeano’s Memory of Fire trilogy, a history of the Americas told through indigenous myths and the accounts of European colonizers. The piece combines music for Melford’s quintet Snowy Egret with narration by a multi-lingual actor, dance by Los Angeles-based choreographer Oguri, and video by Bay Area filmmaker David Szlasa.

    While Language of Dreams is her most ambitious project to date, it is not the first time that Melford has constructed a piece from such a wealth of disciplines. In 2006, the Walker Arts Center premiered Knock on the Sky, a piece inspired by Albert Camus’ essay “The Myth of Sisyphus” and Kobo Abe’s novel Woman in the Dunes, in which Melford collaborated with New York City-based choreographer-dancer Dawn Akemi Saito and Austrian architect Michael Haberz.

    Snowy Egret, Melford’s latest working group, made its debut in 2012. The quintet consists of creative music’s most inventive and individual voices: trumpeter Ron Miles, guitarist Liberty Ellman, bassist Stomu Takeishi and drummer Tyshawn Sorey. Melford’s spacious, contemplative, exploratory compositions have long attracted and almost demanded such forward-thinking artists. Her past ensembles have included Be Bread, with Cuong Vu, Ben Goldberg, Brandon Ross, Stomu Takeishi and Matt Wilson; The Same River Twice, with Dave Douglas, Chris Speed, Erik Friedlander and Michael Sarin; Crush, with Takeishi, Vu and Kenny Wolleson.

    Melford also currently is one-third of the collective Trio M with bassist Mark Dresser and drummer Matt Wilson; their most recent CD, “The Guest House,” was one of 2012’s most acclaimed releases. She also performs in the duo ::Dialogue:: with clarinetist Ben Goldberg. She released her first solo album in October 2013, a collection of work inspired by the paintings of the late visual artist Don Reich.

    Melford’s musical evolution has long run in parallel with her spiritual search, a personal journey that has led her to aikido, Siddha yoga and the wisdom traditions of the Huichol people of Mexico’s central highlands. Sonically, that quest is expressed via her wide-ranging palette, which expands from the piano to the harmonium and electronic keyboards or to amplifying barely audible sounds in the piano’s interior. Her playing can build from the blissful and lyrical to the intense and angular, with accents from Indian, African, Cuban and Middle Eastern musics or the cerebral abstraction of European and American jazz and classical experimentalism.

    While Melford’s music continually reaches toward a state of transcendence, it still remains deeply rooted in the blues traditions she heard growing up in the Chicago area. In 1978, she first encountered violinist Leroy Jenkins, her introduction to the Association for the Advancement of Creative Musicians, whose boundary-free, adventurous approach to jazz remains an influence. She would go on to study with Jenkins, together forming the collective trio Equal Interest with multi-reedist Joseph Jarman in 1997.

    Melford moved to the East Coast in 1982 and began performing in New York City’s thriving downtown scene, making her recorded debut as a leader in 1990; she has since released more than 20 albums as a leader or co-leader and appeared on more than 40 releases as a side person. In 2000, she spent a year in North India on a Fulbright scholarship, immersing herself in the region’s classical, devotional and folk music. Melford relocated to the West Coast in 2004, joining the faculty of the University of California-Berkeley as an associate professor of contemporary improvised music. There, she engages students in the theory and practice of improvisation, employing diverse creative strategies.

    Melford’s work has earned her some of the highest accolades in her field. In 2013 alone, she was named a Guggenheim Fellow and received the Doris Duke Charitable Foundation’s Performing Artist Award and a Doris Duke Residency to Build Demand for the Arts for her efforts to re-imagine the jazz program at San Francisco’s Yerba Buena Center for the Arts. She also won the 2012 Alpert Award in the Arts for Music. She has been honored numerous times in DownBeat’s Critics Poll since 1991 and was nominated by the Jazz Journalists Association as Pianist of the Year in 2008 and 2009 and Composer of the Year in 2004.