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George Lewis: Changing With The Times

by New World Records

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David Auerbach
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Neil Hobkirk
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Robert Bresnan
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1.
Chicago Dadagram: I. 07:09
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2.
Chicago Dadagram: II. 04:01
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3.
Chicago Dadagram: III. 01:33
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4.
So You Say 05:55
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5.
The View from Skates in Berkeley 07:38
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6.
Changing with The Times: I. 04:10
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7.
Changing with The Times: II. 01:16
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8.
Changing with The Times: III. 01:48
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9.
Changing with The Times: IV. 03:07
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10.
Changing with The Times: V. 02:05
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11.
Changing with The Times: VI. 04:38
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12.
Changing with The Times: VII. 02:54
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13.
Changing with The Times: VIII. 04:55
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14.
Airplane 10:15
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15.
Epilogue 03:05
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about

In the ontological systems of both Africa and Europe, creation begins with the word in its various oral and gestural manifestations. Music, as an expressive modality, is clearly an extension of word exemplified by ancient African griots, the communal historians whose rhythmic chants opened the path to jazz improvisation, where we witness the alchemical effect of speaking in tongues that leads to a process of creative invention.

Changing With the Times is a conversation piece, for which George Lewis has assembled a diverse collection of musicians, poets, and storytellers into an organic narrative mode to signify, in style and content, on his personal odyssey through the contradictions and ambiguities of being black in a noncontradictory social universe, America.

The story is told through the orchestrated riffs of signifiers who comment from their particular point of narrative reference: George E. Lewis on trombone; his longtime AACM associate, Douglas Ewart, performing on a variety of instruments including reeds, percussion, shakuhachi, and didjeridu; tokamak, the new-music piano duo of Dan Koppelman and Ruth Neville; the vernacular voice of the blues articulated on piano and organ by the highly certified blues artist, Jeannie Cheatham; Mary Oliver on violin and viola; and Peter Gonzales III on percussion.

Enjoined in the conversation are the voices of poets Quincy Troupe and Jerome Rothenberg; and Bernard Mixon, who renders the epic tale "Changing With The Times," a text written by George T. Lewis, the father of George E. Lewis. Throughout the mostly improvised narrative odyssey, the music supports and enhances the text, offering counter-licks, antiphonal riffs, and parodic groans to amplify the rhetorical persuasion of the oral renderings.

credits

released January 1, 1993

Chicago Dadagram (Music: George Lewis 1980, revised 1991; Text: Jerome Rothenberg)
tokamak: Daniel Koppelman, Ruth Neville, pianos; George E. Lewis, trombone; Jerome Rothenberg, poet.
So You Say (Music: George Lewis 1978, revised 1993; Text: George Lewis 1993)
Bernard Mixon, speaker; Douglas Ewart, percussion, bass clarinet, shakuhachi; George E. Lewis, trombone; Jeannie Cheatham, piano.
The View From Skates In Berkeley (Music: George Lewis 1978, rev. 1993; Text: Quincy Troupe 1992) George E. Lewis, trombone; Douglas Ewart, clarinet; Mary Oliver, viola; Peter Gonzales III, percussion; Jeannie Cheatham, piano; Bernard Mixon, singing voice; Quincy Troupe, poet.

Changing With The Times (Music: George Lewis 1993, except "Jeannie's Boogie," music by Jeannie Cheatham 1993; Text: George T. Lewis, George E. Lewis, and Bernard Mixon 1993; Performance adaptation: George E. Lewis)
George E. Lewis, trombone; Douglas Ewart, woodwinds, saxophones, percussion; Mary Oliver, violin, viola; Peter Gonzales III, percussion; Jeannie Cheatham, piano, organ; Bernard Mixon, singing and speaking voice.
Airplane (Music and text: George Lewis 1993)
George E. Lewis, trombone; Douglas Ewart, didjeridu; Mary Oliver, viola, voice; Peter Gonzales III, percussion; Bernard Mixon, speaking voice.
Epilogue (Music: George Lewis 1993; Text: George T. Lewis, George E. Lewis 1993)
George E. Lewis, trombone; Douglas Ewart, clarinet; Mary Oliver, viola; Bernard Mixon, Jeannie Cheatham, speaking voices.

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New World Records Brooklyn, New York

Anthology of Recorded Music, Inc., which records under the label New World Records, was founded in 1975.

We are dedicated to the documentation of American music that is largely ignored by the commercial recording companies.

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