The first trio outing of Dan Clucas, Kyle Motl, and Nathan Hubbard.
Liner notes:
Improvised music is necessarily a result of various relationships across space and time; watching development in the music is in some way the same as observing the growth and development of interpersonal relationships. Transformation of one is indeed the transformation of all.
Nathan Hubbard and I have played together in various formations for nearly 9 years now, in formats including duo, trio with Peter Kuhn, and varied ensembles playing our own and others’ compositions. The first time I met Dan Clucas must have been at a concert by Dependent Origination - Peter Kuhn, Dan Clucas, Dave Sewelson, Scott Walton, and Alex Cline. By that time, Nathan and I had been regularly playing with Peter; the seeds for this recording had been planted. In the following years, Dan played with the Kuhn Trio a handful of times, the first time - if memory serves me accurately - at Bread and Salt in San Diego. Later, Dan would invite Nathan and I to play on his large ensemble composition After Upingos at the Beginning to End fest in Los Angeles.
When, in 2021, I planned a return to California for a few months, one of the first things I wanted to do was play a session with Dan and Nathan. Though moments of trio playing occurred in the previous settings, this recording is the first explicit trio outing of the group. The first track herein contains the first notes we played together in just over 2 years; it was like coming home.
Music, particularly the improvised variety, involves transformation on all levels. Musical materials themselves transform and develop locally on the scale of individual sounds and phrases and on a macro scale in terms of large scale form within a performance or set, or, even wider scale: a work’s or group’s identity in/through time. The musical event is a social ritual where people and relationships are changed through participation in the work and in being together.
Recent years have people thinking more about the non-linearity and fragmentation of time. For quite a while, I’d been interested in how it could be that time is created by events or action. This had first occurred to me as a bass player, noticing how velocity changes the perception of time, and later came by the writings of Eihei Dogen and Dainin Katagiri which pointed to this in a larger sense.
The title, Daydream and Halting, is borrowed from the first lines of Fred Moten’s laura (made me listen to (from the collection The Little Edges). Reading the first phrase reminded me, in maybe an oblique way, what it was like both to play and listen back to this music with Dan and Nathan again, after a year where our collective procession of time felt shattered. The clarity, incision, and joy of the music felt like an awakening from the haze of non-events surrounding. Or a dream of its own.
Kyle Motl is a bassist, composer, and improviser described as “spectacularly adventurous and dynamic” whose playing is noted
for both its “iridescent delicacy as well as abrasive force” (The Wire). His music "promise[s] to change us by revealing things we could never have imagined” (Free Jazz Collective).
supported by 5 fans who also own “Daydream and Halting”
Anarchism as a program. Dissonance and melody in a lively conversation, where no one has the main say, but yet everyone communicates what is important. Although mostly acoustic instruments are represented here, it's a lot of heavy and raw music. The power of the collective. jiristepan
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