Muir Woods Suite
(1993)
This was the hardest thing I've ever done. To think of the amount of music I had to write and orchestrate still gives me a headache.This record is the first in a series of concept records for Warners, which puts in motion the more unorthodox recordings I spoke to Mo Ostin about before I signed with Warners. Matt Pierson, who took over for Mo, at least as far as I am concerned, has taken the same stance. I really appreciate his dedication, honesty, love and support for the music.
This recording came about as the result of a party at Quincy Jones home. I had three movements in my sequencer. My manager had spoken to Claude Nobs, of the Montreux Festival, about doing a jazz/orchestral evening featuring this piece.
Quincy Jones was having a birthday party for Claude, so I went to celebrate his birthday and give him the tape to listen to at his leisure. Well, Quincy put it on without my knowledge, and it got very quiet at the party as everyone started to listen intently. After the first movement, Claude and Quincy raved that we had to do this at the Festival that year.
So, they commissioned me to finish the piece and debut it at the Festival. Matt agreed to release it on Warners. It was really tough dealing with an orchestra that was partially hostile. I won't go into detail because I am very happy to have the Suite documented on CD. However, many, many hours went into fixing these tracks, which should not have happened with musicians of that caliber. I have since performed it with other orchestras with an amazing result.
The featured musicians are Stanley Clarke on bass, Chester Thompson on drums, and Paulinho Da Costa on percussion.
Each phase, or movement, represents a different aspect of what Muir Woods means to me. I used to camp there as a young boy, and I remember being frightened and in awe of the giant trees and foliage - the sounds - the smells. I tried to bring all this to the Suite.
I desired to write music that developed a true symbiotic relationship between orchestra and small jazz band. Though they begin playing separately, they are totally intertwined by the end of the piece. I even have a swing section for the orchestra, and as you musicians know, that is a tall order; but I didn't want my writing to be hampered by the limitations of some men's minds, and the fear of challenging stale attitudes.
Serious black orchestral writers don't often have the opportunity to have their works performed, so I realize I am blessed to have this chance. Though I don't do this for a living, the challenge along with its rewards make the whole thing worthwhile. Besides, I've always liked breaking down barriers.
The year is 1993, but we held the release until my next CD, Illusions, had run its' course.
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George Duke