“…The Ayes Have It” Vol. I Self-Portraits in Percussion By Randy Gloss Randy Gloss = Spirit Hands, Hands On, Openness, "What if . . ." I was first amazed by Gloss's creative rhythm arts when he joined Adam Rudolph's Go: Organic Orchestra in 2001. One of the original hand drummer / percussionists in the group, I recall becoming an immediate fan of his from the moment he started his pandeiro solo amidst Rudolph's improvisational conducting of 30 other musicians. It was, (and is,) more than virtuosic, it was soulful and funky. Turns out, 13 years later, I may have had something to do with the concept for this beautiful record before you. Tuned to one of my inspired, enthusiastic channels, during an Organic Orchestra rehearsal break in 2014, I made a meaningful plea. Randy reminded me, "It was you that told me I should, and must, record a solo record - and I did, so you're partially responsible." "Wow!" I thought, "I can't wait to hear it!" and now that it's here, I've been listening to it a lot. With a kindred direction to that of his mentor John Bergamo's 1986 solo percussion LP "On The Edge" (CMP Records,) this Philadelphia born and raised multi-instrumentalist, composer, band leader, teacher, performer, world traveler, has set out to communicate a "very personal, reflective and introspective" impression, expression, message. " . . . The Ayes Have It" Vol. 1 is a colorful and energetic recording, documenting Gloss's musical journey over the past 20 years in California, and the concept of What if. He landed at CalArts in 1995 and attended Bergamo's “Multi-Focus Percussion” class. It was there that this bright, open minded drummer would find his deeper calling as an artist and expand as a sonic painter, visionary rhythmist. Bergamo would encourage him to explore What if: "What if I try it this way? What if I do it that way? What if I mix this with that? Be open to the possibilities. Try to find the beauty and value in everything." So as Gloss studied andpracticed diligently honing his skills on a wide array of percussion andchordal instruments, he would experiment and commune with infinity, rather than take a narrow, confined or restricted path. Gloss weaves the lasting impressions of his musical influences into a mystical, rhythmic flow, like a quilt of the living sonic colors that touched his heart and ears. Everything is in there: from the 50s and 60s American Oldies, Soul, R&B, Jazz, and Folk that his stepfather actively collected, to the Rock, Funk and Electronic recordings of the 70s and 80s that were popular at the time, to the array of sounds that his dance teacher, choreographer Mother would play as she worked and trained, to the spectrum of Classical and Latin records that he’d hear with his Grandparents, and the wisdom of the master teachers from around the world he was studying with. His perspective is vast as he is interested in and ever investigating the potentials of sound, instrument, and inspiration. He's applying his "thoughts, skill, knowledge and experience, transmitting as vibrations through the vessels" he makes, finds, collects and is given. I'm amazed by this solo debut, that Gloss produced, recorded and mixed himself, in his own studio with his own gear and mics! It's diverse and dream-full and a perfect way to blast off on a series of releases like this! (Hint, hint.) As I am a guest here, and have given you a brief introduction, now I welcome you to read the words of the man himself, to get a more profound sense of how he sees and hears The Ayes. Enjoy! Carlos Niño West Hills, California April, 2015 Warmer Waters An improvisation utilizing a small assortment of Chinese and Korean gongs, a Chinese cymbal, and a tub of water. This piece serves as introduction, invocation, even an alap or taqsim if you will, and symbolizes for me on a personal level how one ending can be a new beginning. For this piece there are two simultaneous improvised tracks (one playing a rack of gongs, and the other playing with some of the gongs and tub of water), both were the first and only takes with no edits. From McBean to Hasley Cyn A composed solo in three movements for pandeiro set to a cycle of five beats. This piece was conceived and performed using the Remo Choro Pandeiro, which has become my pandeiro of choice. McBean to Hasley Cyn is the distance (quite literally only a handful of miles) from CalArts where I teach, to the Remo factory by way of the 5 freeway. The Hang A long time ago someone had lent me a Hang. So accessible and playable, and so rich in sound and color, it’s hard not to fall in love with these instruments. I recorded this lighthearted solo some time ago, before I had to give it back to it’s rightful owner. This improvised composition is in an ABA form. For the A sections I sat with the Hang in my lap playing only the top of the instrument (playing both the “notes” and the “shell” of the instrument). However, for the B section I played both the top and bottom of the instrument (creating a melody on one side, over an “udu-like” ostinato groove on the other). I then overdubbed caxixi (shakers) to accentuate the melody, form and groove. Prelude to the Onion Originally written as an introduction to a larger composition, Peeling The Onion, it was premiered at the CalArts World Music Festival in 2008 by Hands On’Semble, with Swapan Chaudhuri and Houman Pourmehdi. This piece was written specifically for my collection of Paiste Gongs with melodic and rhythmic percussion accompaniment and solos. The rhythmic cycle is set to thirty-three beats comprised of three cycles of eleven. The melodic content is based on a North Indian lehara or nagma in Raag Malkauns as well as a slight nod to John Coltrane’s A Love Supreme. This piece differs from all the others on this recording, as it was conceived as an ensemble piece, as opposed to being primarily solo based. Thusly, it is the only composition on the album that relies on overdubbing to any real extent. Experiment on the Nature of Water #1 A live improvisation on electronic drumset. No overdubs, no edits. I simply programmed the sounds for each pad to create my drumset palette, cleared my mind, then hit record. Like Warmer Waters, and to much the same extent The Hang, these pieces are live improvisations with an emphasis on “flow” with little to no preconceived ideas, and the result usually happening on the first take. For this piece the only preconceived ideas were the palette of sounds, and the intention of this being the first and only take. Suburban Desert Oasis (dedicated to John Bergamo) A composed solo for frame drum in three movements, with the drum being held in a different position (freehand style, lap style, and tar position respectively) for each movement, and is set to a cycle of seven beats. This piece is dedicated to my mentor, teacher, friend, and bandmate John Bergamo who gave so much so freely, without him I’d be nothing and nowhere as a musician. I am eternally grateful. For this recording I played an 18” Cooperman tar. In a Cycle of Nine It has been one of the great blessings in my life to be a long-time student of the great tabla maestro Pandit Swapan Chaudhuri. While Swapanda has been overwhelmingly generous with his time, information, guidance and support throughout the years, tabla is such a vast subject that it is almost too much for one lifetime. So while I have received extensive talim over the years, there are still so many things that I simply have yet to learn. Therefore as a recurring exercise in my practice, I try working on certain talas that I encounter but haven’t formally studied and see what results. Trying to utilize the grammar, structures and forms, rules and guidelines learned from my teacher, I attempt this in both a traditional sense as well as in my own way. This solo is a “snapshot” of this practice...in a cycle of nine. Randy Gloss March, 2015 ALL music composed, performed, and recorded by Randy Gloss (ASCAP) ©RANDYGLOSSMUSIC (ASCAP) 2015 Produced by Randy Gloss Mixed by John Baffa at T.V. Tray Studios, Ventura CA Mastered by Brian Bullard at Universal Studios, Los Angeles CA Artwork and Design by Eron Rauch Orenda Records (www.orendarecords.com) www.randygloss.com