Liner Notes During the process of recording this CD, I reached my 51st year. Like most people reaching this point, enough time has passed that I can look back on the years with a different perspective. As one who has always sought to penetrate beneath the surface of things, it was an insight in and of itself to discover that some realizations can only come with time and experience. No matter how much one’s heart longs or how hard one works, things often unfold in a manner that is beyond our control and infused with a Divine wisdom. On some level this music represents a convergence of three paths in my life that have been there from very early on: my musical life, my martial arts life, and my spiritual life. For most of my years I saw these as divergent paths. Until recently I saw them as things I “did”, not things I “am”. Thankfully, I’ve come to see this as an illusion. They, in essence, aren’t three paths, but one. In other words, I’ve grown enough to perceive the essentials of these paths in all things—or from the Islamic/Su" perspective, Tawhid: Unity or Oneness From a musical perspective, this has been present from my youth. I’ve always loved all kinds of music. I’ve never felt the need to pick a team, and frankly I see these delineations more as a byproduct of commerce than anything to do with musical expression. For me, the power in great music lies in how it expands the heart and consciousness, not contracts it. In martial arts, the ability to #ow and respond in the moment to an unknown presumes the ability to transcend stylization, rigid dogma, ego and self. Of course, spirituality, the heart of religious practice, is by de"nition the ability to see the light in the lamp and not become "xated on the different colors and forms of the lampshade, which is really only there so as to not overload the fragility of the human being in the worldly state. From a pragmatic standpoint, this longing to look beyond the lampshade has allowed me the gift of being in many musical settings and feel completely at home in all of them. This music represents my attempt to draw from various musical wells in a way that re#ects the road I’ve walked over the years and continue to walk. While I was making this record, friends and colleagues often asked, “What kind of record are you making? Is it jazz? Is it funk?” I "nd it hard to answer that question because I don’t feel the need to de"ne it that way. I guess the most honest answer is that it re#ects my attempt at expressing myself based on all of the music that has in#uenced me. I think that is what all artists do, but we seem to be living in an age where everything has to "t neatly into some category. The irony is that we also live in an age where interconnectedness, at least in a material sense, is like no other time in human history. But I understand the need for a description. I guess if music is food for the soul, it follows that some people will want a menu. Most of the rhythmic base of this recording is Funk, R&B, and various world in#uences from the Caribbean, West & North Africa. For me, the physical reality of time is what holds creation together, from the movement of celestial bodies to the beat of our hearts. There is truly something Divine in it. Groove/Rhythm is how we delineate time so we can ride it together. It is an amazingly sublime beauty that each peoples’ uniqueness is somehow encoded in rhythm. It’s one of the many ways we know each other. I’ve been fortunate to live in many different rhythmic worlds and I love being in each of them. I also drew from various orchestrational palettes, using bass #ute, alto #ute, bass clarinet, various colors of brass, and at times a more traditional horn section. It was lots of fun experimenting with the sound of bass and alto #ute, Harmon muted trumpet, trombone in a bucket mute, all over a hip hop groove. Some of the tracks—“The Longing”, “Turning Inside Out”, “Land of The Blind”—I not only made use of these various instrumentations but also accessed the endless array of sounds that modern sonic technology has given musicians like me to explore. On other tracks—“Blue Caller”, “Paradigm Shift”, “Ancient Impulse”—I used a more a standard instrumental music format. I tried to create melodies that were singable or had a “hook”, something I love about R&B and Soul music, while still having a harmonic sensibility that allowed for subtlety and expansiveness. One of the great blessings of living in the greater New York City area is easy access to the best musicians in the world. I am proud to count many of them as my dear friends. They represent a wide variety of musical worlds and experiences but all have a deep love for the honesty and sincerity found in great music, irrespective of genre. Their input, openness and musicianship were indispensable to me in making this music. Often, when I was stuck or not con"dent in what I was hearing, many of them offered suggestions or provided a well-needed nudge to get me past “paralysis by analysis”. I’m eternally grateful to all of them. For me, the essence of music can be reduced down to two things: rhythm and sound. Many of the great thinkers of the past—Plato, Confucius, Al Ghazali—viewed music in a two dimensional way. It was a type of higher metaphysical math, but it also had a spiritual component that had the power to transcend time and space and draw one closer to the Divine. While I make no such claims about my music, I do know that when I hear a particular Earth, Wind & Fire song I’m transported to 1980, to a sunny summer day on the beach. When I hear John Coltrane’s solo on “Transition”, I’m transported to another realm. And when I hear the Adagio from Mahler’s 5th Symphony, I feel God’s presence. The power of music to take us to another place is amazing. And it can do it to groups of people all together at the same time. I’ve witnessed it all over the earth: people who, apart from being together listening, have no apparent connection, yet the music connects them and takes them to another joyful place. But music also offers a more earth-bound potential, especially when words are present, though this isn’t always needed. The forti"cation of words with rhythm and sound is a hugely transformative power. I was profoundly in#uenced by much of the music in the 60’s & 70’s that called into question war, civil rights, racism, culture, history and ecology. I realized that Marvin Gaye’s “What’s Going On” and “Inner City Blues” had more transformative potential than political sophistry and a month of Sunday sermons, or Friday Khutbahs for that matter. These songs addressed our societal ills, perhaps providing the “spoonful of sugar to help the medicine go down” and giving us the courage to imagine, and create, a more just world. Although all of the music on this CD is instrumental, the track “RumiNation” is my attempt to share words from some of my teachers that I hope will inspire, but also provoke people to question how those of us walking a particular path are perceived and portrayed. And perhaps that is music’s greatest power, to allow us to hear each other, to truly listen, to hear what emanates from each heart and soul and know that we are all connected. My hope is that we take that into the world when the music isn’t playing. Credits & Thank You: Turning Inside Out BD- Trumpet, Rhodes, Clavinet, Synth Strings Charles Pillow- Flute, Alto Flute, Bass Clarinet Mike Ciro- Guitar Hubert Eaves IV - Bass Bashiri Johnson- Percussion Clint DeGanon- Drums Paradigm Shift BD- Trumpet, Clavinet, Synths, Drums & Percussion Programming Henry Hey – Acoustic Piano Ed Hamilton- Guitar Tim LeFebvre- Bass Bob Franceschini- Tenor Sax Shawn Pelton-Drums In the Land of the Blind BD- Trumpet, Rhodes, Synth Bass, Clavinet, Synth Strings, Additional Drum & Percussion Programming Lawrence Feldman- Flute, Alto Flute, Bass Flute Michael Davis- Trombone Mike Ciro- Guitar Ralph Rolle- Drums Shine Your Light BD- Trumpet, Synths, Additional Drum & Percussion Programming David Mann- Alto & Tenor Sax Michael Davis- Trombone Michael Bearden- Rhodes, Clavinet, Organ Mike “Dino” Campbell- Guitar Hubert Eaves IV- Bass Ralph Rolle- Drums Metaphorically Speaking BD- Trumpet, Flugelhorn, Additional Keyboards David Mann- Flute, Alto & Tenor Sax Andy Ezrin- Piano Sherrod Barnes- Guitar Tim Le Febvre- Bass Bashiri Johnson- Percussion Buddy Williams- Drums Blue Caller BD- Trumpet, Synths, Additional Drum & Percussion Programming Bob Malach- Tenor Sax Andy Ezrin- Rhodes Mike “Dino” Campbell- Guitar Hubert Eaves IV- Bass Ralph Rolle- Drums, Brush Loop Angles Of Attack BD- Trumpet, Rhodes, Synth Bass, Synths, Drum & Percussion Programming Ozzie Melendez- Trombone Sherrod Barnes- Guitar Unseen BD- Cornets, Omnisphere The Longing -In Loving memory of Shaykh Hassan Cisse (ra) BD- Trumpet, Flugelhorn, Synth Strings, Drum & Percussion Programming David Mann- Flute, Alto Flute Charles Pillow- Bass Clarinet Andy Ezrin- Rhodes David Finck- Acoustic Bass Brahim Fribgane- Dumbek, Udu Maghreb BD- Trumpet, Additional Keyboards, Drum Programming Andy Ezrin- Rhodes Aaron Heick- Soprano Sax Ed Hamilton- Guitar Leo Traversa- Bass Brahim Fribgane- Dumbek, Udu, Riq Chant: Wazifah Tijaniyyah- NYC, Fez, Morocco & Kaolack, Senegal Ancient Impulse BD- Trumpet, Rhodes, Synth Bass, Synths, Drums & Percussion Programming Andy Snitzer- Tenor Sax RumiNation BD- Trumpet, Rhodes, Synth Bass, Synths, Drums & Percussion Programming David Mann- Soprano Sax Words of Wisdom- Shaykh Abdallah Adhami, Imam Zaid Shakir, Shaykh Hamza Yusuf Hanson All Music Composed, Arranged and Produced by: Barry Danielian Mixed by Frank Fagnano Mastered by Andy VanDette at Masterdisc Recorded at Marion Studios: Cliffside Park NJ Bass Hit Studios: NYC NY The Lab: Brooklyn NY Visionary Music Group: River Edge NJ Urban Su" Studios: Jersey City NJ Various Hotels throughout USA & Europe Buddy Williams & Brahim Fribgane recorded by David Darlington Bashiri Johnson recorded by Storm Martinez Ralph Rolle recorded by Frank Fagnano Clint DeGanon recorded by Tom Gioia David Mann, Ozzie Melendez, Andy Snitzer, Tim LeFebvre recorded by themselves. Everyone else recorded by Barry Danielian Photography by Clark Gayton Graphic Design by Phillip King Andy Snitzer appears courtesy of Native Language Barry plays Shires Trumpets, Adams Flugelhorns and custom Monette PRANA mouthpieces designed by David Monette Barry uses Royer R-122 ribbon Microphones Bismillah “The one who has not thanked people, has not thanked God” saying of Prophet Muhammad (pbuh) To my wife Cecilia, for her unconditional love, understanding and for protecting my heart. To my treasures, Amani & Khadijah for teaching me that strength #ows from gentleness. My heartfelt thanks to all the talented musicians whose amazing playing and love of music is always an inspiration. Special thanks to my dear friend and engineer extraordinaire Frank Fagnano. This project couldn’t have been done without your generous spirit and sonic prowess!! To Chris Hajian, David Mann, Idris Muhammad, Bob Franceschini and Kamau Adilifu…thanks for the constructive criticism and encouragement during the making of this recording. Thanks to my friend Steve Armour for editing the liner notes. Thanks to Bruce Springsteen for teaching me by example that a musician gives everything, always!! Thanks to all of the E-Street family for making it great! To my martial arts teachers: Grand Master Leo T. Gaje Jr. Pekiti-Tirsia Kali: thanks for all the years of training and sharing your art and culture with me. Thanks to my PTK elders: Tuhons Tim Waid and Phil Gelinas for showing the way. Cikgu Omar Hakim, Silat Kuntau Tekpi: Thanks for bringing this art from the jungles of Malaysia to the USA. John Potenza, Billy Robinson and Jake Shannon: Catch As Catch Can (submission) Wrestling- the art of physical chess. To my brethren: Arjan Simon, Arjan Steve, Kru Gavin and Mataas Na Guro Eddie: Thanks for all the years of bruises and fun!! To my students, who teach me more than I could ever teach them. To Shaykh Abdallah Adhami: thanks for “being down” and letting me use your words! Your friendship & encouragement means so much to me. To Imam Zaid Shakir: Your words are like John Coltrane’s sound- full of clarity and power. They always give me strength. To Shaykh Hamza Yusuf Hanson: Thanks for being a light and a compass! Last but certainly not least: To my beloved teachers and guides on the spiritual path: Shaykh Hassan Cisse (ra), Shaykh Tijani Cisse, Shaykh Mahi Cisse, Imam Abdus Sami & Imam Muhammad Abdul Latif Finch Thanks for being patient with me as I stumble along the path of Love. This music is dedicated to all the truth seeking-love giving-soul searching-poor folk serving-sick healingoppression "ghting-truth to power speaking people who struggle every day to make this world a place of justice, peace and love for all of God’s children. Artist Bio Trumpeter/Producer/Arranger Barry Danielian has for nearly three decades performed with many of the biggest names in the music industry. Barry's touring and recording credits read like a who's who of the music business. Having worked with such diverse artists as Elton John, Barbra Streisand, Tony Bennett, Sting, Tower of Power, Queen Latifah, Eddie Palmieri, Ray Charles, KRS One, Public Enemy, Branford Marsalis, Paul Simon, Blood,Sweat & Tears, Tito Puente, James Taylor, Billy Joel, McCoy Tyner, Illinois Jacquet, Marc Anthony, Ricky Martin, The Roots and Bono. Since 2012 he has been on tour with Bruce Springsteen and the E Street Band Barry has been one of the most in demand trumpeters and arrangers in NYC. He is constantly requested by such legendary producers as: Phil Ramone, Jay-Z, Arif Mardin, Randy Jackson, Barry Eastmond, Rob Mounsey and Narada Michael Walden. He is also a prolific writer and producer whose music is used throughout the media industry including NBC, CBS, HBO, Showtime, A&E, The Discovery Channel and Fox. He has two CD’s as a solo artist. “Common Ground” released in 2004 received much critical praise and his upcoming release “Metaphorically Speaking” is due out later this year. Trained from an early age in his first love, jazz, some of Barry's most memorable performances have been with such greats as Dizzy Gillespie, Benny Golson, Illinois Jacquet, McCoy Tyner, Paquito DeRivera, and Branford Marsalis. Equally valuable in the evolution of his style were some of his first New York gigs, with Latin music giants Eddie Palmieri and Tito Puente. Starting in 1984, he toured widely with these bands over a number of years and began an impressive series of Latin/Salsa recordings with such artists as Marc Anthony, DLG, Emmanuel, Juan Luis Guerra and Ricky Martin. Barry has been on the "short list" of legendary R&B artists such as The Temptation, The O'Jays, The Four Tops, The Spinners, The Dells and The Whispers. Barry's mileage on the road increased in 1985 with the first of several tours with rock fusion giants Blood, Sweat and Tears, and subsequently with Southside Johnny and the Asbury Jukes, Queen Latifah and Jon Bon Jovi. The early 1990s saw Barry on world tours with Latin-pop star Emmanuel and funk legends Tower of Power with whom he recorded 2 CD's. During the mid-1990s, Barry began to realize the reputation he enjoys today as one of New York City’s most in-demand session players and arrangers, racking up more than 300 recordings. His Jingle/TV and motion-picture credits are too numerous to mention. In 1998, Barry suspended his whirlwind touring schedule to spend more time with his family. As a New York-based freelancer he performs regularly on Broadway and in clubs, while serving on the musical performance faculties at three universities in the New York City area. He still travels both for performances and to give master classes and lectures on brass playing and improvisation for such hosts as Carnegie Mellon University and the International Association of Jazz Educators. Barry attended the Berklee College of Music from 1980-82, where he graduated with the 1982 Faculty Performance Award. He earner a B.A. in Jazz Performance from William Paterson University. In 1984 he was honored with the University of Notre Dame Collegiate Jazz Competition's Outstanding Jazz Soloist Award, and in 2000 and 2001 became the only unsigned artist nominated for the Oasis Smooth Jazz Awards. Barry currently resides in Jersey City, New Jersey, where he spends most of his time composing and producing when not on tour with "The Boss".