Artist’s Statement: Air, Vapor, Spirit, Soul

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Air: essential to life, and the heart of the music of cultures spanning time and distance. Flutes have been some of the oldest discovered instruments, so it was only fitting to open this journey with a breath of life, as played by Alice Coltrane. In trying to pin down the enigma and imagery of air, I knew it would need to tie deeply into the concepts of spirit and soul. “Angel of Air / Angel of Water” came from a spiritual chapter in Carlos Santana’s life; he was regularly meditating and was accepted as a disciple of Sri Chinmoy, who gave him the name Devadip (meaning the lamp, light, and eye of God). As he dove into spirituality, he dove into new musical connections and started working with jazz musicians/fellow  disciples of Sri Chinmoy, including John McLaughlin, Don Alias, and Larry Young (all of whom played on Miles Davis’ “Bitches Brew”). Carlos Santana has said that the music he made with Alice Coltrane was “ farther away from that classic Santana sound than almost any other recording—farther away but closer to where my heart was.” 

Playing on more esoteric guitar sounds, “Air Chrysalis”  fast-forwards a few decades to deliver the exquisite fluidity and build that only instrumentalists Animals As Leaders can deliver. Tosin Abasi is one of  the most compelling musicians I have ever seen perform live; the energy and soul that goes into his playing, without ever saying a word, is something as beautiful and mysterious as the air itself. The gust brought in by Heart on “Mistral Winds” kicks us into chilling, high speed power (named after the violent cold winds that blow through the Rhone and Durance river valleys in France) briefly, only to gently set us back down on “A Pillow of Winds” by Pink Floyd. Just as we felt warmed and ready for rest, Jeff Beck hits us with electrifying, twisting phrases and overtones of his “Blue Wind”.

When thinking of spirit, the first song that came to my mind was “Why Did You Separate Me from the Earth” by ANOHNI. Her voice as well as lyrics are absolutely haunting and emotive; this song painstakingly forces the listener to reconcile with the molecular connection we all have to the Earth, and how ugly the future offered to trans folx is in comparison. After such a truth bomb, James Booker comes in to remind us that we are each a beautiful soul and that we can work together to make the world better for all people…as long as we do in fact all pitch in. The crowd in the live recording of “Mood for a Day” shows up to help us feel less alone while Yes plays one of their most gorgeous, longing, soulful instrumentals. 

Coming back to breath and soul, Curtis Fuller spins billowing shapes from his horn in “The Breeze and I”. The breeze breathes a  pathway for Jimi Hendrix’s “Angel” to fly on by and let us think about the angels in our life before being taken on a deeply introspective look at the idea of self with Charles Mingus’ “Myself When I Am Real”. What does it mean to be real, and how do we feel when we are real? Why isn’t Mingus playing bass…and why does he sound like a completely different musician on this track? There is a vulnerable anxiety and softness on this song that can be harder to find in the harder, angrier anti-racist songs we know him for. Coming back around to the flute and wispy waves of electric guitar, comes Chicago’s “Aire”. As they breathe the last flute note of the song, in comes the sweet, smooth sway of Duke Ellington to remind us to move a little and wake our soul up. The drifting movement in his playing is so airy and light at times, while also continuing to shift and float us away into that last lingering tinkle.