Marc van Roon: Kinn
Marc van Roon
When listening back to these recordings, I am surprised to discover how many ingredients of my own biographical narrative this album reveals. My fascination for the spirit of free improvisation is clearly present and I can hear many traces of the musical elements that touched me the most in the first decade of my life. In 1967, the year I was born, Miles Davis toured in Europe with his quartet. A few years later his music became more electronic which led the way down a jazz rock road soon to be traveled by Joe Zawinul and Wayne Shorter with their Iconic band Weather Report. This inspiring episode is expressed in this recording with the inclusion of the synthesizer and with our wilder expressions. A substantial part of my inspiration and musical identity is shaped by these musicians in that first period of my life. In later years elements of classical and contemporary composition, elements of the piano repertoire as well as Indian classical music became part of my range of sound colours. In particular the music that reflects stillness and a sacral ambiance. So much of all this has found a way to emerge in these trio improvisations.
Loosely superimposed on this biographical layer is a second story which is more socio-philosophical in nature. A few years ago I obtained my academic scientific degree in social intervention. That research provided me with a critical perspective on the social relevance and role of the arts. It awakened a strong desire to make a difference and have my music play a role in our collective endeavours to find sustainable solutions to the societal complex concerns of today. In that light, this album is an improvisational approach to shaping stories about kinship, the heart and stories about improvisation as a modus operandi. Tales that emerge from a grounded sense of kinship and the kindred spirit between all actors involved. Key has been the relationality between musicians, instruments, spaces, the engineer, the technical gear and equipment, and all forms that exists in the church. The wood, the ground, the air, the materials and our bodies that have helped to bring the sounds to life.
The trio’s offerings live in the intersection of art, music, improvisation, spirituality, storytelling, and ecology. They illustrate how coherence and meaningfulness can emerge without having pre-composed scores or schemes. They show a praxis that is not based on efficiency, control or predictability alone. They aim at opening up a space in which the noise of unpredictability, uncertainty and ambiguity can coexist with the joyful biophonic resonance that emerges when musicians are rewarded with the gift of entering the center of the song. This album is filled with stories of entrainment and of the way in which individual oscillating heart fields start synchronising, amplifying and resonating as a larger entangled collective field when they connect with other individual heart fields.
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