LOVE NOT LOVE
Love Not Love Lust Not Lust evolved gradually. The story is written in the internal dynamics you hear, one more chapter in my fascination with bands and composing for what goes on between band members. Harpist Elizabeth Panzer and trombonist Chris Washburne helped me start DADADAH. Both are strong proponents of new composed music, Chris being a composer himself and a leading player in the Latin jazz arena. Guitarist Hui Cox came to the group in the midst of our first CD Rise Up! after we met in a composers' music theater workshop.
In 1990 I wanted to explore horns, so I put this experimental orchestra together never expecting it to last past one gig. I named it DADADAH after the sound of a horn fanfare, my great-grandmother Adelaide Savage Bowles (we called her Dadah) and my favorite sculptor Jean Arp (Dada-ist).
I had suspended my straightahead guitar-rock quartet Hide The Babies. Working with a combination of harp, cello, bass and drums again was like coming home to my band Musica Orbis in the '70s. I also returned to an idea I had then: that I could sing a song about my life and illustrate it by exploding the song's form with instrumental reactions.
My free feeling for such musical cinema had come a band earlierwith acid-rock Phaedra which had played the Fillmore East and opened for the Velvet Underground when I joined in 1970. Phaedra rehearsals consisted of playing one song for hours, embellishing on it, following wherever it went. I began to see bands as sculpture in time and personality. Even before that, in my very first band Battleship (two flutes and two folk guitars, inspired by the music of John Coltrane) I'd become addicted to the thrill of making the music do what I felt as I was feeling it.
Roland S. Wilson played bass with me faithfully for several years until he became too successful a financier---at which point Jeff Song and Keith Lambeth stepped in to help. French hornist Lydia Van Dreel was recommended by Chris's improv professor, composer Joan Wildman. Joan and the Madison Music Collective invited DADADAH to the Midwest in the fall of '95 where we played and fell in love with Joan's friends drummer Dane Richeson and cellist Matt Turner. When it was time to record, we invited them East. I was looking for a sax player when my ex-boyfriend composer Phillip Johnston said he'd like to record my music.
The words are about what I've always sung aboutmy lifehow I'm living it. But the band and what the players play tell as much as the words---about how we all are living it, going after it, in love with it, in lust with itjust can't live withoutthe music.
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