Recorded by the University of Wisconsin Jazz Ensemble - Spring 2021

Soprano Sax - Mina Stumpfoll
Alto Sax - Ben Stoffel-Murray
Guitar - Craig Peaslee
Piano - Lance Letellier
Bass - Andy Jones
Drumkit - Ian Kenney 
Auxiliary Percussion - Ian Kenney
Violin I - Kaleigh Acord
Violin II - Isabelle Krier
Viola - Kaleigh Acord
Cello - Vienna Symphonic Library

Composition, Mixing & Mastering by Craig Peaslee

Etana & The Eagle

Fragile is a four-movement concert suite for brass quintet and fixed media directly confronting several current socio-political issues.

1. "A Nation of Immigrants" (0'00")focuses on immigration into the United States and the highest of government officials commentary on what immigration means to the nation.

2. "Global Warning" (6'40") confronts global climate change and how modern civilization has had effected the global climate.

3. "8:46" (12'18") confronts societal and systemic racism, concentrating on the Black Lives Matter and Say Their Name movements, while taking a deep look at the events that unfolded and lives lost throughout 2020.

4. "Goodbye is the Hardest Thing to Say" (21'11")focuses on the global COVID-19 Pandemic giving attention to the lives lost and how all of our daily lives and routines were dramatically altered. (In 2022, "Goodbye is the Hardest Thing to Say" became part of the inaugural University of California-Riverside Audiovisual Frontiers Virtual Arts Exhibition: https://audiovisualmusic.ucr.edu/audiovisual-frontiers-index/)

Recording of debut performance at the Northern Illinois University Recital Hall, DeKalb, Illinois on April 25, 2021.

Trumpet 1 - Andrew Pacheco
Trumpet 2- Victor Yuen
Horn - Rebecca Wu
Trombone - Jenny Young
Tuba - Daniel Nowosad

Music Composition - Craig Peaslee

Commissioned by Jenny Young, made possible by the NIU College of Visual and Performing Arts Interdisciplinary Student Project Artistry and Research (ISPAR) Grant.

Fragile

1. Beyond the Wu Zhang Plains (0'00")
2. At the Gates of Chengdu (6'45")
3. Moon Reflected in the Pond (9'58")
4. Jasmine Flower (16'50")
5. Cold Spring Wind (20'04")
6. Red Flowers (25'24")
7. Songs for Plums (28'30")
8. Horse of the Mountain (34'37")
9. Purple Bamboo Melody (37'44")

Suite For Woodwind Quintet - Nine Songs From China

Lulls and Byes

I. Song of the Talpa People
II. Funeral March for a Deaf Man
III. In Futurum

Highly influenced by John Cage, 8'66" features a single piece played in three completely different manners. 

The first movement, Song of the Talpa People, calls for the pianist to play the selection while attempting to not let any of the piano hammers "fall" (hit the strings, causing sound); however, we know that the hammers will fall - we simply don't know when and where it will happen. John Cage was a pioneer in "indeterminacy" - or, the same piece of music that can be performed wildly different each time it is heard.

"Funeral March for a Deaf Man," the second movement, the written music was lined up directly to a section of John Cage's "Lecture on Nothing" - whenever a syllable from the speech would be spoken the pianist plays the note(s) that correspond at the same time. Cage had a similar approach to writing one of his compositions.

The third movement, In Futurum, allows the pianist to play the piece.

The titles for the three movements are taken from compositions of silent music that predate Cage's 4'33"

"Funeral March for the Obsequies of a Deaf Man" (1897) by Alphonse Allais (1854–1905).
In Gaston Leroux's 1903 novel "La Double Vie de Théophraste Longuet," silent concerts are given by the Talpa people.
"In futurum" (1919) by Erwin Schulhoff (1894–1942).

The piece was written as a way to expose new audiences to contemporary concert music.

8'66"

For best results listen to with headphones.

A juxtaposition of two presidential addresses, each speaking to/about the media and basically stating that the press needs to be (more) responsible in regards to what they release. However, one orator speaks in a rather eloquent fashion (basically saying, "I can't force you to do as I wish, but I can ask you") and directly to the news media, whereas the other speaks in a very basic and uncouth manner pandering to his base.

Combined with string quartet and other broadcasts, the piece creates an atmosphere as though the listener is periodically switching between several radio stations during an evening of listening. 

Throughout the piece the strings utilize augmented and diminished chords, arpeggios, and runs while also emphatically stating the following message:  
- .-. ..- -- .--. / .. ... / - .... . / . -. . -- -.-- / --- ..-. / - .... . / .--. . --- .--. .-.. . .-.-.-

MIA (Media Informs America)

For best results, listen to while wearing headphones.

A 2021 American Prize finalist for Chamber Music Composition and recipient of a Special Judges’ Citation for Social Relevance and Musical Quality, "The Death of a Nation" utilizes pre-recorded (fixed) media with a live string quartet that interacts with and adds commentary to the recording.

The entire pre-recorded media comes from an individual, we will call "The Orange Oaf," who often rambles incoherently due to a constant stream of thoughts needing to immediately escape his mouth, causing many nonsensical tangents and interjections into his speech as though one individual were occupying eight seats and having a solo round table discussion.

The composer of "The Death of a Nation" edited a speech so that the 'on script Orange Oaf' had his overarching speech while the interjections and tangents were channeled through several other speakers and "The Orange Oaf" could indeed speak the way he apparently thinks.

Conceptually, the listener should be perceiving audio coming from all around (as though the listener were a small item on the table hosting the eight Orange Oafs as they hold their discussion).


"A highly effective work for string quartet and recorded elements (primarily carefully edited speeches by President Trump), that, regardless of one's political leanings, is highly entertaining and, on another level, quite troubling. (The audio track brilliantly utilizes overlapping and repetition to make its points.) The string quartet writing is skilled and diverse, commenting on or contrasting the spoken word in provocative ways, including with the use of familiar patriotic tunes. Exceptionally listenable and just about the right length. Certainly generates thought and, in some cases (one imagines) action. Unique ... at the very least." - David Katz, The American Prize

The Death Of A Nation

Winner of the 2021 Indianapolis Chamber Orchestra Composition Competition, "Second City Strut" is an exploration in the hybridization of jazz with that of Western Art music. Constructed from a section of non-literal counterpoint in constant similar rhythmic motion, the incidental harmonies create a layer upon which other melodies, chords, and harmonies are presented - and continually interrupted by spastic flurries of sound.

"a strong and unique work" - Michael Harrison, Composer and Guggenheim Fellowship recipient

"Second city strut is truly a nightmare. But I love it." - Noah J. Nethery, Florida State University

"The sad thing is, I like it!" - Dennis J. Meacham, Northern Illinois University

"A jazz infused work for orchestra that is uncompromising, serious, evidencing exceptional skill in its use of the ensemble and in its understanding of style and instrumental effect. A remarkable melding of modern techniques of orchestral composition with familiar jazz licks, it sounds like little else I know. Deserving of many performances, although it is not easy, except, as a listener, to grasp and appreciate." - David Katz, The American Prize

___________________________________
*Personnel

Piccolo & Flutes - Sarah Holmes
Oboes - Jenny Charles
Horns (1 & 2) - Mark Robinson
Horns (3 & 4) - Kate Swope
Trumpets - Derek Detzler
Trombones - Jenny Young
Tuba - Dennis Meacham

Clarinets, Bassoons, Percussion, Timpani, Vibraphone, Piano, Harp, and Strings - Vienna Symphonic Library 

*All recorded parts were doubled (and in some locations overtaken) by the Vienna Symphonic Library

Recording Engineers - Tom Hapeman & Mark Robinson
Producer, Editor, MIDI Sequencer, Mixer, Talent Scout - Craig Peaslee

Second City Strut

A Latin-Jazz Suite for Cello and Piano. 

Combining elements of jazz and contemporary music of the classical tradition, these three latin dances move from the highly accessible raucous opener, to a harmonically complex tender ballad, and conclude with a rhythmically odd thunderous finale (complete with a tip of the cap to Dave Brubeck).

tres bailes latinos
1. el nuevo tango de KT
2. en un barco de tontos
3. bailar por tres pies izquierdos

tres bailes latinos

Whistlin’ Dixie Suite consists of pieces wholly written out (no improvisation here) in the style of "Dixieland Jazz" or, if you prefer, New Orleans Jazz, Hot Jazz or Traditional Jazz. The whole suite combines elements of jazz with those of contemporary concert music while staying faithful to the emulated genre.

Through the movements we witness the ensemble hard at work, an arrangement of the Art Hickman tune, a bipolar piece with depressing and uplifting parts, hear several “Americana” songs that eventually force the fourth movement off the rails (special thank you to Scott Sproxton), a New Orleans funeral parade, and you lending the ensemble a helping hand.

1. Charlie's Two Step (0'00" - 6'41")
2. Rose Room (6'42" - 10'50")
3. Why, Why, Why (10'51" - 16'09")
4. Dixie's Land (16'10" - 20'51")
5. Dirge & Second Line (20'52" - 27"12")

This recording is of a live performance on 2019APR07 at The House Cafe in DeKalb, IL by music students from Northern Illinois University. Clarinet - Eli Wynn, Trumpet - Derek Detzler, Alto Saxophone - Karli Bunn, Trombone - Josh Mason, Tuba - Dennis Meacham.

On an additional note, "Dirge & Second Line" has been selected for inclusion on the Navona Records album "Windswept" featuring the Boston area woodwind quintet Arcadian Winds. For details on this recording (as written for Woodwind Quintet) go to: https://www.navonarecords.com/catalog/nv6245/index.html

Whistlin' Dixie Suite

Winner of the 2022 American Prize in Music Composition - Instrumental Chamber Music (Fragile for Brass Quintet), Winner of the 2021 Indianapolis Chamber Orchestra Composition Competition (Second City Strut), twice the recipient of the Milwaukee Artist Resource Network's Music Award (2013 & 2016), and winner of Time Magazine's 2006 Person of the Year, Craig Peaslee's music has been described as bold, brash and unapologetic. Coming to the contemporary composing scene as a jazz performer and arranger, Craig’s compositions have a strong foundation in jazz music and continually find him searching for new ways to incorporate jazz into works for the classical concert music stage, as well as classical elements into jazz pieces. 

His works can be traditional, multi-faceted, dissonant, genre-bending and have been known to directly confront social and political issues in order to bring attention to such topics as well as get listeners to critically think and discuss the challenges facing the world we live in.  Craig's recent compositions include the four movement suite for brass quintet Fragile (2021), Second City Strut (2019) for orchestra, and The Death of a Nation (2018) for string quartet and prerecorded media.
 
Recent performances of his works and arrangements have been by the Indianapolis Chamber Orchestra, Henry Mancini Institute Orchestra, Frost School of Music's Concert Jazz Band, Julius Quartet, Northern Illinois University Graduate Brass Quintet, Boston's Arcadian Winds, the Flight 584 Big Band from Los Angeles, Extra Crispy Brass Band and The Brew City Big Band of Milwaukee, and The Moonlighter's Orchestra. He was included on a recent compilation album Windswept (Navona Records) featuring the Arcadian Winds woodwind quintet.
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As a disabled veteran, Craig enjoys working with veterans organizations to bring music to veterans and exposing veterans to music outside the realm of what can easily be found on commercial radio stations, in movies, and television shows.
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Having been raised in a rural village, Craig is impassioned about being able to present new music to smaller communities and areas that do not normally get the opportunity to attend presentations of new and contemporary music. For these reasons, Craig enjoys writing music that is accessible while also sounding new and invigorating.

Craig Peaslee

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