The nice thing about the recording environment is that you can go back and cut out what you might not like or approve of as an artist, or you can add artwork to the music post-production. This, in turn, provides a semblance of organization to the listener or viewer (as does a bar code to the artist). (Please note, however, that there was no looping or true editing done on this recording post-production; I wanted this record to be as spontaneous and organic in nature as the moment it was recorded.) Amidst all of the chaotic creativity that takes place on this record, you might feel at home or at peace with yourself. This would be wonderful indeed! For this is the formula of life. . . a much-at-onceness that we cannot always be fully aware of at any given point in time.

We, as creatures of habit, base our lives upon our previous experiences. Often, as a result, we categorize and prejudge. This is the rule of thumb. 99% of the time this works for us. Although something might work for us in the pragmatic sense, however, this does not mean that we couldn’t have done things in another way or have conceived things differently. You see, our points of attention are just that: points of attention. We cannot be conscious of everything as it unfolds before us. Our faculties make sense of things so that we can function in everyday life. After all, most common and universal notions are all based on past experience, and built for what we believe to be the “common good”:

I ask you to break down all preconceived walls, mental barriers and universal concepts (percepts) when listening to this CD and try to determine your own conception of aesthetics: right/wrong, tasteful/distasteful, good/evil, beautiful/ugly, common/uncommon, dark/light, sane/insane, beginning/end . . . Create your own concepts to base your listening upon, and bring these newly found ideas to play in your own life. Press play and come undone. Unwind and sensitize yourself to everything.

-John Carey

I met Dave Eggar through a fellow musician and coworker, Steve Messina, who I used to work with quite a bit when I was entering the NYC singer-songwriter music scene. Dave is one of the most in-demand cellists worldwide, and I was very pleased when he was able to help me with this recording! Dave is genius on many levels, and I’m quite content in knowing that we get along very well, both musically and personally: we laugh quite a bit. I will need to do another session soon with Dave so that I can laugh again with the same intensity. Dave Eggar appears courtesy of Domo/Columbia Japan records.  DaveEggar.com

NYC singer-songwriter, Marly Hornik originally introduced me to Oz Noy’s music and guitar playing. I was playing bass for Marly, and Oz had done the session guitar work on a portion of her album. I later became a fan of Oz’s original work after catching a Monday night at The Bitter End, NYC. F.Y.I., Oz has been playing there every Monday night for a few years, and continues to do so. He works with Will Lee, Reggie Washington or James Genus on bass and Anton Fig or Keith Carlock on drums. What an amazing trio! Only in New York can you walk out of your apartment and see talent like this on a Monday night for seven bucks (some incentive for aspiring musicians located elsewhere)! Oz is an innovator: this is a bold statement in itself, particularly when related to the musical genres of funk, fusion and jazz. How can anyone beat, improve or change for the better what’s already been done by the jazz greats we’ve all come to know and love? Well, take a listen to Oz’s original music. I was thrilled when he expressed an interest in being a part of this special day. Oz Noy appears courtesy of Magnatude Records. OzNoy.com

I first became aware of Rachelle Garniez’s original music through my sister-in-law. I immediately fell in love with her work, her voice and what I imagined her personality to be like! Since then, I have been a loyal fan, attending most of her performances in NYC. This, however, is the first time I have worked with her with regard to any musical effort. She sang on this recording session, played the accordion, claviola, bells, percussion and acoustic guitar. Rachelle works with many different artists throughout the world, and is, in my opinion, one of the most gifted and magical talents in our presence today. Rachelle appears courtesy of Real Cool Records and Old Cow Music. RachelleGarniez.com

Frankie B! I’ve been working with Frank Bellucci since I was a young musician on Long Island. Frank is a master of his instrument and remains true to his craft as an artist. It was an honor to be able to grow up playing with such a fine drummer, and I firmly believe that he has helped me develop my overall musicality and sense of time and groove. After working with numerous drummers in the NYC scene and elsewhere, I always find myself wanting Frank to play on just about anything I do.

What you are about to listen to was not planned or rehearsed: THESE ARE YOUR MODERN DAY UBERMEN1.

With regard to the artwork present in this CD, I wanted to combine the artistic community as a whole when creating this project. It is all too often that these two worlds do not collide. As an artist, it is difficult enough . . . practicing your craft for hours day in and day out, etc. The potential reward of sharing your talents is not always “broad-based”, spanning various artistic communities. I thought this CD to be a wonderful opportunity to make these two hemispheres meet if only for a brief moment. Instead of naming each song on this CD, there are works of art that I feel can be strongly linked to these songs, and are provided for you to interpret in any way you so choose. I was honored when Julia Fischer, Mark LaRiviere and Catherine Ramey were kind enough to offer their artwork for this CD. I would also like to mention that all of the artists, both musicians and artists included on this CD, work and/or reside in the Downtown, East Village or LES area of Manhattan.

Julia Fischer is an artist living and working in the Lower East Side of NYC. Her clothing related sculptures have been shown in NYC and CT. Photographs by Julia Fischer: Heavy Bubbles, Torso, Untitled #1 - Superball Series & Tip. Fischbowl.com

Mark LaRiviere has been painting steadily since completing graduate work twenty four years ago, studying with Paul Resika, Leland Bell and John Heliker. He traveled to Italy in 1983 to study early and late Renaissance paintings. He returned to New York in 1984 to receive a Charles H. Revson Fellowship through the New York Studio School.
 
LaRiviere now lives and paints in New York City, spending summers upstate painting and gardening. Paintings (oil on linen) by Mark LaRiviere: Garden Light, Three Forms IV. MarkLariviere.com
Catherine Ramey has been exhibiting paintings in New York City since 1987.
The organic references in her work of the last ten years evolved from the
experience of spending summers in a rural section of upstate New York. Paintings (oil on linen, oil on board and gouache paintings) by Catherine Ramey: Field Light #1, Field Light #7, Convergence #4 & Earthplot #2. Her work can be viewed on PaintingsDirect.com
Special Thanks to my wife, to the musicians: Oz Noy, Rachelle Garniez, Dave Eggar and Frank Bellucci, the artists: Julia Fischer, Mark LaRiviere, Catherine Ramey, to Jack Devine, Jennifer Devine, Brian Devine, Billy Pavone, Fernando Morales, Sadowsky Guitars, NYC, Euphonic Audio, Rotosound & all of my students for their continued support.