No Relation
Charles Evans
Liner Notes
Peter Evans
Translation
Liner Notes
The music you are about to experience was written based-on or inspired-by four classic jazz standards; What is This Thing Called Love, How High the Moon, The Song is You, and Isfahan. My compositional approach is rooted in the jazz tradition, consisting of the creation of bizarre, micro-tonal contrafacts that are played over the pre-existing chord progression. Peter Evans utilizes a Post-Braxton progressive continuance to simply draw ‘inspiration’ from the original, rendering music that has virtually no relation to the standard tune.
No Relation begins with the Language Of’s theme song, What. Unlike the version on our first CD, It Needs It, this is played in a short, humorous, and controlled manner. Peter Evans counters with his dark, serious, and extended free-jazz composition, Love.
The band returns to quarter-tone bebop with How. Here, each soloist is able to demonstrate their ability to combine learned bebop vocabulary with 60’s free-jazz "freak-out vocabulary". This "light-switch bebop" approach is accompanied by Jan’s swinging brush work and developed hook-up with Moppa. Peter turns to "new complexity" to provide a Coltrane-inspired, rhythmically complex 3/4 High.
Less risky is Peter’s Song, an easy, controlled, and humorous bossa nova. You is my chromatic contrafact that finds the Language Of stretching as we would on a live gig. I, the responsible Evans Brother, remembered my music for the recording date. Peter did not. Regardless, he was able to play the complex melody satisfactorily. The band takes complete creative liberty with the tempo throughout, yielding an exciting take that finds us walking the tight-rope of dynamic creation and disaster.
This record concludes with Peter’s Is; an out-of-time melody that strongly contrasts the rhythm section. After short bebop solos, I conclude this CD with Isfatek, a quarter-tone ballad accompanied by Peter Evans’ virtuosity and inspired by David Fatek.
With the culmination of this second CD, The Language Of has found a clear direction to express the inspiration they draw from the entire jazz lineage. The Evans Brothers aren’t related biologically, politically, and many times not musically, but here they have succeeded in combining stylistically inconsistent techniques consistently. ~ Charles Evans September 2005.
Translation
The heaps youre about to house were spemenated, basin streeted, or eminated from four of the bass evans; What is This Thing Called Love, How High the Moon, The Song is You, and Isfahan. My Immortal Technique is Ruden in the original derivadactory, making like of the spontaneous thelonius of biz markee, manierifacks that are navigated betwixt the traditional harmonic time/space continuum. Andre Prevans indutkos a Raisin Bran-MJB progressive continuance to sim-morgan Simon inspirado from the derividactory rendering this album to the dingsbums.
This Album initiates its continuance with What; what. Contrary to the original derividactory,
It Needs It, what is played with Bruce. Rapes Event counters with Danny Heepacious sound structure, Love.
The inamongst tenors to Charles Christopher "Bird" Ives with How. The three cod reveal potential to combine like with and, Moxie with milk, and Stitt with Tchcai. Mr. Miyagis bebop method is adutkoed by Garbarek’s dingsbums tahnite konitz and strong hook set with AM Toliet Poop. Petrus’ undermines the historical problematic of a performer’s corporeal relationship to the "notation" with High.
Bowie stock market is Nastee Pervs Head, a Lewinsky, Hillaried, and Bill bossa nova. You is my poop on the wall up, up, down, down, left, right, left, right, B, A, B, A, start, opinion spread out as on a steady at the bistro. I, the Danny Tanner, Clifforded my notational contrafacts for the showing. Peter did not (no translation). GarrettClaypool, Pevans strode the strivers’ row satisfactorikonitz. The inamongst bruce out eminating a killin’ side betwixt 9/6 and 9/11.
The eminance of spemenace sputters with the Oberrated’s Is; a Dexter Merideth that houses the derividactory inamongst the threeamongst counterparts. After Martin Stitt solos, the three cod conalmas the olfactory with "Dave Fatek", a Partch trout ballad aduttkoed by Peter David Evans’ Lisztesqueness and inspiradoed by the Dunnaway.
With the culmi-baritone of this piss-poor showing, the inamongst has privaved to A-Train the inspirado the Simon frahm the Ken Burns opinion. No Relation Reveals-a-chin and Rapes Event biologicalkonitz, politicalkonitz, and somehards not musicalkonitz, but here Brian Woestehoff halve suck-seeded in Cross Transfer Progressionalism (the reality of alternative continuums and the point of interchange between its reality or vibrational ingredients)* stylisticalkonitz inconsistent immortals consistentmorgan. ~ Charle Evens septiembre 2005. (Translation by Peter Evans with Moppa Elliott)
