FERNANDO SAUNDERS, ANDY GONZALEZ, LEO NOCENTELLI, GIOVANNI HIDALGO, JERRY GONZALEZ, MILTON CARDONA, ROBBIE AMEEN, WILLIE GREEN, CHARLES NEVILLE, JOHN STUBBLEFIELD, KIP HANRAHAN, JACK BRUCE, IGNACIO BERROA, PETER SCHERER, ANTON FIER, LEW SOLOFF, MARIO RIVERA, DAVID MURRAY, PABLO ZIEGLER, ALFREDO TRIFF, GEORGE ADAMS, CARMEN LUNDY
Produced by Kip Hanrahan. Recorded May, September, October 1985/March, May, August, September, October, December 1986; January, March 1987. Released June 1988. US re-release: May 1993. AMCL 1012
Tracklist: 1. LOVE IS LIKE A CIGARETTE (5:45) 2. A POKER GAME; LUCK INVERTS ITSELF; FOUR SWIMMERS (6:06) 3. GENDER(3:34) 4. MARRIAGE (3:24) 5. AMERICAN CLAVE (3:49) 6. optional ending to first side: A MODEL BRONX CHILDHOOD (2:47) 7. AH, INTRUDER! (FEMALE) (6:13). 8. LISBON; BLUE REQUEST (6:09) 9. MY LIFE OUTSIDE OF POWER (1:42) 10. ROAD SONG (3:54) 11. THE FIRST AND LAST TO LOVE ME (2, DECEMBER) (4:34) 12. optional ending to second side: UNOBTAINABLE DAYS; UNOBTAINABLE NIGHTS (3:20)
So, the son of a bitch looks at the Chinese horse
sculpture and announces that it’s a primitively constructed illusion: that the hind legs and muscles were anatomically incorrect, that it was physically impossible for them to be in those positions at the same time that the head and front legs were in their positions. Well, Christ, during the time it took the look to go from the head to the tail arraback again the damn thing moved! Everything breathes, shifts and changes while you’re taking it in. That’s an old piano rag, you knew that. The really primitively constructed illusion is probably the European horse sculpture that stays in the exact same position during the time it takes the look to go from the head to the tail. Since when does time freeze, at least like that? It s the same story with a mood. From the time it takes you to realize it exists to the time it takes you to try to find its peripheries to the time it takes you to try to define it, it changes itself 67,972 times, it breathes and shifts itself horizontally as well as vertically.
Some records are there because there’s money that demands to be made, some records are there because there’s a career that demands to be realized, this is a record that’s here because there was (is?) a mood, understood or misunderstood as above, constantly succeeding itself, that demanded to be heard. “Love is like a cigarette” was written by Richard Jerome and Walter Kent, made beautiful by Duke Ellington with Ivey Anderson, and was arranged for this record by Kip Hanrahan with Alberto Bengolea. The rhythm and horn arrangements and the changes for “Gender” were written by Alien Toussaint and the words and melody were written by Kip Hanrahan. It is published by Warner Brothers/Coup de Tete (BMI). In the case of “Marriage,” the two lower mid range bass lines, which in some ways become the song, were composed by Jack Bruce. The words, melody, form and arrangement are by Kip Hanrahan. It’s published by Coup de Tete (BMI).
“Ah, intruder! (Female)” was written by Astor Piazzolla and is published by Astor Place Music (BMI). The arrangement for this record is by Kip Hanrahan in association with Astor Piazzolla. The changes for “Lisbon; blue request” are by Steve Swallow. The words and melody are by Kip Hanrahan. The chords, lower bass line and form are by both Kip Hanrahan and Steve Swallow. It is published by Coup de Tete/Wonderbuns (BMI). Kip Hanrahan came up with the words, melody and form, and Steve Swallow the changes for “Road song.” It’s also published by Coup de Tete/Wonderbuns (BMI).
The other songs on the record; “A poker game; luck inverts itself; four swimmers,” “American clave,” “A model Bronx childhood,” “My life outside of power,” “The first and last to love me (2, December)” and “Unobtainable days, unobtainable nights” were written and arranged by Kip Hanrahan. They’re published by Coup de Tete (BMI). One of theoands that helped form the music on this record may have been made up of Fernando Sounders (voice, electric bass); Andy Gonzalez (bass); Leo Nocentelli (electric guitar); Manenquito Giovanni Hidalgo (quinto, congas, percussion); Jerry Gonzalez (congas, trumpet); Milton Cardona (congas); Robbie Ameen (trap drums); Willie Green (trap drums); Charles Neville (alto sax); Gentleman John Stubblefield (tenor sax); Kip Hanrahan (percussion, guitar, synclavier). Another band may have consisted of Jack Bruce (electric bass); Andy Gonzalez (bass); Steve Swallow (electric bass, piano, electric piano); Manenquito Giovanni Hidalgo (congas); Milton Cardona (congas); Ignacio Berroa (trap drums); Peter Scherer (piano, synclavier); Anton Fier (lyndrum); Kip Hanrahan (voice, lyndrum, synclavier). Still another may have included Gentleman John Stubblefield (tenor sax); Lew Soloff (trumpet); Charles Neville (alto sax); Rolando Napoleon Briceno (alto sax); Mario Rivera (baritone sax); Andy Gonzalez (bass); Ignacio Berroa (trap drums). A fourth band may have been David Murray (tenor sax); Pablo Ziegler (piano); Alfredo Triff (violin); Andy Gonzalez (bass). Other musicians on the record include Carmen Lundy (voice); George Adams (tenor sax); Puntilla (congas).
But the bands overlap, even more than is apparent from the printed lineups, sometimes fiercely, and nobody can honestly tell you where one band begins and another ends. It’s the same deal with a piece of music, or a sexual encounter, or a mood. Right?
This record was produced (which may mean directed) by Kip Hanrahan. The executive producer was Scott Marcus. The associate producer was Nancy Hanrahan. Tim Haines was the production assistant. Alberto Bengolea was the associate arranger. It was recorded during May, September and October 1985; March, May, August, September, October and December 1986; January and March 1987 in New York. The recording engineer was Jon Fausty and the recording assistants were Shawna Stobie and Horacio Malvicino, Jr. It was mixed during December 1986 and January, February and March 1987. The studios were Sound Ideas and Platinum Island, New York. The mixing engineers were Jon Fausty and Roger Mutinot. The photographs were taken by Charles Reilly. The cover design is by Capoeira Graphics. This record was mastered by Greg Calbi at Sterling Sound, New York. Special thanks are owed to Achim Hebgin, Steve Swallow, Jim Grant, Yale Evelev, David Either, Astor Piazzolla, Pablo Zieqler, Kyoshi Koyama, Christine Reed, Charles Neville, Alien Toussaint, Fernando Sounders and Leo Nocentelli.
part of her story:
Everything that morning smelled like sex. The way he sat just outside of the light smelled like sex. The way he poured the rum smelled like sex. The way he ignored my questions smelled like sex. The trace of contempt in his eyes smelled like sex.
” I wanted you to miss my touch. No. I wanted you to miss my touch. No. I wanted you to miss my touch. No. I wanted you to miss my touch. No.”
Christ. Fucking CHRIST. FUCKING…………. Christ. FUCKinq Chrrissssssttt. Fucking………… Chrrriiiiiissssstt! I can’t stand the way he makes me want him by the way he can’t find the words. “The same way Palestine refuses to disappear from the map is the same way I’m going to refuse to disappear from your heart.” And he pours himself another rum.
part of his story:
He once loved this woman. And they made love so hard the walls would sweat. And the bed would break to pieces and the light would fall away. He didn’t know if she made love that way out of anger or joy, and the way he didn’t understand it was the way he was driven to love her so hard.
He once loved this woman. And she’d wake up every night with tears rolling down her cheek. She cried so hard from deep inside her that the air would fall away. He didn’t know if she cried like that out of anger or distance, and trie way he didn’t understand her was the way he was driven to love her so strong.
CD version (incl. shipment cost world-wide)