"This is music primarily made from melodies that I have heard from bodies of water - ocean beaches, streams, hot springs as well as wind. These melodies sound to me like a chorus of exuberant voices. Each melody is specific to the place. If I return to a beach, even after many years, I hear the same song. I think this has something to do with what the earth can tell us, if only we can take the time and patience to listen. This is an attempt to share what I have been hearing, through the filter of my perception, from water." Doug Wieselman Each piece on the record is an evocation of a specific place. For example, Pacific Two - "I heard this while driving down Highway 101 in Northern California. The song from the coast over the hills from the highway must have been very strong for me to hear. I had to pull over to the side of he road and transcribe what I was hearing." 'As a stunning entry into this world, consider the opening track, simply called "Train". It's inspired by the distant sound of a train traveling up the valley beside the Hudson River and sounds, almost miraculously, to be moving and not moving - motion sensed through stillness. Thanks to the production and sonics - as simple as they may be - there is always a sense of a lot happening. "Kepler-22B" is a whirlwind of natural and engineered sounds, which engage us fully and yet are gone in what seems like an instant.' Donald Eflman, New York City Jazz Record 'The choice of very good quality, well engineered and produced vinyl is a good one in that it allows these truly mesmerizing sounds to be experienced in a rich, warm way that some CD technology cannot fully capture. If you have a turntable and enjoy something wholly unique and very rewarding' Daniel Coombs, Audiophile Audition These recordings were done "live" using a loop pedal - the digitech PDS 8000 - from the '80s, played through a 1960 Fender Vibrolux amp. A couple of tracks, Moonhaw and Pacific 1, were made with combining and mixing two simultaneous takes. 1.Train - While attempting to cross-country ski in the Hudson Valley, I somehow managed to break one foot of the borrowed skis. Walking, being the only option, on the way back to the house, I heard the sound of the train going up the Hudson and imagined this piece. 2. Pacific 2 - I heard this while driving down Highway 101 in Northern California - some miles below Arcata, California. The song from the coast over the hills from the highway must have been very strong for me to hear. I had to pull over to the side of the road and transcribe what I was hearing. 3. Moonhaw - this is the song from the stream which runs behind a friend of mine's cabin in the Catskills. That's the name of the road where his cabin sits. I first heard this late one night while staying over there. 4. Tennessee Valley - This is a spot in Marin County just over the Golden Gate Bridge. It is the sight of the wreck of the sailing ship "The Tennessee". You walk down a long winding path through a marsh and birds, eucalyptus trees, and foothills to a beautiful stretch of beach - waves crashing over wild rocks, surrounded by tall cliffs. I can't remember when I first heard the song, but it is there every time I visit this beloved spot. 5. Keppler-22b This was composed for a performance at The Stone in New York City, where my friends Raz Mesinai and Marina Rosenfeld were curating the month. As they had invited me to perform, I wanted to play something that addressed their sonic explorations. 6. Gloria, Fleur, Madre - based on the song I heard in the wind, from the plains near the Catalonian mountain, Montserrat. 7. Salmon - I heard the song in the second half of this piece from the hot springs near Salmon Idaho, at the foot of the Bitter Root mountains - near Elk Bend off of the Salmon River. This place was where I first heard the water songs, although this song was heard during my last visit some 13 years after that first time. 8. Julia - I made this arrangement on the occasion of John Lennon's 70th birthday. As I had a performance scheduled for that night, I wanted to play one of his songs. He is, and continues to be, a great inspiration. 9.Tennessee Valley (Choir) - I wanted to include something in this collection that came close to the actual sound that I hear in water - which sounds like a choir to me. We recorded this at 22 Boerum Place, Brooklyn, New York - the sight of the new Issue Project Room. 10. Pacific 1 - This is the first piece I wrote for solo clarinet. The melody comes from the beach a few miles south of Todos Santos in Baja California - on the Pacific side. The clarinets are all made by V. Kohlert Sons Makers, Graslitz, Czecho-Slovakia, with the exception of the Bass Clarinet - Kohlert, from Winnenden, West Germany Tracks 1,2,3 and 5 - side 1, and tracks 1 and 5 - side 2 are played on a "High Pitch" Bb Albert system clarinet from the 'teens. Track 4 - side 1 is played on a Bass Clarinet from the '50's Track 2 - side 2 is played on an Eb Albert system Clarinet from the 'teens Track 3 - side 2 is played on a "Low Pitch" Albert system Bb Clarinet from the '20's Track 4 - side 2 - Choir: Dougie Bowne, Grey Gersten, Miho Hatori, Jennifer Harris, Yuka Honda, David Hyman, Aaron Roche, Samita Sinha, Doug Wieselman, Jo Williamson, Julia Yulehla Produced by Shahzad Ismaily and Doug Wieselman Recorded by Shahzad Ismaily at 66 Rivington Studios Choir Recorded at Issue Project Room Pre-mix by D.W. at 215 Mixed by Bryce Goggin at Trout Recording Assisted by Gabe Wax and Adam Sachs Mastered by Scott Hull at Masterdisk Lacquer cutting from hi-res digital files by Alex Deturk Layout by Mylinh Trieu Nguyen Front cover and back liner photo by Lucie Jansch Thanks to - Sam Williams, Glenn Howard, Steven Bernstein, The Flying Karamazov Brothers for clarinets; Eyvind Kang, Raz and Marina, Wayne Horvitz for curating; Gina Leishman, Ben Perowsky, Joan Schirle, Lou Hevly, New Old Time Chautauqua for places; and to friends and family. All compositions except "Julia" C and P - Doug Wieselman - Zitherine Music, BMI Julia - Lennon- McCartney - Sony/ATV, PRS.