Hello thank you for visiting this post. Juggling is one of those skills to be reckoned with, watch this video in awe of the incredible dexterity of the performers.
A massive thank you to the jugglers:
Anabel McAtee, Lisa Lottie, Shemika Campbell, Sphere, Sam Tobey,
The magic in this album is reflected in the ensemble playing, the intoxicating drumming, and the speed at which the simple idea of it to fruition was a total of 6 days. The one-day session was booked on a Friday at a studio in Paris. The previous Saturday in a telephone conversation with pianist Grégory Privat, the music hadn’t even been written yet. At the end of that conversation, I got down to it. Each song I wrote immediately sending both the parts and midi sound files to the musicians because they were going to be no rehearsal. Both Gregory and bassist Eric Vinceno had worked with me in different engagements in Paris, Germany, and Amsterdam. The two Ka drummers Sonny Troupé and Jean-Emmanuel Fatna were brought in by Grégory. For me, there were no better people on the planet to make this record with.
It’s Caribbean Jazz, it’s Gwo Ka music, in concept anyway. Gwo Ka music traditionally has singing, chanting , and it’s rhythmic structures are something you really have to know. There are artists from both jazz and classical music, that have drawn upon Gwo Ka, US saxophonist David Murray for one. But I don’t think anyone has quite made a Gwo Ka CD like this one.
Three of the titles are named after Islands of the Caribbean my family is from. Dominica where my father hails from, St.Lucia my mother, and a lot of family in Martinique. We have others in St Maarten and St Thomas. There are titles named after people, two, unfortunately, deceases, Danny Felix my cousin, and Joanna Riseboro, a young lady who kind of became a bit like family in North London. Joanna being the sister of a school friend James Riseboro, James forming our very first improvisatory group together, alongside another school friend Ian da Costa. Ben and Tanya are other friends in the London area. Ben, being at Pimlico school with us too.
On small point, I changed the order of the songs in this video from what was published on the first run of CDs.
This song order in the video runs as:
Martinique, The Entrepreneur, Ballad of Danny, St. Lucia, Gout de Chocolaté, Ben and Tanya, Flow Time, Joanna, Dominica.
Have fun and enjoy Flow Time Gwo Ka, thank you and all the best, David Jean-Baptiste
Hello and thank you for being here. Seriously, I am deeply grateful and excited to show up for you in this video. What I honour about you is, that you care enough about your own development to show up for yourself.
I’d say I’m a big deal, a human potential consulting musician. A master clarinetist and saxophonist, having lived a life playing locations around the world in one context or another. The author of books in the field of human transformation, Flow Centre, 10 Money Strategies for Growth in Changing Times, and Finding Balance. Eleven beautiful CDs of music, from the most recent: Flow Time Gwo Ka, A Beautiful Intention, Clarinet Therapy, East to South, Quiet Mind, Sketches of Classicism, Lazy Gangstas, The Nature Suite, Neuriba, Feeling Tones, Groove on a 4. Endorsements, a book on Music and Memory, a Scale and Harmony System for Clarinet, Saxophone and Flute. A Masters Degree in Composing for Film and Television.
Today, I can stand tall being proud of the value I’ve added to the lives of people over the years. Over the past 25 years, I too have a wealth of experience testing, adapting, using, and developing the tools I have invented. Helping you get where you desire to go. What do I care about? I want to help you get from where you are now to where you desire to go, prestissimo! For those of you not familiar with the Italian language, and musical performance terminology, it means, as fast as possible!
I feel alive and excited when thinking about , what is there for me in the world to do, and live for, from now to the end of my life. When I get to the end of my life, I want to feel that I gave it my best shot; leaving nothing on the table. That’s what I live for, day by day, step by step, enriching the lives of people I come into contact with. yet it wasn’t always so, and I didn’t always feel that way.
Those of you familiar with the history of the majority of Caribbean people in the United Kingdom, will know that the period after the end of the second world war. The crown sent an open invitation to the people of the Caribbean Islands, then under British rule. Tens of thousands of people emigrated from Dominica, like my Father. From St. Lucia, like my mother. Jamaica, and other Islands. To be part of the rebuilding effort.
In London and other cities in the UK, they worked low-paid jobs. No blacks, no Irish, no dogs, was a reality for many back then. I was brought up on a rough council housing estate in Mile End, East London. Today, it is a highly sought-after area to live. But back then it was trouble.
Growing up with my mother, come rain, snow, or shine, I would wake up early at the weekend. On Saturdays helping her work her stall in Crisp Street market. On Sundays, in Brick Lane market. It wasn’t an easy life, installing in you a kind of toughness that’s hard to be compared to anything else. Stepney Green Boys was the school I attended; which was largely filled with nutters, and some brilliant people too.
The truly good news is, I found my gift of music young. Lucky enough to have some incredibly supportive people in my life, I went from strength to strength. Receiving award after award. Later moving to Pimlico School, which had the only government funded special music course in the United Kingdom. Achieving 140 in my grade 8 clarinet exam which is outrageously good. Also, before leaving school for conservatory, I was placed as the principal clarinetist of The London Youth Synfonietta; which was a big deal for me.
Being focused and committed to being a better player, I resorted to learning the Alexander Technique, from a local teacher near my then North London flat. That’s when the personal development stuff started to kick in. In addition to Alexander, I became a Silva Graduate. Got certificated by Richard Bandler and Paul McKenna, in NLP Trainers Training. Certificated by John Grinder and Julian Russell, at Pace Personal Development. Got deeply into Advaita meditation, based on Advaita philosophy at the London School of Meditation. All alongside building a successful career in music.
The Guardian newspaper highlighted me as, one the the younger musicians most likely to succeed. Also as, the new hope of the clarinet. I suppose the saxophone was much more popular and more commercial than the clarinet.
After a myriad of gorgeous experiences. Beautiful relations, love affairs and breath-taking sunsets in jaw-dropping locations in the world; I find myself where I am today. Totally committed to getting even better, and even more fulfilled. Absolutely carrying an attitude of, “I haven’t seen anything yet.” And I mean it; not only for myself, but for you too. Asking, “how can I continue to live a life full of deeper appreciation?”
I want to talk to you about building a path of milestones for yourself. Lighting each milestone up, and propelling you forward to achieve your ambitions and dreams.
I want to talk to you about Accelerating the Motion, stacking together, and amplifying your positive emotions, so you can do anything you care to.
I want to talk to you about your happiness and fulfilment.
Do you care to share with me. what it is you want to talk about?
I’m not the expert you are. You know much more about what you need than I do. Show me your brilliance, and share with me your struggle. I care for you, am there for you, and always will be. I am your service provider. I have nothing to defend, pretend, or hide. I want to show up for you, fill you up energetically and guide you through. Bringing you lessons from the levels I have moved through.
Can you tell me what does a win look like for you?
I want to create a safe space, to have a richly rewarding, open conversation with you. What excites you? If you could wave a magic wand, how would you desire to live the rest of your life? I’m connected to your breakthrough more than I am my own image.
Each day is a miniature version of the rest of your life. Make every day count. Let’s talk.
East to South is an album I made around 2007, living in Bremen Germany, and working with outstanding flamenco guitarist Tim Schicoré. Playing flamenco music at the time was quite new to me. I understand the music came from migrant musicians from Northern India, traveling across from the East to Spain and Southern Europe, where their music integrated with the local traditions, and Flamenco was born.
I’m experimenting with different musical ensembles. Jazz quartet, quintet, solo, duet, trio, guitar quintet; unconventional instrumentation. Yet the flamenco feeling, harmony, and rhythm run through the whole album. Starting out as a song with a Caribbean feel. The Caribbean being where my family is from. This record is close to my heart, representing musicians from London where I was born, and from the Bremen music scene. Moving between jazz improvisation and classical music, a touch of Eastern Europe, and flamenco. I find it a very interesting listen.
I hope you enjoy it, David Jean-Baptiste
1. East to South (David Jean-Baptiste) David Jean-Baptiste (bass clarinet)
Julian Joseph (piano) Matthias Klenké (bass) Stefan Ulrich (drums)
2. Love and Life (David Jean-Baptiste) David Jean-Baptiste (bass clarinet)
Julian Joseph (piano) Matthias Klenké (bass) Stefan Ulrich (drums)
3. The Way I Wanted It (Tim Schicoré)
David Jean-Baptiste (b flat clarinet)
Tim Schicoré (flamenco guitar, palmas)
4. Olé (John Coltrane)
David Jean-Baptiste (clarinet in c) Fiona Troon (bassoon) Julian Joseph (piano) Mark Hodgson (bass) Mark Mondesir (drums)
5. Concerto d’Aranjuez (Joaquín Rodrigo)
David Jean-Baptiste (clarinet in c) Fiona Troon (bassoon) Julian Joseph (piano) Mark Hodgson (bass) Mark Mondesir (drums)
6. Armandos Rumba (Chick Corea)
David Jean-Baptiste (sopranino saxophone)
Tim Schicoré (flamenco guitar, palmas)
Andrea Stödter (flamenco guitar, palmas)
Matthias Klenké (bass) Stefan Ulrich (drums)
7. Gipsy Things (David Jean-Baptiste)
David Jean-Baptiste (b flat clarinet)
Tim Schicoré (flamenco guitar, palmas)
Andrea Stödter (flamenco guitar, palmas)
Matthias Klenké (bass) Stefan Ulrich (drums)
8. Prelude (Heitor Villa-Lobos) (arranged by David Jean-Baptiste) David Jean-Baptiste (bass clarinet)
Madeleine Eastern (violin) Fiona Troon (bassoon) Ivan Hussey (cello)
9. Impro Dance (David Jean-Baptiste)
David Jean-Baptiste (bass clarinet)
Madeleine Eastern (violin)
Fiona Troon (bassoon) Ivan Hussey (cello)
10. Choros (Heitor Villa-Lobos) (arranged by David Jean-Baptiste) David Jean-Baptiste (bass clarinet)
Madeleine Eastern (violin) Fiona Troon (bassoon) Ivan Hussey (cello)
11. Dark East (David Jean-Baptiste)
David Jean-Baptiste (clarinet in c, bass clarinet, wind synthesizer, programming) Julian Joseph (piano) Mark Hodgson (bass) Mark Mondesir (drums)
12. Sol ‘y’ Sombra (Tim Schicoré)
David Jean-Baptiste (bass clarinet)
Tim Schicoré (flamenco guitar)
Andrea Stödter (flamenco guitar)
13. Olé, Reprise (John Coltrane) David Jean-Baptiste (clarinet in c, bass clarinet)
14. Joc cu Bata (from Romanian Dances) (Bartók Béla)
(interlude by David Jean-Baptiste) David Jean-Baptiste (bass clarinet, b flat clarinet)
Julian Joseph (piano) Matthias Klenké (bass) Stefan Ulrich (drums)
Hello thank you for reading this post. So, what is WOW! about my CD A Beautiful Intention?
The album was recorded around the time I wrote the book Finding Balance for the personal development industry. Having created the Claritique Questionaire, a set of 10 self-reflective questions. The first question being, “Do you have an intention you desire to achieve?”
My intentions are always beautiful, this album is a reflection of that.
Firstly I really like our approach to playing Concerto for Clarinet by Mozart. It has a certain vivaciousness to it that I like. Ideally, it should be played accompanied by an orchestra, I suppose that is something for the future. Playing the music of Mozart is a wobbly plate. There is always someone who won’t be happy with a recording and performance. A musician can perform the music of Mozart brilliantly, but if they don’t live that life. There are those who think they have no business playing it; particularly in Germany and Austria. And if you play jazz as well, for that minority of people, you are totally out of the question.
Once in Germany, a clarinetist tried to dissuade me from playing Don Giovanni arrangements for Basset-horn because according to him, Mozart’s music is the cleanest music in the world. He was one of three basset-horn players in the city, including myself. The piece was a trio and I needed him to do it. He had a point that Wolfgang Amadeus Mozart is one of the greatest musical geniuses that has ever lived, and there can be no fluff. Certainly giving an impression to him that Mozart’s music is not beyond me, and I have incredible respect for it.
In a different world, I would have approached playing the concerto in a lighter fashion. The best players of Mozart’s music approach it in a lighter fashion. I remember a German instrument maker sending me such a light clarinet mouthpiece, it felt like playing a recorder. That was not the sound I was looking for. With a different mouthpiece set up, for sure I can have that effect, but I’m happy with my approach, even though one day I may have to play it better.
Mozart heard it for, and wrote the concerto for basset-horn in G, for clarinetist Anton Stadler. Apparently, he didn’t have that instrument, so Mozart rewrote it for basset clarinet in A. I too performed it on basset clarinet in A and didn’t have one either. Being endorsed by Henri Selmer in Paris, they borrowed me one. A few short weeks later I recorded it.
The ability of Mozart for composition was second to none. Looking at original scores of Beethoven, you will see corrections and editing. Mozart heard everything in it’s entirety, only having the task of writing the lucid dream down. It’s like his crown chakra was super clear, the best medium in the world.
One morning in a studio session the Bach Chorales were recorded, it was just me and the engineer. Entering the studio I had no idea what I was going to record. Bringing a bass clarinet, a B flat clarinet, and a contra-bass clarinet to the studio. The muscles in my hands were completely screwed from carrying the contra on public transport. The back strap had busted, and it was amazing I able to play anything at all. My fingers seriously had problems negotiating the instruments, particularly the bass clarinet. But I sat down in the recording studio with a book of Chorales by Johanne Sebastian Bach, randomly selecting them, and started overdubbing. It’s 4 part writing, using the B flat clarinet for soprano, alto, tenor parts, and bass clarinet for bass. It touched my heart in a deep way because I studied that book of chorales in harmony class for A-level music at school. It was this very book from where I learned to compose.
The brilliant Brazilian percussionist and mandolin player Anselmo Neto joined me for the South American music session. I had the same approach as the chorales, entering the West London studio not really knowing which songs I was going to record. At first, I think he was a little bit skeptical about my ability to play Pixinguinha and he bought a limited number of instruments for the session. By the end, he wished he came with a better attitude towards the session. My feeling was he was told something negative by someone, but he gave me the benefit of the doubt and agreed to do the session anyway. I love the dialogue we created on the final track on the CD, Segura Elé. Some may say it’s a little unusual to create an album of the music of Mozart, Bach, and Pixinhuinha. Even mixing Bach and Mozart, many would never do. For me, Pixinguinha is like Brazilian classical music. Making a cognitive connection and made it happen.
