#ulyssescycle

[ulyssesfans]

[ulyssesfans]

I've been watching Russ Kaplan's progress as a composer and a performer since around 1993--no kidding--and over the past 8 years, I've been studying it closely.  Russ always shoots for the stars, and there's no doubt that he's connected with his latest creation.  The Ulysses Cycle represents years of hard work, focus, and creative energy that Russ has deftly channelled into a superb musical work.  From composition, to performance and musicianship, to band formation and leadership, to live interpretation, to artistic direction--Russ has delivered.  I'm happy and proud of him... here's to all the excellent music that lies ahead!

[ulyssesfans]

This is the link to get your very own copy of this slammin project. cd with 28 page booklet and lots of love from Russ.

[ulyssesfans]

Best Record Ever

To the best of my knowledge, there's only one person in the world who's been friends with Russ longer than I have, and that's largely due to him having been born and raised in the same state as Russ (which I moved to at age 5). Otherwise, you need to have the last name Kaplan to have spent more time under his influence than me. 

In 2008, after having been friends for, at that point, 23-ish years, I suddenly discovered that he's one of the best composers I know, during the celebration of his 30th birthday. I remember our friend Alan and I showed up late to the gig (though earlier than any of the rest of our old grade-school posse), managing to slip in to the venue halfway through the first live performance of "Listen." Then came "Nightfall," then "The Sack," then my year-long campaign to be the guy who gets to play the drums on this music.

I've never had a more amazing musical experience than making this record. Everything from the comfort and efficiency of The Bunker, to the blistering performances from all the players, to using Jojo's vintage drums and prototype cymbals, and most of all getting to play the some of the coolest music I've ever heard, all culminated with the record landing at Ropeadope. I can't even count the number of records released on RAD that I've bought and worn out over the years. I know I bought their first release, DJ Logic's Project Logic, when it originally came out, and re-bought it no less than twice more as friends ran off with my copies. I get spotted by other musicians all the time when I'm wearing my RAD t's (that's me wearing Liberty Bling on the second day of tracking this album in the photo). And now, to have the RAD stamp of approval on my finest recorded moments as a musician, the result of playing my BFF's music, it's really all a dream come true.

[ulyssesfans]

The Tunes!

As a composer and leader of my own ensembles I am aware of the challenges inherent in leading and writing for a band.  Not only must egos be massaged and solos doled out appropriately, but schedules must be negotiated.  Russ has proven himself to be an excellent manager and master of logistics.  I am astounded that he can regularly summon such a strong cast of characters to play his music.  This is probably because Russ Kaplan's music is so compelling.  I have often lamented that far too much modern jazz forsakes the idea of melody in favor of rhythmic and harmonic complexity.  Russ is able to balance this equation like few other musicians I'm aware of.  His compositions are nuanced, detailed and engaging, but above all, his melodies are memorable.  Not just memorable but striking.  These are songs that pop into my head during random moments, songs that creep up on me when I'm not paying attention, songs I hum while I iron my shirts.  I am thrilled that I am able to perform these compositions with Russ so frequently and look forward to hearing more of his work in the future.

[ulyssesfans]

Stories from the Session

I actually met Russ through Seth Fruiterman, who sings 'Lotus Eater' on the record; Seth and I were classmates in grad school and have another project together with Moppa Elliott (acoustic bass) - you see, it's all incestual. We weren't there at the start, but I don't think Russ had the project going for too long when he first gave me/us the call.

It's a real sign of the kind of project Russ is aiming for when you consider that Seth, Moppa and myself are all essentially composers, and that we all lead our own projects that are kind of, well, different. There's an aesthetic at work which everyone in the project seems to appreciate and share, which is that you bring together a bunch of people who all are known for having a unique perspective on music, and then you get the hell out of the way and let them be themselves. He's a passive bandleader in the best kind of way- very clear about the things he knows he wants, but his music is completely reliant on the individualism of each of us. That's music every improvising musician wants to make- there's that constant knowledge that your voice is contributing something that is absolutely essential to the music's fabric. For a person that identifies themselves as a composer, there's nothing more exciting.

It's also readily apparent (though we haven't really ever discussed it) that Russ is a pop music fiend, whether he wants to admit it or not. You'll hear that the music on this record, no matter how far it slides into strange territory, keeps coming back to these amazing hooks, singable and memorable.  You can't pull that off unless you've got a firm grip on both art-music composition and full-on pop mastery.

The session itself was fairly uneventful. It goes without saying, of course, but especially in New York there's just no time to have the wrong people in the studio. Everyone played their ass off, and though there were several takes of each track, we pretty much were able to just run down the pieces in full, as if we were playing them live. The solos are all live, which is always a bit harrowing… I spent most of the time terrified that I was going to screw up a background line, because if there's a man alive who can literally kill you with a trumpet solo, it's Jonathan Powell. The playing-live-in-studio experience is always great for those of us that come from a jazz/improvisational background, but it invariably leaves you with a bit of self-doubt as well. Every once in a while, there's a solo moment or turn of phrase that you'd really love another crack at- but if that's the take, you're stuck with it. I won't necessarily admit to having any of those on this record (ahem), but you're always a little paranoid at the end of a good take; you always want to avoid being, shall I say, careless.

It's also worth noting that the Bunker, Russ's location of choice, is a truly badass studio. Brooklyn's got a lot of fantastic recording spots, but I do think this was my favorite so far. Incredibly relaxed, ultra-professional, and (let's face it, the only thing that really matters) the raw sounds we got were absolutely fantastic. Also, they made me coffee. That's important. My reeds don't work right unless they're soaked in bitter cacao and my heart rate exceeds 180.

I'm as excited as Russ for everyone to hear this record. I really believe that he's created something truly special here, and writing about it leaves me chomping at the bit to play the music again. Speaking of which, who's got plans on April 9th?

Signing off,

ks

AKA the Right Honorable Reverend Rasputin Tiresias Brown, VII

photo courtesy Andrew Kaplan, 2010

[ulyssesfans]

Release Date is 4/16/13

A big up from the folks at Ropeadope on this inspired project. Thanks Russ!

[theulyssescycle]

Russ Kaplan's debut album as a bandleader - The Ulysses Cycle - is a 20-song narrative suite based on Homer's Odyssey.  Russ had been searching for a story to musicalize that would allow him to compose in all of the eclectic styles that fascinate him, and which captures the ideals he loves best about playing jazz: spontaneity, excitement, thinking on your feet.  The Odyssey, which tells the tale of a cunning hero traveling through exotic lands as he struggles home from war, was clearly the perfect fit. The project began as Russ' 'birthday present to himself' in January 2008. After years of touring and perfecting the full 'play', recording was done in 3 full day sessions in 2012.