The disc features 11 vibrant tracks ranging from tight, hybrid grooves to chill and reflective textures. The guitar seems to float over the rhythm tracks creating a soulful and relaxing atmosphere.
Long a fan of Brazilian culture, the project represents the culmination of a dream that began when Alan sat transfixed by the sounds and images of the classic 1959 film, Black Orpheus. “I felt the passion and soul of the Brazilian heart and song when I saw that film, so you can imagine how happy I am to now have a recording that features Carlinhos “Pandeiro de Ouro” who actually appeared as the musical child star of that movie.”
In addition to Carlinos on percussion, other notable guest musicians on the CD include: Hussain Jiffry on Bass who has played with Herb Alpert and Lani Hall, Sergio Mendes and Chaka Khan. Jimi Macon on guitars, one of the founders of The Gap Band, Rebecca Kleinmann, flute and vocals has played with Airto and Hermeto Pascal, Fabiano Nascimento on 6 and 7 string guitars, Angel Short vocals, Annie Livingstone background vocals, and Pablo Fagundes plays harmonica.
For Mr. Weisman, this first solo project follows work composing soundtracks for 28 programs on PBS, as well as session work in Los Angeles for television. His production skills were sharpened working in Dave Grusin’s studio at GRP records as Assistant Engineer on eleven of their releases including Billy Cobham's "Power Play" and "Warning", Dave Grusin and Lee Rittenour’s “Harlequin”, Kevin Eubank’s “Opening Night” and Dave Valentin’s “Jungle Garden.
In addition to drums, he also performs on acoustic guitar, piano and steel drum. The resulting blend offers a musical story book of several styles seamlessly blending together from Funk, Sambas, Bossa Novas to sultry and poignant ballads.
There is a lot of power that comes from this fresh new all original music. One tune, has lyrics that will open your eyes, heart and mind as the melody unfolds.
As an infant on his parents living room floor in the Bronx, New York, Alan started playing a tom tom from a set of vintage drums to Herb Albert and The Tijuana Brass records, while mesmerized by the album cover of Whipped Cream and Other Delights.
He took his first piano lesson in third grade. While growing up, the piano players that really attracted his attention were Monty Alexander, Oscar Peterson, Horace Silver, Bill Evans, Lyle Mays, Dave Grusin, Chuck Leavell and later James Raymond, Renato Neto and Steve Weingart.
Next an electric guitar arrived as a gift and his curiosity was aroused. There was a sound Alan wanted to have...a complete sound...from just strumming the strings, without having to play chords with the left hand. At this time, the seeds of desire to explore open tunings began. While in High School, Alan discovered guitarists Michael Hedges and William Ackerman.
Since the third grade he started to play snare drum rudiments on his bedroom wall as he would fall asleep at night. In eighth grade, he finally got an orange sparkle drum set and decided not to go to school the next day to clean and polish this kit. As it turned out, “The Gene Krupa” story just happened to be the 1 pm movie that afternoon. Next came Carmine Appice’s wonderful book, “Realistic Rock.” From Alan’s brother’s record collection he heard Art Blakey's solo on Blue Monk, Vernell Fournier on “Poinciana” and shortly thereafter, discovered Max Roach and the world of Jazz drumming. Drum lessons with New York City master Jazz drummer Horacee Arnold followed.
While listening to WRVR a pioneering Jazz station in New York, Alan discovered Al DiMeola, Pat Metheny, Return To Forever, The Dregs, Jean Luc Ponty, Tom Jobim and Jazz Fusion as well as Calypso music. At this time Alan purchased a steel drum and wrote songs for it and fronted an award winning Jazz Fusion band in high school. As high school graduation approached, Alan was the first drummer to be presented with the “Louis Armstrong Jazz Award.” Alan was also the drummer for the New Jersey “All Shore” and “Region II” Jazz Bands.
Alan became passionate about the marriage of music and film and his interest in composing began. He was also inspired by Vince Guaraldi’s music for the Charlie Brown television specials. One day, while listening to a local radio station, Alan was amazed by an instrumental song that seamlessly blended Jazz and Latin rhythms with a pop hook. He had to have a recording of this song, “Cast Your Fate To The Wind” and later found it on Vince Guaraldi’s album, “Jazz Impressions Of Black Orpheus.”
Alan’s college years were spent at New York University's Music, Business and Technology program with a major in Recording Technology and minor in music theory and composition while working as Assistant Director of The Music Technology Program. As can be imagined, a lot of his time was spent in the studios there. While at NYU, he got an internship at GRP records in New York City with Dave Grusin and Larry Rosen. This turned into a full time job as Assistant Engineer. This is where he got to meet and work with many of the musicians he respected and admired.
On the technical side, he had the opportunities to work with a lot of great engineers and this is where his engineering "ears" started to develop and become refined. One of the facets of this gig was to bring the 1/4” masters over to Ted Jensen at Sterling Sound and sometimes Ted would let Alan sit and listen in the back of his room as he mastered the CD’s.
The new CD 'Liminality' was in part inspired after a trip to Brazil, and the many worlds of Brazilian Music, especially Bahia where he saw the most amazing drummers. While in Brazil, he discovered that "The Girl From Ipanema” is a real person and the song is a true story!
CD available from :-
www.cdbaby.com/alanweisman
Website :-
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