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"...the music offers the consolation of order and human contact" – DOWNBEAT
Micro-Nap by SeaJun Kwon
Out October 21, 2022 - Get it on Bandcamp
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SeaJun Kwon ⋅ bass and compositions
Aaron Dutton ⋅ alto saxophone Jacob Shulman ⋅ tenor saxophone Michael Prentky⋅ trombone & tuba Erez Dessel (1–4), Jacob Hiser (5–7) ⋅ piano⋅ Avery Logan (1–4), Charles Weller (5–7) ⋅ drums Track Listing 1. Muad’Dib 2. Commune 3. Micro-Nap 4. Anamorphosis No. 1 5. Rumination 6. Suite Transient: Trio, Interlude 7. Suite Transient: Transient Endectomorph Music Catalog No. EMM-013 Recorded by Matt Hayes at Wellspring Sound, Acton, MA on November 8, 2020 and August 12, 2021 - Mixed by Matt Hayes - Mastered by Eivind Opsvik - Produced by SeaJun Kwon and Kevin Sun - Cover art and design by SeaJung Kwon - Liner notes by SeaJun Kwon - Total length: 50:33 All compositions by SeaJun Kwon (SeaJun Kwon Music / ASCAP) except: “Muad’Dib” composed by Erez Dessel (Erez Dessel Music / BMI) “Commune” composed by Michael Prentky |
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Liner notes
In signal processing, white noise refers to a random signal with equal values across the frequency spectrum, and it also reflects how I interpret my surroundings.
Since a random signal consists of infinite layers of predictable frequencies, we can discover patterns or structures within a micro-span of time that are imperceptible from a macro-view.
The layering of these overlapping and colliding patterns produces non-linear transient states full of momentum; their accumulation is white noise.
Both physical and emotional reality show how white noise or extreme chaos is actually perceived as a stable and, in some sense, meaningless state. The layers become impossible to recognize.
The album title, “Micro-Nap”, is an example of one of those transient moments. This album reflects my emotional frustrations, non-linearity, the transience of feelings, and the emptiness of noise, as well as my attraction to them, too. Everything and nothing.
* * *
My creative process has been a noisy process of juxtaposing ideas and making them collide and crash together. I explore the spectrum of stability-to-chaos, especially in terms of timbre and time:
The term “timbre” I view in a broad sense to include harmony, articulation, and register across the ensemble through the use of three-horn versus piano orchestration, quarter-tone harmony, and extended techniques. On the time axis, I add, subtract, multiply, and divide rhythms to create a palette of speeds.
On top of all this, the music features open improvisations to stimulate change. These open improvisations not only allow individuality to intervene, but also lead to moments of extreme chaos, which are in fact stable in their maximalism.
--SeaJun Kwon, May 2022
Since a random signal consists of infinite layers of predictable frequencies, we can discover patterns or structures within a micro-span of time that are imperceptible from a macro-view.
The layering of these overlapping and colliding patterns produces non-linear transient states full of momentum; their accumulation is white noise.
Both physical and emotional reality show how white noise or extreme chaos is actually perceived as a stable and, in some sense, meaningless state. The layers become impossible to recognize.
The album title, “Micro-Nap”, is an example of one of those transient moments. This album reflects my emotional frustrations, non-linearity, the transience of feelings, and the emptiness of noise, as well as my attraction to them, too. Everything and nothing.
* * *
My creative process has been a noisy process of juxtaposing ideas and making them collide and crash together. I explore the spectrum of stability-to-chaos, especially in terms of timbre and time:
The term “timbre” I view in a broad sense to include harmony, articulation, and register across the ensemble through the use of three-horn versus piano orchestration, quarter-tone harmony, and extended techniques. On the time axis, I add, subtract, multiply, and divide rhythms to create a palette of speeds.
On top of all this, the music features open improvisations to stimulate change. These open improvisations not only allow individuality to intervene, but also lead to moments of extreme chaos, which are in fact stable in their maximalism.
--SeaJun Kwon, May 2022
Press
"SeaJun Kwon writes unsettling themes to express unsettling times and mindsets, but the music offers the consolation of order and human contact" – DownBeat
"...bold intention...manages to simultaneously relax and enjoy the moment" – Best of Jazz
"...alternately–but not jarringly–meditative and raucous, as well as subtly tuneful in perfect tandem with thunderous and exciting cacophony" – Living to Listen
- Neon Jazz KC (January 2023, interview)
- DownBeat (January 2023, review)
- All About Jazz (December 2022, review)
- Jazz Weekly (December 2022, review)
- Musical Memoirs (November 2022, review)
- Shepherd Express (November 2022, review, USA)
- salt peanuts (October 2022, review)
- Ivan Rod (October 2022, review, Denmark)
- Different Noises: World of Jazz 528 (October 2022, radio)
- Jazziz (October 2022)
- Vinylmine (October 2022)
- Living to Listen (October 2022)
- Best of Jazz: "Jazz October 2022" (October 2022)
- Bass Magazine (September 2022)
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