Ed Anders Quartet
ED FILA: guitar
1997 Ny Musikk Records 0297-1002
ANDERS SVANOE: alto saxophone
JOHN TUBBS: double bass, electric bass
GEOFF BRADY: drums, percussion
Recorded February 1997 at Smart Studios, Madison, Wis.
Engineered by Mark Haines
Mastered at NorthEastern Digital, Southborough, MA
Produced by Anders Svanoe and Ed Fila
1. Kyner's Mood (Anders Svanoe)
At this point a note of consternation pops into your thoughts, for what must the music of such a retiring individual sound like? You think briefly of Perry Como, reflecting on childhood Christmases or other equally worthwhile seasonal celebrations, your subconscience creating a speckle of warmth which rises up your spine and nests in your cerebral cortex. For a moment you forget where you are, then come back to yourself with a good deal of anxiety, wondering abstractly about Lyme's Disease.
"Who is this Ed Anders?" Again, you glance through the CD case, looking for a picture, or a clue. "Anders," you surmise, "has a bit of German, no, Scandinavian ring to it. Stalwart, Profound Scandinavia, Progressive Scandinavia. He must be quite tall, with frosty features."
"And Ed. Such a contrast from Anders. Whereas Anders isn't a name I've often encountered, Ed is fairly commonplace. Friendly, easy-going. An abbreviation of Edward, if I'm not mistaken."
"Such differing names, such ineffable contrast, it's almost as though Ed Anders were two persons, forever separate in their corporeality. For after all, how could two such individuals exist within the same mortal shell?"
2. Ed's New Blues (Ed Fila)
3. Abstractions (Anders Svanoe)
4. Loose (Ed Fila)
5. K Groove (Ed Fila)
6. Trilonious (Anders Svanoe)
7. Activity #1 (Ed Fila)
8. Marisa (Ed Fila)
9. Looser (Ed Fila)
LOOSE LINER NOTES
"Who, then, is this Ed Anders?" you ask breathlessly as you rip open the jewel case, cellophane a-jumble in your sweaty hand. "What does he look like? Is his music as captivating as his name? Was he forced to change his name from Ned Flanders in order to stave off the persecution and defamation of character which would have ensued once his name began being trumpeted over the airwaves ad nauseam? Ah, he must be a private man, a reclusive sort, one to avoid controversy and spectacle."
PHOTO BY MARK MILLER
How indeed, Gentle Reader? Does not the irresolution of "Ed" and "Anders" instill in you an agonizing curiousity? Disciplined Anders. Easy-going Ed. Seemingly irreconcilable. Your synapses sparking, crackling with wonder. But wait. The CD includes a title, which you seize upon and breathlessly ponder.
"Loose," you read to yourself, in fervent expectation. "To what does this simple enigmatic word allude? Is it a loose assemblage of musicians, of musical ideas, of stylings? Am I expected to feel "loose" upon hearing of this recording? And if so, by what is this looseness to be precipitated exactly? Wherein lies this looseness? And is it bound to grow looser?"
You feel very tired, you suddenly realize, what with all this ontological and semantic turmoil? And for what? But then you remember something, something about the music. Something about how the plastic disc in your hand contains coded information, which a machine can read, thereby relieving you of that burden. Shivering with joy, you remember this and seek out a compact disc player. Finding one within arm's reach, you turn it on, and sure enough there is music, all thanks to the machine.
You drop off into a peaceful stupor, thinking, "Oh, Moloch, thank you so much for doing all the hard, hard work of thinking for me. And thank you, Ed Anders, for showing me the way to Moloch."
Geoff Brady 1997
Special thanks to: Mark Haines, Smart Studios, John Tubbs, and Geoff Brady
Illustrations, cover and layout design by Chris Maddox
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