"Other Dimensions In Music's free flowing ritualistic music, while having its own marked flavor shares specific characteristics with Ornette Coleman's acoustic model and the early works of the John Stevens/Johnny Dyani/Frode Gjetstad collective, Detail. From the former comes lyricism that vacillates between dancing and poignant, and nods to the familiar rhythm patterns most often associated with jazz. From the latter there's an open breathing quality and a tension created through the juxtaposition of seemingly divergent rhythmic implications from the bassist and drummer. Other Dimensions In Music brilliantly shadows delineations between solos, duets, trios, group interplay, a cappella statements and shifts in direction. The music happens, which is not imply any haphazardness, but rather its opposite as a myriad of possibilities are brought forth through the skills, perceptiveness and sensitivity of the players. Intensity – easily spotted in Campbell's pinched notes on the opener and Carter's squeals on the closer – is blended by restraint. Easing out from this stance are Bakr's abstemious yet replete a cappella statements. Riffs or patterns are, for the most part introduced and dropped so quickly that they thankfully provide no easy anchors or signposts in this opulent expression."
Milo fine, Cadence, November 1991
Our talents and abilities have governed us to be able to play any style of music regardless of label and categories, at a moment's notice, at any given time or space in the universe. There are no barriers in time, space, and evolution. There is only eternal Freedom and "Other Dimensions in Music!"
Roy S. Campbell Jr.
Since the very beginning of my understanding of a musical concept, the unwritten, the spontaneous, seemed the most human approach to expression. Over the years, my associates and I have been sharpening and defining these skills. It probably is the most neglected conceptual approach. There remains much to accomplish within spontaneous music. This style is so dependent on so many factors; the people in the audience, how the musicians feel that day, how well the musicians are listening to each other, etcetra. It is a science of consciousness.
Music has been a constant savior in my life. It has manifest itself through sound, silence, colors, shapes, thoughts, words, and symbols. Revealing itself most as it works through human beings who have made a commitment to life; Kenneth Patchen, Robert Hayden, Julius Lester, Lorraine Hansberry, June Jordan, Dave Budbill, Bruce Baille, Stan Brakhage, Maya Deren, Jonas Mekas, Ted Joans, Lois Eby, Bill Dixon, Cecil Taylor, Milford Graves, Ornette Coleman, Steve McCall, Joseph Jarman, Gunter Hampel, Jeanne Lee, Marilyn Sontag, Emily Collins, Christopher Collins, Thomas Merton, Duke Ellington, T. Monk, Charlie Parker, Eric DoIphy, Billie Holiday, Jackson Pollock, Langston Hughes, and on and on. All inspirations, all have added to the art of living. Music needn't be labeled, coded or dissected.
Jazz, classical, rock, swing, avant-garde, free, bebop etc. What do these terms mean to a starving child or a sunrise dancing over a mountain? The music we have been involved in over the last 20 years has been constantly misunderstood by critics. It has been misread and maligned by beboppers and the traditionalists who see only one color as valid.
It is the role of the artist (musician playing music in America) to dance, sing, shout and whisper about all that is wonderful, beautiful and majestic. To mirror and project the present and the future. To tell us the stories inside little childrens' hearts in the language of stone, wood and soil. The language of happiness, sadness and joy. It is the role of the artist to incite political, social and spiritual revolution. To awaken us from our sleep and never let us forget our obligations as human beings, to light the fire of human compassion.
When this inner flame is burning, man is uplifted to another state. His vision and senses are doubled and quadrupled. He sees, hears and feels things he never did before; the heat of the earth, the cry of living beings. This fire is stoked by conviction and communication with others.The idea is to live strongly within this vision, without compromises, even after being met by a cold, grey world that could be careless about vision. A world that makes insensitivity and murder of idealism a standard. It is the role of the artist to become a human being, to see the art of living as the only art.
The music on this album is defined by the strictest rules of beauty, each sound is ordered and cured with the energy of ancient spirits. The same spirits that guided J. Coltrane, Louis Armstrong and Bud Powell. The tradition is the tradition of life created, each second. Forever new, forever old, forever ageless. No sound is invalid. Only sounds that bring about darkness are invalid. Sounds that enlighten are infinite. We can put no limit to joy, or on our capacity to love.
dedication thRu(e) (th'Ru(e)) veil(ed) laughter
veil nightmère world Night Mer
Ocean Night(s) the cross is nigh all nigh
veil after veil all penetrable
impenetrable Ocean Cross the sea
is nigh is nigh and never near all
waves here all waves hear wave wave
fan breathe entwined armies the
brief special yarn eternal threat
of light this present rescued from
its past self I'm armed disarmed
alarmed the other me other announces
his her its eternal return arrival
in on media tide from somewhere else
beyond yet more here than any thing
oh simple vex under-over-appreciated
illusory real weight and see/sea now
the future bringing us through
it all the veils so many pages cages
stages ages rages with little no(ne)
alot or some wages our sails are
billowy full with spirit wind(s)
1. Tradition's Transitional Omissions Suite 23:00
2. Ascent (My Shadow Is a Cloud) 16:07
3. Sihu Chant for Sly Stone 15:28
4. Spirits Rise/Fall 15:54
Daniel Carter alto sax, tenor sax, flute, trumpet
Roy Campbell trumpet, fluegelhorn, recorder
William Parker bass
Rashid Bakr drums