The results are often surprisingly upbeat, as cohorts Sotmu Takeishi (bass), Andy Laster (alto saxophone), and Satoshi Takeishi (percussion) frequently navigate their unique lineup through funk-infested waters, wedding '70s-inspired grooves to music already infused with both jazz and classical overtones. Meditative chants, Latin rhythms, and a cello quartet are utilized liberally, marking Friedlander as one of today's most ingenious and forward-thinking musical practitioners." Steve Graybow, Billboard Magazine
Producer: Mike Landy Director: Bret Stern Computer Graphics: Aaron Hertzman Dancers: Marlon Barrios, Amira Mor running time: 60 mins
In January of 1996 I was scoring the dances for my wife's N.Y. season and juggling different ideas for the group's instrumentation. I had been listening to a variety of 70's funk and fusion (Headhunters, Earth, Wind & Fire) and so electric bass and alto saxophone seemed like a natural choice. I invited Stomu and Andy to join me in the quiet black box of the Dance Theater Workshop stage where we set up like a mini "pit band" with no pit, off to the side behind a sheer black scrim. The hour long show gave us a chance to play a lot of different kinds of music; driving and rhythmic pieces gave way to delicate atmospheres. The trio had a chemistry and a sound that sparked me into thinking beyond the scrim at DTW, to a stage of our own. The first new tunes I composed demanded a tremendous amount of rhythmic excitement and interaction from the group--a trio with only one rhythm instrument. I'd initially thought adding drums or percussion would make the music less exciting by pointing too obviously to my funk/fusion inspirations and that the tension provided by our taking turns filling rhythm roles would be abstract and interesting. But we couldn't quite generate enough buoyancy or energy to sustain the music. Andy, Stomu and I perspired through long rehearsals and a gig or two while my music was burying us with its need for rhythmic complexity and groove. We were abstract. We were interesting. But we didn't have the momentum of a real band. After a few frustrating months Stomu suggested I invite his brother Satoshi, a percussionist, to a rehearsal. The first meeting with Sato bowled me over. Where once we had labored, we now were having a freewheeling conversation. Satoshi brought the rhythmic energy we had always needed to give the music a self-sustaining rush. Stomu was now free to move from anchoring the rhythm to sometimes being a free-agent adding color and texture to the arrangements. Andy and I were able to add harmony lines, support the rhythm section, or even just lay out, which was pretty much impossible before Sato arrived. As the new quartet, now called Topaz, became more cohesive and confident my approach to composing started to change. In Quake I began to strip down my writing style and worked to get my ideas into just a few stanzas of music. My aim was to make the music as concise and focused as possible, and then to trust the band to make decisions in the heat of the moment. Recorded in New York City after two tours, the spontaneity and energy of Quake was a signal to me that we were on the right track. The recording sessions for Prowl found the band in a similar situation: on tour, well rehearsed. For 48 busy hours in Los Angeles we shuttled between the Aku Aku Motor Inn, The Castle Oaks recording studios, and two different venues; recording during the day and performing at night. I'd like to thank Jeff, Rocco, Joyce, Kio, and all our L.A. friends for making us feel at home during this hectic time. Here are a few notes about the new tracks we recorded. Thanks for listening.