A
"blood moon" is a natural phenomenon that evokes a sense of
foreboding yet captivating wonderment. However, the moon eventually returns to
its natural state, shedding its reddish hues back to normalcy. Clarinetist Dave
Bennett has not returned to normalcy and neither has his music. Blood Moon,
Bennett's sophomore release for Mack Avenue Records, is a dark and reflective
collection that deals with loss, heartbreak, and ultimately a return to faith
and hope.
"During
the period of establishing what this new album's direction was going to
be--pop? gospel?--I spoke with Mack Avenue's president who said, 'Why don't you
do your own stuff?' That gave me the confidence to finally sit down and create
my own songs for this record," says Bennett. Blood Moon finds Bennett
bravely exploring this new terrain of original music, as he draws on influences
from Phil Collins, Peter Gabriel and Genesis. "I tend to feel emotions
somewhat magnified...whether good or bad," he says. "I'm very
thankful I was given this chance to create something of my own, to share my own
stories. I've always admired how Phil Collins and Peter Gabriel could write
songs that people could relate to on a deeply emotional level. Even though I've
written instrumental music, as opposed to lyrical songs, I hope and pray the
listener might find solace in the music we created."
To co-write
five original songs, Bennett teamed up with Toronto-based composer, arranger
and bassist Shelly Berger. The two met in 2010 through a mutual friend and
instantly discovered their common sensibilities. "We both have a great
love for all styles of music, especially pop," Bennett says. "We
wanted to come up with something that hasn't been done before. Something
original. It was really a dream come true working with him."
Berger
provided the arrangements for Don't Be That Way, Bennett's 2013 Mack Avenue
debut. For Blood Moon, they embarked on a much closer collaboration. The songs
were created through an intensive period of experimentation with Bennett on the
clarinet, Berger at the keyboard, and a recording machine. The end result was
over 15 hours of spontaneous invention. "Writing your own music can be
kind of nerve-wracking," Bennett admits. "When you play standards or
songs that are already hits, you know those are good songs. That's half the
battle. When you're trying to find your own thing, it can be a little
scary."
The nerves
don't show anywhere on the album, which was recorded in Toronto with a band
assembled for the occasion by Berger. Bennett made the drive with his longtime
drummer,
Pete Siers,
but met the rest of the ensemble--pianist Dave Restivo, guitarist Reg Schwager,
bassist Jim Vivian and percussionist Davide DiRenzo--for the first time on the
day of the session. This group of musicians gelled quickly, and the final
product sounds as if it were made by a band with a long history and
deeply-attuned chemistry.
The opening
track, "Blood Moon," received its name while Bennett was reading
Scripture. As the rhythm section sets a nocturnal mood, Bennett plays a shadowy
melody that showcases his dark and warm clarinet sound. This is followed by the
wistful "A Long Goodbye," a melancholy ballad that looks back on
loved ones lost and relationships ended, but not necessarily resolved.
"There were several events over the last few years that led to the overall
feeling on this album. When I reflect on those experiences, I realize it is
easier to write from a dark place rather than a happy place. Emotions seem to
come pouring out when I am in that frame of mind," states Bennett.
"Falling
Sky," also a Scripture-based title, began as a swinging blues, but evolved
into something more mysterious. This track recalls the influence of the band
Genesis on Bennett's compositions. A complete change of pace, "13
Fingers" harkens back to Benny Goodman's blazing-fast runs, and shines a
spotlight on Bennett's jaw-dropping skill on a swinging barnburner.
The
atmospheric "Heavy Heart" completes the album. "This is the most
personal song on the album," says Bennett. "I think we all go through
our valleys, but we ultimately journey to the other side of the mountain and
find our faith once again."
Bennett
supplements his own pieces with a half-dozen road-tested covers from his
regular repertoire. "Hallelujah," the intensely beautiful piece
written by the late Leonard Cohen, fits perfectly on the clarinet. Bennett
skillfully captures the loneliness of the open road on Jimmy Webb's terse love
song "Wichita Lineman." Spirits lighten with a buoyant "(Back
Home Again in) Indiana," which serves as a palate cleanser after some of
the darker songs. The classic "Down in Honky Tonk Town" provides some
toe-tapping New Orleans funk, while The Beatles' "In My Life" is
poignant and reflective. The album's most unexpected moment comes in the form
of Ennio Morricone's theme to Sergio Leone's classic The Good, the Bad and the
Ugly. Bennett steps in for Clint Eastwood as a clarinet-wielding gunslinger.
"I have
performed music written by other people for most of my career," Bennett
says. "After 20 years of playing professionally, I am finally walking down
my own path. A lot of songs on the album come from personal stories that may be
a little dark or moody. Naming it Blood Moon makes a statement that this is
completely different from anything I've done before. It has been the most
fulfilling experience of my life, thus far."
Finding this
new path and direction, Bennett pushes the boundaries of what he can personally
achieve. He transitions as effortlessly through musical ideas and thoughts as
the moon transitions through its natural phenomena. Bennett is finding his own
unique voice that will only develop further.
A
multi-instrument phenomenon, Bennett is a clarinet virtuoso who also plays
electric guitar, piano, drums and sings. Entirely self-taught, he began playing
along with Benny Goodman records at age 10, and by 12 he was invited by
legendary trumpeter Doc Cheatham to the bandstand of New York's famous Sweet
Basil jazz club. Leading his tribute to Benny Goodman, Bennett has been a
featured soloist at Carnegie Hall with The New York Pops and has played the
program with 50 other US and Canadian orchestras. An annual fixture at a dozen
American music festivals, his "Rockin' the '50s" show always brings
down the house, while his "Swing to Rock" Symphony Pops program
premiered in 2016 with The Kingston Symphony Orchestra. Blood Moon is his
follow up to the 2013 Mack Avenue release, Don't Be That Way.
Dave Bennett
· Blood Moon
Mack Avenue
Records · Release Date: October 20, 2017
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