It's not often for me that a title comes before a CD—this time it did. Sometime around late spring of 2005 I thought of a project for my band that would be different for us. I felt that we were slipping into a pattern and needed to get away from a routine that had developed over the past ten years. Little did I know the monster that would develop from such an innocent name. I thought and roiled and discarded many obvious solutions: the "new age" approach, overtly "spiritual" music and the like, such as Ceremony. I then began searching for an opening gesture that would give the message, lay the foundation for the piece, and be usable as a motive for development throughout the work. A motive can do many things aside from being a concrete intervallic series that furnishes material. It can excite the imagination, make invisible (yet real) connections, and provide a meaning that needs to be present for the work to hang together.

For Spirit Music, I used a combination of new and recently composed(but never recorded) compositions, trying to select combinations and sequences that would make a good program. I hope I have done that—I have been told that aspects of the CD are somewhat "melancholy," which would be an accurate reflection of my mood. 2004 and 2005 were rough emotional years at times, and I had trouble bouncing back to my usual motivated and busy self. I think the making of this CD was cathartic and I feel that the burdens of the immediate past have fallen away. I now have a huge composing schedule and, when frantically working, there is no room for anything else. That's the advantage of “the arts"—they leave no room for outside troubles.

There isn't a lot I can say about the NAO that I haven't said before. They are unique in any world I have ever known, for both their musicality and dedication. I love them dearly and the feeling is returned. We are a band, we have our own sound, and we phrase and interpret my music perfectly. I still recommend our recordings to any bands I encounter, so listen and learn—we are doing it right. The learning process took place because they listened to my suggestions, tried them, found them to be viable, and didn't let them go. Large ensembles depend on two main factors—the lead trumpet and the drummer, and Thorsten and John are the best that I know. Thorsten is modest to a fault and John is too busy with his many projects to get an attitude, so we are safe. The fact that the band gets better every time we play—and they offer very useful suggestions to me because they care—makes it all worthwhile. At 76, I am beginning to feel the need to leave behind music that has some real meaning, and this incredible band makes that possible. Thank you.

BOB BROOKMEYER

I would also like to extend a huge thank you to everyone who participated in the Spirit Music Project. This art form thrives on your involvement and we couldn’t do it without you.