<pfseg id="0">Leon Todd Johnson ti o wa ni Indianapolis ti wa ni gbajumo ni labẹ awọn apọju Airport People niwon 2020. Pẹlu awọn orukọ yii, awọn iṣẹ neoclassical ti Johnson gbajumo pẹlu Windham Hill / ECM jazz inflections nigba ti o ṣe afikun a iyanu iyanu eyi ti o ṣiṣẹ bi a gbangba ni gbogbo awọn iṣẹ ti a ti fi sori ẹrọ. Gẹgẹbi orukọ wọnyi, awọn iṣẹ ti Airport People ti gbajumo awọn akọsilẹ ti Johnson ti o ṣiṣẹ ni ayika agbaye pẹlu awọn ọmọde rẹ, ati ki o ṣe atilẹyin awọn iṣẹ ti akọsilẹ ẹgbẹ ẹgbẹ rẹ ni Afirika – a ilana ti o ti kọja bi o jẹ “ni laarin ibi ti o ba wa ni

<pfseg id="0">Johnson ká akọkọ akọkọ fun Whited Sepulchre Records ri o kan siwaju sii fun awọn ajohunše, ṣugbọn bi awọn orukọ ti o tẹsiwaju, iṣẹ rẹ ko ti wa ni ko siwaju nipasẹ ibi laarin ibi ọkan ati ọkan.

Johnson ti wa ni akoko kan ti o ti tẹsiwaju si awọn iṣẹ ti Ryuichi Sakamoto. Nigba ti o ba tẹsiwaju awọn songs fun iwe aṣẹ yii, o ti lọ si ọpọlọpọ awọn akọkọ Sakamoto ti akọkọ bi Andata ati awọn ọpọlọpọ awọn soundtracks fun awọn film, paapa Minamata. With this music in mind and having begun a practice of Zen meditation, Johnson traveled to Japan for a long-awaited trip. Upon returning home, he began compiling these four songs when he heard an interview with Mine Somi Kubose about the traditional Japanese tea ceremony. The interview was recorded in 1977 at the Buddhist Temple of Chicago by Chungmoo Choi and preserved in the Library of Congress; it was exactly what the album needed.

Mornings have always featured prominently in Johnson’s work. From Nine Mornings—his previous record for Whited Sepulchre Records—compiled his morning musical sketches into fully fleshed-out songs. Many listeners have described his work as quintessential morning music, accompanying their first cup of coffee or tea. For this most recent record, Johnson reflected on the four principles of the Japanese tea ceremony

• Wa (和): Harmony or unity
• Kei (敬): Respect or reverence
• Sei (清): Purity or cleanliness
• Jaku (寂): Tranquility or silence

In these principles, Johnson found an analog to the tracks he was recording. Each seemed to embody a principle as he listened back, weaving samples from the interview throughout.

The four tracks on wa kei sei jaku build on the lushness of From Nine Mornings. The peaceful piano melody of “wa” is met with some of the most expressive bass work Johnson has recorded—muted runs blend with strings to explore harmony. “Kei” builds into a serene crescendo with arpeggiated piano and violin counter-melodies, while “jaku”, as the name suggests, lets piano melodies hang in the air with just enough time to land.

<pfseg id="0">Tẹsiwaju si iwe-ẹrọ kan siwaju sii, Johnson ti a fi awọn igbeyewo ti awọn ọpọlọpọ awọn ile-iwe ti awọn ile-iwe-iwe-iwe-iwe lati rẹ ajo si Japan, bi daradara bi awọn aworan lati rẹ akọkọ ibi-iwe-iwe-iwe-iwe-iwe si awọn iwe-ẹrọ. Awọn ẹya ara ẹni, awọn ti o rọrun, ati awọn igbeyewo ti awọn ọna-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe-iwe

<pfseg id="0">Lẹhin ti awọn igbeyewo wa kei sei jaku, Johnson ti wa ni a ojula. O ko ti wa ni gbọdọ ninu rẹ pe laarin awọn aye-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọkọ-ọ

Tracklist:

wa
kei
sei
jaku
wa (ọna)
kei (ipasẹ)
sei (ipasẹ)
jaku (ipasẹ)