Die Stücke bewegen sich zwischen Ruhe und Anspannung, kontemplativen Passagen und verdichteten Momenten – Ausdruck einer sehr persönlichen musikalischen Sprache. Unterstützt wurde er dabei von Guy Picciotto in Produktion und Abmischung, sowie von Zoh Amba, die bei einem er Tracks Gitarre und Gesang beiträgt. Das Ergebnis ist ein Album, das White nicht nur als herausragenden Schlagzeuger, sondern auch als eigenständigen Komponisten und Arrangeur zeigt. Es ist erhältlich als LP, CD und zum Download.

“Alone and in the absence of any markers of the outside world I had previously inhabited, the jamspace became a holy space, and I wanted to be free. I wanted to expand, fill the room… I wanted to be a conduit for grand ideas without needing to imagine how they “fit” within my own (self-constructed) artistic constraints. The isolation and exterior constraints required that I go deep inside to find a way forward, and on that internal journey I encountered some deeply ensconced self-imposed limits and obstacles. I recognized that I’d been relying on these as guideposts, but upon inspection I discovered they’d also been standing in my way. Blocking some unexplored paths towards unhindered expression.

With no external pressure of deadlines, with no outside ears or eyes… with no idea how or when I would ever be in public again, I made it my pursuit to face those doubts and worn-out notions of what I believed to be my limits head on; and then to let them go. And in so exploring, I found new ways, new loves. Let my violin lead. Let my voice lead. Played the guitar loud, in the way I love but never believed belonged to me. I let those things in, welcomed them instead of stopping them at the gate. Left space. Took up space. I wrote a song, recorded the vocals in my bed. Sent Nadia’s old organ drum machine through my pedal board and made some beats, allowed them to find their way into the music and stay put. I asked my friend/ favourite drummer Jim White if he’d want to record some tracks for me, in virtual musical communion with Thierry, and he beautifully obliged.

This album represents me throwing out some old preconceptions of myself and my instrument, and stretching my relationship with solo expression further than I knew I could reach. And consequently, represents what feels like new doors opened, new paths forward. Somehow, in the middle of everything, I’m still looking forward.” (Jessica Moss)

@ Constellation

Aus einem anscheinend größeren Pool an aktuellen Aufnahmen hat Moss gerade auch einen neuen, diesmal komplett ohne Violine auskommenden Song digital herausgebracht. “Is There Room For It All” ist ein kammermusikalischer Torch Song, bei dem Moss’ zaghafte Stimmarbeit und ihr anrührendes Orgelspiel von Thierry Amars Kontrabass und Jim Whites aufwühlenden Drums unterstützt wird, während Radwan Ghazi Moumneh im Studio für den finalen Feinschliff sorgte. Ein Video dazu entstand in Zusammenarbeit mit Nadim Chartouny.

“Contemplating how we know too much, understand too much, feel too much. And what happens once we’re full? (Do we keep it all, and just suffer more, with no turning back? Does it start to fall out, and we lapse? Is there any other way?) This is the first capital S ‘song’ I’ve ever written. There’s no violin in it. There is however, the forever favourite bass playing of Thierry Amar, and perfect-in-every-way drumming by world’s best Jim White.

Recorded my parts at home, then Thierry at Hotel2Tango, Jim beamed in from Melbourne, then brought it back home to worry over, and finally back to studio for mixing by #1 Radwan Ghazi Moumneh. A few months later, I got a call from a tree that I spent an afternoon watching from a cafe window, in the before times. Asked if it could please be in the music video. I agreed, of course. Nadim Shartouny helmed the editing machine.” (Jessica Moss)

@ Jessica Moss