Exploding Star Orchestra
We're All From Somewhere Else

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In 2005, cornetist Rob Mazurek was approached by The Chicago Cultural Center and the Jazz Institute to put together a group that would represent the more contemporary / avant-garde side of sound in Chicago for a concert in Millennium Park’s Frank Gehry- designed concert hall. The music was conceptualized/composed in Manaus Brazil, Fontevraud, France and Chicago, and developed over more than a dozen performances of the Orchestra before it was recorded by John McEntire (Tortoise) at his Soma Studio in Chicago. We Are All From Somewhere Else is comprised of 3 distinct sections, and corresponds to a story involving an exploding star, cosmic transformation, a sting ray, the travels of the sting ray, intelligent conversations with electric eels, the destructive power of humans, the death and ascension of sting ray, the transformation of sting ray ghost to flying bird, and the transformation of bird to phoenix to rocket to flying burning matter to a new-born star. Says Mazurek, “I could clearly see and hear the events as a kind of animated adult/children’s story that could be presented in book or video form. In the end you have a poem text based on the original story line that is then flipped backwards to reveal another perspective on the poem. The flipped text was orchestrated by Portuguese video artist and conceptualist Joao Simoes, while I was in Lisbon making final preparations for the release of this recording.” As the arrangements of the parts of the pieces came together it became more and more evident that Nicole Mitchell’s flutes would play a major role in the realization of the music. That said, the intent of the music is not to feature individual players (although this very well could have featured any individual in the group, as they are all very strong soloists and improvisers); it is more about the projection of a certain sound pertaining to imagination and the trajectory of the sound as movement in time and space, weaving patterns and non-patterns around and inside the idea of the poem. The overall organic approach included actual organic sounds - for example, the sounds of electric eels recorded by Mazurek at INPA research laboratory in Manaus. The juxtaposition of two drums, two basses, two mallets, multiple flutes, two cornets, bass clarinet, ARP synthesizer, guitar, trombone, voices and flugelhorn all played important roles in the development of the final sound.