Anarchism in E flat

Anarchism in music is not about destruction or mayhem as much it pertains to the deracinating the demarcations of genres as well as soaring past the diatonic parameters that western musicologist use to define each style of music. Also the Anarchist musician seeks to be able to function outside of the centralized conglomerates who deem themselves as the "recording and distribution industry", which attempts to control who is worthy of a broader listening audience and who is not; many times that which defines talent is not the determining factor.

As we see on the popular televised “reality show” called American Idol, it is more about the idolizing of a acceptable national image rather than concerned about merely talent or the more important spiritual dynamics of music. This sitcom exploits and buffoons the science and the art of the sacred language music, for music is used as a catalyst for Americans to laugh at their superfluous and distorted decadence rather than seen as a redeeming agent.

We already know that Billie Holiday, Macy Gray, Erykah Badu, Cassandra Wilson, and Tracy Chapman could never be American idols, and though they don’t readily represent the more grassroots musical community vocalist that the anarchist musician works with and performs amongst, still they are not the "paper-cutout" representations of America's subconscious desire to embrace conformity, as if a music's or musician's validity should be based on an ill-fated democratic process of critiquing and voting as if both were in need of a prime-time sitcom depending on Nielson ratings.

I use the term anarchism because music needs to be radicalized as well as all forms of artistic expression, for not only is it important to the progressive listening community that equates music with honesty, creativity, and innovation, but it’s also very important to the local artist, who represent the majority within the craft, local masters and disciples of the craft who are being ignored and marginalized especially if they cannot exemplify commercial appeal (locally or nationally) , or are not able to obtain a recording contract or mass distribution.

Spirits in the Woodshed

Spirits in the Woodshed is the first of a collection of improvisational expressions made within the natural surroundings in which music has been created since its most primal beginnings, which is within the home, the community, and nature.

In today's commercially-driven society music is suppose to only be deemed worth the listening if it is delivered to the listener by way of a high priced professional studio, or is recorded on stage as in a concert performance before usually unfamiliar faces, and in both cases the environments are controlled and bound by the limited parameters of time and cost, be the latter being defined either by the musician being paid decently, or on the other hand being exploited financially by a recording studio or club owner.

...a series of recordings that try to recapture the primordial origins of music, giving music a way to communicate to life, and the spiritual world

So many creative musical artist have had to walk this tightrope, a tightrope so restrictive that some of our greatest artistic contributors to this primordial science called music are seldom heard, or have gone to the grave never being
documented nor given a chance to connect
to those who seek their shamanic gift.

Music was created as audible medicine to center the mind, and has been a necessity for every civil society. This CD Spirits in the Woodshed begins a series of recordings that try to recapture the primordial origins of music, giving music a way to communicate to life, the spiritual world, as well as the soul of the listener.



Feelin' Altoistic

Second in this series of solo expressions exploring Jay Dubz' alto saxophone sound is the CD Feelin' Altoistic which continues to keep the fire of musical alchemy crafted in solitude alive.

This recording continues to help usher in a growing revolution of independent and creative artist who seek to return musical expression back to its indigenous roots. By creating these recordings Jay Dubz is not attempting to necessarily use music as a confrontational tool toward the commercial recording industry as much as he is attempting to revive the true art of being an artist and to the free music to function as a natural act and part of the our everyday culture.