j. gary sill

As I performed my long-form improvisation titled "Healing Moon," I hoped that the listeners' imaginative visions would allow for the creation of their own unique experiences of the music.

This unedited, 51-minute solo piano performance is intentionally enigmatic, navigating the complex rhythms of love that I believe the listener has encountered and the profound embrace of the spiritual healing they seek. A sense of travelling together emerges in the mind.

For centuries, the moon has served as a beacon of meditation and wonder for many, symbolizing the heart's yearning to explore the hidden depths of inner life. While I play the piano, I strive to resonate with those wishes and dreams, hoping to transcend limited observation.

I envision this music capturing the essence of a reflective evening by a mountain lake after a deep meditation session. May it serve as a spiritual inquiry, reflecting our receptiveness to the world around and within us. Through this impromptu, empathetic piano solo, I hope to invite listeners to contemplate healing and its universal presence as a deeply personal undertaking.

Jelaluddin Gary Sill

Experience the magic of an intimate concert in our home in Vancouver, Canada, held on December 3rd, 2016, perfectly timed for the joyous Holy Days of the year!

With this sympathetic audience, I discovered melodies that wove together a radiant warmth, filling hearts with the spirit of the season. This special occasion, where love, laughter, and music came together, created a truly enchanting listening atmosphere.

Jelaluddin Gary Sill

I have always been deeply fascinated by music that embodies Eastern mysticism. Although I play a predominantly Western instrument like the piano, I frequently draw upon Eastern musical conventions in my improvisations.

Through my journey into the formal music of India, I have uncovered a rich tapestry of musical and spiritual depth that captivates me. This exploration enriches my understanding and serves as a profound source of inspiration for my improvisational performances, allowing me to express a unique blend of cultural influences and emotional resonance.

Jelaluddin Gary Sill

Turkestan, 11:07
Fajr, the first prayer of the day, is performed before sunrise in the tranquil early hours of the morning. As the first rays of sunlight appear,  music evolves, infused with the life awakening around the desert Khanqah. The whirling intensifies. Timelessness. The unfolding spiral yields to the soothing atmosphere of dawn.

Drawn by Dragons, 02:51
The carpet of dreams trails a pair of dragons. This night, then China.

Aria, 03:42
This composition by Hidayat Inayat-Khan for solo piano embodies yearning and introspection; it is a gentle resignation in the arms of the beloved.

Navarrese Dances, 07:15
The Navarrese dance was legend. Beyond subtlety, it was the infinite roar of the Basque, whose light body movements regulate the planet from the northernmost reaches of Spain; the heights of the Pyrenees.

Song Number 10, (Raga) 11:34
Searching for the lost raga; visits to the temple and the court create a musical history of beauty.

Cherag’s Procession, 02:29
This piano composition by Hidayat Inayat-Khan expresses the devotional qualities of Sufi Universal Worship: unity, spiritual freedom, and inner peace.

Hyderabad, (Raga) 09:07
A centre of music and art for centuries, Hyderabad is a living expression of the music of Northern India. This rag draws inspiration from those romantic days of culture and the music of ancient times.

J. Gary Sill (2022)

The Calm Waters album beautifully brings the listener to the deep and profound peace that can be found in both nature and the soothing sounds of music.

Pianist Gary Sill and exceptional flugelhorn virtuoso Bob Day offer listeners an exquisite experience of ‘environmental’ and ‘landscape’ jazz composition and performance. The pieces are not only beautifully evocative but also performed with an interpretive style that captivates the audience and invites them into a serene auditory landscape.

NOTES

During my time living in the mountain resort town of Banff, Canada, “Stonehenge Is Burning”  brought together a unique blend of virtuosity and inventive orchestration. By incorporating environmental sounds and elements native to the area, we aimed to create an intriguing sound that would immerse the listener in the natural beauty of the surroundings. Bob and I sought, and I believe discovered, an approach to jazz that emphasizes the interplay between music and the environment, resulting in a genuinely one-of-a-kind listening experience.

Collaborating with Bob Day in the studio for what became his final recording project was both relaxed and challenging. From the very beginning, we intended to create music that allowed us to envision anything as possible. The recording sessions, which took place sporadically over several years, were significantly influenced by our mountain surroundings. Bob would often arrive at the studio with something unusual; on one occasion, he brought a collection of sticks, rocks, and small bells from his daughter’s toys that formed an organic rhythm section.

These tracks emerged from a vast array of free improvisational performances, which we then refined into more structured compositions.

J. Gary Sill