Mock the Borders Jeremy Lirola

• 1 Mock the Lines 01:43
• 2 Living Symbols 06:13
• 3 Danced Border 02:40
• 4 Sensitive Border 03:17
• 5 Ghost Dance 10:14
• 6 Red 02:37
• 7 Black 04:03
• 8 White 02:22
• 9 Yellow 00:53
• 10 Essai Eternel 06:28
• 11 Mock the End Lines 02:28
• Total Runtime 42:58

Info for Mock the Borders

After Uptown Desire with its New York City roots, Mock the Borders invites us to challenge the limits defined in a world ruled by power. Music makes it possible to evolve freely and move beyond the frontiers so heavily guarded by algorithms, and security and sanitary norms. Ornette Coleman and the Harmolodie, to whom I feel the most connected, have always fascinated me for their zeal to transcend musical norms. Mock the Borders is not based on a central musical concept, but places at its center the urgency and the sensitivity of a world where, as Ornette said, music “allows everyone to be their own individual without having to imitate anyone else”.

Jeremy Lirola, double bass
Denis Guivarc’h, alto saxophone
Maxime Sanchez, piano
Nicolas Larmignat, drums

Jeremy Lirola
New York 1980. I discovered the city, and found my father. I lived at 179 E street Up- town Manhattan, then Downtown Greenwich Village. I was 10 years old. I roller skated in Washington Square among dealers and a strange unclassifiable population. In the court yards, portoricans played music all night long, a sort of on-going party. Children played volleyball in the evening over a rope pulled tight across the street. Along with the other kids in the neighborhood we shot firecrackers and skated across Central Park. As a young musician I went searching the City for sounds that I liked. I’d go to Village Vanguard, the Knitting Factory and so many other clubs that I can’t even remember their names. I’d listen to Steve Coleman with his original Five Elements.

I was a big fan at the time, when the Knitting Factory was still on Houston Street and Cassandra Wilson was with the group. At the same time I’d listen to John Zorn with Bill Laswell. I explored mainstream spots too. I remember listening to Al Cohn, Geri Allen and others.

The New York as I knew it was the one in Cassavetes’ movie Gloria, filmed in 1979 in the Bronx a neighbouring borough of New York. It was captivating seeing those first images of the film; the mehem, the old cars, the humming streets, the bright street signs, the wild people, the jungle!

That’s what I had in mind when I composed the music for this album. It had to be called Uptown Desire, a tribute to the city that frustrated and excited me at the same time. A city where as a child, I dreamed ten months out of twelve, waiting to return with my father to the urban madness...

This album contains no booklet.