The title “Id” is borrowed from Freud’s Personality theory. It is a name for the instinctual part of behavior. Instinct describes the quick process of composing this piece for big band. It was written while attending Indiana University and is dedicated to Domonic Spera. Mr. Spera’s big band gave the premier and a second performance at the Indiana Music Educators Convention in 1991. A year later I found Mr. Spera had incorporated the piece for discussion and listening as a part of his advanced jazz composition class. I was pleasantly surprised to say the least. The dissonance of the main theme draws on the influence of Debussy’s use of exact parallel voicings as well as Duke Ellington’s cross section voicings. With each voice played by a different instrument among the different sections of the band, the dissonance of the minor second and the major seventh between voices I feel is further enhanced. I was looking for a striking sound to this angular theme.
Id Score page 3 The composition attempted to bring free and organized sections together for a raucous high energy groove. It is an up tempo 3/4 piece with rock and free jazz elements. Solo sections vary from a completely free section for the sax soloist, to ostinato figures with cross rhythms amongst the different sections of the band as background figures for the trumpet and trombone solos. The rhythmic figures were influenced by a study in African Rhythms back in the 80’s with the Ohio Chamber Orchestra and Cleveland Ballet tympanist George Kitely at Baldwin Wallace University (formerly known as Baldwin-Wallce College). Id page 10 Bob Brookmeyer gave some worthy advice upon hearing the piece years later while I was attending University of Missouri at Kansas City Conservatory. His advice was to never let the success of your piece be entirely dependent on the soloists. My recording had some wonderful soloing by some exceptionally talented young musicians but that did not stop him from offering his wisdom. His other piece of advice was drawn from his early years studying music history at the UMKC Conservatory. He recommended that I study the long expansive melodic lines of Gregorian chant. He also believed that a solo section should not occur until it is the only thing that can happen. Upon hearing “Shockwaves” for jazz octet, a work of mine from the mid 90’s, he felt I had reached a better balance than I had in “Id”. You can read about the form of Shockwaves in the Inspiration for Development and Form poster presented at the International Jazz Composers’ Symposium.