Paul Flaherty, Randall Colbourne, James Chumley Hunt, Mike Roberson

Borrowed From Children

Exclusive second edition of 100 copies, Digipak CD

RIYL: avantgarde, avant, experimental, free improvisation

The ‘freeform music scene’ is often a situation where musicians get to improvise together without a lot of prior interactions. But in this case, Paul Flaherty and Randall Colbourne have played together for 32 years. The two artists have collaborated with Chumley Hunt on and off since the 90s, and with Mike Roberson since 2012.

The live album presented here is the recording of the very first time they got together as a quartet. The music is ‘improvised freeform’, created without outline or discussion. It draws from all and any musical genres including jazz, rock, blues, classical, noise, marching bands, eastern, and more. Freeform doesn't mean without form, just without a preconceived form. Once the improvisation is finished, the music has taken its form.

"Borrowed from Children" is a Native American phrase that refers not to inheriting the land from our ancestors, but rather to borrow it from our children. This music has been created in the hope that we will remember this and may this moment of global crisis be a time to meditate on the meaning of this.

“The original inspiration for this album comes from the music of Ornette Coleman and Cecil Taylor, soon to be followed by Albert Ayler, the late period of John Coltrane, Pharaoh Sanders, Evan Parker, Derek Bailey, Peter Brötzmann and evolution of musicians from these paths, carrying the music on to this day. I began playing freeform in 1972 and have always felt that this is where I belong.

Can you explain free music to those who question its validity? This music has been roundly attacked in the past, and the past is always near. I feel that the essence of freely improvised music is a release to something greater, and hopefully allowing it to transcend the moment. It may be an ‘asking’ for something to take over. Trust is the key and belief is the path.

Trust where it goes and believe that what's happening is right. Following, listening and becoming totally engaged.

When it works it's a mystical sensation, as unplanned music winds, explodes and recedes into peace and chaos in good unpredictable time. The experience that something else has taken over, and the player has become the listener, is what feels magical. And the belief that musicians can enter these moments together and have the music succeed, makes it seem magical even more so. This can happen in any form of music, but since freeform has no plans or restrictions, it's almost imperative that the players release and get out of the way. Inner artist, or a visitation . . . . that's personal.

I've found over the years that more and more players from different genres have become open to playing this way. Where once the idea had to be explained and musicians had to be coaxed into trying it, the music has survived it's initial critical onslaught and is thriving everywhere. Of course… It's still basically hated music to the general public. But on we go.” - Paul Flaherty