I had never written nor conceived of writing music for Dance -let alone a choreographed professional dance performance – before setting foot in Ate9 Dance Company’s LA studio. Honestly, I’m embarrassed to say I hadn’t even been a frequent attendee of dance performances. But stepping into that room and sitting in that chair, I was transfixed and sensed that something had moved inside of me. Danielle’s vision and dedication to her craft were made immediately clear. Her intuition was powerful, and with her guidance, the dancers seemed to be able to transcend space and time with their bodies. I noticed an eternal music in their bones, a sacred cadence to the shapes they made. I knew that this was an opportunity I would gain so much musically and one I’d keep wanting to return to. 

After the pandemic shut down all live performances, Danielle and I decided to start by collaborating on a dance film she was working on, entitled An Apology. Although this was a different experience (setting music to picture instead of live performance), it soon became clear that Danielle and I connected to a similar energy source. We shared an artistic ethos. We both like to create instinctually, feeling our way into work, to become more fully present and whole as the creative process continues. We’d agree that using the gut and the heart to speak the truth, then letting the mind follow, ultimately interests us in art making.

So when the opportunity came around to create a live solo cello score for the Wallis Annenberg performances of Joy, Danielle’s multi-part work, I felt very safe in what I needed to accomplish. Ultimately, as human beings, we all experience a range of emotions, making us unique. I have struggled for years with anxiety and doubt, and we all know what it is to experience pain. Yet what Danielle’s choreography so beautifully captured was that if one turns and faces this pain, these uncomfortable moments, there is a joy to be found; there is more than just that pain alone.

I wanted to emulate the undulations and dynamics of Danielle’s work as best as I could and the repetitive nature of the innately human and everyday movement with which she imbues her pieces. So, for this, we decided that there would be moments of the piece that would be solo cello (perhaps as a metaphor for human isolation in the abstract) and that I would also use a lo-fi loop pedal to build layer upon layer live on stage. This approach served as a metaphor for the group and how human interaction/action can coalesce to create something larger than its parts while maintaining its almost improvisatory nature. 

I tried my best to create a basis for a theme in each movement and then added loops to give new meaning and reharmonization to the theme. I also found areas of each movement that could build not only in volume but harmonic density to try to musically embody the waves of emotions we all face. The result was a very high-energy and mentally demanding performance on everyone’s part. We had to be sensitive to the structure of the choreography and be free-flowing and organic.

When it came time to record this album, I wanted to give the performances a similar live, wiry energy. I also added parts and elongated some sections to a bit more harmonic depth and resolution than I could fully commit to in a live setting. Lastly, a large improvisatory section in the third act was created on the spot in the studio, much like in the live performances. 

The constraints of the loop pedal in the live performance presented a gratifying challenge for me. I had to find as much material as possible without overwhelming the audience with “noise.” However, the recording studio’s unlimited multi-tracking capabilities allowed for a bit more nuance and expansiveness.

I couldn’t have made this recording sound how it sounds without the amazing assistance and engineering of Gabe Burch. The way Gabe used multiple mics in unique placements to capture the full range of the cello truly enhanced my techniques on the instrument and helped make everything come together cohesively. His final mix was above and beyond in drawing out every detail. And there’s no way this recorded soundtrack would have happened without the steady hand, leadership and immense expertise of the legendary producer Robert Townson. It was an honour to have him on board for this special album. Also, many thanks to Lorraine Evanoff for her steadfast support and wisdom throughout this process; you truly held everything together.  

And of course, thanks to Danielle Agami. You believed in me and brought me closer to myself and the beautiful world you’ve created as a choreographer, and you shared your profound and transcendent vision with me. It was a thrill to work with you.

Last but not least, thanks to the wonderful dancers of Ate 9. You are the light and inspiration for this music and its life force and source. To the listener, I hope you enjoy this recording and that it gives you some joy, even if just a little.

– Isaiah Gage