At the center of this record you will find a one-take duo improvisation called “The Frog.” The title refers to a favorite Zen koan - a story meant to teach one to accept the unsolvable mysteries of existence and be at peace with the unknowable. In the koan referenced here, the master asks the student why he feels he must sit in the temple in order to practice zazen (a Zen Buddhist meditative discipline) - after all, the frog merely sits and does not think it is special. The master teaches the student that whatever one does is zazen - to exist is zazen. In a way, this koan illustrates precisely what this record is intended to be - a series of imperfect, unplanned and improvised songs that simply are - as to exist is zazen, so to create is music. This is the purpose of the Temporary Song - simply to be created is enough.

Of the ten other songs presented here, only three (I’d Say It’s Going Very Well, Belá and Fiesta de Baile) were composed in advance of our two recording sessions. The others were composed by Bobby and myself as we performed and recorded them. Some of them are the first take of whatever idea began the composition, and others are further explorations grown from the same seed. At every juncture, our commitment was the same: to create a piece of music without self-doubt or self-editing and let it be what it will be. I’ve offered some thoughts on each track below, but we hope you will discover personal meaning for each in time.

“Tailwind” is an unplanned tribute to three of our musical heroes: Pat Metheny, Jim Hall and Ornette Coleman. Listening back, we hear the admiration that we both have for each of them.

“The Ground Rules of Reality” was the very first piece, a free improvisation, tracked for the record. Its title refers to the truths about our world and society that I believe two parties must agree on in order to achieve empathy and meaningful discussion with one another.

“I’d Say It’s Going Very Well” began its life as a song written for a guitar that once belonged to my grandfather and was given to me after his passing. Several years later, it has been sculpted into its current form and reflects the feelings I have about my own marriage just over a year after the wedding. Once again, Seth’s contributions bring this composition to life.

“Annabel Lee” is a meditation on the Edgar Allen Poe poem of the same name, a personal favorite of mine. The piece starts longingly before gradually building to a grief-stricken climax.

“Canadian Bacon Grease” is a spontaneous song inspired by the music of New Orleans. The title is a nod to both traditional American cuisine and Bobby’s nationality (and I’m half Canadian, too!).

“Basement Suite Blues” is a somewhat ironic improvised homage to the underground apartment where this record was recorded and where Bobby and his wife live (and a bit of wordplay on another, more famous, blues composition). We decided to invite friend and bass virtuoso Seth Lewis to contribute to this track after its initial recording, extending the life of this piece beyond its initial creation.

“Belá” is another Bobby Wiens composition inspired by the 14 Bagatelles of Belá Bartok. After the initial theme statement, we improvise a development section before restating the theme and concluding the piece.
Bobby composed “Fiesta de Baile” especially for this session. As he puts it, “I thought I would toss Denin an easy head and changes - a lob ball - to hit out of the park.” After this vote of confidence, perhaps unsurprisingly, no other track on the record required nearly as many retakes as this one. Seth contributes his bass tones here, as well.

“It’s Been You All Along” is an improvised tone poem dedicated to my wife. After nearly ten years of friendship, I realized that she had been everything I could ask for in a partner the entire time, and I am forever grateful to be called her husband.

While we take pride in this project’s quality and musicality, we are most eager to share this record with you simply because it exists. These songs capture our friendship and our musical relationship in the most pure, honest and complete way that we can imagine, and I for one am humbled by the privilege of creating with this great man and exemplary drummer. We feel no need to edit, polish, rehearse, recompose or otherwise change the music you hear on this record - their creation, as they are, is enough.