The following is an interview with composer Asaf Sagiv (ReMastered: Who Shot the Sheriff) regarding the recent release of his debut solo album, IMA. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Sagiv about the genesis behind this experiential collection, how he hopes that listeners may connect with the album, and more!
Barbra Dillon, Fanbase Press Editor-in-Chief: Given your extensive body of work in composing for film, television, and theatre, what can you share with us about the genesis behind this moving solo endeavor?
Asaf Sagiv: IMA was made for my late mother, Osnat Sagiv (born Sabina Perelman). She died from cancer 8 years ago. This is my way of giving something back, with gratitude. It’s different and unlike anything I’ve ever done before.
I am often very visual when it comes to music; it often springs from, or I should say along with, an image, images of all sorts. More like a feeling of an image it can’t be exactly put in words. It’s all in the music.
With scoring, I’m usually given the images, or the script, the story, and the emotional quality, the camera movements, etc. – and you’re kind of reacting or building on a world that already exists. Oftentimes, you’re being directed into a certain emotion by the director and the scene itself, the overall arc. Plus, there are all these numerous people to please or even get approval from: the director, producers, etc. Here, I wasn’t responding to anything preexisting in that sense or trying to gain anyone’s approval. I am the one who needs to approve it, or, more precisely, to be pleased with it. And by I AM I mean both God, IMA, and myself. This Leonard Cohen line comes to mind: “That David played and it pleased the Lord”. God, a word often misused or misunderstood – or maybe – Source, as I like to call it these days. Also, I remember consciously thinking what my mother would enjoy most listening to as I know her musical taste very well. She was a big music fan.
I allowed myself introspection and let whatever needed to come through, come through. I devoted myself to it fully and it felt like something that was writing itself on its own volition. Maybe that’s the beauty about grief – you reach a point of surrender. Of being broken open or hollowed out like a hollow bone and you simply allow yourself to just feel what needs to be felt fully, free of any self-judgment. Really look it in the eye, with presence. And music has the power to allow this. Like my mother’s voice says in the piece, “Transcendence:” “It is what it is.”
Yes, so here, IMA became the universe. It came from what I call Void to Grid – Source into formless form – and back again infinitely. I’ve been working on it for about 5 years. One of the first pieces came through fully formed during the lockdowns in 2020, and I’ve been obsessed with it all since. I’ve recently also learned there is a thing called a “Shared Death Experience” from a conversation with my sister Maya. I didn’t realise fully when creating IMA, but I am now certain it had a strong impact on the genesis of IMA, and more specifically – the piece “Requiem.” I am forever grateful for her for his gift. Some of the themes go back much earlier to childhood. Motifs I used to repeat over and over around the house at age 5, before I even knew music or play an instrument, and that were playing in my head and still do. So, those naturally found their way in, as melodies and counterpoint.
It’s all made for her. I also feel it’s coming from her. She is both the bridge to everything and the entire universe itself. Moves from, to, and is unconditional Love. Only later after the work has been completed, it became apparent to me that it is a rebirth – for both my mother, as well as myself, personally and artistically.
And as of the genesis of the name, IMA came the moment the first piece (the Toda al Hakol Suite) was born. IMA means “mother” in Hebrew. And later I found out, through Japanese friends, that it also means “now” in Japanese. It is all something that can’t really be put into words… it’s in the music. It is the music.
BD: The album was recorded in a variety of locations, beyond the confines of a recording studio. What can you tell us about your decision to record in these locations and their contribution to the sound and ambience of the collection?
AS: It’s a big part of it, yes, and is something I am drawn to and passionate about. Architecture, acoustics, and resonance I feel are these unseen, silent participants in the music – maybe it’s sort of like the unseen forces that shape us. There’s always this interesting intersection between sound and structure, merging together. Well, the reality is they were never separate to begin with. Also, environments become part of the recording. It might be less ‘sterelie’ approach to recording at times but that to me is also part of the magic. I’ll say though sometimes some of the piano pieces, or other groups of instruments, did call for a more traditional, controlled, acoustically treated quiet studio setting.
To me also it’s not only about the sound only or say just about the way it affects the musicians and the experience – sometimes the space itself shapes the composition. There was one piece specifically that a space inspired and influenced my own writing process – a brutalist church in Köln, designed by visionary Gottfried Böhm. I grew obsessed with this unique, all concrete made space and once discovered, I re-wrote the piece, with the unique reverb and echo in mind. I timed it allowing this to become an integral part of the fermatas and silence in the music. The structure itself almost looks like something from another planet or civilization and time altogether. Contrabass flutist Daniela Mars performed the piece on this concrete-elevated area in the main hall, recorded through a mic setup designed to capture the full spatial and natural ambience, as well as the raw colors and depth of the contrabass flute which in itself inspired the piece as it was written specifically for.
As soon as you walk in this space, and hear its ambience, you’re immediately transported somewhere else. There is also a train passing literally by the vitrage.. I recorded the synths in the space it captured and merged with the sounds adding a spontaneous layer of sound. It naturally bridges the two worlds through sound. Makes me think now .. It is all very fitting for a piece of music that its intention was one of reconciliation. All these unplanned happenings, and numerous other coincidences or synchronicities and more..the music – glory to Source alone.
With American Contemporary Music Ensemble (ACME), IMA’s string quartet – we recorded in NY since they’re there. I came across an old wooden studio that used to be a church many years ago, situated in the middle of a forest not far from Woodstock. The space allowed just the right balance between clarity, intimacy yet having an open, warm, and resonant tone which is perfect for strings and IMA. Also you can imagine the big windows.. you see treetops moving outside.. vitrage illuminated but the sun. The energy there has already set the stage, already shaped the performance before downbeat and without making a sound yet.
Another notable location was this beautiful white church space in Pasadena with a magnificent dome shaped, sort of a very tall ceiling in its main hall. Thanks to a friend Jon who allowed Justin (Moshekevich), my friend and sound engineer myself and the choir access – we recorded both the choir and pipe organ there, while also capturing the height with a few 35-ft. mic stands. The dome has this open sound that is also warm. It worked really well with the music and the choir.
A couple of other instruments I recorded here in LA in my studio whenever IMA called for a more ‘dry’ or intimate sound. Like with my pianos which I recorded and played in my own studio. It all depends on what the music calls for, the emotion or the feeling, one must follow what serves the piece, the music best.
With all that being said, all of this would have meant absolutely nothing if it wasn’t for the musicians and all my collaborators.
BD: You have collaborated with incredibly talented contemporary voices for this work. How would you describe your creative process in selecting the musicians who best complemented the musical themes?
AS: They all were the ones meant to do it, as simple as that. And I truly believe these musicians and all other people involved on IMA are the best ones for it. The selection process is about following what the music called for. IMA holds a wide spectrum of emotions and many elements that can’t be articulated or explained… I heard in my mind a specific sound early on before putting it to paper. It’s very easy to find great musicians, especially in LA where you have some of the world’s best musicians, but there was this guiding force that really had me obsessed with these specific and incredible musicians. Same extends to anyone else involved from sound engineers to the artwork, etc. Also what was important to me was to have people that have worked together for years and synergy. With ACME (string quartet) for example, they’ve been playing together for years and are all good friends and you could feel that the energy in the room was special. This synergy and personal connection inside the group extends for the chamber choir – made mostly out of hand-picked singers that’ve been singing together for many many years together either with the LA Master Chorale or LA Philharmonic. We recorded with their lead sopranos Suzanne Waters and Kelci Hahn who know each other very well and have worked together a lot. You know, it goes beyond dynamics or rhythm .. especially since I have a few good passages I wrote as a duet for two sopranos. Same goes for the conductor and associate artistic director of LA Master Chorale, Jenny Wong, who conducted the group and knows the singers inside out. It was a real joy.
The process of selecting is also knowing what the strength of a musician is; we all have our strengths and weaknesses. Keeping this in mind also helped me choose the other musicians, be it various factors like precision or timing, or maybe for another person – versatility, tone and character, etc. I don’t know, there are so many variables. I’ve had Joshua Ranz, the clarinet player who’s the principal clarinet for the LACO double a line, I initially wrote for the pipe organ which has a more fugue-like, contrapuntal quality to it, and required utmost focus and precision in timing, tone and everything. At other times the clarinet was much more expressive and demanded depths of emotion. Or, with ACME, we were also able to improvise as a group of strings. I wrote one section I deliberately left open which had a small series of interchangeable notes that worked modularly so they could play with it at will and react to one another and the music. I deliberately wanted it to be improvised to reflect what the piece was talking about there. It was fun and exciting to make. And with Ashley (Jarmack) for example came to my studio – with her car’s trunk literally packed to the brim with all sorts of exotic wood wind instruments from all over the globe, and we could try out different combinations, sounds and even customize some. Not a lot of musicians can do that.
I think also since it is all made for my mom, it felt natural but was also important to me personally to bring women collaborators in key roles.
BD: How do you feel that this album may connect with and impact listeners?
AS: I don’t think I have an answer for that. You know, listening is such a personal experience…
I actually like to leave room for each and every listener to feel and connect in a way that’s uniquely theirs. This album holds a wide spectrum of emotions… the reality is IMA meets you where you are at. My mom was like that, too, as a person… she met you where you are. That is unconditional Love.
BD: Are there any other projects – past or current – that you would like to highlight for our readers?
AS: I’m scoring a Sci-Fi drama by Leonardo Gurerra Seragnoli and Cinedora, his production studios – and producers of Maura Delpero’s Golden Globe-nominated Vermiglio. Still a very long way to go, it’s in development as we speak, but I’m involved from script stages.
As far as the past goes… it’s interesting. Like I said before, it feels, in many ways, like a rebirth. I don’t really look back. If I do, it’s more this overall sense or feeling of gratitude for it all.
I have new ideas and music that must be made.
BD: Lastly, what would you like to tell fans who want to learn more about IMA and your other work?
AS: IMA is on Spotify and Apple Music, iTunes, etc. You can find me on Instagram (@asafsagiv).
I’m also excited to be releasing a limited edition IMA vinyl. I love the way it came together. I’m grateful to have two ink paintings by Nobel Prize-winning author and painter Gao Xinjiang. One of my personal all-time favorites, and a true painter of the soul as he is was once described in a book. People can find this edition and more on my website (asafsagiv.com)
*Header Photo by: Joy Watanabe
