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"Humanity Part II" Out July 14th 2015

May 25 | Posted by: Robert Sabin


Robert Sabin's new recording for Ranula Music, featuring new music for dectet, due out July 14th 2015.




Robert Sabin

Humanity Part II

Robert Sabin—bass

Jesse Lewis—guitar

Jeremy Noller—drums

Aaron Irwin—alto saxophone, clarinet, flute

Jason Rigby—tenor saxophone, clarinet

Dan Urness—trumpet

Matt Holman—trumpet

Chris Komer—horn

John Yao—trombone

Ben Stapp—tuba



1          Humanity (Part II)                    6:59

2          Through a Glass Darkly          9:55

3          Scarecrow                               8:08

4          Ghost                                      6:46

5          Tenebre                                   5:15

6          Leviathan                                10:43


All compositions by Robert Sabin and published by Ranula Music ASCAP except “Humanity (Part II)” composed by Ennio Morricone (USI A Music Publishing ASCAP), arranged by Robert Sabin.


Recorded March 3rd, 2014

Systems Two Recording Studios, Brooklyn, New York

Engineered by Mike Marciano

Mixed by Mike Marciano

Cover photo “Green Fish” by Christine Muraton.  Used by permission.

Mastered by Tyler McDiarmid

Produced by Robert Sabin

2015 Ranula Music © 2015 Ranula Music

All rights reserved. Printed in U.S.A. Unauthorized duplication is a violation of applicable laws.




3149 Broadway #19

New York, NY 10027


Humanity (Part II) is an amalgam of Morricone’s two-part work that was composed for John Carpenter’s film “The Thing.”  Originally orchestrated by Alan Howarth using vintage synthesizers, the piece is now realized with brass and woodwinds while retaining Howarth's accentuated negative space.  The main theme becomes a backdrop for Jeremy Noller’s triplet swing feel, a bass pedal point, and Jason Rigby’s tenor improvisation.  The melody dissolves into a second section that features Jesse Lewis’ bi-tonal guitar solo and an inevitable ensemble crescendo.  The piece endures a grand pause before climaxing into fragments of Morricone’s theme realized by the full ensemble.


Through A Glass Darkly reflects elements of existentialism evident in Ingmar Bergman’s film trilogy, and is also divided into three parts.  The first begins with a dialogue between Ben Stapp's tuba improvisation and the ensemble, along with the pendulum between major and minor tonalities.  The piece dissolves without development into a ensemble chorale before a crescendo into Jason Rigby’s improvisation.  The piece halts abruptly, signaling the third section which features Jeremy Noller’s drum improvisation over a chorus of cross-talking polyphony and canonic melodies.


Scarecrow was inspired by elements of Ravel’s Gaspard de la nuit, specifically “Le Gibet” in which “the observer is presented with a view of the desert, where the lone corpse of a hanged man on a gibbet stands out against the horizon, reddened by the setting sun; a bell tolls from inside the walls of a far-off city, creating the deathly atmosphere that surrounds the observer.” Throughout the piece the ostinato, imitative of the tolling bell, remains distinctive in the background.  John Yao and Chris Komer contribute the improvisations that sustain the middle sections of the piece.


Ghost channels the singular feeling of a house immediately following the death of its occupant.  The rooms and objects seem to exist in a debilitating and unsettled silence, taunting the visitor to speak the name of those no longer there and leaving all calls unanswered.  Jason Rigby again contributes the improvisation that brings the work to its fruition.


Tenebre reflects elements of the giallo style on display in the Dario Argento film that is the piece’s namesake.  A short solo from Aaron Irwin establishes the mood before the theme is introduced in the saxophones.  Ambiguous lines cross over a polymetric ostinato, the crescendo giving way to Matt Holman’s extended improvisation pushing the piece to careen towards its abrupt conclusion.


Leviathan conjures images of a maleficent creature, rising from the sea to lay waste to the objects in its path.  The 7-bar phrase and muted guitar ostinato form the backdrop to the bass improvisation that precedes the melody.  A series of modulations introduces Aaron Irwin’s solo, followed by a cacophonous contribution from Jesse Lewis.  The piece begins to collapse under its own weight as the heaviness of the pulse succumbs to the augmented statement of the melody.  The beast returns to the sea, bludgeoned but unbowed. 



All compositions by Robert Sabin and published by Ranula Music (ASCAP) except “Humanity (Part II)” composed by Ennio Morricone (USI A Music Publishing ASCAP), arranged by Robert Sabin.

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