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Craig Colorusso: MB 89 a life-long work of art

  Tobias

On paper, it is obvious that one changes over time in certain respects and yet also stays the same person. How do you translate that to music?
The idea of MB 89 started simply as a radio broadcast. Although I was pleased with the result, I felt like I could do more with it. I found the music so soothing I honestly didn't want it to stop. Not only that, I wanted to push the idea in different directions. That radio show really felt like a starting point. I wanted to make something that incorporated other elements beside music. It was more than music in my life and with this piece. Then the concept evolved into a live setting. The live setting has also changed overtime. I like the idea of the possibilities. MB 89 has evolved. I think we all have the ability to evolve over time. Each day we are presented with new information to either use or discard. I would like to allow myself the chance to grow, physically, mentally and spiritually.


Do you see „MB 89“ as something that „represents“ you or more of a unique stream of its own, which accompanies you through different stages of life?
In some ways I think MB 89 has a life of its own. It's not so much a composition created and presented. It's more of an acknowledgment of something that's already there. And one of the ways that this piece feels different than the others is the preparation time. Before a tour I play for weeks to get ready. This time feels more like a ritual than a rehearsal. It's not about the notes or the space between them, it's more about being able to be present during the performance. The piece is only a few notes but there is so much in those notes. An MB 89 performance is the tangible conclusion of a long line of thoughts and movements. These thoughts and movements are inspired by previous thoughts and movements of MB 89.  It has a momentum.


The current part of MB 89 will eliminate the borders between audience and peformer. What sparked your interest in this idea?
I have played in many bands over the years. Some of those experiences have been truly great. But as a whole I've always thought it could be done differently. I always wanted to do more with the sound and the space. I wanted to expand beyond music. I'm interested in lots of things besides music. I hustle as a carpenter when I'm not on tour. So, I have the oppurtunity to be on jobs and think about space and what can happen in that space. Over time those ideas have leaked into my process.

The fondest memories of my life involve interaction. I wanted to make art that people could come and participate in. I didn't want to herd a group of people into a room and play before them. I wanted to make something they could be amongst and really feel like they are participating in what's happening around them.


In which way will visitors be able to do that?
MB 89 is a set of very specific pitches presented in 4 hour incriments. So, I am very aware of the sounds I'm making. which means I am also very aware of any sounds I'm not making so I become effected by the presence of the participants. The composition is more about flow within the given parameters. We are definately all in this together.

I think people in a room change the sound. I think the sound in a room changes people. In a room with MB 89 the first thing that the participant might notice is the calming effect of the sound and the light. We need the hustle and bustle to accomplish great things. I don't know how I could excel without a cell phone, email etc... But we also need time away from those devices. MB 89 gives someone a chance to slow down. Get their minds and their bodies back to working together, on the same team. When in the cylinder I can feel the calmness of the people and the surroundings and it translates to the music.


You've stated that it is best to find a space in the room and listen for a while leave and then come back. Why is that?
That's a recomendation to stress that it's not mandatory to be at MB 89 for all 4 hours. But I do think it's helpful for one to familiarize themselves with the piece. And upon returning really getting a sense of the subtlties occurring in the sound and light. Time away from MB 89 allows the participant to get a real sense of the chunk of time the piece occupies the day of that performance and beyond. People have come and stayed for hours. In Nashville for instance quite a few people were there for almost all 4 hours. I appreciate that kind of reaction.


Are you documenting "MB 89" in some way?
I am currently in the process of filming the piece and working on ways to present it. Many ideas to come I promise.


Homepage: Craig Colorusso
Homepage: Heirloom Arts Theatre Danbury