Of the Near and Far Patricia Brennan

• 1 Antlia 07:31
• 2 Aquarius 07:31
• 3 Andromeda 04:00
• 4 Citlalli 04:19
• 5 Lyra 07:27
• 6 Aquila 07:13
• 7 When You Stare Into The Abyss 06:55
• Total Runtime 44:56

Info for Of the Near and Far

The night sky has always fascinated me and I have always wondered what lies beyond it. In the midst of the infinite expanse of stars, I am fascinated by a sense of balance and symmetry - an order in chaos. The inherent patterns of the constellations aroused my curiosity and prompted me to explore how these celestial forms could be translated musically.

In the summer of 2024, I developed a method to capture pitch and numerical data of constellations. I placed the shapes of the constellations on a circle of fifths and was fascinated by whether the symmetry of the constellations could be translated into musical symmetry - be it harmonic or melodic. The circle of fifths is already a highly symmetrical structure that arranges pitches in a sequence. By mapping the shapes of the constellations onto this circle, I discovered new relationships between pitches, chords and even keys. These relationships emerged solely from the symmetry of the constellations, not from traditional music theory.

"I’ve always been captivated by the night sky, endlessly wondering about what lies beyond. Amidst the vast expanse of stars, there is a sense of balance and symmetry that fascinates me—an order within the chaos. The innate patterns of the constellations sparked my curiosity, prompting me to explore how these celestial forms might be translated musically.

In the summer of 2024, I developed a process that allowed me to collect pitch and numerical data from constellations. I overlaid the shapes of constellations onto a circle of fifths, intrigued by whether the symmetry of the constellations could translate into musical symmetry—whether harmonic or melodic. The circle of fifths is already a highly symmetrical structure that organizes pitches in a sequence. By mapping the constellations’ shapes onto this circle, I discovered new relationships between pitches, chords, and even key signatures. These relationships emerged purely from the constellations’ symmetry, not from traditional music theory.

To my surprise, many of the pitch collections I gathered were harmonically consonant and “made sense” from a theoretical standpoint. The material I collected became raw material for my compositional process. Most of the pieces on this record are entirely based on the data I gathered, with each composition drawing from the unique patterns of the stars. I also explored the mythology behind each constellation—some well-known, others less so—but all rich with history and inspiration for generations of artists.

Since it was summer, I was naturally drawn to the constellations surrounding the Summer Triangle, often observing them through my telescope. Some of the constellations featured on this record share stars that form part of this iconic stellar pattern.

The five constellations explored on this record are: Antlia (The Air Pump), Aquarius (The Water Bearer), Andromeda (The Chained Woman), Lyra (The Lyre), and Aquila (The Eagle). Also included is a composition inspired by the essence of this work, rather than any specific constellation: “When You Stare Into The Abyss.” As part of the compositional process, I created two graphic scores: “Citlalli I” and “Citlalli II.” During the recording process, the ensemble improvised a version of each score, and this material was used to shape the electroacoustic track “Citlalli.”

The sonic palette for this record is inspired by my background in classical music and in new music, combined with the sonic possibilities of jazz rhythm section instruments. My musical education was shaped significantly by my roles in orchestras, percussion ensembles, and chamber music groups. My first professional job as a musician was as the timpanist for a state-funded orchestra in Mexico. This path led to other orchestral positions, eventually bringing me to the U.S.

Although I later shifted toward improvised music, I continue to draw inspiration from orchestral works, including compositions by Brahms, Debussy, Dvořák, Stravinsky, Copland, and more. As a percussionist, I had the opportunity to lead my own percussion ensemble and also explored contemporary chamber music. These experiences introduced me to groundbreaking composers such as John Cage, Karlheinz Stockhausen, and Paul Lansky. Additionally, I draw inspiration from the popular music that influenced me growing up, particularly rock bands and other groups from the mid-to-late 90s, most prominently Radiohead and Soundgarden.

The instrumentation of this ensemble reflects these inspirations. It features a jazz quintet—piano, bass, drums, guitar, and mallet percussion—along with a standard string quartet and also includes an electronic musician. The electronic components take on different roles throughout the record. Sometimes, they function as interstitial elements, while at others they take a more prominent role within a composition, adding another textural layer. On the track “Citlalli,” the electronics take center stage. The piece features improvisations by the ensemble members, based on the graphic scores of the same name. These improvisations merge into a single track, which is then electronically manipulated to create a new narrative. Although the ensemble blends different styles and traditions, I wanted to treat it as a unified whole. Each instrument plays an indispensable role in the compositional fabric.

As on my previous records, I aimed to challenge conventional expectations of each instrument’s role and expand their sonic palette. For example, the strings might adopt a melodic role, which is more traditional, or they might take on a textural role, creating layers of sound. Ultimately, the sonic possibilities of the ensemble are shaped by the needs of each composition and my overall vision for this project.

As you listen to this music, I invite you to free your imagination and encourage you to look not only inward and upward, but also to seek the light of hope amidst the darkness of the abyss. (Patricia Brennan)

Modney, violin
Pala Garcia, violin
Kyle Armbrust, viola
Michael Nicolas, cello
Sylvie Courvoisier, piano
Miles Okazaki, guitar
Kim Cass, bass
John Hollenbeck, drums, percussion
Arktureye, electronics
Patricia Brennan, vibraphone with electronics, marimba
Eli Greenhoe, conductor

Patricia Brennan
Mexican born vibraphonist, marimbist, improviser and composer Patricia Brennan “has been widely feted as one of the instrument’s newer leaders.” observed The New York City Jazz Record. Patricia has won the rising star vibraphonist award from Downbeat magazine’s 70th (2022) and 72nd (2024) Critics Poll and was listed #4 vibraphonist of the year on the 71st (2023) & 72nd (2024) Critics Poll. Patricia was also recently named winner of the 2025 Vibraphonist of the Year award on the 73rd Annual Downbeat Critics Poll.

Patricia inherited a deep love and appreciation for musical tradition from both parents, as well as being exposed to the musical richness of her native Port of Veracruz in Mexico. She started studying music at 4 years old, playing latin percussion along salsa records with her father and listening to Jimi Hendrix and Led Zeppelin records with her mother. Also, around the same age, she started playing piano, influenced by her grandmother who was a concert pianist.

At the age of 17, Patricia was selected from musicians all over the Americas to be part of the Youth Orchestra of the Americas. During this time, she toured every country in the Americas and performed with renowned musicians such as Yo-Yo Ma and Paquito D’Rivera. Before moving to the U. S., Patricia was already performing with the top symphony orchestras in Mexico, such as Xalapa Symphony Orchestra and Minería Symphony Orchestra. Also, she had already won several awards on marimba competitions and young artist competitions in Mexico and abroad and was featured in the “Líderes Mexicanos” magazine in 2003. In 2004, she was accepted at the prestigious Curtis Institute of Music in Philadelphia, where she was able to perform alongside high caliber musicians from all over the world and conductors such as Simon Rattle and Charles Dutoit. She also performed with the prestigious Philadelphia Orchestra and other acclaimed new music groups such as members from Eight Blackbird.

Patricia's search for freedom in her musical expression led her to find her voice through the vibraphone and mallet percussion in improvisational music and composition.

Patricia’s extensive sidewoman work includes the Grammy nominated John Hollenbeck Large Ensemble, Michael Formanek Ensemble Kolossus, Matt Mitchell’s Phalanx Ambassadors, Mary Halvorson’s Amaryllis, Grammy winning Arturo O’Farrill’s Afro Latin Jazz Big Band, amongst other groups and collectives. She has also collaborated with pianist Vijay Iyer as a member of Blind Spot with writer Teju Cole, Iyer’s large ensemble project Open City and several small ensemble performances along with renowned musicians including bassist Reggie Workman and trumpeter Wadada Leo Smith. Patricia’s own projects include the solo project MAQUISHTI, MOCH - a collaborative duo with percussionist, drummer and turntablist Noel Brennan (Arktureye), MORE TOUCH - a quartet with Mauricio Herrera on percussion, Marcus Gilmore on drums, and Kim Cass on bass, the PATRICIA BRENNAN SEPTET which features the rhythm section from More Touch and adding Adam O’Farrill on trumpet, Jon Irabagon on alto and sopranino saxophones and Mark Shim on tenor saxophone, TALAMANTI, a piano and mallet percussion duo with pianist Sylvie Courvoisier and, OF THE NEAR AND FAR, a tentet comprised by a string quartet (Modney, Pala Garcia, Kyle Armbrust, Michael Nicolas), a jazz quintet (Miles Okazaki, Sylvie Courvoisier, Kim Cass, John Hollenbeck), and an electronic musician Arktureye. This ensemble is conducted by Eli Greenhoe.

Patricia has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina. She has also appeared on National Television, Public Radio, and the BBC radio show “Freeness” hosted by Corey Mwamba.

Patricia has appeared on numerous recordings from classical to improvised music, including an ECM recording with Michael Formanek Ensemble Kolossus called “The Distance” and a world premiere recording with the Curtis Symphony Orchestra and Christoph Eschenbach on Ondine Records. See Projects + Discography for full catalog.

Patricia’s acclaimed debut solo album “Maquishti”, released on Valley of Search, was listed #4 on The New York Times 10 Best Jazz Albums of 2021. Patricia’s sophomore album, “More Touch”, released in November 2022 on Pyroclastic Records received multiple accolades from critics. “More Touch” was included in several Best Jazz Albums of 2022 lists such as NPR Best Music of 2022, Bandcamp Best Jazz Albums of 2022 and PopMatters Best Jazz Albums of 2022. The opener track “Unquiet Respect”, from the record “More Touch”, was listed under NPR’s 100 Best Songs of 2022, a list featuring music from all genres and only including a handful of jazz artists. Patricia released her third album as a leader, “Breaking Stretch” featuring the Patricia Brennan Septet on September 6, 2024 on Pyroclastic Records. This septet record features master improvisers Adam O’Farrill on trumpet, Jon Irabagon on alto and sopranino saxophones, Mark Shim on tenor saxophone, Kim Cass on bass, Marcus Gilmore on drums and Mauricio Herrera on percussion. “Breaking Stretch” received wide acclaim earning spots on multiple Best Jazz Albums of 2024 including The New York Times 10 Best Jazz Albums of 2024 and NPR 50 Best Albums of 2024 (across all genres of music). Also, the track “Five Suns” from Breaking Stretch” was listed on NPR’s 124 Best Songs of 2024, featuring music from all genres and only including a handful of jazz artists. Breaking Stretch was the 2025 winner of the Album Of the Year award on the 73rd Annual Downbeat Critics Poll. Patricia will be releasing her fourth record featuring her latest project OF THE NEAR AND FAR on October 24, 2025 on Pyroclastic Records. Also, Patricia recently recorded her duo project TALAMANTI with pianist Sylvie Courvoisier which is expected to be released in 2026.

Patricia Brennan is a Valley of Search artist, Pyroclastic Records artist, BlueHaus Mallets artist, and Audeze artist. Patricia is currently faculty at the Jazz Arts program at Manhattan School of Music, the New School for Jazz and Contemporary Music and at the Jazz Studies program at NYU Steinhardt.

This album contains no booklet.