Andy Jurik–strive
artwork, tracks, liner notes, album credits

1) Mark Summer–“Julie-O” 
2) Francis Poulenc–“Improvisation No. 15 (Hommage à Edith Piaf)”
3) Ernesto Nazareth–“Odeon”
4) Ernesto Nazareth–“Eponina”
5) Ernesto Nazareth–“Brejeiro”
6) Leonard Bernstein–“Lucky to Be Me”
7) Nicholas Walker–“Chorale”
8) Radiohead–“Exit Music (For a Film)”
9) Beatles–“Blackbird”
10) Ivan Trevino–“Strive to be Happy”

All works arranged for guitar by Andy Jurik

“Julie–O” by Marc Summer (b. 1958); originally composed for cello
A former member of the excellent Turtle Island Quartet, Summer’s music merges classical and jazz into a sound formerly/occasionally still known as Third Stream. Like many musicians I admire, he epitomizes a sensibility of genre distinctions becoming less rigid and more fluid. The idea fascinates me, hence why opening the record with this work seems appropriate. 

“Improvisation No. 15 (Hommage à Edith Piaf)” by Francis Poulenc (1899–1963); originally composed for piano
A traditional classical composer with a gift for writing beautiful religious music, Poulenc nonetheless loved the popular music of his native France. It’s unclear if he ever met Edith Piaf, but he always adored and respected her music and her passionate performances. Endless thanks to Dr. Jeffrey Wood for introducing me to this piece. 

“Odeon,” “Eponina,” and “Brejeiro” by Ernesto Nazareth (1863–1934); all originally composed for piano
Similar to Poulenc, the Brazilian Nazareth was a classical composer infatuated with his homeland’s popular music. “Odeon” and “Brejeiro” show influences of choro, the early form of Brazilian jazz, while “Eponina” reveals traces of saudade, a complex Portuguese sentiment of melancholy and nostalgia. I fell in love with Nazareth’s music years ago, in part due to how well it translates from piano to guitar. 

“Lucky to Be Me” by Leonard Bernstein (1918–1990); originally composed for his musical On the Town
Like many tunes from musical theater shows, “Lucky to Be Me” has become something of a jazz standard. A few years ago, I kept coming across the beautiful versions by Bill Evans and Taylor Eigsti, almost as if this tune was haunting me. As the man said, I ain’t afraid of no ghosts (yes, I know it’s a double negative, just go with it). 

“Chorale” by Nicholas Walker (b. 1972); originally composed for double bass
“Chorale” opens up with three simple chords before unfolding into a stellar fantasy that grows in complexity and beauty. Walker is a musical omnivore, adept in classical, jazz, and early music, and this work reflects his talent with dancing across genre lines. The first time I heard this piece I was astounded with what it could say with just one instrument. Of course, I had to steal it and arrange it for guitar. 

“Exit Music (For a Film)” by Radiohead; originally composed for analog instruments, digital instruments, and Thom Yorke’s anguished howling 
First heard (appropriately) during the end credits for Baz Luhrmann’s Romeo + Juliet, “Exit Music” appeared on Radiohead’s landmark 1997 album OK Computer. Radiohead’s music has been covered by scores of rock, jazz, and classical musicians, a testament to the band’s craft as songwriters and sonic madmen. I love this song for the way it musically and lyrically unifies dread, love, and acceptance. 

“Blackbird” by Lennon/McCartney (1940–80/b. 1942); originally, composed for voice, guitar, and birds in the background
Paul McCartney used to play J.S. Bach’s famous Bourrée in E minor at parties; years later, he incorporated its ideas into the guitar accompaniment for “Blackbird.” Scores of classical guitarists have arranged the Beatles for solo guitar, notably Stanley Yates and Göran Söllscher. I wanted to push the structure a bit, and hopefully, this won’t offend Sir Paul. 

“Strive to Be Happy” by Ivan Trevino (b. 1983); originally composed for marimba
This final work takes its title from “Desiderata” by Max Ehrmann, a prose poem of rumination and wisdom about life and fulfillment. Trevino finds a beautiful balance between harmony, melody, and silence in this piece, all set to a perpetual rhythm. I think this work translates wonderfully to the guitar, and the instrument’s resonance adds an irresistible character. 

To me, every song on this album reflects ideas about crossing boundaries and moving forward. I chose the title strive in part for the closing track, but primarily because of the word’s implications. Progressing. Advancing. Building. Learning. Something active and aspirational. I recorded this album of my arrangements because each track forced me to take a piece of music and reimagine it for guitar. The purpose was to construct something that honors its origins while saying something new. 

Thank you: Rachel, my love. Mom and dad. Dr. Pablo Cohen, Steve Brown, Dr. Stanley Yates, Dr. Jeffrey Wood, David Steinquest, Christopher Berg, and Bert Ligon. Mark, Julia, and the AGB. Oli Whitworth. Sean de Burca. Mark Summer, Nicholas Walker, and Ivan Trevino. Steve Sloan and Brett Floyd.

Credits:
Recorded summer 2020 
Recording and editing: Andy Jurik
Mixing and mastering: Oli Whitworth (www.oliwhitworth.com)
Cover art and design: Sean de Burca (www.sdeburca.com)
Guitar: Michael Thames, 2012 (www.thamesclassicalguitars.com)
Recording assistant: Razzle

© 2020 Andy Jurik. All rights reserved.
Unauthorized duplication is a violation of applicable laws. 

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