Dwight Sirls | Paradigm Shift

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United States - Texas

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Jazz: Acid Jazz Jazz: Smooth Jazz Moods: Featuring Bass
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Paradigm Shift

by Dwight Sirls

Funky, futuristic NuJazz with a bassist's twist.
Genre: Jazz: Acid Jazz
Release Date: 

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Tracks

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1. Stargate 22859
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3:19 $0.99
2. Paranormal
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3:18 $0.99
3. Journey to Acubens
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4:07 $0.99
4. Ancestral Call
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5:52 $0.99
5. Telepathy
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4:44 $0.99
6. Paradigm Shift
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4:43 $0.99
7. Into the Night
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4:16 $0.99
8. Future of Gruv
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4:22 $0.99
9. Dregg
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4:13 $0.99
10. Get Up
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4:25 $0.99
11. Da Skin I'm In
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5:36 $0.99
12. Contact
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3:46 $0.99
13. Beings
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5:19 $0.99
14. Emotions
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4:07 $0.99
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ABOUT THIS ALBUM


Album Notes
Making this cd put Dwight deeper into the realm of a subject he has been involved in for decades. He directly began to experience something that not only altered his paradigm, but the direction of the music for this cd. Though he always thought he viewed the world with an open mind, through the visions and thoughts that guided his actions during the tracking of this cd, he realized his mind had room to be blown. He still can't fully grasp it all, but he now takes a different view of reality and the apparent diversity of reality. Lifeforms from other dimensions, realities, or planetary systems, are and probably always have been a part of our lives. But in order to go beyond the skeptical programming of our reality, and just intelligently view this subject, you must open your mind. Who knows, you may have a "Paradigm Shift".
An engineer, composer, musician, and producer, Dwight makes a direct tap into his inner-most visions and translates this into his music. His record label, Japoonoonie Records, was founded in 1985. He works in his private project studio, The Noonie Room. Noonie is a word known only by Dwight's family. He invented this word as a child. It can mean extreme emotions from hate to love. Dwight has been motivated to stay in music by his desire to contribute to mankind in some way. He has had a life filled with hardship and controversy. This has given him a sharp view on humanity. It is his musical translations of his life that he feels can be an inspiration to others. Dwight Sirls: Six, five,fretless, and four string bass. Electric and classical guitars. Native-American flute, upright bass, Synthesizers and other keyboards. Electronic percussion. Drum sample manipulation.. Frowning from the bright Northeast Texas sunlight, Dwight walked around the area surrounding his flimsy, unpainted, tin-roofed home. He was searching for the handle to his battered "hoppy-horse". He did this everyday until he found the handle. Dwight had no clue at the time that this innate tenacity would be his life-blood. Dwight created soundtracks in his head while he played, long before he could play a single instrument. Following in his brother Lacy's footsteps, Dwight wanted to play trumpet in the 6th grade band. Lacy was an accomplished trumpet player. He played in a local band, The Majestics, circa 1970. The Majestic's single "Funky Chick" received good local radio play, and would become one of the top ten favorite goldie-oldie hits in England and Europe some 30 years later. Being too poor to buy a horn, Majestic member Dwayne Jackson let Dwight borrow an old Americana trumpet. With a bent horn that had a stuck mouth-piece, Dwight marched proudly to school with his horn in hand. It had no case. The next year Dwight's mom got a loan at a local music store and presented him with a shiny new trumpet. He was on his way, blowing taps every night for the whole neighborhood. Near the end of the 7th grade school year Dwight's horn was repossessed while he was learning to march outside by the band hall with the rest of his class. After the music store rep walked off with his horn, Dwight had to go back out on the field and practice with an imaginary horn. He had to do this for the remainder of the year, which thank goodness, wasn't long. Dwight told his mother he wasn't interested in band anymore just to keep her from struggling to get his horn back. No longer able to play trumpet, Dwight shifted his attention to guitars. The only way he could play guitars was to visit friends and relatives that had guitars. After hearing Larry Graham's debut album, Dwight focused on bass guitar. Getting his first job after college, Lacy bought Dwight his first bass in 1975 for his 16th birthday. Dwight played in a couple of local groups. His first group was based around ex-Majestic members around 1980 thru 1982. During the early 1980s Dwight began to show an interest in recording, purchasing a Teac/Tascam portastudio. He tinkered in engineering but not at a serious level at this time. In 1986 Dwight recorded his first singles "You're The One" and "Living For You" in the studio of engineer Gary Borens. The same studio future country music star Neal McCoy was recording in at the time. Dwight wrote the lyrics and music and featured vocalist Ron Daniels. The single was released on Dwight's new label, Japoonoonie Records. In 1992 Dwight became more serious about engineering and by 1995 he engineered, produced, and played on "The Art of Love" cassette featuring his wife Velyncia. Tracks from the CD version of this received some local radio play for months. The single "Where Do We Go " was re-released in 2003 by local artist Ray Crumley. In 1996 Dwight was recruited by local gospel artist Fenis Daniel to engineer his new CD. Dwight played a bass solo and a classical guitar solo on two songs.The cd "Life Is Like" was released in 1997. It received a lot of local airplay and some airplay in other states. From November 2002 to January 2004 Dwight engineered the new cd for the local vocal group First Kin. He also produced and played on at least two songs. The cd "Due Seasons" was released in 2004. After suspending his own cd at least three times over the years, he began working on "The Human Complexity" project in 2004. Dwight's comfort zone is in his project-studio, The Noonie Room. " I create my music from spontaneous vibes induced by rhythms and sounds," said Dwight. " I don't like to take away from what I feel initially', he stated. Dwight feels strongly about music being the primary conduit of expression. He describes his music as Conceptual Groove/Jazz. " I could really enjoy earning money doing music, but I still cherish it as an art form for the people. A way to translate life experiences to convey to others", said Dwight. " I feel I've done well when someone tells me they can "see" what my song is about", stated Dwight. He has accomplised his goal when the listener can read the title of the song and then say, yeah that sounds like what it is about. Discography: 1." You're The One" 1986 featuring Ron Daniels/Composer, Musician/Single 2." Living For You" 1986 featuring Ron Daniels/Composer, Musician/Single 3. Velyncia Sirls "The Art of Love" 1995/Engineer, Producer, Musician,Composer/Complete Cassette 4. Finn (Fenis Daniel) "Life is Like" 1997/Engineer, bass & classical guitar solos/Complete CD 5. First Kin "Due Seasons" 2004/Engineer, Producer, Musician/Complete CD 6. Dwight Sirls "The Human Complexity" 2005/Engineer, Producer, Composer, Musician/Complete CD 7. "Purpose" 2006/Artist/Engineer/Producer/Composer entire CD 8. "When The Music Stops" 2010/Artist/Engineer/Composer/Executive Producer. "Paradigm Shift" 2013 Artist/Engineer/Producer/Composer. Visit me at www.facebook.com/dwightsirls & www.MySpace.com/dwightsirls, www.dwightsirls.com


Reviews


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Ronald Jackson/ Smoothjazz Ride

Paradigm Shift
Multi-instrumentalist Dwight Sirls offers on his newest release, Paradigm Shift, a cool mix of solid contemporary jazz, electronica, and fusion elements. In addition, there is another element here: One of extraterrestrial or other-worldly focus (“Contact” and “Beings” come to mind). Interesting, to say the least.

With attractive melodies and interesting bridges, this multi-instrumentalist is playing everything here, as well as having written and produced it all. Certainly not shoddy work at all.

Many who have not yet accepted the concept of thinking outside the box may need a bit of time to digest this project. Not to be pigeonholed as a strictly smooth jazz album at all, it goes farther by offering a look into the unique creativity and imagination of Sirls, and yes, you can still do that under the wide tent of jazz.

You should find such outside the box tracks as the World music-influenced “Ancestral Call” appealing with a good listen. This track finds Sirls performing superbly on the Native-American flute.

Of the groovin’ danceable tracks, the rather funky and synth-heavy“ Telepathy,” the equally funky title track, “Future of Gruv,” and “Da Skin I’m In” rank at the top for me, and the presence of electronica and special effects in spots works to enhance the material.

Sirls’ imagination seems to know no boundaries; yet, he manages to keep it all in a perspective that we jazzers can appreciate.

It is often said that smooth jazz needs innovative thinkers – artists willing to step out of their comfort zone and take that leap of faith. Sirls couldn’t have had a problem doing that since there have always been hints in his music suggesting that he just might dedicate an entire album – or most of one — to thinking outside the box. That album has arrived. – Ronald Jackson