In the fall of 2020, at a time when Aaron Dooley and the rest of us were slowly going crazy from isolation and collective trauma, he found wholeness and transcendence in returning to and reconnecting with a much loved musical community in his hometown of Bloomington-Normal, IL. Here Dooley assembled a group of eight musicians - trusted friends and collaborators from diverse backgrounds, some of whom had never played together prior to these recordings. With minimal direction given from the composer and bandleader, the group set out to explore these four pieces with dizzying, ecstatic results.

The listener can palpably feel the sense of joy and connection as the band delves deep, locks in, and maps out new territory on Trapped in Purgatory. This is music untethered by the limitations of genre, finding freedom within the loose structures Dooley outlined as the basis for their musical conversation. The pieces are guided by hypnotic, circular bass figures, allowing the rest of the group to explore the cosmos and their newfound synergy. The energy and almost alchemical connection among the large ensemble are on full display throughout. Dooley was studying with Ron Miles at the time of the recording and acknowledges the influence of the late Denver legend in the creative and adventurous spirit of the group improvisation.

The four pieces are each unique and widely varied in tone and texture but there is a clear thread that runs throughout, flowing seamlessly. "May Flower, Weeping" opens with twinkling percussion, bass harmonics, and probing horns. Eventually the group locks in on Dooley's repeated bass melody, unfurling layers of warmth and sweetness like petals of a flower. "Lingering" hovers gently in the air, suspended by plaintive reeds and modal dobro, tethered to the earth by circular patterns on hammered dulcimer and bass. "Plainswalking" dips its toes in the stream of cosmic Americana (where Dooley finds common ground with fellow Island House artists Seawind of Battery and The Modern Folk), with the dobro playing off warm organ, horns, and bass. But soon enough the group travels through a portal of backwards-flowing ambience, before unexpectedly picking up and locking into an almost Allmans-like groove. Closer "Ütiwaah," like the opening "May Flower, Weeping," centers around Dooley’s gentle bass harmonics, this time playing off airy flute and saxophone lines in a more pensive mode. Before long though, the band coalesces around a propulsive bass riff and launches into the atmosphere one more time, held aloft in glockenspiel sparkle and textured keyboards and guitar.

In the end, we are all lucky that the magic that Aaron Dooley and his collaborators summoned that day was caught on tape and we can share in the joy of their musical connection in a time of isolation and disquiet. Dooley said of this music, 'the songs of Trapped In Purgatory are my reminder that a little love and good music can carry you a long way.' It’s a good reminder.

If this is the music of Purgatory, I’ll be happy to be trapped here for a while longer.

- Stefan Beck Aka Golden Brown