fascinating quote

"Ives spent time studying and writing in New Haven, my home town.
There is a dissonant hum in some of his work which sound to me like
the sound of the quiet in the Connecticut woods. I heard that sound
before I heard Ives. I recognized it in his music and felt like I was
in on a secret."

I just sort of stumbled into this fascinating quote about Ives in an
All About Jazz online interview with guitarist Joe Morris, and it is
really uncanny just how similar this was to my own experiences upon
first hearing Ives, and indeed is exactly why I occasionally refer to
Ives as a sort of Sigurd Olson of music... I wonder how much of this
('praeter naturam') resonance of Nature Ives would have been able to
transfer into (or animate with) his music had it not been for the
highly charged philosophic and poetic examples of Emerson and Thoreau?
Impossible to say of course, but I really believe that certain things
like the specific sections of the poems of Johnson and Brooke that he
choose to set to music (I'm thinking of the Housatonic and
Grantchester) really underscore a certain sensibility or
disposition... and much like Joe Morris wrote in the above quote, I
too heard that sound before I heard Ives, and yet I also recognized it
in his music as well...

While I've brought up the subject of Joe Morris, I'd like to add that
when I was a teenager I used to go into Boston to hear the Joe Morris
Trio quite a bit, and he's a wonderful guitarist well worth taking the
time to check out (in fact, he and James Emery are IMO the two best
representatives of modern avant-garde jazz guitar that manage to
combine big chops and innovative ideas into a real integrated and
immediately recognizable musical personality), he's got a really
interesting sense of phrasing and time, for while his playing or lines
are often very 'angular,' his sense of time is oddly 'square,' or
'flatfooted.'

Joe Morris also played with (microtonalist) Joe and Mat Maneri on the
ECM "Three Men Walking" release (in a circumstance much like the one
that I pointed out occurs in HUUN-HUUR-TU's _Mezhegei_, where a
standard twelve-tone guitar is coexisting within a decidedly pitch
sensitive, non-12e context), however I do not believe that that
recording is the best place to hear either the Maneris or Morris... It
is my opinion (and especially if you've never heard either the Maneris
or Morris) that you'd be much better off hearing them in the contexts
of their own groups first.

Dan