The intersection between music and dance in burlesque is a fun place to hang out. Both are meant for each other, intertwined like a pair of passionate lovers, the scent of each lingering long after both have parted ways.The music on this recording, and the live concert that brought it about, was intended to bring the dancers, the musicians, and the audience together to that place, that intersection, where all involved could feed off the energy to create (and experience) the art. Though the music had been composed in advance its execution was improvisatory, with the dancers hearing the music for the first time on the stage. The band performed one or two rehearsal takes, feeling out the music, trying it on for size. And as they did the dancers waited in the wings, absorbing what they heard, designing (spontaneously!) a routine to match the energy of the band. And as the final takes began the musicians played, eyes focused on the dancers before them, tailoring their sounds to support the performance the same way gold sets the jewels of a crown.But this album is not meant to be simply a ticket to an amazing show, a chance to live vicariously through the sounds on this album. Rather, it is meant as a catalyst for more dancing, more music, more bumping and grinding. Hopefully this music enters the burlesque vocabulary, serving as the basis for future routines and shows. Just as Josephine Baker’s performances became inextricably linked to the music of Duke Ellington (and his style), perhaps some future burlesque performer, a dancer laced with fire and passion, will move in undulating rhythm to the sounds of Dancing with the Devil.