A FREE MP3 Download of my New Release...
SONIC FLARES
is available on my website
SAX & STORIES
1. SONIC FLARES (19:11)
Solo Tenor Saxophone
Live at Beanbenders, Berkeley, CA October 4, 1998
2. 6 TRACK ANGELS (20:12)
Balinese Gamelan (Gender, 10 keys) and Gamelan Selunding (Two 4-key instruments), Javanese Gamelan Pelog (Saron, 7 keys) and Slendro (Saron, 9 keys), Chinese Musette, Drums & Percussion
Multi-Track Recording July 16, 17, 1995
("6-Track Angels" includes instruments from two types of Balinese and two types of Javanese orchestras, each one with its own scale and idiosyncratic tuning. Normally, these instruments would never be heard together—unless one happened upon a festival at which two or more ensembles were playing together coincidentally in conjoined physical space.
As always when using these instruments, I ignored the scale and tuning differences between them to allow for an expanded sound range and an overlapping of divergent tonal occurrences.
To the four Indonesian instruments, I added Chinese musette, drums and percussion—played with sonic and formal allusions to Thai classical music. In Thai music, it is not uncommon for instrumentalists to concurrently pursue singular expressive visions within a collectively unified ensemble.)
SONIC FLARES
is available on my website
SAX & STORIES
1. SONIC FLARES (19:11)
Solo Tenor Saxophone
Live at Beanbenders, Berkeley, CA October 4, 1998
2. 6 TRACK ANGELS (20:12)
Balinese Gamelan (Gender, 10 keys) and Gamelan Selunding (Two 4-key instruments), Javanese Gamelan Pelog (Saron, 7 keys) and Slendro (Saron, 9 keys), Chinese Musette, Drums & Percussion
Multi-Track Recording July 16, 17, 1995
("6-Track Angels" includes instruments from two types of Balinese and two types of Javanese orchestras, each one with its own scale and idiosyncratic tuning. Normally, these instruments would never be heard together—unless one happened upon a festival at which two or more ensembles were playing together coincidentally in conjoined physical space.
As always when using these instruments, I ignored the scale and tuning differences between them to allow for an expanded sound range and an overlapping of divergent tonal occurrences.
To the four Indonesian instruments, I added Chinese musette, drums and percussion—played with sonic and formal allusions to Thai classical music. In Thai music, it is not uncommon for instrumentalists to concurrently pursue singular expressive visions within a collectively unified ensemble.)
