Trio or Sextet?

Dan, Nate, and I rehearsing with Nancy’s Havlik’s Dance Performance Group.

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These Days

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Limited Edition of One

My latest solo release is a limited edition of one.
You have to visit my home or car to hear it.
My previous solo cello release (Jan 2016) can be heard here.

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Reasons for Viola and Cello

This is the third release and first studio recording from Paolo Valladolid and myself. As usual we never employ electronics, preferring our acoustic instruments and sometimes preparations of plastic, wood, or metal. The photo below displays the preparations used on this recording. Listen to it here.

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To: Pluto

My composition “Curvature Reach” is included on the tape compilation To: Pluto that was recently released by Sediment Arts in Richmond, Virginia. Listen to the tracks here.

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Below are the liner notes I wrote.

“Curvature Reach” incorporates two perspectives of space exploration, the inner monologue and the vast outer world. The inner monologue involves the explorer’s thoughts and the sound of breath or heartbeat inside a spacesuit or small enclosure. This appears as unconventional clarinet sounds and later as hard candy against teeth. The vastness of endless space as perceived from afar and in our imagination is represented by the cello which was recorded in a very large room and later slowed down. Both perspectives were then transformed and woven into an abstract narrative along with additional sounds such as disc drive motors.

Read about the Gravity Assist exhibit in Miami in December 2015 here.

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Too Much Merch?

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If I took over an entire merch table at a show it might look like this. Is is this too much? If so, why do I keep recording and releasing albums and projects? I admit I’m obsessed with CD physical objects that look like vinyl albums. Most of them are self released but I’ve had some luck getting stuff on labels too.

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Nine Pieces for Cello

The idea of letting the cello play what it wants, instead of always forcing it to become what others say is “beautiful”, has been my approach in addition to traditional study. When I do this I ignore the immense historical baggage of the instrument and focus on a childlike fascination with sound.

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All of the nine pieces are improvisations that were later edited and layered into abstract narrative compositions. They contain none of my usual amplified objects, electronics, or field recordings, only an acoustic cello in a room. Take a listen here.

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