SELECTED AUDIO WORKS 2004-2014

 

From the Exhibition Tone at Sikkema, Jenkins & Co. 

Feedback distortion mixed with tempo altered cello and Ray Brown Bass expanding on the “from the low” works. This work was in the solo exhibition Harmonic Distortion, Berlin Germany.

This piece layers of symphonic string samples from Somehow We Can by Alvin Singelton with horns from the intro of a Mingus composition titled “Revelations” on the LP Birth of the Third Stream, Alice Coltrane harp solo, bells and whistles from Rashawn Roland Kirk and more—for the site specific installation at the Hirshhorn Museum and Sculpture Garden, 2013.

Source List for Higher Resonance:            

Artist                                                         Album

Olly Wilson                                         A City Called Heaven

Alvin Singelton                                   Somehow We Can

Wendell Logen                                   A City Called Heaven

Alice Coltrane                                    Transcendence 

Rashawn Roland Kirk                         The Inflated Tear

Charles Mingus                                  Birth of the Third stream

Muhal Richard Abrams                       1-OQA+19

The Art Ensemble of Chicago            Nice Guys


our Charlie Parker notes from the opening of Koko slowed/stretched tempo with re-mixed Max Roach drum solo. Reversing the breakneck tempo of his modernist style.  2005 – Re-mastered 2009 Atlanta Contemporary Arts Center, for the installation Red, Bird, Blue.

In a Silent Way is a 1969 album by jazz trumpeter Miles Davis, originally issued as CS 9875. Previous Davis records had begun the shift to jazz-fusion; however, In a Silent Way featured a full-blown electric approach and is usually regarded as the first of his fusion recordings, although Joe Zawinul composed the song. It is also the first recording by Davis that was largely constructed by the editing and arrangement of producer Teo Macero

John Cage composed 433 in 1952, for any instrument (or combination of instruments), and instructs the performer not to play the instrument during the entire duration of the piece, throughout the three movements. Although commonly perceived as "four minutes thirty-three seconds of silence", the piece actually consists of the sounds of the environment that the listeners hear while it is performed. Cage was also a pioneer in the realm of electronic music.

Slowly, In a Silent Way-Caged is constructed of Miles Davis's In a Silent Way ‘stretched’ or slowed via digitally tempo changes and cross-fading in order to become the length of John Cage's pivotal work 4'33" (4 min. 33 sec.) Hence, inserting a slow hypnotic instrumental, into the exact time frame Cage set aside for ‘silence’ -- even Davis’s horn is absent from the edited section. 

This collision of two notions of silence, was apropos for the two twin galleries in the main space at Sikkema, Jenkins & Co Gallery in 2010. Set for playback on a loop, the sound will alternate from room to room, so when one speaker is ‘dead’ the Cage piece actually will be recreated as the sound of the listeners fills the rest or gap. This also creates a mediated version of Cage’s work where live musicians are replaced with the speaker.


Using the “auto reverse” or direction button on a Sony Walkman, ARS is a series of sound works forcing a seamlessness between sides A and B -- one that is self-aware, that lavishes, ever so briefly, in the crude sound of transition, punk. The source for this works is the 1969 Elvin Jones LP "Poly-Currents" released on tape in 1985

On the 50th anniversary of Billie Holiday’s last performance at the Newport Jazz Festival 1957. this sound piece was presented as a pod-cast for exhibition Black light, White Noise - Sound and Light in Contemporary Art at the Contemporary Art Museum Houston in 2007.

 

Nina Simone, from the “Plenty Alone” series of reconstructed choral works of female vocalist, essentially in concert with themselves.

 

This work is intended for headphones.

 

*Additional works can be heard on SoundCloud