I modified typical club/DJ loops, morphed them into post-minimalist stabs. How would you categorize that? Then I added Chinese, Indian and Brazilian percussion samples, triggered by my Oxygen-keyboard, and composed virtual double-bass lines under percolating acoustic guitar bebop-ish melodies. The guitar also gets treated with virtual tube amplification-like distortion.
I seek to create according to the impulses calling forth within me. I believe music has to have a shamanic functionboth a didactic (in a moral sense of the word) and healing function (emotionally/psychically). It is not sufficient for me to listen to or create music that merely grooves (or rocks, if that floats your boat) or has virtuosic blowing sections. My music is designed for an additional pair of functionsto tell a story of our lives, and to refer back to itself. To realize the second intention, I have also created a recording of purely ambient music that could be used to aid traditional sitting mindfulness practice in the manner of various mystical teachings.
Your teaching approach: I am currently developing a theory I like to think of as the Grand Unified Field of Western Harmony. It explains and elaborates in a very simple and elegant fashion the use of harmony in the West from the time of Bach to the present and encompasses all styles of Western music, from classical to pop to jazz to new age to post-minimalism. Besides this, I would focus on pointed details in simple lesson plans that work with as few objectives per lesson as possible. What is this lesson supposed to accomplish? As a guitarist, if I were to teach a guitar student who came to learn jazz or new music I would be more globally focusedbasic repertoire, harmonic theory, reading, time, tone, various approaches to improvisation that I am familiar with. We would also wish to look into strengthening weak areas and seeking the strong areas of playing to maximize the happiness factor, not merely the work factor involved in music-making.
Your dream band:
I would have two ideal collectives in mind. One is centered on more pan-cultural fusion centered on post-'60s jazz. Musicians that exemplify this esthetic include:
My second ideal ensemble might be described as more inclined to post-minimalist/new music:
Various member of the Kronos Quartet;
Tracy Scott Silverman: violin;
Steve Bergamo: percussion;
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