Keith Flint

Keith Flint has devoted nearly five decades to the study and practice of polyrhythmic percussion, working extensively with a variety of rhythm instruments and sound sources including congas, djembe, cajón, shekere, maracas, cabasa, cencerro, güira, güiro, claves, and bells, as well as unconventional percussive materials such as hooves, rebar, and hubcaps. His broader artistic and scholarly interests include music history, composition, arrangement, performance, and recording.

Flint is currently engaged in a period of independent artistic exploration, pursuing solo projects alongside collaborations with other musicians. His practice integrates formal training in music theory, composition, and performance—including brass, strings, percussion, and voice—with a sustained interest in improvisational approaches to music-making.

Although improvisational jazz remains his primary and enduring artistic focus, Flint's work extends beyond the boundaries of jazz into a variety of musical traditions and genres. Among these are several collaborative, roots-influenced projects that have held particular personal and artistic significance for him.

Gear

LP congas and cajóns, Sageman and Remo djembes, traditional Afro-Latin and "found object" hand percussion, and Hohner harmonicas

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