Minute butterflies dance phosphorescently around the light sources accompanied by a tensioned sound halo. As a curtain of sound rises from blue labyrinth of branches, each light is enveloped in an aura of insects that move like scattered silvery petals carried by gentle gusts of air. The sounds reach the grave register in a primal drone that leads deep into the folds of consciousness.
The grave accents become dominant chords which pour into a polyphonic conglomerate that contain the original pulsation, the font of the dream. The sounds become clear and float in intricate modes towards the tree heads, followed by the rush on the cymbals and the airy breeze of wind chimes.
Deep chords return to the earth and rise with the wind like the breaths of a huge organ engulfing the sampled forest sounds in a grave mixture of electronic distortions that generate a state of trance. Along the way we are accompanied by the whistle of a flute, the cry of a bird. Rarefied frazzles of trumpet sound emerge from the dark like secret calls, isolated tone whiffs subside to the light that announces the last station of the surreal passage.
In "The Clearing," the light is concentrated on a point that contains the whole universe; it absorbs the viewer with the fascination of a new world, which recreates itself in other light-worldscreating, at their turn, new universes. The rich orchestration recedes into a recurrent cacophony of instrumental voices, a song, a chirp, a buzza sound that contains the mystery of the woods, the secret of a summer dream. In a calm, diminishing stance, the dream returns gradually to reality on a large alley, leading to a white castle in a German forest at night, leaving behind the last dream of May.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.