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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 was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.