preliminary notes only...Overly Cluttered CD Face Design.
This is music we believe in deeply.  A collaboration between Jaron and Robert Dick, the king of experimental flute technique.

To buy a copy, email or, for an intriguing retail purchase experience, visit Tribal Soundz at 340 e 6th in NYC.

The title refers to how sound is made in a wind instrument and also what's left of the WTC in my old neighborhood in NYC. 

First broadcast: New Sounds, WNYC, with John Schaefer Monday, Nov 24, 2003.

Album release live event: Tuesday, Nov. 25, 2003; Joe's Pub, NYC.

A brief personal rant to start us off:  I'm sick to death of samples and digitally perfect grooves.  No matter how much soulful ethnic stuff you pour in such a mold, the mold dominates.  This CD is certified to be sample and sequencer free. 

In the twentieth century the lazy musical mainstream demanded sonorous chords and the radical fringe relished weird dissonant chords.  These days you can put any old dissonant thing in your music as long as it's on top of the damned digital groove and samples cliche.  It's like violence in movies.  Add violence and suddenly sex is allowed.

Well this music doesn't have the violence.  We rediscover an esoteric idea called rubato.  The rhythm comes and goes like a breath.  Can you dance to it?  Give Aramaic a try!

The lack of digital crutches makes this music unusual for the moment, but we played it from our hearts and worked very hard on it.  I think you'll find it meaningful and not remote or elitist.

The Tracks:

Aramaic All Night Blues is a trio in which Robert and I are joined by Alan Kushan, who sings in Aramaic and plays a special santur (Persian hammer dulcimer) he built that has extra bass strings and other innovations.  I'm playing an Andromeda synth keyboard, as well as the percussion, which I overdubbed after the initial session.  This track introduces some of Robert's many sounds: He sings through the flute in his first phrase, plays through a weird distorting toy megaphone in the second, and then uses a headjoint with a buzzing membrane, as is found in  the Chinese di-tse, in the third phrase.  Of course this is all in the service of expressing a wobbly New Orleans matron confronting alien gipsy hoodlums, but that should be obvious.  If you listen carefully, you'll notice that there are sheets of overlapping rhythms instead of one single dominant beat.  This idea comes from Nancarrow.

Perelandra is a duet for contrabass flute in G and Gu Zheng (a Chinese harp.) 

Charge of the Luminous Brigade is another trio with Alan Kushan on santur.  I'm playing the khaen, a Laotian mouth organ. 

What's on my Mind?  is a duet for Clavichord and flute.  The vocal part is Robert speaking through the flute as he plays.

Andalusian Fog  has me on Oud and Robert on contrabass flute.

Sliding Botticelli is a duet for flute and pipe organ- no overdubs.  The flute is tricked out with Robert's "whammy bar" glissando headjoint.  The organ was made out of pipes and other parts salvaged from 19th century Boston pipe organs.

Eden Rain is for normal flute and the Lu Sheng, the most exotic looking wind instrument I know of.

Not so Tiny, Not so Quiet is for piano and piccolo.  The name ought to be self-explanatory.

After the Dust started out as a duet for flute and baritone 12 string guitar.  Robert overdubbed some extra flute parts and I added percussion,  oud, the clarinets, and everything else.  All the instruments I played were damaged in the attack on the World Trade Center (my old studio was a little too nearby).   This was recorded fairly soon after we were allowed back into the area- thus the title.

Contrarians is for contrabass flute and contrabassoon.  This is the token "difficult" track that should appeal to giant wind instrument fetishists.

Lullaby in Glass is for flute and Glass Harmonica.

If you want to play or use any of this stuff commercially
or play or display it publicly, please contact me by email:  jaron at well dot com 

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