Stuart and I met in June of 2007. After many years of discussing the lack of finesse and musicality in “electronic” music, we collaborated on a structure of graphic notations and electron manipulations. The result – a romp of improvisatory drumming and an iPod on shuffle. Check out the overhead cam from the studio recording with Dustin Cicero at Manhattan School of Music in 2010.
Stuart and I met in June of 2007. After many years of discussing the lack of finesse and musicality in “electronic” music, we collaborated on a structure of graphic notations and electron manipulations. The result – a romp of improvisatory electro-acoustic drumming and an iPod on shuffle.
for keyboard quartet.
A keyboard solo overdubbed 4 times. Excerpts from my percussion quintet, Clarity (2006).
For my wife, Katie, at Christmas. Featuring Kjersti Kveli.
for drumset and any amplified instrument.
Meant to be a lead sheet for a metal band – like a jazz fakebook on pills. Written for futureCities (Anne Rainwater & Jude Traxler).
Cross conservatory-trained precision with a love for electronics, experimentalism and math-metal, and you have futureCities: Anne Rainwater and Jude Traxler, piano and percussion.
In 2009, I built a homemade audio slicer that cleverly manipulates any audio track it receives. It quickly thereafter become one of my favorite musical robots. This is a short preview of trax_sequencer1 randomizing Erin Frith singing Hurt, by Nine Inch Nails.
the first 360 digits of Pi for piano and percussion
Written for Anne Rainwater and her obsession with the finite infinite
Katie Traxler and I run a recording and teaching studio out of our home in NYC, offering recording, mixing, mastering and post-production services as well as private lessons in percussion, guitar(s), piano, and composition.
for piano, computer and any five instruments.
Each player provides an audio track to be randomly sliced and redistributed throughout the audience. As the piano soloist triggers new sections, each performer plays a series of game mobiles that evolve in complexity throughout the piece. Written for the 2009 Bang on a Can Festival. Richard Valitutto, piano soloist.
for two performers arguing on any subject.
With simple rhythms, two (or more) performers have improvisatory spats on random topics. Lasting only sixty seconds, both parties must continually react while speaking / shouting in the rhythms provided. Written for Andy Kozar & William Lang.
for three pianos.
21 chords for my niece, Isabelle Alcazar.
My recording of SSS’s vibraphone solo, Links No. 7 (New England Night Weave), for New World Records.
Featuring the percussion styling of Hamirüge, the Louisiana State University Percussion Ensemble.
75 excerpts from 75 different pop tunes – slammed together to tell the haunting poetry of Keeley Kristin.
for keyboard instrument and any six music boxes.
A rubberband lullaby affixed to the sliding tempo of six music box melodies. Written for Brett William Dietz.
for any voice, string or keyboard instrument and computer – one player
A study on computer/performer interaction featuring the poetry of Kenneth Koch
for solo snare drum and prerecorded audio.
Snare drums recorded, sampled, affected and played back… with snare drum. Written for Chris Fauries & Chad Heiny.
My first stint composing for the robots in MAX/MSP. Xenakis, meet Ligeti, meet my new friend, MAX.
Engineering, Mixing and Mastering done at Cat Crisis Records, Baton Rouge, Louisiana.