Progressive Bliss was finished in 1993 but remixed with modern tools recently. I originally used an Atari computer, a Kawai K1II, and an Ensonic Mirrage to create accompaniment for several instrumental solos recorded on a Tascam 388 1/4 inch reel to reel. I played keyboard and directed guitarists: Tony Harlin (metalic), Te Cool (psychedelic), and Lance Hogan (classical, jazz fusion)
Maiden Voyage / So What - Space Shuttle Discovery
I arranged this combination of two modal jazz classics: Maiden Voyage by Herbie Hancock, and So What by Miles Davis, re-harmonized with V+#11 chords, whole tone scales and tritone lines. So What is in half time for the middle section, the melody played by the horns. Both tunes combine when Maiden Voyage returns with the So What melody in the bass using a tritone pitch change effect. The fabulous sax solo is played by Seth Kuhn.
Reflexions is a duet with me on piano and Tim Ussery playing guitar. It was remixed from a long free form improvisation with a real-time electronic canon at the 5th with pitch shifting and delay. Also on the same album is Trion which used the same canon effect, but at a diminished 5th, and Dominus which goes back to the perfect 5th pitch cannon for a recap and conclusion.
Suspended Animation was written in 1992 as a composition assignment using the octatonic scale. I also used a delay canon for the flute sound.
With In/Outer Limits was composed using a strict tritone canon for the bass and guitar. The live solo canonic effect used DSP to transpose and delay played pitches. The guitar also used an e-bow and slide for sustain with vibrato and glissandi. All the parts seem to disintegrate into chaos at the end of each section at the limit of organization incorporating some improvisation by the performers: William Metz-el. bass, Tyson Farmer-guitar, Charissa Brown-flute, John Peters-synthesizer.
Eric John Paul Project is a collaboration with Eric Toomsen, Steven Paul Monsoni and John Peters. I wrote the music progression and arranged the final piece with samples. Played live are three excerpt from an album called Cosmic Debris: Stellar Journey, Careful with that Sledgehammer Cliff, and What do you think it is?
Hmmm
is an experimental composition using dual oscillators in sync for a ring mod type effect.
Water Lily and Constance are on Padded Cells, a collaboration with Mike Upright finished in 1997 based
on a series of improvisations I re-arranged on the computer.
Water Lilly is arranged with samples of John Lily, whales, and dolphins.
Constance adds a bass part done with Csound pitch detection and FM synthesis processing of my voice.
Fluadine Meets Flowboe is an improvised solo I did with oboe hybrid virtual instrument on a Yamaha PLG-150VL plug-in board in a Yamaha CS6x. I overdubbed it on a piece my friend Steven Monsoni recorded in his studio with Eric Toomsen on violin and Jeff McGahren on guitar.
Improvisation in Exile was done at an Eyedrum live improv night and I ended up improvising solo with my Doepfer R2M ribbon and Yamaha CS6x
Gammaman is a manufactured member of society, named for an embryo in Brave New World by Aldous Huxley; at least he's not a Delta
Gammaman is a collaboration with Aimee Norwich on the album Space Fabric. We used an EMS Synthi. an EMU emulator and a TEAC reel to reel 4 track. The voice sample is taken from Dragnet "The Prophet" 1968
John Lennon Crosses the River Styx used an Emulator III to trigger samples of a friend playing Bach's Cello Suite No 1 on a distorted electric guitar, but with a tritone cannon effect using pitch change and delay. I re-arranged the order of the guitar recording and added timpani and a flange strings pad from a Yamaha TG-55. Later I arranged an elecro-acoustic version for string quartet and percussion.
The live performance version of John Lennon Crosses the River Styx, which uses pieces of Bach's Cellow Suite No.1I in fragments with DSP effects(delay, pitch change) causing a tritone canon.
Solaris is composed with step sequences I wrote on a Yamaha PLG-AN150 transposed by the host keyboard (S80) being split: some keys choosing which step sequence is played others transposing it. I improvised with the step sequences, added light percussion and then played solos
Mars is a collaboration with Mike Upright written and conceived on a Tascam Porta-one 4 track cassette recorder.
Justajob began by recording myself tweaking a vocoder plugin in soundforge; toggling carier pitches with the mouse on a virtual keyboard to effect a looping Elvis sample from Flaming Star "this is just a job to keep me going 'til the rodeo season starts", I then acidized the entire recording and added it to Fruityloops drum patterns to which I played the bass and vibraphone on the S80 with the harmony of the vocoded Elvis loop.
The Trio of Death is the result of some improvisation with the Yamaha Vocal Effects plug-in board on my S80 controlling the pitches of the vocal harmonizer effect with the keyboard over samples looped with Acid. I sang the trio of death, and Te Cool did the Elvis intro and impersonation.
Orbital Debris is an Eric Von John Paul Project album finished in 2002, I played Keyboard, and synthesizer, Eric Toomsen - Violin, Steven Paul - bass, guitar, keyboard, samples. I added synth (including an Arp Odyssey) to an improvisation with Eric and Steve in Monsoniland; here are excerpts.
Jam! is Made with ACID Pro using samples of entries for an RRR forum Re-Volt soundtrack contest.
Re-cycled Adrenochrome is electronic trance music to accompany racing in Re-Volt , an RC car video game by Acclaim.
Circuitous Sojourn is electronic trance music to accompany racing in Re-Volt, an RC car video game by Acclaim. It is to be repeatedly played as it was made as a seamless loop.
Hypnotrancitron used Propeller Heads Re-birth in an experimentation with simultaneous looped phrases of different lengths
Re-Volt Revolution is electronic trance music to accompany new tracks in Re-Volt, an RC car video game by Acclaim. I used FruityLoops Studio to compose the music. The female vocal was done by a young student, Muara Forsyth. I sang as well.
Blue Shift is a jazz fusion piece that shifts through various meters, beat divisions, and tempos
electro-acoustic
