MP3 downloads of my music are available at Reverbnation. 50% is donated to Oxfam America.
Rubber Chicken Rag is on the playlist at Hardcoremix Radio. HCM has also started to run the display ad for my website.
New Tango No. 3, in the #1 spot on the Top Songs chart for the last 6 weeks at Hardcoremix Radio, has been retired from the playlist. It had an amazing run! The final vote count was 60,784.
A new page has been created for my website. It is called information page. Six links to organizations on my Links, Interviews, Etc page now have an information page. These links take one to the new page instead of directly to a website. There, the page has information about the organization, comments, and a link. The six information pages are BluesJazzRadio, PARMA Licensing, Hardcoremix Radio, Morgan Arts Council, New Music USA, and All About Jazz. More pages may be added over time.
The display ad for my website is on the BluesJazzRadio home page. Thanks to BluesJazzRadio for giving great support to my music.
This display ad was designed for me by Gail Marten, editor of the Baltimore Jazz Alliance newsletter. I plan to start having ads for my website in the BJA newsletter and elsewhere.
I am looking for ensembles that would like to try my composition Smaller Ups And Downs. The piece is scored for 5 wind instruments and soloist(s). It draws upon avant-garde classical & jazz concepts I explored in the early 70's and uses them as a point of departure. If this sounds interesting to you, contact me for a score.
Following is more info about the piece:
This composition explores interplay between structure and freedom. It is based on an 11-tone harmonic complex and a series of tonal effects providing backgrounds to, and interactions with, the soloist.
The soloist can conceivably be any instrument. Additionally, the role of the soloist does not have to be limited to one musician. It can be expanded to multiple musicians...up to the size of a small band (any genre). Any creative possibility is fair game!
The composition was originally conceived for woodwind quintet. However, I decided to not specify instrumentation in the score and use a flexible approach to the ensemble. An instrument is selected for each ensemble part from those wind instruments that are within its range. Creative combinations of tone colors is encouraged. The score can be adapted for other instruments -- electronic production is a possibility -- as long as the music has 5 distinct tone colors for the quintet parts and the notes of the 11-tone harmonic complex are used as written.
Simple tonal effects are used in the score as a way for the music to be playable by a wide range of musicians. Experienced New Music or Jazz performers may use more complex extended techniques.
I envision this composition as being a framework for a collective creative process to take place between the soloist, conductor, and ensemble with each interacting with the others. In this way, the score is a point of departure for wherever the musicians want to take the music.