No Distance
Vocal, lyrics, and vocal by Ellen Johnson.
Peace Pieces
by Robert Willey (1993). Hardware: Macintosh SE computer Roland Sound Canvas module Yamaha KX76 keyboard controller Korg Wavestation synthesizer Mackie 1602 mixer Lexicon LXP-1 reverb Panasonic SV-3700 DAT recorder Software: Studio Vision (Opcode) Intelligent Music UpBeat (David Zicarelli) Programmable Instruments (Robert Willey) The sounds and processes had a big effect on the musical ideas, textures, and forms. UpBeat was a cool program that was used on half the album's songs. It allowed the…
Latest tracks
The Big Glide
Ellen Johnson, vocal
A Cloud of Grains
Written in Umbrellas
Somersault of Thought
Collaboration with Ellen Johnson, vocal. Stay the course...a thousand points of light Bom dia, Senhor Santos (Good day, Mr. Santos) A kinder gentler, nation A esposa do Roberto e a mulher mais bonita dessa cidade (Robert's wife is the most beautiful in the city) O senhor pode dizer me... (Sir, could you tell me...?) Faz o favor de dar me or menu (Please do me the favor of passing me the menu)…
A Game of Statues
Incorporates the use of the program Upbeat to elaborate the parts.
Yucatan
“Yucatan” reverberated from a trip to Chichen Itza .
(Winter) Solstice
Recorded at Sun Studios in San Diego, California by Paul Tye. Robert Willey, keyboard Roy Tamanaha, drums Paul Tye, guitar Glede Vaughn, bass
High Lights
“High Lights” refer more to the energy twinkling from above and drawing up us than favorite bits.
As We Were Singing
“As We Were Singing” is a devotional modification of the phrase “as we were saying”, reminding us where we were, what happened while we were engaged, and where we can go.
Stairway to Seven
I didn't realize that this was in 7/4 until I'd been playing it for a while.
Welcome to the Trondheim Composer Group Concert
Text was extracted from Jan Tro's welcoming introduction to the Trondheim Composer Group Concert, given in 1993 at UC San Diego's Center for Music Experiment.
Out of the Blue
In 1993 I released my first CD, entitled "Peace Pieces" as part of a seven-year art/life performance. "Out of the Blue" is where my music seems to come from, which I consider more a series of discoveries than compositions. I start with an idea and keep exploring it, paying attention to where it wants to go. Along the way I try to make it sound as I would like to hear it, and to stop before it gets…