The solo, improvised, pieces presented below were all recorded in 2017 and 2018 “live” using delays and (for the most part) live looping.
After hearing Terry Riley’s “Poppy Nogood and the Phantom Band” in the seventies, I sought out any opportunity to get my hands on two, four-channel, reel-to-reel tape machines to both practice and perform live tape-delay improvisations, mostly vocal, but sometimes instrumental. Decades later, I’ve begun to revisit this practice, albeit digitally. Here are a few overlapping excerpts of one such recent live improvisation with the only instruments being a dousn’ gouni (6-string Bambara hunters’ harp) and sanza (African thumb piano), both digitally processed.
Inspired by using Michael Norris’ spectral processing plugins, this is a simple edit of a live, solo, improvisation on a digitally-processed sanza (thumb piano). Recorded at the end of a long, New England, deep freeze.
Three overlaying loops of dousn’ gouni with an improvisation on sampled Chinese Erhu fiddle.
The 6 open strings of the dousn’ gouni (with processing) explored in a live improvisation with room to breathe.
Setting up loops of some custom beats, a B3 organ loop, throw in a dash of thumb piano and dousn’ gouni and a little additional live playing on top of all that.