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Take a traditional Irish jig, add an authentic Cameroonian bikutsi groove with some complex chordal harmony (prevalent throughout all of the compositions on this recording), and voila... World Jazz!
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A modern, Western rhythm section interpretation of a "nine" rhythm popular in Turkey called karshlama (count 1-2-1-2-1-2-1-2-3) mixed with a blusey, Middle Eastern scale. I originally intended to do a "board fade" at the end of this track but loved the band`s impromptu blues ending so much that I had to keep it.
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A musical collage combining the Barong Dance, one of the most ubiquitous of the Balinese gamelan orchestra repertoire, with textures of the Drum `n Bass (dance club) genre.
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Originally inspired by the lyrical Hebrew song "Erev Shelshonium", this piece features the Armenian double reed duduk. It is dedicated to my late cousin, Marilyn Finkelstein, who truly was the "Rose Of The Evening".
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A composition that combines the exotic Balkan/Middle Eastern Niaventi scale (Nawa Athar in Arabic), a "ten" (1-2-3-1-2-1-2-1-2-3) rhythm called semai or curcana in Turkish and elements of twentieth century composers such as Bela Bartok. The title refers to the Sufi "whirling dervishes" of Konya, Turkey who spin in circles to induce altered states of consciousness.
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Greek for "Village Salad", the Greek equivalent of Louisiana gumbo, this playful romp is a musical "gumbo" of common bouzouki tunes performed with the syrto groove popular in the Balkans, Turkey and Armenia.
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The classic Brazilian partido alto feel with "B" sections that utilize modern and traditional choro styles. During the solo section, the partido alto is largely replaced by samba-funk, a rhythm closely related to partido alto.
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A refreshing interpretation of an international standard tune that incorporateds complex harmony, as well as authentic, Middle Eastern saidi and chiftielli rhythms.
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Another unadulterated groove mixed with rich harmony, this tune features the soca feel of Trinidad.
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Written in honor of my loving and supportive parents, Alan and Charlene Steen. The first part is deeply influenced by Frederic Chopin and other composers of the Romantic period. The second part utilizes a common South American "three" rhythm given various names from region to region, including chacarera in Venezuela. Aside from the aforementioned influences, the real emotional impetus to compose this piece arose from memories of being a nine-year-old and leaving home for the first prolonged period of time (two whole weeks!) to Sycamore Ranch Camp.
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CD Information
