The new flute has a deep, rich sound. And very cool carvings. Talagda tribe. People joining hands, unity.
So many realizations here on Boracay, as usual I do not follow the usual vices. I have cut back even further as of late, as playing tribal flute with tribally rooted musicians is its own thing.
The issue I have is that the accepted music here seems so tame. Among the 10 percent of musicians that have some originality, about 2 percent are willing to take it in a jazz direction. The Bob Marley acoustic reggae thing is very nice, but the same same songs bore me.
Maybe this is not due to inclination, but training. I am also technically a worse player than the cats who make money at it. I only play improv, from the heart.
I think I will look further into the whole thing, but now I have to hit the Lokal Bar again, see if I can get Louie to really unwind and play tribal Bukidnon style. Ah maybe tomorrow if Voltaire "Voltage" is free on the djimbe.
I am now working out a little sonic experiment called Resonance (Exit) that sinks linkages between the voice hummed or sung into the flute and feedback-like harmonics, with waves lapping among the rocks at the end of White Beach. Three years ago you could easily sense the original vibe of Boracay, feel the paradise––now it is still green but ultra-luxe, lit up, tamed. They do wedding shoots on the far rocks for Chrissakes.
The first section of voice/flute harmonics is connected (with 1960s-era can-do rudimentarism) to pink Floyd's Echoes, which I recorded while "DJing" at Exit Bar and listening in on very good speakers as my feet sank into the sand. I added my own Flute/seagull parts, as the sonic depth and intensity was like actually playing in a group setting with a still very experimental Gilmour, Waters, et al.
If they let me play songs at Exit again, I gotta try this experiment with some Santana & John McLaughlin. Or maybe a 1964 Miles Davis/Sam Rivers/Herbie Hancock/Tony Williams live combo date in Tokyo. Anyway, the experiment should be up on Soundcloud tomorrow. In the meantime peace yourself out.
The issue I have is that the accepted music here seems so tame. Among the 10 percent of musicians that have some originality, about 2 percent are willing to take it in a jazz direction. The Bob Marley acoustic reggae thing is very nice, but the same same songs bore me.
Maybe this is not due to inclination, but training. I am also technically a worse player than the cats who make money at it. I only play improv, from the heart.
I think I will look further into the whole thing, but now I have to hit the Lokal Bar again, see if I can get Louie to really unwind and play tribal Bukidnon style. Ah maybe tomorrow if Voltaire "Voltage" is free on the djimbe.
I am now working out a little sonic experiment called Resonance (Exit) that sinks linkages between the voice hummed or sung into the flute and feedback-like harmonics, with waves lapping among the rocks at the end of White Beach. Three years ago you could easily sense the original vibe of Boracay, feel the paradise––now it is still green but ultra-luxe, lit up, tamed. They do wedding shoots on the far rocks for Chrissakes.
The first section of voice/flute harmonics is connected (with 1960s-era can-do rudimentarism) to pink Floyd's Echoes, which I recorded while "DJing" at Exit Bar and listening in on very good speakers as my feet sank into the sand. I added my own Flute/seagull parts, as the sonic depth and intensity was like actually playing in a group setting with a still very experimental Gilmour, Waters, et al.
If they let me play songs at Exit again, I gotta try this experiment with some Santana & John McLaughlin. Or maybe a 1964 Miles Davis/Sam Rivers/Herbie Hancock/Tony Williams live combo date in Tokyo. Anyway, the experiment should be up on Soundcloud tomorrow. In the meantime peace yourself out.
https://soundcloud.com/4hflute/lokal-bar-boracay-11-13-15
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