Chasing Azabu.
Dumaguete is a pretty cool and welcoming place. It is also crazy. I am lost in spirals, which take form as music and disjointed longing for something other than this pleasantly fractured seaside routine.
There was a time when the port of Berkeley bustled and there were warehouses, businesses. (Full disclosure, my mom later had a studio in this area). Dumaguete is that and more. Wood houses and storefronts unimproved by time. Unimprovable. Historic.
Not-just-remnant green throughout the city. There is actual tree filled solitude, if not bliss. Fabric.
The "Chasing the Sun" song cycle that I suggested has been cleverly amended by guitar player Paolo to "Chasing Habagat."
H–– (Weebly spellcheck won't let me write anything but “Habitat”) is a season between seasons in tropical latitudes, typified by rainy weather and imminent typhoon winds. Grey and dreary, comfortingly close to Northern California on certain mornings.
The fog horn, the ship horn. I hear it every morn.
Chasing the Sun is now turning into a cornucopia of songs and jams, and different versions of songs in song and jam form. Does that make any sense?
The basic point is that I had Aletheia Elwood Cediño as well as Ramke's Siquijor band in the studio with Paolo and John, creating music last night, and what a sound was created. I almost forgot I was a musician and the mastermind of what was unfolding. Losing control I realized music is a multiway street––beautiful chaos.
We made a couple new songs, including an Alethia compositional riff off my "UFOs and Labyrinths," "Fragilidad." It hits my Billie Holiday mood hard.
There are now about 5-6 Chasing worthy songs and jams. Very cool feeling to get a concept album in place. The kind of underpinning structure, the recurring Zuma Time, the bookending Fly Away Home are coalescing. The middle miasma of ever folding un-oneness. The ultimate structure is dually based on an unnamed jam from 1968 and Bartok’s Concerto For Orchestra.
Behold the last unrepentant writer.
#endwriter
There was a time when the port of Berkeley bustled and there were warehouses, businesses. (Full disclosure, my mom later had a studio in this area). Dumaguete is that and more. Wood houses and storefronts unimproved by time. Unimprovable. Historic.
Not-just-remnant green throughout the city. There is actual tree filled solitude, if not bliss. Fabric.
The "Chasing the Sun" song cycle that I suggested has been cleverly amended by guitar player Paolo to "Chasing Habagat."
H–– (Weebly spellcheck won't let me write anything but “Habitat”) is a season between seasons in tropical latitudes, typified by rainy weather and imminent typhoon winds. Grey and dreary, comfortingly close to Northern California on certain mornings.
The fog horn, the ship horn. I hear it every morn.
Chasing the Sun is now turning into a cornucopia of songs and jams, and different versions of songs in song and jam form. Does that make any sense?
The basic point is that I had Aletheia Elwood Cediño as well as Ramke's Siquijor band in the studio with Paolo and John, creating music last night, and what a sound was created. I almost forgot I was a musician and the mastermind of what was unfolding. Losing control I realized music is a multiway street––beautiful chaos.
We made a couple new songs, including an Alethia compositional riff off my "UFOs and Labyrinths," "Fragilidad." It hits my Billie Holiday mood hard.
There are now about 5-6 Chasing worthy songs and jams. Very cool feeling to get a concept album in place. The kind of underpinning structure, the recurring Zuma Time, the bookending Fly Away Home are coalescing. The middle miasma of ever folding un-oneness. The ultimate structure is dually based on an unnamed jam from 1968 and Bartok’s Concerto For Orchestra.
Behold the last unrepentant writer.
#endwriter
Chaser? Photo by Clemons Stocker of Tulum.
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