This is a cover of a David Lindley/Henry Kaiser cut from the Werner Herzog film, Encounters at the End of the World.  Watch it!

Just got my first Weissenborn from Paddy Burgin (http://www.burginguitars.co.nz/) 5 days ago. It's a hauntingly beautiful instrument! I don't have experience as a lap steel payer and this is my first attempt at a song. What better than to try to imitate the best? Thanks for the beauty and inspiration, Mr. Dave.

Ants and Chimps

Ants and Chimps [Cover]

Stella By Starlight

Experimenting with some conversational ideas for Solar  (by Miles Davis).

Solar Maybe (Take 4)

Experimenting with cassette tape loops and a tone row vamp. It went sideways a bit, but I liked it.

Tone Row Vamp with Tape Loop

I recorded a very vocal mockingbird in a field in Virginia. The field recording is slowed way down and accompanied by a couple of tape loops and an improvised guitar track with liberal use of a volume pedal and magnets.

The Mockingbird

Straight No Chaser

Cover of the Kenny Burrell classic — 1963

Chitlins Con Carne

Recorded live with [instrumentation — guitar, bass, and drums. 1st time this group has played this piece.

The original tune appears on the 1962 album Interplay featuring Bill Evans, Freddie Hubbard, Jim Hall, Percy Heath, and Philly Joe Jones.

Tags: jazz, jazz guitar, guitar trio, post-bop, Bill Evans.

Interplay – live jazz guitar trio (Bill Evans)

By Harry Warren and lyrics by Mack Gordon — 1942

There Will Never Be Another You

By Marvin Fisher and lyrics by Jack Segal — 1956

When Sunny Gets Blue

Blues In The Closet

Testing the initial idea by recording separate guitar tracks one at a time. Each subsequent track was improvised and responding only to the previous track (not all tracks)

Murmuration No. 1 (an experimental ambient sketch for guitar)

Murmurations No.2 is built from 13 improvised tracks, each recorded in sequence and each responding only to the track that came immediately before it. In practice, that means the ear never listens to the full structure — only to a single sound in the moment, and then reacts.

The mix follows the same rule: volume and panning respond solely to the previous layer, creating depth and dimension from a chain of one-to-one interactions rather than a top-down design.

What results is a kind of emergent form.
What’s the shape — the motion — of the piece when each gesture only knows the one that came before it?

Murmuration No. 2 (For 13 guitars — ambient, spatial 🎧)

Composer: Sam Rivers. 
This is a live jazz jam recording. Bass, guitar, and drums.

Beatrice (Take 2) - Live jazz guitar trio

Composer: Ann Ronell. This is a live jazz guitar trio performance recorded 11-29-24 in Washington DC. Bass, guitar, and drums. First time ever this group has played this tune.

Willow Weep For Me — Live Jazz Guitar Trio

Cover of the Christmas classic by Hugh Martin and Ralph Blane.  Recorded live in Jon’s living room, using some new LOM mikroUśi field recording mics for the drum overheads. We love these!

Have Yourself A Merry Little Christmas

Using LOM mikroUsi’s mics and a Tascam X8. New at this but love these mics. The geese sound cool, as do the birds.

Assawoman Pond (a binaural field recording at an estuary)

Waves At Sunrise (a binaural field recording of waves at dawn)

Five guitars in a shared field.

No hierarchy. No center. Emerging subtle density.

First part of the 6363 series.

experimental, ambien, improvised, guitar, texture, spatial, self-organized, 6363

6363-01

6363–02

Two guitars.
Harmonics. Reversed tape feel. Timeless.

Low gravity. Weightless.

experimental, ambien, improvised, guitar, texture, spatial, self-organized, 6363

6363-02

A sound sketch that has tonality and rhythm this time. Lots of guitar parts and a backwards slide guitar melody played on a $20 yard sale acoustic, which also has its own straight-up track.

I'm Slipping, Too

Baritone guitar (aka "tic tac" bass), with mucho reverse feedback pads. All tracks are analog guitars with some mixing trickery.

Antietam

My brilliant son’s original composition from many years ago. He built an audition device with components he salvaged or bought. Its shell is a Cool Whip container. The Cool Whip, apparently, adds a certain creamy quality to the overall timbre .

5 Mins Of Pure Glitches

Guitarist, improviser, and composer based in Washington, DC.

This is a working space—more artist’s studio than finished catalog. Solo pieces, improvisations, compositions, small ensemble recordings, and works in progress.

Current focus: solo work and composition, exploring texture, space, and self-organizing sound, alongside ensemble playing rooted in jazz—groove, interaction, melody.

William Shelton

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