Solo Piano - Chris Bright

picture this - 7:7:23, 7.31 PM

i don't know what it is about you - 12:17:23, 8.52 AM

Scuba divers in dead seas

Live from Christianshavns Beboerhus 1988
Trommer: Kim Ruzz
Bass: Fin Valentin
Vocal : Søren Blet
Keyboard: Preben Poulsen
Guitar& lead guitar: Per Jensen ( PJ Project)
Rythm guitar: Per Rasmussen ( Docvet)

Afrika W/ Linie 18, Live fra Christianshavns Beboerhus

I like pears.
Not just the fruity ones.
I like doubles, anything in couples, even puzzles.

I like greens.
Not just the veggie ones.
I like naive, I like green tea, I like green leaves.

You can’t wear me out - I’m like a dynamo.
I’m in no doubt about how to keep going.
I don’t need to shout - I don’t need to keep showing off.

I like flowers.
Not the bready kind.
Well I don’t mind a bit of bread and butter
with one thing or another.

You can’t keep me down - well not for long.
I turn myself around by writing songs
I reconnect with my child intellect
and you can bet it’s better than you get
by thinking too much.

I like petals
and I like colourful.
I like a big border full with everything beautiful.
Life can be wonderful.

Pairs

Original by Leonard Cohen 1984

PJ Project : Bass, drums & 2 vocal

Hallelujah W/ PdB Orchestra

Brennivín

Solo Piano.  Created LIVE in Real-Time at the Enlightened Piano Concert at the Cottages of Carmel, Carmel-by-the-Sea CA.

Photo provided by Greg Carr, my brother.

Year of Music: September 2, 2025

Silent rivers carry the weight of forgotten crowns, flowing beneath towers of faded crimson and bones of light. In the stillness, symbols fracture and shadows ascend, molding echoes into monuments of memory. The current meanders through unseen depths, and in its movement lies the promise of renewal: a hidden force of sacred waters that never cease to flow.

Pale Voltage

far from over 8.27.25

Rich, pampered girl from Abilene, Texas meets a trail-worn cowboy with a checkered past, and they head north to avoid her family's scrutiny. It's a doomed relationship from the start, of course, and only lasts until the snow breaks.  Abilene comes calling - she heads back home, and the cowboy does what all cowboys in trouble do (at least in the songs I listen to) - he splits for the border.  True story?  Maybe...
 
The timeline in the song is a little convoluted - begins in the middle and then back to the start, then to the end and back to the middle etc.,..   But you old cowhands will figure it out.

Female voices are Julia Avery and Madison Carr.
 
And the winter would pass......

When Abilene Calls

I make music because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

i don't know what it is about you - 12:17:23, 8.52 AM

Chris Bright

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