Very relaxing and carefree, loved it!👍😎✌🏼

It really is pure feeling, it's beautiful

Another version with the structure still to be defined
but with the addition of an excerpt/reworked part at the end 
coming from another old song: Tales from the dark store.
I preferred low-impact editing to preserve the purity of the performance

Work in progress.

On the cover, Monet's painting:
Le train dans la neige, la locomotive - 1875

Rêvé pour l’hiver__*2nd study

A percussion-only track made as an attempt to capture the spirit of the hypnotic rhythms of drum circles I've been part of. 

If you like it, feel free to use this track, DL should be on, and I offer it free under a creative commons attribution license. Please credit me (Jeffrey A. Trott) if you do use it. Contact me if you'd like a more raw and uncompressed version.

I'm only about 95 percent satisfied with the mastering, so I may re-master this in the near term.
[Ver. 17_UAD_BAKED]

TriFour

TriFour - World Drums

Solo Piano - Chris Bright

the great lift - 3:10:24, 6.11 PM

Polar synchronization

A remix of Insatiable Void's track ANCESTRY. Follow him and join in! 
https://soundcloud.com/insatiable-void/sets/limited-remix-collab-by
https://soundcloud.com/insatiable-void
What darker ancestry than that of Christina, princess of eroticism... samples from Jess Franco's masterwork, A VIRGIN AMONG THE LIVING DEAD.

Insatiable Void - Ancestry (The Malediction Of Christina)

FAT PHAT Wicked Mum

composition piano Tom Arnosch et arrangements orchestration willy moreno

Homeland / Tom Arnosch / Willy Moreno .

Dune Pilot

VB - 28

Not sure what this is exactly. I'd like to make some dark shit, but the universe says otherwise I guess.

Sorry I haven't been listening and following back recently. I'll get to it soon.

Video

Control

I know we are destined for a profound love, for even if only in another timeline, our hearts have already intertwined.

Life (the Happiness Of Surrender)

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.

the great lift - 3:10:24, 6.11 PM

Chris Bright

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Javier Piñeira

MIAMI JEFF

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