The Great Dreamer

Bitten by an uncommon Pipistrelle

🎪🤡📣Depicts crazy days at a Circus Tent & the clowns & characters stumbling when training for an act or someone dancing with a Narc hole! 😜

Circus Tent Tripping

Crazy Daze

Solo Piano - Chris Bright

what it costs to be there - 12:9:23, 10.07 PM

Souvenir 1989: J'ai remasterisé VIA mon master Buss EQ COMP dans Protools car les Brass étaient beaucoup trop fort sur l'album.
1989 Cégep de Drummondville : Song title _Franky's Bone
album Ouverture de François Monette avec Steve Roy à la Basse
Souvenir 1989: I remastered VIA my master Buss EQ COMP in Protools because the Brass sounded to loud on the album.
1989 Cégep de Drummondville: Song title _Franky' Bone
album Ouverture of François Monette with Steve Roy on Bass

Franky's Bone-Album Ouverture de François Monette 1989 (Bass_Steve Roy)

The fun has just begun

Welcome Home For Joy

Shakuhachi Flute.
Backtrack Lazy hands quartet " by Darockart".
Image "Natalie25".

Smiling Cat.

Through signs that never arrive and streetlights that refuse to shine, light makes its way through broken streets and fading echoes. Veins of neon pulse in the shadows, fragile but enduring, while the mechanisms of silence turn ceaselessly. In this fragile geometry, illumination emerges not as brilliance, but as presence, gently carried, born of a silent persistence.

Breathless Geometry

Rock 'n' Roll Halloween Special performed by the Volant Records All-Stars

The Fog

This is my version of feeling hopeful. I like to overload my brain and hypnotize myself with my own music.

Its not so bad

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.

what it costs to be there - 12:9:23, 10.07 PM

Chris Bright

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