I write and play music, usually at the same time.

Veteran Singer-Songwriter based in Houston, bred in Chicago. Acoustic and Full band- FolkCountryBoogieBluesRock- themes vary:  political, humor, slice of life, sci-fi, and more.

Composer with a classical composition degree from a jazz school (Berklee) and roots in rock and roll; a longtime student of North Indian classical music (raga), including a brief time at the Ali Akbar College of Music in San Rafael, Calif.  "World" music is a barely tolerable label, as is "electronica"; both are so vague and problematic that I'd rather not use them, but at least it points you in the right direction for understanding what I do. 

I began as a piano player; guitar and bass followed shortly thereafter. But the answer to the question "What instrument do you play?" is "The studio". Synthesizers and various other devices are my orchestra; fretless guitar, on which I study Indian music, is my personal, solo voice, but it would be a mistake to call me primarily a guitarist. (As Frank Zappa described himself, “I’m a composer who happens to play guitar.”)

About the name: in Indian music one usually has a preferred root pitch ("Sa"); mine is C#, which is a common Sa for male vocalists (such as Shafqat Ali Khan and Sukhawat Ali Khan, sons of the late great Salamat Ali Khan from Lahore, whom I got to know during my San Francisco days.) My teacher, a sitarist, also uses C# as his Sa. I tune my fretless guitars Indian-style, root-fifth-root-fifth-root-fourth (C# G # C# G# C# F# or Sa Pa Sa Pa Sa Ma), ascending. 

Not everything I compose is in C#; just the majority. Sometimes I tune the Indian guitars down to C or up to D.  Other keys as well appear when I’m not concerned with using the fretless. When I was collaborating more regularly with my fellow Indophile Ina (she studies in the Dhrupad vocal tradition), I kept a separate Godin fretless tuned *down* to G#, since that’s a typical Sa for female Indian vocalists.

Amateur hour inscrumental music for prickly pears. This is a space for ideas, experiments, rough drafts, and audio doodles. 

I have enjoyed music in its many forms for as long as I can remember. Bring sound and words together, or being able to evoke an emotion with a sound is a something I find amazing, it still happens when you hear certain pieces over and over again. 
I have been influenced by to many musicians, and to many great writers to mention here. I only hope that the music I have written or have produced and co-produced could affect others in the same way (Any feed back gratefully accepted). 
Collaborations at the moment: http://soundcloud.com/acrazemusic who have gone international and i am proud to be there in 2012.
http://soundcloud.com/leilani-roosman , a very understated singer song writer who has gained a great following in a very short space of time, and has blessed my track Midnight Snow with some great lyrics and vocals.

Established 1999. Releasing newfangled and archival sounds. 

Principally playing original compositions of an ambient nature on the Hohner Guitaret as well as other thumb pianos/finger harps/lamellophones. Also the Hohner PIanet T which is a lamellophone thought rationalised. 

The Hohner Guitaret is an experimental thumb piano invented by Ernst Zacharias in the 1960s. More information can be found at the Friends of the Guitaret Facebook page here: https://www.facebook.com/groups/47031707855/

Interested in orchestration using field recordings, per the great John Cage's suggestions (1937).

The pieces are all pataphysical book reviews. They consist of musical essays on books of the same title that haven't been written, but should have.

'Pataphysics is the science of exceptions, the science of the particular, and investigates the phenomena of alliance, variance and deviance. See Bök (2002) or Hugill (2012) for more. Gebrauchspataphysik is a swerve from 'Pataphysics via an alliance with Hindemith's gebrauchsmusik. See Hindemith (1952)


Bök, Christian (2002) Pataphysics: The Poetics of an Imaginary Science Evanston IL Northwestern UP  
Hindemith, Paul: A Composer's World, Horizons and Limitations, Cambridge, MA: Harvard University Press, 1952.
Hugill, Andrew (2012) 'Pataphysics: A Useless Guide Cambridge MA MIT  https://mitpress.mit.edu/books/pataphysics-0

John Pazdan is following