This was taken on my phone while on break at the preschool. 

The piano was in the worship of the Elim International Fellowship in Brooklyn, NY. 

The random sound of construction from time to time, mimic the internal clicks and glitches that this music aims to ease.

Particulate 3.4.14 @ ELIM(The dove's song)

Jamming

Original track by Ella Andall in  tribute to Orisha Shango. 
Background pans by 'Ji

Ella It is I who call

As the deer Shouts to the Lord

In the cross

Praise Him

Tell me the story

WHAT A FRIEND

Deliverance

Redemption song

Working on an arrangement of Total Praise for Motif Orchestra and Steel orchestra. 

Total Praise (Rough draft)

To vent the stresses of the day I usually take a few minutes throughout the day to randomly play on my Seconds... 
I've decided to record those session and share them with you... I share you... you share... 

Thanks

Particulate 3.29.13 @ 12:41Am

Particulate 5.5.14 @ 8:41 ?

May 5th random improvisation on double seconds

“Next to water, music is the most essential element of our existence.” This is the kind of Philosophy that has molded the works of Khuent Rose. Born January 16, 1985 and raised in the Afro/ Latin- Caribbean haze of Brooklyn, New York, he was able to reconcile his Honduran, Costa Rican, European and Amerindian ancestries into a seamlessly unique music style. Heavily influenced by the music of the Church, the Steel band, and the plurality of the Caribbean, his works represent the colorful people and history that his Brooklyn home emanates. 

At an early age, Khuent was remarked to have a strong disposition to the art of music. Often staying home and listening to recordings of Bach, Beethoven, Haydn, Luis Guerra, Celia Cruz, Hector Lavoe, Tito Puente, Sparrow, Lord Relator, Lord Kitchener, Louis Armstrong, Thelonious Monk, Art Tatum, Michael Jackson, Ray Charles, Quincy Jones and countless others that his father- a native Costa Rican- had at his disposal. Even at church with his Honduran mother he was known to make his way to the piano or organ whenever he could to faithfully reproduce something that had been sung or played earlier that day. This sparked enough of an interest that shortly after a modest keyboard was given to him around the age of 9 (that he still possesses) to practice with. 

Adamantly, refusing to attend lessons and determined to educate himself, Khuent did just that and soon became fluent at sight-reading elementary piano music and basic theory by the age of 10. It was also during this time that his love affair with the art of the steel pan was also fostered. After attending WIADCA pre-Labor Day Panorama Competition, he was completely imprisoned to the instrument and its powerful allure.  He Joined the Casym Steel Orchestra where Dwight DaSilva was the band Captain and was an active member for over 10 years. While under the leadership of William Jones and Arrdin Herbert, Khuent Rose went from being a player to an instructor and even partook the cap of arranging with the band.  During his residence with the organization he performed at easily over 1000 venues with crowds at times in excess of 20,000.

Such was the case of Khuent’s entries into the steel pan competitions of both New York and Trinidad. As a soloist he received mixed accolades ranging from the “peculiarity” of the performance to the “brilliance of the compositions” themselves. Though victory had never been his stated intention when partaking in these competitions, he did at least enjoy coaching others into improving themselves to perform better. Immediately after graduating Midwood High School with high accolades, Khuent traveled to Florida Memorial University (Steel pan performance/ jazz influenced) under the tutelage of one of the most dynamic forces in the steel band international community Dr. Dawn Batson-Borel. Of all his mentors she was by far the most iconoclastic. She fed him the sobering realities of his art and his personal shortcomings with a hand full of honey. He was also closely influence by several members of faculty namely, Melton Mustafa  (Jazz), Dr. Richard Yaklich ,Feliz Spengler and students like Freddie Harris, Collins Peters, Joanna White, and Alea Nicholson. During his stay there he had advanced so rapidly that even the faculty had suggested that other venues would have probably been better suited for his studies; so said so done. He returned to his Brooklyn home after two years of attendance at FMU.

An illustrious sense of harmony and minimalist melodic structure became the corner stone of his composition style exiting the Florida school. He continued his studies at Brooklyn College (Music Composition), ironically across the street from the very high school that he had attended. It was also during this shift of collegiate venues that his spiritual venues also shifted. His desire to reconnect with his traditional African spirituality and culture nagged him insistently. He made several attempts to manifest this growing desire through songs in honor of his ancestors and local historical figures of West African Indigeno

Khuentertainment

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