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Dekhte Dekhte

Dig That Chick

I'm going to start calling these improvisations, Rhapstudies. A rhapsody is an instrumental musical piece of irregular form incorporating improvisation. However, these pieces lack the euphoria, bliss, or ecstasy of rhapsodies. They are, despite their lack of a predetermined form, studies. I'm exploring the sound of the instrument, the room, the mics, various approaches to the improvisation. I'm carving out a path as I go, with no particular destination in mind, but only to explore what is interesting along the way. Hence, Rhapstudies.

On the practical side, I am usually very constrained in terms of the time I can spend working on music. I have to get things done quickly and efficiently. If you care to, you can check out some of my earlier work over which I have labored for months or years and to which I still go back to see about improving. This approach forces me to accomplish a certain amount of path-finding and bypasses, for better or worse, most self-doubt and self-censoring. I need to get something done, and I have little time in which to do it.

I do very much love the process, and have to credit my fellow improvisers/explorers from my time in Santa Fe for their encouragement and fellowship: Sandy Brown (why can't I tag on this page??), Jonathan Hill, Dave Nielsen, Al Faaet, and the late Jack Fishman in particular, though certainly not exclusively. Now I find myself alone in my musical journey, and it's more daunting. I must rely on my own wits. But, given that the real goal is to make the most of this moment, I am delighted to be able to continue on the path (or lack thereof) and am always thrilled to see what's around the next bend.

One more thought: I do also present these pieces with the idea that another artist just might want to grab a little something and make something completely different out of it. Sandy Brown requested some accordion and melodica for his use at future improv sessions. I am delighted to oblige. Now I'm off and running and will continue to spontaneously create as often as possible and share the process with all of you.

Well, with that rambling preamble (not unlike some of this recent music) I present to you, Rhapsody #3. Recorded on my 6' Weber grand piano using a pair of those cheap Chinese CAD GXL2200 gold diaphragm condenser mics. The only effects are a bit of stereo widening and limiting/dithering. No EQ, no reverb. Again, it's a study. So, enjoy. Or not. I'll entertain comments of any kind. Challenge my philosophy; it will only help me sharpen my game. I might try to expand this at some point with video. Maybe even do a livestream. Sound interesting? Let me know. Cheers, mates!

Rhapstudy #3

Rhapstudy #4

Following in #4’s footsteps. Gonna explore this approach for a while. Let me know what you think!

Rhapstudy #5

Creep Cause Change

Originally released on the 2004 album, "Drift", this new version brings out the depth and dimension that were always in the recording - a subtle evolution, not a reinvention. Stillness, space, and quiet motion.

Remixed and mastered by Kirk Kadish, 2025.

Drift 4 (20th Anniversary Edition)

Originally recorded 21 years ago as a solo synth track, I recently added two acoustic piano tracks and remixed and remastered the track using the latest AI-assisted technology. 

Drift 6 (20th Anniversary Edition)

The Red Thread is a remastered and expanded version of Drift 4, now woven with newly added cello performances by my friend and collaborator Suellen Primost, whose playing brought depth, presence, and a quiet spiritual radiance to the music.

The title comes from Suellen’s own reflections on the “red thread” — a symbol found in many traditions:
	•	the East Asian unseen connection between souls,
	•	the South Asian threads of devotion and protection,
	•	the Jewish thread of remembrance and blessing.

For Suellen, the red thread was the filament that binds everything:
spirit to matter, people to one another, sound to silence.

This piece is offered in her memory — an unfolding meditation on connection, intuition, and the subtle ways we are woven together across time and distance.

Piano, ambient textures, and layered cellos drift in and out of one another like strands of the same thread, meeting, separating, returning.
A quiet journey. A warm presence.
An invitation to breathe, listen, and feel the unseen.

Thank you for listening.

—

For Suellen.
For the thread that continues.

The Red Thread (20th Anniversary Edition)

Drift 1 - Ozoned - 20251019.wav

A slow groove with some cool Vietnamese folk music and some weird melodica and accordion. Plus Alan Watts!

Alan

Pretty classic spacemusic, but hopefully a bit more interesting than most.

Dekhte, Dekhte

The Stars, The Stars

A remix of Man's Not Hot & 81 Poop Hatch. Good beat and easy to dance to!

Man's Not Hatch

A remix of Dekhte Dekhte (Bengali for "To See To See") by Rahat Fateh Ali Khan. Some mangles bits of Pharaoh's Dance from the 1970 Miles Davis release, Bitches Brew thrown in for good measure.

Dekhte Dekhte - Mix 1

A lovely stripped-down remix of Rahat Fateh Ali Khan's Dekhte Dekhte (Bengali for "To See To See") with some mangled excerpts of Pharaoh's Dance from the 1970 Miles Davis release, Bitches Brew throw in for good measure.

Dekhte Dekhte - Mix 2

From the incomplete album, Dig That Chick, by my alter ego band, Trump Loy. Pretty weird & wonderful!

Hey, Individuals Without A Cervix

Drift

Drift #7

DRIFT #7

Drift #6

DRIFT #6

Drift #5

DRIFT #5

Remembrance

Drift #4

Drift #3

DRIFT #3

Drift #2

DRIFT #2

Drift #1

DRIFT #1

Drift #8

Tradewinds

Skyline

Awakening

Flow

Fresh Air

Freeflight

The Flying Nickster

Jet Stream

Soar

Windchaser

Her Song

Trust Me

Skyline (live)

Trip-hoppin' with Snoop, Dr. Dre, & The Shaggs!

Like This Foot'n Like That Foot

Gella Uru

Inbetweener

Composer and sonic observer creating long-form dream environments, reflective ambient journeys, and improvisational jazz tapestries.

Kirk Kadish

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