Your music is great for ones soul. Brilliant work!

“All these bitches is my sons. And I'ma go and get some bibs for 'em. A couple formulas, little pretty lids on 'em” – Nicki Minaj.

Penance

Did It On Em (Remix)

From my new album "Fû": https://ariad.bandcamp.com/album/f
Any support on bandcamp is greatly appreciated! Thank you!

This track started by a keyboard improvisation with a digital flute preset. On this, I played clarinet and recorder, added some samples of bird chants and lot of percussions.

My album Fû is centered about aerial elements and woodwind. It's a kind of ode to the natural world, to the trees, to the birds and also a musical journey for any dreamer. I recommend to listen it with headphones for the best experience!
To learn more about this album, check the special page here: ariad-music.com/textes/musique/fu-en/

Canopy Symphony

Download & Support

VIDEO https://youtu.be/FDjNav6gvLw

"un-controlling" for cello, piano and two ebows composed by Dika Chartoff (ASCAP 2022) 

Dave Eggar, cello
Clare Longendyke, piano
Christian Amonson, recording engineer
Louis Ng, recording engineer

In memory and celebration of my friend Ben who was a wonderful friend to so many; amazing son, brother and father; a passionate surfer and sailor who lost his life to suicide after a long battle with depression.

During the opening, characterized as Poetico quasi senza mesura (poetic and unmeasured), the e-bow is used as an ostinato - a constant sound triggered by a magnet that vibrates the piano strings. Essentially, it’s a noise that’s calming and seductive at times, but much like depression, or tinnitus, it’s an unwelcome guest. The second part, giocoso (lively and humorous), is an innocent and technical interlude that culminates in climbing adrenaline; such as surfing a giant wave. Finally, Lento Irrealmente (slow and surreal) is a free fall of reverberating, vibrations and letting go. The e-bow is not present at that moment and perhaps a sense of hope, is restored.

un-controlling

I am proud to release the album “To Catch Lightning in a Bottle” …a collaboration with the outstanding talent of James Hill on trumpet. James is a constant inspiration.

The music expresses diverse thoughts about the turbulent times we live in. "To Catch Lightning in a Bottle" means to accomplish a nearly impossible task.

To Catch Lightning In A Bottle

Parlons d’existence sur le seuil de nos vies
Les moments de silence les regards sans bruit
Fidèles à nos histoires dans les creux de la main 
Nous replongeons au coeur de ces tristes matins 

De brumes et de verts
Les parfums
Humides en terre
Les chagrins 
Les moments insolites
Ne décrochent pas
De nos mémoires libres
Des fantaisies

Chorus

Parlons des belles couleurs, légères émotions
Dans les recoins du coeur, les belles intentions
Tout au fond de l’âme, de légers rebonds
Et les petits drames qui nous font faux bond

Dans les petits matins 
Dans les petits chagrins
Frais et salins
Nos vies en vain…

Petits Matins  Avec Yann Kifer Piano

Mixed and Mastered by Woods Studio
@woods_studio

Lyrics:
Brooding sea, oppressive day, a panorama in disarray,
A resolute light will find the way from a horizon hideaway.
Forever theme, the mystery, the recurring history,
The bitterest veil on what we see becomes a new reality.

All in time, all in time, let the story fully unwind, 
All in time, comes the clue to the riddle of “why”.
All in time, all in time, the biography will fully unwind, 
All in time, see the crack in the cover of the sky.

Climb the mountain, stormy day, broken boulders block the way,
You’re losing your hope, begin to pray, 
- to a summit that’s farther away.
Sudden break reveals a beam 
through the fog blotting out the dream,
It’s guiding the way to the brilliant day, 
that’s just above the grey.

All in time, all in time, let the story fully unwind, 
All in time, comes the clue to the riddle of “why”.
All in time, all in time, the biography will fully unwind, 
All in time, see the crack in the cover of the sky.

Clouded years, distorted fears, oh, no no no.
Waiting ‘til the crack appears, oh, wo-wo-wo.

Instrumental 

All in time, all in time, let the story fully unwind, 
All in time, comes the clue to the riddle of “why”.
All in time, all in time, the biography will fully unwind, 
All in time, see the crack in the cover of the sky.

All In Time

A song that goes round and round in my head
Cover photo: Alain de Maximy©

Cette chanson dans ma tête

Last Wishes by Linda Straub

Lyrics

Let me lie down beside the lake
then float upon the water's waves
and listen to the calming sounds
of the loon's wail as evening breaks 

I want to hear the crickets sing
in the silence of a dark night
and let the rain put me to sleep
until I wake at dawn's first light 

Let me gaze at the sky above
and feel the sun upon my face
to clear my mind and fill my soul
and bring comfort in its embrace 

Let me taste the first flakes of snow
as it paints the ground frosty white
and coats the trees with icicles
sparkling gems in the starlight

Let me feel the world around me
and bathe in its magnificence
I may not come this way again
so think of me as I was then. 

I may not come this way again
so think of me as I was then

Last Wishes (Original)-

I made a few lighter tracks for a Jam game and ended up melding the two together for this song.  Its an ethereal mellow listen similar to something like the cinematic Orchestra (though I am not as good as they are...yet).

I used multiple atmospheric elements to overlay the keys, lead, and string lead and found a super deep bass that I loved when adding it to the middle of the song.

In From The Cold

Album de Imane Metni georgesco

DON’T GO AWAY

24 electric guitar improvisations performed on a Fender GC-1 Stratocaster with a Roland GR-55 Guitar Synthesizer.

HD DOWNLOAD

I have played and recorded in international settings, a multitude of percussion instruments, guitar, bass, harmonica, some flutes, keyboard, and if you push me - a very fine jaw harp.

In fact, if I break it down.... I just love to offer-up music, in a living room, a bar, a concert hall or an intercontinental, interactive satellite coordinated concert. 
  
I became fascinated with percussive sounds from around the world… especially African and Latin American rhythms. I fanatically traveled the world collecting anything that you could bang, scrape or hit.
What I learned? Border customs people really don’t appreciate the true value of handmade African caxixi shakers or a Brazilian berimbau. They just want the serial number.
More importantly, a single clicking or ringing sound in a song can make or break that song.
  
I toured Canada, USA and Europe and recorded many “world music” albums (before it was called that), with my late, musical soul mate, Dario Domingues. We played in grand churches, the water reservoirs under Munich, on an island where 100,000 doves were released at the climax of our performance, the first-ever “simulcast”, live satellite, intercontinental concert and then, the humbling experience of being involved in Berlin, in front of 500,000 people, for a series of anti-apartheid concerts featuring ‘Sting’.  For our 'world music' efforts, we were awarded the Deutscher Schallplattenpreisan (1983) accolade by the Deutsche Phono-Akademie, an association of recording companies of Germany that recognizes outstanding achievement in the music industry.  
What I learned? Music is truly a universal language. Around the world people are drawn to music. Of course, different strokes for different folks! 
Whether you play in front of a half-million people in a field, or 10 people in a bar, your role as a musician never changes.  
 
“Dream of the Drum” – I was commissioned to compose and conduct a score for 40+ percussionists from all corners of the world... Jamaican fire dancers, Trinidadian steel drummers, Japanese kodo drummers, African djembe players, military drummers,... the list goes on.
What I learned? The language of music respects no geographic borders. 
Also, never start your outdoor concert, with a lone Native Elder's rain drum song. The drum's magic works!
 
I helped build three innovative recording studios plus, my current production studio. I academically taught musical acoustics and production for several years.
What I learned? All the mathematics and physics in the world can’t replace a good ear.
 
As a producer, I've had the wonderful opportunity to work in great studios in NYC and Nashville with amazing session musicians such as: Eric "Roscoe" Ambel - best known as lead guitarist of Steve Earle’s band the Dukes; Dan Baird of the chart-topping 'Georgia Satellites'; guitarist extraordinaire, Warner E. Hodges, founding member of 'Jason and the Scorchers'.
What I learned? Great musicians tend to be humble but they sure have opinions! In Nashville, I was bluntly told -"No, I won't raise the tom level - in country music, we use toms for holding our bourbon glass." I never did get the toms louder.
 
I spent many years as President of the Ottawa International Jazz Festival and met some of the greatest musical geniuses in the world.
What I learned? "Man, if you have to ask what jazz is, you'll never know."
 
Music for jingles on radio and TV. Documentaries.
My personal favourite was coming up with suitable music for the mating rituals of pigs or, how to create 60 minutes of Arctic wind sounds for the movie 'Never Cry Wolf'.  
What I learned?  You can tell an entire story in a 29.5 second radio jingle and music is the glue that holds a great video together.

To Catch Lightning In A Bottle

Kluane Takhini

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