Pure Mellow Jazz

So many nights before 
Face down on a floor
Wondering where I am 
Wondering who I am
I’ll never reach that place 
You’ll never see that face
Again

Have I tried to hide 
Who I am inside
So no one will know 
To protect my soul
From people I won’t see 
And who I’ll never be
Again

What I was before 
And have come to abhor
Someone whom pretends 
As a means to an end
I don’t think I can  
Ever be that man
Once more

There in my own way 
Obstacles I’ve laid
I must break apart 
That is how I’ll start
Keeping myself from 
What I had become
Once more


If we are to last 
We must escape our past
To weather the storm 
Then we can transform
Eons have been spent 
Learning what we’re meant
To do

Let’s not waste our time 
Maybe then we’ll climb
To the next plateau 
Then we  all can go
Reach a higher plain 
Doing what we feign 
To do

Never Seen That Face

Saguaro

Everybody's Pushing Their Own Circus

A procession reborn. Old Hearse returns in its remastered form, carrying the ache and architecture of its original descent with sharpened clarity. This track is a sonic reliquary—where synths pulse like funeral lights and vocals drift like memory through fog. Originally released as part of Bleak Cathedral’s early archive, this version restores the track’s full spectral resonance. It’s not nostalgia—it’s ritual recursion. A hearse that drives backward through time, collecting fragments of devotion along the way.

Bleak Cathedral - Old Hearse (Album Version)

This song is one I wrote when I was in high school! I've started a project to look back on my background in order to grow as a person! Please listen to my youthful energy!
And I'd be happy if you subscribe!

https://open.spotify.com/intl-ja/artist/4v6i9BIYXlklfTEl4ZZ7S5

buzz

Rain on your lips

Shortwave radio, Dfam, mother 32 chaotic feedback patch experiment

Thermite Termite

This is the first single off my next album. 'Last Call Before the Fall' will be released on November First on Bandcamp and all the streamings.

Bones

From Aaron Goldberg's "At The Edge of The World" (11/16) on Sunnyside Records.

For the past two decades pianist Aaron Goldberg has crisscrossed the globe, spreading his music and absorbing local knowledge along the way.  True to the jazz mentality, he learned to embrace serendipity as an artistic muse.  Five years ago this month, in an historic chateau at the exact geographic center of France, Goldberg was reunited with an early influence.  Soon a new project began to take shape.  Goldberg’s latest recording, At The Edge of The World, documents this recent collaboration with drummer and percussionist Leon Parker, a brilliant innovator and performer, in a new trio along with the gifted bassist Matt Penman. 

While studying at the New School in the early 1990’s Goldberg was introduced to Parker’s singular playing alongside keyboard icons including Kenny Barron, Brad Mehldau and Jacky Terrasson. Parker was a trailblazer on the kit, intent on developing a distinct language and sound all his own. Goldberg went on to attend Harvard but would return in the summers to the City to make sessions with both innovative peers and big city legends, including a multiyear musical mentorship from Betty Carter and a memorable gig with Parker in 1992.

In the decade after his return to NYC in 1996, Goldberg made a name for himself in the bands of Joshua Redman, Al Foster, Wynton Marsalis and Kurt Rosenwinkel, all while developing his own highly regarded trio with bassist Reuben Rogers and drummer Eric Harland. Parker, on the other hand, left New York on September 10 2001 for France, where he stopped playing drum set and nearly disappeared from the jazz world altogether. 

Over a decade later Goldberg found himself in France without a drummer and was curious to see if Parker would be interested in playing again. Leon still remembered him well after 20 years, and without any rehearsal the gig became an unexpected triumph as the two experienced an instant musical reconnection.  It wasn’t long before Parker expressed his interest in continuing their pairing on a more permanent basis, not as a sub but rather a full-fledged member of Goldberg’s band. Parker had found a musical outlet that he hadn’t fully known that he needed, and soon he was eager to get back into the scene.

By the fall of 2015 the duo was dialed in to tour but there were still significant logistical and financial hurdles to overcome.  So Aaron applied for a French-American Jazz Exchange Grant to support this new trio project. Fortunately both the French and American governments were smiling down on them from above, and the duo received both the FAJE grant and a new passport for Parker just in time for the first gig of their tour. The grant also provided enough resources to partially fund two recording sessions: one became Goldberg’s At The Edge of the World, and another led to a co-produced Leon Parker album.  Together these developments allowed for the re-ignition of Parker’s musical career, and he dove back into playing upon his return to NYC.

Goldberg’s longstanding appreciation for the drummer’s highly conversational style continued to grow as they had ever more fun on the bandstand with each tour. The joy in their shared swing and united groove was infectious and their interaction organic. Night by night Parker began to incorporate more of his singular vocal percussion as well as EmbodiRhythm, his personal body percussion techniques, into the music.  The collaboration evolved from an exploratory project into a partnership.

Pure Imagination (feat. Dena DeRose, Ignasi González & Jo Krause)

Scott Hamilton

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