Name: Endless Passage by Simone Sello
Duration: 3 min 8 s
Description: An instrumental Hip Hop track I wrote for the documentary "Iceberg Slim - Portrait of a Pimp", directed by Jorge Hinojosa and produced by Ice-T.

Written and produced for the great documentary "Iceberg Slim: Portrait of a Pimp" directed by Jorge Hinojosa. Starring (among the others) Betty Beck, Camille Beck, Diane Beck, Misty Beck, Robert Beck, Snoop Dogg, Ice-T, Quincy Jones. Music supervisor: Mike Turner.

Very nice. Chill groovin and nice R&B touch.

This is real music. Rythm and real jazz fusion. A touch of yesterday and what contemporary jazz was like in the 70's. I heard this watching the Iceberg Slim documentary portrait of a pimp and had to find a way to download it. Hit home.

Holdsworth SY1K Doodle

Air Raid Curfew

In That Quiet Earth SY1000

Eleanor Rigby - Strings SY1000

Flamenco Sketches

An instrumental Hip Hop track I wrote for the documentary "Iceberg Slim - Portrait of a Pimp", directed by Jorge Hinojosa and produced by Ice-T.

Endless Passage

Création Du Monde SY1000

Circus Suite for Clarinet, Violin, Cello, and Piano by SiHyun Uhm originated as a piece for solo piano. The composer reworked and expanded upon that wonderfully programmatic composition for enhakē in 2020.

The first movement (Monkey) begins with an unassuming introduction before the ensemble barrels into the Allegretto tempo that governs most of the remaining bars. As the group executes descending chromatic triads one easily gets a sense of the creature scurrying down various apparatuses. As they lunge forward with extreme crescendos, so too does the primate bound into action. The middle section oozes with mischievousness. Clearly this monkey is not a simple organ grinder’s companion. One final set of scampering figures concludes the movement.

Uhm paints another vivid picture with the succeeding movement (Clown). Half-step dissonances and off-beat accents abound as the obvious absurdities of the character are depicted. By bar eighteen one wonders if a “sad clown” has made its way to center stage. Glassy-sounding ponticello in the violin and a plethora of minor triads—many dressed up with grace notes—color the section. Col legno battuto and snap pizzicato are among the percussive devices employed by the composer here. A mini cadenza for the cello temporarily halts the action before a short, but eventful, coda ushers the troupe quickly off stage.

Most of us will never know what it would have felt like to have been one of the Flying Wallendas. Uhm gives us a sense of what it’s like to watch such an event, though, in this effective third movement (Trapeze). It is disconcerting to see the flyers and catchers swing at different speeds, I think. The composer represents this tension and lack-of-togetherness by spreading complicated polyrhythms—three-against-four, four-against-five, etc.—around the ensemble all the while alternating time signatures from bar to bar. When the players do meet it is as unexpected as when the two, off-set human pendulums safely grasp wrists high within the Big Top. It’s an imperfect world, of course, and by bar 22 we hear at least one flyer fall to the safety net; perhaps another one hurtles towards the ground five bars later too. The conclusion is sheepish at best. Perhaps a slightly embarrassed celebration of survival is all that they can muster.

The Lion isn’t anywhere close to being the largest land animal. They’re not even the largest cat—sorry kids—but they’re still the king. [Given the fact that the females do all the hunting for the pride, perhaps we should be talking about her majesty, though.] The closing movement (Lion) strikes an appropriate amount of fear into the hearts of the onlookers. Quickly ascending and descending chromatic scales in the piano imitate roars—like Camille Saint-Saëns’ treatment
in his Carnival of the Animals. Tension builds from bars 59 through 66—as if we’re approaching a moment of repose—only to start again. [A lion tamer must always be on their guard, after all.] A dramatic piano cadenza sets up the end of scene as the spotlights fade and the performers disappear from view.


Written by Brent Williams

Circus Suite

Parrot In The Rainforest

Prod FJDMusic
Image thx to Austin Neill
austinneill.com/photography

Sherlock is a Pirate

Prod FJDMusic
Pic thanks to Victor Garcia
Roli, Uad2, Slate

Mr Bond

Simone Sello is a guitarist, music composer/producer, surrealist filmmaker, and journalist, known for his work with the Sanremo Festival Orchestra, Billy Sheehan, Aaron Carter, Disney, Hannah Montana, Vasco Rossi, and Warren Cuccurullo.

After studying the violin, he started a professional career as a guitarist in his native Rome (Italy), recording the song “The Fighter” with his band Waterfall, for the compilation Metal Attack (RCA 1987). Then he kept working as a session musician both live and in the studio. 

In 1997, he moved to Los Angeles, where he began working with a wide range of artists and contributing to many music projects. He quickly gained a reputation for his technical proficiency and unique playing style, which blends various musical genres.

Sello has also collaborated with major entertainment companies such as Disney: he has worked on several projects with pop superstar Miley Cyrus, including the hit song "Nobody's Perfect" and the soundtracks for the hit Disney shows "Hannah Montana" and “High School Musical”.
He has also composed music for several TV series, among which are entire seasons of the World Poker Tour.

Sello is particularly well-known for his work on the guitar, where he is recognized for his creative use of effects and guitar synth, as well as his ability to seamlessly blend various musical genres into his playing. In addition to his music work, he has also directed and produced experimental movies, showcasing his creativity and vision in the visual arts.

Endless Passage

Simone Sello

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