Category Archives: previous

written after completion of project

The Well

The above recordings were composed by Adam Conrad, performed by Zachary Scanlan (violin), David Sutton (violin), Erica Burton (viola) and me (cello), and we had our usual all-star team of recording engineers Dane Hoppe and Graham Wakeman, and rehearsal/production assistant Ben Kelly.  Adam has organized, conducted and composed music for 5 or 6 of these projects now, and each one runs a little bit smoother and produces a better product.

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Recent goings-on

Here’s a quick rundown of some stuff I’m really excited about lately:

Bloodshed Love (September 12-13)
My composer friend Adam Conrad wrote the musical score for a fantastic short film directed by MCTC student Mason Makram, and enlisted me to play on the recording. Adam and I have worked together on quite a few projects like this and they keep getting better and better, no exception here.  Adam likes working with me because I give him everything I’ve got (including tons of constructive criticism haha) and I keep coming back because he always writes me cello solos and he’s a tolerable person.  There’s really nothing like recording a film score without a click, conducted to the film with the full ensemble.  It’s a huge rush, and huge pain in the ass, and so worth it.  I just attended the premier at the St. Anthony Theatre the other night, having only seen snippets of the film, and I was totally blown away by how it came together.  Keep checking back into the Bloodshed Love <facebook page> for info regarding the movie’s release on DVD and/or other media.

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Harold Crumb: the last session

(for background on this project check out quoted text below)

About a week before the premier of Harold Crumb (short film) Adam invited me into the studio to record some credits music, and the night before our session he emailed me a scanned copy of the part:


(excerpt of sheet music)

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Nightmare Man: living the dream.

I am in the thick of a Fringe Fest musical drama production called ‘Nightmare Man, A Musical.’  Here’s the information I pinched from the facebook page:

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Light, Motion and Sound (March-April 2011)


(Vanessa Voskuil - photo by James Sewell)

This collaborative work of challenging-to-describe art was organized by Zachary Crockett, and served as the dissertation for his PHD in music composition (at the University of Minnesota).  Months before I entered the process Zac joined forces with choreographer Vanessa Voskuil, and at her suggestion invited visual artist David Mehrer to the team.  They’re all amazing so check out their respective pages!

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The last 2 months+

Nightmare Man – A Musical (August 5-14)

Rehearsals for this Fringe Festival show begin next week, and I’m totally psyched!  Nathan Schilz (music director/composer/writer/etc.) approached me some months ago and got me interested in this production.  What I do know I’ve gleaned from Nathan’s emails and the Nightmare Man’s Fringe Festival web page (including an amazing promotional video that the team shot).

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Reflections on Journey

This project fell into my lap when a cellist compatriot sent it my way, along with a slough of other gigs and one of his students!  Thanks Geoff!  The music director/composer of this production was looking for an improvising cellist, but beyond that I had almost no coherent idea of what this production would be, but how bad can a gig be if it involves cello and improvisation?  I don’t have an answer to that question, but I signed an agreement to do the show nonetheless.

I attended a production meet-and-greet party before rehearsals began, and within minutes I knew I was going to get along with the cast/crew.  My first impressions were of a very intellectual, artistic and easy-going group (which turned out to be 100% true), but what had me a little concerned was that after talking with everybody at the party, the only new information I had about the production was that the composer hadn’t written a line of music yet.  Turns out, the reason nobody knew anything about this piece was that the director, Mohammad Ghaffari, intended it that way; his vision for the piece was 360° of collaborative creation, in which drama, dance and music all took form simultaneously during rehearsals with as little premeditation as possible.  Ballsy to say the least.

(Eddie Oroyan, photo credit: Damon Lynch)

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