Mi Fugue - Filming the music video

In August of this year, the Martinique group Fal Frett, along with their producer Don Miguel, decided to create a video of the song "Mi Fugue", a beautiful yet mournful ballad featured on the 2013 release "Histoire d'un Vie"

The producer, Don Miguel of Dons Music, engaged Patrice Aboulicam of Radix to direct the video. Patrice chose to film the band on two full day sessions in two locations. The first location was a rehearsal space in Fort-de-France Martinique, and the second was the stunningly beautiful grounds of the JM Rum refinery in Macouba.

The first day of filming was fairly arduous to say the least. I arrived in Martinique early in the morning and was driven straight to the first location, an old, colonial building in the suburbs of Fort-de France which was obviously used as a music school and rehearsal space.

Fal Frett's instruments were already set up and we got straight down to work. The audio was played from a cd player and under the hot lights we began miming or playing along to the track as Patrice and his assistant filmed us. We were all fairly enthusiastic and bushy-tailed as we performed the first few times through the song. As the day wore on and the number of our run-throughs or 'takes' increased, we realized what hard work it can be filming a music video. By 5pm at the end of the shoot we were jokingly in agreement that we would never play the song again - ever! That same night we played a gig at La Croisiere, a local Martinique jazz club, and sure enough Mi Fugue didn't show up on the set list!

The next day's filming location was the JM Rhum distillery in Manicou, the most northern area of Martinique. The 90 minute drive to Manicou was interesting as I saw the rugged east coast of Martinique with it's isolated fishing villages and undulating countryside. Every turn in the coast road presented another spectacular view of an aggressive sea patiently trying to wear away the formations of volcanic rocks.



Nestled under a volcano and framed by a stream, well kept lawns and gardens, the distilliery was the ideal place for a video shoot. Even though we started in the morning, the air was steaming from the heat and we glanced anxiously skyward watching the occassional rain clouds making low passes over the hills around us. Patrice made some quick decisions about our wardrobe and the locations for each individual musician then he got to work filming us in turn.

My location was a beautifully manicured lawn next to a large stream filled pond. I followed my directions, walking and playing along to a battery operated cd player taking great care to not step into a puddle, fall into the pond or walk too far and fall off the edge of the lawn.

We were so hot our clothes clung to us like street beggars and in two minutes our faces were covered in perspiration. Fortunately during both days of the shoot we had a charming makeup artist Stéphanie Montlouis-Calixte who kept us looking good in the heat of the day without resorting to plastic surgery. It turned out that Stephanie was also skilled in the sandwich making department creating tasty baguettes for us at the end of the day.

After our filming was complete the kind staff at JM Rhum distillery unlocked the massive doors to their huge warehouse that contained hundreds upon hundreds of rum barrels stacked to the ceiling.

As we eagerly stepped inside, the smell alone was enough to give us a pleasant high - the perfect ending to a very special video shoot!

Fal Frett in the 2013 St. Lucia Jazz and Arts Festival

My trip with Fal Frett to the St. Lucia Jazz and Arts festival earlier this year has been nicely documented by a video reporter who traveled with us.

The You Tube clip is mostly in French however if you watch @ 18:58 you will see a surprise appearance by my friend and fellow Bajan musician Andre Forde who happened to be in the audience ready to offer a very articulate opinion on the show - go Andre!

Thanks Andre!

Getting down to business

Tired, hungry saxophonist who wants to eat!

Towards the end you can also hear my mangled Franglais as I wearily eye my dinner, knowing that the sooner I say something for the camera the sooner I can start to eat!

The food was really tasty and the spiced rum was even better!

On the edge

Last Sunday, the Original Unit and I spent a wonderful evening at the Water's Edge restaurant performing our original music to a capacity crowd of enthusiastic jazz fans.

My eldest son Liam took charge of the camcorder and filmed our performance of a new song I wrote called "On the edge".
A big thank you to the management and staff of the Bougainvillea Beach Resort for making the event special and of course thanks to the Barbados Jazz Society and all the jazz lovers who came out to support the music!

Jazz at the Water's Edge, Sunday July 21st

We're going to have some fun, hope you can join us!

(The dreaded) Berklee woodwind proficiencies

During the mid 1980's, while earning my music degree from Berklee College of Music,   woodwind students and I had to pass a number of "proficiencies" or practical exams. Those of us who learned and mastered the material in these proficiencies achieved a great improvement in our technique and fluency on our instruments. Consisting of a mixture of scales and arpeggios, the proficiency levels became progressively challenging, For performance majors such as myself, there were six levels in total, all the levels had to be completed by the end of our eight semester program. They started with basic major and minor scales and progressed to some very exotic varieties of scales and arpeggios that would have made the Spanish inquisition proud!

(Nobody expects the Spanish inquisition)...

Here are two scanned pages of the Berklee woodwind proficiencies as of 1986...

Page 1

page 2

In addition, at the end of each semester we were required to prepare both a classical etude and a Jazz solo to be performed in front of a panel consisting of three faculty members. The classical etude would typically be something by Klose or Marcel Mule and the jazz solo was usually a Charlie Parker solo from the Omnibook. This was a very nerve-wracking experience to say the least!

Today Berklee's woodwind department seems to be using the same material except that it is spread over eight levels for performance majors.

I still occasionally refer to these documents and practice the material. It is essential to use a metronome, (Don't just turn it on and ignore it :)) and always play the entire exercise at a uniform tempo. Having a chromatic tuner in front of you and referring to it often can help keep your scales/arpeggios in tune. Playing these levels using the full range of your horn is important, it helps you to get comfortable with all the areas of your range. 

Why practice scales and arpeggios? At the end of the day we all want to be able to play a melody smoothly and accurately, all melodies are made up of steps and leaps - so it makes sense to spend some time with these!

Happy practicing!

 

Happy Fathers Day!

Thanks Dad!

Masterclass on improvisation, courtesy of the Wayne Shorter Quartet

Today's masterclass features saxophonist Wayne Shorter and his quartet performing his composition "Footprints" at the 2003 Montreal jazz Festival.

Wayne first recorded Footprints on his 1966 album "Adam's Apple". The song has become a standard jazz tune, one that is well known and often played by both professional and student musicians.

What I really enjoyed about this video is the manner in which the quartet move away from the traditional performance style of a jazz standard. In a typical jazz quartet performance the lead player would state the melody reasonably close to how it was originally conceived while the drums and bass would share responsibility for the rhythmic pulse while getting into a consistent tempo and groove for the duration of the song.

For example, here is Wayne's 1966 recording of Footprints;

 

And now, below, in astonishingly sharp contrast, is Wayne's masterful modern performance from the 2003 Montreal jazz festival. Here the pulse or groove of the song is anchored by bassist John Patitucci, allowing drummer Brian Blade to play almost like another lead instrument. The group freely changes rhythmic styles, tempos and harmonies based on the suggestions made in the moment by the ensemble's members. 

You can feel them listening to each other!

Wayne Shorter allows himself to explore his melody, to rhythmically displace it, add or subtract notes from it and repeat sections where they wouldn't normally be repeated.

Pianist Danilo Perez does a wonderful job of both re-harmonizing the composition and constantly suggesting new rhythmic directions, giving Shorter a generous supply of ideas and directions for his solo.

Wayne's sense of humor and playfulness is evident in the melodic quotes that he infuses into both the melody and his improvisation;

@ 00:34 he plays the nursery rhyme 'Rock -a-bye baby' which seems to fit nicely within the melodic structure of the tune.

@ 04:04 during his improvisation he quotes the Sonny Rollins composition 'Oleo', Brian Blade responds by changing to a swing feel for a while. Here is a nice example of the original Oleo.

@ 04:45 Wayne shows us how important it is to listen to as many different musical styles and sources as you can when he quotes 'If I Loved You' a beautiful show tune from the 1945 Rogers and Hammerstein musical carousel, (my mum used to play it on Piano, - thanks mum!).

After an inspired and inspiring drum solo from Brian Blade, Shorter states the melody and once again much to Danilo's suprise and pleasure, twists it, displacing it in time at 06:54. The 'Rock a bye baby' reference returns at 7:37. Wayne and Danilo conclude the piece by putting it through a classical melodic and harmonic filter.
I hope this is interesting and inspiring for all students and fans of improvisation out there - check out the rest of Wayne Shorter's incredible contributions to music.

Phew! what a performance! - time to go practice some more :)

L'Atrium - a look Inside Martinique's centre for the arts

Like everywhere else in the world, I'm sure that the French Caribbean island of Martinique has it's good and bad, and that some Martiniquans may enjoy being a part of France and others might even lean more towards independence. In my opinion however, there's one thing that France and Martinique really get right, and that is their commitment to the development of arts and culture.
Nowhere is that more apparent than in the splendid Martinique cultural centre called L'Atrium.

Completed in 1998 and conceived by Fanny Augiac the Directrice of Martinique's national cultural agency (known as CMAC - Centre Martiniquais d'Action Culturelle) this multipurpose facility contains two concert halls, an art gallery, rehearsal spaces, a cafe and large open corridors for exhibitions.

All of this is surrounded on the upper floors by CMAC's administrative offices.

A panoramic shot taken from my position during sound check for a recent Fal Frett concert

The larger of the two concert halls is called the Salle Aimé Césaire and has 957 seats arranged on a ground floor, side 'boxes' and balcony. The smaller hall, called the Salle Frantz Fanon has 270 seats.





















What I find very clever about the building's design is that the two concert halls are situated on opposite sides of a huge shared central stage. The Atrium's official website  lists the hall's stage areas as 420 and 225 square meters respectively, however I've observed that there are huge movable walls dividing the stage that can be set to create different stage depths on each side. The Larger hall has excellent wings, (The stage doors could probably accommodate a cement truck!), plenty of room for sets and the lighting can easily be adjusted by lowering the lighting rigs located above the stage. The stage's dividing walls are acoustically treated allowing events to be staged in each hall simultaneously.

A panoramic view taken while undergoing sound check

In the downstairs foyer of the L'Atrium is a ticket office, an art gallery, a cafe, open corridors for exhibitions of large sculptures and elevators to the offices above.
On many occasions I have had the pleasure of both performing and attending concerts in this hall and I've always found the acoustics to be very pleasing.

parking?

There are a few areas where the building needs some attention. Some of the seats need reupholstering and the dressing rooms are in a sad state. Parking can be a challenge in Fort-de-France even for performers trying to use the L'Atrium's facilities.

Whenever I return home from a performance in L'Atrium, I can't help but wonder when, if ever we might create a similar structure in Barbados. After hearing for the past 25 years, the empty words of successive Barbadian governments promising the creation of a reasonably sized performing hall, I no longer think that any government in Barbados has the motivation or vision to create a Barbadian "Atrium". If we in the arts wish to see this happen then we can't wait on a government initiative. We need a Barbadian "Fanny Augiac", cooperation between the private sector, government and all those involved in the arts, and of course a significant financial investment.

Who knows maybe one day in the future, a musician in another island will blog about his visit to a wonderful center for the performing arts in Barbados 

Woodvine is possessed

Back in January of this year, (January 26th to be precise) I had the pleasure of presenting a concert titled 'One Night Only with Andre Woodvine and The Original Unit' at the Divi Southwinds Hotel. You can see a video from that performance here. In the audience that night was vocalist and Barbados Community College faculty member Dionne Lashley. 

Dionne recently sent me a few thoughts on her impression of my performance that I felt were worth sharing...

 Dionne wrote;

Possessed?

"It's almost like he is a man possessed. You know what it's like - well, what movies say it's like - when someone is possessed. That other being takes them over, and they have no choice but to channel its message, its thought and feelings. Andre's like that - he takes that horn up and it's like he's possessed. You can see his entire body is taken over, and out blurts the music like a foreign tongue, like a divine seizure. It appears involuntary, as though he couldn't stop it from coming out if he wanted to. And it's mesmerizing - you have hardly an idea of what's going to come out next, but once it does, it's as though it couldn't have come out any other way. I am spellbound."

Dionne included this comment with her quote;

(Note: I'm not into the whole spirit world business, but somehow this is the analogy that came to me at the time.)

Phew, thanks Dionne, that's an interesting analogy! I'm only sorry Dionne doesn't write reviews for our local paper!

Branford Marsalis and his saxophone teacher Harvey Pittel

While perusing the internet late last night, I came across this wonderful YouTube video of a masterclass featuring one of my favorite saxophonists Branford Marsalis (Courtesy of Amsterdam winds). You can see the video below or follow this link.
This masterclass is valuable for anyone interested in performing jazz regardless of your instrument...

                                                 

Branford speaks on a variety of subjects in his usual down to earth manner. At one point an audience member asks him if he currently has a teacher to which he replies "Yes, Harvey Pittel". So of course I had to stay up even later and search for Harvey Pittel on You tube and I found a treasure trove of videos from this interesting and highly accomplished teacher.

Here they are!

 

I've only posted the first 4 parts of the full 14 part series - obviously if these are useful to you then you can check out the rest. I'm still trying to digest them all myself...happy viewing!

Financial realities of the Barbados "music industry"

Here is a scan of a page from the first financial accounts I ever kept. The year was 1988, Keyboardist Roger Gittens and I worked together in a duo called Double Exposure. In that year I had been out of music school for 2 years or so, Roger and I were relatively new to the scene.

I find it interesting to note that nearly 25 years have passed since I wrote these accounts.
Today's pay on the local Barbadian restaurant/hotel circuit has seen some changes - but have these changes followed rises in the cost of living? What would the $300 pay of 1988 be worth in today's economy? The following year, (1989) my duo was earning Bds $400.00 at the Kings Beach Hotel, and in 2001 my duo regularly earned $500/night in hotels around the island.
In the past year I've heard of local musicians earning Bds.$100.00 to play in a quartet!! There is a well known jazz venue in Barbados that offers $400.00 for a duo and $500.00 for a trio!

A music degree from an American university or college can now cost as much as BDS$200,000, what is the financial sense in pursuing a music career as a local musician? Can local instrumental performers really expect to make a living playing music locally under these conditions?

I don't think so.

Guest appearance on episode 27 of Freethinking Island

I made an appearance on episode 27 of "Freethinking Island" a podcast committed to promoting the virtue of reason over faith. Below is an introduction written by the podcast co-creator David Ince.  

"Episode 27 of 'Freethinking Island' is up and ready for download. This week it was jazz and freethinking, as we had the pleasure of welcoming Andre Woodvine, leading Barbados and Caribbean jazz saxophonist to the 'island'.

It was fascinating to sit with Joy and listen to a person whose music we grew up hearing in Barbados, talk about his atheism and his personal background. Interestingly, Andre was also our first Barbadian guest to 'Freethinking Island' and he give us some details about his experience in Barbados surrounded by Christianity of all types.

Andre spent time talking about his family and gave some entertaining stories of how he has been able to get his children to think critically about the religious beliefs so prevalent around them. He also went on to reflect on the various reactions he has received in Barbados both personally and professionally as a result of being public about his atheism.

Andre as a guest, is every bit as 'cool' as the jazz he seems to play so effortlessly on his instrument. Listening to his personal story and his outlook on life is a great illustration of how a person can live an enormously happy and fulfilled life without belief in any God or higher power.

From a personal perspective, it was a thrill to have someone who I admired as a musician and who gave me so much inspiration to become a saxophonist myself, now giving support to myself and others in our efforts to promote freethinking in the Caribbean.

Hope you enjoy both the discussion and the music on this Episode. We open with a taste of 'Fix it on Monday' which is a sweet jazz track with a distinct Caribbean flavour. Make sure you listen right to the end of the episode as you get to hear the extent of Andre's musical range, with one of his most popular tracks, 'Citronella'.

You can download Episode 27 and all previous episodes from www.freethinkingisland.com, through iTunes or from the Blackberry podcast system. Don't forget to check out all of Andre's music on iTunes as well."

Mother's Day

Sometimes a picture really is worth a thousand words...

New unedited video to celebrate International Jazz Day

Around our house, every day is International Jazz Day! It's wonderful that UNESCO (United Nations Educational, Scientific and Cultural Organization) has recognized April 30th as a day to celebrate "The virtues of jazz as an educational tool, and a force for peace, unity, dialogue and enhanced cooperation among people".
To help celebrate this event, I've released some raw unedited footage from my recent concert "One night only with Andre Woodvine & the original unit".
Here it is!

This original composition is called "One of our beats is missing" (Available here). In the coming weeks I hope to release more concert video, including performances of new compositions. The video was filmed with two cameras and is being professionally edited in barbados by Gatehouse Media.

Our performance took place on January 26th 2013 at the Divi Southwinds Beach Resort under the kind patronage of the Barbados Jazz Society. Accompanying me in this adventure were The Original unit, an exciting trio of Barbadian jazz musicians - David Carnegie on drums, Stefan Walcott on keyboards and Neil Newton on Bass.

Our concert was great fun for both the musicians and the audience. Click here for a comment from the BJS and here for a review by Natanga Smith of the Nation newspaper. Hopefully the Original unit and I can perform together again soon!

 

Chickens

For as long as I can remember, my Mum had the habit of using the cost of a supermarket chicken as a sort of unofficial currency. If, for example, we experienced a disappointing restaurant meal, she would invariably exclaim (In a tone of indignation), "Well, I could have bought four chickens for that!"

Last year when I received a prize of four frozen chickens for winning the Shuttlers Badminton club men's doubles tournament (C division). No one was more impressed than my mum.

My earliest experience with chickens was however, very embarrassing. The fact that I am about to share with you such a humiliating anecdote is surely an indication of just how desperate I am to make this blog both entertaining and informative.

I lost a game of tic-tac-toe to a chicken.

You may be wondering, how could this be possible? Allow me to explain.

In the early 1970's my family and I were living in Northern California, USA. We hadn't yet emigrated to Barbados. I would have been a sensitive and somewhat geeky twelve or thirteen year old. All around us in the Bay Area were lots of interesting places to see that would be only a few hours drive from our home.

                                                                                                                              
One weekend we took a trip to Cannery Row in Monterey, where we stumbled upon an amusement arcade in a refurbished warehouse called the Edgewater Packing Co.. I can recall seeing a beautiful wooden carousel surrounded by a variety of arcade games, (space invaders hadn't been invented yet).

One of the games I approached consisted of a large glass cabinet, and to my surprise, inside the case, awaiting its next victim, was a live chicken. On the front of the cabinet, was an illuminated tic-tac-toe board, a coin slot and instructions. My parents inserted a coin. After sizing me up, the chicken confidently pecked at its side of the game board and an "O" was illuminated on my side. I was stunned. Was this real? Who was looking after this chicken? Who trained it? With all of these questions buzzing around in my head, I pressed a button on the board corresponding to an "X". Without hesitation, the chicken countered by pecking it's "O" choice on the board. What! I thought. How could this be? A chicken, playing tic-tac-toe!? My attention to the game lapsed. Distracted, I placed my next "X" in an available square.
With the self-assurance of a true champion, the chicken made its final devastating move, achieving three x's in a row. In a daze, I heard the feed dispenser inside the game open and disgorge a generous helping of poultry feed to reward the victorious chicken, closely followed by the loud howls of laughter as my parents enjoyed the look on my face. I had lost... to a chicken.

Here is a YouTube video with an example of a "Bird Brain" in action!

 

This episode in my life became a part of our family folklore, every once in a while during family visits, someone would reminisce about the day the chicken beat Andre at tic-tac-toe. 
Recently I began to wonder if my memories are accurate, after all, it did happen quite a while ago. Thanks to the power of the internet, I'm happy to share with you this article by Sue Fishkoff from the Monterey County Weekly .

Further investigations on the web have also revealed the chicken's secret. Here is the manual for the game known as Bird Brain. It turns out that the chicken was not pecking at individual "O"s on the board after all! Using a simple electronic circuit, the game was rigged to play by itself with stimulus from the trained chicken which pecked the board on her side of the cage whenever a light would illuminate. Here is a quote from the manual;

"Because the chicken plays first, and because her selections are made by electronic circuitry, the customer can do no more than tie the game"


So there you have it! I was the victim of a cleverly designed arcade game and I am smarter than a chicken. Tic-tac-toe anyone?
 

Dying in the 21st century

Today marks the 75th anniversary of my mum's birth, but sadly she is no longer with us to celebrate such an auspicious occasion. Only 22 days ago, February 14th (Valentine's day!!) I was standing in the immigration line of Toronto's Pearson airport, reading a text message just received from my sister that simply said "she's gone". After receiving an urgent call from Toronto earlier that day I had managed to book my flight and leave for the airport with two hours notice. Sadly, my race to get from Barbados to be at mum's side in Toronto's Sunnybrook hospital was lost by only an hour or so.

Mum had succumbed surprisingly quickly to a cruel, usually terminal disease known as ALS, Motor Neuron disease, or more commonly 'Lou Gehrig's' disease after the famous American baseball player whose battle with the illness was featured in a successful film.
The most famous victim of ALS, the world renowned physicist and cosmologist Professor Stephen Hawking, is amazingly still alive and leading a productive life after suffering with the ailment for over thirty years. After the shock and gut wrenching news of my mother's diagnosis, my whimsical side hoped that somehow she would not only have several years of life to experience, but as a bonus might also suddenly start spouting hitherto unknown facts about black holes and event horizons.

My mum's diagnosis of ALS focused my mind on the reality of death, and in an effort to prepare myself for the inevitable (mine too :) ), I searched the TED talks app on my iPhone for any lectures relating to dying or the passing of a loved one. I stumbled across this fantastic Tedx Newy talk by Peter Saul titled "Dying in the 21st century".

Peter's talk was inspiring, touching, humorous and made a lot of sense. If you'd like to take a moment to watch it (13minutes actually) I can wait...

My Mum stated quite clearly that she did not want to live with the ravages of ALS, and as the disease progressed she did several very smart things. First she got her will in order and made her final wishes clear to my sister (cremation and a party in a pub for her life to be celebrated rather than mourned). Then, in my sister's presence, Mum made it clear to her doctor that if she were to stop breathing, she did not wish to be resuscitated.

How interesting that this was more or less what Peter Saul described in his talk. My Mum was able to articulate her needs and with the help of her doctor had some control over the manner of her departure.

After a successful operation to insert a feeding tube into her stomach, mum's breathing began to fail and the palliative care team took over. They gave her morphine which made her sleep, and more importantly, a drug which prevented her lungs from sending messages of panic to her brain. Instead of gasping for her last breath, she sailed off in painless peace as her breathing gradually diminished. 

In the immediate aftermath of my Mums's death, friends and acquaintances ask me (or more often my wife) if I am O.K. I answer them by focusing on the positive. Yes it's a terribly stressful and sad thing to lose a parent or anyone that you love, but it could have been much worse. Mum had an amazing life, she ultimately had some control over how her life ended and did not suffer. I hope that each of us will be so fortunate when the time comes for our most inevitable departure.


postscript: - Mum did get her last wish. Two weeks after her death, a wonderful celebration of mum's life was held in a Toronto pub with over 50 of her friends, relatives and workmates in attendance. The evening was filled with brilliant speeches, recollections, laughter, a few tears and many toasts for a well beloved mother and friend.

"Because god made us that way"

My eldest son is currently enrolled in one of the best (If not THE best :) ) secondary schools in Barbados. He worked incredibly hard to get there, we are very proud of him and we are also very happy with the school to which he gained entrance.

One of the joys of parenting is collecting your child from school on an afternoon, and hearing the news of the day. Last week my son said, "Dad, today we were encouraged to celebrate 'Black history month'."
"That's good" I replied. He continued by describing how in morning assembly, a head-teacher told them that even the students who are not black should celebrate black history month since "As we all know, the garden of Eden was in Africa, and that's where we all came from".

Well, I somehow managed to keep the car on the road as I laughed and tried to digest that little gem. I can think of many really good reasons why we all should study black history and any other kind of history in our fascinating world culture, but justifying it's celebration by using a myth? In a place of learning? Little did I know that more of this irrationality was around the corner.

 National Marine Mammal Foundation

Two days later, my son related to me an incident that occurred during his integrated science class. The day's topic was about the sound frequencies that various mammals can hear. My son was curious as to why humans have a different range of hearing to other mammals and asked  his science teacher to explain why humans don't hear as well as some other species, his teacher replied "Because god made us that way".

As an atheist, one of my main arguments against religion is that it extinguishes mankind's natural curiosity and desire to explore the cosmos. The basis of science and all our scientific and technological advancements are made possible by simply asking a question, thinking of a potential answer to that question and then testing that answer by experiment and observation. Religion on the other hand demands that we accept dogma, and rewards unquestioning faith. If we accept "Because god made us that way" why should we progress any further?
I explained to my son that humans hear the way we do because we have evolved. If having the ability to hear higher frequencies was crucial to our survival then those tendencies would surface through the process of natural selection.
I went on to suggest (tongue in cheek) that the next time he is unable to answer a question on his science test he should simply write "Because god made it that way" and let's see the reaction of his teacher...

"Faith is the great cop-out, the great excuse to evade the need to think and evaluate evidence. Faith is belief in spite of, even perhaps because of, the lack of evidence" - Richard Dawkins

Hi friends and music lovers... I'll be performing new compositions on Saturday January 26th, 7:30 pm Divi Southwinds Beach Resort, Barbados. Hope you can attend!