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Modal Imagery:
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As a creative jazz musician and performer, my earlier studies in music were devoted to modes. When I first studied the modes, I learned them in a mechanical manner. Harmony class did not discuss the type of feeling quality the various modes could produce. I knew theoretically the difference between each mode and could distinguish sound differentials between the major and minor modes but I did not play the modes from my heart.

*There is also a set of photographs that was inspired by each mode. Click here to check them out.

Past Present & Future:
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“…All three musicians have performed and recorded with musicians like Zoot Sims, Red Rodney, Bobby Hutcherson and Tiny Grimes, so their jazz credentials cannot be ignored and this recording proves that New York must have some of the best piano trios in the United States…”—David Griffith South Wales Evening Post-Friday, April 24,1998

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Downloads:

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Books:
15.00$

What Every Music Therapist Needs To Know:

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Photographs:

Modal Imagery Photographs:


Ionian

Aeolian

Lydian

Mixolydian

Phrygian

Dorian

Locrian

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SURFACE ABSTRACTIONS 2004
c prints on Kodak Ultra N Matte Surface

These surface abstractions are part of a larger series of abstracts that I shot in NYC in 1992. I wanted to convey that there really is colour in this city; sometimes you just have to look for it. Using Ektar 25 film, I originally presented my colour surface abstractions in an 8x10 format. Over the years I have always wanted to blow them up. Even though I shot the abstractions 12 years ago, i see them in a new and different way. The subtle nuances of colour intensify the textural terrain and images unfold to a harmonious resolution.

  • 8x12, 11x14, or 11x17=32.
    Please call or send email to inquire about custom size prints.
    All photographs are signed and dated.

 

 

REVIEWS OF PRIMARY COLOURS:

Herb Wong’s 1998 Blue Chip Jazz CD Award—“Top new instrumentals of the year”—Dr. Herbert Wong, Radio/Recordings Chair-Jazz Educators Journal March 1999-VOL.XXXI, NO.5

“ This is without a doubt one of the finest “orthodox” (piano/bass/drums) trio albums I’ve heard this year (and probably last year as well)”—Jazz News- Mar-Apr ’99

“Primary Colours explores contemporary jazz styles with a trio format of bass, piano, and drums showing closeness and a free flow of ideas” –Jack Burke-Waxworks-June 17, 1999

“Primary Colours is beyond question one of the more accomplished piano/drums/bass trios I’ve heard recently, and that includes the Ray Brown Trio’s wonderful session, live at Sculler’s. Individually, these relatively unsung New York-based musicians are superb; collectively, they are almost telepathic”—Jack Bowers-Jazz Now-March 1999

“…All three musicians have performed and recorded with musicians like Zoot Sims, Red Rodney, Bobby Hutcherson and Tiny Grimes, so their jazz credentials cannot be ignored and this recording proves that New York must have some of the best piano trios in the United States…”—David Griffith South Wales Evening Post-Friday, April 24,1998

“This trio plays with ever-flowing energy and life that can motivate the musical soul of anyone…These musician’s closeness allows them to create and improvise off of each others innovative movements”—Morrice’s Jazz Review-Jazz at a Glance-April 1998

“The Wagner composition, “Madeleine,” a feast for the senses, never loses its emotional weave”-Jerry D’Souza-Planet Jazz-Vol. 3 spring 1999

“Gerard D’Angelo’s piano style is straight-ahead & energetic expression that will make your heart sing!” Dick Metcalf –Improvijazzation Nation-Issue #32

“Meade is a high-velocity cyclone”—Larry Coryell-May 1996

“…They demonstrate their straightahead artistry, tight unity, and ingenuity as soloists, most noticeably on their group and individual restructurings of Gillespie’s “Con Alma”, Mongo Santamaria’s “Afro Blue”, and Dr. Billy Taylor’s “One for the Woofer.”- Nancy Ann Lee-Jazz Times-November 1999