Encinitas and Everything After (2001-2013) - twenty some compositions for different ensembles
across the bridge (2002) - one page lead sheet
This piece has been performed by multiple ensembles over the years. This piece was inspired by a photo of a bridge in Santa Cruz, and was written for my wife.
apparitions, ghosts and an old man (1992) - one page lead sheet
Although composed in 1994, this piece lay dormant until being re-discovered in a folder of forgotten compositions in 2004. It has been performed by multiple ensembles since that time.
Box Canyon Overview (2005, revised 2011) - for piccolo/flute and ten percussion, ? page score, parts (piccolo/flute, 1. , 2. , 3. , 4. , 5. , 6. , 7. , 8. , 9. , 10. )
Box Canyon is a small canyon located at the east end of the San Marcos Creek Watershed, famous for its cliff diving potentials from the steep ledges into the water basin at the bottom. The dangerous nature of the place has led to quick calls to the police by neighbors, and the city has done its best to quarren off the area with fences and brush. In fact, urban legend tells us that Christopher Harris shattered his heel jumping from the high ledge, dragged himself out of the canyon and knocked on a neighborhood door, asking the lady who answered to call a medic for him.
To be honest, I have never been down the cliffs into the canyon. My viewings of the canyon come from many drives down Cadencia Street, peering out the window for a quick view. Hence, I have chosen to shy away from any high energy, "leaping off the cliff" musical histronics, and instead focus on thoughts of watershed, sediment and echos.
This piece was debuted by students at Grossmont High School on May 19th 2006 (I was teaching percussion there at the time). Originally, I considered this as the prelude to a multi-movement piece that was never completed. With a few years hindsight, I realized that (with a few revisions) the piece was complete as is.
(clock noticing the few moments left) (2007, revised 2011) - transposed parts (bass/piano, alto saxophone, tenor saxophone)
This piece was debuted January 2008 at the Trummerflora Collectives Other Ideas at Kava Gallery concert series. Since that debut, the piece was expanded and re-orchestrated for the ensemble heard on this recording. This performance was recorded summer 2011. For Norma.
encinitas and everything after (2007) - six page score, transposed parts (flute/soprano saxophone, bass clarinet, vibraphone/marimba, bass, percussion)
This piece was performed several times by the woodwind version of Everything After.
following the moon (2005, revised 2005-2007) - three page score
This piece was debuted in an incomplete form at a concert at San Diego State University March 17th 2005. Since that time the piece was revised, expanded and finished and has been performed numerous time with the ensemble Everything After. Given time to see / Finding time to leave / Almost time / Follow too soon.
for DPH (1999) - for improvising trio and tape, fifteen page score (everyone reads from score - tape, woodwind, bass and percussion), CD (15:23), audio realized August/September 1999
Composed for the ensemble Return To One at a point when we were still a trio, this piece uses quite a few different notations as well as leaving room for solos from the group members. Below are program notes from the debut (and only) performance - Monday, October 4, 1999 at San Diego State University -
"After forty-seven years of running a contracting business in Encinitas, the city of Encinitas decided this year to cancel my grandfathers company's lease, thus forcing them to move. I decided to start taping some of the sounds of the yard as a way of remembering something that has been a major part of my life. During this time in my life, I was listening to and studying pieces by Kenneth Gaburo, Karlheinz Stockhausen and Tony Oxley for electronic tape and various instruments. I decided these tapes I was making would make an interesting piece.
The tape was digitally recorded to mini-disc and later, using a four-track recorder, was overdubbed, looped, recorded backwards and pitch shifted. As well as a wide variety of sounds (including oil compressors, gas compressors, tractors, engines, back-up sirens, a creek and various crows and birds), the voices on the tape are - Don Hubbard Sr., Marty Jens, Jim Jenson and Nathan Hubbard. The piece originally started with political overtones but listening to it now, as a finished product, I believe it is simply a statement that things change. For my grandfather and my father."
in her garden (1999) - two page score
Originally for solo piano, this piece was first heard on the Return To One recording Promises (Castor&Pollux Music 001). There is also an arrangement for two saxophones. This piece was inspired by a painting of flowers by my Great-Grandmother, Stella Hubbard, and is dedicated to her memory.
Indianhead Canyon (2003-2004) three page score, everyone reads from score (clarinet/tenor saxophone, trombone, guitar, acoustic bass, percussion)
This modular piece was first heard on the Cosmologic recording III (Circumvention Music ?). With thanks to Craig Pattison.
los batiquitos (2011) - for multiple samples and various instruments - four page score, transposed parts
Composed over many months in 2011, this piece takes it name from the Los Batiquitos lagoon, which forms the northern border of Encinitas. Rural legend tells that the first Spanish settlers/priest baptized two "locals" in the lagoon when first traveling through the region. Despite these claims, this piece focusses on the long trip from the San Marcos watershed, down thru Box Canyon, into the lagoon and on to the Pacific Ocean. For Dave Golia.
memory, darkness and the western wind (2001, revised 2003) -for improvising quintet, piano and tape, two page quintet score, one page piano score, CD (3:22), audio realized July 2001
Written for the group Cosmologic, this piece was originally conceived of as a studio piece so that Scott Walton could play both the piano and bass parts. It was later expanded to include guitarist Al Scholl, and was recorded during the sessions for the Cosmologic recording III (Circumvention Music ?). Designed to broaden the sound language of Cosmologic, it includes a notated piano interlude and the full band improvising with pre-recorded audio. This audio was constructed out of processed florescent light and clock recordings with pitch shifted brake drums entering towards the end. This section was conceived as a stepping off point for extended improvisation and a chance to have all of Cosmologic play percussion. Inspired by a strange evening in Tijuana when Greg Buhlert and I went to see/hear Pan Sonic at Don Loope - my truck was broken into and someone stole my backpack and stickbag, containing minidiscs from a recent RTO tour and a book of my poetry. This led me to think about the RTO minidiscs, which I never got to listen to. This piece is dedicated to Justin and Laurel Grinnell, two of the few people to attend the concert documented on a lost mindisc. This piece received its debut (and only live performance) on June 25th 2002 when Rick Helzer joined Return To One for a performance at Dizzy's San Diego.
once more around this burning sphere (2007, revised 2011) - eight page score, everyone reads from score (vibraphone, two guitars, two keyboards, two basses, percussion)
This piece was debut January 2008 at the Trummerflora Collectives Other Ideas at Kava Gallery concert series by an early version of the ensemble Passengers. Since that debut, the piece was expanded and re-orchestrated, interpolating material from an unfinished piece originally written for Something Strange Is Afoot with Al Scholl.
one rainy night (1998) - one page lead sheet
This was the first piece I ever presented to Return To One when Lee Elderton joined the group, and it is perhaps the most performed piece of that group. For Kate Conklin.
remembrance - Diane Hubbard (2008) - one page lead sheet
This piece has been performed by multiple ensembles. For my mother.
San Dieguito River (2002, revised 2003) score, transposed parts (soprano saxophone, tenor saxophone, bass clarinet, bassoon, horn, violin, two electric guitars, two basses, piano/accordian, drumkit/percussion)
Debuted on a Skeleton Key Orchestra performance at Dizzy's San Diego December 2002. Inspirations - The twenty-seven miles that the San Dieguito River takes from the Anza-Borrego Desert to meet the Pacific Ocean in Del Mar, Sandy Lees tales of riding her bike to down the unfinished Interstate 5 to visit Stella Hubbard in the 1960's, and Stella Hubbards sweeping painting of the San Dieguito River Valley.
Sand, Wind and the Vast Pacific Ocean (2002, revised 2003) - transposed parts/score (one for strings, one for winds) (soprano saxophone, clarinet, tenor saxophone, baritone saxophone, violin, electric guitar, cello, acoustic bass, harp, piano/accordian, drumkit/percussion)
This piece was debuted on a Skeleton Key Orchestra performance at Dizzy's San Diego December 2002. Although it was written before I met him, I thank Phillip Wachsmann for the reminder.
silverfish (1998) - three page score, transposed parts
Poem written to complete the composition Silverfish, written for the ensemble Return To One. For Jesse Sanderson.
three castles (2006) - six page score, transposed parts (flute/bass clarinet, vibraphone/bass)
This piece was originally scored for percussion ensemble and was debuted at Grossmont High School on May 19th 2006 (I was teaching percussion there at the time). Since then, I have created several different arrangements, including one for traditional big band. This piece has gone thru several different names, but I finally settled on this one as a reflection of the toll time takes on monuments. We should all go hike San Dieguito Park today. With thanks to Chris Prescott.
three early piano pieces (1992)
These pieces were re-discovered in a folder of forgotten compositions in 2004. Three pieces based on a common starting point that form a suite.
trapped between the wind and the sun (2005)
This recording was part of a poetry CD that was eventually scrapped and never released (the cover of that CD is used as artwork in the booklet). Due to poor date keeping, this track has a uncertain recording date, possible around 2005-2006. Written in transit from Cardiff by the Sea to San Marcos, with memories of warm days hurtling down the I-5 corridor with windows down, over the San Dieguito River, to parts unknown. With thanks to Korrie Paliotto, Marcelo Radulovich and Curtis Glatter.
Walled Garden (1994, lyrics 2011) - one page lead sheet
Although composed in 1994, Walled Garden lay dormant until being re-discovered in a folder of forgotten compositions in 2004. Since that time, this piece has been performed numerous times with the ensemble Everything After. Dedicated to Ruth Larabee, founder of the Quail Botanical Gardens in Encinitas California.
waterlilies (2004, lyrics 2011) - for voice, piano, vibraphone, acoustic bass and percussion - five page score
This piece was debuted November 18th 2004 at Dizzy's San Diego and since that time has seen multiple revisions and extensions. This piece was performed numerous times with the ensemble Everything After. In part inspired by the meditation gardens at the Self-Realization Fellowship in Encinitas California. Or perhaps just the glean of sunlight off the water, with Koi silently filtering about the bottom. All these dreams must fly.
|