![]() I began recording little tunes with a trumpet, a drum machine, a synthesizer and my father’s acoustic guitar. ![]() Eventually a piano was moved into the house, and other instruments followed as I opened up to new styles and instrument obsessions. I took to it in the manner of someone completely possessed, having found an inspired alternative to idly passing by the empty hours of sleepless nights. It went on like this, with countless secret albums filled with city names and various musical styles until I was finally convinced to try playing a few concerts, around the age of 17. I would use my computer to play the pre-recorded backing music through the PA systems while I sang and played trumpet, and had my brothers beat djembes and tambourines furiously “over the loud parts”. we managed a concert at the local teen centre, and later, somehow, a warehouse on the edge of town with a few other local acts unknown to me at the time from the local arts college. It was after one such concert that I met Paul Collins, a student from Pendleton Oregon studying at the College of Santa Fe. he said he was a fan of what he heard and asked if I would ever consider working with some live bass and drums sometime. ![]() He mentioned that hearing the somewhat eastern influences of the music made him think of his friend and fellow student Nick Petree (from Taos, New Mexico), who had taken a few Middle Eastern percussion classes and knew his way around a darbuka. I remember wondering if this shaggy-haired stranger and his then-mohawked friend Nick could really play the bass and drums like he claimed they could, or if they were just some guys jamming Sublime tunes on the quad at the College of Santa Fe. ![]() I learned quickly that both things were true, and that they were hilarious, talented and fun to be around. ![]()
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