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Musical Philosophy

For the past 9 years my practice has been rooted in improvisation. The seven years prior to that were spent as a budding classical musician. My playing draws from formative experiences in synagogue, growing up near the Everglades, as well as my love of polytonal classical and creative music traditions. These past 9 years without formal guidance as a musician have been immensely freeing. It often means having the patience to fail, seeking out wisdom wherever it may be, and never being afraid to ask questions of myself and others. I am in a process of constant expansion and renewal, teasing at the limits of what's possible.


Since July of 2022, I’ve been utilizing a space in South Philadelphia for the organization of shows and open sessions. As of this writing (January 2024) I’ve thrown approximately 50 sessions dedicated to free and creative music that were open to the public, plus private sessions that are countless more. The constant churn of individuals has altered my improvisational practice in ways that I’m only beginning to fathom. With these sessions I can confront directly my limitations as a player and as a person. My creative practice has been turbo charged, I am connected to Philadelphia and the world in a new way.


My time as an artist in residence with Mascher Space Cooperative led to my founding of the People’s Music Supply-a platform of curation, education, and collaboration. As well as the foundation of several of my new regularly performing ensembles.


I perform on a variety of instruments but primarily utilize Voice, Horn and Electronic Wind Instrument (EWI). All of my performance practices are in a state of generative flux, rapidly developing. Each day, I learn more about them, myself, and this cosmic organization we call music. 

On Voice, I have limited, if useful, training. With self-guidance and collective wisdom, I have developed techniques suited to my improvisational story telling. My first experience as a vocalist was congregational singing in shul. My first solo performance-my Bar Mitzvah, singing cantillations, reading Torah. I take inspiration from my cantor, whose powerful voice was always used to lift the prayers of others closer to the lord. Those minor melodies, those fleeting instances of weakened tonality are the backbone of my intuitive harmonies.

In addition to the Hebraic channeling, I utilize the unlimited potential of the throat- creating resonant overtones with mouthshape, as well as multiplying the amount of overtones by folding my false vocal chords. Among the other ways I have of generating timbral richness are inhale singing and countertenor singing.

On Horn, I've only recently begun to tap into the possibilities of instrument. This was my first serious instrument. It is the site of intensive training, regimen, and  ideological control. As youngster, prior to college, I studied the horn for seven years, playing in youth orchestras, bands, and chamber ensembles. After deciding not pursue a performance degree, I put the horn down for another seven years. It was only after a reading an interview with Rob Northern that I endeavored to pick it up again. I practice constantly and I am now a better player than I ever was, in part because the love I have for my horn is not muddied by any institutions expectations of me.

On EWI, I transform my breath into control voltages and MIDI messages to create custom performance instruments and breath-reactive auditory systems. This can resemble something as straight forward as a "space clarinet". At other times, this can mean controlling the various forces of an orchestral swamp as it progresses through the night. The only sonic limit is the imagination, constraints of space, patience, and time to develop my palate.

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