3.2.26: 1 Album 2: That woman

That Woman is a reflective, guitar-driven song that pairs emotional candor with compositional restraint. Built on steady harmonic movement and clean melodic lines, it explores compartmentalization, desire, faith, and loss with deliberate clarity. The opening—“Look away from my darkness”—sets an introspective tone that deepens through layered imagery and recurring musical motifs. Cyclical chord patterns subtly mirror the song’s psychological themes, while measured phrasing gives the lyrics space to resonate. The refrain—“she ran off with my voice”—lands with stark force, transforming reflection into admission. Intellectual yet accessible, the piece balances vulnerability and structure with quiet confidence.

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Songs

3.2.26: Untitled 3 #1 (New book)

Who’s door is that? Yes, truly, one door opens, but can’t I stay here, or go back in time? What if I don’t like it on the other side of that door—and who am I to think that they will open it? Ursula is asking me who’s door this is; but it’s my door, so I must be overhearing something, unless she’s trying to tell me that this is her door, and I should pursue our affair. But to think something like that might be over-doing it, given that, a long time ago, people would tell me that I think too much—and, as I understand, that may have been true, but, if it was, I had a good reason: I never should have been playing baseball in the first place, for example. I should have been drawing and painting, as I soon found out—or, when it comes to women, well, I shouldn’t have been with them at all.

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Novels in real time

2.27.26: Jazz: Two-fold

Two-Fold is written for trumpet in B♭, tenor saxophone, piano, and acoustic guitar. The piece unfolds through clearly defined motifs that circulate between the horns, forming a measured, conversational exchange. Beneath them, piano and guitar establish a steady pulse and harmonic framework, sometimes sparse, sometimes thickened as all four instruments converge. Much of the material gravitates around G and A centers, with repetition used structurally to shape the form. The texture alternates between open space and layered activity, allowing phrases to breathe while maintaining forward motion. The result is reflective but not static — a work grounded in clarity, balance, and gradual harmonic evolution.

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Jazz

2.16.26: 1 Album 1: Brown-skinned lover

Brown-Skinned Lover unfolds over a steady, mid-tempo pulse, anchored by warm guitar voicings that repeat and subtly evolve. The harmony circles with intention, creating gentle tension and release, while moments of space allow the music to breathe. Melodic lines rise and hover before resolving, giving the song a reflective, restrained character. Lyrically, intimacy meets inquiry. Images of blue skies, storms, cosmic rays, and unanswered emails frame romance within a wider emotional landscape. Beneath the devotion lies a call to self-truth and independence. Personal yet expansive, the song invites close listening, balancing warmth, thoughtfulness, and quiet harmonic depth.

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Songs