DCM 007 - Trio Tamarind - Drum music, Dm 7 - my Seventh album. A fourth collection of Drum Studies, and a collection focusing on intense complexity, both acoustically and in ‘Assisted Performances,’ with the studio.

Echoes above me – Rh 83. A seeming cascade of echoes pushes the struck material almost beyond coherence – pushing at the limit of what I would call an Assisted Performance.

Just Time – Rh 116. A real study in complexity – only 6 minutes but quite a piece of concentration. I play a militaristic style point paired lick, stridently through it – and snatch a dancing, provocative third line to bend and shape the course of the piece. I play 3 lines on one drum - acoustically. Within them, a gentle pitched melody rises and falls.

Combinations for Four Drums – Rh 119. A Dancing Choreography for four drums – a bound set, the ‘Combinant’, that I used in ‘102 Variations FWP’ on my album - ‘Saar’ Dm 5. An epic study in Invention for multiply pitched Drums at over 30 minutes.

Trio Tamarind – Rh 141. An Almighty piece, the highlight of the album. Three line offsets for very large drums. The separation of years helps me see things in the round. At times the three lines seem to roll together – in cu curvaceous undulation, and fly apart following their wont ! A very successful Study in generating intense complexity and by so revealing an elegance of motion in the expansion of the piece.

Sonata for Drum Sticks – ‘Stick in Time’ - Rh 148. Punning on the proverb - ‘A Stich in time – saves nine – time and process in the impossible Daze of my ‘Sticks in Time.’ A stick for the keeping of time –and if that time is kept – then the sticks are ‘in Time.’ Drum sticks initiate the cause in percussion, they transmit intention to the percussed object, they are not the percussed object itself. They are percussed with. I don’t think, they have ever had an outing, in a piece where they themselves are the object of percussion – and in that sense play themselves. I percussed on the studio floor,- and upon themselves - revealing their wood bound voice ! Then I Audibly threw them aside with a clatter that is part of the piece ! I was exploring the textures of deep complexity at the time.


An early reorganization of my music research interest defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Drum music – Percussion on Drums of various kinds 'Percussion specifically on Drums of many kinds - as a speciality’
– Dm by convention.

Albums 1 - 7, collect together first seven Dm albums, placed in a block, one of 5 blocks, placed like books on a shelf. in an in an overarching 'Group' of my first 27 albums. Five Blocks for the Five Tranches - as they were founded (more of less) - five sets of studies and pieces, as my Foundational Group 'Blue Cherry' [after a friend]. The foundation stone the rest of my music is built on - in four further Groups.

The Seven Dm albums in the Blue Cherry Group are Dm 1 - a set of inventions for an American frame drum: Dm 2 – in a landmark set of the first 5 of my 12 Drum sonatas: Dm 3 - 5 are three volumes of Drum Studies; Dm 6 is in aother landmark set, the first of my 6 sets of Inventions for Djembe; finally Dm 7 is a fourth set of Drum studies.

The DCM album numbers list volumes in a [for the most part] chronological edition.- The DCM Broadhurst Edition - Prepared for the British Library in 2019. The Volumes or Albums themselves were actually released as and when it was possible. The Edition though, was planed from the start to stand on the 'foundation Stone' of the Blue Cherry group.

The Rh catalogue, numbers my works in order of Completion.
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