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Improvising is composing, only there’s no time to stop and polish. My aim has been to create music that
has structure—at least a beginning (sometimes the searching part is left in), a middle, and a conclusion
— and that can sometimes “pluck a deeper string.” Within this structure there may be many themes that
play off one another and interweave. Most of these works come into being the way a plant grows, the full
blossoming, (which may be quiet, usually coming near the end. There is no editing (except for a rare few
where sections are cut). I discovered the following quote, which turns out to be a precise description of
how I approach this work:    

"When I’m no longer trying to do something, I begin to feel I am led, as if my brush was just following a
definite path. I am just following something which I merely initiated. At that point I am open to something
which I was unable to express before, when I wanted to direct it. And strangely enough, the best moment,
nd the best result is when I am here in front of the painting, and the hand is so to speak free. I am not
imposing. At the same time it is me who paints. But it is as if I were following a kind of secret indication.
I am no longer fighting. The struggle has taken place before this moment, when I was at the point of giving
up. And at that point if I’m open enough, then something occurs, something completely new, something
which seems to be true." 
      (fr. “The Transmission of Content, An Interview with Paul Reynard,” Parabola, Vol. 13.1, 1998.                                                      

When listening, I’m astonished. I feel that the person who produced them does not seem to be the same
person as the one who listens back! The names, which come afterwards, are sometimes uncannily
appropriate; (e.g., Traveling: “The Transfiguration of a Chrysalis,” "The Ecstasy of Living Just One Day,"
"Journey to the Secret Garden"; or Interior Processes: "The Lead Crane Knows He Will Die after This
Migration," "The Dying Crane Praises His Creator," and "Two Cranes Celebrate Their Lives Together,"
and many others. When improvising I don’t think about words.                       Listen for the unexpected.

Albums
Traveling
The Butterfly Suite 1-5
  1  In the Early Morning a Butterfly Emerges
  2  The Transfiguration of a Chrysalis
  3  Dancing
  4  A Butterfly's Seriousness and Great Joy
  5  The Ecstasy of Living Just One Day
  6  With Joy the Cranes Are Flying into Summer
  7  Journey to the Secret Garden
  8  The Wedding Song
  9  Deepening
10  I stopped and Looked Around
11  They Are Trying to Help Us
12  Beginning a Relationship
13  Stages in the Process of Eventually Being Carried by the River
14  Waves of Longing
15  Grace Appears Unexpectedly
16  Quieting the Air
17  Homage to Emily Dickinson Whose Business Was to Love and to Sing

Interior Processes
  1  Interior Processes
  2  Feeling Lost Is Part of the Process
  3  Infusion
  4  The Surfacing of Hidden Sorrow Is Good
  5  Not Yet Lovers Ambling in the Hills in Summer
  6  The Lead Crane Knows That He Will Die after This Migration
  7  The Dying Crane Praises His Creator
  8  Interlude on the Black Keys
  9  Living in the Unexpected
10  A Crane Feels Her Life Is Blessed
11  A Certain Sobriety
12  This Is All Going on Inside of Us
13  Recalling an Interesting Dream
14  Interior Healing
15  Getting Down---then Getting Up
16  Folk Dancing
17  Second Chameleon Waltz
18  More Coffee Than Usual
19  Two Cranes Celebrate Their Lives Together

As Important As Breathing
  1  The Second March of Joy and Sorrow
  2  Surrounded by Unimaginable Darkness and Light
  3  Being in the Mountains
  4  As Important As Breathing
  5  the March of Joy and Sorrow
  6  The Cranes Feel Blessed after Arriving
  7  Rhapsody of the Bells
  8  Plucking Deeper Strings
  9  A Miniature Rendition of the Birth of a Galaxy
10  A Transformation
11  The Wonder and as Question
12  To the Rainbow's Other Side
13  Clearing a Path
14  Back to Life through Hidden Springs
15  The Current Flows On and On
16  The March of the Quotidian
17  The Heart Is Full
18  A Crane Glides through Our September
19  Love, No Matter What
20  Nothing Real Is Lost
21  One of the Continual Interior Campaigns
22  One of the Infinite Lives of the Note, C

Deepening
  1  Remembering the Past
  2  Time Becomes Space
  3  Side Road with No Instructions
  4  Main Road – Straightening Out Kinks
  5  Intensity
  6  With Hope They're Watching Over Us
  7  In the Night Wood – an Unexpected Magical Adventure
  8  A Love Story in Dotted Rhythms
  9  Prelude and Variations on Three Ascending Notes
10  Some Deeper Touches
11  The Beauty and Greatness of Nature
12  The Unexpected Is Embedded in the Expected and Is Often Subtle
13  Trying to Stay Awake All Night
14  A Modest Waltz
15  Joy and Sorrow Drink from the Same Spring
16  Lifting the Spirit
17  Letting Light In
18  Preparing for Adventure
19  Journey toward Strength

Opening
  1  The Road to Paradise Is Plain (Emily Dickinson)
  2  Tangoing by a Lake in Moonlit
  3  Under the Willow We Discover a New Joy
  4  Two Cranes Falling in Love During a Migration
  5  Singing through It All
  6  The Leader of the Crane Migration Prepares the Night Before
  7  Getting Unstuck
  8  Rhapsody on the Note Sol
  9  A Young Crane's Feeling on HIs First Migration
10  Just under the Surface of a River
11  This Is Going on Somewhere in the Universe
12  In a New Wilderness
13  Memories, and Parting
14  Late Night Improv
15  Hymn-like Prelude and Brief Homage to Bach
16  Adagio Currents of Living Water
17  Chameleon Waltz
18  A Boy Going Off to War to Die -- Improv on Danny Boy (an Elegy)
19  Fragment of a Larger Song