1. The Movement Of Heaven - I composed back in 1975 and have played live with every possible combination of instruments.The timing is 7/8 (7 beats to the bar) which I find resonates strongly with an inner part of my being.The title is one of the hexagrams from the I Ching.

2. Fairy Dance - was composed for the visualisation of white dazies dancing in a white vase on a white lace doilie. Real fairy music.

3. Tabahala - A friend of mine lent me on Indian harp.This music evolved out of enjoying the sounds of the harp and adding guitars,tablas,tamboura and echoing flutes.

4. Hawequas Dream - is a musical manifestation of an idilic farming community I helped form in South Africa 1983, a paradisic dream.
 

5. Swaying In The White Haze - uses a Queca rhythm (a Chilenian folk rhythm in 3/4). I simplified it to a waltz for the visualisation of waltzing in a white mist.

6. Nataraj - means dance in Sanskrit. This is the theme from a 45 minute musical piece I composed for a dance meditation.

7. Sunning - visualize sitting in the sun and feeling it's warmth pouring through every cell of your body.
8. Landscapes - is inspired by the visual beauty of the lush green valley viewed from my recording studio.

9. Near and Far - music to exercise the eyes looking at an object near and then far,near and far....

10. Raga Bharavi - features the beautiful santoor (a multi-stringed Indian/Persian instrument) played by Reinhart,who stayed with me for a few weeks.
 

This album was recorded over 8 months (Jan. to Aug.'88). It was initiated by Peter McDonald who wanted music for hypnotherapy.I decided to make a full 30 minute a side tape,which would be ideal for hypnotherapy, meditation, relaxation, easy listening etc.
The first idea was to have didgeridoo and soprano sax.This was to be "Inner Pulse". Kavi played a half hour of continuous didgeridoo. I listened to this and immediately my fingers were playing a guitar arpeggio in 7/4. I played 2 continuous 1/2 hour tracks to create a beautiful stereo effect. I then sat down at the keyboards and melodic ideas kept flowing. The water and bird sounds were added (a mixture of real sounds from the forest,digital samples and synthesisers). Electric bass and guitar were added and finally Tony Bucchanan layed down soprano sax.His masterly touch captured the perfect feel.Finally I played percussion and added the finishing effects. The final outcome was more vibrant than I had initially conceived,but once the creation had began it was as though it took it's own course. All I had to do was to be the medium tomanifest the ideas.
"Echoes Of Ancient Past" began with nothing. I started at the one end of a blank tape...sat at the synth...and began playing. Once the echoes manifested the rest unfolded as I journeyed into the piece. It needed sitar, so Bhodi dropped into the studio a couple of times and created some gentle eastern touches. I met this guy Manny Lieber(another flautist) at the local markets where I was selling my tapes. We had a few jam sessions and he stayed over and played the first flute part on "Echoes". Paul Kimmel was up over Easter '88 and played more flutes (the ending flute piece). Don Ruttan then played the middle flute part. The sea and sea gull sounds were added to complete the journey.

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