12 Arrows

Adam Rudolph's
Moving Pictures

META 003 - 1999

playing time: 66' 37"

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"Moving Pictures is about the most natural "world" music you'll encounter."

- LA Weekly

"A project of haunting power and beauty. Captivating and profoundly beautiful."

- Earshot Festival

Fresh from tours with music legends Pharoah Sanders and Yusef Lateef, ADAM RUDOLPH continues his 25 year exploration into the art of improvisation and musics from around the globe.

12 Arrows is a new performance work recorded live in concert fall of 1998 with Butoh dance innovator Oguri. The music reflects the cultural diversity, pulse and beauty of todays world; a musical journey of moods ranging from deeply meditative to explosive and transcendental.


Moving Pictures

Adam Rudolph: hand drums, talking drum, thumb pianos, udu, overtone singing.

Hamid Drake: vocal, trap drums, frame drums.

Ralph Jones: soprano & tenor sax, flutes, bamboo flutes, shenai

Oguri: dance

Moving Pictures is an ongoing research and performance project concerned with the evolution of improvisational art. In performance, Oguri dances enveloped in the motion/vibration of the sonic conversations of Ralph Jones, Hamid Drake and myself. We improvise by listening, looking and using our imaginations. This recording is a document of such a performance. The listener is "hearing" the dance in that the sonic gestures were shaped by our responding to Oguri's spatial movement, facial expressions and the emotional aura he projects.


12 Arrows is a non-linear compositional "map" which contextualizes thematic materials and the nature of the relationships of our improvisational dialogue. The compositional materials consist, among other things, of melodies, rhythm forms generated through cycles and polymeters (what I call "cyclic verticalism"), textural gestures, various music languages, tone rows, traditional and synthetic scales, diadic and other harmonies, call and response, polyphony, dynamics and the coloration of silences. The artists are free to use any of these materials at any time filtering them through individual and collective thought processes and sentiments.

In this orchestral approach to improvisation we are attempting to generate musical delineations of sound against sound, form against form, and rhythm against rhythm in a non-linear, ever shifting kaleidoscope of sonic images which the listener can choose to experience as almost three dimensional or spherical. This process serves the creation of emotional coloration and expression whereby the music can communicate directly from one heart to another.

- Adam Rudolph


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