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Clint Goss | Jam Tracks in A Minor

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World: Native American New Age: Solo Instrumental Moods: Type: Background Music
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Jam Tracks in A Minor

by Clint Goss

A series of "play-along" CDs for jamming, improving your playing, performance, and fun on Native American Flutes.
Genre: World: Native American
Release Date: 

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  Song Share Time Download
1. Glasgow
3:47 $0.99
2. Backdrop
4:36 $0.99
3. Do We Yo
4:14 $0.99
4. Bell Dance
4:02 $0.99
5. Dinda
4:14 $0.99
6. Goodnight Omega
4:44 $0.99
7. Bombay Blues
2:45 $0.99
8. Ananda
4:13 $0.99
9. Morning Dew
4:22 $0.99
10. Nashville Unplugged
2:14 $0.99
11. Five Clave
3:50 $0.99
12. Gaga Mondoon
4:21 $0.99
13. Soar
4:27 $0.99
14. San Juan
3:31 $0.99
15. Crystal Ocean
3:29 $0.99
16. I Do Believe
4:18 $0.99
17. Night Rider
4:28 $0.99
18. Om Mani Padme Hum
4:14 $0.99
19. Round the Campfire
3:49 $0.99
20. Oh Seven Oh Eight
3:20 $0.99
Downloads are available as MP3-320 files.


Album Notes
Track Notes
1. Glasgow. An ideal performance piece, once you become familiar with the structure of the backing track. Note that there is a low Am flute (by Barry Higgins) in parts, interleaved with the gorgeous cello of Eugene Carr. I have used this track in performance, switching between mid-range and ultra-high Am flutes. Here is a recording of how I've played it ... but everyone puts their own spin on the track.

2. Backdrop. A classic "descending scale' motif for jamming. Get your body into the motion of the rhythm and let your fingers fly!

3. Do We Yo. Backing track from Lynn Miller's Mystic Song CD, with Lynn on guitar and vocals and Alfred Goodrich on cello. Ideal for long-tone playing.

4. Bell Dance. An ambient soundscape with heavy use of asian bells.

5. Dinda. This track began with some incredible Amadinda players we met in Zambia. We were not able to record them at the time, so I put this track together from sounds samples to emulate the style of their playing.

The amadindas are accompanied by hand percussion riffs from Bashiri Johnson's Supreme Beats collection.

6. Goodnight Omega. This gorgeous track by Peter Dubner was an in-the-moment improvisation during a concert in the Lake Theater at the Omega Institute.

7. Bombay Blues. And now for something completely different! Kuldip Bhatt's ripping tabla, with a bass line melody on a low Am NAF.

8. Ananda. This is a backing-track version of the Ananda track from the SpiritGrass CD. The Hang drum and Tibetan bells are the same as on the SpiritGrass version, but a new cello part was recorded by David Darling.

9. Morning Dew. A solo piano track by Peter Dubner.

10. Nashville Unplugged. A favorite track from the first Hour in A Minor CD. This is done in the Nashville style of "Three chords and the Truth". You supply the truth!

11. Five Clave. A riff of Peter Dubner, in 5/4 meter. This can be a real rhythmic challange. You can try to line up a melody with the 5-beat measures, or just let yourself go and jam freely over the top of the rhythm.

12. Gaga Mondoon. A thick ambient soundscape for spaceous Native Flute. Tamboura, stereo shruti boxes, and Tibetan bells. Note that this makes heavy use of the "D" note.

13. Soar. A good performance backing track over solo piano.

14. San Juan. Samba-flavor over a basic 12-bar minor blues progression. There is a solo electric piano part late in the track that you can respond to on the flute, or play over the top.

15. Crystal Ocean. A pure open ambient pad that gently morphs. Try your hand at bird calls and sound effects on your flute as well as melody over the top of this track.

16. I Do Believe. Rhodes piano and acoustic bass by Peter Dubner. This backing track changes character mid-way to a classic walking bass style of easy jazz.

17. Night Rider. Acoustic guitar and electric bass. A 2-chord "vamp" with many variations that builds in energy. Ideal for pushing your technique and "going wild".

18. Om Mani Padme Hum. Backing track to the Hindu chant as set to music by Laura Warfield. There is a low background Am double-drone flute (made by Brad Young).

19. Round the Campfire. A "slippery guitar" style with a lead part in the middle that is designed for call-and-response on the flute. If you use this in performance, you will ahve to be familiar with when the lead comes in.

20. Oh Seven Oh Eight. An improvised piano track by Peter Dubner.



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