B R E S K I N T U N E S 




Here is a sampling of my music, my not-so-secret joy ... the recordings on this page span a period of approximately 30 years.
Some of these samples are encoded in the original streaming format: RealAudio. Others are encoded in in a highly processed 32Kbps MP3 format, from the days when the fastet connections were 28.8 dialup.

 The Flashplayer from my MySpace page streams more modern 128 Kbps MP3.  Now that everybody's getting broadband, it is my intention so start offering downloads in FLAC or 96Khz 24 bit DVD-Audio format, just to see how this works for people.

I wasted a lot of time earlier in my life trying to mix music and money. Boy was I wrong. It's NOT about money. I got to be a really good electric lead guitar player by the time I was 21, but in retrospect, I probably should have learned to play Jazz Standards, or Bossa Nova, or to play a role in a recorder consort.

I ended up breaking the headstock off my Martin D-28 (by accident, but what is an accident, anyway?) and sticking it under the bed for the better part of 15 years while I figured out something more socially useful to do with my life than lugging guitars around.

In fact, it took me over 30 years to learn how to take the time to " play for the play of it. " I have friends who look like grown-ups who are still trying to find " careers " in music, and most of them spend more time on the career part than they do on the music.

Big mistake there. Makes a lot more sense to focus the career energy on something that is more satisfying and more financially rewarding than self-promotion, and then buying some time to play for play.

Picture of Joe Breskin shot by Lissy Abraham - probably the best candid portrait shooter on earth - click this image for a completely different portrait of Joe, a double-exposure by Lowell Jons, who does awesome nature photography as art
Generally, this music is " first take " stuff, so by nature it is risky and sometimes it doesn't work all the way through. But it is always as real as it can be. I am NOT a multi-track person, I do not expect to " fix it in the mix ". And I rarely play it better the second or third time. What I am looking for is intimate CONTACT with another person in real time ... through this channel.
    The basic questions this music attempts to address are:
  • how close can I come to playing what I think you want to hear?

    This is a matter of " raw " ear-hand coordination, and for me it varies substantially from day to day.

  • How close can I play to where I think you are going to go next?
  • This is a matter of communication skills and experience.
  • I sometimes describe it as the output of a fast case-based reasoner.

Almost all of this stuff was recorded with Len Moskowitz' wonderful Core Sound "battery box" Binaural microphones, and before 2001 they were connected to a Sony TCD-D7 DAT Walkman, recording at 48Khz.

The DAT was dumped to my hard-disk using Syntrillium Software (now part of Adobe) Cool-Edit'96 or Cool Edit 2000 and Cool Edit was used to edit and to clobber the WAV files down to Real Audio files that are 1% of their original size. Unfortunately, in the RA format you can't tell how good Len's mics sound. However, there is a great deal to learn here about the effects of RealAudio, and ultimately about what "works" in RealAudio (and what does not) from this page.

More recently, with the general acceptance of MP3 I have been encoding using a variety of MP3 codecs. Lo-Fi tends to mean 32 kbps vbr and Hi-Fi could mean anywhere between 64 kbps and 320 kbps though most often (on my site) it means 128 kbps.

During the summer of 2001, on the way to WOMAD, I stopped at Fred Myer and got a Sharp Minidisc recorder to replace the portable DAT recorder, which had died after 5 years of faithful service during which it ate about $500 worth of AA batteries. If you want to carry a minidisc recorder, Sharp minidisc recorders rule, and if you are considering getting involved in live recording using minidisc technology, read this FAQ-like compilation of answers I've written to readers' emailed questions.  eventually the Minidfisc machine got stepped on and broken (proving that some things can actually be too small)

I am increasingly a fan of SONY's music and video editing software suite VEGAS and SoundForge.  If you are new to this game and shopping for a digital audio recorder that you can carry around, you want to start with the Zoom H2.

The Recording Equipment

(the studio that fits in a book) The recording tools - the whole rig fits nicely into a hollowed-out Economics Textbook (Samuelson, of course) -

For the past four-and-a-half years, I have been recording primarily with a (much larger) Marantz 670 CF recorder and an FMP of Oktava MK012 mics and/or a pair of SONY T-9 Digital Still cameras (they shoot excellent video and a pair of them allows a two-camera shoot or two to three hours of single camera recording, but fills less space in my pocket than the minidisc recorder

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Except where otherwise noted, this site is
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The links below will get you music or pictures or in some cases, lyric-sheets or sheet music. You must have Realaudio Player 3.0 or later and a 28.8 internet connection (or better) in order to hear these tunes in RA. The Lo-Fi MP3 files are surprisingly clear on this system at rates as low as 32 kbps but I could certainly put them up in other bitrates.

There are lots of MP3 files on the later pages.200220012000

Latest Postings

and Newest Stuff

Recorded after October 2006

Buzz Rogowski and Joe Breskin on MySpaceTV

Ranger's Theme Live at the UpStage

This video was shot with a pair of Sony T-9 digital still cameras in their "fine" Video mode, one camera resting on the block at the end of the keyboard facing Buzz and the other resting on the top of the piano facing Joe ... no swivelling display on these so there is  no way to see what they will really get: you just turn them on and place them where they might get someting. 

As a result of proximity of the cameras (they have internal microphones) and the sound man's not turning the up volume of Joe's guitar, as Buzz had requested right before we dove into this tune, the guitar is kinda low in the mix at least for the majoprity of the recording.

But isn't that totally cool? All the gear you need for a two-camera shoot will literally fit in the pocket of a dress shirt!

This pair of clips is from the DVD The Four Seasons of Western Washington which was a really fun soundtrack project for Brian Noblet that I played on last winter, that you can read about on www.purnimaproductions.com and buy on www.filmbaby.com 

These two are the only sections I play electric guitar on - the rest of the video is very calm and gentle, but to film this part, Brian was riding a jet-ski up the slough at daybreak, the air well below freezing, knowing that if he biffed, he would at least drown a $10,000 HD camera, if not himself.

This is the first tune of the set PTTV that recorded of Emanual Sass and me at the UpStage in May 2000. Most of this tune was spent getting the sound and cameras to work together (mixing live mics and live cameras while shooting is challenging) and the tape was black for the first half and the guitar was way too harsh for the first 2/3 of the tune. So it goes. It is a wonder that it got captured at all. Thank you PTTV.

Click the white Right-click either button to download files to your computer to play them later. Lo-Fi icons to stream lo-fi (32 kbps MP3) music samples (about 500Kb files).
Click the green Right-click either button to download files to your computer to play them later.Hi-Fi icons to stream Hi-Fi (128 kbps MP3) music samples (about 2000kb files).

All Blues.
You all know this one.

Scotty and I used to play it years ago at the Ajax when he lived in PT in the mid '90's   This was recorded after some excellent Green Dragon Oolong tea had hit. We recorded another even peppier version of it later that was so hot it was almost 'Rockabilly but this is about how we used to play it. 

Scotty's Roland A-80 through a Fender Passport PA and my Steven Lewis Dreadnaught acoustic guitar (tele neck pickup) through a Crate Limo. Small, well damped high ceiling non-rectangular room. Mics were sitting on the woodstove across the room and the levels were low enough that we could talk, listen and sing w/o mics or cans.

Bliss in the Saddle.
This was the very last piece in a concert David put on a few weeks ago with Micheal Mandrell and Lawrence Foster. So the band is composed of Celtic Harp, Shakuhachi flute, Michael Mandrell's guitar and me. I had been warned not to scare the flutist, so I tried not to.

The underlying tune is one David Michael calls Sky Safari on his Courtship of the Moon CD and I call Big Sur cuz I made it up on the beach where the Pfiefer River meets the Pacific Ocean at Big Sur. It's not that surprising that two guys who play together a lot would each write a tune that used the same melodic elements.   Anyway, he recorded it years ago and that we revisited the theme in a session with Christopher of the Wolves on our In the Moment recording as Waves of Bliss

I had heard rumors that Michael Mandrell had tried to make it gallop along like a cowboy song, so I took it straight into Buck Owens territory or at least into Nashville Skyline territory. First and only time I've played on a stage with these two guys, though Michael and I are doing a studio duet on "Prairie Lullabye" on Dari Lewis soon-to-be-relased CD.

The Ranger's Theme
I host and code Buzz Rogowski's website. Sometimes we play music together. Buzz is a great player and this is one of his most 'commercial' sounding tunes from a CD he did while working at Paradise on the side of Mount Rainier.  First time we played it was incredible, but I was not recording that night. So it goes ... See the video clip for another take a year or so later 

Playa La Ropa
Another version of the Playa La Ropa mariachi tune that David  Michael and I recorded as a Celtic harp-nylon guitar duet on 'Crocodile and the Chihuahua', but this time I'm on electric bass and Matthew Montfort of Ancient Future plays the lead on his scalloped fingerboard Gibson guitar and David's Zoom 505 effects pedal..

Wristmic Duet

Back in the late 90's I played some amazing music with a very intense young German pianist named Emanuel Sass.

During the winter of 2001-2002, I followed Eszter Gavalier to her hometown in Miscolz, Hungary and from there travelled to Passau, Bavaria, to play on  Dannau TV with Emanuel.

This is recording from that show. Totally acoustic (unamplified) performance in a large hall. Recording techique was interesting: the Sharp Minidisc recorder was in my jacket pocket, one mic on my right hand jacket cuff, the other on my left shoulder. Emanuel was wearing the headphones so he was hearing the proper piano-guitar balance.

The SONY impulse-based conformal reverb was used on the guitar track to insert the close-mic recording into the same reverberant space as the 10' grand piano.

Solos and Duets with Guitars that are currently for sale.

Recorded November and December 2003

   Last month I decided to sell off most of the guitars I was not playing, and I brought the National Resophonic home to take pictures for the selloff site. Doris picked it up and started playing it. She made up a very cool minor tuning on it that I thoughtlessly re-tuned and lost, and then she made up another - that I wrote down and have been learning to play in. Think of it as an A minor tuning. EACEAC.

it is a VERY DARK minor with the 6th string still tuned to E as is normal
For the 5th string it tunes across at 5th fret
For the 4th string it tunes across at 3rd fret
For the 3rd string it tunes across at 4th fret
For the 2nd string it tunes across at 5th fret
For the 1st string it tunes across at 3rd fret

Lots of your "normal" chord shapes will work, but they will sound REALLY different. For a first change, try going from open, to the normal 1st position E shape. Now, take the 3-finger D-shape and move it up 2 and then make it a D 7th shape.

The other tuning used on these latest recordings is very warm and sunny. I call it "Drop the D to C#" tuning, because the D string is dropped a half-step to C#. I got it entirely by accident after I broke a string on the Mexican Requinto one night, put on a new one, played it for an hour or so and then went to sleep. In the morning I discovered that it had stretched another half step flat. And sounded fantastic! On these recordings the whole guitar raised 5 frets, because it's played on the Requinto.
Click the white Right-click either button to download files to your computer to play them later. Lo-Fi icons to stream lo-fi (32 kbps MP3) music samples (about 500Kb files).
Click the green Right-click either button to download files to your computer to play them later.Hi-Fi icons to stream Hi-Fi (128 kbps MP3) music samples (about 2000kb files).

The Last Little Bits.
The very last bits I recorded this morning in the VERY DARK TUNING, right before the minidisc ran out of storage and said "goodbye!"

The Rhumba Machine
Last year I played this tune a lot. I still don't know what it's name is, but people recognize it and when I played it in Hungary last winter, people got up and danced. This piece is played in "Drop the D to C#" tuning on the Requinto. In the beginning I called it the Rhumba Machine. Nowdays it has gotten so familiar-sounding that people always ask "what was that?"

So, what was that anyway?
So here's another version of the Rhumba machine chord progression played on the Requinto, with a second part overdubbed using the National Resophonic (this is when I lost Doris' first cool tuning). I used the Core sounds mics for this recording and caught it on the Roland VSR-880 using the minidisc as a mic preamp. Just one take, no punches or anything, so it's got real-life errors, but you get the idea. At the end you can hear Stumpy asking "what was that anyway?"

Only Leading the parade.
Paul Dorpat turned 65 on Day of the Dead this year and his friends staged a marvelous event - The Geezer - to celebrate his induction into Geezerhood. He used to be the editor of our underground newspaper, and true to form, he gave a fairly challenging assignment to everyone he asked to perform: prepare a meditation covering the intersecting of the themes mortality and mutability. I thought about it for the better part of a month and realized that regardless of the self-importance we may have been flooded with at the time, we had not been changing the world in the '60's and '70's, we had merely been leading a parade. And the lyric, as yet mostly unwriteen and unsung, is about how even when we were marching down the freeway, many thousand strong, we were really just leading a parade.

Recorded as recently as 11-06-2000

Duets with John Nelson in 32 kbit/sec MP3.

Generally these are complete recordings with proper fades for endings. They are typically under 5 minutes long and under 1.5 MB files.

I have known John for nearly 30 years. He grew up in Port Townsend and we were house-mates in Seattle, long ago. John has run a recording studio called CROW in Seattle for many years. Since the days when there were less than a handful of studios in the Northwest. He finally got tired of swimming against the stream and shut it down.

At some point a few years ago I "gifted" him a Mexican-made classical guitar and it somehow opened a door back into his own music.
Now he has a CD of his original music out called Soliloquy that is getting good reviews, and a website up.

Since the Woodenboat Festival in 2000 we have been spending a couple of days every few weeks making up music and recording it. My DAT stuff does not sound near as rich as his 2-inch tape machine but there is something about this spot on the beach that keeps bringing out new music.

The recording setup we used for these recordings is very very simple - almost like mono. An Octava 319 Figure 8 condenser mic (outrageously dark sound - almost like a it was made to capture the color of a Bulgarian symphony orchestra) is positioned between us about 2 feet closer to John and an EV RE-16 dynamic is pointed at my guitar (near the neck - body joint) but mostly it is just serving as a phase mic
  • C major to F minor.
    I have been playing variations on this change for years. John is just about the first person who has learned the part I normally play, so that I can play the second part. This is the recording of him learning to play it. Begins with me showing him how it works.
  • Working Title unknown.
    We sat outside in the sun and people driving by stopped to listen. This is the first more or less complete exposition of the melody. Most of it derives from the Dinosaur song (see below) but it is much prettier, and there is a wonderful point where the melody sort of goes into freefall.
  • Avoiding Melody. Earlier in the weekend we sat outside in the sun, making up stuff. This one got us into a space that John called Lullabye, but when he asked me what I was doing I said I was avoiding melody. This has been processed with in CoolEdit 2000 using their compressor plugin - hence the mud in the filename.
  • R & B Groove - it pumps.
    Most people won't let me play against the rhythm like this. It "pumps" because I processed it one step too far with "undo" disabled. Live and learn.

Recorded 04-28-2000 at The UpStage

Duets with Emanuel Sass, from Germany.

- Mark Cole, the owner of the UpStage Restaurant in Port Townsend wrote me some email a few months ago that said:

" Dear Joe - Thanks for help and monster music. Please visit and give details and set up again .... and list to forward to performers. This week got two acts I think you'd like. One was the German didgeridoo player and pianist, Emanuel Sass. He's playing Wednesday early evening, although if anyone wants to jam, let us know, maybe he'll stay later. "

... so I dragged an acoustic guitar and a little amp down to his club late in the evening. And was totally amazed at what I found. This young fellow from Germany who spoke essentially no English, but could play American pop music with a depth of understanding I had not run into since the days when I hung around with Charlie Larkey and Tony Visconti in New York City in 1966.

Listen to how Charlie plays bass on Carole King's Tapestry Record. Or Tony's even more famous work, after he left NYC and went to London. There are NOT a lot of people "who get it" like that.

  • Opener. This is the first thing we tried to play. Listen to how we build an enormous level of trust almost immediately.

  • Piece Of Mind. - When we discovered that in spite of the fact that we had almost no common spoken language we knew the same music, the challenge suddenly became finding out how much of this music we both knew, so we set off on chase after chase. This one goes through a bunch of pseudo-gospel feels. Hence, I called it "piece of mind." The blues is mostly about being lost and blues singers whine about it a dark, mournful, minor kinda way. Gospel music, at its best, is about being found "found" and even when being found is mistaken for being free, there is a light in this music that I dearly love, a light that expresses iteslf most clearly in the major voices that are used at the end of the phrases. You already know this one - It's mostly " People Get Ready."

  • Catska's Tune. - Made up for Catska (see below) who walked in with her sweetie, science-fiction illustrator Cory Ench near the end of the show. Seeing them together pumped up the energy a little and since she plays some of my stuff with her band it seemed like a perfect turn about to play something that sounded a bit like her stuff.

Me with Flip, my kid sister from Bellingham.

At PSGW 1996 - David Querido Photo

Follow this link to a sampling of music from a CD called SIBLING REVELRY that I made for Flip, as a wedding present.

  • The Dinosaur Song. - My "hit" from 1993, Recorded LIVE in Vancouver, BC, October 11 '97. This was fun because we did the show without any PA at all. The recording mics are in the audience, front row center.
  • Se'A Hamba. - Flip's favorite South African freedom song. Recorded in Ande's living room November '97.
  • Faraway. - Peter Jung's fast Jig tempo Waltz played slow (contrary to his explicit instructions in "The Waltz Book " ) as the opening tune of my 49th birthday concert. Played amplified (mic'd) through an awkward PA. Recorded at The Public House in Port Townsend, WA, March 8, 1996 using a Sony TC-D5M analog cassette deck and a pair of Radio Shack PZM mics.
  • Eric's Waltz. - Eric Schoenburg is a master guitarist and one of Flip's oldest musical friends. I think we play this tune better than anyone. Again, from my 49th birthday concert. Recorded at The Public House. The PZM mics are stuck to the wall behind the muscicians.
  • Darling Asleep. - Better than anything else, Flip and I play Lullabyes. I don't know where this one came from. I do not really remember it from the singing of our mom. Or from our music box. Turns out Flip got it from Richard Scholtz. Again, from our concert in Vancouver B.C., recorded in a hard room with a low ceiling and no PA.

And with Heather Williams, a very sensitive player who doesn't play out much.

  • Golden Harp. - Heather's chords morphed into a pseudo-celtic harp song. Recorded in a living room late at night, 4-7-98. It looked to me like we played very well together and that we were going to be able to write music together but she was convinced that the Dinosaur song and many other lyrics I had written were offensive to women, and we then got into quite a bit of confusion.
  • Dead-end Street. - Basic orientalized pop tune morphing slowly into a specific pop tune, which I eventually realized I knew but that Heather did not know (you will hear this point in the recording), demonstrating the importance of knowing where your tunes are coming from. In this case it came from Phil Spector's first recording session as producer. He and Ben E. king also recorded "Rose in Spanish Harlem" in this session. I particularly enjoy the point at which I realize what song we are really playing and state the verse melody explicity for the first time. Recorded in the same nearly unbroken 2 hour session, the second time we had ever played together - in the livingroom of a sweet yet sort of spooky house full of religious artifacts and icons.

And with Catska, an incredibly talented kid: The ORIGINAL GLOBAL TEENAGER ™.

And with Scotty (John Scott), my pianist buddy from 1996 who escaped to Montana and now is moving toward Bisbee, Arizona.

  • The Junker Blues - It was late. Well after midnight. It was Blues Week, but I had already played a 4 hour gig. I showed up at 204 looking for new blood, but it was mostly a collection of pounders and blues wannabe's. Then this new guy I had never met walked in and sat down at the piano. He looked at me very seriously and asked if I had EVER found a way for people to hear each other in these jams... I pulled the D-7 out of my jacket pocket, draped the CSB mics over the piano's music holder, unzipped my Washburn , and sat down on the bench next to him. I said put these on and handed him the headphones. I pushed the red button, he hit the opening chords and started to laugh. You can hear it, it's on the tape. We played 'til dawn.
  • Drown In My Own Tears - After we played for a few nights we discovered that we had each learned Ray Charles' tune in very much our own way, and that they collided in several places. Over the next few months we gradually worked out ways to combine our disparate versions to get something we could both play. Scotty moved away before we really figured it out, but drops in to play every once in a while. This version was recorded in September 1997, the night before the Salmon Festival, on Richard and Marie Amerson's wonderful rosewood grand, while Marie washed pots and pans at the other end of the room.

And with Johnny Z, (Johhny Glatzer) the reigning master of piano-bar jazz in Port Townsend.

Johnny has a new CD out and I have most of a website up for him where you can listen to samples of his music in Real Audio or MP3 formats. The stuff I have up on my site is VERY different from the stuff on his CD.
  • Running from love - Johnny plays a grand piano in a style reminiscent of Errol Garner, but he also plays wonderfully twisted pop music. He has this Korg synth and plays background music on it that probably belongs at a Ray Bradbury ice skating rink. This one is sort reminiscent of one of the mothers of all pop tunes. Catchy, familiar, but you can't quite name that tune, can you? Recorded on DAT at the little studio I put in his house, right before it got robbed.

  •    Misty at the UpStage 4/25/2000 - I am not really all that excited about old melodies - in fact, nearly every time I play something I am looking for a new 'fall line' through the chord changes. This night I walked into the UpStage, where I store one of my PA systems, to see what was up and Johnny Z and Joel Levy were in there. Johnny was playing Misty straight as an arrow. So I set up the DAT I keep in the pick-box of my Blue Heron guitar case, clipped the CSB mics to a pole about 12 feet from the piano and plugged in my guitar (I keep an old Ampeg bass amp down there, too). When the time came for the next verse, Joel handed it to me, and I took the solo. Johnny had never tried this song with me, so I really don't think he knew what to expect, but he was a very good sport and gave me two runs through the verse to define the melody, and then Joel came in with the vocal. He embraced the new melody quite wonderfully and as of last weekend, he still sings it that way. No mic on this man and this is a big room - he has an awesome voice! Johhny eventually decided we were having way too much fun making jokes out of the master's work and brought it to an end. The guitar sounds a little 'tubby' on this because the speaker in the Ampeg B-15 (glass 6SN7s on the first stage)is a JBL D-140 with the aluminum dome surgically excised, and because I had the cabinet open instead of sealed, in an effort to get a little drier sound out of it. Compare it to the stuff with Emanuel Sass (above) where I am playing my '53 Fender Deluxe (with military metal can 6SC7 on the front end and a 6SN7 next) through an ALTEC alnico 12.

And with Jim Nyby , the Jefferson County Librarian.

  • Oh, Suzannah. Really this is " Oh Suzannah " meets " Let It Be " - Jim can improvise gospel changes to my liking and we found some good musical puns in this jam. This was recorded at Port Townsend Country Blues Workshop '96, in Room 204 at about midnight, the night before I met Scotty. We had played together the previous year under similar circumstances, and although our music blends wonderfully in situations like this we rarely play anywhere else. I really love Stephen Foster music. He documented the settling of the north american subcontinent during a crucial period where the popular music of Ireland met the popular music of Africa, and was my first introduction to ethnomusicology, which I later spent years studying at the University of Washington (1968 - 1973). When I was in 5th grade I worked through (learning to sight-read and harmonize) a book of Steven Foster tunes on guitar and then in 6th grade, went through them again on Piano to learn rhythm. This was the first time I had played Oh Suzannah since 6th grade.

The two-headed me ... playing with myself, multi-tracked as 2 layers, both are the first try.

  • The Meandering Echo - From the very early '70's, both tracks recorded on my high-strung 3/4 size Fender Musicmaster with a homemade pickup. Plug the guitar directly into the preamp on the recorder, play the basic track until it feels like it's all been said, rewind the tape, put it in record and play along. By about 2/3 of the way through I start to remember what I played earlier quite vividly and the last time around is really tight. The reverb is tape reverb. I used a TEAC 3340S at 15ips and ran one channel back to the inputs, giving it a fun slap echo.

A much younger me, playing with Carter Renner, who was married to me for a nearly quarter century, in a life long ago.

  • Enter the Zen Guitar Dojo MP3 at 32 KHz The Clint Eastwood Theme-song - From the very early '70's. Fairly typical of the music we played, but written to sell back when Clint was shooting a cowboy movie in Baker, Oregon. A lot of our friends went down there to be " extras ", but we never went down and never sent the song to anyone.

    Phil Sudo liked this one the best of the stuff I had on my site in the late '90's and recommended it on his own fascinating Zen Guitar website.

    This take was recorded by Jimmy Borsdorf (of Hawks and Eagles fame) in summer of 1986 when he and Nancy Bray were galavanting around the west on a mission funded by the State of Nevada. Jimmy got a grant to drive around and record music that was part of the folk process, but was " falling through the cracks " in the distribution system. In the folk tradition, Carter and I had not played for years, but we dug out the guitars and set up the mics and tried to remember how to play stuff we had made up about 10 years before. Isn't that a cool sounding compressor on the Mosrite? It was home-made by Ed Streeter (on a totally funky hand etched circuit board that looks like it was layed out using electrical tape and an exacto knife). He gave it to me in the parking lot in front of Morningtown Pizza in about 1969. I've still got it, buried under a pile of other stuff on my electronics bench.

And with New age music pioneer, harpist David Michael. David is one of the founders of a new Internet-based music community called Acoustic Dogma Check it out to see if their site is up yet.

  • Nola - A Live Improvisation that began as a jam on David's Mariachi tune and turned into a fun Zydeco dance tune. Live at the Ajax Cafe, Port Hadlock, Washington, November 1996. It is literally called Zydeco on the Sibling Revelry page.

And a sweet stolen moment with David Michael's Band, recorded in August '97 while he was out of the room.

  • Benji - with Ben Wertheimer from Ancient Future on Keys and Randy Meade on Flute. These musicians are part of a new Internet-based music community called Acoustic Dogma. Check it out.

And with the eccentric deviant cage-mate Nick Dallett. Recorded direct to HD at Foresight, 10/17/97

  • The thing that I wanted from you - A work in progress for almost 25 years, Guitar chords from an old friend, Michael Altman. He used them in the M.A.S.H. Theme he wrote for his dad, back when he was in Junior High School

  • Going Home - Nick's arrangement of Mark Knofler's tune from the soundtrack to the movie Local Hero
  • Dinosaur - Alternate take of Nick and me doing the "dinosaur song" live to HD at Foresight when we were cagemates AND still had time between projects to jam

  • If you want more bandwidth, ask me to put up some of these as .mp3 (mpeg) files. MPEG audio sounds about like the generic music programming people get off their satellite TV channels.


    HOME - To the rest of the Breskin Dot Com Website

    HTML Design Copyright © 1998 Joe Breskin All music is © Copyright as of the date it was posted to the web, if not before, Joe Breskin and whoever else is part of it on the recording. MP3 files have copyright bit set. All Rights Reserved. Re-Distribution is fine, but do not sample it!

    Last updated late in 2004 to add the picture of Doris and the recordings of the guitars for sale. Prioor to that 3-24-2003 to make links to 2001 page work. Prior major revision was 11-20-2000 to add stuff with John Nelson. Previous update 7-25-2000 added keywords and Misty. Previous update 4-14-200 to repair broken links on Benji, Thing that I wanted, and Meandering Echo