Symphony for Nature: The Britt Orchestra at Crater Lake
Michael Gordon – Natural History

PBS – SOPTV (2018)

When classical musicians are joined by Klamath drummers for an extraordinary world premiere inspired by Oregon’s breathtaking Crater Lake, deep connections between people, art and nature are revealed in an environment rich with historic and spiritual significance.

This new half-hour documentary artfully portrays the world premiere of Natural History, the powerful composition by Michael Gordon inspired by and performed at the edge of legendary Crater Lake. The original score, commissioned by the Britt Music & Arts Festival in honor of the centennial of America’s National Park Service, brought members of the Britt Orchestra together with a diverse ensemble of musicians, including the Klamath tribe family drum group Steiger Butte Singers, regional choristers, brass and percussionists, led by charismatic conductor Teddy Abrams.

Britt Orchestra featuring Steiger Butte Drum and Singers
Michael Gordon – Natural History
Cantaloupe Music CA21138 (2018)

When Michael Gordon was approached to compose his epic, inspirational work Natural History, he had one question to answer: If Oregon’s Crater Lake National Park were a symphony, what would it sound like? Conducted by Teddy Abrams and performed by the Britt Orchestra with members of the Klamath Tribe’s percussion group Steiger Butte Drum and Singers, Natural History stands tall as a celebration of the park’s natural wonders, as well as a conduit to the spiritual history of the surrounding community.

Natural History was commissioned by the Britt Music & Arts Festival to commemorate the centennial of the National Parks Service, and was performed on August 20, 2016 at the Britt Pavilion in Jacksonville, Oregon. As Gordon describes it in the short documentary film Symphony for Nature (directed by Anne Flatté and airing on select PBS stations): “Originally it was for an orchestra of 40 musicians, which is already a lot of people, but the plans for the piece kept growing. We added a chorus, and then [Britt] put me in touch with the Klamath Tribe, so now we have this project with a lot of forces working together.”

Southern Oregon University Percussion Ensemble
Mark Applebaum – Speed Dating (2018)
innova recordings 996

The SOU Percussion Ensemble performs Applebaum’s Clicktrack, the final track on the recording. Applebaum writes, “As its name suggests, Clicktrack is an unconducted work that employs click tracks in order to direct the players’ rhythms. Twelve percussionists are divided into three quartets, each player following his or her own click track on headphones.

The click tracks in this piece have four noteworthy qualities: (1) They are made of recited text (as opposed to mere clicks or regular beats); (2) They are recorded in advance by the members of each ensemble (as opposed to being supplied by the composer—thereby affording unique, personalized characters); (3) They are individual to each of the three quartets; and (4) Their content is made up of recordings of each player reciting a poem, a sonnet by flarf poet K. Silem Mohammad. When various words in the poem are heard, the players execute quiet musical articulations at the corresponding moment.

The sounds tend toward the noisy: sandpaper scratches, paper crinkles, ballpoint pen clicks, tin can clunks, stone thuds, coin tinkles, duct tape tears, slide whistle sighs, bird call squeaks, glass bottle plinks, bubble wrap crackles, and the like. Sometimes more conventional percussion instruments are used, such as triangles, woodblocks, cowbells, and even music boxes. And, on occasion, the players are called upon to whisper, speak, or sing individual words from the poem.

Mohammad’s sonnets—which he calls sonnagrams—are anagrams of Shakespeare sonnets. In this case, the sonnagram is a rearrangement of the letters in Shakespeare’s Sonnet 3 (Look in thy glass, and tell the face thou viewest). The composer gratefully acknowledges the author’s generous permission to employ his text in this composition. Clicktrack was commissioned by the University of Wisconsin, River Falls for its 49th Annual Commissioned Composer Project, with great thanks to Patti Cudd. Thanks also to Terry Longshore and his Southern Oregon University Percussion Ensemble for their splendid recording of the piece.”

Check out audio on the innova website:

caballito negroFlutist Tessa Brinckman and percussionist Terry Longshore perform intercultural work, in a fearless, ecstatic blend of modern and traditional aesthetics. Inspired by Federico García Lorca’s poem, “Canción de Jinete (1860)”, the duo collaborates with many prominent, innovative artists, creating contemporary music that pushes the flute and percussion repertoire to new heights, and always in the spirit of duende.



An excerpt of our recording of William Kraft’s Encounters XVI:

Left Edge Collective is a new music organization founded and directed by David Bithell and Terry Longshore at the Oregon Center for the Arts at Southern Oregon University. We compose, perform, improvise, create interdisciplinary projects, and host an annual festival of contemporary performance which focuses on presenting and premiering new works by members of Left Edge, works by nationally recognized guest artists, and collaborations between artistic disciplines.

Photo: Emmett Becker

Left Edge Percussion is a contemporary percussion group in residence at the Oregon Center for the Arts at Southern Oregon University, led by artistic director Terry Longshore. The group tours and performs throughout the Northwest and actively collaborates on innovative projects with composers and artists of various media. The members of the group have been featured around the globe at prestigious festivals, competitions, conferences, and workshops and bring a diverse array of influences and collective energy to the ensemble. 

Recent Left Edge Percussion performances include the Center for New Music in San Francisco, Center for Computer Research in Music and Acoustics at Stanford University, Gold Lion Arts in Sacramento, Northwest Percussion Festival (Ashland, Eugene, Salem, Bellingham, WA, and Twin Falls, ID), Britt Music & Arts Festival, Oregon Shakespeare Festival Green Shows, Hipbone Studio in Portland, Ashland World Music Festival, the Oregon Fringe Festival, and the Percussive Arts Society International Convention (PASIC), in addition to regular performances at the Oregon Center for the Arts at Southern Oregon University.

Based in the majestic state of Oregon, Flamenco Pacifico is a dynamic, professional performance group dedicated to bringing the art of flamenco music and dance to audiences in the Pacific Northwest and beyond. Led by virtuoso flamenco guitarist and composer, Berto Boyd, the group’s guitar-driven performances feature original modern flamenco compositions rooted in the time-honored forms of traditional flamenco. With inspired dancing by Elena Villa, the passionate vocals and guitar artistry of guitarist/singer Grant Ruiz, and the percussion brilliance of Terry Longshore, Flamenco Pacifico takes audiences on an unforgettable journey into the fascinating world of flamenco.



The Southern Oregon University Percussion Ensemble, directed by Terry Longshore, is dedicated to the performance of contemporary percussion repertoire and providing the members with a variety of percussive experiences. The ensemble frequently collaborates with notable composers on premieres of new works, and repertoire ranges from contemporary music to world traditions to jazz- and rock-inspired compositions. The ensemble gives several concerts every year at the Oregon Center for the Arts at Southern Oregon University, as well as many performances throughout the Southern Oregon community and the Pacific Northwest, and has performed at the Percussive Arts Society International Convention (PASIC). The SOU Percussion Ensemble has self-released two CDs, “La Alma del Árbol – The Soul of the Tree”, and “Electric Rebel Poetry”, and is featured on the Innova Recordings label on two CDs of the music of Stanford University composer Mark Applebaum: “30” (2015) and “Speed Dating” (2018). The SOU Percussion Ensemble endorses Vic Firth Sticks and Mallets.

Caballito Negro
Songlines (2016)
CDBaby 190394218058

Songlines is Caballito Negro’s first recording, an EP released (via CDBaby) in conjunction with its Pacific Northwest Tour and Britt Music & Arts Festival Residency in Spring 2016. The EP is a recording of three compositions from Caballito Negro’s touring concert program: David P. Jones’ Music For South Africa, William Kraft’s Encounters XVI and This Is Like Jazz! by Ivan Trevino.

Preview and/or purchase at the link below, or through iTunes, Spotify, Amazon, and all major music online retailers. (For best sound – listen with good headphones/speakers with full bass sound.)

30SOU Percussion Ensembles
Mark Applebaum – 30 (2015)
innova 928

The complete recording of Mark Applebaum’s 30, three intersecting, ten-minute long pieces that can be played separately or simultaneously:

The First Decade (for percussion solo)
The Second Decade (for percussion quartet)
The Third Decade (for percussion septet)

This recording presents all seven of the possible combinations performed by Terry Longshore, soloist; the Southern Oregon University Percussion Ensemble, quartet and septet; and conducted by Bryan Jeffs.

Check out audio at the Innova website:

electric-rebel-poetrySouthern Oregon University Percussion Ensembles
electric rebel poetry (2015)
Featuring six premiere recordings by the SOU Percussion Ensembles, Terry Longshore, director. The CD features:

The Rebel Frog Goes Dancing – Bryan Jeffs
30 – Mark Applebaum
(De/Con)struction in Steel and Electricity – Colin Malloy
Yume no Wa – Hikaru Sawai – arr. Colin Malloy
The Third Decade – Mark Applebaum
Sex, Drugs, and Poetry – Jeff Richmond

CD artwork by Greg Martin

[soundcloud url=”″ params=”color=0066cc&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

[soundcloud url=”″ params=”color=0066cc&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

DarolAngerEmyPhelps-Rippledarol anger & emy phelps
ripple (2014)
a beautiful arrangement of the grateful dead classic by multi-string master darol anger and fabulous vocalist emy phelps. i had a blast recording the tabla track for this – and some bowed crotale notes for a few spots.
listen to and download ripple here at cdbaby – only $1!

darol’s and emy’s website

sun gunseaons
sun gun (2013)
awesome album by fantastic southern oregon band led by my former student, sean siders
congas & maracas on title track
listen to tracks and purchase on seaons’ bandcamp page

check out seaons web site

scoggindavid scoggin
pan’s meadow (2013)
tabla on 2 tracks
artwing records

la alma coversouthern oregon university percussion ensembles
la alma del árbol: the soul of the tree (2012)
premiere recordings of chris burton jacome’s la alma del árbol, la resonancia de una rama and bryan jeffs’ a maroon hog’s rebel frog
also music by alport mhlanga/musasa marimba ensemble, christopher deane, nigel westlake, and peter garland

cd artwork by greg martin

check out our cd site to listen to excerpts from the entire album!
sou percussion

DuoFlamencoVerdeCOVER-sqdúo flamenco
verde (2011)
percussion & vocals along with guitarist/vocalist grant ruiz
df 101

cd artwork by bruce bayard 

check out our cd site to listen to excerpts from the entire album!

markapplebaum-metaphysicsmark applebaum
the metaphysics of notation (2010)
dvd of museum-scale graphic musical work by stanford university composer mark applebaum which was performed 45 times over 11 months. “metaphysics mix” is mix of one-minute excerpts of those 45 performances, including one by t2 (todd barton and terry longshore).
innova 787

stansellles stansell
a guitar makers path (2010)
An 18-minute documentary on building a Flamenco Guitar from start to finish. Shown at both the Ashland and Port Townsend Film Festivals. Includes soundtrack and music video by Dúo Flamenco.

Blackonwhite_TransparentWhat I’m Using:
YM-5100A 5-Octave Marimba
YV-3710M Vibraphone
YX-350 Xylophone
GSM-1465 Grand Symphonic Maple Snare Drum
YG-2500 Pedal Glockenspiel
CT-8XXB Concert Toms
Club Custom Drum Set
Recording Custom Drum Set

zildjianWhat I’m Using (some of the favorites):

22″ K Custom Dark Complex Ride
21″ K Custom Left Side Ride
21″ K Custom Special Dry Ride
19″ K Constantinople Crash/Ride
K Custom Dark Crashes (15″, 17″, 18″)
13″ K Mastersound Hi-Hats
13″ K/Z Hi-Hats
8″ K Splash
11″ Trash Splash
17″ K Constantinople Suspended
16″ Orchestral Suspended

vicfirthI use dozens of VF sticks and mallets – a few of my favorites are:
Drum Set: American Jazz AJ5, American Classic Extreme 8D
Brushes: Heritage Brush HB, Steve Smith Tala Wand TW12
Concert Snare: STG2 Tim Genis Leggiero
Marimba: Robert Van Sice Series
Vibes: Contemporary Series, Gary Burton M25
Timpani: European Classic Series

remologoWhat I’m Using:

Snare Batters: Skyntone or Coated Ambassador
Snare Sides: Ambassador, Diplomat, or Renaissance Snare Side
Tom Batters: Renaissance Ambassador Batter
Tom Resonants: Clear Ambassador
Bass Drums (concert): Nuskyn
Bass Drums (set): Renaissance Powerstroke 3
Timpani: Renaissance Hazy


duo-flamencoDúo Flamenco formed in 2007 out of a mutual passion for the art form of flamenco. Inspired by the sounds of Andalucía – the colorful province of southern Spain – the duo presents a dynamic combination of guitar, voice and rhythm. With Grant Ruiz on vocals and guitar and Terry Longshore on cajón (box drum), other percussion and vocals, the duo takes the audience on a journey through orange groves and olive orchards; arid, sun-drenched mountain plateaus; caves filled with gypsy passion; tiled courtyards with elegant, whispering fountains; and a history flowing with ecstasy and anguish. The natural sounds of voice and wood evoke times past when people sang their lives because they dared not speak of them openly.

Originally versed in several other styles of music both domestic and international, Terry and Grant were drawn to flamenco because of its fiery sound and driving pulse. Together they explore the range of emotion that flamenco provides in its music, from lyrical ballads to playful rumbas to the deepest of laments. This is truly music of the soul, but with a serious groove. The language of the cante (song) is Spanish, but you don’t need to speak it to feel the emotion behind it. And the audience is part of the performance in flamenco. As the performers reach for duende, a state of truth and inspiration, the audience is invited to reach with them, shouting out their approval and encouragement: “¡Olé!”

Click here to visit the Dúo Flamenco website!

skin&bonesdynamic percussion duo known for its exciting and engaging performances utilizing an arsenal of exotic, found, and newly created instruments. whether generating ambidextrous jazz on vibes and marimba, collaborating with visual artists and choreographers, or hammering out polyrhythmic textures on “junk” one might find in dr. seuss’s garage, skin & bones brings a new dimension to contemporary music.

What I’m Using:
California Series Congas
Ultimate Conga Cradle
California Series Bongos
3 Series Low Bongo Stand
Alex Acuña Special Edition Cajón
Timbero Series Cowbells
Lots of shakers, etc.

What I’m Using:
Pro 1 Series Cajón Bag
Pro 1 Series Cymbal Bag
Pro 1 Series Hardware Bag
Pro 1 Series Conga Bags
Pro 1 Series Bongo Bag
Pro 1 Series Stick Bag
Beato Drum Bed

crash – for percussion solo
instrumentation: 1 pr. chinese crash cymbals, 1 pr. chinese jing cymbals on hi-hat stand, 1 pr. hi-hats on stand, 1 pr. metal thimbles
difficulty: advanced
length: ca. 4’33”

sock_monkeymark applebaum
sock monkey (2008)
music by stanford university composer mark applebaum
theme in search of variations i
innova 706

excerpt of theme in search of variations i:

kraftcdwilliam kraft
an encounter with the music of william kraft (2008)
encounters xii (with Jeffrey Parsons, harp) and kandinsky variations (with Todd Barton, EVI)
albany troy981

excerpt of encounters xii: