robot bass clarinet & samples — drums — electric guitar
This was my primary focus and activity when I completed music school and moved to Chicago. I was then and am now very happy with all the music that Micah, J.P. and I made back there at the turn of the century. This was when my artistic-self-designed experiment of becoming a powerful combination of Eric Dolphy and Les Claypool really started to coalesce. And it provided excellent material for further mutation into some of the core Edmund Welles bass clarinet quartet compositions. This was the robot bass clarinet driven riff-rock that I was convinced needed to be born into the world.
13 compositions by Cornelius Boots, 3 written collaboratively with the band.
composed collaboratively: Cornelius Boots — Micah McClain — J.P. Cassidy:
Faun Tumnus (1997-1999)
robot bass clarinet & samples — drums — 2 electric guitars
This avant-progressive rock group was my first full-blooded attempt at becoming “The Bass Player” within an ensemble. And, as usual, I was lucky enough to be playing with one of the best drummers on the planet, so, me and my positronic-brainchild the robot bass clarinet had a chance at actually sounding good in that foundational fundamental role. We created 8 songs together, some of which I wrote alone and the rest we created as a band, but they were all epic sound adventures.
4 compositions by Cornelius Boots, 4 written collaboratively with the band.
Composed collaboratively with Seth Benjamin Bortolotti, Jason Slota, Tadas Paegle (and Perry Tee, “Foundation” only) :
bari sax — vocals (1-4) — 2 trumpets — trombone — alto/soprano sax — tenor sax — guitar — bass — drums (+percussion)
This band I co-founded with my brother in 1991 and it was active in Bloomington, IN playing many many parties, clubs, and festivals. Out of the dozens of cover arrangements and original compositions, these 3 songs were the ones I composed for the band, and writing these introduced me to composition in general. Only elitist thugs will tell you that there is a sharp distinction between “composition” and “songwriting.” To quote David Lynch, “If you create, you are a friend of mine.” As would be my method, the primary instrument I played in the band, baritone saxophone, was the basis for the how’s, why’s and what’s of each piece.
Flattus–Live @ Second Story in Bloomington, IN 1996
Flattus– Live at CollinsFest 1997
Flattus–Live @ Second Story April 1995