Sean’s Original Music Catalog
|
| Title |
Year of Comp. |
Type |
Description and Comments |
| All Five |
1990 |
Jazz Combo |
My first complete original composition, written for jazz sextet and performed on my senior bassoon recital. Later re-recorded in a more fusion setting.As the name suggests, it a modal 5/4 with a straight-ahead swing 5/4 bridge. |
| Guess Who? |
1988 |
Big Band |
My first big band composition under the tutelage of Hank Levy. The title comes from the amount of plagiarism from Hank’s chart “Peek Into a New Time Zone” – all in 7/4 and 14/8. |
| Snap, Crackle, & Bop |
1989 |
Big Band |
My first attempt at the adventurous world of 4/4. A conventional, yet charming, straight-ahead swing chart in the style of Sammy Nestico. |
| Latin Inquisition |
1989 |
Big Band |
One of my favorite Hank Levy charts “Chain Reaction” is all in 13/4. One of my favorites Chuck Mangione compositions is “The Hill Where the Lord Hides.” This composition is a collision of the two! Hank… meet Chuck! |
| Odd Funk-N-Stuff |
1991 |
Jazz Fusion Group |
Originally recorded in my basement on a 4-track with Kyle Coughlin (sax & flute) and Chris Holt (guitar). One of my personal favorites. The name says it all… Like Pat Metheny meets Tower of Power… Ummm… or something. Mostly a heavy funk groove but covers a lot of musical territory with strong melodies and all kinds of crazy odd-meters… 10/4, 7/4, 22/4, 9/4, 5/4, etc. plus a wild surprise ending! |
| Que Pasa |
1992 |
Latin Jazz Fusion |
This 4/4 composition recorded in my basement on a 4-track with Kyle Coughlin (sax, flute, & co-writer) and Chris Holt (guitar). It features a great latin groove contrasted with a heavy-electric funk solo section. |
| Takerimba |
1991 |
New Age – Solo MIDI Project |
Named after the Marimba synthesizer patch name I used in its creation, Takerimba was a project to utilize a 23/8 time signature – taken from one of the most sophisticated compositions of Don Ellis, “How’s This for Openers?” Composed for 3 mallet instruments. |
| Funky Chick |
1993 |
Electronic Jazz Fusion |
Recorded in my basement on a 4-track, “Funky Chick” relatively simple 7/4 funk groove featuring a MONSTER keyboard solo by Greg Hatza. Composed in the style of Chick Corea first Electric Band album. |
| Symphony #7 |
1993 |
Electronic Jazz Fusion |
Recorded in my basement on a 4-track with Kyle Coughlin (sax, clarinet, & flute) and Chris Holt (guitar) and Todd Butler (trumpt). An insane combination of musical elements, all in 7/4 or 7/8 and in a quasi-sonata form. |
| The Funeral |
1993 |
New Age |
Sad/morose new age mood music. Co-written by Chris Holt as background scoring music. |
| Circle |
1993 |
New Age |
Happy new age mood music with a classical overtones. Written as background “wallpaper” type music. |
| Disney Medley |
1994 |
Solo MIDI Project |
The name says it all! The musical mind of Sean Fenlon meets all those wonderful Disney tunes! |
| Inside Outside Upside-down (I.O.U.) |
1995 |
Electronic Jazz Fusion |
Modern synth-based 5/4 groove which romps through several characters and moods. Depeche Mode meets Dave Gruisin! Currently exists as a solo MIDI project and is featured on the MP3 sites! |
| Hiatus IV |
1995 |
Electronic Jazz Fusion |
An intense synth-based romp through 11/4 & 22/8 meters w/ a strong Pat Metheny influence. Killer keyboard solo! Currently exists as a solo MIDI project and is featured on the MP3 sites! |
| The Wedding Song |
1995 |
Smooth Jazz |
A slow dance ballad built from a beatiful & gentle melody. Light piano solo interlude section in a slow 5/4. Currently exists as a solo MIDI project and is featured on the MP3 sites! |
| I’m Back |
1995 |
Latin Jazz |
A crazy latin jam in 5/4 and 9/4 featuring a big musical “pyramid” build. |
| Song for Stuart |
1997 |
Jazz Fusion |
Composed for Stuart Hart for his upcoming CD Project. Based loosely on The Brecker Brothers, but all in 7/4. |
| Freedom Jazz Dance (arrangement) |
1997 |
Jazz Fusion |
Yes, I kept this in 4/4, but added a super-cool piano cadenza and all sorts of inside-outside polyrhythms. Stole the idea from Tom Hirschmann. |
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