Blac Buc, Blac Buc!!!

Bassist Jair-Rohm Parker Wells composes “Blac Buc” on the Buchla 200e

The realization of the multi-disciplinary work “Blac Buc” on the EMS Buchla 200e system.

Stockholm, Sweden

NS Designs bassist/Composer Jair-Rohm Parker Wells, in residency at EMS in Stockholm, Sweden, has crafted a significant social/political work utilizing the Buchla 200e modular synthesizer system.

The 50 minute multi-media/multi-disciplinary work is called “Blac Buc”. The title is a play on words referencing the Reconstruction era racial slur “Black Buck” and the name of the modular synthesizer system that the piece was realized on: the Buchla 200e modular synthesizer. The work promotes and inspires the consideration that Booker T. Washington’s “Atlanta Compromise” rather than W.E.B. Du Bois’ “Niagara Movement” held the best solution for post-Reconstruction America and the advancement of its Black people. The work was produced entirely using GNU, free and open source software. The completed work will be presented live as a fixed media performance incorporating projections, the voices of Ayn Rand, W.E.B. Du Bois and Booker T. Washington, dance and live NS Designs bass. A CD of the music as well as digital downloads/streaming will also be available.


…thinking man’s hip hop with cascading political indignation BEN WATSON (Music journalist/AMM-All Stars)

Let it now be known that the modern day “Freak-Bass Philosopher” has arrived – Jair-Rohm Parker Wells. I remember the Buchla well from my days at NYU (in the mid-80s!), so to hear it today through Jair-Rohm’s impassioned and well-informed “techno-logical touch” is a welcome sonic sandwich. Blessings for Bass. Thank you, Mr. Parker Wells. MARQUE GILMORE the inna-most (DRUM-FM / Kult-U-Real™) – April, 2017

“For Jair-Rohm, being called a virtuoso is too limiting. It’s being current that makes what he does so relevant. I think the measure of an artist goes beyond the hands that make the art. Jair-Rohm just doesn’t play the instrument, he creates a language using it.” — JEFFERY HAYDEN SHURDUT (artist/ producer/ director)

…an innovative mix of electronica, EDM, jazz and spoken word that will move your feet and open your mind.” – KARL FURY (electronic musician)

Music where acoustic and electronic instruments meet ,and where you sometimes can´t hear the difference will be tommorrows music. This is a good example of it. Nice bassplaying. It fits perfectly into the machines groove.” — THOMAS KLINTEBY (Composer , musician in ‘Upside’)

…we experience the full range of pitch, timbre, precision, warmth, harmony and chaos, Whiteness, Blackness, noise and music that mirrors the complexity of 150 years of post-slavery social evolution. Prepare for a ride, and not one that brings you back safely to rest. It is meant to shake and move you to a different place, and regain lost momentum.” — LAWRENCE DE MARTIN (acoustic luthier)

“This is a fearless confrontation of history and music technology. It builds on the works of pioneers like Sun Ra & Joe McPhee in terrms of both the embeded social issues as well as the boundless experiments with sound.” — DAMON SMITH



Jair-Rohm Parker Wells and NS Designs WAV electric upright bass at the Buchla 200e system at EMS Stockholm, Sweden. (Photo credit: Henrik Jonsson)

Review: “AMDG” by Jair-Rohm Parker Wells

A nice review of my 2008 release “AMDG”


My review as featured on Klanggold. Many thanks to Andreas Usenbenz:

With the dawning of synthetic science and the promise of technologies birthing from collaborative efforts across the whole scientific spectrum, optimists are calling the 21st century onwards the potential age of convergence. The crops of once isolated fields bordered off from one another are now relentlessly cross-pollinating, blurring into dizzying collaborative networks and shared information. And with the barriers between genres brought down in “AMDG” from electric bassist and experimenter Jair-Rohm Parker Wells, an atmosphere of convergency is prominent throughout this release, Klanggold’s second after “Pelktron” by Nobile. Slightly reminiscent of the free-squelch of Interface’s Cycling 74 release “./swank” (which, like AMDG, also features heavily treated electric basses), this vibrant, multi-genre amalgamation comes from his own “Sun Room” studio in Stockholm…and the fruits of the time and care an artist can spend in their own studio (rather than…

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Improvised music as a political statement…

Politics doesn’t always have to do with what you think your government is doing to you. Sometimes, the only politics that really matter are The Politics of Self-Realization. Dr. Leary writes in his collection of essays about accepting responsibility for our actions. Full responsibility. Self-determining people don’t blame their parents, their race, or their society; they accept responsibility for their actions, which in turn determines the responses they get from the world. This parallels the task of the improvising musician; in order to convincingly and effectively improvise, one must accept full responsibility for what they choose to play and only in this way will they reach their audience. It’s not about what you play. It’s about how you play it. Play it with conviction and it will be duly noted.

It is that simple.


What are you saying?

At the root of the motivation of the improviser, must be an acute awareness of self and an inescapable impetus to share that awareness. This is what it’s all about.

When i was sixteen years old,  Jimmy Woode gave me this book. It changed my life. It revealed to me that self and awareness of self must precede any success a person may aspire to. Who are you and how do you substantiate who you are? This may be the most important political statement any person can make.

I am. I think. I will.

-Ayn Rand, Anthem

i am. I think. I will.

Playing for keeps…

The great Anthony Braxton said

Play or die!”

Ken Simon said:

You’re either distinct or you’re extinct

Beethoven said:

“To play a wrong note is INSIGNIFICANT; To play without PASSION is INEXCUSABLE!”

Commitment and dedication are the keys to making Music. What makes improvised music work is courage – the confidence that makes the necessary great leaps of faith possible. Yes, technical facility is also very important. We cannot have any impediments between out imagination and our execution. Still, a timid musician with all of the technique in the universe will never be mistaken for a great improviser.

The book “The Courage To Create” by Rollo May is a great source of inspiration for the improviser.


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