Encircle (September 19)

Alan Brown

RELEASE DATE: September 19

These contemplations and improvisations were partly inspired by an instrument called an Ondomo — a recreation by Naoyuki Omo of the Ondes Martenot, one of the earliest electronic instruments developed in 1928 by Maurice Martenot (Ondes Martenot translated as ‘Martenot’s waves’). For this set of recordings, Alan gravitated back to his primary instrument, the piano, for many of the improvisations, allowing the various background colours to inform the process. The result is an album of great beauty and invention, rich in sonorous textures and equally rich emotional resonances.

All compositions by Alan Brown © 2025 All Rights Reserved

Produced, composed, recorded and mixed by Alan Brown
Mastered by Angus McNaughton at Auralux Mastering (angusmcnaughton.com)
Cover photography by Chris Melville
Designed by UnkleFranc
Printing by Studio Q


SEVENTH HOUSE MUSIC Vol 11

The Seventh House Music series champions artists who follow their muse free of generic or commercial restraints, a platform for explorative, improvisational, and collaborative works of instrumental art discovered in the process of being formed.


Released: 19 September 2025
Catalogue: RAT-D157


ALAN BROWN

Alan is a musician with a long and revered history in the New Zealand jazz scene as a pianist & Hammond organist. He was the bandleader of the successful jazz-funk ensemble Blue Train in the 1990s and the organ-based Alan Brown Trio in the 2000s. He has been an enthusiastic music educator for many years and enjoys repairing vintage keyboards and synths.

 

“In late 2021, I acquired a handmade 'Ondomo,' an instrument that had interested me for a long time, which served as a key voice in my previous Rattle release Ondulation (2023). While the piano is known for its expressiveness and as a synthesiser controller, I have always been intrigued by alternative methods of interfacing with electronic musical instruments.

 This use of the Ondomo on this recording serves a more subtle purpose. Woven discreetly into the fabric, it provides a quiet but vital presence that grounds the work without demanding attention.

 Conceived in 2020, the closing track, Isolation, pays homage to William Basinski’s “The Disintegration Loops”. The sonic erosion of the work stems from digital breakdown, characterised by the gradual reduction of bits rather than traditional tape decay. Though born from a sense of separation, the piece gradually shifts to a calmer state in which the final moments evoke a sense of letting go and quietly accepting what remains.”

 Alan Brown, July 2025