Category Archives: Music

Horacee Arnold Redux Kickstarter Campaign Week Four

This is our final week of this campaign and again, we would like to thank all those who have backed the project and help spread the word. In this video, Horacee explains his next project and who he will be working with on the reinterpretation of his 1974 album, “Tales of the Exonerated Flea.”

Please visit the Kickstarter project page

Horacee Arnold Redux Kickstarter Campaign Week Three

We are in our third week of four and are not as far as we would have hoped. We are optimistic that with the help of our fans and friends we can reach our goal. To help spread the word, this week we introduce a new video for the track ‘Serengeti Minstrel’ from All Times Are In It. Here is a short clip featuring part of the video. You can see the short and full versions using the links below. Thanks again and please help us get the word out by sharing on social media (from our Kickstarter project page.

Serengeti Minstrel (Short Version)

Serengeti Minstrel (Full Version)

Horacee Arnold Redux Kickstarter Campaign Week Two

Horace Arnold Redux logoWe are in our second week of the Kickstarter campaign and would like to thank all of those who have offered their support. But we are a long way from our goal and are widening our reach and need your help. Please share this message with all of your friends and let’s make this happen!

Horacee Arnold Redux Kickstarter Campaign

Horacee’s Kickstarter Now Live

Horace Arnold Redux logo

Kickstarter Campaign Now Live

We have 30 days to reach our goal and need your help. If you wish to donate, please visit the site and equally important, please help us spread the word using social media. Now we present a short video for the track “Elegant Waters” off of Horacee’s new album.

Horacee Arnold Redux Kickstarter Campaign

Here is the second installment of “Horacee Arnold Redux”. Everything is in place and we are ready to launch. Look out for updates on the campaign starting soon.

Horace Arnold Redux logo

Kickstarter Campaign Launching Soon

Next week, we will be announcing the launch of the “Horacee Arnold Redux” Kickstarter campaign where we hope to raise the budget for promoting my new album, “All Times Are in It” and reintroducing myself to audiences worldwide.

Horacee Arnold Redux

Horace Arnold Redux logoI am very pleased and excited to announce my latest project in which I get to work with jazz drummer Horacee Arnold. If you know Horacee and his work, you undoubtedly share in my excitement and if you do not know Horacee, here is your chance to learn about the musician, the composer and the man. This short video is the first in a series to help promote the Kickstarter campaign launching very soon.


Big Plans for the Future

It’s a new year and I want to share with you all my big plans for the future. I have a new album recorded and ready for release and that’s just the start. In the next few weeks, I will have many exciting things to announce, but for now please enjoy the first in a new series of short videos introducing “Horacee Arnold Redux” and stayed tuned for more updates.

“Can We Kick It” Music Video

Can We Kick It - ceiling fan rig still 1000

In late March, a group of friends and I shot a music video with the band 3am Tokyo for a track off of their latest album “One of Those Crazy Nights”. Their Top 40 single, “Can We Kick It?” was inspired by A Tribe Called Quest’s “Can I Kick It?” and is sung by 3am Tokyo’s leader, Picasso Brown and guest singer, Go Go Gadjet’s Jeff Tomrell.

lightbulbs 1000

We shot the video at the Paterson Art Factory in Paterson, New Jersey in a series of warehouse spaces also used for the Paterson Art Walk. The spaces house various artists and businesses and are occasionally used for filming and events. The location has turn of the century industrial ambiance, great open spaces and some amazing details.

Photo Herta Silva

Early on we decided to shoot the video using GoPro Hero cameras. This let us try some alternative shooting techniques and use a number of off the shelf and improvised mounts that we could not have afforded if not for the flexibility of the small cameras. These included various handles, booms and a ceiling fan rig that was used for the focal segment of the video. In this scene (topmost photo), the two singers face each other and the camera rotates around them in the space between them and their respective posses.

Everyone who participated in the production of the video deserves a huge thank you including the band members, and the breakdancers and extras that Picasso invited to come show off their moves and their attitudes. Without them it would not have been possible. Jeff Tomrell, whose professionalism and upbeat attitude made the shoot a breeze, was a pro to work with, and I especially want to thank Picasso, himself, for his on-set and on-camera skills, as well as his behind-the-scenes dedication to making sure that everything went off without a hitch. When that level of talent is combined with a creative production team including Herta Silva, Jeff Sokolowski and Rob Taylor, you get a fun day of shooting and a video that rocks.


Director: Charles Kliment | Producers: Picasso Brown and Charles Kliment | Cameras: Charles Kliment, Herta Silva, Jeff Sokolowski and Rob Taylor | Editing: Charles Kliment, Picasso Brown and Paolo Bowyer | Still Photography: Justyna Piechuta

About 3am Tokyo

3AM Tokyo is the brainchild of Grammy nominated Singer/Songwriter/Producer “Picasso”. A powerful mix of pop, hip-hop, electro dance, dubstep, and rock sets the band apart from their peers. 3AM is well known for their aggressive, high energy shows. From their inception, it’s been clear that they’ve been on a mission to fire up the any stage and impress every crowd they come in contact with.
3AM’s explosive sound has been pushing stages throughout multiple major cities on the East Coast, and they’re quickly becoming a college town favorite.

With the 2013 release of 3AM’s debut album “One of Those Crazy Nights” Picasso collaborated with select musicians from other notable regional acts. Featured were lead singers from Kristen & The Noise, Lost in Paris, Liquid A, Go Go Gadjet, and more. The album is getting lots of well-deserved attention and the band straps in for an amazing ride of endless opportunity in 2014.




A Bucky dome that I built out of mini-marshmallows and toothpicks to simulate the one that Stanley Jordan created at lunch during the recording session in 2005.

The last of the three videos to be created from material shot during the recording session at Harmolodic Studios in Harlem in 2005, “Push” features Will Calhoun and Stanley Jordan. Stanley used his two-handed tapping technique on this track. This technique for which he is well-known is explained on Wikipedia as:

Normally, a guitarist uses two hands to play each note. One hand presses down a guitar string behind a chosen fret to prepare the note, and the other hand either plucks or strums the string to play that note. Jordan’s touch technique is an advanced form of two-handed tapping. The guitarist produces a note using only one finger by quickly tapping (or hammering) his finger down behind the appropriate fret. The force of impact causes the string to vibrate enough to immediately sound the note, and Jordan executes tapping with both hands, and with more legato than is normally associated with guitar tapping. The note’s volume can be controlled by varying the force of impact: tapping with greater force produces a louder note.

During a lunch break that day I spoke with Stanley and told him that my first memory of him was seeing him as part of a trio in Princeton, New Jersey in the early eighties. I still have the LP of the album “Touch Sensitive” that he sold at that venue. Stanley brought out a bag of mini marshmallows and a box of toothpicks and started constructing Bucky domes. This was right up my alley having started my career as an architect and a fan of Buckminster Fuller (how could anyone not be?) He was a devotee of Fuller’s and carried a book about him. Yesterday I decided that it would be good to illustrate the marshmallow and toothpick construction for this post and gathered the materials and began the reconstruction.

A few years ago, I moved my office from Manhattan to a town in New Jersey close to my home. As it turns out, my office is now located a few blocks from the middle school that my eldest son attends. He often stops by my office after school and prior to doing so checks to see that I am in by texting me. Typically, he is in such a rush that his messages arrive as “Icom”. Is this what we can expect from the young generation? He doesn’t even have the time, patience or perhaps dexterity to type “I’m coming”? Whatever. The reason I include this information, is that he came yesterday and saw the Bucky dome, asked what it was and immediately began building his own version. He is indeed his architect father’s son. His design is less Buckminster Fuller, more Russian Constructivism or perhaps Deconstructivist, something more akin to the early works of Daniel Libeskind or Coop Himmelblau. Photos barely do it justice.

Who says that being an architect is difficult? Behold my eleven-year-old's design.

Who says that being an architect is difficult? Behold my eleven-year-old’s design. Better eat it before the it goes stale.

But I digress, on to the video. The track “Push” has Will playing a number of instruments including drums, bass and an Indonesian flute as well as drum programming, looping and ambient sonics. Will wanted a fast-paced urban feel to the video for this video. Time and imagery are compressed and manipulated to mirror the audio looping in this urban-paced piece. Scenes of Will and Stanley during their recording session at Harmolodic Studios are super-imposed over imagery of midtown life even more hectic than usual. “Push” Features Will Calhoun and Stanley Jordan and is produced and edited by Charles Kliment.


tagine_ganeshThe same session that yielded the music for the last video, “Deep” also supplied the soundtrack for this video. Will Calhoun once again plays one of the instruments for which he is best known, the Korg Wave Drum, at Harmolodic Studios in Harlem. The music from this session is Will’s solo improvisation and contains no edits or overdubs.

Belly dancer Aassal helps express the Moroccan influences heard and seen in Will Calhoun’s “Tagine”. This track is named for the Moroccan cuisine that takes its name from the heavy clay pot used. “Tagine” was shot in New York City at the West Side restaurant of the same name with additional footage shot by fellow Living Colour band member Vernon Reid at the Stadtmühle Gallery in Switzerland.

“Tagine” features Will Calhoun and was produced and edited by Charles Kliment.


nativelands_frontcoverIn 2005, Living Colour drummer Will Calhoun released a new solo album called “Native Lands”. The album features a wide variety of musicians from around the world spanning several music genres including Pharaoh Sanders, Mos Def, Buster Williams, Stanley Jordan, Kevin Eubanks, Marcus Miller as well as Naná Vasconcelos from Brazil and Cheick Tidiane Seck from Mali. The album includes a DVD that I produced with Will featuring over ninety minutes of music videos and documentary materials chronicling the last ten years of Will’s life and travels. It started out a much smaller project, just a simple video edited from photographs that Will took on his travels.

In future posts, I will explain more about the album and include a “making of” video as well as other music videos, but for today I wanted to share the video for “Deep”. Shot at the legendary and now defunct Harmolodic Studios in Harlem, Will plays the instrument that become one of his trademarks, the wave drum. This video set the direction for the look of his new album “Native Lands”. Layered visual effects echo the way in which Will constructs drum loops and uses effect pedals to alter sonic properties. The gives the video Deep the quality of looking like it sounds.
During a lunch break during the recording session, Will improvised for the cameras and the result was the videos “Deep” and “Tagine”. “Deep” features Will Calhoun and was produced and edited by Charles Kliment. The video was named by Will’s then four-year-old son who after viewing it just said “deep”.

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