MUSICAL MINISTRY

Music is a most sacred of union of 7th dimensional mind (of the Solar Logos) with the 5 added dimensions of Galactic Logos, bringing us 12th dimensional (spherical) conciousness. The 7 modes of music speak to the 7 chakras running up the column of our being. The 5 points on a star and the pentagram bring us the co-creative limbs to the body, the vitruvian manThe 12 tones of the chromatic scale are reflective of 12 dimensions of Galactic, zero point conciousness. As shown here in the "sri yantra of music", all of the modes are points on the "zodiac" of the 12 note scale. The 5 skipped steps represent the lost 5 dimensions of Galactic conciousness, and reflect the 5 pointed star or vitruvian man.

We can synthesize the 5 and the 7 into the 12 thru the co-creative improvisation and the golden rule: do unto others as you would have them do unto you. In his new study of the trombone, Gabriel is synthesizing the 7 positions of the slide with the eternal golden mean spiral of the overtone series. Thru musical communion, we behold the "music of the spheres" - the ETI chrystal ball computer orbs that visit us in prayer. Music becomes a most transformative tool in the dimenshional shift and transformation of souls into eternal bodies again.

Musical Bio

As a toddler, Gabriel was always tuned in to the music surrounding him. He would often gravitate to the mic stands at the front of the stage, when his father and mother were playing in the communal band, Quazar. He sensed it was a special, sacred space - the place to serve. He loved the communal dances and sing along nights as well.

When Gabriel was 7, his dad took him down into the music studio of the communal house and, in the back room, sat him down and put a coronet on his lap. After showing Gabriel the sounds it made and how to hold it, he left him to practice. Gabriel put it down after a few peeps and went over to the conga drums - he would approach music from the rhythm side.

Bill always shared his love of music with Gabriel, even having him sit in on hand-drums with his jazz quartet or dixieland band on occasion. It took the big drum circles at the Whole Earth Festival to really awaken Gabriel's muse. He began to realize that he could hear well and began finding ways of contributing. He finally got ahold of a p-bass bass from a friend and studied a bit with Jeff Simmons in Davis. And he started jamming a bit with forgiving friends.

Later, in grad school, he was drawn into a group of friends who ended up forming a band called Makalo. They had a couple bizarre and wonderful gigs, one of which was a 9-story roof party on top of the dorms that was busted by campus police.

When he came back out to California, Gabriel joined The Infamous They on percussion. His sister, Hosanna, her boyfriend Michael, Gabriel's brother Adamen, and a great guitarist, had formed a zappa inspired rock band with original songs. "They" played out a lot, develped a very ecclectic following, and made a nice ripple in the music scene. And "They" recorded Distracted Again, a full length album of originals.

When The Infamous They disbanded, practically the whole group ended up migrating to an odd-metered progressive funk ensemble called Research & Development. It was innovative and tonally powerful music, with a fully deranged 3-piece horn section, a rhythm section that could really cook, and compositions that tweaked ears in a good way. And somehow people found a way to dance to it.

In 1999, Gabriel's father left his body. Gabriel was living on the side of Mount Tam at the time, and jamming regularly with Nomas, a group of real rockin' friends. He was called by spirit to a get a fretless bass and start to learn about intonation. He also kept up percussion, stretched out on drum kit a bit, and began singing. Gabriel would go out in the City to places like Bruno’s, the Boom Boom Room and the Fillmore and practice music appreciation. He was also tempered on the diverse musical programming of KCSM and KPFA. All this was giving Gabriel a way to commune with his father thru music.

R&D relocated to the East Bay, and began playing parties, cafes, bars and clubs in the Bay Area. They also did a good deal of recording as well. Here Gabriel learned a lot about ensemble sound and movement, and even composed one of the songs for the band, exploring 15/16 time with avante-garde harmonies.

When Gabriel was called to Harbin Hot Springs, he discovered kirtan and went, "religiously", twice a week sing and make an offering to Spirit. He became the resident sound mixer, and met alot of musicians who came thru. Gabriel sat in with the likes of Kim Lorene, Girish, and others. Gabriel ended up serving regularly as bassist, and also offered percussion and voice support.

Playing in the Harbin Kirtan Band, with Arpita, Peter, Todd, Jeff and friends, Gabriel's appreciation of voice as the primary instrument flowered thru these regular sessions of bahkti yoga. And the Harbin Temple and it’s sacred acoustics added a whole new dimension to his joyful exploration of devotional music.

At Harbin, Gabriel also began in earnest to pick up the trombone. It took a major knock on his door to awaken him to his calling: to take up his father's horn, channel with him and intone Gabriel's call in these times. His last gig as a resident was on trombone and voice in a sextet called Harbin Family Values, who played the Harbin Garden Art Party.

Gabriel is in regular musical rotation with Jagadambe, a mantra dance band which plays at Festivals like the Mondocino Living Culture Festival, and at venues like Ashkenaz and smaller yoga centers too. He joins in on percussion, bass and, most recently, trombone.

It is Gabriel's intention to contribute and minister thru music when called on - wether on bass, djembe, voice or horn - to sound the call and intone prayerful celebration of oneness and the delivery all children, women and men into the New Age being born now.

Jai Ma!