A collection of works and musical diary addressing key moments in Wong’s long career as a musician and person of conscience.
Francis Wong’s work spanning nearly five decades as a musician, activist, youth mentor, consultant, and academic lecturer in the San Francisco Bay Area and beyond has lifted and inspired various Asian American collectives to build and work for a just and equitable society. His music is deeply influenced by the music and perspective of the Association for the Advancement of Creative Musicians as well as his colleagues in what is known as the Asian American jazz movement.
Wong has specialized in the fusion of free jazz and Asian musics, working with the likes of Glenn Horiuchi, Jon Jang, Tatsu Aoki, Mwata Bowden, Ed Wilkerson Jr., John Tchicai, James Newton, Cecil Taylor, Joseph Jarman, and others. He is also known for his collaborations with San Francisco poet laureate Genny Lim, United States poet laureate Juan Filipe Herrera, choreographer Lenora Lee, taiko artist and culture bearer Melody Takata and Genryu Arts, and the traditional Chinese instrument ensemble Melody of China. Most recently he has pursued collaborations with Karl Evangelista, David Boyce, PC Muñoz, Erika Oba, Scott Oshiro, and Chris Trinidad.
PERSONNEL: Francis Wong: tenor saxophone, Karl Evangelista: guitar, Chris Trinidad: bass guitar, synth bass, bass ukulele, Jimmy Biala: drum set, percussion
GENRES: Asian American Jazz, Avant-Garde, Free Jazz
INFLUENCES: Association for the Advancement of Creative Musicians, Albert Ayler, John Coltrane, Max Roach, Fred Anderson
RELEASE YEAR: 2025
ALBUM CODE: IRK 2025 03
An improvised live album recorded on one magical Friday night at Restorative Justice for Oakland Youth where healing and restoration live.
The Shadow Band is an Arabic Free Groove quartet that formed in the wake of the Gaza genocide to perform at various events and fundraisers with live compositions. They are fueled by the spirit of improvisation as an ode to liberation and resistance. The group draws from Arabic taksim, Arab futurism, dub, and free jazz, and blends these with grooves inspired by a number of traditions around the world. This record was improvised in one evening in Oakland, California in a studio space designed for healing and restoration.
PERSONNEL: Naima Shalhoub: keyboards, voice; Tarik “Excentrik” Kazaleh: guitar, oud, buzuk; Chris Trinidad: bass guitar, synth bass; Aaron Kierbel: drum set, percussion
GENRES: Arabic Taksim, Free Improvised Groove, Arab-Futurism, Dub
INFLUENCES: Ziad Rahbani, King Tubby, Augustus Pablo, Munir Bashir, Marcel Khalifeh, Pink Floyd
RELEASE YEAR: 2025
ALBUM CODE: IRK 2025 02
A tribute album featuring music from, and dedicated to, the late, great Asian American jazz musician Glenn Horiuchi.
Glenn Horiuchi was a musician, zen practitioner, mathematician, and community activist who made music to celebrate his Japanese American heritage and to bring attention to important social causes including the redress and reparations movement in support of wrongfully incarcerated Japanese Americans during the Second World War. His music drew from the rich history of the African American experimental avant-garde, having been mentored by or collaborated with bassist M’Chaka Uba, trumpeter and composer Wadada Leo Smith, trombonist and composer George E Lewis, and saxophonist Joseph Jarman–all members of the Chicago-based Association for the Advancement of Creative Musicians (AACM). This album features Francis Wong’s arrangements of Horiuchi’s music. Wong was a long time collaborator of Horiuchi appearing as a regular member of the latter’s ensembles.
PERSONNEL: Francis Wong: tenor saxophone, Chris Trinidad: bass guitar, synth bass, bass ukulele, chopstick bass, voice, Carrie Jahde: drum set, Erika Oba: piano, flute, piccolo, melodica, Helen Palma: voice
GENRES: Asian American jazz, Avant-Garde, Free Jazz
INFLUENCES: Wadada Leo Smith, George E Lewis, Joseph Jarman, Cecil Taylor, Thelonious Monk
RELEASE YEAR: 2025
ALBUM CODE: IRK 2025 01
A tribute album featuring music from, and dedicated to, the late, great Asian American jazz musician Glenn Horiuchi.
Glenn Horiuchi was a musician, zen practitioner, mathematician, and community activist who made music to celebrate his Japanese American heritage and to bring attention to important social causes including the redress and reparations movement in support of wrongfully incarcerated Japanese Americans during the Second World War. His music drew from the rich history of the African American experimental avant-garde, having been mentored by or collaborated with bassist M’Chaka Uba, trumpeter and composer Wadada Leo Smith, trombonist and composer George E Lewis, and saxophonist Joseph Jarman–all members of the Chicago-based Association for the Advancement of Creative Musicians (AACM). This album features Francis Wong’s arrangements of Horiuchi’s music. Wong was a long time collaborator of Horiuchi appearing as a regular member of the latter’s ensembles.
PERSONNEL: Francis Wong: tenor saxophone, Chris Trinidad: bass guitar, synth bass, bass ukulele, chopstick bass, voice, Carrie Jahde: drum set, Erika Oba: piano, flute, piccolo, melodica, Helen Palma: voice
GENRES: Asian American jazz, Avant-Garde, Free Jazz
INFLUENCES: Wadada Leo Smith, George E Lewis, Joseph Jarman, Cecil Taylor, Thelonious Monk
RELEASE YEAR: 2025
ALBUM CODE: IRK 2025 01
What happens when you bring the gong music of the Southern Philippines and the folkloric rhythms of Afro-Cuba together?
This album continues along the trajectory of collaborations between Chris Trinidad and Bo Razon. This time, Conrad Benedicto, a protege of the late kulintang master Danongan Sibay Kalanduyan, joins along for the ride. Shared folkloric rhythmic motifs between Africa and Cuba converge and collide with the melodic modal materials of the kulintang traditions of the Maguindanao and the Maranao peoples of the Southern Philippines. While there are no known musical bridges between these worlds, we are given an opportunity to re-imagine creative possibilities while respecting their unique origins. The results are exploratory, exciting, and enthralling!
PERSONNEL: Conrad Benedicto: kulintang, dabakan, gandingan, agung; Bo Razon: congas, okonkolo, itotele, iya, achere, saronay, gandingan, agung; Chris Trinidad: babendil, gandingan, agung, clave, sartenes, guataca, guagua, campana; Mario Salomón: bongó, timbal, güiro, chekere; José Sanchez: quinto
GENRES: World Fusion, Kulintang, Afro-Cuban, Percussion
INFLUENCES: Palabuniyan Kulintang Ensemble, Kulintang Dialect, Afrocuba de Matanzas
RELEASE YEAR: 2022
ALBUM CODE: IRK 2022 01
What happens when you bring the gong music of the Southern Philippines and the folkloric rhythms of Afro-Cuba together?
This album continues along the trajectory of collaborations between Chris Trinidad and Bo Razon. This time, Conrad Benedicto, a protege of the late kulintang master Danongan Sibay Kalanduyan, joins along for the ride. Shared folkloric rhythmic motifs between Africa and Cuba converge and collide with the melodic modal materials of the kulintang traditions of the Maguindanao and the Maranao peoples of the Southern Philippines. While there are no known musical bridges between these worlds, we are given an opportunity to re-imagine creative possibilities while respecting their unique origins. The results are exploratory, exciting, and enthralling!
PERSONNEL: Conrad Benedicto: kulintang, dabakan, gandingan, agung; Bo Razon: congas, okonkolo, itotele, iya, achere, saronay, gandingan, agung; Chris Trinidad: babendil, gandingan, agung, clave, sartenes, guataca, guagua, campana; Mario Salomón: bongó, timbal, güiro, chekere; José Sanchez: quinto
GENRES: World Fusion, Kulintang, Afro-Cuban, Percussion
INFLUENCES: Palabuniyan Kulintang Ensemble, Kulintang Dialect, Afrocuba de Matanzas
RELEASE YEAR: 2022
ALBUM CODE: IRK 2022 01
Big band music reclaiming unity and hope through community amidst turbulence, distance, and uncertainty.
The pandemic radically changed music making. Musicians are, to some extent, social creatures, and their need to connect with comrades transferred online. Chris headed into 2021 thinking and feeling that the worst was not yet over, and he yearned to keep the creativity and the camaraderie flowing.
Was it possible to realize an artistic endeavor without even setting foot into the same space? Could we use technology to keep us connected rather than isolated and divided? With
original compositions from Chris Trinidad’s Certain Times (Iridium Records, 2014), Chris went about reconnecting with colleagues across several countries and continents and proposed the idea of a virtual big band with arrangers and players united through technology. The album was recorded in isolation through file sharing across multiple time zones brought together by the desire to make music.
PERSONNEL: Chris Trinidad: bass guitar, Reggie Padilla: saxophones, Jamie Dubberly: trombones, Miguelito Valdes: trumpets and flugelhorns, Evan Francis: flute, Alex Hand: guitars, Christian Tumalan: piano, David Rokeach: drum set, Jose Sanchez: percussion
GENRES: Big Band, Jazz Orchestra, Contemporary Jazz
INFLUENCES: Vancouver Ensemble of Jazz Improvisation (VEJI), Electric Squeezebox Orchestra (ESO), Kenny Wheeler, Gil Evans, Stan Kenton, Woody Herman, Maria Schneider
RELEASE YEAR: 2021
ALBUM CODE: IRK 2021 01
Big band music reclaiming unity and hope through community amidst turbulence, distance, and uncertainty.
The pandemic radically changed music making. Musicians are, to some extent, social creatures, and their need to connect with comrades transferred online. Chris headed into 2021 thinking and feeling that the worst was not yet over, and he yearned to keep the creativity and the camaraderie flowing.
Was it possible to realize an artistic endeavor without even setting foot into the same space? Could we use technology to keep us connected rather than isolated and divided? With
original compositions from Chris Trinidad’s Certain Times (Iridium Records, 2014), Chris went about reconnecting with colleagues across several countries and continents and proposed the idea of a virtual big band with arrangers and players united through technology. The album was recorded in isolation through file sharing across multiple time zones brought together by the desire to make music.
PERSONNEL: Chris Trinidad: bass guitar, Reggie Padilla: saxophones, Jamie Dubberly: trombones, Miguelito Valdes: trumpets and flugelhorns, Evan Francis: flute, Alex Hand: guitars, Christian Tumalan: piano, David Rokeach: drum set, Jose Sanchez: percussion
GENRES: Big Band, Jazz Orchestra, Contemporary Jazz
INFLUENCES: Vancouver Ensemble of Jazz Improvisation (VEJI), Electric Squeezebox Orchestra (ESO), Kenny Wheeler, Gil Evans, Stan Kenton, Woody Herman, Maria Schneider
RELEASE YEAR: 2021
ALBUM CODE: IRK 2021 01
A musical reimagination and remix of the colonial heritage of the Philippines and of Cuba.
What if Cuban musicians from the early part of the Twentieth century heard the kundiman, harana, and danzas that came from the Philippines of the late Nineteenth century? Or, what if Filipino musicians had the opportunity to hear the Cuban orquestas, charangas, and conjuntos?
In what ways might Filipino composers incorporate the rich polyrhythmic musics of Cuba which were originally a blend of Western European (Spanish, and later, French) form and harmony, and African (Yoruba and Bantu) percussion musics?
What if Cubans had a chance to hear the rich Rondalla traditions of the Philippines? Could there be a musical bridge between the Philippines and Cuba given their shared Spanish colonial history? This project is Chris’s artistic response to those questions.
PERSONNEL: Chris Trinidad: bass guitar, octavina, clave, cabasa, voice; Bo Razon: tres, bandurria, okonkolo, itotele, iya, bombo; Raphael Geronimo: congas, bongó, timbales, guiro, maracas, bells; Carlos Caro: tumba, quinto, tres dos, guagua, chekere; David Lechuga: guitars; John Calloway: flute; Reggie Padiila: tenor saxophone; Kimwell Del Rosario: violin, Mary Grace Del Rosario: viola; Raquel Berlind: voice
GENRES: Afro-Cuban Danzon, Son, Bolero, Philippine Rondalla, Harana, Kundiman
INFLUENCES: Chucho Valdes’s Jazz Bata, Charlie Haden’s Nocturne, Buena Vista Social Club, Septeto Santiaguero, Florante Aguilar, Juan Silos and his Rondalla
RELEASE YEAR: 2020
ALBUM CODE: IRK 2020 01
A musical reimagination and remix of the colonial heritage of the Philippines and of Cuba.
What if Cuban musicians from the early part of the Twentieth century heard the kundiman, harana, and danzas that came from the Philippines of the late Nineteenth century? Or, what if Filipino musicians had the opportunity to hear the Cuban orquestas, charangas, and conjuntos?
In what ways might Filipino composers incorporate the rich polyrhythmic musics of Cuba which were originally a blend of Western European (Spanish, and later, French) form and harmony, and African (Yoruba and Bantu) percussion musics?
What if Cubans had a chance to hear the rich Rondalla traditions of the Philippines? Could there be a musical bridge between the Philippines and Cuba given their shared Spanish colonial history? This project is Chris’s artistic response to those questions.
PERSONNEL: Chris Trinidad: bass guitar, octavina, clave, cabasa, voice; Bo Razon: tres, bandurria, okonkolo, itotele, iya, bombo; Raphael Geronimo: congas, bongó, timbales, guiro, maracas, bells; Carlos Caro: tumba, quinto, tres dos, guagua, chekere; David Lechuga: guitars; John Calloway: flute; Reggie Padiila: tenor saxophone; Kimwell Del Rosario: violin, Mary Grace Del Rosario: viola; Raquel Berlind: voice
GENRES: Afro-Cuban Danzon, Son, Bolero, Philippine Rondalla, Harana, Kundiman
INFLUENCES: Chucho Valdes’s Jazz Bata, Charlie Haden’s Nocturne, Buena Vista Social Club, Septeto Santiaguero, Florante Aguilar, Juan Silos and his Rondalla
RELEASE YEAR: 2020
ALBUM CODE: IRK 2020 01
Fresh Latin jazz from some of San Francisco’s most respected salsa musicians, arranged by a Grammy-award-winning composer.
Recipe for “Con Todo”: Take one Filipino-Canadian bass player, add songs he wrote on cruise ships in the Caribbean, and marinate for 19 years. Combine with one Mexican-American Grammy-winning arranger of salsa music. Then enjoy this Latin jazz album of cross-pollinated melodies, rhythms, and genres from two North American musicians with a passion for the flavours of Afro-Cuban music.
Chris Trinidad and Christian Tumalan collaborate and celebrate on this cross-border project. They’re joined by celebrated musicians like longtime Santana horn section members Bill Ortiz and Jeff Cressman. Together, they explore what music sounds like when walls are broken and borders are opened.
“… one of the best of the year!” – Avotcja, host of La Verdad Musical on KPOO 89.5 FM and KPFA 94.1 FM
“The rhythm team percolate like sizzling onions as they suavely drive the line through sauntering and sweaty tunes.” – George Harris, Jazz Weekly
“… there is a viscerally energetic aura about the repertoire on Chris Trinidad y Con Todo.” – Raul Da Gama, Latin Jazz Network
“El disco es un viaje sonoro por diferentes locaciones y emociones, recónditos parajes rítmicos. En todo el fonograma se hace la buena vibración de la sesiones de grabación, una celebración a la música. Sublime disco.” – DJ El Chino, Solar Latin Club
“Con Todo, with its varied panorama of Afro-Cuban styles prove once again Chris Trinidad is one of the best musicians and composers that should be recognized on a grander scale.” – CJ Shearn, Jazz Views
Audio Player
Chris Trinidad y Con Todo
Fresh Latin jazz from some of San Francisco’s most respected salsa musicians, arranged by a Grammy-award-winning composer.
Recipe for “Con Todo”: Take one Filipino-Canadian bass player, add songs he wrote on cruise ships in the Caribbean, and marinate for 19 years. Combine with one Mexican-American Grammy-winning arranger of salsa music. Then enjoy this Latin jazz album of cross-pollinated melodies, rhythms, and genres from two North American musicians with a passion for the flavours of Afro-Cuban music.
Chris Trinidad and Christian Tumalan collaborate and celebrate on this cross-border project. They’re joined by celebrated musicians like longtime Santana horn section members Bill Ortiz and Jeff Cressman. Together, they explore what music sounds like when walls are broken and borders are opened.
“… one of the best of the year!” – Avotcja, host of La Verdad Musical on KPOO 89.5 FM and KPFA 94.1 FM
“The rhythm team percolate like sizzling onions as they suavely drive the line through sauntering and sweaty tunes.” – George Harris, Jazz Weekly
“… there is a viscerally energetic aura about the repertoire on Chris Trinidad y Con Todo.” – Raul Da Gama, Latin Jazz Network
“El disco es un viaje sonoro por diferentes locaciones y emociones, recónditos parajes rítmicos. En todo el fonograma se hace la buena vibración de la sesiones de grabación, una celebración a la música. Sublime disco.” – DJ El Chino, Solar Latin Club
“Con Todo, with its varied panorama of Afro-Cuban styles prove once again Chris Trinidad is one of the best musicians and composers that should be recognized on a grander scale.” – CJ Shearn, Jazz Views
Gregorian chant melodies — radically re-arranged for a world fusion jazz quintet
The most revolutionary act of resistance is to create art. In this time of building walls and closing borders, art has the capacity to communicate beyond our divisions. Chant Triptych II is the second in a series of albums that reimagine Gregorian chant melodies in new contexts.
Chris Trinidad composes refreshing and daring arrangements using instruments from radically different musical traditions: tambura from Bulgaria, tabla and bansuri from India, bongo and congas from the Caribbean, bass guitar from North America, and accordion influenced by Argentinian tango, Brazilian forro, and other folk traditions.
“… the music is commandingly performed.” – Nigel Jarrett, Jazz Journal
“A successful tale of melodic ecumenism.” – George Harris, Jazz Weekly
“Descriptive play-by-play rarely (and barely) does justice to the pure imagination in Trinidad’s arrangements which open up music deeply connected to a specific place and time for contemporary global jazz audiences.” – Chris Slawecki, All About Jazz
“These arrangements go far beyond the unadorned basic melodies, placing them in a rich harmonic and rhythmic context.” – Mark Sullivan, All About Jazz
“Trinidad’s respect for the source material is injected with a freedom to allow the soloists to express themselves without restriction. One of the most unique releases of the year.” – CJ Shearn, Jazz Views
“Trinidad creo este disco partiendo de la base que el potencial creativo y la fuerza del ingenio debían ser apoyadas y fomentadas para alcanzar un desarrollo personal y crecimiento espiritual. Trinidad explora los vasos comunicantes entre melodías del oriente y el occidente, creando un vasto universo sonoro y crisol rítmico que traspasa fronteras.” – DJ El Chino, Solar Latin Club
PERSONNEL: Chris Trinidad: bass guitar; Alex Hand: guitar, tambura; Colin Hogan: accordion, melodica; Mario Salomon: bongo, congas, maracas, campana; Neelamjit Dhillon: tabla, bansuri, kanjira, alto saxophone
GENRES: World fusion, ethno-jazz
INFLUENCES: John McLaughlin’s Shakti, John Zorn’s Masada, Chris Speed’s Pachora, Rabih Abou Khalil
RELEASE YEAR: 2018
ALBUM CODE: IRK 2018 01
Gregorian chant melodies — radically re-arranged for a world fusion jazz quintet
The most revolutionary act of resistance is to create art. In this time of building walls and closing borders, art has the capacity to communicate beyond our divisions. Chant Triptych II is the second in a series of albums that reimagine Gregorian chant melodies in new contexts.
Chris Trinidad composes refreshing and daring arrangements using instruments from radically different musical traditions: tambura from Bulgaria, tabla and bansuri from India, bongo and congas from the Caribbean, bass guitar from North America, and accordion influenced by Argentinian tango, Brazilian forro, and other folk traditions.
“… the music is commandingly performed.” – Nigel Jarrett, Jazz Journal
“A successful tale of melodic ecumenism.” – George Harris, Jazz Weekly
“Descriptive play-by-play rarely (and barely) does justice to the pure imagination in Trinidad’s arrangements which open up music deeply connected to a specific place and time for contemporary global jazz audiences.” – Chris Slawecki, All About Jazz
“These arrangements go far beyond the unadorned basic melodies, placing them in a rich harmonic and rhythmic context.” – Mark Sullivan, All About Jazz
“Trinidad’s respect for the source material is injected with a freedom to allow the soloists to express themselves without restriction. One of the most unique releases of the year.” – CJ Shearn, Jazz Views
“Trinidad creo este disco partiendo de la base que el potencial creativo y la fuerza del ingenio debían ser apoyadas y fomentadas para alcanzar un desarrollo personal y crecimiento espiritual. Trinidad explora los vasos comunicantes entre melodías del oriente y el occidente, creando un vasto universo sonoro y crisol rítmico que traspasa fronteras.” – DJ El Chino, Solar Latin Club
PERSONNEL: Chris Trinidad: bass guitar; Alex Hand: guitar, tambura; Colin Hogan: accordion, melodica; Mario Salomon: bongo, congas, maracas, campana; Neelamjit Dhillon: tabla, bansuri, kanjira, alto saxophone
GENRES: World fusion, ethno-jazz
INFLUENCES: John McLaughlin’s Shakti, John Zorn’s Masada, Chris Speed’s Pachora, Rabih Abou Khalil
RELEASE YEAR: 2018
ALBUM CODE: IRK 2018 01
Ambient instrumental music based on ancient Gregorian chant melodies. Featuring rich analog synths and acoustic percussion.
This new release of original music is a perfect background for study, contemplation, meditation, or relaxation. Like Brian Eno’s ambient music, this album is designed “to induce calm and to provide the listener a space to think.”Each track’s melody is drawn from ancient Gregorian chants that were sung on the feast day of Saint John Baptist De La Salle, the patron saint of teachers.
Composer Chris Trinidad recorded the melodies with analog synthesizers, then stretched and tweaked the recordings digitally, and added indigenous acoustic percussion to give the music an “earthy, woody, watery” feeling. The result is a vibrant and warm soundscape that serves as “audio incense” to accompany deep thought.
PERSONNEL: Chris Trinidad: music; George Van Grieken, FSC: reflections; Patrick Martin, FSC: illustrations
GENRES: Ambient, meditation, Christian, electronic, space music, percussion soundscapes
INFLUENCES: Brian Eno; Robert Fripp; Richard Wright; Airto Moreira; Trilok Gurtu; Lisbeth Diers; Nana Vasconcelos
RELEASE YEAR: 2017
ALBUM CODE: IRK 2017 01
Ambient instrumental music based on ancient Gregorian chant melodies. Featuring rich analog synths and acoustic percussion.
This new release of original music is a perfect background for study, contemplation, meditation, or relaxation. Like Brian Eno’s ambient music, this album is designed “to induce calm and to provide the listener a space to think.”Each track’s melody is drawn from ancient Gregorian chants that were sung on the feast day of Saint John Baptist De La Salle, the patron saint of teachers.
Composer Chris Trinidad recorded the melodies with analog synthesizers, then stretched and tweaked the recordings digitally, and added indigenous acoustic percussion to give the music an “earthy, woody, watery” feeling. The result is a vibrant and warm soundscape that serves as “audio incense” to accompany deep thought.
PERSONNEL: Chris Trinidad: music; George Van Grieken, FSC: reflections; Patrick Martin, FSC: illustrations
GENRES: Ambient, meditation, Christian, electronic, space music, percussion soundscapes
INFLUENCES: Brian Eno; Robert Fripp; Richard Wright; Airto Moreira; Trilok Gurtu; Lisbeth Diers; Nana Vasconcelos
RELEASE YEAR: 2017
ALBUM CODE: IRK 2017 01
Experimental liturgical music that breathes new life into ancient Christian texts.
You may recognize the lyrics, but the melodies will surprise you! Chris Trinidad has collected texts from a variety of traditions (the Psalms, Jesuit prayers, Eastern Orthodox liturgy), setting them to captivating contemporary music. Some of the music is a cappella — “Ubi Caritas” sounds like the Pentatonix singing a Benedictine prayer in Latin.
The Psalm settings are adventurous explorations that mix rich jazz chords, pop melodies, and the sensibilities of contemporary Catholic composers. Other songs feature haunting chants, traditional Filipino instruments, hand percussion, radio broadcast samples, and even Morse code. Whether you’re looking for new worship service music or just wanting personal inspiration, this album has something for you.
PERSONNEL: Chris Trinidad: voice, piano, keyboards, fretless bass guitar, percussion, babendil, sarunay, bell lyra, melodica, octavina; Catherine Cheng: voice; Therese Gorman: voice; Radmar Jao, SJ: voice; Jennifer Owens-Jofré: voice; Conway Tan: voice; David Zelenka: voice; Jordan Kirkner: violin
GENRES: Contemporary Christian, a cappella, experimental liturgical music
INFLUENCES: Dan Schutte; Ricky Manalo; Tony Alonso; Janèt Sullivan Whitaker; Rajaton; Gene Puerling and Singers Unlimited; Brian Wilson and the Beach Boys; Jon Anderson and Yes; Roger Waters and Pink Floyd
RELEASE YEAR: 2017
ALBUM CODE: IRK 2017 02
Experimental liturgical music that breathes new life into ancient Christian texts.
You may recognize the lyrics, but the melodies will surprise you! Chris Trinidad has collected texts from a variety of traditions (the Psalms, Jesuit prayers, Eastern Orthodox liturgy), setting them to captivating contemporary music. Some of the music is a cappella — “Ubi Caritas” sounds like the Pentatonix singing a Benedictine prayer in Latin.
The Psalm settings are adventurous explorations that mix rich jazz chords, pop melodies, and the sensibilities of contemporary Catholic composers. Other songs feature haunting chants, traditional Filipino instruments, hand percussion, radio broadcast samples, and even Morse code. Whether you’re looking for new worship service music or just wanting personal inspiration, this album has something for you.
PERSONNEL: Chris Trinidad: voice, piano, keyboards, fretless bass guitar, percussion, babendil, sarunay, bell lyra, melodica, octavina; Catherine Cheng: voice; Therese Gorman: voice; Radmar Jao, SJ: voice; Jennifer Owens-Jofré: voice; Conway Tan: voice; David Zelenka: voice; Jordan Kirkner: violin
GENRES: Contemporary Christian, a cappella, experimental liturgical music
INFLUENCES: Dan Schutte; Ricky Manalo; Tony Alonso; Janèt Sullivan Whitaker; Rajaton; Gene Puerling and Singers Unlimited; Brian Wilson and the Beach Boys; Jon Anderson and Yes; Roger Waters and Pink Floyd
RELEASE YEAR: 2017
ALBUM CODE: IRK 2017 02
Music written in the span of a single week in December, capturing an inspired time in Chris’s life.
Chris amassed a collection of melodies, riffs, and other musical ideas during this first five years in the San Francisco Bay Area. Over the course of a week, he fashioned them into a suite he called “Certain Times.”
Chris met drummer Aaron Kierbel while working with Aisha Fukushima, and shared a kindred rhythmic connection with him. While gigging with Lina Torio, Chris worked with pianist Alex Conde. Finally, while sharing the stage with the Danny Cao sextet, Chris met baritone saxophonist Charlie Gurke. This album features unusual arrangements with baritone sax alternating between doubling bass lines and playing lead melodies. A cohesive sound emerges from Aaron’s deep listening and Alex’s Flamenco-inspired piano playing.
PERSONNEL: Chris Trinidad: bass guitar; Alex Conde: piano; Charlie Gurke: baritone saxophone; Aaron Kierbel: drum set
GENRES: Contemporary mainstream jazz with hints of ECM
INFLUENCES: Bill Bruford; Jack DeJohnette; Steve Gadd; Steve Swallow; Gerry Mulligan
RELEASE YEAR: 2014
ALBUM CODE: IRK 2014 02
Music written in the span of a single week in December, capturing an inspired time in Chris’s life.
Chris amassed a collection of melodies, riffs, and other musical ideas during this first five years in the San Francisco Bay Area. Over the course of a week, he fashioned them into a suite he called “Certain Times.”
Chris met drummer Aaron Kierbel while working with Aisha Fukushima, and shared a kindred rhythmic connection with him. While gigging with Lina Torio, Chris worked with pianist Alex Conde. Finally, while sharing the stage with the Danny Cao sextet, Chris met baritone saxophonist Charlie Gurke. This album features unusual arrangements with baritone sax alternating between doubling bass lines and playing lead melodies. A cohesive sound emerges from Aaron’s deep listening and Alex’s Flamenco-inspired piano playing.
PERSONNEL: Chris Trinidad: bass guitar; Alex Conde: piano; Charlie Gurke: baritone saxophone; Aaron Kierbel: drum set
GENRES: Contemporary mainstream jazz with hints of ECM
INFLUENCES: Bill Bruford; Jack DeJohnette; Steve Gadd; Steve Swallow; Gerry Mulligan
RELEASE YEAR: 2014
ALBUM CODE: IRK 2014 02
The final recording of Filipino music master Danongan Kalanduyan, featuring traditional Kulintang rhythms adapted for Western instruments.
Master Danongan Kalanduyan made it his life’s work to share the music of his people with North American audiences. Kulintang, as the music is called, is related to other gong-chime musics of Southeast Asia. This final recording shows the master opening the door to fusing his traditional concepts with modern ideas and instrumentation.
The word subla in Maguindanaoan (a southern Philippine dialect) means “beyond.”
Bo Razon on guitar plays the traditional time-keeping role of the babendil, while bass guitarist Chris Trinidad performs the rhythms of the dabakan and the melodies of the gandingan. Frank Holder, one of Kalanduyan’s master students, anchors things on cajon and dabakan.
Mix Kulintang with the form and harmonies of Western European art music, and you get “Subla Neokulintang.”
PERSONNEL: Danongan Kalanduyan: kulintang, agung a tambol; Bo Razón: guitars, agung, agung a tambol; Chris Trinidad: bass guitars, agung, agung a tambol; Frank Holder: dabakan, cajon, cymbals, agung a tambol
GENRES: World Fusion
INFLUENCES: King Crimson; Ancient Future; Palabuniyan Kulintang Ensemble
RELEASE YEAR: 2014
ALBUM CODE: IRK 2014 01
The final recording of Filipino music master Danongan Kalanduyan, featuring traditional Kulintang rhythms adapted for Western instruments.
Master Danongan Kalanduyan made it his life’s work to share the music of his people with North American audiences. Kulintang, as the music is called, is related to other gong-chime musics of Southeast Asia. This final recording shows the master opening the door to fusing his traditional concepts with modern ideas and instrumentation.
The word subla in Maguindanaoan (a southern Philippine dialect) means “beyond.”
Bo Razon on guitar plays the traditional time-keeping role of the babendil, while bass guitarist Chris Trinidad performs the rhythms of the dabakan and the melodies of the gandingan. Frank Holder, one of Kalanduyan’s master students, anchors things on cajon and dabakan.
Mix Kulintang with the form and harmonies of Western European art music, and you get “Subla Neokulintang.”
PERSONNEL: Danongan Kalanduyan: kulintang, agung a tambol; Bo Razón: guitars, agung, agung a tambol; Chris Trinidad: bass guitars, agung, agung a tambol; Frank Holder: dabakan, cajon, cymbals, agung a tambol
GENRES: World Fusion
INFLUENCES: King Crimson; Ancient Future; Palabuniyan Kulintang Ensemble
RELEASE YEAR: 2014
ALBUM CODE: IRK 2014 01
Creative improvisation is the order of the day on the final Common Themes album.
The Common Themes series is a collection of music that seeks to show how human relationships and interactions are an essential part of making music. This recording features an established group with a history of interplay: guitarist Jared Burrows, drummer Stan Taylor, and saxophonist Len Aruliah. They took Chris under their wing, giving him an opportunity to shine on this album.
PERSONNEL: Jared Burrows: guitar; Stan Taylor: drum set; Len Aruliah: saxophones; Chris Trinidad: bass guitar
GENRES: Chamber jazz, straight-ahead jazz with curves
INFLUENCES: Elvin Jones; John Abercrombie; Kenny Wheeler; Steve Swallow
RELEASE YEAR: 2008
ALBUM CODE: IRK 2008 03
Creative improvisation is the order of the day on the final Common Themes album.
The Common Themes series is a collection of music that seeks to show how human relationships and interactions are an essential part of making music. This recording features an established group with a history of interplay: guitarist Jared Burrows, drummer Stan Taylor, and saxophonist Len Aruliah. They took Chris under their wing, giving him an opportunity to shine on this album.
PERSONNEL: Jared Burrows: guitar; Stan Taylor: drum set; Len Aruliah: saxophones; Chris Trinidad: bass guitar
GENRES: Chamber jazz, straight-ahead jazz with curves
INFLUENCES: Elvin Jones; John Abercrombie; Kenny Wheeler; Steve Swallow
RELEASE YEAR: 2008
ALBUM CODE: IRK 2008 03
Straight-ahead jazz originals played by a quartet of Capilano College alumni.
Chris assembled his favourite jazz musicians from jazz school to concoct this collection, which they rehearsed and recorded during one week in summer. Chris played in Aaron Hardie’s quartet while he was learning how to play the bass guitar in a straight-ahead jazz setting. Morgan Childs was the drummer featured on “Amalia,” and Chris yearned to reconnect with him in this new context. Finally, pianist Paul Miyai was instrumental in helping Chris get through the rigorous environment in jazz school. Paul was kind enough to lend his talents on this recording.
PERSONNEL: Chris Trinidad: bass guitar; Morgan Childs: drum set; Aaron Hardie: alto saxophone; Paul Miyai: piano
GENRES: Straight-ahead mainstream jazz
INFLUENCES: Cannonball Adderley; Bud Powell; Roy Haynes; Steve Swallow
RELEASE YEAR: 2008
ALBUM CODE: IRK 2008 02
Straight-ahead jazz originals played by a quartet of Capilano College alumni.
Chris assembled his favourite jazz musicians from jazz school to concoct this collection, which they rehearsed and recorded during one week in summer. Chris played in Aaron Hardie’s quartet while he was learning how to play the bass guitar in a straight-ahead jazz setting. Morgan Childs was the drummer featured on “Amalia,” and Chris yearned to reconnect with him in this new context. Finally, pianist Paul Miyai was instrumental in helping Chris get through the rigorous environment in jazz school. Paul was kind enough to lend his talents on this recording.
PERSONNEL: Chris Trinidad: bass guitar; Morgan Childs: drum set; Aaron Hardie: alto saxophone; Paul Miyai: piano
GENRES: Straight-ahead mainstream jazz
INFLUENCES: Cannonball Adderley; Bud Powell; Roy Haynes; Steve Swallow
RELEASE YEAR: 2008
ALBUM CODE: IRK 2008 02
An acoustic jazz collaboration with multilingual vocals.
This album features Vancouver-based musicians Larry Olson, Budge Schachte, Nick Apivor, and Davidian Chorley. The interplay between the various instruments recalls the chamber jazz of the 1970s. Chris plays bass guitar and sings in French, Tagalog, Spanish, and English. Chris was inspired by the music of Oregon and Ralph Towner, Gary Burton, Brad Turner, and Pat Metheny. He assembled a group of musicians who’d played with him in various capacities, but not together.
Chris met percussionist Nick on a set when both were performing as extras as musicians for a movie that never materialized. Their friendship led to work with Ache Brasil, where Chris met guitarist Budge Schachte. Nick also introduced Chris to the world of Afro-Cuban rhythms with the Marlin Ramazzini Orquesta, where he met woodwind specialist Davidian Chorley. Finally, Chris recruited the drummer who gave him his very first gig: his high school band teacher, Larry Olson.
PERSONNEL: Chris Trinidad: bass guitar, voice; Larry Olson: drum kit; Nick Apivor: mallet and auxiliary percussion; Budge Schachte: guitars; Davidian Chorley: saxophones, flute
GENRES: Mainstream acoustic jazz
INFLUENCES: Chris Tarry; Brad Turner; Joni Mitchell; Pat Metheny; Gary Burton; Ralph Towner; Oregon
RELEASE YEAR: 2008
ALBUM CODE: IRK 2008 01
An acoustic jazz collaboration with multilingual vocals.
This album features Vancouver-based musicians Larry Olson, Budge Schachte, Nick Apivor, and Davidian Chorley. The interplay between the various instruments recalls the chamber jazz of the 1970s. Chris plays bass guitar and sings in French, Tagalog, Spanish, and English. Chris was inspired by the music of Oregon and Ralph Towner, Gary Burton, Brad Turner, and Pat Metheny. He assembled a group of musicians who’d played with him in various capacities, but not together.
Chris met percussionist Nick on a set when both were performing as extras as musicians for a movie that never materialized. Their friendship led to work with Ache Brasil, where Chris met guitarist Budge Schachte. Nick also introduced Chris to the world of Afro-Cuban rhythms with the Marlin Ramazzini Orquesta, where he met woodwind specialist Davidian Chorley. Finally, Chris recruited the drummer who gave him his very first gig: his high school band teacher, Larry Olson.
PERSONNEL: Chris Trinidad: bass guitar, voice; Larry Olson: drum kit; Nick Apivor: mallet and auxiliary percussion; Budge Schachte: guitars; Davidian Chorley: saxophones, flute
GENRES: Mainstream acoustic jazz
INFLUENCES: Chris Tarry; Brad Turner; Joni Mitchell; Pat Metheny; Gary Burton; Ralph Towner; Oregon
RELEASE YEAR: 2008
ALBUM CODE: IRK 2008 01
Late ’80s melodies, touches of Pink Floyd tempos, lead guitar histrionics, and busy bass guitar.
Adolescent innocence forms the material for this admittedly pretentious concept album. While Chris was performing with Painted Blank, he and former high school bandmate Jon Leeson recorded the material they had performed together at many high school dances and all-ages community shows. Chris put his multi-instrumentalist hat on to record all of the instruments (with varying levels of success). Still, he learned plenty about the process of recording and production from his friend Matt Rogers, who kindly recorded the album.
PERSONNEL: Jon Leeson: voice, acoustic guitar, mandolin; Chris Trinidad: voice, lead guitar, bass guitar, keyboards, drum set
GENRES: Neo-progressive rock, album-oriented rawk
INFLUENCES: Pink Floyd; Def Leppard; wailing lead guitars; cheesy ‘80s power ballads
RELEASE YEAR: 1998
ALBUM CODE: IRK 1998 01
An improvised live album recorded on another magical Friday night in the heart of the Mission District in San Francisco where there is Medicine for Nightmares.
Red Fast Triple Luck is a special expanded configuration of the improvising duo Red Fast Luck with multi-reed sorcerer David Boyce and electro-acoustic percussionist PC Muñoz, and featuring Asian American jazz legend Francis Wong and Pinoy multi-genre low end specialist Chris Trinidad. This album was improvised as part of the Other Dimensions in Sound series hosted and curated by David Boyce in a space designed for sonic sustenance. The group draws from an array of sounds to co-construct an abstract sound collage.
PERSONNEL: David Boyce: tenor saxophone, soprano saxophone, electronics, PC Muñoz: percussion kit, cajon, oji, Francis Wong: tenor saxophone, voice, Chris Trinidad: bass guitar, synth bass
GENRES: Free Improvised Groove, Afro-Futurism, Asian-Futurism, Art Funk
INFLUENCES: Broun Fellinis, Albert Ayler, Pharaoh Sanders, Bill Laswell
RELEASE YEAR: 2025
ALBUM CODE: IRK 2025 04