A fellow musician once referred to this Sonata as "happy music," and I can think of no better description. The rollicking melody in this movement subsides to a gentler middle section, only to reappear again at the end.

This slow, haunting melody provides a contrast to the final movement; it's the calm before the storm.

In this grand finale, the flute soars over rippling flurries of notes in the piano. I always smile when I listen to this one, and then wince when I remember how hard it is to play!

Named after Peter's daughter Kaitlan (who was only 2 years old at the time!), Kaity was the first jazz tune I wrote. A thoughtful intro gives way to a fun Latin feel; I especially like Peter's solo on this track.

Written in 1998, this was my first setting of a Robert Service poem. By turns dramatic, humorous, and fantastic, Cremation was great fun to transform into a song.

This piece begins with a slow, minor melody, reminiscent perhaps of Satie. It soons moves to a gentle tango feel, and from there to a high-energy, cheerful finish. The highlight of the Duo (for me, at least!) is near the end, when the flute and piano play the same melody one beat apart!

Randall Thompson's Alleluia was originally written for unaccompanied chorus, the notes sung entirely to a single word: alleluia. I found that the piece works particularly well for jazz piano trio, losing none of its spirituality in the process.

Gloria is my setting of a portion of the traditional Christian mass. With the use of appealing melodies and contemporary rhythms, I attempted to bring a fresh approach to age-old words. The first movement, Gloria, joyfully praises God, the melody constantly passing from one voice part to another. Movement 2, Et In Terra Pax, is a gently rocking piece featuring guest soprano Wendy Humphreys. In Laudamus Te, Part 3, I switched to a challenging 7/4 time signature, keeping everyone on their toes! Gratias Agimus Tibi truly gives the choir a chance to shine, especially in the rich a cappella section. Movement 5, Miserere Nobis, is perhaps my favourite section of the whole Gloria, and is certainly the most dramatic. It begins with a Gregorian chant-influenced soprano solo, then moves to a driving main section which propels the piece to its stunning conclusion. Part 6, Quoniam Tu Solus Sanctus, is characterized by soaring choral lines with a flowing piano accompaniment. And finally, Tu Solus Altissimus starts out with a Baroque-flavoured soprano solo, then brings in the choir to restate the original melody from Part 1.