Allen is the founder, principal flutist and composer of the COYOTE OLDMAN. He is also the craftsman and earth voice of the duo. He researches the history of his instruments, tracking down flutes from many countries, but especially Native cultures of the western hemisphere. On their recordings you can hear flutes that Allen may have made a few days before the recording and clay ocarinas that might date back hundreds of years.

Barry Stramp is the modernist of the group. Classically trained in concert flute and composition, he also studied engineering and physics. That means he can drop references to Pierre Boulez and IRCAM as well as DSP and FFT processing into a conversation that started about live performance. It's Stramp's skill at studio manipulation that turns the raw material of Allen's flutes into the expansive soundscapes that are Coyote Oldman. They work together, manipulating the sound in real time, feeding back off the echoes, reverb, and harmonization as if creating a superflute.

For Coyote Oldman nothing is pure, but everything is purity. They mix technologies, create hybrid flutes and even bring in other instruments like Stramp's Chapman Stick.

However for the most part, in Allen's words, they stay "in our own backyard." You can hear Stramp playing shakuhachi and bansuri flutes on his solo album A Sky of Dreams as well as on Invisible Rhythm with his group, SATORI. But in Coyote Oldman, it's strictly wind instruments from the New World.

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Compassion

Floating on Evening

House Made of Dawn

In Beauty I Walk

Landscape

Night Forest

Shape of Time

Tear of the Moon

Thunder Chord