Aside from its use of the Balinese time-keeping instrument, the kempli, , LUV Time bears little overt relationship to Balinese music. Its connection to gamelan is nonetheless quite strong. My concern in this piece, as in all my work, is to take structural notions from particular types of music (in this case Balinese music and jazz) and to recast them in new and unexpected ways. For example, this piece, like Balinese music, is largely pentatonic, but its use of pentatonicism is very different from that of the gamelan. Its use of heterophony is also derived from Balinese music , but within gamelan this heterophony is effectively marginalized, whereas in LUV Time it is almost omnipresent. Other notions drawn from Balinese music are as follows: the sense of an "ennobled" melody; the use of repeating structural markers to delineate time (that is, gong-substitutes); fixed instrumental role-playing (each instrument having a particular function which doesn't vary within a movement), and, if I do say so, a certain joie de vivre for which I'm always striving.
LUV TIME is the first piece I wrote upon moving to California in 1984. My intention at the time was to recast my musical preferences in emphatic, clear-cut terms. The piece is in three movements, with titles reflecting aspects of wind playing: "Between the Jaws", "Ramrods" (for Steve Lacy), and "Instep". Shortly after the premiere, coincidentally, a local beer company started using a melody similar to my "main theme" for their ads. They went out of business within the year, and I have yet to receive royalties.