Sounds

Check out my solo albums and various collaborations with wonderful people!

Solo

A mix of fuzz guitars, analog synths, tapes, and electronics that create a meditative, cinematic mood. Read more about “Permission to Feel”.

An improvisatory homage to my father, featuring electric guitar and classic synth sequences.

A streaming acoustic guitar concert from the beginning of the pandemic. Features several original pieces, John Abercrombie’s “Ralph’s Piano Waltz” and Carla Bley’s “Lawns”.

A collection featuring acoustic guitars, ambient loops, and an electronic piece built up from autoharp and a glitchy install of Sound Forge (“Aeolus”).

A collection of live and studio tracks, including several solo pieces, duos with Blake Helton, and performances for choreographer Blake Dalton’s Crossover Movement Arts.

Collaborations

Songs by Julie Caldwell, lifted from her singer-songwriter origins into the realm of vintage pop music where country, rock, jazz and folk play well together.

Art songs with a modern jazz vibe, led by Jeff Crompton. I play the fretless bass in this group.

Exciting jazz quartet featuring original compositions and fresh interpretations of traditional Balkan and jazz music, featuring guitar wizard Eddie Beho. I play the fretless bass and contributed the tune “Betty’s Creek Blues”, inspired by a stay at The Hambidge Center.

Longstanding, free-spirited drums and electric guitar duo with buddy Blake Helton.

Helton and Bragg proudly present the chimerical, reconstructed soundtrack from the abandoned production of the late-period giallo film “Natura morta con coltello” (1980). Note: the film was a figment of our imaginations.

Electronic music collage of beautiful extremes, comprised of synthesizers and Bill Pritchard‘s electrified tuba.

Helton and Bragg get together with the most excellent Kevin Scott for a wild improv set at the fabled Elliott Street Pub.

A wild klezmer rock funk jazz trip into the psyche of one of the world’s most convoluted rabbi-superheros. The multi-tracked guitar solo at the end of “Der Stazi” might be my homage to the main instrumental excursion in Blind Faith’s “Had to Cry Today.”