Laurie Altman's musical compositions on Sonic Migrations represent, in some way, a passage: A passage through places (globally), history and events, words, sonic environments, people's lives and their mutual emotions. The pieces are the by-product of a time span of some 25 years, encompassing diverse ensembles and sonic frameworks, far-flung influences, textures, and feelings. There are some outstanding artists playing, like Clipper Erickson (piano), or the Manhattan String Quartet, to name a few. And there is a technical innovation: The Sensor Augmented Bass Clarinet (SABRE) is a bass clarinet, playable in the customary way, and equipped with various sensors with which a computer can be controlled. The original qualities of the instrument are retained, and through the connection to the computer a whole new field of possibilities and areas of application is opened up. With the SABRE, a musical instrument is available for the first time with which a direct connection between acoustic music and the digital world can be realized. The musician on stage can directly control this with his/her instrument, thus spontaneously placing the electronic music into a musical context. Moreover, other media such as visuals, light or video games can be controlled. "No Hay Olvido (Sonata)" features a poem by Pablo Neruda; "Laments of the Homeless Women" features apoem by David Sten Herrstrom. Personnel: Laurie Altman - piano; Randy Bauer - piano; Kuang-Hao Huang - piano; Clipper Erickson - piano; Patrice Michaels - soprano; Matthias Mueller - clarinet, SABRE; John Bruce Yeh - clarinet; Andrew Rathbun - saxophone; Cavatina Duo (Eugenia Moliner - flute; Denis Azabagic - guitar) and Manhattan String Quartet.