In these enterprises, and in numerous solo and ensemble appearances in the city, as conductor, organizer, trumpet and flügelhorn player, and mallet percussionist, he was a catalyst for new music performance life in the Maritimes, in particular introducing the potential of synthesizer and tape composition to the region.
Tittle performed with other noted composers and musicians, including Philip Glass and Allen Ginsberg.
Drawing on influences from jazz, minimalist, and non-Western musics, he created in each piece an original statement that is subtle, novel, and engaging both for the performer and the listener.
Works such as orange-blossom book, it is all there all the time, where there is no other (only we), let it shine all the time, messages (four), and what finally matters most is grace are poised between Western and Asian aesthetics: an impression of timelessness and of the mobile tend to disguise tight control of material and logical, dynamic conclusions.
The interplay between tape and performer in innocence and natural right, salvation dharma band, and only/other/always achieves a linear unity and contrapuntal contrast that is both lyric and deft.