As a music aficionado I am eclectic in my tastes of music genres. It is an advantage to my listening habits as it opens up the playing field quite wide. On the other hand it is impossible to find a single album that can embody most of these genres, unless I make my own mix tape. I love program music all the way back to renaissance and baroque, leading to romantic and modern classical music, with a soft spot for symphonic tone poems that conjure images and colors. No wonder that the classic era of progressive rock provided me with the same enjoyment, setting those preferences to popular music, rock aesthetics and long form musical compositions. However I also like musical improvisation and all forms of jazz music, ethnic music, film scores, folk, electronic music (I love analog synthesizers) and the list goes on and on. There have been examples in the past of fusing some of these elements together, such as the third stream in jazz music (John Lewis and MJQ), rock music that interpreted the classics (ELP), classical music with folk forms (Dvorak), rock music with ethnic and folk influences (Santana, Fairport Convention), folk music and jazz (Pentangle). But no album that I know was able to bring together the improvisation know-how of jazz musicianship, evocative program music, long-form multi-part composition, analog synths and ethnic music so brilliantly like the topic of this article. This is the story of the album As Falls Wichita, So Falls Wichita Falls.