I am one of very few Cambodian traditional musicians to survive the Pol Pot’s Khmer Rouge genocidal that massacre the Cambodian people and 90 percent of the Cambodian intellectual artists. My background in music goes back when I was at the age of 10. I have learned and mastered the tradition percussions and strings ensemble like Pin Peat, Mohowrri, and Phlengkar from my grandfather, Dr. Sourn Mar, who is one of the most famous teacher in Royal Courts in Phnom Penh. I have studied from my grandfather for only 5 years until the war murdered and separated my families.

In 1975, the horror begins. The Khmer Rouge captured my family and I from Phnom Penh and put me to work in the rice field in the countryside of Battambang. At the age of 14, I was already a slave laborer. I was forced to work 16 hours a day, 7 days a week, starving with very little food and very little sleep.

During the nights it is terrifying to sleep. I could only wish that morning would come soon. But through the darkness, when I could not sleep, I would recite my music by humming quietly in my mind, closing my eyes to see me playing. It was the only way that I can remember because being a musician was forbidden and consider to be destruction to the Khmer Rouge government, but it was my music that I was able to sleep.

In 1978, I was married to my lovely wife Keo Yem. By 1979, I escaped the killing field and made it to a refugee camp called Kao-I-Dang then transfer to Srak-Keo 1, along the border between Thailand and Cambodia. In camp, I had continues to practice my music and teach my traditional music to fellow refugees. In a period of three months, I was sponsor by the International Rescue Committee to transfer my family and I to another refugee camp in Thailand called Srak-Keo-2.

In Srak-Keo-2, I have created my own Pin Peat / Mohowrri orchestra and performing arts group to help relief the pressure of living in a concentrate camp. I earned extra money while working as a performer and as a music teacher of Cambodian classical dance and music supported by the Japanese Sotoshu Relief Committee for South East Asia. I had received an award certificate for my work and effort to revive my traditional heritage.
In 1984, my family and I were fortunate to immigrate to the United States. I learned a little bit of English and studied a little bit about auto mechanic within four months I went to work. I was also working in a hotel as a pastry chef in Houston. Working hard to support my family, I continue to teach myself more music.

In 1988, I and my several campaigns of musician and dancers formed a performing arts group at the Cambodian Community Action Center to help preserve the Cambodian traditional music and classical dances. I was also teaching there too. And in this organization I have performed throughout my small community.
In 1989, I moved to California. I formed another traditional orchestra called Phlengkar which occupy the Cambodian traditional weddings. I have performed in many wedding ceremonies with my group for the Cambodian community throughout California, Arizona, Ohio and Texas.

In 1994, I moved to Long Beach with my family to find a better job opportunity. During that time, Long Beach was one of the most populated Cambodian communities outside of Cambodia; I knew that I can play an important role in Long Beach with my music because our community is built on a multi-culture environment.

In 1995, I began to teach three types of the Cambodian traditional music, called Pin Peat, Mohowrri, and Phlengkar to all of my children and students at my residence. I have spent my time and effort because I wanted to see our culture grow its’ legacy from our ancient ancestors to the younger generation in America. As seeing my children and the youth of my Cambodian community growing up I wanted to show them the values and importance of our musical heritage and the struggle to keep it alive.

I had also joined the United Cambodian Community Center with Master Yinn Pon during that year. I have received a recommendation award for my effort from UCC as a master artist.

In 1996, I decided to create my own orchestra with just my children, but still teach the traditional music to my students.

In 1998, I have produced a Mohowrri CD with Master Yinn Pon and my students. In 1999, I joined Khmer Cultural Center. Following the footsteps of my grandfather, I am leading a class for young musicians. My students have performed in many events throughout California including museums, parades, public schools, multicultural festivals, and the Cambodian New Years celebration in 1999-2002.

In 2000-02, I was able to receive a grant from the California Arts Council. As of today, I am still teaching the traditional music to my children and students at my home. Some of my students have studied with me for more than 12 years and I hope to continue teaching this traditional music to my current students and perform in larger audiences. My goal is to strengthen and expand the Cambodian traditions and ensures the survival of Cambodia's musical heritage. I am committed to keep this traditional music alive by passing it on to the next generation of musicians, youth and adult in this community. As a result of my teaching, I have the only Cambodian classical orchestra of the three types of traditional music in California.

For 12 years, I continue to teach music to my students on my own time providing them costumes clothing to musical instruments, while working a daily job as an auto mechanic. For 2004 and to the near future, I am looking forward for more opportunities to impact future audiences and more students including non-Cambodians.

"Master Sambath Pich is the only master of the Roneat Ek, a Cambodian xylophone, that performs the sound of the Royal Courts within California. He is also a master on many other traditional instruments that is essential to the musical arts of the ancient Khmer Kingdom."

My name is Keo Sambo Pich. I was born in October 31, 1981 in a refugee camp called Srak Keo, along the border of Thailand and Cambodia. I had fled the Khmer Rouge massacre and migrate to the USA in 1984 with my parents and my little brother. At the age of 12, I have the opportunity to learned and gain knowledge about the Cambodian traditional music from my father, who is a master of the Roneat Ek (Cambodian Xylopone) and also many of the other instruments essential to the musical arts.

For a period of 12 years experience, I was able to learn a total of 6 instruments. With the 6 instruments, I continue to perform in the Pinpeat orchestra- which occupied the religious ceremonies and the classical dance, mohowrri- which occupy for entertainment in culture activities, and Phlengkar- which occupy the traditional weddings.

As being the next generation, I am one of the youngest musicians within California. I have participate and performed in many events including museums, parades, public schools, multicultural festivals, the Cambodian New Years celebration, and also with master musicians from “The Royal University of Fine Arts – Cambodia”.

In 2004, I was able to learn a new instrument called the Sralai Thom (Big Oboe) from Master Nol Kol, who performed at the Carpenter Center during his visit from Cambodia. For only 2 days, I was able to learn the techniques and 1 song for my lesson. The Sralai Thom is the 7^th instrument that I have learned. Currently now, I continue to practice the Sralai with my father and studying hand movement from many unknown masters recording from 40 years ago on cassette tapes.

In doing what I love to do, I hope to see younger generation keep up the culture heritage. As of today, I perform the traditional music with my family of younger brothers and sister in our community.