APOCALYPSO" (Cuneiform Rune 156)
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Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Ginger Baker
INTERVIEW road. May I ask how your back is fairing? GB: The spine’s all right. It’s before and after. Ginger TNYCJR: Is there a Jazz Confusion recording available or forthcoming? e k t GB: t No, we haven’t done a record at all. i D a n I TNYCJR: Is that in your plans? f o y s e t Baker GB: r Well, it depends on record companies, I guess. u o C (CONTINUED ON PAGE 40) / k a j z u H “With Blessed, Neumann’s trio makes a a s worthy pilgrimage to the jazz holy land.” a SCOTT S -AllAboutJazz.com © by Anders Griffen NEUMANN’S NEU3 TRIO Ginger Baker is a drummer from South London, England TNYCJR: I’ve heard that he was the greatest of the jazz who became famous for his work with two short-lived but drummers over in Britain in his day. PRESENTS hugely successful groups of the mid to late ‘60s, Cream and “Blessed” Blind Faith, each featuring guitarist Eric Clapton. Before GB: Without a doubt. Featuring that, in the ‘50s and early ‘60s, he had been strictly a jazz Michael Blake musician until playing blues with Alexis Korner’s Blues TNYCJR: I even heard that Johnny Griffin said he and Mark Helias Incorporated and R&B with the Graham Bond Organization. sounded like Philly Joe Jones. In the early ‘70s, already well acquainted personally with Afrobeat sensation Fela Kuti, Baker traveled to Africa, GB: Well, he never sounded like Philly Joe Jones, he adventuring across the Sahara and absorbing more of that sounded like Phil Seamen. -
Mick Taylor © Felix Aeppli 07-2020 / 08-2021
Blues Breaker Mick Taylor © Felix Aeppli 07-2020 / 08-2021 5001 January 17, 1949 (not 1948) Born in Welwyn Garden City, Hertfordshire: Michael Kevin (not James) Taylor. 5001A 1963 Hatfield, Hertfordshire, or London: THE STRANGERS, MEET THE STRANGERS (One-sided 10" acetate, 1963): 1. A Picture Of You (Beveridge, Oakman), 2. The Cruel Sea (Maxfield), 3. It’ll Be Me (Clement), 4. Saturday Night At The Duck Pond (Owen, based on a section from Tchaikovsky's Swan Lake) MT, Alan Shacklock: guitar; Malcolm Collins: vocals (1, 3); John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5001B 1964 Hatfield, Hertfordshire, or London: THE JUNIORS, Single (Columbia DB 7339 [UK], Aug. 1964); MADE IN ENGLAND VOL. 2 – BRITISH BEAT SPECIAL 1964 - 69 (LCD 25-2, CD [France], Spring, 2000): 1. There’s A Pretty Girl (Webb), 2. Pocket Size (White) MT, Alan Shacklock: guitar; Malcolm Collins: vocals; John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5002 May, 1967 Probably London THE GODS (THOR, HERMES, OLMPUS, MARS), Single (Polydor 56168 [UK], June, 1967): 1. Come On Down To My Boat Baby (Farrell, Goldstein), 2. Garage Man (Hensley) NOTES: Cuts 1, 2: MT’s participation in this session is very much open to speculation and his own interviews on the subject are full of contradictions; most likely MT had taken part in some live shows, but he never was in THE GODS’ actual line-up (Lee Kerslake: guitar; Ken Hensley: organ, vocals; John Glascock: bass, back-up vocals; Brian Glascock, perhaps alternating with Lee Kerslake: drums); – Nor is MT identical with MICK TAYLOR playing guitar and singing on a Single (CBS 201770 [UK], June, 1965), London Town, Hoboin’ (both Taylor - produced by Jimmy Duncan and Peter Eden); or involved in Cockleshells (Taylor), a track recorded by MARIANNE FAITHFULL (NORTH COUNTRY MAID, Decca LK 4778 [UK], Feb. -
Nicky Skopelitis Ekstasis Mp3, Flac, Wma
Nicky Skopelitis Ekstasis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Ekstasis Country: US Released: 1993 Style: Fusion, Acid Rock MP3 version RAR size: 1346 mb FLAC version RAR size: 1553 mb WMA version RAR size: 1913 mb Rating: 4.2 Votes: 505 Other Formats: DMF MP4 MP2 TTA AIFF AC3 DTS Tracklist Hide Credits Tarab Bass Guitar – Jah WobbleDrums [Loop] – Joseph "Zigaboo" Modeliste*Electric Guitar, A1 7:19 Twelve-String Guitar – Nicky SkopelitisHarp [Doussongoni] – Foday Musa SusoTabla – Zakir HussainViolin – Simon ShaheenWritten-By – Laswell*, Wobble* Meet Your Maker Bass Guitar – Bill LaswellCuica, Whistle, Other [Little Hammer] – Guilherme FrancoDrums A2 5:57 – Jaki LiebezeitElectric Guitar, Twelve-String Guitar – Nicky SkopelitisFlute – Bachir AttarOrgan [Hammond B-3] – Amina Claudine MyersOud, Violin [Intro] – Simon Shaheen Ghost Of A Chance Baglama, Electric Guitar, Twelve-String Guitar – Nicky SkopelitisBass Guitar – Bill A3 5:06 LaswellBerimbau [Electric], Cuica, Cowbell – Guilherme FrancoDrums – Joseph "Zigaboo" Modeliste*Organ [Hammond B-3] – Amina Claudine MyersPerformer [Chatan] – Aiyb Dieng Proud Flesh Bass Guitar – Jah WobbleDrums – Jaki LiebezeitElectric Guitar, Twelve-String Guitar – A4 4:48 Nicky SkopelitisKora – Foday Musa SusoTambourine – Guilherme FrancoViolin – Simon Shaheen Sanctuary Bass Guitar – Jah WobbleDrums – Jaki LiebezeitElectric Guitar, Twelve-String Guitar – A5 5:57 Nicky SkopelitisOboe [Ghaita] – Bachir AttarOrgan [Hammond B-3] – Amina Claudine MyersTalking Drum – Aiyb DiengWritten-By -
Beats and Friends: a Checklist of Audio-Visual Material in the British Library
BEATS AND FRIENDS: A CHECKLIST OF AUDIO-VISUAL MATERIAL IN THE BRITISH LIBRARY Compiled by Steve Cleary CONTENTS Introduction William S. Burroughs Allen Ginsberg Jack Kerouac The East Coast scene John Ashbery Amiri Baraka Ted Berrigan Kenward Elmslie The Fugs John Giorno Ted Joans Robert Kelly Kenneth Koch Tuli Kupferberg Seymour Krim The Living Theatre Gerard Malanga Jonas Mekas Larry Rivers Gilbert Sorrentino The West Coast scene Robin Blaser Richard Brautigan Brother Antoninus Lawrence Ferlinghetti Michael McLure David Meltzer Kenneth Rexroth Gary Snyder Black Mountain Robert Creeley Fielding Dawson Ed Dorn Robert Duncan Larry Eigner Charles Olson John Wieners Jonathan Williams Other Beats Neal Cassady Gregory Corso Brion Gysin Herbert Huncke Jack Micheline Peter Orlovsky Kenneth Patchen Alexander Trocchi Women Carolyn Cassady Diane di Prima Barbara Guest Fran Landesman Denise Levertov Josephine Miles Anne Waldman Influences and connections Paul Bowles Stan Brakhage Lenny Bruce Charles Bukowski Ken Kesey Timothy Leary Norman Mailer Kenneth Patchen Hubert Selby, Jr Alan Watts Wavy Gravy William Carlos Williams Anthologies and Beats in general Giorno Poetry Systems INTRODUCTION A few notes on the criteria underlying this checklist might be helpful. Recordings were selected for inclusion on the basis that they feature Beat (or Beat- connected) writers, performing their own or others' works, in interview, or as the subject of documentary audio or video. Readings - and songs and other tributes to these artists - by artists who would not themselves warrant inclusion have been ignored. Thus Charles Laughton's reading from The Dharma Bums, for example, must be passed over for the purposes of this appendix. BBC Sound Archive material has been included only where also held in the British Library Sound Archive. -
VILLAGE of OSSINING MUNICIPAL BUILDING 16 Croton Avenue Ossining, N
VILLAGE OF OSSINING MUNICIPAL BUILDING 16 Croton Avenue Ossining, N. Y. 10562 (914) 941-3554 FAX (914) 941-5940 FOR IMMEDIATE RELEASE Music Legend Sonny Sharrock to Be Recognized by an Honorary Street-Renaming Free-Jazz Guitar Master, Miles Davis Sideman Warren "Sonny" Sharrock Gets His Due, Oct. 2, in Ceremony Conducted by Bill Hanauer, Mayor, Village of Ossining; Special Performance by Sons of Sharrock 2010 Marks What Would Have Been Musician's 70th Birthday WHAT: The Village of Ossining, in conjunction with the family and friends of the late, great guitar legend Warren "Sonny" Sharrock (August 27, 1940 – May 26, 1994), is pleased to announce that an honorary Street Re-naming ceremony will be held on Saturday, October 2nd. Mayor Hanauer said "Sonny Sharrock honored his native Village of Ossining with his brilliance, influential musicianship and his ability to inspire generations of artists. As he brought honor to our community we will honor him with this ceremony." South Malcolm Street in Ossining, will be renamed “Sonny Sharrock Way,”. There will be a special performance by Sons of Sharrock, a newly formed reportorial band under the direction of Sharrock's cousin and former collaborator Kendall Buchanan. WHEN: Saturday, October 2, 3PM Corner of South Malcolm Street and Hamilton Avenue, Ossining, NY 10562 Map: http://maps.google.com/maps?hl=en&tab=wl WHY YOU SHOULD GO: Hailed as the father of free-jazz guitar by the New York Times, Sonny Sharrock carved his own unique niche in the world of jazz by adapting the free-form improvisational style pioneered by 1960s jazz horn players to the guitar. -
Innerviews Book
INNERVIEWS: MUSIC WITHOUT BORDERS EXTRAORDINARY CONVERSATIONS WITH EXTRAORDINARY MUSICIANS Anil Prasad ABSTRACT LOGIX BOOKS CARY, NORTH CAROLIna Abstract Logix Books A division of Abstract Logix.com, Inc. 103 Sarabande Drive Cary, North Carolina 27513 USA 919.342.5700 [email protected] www.abstractlogix.com Copyright © 2010 by Anil Prasad ISBN 978-0-578-01518-7 Library of Congress Control Number: Pending Printed in India First Printing, 2010 All rights reserved. No part of this book may be reproduced in any form by any means without the written permission of the author. Short excerpts may be used without permission for the purpose of a book review. For Grace, Devin and Mimi CONTENTS Acknowledgements vii Foreword by Victor Wooten viii Introduction x Jon Anderson: Harmonic engagement 1 Björk: Channeling thunderstorms 27 Bill Bruford: Storytelling in real time 37 Martin Carthy: Traditional values 51 Stanley Clarke: Back to basics 65 Chuck D: Against the grain 77 Ani DiFranco: Dynamic contrasts 87 v Béla Fleck: Nomadic instincts 99 Michael Hedges: Finding flow 113 Jonas Hellborg: Iconoclastic expressions 125 Leo Kottke: Choice reflections 139 Bill Laswell: Endless infinity 151 John McLaughlin & Zakir Hussain: Remembering Shakti 169 Noa: Universal insights 185 David Sylvian: Leaping into the unknown 201 Tangerine Dream: Sculpting sound 215 David Torn: Mercurial mastery 229 Ralph Towner: Unfolding stories 243 McCoy Tyner: Communicating sensitivity 259 Eberhard Weber: Foreground music 271 Chris Whitley: Melancholic resonance 285 Victor Wooten: Persistence and equality 297 Joe Zawinul: Man of the people 311 Photo Credits 326 Artist Websites 327 About the Author 329 vi ACKNOWLEDGEMENTS Many people have contributed to Innerviews, both the website and the book, across the years. -
September 1993
FEATURES TIM "HERB" ALEXANDER With their new album, Pork Soda, Primus has carved out a stylized and twisted place on the pop music landscape. And in the drum world, Tim Alexander's playing has declared its arrival in an equally against-the- grain fashion. • Matt Peiken 20 CLAYTON CAMERON The art of brush playing got a well-needed shot in the arm when Clayton Cameron got a hold of it. Now, after several years with Sammy Davis, Jr. and a highly regarded video on the subject, Cameron has taken his magic to Tony Bennett's drum 26 chair. Oh, and he plays sticks, too. • William F. Miller TOURING COUNTRY DRUMMERS Touring with country music's big stars is a different ball of wax from making the records. Get the lowdown on the country high road from Garth Brooks's Mike Palmer, Ricky Skaggs' Keith Edwards, Vince Gill's Martin Parker, and Billy Ray Cyrus's Gregg 30 Fletcher. • Robyn Flans VOLUME 17, NUMBER 9 COVER PHOTO BY ANDREW MACNAUGHTON COLUMNS EDUCATION NEWS EQUIPMENT 60 BASICS 8 UPDATE Miking Your Drums Fred Young, BY JOHN POKRANDT Prince's Michael B., John Tempesta of Exodus, and the 77 STRICTLY Sundogs' Jimmy TECHNIQUE Hobson, plus News Grouping Control Studies 114 INDUSTRY BY RON SPAGNARDI HAPPENINGS 78 CONCEPTS Faking It 34 ELECTRONIC BY GARY GRISWOLD DEPARTMENTS REVIEW 86 RocK'N' New KAT Products JAZZ CLINIC 4 EDITOR'S BY ED URIBE Your Left Foot OVERVIEW NEW AND 38 BY WILLIAM F. MILLER NOTABLE 102 ROCK CHARTS 6 READERS' Lars Ulrich: "Nothing PLATFORM 108 SHOP TALK Else Matters" Drumshells: TRANSCRIBED BY 12 ASK A PRO Where It All Starts -
THE CHRONICLE All Day, All Night
All Day, all night Sophomore forward Alison Day scored a * career-high 21 points as records fell for |f THE CHRONICLE women's basketball- See Sports, page 11. AHHA THURSDAY. FEBRUARY 10. 1994 DUKE UNIVERSITY DURHAM, NORTH CAROLINA CIRCULATION: 15.000 VOL. 89. NO. 97; First lady invited to speak at graduation By MICHAEL SAUL ally announced in the fall. tion speaker by October or No ment address, the administra President Nan Keohane has Keohane decided last fall in vember." tion has dealt with its fair share agreed to give first lady Hillary consultation with the Univer If Clinton turns down the in of delays and cancellations. Clinton until about March 1 to sity commencement committee vitation, the president will Most recently, efforts to invite decide whether she will deliver to give Clinton until early likely resort to the short list of Vaclav Havel, now head of state the keynote address at the March to commit to the May 8 candidates on the commence ofthe Czech Republic, and Neil University's 142nd commence speech. The first lady's busy ment committee's list. The com Simon, the Pulitzer Prize-win ment. schedule prevents her from mittee finished its deliberations ning playwright, ended unfa University officials have been agreeing to engagements many in April. vorably. tight-lipped for months about months in advance. "We still have a viable short "When you play for big game, the speaker's identity, but a "My feeling is if we don't hear list to work from," said Trinity you have to be prepared to lose," spokesman in the Office ofthe anything by very early March, senior Rachel Brod, a com Wilder said. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Progressive Sounds (These are excerpts from my book "A History of Rock and Dance Music") East Coast 1988-94 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. At the beginning of the 1990s, Phish, more than anyone else, established alternative rock on mainstream radio. Phish were more than just a surrogate of the Grateful Dead for the 1990s. They legitimized a return to the aesthetics of progressive-rock, particularly on the East Coast. In the age of hardcore punk-rock, the aesthetics of Phish (22), a quintet based in Vermont, bordered on the suicidal. Nonetheless, the band became one of the most significant phenomena of the decade. Phish focused on the live concert, a concept that had been anathema during the 1980s, and rediscovered the guitar solo, the ornate keyboard arrangements, prog-rock tempo shifts, group improvisation and the whole vocabulary of intellectual hippie music, as proven with the lengthy tracks on the cassette Junta (aug 1987/? oct 1988 - ? 1989). The encyclopedic tour de force of Lawn Boy (may/dec 1989 - sep 1990) focused on mostly-instrumental melodic fantasies that quoted from an endless list of genres. Guitarist Trey Anastasio inherited Frank Zappa's clownish compositional style, which blended rock, jazz and classical music in pseudo-orchestral fashion, while his cohorts inherited Grateful Dead's dizzy jamming style, and keyboardist Page McConnell added a strong and elegant jazz accent. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Neo-progressive (These are excerpts from my book "A History of Rock and Dance Music") New York's progressive-rock 1981-85 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. It was inevitable that the experimental thrust of the new wave would eventually bring back progressive-rock. It is significant that members of the old Canterbury school residing in New York (notably Daevid Allen, Fred Frith, Chris Cutler) were drawn to the creative ferment of the new wave. The Henry Cow alumni were the most prolific, especially after the new wave rediscovered them. Gold Diggers (may 1983 - ? 1983) by Lindsay Cooper (1), Man Or Monkey? (aug 1982 - ? 1982) by Chris Cutler's Cassiber (1), Work Resumed On The Tower (oct/nov 1983 - jul 1984) by News from Babel (1), featuring Cutler, Cooper, and Dagmar Krause, and Slow Crimes (sep 1981/jan 1982 - ? 1982) by Tim Hodgkinson's Work (1) were among the most original releases of the time, experimenting with syncopated polyrhythms, guitar noise, found sounds and operatic vocals. Fred Frith (2) became one of the most original guitar soloists of his generation first with his revisionist take on "world dance" that yielded the demented vignettes of Gravity (aug 1979/jan 1980 - ? 1980) and Speechless (apr/aug 1980 - ? 1981), and then via a series of increasingly experimental works, starting with the three-movement dance score The Technology Of Tears (february 1987) that featured John Zorn on squealing alto saxophone and Christian Marclay on ridiculous samples, before heading into jazz and avantgarde. -
BILL LASWELL, RAOUL BJÖRKENHEIM, MORGAN ÅGREN: BLIXT Title: BLIXT (Cuneiform Rune 335)
Bio information: BILL LASWELL, RAOUL BJÖRKENHEIM, MORGAN ÅGREN: BLIXT Title: BLIXT (Cuneiform Rune 335) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ / METAL-JAZZ Bill Laswell “Few people on this sphere truly deserve to be called a genius. But if the definition refers to one with a rare gift for transforming the intangible into the tangible and seamlessly combining that which is ostensibly disparate, then Bill Laswell may very well qualify.” – Innerviews Raoul Bjorkenheim “I first heard Bjorkenheim’s guitar antics when he was with Edward Vesala’s Sound and Fury, a band that took jazz into startling territories. Apparantly, the Finnish drummer told him to ‘toally obliterate anything that had to do with standard guitar’, advice he has certainly tried to take to heart. His explorations…open strange, disturbing vistas where some notions of what electric guitar can/should do will be refreshed.” – Jazzitude Morgan Agren “…Agren is…a drummer’s drummer who can flit from cool traditional jazz to proggy rock to howling Swedish metal, without dropping a stick, without batting and eye…If you’ve got a drummer in your family, pick these records up…He’ll either thank you or give up his instrument forever.” – Popmatters If the British power trio Cream was the first guitar-led supergroup, Blixt is a 2011 aftershock. Five decades on, the sound is heavier and darker, the mix of ingredients more transgressive, the origins of the musicians more global, and the harmonic and rhythmic palettes more complex.