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Thinking Plague a History Of
What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero. -
Mike Mangini
/.%/&4(2%% 02):%3&2/- -".#0'(0%4$)3*4"%-&34&55*/(4*()54 7). 9!-!(!$25-3 VALUED ATOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 0/5)& '0$64)*)"5 "$)*&7&5)&$-"44*$ 48*/(406/% "35#-",&: 5)&.&/503 50%%46$)&3."/ 45:-&"/%"/"-:4*4 $2%!-4(%!4%23 Ê / Ê" Ê," Ê/"Ê"6 , /Ê-1 -- (3&(03:)65$)*/40/ 8)&3&+";;41"45"/%'6563&.&&5 #6*-%:06308/ .6-5*1&%"-4&561 -ODERN$RUMMERCOM 3&7*&8&% 5"."4*-7&345"33&.0108&34530,&130-6%8*("5-"4130)"3%8"3&3*.4)05-0$."55/0-"/$:.#"-4 Volume 36, Number 3 • Cover photo by Paul La Raia CONTENTS Paul La Raia Courtesy of Mapex 40 SETTING SIGHTS: CHRIS ADLER Lamb of God’s tireless sticksman embraces his natural lefty tendencies. by Ken Micallef Timothy Saccenti 54 MIKE MANGINI By creating layers of complex rhythms that complement Dream Theater’s epic arrangements, “the new guy” is ushering in a bold and exciting era for the band, its fans, and progressive rock music itself. by Mike Haid 44 GREGORY HUTCHINSON Hutch might just be the jazz drummer’s jazz drummer— historically astute and futuristically minded, with the kind 12 UPDATE of technique, soul, and sophistication that today’s most important artists treasure. • Manraze’s PAUL COOK by Ken Micallef • Jazz Vet JOEL TAYLOR • NRBQ’s CONRAD CHOUCROUN • Rebel Rocker HANK WILLIAMS III Chuck Parker 32 SHOP TALK Create a Stable Multi-Pedal Setup 36 PORTRAITS NYC Pocket Master TONY MASON 98 WHAT DO YOU KNOW ABOUT...? Faust’s WERNER “ZAPPI” DIERMAIER One of Three Incredible 70 INFLUENCES: ART BLAKEY Prizes From Yamaha Drums Enter to Win We all know those iconic black-and-white images: Blakey at the Valued $ kit, sweat beads on his forehead, a flash in the eyes, and that at Over 5,700 pg 85 mouth agape—sometimes with the tongue flat out—in pure elation. -
Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Cobra Fakir Press Quotes
WHAT THE PRESS HAS SAID ABOUT MIRIODOR COBRA FAKIR CUNEIFORM 2013 “The band is nestled within a Rock in Opposition (R.I.O) stylization that transcends progressive rock... Steeped in experimentalism. ... The band unites hi-tech electronics with acoustic-electric frameworks and colorific layers of sound. They fuse some razzle- dazzle type escapades with zinging odd-metered ostinatos, quirky deviations and regimented patterns. ... "Maringouin," boasts a hummable melody line, driven by a warm electric piano riff... majestic choruses... this piece would serve as the most radio accessible entry on the album. ... A superfine album by this time-honored unit.” [4 stars] - Glenn Astarita, All About Jazz, February 2014 “French-Canadian band Miriodor have carved out an instantly recognisable sound that straddles avant rock and jazz, and in the process have become stalwarts of the Rock In Opposition scene. ... Miriodor’s sound is accessible, playful, and rarely ventures down wilfully dark and obscure alleys. ... This album is...a good place to start with RIO. ...Cobra Fakir, or “Snake Charmer”, is a suitably hypnotic and involving album... The title track..unwinds slowly into a... second segment, Univers Zero with a lighter touch. One can hear Henry Cow’s more accessible melodic structures in here, too. ... some fabulous and tricky interplay, the rhythm section keeping things in strict control. ... Entirely instrumental, the titles have the freedom to say what they want. So we have pulsing songs about bicycle races rubbing shoulders with…speed dating on Mars. ...fun and adventure...runs through Cobra Fakir. ... We have been well and truly entertained. ... Anyone with a sense of wonder at the way some musicians can get the old synapses firing in perhaps unexpected ways should definitely investigate this complex but highly enjoyable album. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
Blabla Bio Fred Frith
BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin. -
Treyzon, Thoreen Seize Top Posts
■ OPINION/6 ■ SPORTS/12 «ARTSWEBV1A l^ g g -«fab . ||j Eco-Avenger Speaks Out Vitulli Leaves as a Leader ¡ S i» * ? u É ^ _ _ J i Treyzon, Thoreen Seize Top Posts Group Given More Time to 12 Percent Voter Collect Funds for Property Turnout Decides By Nick Robertson This action protects the buy Staff Writer_______ ing rights of Land Trust for Santa Run-off Election Barbara County, wMch is in the process of raising the $1.9 mil By M. Jolie Lash After weeks of debate over the lion necessary to acquire the Staff Writer future of land on the Sedgwick ranch land as a reserve. If the Ranch, University officials final group succeeds, it plans to do ized an agreement Tuesday nate the property to the Univer The 1995 Associated Stu wMch extends a local environ sity, adding the parcel to a dents Election drew to a close mental group’s purchase option 5,110-acre Sedgwick plot al Wednesday night with the ap for the property by one year. ready belonging to the campus. pointment of President Leo Under stipulations of the Although the plan will greatly Treyzon and Internal Vice compromise, the University of benefit Land Trust’s crusade to President Bo Thoreen through California Natural Reserve Sys preserve the area, the extension run-off balloting three times tem will allot $13,000 a month is only a temporary reprieve, ac more extensive than that seen until April 1996 to the heirs of cording to Sheldon. last year. philanthropist Francis “Duke” “We came down to the dead Treyzon and Thoreen were Leo Treyzon Bo Thoreen Sedgwick, who were forced to line and we finally had an agree elected by 12 percent of the stu seU their 783-acre plot to pay in ment between the University dent body, which turned out to “I don’t know, I was basi president “I'm looking for heritance taxes. -
Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University. -
Galapagos Momentum Press Quotes
Quotes from Upsilon Acrux’s Paul Lai, excerpted from Etan Rosenbloom’s “Mapping the path to obscurity” in Prefix Magazine, October 18, 2006: “We feel 7/4 the way that most people feel a 4/4 pocket. It's just a downbeat -- it's like you wanna rock, but so much shit is rocked in 4. And it's rad. But I can't do that shit again -- I'd like to hear something else. That's why I like Meshuggah and other bands that step out of the standard time signatures. “ “…we are a rock band, we just try not to do typical things. We listen to enough music, we're big enough music geeks, that we wouldn't want to play something cool that had already been done by ten thousand bands. It works in music and it works in art: If you have something to say, then say it in your own way. If you don't have anything to say, shut the fuck up, go home and be a consumer. … Most bands these days sound like they're working at Kinko's, just carbon copies of other bands. … … Ultimately, I'm looking for singularity. We strive for unprecedented music. …” “…I think Faust, especially, is one of the most creative bands ever: You can't really pinpoint what they exactly do. That's what all bands should strive for, creativity above genres or styles. It should be about trying to be as creative possible. … If you're not reaching out to someone, creating a personal bridge with lyrics and vocals,…then you should be insanely creative in a completely different way. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Lindsay Cooper: Bassoonist with Henry Cow Advanced Search Article Archive Topics Who Who Went on to Write Film Music 100 NOW TRENDING
THE INDEPENDENT MONDAY 22 SEPTEMBER 2014 Apps eBooks ijobs Dating Shop Sign in Register NEWS VIDEO PEOPLE VOICES SPORT TECH LIFE PROPERTY ARTS + ENTS TRAVEL MONEY INDYBEST STUDENT OFFERS UK World Business People Science Environment Media Technology Education Images Obituaries Diary Corrections Newsletter Appeals News Obituaries Search The Independent Lindsay Cooper: Bassoonist with Henry Cow Advanced search Article archive Topics who who went on to write film music 100 NOW TRENDING 1 Schadenfreudegasm The u ltim ate lis t o f M an ch ester -JW j » United internet jokes a : "W z The meaning of life J§ according to Virginia Woolf 3 Labour's promises and their m h azard s * 4 The Seth Rogen North Korea . V; / film tra ile r yo u secretly w a n t to w atch 5 No, Qatar has not been stripped o f th e W orld Cup Most Shared Most Viewed Most Commented Rihanna 'nude photos' claims emerge on 4Chan as hacking scandal continues Frank Lampard equalises for Manchester City against Her Cold War song cycle ‘ Oh Moscow’ , written with Sally Potter, was performed Chelsea: how Twitter reacted round the world Stamford Hill council removes 'unacceptable' posters telling PIERRE PERRONE Friday 04 October 2013 women which side of the road to walk down # TWEET m SHARE Shares: 51 Kim Kardashian 'nude photos' leaked on 4chan weeks after Jennifer Lawrence scandal In the belated rush to celebrate the 40 th anniversary of Virgin Records there has been a tendency to forget the groundbreaking Hitler’s former food taster acts who were signed to Richard Branson’s label in the mid- reveals the horrors of the W olf s Lair 1970s. -
Fred Frith (Filmmusik)
Fred Frith (Filmmusik) Geboren 1949 in Heathfield, East Sussex, England. Im Alter 5 Jahren begann Fred Frith mit dem Violinen-Spiel, später kamen das Klavierspiel, mit 13 Jahren die Gitarre hinzu. Während seines Studiums in Cambrige gründete er 1968 mit dem Saxophonisten Tim Hodgkinson die wegweisende Independent-Band Henry Cow, die u.a. mit Chris Cutler, John Greaves und Lindsay Cooper zusammen arbeitete. Nach der Auflösung von Henry Cow ging Frith 1979 nach New York, wo er mit Künst- lern der Downtown-Szene um Tom Cora, Bob Ostertag, Ikue Mori, John Zorn und anderen in Kontakt kam. Die Arbeit von Fred Frith ist seitdem ungewöhnlich vielfäl- tig. Er arbeitete u.a. zusammen mit Amy Denio, Brian Eno, Half Japanese, Material, The Residents, Robert Wyatt, Heiner Goebbels und Yo Yo Ma, produzierte Alben für The Orthotonics, David Moss, Tenko und V- Effec, war Bassist in John Zorns Band Naked City und gründete so unterschiedliche Formationen wie The Guitar Quartett, Massacre (mit Bill Laswell und Charles Hayward) und Skeleton Crew (mit Tom Cora und Zeena Parkins). "Nach mehr als 20 Jahren mit Aufnahmen und Perfor- mances ist Fred Frith so etwas wie die Ikone der Avant- garde Music geworden“ schrieb Die Zeit 1991. „Die Kri- tiker haben ihm Unrecht getan, indem sie ihn als impro- visierenden Cage-Jünger beschrieben... Bei der Anerken- nung der intellektuellen Aspekte seiner Musik dürfen aber nicht die unsterbliche Neugier, der bittere Witz, sein kindlicher Spieltrieb und die schleichende Melan- cholie übersehen werden." In den letzten Jahren verla- gerte sich der Schwerpunkt von Friths Arbeit von der Perfomance hin zur Komposition, dazu kamen zahlrei- che Arbeiten für Theater, Tanz, Film, Malerei und Video.