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HARD REPORT' November 21, 1986 Issue # 6 (609) 654-7272 FRONTRUNNERS ERIC CLAPTON BOB GELDOF "AUGUST" "DEEP in the HEART E.C
THE HARD REPORT' November 21, 1986 Issue # 6 (609) 654-7272 FRONTRUNNERS ERIC CLAPTON BOB GELDOF "AUGUST" "DEEP IN THE HEART E.C. DELIVERS BIG ON OF NOWHERE" HIS MOST HIGHLY ANTICIPATED ALBUM OF IN TERMS OF WRITING AND ROCKING, WE'D THE EIGHTIES! CALL THIS A WORLD CLASS SURPRISE! ATLANTIC THE KINKS KATE BUSH NINNS . "THINK VISUAL" "EXPERIMENT IV" THINK THE 12" IS A BIT THE HIGH PRIESTESS ROUGH? YOU'LL FLIP OF MIND MUSIC RATES OVER "FACTORY" AND AN "A" FOR THIS "LOST AND FOUND" CEREBRAL CONCOCTION! MCA EMI JN OE HWN PE UD SD Fs RD OA My PLUS! ETTRACKS EDDIE MONEY & TIMBUK3 CHARTSTARS * HEADLINES MOST ADDED HOWARD and the FCC 1 The Kinks "Rock & Roll Cities" (MCA) 61 2 Ann Wilson "Best Man in The World" (CAP) 53 3 Bruce Hornsby "Western Skyline..." (RCA) 40 4 Peter Gabriel "Big Time" (GEFFEN) 35 McNUTT To McWKDF HOT NUMBERS ALBUMS Billy Joel "The Bridge" 46-39 (COL) YATES Back in L.A. World Party "Private. 44-38 (CHRY.) Jason/Scorchers"Still..." 37-33 (EMI) Ben Orr "The Lace" 18-14 (E/A) DEBUTS WNEW's McEWEN Stevie Ray Vaughan "Live Alive" #23(EPIC) tubes out Robert Cray "Strong Persuader" #26 (POLY) TRACKS KBC Band "America" 92-71 JOBNAPPERS Van Halen "Rock & Roll Live" 83-63 Europe "The Final Countdown" 89-78 TEXTBOOK: Smithereens "Behind the Wall..." 57-47 GREG GILLISPIE RECORD OF THE WEEK THE STEVE MILLER BAND --FOR HIS FIRST # 1 SINCE 82's "ABRACADABRA"! INSIDE... %tea' &Mai& &Mal& EtiZiraZ CiairlZif:.-.ZaW. CfMCOLZ &L -Z Cad CcIZ Cad' Ca& &Yet Cif& Ca& Ca& Cge. -
Short Takes Jazz News Festival Reviews Jazz Stories Interviews Columns
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC SHORT TAKES JAZZ NEWS FESTIVAL REVIEWS JAZZAMANCA 2020 JAZZ STORIES PATTY WATERS INTERVIEWS PETER BRÖTZMANN BILL CROW CHAD LEFOWITZ-BROWN COLUMNS NEW ISSUES - REISSUES PAPATAMUS - CD REVIEWS OBITURARIES Volume 46 Number 2 April May June Edition 2020 Ed Schuller (bassist, composer) on GM Recordings My name is Eddy I play the bass A kind of music For the human race And with beauty and grace Let's stay on the case As we look ahead To an uncertain space Peace, Music Love and Life" More info, please visit: www.gmrecordings.com Email: [email protected] GM Recordings, Inc. P.O. Box 894 Wingdale, NY 12594 3 | CADENCE MAGAZINE | APRIL MAY JUNE 2016 L with Wolfgang Köhler In the Land of Irene Kral & Alan Broadbent Live at A-Trane Berlin “The result is so close, so real, so beautiful – we are hooked!” (Barbara) “I came across this unique jazz singer in Berlin. His live record transforms the deeply moving old pieces into the present.” (Album tip in Guido) “As a custodian of tradition, Leuthäuser surprises above all with his flawless intonation – and that even in a live recording!” (Frankfurter Allgemeine Zeitung) “Leuthäuser captivates the audience with his adorable, youthful velvet voice.” (JazzThing) distributed by www.monsrecords.de presents Kądziela/Dąbrowski/Kasper Tom Release date: 20th March 2020 For more information please visit our shop: sklep.audiocave.pl or contact us at [email protected] The latest piano trio jazz from Quadrangle Music Jeff Fuller & Friends Round & Round Jeff Fuller, bass • Darren Litzie, piano • Ben Bilello, drums On their 4th CD since 2014, Jeff Fuller & Friends provide engaging original jazz compositions in an intimate trio setting. -
Music & Film Memorabilia
MUSIC & FILM MEMORABILIA Friday 11th September at 4pm On View Thursday 10th September 10am-7pm and from 9am on the morning of the sale Catalogue web site: WWW.LSK.CO.Uk Results available online approximately one hour following the sale Buyer’s Premium charged on all lots at 20% plus VAT Live bidding available through our website (3% plus VAT surcharge applies) Your contact at the saleroom is: Glenn Pearl [email protected] 01284 748 625 Image this page: 673 Chartered Surveyors Glenn Pearl – Music & Film Memorabilia specialist 01284 748 625 Land & Estate Agents Tel: Email: [email protected] 150 YEARS est. 1869 Auctioneers & Valuers www.lsk.co.uk C The first 91 lots of the auction are from the 506 collection of Jonathan Ruffle, a British Del Amitri, a presentation gold disc for the album writer, director and producer, who has Waking Hours, with photograph of the band and made TV and radio programmes for the plaque below “Presented to Jonathan Ruffle to BBC, ITV, and Channel 4. During his time as recognise sales in the United Kingdom of more a producer of the Radio 1 show from the than 100,000 copies of the A & M album mid-1980s-90s he collected the majority of “Waking Hours” 1990”, framed and glazed, 52 x 42cm. the lots on offer here. These include rare £50-80 vinyl, acetates, and Factory Records promotional items. The majority of the 507 vinyl lots being offered for sale in Mint or Aerosmith, a presentation CD for the album Get Near-Mint condition – with some having a Grip with plaque below “Presented to Jonathan never been played. -
Some Notes on John Zorn's Cobra
Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come. -
A G Lim P S E Thrzough T
A G l i m p s e T h r z o u g h T 2A Thursday, February 20,1988 Daily Nexus Join us Thursdays at 5:30 PM for : paI o o o o o o o o ooooooooooooooo G 9 Id $ 5 No Golden Ponies Here Who on earth are The Golden Palominos? The core of bites. the band is drummer and producer Anton Fier and bass Apart from these three songs, the rest of Visions of guitarist Bill Laswell. Visions o f Excess also boasts a Excess shows little promise. “ B oy(G o)” has a full, lengthy list of guest appearances, including Richard heavy sound — a wall of percussion. If it contained more Thompson, John Lydon (a.k.a. Johnny Rotten), Benue melody, it would sound more like R.E.M. Stipe’s voice is Worrel of Talking Heads fame and R.E.M.’s Michael unmistakable but this stuff is just not of the same Stipe. I have never heard of Syd Straw before but she has caliber. The different vocal levels may prevent a sense a unique voice — a lot like Chrissie Hynde, Exene of complete repetitiveness but the song is overly in- 2/20 The New Male-Female Cervenka and Stevie Nicks all in one. cantatory in places. “ Clustering Train” is similar, with Relationship Despite the impressive name-dropping, the album is, too much guitar accompanying Stipe’s drawn-out whine Janice and John Baldwin, Ph.D. as a whole, a bit mediocre. A few songs, however, to be true R.E.M. -
Building a Sustainable Natural Resource-Based Economy
Blaine House Conference on Maine’s Natural Resource-based Industry: Charting a New Course November 17, 2003 onference Report With recommendations to Governor John E. Baldacci Submitted by the Conference Planning Committee Richard Barringer and Richard Davies, Co-chairs February 2004 . Acknowledgements The following organizations made the conference possible with their generous contributions: Conference Sponsors The Betterment Fund Finance Authority of Maine LL Bean, Inc. Maine Community Foundation US Fish and Wildlife Service US Forest Service This report was compiled and edited by: Maine State Planning Office 38 State House Station Augusta, ME 04333 (207) 287-3261 www.maine/gov/spo February 2004 Printed under Appropriation #014 07B 3340 2 . Conference Planning Committee Richard Barringer, Co-chair, Richard Davies, Co-chair Professor, Muskie School of Public Service, Senior Policy Advisor, Governor Office USM Dann Lewis Spencer Apollonio Director, Office of Tourism, DECD Former Commissioner, Dept of Marine Resources Roland D. Martin Commissioner, Dept of Inland Fisheries and Edward Bradley Wildlife Maritime Attorney Patrick McGowan Elizabeth Butler Commissioner, Dept of Conservation Pierce Atwood Don Perkins Jack Cashman President, Gulf of Maine Research Institute Commissioner, Dept of Economic and Community Development Stewart Smith Professor, Sustainable Agriculture Policy, Charlie Colgan UMO Professor, Muskie School of Public Service, USM Robert Spear Commissioner, Dept of Agriculture Martha Freeman Director, State Planning Office -
The Blank Generation
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) The Blank Generation (These are excerpts from my book "A History of Rock and Dance Music") Akron 1976-80 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The "blank generation" came out of a moral vacuum. While punks roamed the suburban landscape, blue-collar workers were feeling the pinch of an economic revolution: human society had left the industrial age and entered the post-industrial age, the age in which services (such as software) prevail over manufacturing. Computers now rule the world, from Wall Street to Boeing. The assembly line took away a bit of the personality of the worker, but that was nothing: the new service- based economy takes away the worker completely, physically. In the post-industrial society the individual is even less of a "person". The individual is merely a cog in a huge organism of interconnected parts that works at the beat of a gigantic network of computers. This highly sophisticated economy treats the individual as a number, as a statistic. The goal is no longer to create a robot that behaves like a human being, but to create a human being that behaves like a robot: robots are efficient and lead to manageable and profitable businesses, whereas humans are inefficient and difficult to manage. -
Design and Irllage Exhibition Features S'msu Graphic Artists
May 8,1996 Page 11 owor I Design and Irllage Exhibition features S'MSU graphic artists by Alana Kumbier responsible for putting up their own Another senior design major with Features Writer wo(~, mailing out flyers announcing work in both the Design and Image the exhibit and designing the posters Exhibition and the Senior Exhibition advertising the show. is Lauri Kreienheder. For the Design By looking at the cover of just '.'This exhibition is partially spon- and Image Exhibition, Kreienheder about any magazine, checking out the sored by the department," chose to display an invitation and a cover ofa CD, ordering from a menu, Michalczyk said, "but it's really a stu- poster she designed to publicize an or even reading one of your text- dent-run exhibition with faculty as- exhibition of five artists of the Dada books, you can view the work of a sistance." movement. graphic designer. Lana Hardt, a senior design major, "I thought I'd throw something in Last Friday marked the opening of is currently showing works in both the for contrast," Kreienheder said. "Ihad the annual Design and Image exhibi- Design and Image Exhibition down- a lot of fun with that project. It was tion at the Art and Design Ga1lery in town and at the Senior Exhibition at very challenging. Ilike its dirty look. the Downtown Hall on Jefferson Av- the Student Exhibition Center on "Everybody was encouraged to put enue. The exhibit features student- Walnut Street. Her contribution to the in work. We get ,experience showing selected works from all areas of the Design and Image show is a brochure our work. -
The History of Rock Music - the Eighties
The History of Rock Music - The Eighties 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) Singer-songwriters of the 1980s (These are excerpts from my book "A History of Rock and Dance Music") Female folksingers 1985-88 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Once the effects of the new wave were fully absorbed, it became apparent that the world of singer-songwriters would never be the same again. A conceptual mood had taken over the scene, and that mood's predecessors were precisely the Bob Dylans, the Neil Youngs, the Leonard Cohens, the Tim Buckleys, the Joni Mitchells, who had not been the most popular stars of the 1970s. Instead, they became the reference point for a new generation of "auteurs". Women, in particular, regained the status of philosophical beings (and not only disco-divas or cute front singers) that they had enjoyed with the works of Carole King and Joni Mitchell. Suzy Gottlieb, better known as Phranc (1), was the (Los Angeles-based) songwriter who started the whole acoustic folk revival with her aptly-titled Folksinger (? 1984/? 1985 - nov 1985), whose protest themes and openly homosexual confessions earned her the nickname of "all-american jewish-lesbian folksinger". She embodied the historic meaning of that movement because she was a punkette (notably in Nervous Gender) before she became a folksinger, and because she continued to identify, more than anyone else, with her post- feminist and AIDS-stricken generation in elegies such as Take Off Your Swastika (1989) and Outta Here (1991). -
John Lurie and the Lounge Lizards
John Lurie and The Lounge Lizards John Lurie the sax player, the actor, the painter and the fisherman. Though this might sound like a schizophrenic portrait it's simply the truth. All these different personalities suit in the same physical body. Born in Worcester, Massachusetts on December 14 1952, he's mostly known as the founder of The Lounge Lizards, a modern jazz ensemble featuring a bunch of hipsters of the New York Downtown scene. Along with his brother Evan on piano there were Arto Lindsay (guitar), Anton Fier (drums) and Steve Piccolo (bass). This is the band playing inside “The Lounge Lizards” (EEG, 1981), their first official album, although the band was already active at the end of the seventies. The ensemble underwent a few changes over the years: Arto Lindsay was later replaced by Marc Ribot on guitar and more elements were added until the band expanded into an octet, sometimes even a nonet, maintaining John Lurie in New York, 1982 however their typical unsettling, ironic, often sharp, sound. The Lounge Lizards perfectly embodied the Downtown noir-like atmosphere surrounding the artists in New York at the beginning of the eighties. “No pain for cakes” (Island, 1987), “Voice of Chunk” (Strange & Beautiful Music, 1990), “Queen of all ears” (Strange & Beautiful Music, 1998) plus a bunch of live recordings followed their self-titled debut release and are the overall output of the band. Not too much of an output considering when the band was formed, but John used the stage to refine, rearrange and shape the tunes over and over. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
Karen Mantler by Karen Mantler
Karen Mantler by Karen Mantler I was conceived by Carla Bley and Michael Mantler at the Newport Jazz Festival in 1965. Born in 1966, I was immediately swept into the musician's life on the road. After having checked me at the coatroom of the Berlin Jazz Festival, to the horror of the press, my parents realized that I was going to have to learn to play an instrument in order to be useful. But since I was still just a baby and they couldn't leave me alone, they had to bring me on stage with them and keep me under the piano. This is probably why I feel most at home on the stage. In 1971, when I was four, my mother let me have a part in Escalator Over The Hill and the next year I sang on another of her records, Tropic Appetites. By 1977 I had learned to play the glockenspiel, and I joined the Carla Bley Band. I toured Europe and the States with her several times and played on her Musique Mecanique album. After playing at Carnegie Hall in 1980, where I tried to steal the show by pretending to be Carla Bley, my mother fired me, telling me "get your own band". I realized that I was going to have to learn a more complicated instrument. After trying drums, bass, and flute, which I always lost interest in, I settled on the clarinet. I joined my elementary school band and quickly rose to the head of the clarinet section. The band director let me take the first improvised solo in the history of the Phoenicia (a small town near Woodstock, NY) elementary school.