Saturday, May 31, 2008

Classic Sci-Fi Movies

Invaders From Mars (1953)



Director: William Cameron Menzies
Writers: John Tucker Battle (story)
Richard Blake (writer)
Release Date: 22 April 1953 (USA)

"One night, young David McLean sees a spaceship crash into a nearby sandpit. His father goes to investigate, but comes back changed. Where once he was cheerful and affectionate, he's now sullen and snarlingly rude. Others fall into the sandpit and begin acting like him: cold, ill-tempered and conspiratorial. David knows that aliens are taking over the bodies of humans, but he'll soon discover there have been far more of these terrible thefts than he could have imagined. The young doom-monger finds some serious help in a lady doctor and a brilliant astronomer. Soon they meet the aliens: green creatures with insect-like eyes. These beings prove to be slaves to their leader: a large, silent head with ceaselessly shifting eyes and two tentacles on either side, each of which branches off into three smaller tentacles. It's up to the redoubtable earth trio to stop its evil plans." Written by J. Spurlin



Them! (1954)



Director: Gordon Douglas
Writers: Ted Sherdeman (screenplay)
Russell S. Hughes (adaptation)
Release Date: 19 June 1954 (USA)

"After several people in the New Mexico desert wind up missing or dead, including an F.B.I. agent and most of his family, police Sgt. Ben Peterson teams up with F.B.I. agent Bob Graham to find out what's causing the strange occurrences. They find send a strange print found at one of the crime scenes and it is sent to the Department of Agriculture. Doctor Harold Medford and his daughter Doctor Patricia Medford arrive and ask to be taken to the scene of some of the disappearances. When they get there they are shocked to find gigantic ants, whose mutations were caused by the first atomic bomb explosion nine years earlier. They manage to destroy the nest of ants, but not before two winged queen ants and a couple of drones have hatched and escaped the nest. Now it is a race against time to find the two queen ants before they can establish more nests and hatch more queens." Written by Brian Washington



They Came From Beyond Space (1967)



Director: Freddie Francis
Writers: Joseph Millard (novel)
Milton Subotsky (writer)
Release Date: May 1967 (USA)

"Astronomers investigate a mysterious meteorite shower in a rural English farm field, - exceptional because the space rocks all fell in a V formation. Dr. Richard Arden, preeminent in the field of extraterrestrial study, is not permitted to accompany his colleagues, including his girlfriend Lee Mason, because he is still recovering from the effects of a recent motor accident. The scientists are summarily taken over by some alien force, and others in the area are dying from a mysterious "crimson plague," which covers their bodies with drops of blood. Temple seems the only person immune to both maladies, so if he can discover the reason for this immunity, he may yet foil the alien plan to take earthlings back to the moon for their own sinister purposes." Written by Gabe Taverney

Return to Forever May 29, 2008 Austin, TX (First Show of 2008 Tour)



Dimeadozen Torrent Posting:

First concert of the RTF 2008 tour was at the Paramount Theater in Austin, TX and I was there! As was my R09. :-)

Warning: I was nervous taping so I didn't check the levels and the first half was quite hot. I used EQ to make it more listenable and it is tolerable but it is not great quality. I reduced the levels for the second half and it was mostly acoustic so the second half turned out quite well. If you plan to tape one of their shows, I suggest keeping your levels very low because there is quite a dynamic range and the bass notes in particular can easily overload your recorders preamp. I will be posting samples shortly.


Edirol R09 using built-in mics -> Sound Forge -> FLAC w/align on sector boundaries.

Return To Forever - May 29, 2008 Paramount Theater, Austin, TX

Chick Corea - keyboards
Stanley Clarke - bass
Al Di Meola - guitar
Lenny White - drums

This release is entitled "Man-band".

"In the era of boy-bands this is a man-band" - Lenny White when he was talking to the audience during the show.


Disc 1
Hymn of the 7th Galaxy
Vulcan Worlds
Senor Mouse
Sorceress
Song to the Pharoah Kings

Disc 2
Guitar Solo Intro
No Mystery
Piano Solo Intro
The Romantic Warrior with Bass Solo and Drum Solo
Duel of the Jester and the Tyrant

Encore
Beyond the Seventh Galaxy

NOT FOR SALE!!! Please support the artists by purchasing the new RTF anthology 2 CD set which includes remixed and remastered tracks.

Don't miss out on one of these shows if Return to Forever is coming close to you:

May 2008
29, 30 - Austin, TX - Paramount Theatre
31 - Houston, TX - Verizon Wireless Center

June 2008
1 - Grand Prairie, TX - Nokia Theater at Grand Prairie
3 - Denver, CO - Paramount Theatre
4 - Salt Lake City, UT - Kingsbury Hall
6 - Portland, OR - Schnitzer Concert Hall
7 - Medford, OR - Britt Music Festival
8 - Seattle, WA - The Paramount
9 - Vancouver, British Columbia - The Centre in Vancouver For Performing Arts
11, 12 - San Francisco, CA - The Grand At The Regency Center (2 shows each night)
13 - Universal City, CA - Gibson Amphitheatre
14 - Phoenix, AZ - Dodge Theatre
17 - St Louis, MO - Fox Theatre
18 - Omaha, NE - Holland Performing Arts Center
19 - Minneapolis, MN - Orpheum Theatre
20 - Chicago, IL - The Chicago Theatre
21 - Detroit, MI - Freedom Hill Amphitheatre
22 - Indianapolis, IN - Murat Theatre
24 - Cleveland, OH - The Plain Dealer Pavilion
25 - Toronto, Ontario - Sony Centre
26 - Ottawa, Ontario - Ottawa Jazz Festival/Confederation Park
27 - Montreal, Quebec - Pelletier Hall/Place Des Arts
28 - Saratoga Springs, NY - Freihofer's Jazz Festival

July 2008
30 - Miami, FL - The Fillmore Miami Beach
31 - Clearwater, FL - Ruth Eckerd Hall

August 2008
1 - Orlando, FL - House of Blues
2 - Atlanta, GA - Cobb Energy Performing Arts Centre
4 - Columbia, MD - Merriweather Post Pavilion
5 - Philadelphia, PA - Mann Center For The Performing Arts (w/ Bela Fleck and The Flecktones)
6 - Boston, MA - Bank of America Pavilion (w/ Bela Fleck and The Flecktones)
7 - New York, NY - United Palace

Buy Tickets @ Ticktemaster

The Vanishing (Spoorloos)



The Vanishing
George Sluizer

Spoorloos represents one of the most extraordinary realisations of the psychological thriller captured on film. The heartbreaking, yet horrific ending of the film leaves the spectator in no doubt of their own vulnerability in the battle of human nature against a society in which random acts of madness occur.

On many levels comparisons can be drawn by the obsessive nature of both protagonists. The obsessive curiosity of the boyfriend, Rex (Gene Bervoets), to reveal what has happened to his girlfriend, Saskia (Johanna Ter Steege), who was abducted from a service station on route to a holiday destination, is mirrored by the abductor's, Raymond Lemorne (Bernard-Pierre Donnadieu), own curiosity of human nature's darker side, and its ability to manifest itself through evil deeds. The abductor's approach and rationale are entirely scientific, thus allowing him to distance himself emotionally from the actual deed. This approach allows him the luxury of maintaining a seemingly happy marriage and family life, unlike the boyfriend, whose very ability to have insight and uncalculated emotions causes his ultimate demise.

The continuation of Raymond's exploration of his dark side, without any thought of redemption or forgiveness, amplifies the depth of his pathology. Over a period of years Rex's search for Saskia is brought to public attention by his poster and TV campaign through which he hopes to gain knowledge of her whereabouts. Raymond's very normalcy juxtaposed with his victim's anguish creates superb filmic tension.

An intricate examination of the human condition, Spoorloos represents the emergence of a new wave of psychological thrillers. A thoroughly discomfiting film, Spoorloos succeeds through its expert storytelling and the absolutely jolting denouement. In the 1993 American remake—an insult to the original film version—director George Sluizer was unable to translate Tim Krabbe's vision from his novel The Golden Egg.

—Marion Pilowsky


Buy The Vanishing on DVD



Above is the original trailer for The Vanishing

The Ladies



All the info provided on this compilation of reggae artists can be found here

Volume 1:

01. Oh Me Oh My - Jerry Jones (2:26) Coxsone 7"
not the Bree Daniels/Lee Perry song, but I still dare you not to sing along.



02. Still In Love - Doreen Schaffer (3:21) Coxsone 7"
sweet sweet sweet, an original singer for the Ska-talites (still going)

03. Let Me Be Yours Until Tomorrow - Marcia Griffiths (3:22) Money Disc 7"
The Empress of the I3's flying solo

04. Go On Home - Norma Wright (2:57) Coxsone 7"
I don't know anything about Mrs. Wright (Charles' wife?) but this cut is just wonderful...and dig the slide guitar lead giving the track a hawaiian feel.

05. Still In Love Pt.2 - Doreen & Alton (3:14) Coxsone 7"
Mrs. Schaffer with Alton Ellis, this is the version version of this version.

06. Tops Of The Pops - The New Establishment (2:54) Top Disc 7"
This is the b-side dub version of "Top Of The World" single, you may be familiar the Carpenters version.

07. Words - Jeff & Marcia (3:21) Coxsone 7"
Mrs. Griffiths again, with I assume maybe Jeff Dixon?

08. Working - Marcia Griffiths (2:29) Bamboo 7" from 1969, according to the notes I got with these this is miscredited on the actual label as being Norma Frazer, tis really the hardest working worman in Kingstown

09. Feel Like Jumping Pt.2 - Marcia Griffiths (3:46) Coxsone 7"
yeah, I know you probably have this...but it's the dub version and just in case you don't

10. My Baby - Marlene Webber (2:01) Bamboo 7"
Bam33 from 1970, uptempo rocker and like most all Bamboo singles produced by Coxsone Dodd

11. Tell Me Now - Marcia Griffiths (2:12) Money Disc 7"
This was also on the Dreamland album



12. Tell Me A Lie - Pansey Scott (2:40) Top Disc 7"
She's the singer on the New Establishment Top Of The World dub above, anyone have any further info?



Volume 2:

01. Angela Prince - My Man Is Gone (2:34)
Studio 1 7" SO 0025A

02. Angela & Soundemension - My Man Version (2:34)
Studio 1 7" SO 0025B

03. Cherry Ann - Tell Me Something Good (2:35)
Money Disc 7"

04. Claudette (Nana) McLean - Give Love Another Try (3:00)
Studio 1 7" FCD 7808A (SO 3170)

05. Dawn Penn - You Don't Love Me (3:06)
Coxsone 7"

06. Della Humphrey - Dream Land (2:34)
Coxsone 7" DSR-CN-5513-1

07. Denise Darlington - War No Right Pt.1 (2:19)
Studio 1 7" SO 0075A

08. Denise & Sound Dimension - War No Right Pt.2 (2:18)
Studio 1 7" SO 0075B

09. Doreen Scheafer - This Love (3:46)
Studio 1 7"

10. Doreen & Brentford Disco Set - This Love Version (3:39)
Studio 1 7"

11. Doreen Scheafer - Sugar Sugar (2:41)
Studio 1 7" SO 0092A

12. Doreen & Soul Vendors - Sugar (Ver.) (2:45)
Studio 1 7" SO 0092B

13. Doreen Shaffer - Ain't Gonna Change My Mind (3:01)
Studio 1 7" DSR 9138A

14. Doreen & Sound Dimension - Ain't Gonna Change Pt.2 (3:00)
Studio 1 7" DSR 9139B

15. Elaine Monteque - Hurt So Good (2:59)
Sight N Sound 7"

16. Enid Cumberland - Town & Country Cafe (2:57)
Sight N Sound 7" FCD 7354A

17. Marcia Griffiths -Truly (3:05)
Coxsone 7" SO 0068A

18. Marcia & Soul Vendors - Truly Version (3:09)
Coxsone 7" SO 0068B

19. Marcia Griffiths - Let Me Hold You Tight (2:10)
Coxsone 7" WIRL CS 3979-1

20. Myrna Hague - What About Me (3:18)
Studio 1 7" SO 0095A



21. Myrna & Brentford Disco Set - What About Me (Ver.) (3:20)
Studio 1 7" SO 0095B

22. Nana McLean - Soul Respondent (3:53)
Studio 1 7"

23. Norma White - I Want Your Love (3:41)
Studio 1 7"

24. Pam Reid - Mysterious You (3:18)
Studio 1 7" RMM 1257A

25. Pam & Sound Dimension - Mysterious Version (3:23)
Studio 1 7" RMM 1257B

==================

Marcia Griffiths - When Will I See You Again



Marcia Griffiths - Band Of Gold



Bob & Marcia - Pied Piper

L'avventura



L'avventura
Michelangelo Antonioni

Amazon Review

Considered by many to be his masterpiece, L’Avventura positioned Michelangelo Antonioni as an international talent. What appears to be a search for a missing person is actually an examination of alienation and self-discovery found along a voyage through the morally decadent world of the idle rich. Less concerned with a smooth plotline, Antonioni tells his story through the use of symbolic images and flawless character development. Using 'real time’ camera shots and rich, landscape imagery, Michelangelo Antonioni creates an unpredictable world where nothing is ever resolved. Ironically, what makes L’Avventura so unpredictable is the high level of realism portrayed by each character and their environments. This isn’t your packaged, formulaic film with a happy ending. A tough one to watch but well worth it...and it gets better and better with repeat viewings. L’Avventura is quintessential Antonioini. Not to be missed. --Rob Bracco

Synopsis

A girl mysteriously disappears on a yachting trip. While her lover and her best friend search for her across Italy, they begin an affair. Antonioni's penetrating study of the idle upper class offers stinging observations on spiritual isolation and the many meanings of love. Criterion is proud to present this milestone of film grammar in a new Special Edition double-disc set.

Criterion Collection Trailer: L'Avventura



Here is a scene from L'avventura that runs a little over 4 minutes:

May 31, 2008: Album of the Day Vol. 009: Ruins - Mandala 2000: Live at the Kichijoji Mandala II



Ruins
Mandala 2000: Live at the Kichijoji Mandala II

Tzadik (TZ 7234)
Japan 2001

Musicians:

Tatsuya Yoshida: drums, vocal
Hisashi Sasaki: bass, vocal
Katsui Yuji: violin

Tracklisting:

01. Gharaviss Perrdoh — 2:56
02. Vrresto — 7:17
03. Blimguass — 4:39
04. Kippssidamn — 4:32
05. Bupphairodazz — 3:32
06. Ffilhizabmn — 4:00
07. Quetzalcoatl — 5:45
08. Classical Musical Medley — 1:14
09. Pallaschtom — 1:59
10. Jallamjikko — 1:09
11. Impro 1 — 0:54
12. Dagdad — 1:07
13. Laiptchig — 2:04
14. Nivaftopoftz — 1:06
15. Impro 2 — 0:42
16. Znohjmo — 3:18
17. Snare — 1:13
18. Imro 3 — 1:25
19. Hyderomast-Groningem — 1:25
20. Hardrock Medley — 2:31
21. Impro 4 — 3:55
22. Impro 5 — 4:32
23. Yawiquo — 6:36

total time 57:37

All Music Guide Review by François Couture

The Ruins are known for their energetic live performances, but they truly surpassed themselves on Mandala 2000: Live at Kichijoji Mandala II. Recorded on May 12, 2000, this CD contains 23 tracks performed with merely an occasional half-second break here and there. Drummer Yoshida Tatsuya and bassist Sasaki Hisashi storm through a cross-section of compositions spanning 15 years of existence, five improvisations, and the two famous light-speed medleys "Classical Music Medley" and "Hardrock Medley" -- the group's answer to John Oswald's Plunderphonics. Electric violinist Katsui Yuji joined the duo for the last portion of the show. Throughout the years, the Ruins have covered every possible ground between symphonic progressive rock, avant punk, and free rock. By 2000, they had achieved a level of fusion between those styles and an almost inhuman technique. An unstoppable locomotive, Mandala 2000 features many highlights: the complex "Vrresto," "Bupphairodazz," "Znohjmo," the medleys, the spacy "Impro 4." Yet, after the first 30 minutes, the listener feels he has had enough; after 45 minutes, he begs for mercy. The performance is just too relentless to be sustainable and enjoyable in one session. Stop halfway and resume later in order to fully appreciate the incomparable musicianship and stunning performance found on Mandala 2000, definitely a must-have for Ruins fans and a convincing place to start for newcomers. This CD ranks very high in their discography. ~ François Couture, All Music Guide

For your visual enjoyment, check out this small clip of Ruins performing in Tokyo as a duo:

Yoshida Tatsuya - drums
Sasaki Hisashi - bass
live at FAB in Tokyo 2002

tracklist:
1. Pallaschtom
2. Snare
3. Ghallalvish Perrdoh

Friday, May 30, 2008

Band of Gypsys



From the official Hendrix Experience Encyclopedia:

SETLIST: (First Show)
Power Of Soul // Lover Man // Hear My Train A Comin' // Changes // Izabella // Machine Gun // Stop // Ezy Ryder // Bleeding Heart // Earth Blues // Burning Desire

SETLIST: (Second Show)
Auld Lang Syne // Who Knows // Stepping Stone // Burning Desire // Fire // Ezy Ryder // Machine Gun // Power Of Soul // Stone Free // Sunshine Of Your Love // Message To Love // Stop // Foxey Lady // Voodoo Child (Slight Return) // Purple Haze

Prior to their two concerts later that evening, Hendrix and his Band Of Gypsys held an afternoon sound check and rehearsal at the Fillmore East. Later that evening, before a sold out crowd of 2,639, Hendrix rang in the New Year and new decade with two unforgettable performances.

The evening's festivities opened with a spirited set by the Voices Of East Harlem, an enthusiastic young gospel ensemble. With the anticipation of the sold out Fillmore audience heightened to fever pitch, Hendrix led his trio through a scintillating, seventy-five minute opening performance. None of the eleven songs presented had yet to grace an Experience album. In the place of signature songs like "Purple Haze" and "All Along The Watchtower" were confident renditions of "Izabella" and "Hear My Train A Comin'".

At midnight, Kip Cohen, the venue's master of ceremonies, rang in the new year and decade buffeted by Guy Lombardo's "Auld Lang Syne". Never one to be upstaged, Jimi and company greeted the joyous house with their own inspired reading of the holiday staple. For Amalie Rothschild, the Fillmore East's house photographer, the experience was an unforgettable one. "Then there was the countdown at midnight. It was the countdown that was a real scream. We're talking about the end of the Sixties. December 31, 1969 turning into January 1, 1970--.A new decade. This was significant. After all, we were living through it and we knew that the Sixties were the Sixties. We had this big countdown on the [Joshua White] light show screen with this big clock 10, 9, 8, 7, 6_and everybody is yelling together. Then the light show screen pulls up and everybody is on stage--all the crew and the musicians. Hendrix, who is now on stage, launches into this amazing rendition of 'Auld Lang Syne' and I filmed it [excerpts of Rothschild's color film footage can be seen in the VHS/DVD Band Of Gypsys]. This was history in the making. You could not miss this. His performance was just so inspired. It was just terrific and I can't find the words to describe it."

The recordings which make up both Band Of Gypsys and its two disc sequel Live At The Fillmore East certainly bear out Rothschild's remembrances. Jimi's celebrated work with the Band Of Gypsys stands among his most impressive and lasting achievements.

After the show, Ian Dove of Record Mirror interviewed Jimi Hendrix for the January 10, 1970 edition of the British paper. Later that night, Hendrix retreated to The Caf‚ Caliph (previously known as The Caf‚ Au Go Go) in Greenwich Village where he joined The James Cotton Blues Band on stage for a jam.




January 1, 1970
Fillmore East Theatre, New York City, New York [Two Performances]

SETLIST: (First Show)
Who Knows // Machine Gun // Changes // Power Of Soul // Stepping Stone // Foxey Lady // Stop // Hear My Train A Comin' // Earth Blues // Burning Desire

SETLIST: (Second Show)
Stone Free // Little Drummer Boy // Power Of Soul // Changes // Message To Love // Earth Blues // Machine Gun // Voodoo Child (Slight Return) // We Gotta Live Together // Wild Thing // Hey Joe // Purple Haze

Dawn had arisen over Manhattan by the time the group finally left the venue in the early morning hours of January 1. Incredibly, they returned later on this evening to perform two additional concerts. With the hoopla of the New Year's Eve festivities behind him, Hendrix centered his attention on realizing a live album from the remaining two performances. Desperate to absolve himself of the bitter legalities, which had hounded him since his return to the United States in June 1967, Hendrix rallied and gave two of the finest performances of his storied career.

As the Fillmore audience roared with approval, the Band Of Gypsys left the stage confident that they had validated Jimi's new music before his loyal followers. "We felt the concerts went well," remembers Billy Cox. "We felt good doing them and Jimi did all of his powerful techniques he could think of. Then one show he just stayed there and got into it so heavy it was incredible. There were people in the audience with their mouths open." "His playing is so loud, so fluid and so rife with electronic distortions that it resembles that of no other currently popular performer," reported Mike Jahn for The New York Times (January 2, 1970). Lead guitarist Jimi Hendrix was once again joined on stage by bassist, Billy Cox and drummer, Buddy Miles for their new collaboration of roaming and experimental sounds



Secure in his standing, Hendrix was comfortable with the Fillmore crowd. During the fourth and final Fillmore concert, the guitarist made light of the group's limited repertoire immediately prior to the start of "Voodoo Child (Slight Return)". On another occasion earlier that evening, he even offered his congratulations to the victorious USC Trojans, winners of the Rose Bowl that afternoon. "Jimi enjoyed doing those shows," explains Billy Cox. "He was enjoying himself because he had complete freedom and freedom is a joyous thing when you've got it. We didn't have any worries about what we could or couldn't do. These were our first shows. We were pretty rebellious at that age. I guess that's why we played the music so loud. He didn't have any restrictions and that is a lot of freedom. You can hear that on every song we played. After the shows were finished, Jimi was quite relieved. He had fulfilled his obligation and was getting this whole [situation] off his back."

From Crosstown Torrents:

Here's another new and previously uncirculated recording. This is sourced from the PA system, which is to say it's a soundboard recording. Excellent quality all the way through, although I would probably have preferred a little more bass myself ... ;-) No generation info is available, but I think it's safe to assume this is very low gen.

Hans-Peter

BAND OF GYPSYS:
FILLMORE EAST, NEW YORK CITY, NY 31.DEC 1969 - 2nd SHOW

PA-SOURCE (Soundboard)
No Generation info is available

DISC 1 (50:19)
1 ALSO SPRACH ZARATHUSTRA (playback) 3:25
2 AULD LANG SYNE (playback) 2:50
3 AULD LANG SYNE 2:55
4 WHO KNOWS 9:12
5 STEPPING STONE 5:30
6 BURNING DESIRE 2:44
7 FIRE 5:14
8 EZY RIDER 4:45
9 MACHINE GUN 13:49

DISC 2: (43:21)
1 POWER OF SOUL 6:37
2 STONE FREE 17:17
3 CHANGES 10:09
4 MESSAGE TO LOVE 3:52
5 STOP 5:31

These video clips are from the first gig for the January 1, 1970 Band of Gypsys performances.

Who Knows:



Machine Gun:



Them Changes:

Jerry Garcia & Friends - Jefferson Airplane House (10/28/69)



From Google Earth Hacks:

In the late spring or early summer of 1968, this San Francisco mansion was sold by its then-present owner, a gentleman in his eighties or nineties, to a local rock group called Jefferson Airplane. The group quickly customized the interior, installing a 4-track recording studio in the basement, putting in ping-pong and pool tables, strewing electronic gadgets everywhere, throwing posters on the walls, and taking in all manner of stray cats (feline and otherwise).

Immediately the house, henceforth known in rock lore simply as 2400 Fulton, or the Airplane House, became a magnet for all manner of visiting fans, musicians, groupies, dope dealers, snake oil salesmen, oddballs and those simply curious about what the house and its occupants might offer them.

And the parties became legendary. If you look at the cover of the Airplane's album "Bless Its Pointed Little Head," you can see a shot of the banquet hall in the mansion all fitted out for a party (that's bassist Jack Cassidy passed out beside a bottle of champagne).

Jerry Garcia & Friends - Jefferson Airplane House (10/28/69):

Jerry Garcia
10/28/69
2400 Fulton Street - Jefferson Airplane House
San Francisco, CA

Source: SBD > MR > Cass > DAT > CDR >
WAV > CDR; via EAC/trade from Morgan Evans >
EAC > CDWAV > SHN; via Rick Lepley

1. Been All Around This World [04:00]
2. Big Boss Man [06:28]
3. Jam (Stormy Monday Theme) [13:57]
4. Slow Blues [07:19]
5. Jam [05:28]
6. Jam [19:19]
Total: [56:34]


Notes:
Great disc! The sound quality is exceptional IMO, it almost sounds like it was
recorded in a studio setup.

The lineup is reportedly the following:
Jerry Garcia - Guitar
Jorma Kaukonen - Guitar
Jack Cassady - Bass
Mickey Hart - Percussion
Spencer Dryden - Percussion

Known Flaws:
A high pitched tone which was present on my CDR copy at roughly 0:12 - 0:23
of track 01 was edited out using EAC's wave editing function.
A 1-second pause at about 14:19-14:20 on the master dt06 was edited out also using EAC.

Much thanks to Morgan Evans for putting this gem into my hands!
Uploaded and distributed by Andy Lepley

These shn files are seekable in your shnamp.

Check out another Jerry Garcia jam from 1969 with Jack Casady, Country Joe, & Steve Miller (recorded live at the Fillmore West on 1/10/69

Part 1



Part 2



Part 3

Hermeto Pascoal



All About Jazz Bio by Nick Catalano

In the past few months I've been quite busy writing program notes and preview pieces for the gala opening of the new home for Jazz at Lincoln Center. Opening night (see related article ) was October 18th and the early reaction to the new facility, its ambience and its acoustics is a cavalcade of praise and excitement from audiences, critics and media folk. After arduous work and deadlines I am finally able to focus on the performers and, thus far, the shows have been spectacular. But to my mind the most significant production coup of the 3-week opening festival has been the opportunity to see and hear the legendary Hermeto Pascoal in his first visit to Gotham in many years.

Known as O Bruxo (The Sorcerer) because of his uncanny ability to make music out of stones, bottles, pots, plastic toys and other objects, Pascoal has also composed traditional scores for small groups and collaborated with symphony orchestras. At a time when musicians and composers in the jazz world and their counterparts in classical, folk, operatic, and pop music are all searching for originality in their creations, Pascoal stands as an unequaled model with his innovative harmonies, complex melodies and instrumental oddities. His musical colors are conspicuously individual, his sound is completely unique and his music possesses a depth and intrigue that will earn him a high place in the pantheon of great contemporary musical figures.



Born in 1936 in Lagoa da Canoa, Alagoas, a small town in northeastern Brazil, Pascoal moved to Rio in the 50's and began an important association with percussionist Airto Moreira. By the time their group “Quarteto Novo” disbanded in 1969, Pascoal had met Miles Davis who immediately recognized his talent and asked him to contribute music to the album Live-Evil a memorable affair released in 1970. During the following years Pascoal performed with Gil Evans, Cal Tjader, John McLaughlin and Antonio Carlos Jobim in addition to appearances with the Berlin and Copenhagen Symphony orchestras. He has performed with countless Brazilian luminaries many of whom (along with Pascoal himself ) remain relatively unknown to American audiences.

I first came across Pascoal when he performed at Town Hall in 1990 in a two-night concert series that went unnoticed in the New York press. I previewed the show with an interview piece (I spoke to Pascoal while he was appearing in Innsbruck Austria) and wondered what indeed would be my reaction when I heard him live on March 10 and 11.



It is difficult to overstate the excitement I felt upon hearing and seeing this “wild albino” (a term used by Miles Davis) and marveling over his astounding originality. After this wild incursion, Pascoal disappeared into his mystical existence unperturbed by his virtual anonymity and continually inspired to pursue his quest for musical idiosyncrasy.

In the Lincoln Center performances on Oct. 29 and 30 Pascoal unveiled his latest creations. Although the parade of toys, rocks and plumbing fixtures used during the show was familiar, the compositions were quite different from those I recall from the Town Hall events so many years ago. However, the impact of Pascoal's indomitable originality was as powerful as ever. All of this coupled with the spectacular sound and amazing ambiance of The Allen Room (one of three concert spaces at the new facility) made the events among the most memorable in my recollection

=========================

Hermeto Pascoal e Grupo - Música da Lagoa
Hermeto and O Grupo playing the music of the heavens with flutes and bottles in a lake. Part of the Hermeto/PETAR special - Sinfonia Alto da Ribeira (Itiberê Zwarg, Márcio Bahia, Carlinhos Malta, Jovino Santos Neto, Pernambuco):



Live at Montreux Jazz Festival (1979):



Discography:

As leader:

(As Conjunto Som 4) Conjunto Som 4 (1964)
(As Sambrasa Trio with Airto Moreira and Humberto Clayber) Sambrasa Trio Em Som Maior (1966)
(As Quarteto Novo with Airto Moreira, Theo de Barros, and Heraldo do Monte) Quarteto Novo (1967)
"Hermeto Pascoal" (1970, reissued on CD as "Brazilian Adventure")
A Música Livre De Hermeto Pascoal (1973)
Porco Na Festa // Rainha do Mar (single) (1975)
Slaves Mass (1976)
Zabumbê-Bum-Á (1979)
Ao Vivo Montreux Jazz Festival (1979)
Cérebro Magnético (1980)
Stone Alliance - Hermeto e Márcio Montarroyos (1980)
Hermeto Pascoal & Grupo (1982, reissued on CD as The Legendary Improviser)
Lagoa Da Canoa, Município De Arapiraca (1984)
Brasil Universo (1986)
Só Não Toca Quem Não Quer (1987)
Hermeto Solo - Por Diferentes Caminhos (1988)
Festa Dos Deuses (1992)
Instrumental No Ccbb - Renato Borghetti E Hermeto Pascoal (1993)
Eu E Eles (1999)
Mundo Verde Esperança (2004)
(With Aline Morena) Chimarrão com Rapadura (2006)

As contributor:

Pernambuco Do Pandeiro E Seu Regional, Batucando no Morro (ca. 1959)
Brazilian Octopus (1969)
Airto Moreira, Natural Feelings (1970) Buddah Records
Donald Byrd, Electric Byrd (1970)
Duke Pearson, It Could Only Happen With You (1970)
Miles Davis, Live-Evil (1970)
Airto Moreira, Seeds On The Ground (1971)
Di Melo (1975)
Flora Purim, Open Your Eyes You Can Fly (1976)
Raimundo Fagner, Orós (1977)
Robertinho de Recife, Robertinho no Passo (1978)
Sivuca, Sivuca (1979)
Elis Regina, Live in Montreux (1979)
Heraldo do Monte, Cordas Vivas (1983)
Nenê (Realcino Lima Filho), Ponto do Músicos (1984)
Eduardo Gudin, Balãozinho (1986)
Heraldo do Monte, Cordas Mágicas (1986)
Pau Brasil, Pindorama (1986)
Flavio Pantoja, Flávio Pantoja (1987)
Dharana, Dharana (1987)
Brasil Musical - Série Música Viva - Pau Brasil E Hermeto Pascoal (1996)
Aleuda, Oferenda (2000)
Mike Marshall and Jovino Santos Neto, The Music of Hermeto Pascoal (2003)
Jovino Santos Neto, Roda Carioca (2006)

Viagem (1984):



Frevo Em Maceio:



and last but not least:

Hermeto Pascoal Wikipedia Page

Archie Shepp Mama Rose





Biography from the official Archie Shepp website:

Archie Shepp is a New York City native and alumnus of Goddard College. Archie started playing jazz in the early 60's and continues to dazzle audiences around the world playing tenor saxophone and piano, accompanied by his soulful voice. Currently residing in Massachusetts, he teaches music history as a professor at the University of Massachusetts, Amherst. Archie has collaborated with Cecil Taylor, John Coltrane and Yusef Lateef, as well as countless other jazz greats. Mr Shepp received the distinguished New England Foundation for the Arts Achievement in Music Award in 1995. The following is an exerpt from Scott Cashman during the award presentation:

"Archie Shepp really began his career as a professional musician when Cecil Taylor gave him an opportunity to join his group in 1960. John Coltrane's appreciation of his artistry led to Shepp's recording contract with Impulse!. Throughout the 1960s he participated in a collective innovation which introduced a new set of possibilities for African American music. Known as either "Free Jazz" or "Avant-Garde Jazz" this music spoke to a generation not content with the status quo in terms of music and social equality. As a spokesperson for this new music Shepp proved to be intelligent, educated, forceful and controversial. Through it all, in his music, spoken and written words, and non-musical jobs, he was a forceful advocate for equality and justice.

Beginning in the 1970s Archie Shepp began to experiment with the various forms of his African American musical heritage. Mainstream jazz, traditional spirituals and blues, and original compositions were explored in settings ranging from duos to his Attica Blues Big Band.

Today, in addition to being a master of the tenor saxophone, I believe that through his performances he has become one of the most profound bluesmen on the scene. I don't have to wait for his old age to proclaim my belief that he is one of our national treasures."



To get a glimpse of Archie, up close and personal see:
"A Dialogue with Archie Shepp"

Archie Shepp was interviewed for AllAboutJazz.com:
Archie Shepp: The Cries of My People

Archie Shepp from December of 2007:

Archie Shepp Quartet
Archie Shepp (TS, SS, Voc)
Tom McClung (p) Wayne Dockery (b) Steve McCraven (d)
Trombone Guest KU-UMBA FRANK LACY

At Bimhuis Amsterdam - 28 December 2007



Archie Shepp Discography

May 30, 2008: Album of the Day Vol. 008: The Heliocentrics - 2007 - Out There



Stones Throw Records:

"Four years in the making, The Heliocentrics' debut album is finally complete. Out There is here.

Good luck trying to categorize their music. Led by the relentless drummer Malcolm Catto, the UK collective's objective lays quite a ways beyond what ordinary listeners know or expect. In an alternative galaxy, where the orbits of Hip-Hop, Funk, Jazz, Psychedelic, Electronic, Avante-Garde and Ethnic music all revolve around “The One” – that's where you might find The Heliocentrics.

A listen to a song or two reveals no small influence from the funk universe of James Brown. But there's also the disorienting asymmetry of Sun Ra's music. The cinematic scope of Ennio Morricone. The sublime fusion of David Axelrod. But the Heliocentrics' music isn't retro. It's brand new. And it's timeless. They have well-placed fans in the likes of Madlib (Catto was featured on his Shades of Blue album and on various Yesterdays New Quintet releases) and DJ Shadow (the band backed him on various tours, and on the song “This Time I’m Gonna Do It My Way” from his The Outsider album), who will tell you that this band is really the next shit but that they have the consistency and musicianship that seems to have been lost somewhere in the analog to digital shuffle over the past thirty years.

The Heliocentrics are the real deal. They are “Out There” in the best possible sense of the word. Dig it."

Tracklisting:

01. Intro
02. Distant Star
03. Flight 583
04. Once Upon a Time
05. Beyond Repair
06. Sirius B
07. Untitled
08. They Are Among Us - Part 1
09. The Zero Hour
10. Joyride
11. The American Empire
12. Before I Die
13. Intermission
14. Age of the Sun
15. They Are Among Us - Part 2
16. Winter Song
17. A World of Masks
18. Sounds of the East
19. Somewhere Out There
20. Second Chance (K2’s Prayer)
21. Return Journey
22. Sirius A
23. Falling to Earth
24. Outro

Malcolm Catto – drums & piano
Jake Ferguson – bass & Thai guitar
Mike Burnham – modular synth & effects
Jack Yglesias – flutes, percussion & santur
Adrian Owusu – guitars, oud & percussion
James Arben – clarinet, tenor & baritone sax
Ray Carless – alto, tenor & baritone sax
Max Weissenfeldt – vibes & percussion

Second Chance (K2's Prayer)



http://www.myspace.com/heliocentrics

*Gilles Peterson Maida Vale Sessions:

The Heliocentrics were live in session and interviewed on BBC Radio 1 for Gilles Peterson. The show is available to stream here:

Gilles Peterson on Radio 1: http://www.bbc.co.uk/radio1/gillespeterson

Direct link to BBC Mediaplayer: http://www.bbc.co.uk/radio/aod/radio1_aod.shtml?radio1/peter


*Heliocentrics back Mulatu Astatke on Gilles Peterson Radio 1:

Listen

http://www.bbc.co.uk/radio1/gillespeterson/

check out photos from this event here

Check out some video of The Heliocentrics and Mulatu Astatke playing @ The Cargo in London





Thursday, May 29, 2008

Secret Serpents


The brand new new poster-art creating team which is composed of Alan Forbes, David D'Andrea, and Alan Hynes. The group are based in San Francisco, CA. Ranging influences from the Misfits to Soundgarden, from Crudo to Acid Mothers Temple; Forbes has spewed out all sorts of high caliber creative work for the past decade and change.

Photobucket
Photobucket

Sigur Rós



Official American Sigur Rós Site

Sigur Rós will be releasing their fifth album, Með suð í eyrum við spilum endalaust (English translation: With a buzz in our ears we play endlessly), on June 23rd, 2008 on EMI Records. The first song from the album, entitled ‘Gobbledigook’, will be unveiled with a world exclusive first play on Radio 1 tonight (May 27th) by Zane Lowe. The track will then be available worldwide for free download, via www.sigurros.com from 7.30pm GMT.

A pre-sale for the album will begin on www.sigurros.com on June 2nd and anyone who pre-orders will then be able to access a stream of the full album from June 9th. A special deluxe edition of the album to be released later in the year, featuring a ‘Making Of…’ book, a film, and more, will also be available to pre-order on the band’s website as of June 2nd, in addition to a plethora of Sigur Rósgoodies – exclusive clips, information on tickets for upcoming shows throughout the year etc. – which will be available to those who sign up for the mailing list on www.sigurros.com.

With A Buzz… was co-produced by the band and renowned producer Flood and was recorded in New York City (at Sear Sound Studios), London (at Assault and Battery Studios and Abbey Road), Reykjavík (at Álafoss, the band’s studio, as well as a church in Reykjavik) and Havana, Cuba. Whereas Sigur Rós’ last release – the critically-acclaimed tour film Heima, chronicling their free tour throughout Iceland – took the band to their homeland, their newest creation, With A Buzz…, is the first album in the band’s career to be made outside of Iceland. It is also their first album to feature vocalist Jón “Jónsi” Thor Birgisson’s vocals in English on one track (the remainder are sung in Icelandic).

Inspired by the unfettered feeling of the acoustic performances filmed during Heima, Sigur Rós decided to adopt a looser approach in the writing and creation of their brilliant fifth album. The material for the album was written, recorded and mixed entirely in 2008 and is being released just one month after completion. The album glows with the perfect imperfection of live takes, the sounds of fingers playing guitar strings, cracked notes, and a stark, upfront presence not found in previous Sigur Rós recordings, moving away from the reverb-induced guitar sounds of old to something altogether more fragile and affecting. It also contains some of the most joyous music the band has ever recorded.

First song ‘Gobbledigook’ sets the tone for With A Buzz… with its shifting acoustic guitars, playful vocals, time signature shifts and swirling percussion, while ‘Inni mer syngur vitleysingur’ (‘Within me a lunatic sings’) sparkles as one of the most anthemic songs Sigur Rós have ever written. ‘Festival’ is epic in its elation and scope, ‘Illgresi’ (‘Weeds’) features one of Jónsi’s finest vocal melodies over a lone acoustic guitar, and ‘Ára bátur’ (‘Row boat’) is the single largest musical undertaking in the band’s career, as it was recorded live in one take with the London Sinfonietta and London Oratory Boy’s Choir, a total of 90 people playing at the same time. The band also utilized the talents of their string-quartet friends Amiina, as well as a five-piece brass section on certain tracks, in addition to introducing the Mellotron into their writing/recording process for the first time on this album, specifically on one of the most tender and beautiful songs on the record, ‘Fljótavík’.

The spirit of With A Buzz… is best captured by the album’s stunning artwork, contributed by acclaimed visual artist Ryan McGinley. McGinley first met the band when he photographed Jónsi six years ago; the album cover was taken from a flyer for McGinley’s most recent exhibit, I Know Where The Summer Goes, which happened to find its way into Jónsi’s inbox just as the band was deciding on how to best visually represent their new collection of songs. The result is a perfect synergy of the aural and the visual.

The track listing for Með suð í eyrum við spilum endalaust (With a buzz in our ears we play endlessly) is…

01. Gobbledigook
02. Inní mér syngur vitleysingur
03. Góðan daginn
04. Við spilum endalaust
05. Festival
06. Með suð í eyrum
07. Ára bátur
08. Illgresi
09. Fljótavík
10. Straumnes
11. All alright


















Tico All-Stars: Descargas Live at the Village Gate



Musicians:

Eddie Palmieri Piano
Rafael DaVila Vocals
Vincent Frisaura Trumpet
Santos Colon Vocals
Alfredo "Chocolate" Armenteros Trumpet
Israel "Cachao" Lopez Bass
Candido Camero Conga
Tito Puente Percussion, Vibraphone, Timbales
Bobby Rodriguez Bass
Abreu Alfred Sax (Tenor)
Pedro Boulong Trumpet
Francisco Pozo Cowbell
Bobby Porcelli Saxophone
Johnny Pacheco Flute
Charlie Palmieri Piano
Cachao Bass
Pancho Cristal Producer
Alfred Abreu Sax (Tenor)
Jimmy Sabater Timbales
Victor Paz Trumpet
Jose Rodrigues Trombone
John Rodriguez Bongos, Cowbell
José Papo Rodríguez Trombone
José Feliciano Vocals
Barry Rogers Trombone
Ray Barretto Conga Percussion

All Music Guide Review by John Bush for Vol. 3:

A third volume in the series of thrilling Descargas at the Village Gate sessions offers 35 additional minutes of all-star jamming, with a roll call of New York's most important Latino musicians: Puente, Pacheco, Barretto, both Eddie and Charlie Palmieri, Joe Cuba, Jimmy Sabater, and Barry Rogers, plus a full dozen others. The first "song," the 18-minute "Descargas de Contrabajos," offers solos from Johnny Pacheco, bassists Israel Lopez and Bobby Rodriguez, conga man Barretto, and, eventually, nearly everyone else, while a vocal chorus (composed of Santos Colon, Rafael DaVila, and José Feliciano) eggs them on at every opportunity. Side two marries modern and traditional, first with a Ricardo Ray boogaloo and then with a Tito Puente descarga, bringing the proceedings back to the roots of the fertile New York Latin/jazz scene of the '40s and '50s. The sense of energy and communal joy is palpable throughout this recording and, though listening to it certainly isn't as much fun as being there, Descargas at the Village Gate, Vol. 3 is a showpiece of Latin music.

Guajira Controversial Concierto:

La Coquille et le clergyman (The Seashell and the Clergyman) (1928)



From the Wikipedia page about the film:

La Coquille et le clergyman (English: The Seashell and the Clergyman) (1928) is considered by many to be the first surrealist film. It was directed by Germaine Dulac, from an original scenario by Antonin Artaud, and premiered in Paris on 9 February 1928. The film follows the erotic hallucinations of a priest lusting after the wife of a general.

Although accounts differ, it seems that Artaud disapproved of Dulac's treatment of his scenario, and the film was overshadowed by Un Chien Andalou (1929), written and directed by Luis Buñuel and Salvador Dalí. To this day, Un Chien Andalou is considered the first surrealist film, and its foundations in The Seashell and Clergyman have been all but overlooked. However, the iconic techniques associated with surrealist cinema are all borrowed from this early film. In Lee Jamieson's own analysis of the film, the surrealist treatment of the image is clear. He writes:

The Seashell and the Clergyman penetrates the skin of material reality and plunges the viewer into an unstable landscape where the image cannot be trusted. Remarkably, Artaud not only subverts the physical, surface image, but also its interconnection with other images. The result is a complex, multi-layered film, so semiotically unstable that images dissolve into one another both visually and ‘semantically’, truly investing in film’s ability to act upon the subconscious.

– Lee Jamieson, 'The Lost Prophet of Cinema: The Film Theory of Antonin Artaud' in Senses of Cinema, Issue 44, July 2007
The British Board of Film Censors famously reported that the film was "Apparently meaningless" but "If there is a meaning, it is doubtless objectionable"[1].

Artaud allegedly loathed the resulting film, shouting back at the screen during the premiere and calling director Dulac "a cow".

Part 1:



Part 2:



Part 3:

Godspeed You! Black Emperor



Constellation Records Bio:

Godspeed You! Black Emperor began with Efrim, Mauro and Moya in the early 90s, playing a handful of shows and recording a self-released cassette as a trio before deciding to transform the group into a large band. Recruiting numerous Montreal musicians through 1995-1996, GYBE mounted sense-rattling wall-of-sound performances, featuring as many as 14 musicians and several 16mm film projectors, before recording their debut vinyl-only Constellation album in 1997. They transformed a warehouse space into the Hotel2Tango, a DIY hive of activity with band rehearsal rooms, silkscreen and wood shops, and weekend shows that took place under the radar. The group settled into a permanent nine-member line-up by late 1998, with Aidan and Bruce on drums, Thierry and Mauro on basses, Efrim, Dave and Roger on guitars, and Norsola and Sophie on cello and violin respectively. The band toured and recorded incessantly from 1998-2002 and gained a reputation for mesmerising live shows marked by orchestral dynamics, epic rock power and clunky, beautiful film loops. GYBE announced an indefinite hiatus in 2003.

Check out the Internet Archive page for tons of audio recordings for download.

Godspeed in Asheville, NC on March 8th, 2003 performing at the Orange Peel:

Part 1



Part 2

Miles From India



From the Miles From India myspace page:

MILES DAVIS ALUMNI JOIN WITH INDIAN CLASSICAL MUSICIANS FOR CROSS-CULTURAL SUMMIT MEETING ON MILES FROM INDIA
Scheduled for April 15th Release on Times Square Records

In a startlingly original recreation of music associated with jazz legend Miles Davis, co-producers Bob Belden and Louis Banks have recast familiar themes from such landmark recordings as Bitches Brew, In a Silent Way, and Kind of Blue with an East Meets West sensibility from two separate continents recording in studios around the world, Miles…From India is a cross-cultural summit meeting that puts a provocative pan-global spin on such Miles classics as “All Blues,” “Spanish Key,” “So What,” “It’s About That Time” and “Jean Pierre.”

Sitar and tablas, ghatam and khanjira, mridangam and Carnatic violin blend seamlessly with muted trumpet and saxophones, screaming electric guitar and grooving bass lines, piano, upright bass and drums on this profound fusion of Indian classical and American jazz. Recorded in Mumbai and Madras, India and New York, Chicago and Los Angeles, the music on Miles…From India was performed by classical and jazz musicians from India with the audition of musicians who have recorded or performed with Miles Davis over the span of five decades. The 2-CD set is scheduled for an April release on the New York-based Times Square Records.

Producer-archivist Belden, renowned for his Grammy Award-winning reissue work on a series of Miles Davis boxed sets for Sony/Columbia, explains the genesis of Miles…From India. “Yusuf Ghandi, who heads Times Square Records, and I have had conversations about doing this for the past several years. Yusuf had the connection to India and an understanding of Indian classical music along with an appreciation for jazz and also fusion music. So we had some mutual interests there. At some point we were talking about potential projects and I was just in the process of doing the On The Corner box set. Of course, Miles influenced music using some of those guys from On The Corner along with some Indian classical musicians and calling it Miles…From India. Yusuf said, ‘Perfect,’ and that was it.”

Adds Ghandi, “Jazz musicians have always listened to Indian music and Indian musicians know jazz. Right now there are so many great young musicians in India that people in America have never heard of. You hear about the Ravi Shankar family and other prominent musicians from India, but you don’t hear about the younger musicians who are doing innovative things. So we wanted to get some of them into the picture on this project.”

The Miles alumni included on the sessions are saxophonists Dave Liebman (1972-74) and Gary Bartz (1970-71), guitarists Mike Stern (1981-84), Pete Cosey (1973-76) and John McLaughlin (1969-72), bassists Ron Carter (1963-69), Michael Henderson (1970-76), Marcus Miller (1981-84), Benny Rietveld (1987-91), keyboardists Chick Corea (1968-72), Adam Holzman (1985-87) and Robert Irving III (1980-88), drummers Jimmy Cobb (1958-63), Leon ‘Ndugu’ Chancler (1971), Lenny White (1969) and Vince Wilburn, Jr. (1981, 1984-87) and tabla player Badal Roy (1972-3). The Indian contingent is represented by keyboardist Louiz Banks, drummer Gino Banks, American-born alto saxophonist Rudresh Mahanthappa, sitarist Ravi Chari, Vikku Vinayakram (a charter member of Shakti) on ghatam, V. Selvaganesh (a member of Shakti and Remember Shakti) on khanjira, U. Shrinivas (from Remember Shakti) on electric mandolin, Brij Narain on sarod, Dilshad Khan on sarangi, Sridhar Parthasarathy on mridangam, Taufiq Qureshi and A. Sivamani on percussion, Kala Ramnath on Carnatic violin, Rakesh Charuasia on flute and Shankar Mahadevan & Sikkil Gurucharan on Indian classical vocals.

With the Indian musicians first laying down the foundation of the tracks at studios in Mumbai and Madras, the Miles alumni then added on their parts back in the States. All the parts were then digitally edited into a coherent whole so that, for instance, on a tune like “Blue in Green” you get the sense of an organic, real-time call-and-response going on between Mike Stern’s keening guitar lines (recorded in New York) and Shankar Mahadevan’s impassioned vocals (recorded in Mumbai).

“All the forms were set based on my reduction of the song as a lead sheet,” explains Belden, “and the Louiz figured out how to make it fit into the cultural norms of India. And the beauty of it is these Indian guys really know how to play music. And, once they got the groove in their mind, instruments, we rolled the tape and that was it.”

“Jean Pierre” was similarly structured with the Indian musicians (Ranjit Barot on drums and Rakesh Chaurasia on flute) laying down their parts to a click track. Later on in the States, drummer Vince Wilburn, Jr. and keyboardist Adam Holzman added theirs in New York. “But I had Robert Irving reacting to what the Indian drummer put down when he played while Adam Holzman reacted to what Vince had played,” explains Belden. “So you had all these people reacting to different things they didn’t hear, and when you mixed them together it worked.”

Belden adds that for this Miles…From India project he relied on technology that didn’t exist five years ago. “We used the internet a lot in dealing with file sharing sites. And I was also able to use SKYPE to produce two sessions at the same time in different locations from my apartment. For ‘It’s About That Time’ I had Ndugu Chancler playing drums on the West Coast and Robert Irving in Chicago playing Hammond B-3 organ, and we were all connected in a video conference via SKYPE. They were playing back their parts, suggesting stuff, conversing back and forth with me producing back in New York apartment. In fact, you can make a whole record that way. You leave less carbon footprints this way.”

Ghandi, who also heads up the Hip-Bop label, admits that he is astonished by the seamless illusion of real time interaction that this digital technology is able to create.

“Every time I listen to ‘Spanish Key,’ the way that Mike Stern comes into it when the percussionists are playing…it’s almost as if he were there with them.”

Some of the other highlights of this remarkable concept include: a version of “All Blues” in 5/4 that features the regal rhythm tandem of bassist Ron Carter and drummer Jimmy Cobb (the latter recorded on the original 1959 Kind of Blue session); a 9/4 rendition of “So What” (also from Kind of Blue) featuring bassist Carter, pianist chick Corea and drummer Ndugu Chancler interacting with a crew of Indian percussionists and konokol vocalists; a ripping, distortion-laced Pete Cosey electric guitar solo alongside Michael Henderson’s groove-heavy electric bass lines, Dave Liebman’s flute and Kala Ramnath’s Carnatic violin work on a fast version of “Ife” (from Big Fun and The Complete On The Corner Sessions); some melodic sarod playing by Pandit Brij Narain on a faithful rendition of Joe Zawinul’s lyrical anthem “In A Silent Way”; some hauntingly beautiful muted trumpet work by Wallace Roney alongside Shankar Mahadevan’s emotive vocals on “Blue In Green”; Marcus Miller’s mysterious bass clarinet alongside Roney’s trumpet and Ravi Chary’s sitar on “Great Expectations”; and some potent, jazzy soloing from trumpeter Roney, tenor saxophonist Liebman and soprano saxophonist Gary Bartz on a slow version of “Ife.”

The lone commissioned work on Miles…From India is the stirring title track, composed, produced and performed by guitarist John McLaughlin with his Remember Shakti bandmate U. Shrinivas on electric mandolin, Louiz Banks on piano and Sikkil Gurucharan on vocals.

This kind of East Meets West cross-cultural fusion has been going on since George Harrison played sitar on the Beatles’ “Norwegian Wood” (from 1965’s Rubber Soul). Fellow Brit guitarist and Harrison colleague Brian Jones followed suit in 1966 by playing sitar on the Rolling Stones’ hit single “Paint It Black.” John McLaughlin investigated South Indian classical music forms on the Mahavishnu’s 1971 debut The Inner Mounting Flame and Miles Davis took the plunge by incorporating tablas and sitar on 1972’s On The Corner. Some important Indo-American fusion projects that have subsequently been released include McLaughlin ‘s Shakti (1975) and Remember Shakti (1999), Mickey Hart’s Diga Rhythm Band (1976) and Planet Drum (1991), Talvin Singh’s Asian flavored drum ’n’ bass recording Anokha (1997), Bill Laswell and Zakir Hussain’s Tabla Matrix (2000), Karsh Kale’s Realize (2001) and Broken English (2007) and Anoushka Shankar’s Rise (2005) and Breathing Under Water (2007). The all-star Miles…From India (2008) session represents the next step in the evolution of Indo-American jazz fusion.

Various Artists – MILES…FROM INDIA – Times Square Records/4Q
Release Date: April 15, 2008

Yes: December 01, 1974 Louisiana State University Baton Rouge, LA



All info in this post comes from The Traders Den

Yes
Decemeber 01, 1974
Baton Rouge

Taper: freezer
Lineage: Freezer's master cassettes > (?) > cd-r (x) > EAC (secure mode) > wav > xACT > flac

Disc 1:

1. Intro music
2. Sound Chaser
3. Close to the Edge
4. To Be Over
5. The Gates Of Delirium
6. And You and I

Disc 2:

1. Ritual - Nous Sommes Du Soleil
(several seconds of empty space, then the next track is much louder)
2. Roundabout

Comments from Lynne: I received several CDRs from freezer back in April as his little April Fools thank you, of sorts. I already seeded the Banu Gibson show (feel free to ask for a seed) and now I'm seeding this one. If the lineage looks strange (EAC is a PC app, xACT is a Mac app), it's because I ran Parallels on my Mac and used EAC to extract the show, but still like to use xACT for the rest. I hope the setlist is correct, if not, let me know.

Of course, big Thanks for freezer for allowing me to share this with y'all. He may be a crusty, old bastard, but he can tape!

Notes from the taper:

YES
December 1, 1974 (Sunday)
Louisiana State University
Baton Rouge, LA

Firebird Suite
Sound Chaser
Close To The Edge
To Be Over
Gates Of Delirium
And You And I
Ritual
Roundabout

Recorded from the same section, row and seat where 1975-02-28 Led Zeppelin would be recorded 3 months

There also exists 15 to 20 minutes of silent Super-8 footage of this show, shot by Reggie The Bullet from one seat away.

YES (on this tour)
Jon Anderson (Vocals)
Steve Howe (Guitars)
Patrick Moraz (Keyboards)
Chris Squire (Bass)
Alan White (Drums)

Opening act: Gryphon



The Gates Of Delirium - 3rd Part - Soon:

May 29, 2008: Album of the Day Vol. 007: Miles Davis - 1977 - Dark Magus



Tracklisting:

Disc 1:

1.Dark Magus - Moja (Part 1)
2.Dark Magus - Moja (Part 2)
3.Dark Magus - Wili (Part 1)
4.Dark Magus - Wili (Part 2)

Disc 2:

1.Dark Magus - Tatu (Part 1)
2.Dark Magus - Tatu (Part 2)
3.Dark Magus - Nne (Part 1)
4.Dark Magus - Nne (Part 2)

Personnel:

Pete Cosey – guitar
Miles Davis – organ, trumpet
Al Foster – drums
Dominique Gaumont – guitar
Michael Henderson – bass
Azar Lawrence – tenor saxophone
Dave Liebman – flute, soprano saxophone, tenor saxophone
Reggie Lucas – guitar
Teo Macero – producer
James Mtume – percussion

Amazon review from Phil Avetxori:

By the time Miles Davis recorded this album, many jazz purists had written him off long ago. Elecric Miles was seen as commercially compromised, a crass cash-in on the popularity of rock and funk. Give me a break. This multi-headed funk hydra was just as bewildering to the kids as it was to jazzbo snobs. This was undoubtedly Miles' tightest group of the 70's, and would continue in slightly modified form until Hyde Selim Sivad began a painful 6 year exorcism from which the Jeckyl Miles Davis would re-emerge: healthier, happier, but far less interesting. The "Dark" in "Dark Magus" doesn't only refer to the highlighted Africanisms that the intense focus on writhing, mutating rhythms had honed in on by this point; this is torment, passion, testosterone, and sweat. In short, this music has muscle. This group is amazing it's ability to maintain focus, drive, and coherence while structure shifts on a dime and at every turn. Hendrix-meets-Sharrock avant bluesrock guitar squall snakes through the quaking, swinging, stretching, spiraling rhythms laid down by the Henderson-Mtume-Foster groove factory, while the horn lines of Miles and Liebman skate the surface, divebomb, bounce, and wail. The whole thing is tied together, in a macrostructural sense, by Miles' planes and throbbing waves of organ, to say nothing of his near-telepathic bandleading. Electronic bleeps, splats, and an occasional, textural use of hyperfast drum machines fill in the infrequent spaces in this endless mutational moment. It all sounds so natural and instictive; anything but the chops-fetishist wankeroo that gave fusion a bad name. Less than a year later it would all be over. Almost 30 years later, music still hasn't caught up with some of the most avant-garde, yet some of the funkiest, work of one of the 20th century's great artists.

Check out some more of Miles' 70's period fusion music here:

Miles Davis Group Performing "Ife" in Vienna in 1973

Part 1




Part 2

Wednesday, May 28, 2008

May 28, 2008: Album of the Day Vol. 006: Grant Green - 1964 - Talkin' About!



Tracklisting:

01. Talkin' About J.C.
02. People
03. Luny Tune
04. You Don't Know What Love Is
05. I'm An Old Cowhand

Artwork - Reid Miles
Drums - Elvin Jones
Guitar - Grant Green
Organ - Larry Young
Liner Notes - Leonard Feather
Photography - Francis Wolff
Recorded By - Rudy Van Gelder
Notes: Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ; September 11, 1964.


All Music Guide Review by Steve Huey

On the heels of Matador and Solid, two of his most advanced albums, Grant Green decided to continue the more modal direction he'd begun pursuing with the help of members of Coltrane's quartet. Accordingly, he hooked up with organist Larry Young, who was just beginning to come into his own as the first Hammond B-3 player to incorporate Coltrane's modal innovations into his own style. Talkin' About is the first of three albums the Green/Young team recorded together with Coltrane drummer Elvin Jones, and it's exceptional, one of the most underrated items in Green's discography. With just a basic organ trio lineup, the album works a fascinating middle ground between the soul-jazz of Green's early days and the modal flavor of his most recent work. Though Young's style wasn't quite fully formed yet, he's no longer the in-the-pocket Jimmy Smith disciple of his earliest sessions; his playing here is far more adventurous than the typical soul-jazz date, both harmonically and rhythmically. Jones and Young often play off one another to create an intricate, percolating pulse that's miles ahead of the standard soul-jazz groove. The trio's interplay is best showcased on Young's Coltrane tribute, "Talkin' About J.C.," a monster jam that's worth every one of its nearly 12 minutes, and the cheerful "I'm an Old Cowhand," popularized as a jazz tune by Sonny Rollins. Meanwhile, Young and Green positively shimmer together on the ballad numbers, "People" and "You Don't Know What Love Is." It all makes for a terrific album that ranks in Green's uppermost echelon.

Audio only youtube version of the song Jean De Fleur from Grant Green ('63):

Tuesday, May 27, 2008

Nice Nice: 4-Part Seasonal Series: Spring, Summer, Fall and Winter

Sadly, all of these ep's are sold out and have been sold out for quite some time, am I glad I bought my set when they came out!

All album reviews come from Temporary Residence Limited



Appropriately titled "Spring," this is the first in a 4-part seasonal series of extremely limited CDs from the only jam band that both Kid606 and Four Tet will admit to truly loving. Perhaps "jam band" isn't the right term. How about "absurdly eclectic fucked up new-wave-noise-psych-ambient-electro-rock-no-wave... uh, jam band?" Call it what you will, we're just happy to be releasing such monstrous beauty. Released in a strictly limited edition of 300 numbered copies, these won't even be around long enough for your buzz to wear off, so don't get left hangin'.

Tracklisting:

01. Born Of Bells Pt. 1
02. Born Of Bells Pt. 2
03. The Bleating Of Sheared Lambs Pt. 1
04. The Bleating Of Sheared Lambs Pt. 2



The second in this seasonal series, "Summer" picks up almost literally where the "Spring" CD left off with four more sprawling, crawling epics best absorbed when you're feeling really low or REALLY high. As with "Spring," this is strictly limited to 300 numbered copies, and each CD comes with a huge full-color silk-screened poster. These songs are really too good to restrict to such small quantities, but we did it anyways.

Tracklisting:

01. Crown & Corona
02. Cowboys Are Indians
03. Crickets & Cicadas Pt. 1
04. Crickets & Cicadas Pt. 2



The third in this seasonal series of albums by Nice Nice veers off-course completely from the first two albums, and we're all the better for it. This gem of an album is by far the most accessible Nice Nice recording ever, and appropriately reminds us of the best things about the bustling holiday season. Beyond the stress, the anxiety, the material worship (and the religious worship, for that matter), there is an inherent innocent beauty to the fall that is virtually indescribable, and we'll be damned if this wasn't the perfect soundtrack for it. Released in a strictly limited edition of 300 copies, needless to say these are already almost gone.

Tracklisting:

01. Dawn of Dusk
02. Down, Down, Down Pt. 1
03. Dusk of Dawn
04. Down, Down, Down Pt. 2



The fourth and final album in the Nice Nice seasonal series brings us back full circle to the drift and drone of the Spring and Summer albums, albeit more aggressive and twisted in its ominous beauty. Certainly the darkest album in the series, this single 24-minute track temporarily stops time and might even make you second guess the thoughts in your own head. It's supposed to sound that way. With only 300 limited edition, numbered copies made, you better be gettin' while there's still gettin' to be got!

Tracklisting:

01. And Many More

Check out a 2005 performance from Nice Nice that showcases more of a heavier side than what is on the seasonal releases:



Temporary Residence Limited Bio:

Formally carrying the name Nice Nice since 1999, guitarist Jason Buehler and percussionist Mark Shirazi have been playing music together for over ten years. Their intense rhythmic dialogue heard in their songs speaks volumes about the connection between the two as they layer runaway melodies and free-form noise into some of the most creative beat-based rock music you will ever hear. It's not unrealistic to assume that you've never heard anything like it, as most everyone that's ever witnessed their awe-inspiring live shows is left speechless, with nothing to compare it to. Most shocking is the fact that it's largely improvisational and always live. No overdubs, no samples. Certainly not the first band to successfully trap virtuoso playing into loops that you can dance to, Nice Nice has definitely done so with the least amount of pretense, making it both intellectually stimulating and fun as hell to listen to. They say it, we believe it, and that settles it!

Music Video For The Song Pulp

John Zorn - The Dreamers and Filmworks XIX: The Rain Horse



The Dreamers

Tracklisting

01. Mow Mow
02. Uluwati
03. A Ride on Cottonfair
04. Anulikwutsayl
05. Toys
06. Of Wonder and Certainty
07. Mystic Circles
08. Nekashim
09. Exodus
10. Forbidden Tears
11. Raksasa

Personnel:
Joey Baron: Drums
Trevor Dunn: Bass
Marc Ribot: Guitars
Jamie Saft: Keyboards
Kenny Wollesen: Vibes
John Zorn: Alto Sax
Cyro Baptista: Percussion

Released: 2008

From the official Tzadik site:

Continuing in the tradition of his popular album The Gift, Zorn again combines a lifetime of musical passions—world music, movie soundtracks, jazz, minimalism, exotica, funk, surf rock and more—to create a vibrant and multifaceted album of instrumental fairy tales. Masterfully performed by the all-star players from Electric Masada, The Dreamers is a project of breathtaking variety and will attract listeners of all backgrounds and ages. Bathed in a lush package created by the acclaimed artist and exclusive Tzadik graphic designer Chippy, and accompanied by a sheet of collectable character stickers, The Dreamersis one of Zorn’s most beautiful and appealing projects. Seductive lyricism, hypnotic grooves, catchy hooks and romantic moods from this genre-bashing master of surprise.

Listen to Mow Mow, Forbidden Tears and Toys at the bottom of this page:

http://www.undomondo.com/2008/04/john-zorn-the-dreamers

John Zorn’s Dreamers Performing Toys:





Filmworks XIX: The Rain Horse

01. Tears of Morning
02. The Stallion
03. Tree of Life
04. Wedding of Wild Horses
05. Forests in the Mist
06. Dance Exotique
07. Bird in the Mist
08. Parable of Job
09. Encounter
10. The Rain Horse
11. End Credits

Personnel:
Greg Cohen: Bass
Erik Friedlander: Cello
Rob Burger: Piano

Released: 2008

From the official Tzadik site:

Another volume of FilmWorks is always a cause for celebration—Zorn’s freewheeling soundtrack music is among the most listener-friendly in his entire catalog. This installment presents a charming and lyrical score created for renowned Russian animator Dimitri Geller’s delightful animated parable The Rain Horse. Beautifully performed by the dynamic trio of Erik Friedlander, Rob Burger and Greg Cohen, these eleven cues are some of Zorn’s most appealing music for film. Passionate and poignant chamber music for another masterpiece by one of the world’s great animators.

May 27, 2008: Album of the Day Vol. 005: Mudy on the 昨晩 (Sakuban) - 2008 - VOI



HearJapan album description:

This 5 member instrumental band hailing from Nagoya originally started back in January of 2006. Currently, the members are in their Junior year at their university. The sheer variety of their music makes it impossible to categorize their music. Everything from dancing, to screaming to brute chaos is on display at their live performances. They were selected to take part in JESU's Shibuya Quattro performance in the Autumn of 2007 by Justin K. Broadrick (ex Napalm Death~Godfresh). VOI is the product of channeling their ferocious live energy that they are known for into an album.

They utilize three guitars which overlap to create a really unique sound. I guess the average setup is one guitar plays chords while the other plays melody and the other plays sound effects. But this is the best new band I have found in a while, but nobody knows about them yet (maybe because they just made their debut). Listen to samples from the other songs here: http://www.hearjapan.com/store/album_info/VOI

For another review of this fantastic mini album, check out The Silent Ballet

Check out the first song from this release at youtube here: