Sunday, June 29, 2008

The Tony Williams Lifetime

From Wikipedia

Original Lineup

The Tony Williams Lifetime was founded in 1969 as a power trio with John McLaughlin on electric guitar and Larry Young on organ. The band was possibly named for Williams' debut album as a bandleader, Life Time, released on Blue Note in 1964. Their debut album was Emergency!, a double album released on Polydor Records in 1969. It was largely rejected by jazz listeners at the time of its release, but is now looked upon as a fusion classic. Jack Bruce joined the group to provide bass and vocals on their second album, Turn It Over, released in 1970. McLaughlin left the group and was replaced by Ted Dunbar for their 1971 album, Ego. This album featured Ron Carter on bass and cello, and Warren Smith and Don Alias on percussion. Lifetime gigs around this time featured Juini Booth on bass. Following Larry Young's departure from the band, Tony Williams was the only original member remaining. The fourth and last Lifetime album for Polydor, 1972's The Old Bum's Rush, featured an entirely new personnel and a keyboard-heavy sound. It received poor reviews, and the group was effectively dissolved for several years.

The New Tony Williams Lifetime

In 1975, Williams put together a quartet he called The New Tony Williams Lifetime featuring bassist Tony Newton, pianist Alan Pasqua, and virtuoso guitarist Allan Holdsworth. This lineup recorded two albums for Columbia Records, Believe It in 1975 and Million Dollar Legs in 1976. These albums were reissued on one CD in 1992 as Lifetime: The Collection.


Tony Williams Lifetime - The Dance of Maya (live 1970)

Tony Williams Lifetime Paris 1971

Tony Williams Lifetime Drum Solo

Tony Williams Lifetime Montreux 1972

June 29, 2008: Album of the Day Vol. 032: Stan Getz - 1972 - Captain Marvel

1. La Fiesta (Corea) - 8:26
2. Five Hundred Miles High (Corea) - 8:12
3. Captain Marvel (Corea) - 5:09
4. Time's Lie (Corea/Potter) - 9:48
5. Lush Life (Strayhorn) - 4:16
6. Day Waves (Corea) - 9:43
7. Crystal Silence [*] (Corea/Porter) - 7:47
8. Captain Marvel [*] (Corea) - 5:18
9. Five Hundred Miles High [*] (Corea) - 9:29

(* = bonus tracks)

Personnel: Stan Getz (tenor sax) / Chick Corea (electric piano, Fender Rhodes) / Stanley Clarke (bass) / Tony Williams (drums) / Airto Moreira (percussion)

All Music Guide Review by Thom Jurek:

One of the more remarkable aspects of Stan Getz's 1972 masterpiece is just how organic he was able to keep the sound. The band surrounding Getz on this Columbia date was led by Chick Corea with his Return to Forever (electric) bassist Stanley Clarke, drummer Tony Williams, and Brazilian master percussionist Airto. With the exception of Clarke, all the rest had played with Miles Davis in his then-experimental electric bands. Corea's Return to Forever was just getting itself off the fusion ground, while Williams had been with John McLaughlin and Larry Young in Lifetime on top of his experience with Davis. But make no mistake, this is a Stan Getz record, his gorgeous tenor tone furiously and fluidly playing through all of Corea's difficult changes on Corea's Latin carnival jam, "La Fiesta," and shapeshifting his way through mode changes on "Five Hundred Miles High." The nucleus for the bedrock of Return to Forever was in the Getz laboratory of extended complex harmony and a strict adherence to melodic improvisation. Billy Strayhorn's "Lush Life" is the space in which Getz teaches the band about dynamic, texture, and ambience — he even has Clarke bowing his bass. This band, combining as it did the restlessness of electric jazz with Getz's trademark stubbornness in adhering to those principles that made modern jazz so great, made for a tension that came pouring out of the speakers with great mutual respect shining forth from every cut — especially the steamy Latin-drenched title track. Along with Sweet Rain, recorded for Verve, Captain Marvel is the finest recording Getz made in the 1970s.


Stan Getz Quartet - Montreux 1972

To download an uncompressed and full version of the video above, go here:

Info File:

unknown lineage
Montreux June 23 1972
Captain Marvel era Getz 4tet here.
Pic quality is B-.

There are some tracking drops, but they are all temporary. Sound quality is surprisingly good! This show has been floating around ebay but in an incomplete form containing only the second half.

This is the entire set.

Stan Getz (ts) Chick Corea (p) Stanley Clarke (b) Tony Williams (dr)

1. Captain Marvel (06:30)
2. Day Waves (08:40)
3. Lush Life (05:00)
4. Windows (09:15)
5. I Remember Clifford (05:20)
6. La Fiesta (12:55)
7. Times' Life (13:50)

TRT 01:04:23 VIDEO_TS.md5 file included

Blank Blue



Blank Blue Myspace Page

From the Blank Blue website on Ubiquity Records:

Blank Blue are still a very young group, but the songs they’ve completed so far possess a beatific, rococo lushness—as well as an understated funkiness.
- OC Weekly

Sounds like Os Mutantes with an 808 kick sample.
- LA Record

"Do your soul a favor and give it a listen. Four stars"

Delicately straddles the fence between 60s psychedelia and the Bristol sound of the 90s.
- Friction NYC

Elvin Estela, aka Nobody, met Niki Randa at Fingerprints, an indie record store in Long Beach, California, where they have worked together since 2001. Estela was mulling over ideas for a sequel to Pacific Drift, his 2003 release on Ubiquity, and realized that the album he wanted to make needed only one vocalist. He had often heard that "Niki can sing!" and eventually would give Randa a CD-R of beats and tracks that he was considering for his new album to see if she was interested in being the one. In December 2006 the first of their collaborations was finished and given the working title "Sonic What?!" Excited with the results, Estela immediately told Randa about the concept for an album which had come to him in a series of nightmares. Shortly after the two ventured to a book store during their lunch break, grabbed a book blindly, opened randomly, and put Randa's finger to a page which read “Blank Blue.” The god’s had christened their project (it’s both the album's namesake and the name given to the collaboration between Estela and Randa) and for the next twelve months, Estela and Randa would eat, sleep, drink and smoke Blank Blue.

Blank Blue is the surreal story of an Armageddon born out of a massive earthquake off the west coast of the United States and set sometime in the future. The quake triggers a separation of the west from the rest of the country, creating a whirlpool of devastation in its wake. Millions die. Thousands survive. Those that survive eventually sink and drown from the buckling lands, only to have scores of poison mushrooms waiting for them underneath the earth's masses, loosened from centuries old trees. The poisoned water gives them their first gasp, and miraculously they are able to and breathe and live underwater. The album tells the story from various points of views, from an all-knowing narrator, to a psychic fish that warns people via their dreams, to random characters who watch their loved ones drown or ask the others underwater how to find the ability to breathe. The confusion and sadness is balanced by the fascination of having to start everything all over again; learning how to breathe and swim etc.

“I started to think about making an album that I would want to listen to, that reflected the music that I love to put on and space out to. I loved albums where one vocalist takes you through a journey through different sounds and styles. Niki was the first person I trusted with my idea of Blank Blue and her voice matched the music perfectly. It also helped that we have worked together at a record store for 7 years so we were official record store geeks,” says Estela.

Nobody presents Blank Blue: Western Water Music Vol. II is the official follow up to the 2003 album Pacific Drift: Western Water Music Vol. I. In the five years between albums, the 31 year old Los Angeles producer has traveled the world touring with the likes of The Mars Volta, Prefuse 73, Battles, Edan, Dntel, and Flying Lotus. Blank Blue is another example of the strength of the current wave of beat music created in Los Angeles. Estela’s own Wednesday night weekly, called Low End Theory, is built around this sound. Born in November 2006 it continues to draw hundreds weekly. Along with Daddy Kev (Alpha Pup Records), D-Styles (Invisible Scratch Pickles), Gaslamp Killer and MC Nocando, Estela hosts a crowd pleasing night with experimental artists from across the world including Prefuse 73, Sage Francis, Busdriver, Grouch, Entrance and Sa-Ra Creative Partners. The night bi-monthly feature called Beat Invitational invites producers from around Los Angeles to showcase their most recent/unreleased work and Daedelus (Ninja Tune), Flying Lotus (Warp), Ras G, Edit, Thavius Beck and Nosaj Thing are all regulars. Visitors will be blasted by a stoned haze of deep and aggressive bass lines and loose drums that swing on and off rhythm. The sound is undoubtedly influenced by the late hip-hop producer James (Jay Dilla) Yancey who had a huge impact on many producers in Los Angeles and beyond. Madlib, Dabrye, Prefuse 73, Dimlite, Hudson Mohawke, Red Nose Distrikt and Elliot Lipp are other favorites amongst the DJs. With Blank Blue Estela sought out a sound that keeps the sensibility of Low End Theory while structuring tracks into songs with full vocals and instrumentation.

The term Western Water Music was inspired by jazz musician Gary Bartz and his Harlem Bush Music Vol. I and II album. “I just love that he named his own style of music and decided to form his music under this guise. He simultaneously represents his own genre while also representing where he is from. It also seems to say that Harlem is a big part of his sound,” says Estela. “I took this very seriously and thought that I would do the same. To me, music is definitely your subconscious reacting to your experiences and surroundings. So, I decided that this sound would be Western as in West Coast and it would be inspired by the water.”

Estela wrote and produced the album in his Long Beach home studio, he also wrote some of the lyrics. Some songs came together during improvised-takes and were worked-on subsequently over a period of time, and others would happen on the spot as soon as Randa heard the music. Most noticeably different on this record, in comparison to his earlier releases, is the extensive use of instrumentation, either from Estela, who started messing with the guitar as he recorded Soulmates, or guest musicians.

After getting the frame of the song together, the two would have friends come over to listen for anything they could add. An afternoon of drinks would end with an evening of amazing backwards guitar solos from neighbor and friend Josh Teague. Old friends from KXLU, Estela's college radio station and home to his current 60's psychedelic show She Comes in Colours, Ben Knight (The Tyde) and Farmer Dave Scher (Beachwood Sparks) dropped by with tons of toys and embellished a few of the songs. Miguel Atwood-Ferguson who has arranged for the likes of Dr. Dre, Kanye West, Carlos Nino and Daedelus adds his signature strings to seven of the twelve songs. It's a vision of sound brought to life by really good friends.

Hard pressed to pigeon-hole the album Estela says “I would describe it as psychedelic bass music because there are the two things that matter to me when I'm listening to music. Gotta' love the bass, gotta' love the layers, and my third eye's gotta love it too.” He adds, "This is my dream record. I've always wanted to have a concept record that revolved around one theme. I feel that this is the first record that I've done where I understand the song making process more than ever. In previous albums I would learn as I went along. With Blank Blue, I knew what I wanted to do going into it. I am also more inspired by the present than the past right now as well as the concept of future music. I feel that Los Angeles is just starting its incline with a new generation of awesome electronic artists that I can luckily call me peers. I am inspired by what's going on around me right now, and I am happy to do my take on what's happening and put my spin on it. I'm also very lucky that one of my good friends ended up being my main collaborator, as I don't think the record would have come out the same if I didn't fully trust Niki and her ideas and vice-versa."

In addition to touring around the world, Estela also kept himself busy between Ubiquity releases with multiple side-projects including the 2005 b-sides album And Everything Else on the Los Angeles-based Plug Research label and in 2006 a full length collaboration with Mystic Chords of Memory Tree Colored See on Mush. He also released a collection of his remixes on Plug Research featuring reworks of acts as disparate as Postal Service, Phil Ranelin, The Free Design and Her Space Holiday. In 2007 he was involved with his first hip-hop project since Soulmates, his debut for Ubiquity in 2000, working on Busdriver's critically acclaimed Roadkillovercoat on ANTI/Epitaph.

also from Ubiquity Records:


Not all the music is Blank Blue per se, the Blank Blue computer man is just reminding you to buy the album! The music is all exclusive Nobody (AKA Elvin Estela) productions - various unreleased instrumentals, beats only available on 12"s, an odd remix or 2, alternate takes and unreleased rare versions.


01. Neo-Millennium Stench/The Young Idea (Nobody inst. for Blank Blue Japanese exclusive track)
02. In the Swim (Available on Blank Blue: Western Water Volume II)
03. The All Golden Fronts (Sounds of LA 12" exclusive on Plug Research)
04. Mr. Mistakes w/ Busdriver (Instrumental version - never released)
05. The Trogolodyte Wins w/ Busdriver (Original version - never released)
06. You Can Know Her w/ Mia Doi Todd (Keepintime Remix 12" exclusive on Mochilla)
07. Broaden a New Sound (Available on Nobody & Mystic Chords of Memory Present: Tree Colored See on Mush)
08. Eyes Closed (Available on Blank Blue: Western Water Volume II)
09. Tilijem's Forest (AIM 7" exclusive)
10. Girl's Alone (Free Design Remix available on Light in the Attic)
11. All the Shallow Dee (Available on Blank Blue: Western Water Volume II)
12. Up (Blank Blue Alternate Take - upcoming on late summer EP on Ubiquity)
13. The Seed (Devendra Banhart version available on Nobody & Mystic Chords of Memory Present: Tree Colored See on Mush)

Max Ernst

Biography on Max Ernst:

Max Ernst was born on 2 April 1891 in Brühl, near Cologne, the first son of Philipp Ernst, teacher of the deaf and amateur painter, and his wife, Luise, née Kopp. Max Ernst never received any formal artistic training. In 1910-1914 he studied philosophy and psychiatry at Bonn University and took a deep interest in painting.

In 1914 Ernst got acquainted with Jean (Hans) Arp, and their lifelong friendship began. With the outburst of the First World War Ernst was conscripted to the army, where he served in the field artillery till the end of the war, never dropping his interest in art. It was during the war, in 1916, when he took part in the "Sturm" exhibition in Berlin. To the same period date his first contacts with Dada artists.

After demobilization Ernst settled in Cologne, where, together with Johannes Theodor Baargeld, a pseudonym for Alfred Grünwald (1892-1927), he founded a group of Dadaists. Their exhibition of 1920 at the Winter Brewery in Cologne was closed by the police on the grounds of obscenity. The works of this period are mostly 'junk' assemblages (e.g. Fruit of a Long Experience, 1919) and collages of printed matter. School text-books, educational placards and mail-order catalogs became his main source of materials. Cut-outs of different objects and patterns supplied by quotations come into absurd compositions, full of sarcasm. (e.g. The Hat Makes the Man. 1920; Dada-Gauguin, 1920, etc.)

In 1922, Max Ernst, following an invitation of his Dadaist friends, Gala and Paul Eluard, Tristan Tzara, André Breton, and others, moved to Paris. The same year he painted A Reunion of Friends, where he depicted himself and all his associates. In the paintings of his early Parisian period the artist was able to successfully combine the techniques of painting, assemblage and collage in large-scale paintings with enigmatic plots, e.g. Oedipus Rex, 1922; Teetering Woman, 1923; Two Children are Threatened by a Nightingale, 1924; etc.) In 1924 Ernst traveled to Indochina with Gala and Paul Eluard.

In 1924 André Breton published the First Surrealist Manifesto. Max Ernst was among those who shared the views and aims of the Surrealists and took an active part in founding the new movement. Ernst's invention of the frottage (pencil rubbings on paper or canvas) technique dates to the early 1920s. In this technique Ernst fulfilled a series of works, resulting in the publication of his famous "Histoire Naturelle". Frottage, which realizes the surrealistic principle of 'psychological automatism', Ernst applied in painting as well, inventing the so-called grattage (scrapings), e.g. Eve, the Only One Left to Us, 1925.

In the late 1920s Ernst turned to the beloved motifs of German Romanticism and revived them in a new, Surrealistic, manner: dark forests, mysterious caves, gloomy cliffs, dead moonlight, figures and faces which appear like ghosts from interlacing branches and twigs. (Fishbone Forest, 1927, Hunter 1926, Vision Induced by the Nocturnal Aspect of the Porte St. Denis. 1927, Bird in a Forest, The Horde, 1927)

Between 1929 and 1939 in addition to large-sized pictures in the collage, frottage and grattage techniques, Ernst began producing books of collages, the best known are the collage-novels "La Femme 100 têtes" and "Une Semaine de bonté". It was in these books that the character with the strange name of "Loplop" appeared; Loplop took on the role of a narrator and commentator. As a pictorial image Loplop appeared in Ernst's works a little bit later, a bird-like fantasy creature, which represented the artist himself as his "private phantom", as Max Ernst himself once put it. The artist in the shape of Loplop appeared in his works in person, either in caption or pictorial form, throughout his life. (e.g. Loplop Introduces a Young Girl. 1930; Loplop Introduces Loplop, 1930; La Foresta Imbalsamata. 1935, The Angel of Hearth and Home, 1937, Surrealism and Painting. 1942, etc.) Thus The Angel of Hearth and Home was painted in response to the defeat of the Republican Spain and expresses his feeling of helplessness with regard to the coming menace of fascism.

In 1937 Ernst distanced himself from Breton and the Communist group of Surrealists, though he remained true to the chosen methods of work. In 1938 he left Paris and settled in Saint Martin d'Ardèche in the South of France, where his famous picture The Robing of the Bride was painted.

With the outbreak of the Second World War Max Ernst was arrested by French authorities for being a "hostile alien". Thanks to the intercession of Eluard, he was discharged a few weeks later. Soon after the French occupation by the Nazis, he was arrested by the Gestapo, managed to escape and flee to America with the help of Peggy Guggenheim, a sponsor of the arts.

In 1941-1945 Ernst lived in NY, where together with other European emigrant painters, he not only worked but also shared his knowledge and experience with younger American colleagues, thus leaving a lasting and profound influence on the development of American modern art. The pictures of the period Europe After the Rain II, 1940-42, Day and Night, 41/42, The Eye of Silence, 43/44; Vox Angelica, 1945; The Temptation of St. Anthony, 1945, etc., reflect in a surrealistic manner the tragic social reality.

In 1946-52 Ernst lived in Arizona, surrounded by landscapes that resembled his own pictorial phantasmagorias. In the USA he got interested in sculpture and left a number of pieces, which mainly consisted of found objects assembled in ever-new combinations.

In 1953 the artist returned to Europe and settled in France. In the 1950s Ernst got world acclaim. In his late works the artist returned to the subjects of his early, Dada period, e.g. A Virgin, A Widow and a Wife, 1946; Colorado of Medusa, Color-Raft of Medusa, etc.

Max Ernst died on 1st April 1976 in Paris, one day before his 85th birthday.

Max Ernst. By P. Waldberg. Paris. 1958.
Max Ernst. Life and Work. By J. Russel. London. 1967.
Max Ernst. By E. Quinn. London. 1977.
Max Ernst. Beyond Painting. By Ulrich Bischoff. Benedict Taschen Verlag. 1987.
Max Ernst and Alchemy: A Magician in Search of Myth (Surrealist) by M. E. Warlick, Franklin Rosemont. Univ of Texas Pr, 2001.
Max Ernst by Edward Quinn. Konemann, 1999.
Marcel Duchamp and Max Ernst: The Bride Shared (Clarendon Studies in the History of Art) by David Hopkins. Clarendon Pr, 1998.
Ernst (Colour Library) by Ian Turpin. Phaidon Press Inc., 1993.
Ernst: Pieta or Revolution by Night (Tate Modern Masterpieces) by Malcom Gee. Tate Gallery Pubn, 1986.

Saturday, June 28, 2008

AstroNation Torrent Blog .76

Flora Purim & Airto Moreira group
Newport Jazz Festival
Avery Fisher Hall, N.Y.C. U.S.A.
June 28, 1978

performance quality: A-
recording quality: B-/ B
(some FM static in much of it)
source: master FM broadcast tape

1: radio announcer introduction & Flora interview
2: Airto solo
3: ?
4: E Brazil
5: pachido alto
6: nothing will be as it was tomorrow
7: ?
8: 500 miles high
9: announcer wrap up


April 11, 1970
Fillmore West Auditorium
San Francisco, CA
FM Radio Broadcast

Miles Davis (tp)
Steve Grossman (ss)
Chick Corea (p)
Dave Holland (b)
Jack DeJohnette (d)
Airto Moreira (pc)

1. Directions (09:30)
2. Miles Runs the Voodoo Down - Sundance/Vamp (13:34)
3. Paraphernalia (10:12)
4. Footprints (12:03)
5. I Fall in Love Too Easily (02:36)
6. Sanctuary (03:41)
7. It's About That Time (10:23)
8. Willie Nelson - Theme - DJ outro (04:24)

total time: 66:22

The Miles Davis Band played four shows on four consecutive nights in the Fillmore West, on April 9-12, 1970. Miles was on the same bill with 'The Grateful Dead', 'Stone the Crows' and 'Clouds'. The April 10 show was issued by Columbia in complete form on 'Black Beauty: Miles Davis Live At The Fillmore West'.

The April 11 show is one of my personal favorites. It has some very inspired playing by Chick Corea and Dave Holland. This recording features the only known version of of Corea's 'Sundance/Vamp' by the Miles Davis Band, and the last known version of 'Paraphernalia'.

20th May 2008
BBC Studios, Manchester, UK

Broadcast by BBC Radio 2 on 20th May 2008 for "Mark Radcliffe and Stuart Maconie"

**[BBC Radio 2 is an FM and digital broadcaster. Bit rate on DAB radio is 160kbps, DVB-T and Digital Satellite 192kbps. This is the DVB-T. As this is a lossy radio transmission at source it has not been bloated to flac, following DIME guidelines.]**

DVB-T (192kbps / 48Khz) > Nebula DigiTV > Hard Disk MP2 > mp3DirectCut


01 Chat I
02 The Rip
03 Chat II
04 Nylon Smile
05 Chat III
06 Magic Doors
07 Chat IV


Mahavishnu Orchestra

John Mclaughlin- guitar
Jan Hammer- keyboards
Jerry Goodman- violin
Rick Laird- bass
Billy Cobham- drums

Symphony Hall
Boston, Mass.
January 26, 1972

(opener for Howard Wales/Jerry Garcia Hooteroll)

source: 3 source FM matrix: tracks 1-3, source 1, which has some static in parts but never very loud or long lasting. This is a 2nd gen. tape. The rest is from 1st gen. (different master source) and sounds as good as I've ever heard this show sound, but it also has some static, the fidelity is overall quite good for a Jan. 72 FM recording, with great seperation of left and right, but WBCN was hardly the megawatt giant it has been since circa early 80's. The third source (unknown) only provides a few seconds of this recording, filling in just a few seconds of talk after Dawn when John mentions he broke a string and we'll be right back, at which point they cut away to a commercial, and cut back in after John mentions Jan Hammer, just as he says "he's from Czeckoslovakia". I have cut out all the commercials, and left all the music and talk in here. The 3rd source is not as good as the other two, fortunately it's just barely long enough to notice it, and there strictly to maintain the continuity of the recording.

runtime: 63:43


1: tuning 1:24
2: meeting of the spirits > 10:51
3: you know, you know 8:57
4: radio announcer :09
5: band introductions :19
6: the dance of Maya 10:34
7: radio announcer :09
8: dawn 15:21
9: Binkie's beam 3:53
10: the noonward race 11:45

Thursday, June 26, 2008

June 26, 2008: Album of the Day Vol. 031: Banco del Mutuo Soccorso - 1972 - Darwin!


1. L'Evoluzione (13:59)
2. La Conquista Della Posizione Eretta (8:42)
3. Danza Dei Grandi Rettili (3:42)
4. Cento Mani E Cento Occhi (5:22)
5. 750,000 Anni Fa ... L'Amore? (5:38)
6. Miserere Alla Storia (5:58)
7. Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde ... Non Ne Ho! (3:29)

Total Time: 46:50


- Gianni Nocenzi / clarinet, piano, keyboards
- Pier Luigi Calderoni / drums, tympani
- Renato D'Angelo / bass, guitar, guitar (bass)
- Francesco DiGiacomo / vocals
- Vittorio Nocenzi / organ, synthesizer, keyboards, clavinet
- Marcello Todaro / guitar (acoustic), guitar, guitar (electric), vocals

Gnosis2000 Review by Greg Northrup:

Banco - Darwin! (1972)

The second Banco album is another in their series of classics and stands as one of my most treasured albums. In fact, Darwin! was the first Italian album I got, and once I got to the shuddering grooves of "Cento Manni E Cento Occhi," I was completely converted to the passionate, thundering sound that would characterize one of my favorite bands. It's all here, the dual keyboard tapestry of the brothers Nocenzi, trading off Hammond assaults, delicate, heart-wrenching piano runs and fire-breathing Moog themes, building together in unison to moments of unimaginable climax. Atop this are the always outstanding vocals of Franceso DiGiacomo, who comes crashing in with his operatic, distinctly Italian vocal prowess.
Nearly every track on here is a gem. "L'Evoluzione" is an utter whirlwind, beginning as a tender ballad, then accelerating into a bombastic groove. "La Conquista della Posizione Eretta" is a keyboard driven apocalypse, breathtaking throughout. And man, check out "Cento Manni e Cento Occhi." This is the song that made me a believer the first time I heard it, an up-tempo barn burner that moves through a number of themes, carried by Franceso's vocals, before arriving at its unbelievable, aggressive conclusion. "750,000 Anni Fa... L'Amore" is a tremendously moving ballad featuring Francesco backed only by a shimmering piano theme; an expressive, morose and almost romantic atmosphere pervades the song.

All in all this is another unequivocal classic. The first three Banco albums are all among my personal favorites, showing a band in the midst of a period of nearly unmatched consistency, on par with any of the more well renowned English bands. Darwin! is an excellent place to start exploring Italian progressive rock.



Paul Butterfield

The BluesHarp Page: Legends: Paul Butterfield

BORN: December 17, 1942, Chicago, IL
DIED: May 4, 1987, Hollywood, CA

Butterfield grew up in Chicago's Hyde Park, and according to his brother Peter, "There was a lot of music around. Hyde Park, a place unique in Chicago because it was an island in the Southside ghetto, and a bastion of liberal politics. When we grew up there was a crime problem -- mostly due to scattered groups of Puerto Ricans and poor White trash -- but no one made a connection to the black community as a source of crime. We grew up about half a block from something called the International Houses and you would see people from all over the world in the immediate area. "

Butterfield was culturally sophisticated. His father was a well-known attorney in the Hyde Park area, and his mother was an artist -- a painter. Butterfield took music lessons (flute) from an early age and by the time he reached high school, was studying with the first-chair flautist of the Chicago Symphony. He was exposed to both classical music and jazz from an early age. Butterfield ran track in high school and was offered a running scholarship to Brown University, which he had to refuse after a serious knee injury. From that point onward, he turned toward the music scene around him. He began learning the guitar and harmonica.

He met singer Nick Gravenites and started hanging around outside of the Chicago blues clubs, listening. He and Gravenites began to play together at various campuses -- Ann Arbor, University of Wisconsin, and the University of Chicago. His parents sent him off to the University of Illinois, but he would put in a short academic week, return home early (but not check in) and instead play and hang out at the blues clubs. Soon, he was doing this six or seven days a week with no school at all. When this was discovered by his parents, he then dropped out of college and turned to music full time.

Butterfield practiced long hours by himself -- just playing all the time. His brother Peter writes, "He listened to records, and he went places, but he also spent an awful lot of time, by himself, playing. He'd play outdoors. There's a place called The Point in Hyde Park, a promontory of land that sticks out into Lake Michigan, and I can remember him out there for hours playing. He was just playing all the time ... It was a very solitary effort. It was all internal, like he had a particular sound he wanted to get and he just worked to get it. "

In the meantime, Elvin Bishop had come from Oklahoma to the University of Illinois on a scholarship and had discovered the various blues venues for himself. Elvin remembers, "One day I was walking around the neighborhood and I saw a guy sitting on a porch drinking a quart of beer -- White people that were interested in blues were very few and far between at that time. But this guy was singing some blues and singing it good. It was Butterfield. We gravitated together real quick and started playing parties around the neighborhood, you know, just acoustic. He was playing more guitar than harp when I first met him. But in about six months, he became serious about the harp. And he seemed to get about as good as he ever got in that six months. He was just a natural genius. And this was in 1960 or 1961."

Butterfield and Bishop began going down to the clubs, sitting in, and playing with all the great Black blues players -- then in their prime. Players like Otis Rush, Magic Sam, Howlin' Wolf, Junior Wells, Little Walter, and especially Muddy Waters. They often were the only Whites there, but were soon accepted because of their sincerity, their sheer ability, and the protection of players like Muddy Waters, who befriended them.

An important event in the history of introducing blues to White America came in 1963 when Big John's, a club located on Chicago's White North Side invited Butterfield to bring his band there and play on a regular basis. He said "sure," and Butterfield and Bishop set about putting such a band together. They pulled Jerome Arnold (bass) and Sam Lay (drums) from Howlin' Wolf's band (with whom they had worked for the past six years!), by offering them more money. Butterfield and Bishop (the core team), Arnold, and Lay were all about the same age, and these four became the Butterfield Blues Band. They had been around for a long time and knew the Chicago blues scene and its repertoire cold. This new racially-mixed band opened at Big John's, was very successful, and made a first great step to opening up the blues scene to White America.

When the new group thought about making an album, they looked around for a lead guitarist. Michael Bloomfield, who was known to Butterfield from his appearances at Big Johns, joined the band early in 1965. Bloomfield, somewhat cool at first to Butterfield's commanding manner, warmed to the group as Butterfield warmed to his guitar playing. It took a while for Bloomfield to fit in, but by the Summer of that year, the band was cookin'. Mark Naftalin, another music student, joined the band as the first album was being recorded, in fact while they were actually in the studio creating that first album on Elektra. He sat in (playing the Hammond organ for the first time!), Butterfield liked the sound, Naftalin recorded eight of the 11 tracks on the first album during that first session. After the session, Paul invited Naftalin to join the band and go on the road with them. These six, then, became the Paul Butterfield Blues Band.

The first two Butterfield Blues albums are essential from an historical perspective. While East-West, the second album, with its Eastern influence and extended solos (See: Michael Bloomfield) set the tone for psychedelic rockers, it was that incredible first album that alerted the music scene as to what was coming.

Although it has been perhaps over-emphasized in recent years, it is important to point out that the release of The Paul Butterfield Blues Band on Elektra in 1965, had a huge effect on the White music culture of the time. Used to hearing blues covered by groups like the Rolling Stones, that first album had an enormous impact on young (and primarily White) rock players. Here is no deferential imitation of Black music by Whites, but a racially-mixed hard-driving blues album that, in a word, rocked. It was a signal to White players to stop making respectful tributes to Black music, and just play it. In a flash the image of blues as old-time music was gone. Modern Chicago style urban blues was out of the closet and introduced to mainstream White audiences, who loved it. The Butterfield band appeared at the Newport Folk Festival late in 1965 to rave reviews.

Perhaps the next major event in the Butterfield band came when drummer Sam Lay became ill, late in 1965. Jazz drummer Billy Davenport was called in and soon became a permanent member of the group. Davenport was to become a key element in the development of the second Butterfield Blues Band album, East-West (See: Mark Naftalin). In particular the extended solo of the same name.

Fueled by Bloomfield's infatuation with Eastern music and Indian ragas at the time and aided by Davenport's jazz-driven sophistication on drums, there arose in the group a new music form that was to greatly affect rock music -- the extended solo. There is little question that here is the root of psychedelic (acid) rock -- a genuine fusion between East and West.

Those first two albums served as a wakeup call to an entire generation of White would-be blues musicians. Speaking as one who was on the scene, that first Butterfield album stopped us in our tracks and we were never the same afterward. It changed our lives.

The third album (released in 1967), The Butterfield Blues Band; The Resurrection of Pigboy Crabshaw is the last album that preserves any of the pure blues direction of the original group. By this time, Bloomfield had left to create his own group, The Electric Flag and, with the addition of a horn section (including a young David Sandborn), the band is drifting more toward an R&B sound. Mark Naftalin left the group soon after this album and the Butterfield band took on other forms.

Aside from these first three albums, later Butterfield material somehow misses the mark. He never lost his ferocity or integrity, but the synergy of that first group was special. There has been some discussion in the literature about the personal transformation of Butterfield as his various bands developed. It is said that he went from being a self-centered bandleader (shouting orders to his crew a la Howlin' Wolf) to a more democratic style of leadership, providing his group with musical freedom (like Muddy Waters). For what it's worth, it is clear that the best music is in those first two (maybe three) albums. Subsequent albums, although also interesting, have not gotten as much attention then or now from reviewers.

When I knew Butterfield (during the first three albums), he was always intense, somewhat remote, and even, on occasion, downright unfriendly. Although not much interested in other people, he was a compelling musician and a great harp player. Bloomfield and Naftalin, also great players, were just the opposite -- always interested in the other guy. They went out of their way to inquire about you, even if you were a nobody. Naftalin, well known around the San Francisco Bay Area, continues to this day to support blues projects and festivals (Marin County Blues Festival, etc.) in the San Francisco Bay area.

After Bloomfield and Naftalin left the group, Butterfield spun off on his own more and more. The next two albums, In My Own Dream (1968) and Keep on Moving (1969) moved still farther away from the blues roots until in 1972, Butterfield dissolved the group, forming the group Better Days. This new group recorded two albums, Paul Butterfield's Better Days and It All Comes Back. After that, Butterfield faded into the general rock scene, with an occasional appearance here and there, as in the documentary The Last Waltz (1976) -- a farewell concert from The Band. The albums Put It in Your Ear (1976) and North South (1981) were attempts to make a comeback, but both failed. Paul Butterfield died of a drug-related heart failure in 1987.

Even to this day, Butterfield remains one of the only White harmonica players to develop his own style (another is William Clarke) -- one respected by Black players. Butterfield has no real imitators. Like most Chicago-style amplified harmonica players, Butterfield played the instrument like a horn -- a trumpet. Although he sometimes used a chromatic harmonica, Butterfield mostly played the standard Hohner Marine Band in the standard cross position. Remember, he was left-handed and held the harp in his left hand, but in the standard position with the low notes facing to the left. He tended to play single notes rather than bursts of chords. His harp playing is always intense, understated, concise, and serious -- only Big Walter Horton has a better sense of note selection.

The effect of the Butterfield Blues Band on aspiring White blues musicians was enormous and the impact of the band on live audiences was stunning. Butterfield the performer was always intense, serious, and definitive -- no doubt about this guy. Blues purists sometimes like to quibble about Butterfield's voice and singing style, but the moment he picked up a harmonica, that was it. He is one of the finest harp players (period).

Butterfield and the six members of the original Paul Butterfield Blues Band made a huge contribution to modern music, turning a whole generation of White music lovers onto the blues as something other than a quaint piece of music history. The musical repercussions of the second Butterfield album, East-West continue to echo through the music scene even today! (See: Michael Bloomfield, Mark Naftalin)

We would like to thank Blues Access magazine for permission to use the quotes by Peter Butterfield and Elvin Bishop from the excellent article by Tom Ellis. ~ Michael Erlewine

Work Song

Driftin' Blues

Son House, Paul Butterfield Blues Band, & Mike Bloomfield

B.B. King & Paul Butterfield Jamming, Live 1968

AstroNation Torrent Blog .75

Flying Lotus
24th June 2008
Sonar 2008, Barcelona, Spain.

A live set by Flying Lotus.

**[BBC Radio 1 is an FM and digital broadcaster. Bit rate on DAB radio is
160kbps, DVB-T and Digital Satellite 192kbps. This is the DVB-T recording]**

DVB-T (192kbps / 48Khz) > Nebula DigiTV > Hard Disk MP2 > mp3DirectCut


None available or indeed relevant!

Live Set by Flying Lotus [25.00]

"One of the definite highlights of this year’s Sonar festival was the Radio One stage, curated by Mary Anne Hobbs and featuring Shackleton, Mala and Flying Lotus (pictured above), who probably smacked it harder than anyone, mangling his already deformed hip-hop into new shapes and dropping hard house and dubstep."


Sweeping Up The Pieces Of Yesterday's Life - 3rd Edition (JPIO-II 095-102 / 08.10.2005 / 8CDR)
Compilation of all currently circulating interviews with Jimi Hendrix and The Jimi Hendrix Experience in the best available quality; Compiled from a wide variety of sources.
- Revised version of JPIO-II 070-076 "Sweeping Up The Pieces Of Yesterday's Life - 2nd Edition" (* upgrade, ** upgrade featuring additional material, *** new to this edition).

Disc 1: BBC Broadcasting House, London 13.02.67 (Interview with Jimi, Noel and Mitch by Brian Matthews for BBC Radio "Saturday Club"); 1:03 / Speakeasy, London 16.03.67 (Conversation between Jimi, Eric Clapton, Christine Charles and a journalist); 41:40 / "Twenclub", Studio 1, NDR Funkhaus, Hamburg 18.03.67 (Interview with Jimi and Noel by Jochen Rathman); 1:54 / Jimi's Apartment, London 10.04.67 (Interview by Leif Andersson for Swedish Radio "Pop 67 med Amerikalisten"); 1:12 / Hotel Intercontinental, Frankfurt 17.05.67 (Interview with Jimi, Noel and Mitch by Hans Carl Schmidt for German Radio); 17:19 / Falkoner Centert, Copenhagen 21.05.67 (Interview by Carsten Grolin for Danish Radio "Beat Forum"); 0:58 / Studio 4, Radiohuset, Stockholm 25.05.67 (Interview by Klas Burling for Swedish Radio "Pop 67 Special"); 10:59; 74:06
- The dates for the 16.03.67 Speakeasy conversation and the 10.04.67 interview are approximate.
- Some sources list the place and date for the 10.04.67 interview as Radiohuset, Stockholm march-april 1967.

Disc 2: US Army Radio "In-Sound" june 1967 (Intro *** > "Purple Haze" (1) *** > Interview with Jimi by Harry Harrison * / Interview with Noel Redding by Harry Harrison) 4:47 + 1:07 / The Warwick Hotel, New York City, NY 17-19.07.67 (Interview with Jimi, Noel and Mitch by Dan Paulson, possibly for the "Hit Parade" magazine); 25:12 / PPX Studio, New York City, NY july-aug.1967 (Studio chat between Jimi and Ed Chalpin); 0:26 / Studio 4, Radiohuset, Stockholm 05.09.67 (Interview with Jimi, Noel and Mitch by Klas Burling for Swedish Radio "Pop 67 Special"); 3:57 / Stockholm 11.09.67 (Interview by Leif Anderson for Swedish Radio "Pop 67 Special"); 2:00 / BBC Playhouse Theatre, London 06.10.67 (Interview with Jimi, Noel and Mitch by Brian Matthews for BBC "Top Gear"); 0:44 / Jimi's Apartment, London mid-dec.1967 (Interview by Tony Lopez aka. Meatball Fulton); 21:52 / BBC Playhouse Theatre, London 15.12.67 ** (Interview by Tony Hall for BBC "Top Gear"); 6:31 / Bruce Fleming's Photo Studio, London 19.12.67 (Interview with Jimi by Noel and Mitch from the film "Experience" aka. "See My Music Talking"] [incl. excerpts of studio tracks from "Axis: Bold as Love"]; 6:27 / Radiohuset, Stockholm 08.01.68 (Interview by Leif Andersson for Swedish Radio "Pop 68 Special"); 6:28; 79:31
- Some sources list the date for the "In-Sound" interview as on or around 26.06.67.
- Some sources list the date for the Dan Paulson interview as on or around 03.07.67.
- The BBC Playhouse Theatre, London 06.10.67 interview was actually conducted by Tommy Vance, but the interviewer on this recording is Brian Matthews. The reason for this oddity is as follows: The original transcription discs/tapes with Tommy Vance and John Peels contributions to the "Top Gear" shows have apparently been lost, all the chat on these shows are later overdubs by Brian Matthews for his Swedish (English language) "Top Of The Pops" RADIO show - NOT the famous British TV show. Seeing the source for the recording featured here is the Swedish show, the featured voice is of course Brian Matthews' later overdub instead of Tommy Vance's original. (Thanks to Renwick for sending me a mail to clarify this.)

Disc 3: l'Olympia, Paris 29.01.68 (Interview for French Radio "Pop Club" between shows); 1:57 / Press Reception, Copter Lounge, Pan Am Building, Manhattan, New York City, NY 30.01.68 (Interview by Jay Harvey and others); 21:26 / Atwood Hall, Clark University, Worcester, MA 15.03.68 (Complete Pre- and Post-show Interviews with Jimi, Noel and Mitch by Tony Palmer from the Raw Sources of the film "All My Loving - A Film Of Pop Music") - Parts 1-9; 50:43; 74:07

Disc 4: The Paul Caruso Rag Sessions, Jimi's hotel room, The Warwick Hotel, New York City, NY 18.03.68 ("All Along The Watchtower" (6) / Conversation between Jimi, Paul Caruso and Mr.Wiggles / "Bright Lights, Big City" (3)); 1:17 + 16:10 + 1:51 / Record Plant, New York City april 1968 (Interview by Michael Rosenbaum); 5:15 / "It Must Be Dusty", ITV Elstree Studio D, Borehamwood 05.06.68 * (Interview by Dusty Springfield / "Mocking Bird"); 2:38 / Radio Advert for the Curtis Hixton Hall, Tampa, FL 18.08.1968 show (Bonus track) ***; 1:17 / Radio Advert for the Rhode Island Auditorium, Providence, RI 28.08.1968 show (Bonus track) ***; 0:23 / Pacific Coliseum, Vancouver 07.09.68 ** (Interview with Jimi, Noel and Mitch by Terry David Mulligan for CBC TV "Where It's At"; Not included in actual program / Complete Raw Source); 11:09 / Winterland Arena, San Francisco (most likely) 12.10.68 (Backstage interview by Gus Gossert for KPMX Radio); 9:15 / Minneapolis Auditorium, Minneapolis, MN 02.11.68 (Pre- and Post-show Interviews by Tony Glover for the "Hoollabaloo" Magazine) - Parts 1 & 2; 5:52 + 1:42 / Jimi's Apartment, London 07.01.69 (Interview with Jimi, Noel and Mitch by Hugh Curry for Canadian CBC TV "Through the Eyes of Tomorrow"); 7:34 / Radiohuset, Stockholm 09.01.69 (Interview by Lennart Wretlind for Swedish Radio "Pop 69 Special"); 5:39; 70:02

Disc 5: Falkoner Centeret, Copenhagen 10.01.69 (Interview with Jimi, Noel and Mitch between shows by Niels Olaf Gudme for Danish Radio "Afterbeat"); 23:35 / Danish "Afterbeat" Radio Broadcast *** (Based on the interview by Niels Olaf Gudme, Falkoner Centeret, Copenhagen 10.01.69 between shows; with translation and various musical content incl. excerpts from Falkoner Centeret, Copenhagen 10.01.69 [2nd Show]); 12:50 / Studio Dumont, Cologne 13.01.69 (Interview for German TV "Beat Club" during an autograph session; With German voice over); 1:51 / Dressing Room Conversation, Sportpalast, Berlin 23.01.69 [incl.excerpt of "Fire" (53) from Berlin 23.01.69]; 8:39 / Jimi's Apartment, Brooke Street, London 24.02.69 (Interview from the Soundtrack of the unreleased motion picture "Experience"); 1:01 / Pop Expo '69, The Palladium, Hollywood 30.03.69 * (Backstage interview by Jay Harvey for KDAY Radio / Tuning up / "Blues Jam" > "Room Full Of Mirrors" (3) / Interview with Audience members); 6:01 + 0:55 + 5:53 + 2:48; 63:33
- Some sources list the date for the London Brook Street apartment interview as 18.02.69 (After Jimi's first Royal Albert Hall Concert, not the second).

Disc 6: Beverly Rodeo Hyatt House, Beverly Hills, CA 15.06.69 (Interview by Nancy Carter); 25:20 / "Dick Cavett Show", ABC TV Studio, New York City, NY 07.07.69 (Interview only) [incl.excerpt of "Wild Thing" (5) from Monterey International Pop Festival, Monterey, CA 18.06.67]; 7:36 / "Tonight Show", NBC TV Studio, New York City, NY 10.07.69 (Interview by Flip Wilson - Part 1 / "Lover Man" (19) *** / "Lover Man" (20) *** / Interview by Flip Wilson - Part 2 ***); 12:24 / Woodstock Music & Arts Fair (Woodstock Festival), Yasgur's Farm, Bethel, NY 18.08.69 (Post-show interview by Canadian Radio); 0:40 / United Block Association Press Conference at Frank's Resturant, Harlem, New York City, NY 03.09.69 *; 6:11 / "Dick Cavett Show", ABC TV Studio, New York City, NY 09.09.69 (Interview only); 6:56 / Noel Redding Interview by Klas Burling 02.11.69 (Bonus track) ***; 2:18 / Mike Jefferey's Apartment, New York City, NY 04.02.70 (Interview by John Burks for "Rolling Stone" Magazine) - Parts 1-5; 14:17; 75:42
- The featured Sbd Composite version of the 10.07.69 "Tonight Show" apperance is the most complete version of this performance available, and includes everything up to and including the introduction of the next artist.
- The featured upgraded version of the UBA Press Conference 05.09.69 is slightly different from previously circulated versions; Although it includes the same questions (and answers), the order in which these appear differs. As a whole, the two versions are however identical and features the same material, so no attempt has been made to identify which version is correct, and / or to edit the material.

Disc 7: Mike Jefferey's Apartment, New York City, NY 04.02.70 (Interview by John Burks for "Rolling Stone" Magazine) - Parts 6-27; 66:29

Disc 8: Seabury Hall, Maui, HI late july 1970 (Conversation between Jimi, Pat Hartley and others from the film "Rainbow Bridge" (ftbfs: OV 09)); 3:46 / Isle of Wight Festival, East Afton Farm, Isle of Wight 30.08.70 (Pre-show interview by French Radio); 0:32 / Stora Scenen, Gröna Lund, Stockholm 31.08.70 (Backstage interview by Klas Burling for Swedish Radio); 2:15 / Super Concert '70, Deutschlandhalle, Berlin 04.09.70 (Backstage interview by Chris Bromberg for American Forces TV); 10:43 / Cumberland Hotel, London 11.09.70 (Interview by Keith Altham for the "Record Mirror" Magazine) - Parts 1-12; 29:31 /
CBC/ABC Death Report 18.09.70; 1:43 / ITV Death Report 18.09.70; 1:15 /


BC - hothcanada
Tribute To American Hardcore
DVD Series

Vol. 31

Black Flag
Date: 1980-10-24 - 1986-01-11
Venue: (hothcanada - voltarized) "This Is Good 1980-1986"
Sets: 77min+
Media: DVDR
Number: 1
Source: ntsc vhs sources > sa > pc (remaster pic & audio, added menus) > dvdr
Quality: Varies

1. 1980-11-10 "Tomorrow Show" (NBC)


a)The Punk Phenomenon
b)Black Flag 1980-10-24 Baces Hall, Los Angeles, CA
c)Rona Barrett panel discussion with Chuck Dukowski, Garry Leonard & Daphne Vendetta

2. 1982-09-01 @The Ritz, NYC


a)Can't Decide
I've Got To Run
c)My Rules
d)Room 13 (incomplete)

3. 1983-01-14 @Mi Casita, Torrance, CA


a)I've Heard It Before (soundcheck)
b)Rise Above
c)Louie, Louie

4. 1983-03-16 "Basement TV" @City Club, Detroit, MI


a)Six Pack
b)No Values
c)Beat My Head Against The Wall
d)My Rules
e)Rise Above

5. 1983-04-30 @Mike Muir's Garage, Santa Monica, CA


a)My Rules (fragment)
d)Thirsty & Miserable
e)Six Pack (incomplete)

6. 1985-07-19 "Back Porch Video" @Traxx, Detroit, MI


a)Wound Up
"Henry On Melrose"
c)My War
d)Best One Yet

7. 1985-??-?? Much Music Canada


Black Flag live '85 clip + spotlight on Henry Rollins/ Lydia Lunch spoken word tour.

8. 1986-01-11 @Stardust Ballroom, Hollywood, CA


This Is Good


ripped by : hothcanada & notsaved(clip 6), djm5000(clip 7)
authored by : voltarized
thanks to : BC & Chris BCT.


Paris, France
1/17/75 (aka 1/29/75) <--- ambiguous date, didn't want to change the .txt file from how I got it. January 17th, 1975 to clarify.

1. Chain Reaction 12:10
2. Splash 14:07
3. Dizzy Dizzy 7:03
4. improvisation 1 11:04
5. improvisation 2 28:04

6. Meadow Sweet-> 12:02
7. Quantum Physics/ 5:35

if you move t5 of d1 to the beginning of d2 the result is two excellent discs of 44:25/45:42 respectively.
the filler track from Hatfield is missing.

21.11.1975 "Live @ The Polytechnic, Hatfield, GB,
mit "Tim Hardin" Vocals

17.01.1975 "Live Paris -Bataclan-, 2 CD´s
& Bonus Tracks on CD2, div. Live & BBC Recordings

(above information from

CAN performing live at the Bataclan Club, Paris on 1-17-1975.

The 2nd disc has some filler from Hatfield Polytechnic, Hatfield UK on 11-21-1975. Excellent set, so good in fact I burned 2 sets in case I lost one, and this one is only CDA, the *other* had the original NFO file and some artwork (CD Extra). Anyhow, enjoy this boot, it features Tim Hardin on vocals for the Hatfield tracks.

Lineage is SBD sourced and lossless based, I would rate it a strong B+ or A- quality wise.


(need help! please fill in... thanks!)

- rowper


The Mars Volta
24th June, 2008
The Forum Theatre
Melbourne, Australia

Taped by Blackstar
Transferred by Blackstar

Recorded from about 6 rows from the back, to the left of the stage.

Church Audio STC-11 Mics>Church Audio ST-9000 Preamp>Edirol R-09@24bit/48k>
usb>wav>Cool Edit Pro 2.1(convert to 16bit/volume adjustment/splitting/fade in/fade out)>Flac level 5

Disc 1 (74:23)
01 - Fistful Of Dollars (1:45)
02 - intro jam (23:15)
03 - Viscera Eyes (8:20)
04 - Meccamputechture (8:01)
05 - Goliath (22:50)
06 - Wax Simulacra (2:39)
07 - Ilyena (7:33)

Disc 2 (74:43)
01 - pre-cygnus (7:56)
02 - Cygnus....Vismund Cygnus (33:38)
03 - Agadez (13:54)
04 - Drunkship Of Lanterns (19:15)

This was an absolute pain in the ass to split into tracks for a number of reasons.
1. I don't know their songs too well.
2. They jam a lot so I wasn't sure which bits were part of a song.
3. It's hard to understand what Cedric's singing, making it hard to google lyrics for song titles.
4. I read somewhere that they don't change their setlist throughout a tour. I used the Sydney setlist as a staring point and they did play a few different songs.

I hope I got the splits and track names right. Please let me know if anything's wrong as I am a bit of a perfectionist.

The overall volume was increased by 6db. No other changes were made.

Do not sell this recording. Do not convert to MP3 or other lossy formats unless it's for personal use.

Wednesday, June 25, 2008

Neil Young 06-22-2008

Neil Young & Band
2008 - 06 - 22
Nelson Mandela Forum
Firenze (IT)

Lineage: Edirol R-09 + Sound Professionals SP-CMC-8 microphones
Edirol > Harddisk editing with Soundforge 4.5 + plugins and using the Sonic Maximizer Process > SEKD Red Roaster
Recording & editing: Young Dutch Master

Recorded in front of stage just left of the centre..
(stage sound / sound from speakers at the stage)

Sound is excellent

Artwork is included

The Opening show of the European Summer Tour.

Not an exciting setlist

A nice 15 min + Love and Only Love as the concert opener,
No Hidden Path made it a full 25 minutes ( and is the longest (?) version ever played so far).

The Dutch masters like to thank their Italian friends for inviting us and arranging everything for us.

Thanks Giovanni, Georgio, Fabio, Gianpaulo and Sergio and all the others we met.

Disc 1:

01 Love And Only Love
02 Dirty Old Man
03 Spirit Road
04 Powderfinger
05 Hey Hey,My My
06 Too Far Gone
07 Oh Lonesome Me
08 Mother Earth
09 The Needle And The Damage Done
10 Old Man
11 Band Introduction

Disc 2:

01 Winterlong
02 No Hidden Path
03 All Along The Watch Tower (false start)
04 Rockin'In The Free World

June 25, 2008: Album of the Day Vol. 030: Ethiopiques 20 - Either/Orchestra Live in Addis

Ethiopiques - Vol. 20 Either/Orchestra Live in Addis

Disc: 1

1. Amlak Abet Abet - Teshome Sissay
2. Muziqawi Silt - Girma Beyene
3. Feqer Aydelem Wey - Ayalew Mesfin
4. Altchalkoum - Afewerq Yohannes
5. Yezemed Yebada - Teshome Meteku
6. Soul Tezeta - Michael Belayneh

Disc: 2

1. Eyeye - Nerses Nalbandian
2. Antchim Endelela - Bahta Gebre-Heywet
3. Keset Eswa Betcha - Shewalul Mengistu
4. Bati (Bass Intro) - Tsedenia Gebre-Marqos
5. Bati - Tsedenia Gebre-Marqos
6. Shellela - Getatchew Mekurya
7. Embi Ba (Gourague) - Mahmoud Ahmed

All About Jazz Review By Budd Kopman

Live in Addis, the latest release by the Either/Orchestra, provides a superb example of the way Russ Gershon, E/O's founder and main composer/arranger, keeps the band fresh and exciting by always moving into new territory and never standing still.
The path that led to this historic concert has already been described in these pages, but the more important thing is how Ethiopian popular music is refracted through the peculiar lens of Gershon and company to produce something entirely new which can be appreciated by lovers of jazz and Ethiopian music alike.

For twenty years Russ Gershon has led a band that plays his original compositions or arrangements, along with originals by band members and cooperative arrangements. While the personnel has changed over the years, the attitude of the E/O, admittedly anchored by Gershon’s unique musical personality, has remained the same: a blend of top-notch musicianship, much humor, and power—the only constant being the group's ability to surprise the listener every time out. (Who else would think of juxtaposing Monk’s “Nutty” with “Ode to Billy Joe,” as on Radium?) Furthermore, the band has always had great soloists and a strong camaraderie, creating the feel of non-arrangements while playing.

Even for someone not particularly enthralled with “world music” in general, Live in Addis is a total gas from the first notes of “Amlak Abét Abét,” where the E/O roars out of the gate to set the tone for the entire concert. They leave nothing behind, blowing up a storm with complicated polyrhythms underneath, totally flattening everything before them. Gershon’s modus operandi is laid open for inspection, with the Ethiopian part clearly heard in the rhythm and the tune blown in unison. But then the soloing starts, and we now have jazz.

You can hear the audience in Addis Ababa really get into what is happening as they applaud when the second half of the fifteen-minute piece is introduced with a recap of the main tune. A hush settles as Jeremy Udden, with that unearthly tone of his, takes a solo with just pianist Greg Burk and some quiet drumming behind him. The solo is quite abstract and could easily be accepted as advanced jazz. The percussion starts coalescing and the tension rises, Udden starts playing multiphonics, the band plays interjections behind him, and the music on the pedal point reaches an almost excruciating tension until the main tune reappears again to wild applause.

And, remember, this is just the first track of two hours of music!

Having totally won the audience over, the band slides seamlessly into a softer “Muziqawi Silt,” featuring a beautiful bass solo by Rick McLaughin, and the rest of the show ebbs and flows, many times reaching peaks of ecstasy. Some prominent Ethiopian musicians guest on the second disc, and tenor saxophonist Gétatchèw Mèkurya is incredibly powerful on “Shellèla.”

Live in Addis is a total triumph as music, once again, is shown to be able to bring together diverse peoples in mutual love.

Youtube description from youtuber user budamusique:

Big band de jazz basé à Boston, nominé aux Grammy Awards, Either/Orchestra se consacre au répertoire éthiopien depuis plusieurs années et a réalisé son rêve: un concert à Addis Ababa avec des invités ethiopiens prestigieux, dont Mulatu Astatqè (Ethiopiques 4, «Broken Flowers») et Gétatchèw Mekurya (Ethiopiques 14). Cet enregistrement rend bien compte de l'énergie et de l'émotion qui ont présidé à cette rencontre. Les arrangements particulèrement réussis et remarquablement interprétés par ces musiciens aventureux ne sont pas sans évoquer ceux de Gil Evans pour le «Sketch of Spain» de Miles Davis.

Russ Gershon and his Grammy-nominated Either/Orchestra have included many Ethiopian pieces into their repertoire in recent years. In January 2004, the Boston big band travelled to Addis for a dream-come-true concert featuring prestigious Ethiopian guests, among them Mulatu Astatqè (Ethiopiques 4, «Broken Flowers») and Gétatchèw Mekurya (Ethiopiques 14). This recording perfectly renders the energy and emotion of this gathering, with beautiful arrangements remarkably performed by excellent, adventurous musicians bringing to mind Gil Evans' band in Miles Davis' «Sketches of Spain

Tuesday, June 24, 2008

June 24, 2008: Album of the Day Vol. 029: Miles Davis - 1960 - Sketches of Spain


01. "Concierto de Aranjuez" (Adagio) (Joaquín Rodrigo) –16:19
02. "Will o' the Wisp" (Manuel de Falla) –3:47
03. "The Pan Piper" (Gil Evans) –3:52
04. "Saeta" (Evans) –5:06
05. "Solea" (Evans) –12:15

Bonus tracks added after upon reissue in 2000:

06. "Song of Our Country" (Evans) –3:23
07. "Concierto de Aranjuez" (alternative take; part 1) (Rodrigo) –12:04
08. "Concierto de Aranjuez" (alternative take; part 2 ending) (Rodrigo) –3:33

All Music Guide Review by Thom Jurek

Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 — after Coltrane and Cannonball Adderley had left the band — Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto," Evans' arrangement provided an orchestra and jazz band — Paul Chambers, Jimmy Cobb, and Elvin Jones — the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are "Saeta," with one of the most amazing technical solos of Davis' career, and the album's closer, "Solea," which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession — or parade — with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.


Danny Bank — bass clarinet
Bill Barber — tuba
John Barrows — French horn
Albert Block — flute
James Buffington — French horn
Eddie Caine — flute, flugelhorn
Paul Chambers — bass
Earl Chapin — French horn
Jimmy Cobb — drums
Johnny Coles — trumpet
Miles Davis — trumpet, flugelhorn
Gil Evans — arranger, conductor
Harold Feldman — clarinet, flute, oboe
Bernie Glow — trumpet
Dick Hixon — trombone
Elvin Jones — percussion
Taft Jordan — trumpet
Jack Knitzer — bassoon
Jose Mangual — percussion
Jimmy McAllister — tuba
Tony Miranda — French horn
Louis Mucci — trumpet
Romeo Penque — oboe
Janet Putnam — harp
Frank Rehak — trombone
Ernie Royal — trumpet
Joe Singer — French horn

Miles Davis - Concierto De Aranjuez (Adagio)

Miles Davis - Will O' The Wisp

Miles Davis - Saeta

Monday, June 23, 2008

Zach Hill Hindsight Is Nowhere (2008)

Music by Zach Hill
Animation by Katelyn Reeves
Mike Rafter editing
A music video from Zach Hill's new album Astrological Straights

Sunday, June 22, 2008

June 22, 2008: Album of the Day Vol. 028: Dr. John - 1968 - Gris-Gris


01. "Gris-Gris Gumbo Ya Ya" (Dr.John Creaux) – 5:36
02. "Danse Kalinda Ba Doom" (Creaux, Harold Battiste) – 3:39
03. "Mama Roux" (Creaux, Jessie Hill) – 2:59
04. "Danse Fambeaux" (Creaux) – 4:56
05. "Croker Courtbullion" (Battiste) – 6:00
06. "Jump Sturdy" (Creaux) – 2:20
07. "I Walk On Guilded Splinters" (Creaux) – 7:37

By Richie Unterberger

When Dr. John's Gris-Gris hit the rock underground in 1968, it wasn't certain whether its master of ceremonies had landed from outer space, or just been dredged out of hibernation from the Louisiana swamps. The blend of druggy deep blues, incantational background vocals, exotic mandolin and banjo trills, ritualistic percussion, interjections of free jazz, and Dr. John's own seductive-yet-menacing growl was like a psychedelic voodoo ceremony invading your living room. You could be forgiven for suspecting it of having been surreptitiously recorded in some afterhours den of black magic, the perpetuators of this misdeed risking life-threatening curses for having exposed these secret soundtracks to the public at large.

In fact Gris-Gris was recorded surreptitiously, but not in some New Orleans house of sin. It was laid down in the famed Gold Star Studios in Los Angeles, where Phil Spector had cut many of his classics. It might have never come to pass at all had Dr. John and his co-conspirators not managed to wrangle some free studio time that had been originally earmarked for Sonny & Cher sessions. The resulting album nonetheless sounded as authentically New Orleans as a midnight Mardi Gras stroll though the French Quarter. Given the circumstances, that achievement was just as magical as anything the most powerful voodoo ritual could have wrought.

Gris-Gris was the first record credited to Dr. John, and to most listeners he seemed to have dropped out of nowhere with his mystical R&B psychedelia and Mardi Gras Indian costumes. The album, however, was actually the culmination of about 15 years of professional experience, during which Dr. John -- born Mac Rebennack in New Orleans -- had absorbed the wealth of musical influences for which the Crescent City is famed. Gris-Gris's roots reach back well beyond the dawn of the twentieth century, even as the album took in cutting-edge influences such as 1960s progressive jazz, and pushed into territory that no popular musician had ever explored in quite the same fashion.

"Gris-Gris" itself is a New Orleans term for voodoo, and the name Dr. John taken from a New Orleans root doctor of the 1840s and 1850s. Also known as John Montaigne and Bayou John, he was busted in the 1840s for practicing voodoo with Pauline Rebennack, who may or may not have been a distant relative of our man Mac. One of Mac's grandfathers sang in a minstrel show, and the latter-day Dr. John adapted one of grandpa's favorite tunes, "Jump Sturdy," into the track on Gris-Gris of the same name. His onstage costumes and feathered headdresses, the source of shock and delight to audiences since the late 1960s, are similarly adapted from those worn by Mardi Gras Indians in New Orleans, famed for the infectious tribal percussive rhythms and chants they perform in local parades.

By the mid-1950s Mac Rebennack, still in his mid-teens, was busy gigging around the New Orleans area, absorbing more contemporary influences from jazz, rhythm and blues, gospel, and rock and roll. In the late 1950s and early 1960s the multi-instrumentalist participated in a myriad of New Orleans R&B and rock records as a session musician, songwriter, and producer. After battles with drug problems and the law, he moved to Los Angeles in 1965, joining an expatriate community of top New Orleans session dudes on the Hollywood studio circuit. Rebennack scrounged for survival by playing on L.A. pop and rock sessions, getting much of his work with the help of arranger (and fellow New Orleanian) Harold Battiste. Numerous recordings on which Rebennack played, sometimes as the featured artist, from the decade predating Gris-Gris have surfaced on compilations such as Medical School and Cut Me While I'm Hot . Though of historical interest, and sometimes of considerable musical worth, these enjoyable but journeyman R&B/rock sides gave little indication of the idiosyncratic genius unveiled on Gris-Gris.

Ever since coming to L.A., Rebennack had hoped to make a concept album of sorts melding various strains of New Orleans music behind a frontman named Dr. John. Mac actually wanted New Orleans singer Ronnie Barron to be the Dr. John character, but when Barron was (fortunately) unavailable, Rebennack took on the Dr. John mantle himself. Harold Battiste, now a major Hollywood name as arranger for Sonny & Cher, got Dr. John some of the duo's studio time for free, and also helped get Mac a deal with Atlantic for an LP. Had Atlantic known what was up it probably would have pulled the plug on the project. However, the album was completed, with help from Battiste (who produced and played clarinet) and numerous side musicians. These included transplanted New Orleans veterans like Jessie Hill (renowned for "Ooh Poo Pah Doo"), Shirley Goodman (half of Shirley & Lee of "Let the Good Times Roll" fame), saxophonist Plas Johnson, and Richard "Didimus" Washington, a percussionist who was particularly skilled at devising Afro-Caribbean rhythms and textures. Two basses were used on some songs, which together with the army of percussionists (eight are credited) created an especially deep and thick rhythm section.

The opening track's title, "Gris-Gris Gumbo Ya Ya," was itself an indication of the record's homage to New Orleans eclecticism: the gris-gris voodoo, the gumbo (the regional stew made from numerous ingredients), and "Ya Ya," the title of one of the biggest hits to ever come out of the city (by Lee Dorsey). Rebennack wasted no time in assuming his new identity, immediately declaring "they call me Dr. John, known as the Night Tripper," his half-sung growl a white swamp counterpart to Howlin' Wolf. The snaky rhythms, soulful backup choruses, and ghostly echoing percussion set an eerie mood that if anything got spookier on "Danse Kalinda Ba Doom," its speaking-in-tongues ensemble vocals and middle eastern-by-way-of-New Orleans melodies establishing a quasi-religious ambience that permeated the record. "Mama Roux," by contrast, was deep-fried soul-funk, Gris-Gris 's hit single-that-never-was. It was back to the Bayou jungle, though, for "Danse Fambeaux," with its potion of Mardi Gras Indianesque chants, minstrel strings, impenetrable spell-casting lyrics, and mysterious melody.

The album's mischievous musical chairs were never as entrancing as they were on "Croker Courtbullion," with snake-charming flute and chants, Addams Family-styled keyboards (by Dr. John, who played all the keys on Gris-Gris), and free jazzy interplay revealing Rebennack's little-known admiration of musicians such as John Coltrane and Elvin Jones. As if these weren't enough, there were also birdcalls and animal noises that sound like nothing so much as a futuristic mating of Professor Longhair and Martin Denny. "Jump Sturdy" was a relatively brief, and quite infectious, marriage of vaudeville and funk. The closing eight-minute tour de force, "I Walk on Gilded Splinters," would prove the album's most durable song, a creepy voodoo soup that both smoldered with ominous foreboding and simmered with temptations of sensual delights.

Atlantic executive Ahmet Ertegun was initially reluctant to release Gris-Gris, exclaiming, according to Dr. John's autobiography Under a Hoodoo Moon, "How can we market this boogaloo crap?" Luckily, he relented, inaugurating an erratic career that saw Dr. John grow into an institution as a walking encyclopedia of New Orleans music. For the most part, his subsequent recordings were far more grounded in blues and R&B, never matching the versatile adventurousness of his debut full-length. Hard to find in its original form as an Atco LP, and only sporadically reissued since, Collectors' Choice Music is proud to make this classic available on CD for the first time in the United States.

Dr. John The Night Tripper

Dr. John - Such a Night

AstroNation Torrent Blog .74

a few weeks back I posted a Blakey aud from 1979. This is my only FM recording of ABJM,
recorded from a "Jazz Alive " broadcast. I'm sure several will appreciate this, and while Ricola is sharing great drummers (Elvin Jones, most recently), thought I'd share another great one I think he'd like to hear since he's shared so much I like hearing. Not only that, this show was almost 31 years ago. The only time I ever got to see Blakey play live was very unexpectedly, and I didn't have a recorder with me, too bad because it was a drop-in jam session and he played close to an hour. This was a bit more formal.

Art Blakey & the Jazz Messengers
David Schnitter- tenor sax
Valerie Penomerev- trumpet
Albert Bailey- piano
Bobby Watson- alto sax
Dennis Irwin- bass
Art Blakey- drums
Jazz Showcase
Chicago, Illinois, U.S.A.
June 25, 1977
performance quality: A-
recording quality: A-
source: FM broadcast master reel
lineage: WBUR FM radio >
Sansui 8 reciever >
reel deck (brand unknown) >
Maxell UD 7" reel @ 3 3/4 ips >
soundforge 4.5 > flac 6 >
torrentially yours.
runtime: 75:44 (6 songs, the only titles I know are the 1st 2 songs, Autumn in NY, and Jody.)


This is a quite uncirculated and nice compilation of 3 concert fragments from Stuttgart with one of the greatest drummers: mr. Elvin Jones.
Solid FM sound and great playing in mostly very long tracks.

Requested by David, Rudolfo and Wilhelm:

Elvin JONES “Stuttgart Live Compilation”

SOURCE (all 3 shows): FM>low gen, unknown recording lineage>Cassette tape>CDR>trade>EAC Secure Rip>Flac Frontend, level 6

Sound: For my taste all A, but decide by yourself if you like to download or not, mp3 samples are included


Live at Liederhalle, Kleiner Mozartsaal in Stuttgart, November 15, 1970

Elvin Jones -d;
George Coleman-ts,
Frank Foster p;
Wilbur Little -b;



Live at Liederhalle, Kleiner Mozartsaal in Stuttgart, February 15, 1978

Elvin Jones -d;
Pat LaBarbera, Michael Stewart -sax;
Roland Prince -g;


Elvin Jones -d;
Pat LaBarbera -ts,ss; Michael Stewart -ts;
Andy McCloud -b;
Roland Prince -g;



Live at Liederhalle in Stuttgart, March 30, 1986

Elvin Jones -d;
Sonny Fortune -ts;
Santi DeBriano -b;
Fumio Karashima -p;




March 6, 1970
Fillmore East Auditorium
New York, NY

first show

Miles Davis (tp)
Wayne Shorter (ss, ts)
Chick Corea (p)
Dave Holland (b)
Jack DeJohnette (d)
Airto Moreira (pc)

1. stage noise - Directions (08:29)
2. Miles Runs the Voodoo Down (13:08)
3. I Fall in Love Too Easily - Sanctuary (05:57)
4. It's About That Time - Theme (14:40)

total time: 42:14

Excellent soundboard recording. Excellent show.

Miles Davis entering the rock circuit. On March 6 and 7, Miles was in the Fillmore East for the first time. The Miles Davis Band opened for Neil Young and The Steve Miller Band for two consecutive nights, Friday and Saturday. There were two shows each night. This two-night gig is Wayne Shorter's last as a member of the working band.

Columbia recorded both nights. The March 7 shows were released by Columbia on the CD 'Miles Davis Live at the Fillmore East - It's About That Time' (Columbia Legacy C2K 85191). An incomplete version of the second show on March 6 is availble at Wolfgang's Vault (


Venetian Snares
Austin, TX

Taper: Andrew Fogelsong
Source: DSM-6S > PA-6LC3(80Hz) > M1 @ 44.1kHz
Transfer: Sony PCM-M1 > 7pin to coax > Delta Dio 2496 > Adobe Audition
Editing: fade in/out
Notes: Thanks to bgraves for loaning the gear! I inadvertently turned the recording levels up at 63:44, resulting in some occasionally audible clipping for the remainder of the show.


Mahavishnu Orchestra

John McLaughlin
Jean Luc Ponty
Narada Michael Walden
Ralphe Armstrong
Gayle Moran
Steve Kindler
Bob Knapp
Steve Frankovitch
Philip Hirschi
Carol Shive
Marsha Westbrook

01 - Vision is a Naked Sword
02 - Power of Love
03 - Wings of Karma
04 - Smile of The Beyond
05 - Hymn to Him
06 - Dawn

venue : Masonic Auditorium
City / state : Detroit, Michigan
Date : May 6, 1974
Length : 108 minutes

Cassette > PC (Soundforge) Wave > Flac.frontend Level.8

The Mahavishnu Orchestra at the Masonic Auditorium in Detroit May 6, 1974 at only the 5th concert of the world tour of the new line up of Mahavishnu Orchestra promoting the Apocalypse LP, previous shows in (Washington 5/1, Columbus 5/2, Cincinnati 5/3, Cleveland 5/4)

An audience recording on a mono recorder but quite good quality and one of the better tapes of this band the taper turned the tape off at the end of songs to save tape and there are 2 tape flip / tape end breaks (1 near the end of " Wings of Karma " there is a one second gap, and near the end of " Hymn to Him " at 26 minutes a tape change missed a couple of minutes and restarts just before the end there is also a one second gap to mark the break

** note ** John McLaughlin, Jean Luc Ponty and Narada Walden did perform the song " Hymn to Him " at a concert on Febuary 21, 1974 in Buffalo with the Buffalo Philharmonic with Michael Tilson Thomas conducting but so far no tapes have surfaced on the inside gatefold of 'Electric Guitarist' LP there is a photo of John
McLaughlin holding the Rex Bogue double neck wearing a tuxedo taken at that Buffalo concert.

a simple front and back CD cover is included print and then cut off the outer black border line the back cover is rotated to avoid the problem of printers that by default print to fit page width.

** trivia ** the small photo of John McLaughlin used on the back cover is actually from this Detroit concert

This line up is often refered to amongst collectors simply as MO-2


Coleman Hawkins and All Stars
Deutsches Museum
München (Münich), Germany

Originally seeded by ricola. This is an excellent sound considering the time at which it was recorded.
I hope some people will share some c.hawkins, too !

Nat Peck -tb
Hubert Fol -as
James Moody, Coleman Hawkins -ts
Jean-Pierre Mengeon -p
Pierre Michelot -b
Kenny Clarke -d

01 Spoken intro by Leonard Feather 3:19
02 Allen's Alley 4:03
03 Rifftide 4:41
04 El Sino 5:20
05 It's the talk of the town 4:01
06 Lady Bird 5:23
07 Robbin's nest 6:18
08 Disorder at the border 5:27
09 Body and Soul 3:28
10 Epistrophy 1:12
11 Sweet Georgia brown 4:01
12 Sphisticated Lady 4:11
13 Stuffy 7:26
14 The Man i Love 5:36
15 How high the moon 4:36
16 The Squirrel (fade out) 2:16

Recorded live at Deutsches Museum in München , 1950-01-19

Source: FM (Bayerischer Rundfunk) > unknown Master > reel to reel machine > CD transfer for Trade > CDR > EAC Secure Modus > Flac frontend, level 6, FLAC

She's an Artist June 20, 2008 Photos

Many people often ask, what do they do up there at the pharaohs den? Do they have an adamantine space vehicle on the roof? Are they aliens? Are they involved in super-science mind-kontrol technology? Do they summon beings? Are they performing satanic rituals? Do ghosts walk the halls there? Are they communists? Feminists? Masons? Why do they have weird beards? I don't understand them. They scare me. Why are they here? What are unclassified services? Well, inspect these photos and you be the judge.

Photos by Cosmic Blacksmith and Jocelyne

More photos from this special evening can be found in our pictures section for the myspace page. Also, expect some videos on youtube in the coming weeks! In the meantime, check out the videos we have up from other events: