Friday, October 31, 2008

Hieronymus Bosch

Biography from Art In The Picture

Lived: 1453 - 1516 (15th - 16th century)
Nationality: Netherlands


Hieronymus Bosch, also Jeroen Bosch, (1453 – 1516) was a prolific Dutch painter of the 15th and 16th century. Many of his works depict sin and human moral failings; they contain complex, highly original, imaginative, and dense use of symbolic figures and iconography, some of which was obscure even in his own time. He is said to have been an inspiration to the surrealism movement in the 20th century.

His true name was Hieronymus (or Jeroen) van Aken. He signed some of his paintings with Bosch (pronounced as Boss in Dutch), derived from his birthplace 's-Hertogenbosch. In Spanish he is often called El Bosco.


Born to a family of a Flemish painters, he spent most of his life in 's-Hertogenbosch, a town in the south of today's Netherlands, near Tilburg. In 1463, some 4000 houses in the town were destroyed by a catastrophic fire, which the then about 13-year-old Bosch may have witnessed. He became a popular painter and even received commissions from abroad. In 1488 he joined the Brotherhood of Our Lady, an arch conservative religious group of some 40 influential citizens of 's-Hertogenbosch.


He produced several triptychs, works of three paintings on wooden panels that are attached to each other. Among his most famous is The Garden of Earthly Delights. This triptych depicts paradise with Adam and Eve and many wonderous animals on the left panel, the earthly delights with numerous nude figures and tremendous fruit and birds on the middle panel, and hell with depictions of fantastic punishments of the various types of sinners on the right panel.

These paintings have a rough surface from the application of paint; this contrasts with the traditional Flemish style of paintings, where the smooth surface attempts to hide the fact that the painting is man-made.

Bosch never dated his paintings and signed only some of them. All in all, about 25 paintings remain today that are attributed to him. Philip II of Spain bought many of Bosch's paintings after the painter's death; as a result, the Prado Museum in Madrid now owns several of his works, including the Garden of Earthly Delights.

Pieter Brueghel the Elder was influenced by Bosch's work and produced several paintings in a similar style, for instance the 1562 work Triumph of Death.


Towards the end of his life, Bosch's style changed and he created paintings with a small number of large figures who appear to almost leave the painting and stand close to the observer. An example is The Crowning with Thorns. Hieronymus Bosch died in 1516, evidently childless, and was buried in 's-Hertogenbosch on August 9 th of the same year.

Saturday, October 25, 2008

October 25, 2008: Album of the Day Vol. 35: Byard Lancaster - 1968 - It's Not Up To Us

All info provided in this posting comes from the blogspot Happy as a fat rat in a cheese factory

A lesser-known avant-gardist who has been based much of his career in Philadelphia, Byard Lancaster is an advanced improviser who is not shy to show the influence of blues and soul in his solos. He played with Sunny Murray starting in 1965 and worked with Bill Dixon (1966-1967), Sun Ra (off and on between 1968-1971), and McCoy Tyner (1971-1977). Lancaster played for a bit with Memphis Slim in Paris, but has mostly performed jazz locally. All of his own recordings were for obscure labels (including Vortex, Dogtown, Palm, Philly Jazz, and Bellows), but his 1966 ESP date with Sunny Murray has been reissued on CD. (Scott Yanow/AMG)

I first heard Byard Lancaster on a DJ Cam compilation (RENDEZ-VOUS) back in '94 and I've been trying to find his albums ever since! This is about the only review of IT'S NOT UP TO US I've found:

"Lancaster, who recently turned 61, originally recorded this, his debut album, for the Vortex label back in 1966. Lancaster's playful, Pied Piper flute work on the title track delivers an infectious, lightweight melody that's perfect for a walk around the block or a jog through the park; while those of us who remember the fear and trepidation of the final days of summer just before Labor Day as you reticently accept the foregone conclusion that sun and fun are over and it's back to the books and studies, will especially appreciate the forlorn melancholia dripping from Lancaster's flute on "Last Summer." And while it's probably not the version Jessica Walter had in mind when she phoned up DJ Clint Eastwood with the request to "Play 'Misty' For Me," Lancaster's take on the old Errol Garner classic demonstrates his improvisational skills as his alto sax envelops the rudiments of the melody line with fills, trills, thrills and spills right up to the shockingly strangulated three-note conclusion.

Guitarist Sonny Sharrock's "John's Children" (a tribute to Coltrane, not Marc Bolan's pre-T.Rex psych band who were making their debut recordings around the same time) presents the lineup (including Jerome Hunter, bass and particularly Eric Gravatt on drums) with the opportunity to really stretch out. By the middle of the piece, Sharrock's guitar has taken on an almost raga-like quality which, complimented by Keno Speller's congas and Lancaster's syncopated punctuation marks on his alto sax results in, perhaps, the album's closest contact with the burgeoning psychedelia developing within the rock idiom. Although unacknowledged, a young Roger McGuinn may have found some inspiration here for his masterful 12-string workout on "Eight Miles High."

Lancaster's flute on his own composition, "Mr. A.A." ventures into Celtic folk territory and on more than one occasion I found myself drifting back to the early Donovan catalogue, particularly "There Is A Mountain" or any of the childlike fairy tales on the Gift From A Flower To A Garden collection. I also had to check the track listing to confirm my suspicions that Lancaster really was covering "Over The Rainbow," although, even more so than on "Misty," he merely uses the familiar melody line as a springboard for a phantasmagorical display of his improvisational talents. As with Hendrix' interpretation of the "Star Spangled Banner" at Woodstock, the song is there, yet it's not REALLY almost becomes a completely new composition.

And while Lancaster's presence is practically non-existent on the nine-minute closer, "Satan," it's what we've encountered beforehand, from his lilting, melodic flute and occasional forays into folk and rock, to his more-than-competent, yet never ostentatious improvs that results in an album of essentially jazz recordings that will also appeal to non-jazz aficionados like myself." (Review courtesy of Jeff Penczak/

Byard Lancaster (as, fl) Sonny Sharrock (g) Jerome Hunter (b, el-b) Eric Gravatt (d) Kenny "Keno" Speller (cga d)
NYC, December 18, 1966 and July 12, 1967.

Thursday, October 16, 2008

1970-09-16 Burdon/War/Hendrix - Complete!!!!

Here's something I suspect many of us thought we'd never see (... or hear).

This is the complete existing recording of Eric Burdon & War's concert at Ronnie Scott's Club in London september 16th, 1970.

The Show consisted of 2 sets. The taper however unfortunately only had a C-90 cassette, so he flipped the cassette over, and recorded the last part of the concert over the first, thereby forever losing the start of the recording.

Although lossy, as it's sourced from a wma-transfer of the master tape, this version of the recording is still vastly superior to other currently circulating versions. It's also considerably longer, and includes notably more music. The Old version clocked in at a little under 42 minutes. Here's that - plus an additional 50+ minutes (!). As for the 2 tracks that feature Hendrix, "Blues For Memphis Slim" (incl."Mother Earth") is now 8 minutes longer than before, and "Tobacco Road" is more than 9 minutes longer. Apart from a few (presumably) minor cuts, this recording features Hendrix's last public performance in it entirety. Untill a lossless version of the master tape becomes available, this will stand as the definitive document of that event.


DISC 1 - 1st Set
1 Gun - 3:01
2 Paint It Black medley - 15:30
3 Spill The Wine - 8:22
4 Mystery Train - 6:13

DISC 2 - 2nd Set
1 Gun - 7:40
2 Paint It Black medley - 15:37
3 Blues For Memphis Slim (incl.Mother Earth) * - 20:31
4 Tobacco Road * - 15:37

* featuring Jimi Hendrix

Audience recording
Master Cassette > wma > wav > flac
Digitally restored

And just to avoid any confusion: The reason for why this wma-sourced recording is being uploaded, is that it's the only version available. This is as good as it gets, and in light of the historic importance of this recording - and the major upgrade it represents - I think a little "bending of the rules" is in order. (Hopefully ....)

As always: Thanks to the taper, who has given his permission to let this recording be shared, and thanks to those involved in making the most out of it.

Monday, October 13, 2008

October 13, 2008: Album of the Day Vol. 034: Interplay - 2008 - Apology To The Atonists/Tritone Suite

From Wayside Music:

"A contemporary ensemble, but one with a righteous feel that takes us right back to the best years of 70s spiritual jazz -- a freely creative combo who mix bits of guitar and electronics with warmer sounds on flutes, saxes, and percussion! There's a bit of vocal recitation on the set, but the main focus is instrumental -- and in a way, the group's approach almost mixes an earlier AACM spirit with downtown experimentalism -- but always in a blend that leans towards the soulfulness of the former."

Elliott Levin - Poetry, Flutes, Saxes
Rick Iannacone - Guitars, Electronics
Keno Speller - Flute, Vocals, Percussion
Ron Howerton - Cuica, Percussion
Ed Watkins - Percussion

Sample Clip: Variation

To further explore the sounds found on this release, visit the label Porter Records

Saturday, October 11, 2008

AstroNation Torrent Blog .80

The Mars Volta
Hammerstein Ballroom, NYC

Source: DPA 4061->Alesis MicroTrack II

01 Fistful OF Dollars (01:31)
02 Goliath (20:48)
03 Viscera Eyes (09:02)
04 Wax Simulacra (03:47)
05 Eunuch Provocateur (05:25)
06 Ourborous (07:54)
07 Ilyena (06:10)
08 Cygnus...Vismund Cygnus (30:44)
09 The Widow (04:48)
10 Aberinkula (11:45)
11 Drunkship Of Lanterns (16:44)

16 bit:

24 bit:



Bill Evans Trio
At Ilkka Kuusisto's home,
Lauttasaari, Helsinki
1970 (or 1969)

Bill Evans - p
Eddie Gomez - bs
Marty Morell - dr

1. Emily
2. Alfie
3. Nordus

Total time: 29:30

Video Attribute :
Video compression mode : MPEG-2
TV system : 625/50 (PAL)
Aspect Ratio : 4:3
Display Mode :
Source picture resolution : 720x576
Frame Rate : 25.00
Source picture letterboxed : Not letterboxed
Bitrate : 4.65Mbps

Audio Attribute :
Audio Coding mode :
Audio application mode : Not specified
Number of Audio channels : 2
Bitrate : 256 Kbps
Number of Audio streams : 1


Miles Davis
January 17-19, 1975
Troubadour Club, Los Angeles,
California, U.S.A.

Audience recording

Miles Davis- trumpet, organ
Sonny Fortune- alto and soprano saxophones, flute
Pete Cosey- guitar, percussion
Reggie Lucas- guitar
Michael Henderson- electric bass
Al Foster- drums
James 'Mtume' Foreman- conga, percussion

01 Turnaroundphrase 16:27
02 Ife 17:45
03 Tune in 5 (incorporating Willie Nelson) [incomplete] 12:30

Total time: 46:42

Lineage: Aud> unknown> downloaded FLAC files> wav> Audacity (retracking, speed adjustment)> wav> FLAC (level 8)> Dime> your ears

Grabbed a few Miles shows from another tracker and thought I'd share them here as I don't remember seeing any of them before on the mighty Dime.

Details of this show are at Pete Losin's site:

The date is given as January 17-19, 1975 although the music here is continuous and doubtless comes from a single performance.

The show as downloaded had no lineage information and only sketchy track details.

The original FLAC files were running fast (as Losin notes), so I adjusted the speed (-2.3%).
I also altered the banding of the tracks, as follows-
Ife: The original started at the beginning of the organ/ bass 'vamp', I moved this to the entrance of Miles on organ. This makes for a smoother transition.
Tune in 5: Moved a couple of seconds later to allow Cosey's guitar to fade.

The track details according to Losin are:
1 Band warming up 1:16
2 Turnaroundphrase (M. Davis) 16:27
3 Ife (M. Davis) 18:07
4 Tune in 5 (M. Davis) (incomplete) 13:34
"Willie Nelson" vamp from 0:12-2:16; Fortune plays with same theme early in his ss solo.

There are discrepancies with the version here: there is no 'warm up' track here and the timings for Ife and Tune in 5 are different. Tune in 5 cuts abruptly, so there may be a longer, complete version in circulation.

The sound on this is OK, but not great. Miles scholars will know what to expect of an audience recording of this period; a little muddy and indistinct, distorted in places but still quite listenable.

The music is, well, Miles!



Sun Ra's Intergalactic Research Arkestra, 1971.11.11, Delft (Netherlands)

Technische Hogeschool, Nieuwe Aula

Delft, Netherlands

11. November 1971

source: VPRO Radio (2001) > DVB-S (192kbps/48khz) > SONY DAT > EDIROL R09 > Audacity > Flac 6
sound quality: A-

Sun Ra's Intergalactic Research Arkestra

Sun Ra - mini-moog,syn,org,clavinet,p,voc
Kwame Hadi - tp
Marshall Allen - as,fl,oboe
Danny Davis - as,fl
Larry Northington - as,perc
Istar Sundance - as,bsn
John Gilmore - ts,perc
Danny Thompson - bars
Pat Patrick - bars,eb
Hakim Rahim - bars,as,fl
Eloe Omoe - bcl
Al Batin Nur - engl-hrn
James Jacson - fl,oboe,ancient egyptian infinity-dr
Lex Humphries - dr
Tommy Hunter - dr
Nimrod Hunt - perc
William Morrow - vib
Roger Aralamon Hazoume - balafon,dance
June Tyson - voc,dance
Malik Ramadin - voc,tympani
Art Jenkins - space voice,voc,cga,perc
Wisteria el Moondew (Judith Holton) - dance
Cheryl Banks - dance
Doug Williams - dance
Kevin Massey - dance
Kenneth Alexander - dance
Richard Wilkinson - light show

01. - 11:49
02. - 11:44
03. - 08:31
04. - 13:38
05. - 14:02
06. - 07:23
07. - 07:12
08. - 05:28

09. - 08:01
10. - 18:15
11. - 18:42
12. - 16:26
13. - 13:54
14. - 08:52

15. - 27:06
16. - 13:14

total time 198:17 - complete!