The Pharaohs Den Web Library

Healing Mystical Science Collective

2010-06-23T13:52:00.000-07:00

H.M.S. Collective Healing Mystical Science:

http://www.reverbnation.com/healingmysticalscience

Group of Artist, Musicians, Healers and Spiritual Beings. Out of space comes a Collective of Artist from Riverside,CA...Vortex...HMS Collective are a group of galactic gypsies channeling good vibrations, positive energy and bring out a spiritual uprising of experimental sounds and psychedelic art.

Through art and music HMS Collective lives.

H.M.S. Healing Mystical Science Collective Collaboration Improvisation set with Elliott Levin & Don Preston.

HMS Collective w/ Elliott Levin and Don Preston Live at The Tribal Cafe by Healing Mystical Science

H.M.S. Collective w/ Elliott Levin and Don Preston Live at Tribal Cafe Nov. 15th, 2009. by Healing Mystical Science

An Omniversal Collective of Artist and Tone Scientist.

Tainonegro
Guitar EFX Percussions (Tapping Universal Frequencies)
: www.myspace.com/tainonegro9

Tirahwa 13
Electronics keys Percussion EFX mantras
: www.myspace.com/tirawapanther

Dolphinbrain
Electronics Percussion EfX
: www.myspace.com/dolphinbrain

JahSun
circuitbent keyboards EFX
: www.myspace.com/circuitbendingboxes

Tawee Kiva
Keyboards Electronix EFX
: www.myspace.com/tawee1

In then I
MPC Vocals/M.C. IN-THEN-I THE PSYCHEDELIC WALLFLOWER

DJ ESPInfiniti
One and Two's Turntables/Samples EXF

Many tonalversal Entities. Special Guest Performers Don Preston, Elliott Levin, Avant Abstracts, Colony Collapse, Evolvemusic.

For Bookings hit us at pharaohsden@gmail.com. Thanks for the support. Bless.

Festival Experience and Art Music Teachings.

CONTACT US IF YOU WOULD LIKE THE PHARAOHS DEN/HMS COLLECTIVE TO HELP WITH ANY OF THESE FESTIVAL AND DIY EVENTS.

Music Performances/Performance Arts/Visual Arts

Curating Art Exhibits

Community Live Painting

Promotions/Bookings

Performing Live Painting

Performing Live Music

Live DJ

Sound Healing Workshops

Body Painting

Installations/Art Structures

Yoga

Zines

Sandal Making

Instrument Making Workshops

Art Workshops

Bead and Macromac Workshops

Filming/Recording Music Festivals,Special Events or Activities.

Book us to help you bring out the positive energy through art, music and spiritual uplifting.

Please Contact us for any bookings at
pharaohsden@gmail.com

Thanks for the support.
HMS Collective

The Sound and Colour Vibration Society

2010-03-08T09:08:00.000-08:00

My name is Erik Otis and I am the creator and main operator of Astro Nation and The Pharaohs Den blogspots. Astro Nation has been running strong for a few years and has over a half of a million views! Thank you everyone for your interests into the sounds that me and various members of these blogs have brought forth. The Sound and Colour Vibration is a brand new multi media collective that I think all of you will take much pleasure in. Take a few minutes to read the mission statement and check out the blog to see whats going on!

The Sound and Colour Vibration Society is a collective of artists from all over the globe. SACVS has been designed to preserve the intellectual property of creative individuals and to document and create a hub for the maximum potential of creative stimulus. This is a multi media organization that is involved online and through California and beyond. SACVS includes members who express themselves in art, music, films, publications, food, discusion forums and all other creative matters bounded to this planet we call Earth. Please join us in activating your mind, body and spirit. We welcome all outsiders and boundry breaking exciters, become a part of the Sound and Colour Vibration Society!

sacvs.wordpress.com

Words of wisdom from Sun Ra: The sound mirror is what you see of you that's sound. If you're not sound, then you're not pure. Pure is real-sincerity and pure knows pure is sound and true. It's all what the music says of you. It's not what the music you say of it. IT'S ALL WHAT THE MUSIC SAYS OF YOU. The music is the living mirror of the universe.

Art Blakey

2010-01-19T19:52:00.000-08:00

The biography below was written by Jeffrey Taylor and was found at the Musician Guide site here

Born October 11, 1919, in Pittsburgh, PA; died of lung cancer, October 16, 1990, in New York City; married four times; 12 children (five adopted), including Art Blakey, Jr. (deceased).

Art Blakey's death in 1990 brought to a close a remarkable and multifaceted career; not only was he one of the most influential jazz drummers of his day, but he was also something of a father figure to dozens of aspiring jazz musicians. His group the Jazz Messengers, which he led for nearly 35 years, served as an incubator for talents as diverse as trumpeter Wynton Marsalis and pianist Keith Jarrett. The vast catalog of recordings he left behind documents the development of his trendsetting drumming style, and perhaps more significantly, the evolving sound of his ensemble, which, though its membership was continually in flux, always maintained Blakey's mandate to create first-rate jazz that would, as he remarked in an interview in The Black Perspective in Music, "wash away the dust of everyday life."

Blakey was born on October 11, 1919, in Pittsburgh, a city that has produced many other jazz notables, including pianists Earl Hines, Mary Lou Williams, and Errol Garner. As a youngster, Blakey worked in the steel mills dotting the outskirts of Pittsburgh; in the evenings he played piano at local clubs. After hearing the immensely gifted Garner play at one such venue, Blakey decided his talents would best be served on the drums. By the time he was 15 he was leading his own band and listening closely to the work of many of the great swing-era drummers, including Chick Webb, Kaiser Marshall, and Sid Catlett.

Blakey played briefly with the Fletcher Henderson Orchestra in 1939, then joined Mary Lou Williams's group at Kelly's Stable, a club in New York City. After rejoining Henderson for a year and leading his own band in Boston, Blakey was hired by singer Billy Eckstine to play in his orchestra, a group that included several bebop luminaries--trumpeters Dizzy Gillespie, Miles Davis, and Fats Navarro and saxophonists Dexter Gordon and Charlie Parker.

In 1947 Blakey participated in several recordings with pianist Thelonious Monk; the sessions produced timeless early versions of some of Monk's tunes, including "'Round Midnight," "Well, You Needn't," and "Ruby, My Dear." Monk had taken Blakey under his wing when the drummer first arrived in New York from Pittsburgh and had introduced him to the competitive club scene there. As Blakey told Down Beat' s Zan Stewart of Monk, "He was my best friend.... If it hadn't been for him, I'm not so sure I would have been me. I learned so much playing with him, being with him." The many recordings the two musicians made together are, in fact, testaments to the musical and personal empathy between them.

In 1948 Blakey traveled to West Africa to pursue a long-standing interest in world religions. For a year he studied Islamic religion and culture, eventually taking the Islamic name Abdullah Ibn Buhaina--from which comes his nickname, "Bu." Although Blakey denied that this trip influenced his music, he did adopt several African drumming techniques after his sojourn, including rapping on the side of the drum and changing drum pitch with his elbow.

After his return to the U.S., in 1949, Blakey continued his association with many of the great early bebop musicians, occasionally performing and doing radio broadcasts with Charlie Parker and Miles Davis. Then, in 1955, Blakey and pianist Horace Silver formed the first incarnation of the Jazz Messengers, with Kenny Dorham on trumpet, Hank Mobley on tenor saxophone, and Doug Watkins on bass. Blakey would lead this group, with varying personnel, for the rest of his life. The diverse Messengers groups recorded prolifically and toured widely, visiting Japan alone at least 47 times.

From 1971 to 1972 Blakey toured the world with a group called the Giants of Jazz, which included Dizzy Gillespie, Thelonious Monk, trombonist Kai Winding, saxophonist Sonny Stitt, and bassist Al McKibbon. In 1984, one of the latter-day Messengers groups recorded New York Scene, which won a Grammy Award. During his later years, Blakey was almost completely deaf and played drums by feeling vibrations. Nonetheless, he continued to perform until he was incapacitated by illness during the summer of 1990. Blakey died of cancer in October of that year.

As a drummer, Blakey helped elevate his instrument from the mainly accompanimental role it had occupied in the swing bands of the 1930s and '40s. He sustained such a continuous interaction with the other soloing instruments that, as Mark Gridley commented in his book Jazz Styles, "for him to solo was almost anticlimactic." Blakey's distinctive use of the high-hat cymbal and the press roll (a brief and tightly controlled roll on the snare drum) were two influential and instantly recognizable elements of a style notable for both its complexity and direct appeal. As Herb Nolan described it in Down Beat, "Blakey developed a driving, emotional style filled with so many levels of sound [that] there is the illusion of great rhythmic waves washing over and through the music. He offers strength, delicacy and soul all mixed into a style that is impossible to mistake for any other drummer."

As a bandleader and discoverer of new talent, Blakey continued a jazz tradition begun by his early employer Fletcher Henderson, who in the 1920s helped launch the careers of musicians such as saxophonist Coleman Hawkins and trumpeter Rex Stewart. The list of musicians who played in the various Jazz Messengers ensembles reads like a Who's Who of Jazz: trumpeters Freddie Hubbard and Terence Blanchard, saxophonists Branford Marsalis, Wayne Shorter, and Jackie McLean, trombonist Curtis Fuller, and pianists Bobby Timmons and Cedar Walton are just a few alumni of the group.

Blakey maintained a "revolving door" policy with the Messengers; whenever he felt a member of his group was ready to make it on his own, he would encourage him to do so. As he told Down Beat' s Stewart, "I look for the new guys, and I just give them a place to hone their art and they grow. They do it themselves. I just give them a chance. All they need is a little guidance, a little direction, and they're gone. When they get big enough I let them go and get their own thing."

Blakey may not have believed in hoarding talent to make himself look good, but he still benefitted from his "paternal" role. He freely admitted to David H. Rosenthal of The Black Perspective in Music, "My imagination is much better by my being around young people." Indeed, the presence of young talent in his group not only provided jazz listeners with an ongoing series of new stars; it also continually revitalized Blakey's own playing.

by Jeffrey Taylor

Read more: http://www.musicianguide.com/biographies/1608000085/Art-Blakey.html#ixzz0d7Zl2Zrc

Thanks for the Support!

2010-01-16T15:27:00.000-08:00

The Pharaohs Den Web Library is an internet archive that provides a doorway into an alternate reality of sight and sound. It is by no means a definitive source, but is an avenue to gain a footing in the door of artists you know nothing or little about. The Pharaohs Den Web Library has been a self ran project with no intentions of profits. It is an extension of the The Pharaohs Den Cultural Space Center located in Riverside, CA, an arts space dedicated to the enrichment of community arts and the preservation of intellectual property outside of mainstream circuits. This blog and the arts space is a window into various artists of all types of media that have in some shape or form, influenced and touched their communities, weither it be globally or centralized to one area. The Pharaohs Den Web Library has maintained a steady flow of around 150-250 users everyday, I thank all of you deeply who have taken the time to see what it is that makes us so passionate about the arts and some of the reasons why the arts is a lifestyle to all who are a part of The Pharaohs Den family. We all hope you continue to enjoy this project of ours, please comment and give us your thoughts!

72,472 visits came from 162 countries/territories

Top 10 Visiting Countries for the librarys existance:

(County/Total Visitors)

1. United States: 31,488
2. United Kingdom: 5,221
3. Germany 4,286
4. Canada 3,276
5. France 3,142
6. Italy 1,862
7. Spain 1,627
8. Brazil 1,376
9. Japan 1,294
10. Netherlands 1,255

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3579 University Ave
Riverside, CA 92501

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Airto Moreíra

2010-01-16T14:02:00.000-08:00

The biography below comes directly from Drummer World, a very impressive source for percussionists of all kinds and all eras.

Airto Moreíra

Airto Moreíra was born in 1941 in the small village of Itaipolis, Brasil. Even before he could walk he would start shaking and banging on the floor everytime the radio played a hot song. This worried his mother, but his grandmother recognized his potential and encouraged him to express himself. By the time he was six years old he had won many music contests by singing and playing percussion. The city gave him his own radio program every Saturday afternoon. At thirteen he became a professional musician, playing percussion and singing in a dance band called Jazz Estrela.
He moved to Sao Paulo at the age of sixteen and played regularly at the night clubs as a percussionist and drummer. In 1965 he moved to Rio de Janeiro where he later met his future wife, singer, Flora Purim. Flora moved out to Los Angeles in 1968,

Airto followed her shortly there after. The couple soon moved to New York where Flora was singing with south African singer Miriam Makeba and Airto began playing with musicians such as Reggie Workman, JJ Johnson, Cedar Walton and bassist Walter Booker.

It was through Booker that Airto began playing with the greats Cannonball Adderley, Lee Morgan, Paul Desmond and Joe Zawinul. Zawinul recommended Airto to Miles Davis for a recording session in 1970. Davis then invited Airto to join his group which included such jazz icons as Wayne Shorter, Dave Holland, Jack DeJohnette, Chick Corea and later JohnMcLaughlin and Keith Jarrett. Airto remained with Miles for two years and he appears on such releases as Live/Evil, Live at the Fillmore, The Isle of Wight, Bitches Brew, On the Corner, and others. Airto was then invited to
form the original Weather Report with Wayne Shorter, Joe Zawinul, Miroslav Vitous and Alphonse Mouzon. Soon after he joined Chick Corea's original Return to Forever group which featured Flora Purim, Joe Farrell and Stanley Clarke. Other artists

Airto has performed and recorded with include Carlos Santana, Gil Evans, Gato Barbieri, Michael Brecker, The Crusaders, Paul Simon, Chicago and many others. Together, with Flora, they recorded the albums, Return to Forever and Light as a Feather. In 1974 Airto formed his first band in the US with Flora Purim. Since then they have formed constantly all over the world and recorded their own albums for major record companies in Europe and America.

Throughout the 70s and 80s Airto remained one of popular music most in demand percussionist. His collection of instruments, along with his knack for playing the right sound at the right moment, have made him the first choice of many producers and bandleaders. His work with Quincy Jones, Herbie Hancock and Paul Simon, along with his contributions to movie sound tracks including The Exorcist, The Last Tango in Paris, King of the Gypsies and Apocalypse Now, represent only a small number of the musical contributions Airto has made over the last three decades. As an educator he ofter tours Europe, Latin America, Japan and the United States teaching and giving workshops for colleges and music schools.

Airto's love for the music and people of his native country of Brasil takes him back every year to visit old friends and relatives as well as to pay respects to his spiritual guides and elders. Airto has been involved in "spiritualism" since an early age and used to go the "sessions" with his father Jose Rosa Moreira, who was a spiritual healer all of his life.

His lifelong interest in spirituality led him to record The Other Side of This, an exploration into the healing power of music. His vocals, unique percussion style and the work of percussionists from other drumming traditions has attracted an audience interested in world music and the new age movement. In addition, Airto has been advancing the cause of world music as a member of the Planet Drum percussion ensemble, founded by Mickey Hart, drummer for The Grateful Dead. This group of musicians from around the world, including master conguero Giovanni Hidalgo and tabla virtuoso Zakir Hussein, as well as Flora Purim and Babatunde Olatunji, won a Grammy Award in 1991 for their recording of Planet Drum. That same year Airto contributed to another Grammy Award winning ensemble, Dizzy Gillespie's United Nations Orchestra, which received the award for Best Live Jazz Album. Airto also composed and performed his Brasilian spiritual mass for a two special on German television, with the WDR Philharmonic Orchestra in Cologne.

Airto's unique style has influenced the direction of modern jazz around the world. His impact was so powerful that Downbeat magazine added the category of percussion to its readers and critics polls which he has won over twenty times since 1973. In the past few years he was voted number one percussionist by Jazz Times, Modern Drummer and Jazz Izz magazines as well as in many European, Latin American and Japanese publications. In 1995 Airto won the Best Percussionist category for Downbeat magazine's readers poll, Drum Magazine's readers poll and Jazz Central Station's Global Jazz Poll on the Internet. Most recently Airto performed as a guest star with the Boston Pops Philharmonic Orchestra as well as on MTV Unplugged with the Smashing Pumpkins. Airto's latest band, Fourth World featuring Flora Purim, Jose Neto, Gary Brown and Jovino Santos has recorded three albums, Fourth World, Encounters of the Fourth World and their upcoming release, Last Journey. When they are not in the studio creating recordings or CD ROM projects for future releases, they perform throughout the US, Europe, Asia and Latin America.

Biography courtesy of EMMECI.

Partial Discography:

Natural Feelings (1970)

Seeds on the Ground (1971)

Fingers (1972)

Free (1972)

Virgin Land (1974)

Identity (1975)

Promises of the Sun (1976)

I'm Fine. How Are You? (1977)

Touching You… Touching Me (1979)

Airto Moreira is a prolific musician who was very important during the 20th century for modern music. Take a listen into some of the sounds Airto brought to this world:

Paul Horn

2009-12-09T12:39:00.000-08:00

All Music Guide Biography by Scott Yanow

When one evaluates Paul Horn's career, it is as if he were two people, pre- and post-1967. In his early days, Horn was an excellent cool-toned altoist and flutist, while later he became a new age flutist whose mood music is often best used as background music for meditation. Horn started on piano when he was four and switched to alto at the age of 12. After a stint with the Sauter-Finegan Orchestra on tenor, Horn was Buddy Collette's replacement with the popular Chico Hamilton Quintet (1956-1958), playing alto, flute, and clarinet. He became a studio musician in Los Angeles, but also found time during 1957-1966 to record cool jazz albums for Dot (later reissued on Impulse), World Pacific, Hi Fi Jazz, Columbia, and RCA, and he participated in a memorable live session with Cal Tjader in 1959. In addition, in 1964, Horn recorded one of the first Jazz Masses, utilizing an orchestra arranged by Lalo Schifrin. In 1967, Paul Horn studied transcendental meditation in India and became a teacher. The following year, he recorded unaccompanied flute solos at the Taj Mahal (where he enjoyed interacting with the echoes), and would go on to record in the Great Pyramid, tour China (1979) and the Soviet Union, record using the sounds of killer whales as "accompaniment," and found his own label Golden Flute. Most of Paul Horn's work since the mid-'70s is focused on new age rather than jazz.

WIN BAIZLEY ART!

2009-12-06T04:47:00.000-08:00

-John Dyer Baizley 2009

Like what you see? Did you enjoy the post that's underneath this one? Want the picture above with the record included? Here's about 6 chances how to just over HERE

John Dyer Baizley - 2009

2009-11-03T14:22:00.001-08:00

John Dyer Baizley
Video Interview found below

Exlusive Video: BARONESS Singer/Guitarist Talks About new Album

Written Interview Taken from Late Night WallFlower found Here

How did the Red Album differ because there’s definitely some overdubs and texturing to it.
John: That was just because we had more studio time booked so we were able to explore any ideas that we had. That meant if we felt like something needed an overdub, we were able to do that. But that said, there’s actually very little overdubbing, very little layering of the vocals or drums. We tried to keep it as natural sounding as possible.

I read on Second that you guys just went in and recorded it like a live recording.
John: Except for the vocals, the whole thing was done in one take. All three songs lead into each other; we basically recorded [the tracks] as one song. [We] didn’t do any overdubs or layering. It was meant to be what we sound like on stage.

I feel you guys are on a few different genre lines. You’ve got a punk and a metal fan base and you are getting a lot of recognition in the indie world – Pitchfork gave you a great review – how do you feel about that? Are those different fan bases showing up at the shows or is it still a metal crowd?
John: It’s actually never really been specifically a metal crowd. It’s always been sort of a cross-genre crowd coming out to see us ever since we first started. I think most of the typically metal kids coming out now is sort of a new thing for us. The early tours we were doing were almost exclusively with punk and hardcore bands. That’s the world we come from.

Especially playing something like the Fest where it’s predominately punk.
John: This is the third time we’ve played in four or five years. The staple of our touring guide is a crowd like this.

It seems like you guys have a strong grasp on the presentation of the band, where as a lot of heavier bands have logos that are just unreadable.
John: I’ve been both an musician and artist as long as I can remember. We were able from the very beginning to craft a visual representation of our band that fell very much in line and was integral to the sound as well. We’ve worked very hard since day one to keep that intact. Keep all the art and visual stuff surrounding our band within the band. It comes from the band, it is ideas from the band. It’s all very personal with us.

I've heard that you do everything by hand, only bringing in a computer towards the end of the process...

John: Yeah, entirely. I was raised and have always had much more facility working in sort of the traditional techniques. Meaning, with a lot of stuff that you'll see, it's mostly pens, inks, watercolors, and ink washes and things like that. I'm also an active oil painter and acrylics and everything like that so, basically, the traditional media is where I'm the most at ease.

But that's not to say that it's 100% that, because I think, you know, considering my medium, considering the ease with which you can work on a computer-- I have had to incorporate a computer into some of the stuff I do, so, essentially I will work on something traditionally until it's at the point where it's ready to get sent to print and at that point I'll incorporate a computer and that's sort of been a trial by fire with me, where it's just been born completely out of necessity.

When I started to use a computer I didn't know any of the programs-- like the, you know, your photoshop, illustrator and stuff like that. I've had to teach myself as I go along with that-- no formal training whatsoever.

I like the traditional approach-- everything seems more 'warm', you know?

Yeah, and I think that's where I'm comfortable but I think that's also something that separates me from a lot of, you know, who I consider my contemporaries who have skills on computer with graphic design that I can only work towards at this point."
As an artist, how do you manage it because it seems like you are doing a lot more work these days or at least more high profile stuff, like the Darkest Hour cover. With the touring schedule, are you sitting in the van drawing?
John: Yeah, basically. It’s, to say the least, been a very busy year for me. I basically work seven days a week, as many hours of the day as I’m awake. I’m still typically about a month or two behind schedule. It’s been good but it’s been tough.
All your artwork is drawn by hand, correct?
John: My entire process is entirely traditional. Pens, pencils, watercolors, inks; everything like that. The computer is absolutely the last step.

Most people aren’t like that these days.
John: Yeah because it’s time consuming; leaves much more room for error. It’s sort of a self-imposed thing for me but it’s worked out nicely for me.
Any future plans for the band?
John: We’ve already started writing the second record. I would say it’s close to fifty percent completed. We’re musicians, so when were not out on the road, we still practice. Once we recorded and toured with something so much, it’s not so fun to practice. We get our creative thing happening so we’ve been writing a lot since we finished recording Red Album. Other than pushing that forward, we plan on touring all through the next year, as much as possible.

Baizley's latest art for his band's newest record Blue Record

Thomas Pridgen

2009-11-03T14:16:00.000-08:00

From Wikipedia:

Pridgen won the Guitar Center Drum-Off at age 9 and at age 10 was the youngest recipient for a Zildjian endorsement in the nearly 400 year history of the company. Thomas has studied with David Garibaldi, Walfredo Reyes Jr, Troy Luketta, and Curtis Nutall. He endorses DW Drums, Zildjian Cymbals, Evans Drumheads, ProMark Drumsticks. Thomas was also the recipient of a 4 year scholarship to Berklee College of Music in 1999 at the age of 15; he was the youngest musician to ever receive this scholarship. He has played in clinics with Walfredo Reyes, Jr. and Dennis Chambers. By his teenage years he had already done studio sessions with many Bay Area Gospel artists.

In 2007, Pridgen received a call from Omar Rodriguez-Lopez of The Mars Volta:

“ “Omar asked if I wanted to come check out the band,” Pridgen recalls from his home in El Cerrito, California. “We talked on the phone for a couple of hours, and then I went to Ohio to meet them. Omar invited me to a back room, where the whole band was set up. We jammed for a good thirty minutes. He then said, ‘We’re going to play that groove tonight in front of everybody.’ This was for a huge show in Cleveland, when the band was touring with the Red Hot Chili Peppers.”

In 2007, Pridgen became the new permanent drummer for The Mars Volta. Pridgen's first appearance was at the March 12th show in New Zealand, where the band debuted the song "Idle Tooth" which was later renamed "Wax Simulacra" for the forthcoming album. After shows in New Zealand and Australia, The Mars Volta toured a few West Coast venues as the headliner, then entered the studio to record their fourth LP, The Bedlam in Goliath. Pridgen's style on Bedlam in Goliath used "blistering 32nd-note full-set combinations, stunning single-stroke rolls, and blazing single bass drum patterns" along with creative and precise paradiddle technique.

Thomas Pridgen has been voted as Best Up and Coming Drummer by Modern Drummer magazine.

Besides his work with The Mars Volta, he has also been involved with Christian Scott and Wicked Wisdom. Thomas for some time, was working with singer Keyshia Cole as her live and session drummer and being her music director. He also was featured alongside with Tony Royster Jr., Eric Moore and others in drumming DVD entitled "Shed Sessions", a Gospel Chops DVD.

Thomas was also featured on the Modern Drummer 2008 DVD with footage from his performance at the festival.

On one of the last dates of the Bedlam Tour in Mexico, Thomas and the band 'wrecked' the kit and cracked the 20"x24" acrylic bass drum, the kit has never been used or seen since, Thomas has not replaced it as he now uses DW Maple drums live.

Thomas used a four piece Tama Starclassic Bubinga kit during the recording of the 'acoustic' album Octahedron, but is still endorsed by DW drums.

Check out a few more different internet sites detailing Pridgens career:

Modern Drummer

Thomas Pridgen: Namm 2009 Interview

www.myspace.com/thomaspridgen

Mati Klarwein

2009-10-30T17:24:00.000-07:00

From the official Mati Klarwein site:

Behind the world-famous painting 'Annunciation', used by Santana for the cover of their album Abraxas, hides the incredibly rich, but little known, universe of Mati Klarwein. Although Mati produced some of the most iconic images of the 60's and 70's, his name, and much of his work, remains unknown to many. Mati was a prolific artist whose range encompassed still life paintings, a great many portraits, and a wide variety of landscapes, both real and imagined, as well as the surreal and visionary art that he is most often associated with.

A true citizen of the world, Mati Klarwein did not have strong roots in any one country. Born of Jewish parentage in pre-war Germany, he escaped with his parents, to Palestine, when just two years old, where he later adopted the name Abdul as a gesture of empathy with his Arab neighbours. Growing up as a Westerner in what was then Palestine (later Israel), Mati was always something of an outsider and never knew the comfort of an unchallenged belief system. Perhaps no surprise then that in his work he likes to challenge our assumptions on everything from religion and sexuality to the perceiver and the perceived.

"Abdul Mati Klarwein is a visionary poet of the sublime. He is an artist of amazing technical virtuosity. He is also an enigma that an ever widening audience is trying to solve."

- Ronald A. Kuchta

Director, Everson Museum of Art, Syracuse, New YorkLiving, working and travelling at various times in Paris, New York, Spain, Italy, Greece, Turkey, India, Morocco, Niger, Haiti, Jamaica, Indonesia, Brazil, Mexico, Bahamas, Kenya, Senegal, Gambia, Cuba and Guatemala, Mati drew widely on these travels in his art, distilling this rich experience into an even richer visual imagery.

With artistic influences as diverse as his travels, Mati Klarwein's work combines a remarkable vision of the world about us, with a technical mastery of his craft that enables him to vividly communicate that vision.

From his early work, which already exhibited this technical mastery, through the psychedelic surrealism of the sixties and seventies, to the later landscapes of his beloved Mallorca, much of Mati's work displays an enhanced perception of beauty that most of us experience only occasionally in our lives.

Here is a sample of some of Mati Klarwein's work:

Holographic Myth Language

2009-10-29T14:36:00.000-07:00

www.myspace.com/holographicmythlanguage

...ancient legend tell us that one day, when the illusion of the SCREEN holds humanity on the brink of self destruction, a band of mystic meta-warriors will emerge wielding the ancient power of the HOLOGRAPHIC MYTH LANGUAGE. witness here, for the first time, as the epic legend unfolds before humanity's ears and the HOLOGRAPHIC MYTH LANGUAGE restores the thought forms of humanity to the long-forgotten harmonic wavelengths...

music has to be the key to the spaceship. words open universes. a gathering of tone-scientific boom-bap neopyramidic spaceship breakbeat sculptors and image-signal telekinetic transmitter navigation wordsmith warriors. the battlefield for the unlimitedness of the human potential is the playground of the imagination. the will of mighty magicians manifests poetic food for the ardent consciousness. who needs history when words appear in synchronization with the landscape of the moment? enter the myth as senses turn inward and life on the other side of the mirror of illusion blossoms in fountains of song.

HOLOGRAPHIC MYTH LANGUAGE is available to all, an open concept. the future of our race depends upon it... how much can YOU imagine to the music?!?

Tonescience by:

TOUCANSTARFLOWER - most of the raps, some beats; and all cuts, instruments, samples, editing, efx, etc

JACK "GORE" WILDER - some beats

DOLPHINBRAIN - some beats

MAJASKULEZ - some raps

OKERASUN - some raps

GILGAMORPH - some raps

THE BROTHERS THOMPSON - some beats

TAWEE KIVA - some raps

INTHENI - some beats and some raps

SOPERIFFICK - some raps

DON'T BE A SLAVE TO A BAD TRUTH!

MYTH-MAGIC HOMEMADE SPACESHIP EQUATIONAL-..ADVENTURE RAPS...

WHAT CAN YOU IMAGINE TO THE MUSIC?!?

Moon Turn The Tides...Gently Gently Away

2009-10-27T04:07:00.000-07:00

moonturnthetidesgentlygentlyaway.blogspot.com

Moon Turn The Tides...Gently Gently Away is a site dedicated to the vastly expansive world Jimi Hendrix created in the short time he was able to professionally record and gig around the world. In this website you will find rare archived material ranging from youtube clips, interviews, photos, concert and studio recording info and other various pieces of information scattered all through out the internet and in books. This is still a work in progress, so there is many more entries to come, please give a moment of your time to check this site out. It is a site that long time fans and new fans of Jimi Hendrix can enjoy. - Erik Otis

3 Hür-El

2009-10-19T07:20:00.000-07:00

All Music Guide Biography by Vefik Karaege

3 Hur-El were one Turkey's most popular "Anatolian rock" bands. Comprised of three brothers, Onur (bass), Haldun (drums), and Feridun Hurel (guitar, saz, vocals), they followed the lead of Mogollar and performed some of the best examples of the genre. They wrote their own sometimes folk-driven Anatolian pop/rock, but they also paraphrased some classic folk songs with considerable ingenuity. Although their fame was short-lived, they helped improve the Turkish culture's stance toward rock music. All three brothers were born in Trabzon (Onur in 1948, Haldun in 1949, and Feridun in 1951), the largest city on the northern coast of Turkey. They moved to Istanbul due to their father's business; since they were members of a rather poor family, they were attentive to foreign musical developments but couldn't buy any instruments to play. But their desire to make music was soon realized when their father came home with an accordion, and the seeds of their later musical journey began to take root.

In 1966 they formed their first band, Yankilar, which was later renamed as Istanbul Dortlusu. They performed in small music halls and tried to make their own innovative synthesis of Turkish music and traditional rock forms. The brothers later formed a number of other bands, including Trio Istanbul, Oguzlar, and Biraderler, to name a few.As years went on, the brothers received good reviews from the underground magazine Diskotek and increased their popularity. They tried to live according to their musical philosophy, with long hair and hippie outfits — although they were still in high school. Feridun was even kicked out of school for his inappropriate behavior. After graduation from high school, they were ready to hit it big time, but Feridun chose to play and tour with the Selcuk Alagöz Orchestra. The other two brothers would later join the same band to gain experience and earn money to buy new equipment. In 1970 the brothers decided to embark on their own. They left the Selcuk Alagöz Orchestra and a busload of instruments behind to form 3 Hur-El. The name has always been problematic, as some people wrote the name as "3" and others spelled the number out with the Turkish "Uc."

Also, Hurel is their last name, but as they used it on some of their covers, when written as Hur-El it takes on the meaning "Free Hand" — signifying that the three brothers were now free to do whatever they wanted without any restrictions. Their first achievement was to invent an instrument that would combine an electric guitar and an electric baglama in the same body — the result formed the main ingredient of their signature sound and was dubbed the "double-neck saz-guitar." However, 3 Hur-El's innovations were not limited to this instrument: drummer Haldun Hurel combined traditional rock instruments with custom-made darbukas and other percussion instruments to create a synthesis of East and West.After their first single in 1970, "Ve Olum/Seytan Bunun Neresinde," they released more than ten singles in six years. Although "Madalyonun Ters Yuzu," "Ben Gecerim Gonul Gecmez," and "Seytan Bunun Neresinde" were considerable hits, their most popular song was "Sevenler Aglarmis," which had a rougher guitar tone than their other music to date. They also collected some of their previous singles on two LPs in 1973 and 1974; the initial LP won the first-ever gold status in Turkey. Apart from the band's singles, Feridun Hurel released a solo single, "Bir Sevmek Bin Defa Olmek Demekmis," which also became an instant hit.

In 1977, Haldun and Feridun left the band for mandatory military service, and during their period of service lost their mother in a traffic accident. Onur and Haldun immediately quit music; Feridun traveled to England to make a fresh start, but returned without any significant accomplishments and also decided to abandon his musical career. Subsequently, Onur became an instructor, Haldun started a business in ceramics and textiles, and Feridun chose advertising. However, in 1996 they returned with an album called Efsane... Yeniden (Legend... Again), and they released their latest effort, 1953 Hurel, in 1999. Both albums continued the sounds and song structures of their previous efforts, but they weren't welcomed enthusiastically by the new generation. 3 Hur-El have generally remained out of the spotlight since then, aside from occasional performances.

AstroNation Torrent Blog 93.

2009-10-13T09:07:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=271081

Jack Bruce & Friends
Live at The Lyceum Strand
London, England
Jan 25, 1970

Incomplete recording

If anyone has a more complete version - upload it!

"Jack Bruce & Friends" at the time were:
Jack Bruce, Larry Coryell, Mitch Mitchell and Mike Mandel

setlist

1 Intro
2 Tickets to Waterfalls
3 Theme For A Imaginary Western
4 Unknown
5 We're Going Wrong - incomplete - cuts off abruptly at 4:41 mins

The sound quality is good, but slightly under par for the times.
You probably have heard much much worse.

taken from hopboys Jack Bruce collection

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

http://www.dimeadozen.org/torrents-details.php?id=271059

Amazing show this one. Their second and last show in Spain. They were schedulled to play in san Sebastian too but it never happened. There is said to have been riots for the cancellation of the show...The video footage for this show was aired in one of the best music programmes ever in Spain, and was seeded here by the great Kigonjiro some time ago. The audio is pretty exceptional, too.

Hope you anjoy. Share, don't sell.

Peace!

Juantxu

The Smiths
Paseo de Camoens, Madrid 1985 May 18th
San isidro Festivities

William, It was Really Nothing
Nowhere Fast
I want the One I Can't Have
What She Said
How Soon is Now
Handsome Devil
That Joke Isn't Funny Anymore
Shakespeare's Sister
Russholme Ruffians
The Headmaster Ritual
Hand In Glove
Still Ill
Meat Is Murder
Heaven Knows I'm Miserable Now
Miserable Lie
Barbarism Begins At Home
This Charming Man
You've Got Everything Now

Savath & Savalas

2009-10-12T22:25:00.000-07:00

http://www.prefuse73.com/savath.shtml

All Music Guide Biography by Marisa Brown

Started in 1998, Savath & Savalas was created as a way for left-field producer Scott Herren (best known for his work as Prefuse 73) to explore his more instrumental and acoustic tendencies. His first full-length, Folk Songs for Trains, Trees and Honey, an experimental, glitchy affair, came out in 2000, followed by the EP Rolls and Waves in 2002 and the much folkier Apropa't — which featured vocals from Catalan singer Eva Puyuelo, who Herren met when spending time in Spain — in 2004. In 2007 Golden Pollen, which included songs on which only the producer/instrumentalist sang, as well as appearances from artists like Mia Doi Todd and Jose Gonzalez, was released. Two years later, a proper follow-up to Apropa't appeared; La Llama included a new contributing member, Ecuadoran (by way of Florida) Roberto Carlos Lange.

Roy Harper

2009-10-12T21:43:00.000-07:00

The biography on Roy Harper provided below comes from the Official Roy Harper site. This web page addition to the Pharaohs Den web library only includes biographical information up to the end of the 70's on Roy Harper, to read about his awards and other fascits of how his musical legacy evolved, follow the link below to get the full story on Roy Harper.

www.royharper.co.uk

Roy Harper

Early Life

Harper was born in the Manchester suburb of Rusholme, England. Following the death of his mother a few weeks after his birth, he lived in Manchester for a few years before the family moved to Lytham St. Annes. He was raised by his father and step-mother, whose Jehovah's Witness beliefs eventually alienated him. Harper's anti-religious views would later become a familiar theme in his music. At the age of 10, he began playing skiffle music with his younger brother, David Harper, as well as being influenced by blues music, jazz and classical. Leaving school when he was 15, he joined the Royal Air Force only to reject its rigid discipline. He managed to feign madness in order to get a discharge. Harper then busked around Europe until 1964 when he returned to England and gained a residency at London's famous Les Cousins folk club in Soho.

The Sixties

His first album, 'The Sophisticated Beggar', was recorded in 1966 after Harper was spotted at the Les Cousins club and signed to Strike Records. It consisted of his sung poetry backed by acoustic guitar using an echoplex tape machine and other effects. CBS Records saw his potential and hired producer Shel Talmy to arrange 'Come out Fighting Genghis Smith', with the 11 minute track 'Circle', marking a widening of Harper's audience away from contemporary folk. Its intended cover was too controversial for CBS at the time, depicting a new born baby, complete with umbilical cord. Unknown to Harper, CBS changed it to a picture of their artwork director's baby, without including the birth scene Harper had intended. Harper and CBS parted company. The cover art was altered to Harper's satisfaction when he regained control of the recording.

Harper recorded 1968's Folkjokeopus with United Artists. Similar to the previous album, one song, on this occasion 'McGooghan's Blues' was 15 minutes long. In those days artists were required to write 3 minute songs with a chorus coming in no later than 30 seconds. At the time, this was the established requirement for radio play. From May, 1968, Harper was making regular appearances at free concerts in London's Hyde Park attracting a cult following of fans from the underground music scene. Harper's first tour of the United States followed the release of the album Flat Baroque and Berserk in 1969 which featured The Nice on one track called "Hell's Angels". Its ethereal sound was achieved by a wah-wah pedal attached to an acoustic guitar. Flat Baroque and Berserk also marks the beginning of Harper's relationship with EMI records, with 8 of his early albums recorded at the Abbey Road Studios and released on EMI's Harvest label. Harvest was formed in 1969 as a response to the growing emergence of 'underground' or 'progressive music'

The Seventies

After the Bath Festival of 1970, Led Zeppelin wrote a song titled 'Hats Off to (Roy) Harper', which appeared on the album Led Zeppelin III. According to Jimmy Page, the band admired the way Harper stood by his principles and did not sell out to commercial pressures. In a mutual appreciation of their work, Harper would often attend live performances by Led Zeppelin over the subsequent decade as well as contribute sleeve photography to the album Physical Graffiti. He also appears, uncredited, in the 1976 film, The Song Remains the Same.

Harper's 1970 critically acclaimed album was the four song epic, Stormcock, featuring Jimmy Page on guitar (credited as 'S. Flavius Mercurius') and David Bedford's orchestral arrangements. David Bedford would collaborate on future releases. In 1972, Harper made his acting debut playing Mike Preston alongside Carol White in the John Mackenzie film 'Made'. The soundtrack for this film appeared in the following year with the title 'Lifemask'. His next album 'Valentine', was released on Valentine's Day, 14 February 1974 and featured contributions from guitarist Jimmy Page. A concert to mark its release was held at London's Rainbow Theatre with Page, Bedford, Ronnie Lane on bass and Keith Moon on drums. The live album 'Flashes From The Archives Of Oblivion' soon followed.

Between 1975 and 1978, Harper spent considerable time in the United States. Pink Floyd's 1975 release 'Wish You Were' Here saw Harper as lead vocalist on the song 'Have a Cigar'. Floyd's David Gilmour returned the favour by appearing on Harper's next album, 'HQ', along with Harper's occasional backing band called Trigger (Chris Spedding on guitar, Dave Cochran on bass guitar, and Bill Bruford on drums) along with Led Zeppelin's John Paul Jones. The single 'When An Old Cricketer Leaves The Crease', taken from the album, is Harper's biggest selling and best known solo record to date. Harper also co-wrote the song, 'Short and Sweet' with Gilmour for Gilmour's first solo record released in 1978. He performed the song live with Gilmour at least once in the 80s singing the lead vocal.

Controversy followed the release of 1977's Bullinamingvase, with Watford Gap service station objecting to the lyrics in the song 'Watford Gap', which criticised their food ("Watford Gap, Watford Gap / A plate of grease and a load of crap..."). Harper was forced under duress to drop it from future UK copies of the album, though it reappeared on a later CD reissue and remained on the U.S. LP. Bullinamingvase also featured 'One of Those Days in England', with backing vocals by Paul McCartney and Linda McCartney, which became a Top 40 hit. 'Flat Baroque And Berserk', 'Lifemask', 'Valentine', 'Flashes from the Archives Of Oblivion', 'HQ' and 'Bullinamingvase' were all top 20 albums. For much of the seventies, Harper co-produced his records with Peter Jenner, who was also his manager

Ali Farka Touré

2009-10-12T16:37:00.000-07:00

All Music Guide Biography by Richie Unterberger

One of the most internationally successful West African musicians of the '90s, Ali Farka Touré was described as "the African John Lee Hooker" so many times that it probably began to grate on both Touré's and Hooker's nerves. There is a lot of truth to the comparison, however, and it isn't exactly an insult. The guitarist, who also played other instruments such as calabash and bongos, shared with Hooker (and similar American bluesmen like Lightnin' Hopkins) a predilection for low-pitched vocals and midtempo, foot-stomping rhythms, often playing with minimal accompaniment.

Touré's delivery was less abrasive than Hooker's, and the general tone of his material somewhat sweeter. Widespread success on the order of Hooker was somewhat elusive, though, as Touré sang in several languages, and only occasionally in English. As he once told Option, his are songs "about education, work, love, and society." If he and Hooker sounded quite similar, it's probably not by conscious design, but due to the fact that both drew inspiration from African rhythmic and musical traditions that extend back many generations.

Touré was approaching the age of 50 when he came to the attention of the burgeoning world music community in the West via a self-titled album in the late '80s. In the following years he toured often in North America and Europe, and recorded frequently, sometimes with contributions from Taj Mahal and members of the Chieftains. In 1990, Touré retreated from music entirely to devote himself to his rice farm, but was convinced by his producer to again pick up the guitar to record 1994's Talking Timbuktu, on which he was joined by Ry Cooder. It was his most well-received effort to date, earning him a Grammy for Best World Music Album, but it was also proof that not all Third World-First World collaborations have to dilute their non-Western elements to achieve wide acceptance. However, Touré found the success to be draining and again retreated to tend his farm.

He didn't release a record on American shores for five years afterward; he finally broke the silence in 1999 with Niafunké, which discarded the collaborative approach in favor of a return to his musical roots. Then, once again, Touré stepped away from the limelight. In 2005, perhaps partly to keep his name familiar to music lovers, Nonesuch issued (for the first time on compact disc) Red & Green, two albums Touré recorded in the early '80s, packaged together as a two-disc set. In the Heart of the Moon was also released in 2005. Touré died on March 7, 2006, from the bone cancer that he had been battling for years; however, he was able to complete one last album before passing. His final album, Savane was released posthumously in July 2006

Brainiac

2009-10-12T15:50:00.000-07:00

All Music Guide Biography by John Bush

Well after the death of new wave, Brainiac formed in 1992 with a sound that perfectly epitomized the uptight, herky-jerky tension of the early-'80s movement, as well as its warped sense of song structure and electronic breakdown. The band came together in Dayton, OH, originally the basement experiments of vocalist/keyboard player Tim Taylor and bassist Juan Monasterio. After recruiting guitarist Michelle Bodine and drummer Tyler Trent, Brainiac began playing around the Midwest and hooked up with Limited Potential Records, which released the single "Super Duper Seven" in September 1992. After another single, a split with Bratmobile on Dayton's 12X12 label, Brainiac signed with Grass Records. The group's debut album Smack Bunny Baby, produced by Girls Against Boys' Eli Janney, appeared in mid-1993. During 1994, Brainiac replaced Bodine with guitarist John Schmersal and released their second album, Bonsai Superstar. After a tour on Lollapalooza's second stage, a performance in Chicago impressed the indie label heavyweight Touch & Go, which signed the band and issued their third album, Hissing Prigs in Static Couture, in early 1996.

Brainiac released an EP, Electro-Shock for President, in April 1997, prior to entering the studio to record their fourth album. Over the course of 1996-1997, their profile had grown, and there were rumors that major labels like DreamWorks were interested in signing them after the new album was completed. As the group was recording during the summer, Tim Taylor was tragically killed in a one-car accident, driving home from the studio.

Nektar

2009-10-12T15:13:00.000-07:00

The biography provided below comes directly from the official site for progressive rock band Nektar.

nektarmusic.com

Early Years 1970 to 1973..................

The story of Nektar is a remarkable one. A British rock band that found stardom and success in Germany and the USA, yet failed to make the significant breakthrough in their own country. With three gold albums under their belt (“Remember the Future”, “Down to Earth” and “Recycled”), Nektar produced some of the most original work of the seventies.

In virtuoso guitarist Roye Albrighton Nektar had a charismatic front man who had shared a stage with Jimi Hendrix, in Allan “Taff” Freeman a unique keyboard player, in Derek “Mo” Moore a bass playing powerhouse and in Ron Howden a fluidity rarely found in a drummer. Fifth member Mick Brockett was not a musician, but was responsible for one of the most stunning light and visual shows ever to grace the rock stage.

The roots of Nektar lay in Hamburg in 1970. The band Prophecy, (featuring Freeman, Moore and Howden), were performing in the legendary Star Club. It was here that Prophecy met an extremely talented guitarist Roye Albrighton, also playing the German club circuit. Disillusioned with his own outfit, Albrighton was approached by Prophecy to join them as a guitar player. Light technician Mick Brockett (who had worked with Pink Floyd in the late sixties), had been providing visual backdrops for Prophecy in Germany and was invited to become a permanent fixture in the new band. Opting for a name change, Nektar was born.

Signing to German label Bellaphon later that year, Nektar quickly made an impact with their space rock classic “Journey to the Centre of the Eye”. This was followed in 1972 by the conceptual album, “A Tab in the Ocean” which featured the songs “Desolation Valley” and “King of Twilight”, (later covered in 1984 by Iron Maiden), all of which were to become staples of Nektar’s live show over the next few years. 1973 saw the release of the double album “Sounds Like This”. Recorded “live” in the recording studio, (and described by Elton John as “an extraordinary album”), the set became the bands first release in Britain and resulted in two appearances on “The Old Grey Whistle Test” TV show.

Remember The Future 1973 to 1980..................

It was with the 1973 album “Remember the Future” that Nektar’s real breakthrough came. Another concept, the album became Nektar’s first American release and entered the Billboard album chart in 1974, attaining Gold status without the band ever having visited the USA! An American tour was swiftly booked, with Nektar becoming a major concert attraction.

For 1974’s “Down to Earth” the band enlisted the services of Hawkwind poet Robert Calvert to provide humorous links between songs for their Circus-style concept, earning another Gold disc. “Recycled”, released in 1975, was recorded in France and London and was engineered by ex-Beatles technician Geoff Emerick. The album featured a full choir and the guest appearance of American synthesiser whizz-kid Larry Fast, (from the group Synergy and later a member of Peter Gabriel’s band), and earned yet another Gold disc in Germany and the USA. By now Nektar were firmly established in America, undertaking a rigorous touring schedule, with the most impressive show yet-staged necessitating the hire of a Jumbo jet to transport the band's lighting and sound equipment.

Hectic touring and an increasingly busy schedule eventually took its toll however, leading to the departure of Roye Albrighton in December 1976. He was replaced briefly by American Dave Nelson, the new line up recording “Magic is a Child” (featuring a young Brooke Shields on the sleeve), in 1977.

This line-up was short lived, leaving a gap of two years before Nektar regrouped with Roye Albrighton and Taff Freeman at the helm. With musicians Carmine Rojas and David Prater the superb “Man in the Moon” (released on CD for the first time by Voiceprint Records) was released in Europe, with the band touring to great acclaim. By now though, Freeman had opted to remain in the USA and Albrighton went on to form the band Grand Alliance with ex-Climax Blues Band member Derek Holt.

The Nektar story finally appeared to be over by the birth of the 1980's.

Nektar Recycled 2000 to . . .

In 1999, following a potentially fatal liver infection, guitarist and Nektar front man Roye Albrighton was given only weeks to live. At the last minute he is given the precious gift of life when a suitable liver donor is found. The situation was touch and go for a while, but thanks to the expertise of medical staff he pulls through. Determined to live life to the full, Roye Albrighton resurrects the band that made him a household name in Germany and America. That band is Nektar and a new album; “The Prodigal Son” is released by Bellaphon records. So opened a new chapter for Albrighton and also for the Nektar legacy - a chapter that led to the triumphant reformation of this legendary band.

In 2000, following his health scare, Bellaphon records approached Albrighton to record a new Nektar album. Enlisting the services of Taff Freeman and drummer Ray Hardwick, “The Prodigal Son” (Bellaphon 9729520) was recorded in a matter of weeks. A worthy successor to the previous Nektar catalogue, TPS has received five star reviews in German and American magazines and heralds a new dawn for Nektar.

2002 saw the remastering of the Nektar classic album “Remember the Future” and the release of the entire London Roundhouse Concert from 1973 with previously unreleased bonus material, and amazingly, a full reunion of Albrighton, Freeman, Moore and Howden, along with Mick Brockett’s light show for a concert at the annual NearFest event at The Patriot’s Theater, Trenton, New Jersey on June 29th with guest musician Larry Fast, and a further triumphant live show at The Town Hall in New York City in October 2002 and two US shows in late May and early June 2003. This was followed in July 2003 by the first Nektar concert in London since 1976 and two German concerts (at the Herzberg Festival and at The Centralstation in Darmstadt). These European concerts were unqualified successes.

In October 2003 Nektar negotiated full rights for their back catalogue outside of Germany and have begun a full remastering campaign on their entire catalogue. April 2004 saw the release of the classic albums “Journey to the Centre of the Eye”, “A Tab in the Ocean”, and “Recycled” (all with previously unreleased bonus material). Also released that month was a special remixed CD Boxed set of the bands entire concert at The Academy of Music in New York City recorded in August 1974 on the bands own “Dream Nebula” imprint, part of UK label Eclectic Discs. All these, and future releases include remastering to the highest standard from the original tapes.

In October 2004, original bass player Derek “Mo” Moore announced his intention to leave Nektar. Citing other commitments, unable to tour on a large scale and generously not wishing to impede a revitalised Nektar, Mo stepped aside to welcome fellow Rickenbacker user Randy Dembo. A fan of Nektar since the 70’s, Randy has proved a worthy successor to Mo Moore. 2004 saw an extensive European tour including concerts in Germany, Switzerland, Belgium and the Netherlands - equally importantly it saw the release of a superb new studio album from the band, the magnificent “Evolution”. With stand out tracks such as “Camouflage to White”, “Phased by the Storm”, “Always” and “Child of Mine”, the album is regarded as a true return to form by critics in both Europe and the USA.

An American tour in September 2004 saw Taff Freeman depart the band for personal reasons with his successor, Hammond virtuoso Tom Hughes, instantly earning a place in the hearts of the Nektar faithful. With continued concert dates, along with the remastering of the remainder of the Nektar back catalogue on CD, this legendary band has become once more a proud force to be reckoned with in the world of Progressive music.

2005 saw management changes for NEKTAR and a shift towards the band taking greater control of its output - product and careers. Entering into uncharted territory the band toured Brazil to incredible audiences and critical acclaim.
They took to the stage headlining the superb BajaProg festival in Mexicali in March 2006.

Nektar wanted to embark on major global touring in 2006 as well as make significent product releases, but due to circumstances beyond the bands control (it was entirely in the hands of their then management) they nearly went under finanially. The loyalty of the fans was realised in late 2007 when Nektar truly took over their own management, procured their website (www.nektarsmusic.com) as their own, entirely under thier control and went on tour (22 nights) of Germany. Joining Roye & Ron was Peter Pichl on 5 string bass and Klaus Henatsch on keys, these two new members from the Rock city of Hanover, Germany, seemed to gel from the outset and now Nektar looks set to make its mark once again.

In May 2009 the USA had the treat of Nektar headlining the Friday of the Rites of Spring Festival in Philadelphia. Accompanied by a short tour amonst which was a tiny celebration of their 40th anniversary in acoustic format for a select group of 250 fans.

Os Mutantes

2009-10-12T14:14:00.000-07:00

All Music Guide Biography by John Bush

Though rarely heard outside their Brazilian homeland (especially during the first phase of their career), Os Mutantes were one of the most dynamic, talented, radical bands of the psychedelic era — quite an accomplishment during a period in which most rock bands spent quality time exploring the outer limits of pop music. A trio of brash musical experimentalists, the group fiddled with distortion, feedback, musique concrète, and studio tricks of all kinds to create a lighthearted, playful version of extreme Brazilian pop.

The band was formed by the two Baptista brothers, Arnaldo (bass, keyboards) and Sérgio (guitar), whose father was a celebrated São Paulo concert pianist. In 1964, the pair formed a teenage band named the Wooden Faces. After they met Rita Lee, the three played together in the Six Sided Rockers before graduation broke up the band. Yet another name change (to O Conjunto) preceded the formation of Os Mutantes in 1965, the final name coming from the science fiction novel O Planeta Dos Mutantes. With a third Baptista brother (Cláudio) helping out on electronics, the group played each week on the Brazilian TV show O Pequeno Mundo de Ronnie Von and became involved with the burgeoning tropicalia movement. Mutantes backed the tropicalista hero Gilberto Gil at the third annual Festival of Brazilian Music in 1967, then appeared on the watershed 1968 LP Tropicalia: Ou Panis et Circenses, a compilation of songs from the movement's major figures: Gil, Caetano Veloso, Gal Costa, Tom Zé, and Nara Leão.

By the end of 1968, Os Mutantes delivered their self-titled debut, a raucous, entertaining mess of a record featuring long passages of environmental sounds, tape music, and tortured guitar lines no self-respecting engineer would've allowed in the mix (especially at such a high volume). After time spent backing Veloso and recording a second LP of similarly crazed psychedelic pop, the band ventured to France and Europe for a few music conference shows. Upon returning to Brazil, they set up their own multimedia extravaganza — complete with film, actors, dancing, and audience participation. Despite distractions of all kinds, the group also managed to record LPs in 1970 (Divina Comedia Ou Ando Meio Desligado) and 1971 (Jardim Eletrico), both of which charted the band's shifting interests from psychedelic to blues and hard rock.

After 1972's E Seus Cometas No Pais Do Baurets, Rita Lee departed or was fired from the band (accounts vary), and resumed a solo career that ran concurrently with Os Mutantes (her debut, 1970's Build Up, had been co-produced by the Baptistas). Later Mutantes LPs displayed influences from prog rock, and after Arnaldo Baptista left the fold as well, the band's LPs included a succession of bandmembers — later-to-be-legendary producer Liminha, keyboard player Túlio, and drummer Rui Motta. Except for a 1976 live record, 1974's Tudo Foi Feito Pelo Sol was the band's final LP. Sérgio later moved to America, where he played with Phil Manzanera, among others. After recording a 1974 solo album, Arnaldo played with a new band (Space Patrol) during the late '70s and spent time in a psychiatric hospital before emerging for his second solo work, 1982's Singin' Alone. Meanwhile, though Rita Lee's solo career began sputtering near the end of the '80s, the band turned down a request for a 1993 reunion show by Nirvana's Kurt Cobain. Six years later, the Omplatten label reissued the first three Mutantes records, and David Byrne assembled the Everything Is Possible compilation through Luaka Bop.

In 2006, the band reunited for a performance in London. Both Rita Lee and Liminha sat the reunion out, however, and newcomer Zélia Duncan handled lead vocals. A year later, the band collaborated with DJ J.D. Twitch for Trocabrahma, a cultural exchange program, and 2008 found Os Mutantes releasing their first new song in three decades, "Mutantes Depois." A full album, Haih... Ou Amortecedor..., followed one year later.

Clement "Coxsone" Dodd

2009-10-09T15:30:00.000-07:00

All Music Guide Biography by Steve Huey

One of reggae's most important and prolific producers, Clement "Coxsone" Dodd was a towering figure in the genre's development, from both creative and business standpoints. Like Motown's Berry Gordy, Dodd set up a streamlined, highly professional hit factory at his Studio One facility, recording vast amounts of music for his label of the same name. Like James Brown, Dodd mapped out a rhythmic blueprint that future generations would rely heavily upon; just as hip-hoppers sampled Brown's beats to death, countless dancehall producers lifted and reused (or "versioned") Dodd's rhythm tracks for their own records. Dodd was present at the genesis of Jamaican popular music, evolving from a DJ to a sound-system entrepreneur to a producer to the first black studio owner in Jamaica. In the meantime, he kept his finger on the pulse of popular taste, watching the music evolve from ska to rocksteady to reggae proper, and maintaining a crack studio band that changed with the times; most reggae aficionados tend to agree that his best work came during the rocksteady era of the '60s. Although haphazard documentation makes it difficult to know exactly how many records Dodd produced, it's generally acknowledged that he worked with nearly every major reggae star of the early days at one point or another, including the first recordings by Bob Marley & the Wailers. He also served as a mentor for future production wizards like Lee "Scratch" Perry and Winston "Niney" Holness, among others who apprenticed at Studio One. All in all, it's well nigh impossible to find another behind-the-scenes figure who exerted as much influence on reggae, over such a tremendous period of time, as Coxsone.

Clement Seymour Dodd was born in Kingston, Jamaica, on January 26, 1932. His parents ran a liquor store, and the young Dodd got his first taste of DJing by playing American jazz records for their customers. He received the nickname Coxsone in tribute to his ability as a cricket player, after the English Yorkshire team's brightest star of the era. After completing his schooling, Dodd found temporary work as a laborer in the sugar cane fields of America's Deep South; while there, he fell in love with early R&B, especially the harder end of the shuffle-rhythm spectrum that would prove popular with many other Jamaican listeners.

Dodd returned home with a substantial addition to his record collection, and in 1954 he got in on the ground floor of an emerging trend in Jamaica, the sound system. Sound systems were essentially mobile DJ units with massive amplification power; they gave poor people access to records they couldn't afford to own, and they were less costly for club owners to book than full bands, whose musicians all required individual salaries. Dodd's system was known as Sir Coxsone the Downbeat, and quickly became one of the most popular in Jamaica, rivaled chiefly by that of the flamboyant ex-cop Duke Reid; at the height of his operation's success, Dodd had up to five units playing around Kingston on the same night. Competition between sound systems was intense, and Dodd made numerous record-buying trips to the U.S. in search of the latest, rarest, and most danceable tunes. During this era, Jamaican DJs started the practice — later copied by hip-hop, rare groove, and techno DJs — of scratching out the labels on their records, so that competitors wouldn't know what they were playing and couldn't duplicate their most popular selections. Dodd's theme song was a Willis "Gator" Jackson jump blues called "Later for Gator," which he retitled "Coxsone's Hop"; the story goes that Duke Reid finally discovered the song's true identity and first played it at a DJ battle with Dodd, who nearly passed out with shock.

As the '50s drew to a close, the tastes of black audiences in the U.S. were changing. R&B was moving toward either rock & roll or a smoother, more pop-oriented sound; jazz into lengthier, more cerebral explorations and away from the concise jump blues and boogie-woogie 45s that filled jukeboxes and dancefloors. Jamaican tastes, however, were not changing, and to satisfy demand for the kind of music their audiences wanted, sound system operators began to record local artists. At first, these records were used as exclusive content for the systems' live sets, but overwhelming demand led to copies of the records being pressed and offered for sale to the public. Dodd threw his hat in the ring in 1959, when he formed the first of his many record labels, World Disc. His likely first production was "Shufflin' Jug," a calypso-style number by Clue J & His Blues Blasters, and he also helmed what many historians consider the first true ska record, Theophilus Beckford's "Easy Snappin'," that year. Over the next few years, Dodd worked with the likes of Derrick Morgan, Derrick Harriott, Clancy Eccles, Alton Ellis, Don Drummond, and Roland Alphonso, among many others; the latter two, both jazz-trained instrumentalists, would go on to join the Skatalites, who served as the studio band for most of Dodd's early recordings, and made their name as the best instrumental ska ensemble in the business on their own sides. As his business grew and flourished, Dodd formed several other labels, mostly as a way to disguise the flood of product coming out under his name (DJs were simply tired of seeing it everywhere).

In 1963, Dodd opened the first black-owned recording studio in Jamaica on Brentford Road in Kingston; officially called the Jamaican Recording and Publishing Studio, it came to be known as Studio One, which also served as the name of Dodd's signature label from then on. With the Skatalites serving as the house band (and cutting plenty of instrumental hits of their own), Studio One turned out some of the era's best and biggest hits, with records by Delroy Wilson, Toots & the Maytals, Lee "Scratch" Perry, Bob Andy, and — perhaps most importantly — Bob Marley & the Wailers, including their chart-topping debut smash, "Simmer Down." In the process, Studio One became an invaluable training ground for an entire generation of Jamaican musical talent. Dodd was constantly scouting for new talent, holding weekly auditions, and often provided vocal training for talented but raw singers; what was more, the studio's prolific recording pace kept its stable of arrangers, producers, and musicians heavily occupied, giving them the practical knowhow that would help some set up their own operations in the years to come, and providing a strong foundation for the continued development of the country's recording industry.

During the latter half of the '60s, ska slowed down into a new style dubbed rocksteady. In spite of his earlier successes, it was during this period that Dodd truly hit his creative peak, and it remains the most often sampled portion of his extensive catalog. Helped out by new multi-track recording capabilities, which allowed for richer vocals and leaner, subtler arrangements, Dodd honed a signature sound that was soulful, organic, and rootsy, which grew into a sonic blueprint that would endure up to the ragga age. Some of Studio One's most prominent artists of the period included Alton Ellis, the Heptones, the Ethiopians, Jackie Mittoo, Delroy Wilson, Marcia Griffiths, and Ken Boothe, plus the ever-evolving, post-Skatalites studio band (first dubbed the Soul Brothers, then the Soul Vendors, and by 1970 the Sound Dimension).

With the advent of dub reggae, Dodd was no longer on the cutting edge of production techniques by the early '70s, and his frantic recording pace finally began to slow down a bit. Still, his skills were perfectly suited to the roots reggae era, and he continued to produce some of the era's biggest stars: Burning Spear, Horace Andy, Dennis Brown, Dennis Alcapone, and Freddie McGregor (whose early album Bobby Bobylon is widely considered to be one of Dodd's finest latter-day works). As roots reggae gave way to dancehall in the early '80s, Dodd initially kept pace via his work with the likes of Sugar Minott, Johnny Osbourne, Frankie Paul, and Michigan & Smiley, among others. However, amid shifts in popular taste and political unrest, he soon decided to move his operations to New York City, opening both a studio and a music store in Brooklyn. He returned to Jamaica on occasion and continued to produce records from time to time, though without the widespread success of old. In 1991, two all-star concerts in Jamaica celebrated Dodd's 35th anniversary in the music business and featured many of his old cohorts; meanwhile, the Heartbeat label (a subsidiary of Rounder) secured CD reissue rights to the vast Studio One catalog, releasing both various-artists compilations and individual artist collections. In 1993, Dodd embarked on a lengthy legal battle to collect unpaid royalties related to samples of material from his vast back catalog that were lifted without credit or permission; by 2000, he'd shifted his attention from individual producers to big-time distributors like the VP label. In 2004 Coxsone returned to Jamaica for a celebration in his honor in recognition for his contribution to Jamacain culture. The storied Brentford Road in Kingston that served as home to his recording studio that was so pivotal to the development of reggae was renamed Studio One Boulevard. Tragically, Clement "Coxsone" Dodd died of a heart attack just four days after the ceremony on May 5, 2004.

The information below comes from the following blog: Magic of Juju

"Born to roughly middle-class parents in Kingston in 1932, Coxsone began operating a sound system (a portable outfit of speakers, amplifiers, and turntables) in Jamaica's capital city in his early thirties, after a stint as an agricultural worker in Florida, where he had discovered American r&b. As a canny way of providing himself with local material that none of his competitors (such as cocky, pistol-sporting rival Duke Reid) could access, Coxsone slowly got involved in the recording of local artists. Soon, he had named himself president of not one record label, but five. At least.

"It was much more than five," he shyly corrects a visitor, explaining that the multiple imprints were a ruse to hide the extent of his labels' output, not from competitors, but from radio DJs who grew tired of being bombarded with Coxsone releases. By the time radio stations realized who was behind a track, it was already a hit." - more

African Descendants
Alton Ellis 2:46 Coxsone 7" CN 4069A

African Version
Alton Ellis 2:45 Coxsone 7" CN 4069B

Any Where
John Holt 1:50 Coxsone 7" JR 7950A

Any Where (Ver.)
Holt & Sound Dimension 1:50 Coxsone 7" JR 7950B

Armagedeon Time
Willie Williams 2:29 Coxsone 7" COX 1012A

Armagedeon Version
Willie & The Soundemension 2:32 Coxsone 7" COX 1012B

The Avenue
Hubert Lee 2:47 Coxsone 7"

The Avenue Pt.2
Hubert Lee 2:46 Coxsone 7"

The Battle
The Octaves 1:53 Coxsone 7" CS 7042B

Beat Down Babylon
Freddie McGregor 2:42 Coxsone 7" DSR-CN 5276-1 CL

Beware
The Bassies 2:59 Coxsone 7"

Black Mans Dub
Soul Vendors 3:46 Coxson 7" FCD 7808B

Black Wax
Pablove Black 3:22 Coxsone 7" FCD 7446B

Bongo I
Tommy McCook & Gladiators Band 3:10 Coxsone 7"

Bongo I - Part 2
Gladiators Band 3:16 Coxsone 7"

Bonopart
Al Senior 2:03 Coxsone 7" C&N 2 III-CNL

Budie Bum
Tennysee Brown 3:10 Coxsone 7" SO 0135A

Budie Bum Version
Brentford All Stars 3:10 Coxsone 7" SO 0135B

Check Mr. Lester
Prince Jazzbo 3:20 Coxsone 7" FCD 7446A

Choice Of Colour
The Heptones 3:00 Coxsone 7" C&N 0031x1 CN

The Conqueror
Dennis Alcapone 3:17 Coxsone 7" CS 1063A

Consumer (Ver.)
Pablove & Sound Dimension 2:09 Coxsone 7" CN 2788B

Consumer Sounds
Pablove Black & Sound Dimension 2:09 Coxson 7" CN 2788A

Cool It
Tony Tough 3:39 Coxsone 7" COX 1015A

Cool Version
Tony & Soundemension 3:44 Coxsone 7" COX 1015B

here

"I was unhappy with Coxsone's treatment – no money – so I didn't go back to him. I made the group Alton and the Flames and went to record for Duke's label, Treasure Isle. My first tune for Duke, Dance Crasher, went straight to number one. After that it was history because I had a string of hits like Cry Tough, Willow Tree, Girl I’ve Got A Date and Rocksteady. But Duke Reid gave me the same treatment as Coxsone. ...years later Coxsone and I were reasoning and he said: 'Boss, the hurtfullest thing you ever did to me was when you sang Girl I've Got A Date for Duke. That mashed down my business." - Alton Ellis more

Dancing Mood
Delroy Wilson 2:38 Coxsone 7" FCD 7309A

Declaration (Ver.)
Sound Dimension 3:15 Coxsone 7" FCD 7339B

Declaration Of Rights
The Abyssinians 3:13 Coxsone 7" FCD 7339A

Do It Right Now
The Termites 2:26 Coxsone 7" CS 7025A

Don't Fight It
Wailing Soul 2:39 Coxsone 7" CN 3129A

Don't Fight It (Version)
Sound Dimension 2:39 Coxsone 7" CN 3128B

Don't Want To Be Lonely (Ver.)
Sound Dimension Band 2:44 Coxsone 7"

Dream (Ver.)
Sound Dimension 2:41 Coxsone 7" DSR-CN-5514-1

Drum Song
Devon "Soul" Russell 3:54 Coxsone 7"

Drum Song Pt.2
Devon "Soul" Russell 3:55 Coxsone 7"

Enemy
Super & Sleepy 2:55 Coxsone 7"

Everybody Rude Now
Keith McCarthy 2:42 Coxsone 7" CS 1011

Express Yourself
The Heptones 2:46 Coxsone 7" DYNA-CN 3088-1

Express Yourself
Leroy Sibbles 3:32 Coxsone 7" DYNA JA 3160-1

Feeling Good
Rolando Coral & Sound Dimensions 3:13 Coxsone 7" CN 2987A

Feeling Nice Pt. 2
Sound Dimension 3:24 Coxsone 7" CN 2987B

Fling It Gimmie
The Gladiators 2:58 Coxsone 7" FCD 7154 (CS 0173)

Forgive Them
Johnny Osbourne 2:39 Coxsone 7" DSR 9136A

Four Corner
Roland Alphonso 2:39 Coxsone 7" FC 2099

Freedom Blues (remix)
Roy Richards 3:17 Coxsone 7"

Freedom Dub (remix)
Roy & Sound Dimension 3:15 Coxsone 7"

Full (Ver.)
Sound Dimension 3:06 Coxsone 7" CN 3257B

Full Up
Sound Dimension 3:03 Coxsone 7" CN 3257A

Gaylads Medley Pt.1
The Gaylads 2:47 Coxsone 7"

Gaylads Medley Pt.2
The Gaylads 2:45 Coxsone 7"

here

"I enjoyed working with Scratch. I also enjoy workin' with Coxsone. I enjoyed those two in different ways. Scratch would give lots of input and once you're willing to collaborate or cooperate, then it can be fun. With Coxsone, he just leave you alone and let you do your thing and then later on decide whether he wanna release that song or not. But for the most part, he allow the artist to put his or her idea down." ~ Clinton Fearon / Gladiators - more

Give Love
Barry Brown 2:47 Coxsone 7" RMM 1708A

Give Love Version
Barry & Soundemension 2:48 Coxsone 7" RMM 1708B

Happy Land
Carlton & His Shoes 2:52 Coxsone 7" FCD 7368

High Locks
Pablove Black 3:07 Coxsone 7" FCD 8300A

Higher
The Traps 3:52 Coxsone 7" CN 3520A

How Could I Live
The Sharks 3:13 Coxsone 7"

How Could I Live (remix)
The Sharks 3:03 Coxsone 7"

How Could I Live Pt..2
Sound Dimension 3:05 Coxsone 7"

I Believe In Yesterday
Tyrone Taylor 2:45 Coxsone 7" COX 1013A

I Don't Mind Version
Bassies & Soundemension 2:51 Coxsone 7" RMM 681B

I Had A Talk
King Cry Cry 3:22 Coxsone 7" DYNA JA 3182-1

I Need A Roof
Sugar Minott 2:06 Coxsone 7" RMM 847A

I Need A Roof Pt.2
Sugar & Brentford All Stars 2:05 Coxsone 7" RMM 847B

I Shall Be Released
The Heptones 3:14 Coxsone 7"

I Shall Be Released Ver.
Heptones & Sound Dem. 3:01 Coxsone 7"

I'm The Ruler
Anthony Ellis 2:20 Coxsone 7" CD 1031A

I'm The Ruler Version
Anthony Ellis &Sound Dimension 2:21 Coxsone 7" CD 1031B

It's A Sign
B.B. Seaton 2:00 Coxsone 7"

It's A Version
B.B. Seaton & Soundemension 2:01 Coxsone 7"

Jah Hold The Key
Devon Russell 3:26 Coxsone 7" JRS 6590A

Jah Hold The Key (Version)
Devon & The Brentford Rockers 3:13 Coxsone 7" JRS 6590B

Just Don't Want To Be Lonely
Horace Andy 2:45 Coxsone 7"

Keep That Light
Johnny Osbourne & The Prophets 3:18 Coxsone 7" SO 0030A

Keep That Light Pt.2
Johnny & The Brentford Rockers 3:03 Coxsone 7" SO 0030B

Last Waltz
Soul Vendors 3:12 Coxsone UK 7" CS 7048B

here

"Marcia Griffiths, who later sang with me as one of the I-Three, says that studio One was Jamaica's Motown, "where all the great stars grew ... like a university you graduate." A lot of times different people would be working at once; songs were being written in every corner. You couldn't help but learn if you kept your ears open. Coxsone had a guitar that he loaned to those who were too poor to buy one. Bob had that guitar most of the time." - Rita Marley more

Learn To Live Right
The Jay Tees 3:23 Coxson 7" CN 3344A

Learn To Live Right Pt.2
The Jaytees 3:23 Coxson 7" CN 3344B

Life
Trevor Shields 3:35 Coxsone 7" FCD 7516A

Life (Version)
Trevor & Brentford Rockers 3:37 Coxsone 7" FCD 7516B

Long Liver Man
Hugh Black 2:33 Coxsone 7" C-N 2-II-CN

Love Is All
Carlton & The Shoes 3:36 Coxson 7" C&N...?

Love Me Forever
Carlton & His Shoes 3:39 Coxsone 7" WIRL CS 3933-1

Love Me Girl
The Heptones 2:34 Coxsone 7" CN 3121A

Love Me Girl
Leroy & Rocky 2:28 Coxsone 7"

Love Me Version
The Heptones 2:37 Coxsone 7" CN 3121B

Love Won't Come Easy (part 2)
The Heptones 2:19 Coxsone 7" SO 0071B

Mad Mad
Alton Ellis 3:21 Coxsone 7" FCD 7501A

Mad Version
Alton & Soundemension 3:20 Coxsone 7" FCD 7501B

Make It Easy On Yourself
Dennis Brown 3:15 Coxsone 7" FCD 7476A

Mama
The Heptones 2:23 Coxsone 7" SO 0056A

Mama (Version)
The Heptones 2:23 Coxsone 7" SO 0056B

Mama Lulu
Ben Bow 3:51 Coxsone 7" CS 9023A

Man Of Creation
Jah Scotchie 3:43 Coxsone 7"

Mean Dub
Sound Dimension 2:06 Coxsone 7"

Minister For Ganja
Rapper Robert & Jim Brown 3:11 Coxsone 7" SO 0065A

Minister For Version
Rapper Brown & Soundemension 3:12 Coxsone 7" SO 0065B

Mo-Bay Dub
Brentford Disco Band 3:00 Coxson 7" CS 7277B

Mo-Bay Special
Richard Ace & Brentford Disco Band 3:00 Coxson 7" CS 7277A

Money Lover
The Lyrics 3:06 Coxsone 7" CS 7026B

here

"In the early sixties Duke Reid had made it already. Coxsone as well, because Coxsone is a man who exploit people. These people were making money from the early days. And Jamaica is a place where as long as you have money...! It's not like England, where if you commit an offence you would be charged, and it don't matter how much money you have, you can end up in prison. If a little producer make a record, these guys can tell the radio station not to play it. And you pack up unless you're very lucky. At one stage you only have two producers - Dodd & Reid. Then you have the man Leslie Kong - Beverleys, a Chinaman. And in Jamaica youu don't really see a poor Chinaman. It's either a coolie man or a black man. These people have a lot of influence. When I started up the label, the first tune went down, and the second tune went down. And then Big Youth started to come up. And was clamped down, when he started to do his own stuff, but he was kinda ...strongarm stuff. I'm kinda soft, I was the soft guy, I don't really tell a producer I'm going to chop off his head or going to shoot him or lick him with something. He don't respect you." ~ Dennis Alcapone more

Money Worries
Ernest Wilson 3:26 Coxsone 7"

Money Worries (Version)
Ernest Wilson 3:28 Coxsone 7"

The Monkey Speaks His Mind
Denzil Thorpe 2:31 Coxsone 7"

Moses (Ver.)
Brentford Reggae Band 3:22 Coxsone 7" CN 3380B

Murderer
Johnny Osbourne 2:54 Coxsone 7"

Murderer Version
Johnny & The Skatalites 3:05 Coxsone 7"

Musical Happiness
The Soul Vendors 2:32 Coxsone 7" FCD 7728

My Brethren Version
(Dennis Brown) 3:15 Coxsone 7" FCD 7476B

My Guiding Star
Joe White 3:12 Coxsone 7" WIRL CS 3902-2

My Whole World Ended
Dudley Sibley 3:43 Coxsone 7"

Natrual Dub
Roy Richards & Brentford Disco Set 3:24 Coxsone 7" SC 159B

Natrual Love
Roy Richards 3:07 Coxsone 7" SC 159A

Natty Farmyard
Prince Far I 2:09 Coxsone 7"

No Man Is An Island
Dennis Brown 3:13 Coxsone 7" FCD 2307

No Sad Songs
Barrington Llewellyn 2:25 Coxsone 7"

No Sad Songs
Barrington Llewellyn 2:25 Coxsone 7" FCD 007

Poison Ivy
Sound Dimension 2:54 Coxsone 7" C&N 2 VI-CNL

Proud As I Am
B.B. Seaton 2:33 Coxsone 7" SO 0108A

Proud As I Am Pt.2
B.B. & Soundemension 2:32 Coxsone 7" SO 0108B

Ragga Muffin
Jim Brown & Devon Russell 3:11 Coxsone 7" JRS 6967A

Ragga Ragga
Jim & Soundemension 3:10 Coxsone 7" JRS 6967B

Rain Drops (Ver.)
Delroy & Brentford All Stars 3:01 Coxsone 7" SC 123B

Rain Drops Keep Falling
Delroy Wilson 3:12 Coxsone 7" SC 123A

Re Arrange
The Gladiators 2:45 Coxsone 7" CN 2849A

Re Arrange (Ver.)
Sound Dimension 2:48 Coxsone 7" CN 2849B

Red Rose
The Gaylads 2:18 Coxsone 7"

here

"He was mean to me. I built his studio and I remained with it for one year doing recordings some of which have never seen the light of day. Some, I think, are still shelved and some he used with his sound system to make a lot of money. These they call dubs and they just use them on the sound system for rivalry and they have never been in print at all. I did literally hundreds of these. I remember Saturday evenings in the studio for hours on end using an old primitive converted cutter to produce records for him. I was promised 10% and I have never seen 1/10 of 1%. In fact, when I disgustedly gave up the whole thing and left Kingston for Montego Bay , he was owing me a lot of money." ~ Headly Jones - more

Ride Me (Ver.)
Sound Dimension 2:01 Coxsone 7" CN 3708B

Ride Me Donkey
Dobby Dobson 2:03 Coxsone 7" CN 3708A

Right On Rasta
Im & Count Ossie 3:08 Coxsone 7" FCD 7726-B

Righteous Dub
The Gladiators 3:22 Coxsone 7" CN 3317B

Righteous Man
Albert Griffiths & The Gladiators 3:12 Coxsone 7" CN 3317A

River Jordan
The Bassies 2:20 Coxsone 7" TS DODD 189

Rocking Sweet Pea
Soul Vendors 3:02 Coxsone 7" CS 1142-1

Rougher Dub
Slim & Soul Vendors 3:14 Coxsone 7"

Rougher Yet
Slim Smith 3:09 Coxsone 7"

Rub A Dub Party
Johnny & Sound Dimension 2:43 Coxsone 7"

Run Babylon
Larry Marshall 3:04 Coxsone 7"

Run Babylon Pt.2
Larry Marshall 3:06 Coxsone 7"

Sad Songs
Barrington Llewellyn 2:25 Coxsone 7"

Sea Of Love
The Heptones 2:47 Coxsone 7"

Sea Of Version
Heptones & Sound Demension 2:38 Coxsone 7"

Send Another Moses
The Willows 3:13 Coxsone 7" CN 3380A

Sentimental Reason
The Hamlins 3:10 Coxsone UK 7" CS 7048A

Sinners Gonna Weep And Mourn
Owen Gray 2:26 Coxsone 7" FC 126

Skaing West
King Stitt 4:15 Coxsone 7"

Somebody Help Me
Jackie Mittoo 3:15 Coxsone UK 7" CS 7002A

Something Special
Devon "Soul" Russell 3:37 Coxsone 7" CN 3341A

Something Stupid
Jackie Mittoo & Soul Vendors 3:06 Coxsone 7" CS 7026A

Soul Locks
ST.CT. & The Gladiators Band 3:18 Coxsone 7" FCD 8300B

Sounds Of Silence
The Gaylads 3:31 Coxsone UK 7" CS 7002B

Special (Ver.)
Devon "Soul" Russell 3:44 Coxsone 7" CN 3341B

here

"It was intriguing and exciting. I was a little boy, coming into a recording studio for the first time. Hearing your own voice on a record is surprising. I admire Coxsone. Even though he was unscrupulous with me, he did his job. When you had the ability, Coxsone was the man to get it out of you. The payoff wasn't too good though (laughs), but at least he built my name. I knew Coxsone very well and he was a worker, a workaholic really; he worked day and night! It was a good experience and I regret none of it... only that I never got paid." ~ Cornell Campbell - more

Stay
The Summertaires 2:15 Coxsone 7" CS 7025B

Swing Easy
The Soul Vendors 3:01 Coxsone 7" TS DODD 190

The Table Is Gonna Turn
The Clarendonians 3:25 Coxsone 7"

Tell It All Brother
Lascelles Perkins 2:14 Coxson 7" C&N 002A

Ten To One
The Mad Lads 2:27 Coxsone 7" SO 0120A

Ten To One Version
Sound Dimension Band 2:28 Coxsone 7" SO 0120B

Time Is Gettin Hard
Hubert Lee 2:54 Coxsone 7" SC 119A

Time Is Gettin Hard Pt.2
Hubert & Sound Dimension 2:54 Coxsone 7" SC 119B

Time Is Tight
Sound Demention 2:48 Coxsone 7"

Try Again
Slim Smith 2:33 Coxsone 7"

Tumbling Tears
Alton Ellis 2:20 Coxsone 7"

Tunnel One
Tommy McCook & The Sound Dimension 2:09 Coxsone 7" CN 3048A

Tunnel Two
Sound Dimension 2:08 Coxsone 7" CN 3048B

Vanity
Rodley Brissett 3:42 Coxsone 7"

Voo Doo Man
Roy Richards 3:30 Coxsone 7" CS 10080A

Voo Doo Ver.
Roy & The New Establishment 3:20 Coxsone 7" CS 10080B

What You Won't (Version)
Brentford Rockers 2:51 Coxsone 7" JRS 6591B

What You Won't Do For Love
Otis Gayle 2:32 Coxsone 7" JRS 6591A

Whole World Ended (Ver.)
The New Establishment 3:46 Coxsone 7"

Why Must I
The Heptones 2:50 Coxsone 7" WIRL CS 3185-1

Without You
The Wailing Souls 2:14 Coxsone 7"

Without You (Ver.)
Sound Dimension 2:14 Coxsone 7"

Work It Up
Jackie Bernard & Kingstonians 2:24 Coxsone 7"

Ya Ho
Voice Roys 2:13 Coxsone 7" CN 3535A

Ya Ho (Ver.)
Sound Dimension 2:14 Coxsone 7" CN 3535B

You Don't Know
The Righteous Flames 2:29 Coxsone 7" WIRL CS 3726-1

Yours Until Tomorrow
The Martinis 3:09 Coxsone 7" WIRL CS 3811-1

Zion (Ver.)
Sound Dimension 3:03 Coxsone 7" CN 2473B

Zion Higher
Burning Spear 3:01 Coxson 7" CN 2473A

here

all thanks and praises to Jah(n) almighty.

AstroNation Torrent Blog 92.

2009-10-02T12:59:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=269345

NOTE : this torrent differs from that at http://www.dimeadozen.org/torrents-details.php?id=247125

The Doors
Konserthuset
Stockholm
Sweden

September 20th 1968

line age:
CD > EAC > Flac (TLH) level 6 > dime

Setlist:
CD#1 Early Set
1. Five To One
2. Love Street
3. Love Me Two Times
4. When The Music's Over
5. A Little Game
6. The Hill Dwellers
7. Light My Fire
8. The Unknown Soldier

CD#1 Late Set
1. Five To One
2. Mack The Knife ~ Alabama Song
3. Back Door Man
4. You're Lost Little Girl
5. Love Me Two Times
6. When The Music's Over
7. Wild Child
8. Money
9. Light My Fire
10. The End

Lineup
Jim Morrison : Vocals
Robbie Kreger : Guitar
Ray Manzarek : Keyboards
John Densmore : Drums

Notes :
Source : Swingin' Pig Records TSP-CD-004-2.
Great quality recording, clear crisp and no intrusive audience or chatter. No notes on original cd or cover about whether soundboard or audience - and will take a braver man than me to claim it is sbd - but overall this gets an A from me.

One of my favourite Doors shows - hope you enjoy

Upped to dime by ArsNova October 2009

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

http://www.dimeadozen.org/torrents-details.php?id=269263

Damo Suzuki
Interview (for Cerys Matthews show)
BBC 6 Music Studios
London
U.K.
2009-09-30

Digital Satellite broadcast (live) 2009-09-30 MPEG1 layer 2 48kHz @ 160kbps:
BBC Radio 6 > DVB-S > Hauppauge Nova-S > DVBviewer > .ts > PVAStrumento > .mpa >
MpegSchnitt (trimming) > .mp2. Tags added with Foobar 2000.

1. Interview
Total Time : [10:59]

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

http://www.dimeadozen.org/torrents-details.php?id=269112

By special request for a very good friend, the Kodester.

Unlike another torrent of this material that is up on another tracker, this is a fresh rip direct from my Mid Valley silver without any processing whatever.

Kode mah man !

Santana with Eric Clapton
Wally Heider Studios
San Francisco CA

November 18th 1970

Santana Band With Eric Clapton bootleg
Mid Valley Records
MVR - 130

Okay, now there are a lot of stories on this session. I've been researching this since 2002, when I got this bootleg when it was released. It is commonly referred to as Santana with Derek & The Dominos. It's not. It's Clapton sitting in with the Santana band as they were rehearsing. It is referred to as the Village Recorders tape. It's not. While it's not known for certain, it is most likely to have been at Wally Heider Studios in San Francisco. It's most commonly dated to October 18, 1970. Wrong again. Both bands were on the East Coast, Santana in Miami on the 17th and D&D in Philadelphia on the 17th. It's known that it happened during D&D's 2 night stand in Berkeley, which took place on November 18th and 19th. Take your choice. I chose the 18th.

What you have is some loose jams from rehearsals, with Clapton sitting in.

Setlist:

01. Jam
02. Just Like You
03. Everything is Coming Our Way
04. Batuka
05. Jam
06. Try To Make It Real Compared To What
07. Blues Shuffle Jam

Lineage: SBD > my Mid Valley silver CD > EAC > FLAC (level 8)

Ripped and encoded by BluesFan 2009.09.30

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

Amon Düül II
1969-xx-xx
Munich (München), Blow up Club

CD1
1.Improvisation (35:58)
2.Kanaan (5:38)

CD2
1.Phallus Dei (24:46)
2.Luzifers Ghilom (10:14)
3.Improvisation (24:57)

lineage: aud. tape unknoen gen. > cool edit > CDR > flac

This is NOT from the "Flashback & Freeky" Bootleg. It's the same recording, but a different generation tape (which I got in the mid 80s)
In my opinion it's a somewhat clearer listening.
Some of you will notice that the 2nd improvisation is shorter than on the FF-Boot.
This is because on the tape a huge section of the track is repeated and additionally contained something not of this concert.
I removed this, so this makes the track 18min shorter, but complete.
This tape transfer and editing was a lot of work, which was done 9 years ago with cool edit software.

This is Krautrock History. The only know live recording of 1969 of Amon Düül II.
Qualiy isn't the best, but worth having.

http://www.dimeadozen.org/torrents-details.php?id=269375

Nucleus

2009-09-29T16:26:00.000-07:00

All Music Guide Biography by Bradley Torreano

Nucleus began its long jazz-rock journey in 1969, when it was originally formed by trumpeter Ian Carr. They attracted a following after a successful performance at the Montreux International Festival in 1970, which led to the critical success of albums Elastic Rock and We'll Talk About It Later. The other members consisted of saxophonist Karl Jenkins, drummer John Marshall, and guitarist Chris Spedding. Spedding split after the first two albums, but the rest of the lineup lasted until 1972, when Jenkins and Marshall both left to join Soft Machine. Belladonna was the first album with only Carr, and although he enlisted the help of guitarist Allan Holdsworth, the band eventually became a solo venture for his music. They finally broke up in the mid-'80s after several Carr-only albums.

http://www.iancarrsnucleus.net/

Violeta Parra

2009-09-29T16:10:00.000-07:00

All Music Guide Biography by Drago Bonacich

Daughter of a music teacher and a singer/guitarist, Violeta Parra was influenced by her parents since being a child. At the age of nine, the young girl started singing and playing guitar, soon composing traditional Chilean music. After getting married to Luis Cereceda in 1952, the singer/songwriter began touring the country, assimilating the natural charm of her native land, which mostly inspired her work. In 1954, Violeta Parra moved to Europe, deciding to settle down in France, where the artist started recording her poetic songs. When returning to Chile in 1958, Violeta Parra got involved in painting and sculpture, extending her artistic skills even more. In 1961, the singer returned to Europe, this time singing along with her daughter Isabel Parra and her son Angel Parra being responsible for keeping their mother's legacy alive.

http://www.violetaparra.cl/

Mercedes Sosa

2009-09-28T22:06:00.000-07:00

All Music Guide Biography by Jason Ankeny

The driving force behind the nueva canción movement, singer Mercedes Sosa was born and raised in Tucumán, Argentina, beginning her performing career at age 15 after taking top honors in a radio station amateur competition. A rich, expressive vocalist and a gifted interpreter, Sosa was dubbed "the voice of the silent majority" for her choice of overtly political material, and alongside artists including Violetta Parra and Atahualpa Yupanqui she spearheaded the rise of the so-called "nueva canción" movement, which heralded the emergence of protest music across Argentina and Chile during the 1960s. The movement was crippled in 1973 by the CIA-sponsored coup which ousted democratically-elected Chilean President Salvador Allende; with her repertoire of songs championing human rights and democracy, Sosa was viewed as a serious threat by the military regime which assumed power, and in 1975 she was arrested during a live performance which also resulted in the incarceration of many audience members. Death threats forced her to leave Argentina in 1979, and she remained in exile for three years, finally returning with a triumphant comeback performance in February 1982. Sosa recorded prolifically in the years to follow. In fall 2000, Sosa won a Grammy for Best Folk Album for Misa Criolla at the first annual Latin Grammy Awards.

Selda

2009-09-28T21:20:00.000-07:00

All Music Guide Biography by Vefik Karaege

Protest Anatolian pop/folk/psychedelic singer Selda is the leading female artist in a male-dominant world. Her intense voice and impressive skill at reinterpreting hundred-year-old Turkish folk tunes have supplied her a well-deserved fame all around the world, even though she was a bit late to be received. On the other hand, because of her political views, she was banned, imprisoned, and abandoned in the chaotic years of Turkish history.

Selda Bagcan was born in 1948. She grew up in a well-educated family, where she showed interest in music at an early age. She played the guitar for pleasure, until her first two singles recorded in 1971 sold almost a million copies. That was the turning point for her, and step by step, she became one of the most influential female figures in the Turkish folk scene. She recorded a single with Mogollar in 1972. Same year, she was sent to Bulgaria by the Turkish government to participate in the Golden Orfeus Festival. The 1970s were the peak years of Selda's career as she heavily toured Turkey and Europe while she was building up a large fan base. Her self-titled first LP was released in 1976. Her much-anticipated debut is one of the most precious items of every collector. This LP showcases her more psych-prog side more than her later works.

After the infamous military coup in 1980, her passport was seized by the government and she couldn't leave the country until 1987. Meanwhile, she missed the opportunity to attend the WOMAD Foundation Festival, which was inspired by Peter Gabriel. She was imprisoned in 1982 and again in 1984. After 1987, Selda took the stage in numerous festivals in both Turkey and Europe. In 1990, she bought the rights to her own recordings. In 1994, she started re-releasing them in a series of albums named Turkulerimiz from her own record company Major Muzik — latest being Turkulerimiz 6 which was released in 2006. Her most recent album of original material, Anne Ben Geldim, was released in 2002.

After surviving a serious accident in 2000 while she was touring, Selda was relatively lucky in the new millennium with the rediscovery of Turkish psychedelic-era music by European and American collectors. Her first LP, Selda, was re-released in 2006 by Finders Keepers, but was met with grave reviews

Check out these sites to get info on her entire discography and further biographical information:

http://progressive.homestead.com/SELDA.html

http://flabbergasted-vibes.blogspot.com/2009/08/selda-bagcan-vurulduk-ey-halkim-unutma.html

AstroNation Torrent Blog .91

2009-09-27T18:18:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=268522

Birmingham, Hare & Hounds 51208 (5 December 2008)

Recorded by P.J.Peanutz Edirol R-09
Pix by P.J. & Mic

Set One: Damo Suzuki, Kawabata Makoto , Charles Hayward with The Courtesy Group

Set Two: Damo Suzuki, Kawabata Makoto , Charles Hayward with Pram

Set one is Damo (vocals), Kawabata Makoto (Acid Mothers Temple) (guitar), Charles Hayward (This Heat) (drums) and The Courtesy Group (Al Hutchins-vocals, Chris Cundy-bass clarinet, Dave Baker-drums, Dave Cochrane-bass, Saul Hillier-bass, Hidehiko Nagai-guitar). Set two is Damo, Kawabata Makoto , Charles Hayward and Pram. Note: The two sets appear to be long improvisations hence no tracks or set listing.

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

http://www.dimeadozen.org/torrents-details.php?id=268638

SUNN O))) & Eagle Twin 2009-09-24 The Bijou Theatre Knoxville TN USA
Sony ECM-717 > M-Audio 10db pad > ZOOM H2 > SDHC card > PC > WavePad > TLH > Flac

Please share only in the original flac format that it was uploaded in.

Taped by Jerry B. aka "The Govner"

Eagle Twin Part I
Eagle Twin Part II
50:31

Sunn O))) Part I
Sunn O))) Part II
78:06

Velvert Turner

2009-09-25T00:36:00.000-07:00

All Music Guide Review by Sean Westergaard

Velvert Turner was apparently a friend of Jimi Hendrix's, and the Hendrix vibe on the album Velvert Turner Group is almost overpowering, right down to the fish-eye photo on the back cover. Turner's got great guitar tone and a playing style quite similar to Jimi. The songs are also similar to later-period Hendrix, circa First Rays of the New Rising Sun, but with some keyboards added. In fact, "Three O'Clock Train" starts out with a riff very close to "Izabella," then sounds more like "51st Anniversary" in the body of the tune. The really shocking thing, though, is how much Turner's voice sounds like Jimi. It's jarring, right down to the same vocal inflections. But it doesn't sound like imitation, it just sounds like they came from the same places. The songs are good, although not the equal of Hendrix's, but some of the guitar playing is great, with some good feedback and panning effects to boot. It's certainly derivative, but Jimi left so few official albums that this will be a welcome sound to Hendrix fans.

From Chris Robinson:

I met Velvert at the Stable Inn on Barrow St in the Village, an after- hours hang out w/ food and a juke box. My friend Ronnie Romano knew Velvert, and knew he was looking for a keyboard player for his LA group, so Ronnie hooked us up. Always a man of style, Velvert had his rented stretch limo whisk us away to his hotel across from Madison Square Garden, where we talked all night.

A week later producer Tom Wilson was picking me up at LAX....... Hollywood!, DA DA DA DA DA DA DA, Hollywood!..... A clever, witty young man was Velvert. He hung out for years with Jimi Hendrix, both before and after Jimi made it big---Velvert was his musical protégé, side-kick, and 'little brother'. I guess Tom Wilson jumped at the chance to produce Velvert, on Micheal Monarch's Just Sunshine label--(Micheal's the curly headed dude on the motorcycle at the end of the original Woodstock movie).

And Velvert told me the story why: During a break in their 1966 American tour, the Animals bass player Chas Chandler caught Jimi's act at a club and was blown away! He called the Animals producer Tom Wilson (also produced Bob Dylan, Simon and Garfunkel).... "TOM! there's this UNBELIEVABLE guitar player you GOTTA sign him!He can play ANYTHING! He can even play guitar with his TEETH!!" "Chas, I am in the MUSIC business, not the CARNIVAL business--I ain't gonna go see some fool play guitar with his GODDAMM TEETH!!!"...... Well alright, then; Chas took Jimi back to England with him at the end of the Animals' tour---and the rest is you know what.

Touch

2009-09-22T18:57:00.000-07:00

All Music Guide Biography by Christopher Evans:

Most fans of progressive rock tend to assume that the genre came into being in the U.K. somewhere around the time that the Nice changed tack from the psychedelia of songs like "Flower King of Flies" and "Diamond Hard Blue Apples of the Moon" in favor of monkeying around with Sibelius and Tchaikovsky. Yet there's an equally strong case to be made for Touch's one remarkable album, recording sessions for which began as early as 1968, as the true progenitor of prog. The difference is that by the time Keith Emerson was whipping up a media frenzy for his on-stage knife-wielding, Touch were already plummeting earthwards.

The band was essentially the brainchild of keyboard player Don Gallucci, already assured a footnote in rock history as a 16-year-old member of the Kingsmen. In fact, it's his piano that introduces what most people consider to be the definitive version of "Louie, Louie." By the mid-'60s he'd left to form his own moderately successful band, Don & the Goodtimes, alongside vocalist Jeff Hawks, guitarist Joey Newman, and, later, bassist Bruce Hauser and drummer John Bordonaro. The band inevitably began to gravitate away from its R&B roots toward music of a more cosmic mien around 1967, and the name change to Touch soon followed. Gallucci in particular was now composing music that owed as much to jazz and classical forms as it did to rock, and when the band began rehearsing his new material in a Moorish-style castle in the Hollywood Hills, word quickly spread that something special was afoot.

Soon, record company execs were being lured to the castle, plied with drugs, and exposed to the band's formidable sonic assault. A bidding war ended with Coliseum/London Records snapping them up for the then exorbitant fee of $25,000. Recording sessions commenced shortly after at Sunset Sound. It was at this point that the Touch sessions began to acquire legendary status, as a succession of rock superstars began to join the assembled freaks and partygoers drawn by the Touch vibe to hear for themselves what all the fuss was about. Mick Jagger was the first, followed by Jimi Hendrix and Grace Slick. For his part, Hendrix ended up so impressed that he rented studio time just so he could listen to the whole album.

Gallucci, still only 19, grandiloquently called the album "a spiritual quest put to music, a search for the Holy Grail of its generation by way of sound." But when the record company suggested that Touch take their spiritual quest on the road, Gallucci bluntly refused, insisting that it would have been impossible to re-create the music's complexities live. Soon, with their advance spent and sales dwindling, the bandmembers were reduced to using the antique furniture in their rental house for firewood. They split shortly after, leaving other bands to pursue their Holy Grail of sound.

Gallucci's extraordinary potential was never fulfilled. Aside from the odd abortive film soundtrack, he worked briefly as a producer, helming albums by the Stooges and Tom Waits before leaving the music business entirely for a career in real estate. As for his band's legacy, Touch were hailed as inspirational by bands like Yes, Kansas, and Uriah Heep, but their influence has never been even remotely reflected in the sales of their sole album, which only received its first CD release in 1993.

Brainticket

2009-09-22T17:44:00.000-07:00

All Music Guide Biography by Greg Prato:

The obscure late-'60s/early-'70s experimental/Krautrock outfit Brainticket originally formed in 1968, consisting of members from Swiss, German, and Italian descent. Although members came and went during their tenure together, their most popular lineup consisted of Joel Vandroogenbroeck (organ, flute), Ron Bryer (guitar), Werni Frohlich (bass), Coismo Lampis (drums), Wolfgang Paap (tabla), Dawn Muir (vocals), and Hellmuth Kolbe (potentiometers, generators, and sound effects). The multi-member band issued a trio of albums in the early '70s — 1971's Cottonwoodhill, 1972's Pshychonaut, and 1974's Celestial Ocean — before disbanding. Brainticket resurfaced in the early '80s with a pair of albums, Adventure and Voyage, but soon disappeared once more. The late '90s saw Brainticket's hard to find first two albums reissued on CD.

Francis Ford Coppola - 1979 - Apocalypse Now

2009-09-22T16:54:00.000-07:00

Apocalypse Now Wikipedia Movie Description:

Apocalypse Now is a 1979 American epic war film set during the Vietnam War. The plot revolves around two US Army special operations officers, one of whom, Captain Benjamin L. Willard (Martin Sheen) of MACV-SOG, is sent into the jungle to assassinate the other, the rogue and presumably insane Colonel Walter E. Kurtz (Marlon Brando) of Special Forces. The film was produced and directed by Francis Ford Coppola from a script by Coppola and John Milius. The script is based on Joseph Conrad's novella Heart of Darkness, and also draws elements from Michael Herr's Dispatches, the film version of Conrad's Lord Jim (which shares the same character of Marlow with Heart of Darkness), and Werner Herzog's Aguirre, the Wrath of God (1972).

The film became notorious in the entertainment press due to its lengthy and troubled production, as documented in Hearts of Darkness: A Filmmaker's Apocalypse. Marlon Brando showed up to the set overweight and Martin Sheen suffered a heart attack. The production was also beset by extreme weather that destroyed several expensive sets. In addition, the release date of the film was delayed several times as Coppola struggled to come up with an ending and to edit the millions of feet of footage that he had shot.

The film won the Cannes Palme d'Or and was nominated for the Academy Award for Best Picture and the Golden Globe Award for Best Motion Picture – Drama.

Directed: Francis Ford Coppola
Produced: Francis Ford Coppola, Kim Aubry
Written by Novella: Joseph Conrad
Screenplay: John Milius, Francis Ford Coppola
Narration: Martin Sheen
Starring: Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Laurence Fishburne, Dennis Hopper, Harrison Ford, Albert Hall, Sam Bottoms, Aurore Clement, Christian Marquand
Music: Carmine Coppola, Francis Ford Coppola
Cinematography: Vittorio Storaro
Editing: Walter Murch

Zerox

2009-09-22T09:15:00.000-07:00

I was searching online for some 80's hip-hop and I stumbled across this from a recommendation that a good friend of mine made. Blurs and Slurs is the only song I have heard from them but the beat is bugged out! This is definitely ahead of its time. Little is known about this group outside of the fact that they came from Dallas and were heavily slept on! Listen to a track of theirs at the following site:

http://www.cocaineblunts.com

Michio Kurihara

2009-09-21T22:00:00.000-07:00

All Music Guide Biography by Jason Ankeny

The premier guitarist of the Japanese underground psychedelic movement, Michio Kurihara was born November 23, 1961, in Tokyo. Though raised on a diet of classical music, as a teen his interests turned to rock & roll, and he began playing guitar at age 14. Kurihara made his recorded debut in 1983 with ONNA, a group led by cartoonist Keizo Miyanishi, followed a year later by a tenure with YB02. In mid-1986, he was invited to join the You Ishihara-led White Heaven, considered in some quarters the most significant band of Japan's psychedelic revival. Here Kurihara's guitar playing blossomed, its ferocious, feedback-rich lyricism often evoking Quicksilver Messenger Service's John Cippolina. He remained with White Heaven until 1991, going on to play with Henkyo Gakudan and others.

In 1994 Kurihara first collaborated with Ghost, whose ranks he officially joined three years later. As a result of the band's U.S. distribution deal with Drag City, many Western listeners discovered Japan's blooming psychedelic culture for the first time — in particular, acid folk duo Damon & Naomi championed their admiration for Ghost in interviews, later inviting the group to open their U.S. tour and in 2000 releasing the LP collaboration Damon & Naomi With Ghost. Kurihara played guitar on the duo's subsequent world tour, and remained a frequent collaborator in the years to follow. In late 1999, he also joined with White Heaven bandmates You Ishihara and Chiyo Kamekawa in the Stars, and in 2005 finally issued his debut solo album, Sunset Notes.

Hijack

2009-09-21T21:00:00.000-07:00

Biography below comes from Wikipedia

Hijack were a hip hop group from Brixton in London, featuring Kamanchi Sly, DJ Supreme, DJ Undercover, Ulysses, Agent Fritz and Agent Clueso. Their first single, "Style Wars" (Music of Life, 1988 caught the attention of the British hip hop community. Their next release, "Hold No Hostage" / "Doomsday of Rap" (Music of Life, 1989) became an underground hit across Europe, bringing them to the attention of West Coast rapper Ice T. Ice T signed the group to his own Rhyme Syndicate record label, and they recorded and released the single "The Badman is Robbin'" (Rhyme Syndicate, 1989). The track reached #56 in the UK Singles Chart. The group's debut album - The Horns of Jericho (Rhyme Syndicate, 1991) - was recorded around the same time, but Warner (who had a distribution deal with Rhyme Syndicate) did not release the album in the United States. Following this the group split up and went their separate ways.

DJ Supreme founded Backbone Records, whilst Kamanchi Sly and DJ Undercover founded Reservoir Records and recorded as Mr Pink and Mr Blond for a short. Kamanchi Sly changed his name to Unknown MC and had chart success with his brother DJ Pied Piper. DJ Pied Piper and the Masters of Ceremonies's single "Do You Really Like It" (Relentless Records, 2001) reached number 1 in the UK chart. Since then, Kamanchi Sly released two EPs in 2004. DJ Supreme attended the Scratchcon 2000 seminar in San Francisco, California, which was hosted by DJ Qbert. Supreme is an active DJ on the European nightclub circuit and continues to work in record production. His most recent project include the making of his semi-biographical documentary film, The Turntable Trixters, which chronicles the history of Hijack. The film was recently screened by the British Film Institute and a DVD is available.

Valentine Hugo

2009-09-21T20:10:00.000-07:00

From Wikipedia

Valentine Hugo (1887 – 1968) was an artist. She was born Valentine Gross in Boulogne-sur-Mer and died in Paris. Valentine studied painting in Paris, and in 1919 married French artist Jean Hugo (1894-1984), great-grandson of Victor Hugo. She collaborated with him on ballet designs including Jean Cocteau's Maries de la Tour Eiffel (1921), and in 1926 executed 24 wood engravings after maquettes by Jean Hugo for Romeo and Juliette. She met the surrealists around 1928 and actively participated in the movement between 1930 and 1936. The foremost illustrator of Paul Éluard's work, she first exhibited with the surrealists in the Salon des Surindependants of 1933.

David Lynch

2009-09-21T19:46:00.000-07:00

Mini Biography from The Internet Movie Database

Born in 1946 in Missoula, Montana, David Lynch was raised early in small town America. After high school, he went to Boston to attend the School of the Museum of Fine Arts. Shortly after that, he planned a 3 year trip to Europe to work on his art, but didn't take to it and left after 15 days. In 1977, he released his first film Eraserhead (1977), which, although not critically acclaimed, was noticed by many people, including Francis Ford Coppola, who was rumored to have screenings of it for his cast and crew on the Apocalypse Now (1979) set. After a stream of visually stunning films such as Blue Velvet (1986), Lost Highway (1997) and Mulholland Dr. (2001). All these films, and a few more, beginning with Blue Velvet (1986), and including his "Twin Peaks" (1990) TV series, feature what has now been added to signature Lynch features, such as vibrant colors, the use of dreams and amazing montage to connect character thought and multiple emotions into one sequence.

In addition to that, since Blue Velvet (1986), Lynch has gained the reputation of one of the foremost auteurs in the filmmaking industry, and one of the few living auteur's who continually defies both cinematic convention and the Hollywood curse. His films continually represent his ideal that films; representing life, should be complicated, and, in some cases and sequences, be inexplainable. I'm sure he knows why he puts the scenes and shots and props and cuts and effects and filters and lights and colors and actors and costumes and music in the scenes, but he'll never tell anyone else. For this reason, and due to the beautiful confusion of his films, he will always be recognized as if not one of the greatest filmmakers, one of the most original.

Lynch is a creative master, and even if his films aren't necessarily realistic, they are real in their representation of what life is: a confusing, irrational series of random events that truly have little purpose, and one makes their own interpretation of every event, giving their life purpose personally. Lynch wants his films to resonate emotionally and instinctively, and for every person to relate and make their own understanding. As he said "Life is very, very confusing, and so films should be allowed to be, too". David Lynch is original. He has done things in filmmaking that D.W. Griffith did in his day. David Lynch will never stop making beauty on the screen.

IMDb Mini Biography By: TADAMS

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Francis Ford Coppola - 2007 - Youth Without Youth

2009-09-21T19:32:00.000-07:00

From Wikipedia:

Youth Without Youth is a 2007 film by Francis Ford Coppola, based on the novella of the same name by Romanian author Mircea Eliade. It is the first film that Coppola has directed since 1997's The Rainmaker. It was distributed through Sony Pictures Classics in the United States and Pathé in the UK and France. The film was shot with a Sony HDC-F900 in High Definition and edited on Final Cut Pro 5. The music was composed by Grammy award-winning Argentinan classical composer Osvaldo Golijov. Originally the film was to be distributed by United Artists. Sony Pictures Classics distributed the film when it opened in limited release in the United States on December 14, 2007. In an interview, Coppola said that he made the film as a meditation on time and on consciousness, which he considers a "changing tapestry of illusion," but he admitted that the film may also be appreciated as a beautiful love story, or as a mystery.

Agitation Free

2009-09-21T14:34:00.000-07:00

The biography below on Agitation Free comes directly from here

AGITATION FREE was one of the leading exponents of German experimental rock music in the early 1970s. Even in the initial phase of its existence, the group had already attained cult status, which was consolidated over the years. Starting in 1967, the Berlin band had begun to develop long and, for its time, very free musical improvisations. They were experimenting in concerts with liquid projectors, slides, and their own experimental films, in ways analogous to the California underground bands Jefferson Airplane and Iron Butterfly. AGITATION FREE soon was counted among the most interesting bands in Berlin, and worked in the avant-garde music scene with composers such as Ladislav Kupkovič, Friedhelm Döhl, Erhard Großkopf, Peter Michael Hamel and John Cage.

The Beat Studio that AGITATION FREE initiated under the direction of Thomas Kessler also developed into the creative center for the Berlin groups ASH RA TEMPEL and TANGERINE DREAM. Early in 1970, AGITATION FREE appeared in the “First German Progressive Pop Festival” at the Berliner Sportpalast. In April 1972, the band – now consisting of Lutz Ulbrich, Michael Günther, Jörg Schwenke, Michael Hoenig and Burghard Rausch – toured Egypt, Lebanon, Cyprus and Greece at the invitation of the Goethe Institute. Manifold impressions from this trip found expression in the first album, Malesch, a fascinating soundweaving of exotic-sounding original recordings from the Near East journey combined with Krautrock – and a forerunner of today’s world music.

Many concerts brought the band steadily increasing fame and recognition all over Europe. The group appeared in the cultural program of the Munich summer Olympics in 1972, went on their first French tour for two months early in 1973, appeared in May at the “German Rock Super Concert” in Frankfurt, produced their second album, 2nd – with Stefan Diez (g) – and then went on to tour major European cities with Gustl Lütjens (g). The leading radio stations SFB and WDR broadcast portraits, radio plays and live concerts that featured the group. The band also played venues such as the renowned “Warsaw Autumn” festival.

By the end of 1974, though, the five musical individualists were moving in such different directions that, after a farewell concert, the band broke up. Looking back, it’s evident that the AGITATION FREE experimental circle was one of the important bands in the “Berlin School”, not to mention its role as a career springboard for many musicians. For example, Christopher Franke helped TANGERINE DREAM to gain worldwide recognition. Axel Genrich went to GURU GURU. Burghard Rausch became a founding member of BEL AMI, now is the drummer for the “Krautrock supergroup“ ELECTRIC FAMILY, and has had a career as a music journalist/moderator for radio and TV. Michael Günther became the technical coordinator of the Berlin Jazz Fest. Gustl Lütjens went on to be a sought-after studio musician, toured with SHIRLEY BASSEY, NENA and others, and later found a large audience, primarily in the USA, with his new-age band LIVING MIRRORS. Michael Hoenig worked for a time with KLAUS SCHULZE and TANGERINE DREAM and released a few solo albums before going on to become known in Hollywood as a film composer and a producer of contemporary classical music. He has worked with artists as different as Miles Davis, Phillip Glass, Morton Subotnick, Harold Budd and Jack Nitzsche. Lutz “Lüül” Ulbrich joined ASHRA, worked with VELVET UNDERGROUND singer NICO, produced noted solo albums, music for theater, wrote an autobiography and has celebrated worldwide success since the late 1990s with the 17 HIPPIES.

Fortunate circumstances brought the band back together in its original formation in 1998, nearly 25 years after they had separated, for a spontaneous gig on the stage of Berlin’s Tränenpalast. Four of the AGITATION FREE musicians decided to continue to work together, and in summer 1999, the new AGITATION FREE album River Of Return, produced by SPLIFF guitarist Potsch Potschka, was released. Early in 2007, the icons of German rock music, once again in the original line-up, played several wildly acclaimed concerts in Japan. And the members of AGITATION FREE are now lined up alongside Frank Zappa and David Bowie, large as life, to be admired in the Tokyo Tower Wax Museum.

For the first time, SPV is offering the complete series of the band’s CDs, after years when mostly bootlegs and fragments were in circulation worldwide, in a version newly mastered and authorized by AGITATION FREE.  The original albums have been greatly enhanced, both acoustically and graphically, and extensive bonus material, some of it in the form of previously unreleased concert recordings, photos and films, has been added.

AstroNation Torrent Blog .90

2009-09-21T14:21:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=267573

Santana
LA Forum
Los Angeles
March 23th 1971

SDB

Lineage: Liberated Boot/CDEx/Flacfrontend/TLH/you

While strolling through my stuff I came across this fantastic show.
Perhaps owned by many traders, but hopefully a new experience to others.
Couldn't find it at Dime.
If I am misinformed, please let me know,

The show is part of a boot together with tracks of the Santana
San Diego show of November 5th 1971.
Special guest appearance by José Feliciano, which is the reason
BMW/GQ and OCV are played twice.

Musicians:

Carlos Santana
Jose “Chepito” Areas
David Brown
Michael Carabello
Coke Escovedo
Gregg Rolie
Neal Schon
Michael Shrieve

Guest:

Jose Feliciano 12-14

1. Waiting
2. Ballin’
3. Black Magic Woman/Gypsy Queen
4. Oye Como Va
5. Savor/Samba Pa Ti
6. Toussaint L’Overture
7. Evil Ways
8. Incident At Neshabur
9. Jungle Strut
10.Everybody’s Everything
11.Gumbo
12.Black Magic Woman/Gypsy Queen
13.Oye Como Va
14.Guajira

Total time: 79.50

Sound samples in the comments section.

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

http://www.dimeadozen.org/torrents-details.php?id=267477

Rage Against the Machine
1996-10-01
Los Angeles, CA, The Palladium
"Scream Louder" bootleg
Label: Cool Daddy Productions

Track Listing **
1 Bulls on Parade
2 Bombtrack
3 Vietnow
4 Rollin' *
5 Blacksteel #
6 Darkness %
7 Tire Me
8 Fistfull of Steel
9 Bullet in The Head
10 People ^
11 Know Your Enemy
12 Killing in the Name
13 Freedom $

Yet another bootleg liberated from Ebay by killinginthename!
no tracklist, all tracks are improvisations

lineage: Audience recording 2nd gen Tape > CDR > wavelab (remastering) > flac

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

http://www.dimeadozen.org/torrents-details.php?id=267435

Return to Forever
Pori Jazz Festival,
Finland
July 1972
soundboard

Chick Corea - Fender Rhoades Electric Piano
Joe Farrel - woodwinds
Stanly Clarke- Bass
Airto Moriera - Drums
Billy Trag - vocals

01. Piano intro/La Fiesta 15:55
02. Spain 11:15
03. Jam/Matrix(cut) 24:31

TT: 51:44

Cdr trade/flac/you

Omar Rodríguez-López

2009-09-21T13:08:00.000-07:00

From Wikipedia:

Omar Alfredo Rodriguez-Lopez (born September 1, 1975 in Bayamón, Puerto Rico) is a Grammy award winning multi-instrumentalist, songwriter, lead guitarist and producer for the group The Mars Volta, and the former guitarist for the post-hardcore outfit At the Drive-In. He has also, since 2004, embarked upon a prolific and genre-defying solo career, variously described as experimental, avant-garde, or "progressive" and has collaborated with such artists as John Frusciante, RZA, Prince Paul, Coaxial, Radio Vago, Erykah Badu and El-P.

Night Music: Sunday Night with Jools Holland and David Sanborn

2009-09-21T12:29:00.000-07:00

From Wikipedia:

Sunday Night, later named Michelob Presents Night Music, was a late-night television show which aired for two seasons between 1988 and 1990 as a showcase for jazz and eclectic musical artists. It was hosted by Jools Holland and David Sanborn, and featured Marcus Miller as musical director. Guests included acts such as Sonny Rollins, Shinehead, Sister Carol, Sonic Youth, Joe Sample, Slim Gaillard, Pere Ubu, and many others. In addition, vintage clips of jazz legends like Thelonious Monk, Dave Brubeck, and Billie Holiday were also featured. The show also featured a house band of Omar Hakim (drums), Marcus Miller (bass), Philippe Saisse (keys), David Sanborn (sax), Hiram Bullock (guitar), and Jools Holland (piano). The show often allowed its guests ample time to explain the origins of their sound, meaning of songs, etc. It also provided a national audience for lesser known acts (like Arto Lindsay's band The Ambitious Lovers). Hal Willner was the music coordinator, responsible for the interesting musical mix-and-matching that took place on the show... usually successfully.

For a very extensive listing of youtube clips from many of the Night Music performances, follow this link here

Eddie Palmieri

2009-09-21T10:38:00.000-07:00

All Music Guide Biography by Richard S. Ginell

Eddie Palmieri is one of the foremost Latin jazz pianists of the last half of the 20th century, blessed with a technique that fuses such ubiquitous jazz influences as the styles of Herbie Hancock, Thelonious Monk, and McCoy Tyner into a Latin context. No purist, he has also shown a welcome willingness to experiment with fusions of Latin and non-Latin music. However, despite a number of stints with major labels and numerous industry awards and nominations, he has yet to break into the American record scene in a big way.

Like his older brother Charlie, Eddie started playing at an early age (eight) and studied classical piano while also playing drums. He made his professional debut with Johnny Sequi's orchestra in 1955 and eventually joined Tito Rodriguez's popular band in 1958-1960. In 1961, Palmieri formed his highly influential band la Perfecta, whose flute and twin- or triple-trombone front line made American jazz musicians like Herbie Mann take notice; he also scored heavily in an excellent 1966 collaboration with Cal Tjader, El Sonido Nuevo (Verve). After la Perfecta split up in 1968 due to financial problems, Palmieri played with the Tico and Fania All-Stars, recorded with Alfredo "Chocolat" Armenteros, Cachao, and Justo Betancourt, and, like his brother, cut some Latin boogaloo sessions. Around the mid-'60s, Palmieri began formal studies of arranging, and the Monk influence became more pronounced in his piano work. While recording for the Latin Coco label in the mid-'70s, Palmieri started to mix salsa with R&B, pop, rock, Spanish vocals, and jazz improvisation. Brief affiliations with Columbia in the late '70s and Capitol (in league with David Sanborn) in the late '80s failed to produce an American breakthrough hit, though the latter attempt was aimed squarely at the burgeoning "jazz-lite" market. While much of his output as a leader remains out of print in American catalogs, several of his older albums are available on CD; Palmieri has also remained active in the 1990s, recording the jazz-oriented Palmas (1993) for the normally classical Nonesuch label, as well as a series of albums for the RMM label. He returned to his La Perfecta days in April 2002 with La Perfecta II on the Concord Jazz label. Two more albums for Concord followed, Rimo Caliente in 2003 and Listen Here in 2005.

Townes Van Zandt

2009-09-19T21:20:00.000-07:00

All Music Guide Biography by Kurt Wolff

Townes Van Zandt's music doesn't jump up and down, wear fancy clothes, or beat around the bush. Whether he was singing a quiet, introspective country-folk song or a driving, hungry blues, Van Zandt's lyrics and melodies were filled with the kind of haunting truth and beauty that you knew instinctively. His music came straight from his soul by way of a kind heart, an honest mind, and a keen ear for the gentle blend of words and melody. He could bring you down to a place so sad that you felt like you were scraping bottom, but just as quickly he could lift your spirits and make you smile at the sparkle of a summer morning or a loved one's eyes — or raise a chuckle with a quick and funny talking blues. The magic of his songs is that they never leave you alone.

Despite his warm, dusty-sweet voice, as a singer Van Zandt never had anything resembling a hit in his nearly 30-year recording career — he had a hard enough time simply keeping his records in print. Nonetheless, he was widely respected and admired as one of the greatest country and folk artists of his generation. The long list of singers who've covered his songs includes Merle Haggard and Willie Nelson (who had a number one country hit with "Pancho and Lefty" in 1983), Emmylou Harris, Jimmie Dale Gilmore, Nanci Griffith, Hoyt Axton, Bobby Bare, the Tindersticks, and the Cowboy Junkies.

Van Zandt was a Texan by birth and a traveler by nature. His father was in the oil business, and the family moved around a lot — Montana, Colorado, Minnesota, Illinois, among other places — which accounted for his sometimes vague answers to questions of where he "came from." Van Zandt spent a couple years in a military academy and a bit more time in college in Colorado before dropping out to become a folksinger. (Van Zandt often returned to Colorado in subsequent years, spending entire summers, he said, alone in the mountains on horseback.)

Van Zandt moved to Houston and got his first paying gigs on the folk music circuit there in the mid-'60s. He played clubs like Sand Mountain and the Old Quarter (where in 1973 he recorded one of his finest albums, Live at the Old Quarter, released four years later), and he met singers such as Guy Clark (who became a lifelong friend and frequent road partner), Jerry Jeff Walker, and blues legend Lightnin' Hopkins, who had a large influence on Van Zandt's guitar playing in particular.

Another Texas songwriter, Mickey Newbury, saw Van Zandt in Houston one night and soon had him set up with a recording gig in Nashville (with Jack Clement producing). The sessions became Van Zandt's debut album, For the Sake of the Song, released in 1968 by Poppy Records. The next five years were the most prolific of Van Zandt's career, as Poppy released the albums Our Mother the Mountain, Townes Van Zandt, Delta Momma Blues, High, Low and in Between, and The Late Great Townes Van Zandt. These included such gems as "For the Sake of the Song," "To Live's to Fly," "Tecumseh Valley," "Pancho and Lefty," and many more that have made him a legend in American and European songwriting circles.

Van Zandt moved to Nashville in 1976 at the urging of his new manager, John Lomax III. He signed a new deal with Tomato Records and in 1977 released Live at the Old Quarter, a double album — and the first of several live recordings — that contained many of his finest songs. In 1978 Tomato released Flyin' Shoes; the long list of players on that album included Chips Moman and Spooner Oldham.

Van Zandt didn't record again for nearly a decade, but he continued to tour. He moved back to Texas briefly, returning again to Nashville in the mid-'80s. During the early '80s, both "If I Needed You" and "Pancho and Lefty" became country radio hits. In 1987, Van Zandt was back in business with his eighth studio album, At My Window, which came out on his new label, Sugar Hill. By this time, Van Zandt's voice had dropped to a lower register, but the weathered, somewhat road-weary edge to it was as pure and expressive as ever. Two years later, Sugar Hill released Live & Obscure (recorded in a Nashville club in 1985), and two more live albums (Rain on a Conga Drum and Rear View Mirror) appeared on European labels in the early '90s. In 1990, Van Zandt toured with the Cowboy Junkies, and he wrote a song for them, "Cowboy Junkies Lament," which appeared on the group's Black Eyed Man album (along with a song the Junkies wrote for him, "Townes Blues").

Sugar Hill released Roadsongs in 1994, on which Van Zandt covered songs by Lightnin' Hopkins, Bruce Springsteen, the Rolling Stones, and others, all recorded off the soundboard during recent concerts. At the end of that same year, Sugar Hill released No Deeper Blue, Van Zandt's first studio album since 1987. Van Zandt recorded it in Ireland with a group of Irish musicians. Van Zandt sang every song but only played guitar on one.

A year and a half after the release of No Deeper Blue, Van Zandt died unexpectedly on January 1, 1997; he was 52 years old. Posthumous releases included collections like Last Rights: The Life & Times of Townes Van Zandt and Anthology: 1968-1979, as well as albums like 1998's Abnormal and the following year's Far Cry From Dead, which featured previously unreleased songs.

The early 2000s saw a resurgence of interest in Van Zandt's music and enigmatic life; three book projects and two films entered production, and features on the musician appeared in such tastemaking rags as Mojo. But perhaps the greatest gem was the discovery of a collection of Van Zandt demos dating from 1966, a full two years before his proper debut. The ten previously unreleased recordings were issued by the Houston imprint Compadre in April 2003 as In the Beginning.... Included in the release were liner notes written by John Lomax III.

AstroNation Torrent Blog .89

2009-09-19T20:57:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=267287

md1991-08-25 Hollywood Bowl

Miles Davis
Hollywood Bowl, Ca, USA 1991-08-25
Audience Recording

01-Perfect Way (5.49)
02-New Blues (Star People) (16.07)
03-Hannibal (17.58)
04-Time After Time (4.25)
05-Wrinkle I (1.17)
06-Wrinkle II (4.11)
07-Penetration (Incomplete) (8.06) (Removed)

Total Time. 57.53 - 8.06 = 49.47

Miles Davis. Trumpet, keyboards
Kenny Garrett. Alto Saxophone, Flute
Foley. Guitar
Daron Johnson. Keyboards
Richard Patterson. Bass
Ricky Wellman. Drums

Cass(Master)>CDR(Trade)>Wave(EAC)>Flac(Traders little Helper)

Note.
This is Miles Last Concert.
Infortunately I had to remove Penetration since it is available on the Live around the world cd.
Miles Happy Birthday quotation on New Blues at 1.13 to what I believe was for Wayne Shorter who was in attendance.
I originallly received Wrinkle I and II in separated form with a blank space between the 2, I left it as it is.

Long Live Miles

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

http://www.dimeadozen.org/torrents-details.php?id=267253

GONG
1972-12-14
(dec 14, 1972)
Maison des Jeunes
Rodez, France

sound like a sbd - quality "B/B-"
checked for losslessness with traders little helper.
this one is also (probably false) circulating as
"LYON 1972-12-14" and as "France 1972-10-14"
but read yourself at http://www.planetgong.co.uk/gas/gigs/1972.shtml

CD1
1. Gnome intro 0:48
2. Pot Head Pixies 1:24
3. Zero the Hero & the Witch's Spell 10:49
4. I am your Pussy 2:44
5. Why are we Sleeping? 3:36
6. Radio Gnome Invisible 8:27
7. I Feel so Lazy 3:36
8. It's The Time of Your Life 5:07
9. Tropical Fish 9:47

CD2
1. Dreaming it 6:04
2. Flying Teapot 6:55
3. Flying Teapot pt. II 12:54
4. Flying Teapot pt. III 4:46
5. Blues for Findley 13:30

lineup:
Daevid Allen - voc, guitar, glissando guitar
Shakti Yoni - space whispers & vocals
Bloomdido Bad de Grass - sax, voc
Hi T Moonweed - synth
Francis Moze - bass
Laurie Allan - drums

http://db.etree.org/lookup_show.php?shows_key=87222
http://www.planetgong.co.uk/gas/gigs/1972.shtml
http://calyx.club.fr/gong/chrono.html

more GONG at
http://www.molvaer.de/best-of-the-rest.htm#G

seeded by 123456789 on Feb 27, 2006 as torrent #84323
re-seeded by FBAUER on 2009-09-20

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

http://www.dimeadozen.org/torrents-details.php?id=267115

Inner Circle, w John Cipollina
The Orphanage, San Francisco, CA
July 22nd, 1975

1. When I Feel Good 4:45
2. Instrumental 2:16
3. I Shot the Sheriff 11:22
4. Love Me Forever > 7:08
5. Give Me Some More Of You 9:29
6. Talkin' Blues > 6:03
7. Why Can't We Be Friends 2:15
Total 43:21

Really nice audience recording

1st generation tape > equalizer > cd > eac > wav > flac

Really unusual show for John, this, but really a must to have, since i think is it the only John's collaboration with a real reggae band. Also, i'm not a reggae expert, so i guessed most of the songs' titles, so any correction is more than welcome.

The Abyssinians

2009-09-19T15:37:00.000-07:00

The following biography below comes from the official site for The Abyssinians

http://www.theabyssinians.com/

The Abyssinians:

The roots harmony vocals trio the Abyssinians was formed in 1968 by founding members Donald Manning, Bernard Collins and Linford Manning. It was in 1969 with their release “Satta Massagana” recorded on Coxson Dodd’s Studio One label—a Rastafarian hymn based on the Ethiopian Amharic language, that launched them into the ranks of Reggae music greats. “Satta Massagana” became one of reggae’s most popular songs; becoming an anthem that was heard on the radios, in the dancehalls and in the churches of Jamaica. It was also covered by many other International artists’ including Third World. What followed were a string of hits of which included "Declaration of Rights," "Yi Mas Gan." and “Let My Days Be Long”. Early albums were a collection of singles recorded throughout the 1970’s on their own label—Clinch, of which included “Forward On To Zion” (1976) and “ARISE” (1978).

The group separated in 1980, during the separation group co-founder Donald Manning performed internationally under the name The Abyssinians with his brother Carlton Manning (of Carlton & The Shoes) and singer David Morrison. In Jamaica, Bernard Collins performed on stage with longtime associate George Henry.. In 1989, Donald, Bernard and Linford joined together again to record over the next three years. These sessions resulted as the originally released album, “$19.95 + TAX” in 1995 with a very limited number of CD’s printed. Artists Only! Records realized the importance of this album and in 1998 re-titled and re-released this album as “REUNION”. “REUNION” now stands strong as one of The Abyssinians greatest albums.

In 2004, Donald Manning & Bernard Collins reunited on stage for the first time in over ten years along with singer David Morrison, performing on tour across Europe in the winter, at Colorado’s Reggae on the Rocks in the summer, and in December on a two week tour along the California coast . In February and March of 2005 they returned for an extended tour of Europe, and during the Summer of 2005 they toured the West Coast throughout California, Oregon and the Rocky Mountains in Montana, Utah, and Colorado. During the Summer they also performed at The 12th Annual Sierra Nevada World Music Festival, The 10th Annual Monterey Bay Reggae Festival and The 4th Annual Soul Rebel Festival.

Until Heartbeat Records reissued Satta Massagana (a.k.a. Forward Onto Zion) in 1993, few groups in reggae were more of an enigma than the Abyssinians. "Satta Massagana," has been referred to as "reggae’s national anthem." The recording session that yielded "Satta" was arranged and financed independently and clearly marked a turning point for reggae -- lyrically, rhythmically, and spiritually.

Donald Manning explains how the song was born. "Carlton [Manning] wrote ‘Happy Land’ [b-side to ‘Love Me Forever’] with lyrics, ‘There is a land far, far away, where there’s no night, there’s only day. Look into the book of life, and you will see that there’s a land far, far away.’"

"Satta Massagana" (meaning ‘give thanks’) is obviously notable for its use of Amharic, the language of Ethiopia (Abyssinia). The Amharic is a result of Donald Manning’s Rastafarian influence on the group. The study of Amharic in Kingston in the 60s was a function of the post-colonial, Pan-African identity and Rastafarian awareness sweeping the ghetto after Haile Selassie’s 1966 visit to the island. Collins recalls how Donald’s brother Neville used to teach Amharic in the Jonestown area of Kingston. "[He] was a man who used to . . . have classes around there, where we could all go and learn the language, cause he used to get books from Ethiopia through England -- Ethiopian opinions. And those books contain all literatures that we need . . . That’s how come we get acquainted with the Amharic . . . Bredren from all about used to come there and learn."

Donald Manning explains the Amharic in some of the group’s well-known compositions. "Tena Yi Stillin. Dina Igzhabhier Y Mas Gan. Satta Massagana.’ When I say ‘Dina’ means ‘good,’ ‘Igzhabier’ means ‘God,’ ‘Y Mas Gan,’ [means] ‘he may be praised,’ so I correct the mistake that I made by singing ‘Satta Massagana’ [to God]. ‘Tena Yi Stillin’ means ‘greetings.’ It means ‘good morning.’ It means ‘good bye.’ It means ‘good afternoon.’ It means ‘health, may He give for thee.’"

The legendary "Satta" recording session included Leroy Sibbles on bass, Fil Callendar on drums, Eric Frater on guitar, Robbie Lyn on keyboards, Vin Gordon on trombone and Felix "Deadley Headley" Bennett on saxophone. "That tune really, no one specially [gave] a specific arrangement to that song," recalls Bernard Collins. "We went there singing the song on our guitars. Cause we had like the melody progression. So we went there playing the chords and everything on the guitar, and while we play, everybody just came in. Cause these men were professional musicians . . . You haffe say they did all the arrangement really, Leroy Sibbles feel out his own bass line, Deadley Headley . . . cause we didn't go in there with no special arrangement -- just the basic chords and the progression of the song and the melody. Is just a vibes tune.

"[We] released it first on Clinch, it was released as ‘Far Away Land.’ It wasn’t till after a time, Donald Manning say we should call it ‘Satta Massagana,’ and then we actually register the song as ‘Satta Massagana,’ [with] all three members owning the copyright. All three of us rallied around to help get it pressed, get to the record shops, and everything.

"We record that song [‘Satta’] in March 1969, and it wasn’t till about 1970 that [producer] Joe Gibbs actually [remade] a recording of it. He was the first one who did a rerecording version, [which] he called ‘A So,’ an instrumental with the Destroyers. That him do [with] Tommy McCook, Bobby Ellis, and him come by some other hornsmen. And it playin on the radio. It [was] just an instrumental. But . . . instrumental versions just bring back the record right back to the people, because when it [was] released first, it used to just play in the dancehall. Because ‘Satta’ is really a dancehall tune in those days. Home buyers never have it. It was just sound system people, but it wasn’t until Joe Gibbs bring out this version that everybody start going at this song."

The original "Satta" recording was ‘versioned’ (remixed and/or re-voiced) more than a dozen times, including the Abyssinians’ own remake "Mabrak," a direct response to Joe Gibbs’ "A So." Instrumentals included "Thunderstorm" featuring Bongo Herman, and several Tommy McCook/Vivien Hall horn overdubs including "Mandela." Collins later re-voiced the song as "Satta Me No Born Yah." Prince Far I, Big Youth, Dillinger and others also took shots at the rhythm. Since its debut in 1969, nearly every producer in reggae has remade "Satta," and literally hundreds of remakes of the song exist.

Collins says that "Satta" is at the root of modern dancehall and dub. "[‘Satta’] was like the first dancehall song. And the first dub, ‘Satta Massagana.’ . . . if you listen to the flip side of ‘Mabrak,’ same ‘Satta’ version . . . is drum and bass. Because we record that tune on two-track [two-channel tape recorder]. When I was at the studio one day, cutting a pure stamper, one of my bredren just put it on single track [one channel], and we just get the drum and bass. And him say, ‘but wait, this sound good mon!’ And we just release the flipside of ‘Mabrak,’ which is ‘Issat’ -- pure drum and bass. And that used to play in the dancehall, regular. Cause we used to sell a lot of dub plates, like a special to sound systems -- Sir George, Tubby’s, and all them ready soun (soundsystems). Cause we get the dub wax of it right in the dancehall, and from there on you find the dub and version start springing up. From 1970 come down . . . Version business!" The Abyssinians were featured performing "Satta" in a capella style in the film Roots, Rock, Reggae in 1976 and again in Rockers in 1978. These are the only known film appearances of the original trio.

Carlton Manning’s key role in mentoring the Abyssinians is comparable to the role Joe Higgs played with the Wailers years earlier. Not only did Carlton Manning coach the trio in the minor chord harmony singing that would define its style, but he taught Donald to play the guitar. Donald Manning recalls his brother’s efforts. "Most of the harmony that we sing, Carlton teach us, because me and Bernard was singing together and Carlton told me that because I was playing the guitar, Bernard will sing [more] leads than I do . . . so I must sing the harmony."

Carlton Manning explains how the minor chord harmony style that he developed with The Shoes characterized The Abyssinians. "[My] harmonies are mainly minor chords on a 7th, 9th, 13th [tertian (3rds)] harmony. If you know the [guitar], you deal with the chords and formulate the harmonies from there if the artists can take it. Minor chords are intricate. The scales are not the regular scales. You have to know what you’re doing musically. [That’s how] you get the Far East sound."

From the early to mid-70s, the Abyssinians recorded sparingly, but the quality of the group’s work was remarkable. Bernard Collins returned to Studio One in 1970 (without the Manning brothers) to record "Declaration of Rights" with George Henry and Leroy Sibbles singing backing vocals. The recording featured an essential arrangement and organ melody by Jackie Mittoo and rhythm by Leroy Sibbles on bass and Leroy "Horsemouth" Wallace on drums. Notably, the song was one of Bob Marley’s favorites, and a lyrical influence can be heard on The Wailers’ well-known "Get Up, Stand Up" recorded in 1973.

The next Abyssinians recording sessions yielded "Let My Days Be Long" and "Poor Jason Whyte," both released as 45s on the group’s Clinch label. Another of the group’s most enduring tracks was "Y Mas Gan," recorded for Lloyd "Matador" Daley in 1972. Other singles, including "Reason Time," "Leggo Beast," and "Love Comes and Goes" followed by the mid-70s.

The Abyssinians’ first full album was recorded in 1976 and is regarded as one of the greatest in the history of Jamaican music. The sessions were supervised by Clive Hunt and resulted in the album known both as Forward Onto Zion and Satta Massagana. Every track exudes the spiritual essence of the Abyssinians. Regrettably, the tapes were pirated, and the album didn’t see legitimate release until Heartbeat (US) and Blue Moon (France) released it in the mid-90s.

Collins recalls the sessions for the album. "It’s a really original album. Everybody put themself in it. I know I put myself deep in that album. And I figure the other bredren also.

"The story is . . . you have a company at that time here name Sound Tracs [run by] Pat Cooper. You had guys like Clive Hunt, Geoffrey Chung, Mikey Chung -- all of the top notch [musicians] working with the company. Donald told me these people would like to record the album, so we went there and lay down ten tracks. . . but before the album finish is like . . . something went wrong within the company. I don't know what go wrong, but the director of the company actually went away to the States. Clive Hunt had the tapes, and when we check Clive Hunt fe find out what going on with the album, he told us that everybody gone, and the most him can do is take the tape and try and make some money for himself. So him start printing the records here [in Jamaica]."

The group’s deeply spiritual, africentric lyrics were crystallized on virtually every cut on the album, and it featured remakes of "Satta," "Declaration of Rights," and "Y Mas Gan." Donald Manning’s masterpiece "African Race" is one of defining compositions of the album and of the group’s career. After a seductively beautiful acoustic guitar solo by Mikey Chung, the song erupts into a chilling roots anthem. The lyrics speak with pride of African heritage and survival of slavery. Donald Manning explains the inspiration. "I went to the movie theater in Jamaica name Tropical. And them was showing a movie . . . them was bringing slave from Africa, and the movie make I cry . . . when I see what them do to the slave them. When them was rowing the boat, the man beat the drum for them to pull the oar . . . and when them could not row the boat anymore, them throw them overboard and some of them die. Some of them jump overboard and a lot of different, wicked, evil things happen. That's why I make that song, 'we are the slave descendent from the African race. We are proud, it's no disgrace.’"

Despite the illegitimate release of the Clive Hunt sessions, the success of the "Tenayistillin" single in England gained the Abyssinians enough credibility with Virgin that the group became one of the crop signed to the UK giant in 1978. The fruit of the Virgin deal was the Arise album, a good effort but certainly not the cornerstone that the group needed for international commercial success. The underexposure of the Clive Hunt sessions was one of the major tragedies of the Abyssinians’ career.
The group gained some exposure through its performance at Sunsplash II in 1979, although the performance was not included on the documentary film of the event.

Forward, released in 1982 by Alligator in the US, collected some early tracks like "Jerusalem" (b-side to the original "Satta" 45), "Mabrak," "Peculiar Number," several superb Bernard Collins solo cuts, plus "Forward Onto Zion" and the remake of "Satta," both from the Clive Hunt sessions.

The Abyssinians were inactive during the mid-80s, because Linford Manning left Jamaica in 1980, and Donald left in 1984. Bernard Collins went to New York in 1986 to work on an album at Phillip Smart’s HC&F studio on Long Island. Many of those tracks would be used for the Last Days album. The Abyssinians would play Sunsplash in Jamaica in 1989 and in Europe in 1990, and then Linford Manning left the group for good. The group performed again on Sunsplash 92 in Montego Bay.

During the 90s, the Forward album was released on CD (Musidisc), as well as set called Best Of (Musidisc), which features many hard to find singles from the early years of the group. Satta Dub (TABOU.1) and Declaration of Dub (Heartbeat) feature Karl Pitterson dub mixes of many tracks from the Clive Hunt sessions alongside other selected dubs. Virgin reissued Arise on CD in the early 90s.

Collins understands the struggle the Abyssinians still must endure to ensure the name is known and remembered. "In Jamaica here now, the Abyssinians do have a name, yes, in a certain area. If you call upon ‘Satta Massagana,’ ‘Declaration of Rights,’ everybody knows those songs, but if you say ‘Abyssinians’ to most of the young youths, they don’t know. Sometime them don’t even know what the word ‘Abyssinian’ mean. They never hear that word before. But if you say ‘Satta Massagana’ or ‘Declaration of Rights,’ they know the song."

Public Image Ltd. (PiL)

2009-09-18T09:47:00.000-07:00

All Music Guide Biography by William Ruhlmann

Public Image Ltd. (PiL) originally was a quartet led by singer John Lydon (formerly Johnny Rotten, born January 31, 1956) and guitarist Keith Levene, who had been a member of the Clash in one of its early lineups. The band was filled out by bassist Jah Wobble (John Wordle) and drummer Jim Walker. It was formed in the wake of the 1978 breakup of Lydon's former group, the Sex Pistols. For the most part, it devoted itself to droning, slow-tempo, bass-heavy noise rock, overlaid by Lydon's distinctive, vituperative rant.

The group's debut single, "Public Image," was more of an up-tempo pop/rock song, however, and it hit the U.K. Top Ten upon its release in October 1978. The group itself debuted on Christmas Day, shortly after the release of its first album, Public Image. Neither the single nor the album was released in the U.S.

Metal Box, the band's second U.K. album, came in the form of three 12", 45 rpm discs in a film canister. It was released in the U.S. in 1980 as the double-album Second Edition. (By this time, PiL was a trio consisting of Lydon, Levene, and Wobble.) The third album, not released in the U.S., was the live Paris au Printemps (1980). Lydon and Levene, plus hired musicians, made up the group by the time of The Flowers of Romance (1981), the much-acclaimed fourth album, which reached number 11 in the U.K.

In 1983, PiL scored its biggest U.K. hit, when "This Is Not a Love Song" reached number five. By this time, however, Levene had left, and the name from here on would be, more than anything else, a vehicle for John Lydon (though with a comparatively steady lineup). A second live album, Live in Tokyo, appeared in England in 1983.

The following year saw the release of This Is What You Want...This Is What You Get, only PiL's third album to be released in the U.S., though it now had six albums out. It marked the start of Lydon's move toward a more accessible dance-rock style, a direction that would be pursued further in Album (1986) (also called Cassette or Compact Disc, depending on the format), notably on the hit "Rise," as well as on Happy? (1987) and 9 (1989). In 1990, PiL released the compilation album The Greatest Hits, So Far, and in 1991 came the new album That What Is Not. After completing his memoirs in late 1993, Lydon decided to put an end to PiL and pursue a solo career.

2009 PiL Tour Dates!!!

AstroNation Mixtape Vol. 11

2009-09-17T13:07:00.000-07:00

Artwork courtesy of Teebs

01. Bembeya Jazz National - Alalake
02. Rahsaan Roland Kirk - Freaks For The Festival
03. Omar Rodriguez Lopez - Trilateral Commission As Dinner Guests
04. Flying Lotus - Interference
05. The Staple Singers - I'll Take You There
06. Last Exit - Last Call
07. Flora Purim - Summer night
08. Vince Guaraldi And Bola Sete - Ginza
09. Orchestre De La Pailote - Kankan-Yarabi
10. Sol - Hay cielos para tu libertad
11. Sol - Eclipse
12. Vilayat Khan - Sughrai

Download an mp3 version of this mixtape here

Jimmy Smith

2009-09-15T21:48:00.000-07:00

All Music Guide Biography by Ron Wynn and Bob Porter

Jimmy Smith ruled the Hammond organ in the '50s and '60s. He revolutionized the instrument, showing it could be creatively used in a jazz context and popularized in the process. His Blue Note sessions from 1956 to 1963 were extremely influential and many, like 1960's Back at the Chicken Shack and 1958 's The Sermon, are classics. Smith turned the organ into almost an ensemble itself. He provided walking bass lines with his feet, left hand chordal accompaniment, solo lines in the right, and a booming, funky presence that punctuated every song, particularly the up-tempo cuts. Smith turned the fusion of R&B, blues, and gospel influences with bebop references and devices into a jubilant, attractive sound that many others immediately absorbed before following in his footsteps. Smith initially learned piano both from his parents and on his own. He attended the Hamilton School of Music in 1948, and Ornstein School of Music in 1949 and 1950 in Philadelphia. Smith began playing the Hammond in 1951, and soon earned a great reputation that followed him to New York, where he debuted at the Café Bohemia. A Birdland date and 1957 Newport Jazz Festival appearance launched Smith's career. His Blue Note recordings included both trio recordings and superb collaborations with Kenny Burrell, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Ike Quebec, and Stanley Turrentine, among others. Smith scored more hit albums on Verve from 1963 to 1972, many of them featuring big bands and using fine arrangements from Oliver Nelson. These included the excellent Walk on the Wild Side and Jimmy & Wes: The Dynamic Duo, a collaboration with guitarist Wes Montgomery. His '70s output was quite spotty, though Smith didn't stop touring, visiting Israel and Europe in 1974 and 1975. He and his wife opened a club in Los Angeles in the mid-'70s. Smith resumed touring in the early '80s and continued wowing audiences around the world. He re-signed with Blue Note in 1985, and has done more representative dates for them and Milestone in the '90s. After a five-year layoff, Smith returned in early 2001 with the blues projects Fourmost Return and Dot Com Blues. He remained a fixture in both small jazz clubs and large festivals until his untimely passing in February of 2005.

Discography from Discogs:

Rockers

2009-09-15T21:33:00.000-07:00

Wikipedia Description of the 1978 film Rockers:

Rockers is a 1978 Jamaican film by Ted Bafaloukos. Several popular reggae artists star in the movie, including Leroy "Horsemouth" Wallace, Burning Spear, Gregory Isaacs, Big Youth, Dillinger, and Jacob Miller.

Rockers was originally to be a documentary but blossomed into a full-length feature showing the reggae culture at its peak.

In this film, the culture, characters and mannerisms are authentic. The main rocker Leroy "Horsemouth" Wallace, for example, is shown living with his actual wife and kids and in his own home. The recording studios shown are the famous Harry J Studios where many roots reggae artists recorded during the 70s including Bob Marley. Samples of the film's dialogue were used in the early 1990's jungle track, "Babylon" by Splash. The Jamaican Patois spoken throughout the film is rendered with English language subtitles for a foreign audience.

André Masson

2009-09-15T21:00:00.000-07:00

The biography below on André Masson comes from Wikipedia

Masson was born in Balagny-sur-Thérain, near Senlis in Picardy, but was brought up in Belgium. He studied art in Brussels and Paris. He fought for France in World War I and was seriously injured.

Masson's early works display an interest in cubism. He later became associated with surrealism, and he was one of the most enthusiastic employers of automatic drawing, making a number of automatic works in pen and ink. Masson would often force himself to work under strict conditions, for example, after long periods of time without food or sleep, or under the influence of drugs. He believed forcing himself into a reduced state of consciousness would help his art be free from rational control, and hence get closer to the workings of his subconscious mind.

From around 1926 he experimented by throwing sand and glue onto canvas and making oil paintings based around the shapes that formed. By the end of the 1920s, however, he was finding automatism rather restricting, and he left the surrealist movement and turned instead to a more structured style, often producing works with a violent or erotic theme, and making a number of paintings in reaction to the Spanish Civil War (he associated once more with the surrealists at the end of the 1930s).

André Masson drew the cover of the first issue of Georges Bataille's review, Acéphale, in 1936, and participated in all its issues until 1939.

Under the German occupation of France during World War II, his work was condemned by the Nazis as degenerate. With the assistance of Varian Fry in Marseille, Masson escaped the Nazi regime on a ship to the French island of Martinique from where he went on to the United States. Upon arrival in New York City, U.S. customs officials inspecting Masson's luggage found a cache of his erotic drawings. Denouncing them as pornographic, they ripped them up before the artist's eyes.

Living in New Preston, Connecticut his work became an important influence on American abstract expressionists, such as Jackson Pollock. Following the war, he returned to France and settled in Aix-en-Provence where he painted a number of landscapes.

Masson's brother in law, the psychoanalyst Jacques Lacan, was the last private owner of Gustave Courbet's provocative painting L'Origine du monde (The Origin of the World); Lacan asked Masson to paint a surrealist variant.

AstroNation Torrent Blog .88

2009-09-15T09:17:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=266622

GLOBE UNITY ORCHESTRA

16.09.1973
Domicile, Munich, Germany
FM (mono) > CDR (trade) > flac (level6) > dime

Kenny Wheeler, Manfred Schoof: tp
Albert Mangelsdorff, Paul Rutherford, Günter Christmann: tb
Gerd Dudek, Peter Brötzmann, Michel Pilz, Michel Portal: reeds
Alexander von Schlippenbach: p
Buschi Niebergall: b
Peter Kowald: b,tuba
Paul Lovens: dr

1. Out of Burton's Songbook (Breuker) 06:47
2. Bollocks (Schlippenbach) 09:03
3. Wave (Schoof) 13:54
4. undientified title 25:03
5. radio announcement 00:23

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

http://www.dimeadozen.org/torrents-details.php?id=266334

Bilzen Festival
Bilzen, Belgium
August 24, 1969

Ornette Coleman Quartet

Ornette Coleman (as)
Dewey Redman (ts, Arabic ob)
Charlie Haden (b)
Ed Blackwell (d)

1. As It Should Be (08:05)
2. Space Jungle (16:19)
3. Song for Che (10:24)
4. Broken Shadows (03:08)
5. Countdown (08:33)
6. Unknown (03:00)

49:29

Track #6 is from 1967, with David Izenzon (b) and Charles Moffett (d) (?)

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

http://www.dimeadozen.org/torrents-details.php?id=266232

Belgrade, Yugoslavia
November 2, 1971

Ornette Coleman Quartet

Ornette Coleman (as, tp, vln)
Dewey Redman (ts, musette)
Charlie Haden (b)
Ed Blackwell (d)

1. Announcement (02:15)
2. Street Woman (08:21)
3. Whom Do You Work for? (05:17)
4. Written Word (10:24)
5. Song for Che (15:03)
6. Rock the Clock (07:49)

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

http://www.dimeadozen.org/torrents-details.php?id=266145

Le Chat Qui Pêche, Paris, 11 June 1964

Personnel:
Eric Dolphy (as, bcl); Donald Byrd (tr); Nathan Davis (ts); Jack Diéval (pno); Jacques Hess (bass); Franco Manzecchi (dr); Jacky Bambou (congas on 2, 3).

Setlist:
Springtime [19:20](bcl)
245 [10:05](as)
GW [6:10](as)
Serene [7:58](bcl)

All compositions by Eric Dolphy. Recording made in Paris, June 11, 1964

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

http://www.dimeadozen.org/torrents-details.php?id=266010

Roland Kirk
Radiohusets Studio, Copenhagen, Germany
Dec. 21 1966

01 From Bechet, Byas, And Fats
02 Imagination
03 unknown title
04 Three For The Festival
05 unknown title > When The Saints Go Marching In

Roland Kirk with....
Kenny Drew - piano
Niels Henning Orsted Pedersen - bass
Makaya Ntshoko? - drums

Kishori Amonkar

2009-09-15T09:05:00.000-07:00

The biography below comes from the following site:

All About Jazz

Kishori Amonkar: A Beauty Personified
Published: April 28, 2006

By Bhasker Gupta Bhasker Gupta

If the last half century of female voice in Indian Carnatic classical belongs to M.S. Subhalakshmi, then Hindustani classical has no other parallel than Kishori Amonkar. Her vibrant, rich and mellifluous voice; her larger-than-life stage presence and the powerful and emotional appeal of her music have kept her at the vanguard of Indian classical music for many years. Whatâ€™s probably most interesting is the manner in which she marvelously synthesizes the ancient traditions of classical singing with new forms of rendition. She has developed a unique style, sometimes perceived by the public as moving away from her Jaipur Gharana school. But as a mature artist her approach is regarded as individual, and an alternative and supplement to the model she belonged to in her early days.
There have been other female exponents of Hindustani classical, including Girija Devi, Shobha Gurtu and Siddheshwari Devi who operate more in light classical forms like thumris (songs of longing and desires). Gangubai Hangal and Hirabai Barodekar are mostly into bhajans (songs in praise of God). But what differentiates Amonkar from her peers is her staunch purist approach towards raga (scales), mostly an endowment from her teacher and mother Smt Mogubai Kurdikar, another classical great in her time. Though Amonkarâ€™s voice doesnâ€™t have a rage and frenzy mostly found in other female vocalist, the predominant emotion associated with most of her renditions is a painful melancholy, a soul searching eminence and beautiful amalgamation of spiritual and wordless realism.

What also sets her apart from other singers is her soulful interpretation of the Khayal style of singing. Khayal bases itself on a repertoire of short songs which are used for free improvisation given the scales and musical boundaries. A typical Khayal performance uses two songs, one slow (vilambit) and one fast (drut). The slow song, the bada khayal or great khayal, comprises most of the performance; the fast song (chote khayal, small khayal) is a used as a finale.

Amonkar was born in 1931 and with music being a part and parcel of her birth, her talent was recognized at a very early age. In her early years she absorbed the approach and repertoire of her distinguished mother's teacher Ustad Alladiya Khan. Blessed with a naturally melodious voice, she has literally stunned many an audience with the sheer ease and grace with which she renders a raga. Amonkar's interpretation of the music tends to lean more towards the romantic aspect (shingar ras) and thus does not strictly follow the traditional Jaipur Atrauli style. Sheâ€™s one of those rare singers today who uses sarangi for accompaniment. Again, those who have seen her perform acknowledge the importance that she gives to playing the tanpura.

As a result of her captivating voice she has often times been referred to as â€œGana Saraswati,â€ a name given her by the Jagadguru Mahaswamiji of Sringeri Matt. Significant awards bestowed on her include, the Sangeet Natak Akademi Award (1985), the Padmabhushan (1987) and the much-coveted Sangeet Samradhini Award (considered as one of the most prestigious awards in Indian Classical Music) in 1997. Itâ€™s interesting to note that her mother Mugubai Kurdikar was also awarded â€œPadma Bhushanâ€ by the Indian Government, which is a rare double distinction in the same family.

Being a forefront name in Indian classical circles didnâ€™t come easy. But, after numerous performances over decades, countless recordings and great appraise and awards; Amonkar refuses to be a show-biz artist. Her voice is still captivating, sublime and awe-inspiring. Indian classical music is not just considered an art to entertain audiences and listeners, but a sacred and intelligent way to connect to the divine, a meditation of self and a way of life for many. And in Amonkarâ€™s own words, â€œMusic is not just about words and beats. It is also about the emotion behind the rendition. Words turn into music when emotions are weaved into them. And the notes—not just the basic seven, but the hundreds of other mini and micro-notes help to bring out the soul of a music composition."

Bembeya Jazz National

2009-09-15T08:52:00.001-07:00

All Music Guide Biography by Craig Harris

In the aftermath of the Guinean Independence in 1958 and the encouragement of cultural pride, numerous bands sprang up throughout the African country. The most popular was Bembeya Jazz National, formed by vocalist Aboubacar Dembar Camara in 1961. Specializing in modern arrangements of Manding classic tunes, Bembeya Jazz National won the first two national Biennale festivals in 1962 and 1964 and was crowned National Orchestra in 1966. Initially a seven-piece group, featuring a Latin-flavored horn section of saxophone, trumpet, and clarinet, Bembeya Jazz National reached its apex with the addition of electric guitarist Sekou "Diamond Fingers" Diabate and lead singer Sekouba Mabino Diabate (no relation). Although prohibited from touring outside Guinea until the mid-'80s, Bembeya Jazz National continued to build a cult-like following in its home country. Bembeya Jazz National's most ambitious album, Regard Sur Le Passe, released in 1968, was a musical tribute to the memory of Samory Toure, who founded the Mande kingdom in 1870. A live album, 10 Ans De Succes, was recorded during a 1971 concert. A set-back for the band came in 1973 when Camara was killed in an auto accident on his way to a concert in Dakar. Although they remained together for another eight years, Bembeya Jazz National was unable to duplicate the success of their earliest years. The group disbanded in 1991 with Sekou Diabate and Sekouba Bambino Diabate going on to successful solo careers.

Héctor Lavoe

2009-09-15T08:28:00.000-07:00

Hector Lavoe: El Cantante:

Born: Sept. 30, 1946 in Ponce, Puerto Rico.
Died: June 29, 1993 in New York City

There are some who say that there is a price to be paid for a gift, the greater the gift, the greater the price. Hector Lavoe’s musical talent was huge. He was called “El Cantante de los Cantantes”, and his talent took him from his hometown of Ponce, Puerto Rico to the limelight of New York. It brought him the adulation of a Nuyorican public that found in Lavoe a voice that clarified and celebrated their bicultural identity as well as legendary status in the eyes of the salsa loving public. In equal measure, the price Lavoe paid was huge. A lifetime struggle with insecurity led to a parallel struggle with drugs, even after bearing the death of his brother by overdose. A fire destroyed his home. His mother-in-law was murdered. He was brutally beaten during a robbery, suffered a nervous breakdown, jumped off a balcony but lived, though physically mangled. His son was killed at 17, accidentally shot by a friend. Lavoe died at the age of 46, penniless, most probably of AIDS.

Early Days

Hector Lavoe, born Hector Juan Perez Martinez, came from a family of musicians. His father earned a living playing the guitar in local groups; his mother sang constantly around the house. His uncle was one of Ponce’s finest tres players while his grandfather sang “controversies”. By the time Lavoe was 14, he was earning his own money singing with bands in local venues. With his earning potential putting stars in his eyes, he dropped out of school and decided he was ready for New York City. The family was not pleased – he brother had died there of an overdose. Lavoe felt he had to prove himself to his family and that desire plus the insecurity that he was not good enough, followed him throughout his life.

New York, New York

Lavoe was one of eight children, so it wasn’t surprising that his sister welcomed him to New York. A week later, a friend took him to see a newly formed sextet perform. Lavoe listened for a while, then got up to show the vocalist what he was doing wrong. The band was so impressed with his ‘lesson’ that they offered him his first New York job. Now that he was performing and being heard, offers followed. In 1967, Lavoe was introduced to Willie Colon in a meeting that was the start of a collaboration that produced some of the best music to come out of the Fania label. The duos' first album was El Malo and it proved to be a hit. Unfortunately, the success of El Malo was something Lavoe was not ready to handle. Lavoe’s ensuing popularity left him barely able to cope and he turned to drugs.

Abandonment

Lavoe’s drug use resulted in missed concerts and some barely functioning performances. In 1973, the world was shocked when the announcement was made that Colon and Lavoe were splitting. But the bigger shock was Lavoe’s – he had considered Colon his best friend and was bereft at the split. He felt abandoned, and the insecurities that had plagued him for years now entered center stage. Without Willie and Fania, was he a failure? He waited for Colon to change his mind for two months and then he cut his first solo album, La Voz (The Voice). Surprised at the success of the album, Lavoe came to realize that the split with Colon had served a purpose. He was now the leader of his own band, and a star in his own right. Colon continued to produce his albums. And the rest, as they say, is history

“Yo Soy Un Jibaro”

Hector Lavoe had achieved all his ambitions. A legend in his own time, he had the fame and recognition that he had sought when he left Puerto Rico. even the embrace of his father upon his return to Ponce. Lavoe was often called a hick, a ‘jibaro’, to which he took no offense, often proclaiming – “Yes, I am a jibaro of Puerto Rico’. This lack of pretension only enhanced his already burgeoning reputation. But Lavoe was also paying the price. The series of disasters, culminating in his son's death, was perhaps the reason he jumped off his hotel's balcony. Was it a suicide attempt? Was he pushed? Did he see his son in a vision? These conjectures made their appearance in the Broadway show, Who Killed Hector Lavoe?, produced in the late 1990s. Hector Lavoe never lost the love and support of his friends and public. He died young, but his music still enjoys vast popularity and even today is the subject of the movie El Cantante starring Marc Anthony and Jennifer Lopez.

Globe Unity Orchestra

2009-09-15T07:27:00.000-07:00

All Music Guide Biography by Steve Huey

One of the earliest large-group endeavors attempted in the European free jazz movement, the Globe Unity Orchestra was founded by German pianist Alexander Von Schlippenbach in 1966, at first for the specific purpose of performing his composition "Globe Unity," which was commissioned for the Berliner Jazztage. Initially, the 19-piece orchestra combined saxophonist Peter Brotzmann's trio and trumpeter Manfred Schoof's quintet with a phalanx of other early giants of European free jazz (mostly from Germany); they included, among many others, trombonist Albert Mangelsdorff, woodwind players Gunter Hampel and Willem Breuker, vibist Karl Berger, bassists Buschi Niebergall and Peter Kowald, and drummers Jaki Liebezeit (of the rock group Can) and Sven-Åke Johansson.

The initial performance was a historic and rousingly cacophonous success, and Von Schlippenbach kept the group going, serving as its musical director for most of the next two decades. Naturally, the membership fluctuated quite a bit; by the early '70s, the group had more of a British presence, with players like guitarist Derek Bailey, saxophonist Evan Parker, and trombonists Malcolm Griffiths and Paul Rutherford, plus trumpeter Kenny Wheeler and drummer Han Bennink. Von Schlippenbach left for a bit in 1971, but returned the following year, and the group began playing outside of Germany more often beginning in 1974, which also marked the point at which more of their music was preserved on record (much of it on FMP). As the orchestra evolved, it relied less and less on structured arrangements, eventually becoming completely free. However, since a 20th-anniversary celebration and recording session, the group has mostly been silent.

Discography

1966: Alexander Schlippenbach: Globe Unity, Saba/MPS
1967/70: Globe Unity 67 & 70, Atavistic/Unheard Music Series
1973: Live in Wuppertal, FMP 0160
1973: For example, FMP R123 (one track)
1974: Der alte Mann bricht ... sein Schweigen, FMP S4 (single)
1974: Hamburg '74, FMP 0650
1975: Bavarian Calypso/Good bye, FMP S6 (single)
1975: Rumbling, FMP CD 40
1975/1976: Jahrmarkt/Local Fair, Po Torch PTR/JWD 2
1977: Improvisations, JAPO 60021
1977: Pearls, FMP 0380
1979: Compositions, JAPO 60027
1982: Intergalactic Blow, JAPO 60039
1986: 20th anniversary, FMP CD45
2002: Globe Unity 2002, Intakt CD 086

Antichrist - 2009 - Lars von Trier

2009-09-11T09:15:00.000-07:00

Antichrist
2009
Lars von Trier
Horror

As seen here from NY Magazine

"CANNES, FRANCE — On paper, this year’s lineup of assassins, vampires, and serial killers had the makings of the Goriest Cannes Ever, and so far, with the Quentin Tarantino and Sam Raimi films yet to premiere, we’re already feeling light-headed from the sheer amount of blood loss onscreen. The festival eased us into the butchery last week with fanboy-favorite Park Chan-wook’s stylish, gruesome vampire movie Thirst. But over the weekend, things started to get nasty: Brillante Mendoza’s Kinatay — spoiler alert — ends with the rape, murder, and dismemberment of a prostitute named Madonna, whose body parts end up strewn through the outskirts of Manila. And since its premiere last night, Lars von Trier’s Antichrist, with its instantly legendary scenes of mangled genitalia, has been pretty much the only movie anyone here is talking about.

Von Trier’s half-baked, crazy, utterly enthralling treatise on grief and gynophobia (a misogyny consultant is actually credited) was the first of this year’s competition films to be greeted with boos. In fact, it earned something like the holy trinity of Cannes press reactions: uproarious laughter (in response to a closing title card that read, “Dedicated to Andrei Tarkovsky”), angry boos, and a countervailing round of applause. An indication of just how deeply its detractors despise the film: Von Trier was even booed at his press conference this afternoon, which devolved into an entertaining sadomasochistic psychodrama worthy of, well, a Lars von Trier movie.

An aggrieved British journalist kicked things off by demanding that the director “explain and justify why you made this movie.” Von Trier replied that he owed no explanations to anyone. “It’s the hand of God,” he said. “And I am the best film director in the world. I’m not sure if God is the best God in the world.” The questions were by turns hostile and placatory; Von Trier responded to everything in a hilariously smug deadpan. When someone suggested that Antichrist owed less to Tarkovsky’s arty meditations than to the B-movie schlock of Dario Argento, the director answered only with the most withering look of bewilderment and disgust. “You are all my guests,” he said at one point. “It’s not the other way around.” Given how completely he’s transformed Cannes, for the moment, into his own personal sideshow, it’s hard to argue with him."

AstroNation Torrent Blog .87

2009-09-10T11:32:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=265969

Well, after a lot of banned uploads, I was very careful and searched for every reason that may lead to the ban of this GREAT double bootleg.
Having found nothing, today I try to upload @ Dime this jazz jewel:

Artist: ORNETTE COLEMAN With CHARLIE HADEN/DAVID IZENZON/ED BLACKWELL
Title: The Love Revolution - Complete Italian Tour 1968: Rome/Milan [2 CD set]
Label: Gambit 69224
Description: The material collected for this 2-CD set corresponds to the February 1968 European tour, featuring the Coleman's Quartet with his regular unusual group including David Izenzon and Charlie Haden on bass, and Ed Blackwell on drums.The first CD includes the Rome concert, with extended versions of four original compositions, including a fantastic interpretation of the already popular "Lonely Woman". The second CD contains the Milan's Teatro Lirico performances, with three original compositions.
The sum of this material on one edition, makes this an essential release, capturing a crucial period of the career of an artist that without a doubt, remains the ultimate contemporary musician of the jazz vanguard.

Songs:

Lonely Woman
Monsieur Le Prince
Forgotten Children
Buddha Blues
Tutti
Three Wisemen And The Saint
New York

All compositions by Ornette Coleman.

Personnel:

Bass - David Izenzon, Charlie Haden
Drums - Ed Blackwell
Saxophone [Alto], Trumpet, Shanai - Ornette Coleman

Label: GAMBIT
Number: 69224
Item Code: 58298
Format: 2-CD
Dates: (1968)

There is a bootleg (only one CD) that contains only half of the music torrented today and here is the AMG review:

Ornette Coleman - The Unprecedented Music Of Ornette Coleman

Label: Lotus
Catalog#: LPPS 11.116
Country: Italy
Released: 1980
Genre: Jazz
Style: Free Jazz
Bass - David Izenzon
Drums - Ed Blackwell
Saxophone [Alto], Trumpet, Shanai - Ornette Coleman
Written-By - Ornette Coleman
Notes: Unofficial Release. Cover with virtually no information says "Recorded in Rome 1967", but it is actually the concert in Rome, February 8, 1968

Review by Brandon Burke
Although rather difficult to track down now, The Unprecedented Music of Ornette Coleman was actually a generously distributed bootleg in the 1980s, seeing at least three separate pressings in that decade alone. The disc documents a 1968 performance of the Coleman Quartet in Milan, Italy, and features the interesting lineup of Coleman on alto sax, trumpet, and shanai, Ed Blackwell on drums, and the bass duo of David Izenzon and Charlie Haden. As can be expected, the quartet plays with great care and collective understanding throughout. Opening the date is a touching version of "Lonely Woman" performed in the style, perhaps, of his 1965 trio featuring Izenzon and Charles Moffett. This time, though, Blackwell's polyrhythms and the added bass of Haden fill in the wide open space afforded by the trio setting heard on such dates as At the Golden Circle. At first, one may get the impression that Izenzon and Haden are battling each other to be heard, but as the disc rolls on it is clear that the two are indeed partners striving toward a common end. Coleman enthusiasts will definitely be interested in the album's closer, the shanai workout "Buddah Blues", during which he displays a tenacity seldom heard even in his discography. The post-Bird, bluesy R&B shouts listeners commonly associate with him are abandoned almost entirely here in favor of a blistering splatter of upper-register runs and Eastern modes, a style resembling Don Van Vliet (Captain Beefheart) as much as anyone else. As a result, "Buddah Blues" takes the date into a direction more akin to ESP or BYG/Actuel sessions than that typically expected of Coleman. Worth hunting for.

The audio qualty is perfect and the (almost) complete artwork is torrented as JPEG files. The artwork misses the hardcover scans and the 14 pages (only simple text) of the booklet. Anyway if someone needs it just pm me and we'll arrange a trade.

Enjoy!

Tony Manero - 2009 - Pablo Larrain

2009-09-08T23:53:00.000-07:00

Tony Manero
2009
Directed by Pablo Larrain
Santiago, Chile

As seen here from New York Times
"Talk about self-delusion! The grotesque spectacle of a 52-year-old thug with a graying pompadour, stripped to his briefs in front of a mirror gracelessly imitating John Travolta’s dance moves from “Saturday Night Fever,” haunts Pablo Larraín’s film “Tony Manero” like a nightmare apparition.

During his repeated visits to the nearly empty theater showing the film in Santiago, Chile, this obsessed fan, Raúl Peralta (Alfredo Castro), a petty criminal who lives on the outskirts of the city, mouths the dialogue spoken by Mr. Travolta’s character, Tony Manero, as though memorizing catechism.

When he visits the theater one afternoon and discovers that “Saturday Night Fever” has been replaced by “Grease,” he goes berserk. Nothing is allowed to stand in the way of his indulging a tawdry fantasy that gives him his only sense of identity.

“Tony Manero” is set in Santiago in 1978, four years into Augusto Pinochet’s military dictatorship. As Raúl scuttles around the city like a rodent, ducking behind doorways at any sign of trouble, scenes of undercover policemen beating up and arresting suspected opponents of the dictatorship play out on the movie’s fringes without comment or elaboration. The handheld, sometimes out-of-focus camera, which trails him, often from behind, lends the action a queasy verisimilitude.

For Raúl incidents of street violence are opportunities for robbery. From the window of his apartment he notices an old woman with groceries being mugged and runs downstairs to chase the crooks away. Escorting her to her home, he spies her color television set and promptly bludgeons her to death, pausing long enough to feed the cat and eat lunch from the same can. He pawns the television to buy chipped glass bricks for an illuminated dance floor like the one in “Saturday Night Fever.”

More than an indelible portrait of a sociopath with the soul of a zombie, “Tony Manero” is an extremely dark meditation on borrowed cultural identity. Poker faced, emotionally cauterized and sexually impotent (the scenes of Raúl’s trying and failing with women are unremittingly ugly), he symbolizes this Chilean director’s vision of a Latin American country mired in passivity and despair. For the illiterate Raúl, Tony Manero’s night of glory on a New York dance floor is the only dream in sight.

Each week the tacky television contest in which he plans to impersonate Tony, strutting his dance moves in a white suit and black shirt, is devoted to a different star. In the movie’s opening scene he arrives a week early at the studio to find himself standing in line with a bunch of Chuck Norris look-alikes.

Raúl is polishing his act in a run-down cantina where he leads a weekly revue in homage to his hero. His fellow performers not only buy his fantasy, they also look up to him. Wilma (Elsa Poblete), a Pinochet supporter who runs the cantina, and Cony (Amparo Noguera) and Pauli (Paola Lattus), a mother and teenage daughter who perform in the show, are all rivals for his affection. Goyo (Héctor Morales), the fourth member of the troupe, is a young man with polished dance moves who rents his own white suit intending to compete in the television contest; he is also secretly distributing anti-Pinochet literature.

Unmentioned in a movie that touches glancingly on politics is the C.I.A.’s role in the 1973 coup that deposed Salvador Allende and installed Pinochet as president. “Tony Manero” implies that Raúl’s worship of a Hollywood movie is an indirect form of consorting with the oppressor.

Although Mr. Larraín, who wrote the screenplay with Mr. Castro and Mateo Iribarren, was only 2 years old at the time the movie is set, he makes no bones about his disgust with Chile, both then and now. In his director’s statement, he writes, “With this story, I intended to take a harsh look at a society that is incapable of coming face to face with its recent past; a society whose hands are covered in blood but that tries to look stylish and trendy, dancing under flashy lights while ignoring others’ suffering; a country that turns its back on itself, in exchange for the dream of progress.”
-Holden, NY TIMES

An unbelievable film which touches on the spiritual and moral decay of a man without a culture, identity, or belief in anything but delusions of grandeur.

Tony Manero Trailer from tony manero on Vimeo.

Ustad Bismillah Khan

2009-09-06T16:07:00.000-07:00

Biography on Ustad Bismillah Khan comes from here

Ustad Bismillah Khan was born in a small village in Bihar about 60 years ago. He spent his childhood in the holy city of Varanasi, on the banks of the Ganga, where his uncle was the official shehnai player in the famous Visvanath temple.

It was due to this that Bismillah became inclined for the Shehnai. At an early age, he familiarized himself with various forms of the music of UP, such as Thumri, Chaiti, Kajri, Sawani etc. Later he studied Khayal music and mastered a large number of ragas.

Ever since Ali Akbar Khan and Ravi Shankar introduced Indian music to the West, a number of Indian musicians have been invited to perform abroad. It was therefore hardly surprising that a musician of Bismillah Khan's caliber should be one of them.

The Government of India bestowed on him the title "Padmashri"; later he was further honoured by the title "Padmabhusan", and now the "Padmavibhusan" has been conferred on him. In-spite of being glorified in this manner he remained as modest as ever. When invited for a recording he always came without demur. Ustad Khan sahib has been conferred with "Bharat Ratna" award by the Govt. of India.

Bola Sete

2009-09-06T15:23:00.000-07:00

http://www.bolasete.com/

All Music Guide Biography by Alvaro Neder

The words Bola Sete are Portuguese for the seventh ball in the billiard game, which is the only black one. He got his nickname after being the only black man in a small group. From an early age, he was habitual at the Bohemian circles of Praça Tiradentes, Rio, where musicians met. At 17, he joined composer Henricão's group, which was going to Marília for an eight-month season. Returning to Rio, he played at every available venue in Campinas SP and Niterói RJ. In 1945, Rio's Rádio Transmissora instituted a violão (acoustic guitar) contest, in which he was the winner. He continued to play through Minas Gerais and Rio. At last, he was hired contractually by Rádio Transmissora and he worked in the famous Trem da Alegria show for three years at the João Caetano Theater with Lamartine Babo, Iara Sales, and Héber de Bôscoli.

At the end of the '40s, he formed his own group, Bola Sete e seu Conjunto. In that time, Dolores Durán, who went on to be a famous singer and composer, was a crooner at the Béguin nightclub and once invited, became the group's singer at the Drink and Vogue nightclubs. In 1952, he went to Italy and played in several clubs and hotels until 1954. In that year, he returned to Brazil and formed an orchestra, with which he toured through Argentina, Uruguay, and Spain. In 1955, he toured again, this time through Lima, Peru, and Santiago do Chile. In 1959, he moved to the U.S. and in 1962, was hired directly by the general manager of Sheraton Hotels to play in the several units of that chain.

In 1960, the label Sinter, which had already recorded several cuts with him, released the LP Bola Sete. He had also recorded for Odeon, which released at the same time Bola Sete e Quatro Trombones with his own compositions and Gershwin standards. In 1962, he appeared at the historic Bossa Nova Festival at Carnegie Hall in New York. He also played at the Village Gate and Vanguard. In the same year, Odeon Brasil released O Extraordinário Bola Sete and Fantasy released Bossa Nova. He was then playing at New York's Park Sheraton and later in the same year, he moved to San Francisco to play at the Sheraton Palace. Dizzy Gillespie was staying there and listened to him every night. When Gillespie's pianist, Lalo Schifrin, came to the hotel, he met Sete, with whom he had become acquainted and played with when the Brazilian toured Argentina. Invited by Gillespie, Sete played with him at the Ninth Annual Monterey Jazz Festival with great success.

Following tours and a recorded album with Gillespie, Sete moved again to San Francisco and joined Vince Guaraldi's trio. This two-year association, profitable for both artists, consolidated the already expressive popularity of Sete in the U.S. They recorded together 1963's Vince Guaraldi, Bola Sete & Friends (Fantasy). Then he formed his own trio with Brazilian musicians Tião Neto (bass) and Chico Batera (drums), with which he performed at the 1966 Monterey Jazz Festival, again with great success. From November 11 to 13, 1966, Sete was featured at the Fillmore Auditorium. His releases in the U.S. include 1964's Tour de Force and From All Sides (with Vince Guaraldi), 1965's The Solo Guitar of Bola Sete and The Incomparable Bola Sete, 1966's Live at El Matador (with Vince Guaraldi) and Autentico, 1967's At the Monterey Jazz Festival, 1969's Shebaba (all through Fantasy), 1976's Working on a Groovy Thing (Paramount), 1981's Ocean and Ocean II (Lost Lake), and 1985's Jungle Suite (Dancing Cat). In 1969, he appeared at the Mexico Brazilian and American Music Festival, together with Eumir Deodato, Milton Nascimento, and Airto Moreira.

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Aphex Twin

2009-09-06T15:00:00.000-07:00

www.aphextwin.nu/

Analogue Bubblebath III

Selected Ambient Works 85-92

Selected Ambient Works, Vol. 2

I Care Because You Do

Richard D. James Album

Drukqs

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All Music Guide Biography by John Bush

Exploring the experimental possibilities inherent in acid and ambience, the two major influences on home-listening techno during the late '80s, Richard D. James' recordings as Aphex Twin brought him more critical praise than any other electronic artist during the 1990s. Though his first major single, "Didgeridoo," was a piece of acid thrash designed to tire dancers during his DJ sets, ambient stylists and critics later took him under their wing for Selected Ambient Works 85-92, a sublime touchstone in the field of ambient techno. James' reaction to the exposure portrayed an artist unwilling to become either pigeonholed or categorizable. His second Aphex Twin album, Selected Ambient Works, Vol. 2, was so minimal as to be barely conscious — in what appeared to be an elaborate joke on the electronic community. Follow-ups showed James gradually returning to his hardcore and acid roots, even while his stated desire to crash the British Top Ten (and perform on Top of the Pops) resulted in a series of cartoonish pop songs whose twisted genius was near-masked by their many absurdities. His iconoclastic behavior surprisingly aligned with MTV audiences turned on to end-of-the-millennium nihilist pop along the lines of Marilyn Manson and Nine Inch Nails.

James began taking apart electronics gear as a teenager growing up in Cornwall, England. (If the title Selected Ambient Works 85-92 is to be believed, it contains recordings made at the age of 14.) Inspired by acid house in the late '80s, James began DJing raves around Cornwall. His first release was the Analogue Bubblebath EP, recorded with Tom Middleton and released on the Mighty Force label in September 1991. Middleton left later that year to form Global Communication, after which James recorded a second volume in the Analogue Bubblebath series. This EP (the first to include "Digeridoo") got some airplay on the London pirate radio station Kiss FM, and prompted Belgium's R&S Records to sign him early the following year. A re-recording of "Digeridoo" made number 55 in the British charts just after its April 1992 release date, and James followed with the Xylem Tube EP in June. He also co-formed (with Grant Wilson-Claridge) his own Rephlex label around that time, releasing a series of singles as Caustic Window during 1992-1993. Available in cruelly limited editions, most of the recordings continued the cold acid precision of "Digeridoo" — though several expressed humor and fragility barely dreamed of in the hardcore/rave scene to that point.

The climate for "intelligent" techno had begun to warm in the early '90s, though. The Orb had proved the commercial viability of ambient house with their chart-topping "Blue Room" single, and R&S scrambled to find useful material from its own artists. In November 1992, James acquiesced with Selected Ambient Works 85-92, consisting mostly of home material recorded during the past few years. Simply stated, it was a masterpiece of ambient techno, the genre's second work of brilliance after the Orb's Adventures Beyond the Ultraworld. As his star began to shine, several bands approached him to remix their work, and he complied, with mostly unrecognizable reworkings of tracks by St. Etienne, the Cure, Jesus Jones, Meat Beat Manifesto, and Curve.

Early in 1993, Richard James signed to Warp Records, the influential British label that virtually introduced the concept of futuristic "electronic listening music" with a series of albums (subtitled Artificial Intelligence) by ambient techno pioneers Black Dog, Autechre, B12, and FUSE (aka Richie Hawtin) among others. James' release in the series, titled Surfing on Sine Waves, was recorded as Polygon Window and released in January 1993. The album charted a course between the raw muscle of James' nose-bleed techno and the understated minimalism of Selected Ambient Works. A deal between Warp and TVT gave Surfing on Sine Waves an American release (James' first) by the summer. A second album was released that year, Analogue Bubblebath 3, for Rephlex. Recorded as AFX, the LP renounced any debt to ambient music and was the most bracing work yet in the Aphex Twin canon. On a tour of America with Orbital and Moby later that year, James clung to the headbanging material, to the detriment of his mostly unreplaceable gear. He later cut down on his live performance schedule.

In December of 1993, the new single "On" resulted in James' highest chart placing, a number 32 spot on the British charts. The two-part single included remixes by old pal Tom Middleton (as Reload) and future Rephlex star µ-Ziq. Despite James' appearance on the pop charts, his following album, Selected Ambient Works, Vol. 2, appeared to be a joke on the ambient techno community. So minimal as to be barely conscious, the quadruple album left most of the beats behind, with only tape loops of unsettling ambient noise remaining. The album mostly struck out with critics but hit number 11 on the British charts and earned James a major-label American contract with Sire soon afterward. During 1994, he worked on the ever-growing Rephlex stable, signing µ-Ziq (Michael Paradinas), Kosmik Kommando (Mike Dred), and Kinesthesia/Cylob (Chris Jeffs) to the label. In August 1994, he released the fourth Analogue Bubblebath, this one a five-track EP.

The year 1995 began with the January release of Classics, a compilation of his early R&S singles. Two months later, James released the single "Ventolin," a harsh, appropriately wheezing ode to the asthma drug on which he relied. I Care Because You Do followed in April, pairing his hardcore experimentalism with more symphonic ambient material, aligned with the work of many post-classical composers — including Philip Glass, who arranged an orchestral version of the album's "Icct Hedral" on the August 1995 single Donkey Rhubarb.

Later that year, the Hangable Auto Bulb EP replaced Analogue Bubblebath 3 as Aphex Twin's most brutal, uncompromising release — a fusion of experimental music and jungle being explored at the same time on releases by Plug and Squarepusher. In July 1996, Rephlex released the long-awaited collaboration between Richard James and Michael Paradinas (µ-Ziq). The album, Expert Knob Twiddlers (credited to Mike & Rich), watered down the experimentalism of Aphex Twin with µ-Ziq's easy-listening electro-funk. The fourth proper Aphex Twin album, November 1996's Richard D. James Album, continued his forays into acid-jungle and experimental music. Retaining the experimental edge, but with a stated wish to make the British pop charts, James' next two releases, 1997's Come to Daddy EP and 1999's Windowlicker EP, were acid storms of industrial drum'n'bass. The accompanying videos, both directed by Chris Cunningham, featured the bodies of small children and female models (respectively) dancing around, all with special-effects-created Aphex Twin faces grinning maniacally.

James released nothing during the year 2000, but did record the score to Flex, a Chris Cunningham short film exhibited as part of the Apocalypse exhibition at London's Royal Academy. With very little advance warning, another LP, Drukqs, finally arrived in late 2001. Although James continued making frequent DJ appearances, he released no more material until 2005, when Rephlex issued the first installment in a lengthy, 11-part series of 12" singles titled Analord. The singles' minimalist acid techno harked back to his Caustic Window/Analogue Bubblebath material of the early '90s. Chosen Lords, a CD compilation of some of the Analord material, appeared in April 2006.

The Nicholas Brothers

2009-09-06T10:39:00.000-07:00

The biography below on The Nicholas Brothers comes from theatredance.com

Amazing Feet: The Nicholas Brothers

by Caroline Palmer
8/18/99

From childhood performances alongside Cab Calloway to thrilling scenes in Hollywood musicals, the dancing Nicholas Brothers were always tapped for greatness
The best popular dancers of this century stand out for their signature styles. Fred Astaire brought effortless grace to every step, Cyd Charisse swept elegantly across the stage, and Gene Kelly radiated charm. When it comes to the Nicholas Brothers, a single scene from the 1940 film Down Argentine Way speaks for itself: They enter dressed in spotless eveningwear and start tapping at a clean clip, every part of their bodies engaged in motion. Before you know it, Harold and Fayard Nicholas are turning cartwheels and flips, landing in the splits, and moonwalking before Michael Jackson was ever the Thriller. They always return, then, to a perfect tempo, nary a thread out of place--a flawless marriage of flash and control. Such moments have led other master movers like Mikhail Baryshnikov to say, "They are probably the most amazing dancers I've seen. Those guys are perfect examples of pure genius."

Please fasten your seat belts for takeoff:
Fayard Nicholas and younger brother Harold
(airborne) in a publicity shot from Stormy Weather

Few people can say "Show business is my life" without sounding a bit cornball, but at 85 years old, Fayard Nicholas is simply stating a fact. As the elder half of the duo who tapped their way through Harlem's hottest nightclubs, Broadway, Hollywood, and the world, Fayard is the consummate entertainer.

Interviewed by telephone at the Motion Picture and Television Country House, a retirement home in Woodland Hills near Los Angeles, Nicholas shares the story of his life in the spotlight. And he jokes about how he and his brother have finally received some props over the past decade, in the form of a Kennedy Center Honor and a star on Hollywood's Walk of Fame; next year they'll receive a special Oscar.

It was the 13-year-old Fayard's idea to pull together an act with Harold (who was just 7 at the time), and in 1930 they stormed the stage in Philadelphia as the Nicholas Kids. "I always liked show business," recalls Nicholas, whose parents played in the Standard Theater Orchestra at the time (mom on piano, dad on drums) accompanying stars like Louis Armstrong, Buck and Bubbles, and Bill "Bojangles" Robinson. "Before I became a professional entertainer I always went to the theater where my parents played, and I liked what I saw onstage," Nicholas recalls. "I taught myself how to perform. Never had a lesson. Then I taught my brother." Over the years, however, Harold developed unique skills of his own. "He sings in five languages," brags Nicholas. "And he knows exactly what he's singing!"

It didn't take long for the youngsters to get noticed in New York's big venues, not to mention on Broadway, where they performed in The Ziegfeld Follies of 1936 and Babes in Arms among other shows. "First we were at the Lafayette Theater in Harlem, then the manager of the Cotton Club wanted us to be in a show," recounts Nicholas, adding that his parents gave up their orchestra gigs to oversee the boys' skyrocketing career. "Duke Ellington, Cab Calloway, Bill Robinson--they were all there. And Lena Horne was a chorus girl," he continues. "Nobody wanted to follow us. We were the showstopper. The audience just wanted more and more."

One evening, says Nicholas, Calloway called the brothers on to the stage after learning that Harold liked to imitate him. "He said, 'You do me,' to my brother. And my brother said, 'I'll do "Minnie the Moocher,"' and the microphone came down from the ceiling, but my brother could not reach it. So the waiter brought out a table and Cab lifted my brother up onto it. He started saying, 'Hi dee hi dee ho' and soon everyone was saying it. Cab was beaming. We had to do it every night after that."

The Nicholas Brothers' popularity grew, and they continued tapping with nearly impossible skill, performing numerous encores and generally wearing themselves out. "When we first started out in Philadelphia, we'd just dance and dance. Oh jeepers!" he exclaims. "The audience would finally let us go. But we said, 'Something has to be done! Let's talk to the people, let's do singing, let's play the drums.' So we opened up with a dance, not too strenuous, and then my brother would sing a song like 'Lady Be Good.' I would then direct the orchestra with my hand, my elbows, my teeth. The audience loved it. Then we'd close with a big dance. We were versatile, we could do so much."

Hollywood also welcomed the brothers, and the studios cast the hot-footed East Coast hoofers in numerous films. In the 1943 musical Stormy Weather, for example, the young men were reunited with fellow Cotton Club performers Horne, Calloway, and Robinson (as well as Fats Waller and another dance icon, Katherine Dunham). It's a period Nicholas remembers fondly, and he is dismayed that the brothers' work was satirized by two characters called "Flash" and "Grin" in Savion Glover's Broadway hit Bring in 'Da Noise, Bring in 'Da Funk. "Don't try to bring the Nicholas Brothers or Hollywood down," says Nicholas, his jovial tone turning serious. "He was saying the studios used us. But we could do what we wanted to do. There was no dictator. Why bring us down? We are the ones who made it possible for them to be where they are today."

While Nicholas is quick to defend his experiences, he also recognizes that tap has evolved significantly over the course of his 70-year career. "It's a different type of dance today. When my brother and I were doing movies and stage, we would always wear nice tails and tuxedos, real sharp. We had class and personality. We practiced and rehearsed. The dancers today improvise. They just think about their feet. We used our bodies and our hands." He adds with a knowing chuckle, "When young dancers of today see these old films, they are amazed. 'Oh, Mr. Nicholas,' they say. 'I've never seen anything like that. How do you do that?'" He seems to shrug over the phone. "We were the pioneers."

Still, Nicholas sees hope for the next generation in the form of granddaughters Nicole and Cathy (ages 13 and 11) who perform as--what else?--the Nicholas Sisters. They will deliver a Nicholas Brothers routine on Sunday. And as for the original Nicholas Brother? "I'm a little under the weather, but I still have a sense of humor," he says, just two days before flying off to an engagement in Sweden. "I'm still rolling along. I'll do a little shim sham shimmy, but I can't do what I used to do. I'd be crazy if I tried to do a split now. My mind says I can do it, but my body says no way!"

Gangubai Hangal

2009-09-05T20:40:00.000-07:00

The following biography below comes from here

Gangubai Hangal’s performances leave her audiences breathless. She has an extremely powerful voice- full- throated and impassioned. It is what makes her rendition of ‘Khayal’ so distinctive.

Born in 1913, to a family hereditary courtesan musician from Hangal, a small village in Karnataka, Gangubai learnt Hindustani music from master Sawai Gandharva of the Kirana Gharana. She started performing in local celebrations and Ganeshutaavas in Mumbai when she was in her mid-teens.

This doyen of Kirana Gharana is one of the seniormost performing artist in the world today. She has made music because she has left duty-bound to pass on to the future generations what her guruji gave her. She has done this with unflagging sincerity and didecation, winning loveand respact along the way for her transparently good nature. Unlike her mother, she trained in Hindustani music and not in Carnatic, as her mother was very fond of Hindustani music.

Shobha Gurtu

2009-09-05T20:08:00.000-07:00

Below is a brief overview of singer Shoba Gurtu that comes directly from wikipedia

Though her formal music training began with ‘Ustad Bhurji Khan’, the youngest son of Ustad Alladiya Khan, the founder of the Jaipur-Atrauli gharana in Kolhapur, from whom her mother was learning at the time, while she was still a younger girl, and seeing her talent, Ustad Bhurji Khan’s family immediately took a liking of her, and she started spending long hours with them. Her ties with the Jaipur-Atrauli gharana were to strengthen still, when she started learning from, Ustad Alladiya Khan’s nephew Ustad Natthan Khan; though she really came into her own under the tutelage of Ustad Ghamman Khan, who came stay with their family in Mumbai, to teach her mother thumri-dadra and other semi-classical forms.

Shobha Gurtu specialized in semi classical forms as thumri, dadra, Kajri, Hori etc, effortlessly adding pure classical passages into her singing, thus creating a new form, and reviving the magic of forms like, Thumri, of which she became a greatest exponent in time. She was particularly influenced by singer Begum Akhtar and Ustad Bade Ghulam Ali Khan

She also performed music in Marathi and Hindi cinema. As a playback singer, she first worked in Kamaal Amrohi’s film, Pakeezah (1972), followed by Phagun (1973), where she sang, ‘Bedardi ban gaye koi jaao manaao more saiyyaan’. She earned a Filmfare nomination as Best Female Playback Singer for the song "Saiyyan Rooth Gaye" from the hit film Main Tulsi Tere Aangan Ki (1978. In Marathi cinema she sang for films like Saamna and Lal Mati.

Over the years, he travelled all over the world for concerts, including at one the Carnegie Hall, New York City, performing alongside musical greats and, Pt. Birju Maharaj. She often lend her voice the collaborative jazz albums, of her son Trilok Gurtu. In 2000, she featured in the Jana Gana Mana Video, which was released to mark the 50th year of the Indian Republic, where she sang the Indian National Anthem, Jana Gana Mana, along with other leading classical singers and musicians of India.

In 1987, she received the Sangeet Natak Akademi Award, and later awarded the Lata Mangeshkar Puraskar, Shahu Maharaj Puraskar and the Maharashtra Gaurav Puraskar. In 2002, she was awarded the Padma Bhushan.

After reigning over Hindustani classical music genre, for five decades, as the Queen of Thumri, Shobha Gurtu died on 27 September 2004, and was survived by her two sons.

AstroNation Torrent Blog .86

2009-09-05T01:33:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=265107

MAX ROACH “TO THE MAX” Solo Show

Live at New England Repertory Theater in Worcester/MA, 1979-05-28

Concert for an Honorary Doctorate in Music from the New England Conservatory of Music
(Workshop character with playing and talking to tell about his playing style, musical career and experiences and Jazz in general)

Source: SBD>prob. Reel Tape>trade on CDR>EAC Rip (Secure Modus), Flac Frontend, Level 6
Sound: listen to mp3 sample as usual (few hiss)

LINUP:
Max Roach: drums

TRACKS:

CD 1
01. Track01 [5:44]
02. Track02 [4:25]
03. Track03 [29:50]
04. Track04 [3:10]
05. Track05 [8:14]
06. Track06 [5:08]
07. Track07 [3:20]
08. Track08 [3:37]
09. Track09 [4:53]
10. Track10 [6:12]
11. Track11 [4:52]

CD 2
1. Track01 [6:02]
2. Track02 [7:34]

COMPLETE SET!!

ENJOY!!

UPLOADED BY RICOLA
DIME, 04.09.2009

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

http://www.dimeadozen.org/torrents-details.php?id=265091

Miles Davis: 1978 Studio Session

March 2, 1978
Columbia Studio B, New York NY

Miles Davis (org); Larry Coryell (g); Masabumi Kikuchi (keyb); George Pavlis (keyb); T.M. Stevens (el-b); Al Foster (d)

1 Miss Last Summer (M. Davis) (take ?)
2 Miss Last Summer (M. Davis) (take ?)
3 Miss Last Summer (M. Davis) (take ?)
4 Miss Last Summer (M. Davis) (take ?)
5 Miss Last Summer (M. Davis) (take ?)
6 Miss Last Summer (M. Davis) (take ?)
7 Miss Last Summer (M. Davis) (take ?)
8 Miss Last Summer (M. Davis) (take ?)

Filler:

June 1981
Village Vanguard, New York NY
Audience recording
Miles Davis with Mel Lewis Big Band

Miles Davis (tpt); Mel Lewis (d); Unknown (other personnel)

9 The Second Race (T. Jones)

cd-r of "Comeback Sessions" vol 1 and vol 2 boot - wav - flac 8

Here you have it, Miles' 1978 session. I disagree with Mr Losin's description of this as "flashy riffs". Although Davis only plays organ, it's a very interesting piece, very "milesian" in character, similar to his mid 70's music. Enjoy!
Check out www.thelastmiles.com for interviews with several of the participans.

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http://www.dimeadozen.org/torrents-details.php?id=265137

John Mayall´s Bluesbreakers Reading Festival, UK 8-67 (Probably The Bluesbreakers´first gig w/Mick Taylor! Nice recording for the time it was made!)

Lineage: 1st Gen. Cass. - Nak. ZX7 Cass.Deck- Pioneer PDR05 CDrecorder-Eac-shn
The original Master tape was recorded with an Uher Report Reel to Reel Deck by 2 Germans who made a trip to Swinging London in August 1967! It´s really sad that no tapes from other tapers surfaced from that period! Luckily these guys recorded in the weeks they were there, some great other tapes, including the here recently posted " Fleetwood Mac´s first Gig"!

Time :32.06

Tracklist:
1 Instrumental
2 I can´t quit you Baby
3 Sonny Boy blow
4 Stand Back Baby
5 Oh Pretty Woman
6 It´s my own Fault
Encore
7 Ridin on the L & N
Lineup:
John Mayall voc,harp,org.guit.
Mick Taylor:guit.
Mick Fleetwood:drums*
John Mc Vie:bass
Chris Mercer:Tenor sax*
Rip Kant:Tenor sax*
*not definetely known, but very likely(see Richard Newman´s Book "JOHN MAYALL Bluesbreaker"

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http://www.dimeadozen.org/torrents-details.php?id=265140

Thelonious Monk Amsterdam 1961-04-15 The First European Concert silver

Thelonious Monk
The First European Concert (original silver) Magnetic MRCD 120

Concertgebouw, Amsterdam, Netherlands
1961-04-15

1. Jackie-ing
2. Crepuscle With Nellie
3. off Minor
4. Straight, No Chaser
5. Evidence
6. Bemsha Swing
7. Well You Needn't
8. 'Round Midnight
9. I Mean You

Thelonious Monk - piano
Charlie Rouse - tenor sax
John Ore - bass
Frankie Dunlop - drums

Original artwork included in files.

Lineage: Broadcast?>silver>EAC/FLAC>You

Sound: VG+ (strict) - the ends are washed out but middle is strong, overall clear but not full broadcast strength

This gem appears never to have been posted and there's not much Monk here.
Maybe we can get a mini-flood going?

Though titled "The First European Concert" he did record in Paris in 1954 and I'd assume played some date/s around that? It appears to be the first of many 1960's European concerts though.

Soul Train: The Hippest Trip in America: Soul Train Line Dance to Fred Wesley & The JB's

2009-09-02T21:51:00.000-07:00

Soultrain Youtube Channel Notes:

Soul Train Line Dance to Fred Wesley & The JB's "Doin It To Death" (episode# 59, 1973).

Donald McKayle

2009-09-02T21:34:00.000-07:00

The biography provided in this posting about David McKayle comes from here

From Broadway to television to Broadway again, Donald McKayle has pretty much done it all. A dancer in the original production of "West Side Story" (1957), McKayle has choreographed numerous works for stage and screen; directed the popular television program "Good Times"; and won critical laurels for several major Broadway productions.

From Sept. 5-15, McKayle will serve as a Distinguished Visiting Scholar at Washington University in St. Louis, where he will conduct master classes and work with students to set his work "Rainbow Etude" for the upcoming Washington University Dance Theatre concert. (The annual showcase, scheduled for Nov. 30-Dec. 2, presents professionally choreographed works performed by students from the Performing Arts Department in Arts & Sciences' Dance Program.)

During his visit, McKayle will discuss his legendary oeuvre in a pair of talks. At 4 p.m. Wednesday, Sept. 12, he will present an informal lecture-demonstration in the Olin Dance Studio, located in the Ann W. Olin Women's Building, just north of Olin Library. The event will feature McKayle and students performing sections of "Rainbow Etudes."

At 4 p.m. Thursday, Sept. 13, McKayle will present a lecture/video screening titled "A Life in Dance" for the Assembly Series. The event takes place in the university's Edison Theatre, located in Mallinckrodt Center, 6445 Forsyth Blvd. Both events are free and open to the public; for more information, call (314) 935-5858.

Named one of "America's Irreplaceable Dance Treasures" by the Library of Congress and the Dance Heritage Coalition, McKayle made his professional debut in 1948 with New York's New -over- Dance Company and later performed in the companies of Sophie Maslow, Jean Erdman, Martha Graham, Merce Cunningham and Anna Sokolow. In addition to "West Side Story," McKayle appeared in Broadway productions of "Bless You All" (1950), "House of Flowers" (1954) and "Copper and Brass" (1957).

McKayle has choreographed more than 50 works for companies in the United States, Europe, Israel and South America. Early pieces include the classic "Games" (1950), which examines the dangers faced by urban schoolchildren, as well as the popular "Rainbow ÔRound My Shoulder" (1959) and "District Storyville" (1962), which remain in the repertory of the Alvin Ailey Company. Following a stint as artistic director for the Inner City Repertory Dance Company of Los Angeles, McKayle returned to Broadway, directing "Raisin" (1974), "Dr. Jazz" (1975) and "Sophisticated Ladies" (1981), the latter based on the life of Duke Ellington. Other theatrical works include "N'Orleans" (1981), a musical play co-written with Toni Morrison and Dorothea Freitag, "Emperor Jones" (1984) and "Stardust" (1990). Beginning in the mid-1960s, McKayle began to choreograph dance sequences for film and television. Credits include "The Bill Cosby Special" (CBS, 1967), "The Motown Special" (NBC, 1968), "The Great White Hope" (1969), "Bedknobs and Broomsticks" (1970), "The 49th Annual Academy Awards" (ABC, 1977) and "The Jazz Singer" (1980), among others. He directed the first few episodes of "Good Times" in 1974.

McKayle's numerous honors include five Tony Award nominations; the NAACP Image Award (for "Sophisticated Ladies"); an Emmy Award nomination; the Samuel H. Scripps/American Dance Festival Award; the Capezio Award; the Heritage Award; the Living Legend Award and the Outer Critics Circle Award.

McKayle currently serves as professor of dance at the University of California, Irvine, and maintains relationships with several distinguished troupes. The Distinguished Visiting Scholars Program was instituted in 1998 as part of an effort to increase the representation of minority scholars on campus. The program honors individuals who have distinguished themselves as leaders or potential leaders in their fields, whether the arts, academia, business or other disciplines. During their stay, scholars participate in the intellectual life of the campus by teaching seminars, giving lectures and interacting with faculty and students, particularly undergraduates.

September 02, 2009: Album of the Day Vol. 43

2009-09-02T21:21:00.000-07:00

Tracklisting:

1. Bells
2. Prophet
3. Our Prayer/Spirits Rejoice
4. Ghosts
5. Truth Is Marching In
6. Ghosts
7. Spiritual Rebirth/Light in Darkness/Infinite Spirit
8. All/Our Prayer/Holy Family

Musicians:

Albert Ayler - tenor saxophone
Don Ayler - trumpet
Michel Samson - violin
William Folwell - bass
Beaver Harris - drums

Recording Date:
Nov 7, 1966 / Nov 13, 1966

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

The review below of this jaw dropping album comes from Dusted Magazine and was created by Jason Bivins

Rise and Rejoice

“Then along came Ayler. Holy shit! Brash and bold . . . Wailing, parading Albert Ayler – Psalm-swinging, Song-singing to you. Free at last, free at last. Thank God Almighty free at last.” Nobody put it quite like the late great Hal Russell, who said this in his autobiographical disc, The Hal Russell Story. Could anyone have been prepared for the sheer shock, the raw testimonial power of Ayler’s music? Hugely influential on several generations of tenor players – Joe McPhee, David Murray, David S. Ware, and Ken Vandermark, to name some of the more obvious examples – Ayler’s music sounds as fresh, wild, and uncompromising today as it must have then (we can only imagine, though the poet Ted Joans likens its impact to hearing the word “fuck” shouted in Saint Patrick’s Cathedral). On every record, from the brutal early slabs of sound to the deeply weird final records for Impulse!, Albert (often along with his brother Donald) aimed to raise the ceiling, to transform simple folk and church music into such outlandish essays in raw sound that they could deliver the musicians into some kind of mystical union.

Over the course of his tragically brief career, Ayler tended to rework the same material, generating ever more ecstatic whirls of sound. On this concert document from the end of 1966, which catches the group in the midst of a European tour which left audiences both befuddled and ecstatic, Ayler is joined by his brother on trumpet, Michael Samson on violin, William Folwell on bass, and Beaver Harris on drums. They exult in staples like “Bells,” “Spirits Rejoice,” “Ghosts,” and “Our Prayer,” among others. The previous version of this recording (and it’s a damn good thing it’s been reissued) had the track titles incorrect. Apparently when Ayler was asked after the Paris show (the recording’s final three tracks) what the song titles were, he was so tired he didn’t remember properly. No surprise there, given the surging energy of his tenor sax – which blows apart the harmonious moments even as it coos them back. The quavering sound of his horn – at once brutally forceful and intimately attuned to subtle grains of texture or modulation – is still what is most compelling about this music. Through all the formal moves this band makes – marches, hymns, free barrage – it is ultimately the preponderance of pure oscillating sound that comes across most effectively.

Beaver Harris is electric on this recording, pushing Donald Ayler to some of his most expressive playing on record during “Prophet.” Folwell (who creates such rich, almost unearthly drones with Samson) and Harris also get solo spots (which are believed to be their only ones on record with Ayler).

I’ve always seen the music documented on this 1966 tour as something of a stylistic interval between the epochal trio recordings of 1964 and the more fully-wrought ensemble recordings of the Greenwich Village gigs in 1967. But while this disc is not quite on the level of these two towering moments in Ayler’s music, it’s still a must-hear for Ayler freaks. He and his brother truly believed that their music was a long prayer to The One, and that their music could change the world. And when you’re melting to the rapture of “Our Prayer,” it almost seems believable. You don’t have to become a devout, but do not miss this stunning music.

By Jason Bivins

http://www.dustedmagazine.com/reviews/660

AstroNation Torrent Blog .85

2009-09-01T11:31:00.000-07:00

http://www.dimeadozen.org/torrents-details.php?id=264735

GINGER BAKER & SALT “AFRICA NOW” invites DRUM BATTLE WITH ART BLAKEY

Afrika Now - Afrika heute", Live in Munich/Germany at the Jazz Fest “JAZZ NOW!” (a special event in cooporation with the Olympic Games 1972 in Munich), 1972-08-18
Promoter: Joachim Ernst Behrendt

Source: probably SBD>Reel Tape (low gen!)>trade on CDR>EAC Rip (Secure Modus), Flac Frontend, Level 6
Sound: great sound! (listen to mp3 sample as usual)

LINEUP:
Ginger Baker : drums
Steve Gregory: tenor sax, flute
Bud Beadle: saxes
Tunde Koboje: bass
Berkley Jones: guitar
Laolu Akins: african drums
Kehinde Lijadu: vocals
Taiwo Lijadu: vocals
* special guest: ART BLAKEY: drums

TRACKS

CD 1
1. Track01 [7:12]
2. Track02 [5:25]
3. Track03 [6:41]
4. Track04 [11:05]
5. Track05 [16:51]
6. Track06 [19:18]
7. Track07 [7:27] (cut's quite heavy, the complete song is No.2 of CD 2, maybe from another Broadcast??)

CD 2
1. Track01 [1:37]
2. Track02 [18:18]

COMPLETE SET!!

ENJOY!!

UPLOADED BY RICOLA
DIME, 01.09.2009

Notes from Ricola:

However I'm currently in a seeding stop for different reasons, I just decided to bring out a special request for one of my Japanese trader friends Takamura.

Some short general Infos about this show:

This is a very special one. At the "Jazz Now!" Festival in Munich Ginger Baker played with his SALT Band. It seems this Band is a Reunion of his Airforce Band, however it sounds quite different to me.
The special surprise this evening was the drummer Art Blakey and Ginger took the chance for some hot drum battles! Because it was such a fun for all, he did the same thing again at the Jazztage Berlin 1972.

I found a article about this show at the original issue of the JazzPodium 1972. It was a really conservative critic as usual at that time. It seems the german Jazz Purists was quite overcharged with this Fusion of different music styles.
For all the germans….please find the article attached in the comment section.

The show was aired at TV (at that time SWF) 1972 and another part one year later 1973. But this source was recorded on reel Tape. So I really don’t know if the original source is from TV or a separate SBD. For me it seems the last one, because the sound is really amazing if you compared it with the age of that recording.
Please find also attached a copy of the original script from the SWF for the TV Broadcast from 1972-1973.

I don’t get an answer from SWR for a complete setlist, but they told me it is still unissued until today.

The music is amazing and IMO a wonderful historic document of the very short time lived Band “Salt”.

Enjoy and HAPPY BIRTHDAY TAKAMURA :)!!

PS: I’m always open for any corrections and also to get more details (for example a complete setlist) as long as you do it in a friendly way! Thanks!!