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Various • Mutant Beats

June 25, 2013, 4:18 pm
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Here's the subtitle: "Abstrakt Hip-Hop, Future Funk & Science Fiction Soul." That about sums it up. This is a compilation of tracks by artists from the U.S. and the U.K., all of them dedicated to creating innovative groove music in various ways. It is, frankly, a nearly perfect album, for the simple reason that everything on it is musically interesting and compellingly funky but no two tracks sound much alike. Highlights include "Do Yourself Some Good" by Heavy Handed, which moves from gritty soul-funk to frantic jungle over the course of three minutes; "Soul Skankin" and "Shadow" by the reggae-informed Rude Kulcha, the former of which combines a strutting reggae bassline with what sounds like an urban field recording of girls singing; and the dub-inflected abstraction of Moonstar's "Matrix." Best of all is an untitled track credited to Euphonic vs. Soothsayer and Dr. Israel, a jungle/hip-hop fusion experiment on which Soothsayer raps and Dr. Israel toasts over an expansive drum'n'bass backing track. Excellent.
Rick Anderson

1. Do Yourself Some Good • Heavy Handed
2. A.P.B. (Funky Hammond Mix) • Faceless
3. Trife (Jurassic Mix) • Black Pearl
4. Soul Skankin • Rude Kulcha
featuring Bill Laswell& Afrika Baby Bambaataa
5. My Stories • Lazy K.
6. Euphonic vs. Soothsayer & Dr. Israel • Euphonic vs. Soothsayer & Dr. Israel
7. Matrix • Moonstar
8. Twilight • Survival Soundz
9. Logic Part 3 • Adam Pierce
10. The Dark, The Day (remix) • Faceless
11. Shadow • Rude Kulcha
12. Hard To Maintain • Black Pearl

Compiled by David Wolin and Mr. Morgan
Buy Here

Label: Mutant Sound System‎– MSS 0017-2
Format: 320
Country: US
Released: 1997
Genre: Electronic, Hip Hop
Style: Abstract, Downtempo, Hip Hop
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Allen Ginsberg ‎• The Lion For Real

June 30, 2013, 7:39 am
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producer notes:
During the summer of 1986 I met Michael Minzer who runs Paris Records in Dallas. Michael always had a major interest in literature and produced many concerts and recordings of poetry and music. He was looking for someone to produce an album with Allen Ginsberg for his company - Michael had already recorded Allen performing Blake's "Nurses Song" with Steven Taylor and the Garland Chamber Symphony for a compilation album "Made Up in Texas"(1986) and was ready to record a full album with Allen. Familiar with some of my multi-artist tribute productions, Michael thought I'd be the right person to do this project.

I knew much of Allen's work. I've seen him read from his works a number of times and owned a few of his recordings including "Kaddish" (1963) on Atlantic Records, "First Blues" (1982) a double album on John Hammond's label, and "Howl" (1959) on Fantasy. Those records worked wonderfully in their own way (basically documenting the moments) - but I felt that this record should be something different. Ken Nordine's "Word Jazz" records were spoken word LPs, yet came across as music albums. I wondered if an album with Allen could do the same thing. It was a challenging project and always looking to get involved in potentially dangerous situations, I took Michael's offer.

At the first meetings, Allen seemed suspicious. He obviously had gone through some strange experiences with making records before, and that I had only some general conceptual ideas didn't really help. A few months later an album that I produced for Marianne Faithfull ("Strange Weather") was released and Marianne played the record for Allen at the Naropa Institute in Colorado where they were both teaching. Allen liked the album and with some encouragement from Marianne, he became enthusiastic about our project. Shortly thereafter an approximate recording period was scheduled.

To start, both Minzer and I read Allen's complete works, now easily available in two volumes by Harper & Row. We each made a list of about twenty poems that we thought would work well with music. Allen picked about eighty. One night he read almost all these to me in his apartment accompanied by a neighbor screaming out of his window to shut up. We then decided on about fifty poems to consider. Next I called about a dozen of my favorite composer/musicians that I felt would be right for the project, gave some his collected poems, and invited them to A&R Studios in New York to hear Allen record.

Ginsberg read poems that we picked out, with additional requests from the musicians, for about six hours in the studio while we sat in the control room - an amazing night. We gave the evening's tape copies to musicians and invited them to pick about three poems and compose music. We met separately later that week and picked the best poems for each to work on.

The week that we spent recording went extremely well. Each night everyone would arrive between seven and eight in the evening and pieces would be presented by the composer, rehearsed and recorded with Allen reading the work live. Then we'd go to the next composition. After the first performance broke the ice ("Refrain"), everyone's nervousness disappeared and the sessions went by quickly and smooth. We averaged four poems recorded each night. Character contrasts were great, from an insane Gary Windo arranged number to a beautiful Steve Swallow composition within a few hours; personalities from Beaver Harris to Arto Lindsay would float in and out of songs. Allen, who was never quite in a situation like this before, adapted quite well and kept everyone's spirits high. At the end of the week, we had twenty-one numbers recorded, of which we decided to complete all but one.

Chris Blackwell and Kim Buie of Island Records heard the results and immediately wanted to release it to start a series of spoken word great poet/musician collaborations on their newly formed Jones label. After a few sequence changes and interesting debates on what tracks to delete, the record was finished.

Thanks go to everyone associated with this project. Of special mention is Joel Tornabene who put Michael Minzer and myself together, Joe Ferla for being alive, Fran Tose for her help at the start of the album, Marianne Faithfull for her valuable friendship, and especially Allen Ginsberg for putting himself and his art in our world and taking the chance. I still don't know what the reaction will be, but hope the enjoyment that went into the record shows.

I'll be seeing you.
Hal Willner

1. SCRIBBLE(: 48)
(Words: A. Ginsberg/Music: M. Blair)
Casual note, a long melancholy affectionate 1956 thought about the late irascible Bay Area anarchist Poet, Kenneth Rexroth, might be 4 AM in the soul that Michael Blair's music mirrors.

2. COMPLAINT OF THE SKELETON TO TIME(3:02)
(Words: A. Ginsberg/Music: G. Windo)
1949 lyric influenced by Thomas Wyatt's My Lute, Awake! & Wm. Butler Yeats' Crazy Jane-part of The Shrouded Stranger of the Night concept conceived same time as Kermac's Dr. Sax. Gary Windo's free jazz sounds a variant of drunken Mexican Day of Dead dancing skeleton band.

3. XMAS GIFT (1: 49)
(Words: A. Ginsberg/M. Bingham)
The calm Princetonian world of XX Century science, a hint of Psychedelic Cosmic Consciousness discussing the Universe's origin (as Buddhist wd say 'Unborn'), a flash of comfy Country Club and odd awakening to the Bomb 1972. I was too Shy to rebuke kind Mr. Einstein for this hideous karma. Mark Bingham's strains carry this literal dream.

4. TO AUNT ROSE(3:29)
(Words: A. Ginsberg/Music: M. Ribot)
A memory flash 1958 Paris. My favorite Aunt Rose (19009-1940) took car of me weekends when my mother was ill-Books named are my late father Louis Ginsberg's. It was a big event to publish a volume of poetry those days! Rose Gaidemak died of septicemia. Note delicate music box time travel invention by Marc Ribot.

5. THE LION FOR REAL (5:44)
Sound effects by Richard Fussco (thanks to WDST; Woodstock, NY)
'Be mute for me, Contemplative Idol': epigraph from Tristan Corbiere's last stanza, Rhapsody of a Deaf Man. Retrospective account of a .mystical experience' 1948 described elsewhere (Paris Review interviews: Writers at Work 3'd Series, Penguin, NY 1986), the Lion representing Divine Presence. I then thought it necessary to break thru the wall of reality & confront God Eternity Death face to face. Five years later Tibetan Lama Dudjom Rinpoche advised me, 'If you see something horrible, don't cling to it; if you see something beautiful, don't cling to it.' Ironic Quatrain structure switching to prayer last stanza roughly follows Corbiere's poem's dynamics. Gary Windo's circus sax announces the poem's burlesque symbolism, Beaver Harris's drum follows the drama.

6. REFRAIN(3:29)
(Words: A. Ginsberg/Music: Michael Blair)
Among the earliest writing in this suite, echoing late Yeats' style. "Shadow changes into bone,"was my Kerouackian motto 1948, intending to say that eternal prophetic intuition (shadow) will turn out to be real (bone). Having heard Blake's voice I was headed for the booby-hatch for a season. Michael Blair's arrangement's midnight reflectiveness fits this rhyme's mood & meter.

7. THE SHROUDED STRANGER (3:1 5)
A Blakean Lyric, drawn from a childhood boogeyman sex dream under Paterson, N.J. choo-choo train Broadway overpass, my best 1949 rhymed poem, Kerouac liked the genius of "I hide & wait like a naked child/Under the bridge my heart goes wild." Marc Ribot's setting captures the railroad shufflebones wispy phantom rhythm - rill this version I never realized the stranger's gasping graveyard groan was a Hungry Ghost's hopeless cry for sexual help.

8. GREGORY CORSO'S STORY(2:17)
(Words: A. Ginsberg/Music: Bill Frisell)
A little anecdote the poet Corso told me around 1951, Bill Frisell's delicate setting turns around this memory of buried innocence.

9. CLEVELAND, THE FLATS(2:58)
(Words-- A. Ginsberg/Music: R. Carney)
Spoken originally to tapemachine driving thru ephemeral Cleveland's Industrial flats June 1966, bewilderment at 'The Fall of America' in Vietnam Wartime, what will future generations think? The collage concludes with Mantra to Buddha's human aspect as Sakya family wiseman, followed by Highest Perfect Wisdom Mantra: 'Gone gone totally gone totally gone over the top, wakened mind, So, ah! ' -Ralph Carney's setting fits free-verse open form modem poetry style to variable melancholy cadenced musical phrasing.

10. THE END (2:04)
(Words: A. Ginsberg/Music: M. Ribot)
A psychedelic condensation of the Tibetan Book of the Dead, scary & somewhat theistic in conception, in continuous rhythm as if there were a great being like Father Fisheye at the end or bottom of the 1960 Universe. Marc Ribot's music's appropriately eerie.

11. STANZAS: WRITTEN AT NIGHT IN RADIO CITY(5:07)
(Words: A. Ginsberg/Music: L. Pickett)
I was working graveyard shift 1949 as copy boy Associated Press office writing midnight stanzas, Thomas Wyatt mode, analyzing money, sex, hipness, heroism etc. somewhat uncannily prophesying 'back to the Land'& Beat fame. Lenny Pickett built sophisticated multiple wind instrument cadenzas timed around my one-shot solo recitation he took home from studio to work with.

10. THE END (2:04)
(Words: A. Ginsberg/Music: M. Ribot)
A psychedelic condensation of the Tibetan Book of the Dead, scary & somewhat theistic in conception, in continuous rhythm as if there were a great being like Father Fisheye at the end or bottom of the 1960 Universe. Marc Ribot's music's appropriately eerie.

11. STANZAS: WRITTEN AT NIGHT IN RADIO CITY (5:07)
(Words: A. Ginsberg/Music: L. Pickett)
I was working graveyard shift 1949 as copy boy Associated Press office writing midnight stanzas, Thomas Wyatt mode, analyzing money, sex, hipness, heroism etc. somewhat uncannily prophesying 'back to the Land'& Beat fame. Lenny Pickett built sophisticated multiple wind instrument cadenzas timed around my one-shot solo recitation he took home from studio to work with.

12. SUNSET (1:42)
(Words: A. Ginsberg/Music: L. Picket)
Written riding on Susquehanna train N.Y. to New Jersey, newly out of mental hospital visiting home in Paterson in 1949 one dusk, realizing a sad gentle fact that night here brings day elsewhere on the Planet. Bill Frisell muses into sunrise with clear birdsong.

13. HUM BOM!(4:00)
(Words: A. Ginsberg/Music: S. Swallow)
Written at Atlanta 1971 interracial Vietnam Peace Protest, based on Shivite ganja-smoker mantra to Creator/Destroyer, performed as sound poem 1984 at Folk City. Don Cherry alchemized my complaining downer cry 'Whom Bomb?' by turning it around, "You don't wanna bomb! Who Said Bomb?"& I picked up how to transmute the bomb fear mode to straightforward constructive suggestion: "We don't bomb.' Steve Swallow surprised me, sophisticating raw paranoia into laid-back disco propaganda.

14. KRAL MAJALES (5:11)
(Words: A. Ginsberg/Music: M. Bingham)
I was elected King of May 1965 as poem describes, I was kicked out of Prague, wrote this on airplane to England; same week found myself in Croyden Hotel room with Dylan & the Beatles, later stood on Thames Embankment watching poet Dylan flash Subterranean Homesick Blues key phrases on display cards for his historic Dont Look Back movie camera.

This poem's closest to poetic ideal of a majestic cadenced proclamation. Ralph Carney's Circle of Fifths continuously evolves in horns' circular breathing (like Australian Aborigines' Didgerey Doo) matching voice-text power to make the most perfect poetry music recording I've done- unobstructed exaltation, every syllable chanted conscious.

15. GURU (3:30)
(Words: A. Ginsberg/Music: S. Swallow)
Brief poem writ rising from a summer afternoon nap on Primrose Hill's grass, overlooking London's misted skyline 1965. Steve Swallow's music suggests the same galactic vastness of Space & Time. Listen hard, we buried the 'Guru' in the music.

16. ODE TO FAILURE(2:45)
(Words: A. Ginsberg/Music: M. Blair)
The most recent poem (1980) on this record. Michael Blair's music changes with shiftings of thought, & punctuates my phrasing. Whitman from Song of Myself: "Vivas to those who have fail'd/And to those whose war-vessels sank in the sea!...Not a mutineer walks handcuff'd to jail but I am handcuff'd to him and walk by his side,/I am less the jolly one there, and more the silent one with sweat on my twitching lips.' Vladimir Mayakovsky: "Die, my verse, die, like the rank & File,/as our unknown, unnumbered, fell/in storming heaven" (At Me Top of My Voice, 1930. Tr. Herbert Marshall). Yes I failed, everyone born dies, accepting failure makes success of life. 

Allen Ginsberg
with
Mark Bingham, Michael Blair, Ralph Carney,
Bill Frisell, Beaver Harris, Arto Lindsay
Lenny Pickett, Praire Prince, Marc Ribot,
G.E. Smith, Steve Swallow, Rob Wasserman,
Gary Windo, Garo Yellin and others

Produced by Hal Willner


Buy here

Label: Antilles ‎– AN 8750
Format: Vinyl 320
Country: UK
Released: 1989
Genre: Classical, Pop
Style: Spoken Word, Contemporary
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That's the Way I Feel Now • A Tribute to Thelonious Monk

July 9, 2013, 7:34 am
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One of the many vinyl albums destroyed from a leaking roof many moons ago. Fortunate to find a rip sometime ago but I can't remember where, hope I thanked the original postee.  One of the curses (I find) of music blogs and blogging is that I hardly get time to listen to what I find, even the stuff I have been searching for forever. Gave this a bit of a listen while preparing the post and enjoyed what I was hearing.
• Stylo •

Two years after the death of pianist-composer Thelonious Monk, this very unusual and quite memorable double-LP tribute was put together. Producer Hal Willner's most successful project, the 23 interpretations of Monk originals all feature a different group of all-star players and stretch beyond jazz. Some of the performances are fairly straightforward while others are quite eccentric; certainly the crazy duet on "Four in One" by altoist Gary Windo and Todd Rundgren (on synthesizers and drum machines) and the version of "Shuffle Boil" featuring John Zorn on game calls (imitating the sound of ducks) are quite unique. There are many colorful moments throughout the project and the roster of musicians is remarkable: Bobby McFerrin with Bob Dorough, Peter Frampton, Joe Jackson, Steve Lacy, Dr. John, Gil Evans, Randy Weston, Roswell Rudd, Eugene Chadbourne and Shockabilly, the Fowler Brothers, NRBQ, Steve Khan, Carla Bley, Barry Harris, Was (Not Was) and many others. There is not a slow moment or uninteresting selection on this highly recommended set.
allmusic

 

 Thelonious


Arranged by Bruce Fowler

Bruce Fowler• trombones

Phil Teele• bass trombones

Tom Fowler• bass

Chester Thompson• drums


Little Rootie Tootie



Performed by NRBQ and the
 Whole Wheat Horns

Al Anderson• guitar

Terry Adams• piano

Joseph Spampinato• bass

Tom Ardolino• drums

Donn Adams• trombone

Keith Spring• tenor saxophone

Reflections


Arranged and preformed by 
 
Steve Kahn• guitars

Donald Fagen• synthesizers


Blue Monk



Arranged and performed by
 
Dr. John• piano

Misterioso


Arranged by Carla Bley

Performed by 
The Carla Bley Band

with special guest
  
Johnny Griffin• tenor saxophone

Carla Bley• organ

Mike Mantler• trumpet

Gary Valente• trombone

Vincent Chancey• French horn

Bob Stewart• tuba

Steve Slagle• alto and baritone
 saxophones

Hiram Bullock• guitar

Kenny Kirkland• piano

Steve Swallow• bass

Victor Lewis• drums

Manolo Badrena• percussion, 
special effects

Hal Willner• the voice of death

Pannonica

Arranged and performed by
Barry Harris• tack piano

Ba-Lue-Bolivar-Ba-Lues-Are

Was (Not Was)
David Was• flute
Don Was• guitar, synthesizer, horn arrangement
Sheila Jordan• vocal
Marcus Belgrave• trumpet
Jervonny Collier• trombone
David McMurray• alto saxophone
Michael Ward• tenor saxophone
Larry Fratangelo• percussion
Sweet Pea Atkinson• background vocal
Harry Bowens• background vocal
Carol Hall• background vocal
Donald Ray Mitchell• background vocal

Brilliant Corners

Arranged by Mark Bingham
Mark Bingham• guitar
Brenden Harkein• guitar
John Scofield• guitar
Steve Swallow• bass
Joey Barron• drums

Ask Me Now

Arranged and performed by
Steve Lacey• soprano saxophone
Charlie Rouse• tenor saxophone

Monk's Mood

Arranged by Sharon Freeman
Sharon Freeman• French horn, celeste
Featuring special guest
Willie Ruff • solo French horn
Vincent Chancey• French horn
Bill Warnick• French horn
Gregory Williams• French horn
Kenneth Barron• piano
Buster Williams• bass
Victor Lewis• drums, percussion

Four In One

Arranged and performed by
Todd Rundgren • synthesizers, 
keyboards, guitar, drum machines
Gary Windo• alto saxophones

Functional

Arranged and performed by 
Randy Weston• piano

Evidence

Arranged and performed by  
Steve Lacey• soprano saxophone 
and Elvin Jones• drums

Shuffle Boil

Arranged by John Zorn
John Zorn• game calls, alto saxophone, clarinets
Arto Lindsay• guitar vocal
Wayne Horvitz• piano, organ, celeste, electronics
M. E. Miller• drums, timpani

In Walked Bud

Performed by Terry Adams and Friends
Roswell Rudd• trombone
Pat Patrick• alto saxophone
Terry Adams• piano
John Ore• bass
Frankie Dunlop• drums

Criss Cross

Arranged and performed by 
Shockabilly
Eugene Chadbourne• acoustic, electric guitars
Mark Kramer• piano, organ, bass guitar, alto trombone, 
Dad's clocks, tapes
David Licht• drums, percussion

Jackie-Ing

Mark Bingham• guitar
Brenden Harkein• guitar
John Scofield• guitar
Steve Swallow• bass
Joey Barron• drums
Additional horns
David Buck• trumpet
Don Davis• clarinet
Mars Williams• clarinet, tenor saxophone
Ralph Carney• bass saxophone, whistle

'Round Midnight

Arranged by Joe Jacckson
Joe Jackson• piano
Sharon Freeman• conductor
Jerry Little • concertmaster
Melanie Baker• violin
Sandra Billingsles• violin
Karen Gilbert• violin
Cheryl Hong• violin
Stan Hunt • violin
Crystal Garner • viola
Maxine Roach• viola
Muneer Abdul Fatah• cello
Enrique Orango• cello
Lawrence Feldman• clarinet
Steve Slagle• clarinet
Ken McIntyre• bass clarinet
Bob Cranshaw• bass
Buddy Williams• drums

Friday The Thirteenth

Original tracks arranged and performed by
Bobby McFerrin• vocals
and Bob Dorough• vocals
Dave Samuels • vibes, marimba, percussion

Work

Chris Spedding• guitars, arrangement, concept
Peter Frampton• guitars, solo
Marcus Miller• bass
Anton Fig• drums

Gallop's Gallop

Arranged and performed by 
Steve Lacey• soprano saxophone


Bye-Ya

Arranged and performed by 
Steve Slagle• alto saxophone
Dr. John• piano
Steve Swallow• bass
and Ed Blackwell• drums

Bemsha Swing

Arranged and performed
by Steve Lacey• soprano saxophone
and Gil evans• electric and acoustic pianos

ALL MUSIC COMPOSED BY THELONIOUS MONK Published by Thelonious Music BMI except: "Bemsha Swing" written by Thelonious Monk and Denzil Best 
 "'Round Midnight" published by Warner Bros. Music, and is registered as written by Thelonious Monk, Cootie Williams, and Bernie Hanighen 
"In Walked Bud" and "Monk's Mood" published by Embassy Music BMI

Recorded and mixed at
MEDIASOUND STUDIOS through MediaMax Corporation.
Recording and mix engineer Doug Epstien

Produced by Hal Willner

 

Label: A&M Records ‎– SP 96600
Format: 320 
Country: US
Released: 1984
Genre: Jazz
Style: Bop, Post Bop

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Amarcord Nino Rota

July 12, 2013, 1:01 am
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After discovering the Monk album a friend lent me his copy this album which didn't get as much rotation as the Monk but non the less was a good listen. The William Fischer Medley track made it onto a few mixtapes.
stylo


This tribute to the music of film composer Nino Rota was the first of Hal Willner's unusual multiartist projects and one of his more jazz-oriented ones. Such musicians as pianist Jaki Byard, vibraphonist Dave Samuels, guitarist Bill Frisell, soprano-saxophonist Steve Lacy, trumpeter Wynton Marsalis and bands headed by Carla Bley, Muhal Richard Abrams and David Amram are heard from on these eccentric but very musical adaptations of Rota's themes from Fellini movies.
allmusic

 

 1. Amarcord

Arranged By Jaki Byard
Piano • Jaki Byard
   

2. Interlude From Juliet Of The Spirits

Arranged By Dave Samuels
Vibraphone • Dave Samuels

3. 8½

Arranged By Carla Bley
Conductor, Organ, Glockenspiel • Carla Bley
Bass • Steve Swallow
Drums • D. Sharpe
Engineer • Michael Mantler, Vince McGarry
Euphonium • Joe Daley
Piano • Arturo O'Farrill
Tenor Saxophone • Gary Windo
Trombone • Gary Valente
Trumpet • Michael Mantler
Tuba • Earl McIntyre
Woodwind • Courtenay Wynter 

4. Theme From "La Dolce Vita" And "Juliet Of The Spirits"

Arranged By Dave Samuels
Vibraphone • Dave Samuels

5. Juliet Of The Spirits

Arranged By Bill Frisell
Guitar • Bill Frisell

6. La Dolce Vita Suite

6a. Introduction

Arranged By Sharon Freeman
French Horn, Piano • Sharon Freeman
Steel Drums • Francis Haynes

6b. Notturno

Arranged By Muhal Richard Abrams
Conductor • Muhal Richard Abrams
Bass • Fred Hopkins
Drums • Warren Smith
Flute • Henry Threadgill
French Horn • Sharon Freeman
Piano • Amina Claudine Myers
Baritone Saxophone, Clarinet • Bobby Eldridge
Trombone • Emmet McDonald
Trumpet • Claudio Roditi
Vibraphone • Jay Hoggard

6c. Interlude

Arranged By Sharon Freeman
French Horn, Piano • Sharon Freeman
Steel Drums • Francis Haynes

6d. Valzer (Parlami Di Me)

Arranged By Chris Stein & Michael Sahl
Accordion, Percussion • Charles Rocket
Guitar • Chris Stein
Keyboards • Michael Sahl
Vocals • Deborah Harry
Drums • Lenny Ferrari 

7. Satyricon

Arranged By David Amram
Accordion, Percussion • Charles Rocket
Guitar, Penny Whistle, Double Ocarina, Shanai, Claves • David Amram
Bass • Victor Venegas
Drums • Lenny Ferrari
Flute • Jerry Dodgion
Percussion • Steve Berrios

8. Roma

Arranged By Steve Lacy
Soprano Saxophone, Gong • Steve Lacy
Engineer • Alain Cluzeau

9. Medley: The White Sheik, I Vitelloni, Il Bidone, 

The Night Of Cabiria

Arranged By William Fischer
Conductor • William Fischer
Bass • Ron Carter
Drums • Wilbert Fletcher
Piano • Kenny Barron
Tenor Saxophone • George Adams
Trumpet • Wynton Marsalis
Woodwind • Branford Marsalis

10. La Strada

Arranged By Jaki Byard
Piano • Jaki Byard

Written by Nino Rota

Produced by Hal Willner


Label: Hannibal Records ‎ HNCD 9301
Format: 320
Country: UK
Released: 1982
Genre: Jazz
Style: Free Jazz, Contemporary Jazz
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Weird Nightmare | Meditations On Mingus

July 17, 2013, 4:27 am
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Of the three Hal Willner tribute albums I have (posted) this is my favorite. I was searching for a copy of "Beneath The Underdog", a sales assistant at Mole Jazz Records, had warned me off the Penguin edition advising me it was an abridged version.  As the gods would have it, it was republished by Vintage books a few months into my search (around 1991) and this album followed shortly after.
What pulled me in to this recording was the strange instrumentation from instruments invented by
Harry Partch or mores to the point the excellent recording of these instruments. I'm not aware of Partch's instruments given this treatment but would be interested if anyone knows of other recordings of a similar bent. I remember some years later, dragging a girlfriend across London to watch a special presentation and film (can't remember what) on Harry Partch on one of the hottest nights of the year. The sound was irritatingly terrible as was the film presented in a room with no air-con, I think our next date was something along the lines of "it's not you it's me"...
As with the previous Hal Wilner tribute albums the line-up of musicians is pretty stellar.

stylo




Producer Hal Willner had created a reputation as a fascinating instigator, organizing homages to composers as diverse as Nino Rota and Thelonious Monk wherein he conscripted the services of musicians from all over the stylistic map, allowing them to bring their unique interpretations and approaches to bear on the subjects. For his Charles Mingus project, his central idea was as inspired as it was loony: to incorporate the amazing instruments invented and designed by another equally maverick composer, Harry Partch, into reinterpretations of Mingus' work. By and large, it works, making Weird Nightmare a strange and wonderful one-off event. There's a central band at work based around bassist Greg Cohen and guitarist Bill Frisell, with guest stars, mostly from the rock world, including Robbie Robertson, Dr. John, Keith Richards, and Chuck D Highlights abound; when Partch's Marimba Eroica is struck during "Pithecanthropus Erectus," the floors of the listener's dwelling may buckle. Elvis Costello's reading of the title song is, well, eerily weird. One special high point is the version of "Gunslinging Bird" where text from Mingus' autobiographical Beneath the Underdog is angrily and righteously declaimed by Chuck D.; it's arguably as pure and forceful as anything he ever accomplished with Public Enemy and makes one wonder why he never pursued this seemingly rewarding path. There are several missteps as well, to be sure. Most egregiously, Keith Richards' sneering condescension on "Oh Lord, Don't Let Them Drop That Atomic Bomb on Me," as though he had better things to do, is embarrassing. But eventually, it's simply the gorgeous music of Charles Mingus that carries the day, showing itself more than capable of shouldering the ghost of Harry Partch and the wayward inclinations of its interpreters. Most of the pieces glow in these unusual treatments, and make Weird Nightmare a must for any serious Mingus fan.
allmusic

1. Canon (Part 1)
2. Meditations On Integration
3. Canon (Part 2)
4. Jump Monk
5. Weird Nightmare  
6. Work Song
7. Self-Portrait In 3 Colors
8. Purple Heart
9. Tonight At Noon
10. Gunslinging Bird
11. Weird Nightmare Interlude
12. Reincarnation Of A Lovebird / Haitian Fight Song Montage
13. Open Letter To Duke
14. The Shoes Of The Fisherman's Wife Are Some Jive Ass Slippers
15. Oh Lord, Don't Let Them Drop That Atomic Bomb On Me
16. Eclipse
17. Pithecanthropus Erectus
18. Freedom
19. Weird Nightmare (Reprise)

Featuring
Don Alias | Art Baron | Elvis Costello | Chuck D. 
Bill Frisell | Diamanda Galas | Dr. John | Bobby Previte
Vernon Reid | Marc Ribot | Robbie Robertson
Henry Rollins | Henry Threadgill
Full line up info

Composed by Charles Mingus

Produced by Hal Willner


Label: Columbia ‎– CK 52739
Format: 320
Country: US
Released: 1992
Genre: Jazz
Style: Jazz, Avant-Garde
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American Clave • Anthology

January 11, 2014, 6:25 am
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An anthology of musics (sequences of angers, passions, sexualities made audible and intangible by music) formed by the labor of Kip Hanrahan, Jack Bruce, Astor Piazolla, Robby Ameen, Horacio El Negro Hernandez, Don Pullen, Silvana DeLuigi, Paul Haines, Milton Cardona, Ishmael Reed, Steve Swallow, Alfredo Triff, Allen Toussaint, Puntilla Orlando Rios, David Murray, Taj Mahal, Sting, Andy Gonzalez, Arto Lindsay, Giovanni Hildalgo, Fernando Saunders, Leo Nocentelli, Benjamin Bratt, Pablo Ziegler, Fernando Suarez Paz, Carmen Lundy, Bobby Womack, Robert Wyatt, Peter Scherer, Lester Bowie, John Tchicai, Mike Cain, Jerry Gonzalez, Xiomara Laugart, Lucy Penebaz, George Cartwright, Elysee Pyronneau, Pedrito Martinez, Olu Dara, Amadito Valdez, Yosvannit Terry, Chocolate Armenteros, Dziga Vertov and many others informed by, but irreverent of expected form; but informed by and not irreverent of passionate cause and intent ...1980-1992

A two-disc compilation of songs (greatest hits?) from american clave records



“American Clave is both the label and the vehicle of Kip Hanrahan, one of the most experimental musical artists working today. In addition to Hanrahan, some of the artists featured range from power rocker Jack Bruce on vocals and bass to soul singer Bobby Womack to blues guitarist Taj Mahal to avant garde jazz pianist Don Pullen to New Orleans keyboardist Allen Toussaint, usually in some combination with each other. As the above names suggest, Hanrahan has created a body of work that is the most imaginative and complete syntheses of different traditions ever put together... This collection proves that experimental music can be just as listenable and melodic as the most mainstream material..."
—Blade, Citizen Preview


Gold Disc • 1020
1. Salute to Elegua (traditional, arranged by Milton Cardona) Milton Cardona • iya; Hector “Flaco” Hernandez • checkere; Steve Berries • itotele; Jose Fernandez • okonkolo; Sandra “Fela” Wiles, YomiYomi Awolowo, Carole Awolowo, Paulette “Nirvana” Buckley, Amma Oforiwaa Agyapon, Denise Ola DeJean, Jean Evans, Amma Dawn McKean, Teresa Gomez • chorus / recorded 8/85 / from AMCL 1004

2. Tanguedia III (Astor Piazzolla) Astor Piazzolla • bandoneon; Fernando Suarez Paz • violin; Pablo Ziegler • piano; Horacio Malvicino • guitar; Hector Console • bass / recorded 5/86 / from AMCL 1013

3. “…when I lose myself in the darkness of love, no, this love…” (Kip Hanrahan) Fernando Saunders • electric bass; Giovanni Hidalgo • quinto; Milton Cardona • congas; Robbie Ameen • trap drums; Ignacio Berroa • trap drums; Kip Hanrahan • percussion; Diahnne Abbott • voice; Andy Gonzalez • bass; Alfredo Triff • violin / recorded 8/89 / from AMCL 1016/1017

4. “…she turned so that maybe a third of her face was in this fuckin’ beautiful half-light…” (Kip Hanrahan) Giovanni Hidalgo • quinto; Milton Cardona • congas; Robbie Ameen • trap drums; Ignacio Berroa • trap drums; Kip Hanrahan • percussion; Andy Gonzalez • bass; Fernando Saunders • electric bass; Sting • electric bass, voice; Alfredo Triff • violin / recorded 2/90 / from AMCL 1016/1017

5. ‘Sputin (Ishmael Reed, Leo Nocentelli, Alien Toussaint, Kip Hanrahan) Leo Nocentelli • guitar; Steve Swallow • electric bass; Bobby Womack • voice; Allen Toussaint • piano; Robbie Ameen • trap drums; Lenny Pickett • tenor sax; Olu Dara • trumpet; Hamiet Bluiett • baritone sax / recorded 2/89 / from AMCL 1015

6. Jes’ Grew (David Murray, Ishmael Reed) Taj Mahal • voice, guitar; Ejaye Tracey • voice; Don Jay • voice; Olu Dara • trumpet; David Murray • tenor; Jean-Paul Bourelly • electric guitar; Allen Toussaint • piano; Steve Swallow • electric bass; Jamaaladeen Tacuma • electric bass; Billy Hart • trap drums; Puntilla Orlando Rios • percussion / recorded 9/83 / from AMCL 1006

7. Make Love 2 (Jack Bruce, Pete Brown) Jack Bruce • voice, electric bass; Steve Swallow • electric bass; Ignacio Berroa • trap drums; Milton Cardona • congas; Puntilla Orlando Rios • congas; Peter Scherer • synclavier; Arto Lindsay • electric guitar; David Murray • tenor sax / recorded 2/84 / from AMCL 1010

8. Ah, Intruder (Female) (Astor Piazzolla; arranged by Kip Hanrahan and Astor Piazzolla) David Murray • tenor sax; Pablo Ziegler • piano; Andy Gonzalez • bass; Alfredo Triff • violin / recorded 5/86 / from AMCL 1012

9. Prelude to the Cyclical Night (part One) (Astor Piazzolla) Astor Piazzolla • bandoneon / recorded 8/87 / from AMCL 1019

10. The First and Last to Love Me (2, December) (Kip Hanrahan) Steve Swallow • electric bass; Jack Bruce • electric bass; Andy Gonzalez • bass; Giovanni Hidalgo • congas; Milton Cardona • congas; Ignacio Berroa • trap drums; Fernando Saunders • voice; George Adams • tenor sax / recorded 10/85 / from AMCL 1012

11. Ebioso (traditional, arranged by Milton Cardona) Milton Cardona • lead singer, atchere; Hector “Flaco” Hernandez • checkere; Steve Berrios • congas, checkere; Jose Fernandez • checkere; Sandra “Fela” Wiles, YomiYomi Awolowo, Carole Awolowo, Paulette “Nirvana” Buckley, Amma Oforiwaa Agyapon, Denise Ola DeJean, Jean Evans, Amma Dawn McKean, Teresa Gomez • chorus / recorded 8/85 / from AMCL 1004

12. The Author Reflects on his Thirty-fifth Birthday (Ishmael Reed, Steve Swallow) Bobby Womack • voice; Steve Swallow • electric bass; Don Pullen • organ; Alien Toussaint • piano; Robbie Ameen • trap drums; Eddie Harris • tenor sax; Leo Nocentelli • electric guitar; David Murray • tenor sax; Olu Dara • trumpet / recorded 9/87 / from AMCL 1015

13. Curtsy (Paul Haines, Robert Wyatt) Robert Wyatt • voice, keyboards, percussion; Evan Parker • tenor sax / recorded 8/86 / from AMCL 1014/1018

14. At the Moment of the Serve (excerpt) (Kip Hanrahan) Jamaaladeen Tacuma • electric bass; Arto Lindsay • electric guitar; Daniel Ponce • congas, iya; Jerry Gonzalez • congas; Anton Fier • trap drums; Ignacio Berroa • trap drums; Kip Hanrahan • percussion; George Naha • electric guitar; Carlos Ward • alto sax; Chico Freeman • tenor sax / recorded 1/81 / from AMCL 1007

• • • 


1. Meaning a Visa (excerpt) (Kip Hanrahan) Steve Swallow • electric bass; Elysee Pyronneau • electric guitar; Arto Lindsay • electric guitar; Alberto Bengolea • electric guitar; Jody Harris • electric guitar; Puntilla Orlando Rios • percussion; Kip Hanrahan • percussion / recorded 7/82 / from AMCL 1008/1009

2. Two (Still in Half Light) (Kip Hanrahan) Jack Bruce • electric bass, voice; Andy Gonzalez • bass; Milton Cardona • congas, checkere, quinto; Ignacio Berroa • trap drums; Giovanni Hidalgo • quinto; Steve Swallow • electric bass; Kip Hanrahan • checkere/ recorded 7/84 / from AMCL 1011

3. Soledad (Astor Piazzolla) Astor Piazzolla • bandoneon; Fernando Suarez Paz • violin; Pablo Ziegler • piano; Horacio Malvicino • electric guitar; Hector Console • bass / recorded 5/88 / from AMCL 1021

4. Fool-ology (The Song) (Lester Bowie, Ishmael Reed) Lester Bowie • voice, trumpet; Molly Parley • voice; Brenda Norton • voice; David Murray • tenor sax; Elysee Pyronneau • electric guitar; Jamaaladeen Tacuma • electric bass; Andy Gonzalez • bass; Frisner Augustin • congas; Milton Cardona • congas; Billy Hart • trap drums / recorded 8/83 / from AMCL 1006

5. A Lover Divides Time (To Hear How it Sounds) (excerpt) (Kip Hanrahan) Lisa Herman • voice; Daniel Ponce • congas; Jerry Gonzalez • congas; Ignacio Berroa • trap drums; Anton Fier • trap drums; Jamaaladeen Tacuma • electric bass; Arto Lindsay • electric guitar / recorded 2/81 / from AMCL 1007

6. India Song (Carios d’Alessio, Marguerite Duras) Carla Bley • voice, piano; Bill Laswell • electric bass; Chico Freeman • tenor sax; Orlando DiGirolamo • accordian; Billy Bang • violin; Carios Ward • alto sax; George Cartwright • flute; John Clark • french horn / recorded 1/81 / from AMCL 1007

7. Poem for Gretchen Ruth (Paul Haines, George Cartwright) Alex Chilton • voice; Wayne Horvitz • piano; David Hofstra • bass; Bobby Previtte • drums / recorded 10/86 / from AMCL 1014/1018

8. New Fast (Ikue Mori, Tim Wright, Arto Lindsay) Ikue Mori • drums; Tim Wright • bass; Arto Lindsay • guitar, voice / recorded 3/80 / from AMCL 1003

9. Velasquez (Kip Hanrahan) Jack Bruce • voice; Steve Swallow • electric bass; Puntilla Orlando Rios • congas; Ignacio Berroa • trap drums; Anton Fier • trap drums; Elysee Pyronneau • electric guitar; Arto Lindsay • electric guitar; Jody Harris • electric guitar / recorded 7/82 / from AMCL 1008/1009

10. There Aren’t These Things (Paul Haines, John Tchicai) John Tchicai • tenor sax; Andrew Cyrille • trap drums / recorded 1/90 / from AMCL 1014/1018

11. Leijia’s Game (Astor Piazzolla) Pablo Zinger • piano / recorded 8/87 / from AMCL 1019

12. Shadow Song (Mario’s In) (Rene Hernandez, Kip Hanrahan) Jack Bruce • piano, voice; Steve Swallow • electric bass; Ignacio Berroa • trap drums; Puntilla Orlando Rios • congas, bongo; Milton Cardona • congas; David Murray • tenor sax; John Stubblefield • tenor sax; Mario Rivera • baritone sax; Ned Rothenberg • tenor sax; Lew Soloff • trumpet; Richie Vitale • trumpet / recorded 2/84 / from AMCL 1010

13. Geography (Kip Hanrahan) Robbie Ameen • trap drums; Fernando Saunders • electric bass; Lucy Penabaz • voice; Leo Nocentelli • electric guitar / recorded 2/90 / from AMCL 1016/1017

14. Prelude to the Cyclical Night (part two) (Astor Piazzolla) Astor Piazzolla • bandoneon/ recorded 8/87 / from AMCL 1019


Produced by Kip Hanrahan



Label: American Clavé – AMCL 1020/26
Format: 320
Country: US
Released: 1986
Genre: Folk,  Latin
Style: Afro-Cuban, Religious
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Jerry Gonzalez • Ya Yo Me Cure

January 22, 2014, 11:41 am
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 A monumental masterpiece of New York Latin Jazz by Jerry Gonzalez. I think this was American Clave's first release, I remember reading a Kip Hanrahan interview that he had some ambitious ideas which were not to Jerry's liking, prompting Jerry to comment maybe you should record your own album (Coup de tete).
Stylo 

The debut recording as a leader by Jerry Gonzalez, Ya Yo Me Cure features an early version of the trumpeter/Latin percussionist's Fort Apache Band (although it had not been named at this point). The advanced Latin jazz set (which has been reissued on CD) features such notable sidemen as trombonist Steve Turre, Mario Rivera on tenor, pianist Hilton Ruiz, singer Frankie Rodriguez and several percussionists. In addition to three originals by Rodriguez, the hot ensemble Latinizes such unlikely tunes as "Caravan," Wayne Shorter's "Nefertiti," Thelonious Monk's "Evidence" and "The Lucy Theme." Frequently exciting music.
AMG

1. Aguaybana Zemi
2. Nefertitti
3. Ya Yo Me Cure
4. The Lucy Theme
5. Evidence
6. Baba Fieden Orisha
7. Caravan

Jerry Gonzalez• Trumpet, Flugelhorn, Coro
Frankie Rodriguez• Lead Vocals, Quinto, Bata, Chekere
Milton Cardona• Vocals
Steve Turre• Trombone, Conch Shell, Percussion
Papo Vázquez• Trombone, Coro
Mario Rivera• Tenor Saxophone, Coro
Edgardo Miranda• Electric Guitar
Hilton Ruiz• Piano
Andy Gonzalez• Bass, Coro
Gene Golden• Bata, Bata, Chekere
Carlos Mestre• Coro, Tumbadora, Chekere
Vicente George• Guiro, Percussion
Nicky Marrero• Timbales, Chekere, Guataca
Don Alias• Drums



recorded July / August 1979

Produced by Kip Hanrahanand Jerry Gonzalez

Label: American Clavé – AMCL 1001
Format: 320
Country: US
Released: 1980
Genre: Jazz
Style: Latin Jazz
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Plug • Plug 1 | Visible Crater Funk

January 26, 2014, 2:18 am
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"Plug 1 are a drum and bass outfit with a difference. Hailing as west country Techno stars, they came to London and were influenced by the jungle sounds of their new surroundings."

"Spaced out jungle tunes on an ambient tip or intelligent jungle would hint at where this release is coming from but with music as unique as this why try to categorise things that are on a trip of their own."
Taken from the Distributor sheet that came with the promos


1. 7.10
2. 3.41
3. 7.44
4. 6.07

Created by Luke Vibert

Incidental information:
"Visible Crater Funk" is an anagram for Luke Francis Vibert.
 

Label: Rising High Records ‎– PLUG 1
Format: Vinyl Rip
Country: UK
Released: 10 Apr 1995
Genre: Electronic
Style: IDM, Drum n Bass, Jungle
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Jaz Klash • Thru The Haze

January 28, 2014, 1:45 am
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 Perhaps the best thing out of Bristol drum'n'bass since New Forms, the debut album from the collaborative trio Jaz Klash is a set of jungle jazz with a definite edge to it, courtesy of live instrumentation by noted jazz keyboardists Jacky Terrasson and Brian Auger. The drum programming by More Rockers and the Angel is superb and distinctive, while even the Angel's own vocals on two tracks come off quite well.
AMG


1. Off The Edge
Louis Russell • Electric Guitar

2. Intrigue (Down For Whatever)
The Angel • Lead Vocals
Katisse Buckingham• Flute

3. BQE
Cokni O'Dire • Rap

4. Intoxicated
Katisse Buckingham• Flute

6. Traffic
Greg Cook• Bass Guitar
Rob Chant• Electric Guitar

7. Thru The Haze
The Angel• Lead Vocals
Brian Auger• Hammond Organ, Electric Piano
Katisse Buckingham • Saxophone

8. The Finale
Louis Russell• Electric Guitar
Jacky Terrasson• Hammond Organ, Electric Piano

9. The Gift
Louis Russell• Electric Guitar

10. The Party Next Door 

11. One Fine Day


All tracks recorded & mixed in Bristol & L.A.
Composed, Mixed, Engineer, Programmed, Performed, Produced by
The Angel, Peter D, Rob Smith

Label: Cup Of Tea Records ‎– COT CD 008
Format: 320
Country: UK
Released: 1996
Genre: Electronic
Style: Trip Hop, Drum n Bass, Jungle
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Buckethead • Day of the Robot

February 10, 2014, 2:26 pm
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The most consistent and coherent-sounding of Buckethead's releases to date (two qualities usually absent from his earlier works). Most often referred to as his "jungle album" (it features rhythm tracks by U.K. beat scientist DJ Ninj), the hyperspeed breaks are actually the least interesting aspect of the album, which is instead notable for its steady and inspired, chaos-by-design integration of diverse elements (treated guitars, keyboards and pianos, loping bass, etc.). Much of the credit for this goes to Bill Laswell's excellent production.
AMG


1. Destroyer
a. Speed Flux Quadrant
b. Inclusion
c. Exhaust Release

2. Flying Guillotine

3. Quantum Crash

4. Collision

5. Caution Drop




Buckethead• guitars
Ninj(2,3,4,5)• bass, drums, keyboards
Bill Laswell• low bass, drums

Recorded at Coast Recorders, San Francisco, CA and Greenpoint Studio,
Brooklyn, NY
Rhythm tracks for 2,3,4 and 5 created in the UK by Ninj
Engineering in San Francisco: Oz Fritz
Assistant in San Fransisco: Mike Johnson
Engineering at Greenpoint: Robert Musso
Mastered by Robert Musso and Anton Fier



Produced byBill Laswell


Label: Sub Meta ‎– SM 9804
Format: 320
Country: US
Released: 1996
Genre: Electronic, Rock
Style: Breakbeat, Drum n Bass, Heavy Metal
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Derek Bailey • guitar, drum 'n' bass

February 12, 2014, 1:41 am
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This interview with Derek Bailey was undertaken by Stefan Jaworzyn (of Shock records) in mid-1995. It originally appeared in the magazine Music from the empty quarter (an irregular publication), no. 12, 1995. 

Derek Bailey:
Well, I did some recording... The jungle music's by Ninj - a beautiful piece, about 50 minutes - in fact it's five pieces I think. He does mainly studio work I believe - an interesting character. So he'd done his thing... I got to the studio - all this had been arranged from New York by Zorn and Laswell - the day before we were supposed to tape it. The studio was run by Mick Harris, a nice little place... I set up and tried a few things, then said to him, "Have you got a chair because I sit down to play.' And he said, 'No'(!) then, 'Well, there's one in there' but it was no good because it had arms. So he didn't have any chairs - but there was his drum stool. So I said, 'Well, I'll try the drum stool' but the drum stool was broken and it kind of weaved around. It spun round, but not only did it spin round but it conducted a circle in which it would spin - it would spin round in a circle, if you see what I mean - the upright was not upright...

Stefan Jaworzyn:
It swooped...

Derek Bailey:
Yep. So it was a fairly skilful business just keeping upright on it. (I should have asked Zorn for a chair. I realise now that when I got to Birmingham I should have phoned him and said 'There's no fucking chair here John - get a chair!'). We got talking about the way to record, and he played me a bit of the jungle stuff and I said, 'Don't play it just now.' Then I went back to the hotel, and I remembered about the chair, so I rang him up and said, 'Tomorrow, get a chair'. And he said, 'It's impossible.' So I left it with him anyway... I turned up the following day and there's no chair! I used the drum stool. It turned out that the drum stool wasn't really a problem. What was a problem was that Mick didn't seem capable of mixing a DAT and a live instrument. There were also some things that went on that were somewhat in the chair vein - like I played with the first piece then said, 'I'll just have a listen to that'. he replied, 'I didn't record it.' and I said 'What the fuck do you think I was doing?' and he said 'I thought you were just getting used to it.' So we started again. Anyway, we finished after about 40 minutes - by which time I'd been into the control box a few times. And by, let's say the third take, it was possible to detect that there was a guitar player. Now I was playing comparatively loud, but that doesn't mean anything if you're mixing - you're at the desk with a DAT and a live instrument - but there was nothing there (on the DAT). Eventually, as time wore on, I could hear some plinking and plonking behind this very nice jungle stuff - a bit like rain falling on a roof, very softly. I said, 'Just turn the fucking thing up Mick, don't worry about what it sounds like.' but we never made it onto the tape; after about 40 minutes my spirits started to sag...


Stefan Jaworzyn:
Uh...(Longish pause) So...


Derek Bailey:
(Laughs) Ninj was there - I have to say his enthusiasm was the only thing that was sustaining me - he seemed knocked out by what was going on. It's just that none of what was going on was making it onto tape! So I finally said, 'We're going to stop this now.' And Mick - it seemed with some relief - said, 'Yeah. Maybe you could record it at Laswell's studio.' I bet I could. And they've probably got chairs too... So the two lads helped me down with my equipment and I got a taxi back to the station and that was the end of that session... It just completely baffled me - he seemed so relieved when I said 'Let's pack this up'... It was getting louder, but I was getting exhausted - when it finally got to the point where it was starting to register on tape I thought it should have been over!
Anyway, I've got the Ninj DAT and the aborted DAT, so I'll probably take it over to New York with me in September. I've talked to Zorn about it and the arrangement is that we'll do it with Laswell.

Stefan Jaworzyn:
So it's not as imminent as I'd originally thought...

Derek Bailey:
Oh well, these things... Zorn's releases are backed up to the turn of the century...

Stefan Jaworzyn:
So Laswell will engineer it?

Derek Bailey:
No, it'll probably be Bob Musso - he's very good. Plus I can borrow his amp - he's got a fantastic old amplifier...

Bailey says that what he'd really like to do most is play a concert with 'live' jungle (ie: with a couple of DJs and several turntables for an uninterrupted flow of music), but there are obviously many attendant problems - not least the (presumable...) incompatibility of jungle and improvised music audiences, not to mention the difficulty of finding a suitable venue. I find this idea most appealing, and it strikes me as closer to Bailey's aesthetics than producing a CD with specially composed jungle. Well, I guess it now just remains to be seen what actually emerges from all the apparent chaos...


•

1. N/Jz/Bm (Re Mix)
2. Re-Re (Up Mix)
3. Dnjbb (Cake Mix)
4. Concrete (Cement Mix)
5. Ninj (De Mix)
6. Pie (Amatosis Mix)



Derek Bailey
guitar

D.J. Ninj
drum programming

Bass and drums recorded spring 1995 in Birmingham, England.
Guitar recorded September 1995 at Bill Laswell's studio, NYC.


Label: Avant ‎– AVAN 060
Format: 320
Country: Japan
Released: 1996
Genre: Electronic
Style: Noise, Drum n Bass, Experimental
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The Selfish Giant

February 13, 2014, 2:49 am
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Black Arc • Black Rock | Cyberfunk | Future Blues

February 22, 2014, 4:56 am
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Black Arc was a short lived record label that Laswell set up through Rykodisc focusing on ‘Black Rock, Cyber Funk and Future Blues’, according to the released sampler.
This sampler contains the first five releases, three other releases followed.
Some of the albums were re-released on Laswell's Innerhythmic label.

1. O.G. Funk• Yeah Yeah Yeah
2. Zillatron• Bugg Light
3. Slavemaster• Godless
4. Hardware• Got A Feeling
5. O.G. Funk • I Wanna Know
6. Zillatron• Count Zero
7. Buddy Miles Express• Born Under A Bad Sign
8. Slavemaster• Each One Teach One
9. Hardware• Hard Look
10. Buddy Miles Express• Let It Be Me 

•

ZILLATRON • Lord Of The Harvest
is the creation of Boosty Collins and Laswell,
designed as a vehicle for radical
explorations of funk into the
virgin territories of Ambient,
Hardcore, Techno, and beyond
info


SLAVEMASTER • Under The Six
is an organic fusion of hard, Gothic,
Heavy Rock guitars with Funk and Hip Hop grooves,
led by bassist/vocalist Islam Shabazz
info 


http://www.silent-watcher.net/billlaswell/discography/no/outofthedark.html
O.G. FUNK • Out Of The Dark
is raw, uncut Funk from original Funkadelics Billy "Bass" Nelson.
Screaming guitars, gutbucket grooves, nasty vocals and gritty production
info


HARDWARE • Third Eye Open
is a hard Blues/Rock power trio featuring Drummer Buddy Miles,
bassist Bootsy Collins and Guitarist Steve Salas,
With all three contributing vocals.
info
 

BUDDY MILES EXPRESS • Hell And Back
is hard Rhythm & Blues from veteran drummer/singer/ Buddy Miles
on his most powerful recording ever.
info
 

Released later, not on sampler:


Abiodun Oyewole: 25 Years
info
 

The Last Poets: Holy Terror
This is the P-Vine release version.
info


The Last Poets: Black And Strong (Homesick) Promo
 info



Jerome Brailey and Mutiny: Aftershock 2005
info

Bernie Worrell's "Free Agent" was also released on the this label but in Japan only.
Domestic copies sold by Bernie do not show the Black Arc logo.



At The Center Of This Stands Creativity The Revolutionary Forces Of The Art Through Freedom The Only Aim Is Not Thinking The Only Result Is Communication The Repetition Of Familiar Form Is The Basis Of Ideology That Information Is The Model Of False Communication The Communication Of The Inauthentic - The Non-Living The Language Of The Whole Man Will Be A Whole Language Freedom Leads To Freedom Those Are The First Words Of The Truth
 Bill Laswell


Label: Rykodisc ‎– RCD 10313
Series: Black Arc
Format: 320
Country: US
Released: 1994
Genre: Electronic, Hip Hop, 
Rock, Funk / Soul
Style: Blues Rock, Funk Metal, Industrial
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Burundi Black • Burundi Black

February 27, 2014, 1:40 am
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I wasn't aware of this recording back in 1981 when it was re-released, but the bands it influenced like Bow Wow Wow ans Adam and the Ants were playing Burundi drums on these space age (to me) Staccato drum kits which have amazing sound. Now if anyone knows of any sampled Staccato drum sounds, drop me a line.

Stylo

"Burundi Black" is a 1971 recording credited to Burundi Steiphenson Black.
Released as a single, it made #31 on the UK Singles Chart.
The single was arranged and produced by French pianist, arranger and record producer Michel Bernholc (1941 – June 5, 2002). He was a classically trained pianist who had previously worked with pop musicians such as Michel Berger, France Gall, Françoise Hardy and Claude François. For the "Burundi Black" single, he used the pseudonym Mike Steiphenson.
The record sampled a recording of drumming by 25 members of the Ingoma people in Burundi. The recording was made in 1967 by anthropologists Michel Vuylsteke and Charles Duvelle, and was released on the album Musique du Burundi on the French Ocora label in 1968. Steiphenson overdubbed his own piano and guitar rock arrangement onto the recording.
In 1981, a new arrangement of "Burundi Black" was recorded by drummer Rusty Egan and French record producer Jean-Philippe Iliesco, and released in the UK and US where it became a dancefloor hit, described by music critic Robert Palmer as "glitzy pop-schlock, a throwaway with a beat". Palmer noted that, although Steiphenson had retained copyright over "Burundi Black", the Burundian musicians made no money from any of the recordings.
The recording of Burundi drummers was also sampled by Joni Mitchell on her song "The Jungle Line" (1975), on "Zimbo" by Echo & the Bunnymen (1983),  the Def Leppard single "Rocket" (1987) and the Beastie Boys'"59 Chrystie Street" (1989).


1. Burundi Black (First Part)
2. Burundi Black (Second Part)

Drummers of Burundi
Additional Drums • Rusty Egan
Special Re-mix • J.P. Illiesco, Rusty Egan
Written by Mike Steiphenson


Label: Barclay ‎– BAX1, Decca ‎– BAX1
Format: 320
Country: UK
Released: 1981
Genre: Electronic, Folk, World, & Country
Style: Tribal, Experimental
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The Otherside featuring Musa K • Burn Baby Burn

March 12, 2014, 3:03 pm
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1. Prelude To Monkey Dread    
2. Monkey Dread    
3. Roadblock    
4. Journey 2 Darkness    
5. Daygal    
6. Binta: La Vie De Femme    
7. Pressure Point - Pressure Dub    
8. Forgive & Forget    
9. Love In The Jungle    
10. Black Orchid    
11. Demna    
12. The Beauty Of Song    
13. Giovanni's Room

It is only fitting to the musicians who performed on this album, not to list their names according to songs on which they performed, because each songs' influence gave a new dynamism and life like metamorphosis to the other. I chose to list the musicians' continent of origin and instrument played. I am deeply indebted.
Musa K

AFRICA:
Musa Kalamulah• Vocals, Rap
Mustapha 'Heavy M' Kalamulah (my son)• Vocals, Rap
Edward N'jie• Vocals, Rap
Ayo Roy Macauley• Guitars
Aziz Salim• Guitars
Mamadi Kamara• CONGAS
Gabriel• CONGAS
David Oladunmi• CONGAS

CARRIBBEAN:
Brian Edwards• Tenor Saxophone, Alto Saxophone
Ray Carless• Tenor Saxophone, Alto Saxophone
Kevin Robinson• Trumpet, Flugelhorn
Alan Weeks• Guitar
Adrian Reed• Keyboards
Gary Dawkins• Toasting (old skool)

EUROPE:
David Toop• Drum Programming, Guitar, Flute, Bass Guitar, Steel Guitar
Steve Beresford• Bass Guitar
Peter Ind• Double Bass
Adrian MacIntosh• Drum
Musa M'boob• Sabarr
Assane N'doye-Cisse• Sabarr
Niaw N'ying• TAMA
Massamba Diop• TAMA


Recorded at Dave Hunt's Studio and Mark Angelo's Studio
Mixed at Mark Angelo's Studio   
   
Executive Producer  Musa Kalamulah
Produced by David Toop


Label: Jungle Rendez-Vous Records ‎– JRVCD101
Format: 320
Country: UK
Released: 1995
Genre: Electronic, Folk, World
Style: African
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Derek Bailey, George Lewis, John Zorn • Yankees

March 17, 2014, 2:25 am
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A collaborative trio no doubt this was, but both Zom and Lewis have made clear their admiration and debt to Bailey and it is the guitarist who as often as not defines the parameters of these five excellent tracks. The two long items, 'The Legend of Enos Slaughter' and 'On Golden Pond', are both indicative of Zorn's great skills as an improviser; not just a pasticheur or ironist, he is also a first-rate saxophone player, an aspect of his artistic personality that tended to be overlooked in the period between this record and the later Masada project. Lewis is a giant, a player with a huge tone, a complex grasp of higher harmonics and, like Zorn, a dedicated deconstructor of his instrument, constantly experimenting with his component elements: mouthpiece, bell and slides. It's Bailey, though who makes things happen. His acoustic and amplified playing is tight marshalled, fierce and never less than expressive. His first entrances on the opening 'City City City' are breathtaking, and anyone who takes the plunge and samples this now mid-price disc could well find it a taste-altering experience.

Richard Cook and Brian Morton
The Penguin Guide to Jazz on CD


1. City City City
2. The Legend Of Enos Slaughter
3. Who's On First
4. On Golden Pond
5. The Warning Track


Derek Bailey• Acoustic Guitar, Electric Guitar
George Lewis• Trombone
John Zorn• Alto, Soprano Saxophone, Clarinet, Game Calls


Recorded at OAO Studio, Brooklyn NY
Recorded byMartin Bisi

Label: Celluloid ‎– CELL 5006
Format: 320
Country: US
Released: 1983
Genre: Jazz
Style: Free Jazz, Free Improvisation
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The Rise and Fall and Rise of Sensational

March 19, 2014, 10:49 am
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Five years in the making, The Rise and Fall and Rise of Sensational is a riotous, visually seductive, and thematically inspirational portrait of an eccentric artist who defies all explanations and proves that believing in your own talent is the only option.
The film chronicles the life and music of Colin Julius Bobb, aka Sensational. Described as part rapper, part genius, and part extraterrestrial, this consummate artist lives completely in his own reality. He’s also one of the most bizarre, paradoxical, and creative names in hip-hop, a true character whose self-destructive tendencies and unique worldview come to the fore in this comical yet moving documentary.
The Rise and Fall and Rise of Sensational blends current footage, stock footage, vintage music videos, and Super 8 film to visually illustrate Sensational’s creative persona. Colleagues, collaborators, and fans such as legendary producer Bill Laswell, Mike G from the Jungle Brothers, WordSound owner and music journalist Skiz Fernando, and Curver Thoroddsen from the Icelandic band Ghostigital weigh in on the rapper’s ingenuity and unorthodox working methods. But it’s the soundtrack, culled from Sensational’s extensive catalogue, that truly weaves the story together. And, of course, the always unpredictable, often hilarious comments of the man himself.



Produced by
S. H. Fernando Jr.

Score by
Sensational

Produced, Directed and Edited by

E. A. Moore


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em:t 0094

March 26, 2014, 10:35 am
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Cult ambient label from the UK, originally active 1994-1998. Known for its digipak releases with animal-themed covers created by The Designer's Republic. In its old incarnation, it was a sublabel of t:me. em:t shut down in 1998 when t:me succumbed to financial troubles.

In late 2003, em:t was reformed as its own company and began releasing new music, but they again went out of business in late 2006.

Catalogue numbers: For old em:t releases, the last two digits represent the year of release, and the first two represent the order of release within a year ('00', then '11', then '22' etc).
 Discogs

1. Coco, Steel & Lovebomb• Harlem
2. Voodoo Warriors Of Love• Swea
3. Bad Data• Deep Freeze
4. Gas• Pixels
5. Qubism• Anthropomorphic
6. Milan• Earthloop
7. Miasma• Walking Blindfold
8. Strawberry Girl• Poesie
9. Woob• Void, Part One

Recorded and mixed at Square Centre Studios, Nottingham, England, 
and other studios across the world. 

Label: em:t ‎– 0094
Format: 320
Country: UK
Released: 1994
Genre: Electronic
Style: Ambient
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gas 0095

April 2, 2014, 3:11 am
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Gas 0095 was the debut album of electronic musician Mat Jarvis (High Skies) released under his Gas moniker (not to be confused with Wolfgang Voigt's Gas) . It was written, performed and recorded in his Nottingham studio during 1994 and released on Em:t Records (Emit Records) in January 1995.

The album was never advertised and quickly sold on word of mouth alone. Today it is much sought after among collectors and on auction sites like eBay. The album was encoded in 3D by the huge and hugely expensive Roland Sound Space RSS 3D sound imaging system.

In 2008, Gas 0095 was remastered at 32bit/96 kHz from the original studio tapes, and re-released on CD and digital download by Jarvis on the Microscopics label as Micro-000001.
discogs

1. Generator 0000
2. Experiments On Live Electricity
3. Microscopic
4a. Miniscule
4b. Pixels
5. Vapourware
6. SeOCl₂
7. Earthshake
8. Mathematics And Electronics
9a. Timestretch
9b. Earthloop
10a. F. 0:16
10b. H₂TeO₃
11. Discovery
12. Generator 0072

Tracklisting oddities:
- The track "Miniscule" is only a fraction of a second long, so it is listed here as 0:00 in length.
- The track "Timestretch" is a full track, 4:30 long, compressed into one second of audio.
- Tracks 10a and 10b are listed separately as Tracks 10 and 11 on the CD packaging, thus pushing Tracks 11 and 12 back to 12 and 13.
- Track 12 also comprises the extra tracks "Pink" and "Doom", not listed on the packaging.

Producer, Electronics, Mathematics
by

Label: em:t‎– 0095
Format:Flac,320
Country: UK
Released: 1995
Genre: Electronic
Style: IDM, Experimental, Ambient
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"A Visionaries Means of Deliverance"

May 7, 2014, 2:55 pm
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