vinnee's pi vibrations in the air

Silence

2009-10-26T21:03:00.000-07:00

it's like I just woke up from a deep slumber.... is anyone out there?

Kayhan Kalhor and Brooklyn Rider
Silent City

Track Listing -
Ascending Bird
Silent City
Parvaz
Beloved, do not let me be discouraged

Iranian-born Kayhan Kalhor, master of the kamancheh (Persian spiked fiddle), teams up on Silent City with the string quartet Brooklyn Rider (Colin Jacobson, Jonathan Gandelsman, Nicholas Cords, Eric Jacobsen), accompanied by Jeff Beecher (bass) and Mark Suter (percussion), for a group of compositions which offer interpretations of stories drawn from popular Persian myth. This effort grew from relationships forged at a gathering of musicians convened several years ago by Yo Yo Ma for the Silk Road Project at the Tanglewood Music Center. It is intended as an exploration of the frequently sparse minimalist phrasing and textures of the stringed quartet with the innovation of a leading master of the Persian kamancheh and their common bond of playing bowed instruments.

Shy of words, Silent City is entirely interpretive - quite a reach considering the profuse narrative on which it is based. The piece "Beloved Do Not Let Me Be Discouraged" originates from a legend about ill-fated lovers that found expression in a 16th century Turkic poem by Fuzuli. Add in influences of 14th century Italian troubadours and the connections made between that part of Europe and the Islamic world and you gain a sense for the mood that this studio experiment aims to achieve. A large portion of Silent City builds around two versions of a Persian myth. "Ascending Bird" is about the spiritual transcendence achieved through a bird's failed attempts to fly to the sun. The alternative story, "Pavez" ("Flight"), is Kalhor's approach in which he exchanges his kamancheh for a santur, a four-stringed long-necked lute. Then there is the title track itself. "Silent City" is a largely improvised piece reflecting on the idea of a barren world destroyed by human or natural forces. The opening lament is followed by the joyful moods that accompany rebirth and renewal.

Silent City, a studio exploration by exceptional musical talent. Yet there are good reasons that storytellers use words to relate myth and it is a challenge to convey a story without them. Those narratives however, are not the main purpose here, but are the context for Silent City. With that challenging premise understood, Silent City finds new ground with its explorations. - Dick Dorsett

r

enjoy

white flowers.......

2008-04-16T21:28:00.000-07:00

a favorite of mine....enjoy

RUTH WHITE - Flowers of Evil: An Electronic Setting of the Poem of Charles Baudelaire (Creel Pone)

Tracklisting:
A1 The Clock (3:00)
A2 Evening Harmony (4:02)
A3 Lover's Wine (2:57)
A4 Owls (2:45)
A5 Mists And Rains (2:06)
B1 The Irremediable (4:55)
B2 The Cat (3:27)
B3 Spleen (2:50)
B4 The Litanies Of Satan (6:50)

............to me, baudelaire's poems are of such unique power that they always seem to rise above the level of the personal and sometimes existential nature of their content. in this composition, i have attempted to parallel the transcendental qualities of the poetry through electronic means.

for the words, i used my own voice as the generator of the original sound to be altered or "dehumanized." this seemed practical since my experiments with the medium were too time consuming to have been easily accomplished with a collaborator.

to modulate my voice, i used a variety of techniques. changes of timbre were achieved with filters. tape speed changes were used to control pitch. into the shape of some words, i injected sound waves and white noise, thus changing the quality of their sound hut not the flow of their delivery. by adding reyerberation, i varied atmospheres and decreased or increased space illusions. to accent special words or phrases, i used controlled tape delays. choruses were created by combining slight delays with multiple track recordings.

the musical settings around the voice were made with music concrète materials, a moog synthesizer, other electronic generators and conventional instruments, which were usually altered electronically.

in the translations, there was no attempt to rhyme the verse as in the original french poems. i tried only to keep the language as direct and simple as possible, for i always found that the dominating power of baudelaire's ideas 'were in themselves of electrifying force.

ruth white

music and translations @ 1969 ruth white.

m

enjoy........

some short circuits too........

Ruth White - Short Circuits
Label: Angel Records

A1 Rimsky-Korsakov* The Flight Of The Bumblebee (1:20)
A2 Satie* Gymnopédie No. 1 (2:30)
A3 Debussy* The Snow Is Dancing (2:07)
A4 White* Variations On Couperin's Rondeau (1:38)
A5 Grieg* The Butterfly (1:37)
A6 Verdi* Anvil Chorus (1:25)
A7 Scarlatti* Tempo Di Ballo (2:48)
A8 Chopin* Etude In G Flat (1:32)
B1 C.P.E. Bach* Solfeggietto (1:50)
B2 Chopin* Prelude In E Minor (2:14)
B3 Shostakovich* Polka From "The Age Of Gold" (2:10)
B4 Bizet* The Ball (1:36)
B5 Scarlatti* Sonata In G (1:58)
B6 Albéniz* Asturias (5:20)

r

enjoy............

Kayagum........

2008-02-22T04:24:00.001-08:00

Korean Kayagum Music: Sanjo

Artist: Chukp'a and Kim Tong Jun

1 Minsok P'unru 8:49

2 Kayagum Sanjo 52:56

Performed by Korean national treasure Chukp'a on kayagum, accompanied by changoo player Tong Jun Kim, both recently deceased. excellent.....

r

enjoy..............

rare flutes......

2008-02-21T03:49:00.000-08:00

Neil McLaren and the Cambridge Baroque Camerata (on original instruments)
Rare Baroque Flute Concertos: Tartini, Quantz, Naudot and Benda

Neil McLaren, flute

G Tartini Concerto in G
J J Quantz Concerto in E minor
J-C Naudot Concerto in D Op 11 No 1
F Benda Concerto in G

Track Listings
Giuseppe Tartini: Concerto in G
1. Allegro non molto (3:07)
2. Andante (2:47)
3. Allegro (2:30)

Johann Joachim Quantz: Concerto in E minor
4. Allegro ma non tanto (4:48)
5. Affetuoso (3:03)
6. Vivace (3:46)

Jacques-Christophe Naudot: Concerto in D, Op. 11 No.1
7. Allegro (4:31)
8. Largo (2:02)
9. Allegro (3:12)

Frantisek Benda: Concerto in G
10. Allegro (7:24)
11. Largo (6:34)
12. Presto (4:48)

These flute concertos are played on a wooden baroque transverse flute, and the smooth sound of it never dominates, but forms a whole with the "camerata" (no orchestra!), so efficient for the rendition of concertos from a time wherein the soloist was not yet a star. Recorded in 1991, but still very good.

m

enjoy.................

Parallel Universe........

2008-02-21T03:47:00.000-08:00

Parallel Universe
Leiahdorus

1. Prologue
2. Run
3. Freeways
4. Kiss On the Telephone
5. Flowers
6. When It's Dark I'm Five Again
7. Paper Girl
8. Transmission
9. New York Told Me So
10. S.O.S.
11. Parallel Universe
12. Epilogue

(Synthpop)

m

enjoy............

smooth asian......

2008-02-21T03:45:00.000-08:00

Feng Dong & Sun Ya Nan
Die Ying Sheng Se (Laminating Sound)

1. Yue Liang Dai Biao Wo De Xin (The Moon Represents My Heart)
03:54
2. Zhen De Hao Xiang Ni (Really Miss You)
05:11
3. Ni Bian Liao Mei You (Have You Changed)
04:24
4. Dui Ji Qing Gan (Amassing Love)
03:51
5. Qin Ai De Bu Yao Li Kai Wo (Don't Leave Me My Love)
05:04
6. Hui (Regret)
03:56
7. Dong Ni (Understand)
05:16
8. Gan Xin Qing Yuan (Willingly)
04:58
9. Ni Shi Ru Ci Nan Yi Wang Ji (Hard To Forget About You)
04:24
10. Zui Yuan De Ni Shi Wo Zui Jin De Ai (The Farmost You Is The Closest Love of Me)
04:18
11. Jiu Bai Jiu Shi Jiu Duo Mei Gui (999 Roses)
04:50
12. Ai Ni Yi Wan Nian (Loving You For 10,000 Years)
04:03
13. Qian Shou (Hand In Hand)
04:53

nice smooth asian pop.......

m

enjoy............

fairy tales.....

2008-02-21T03:42:00.000-08:00

Frames For A Fairy Tale
Alain Amouyal

1 Temptation
2 Dance
3 Hope
4 March
5 Liberation
6 Certainty

The "Frames for a Fairy Tale" suite for orchestra, voice and piano is the starting point in a project for a large-scale multimedia show whose principle theme, subject of a treatment for the stage, is Orpheus' battle to reconquer his Loved One.
It is an epic poem which is connected to the mythical couple's story. However, like all great legends, this story's appeal is timeless, which is why it is able to resonate in the very depths of ourselves.
Composed by Alain Amouyal (AEva), co-arranged and orchestrated by Luc Marty, this first orchestral version - interpreted by the prestigious London Symphony Orchestra - seduces the listener with its epic sound and its evocative quality which heralds the multimedia show currently in preparation.

m

enjoy.....

more pone.....

2008-02-21T03:36:00.000-08:00

Artist: RAICEVIC, NICHOLAS "NIK PASCAL"
Title: The Complete Narco Records And Tapes Recordings (1971-1975)
Format: Double CDR (4 lps on 2 cdrs of modular synth solo)
Label: Creel Pone
Country: USA

disc 1-

magnetic web LP
A1 Magnetic Web (9:46)
A2 Light Stimulus (3:24)
A3 Edge Of The Unknown (4:40)
B1 Dance Of The Supernatural (8:03)
B2 Interplanetary Beings (5:47)
B3 Cosmic Aura (3:00)

zero gravity LP
A1 Zero Gravity (22:50)
B1 Robot Rock (4:30)
B2 Sounds From The Blue Planet (4:01)
B3 I Q + U = ? (4:03)
B4 Alpha Wave Diffusion (4:09)

disc 2

The Sixth Ear LP
A1 The Sixth Ear (9:30)
A2 Journey Into The Light (3:00)
A3 Subconscious Nebula (3:40)
B1 Anandamayi (3:00)
B2 Identity (4:05)
B3 Demons Of Rage (2:50)
B4 Karma (1:50)
B5 Visions Of Kali (2:00)
B6 Life (2:30)

Beyond The End.... Eternity LP

beyond the end
to go to do is to be
tide
the mist that drifts away
deathless
the wanderer
life's timelessness
eternity

====================================================================== ====
some reviews to review.............

Super bumbling synth goop that's very reminiscent of the lumbering robot walk from 'Forbidden Planet'. 4 lps on 2 cdrs of modular synth solo, with one short break for a synth + finger cymbals ensemble. There's a few hints at chords here & there, but mostly just a slow discovery of what each knob does, one knob at a time. By the 4th lp, Nik has nearly worked his way up to a Klaus Schulze/new age mirage, but he's still got the clumsy wonder of pressing random buttons now & again. Nik was from Los Angeles, appears as a studio musician on the Stones 'Goat's Head Soup', & recorded a Buddah album called 'Head' (which supposedly got him tossed from the label because it was too drugged out). He also went under what I assume to be his real last name, Raicevic. Tracklisting: Beyond the End, To Go To Do Is To Be, Tide, The Mist That Drifts Away, Deathless, The Wanderer, Life's Timelessness, Eternity, The Sixth Ear, Journey Into the Light, Subconscious Nebula, Anandamayi, Identity, Demons of Rage, Karma, Visions of Kali, Life, Magnetic Web, Light Stimulus, Edge of the Unknown, Dance of the Supernatural, Interplanetary Beings, Cosmic Aura, Zero Gravity, Robot Rock, Sounds from the Blue Planet, I Q + U = ?, Alpha Wave Diffusion.

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

"a reproduction of all four lps originally self-released by nicolas “nik pascal” raicevic on his narco records and tapes label (rumored to be one of the first truly independent labels...) between 1971 and 1975. the music is nothing short of genius; a fine beaded mist of exceedingly lo-fi (tape drop-outs are prevalent, entire frequency ranges completely excised from certain tracks... not to mention the piss-poor quality of the original pressings) “hands-off” psychedelic synthesizer fumblings (paralleling only douglas leedys “entropical paradise” in its seemingly arbitrary rhythms & note-choices) & rudimentary drum-machine / bongo diversions. 1971s “beyond the end... eternity” consists solely of loose, exploratory moog modular dirges; raicevic is clearly still in the early learning-curve stages... yet by the following years “the sixth ear,” more complex gated passages & rhythmic activity begins to surface (including a few bits that rival pierre henrys “mise en musique corticalart” in their sheer monolothic joy...) along with overdubbed bongo jams and a few actual chord progressions... by 1973s “magnetic web,” raicevic has added an arp 2600 and a few rhythm-boxes (often running a few bpm apart, yielding some rather zonked phase-effects) and hand-percussion (tibetan finger-cymbals) to his arsenal, increasing the levels of raw synth-blat tenfold (more than a few tracks stream sample-and-hold layers throughout.) - in my mind this is his masterpiece. finally, after a year off, nik drops his last album, “zero gravity,” the side-long title-track working a harmonic-series patch with drizzles of space-dusted echo & miniature alien-tongued white-noise licks, the b-side offering a set of shorter songs... as far as early-mid 70s american “bedroom” electronic music goes, these lps have to be among the first transmissions from this sector, made all the more attractive when coupled with raicevics alien topography (the covers are high-color portrayals of venusian lanes, knotted growths, & future-past architecture) & copious “downer” sentiment... this music is imbued with a sort of lonely, anti-social sensibility thats about as far as you can get from the “academic” early electronic vector. while im not going to blanket-recommend this one for all followers of the creel pone series, i will say that if the steve birchall, cellutron & the invisible, and/or pythagoron™ replications seed your garden, this will likely do the same..." - Creel Pone.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Nik “Pascal” Raicevic’s chief claim to fame is as a session percussionist for two tracks on the Rolling Stones’ Goat’s Head Soup, but in the early 1970s he released several pioneering electronic instrumental albums under various names.

His first release, in 1970, was an eponymous album under the name “Head”; it was released by Buddah Records and contained tracks with names like “Cannabis Sativa” and “Methedrine”. Buddah had second thoughts fairly quickly and Raicevic was soon on his own. He released four albums on his own label (keeping the drug theme by naming it “Narco Records and Tapes”) before selling all his equipment to Steve Roach and dying of an overdose or finding Jesus or something.

***********************************************
disc 1........

http://www.megaupload.com/?d=RJXINDK0
http://www.megaupload.com/?d=QA3CGX6N

DISC 2 ...................

http://www.megaupload.com/?d=T1ISX8ID
http://www.megaupload.com/?d=68CKP3JH

enjoy........................

oakland.....

2008-02-17T10:12:00.000-08:00

Oakland, 1955 CD
Sonny Clark

1 What's New? 7:11
2 Willow Weep for Me 6:26
3 There Will Never Be Another You 6:46
4 D & E 5:19
5 All the Things You ARe 4:13
6 But Not for Me 5:13
7 Bags' Groove 5:13
8 You Go to My Head 5:48
9 Between the Devil and the Deep Blue Sea 7:48
10 A Night in Tunisia 8:46
11 Ow! 6:07
12 Theme 3:11

This live concert (which was released for the first time on this 1995 CD) features the great pianist Sonny Clark in prime form, in a trio with bassist Jerry Good and drummer Al Randall. The recording quality is a bit primitive (lowering the music's value) but since there are not an excess of Sonny Clark records available, and the pianist's interpretations of the dozen selections (mostly jazz standards) is consistently swinging and inventive, this boppish CD is worth picking up anyway. Scott Yanow, All Music Guide

m

enjoy...........

2008-01-14T20:42:00.000-08:00

I bought the original LP when it came out in '72 (yes.... I'm a old fart); played it to death, planned on buying another few but never did. When I looked for it years later could not find it and it was never brought out on CD. Thought I'd never hear it again until one night a couple of years ago when I was randomly surfin the net i ran across a wonderful blog (audio-history- has since gone to blogger heaven) and there the album was posted by a kind soul (i believe he called himself muse). very hard to find....
(album brought to us originally from Voco -a dj from KSAN - the jive95)

Lights Out: San Francisco

Track List
Lights Out: San Francisco

1. Lights Out-john lee hooker
2. Voco
3. Mahdi (The Expected One) -tower of power
4. Cleo's Back-tower of power-dusty street
5. Loves to Do It - Rick Stevens, Lydia Pense, Jo Baker and Linda Tillery plus Cold Blood's Raul Matute on organ.
6. Dead-cold blood w/ lydia pense
7. Hey, That's No Way to Say Goodbye-Sylvester with Neal Schon of the group Journey, on guitar
8. Why Was I Born?-Sylvester featuring backup by
a new trio of girls calling themselves The Pointer Sisters ( Anita,Bonnie and June).

9. Brother Antrainik
10. Dina
11. 20/20 Vision

Category: SOUL/R&B

Media: LP
Records in set: 2

Label: BLUE THUMB
Release Number: BTS6004
Manufactured: US USA

(this LP has not been available since 1972 and has not been reissued on CD)

This double-album set is a true collectors' item. Record producer, Voco, and KSAN DJ, Dusty Street, released this compilation of Bay Area talent in 1972. You'll notice that the Tower of Power name is covered up (just to the left of Lydia Pense). That had to do with a minor dispute witn a Warner Brothers Records. The resolution was to cover the Tower of Power name before shipping to retailers.

There are three cuts that include the Tower line up; two originals and one Junior Walker tune. The first song, Mahdi (The Expected One) is a Greg Adams/Skip Mesquite composition which Adams reprised on his solo CD, Hidden Agenda, over twenty years later. The second, Cleo's Back, is a haunting Junior Walker song, composed by Willie Woods. The third, Loves To Do It, is from 'Doc' Kupka, Emilio Castillo and David Garibaldi. It features alternating vocals from Rick Stevens, Lydia Pense, Jo Baker and Linda Tillery plus Cold Blood's Raul Matute on organ.

The album photography and design were by Bruce Steinberg.

enjoy.........

r

2008-01-14T20:24:00.000-08:00

here's another album done by a young aki takahashi and again it was never re-issued on CD and is very hard to find.

A Valentine out of Season / Aki Takahashi
Toshiba TA 72034 (LP)

Iannis Xenakis: Evryali
Toru Takemitsu: For Away
John Cage: A Valentine out of Season (1944)
John Cage: A Room (1943)
John Cage: Music for Marcel Duchamp (1947)
Erik Satie: Gnossiennes (complete)
Claude Debussy: Brouillards (from 'Preludes, book II')
Claude Debussy: General Lavine-eccentric (from 'Preludes, book II')
Claude Debussy: La terasse des audiences du clair de lune (from 'Preludes, book II')

Aki Takahashi, (prepared) piano

Recorded on September 6-8, 1976 at Ishibashi Memorial Hall (Ueno Gakuen)
Also released on EMI 18MN-1017 (unknown medium).
LP released in 1977

================================================
A Valentine Out of Season
This is a set of three pieces composed in 1944, not too long before Cage separated from his wife, Xenia. The first piece involving short melodic lines played slowly, with the only piano preparations having a muffling effect and a slightly metallic drum sound. The second piece is faster and clearly rhythmic, but still very quiet and unornamented, using mostly the metallic drum-like sound. Often the passages feel incomplete, adding to the tension already brought out by the first part, with only a few instances of forceful playing. The last part feels like something between the first too; there is much silence and slowness, but ends at a faster pace that I am not sure what to make of. Retreat? Overall, the first section is so haunting and sad and that mood persists for the rest of the music being affected as I listened.

http://rapidshare.com/files/76230340/aki_takahashi.part1.rar.html
http://rapidshare.com/files/76230705/aki_takahashi.part2.rar.html

enjoy......

freak your friends......

2008-01-11T21:50:00.000-08:00

some creel pone re-issued music to meditate with.... enjoy

heins hoffman-richter “symphony for tape delay, ibm instruction manual, & ohm septet (music to freak your friends and break your lease)” compact disc recordable

* 1st movement: milkshake (8:16)
* 2nd movement: this is my beloved’s chamber (7:26)

* 3rd movement: gidget gets in trouble (6:13)
* 4th movement: send out the clowns (4:30)

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

symphony for tape delay, ibm instruction manual, and ohm septet

one day not too long ago, but then again not recently, recognized raconteur, genius, composer, musicologist, conductor heins hoffman-richter was spending a quiet evening in his flat in cherbourg, south of paris. he often went there to escape the tensions of metropolitan existence although it necessitated a good many umbrellas. during these sojourns his only companion was the music he loved so well, particularly the works of brahms. (that man did know how to soothe!)

as he gazed out the window at the gently failing rain and thought of catherine deneuve singing her heart out and reeking of expensive perfume, a flash of lightning whisked across the black night sky. the room was lit with a blinding burst of bright light and brahms went berserk. suddenly the soothing concerto turned into a maze of electronic sounds emanating from the surrounding speakers.

at first hoffman-richter was frightened by this celestial phenomenon, no doubt thinking it was some terrible world holocaust. suddenly hoffman-richter gasped, "egads!" on second thought, the sounds seemed to make sense and what was more amazing, once the storm subsided they continued despite the fact the recording was by a well known symphony orchestra!

was this some sort of message? had hoffman-richter finally been given a sign as tothe path of his existence? there was no other explanation as deeply metaphysical questions hurled themselves into his tortured inner self. fascinated with this electronic magnificence he began coding the various movements at a furious pace. laughter burst through the air as he understood the humor of a passage, then within moments tears would flow. he remembered the kindly old professor (now dead) from his days as an eager young student at the berlin conservatory of music. he remembered the quivering old man's attempts to direct him, all the time knowing he possessed a bottomless well of creativity that must be unleashed or tragedy would wave its ugly wand.

as the cherbourg sky cleared, heins hoffman-richter walked out of his flat never to return. he wandered through the glistening streets to the train station, boarded the orient express, brushed past internationally renown spies, paid little heed of the intrigue, bid a final farewell to his romantic thoughts of catherine and cherbourg and began his odyssey.

soon the face of hoffman-richter became familiar as he haunted the most advanced electronic labs in germany, austria, england, japan, turkey, and tazmania. resistors, capacitors, connectors, excitors!!! they all added up to a tremendous and life-fulfilling experience. a euphoria rarely experienced by man, of this he was sure. he shrieked with delight and ignored the fact that many thought he had gone mad. he literally did cartwheels through mazes of electronic apparati upon completion of his composition "gidget gets in trouble" and suffered complete emotional exhaustion after wiring up "milkshake." the height of ecstacy was shattering following his coding of "this is my beloved's chamber" and "send out the clowns," "let the doubters scoff," he thought, "little do they know of true passion and dedication. little do they know of the power of electronic music and its ability to stimulate and freak out the weariest and wornest of hep cats!" heins hoffman-richter had found the true meaning and reason for his existence.

when premiered at a lower off-soho nightclub, the majority of the audience fled, trampling each other as they raced out into the london fog. bothered bobbies took a look inside, but quickly withdrew. only a few junkies stayed behind and really appreciated the initial performance. staunch in his beliefs, hoffman-richter was not dismayed and knew that royal albert hall and carnegie hall would be shockingly alive with his debut someday.

alas, he never personally witnessed that day for he died from an ear lobe tumor. however, we too believe in the love and dedication of this man toward the advancement of finer music. it is indeed an honor to present this outstanding collection of his works. it's wonderful that we were able to locate and reproduce these tapes so the world could finally pay homage to this remarkable talented and .dedicated. man. heins hoffman-richter has finally achieved his goal.

- richard oliver

r

enjoy......

psychic chica......

2008-01-11T21:19:00.000-08:00

Roots Of Chica: Psychedelic Cumbias From Peru
Various Artists

1 Sonida Amazonico - Los Mirlos
2 Linda Nena - Juaneco Y Su Combo
3 Carinito - Los Hijos Del Sol
4 Patricia, A - Los Destellos
5 Sacalo Sacalo - Los Diablos Rojos
6 Ya Se Ha Muerto Mi Abuelo - Juaneco Y Su Combo
7 El Milagro Verde - Los Mirlos
8 Para Elisa - Los Destellos
9 Linda Munequita - Los Hijos Del Sol
10 Muchachita Del Oriente - Los Mirlos
11 Elsa - Los Destellos
12 Vacilando Con Ayahuesca - Juaneco Y Su Combo
13 El Guapo - Los Diablos Rojos
14 Mi Morena Rebelde - Eusebio Y Su Banjo
15 Si Me Quieres - Los Hijos Del Sol
16 Me Robaron Mi Runa Mula - Juaneco Y Su Combo
17 La Danza De Los Mirlos - Los Mirlos

review from 'net-

Various Artists, The Roots of Chica: Psychedelic Cumbias From Peru (Barbès Records). The Peruvian subgenre known as chica, which surfaced in the late '60s, is an aural bastard, merging traditional rhythms with electrified rock instrumentation. This engaging sampler introduces listeners to its twisted pleasures, as exemplified by Los Mirlos' trippy/wobbly "Sonido Amazonico" and Los Diablos Rojos' "Sacalo Sacalo," a dance number set to the sound of things falling apart. – Roberts

dusted-
While it's difficult to say just how the music on this disc is "psychedelic," what's certain is that it sprang from a time when western rock experimentation (late ’60s/early ’70s) was finding its way around the globe, spawning everything from Blue Cheer influenced power trios in Nigeria (BLO) and thunderous, Turkish proto-metal (Bunalimlar) to the local-candombe-rhythms-meets-the-Beatles pop of Uruguay's El Kinto. And as this disc shows, rock inspiration even found its way along the Peruvian Amazon and through its rainforests, where it inspired yet another musical hybrid.

The story goes like this: Brooklyn bar owner and Chicha musician Olivier Conan took a trip to Peru to soak up some new sounds. Countless visits to bootleg street vendors turned up an odd ’70s-era Cumbia-based electric fusion known as "antigua.” When tracking down original masters proved thorny, he started contacting the original musicians, who were more than grateful for the belated outsider appreciation. Because this music was made by and for the poorer, working class of Peru, it never got respect from other classes, nor was it ever considered legitimate. What it was, like such styles as Jamaican ska, ’70s Thai Molam or Indonesian Dangdut to name a few, was a blend of popular western music, in this case, electric rock, Cumbia rhythms borrowed from Colombia and an occasional dose of Andean folk song.

This ultimately became what is now known in working class clubs and pubs all over Peru as "Chicha,” and the music on this comp is the prototype. It's brilliant, too. Bands such as Los Diablos Rojos and Los Mirlos cranked out infectious, rhythmic, guitar-driven grooves comparable to Congolese masters Dr. Nico or Franco. The bands often added cheap organs (what other kinds were there?), wah-wah pedals, middle-eastern overtones and even snatches of classical music on top of factory-precision drumming to create a music that defies kitsch. Mr. Conan has done a service to Peru and the musicians featured here, some of whom are still active; and if that "psychedelic" connection helps sell a few of these discs, so be it.

By Bruce Miller

r

enjoy...........

Aki........

2007-12-14T04:47:00.000-08:00

Aki Takahashi
Piano Space (CP2 records) - 3LP vinyl set
(as far as I know never released on CD and LP has been out of print for years.....)

LP1 (CP23):
Side A:
Toru Takemitsu: Uninterrupted rests 8:45
Toru Takemitsu: Piano distance 5:38
Joji Yasa: Cosmos haptic 7:38
Joji Yasa: On the keyboard 7:39

Side B:
Keijiro Satoh: Calligraphy for piano 5:53
Yori-Aki Matsudaira: Allotropy for piano 8:24
Shuko Mizuno: Tone for piano 13:20

LP2 (CP24):
Side A:
Toshi Ichiyanagi: Piano media 6:13
Maki Ishii: Aphorismen für einen Pianisten 8:35
Shigeaki Saegusa: Baire's theorem 18:57

Side B:
Jo Kondo: Air I for amplified piano with trumpet 5:14
Yuji Takahashi: Maeander 22:58

LP3 (CP25):
Side A:
Anton Webern: Variationen für Klavier Op.27 - 7:08
Pierre Boulez: Première Sonate pour piano 4:48 + 5:00
Luciano Berio: Sequenza IV 10:48
Iannis Xenakis: Herma 6:42

Side B:
Olivier Messiaen: Mode de valeurs et d'intensités 3:26
Karlheinz Stockhausen: Klavierstück XI 7:05
Sylvano Bussotti: Piano Pieces for David Tudor 3 - 7:35
John Cage: Winter Music (1957) 9:20

Aki Takahashi, piano. Hosei Soken, trumpet (in Kondo)

LINK=
http://rapidshare.com/files/13416686/aki_takahashi__piano_space_LP1.part1.rar.html
http://rapidshare.com/files/13417938/aki_takahashi__piano_space_LP1.part2.rar.html

http://rapidshare.com/files/38280414/aki_takahashi__piano_space_LP2.part1.rar.html
http://rapidshare.com/files/38281962/aki_takahashi__piano_space_LP2.part2.rar.html

http://rapidshare.com/files/76198927/piano_space_3rd_LP__aka_side_5_.part1.rar.html
http://rapidshare.com/files/76200080/piano_space_3rd_LP__aka_side_5_.part2.rar.html

Beautiful beast

2007-12-04T03:28:00.000-08:00

This is completely different than wendy/walter carlos switched on bach series. Some consider this CD as a classic in microtonal or alternate tuning compositions. It has been very hard to find for several years due to the original record label going bankrupt but has recently been re-issued
in an enhanced edition CD which you can buy at most music stores such as amazon etc.....

Wendy Carlos [aka walter carlos]
Beauty In The Beast

Incantation (6:47)
Beauty In The Beast (3:57)
Poem For Bali (17:40)
Just Imaginings (12:07)
That's Just It (3:36)
Yusae-Aisae (3:12)
C'est Afrique (6:13)
A Woman's Song (4:09)

m

enjoy

In Line

2007-12-04T03:25:00.000-08:00

Bill Frisell
In Line

Bill Frisell electric and acoustic guitars
Arild Andersen bass

Tracks
1. Start
2. Throughout
3. Two Arms
4. Shorts by
5. Smile on You
6. The Beach
7. In Line
8. Three
9. Godson Song

Recorded August 1982
ECM 1241

Personnel: Bill Frisell (acoustic & electric guitars); Arild Andersen (bass).Recorded at Talent Studio, Oslo, Norway on August 1982.This is the closest Bill Frisell has come to an actual solo album, though he is joined on half of the set by bass player Arild Andersen. Frisell's electric and acoustic guitars are multi-tracked throughout. The title piece uses light dissonances to especially shimmering and vibratory effect.IN LINE was produced by Manfred Eicher, whose customary pristine clarity makes an ideal setting for Frisell's subtly nuanced playing. Each of the nine pieces is distinct, but they also lend themselves to an over-arching feeling of connectedness. There is a real album identity to this work. Though quiet and meditative as both a guitarist and a composer, Frisell's style is broad enough to allow for a range of emotional settings--from introspective to celebratory.

r

enjoy......

Hamel

2007-12-04T03:21:00.000-08:00

Peter Michael Hamel's first solo album which is very rare, never been re-issued as a CD and extremely hard to find...so please enjoy :)

Peter Michael Hamel
Hamel

Avant-Garde
Label: Vertigo

1. Storm over Asia and Calm 4:57
2. Bolivia Part I 5:17
3. Bolivia Part II 8:25
4. Fire of Holy Eyes 9:43
5. Song of the Dolphins 7:54
6. Sinking Sangsara 3:56
7. Aura 20:13
8. Gomorrhaga 8:49
9. Cathedral on 'C' 9:17
1:10:06

m

enjoy...............

2007-12-04T03:15:00.000-08:00

Helen Sung
Live at the Blue Note:

One Step Forward, Two Steps Back
Willow Weep For Me (arr.'d by H.Sung)
Fast Forward

Personnel: Helen Sung, piano; Steve Wilson, alto/soprano saxophones; Dwayne Burno, bass; Donald Edwards, drums.

r

enjoy...........

Space.....Seattle 1960"s

2007-09-10T20:55:00.000-07:00

here's a slice of forgotten americana that's just beginning to filter back in from the outer regions of the internet universe. Please enjoy.

Attilio Mineo Conducts

Man in Space
with Sounds

Attilio 'Art' Mineo

Label: Subliminal Sounds
Date Recorded: Early 50s,
Released: 1962

1. Welcome to Tomorrow

2. Gayway to Heaven

3. Soaring Science

4. Mile-A-Minute Monorail

5. Around the World

6. Century 21

7. Man in Art

8. The Queen City

9. Man Seeks the Future

10. Boeing Spacearium

11. Science of Tomorrow

12. Space Age World's Fair

13-24. All tracks as above, but without the spoken word introductions

Origin : 1962 Seattle World's Fair / 1997 Subliminal Sounds

The music on 'Man In Space With Sounds' was played in the Bubbleator. "The bubbleator was Washington State's official exhibit in the Coliseum which housed a "World of Tomorrow" exhibit. The Bubbleator, a 150 passenger spherical clear plastic elevator moved 2.5 million people through displays that promised an easier life ahead. The operator wore a silver shiny space suit right out of a Buck Rogers comic strip and is veeery, very cool indeed and the music to "Man in Space with Sounds" was being played through the sound system. Totally outer space man, totally. "Visitors ascend to the exhibit in a globe-shaped elevator for a 21 minute tour of the future." Visitors to the Seattle World's Fair loved the Bubbleator ride, which was eventually purchased for $5,100 and relocated after the fair's end to the Center House/Food Circus/Armory. In the early 80's the Center House was remodeled and the Bubbleator was auctioned off (amount unknown). The unknown buyers moved it to their home in North Seattle and turned it into a terrarium and that's where it sits today."

http://rapidshare.com/files/54837499/Attilio_Mineo_-_Man_In_Space.part1.rar.html
http://rapidshare.com/files/54841028/Attilio_Mineo_-_Man_In_Space.part2.rar.html

as always, enjoy......

2007-08-06T16:23:00.000-07:00

Hisato Higuchi

Album: 2004 11 2005 4 (*live album)
Label: Ghost Disc

Watashi Wa Kotoba O Ushinatta
Borei
Kokei To Bmen
Hate
Hikari No Rakka
Manazashi

35 :14[total

dusted review-
Hisato Higuchi's debut CD, last year's She, was an intriguing blend of gentle guitar, field recordings and electronics that showed an individualistic style despite the wide range of offerings. On this new release, he presents a more cohesive set of live recordings. At just 35 minutes, it's more an EP than an album, but in these times of excessive 80-minute yawners I applaud the self-editing.

The first three songs of the six are brief solo guitar works, uniformly contemplative and simple. From single notes to subdued strums and the occasional wordless vocal, it's all quiet enough that at times you can hear the audience shift or cough. Somehow those sounds add rather than detract from the almost confessional atmosphere.

"Hate" (probably romanized Japanese meaning "horizon" rather than the English word) is a nine-minute piece pulled from two different shows with drummer Yoshihisa Suzuki. It begins with just the guitar; slow, reverbed notes – muted, almost muddy. The piece remains ghostly, with Suzuki primarily adding gentle cymbal brushings and occasional light drum taps. "Manazashi," the other piece with Suzuki, is 10 minutes and get much denser as Higuchi's guitar achieves a distorted intensity that somehow fills the sound field without accelerating the pace: Feedback, fuzz, and brief arpeggios in and around moments of slim single notes and tentative drum hits.

The seven-minute "Hikari No Rakka" features a forceful but skeletal guitar, with stronger leads that aren't as ghostly as most of these songs. Consisting of two live recordings with sampler player Sadafumi Sugai, it's difficult to tell what's sampler and what's guitar. Especially during the song's quieter moments, the hums and strums could be from either player.

As a documentation of Higuchi's live shows, this short album demonstrates a strong control of atmosphere and evocation of a ghostly feeling, but at the same time it lacks the focus of his previous release. As is to be expected from what are seemingly improvised sets, there are moments of illumination tempered by occasionally aimless wanderings. The shorter solo pieces, not surprisingly, are more effective in communicating succinctly and moving on. That isn't to say, of course, that the longer tracks are without their rewards. Their shadowy atmosphere is evocative, but they need either the focus of the shorter pieces or the breadth of experimentation of his previous album's longer tracks.

http://rapidshare.com/files/19928954/_Hisato_Higuchi__2004_11_2005_4.rar.html

====================================================================================hisato higuchi "dialogue"

* himitsu
* guitar #4
* manazashi no saki e
* watashi wa asa o matteita
* guitar #2
* hajimari no bamen
* guitar #5
* ai no tanjo
* kizuato
* breath #2
* guitar #3
* mitsumeau sekai ni
* borei no ude

superb, aching guitar & vocal pieces from hisato higuchi, very much in the vein of loren mazzacane connors (w/o biting his oeuvre too much.) this is higuchi’s first american release after a few sought-after discs on his own ghost box label...

family vineyard press release...
dialogue is the first american release by tokyo's new rising power hisato higuchi. originally a puppeteer, higuchi has transformed his glacial, shadow-box inspired hand movements to the twlight theater of electric guitar. flickering between beautiful melodic/melancholic space-blues to haunting verbal aches, higuchi's six-string tones and hushed vocals fan out from the haunted torch songs of patty waters and the burning embers of keiji haino's quieter, introspective work. his seemingly wordless japanese croon is a smoky, after-hours call of loss or spectral interspection. higuchi's music manifests itself in a unique and singular conception that seeps into your mind and soul. the songs of dialogue breathe slowly, almost to the point of stillness, with eerie voice and flinty guitar searching for quiet revelation that carries the deep trance/grace of charalamabides or even mazzy star. the perfect introduction for stateside listeners.

higuchi released two previous albums she ep (2003) and 2004 11 20054 (2005) on his own ghost disc imprint. both continue to garner praise from all corners of the globe. higuchi has also contributed tracks to psf's fith volume of its famed tokyo flasbback series and wfmu's twenty years/one second compilation. israel's fact records reissued she as a 3-inch cd in 2005.

http://rapidshare.com/files/19930636/Hisato_Higuchi__dialogue.rar.html

2007-07-27T21:20:00.000-07:00

Yumiko Tanaka / Ivar Grydeland Continental Crust 550) {this.width = 550;}"> Tracks 1 Downgoing Slab (2:59) 2 Semi Rigid Lower Mantle (9:09) 3 Young Oceanic Crust (12:00) 4 Eurasian Plate (From 7 different views) (12:22) 5 Mid-Atlantic Ridge (10:54) 6 Bonus Track (4:58) Musicians Ivar Grydeland - acoustic guitar Yumiko Tanaka - futozao shamisen, taisho-goto & voice About Continental Crust Continental Crust by Yumiko Tanaka and Ivar Grydeland is slightly folk-inspired acoustic sound improvisations captured in Osaka in April 2004. Liner notes This music was composed and recorded at the venue Bridge in Osaka on April 17th 2004. Bridge is located high above the ground in the middle of the amusement park called Festival Gate - right between slot machines and the big roller coaster. I don't think Festival Gate is Osaka's hot spot, the park is nearly empty, but Bridge is a nice and spacious venue. With relatively small acoustic instruments we tried to fill Bridge with sound and music that we find interesting. Meanwhile, we could see the roller coaster passing by every now and then - we could also hear it, and feel it. The whole building would shake each time it passed by, like a small earthquake. Maybe this wasn't the perfect recording situation, but listening to the music now I feel it gained an identity of it's own. The music on this CD somehow made me think of plate tectonics. Ivar Grydeland, Oslo, November 2004 ====================================================================== Grydeland on acoustic guitar and Tanaka on futizao shamisen (a small banjo-like instrument) and percussion somehow combine in these surreal circumstances to create improvisations of great intimacy and light. The instrumental voices are fundamentally small, however resonant, and the musicians take varied tacks to the space at hand, sometimes building dense overlays of rapid twanging lines, as on «Young Oceanic Crust» and elsewhere allowing isolated sounds to bend and waver as they decay, as in «Eurasian Plate from 7 Different Views.» The musicians have forged profoundly personal approaches to their instruments, to the extent that it's ironically difficult to tell them apart, whether it's a modified acoustic guitar or a shamisen that's carrying a particular line, but the difficulty is hardly problematical. This is music about submerging identity, whether in the free interaction of sound, floating high in space in an aged amusement park or diving in the oceanic imagination to the earth's shifting plates. It's music of compelling delicacy and rigor-especially striking when Tanaka plays and sings the traditional «Hidakagawa Iriaizakura» in the midst of an extended improvisation-but it feels resilient, not fragile, with a poetry all its own. 550) {this.width = 550;}"> http://rapidshare.com/files/19776211/TANAKA_YUMIKO___GRYDELAND_IVAR.pa rt1.rar.html http://rapidshare.com/files/19777379/TANAKA_YUMIKO

2007-07-26T00:31:00.000-07:00

Gordon Mumma with the ONCE Group
Electronic Music for Theatre and Public Activity

Megaton for Wm.Burroughs

Conspiracy 8

Cybersonic Cantilevers

Cirqualz

Gordon Mumma (b. 1935) has played a pioneering role in the development and evolution of “live-electronic” music. “Live-electronics” as a concept and practice appears to have originated in the United States in the late 1950s, outside the few institutional electronic studios and often in the context of innovative theatre activity. From its inception, it frequently involved two processes: (1) live performance with accompanying or interacting sound materials on magnetic tape; and (2) the use of electronic circuitry as sound-modifying and sound-producing instruments.

Beginning with his classic Megaton for Wm. Burroughs of 1963, Mumma’s live-electronic and cybersonic works of the 1960s and 1970s, especially Medium Size Mograph (1963) and Hornpipe (1967), display his resourceful use of both live-electronic processes. Cybersonic Cantilevers (1973) extends them to include the active participation of audience members, many of them children and teenagers who were quick to grasp the artistic potential of cybersonic technology, while Conspiracy 8 (1969–70) is an early example of live interaction between performers and computer. A major addition to the contemporary music discography, this is essential listening for anyone interested in the history of electronic music.

Megaton for Wm. Burroughs, Conspiracy 8 (co-composed and performed with Stephen Smoliar), Cybersonic Cantilevers, Cirqualz

http://rapidshare.com/files/44161600/Gordon_Mumma.part1.rar.html
http://rapidshare.com/files/44163616/Gordon_Mumma.part2.rar.html

2007-07-24T17:50:00.000-07:00

Masayuki Takayanagi and New Directions Independence: Tread on Sure Ground (Tiliqua Records, TILAR-5008) (Japan) (CD)

1. The Galactic System (11:27)
2. Sick, Sick, Sickness, My Aunt (1:13)
3. Study No. 3 Up and Down (5:57)
4. Herdsman's Pipe of Spain (6:46)
5. Deepnight, Swamp (1:24) 6. Piranha (13:21)
Bonus track
7. Mass Projection (4:52)

All music and arrangements by Masayuki Takayanagi
Masayuki Takayanagi and New Directions Masayuki Takayanagi: guitar Motoharu Yoshizawa: bass, cello, percussion, folk pipe, voice Yoshisaburo Toyozumi: drums, percussion
Recorded at Teichiku Kaikan First Studio, Tokyo, September 18, 1969 (1-6) and February 2, 1970 (7)

http://rapidshare.com/files/44157351/Independence.part1.rar.html http://rapidshare.com/files/44157639/Independence.part2.rar.html

2007-07-14T20:38:00.001-07:00

Fly Away Little Bird-
Jimmy Giuffre (Artist), Paul Bley (Artist), Steve Swallow (Artist)

Review by Thom Jurek, All Music Guide
Why aren't there more recordings like Fly Away Little Bird? Perhaps it's because there aren't more musicians of this stature. The studio reunion of the legendarily experimental Jimmy Giuffre 3 in 1992 was reissued in 2003 on the French Sunnyside label and is a radical departure from anything the trio had done in the past. These studio apparitions of the band are their most seamlessly accessible while being wildly exploratory. In addition to the consummate improvisations and compositions by Giuffre (title track, a redone "Tumbleweed"), the tender meditations by Steve Swallow ("Fits" and "Starts"), and the bottom-register contrapuntal improves by Paul Bley ("Qualude"), this is a trio recording that uses standards such as "Lover Man," a radically and gorgeously reworked "I Can't Get Started," "Sweet and Lovely," and "All the Things You Are" to state hidden textural possibilities inside chromatic harmony. There is never the notion of restraint in the slow, easy, and proactive way these compositions are approached. Rather, they are traced along spectral melodic frameworks and opened up from the space provided by not having a drummer, allowing for tonal exploration and group interaction to meet in the center of a composition and grow it out to all three sides of a triangle. The moving emotions that swirl around inside these (mostly) light melodies are the most captivating and aesthetically beautiful this group has ever committed to tape. Here is a stellar display of the intricacies of musical communication as it happens and how achingly beautiful a record can be when three men listen carefully to one another's secret hearts.

1. Fly Away Little Bird
2. Fits
3. I Can't Get Started
4. Qualude
5. Possibilities
6. Tumbleweed
7. All The Things You Are
8. Starts
9. Goodbye
10. Just Dropped By
11. Lover Man
12. Postlude
13. Sweet And Lovely
14. Bats In The Belfry

http://rapidshare.com/files/6981725/Jimmy_Giuffre-paul_bley__fly_away_ little_bird.part2.rar

http://rapidshare.com/files/6980934/Jimmy_Giuffre-paul_bley__fly_away_ little_bird.part1.rar

2007-07-14T20:34:00.000-07:00

Ran Blake - Rapport - Arista Novus AN 3006

Alone Together
Vanguard
Solitaire
Thursday
Wende
Biko
Arline
Breakthru
Vradiazi
The Ballad of Hix Blewitt
You Go to My Head

Recorded April 30th-May 3rd 1978, N.Y.C.
Ricky Ford, ts; Ran Blake, p; Rufus Reid, b;

http://rapidshare.com/files/42976555/ran_blake__rapport.rar.html

(ripped from vinyl- it's a bit noisy)

2007-07-14T20:33:00.001-07:00

91- Ken Ishii
Garden on the Palm (1993)

The tidal wave of dark rave and proto-Hardcore (Joey Beltram, CJ Bolland, Mundo Muzique), which had made R&S one of the most respected labels in dance music, was subsiding when Garden On The Palm made its diffident appearance. However, this double vinyl foray by a previously unknown Japanese producer remains a landmark in Electronica - elliptical, minimal, and relentlessly intriguing. Oblique electroacoustic shimmers, playful squelches, quixotic beats and alien magnetic chimes combine to produce music which follows its own dreamlike logic throughout, maintaining a wordless emotional charge without abandoning either taut economy or its unique sonic palette

http://rapidshare.com/files/42740942/91-_Ken_Ishii__garden_on_the_palm .rar

2007-07-13T11:58:00.001-07:00

Kang Tae Hwan Trio - Love Time CD

Debut release by the trio of Kang Tae Hwan, Makoto Kawabata, and Ichiraku Yoshimitsu. Group leader Hwan is an under-documented alto player from Korea who has recorded for Japanese Victor and DIW, played at Moers, toured Japan a few times, and collaborated with Gerry Hemingway and Otomo Yoshihide, among others. Active since the 70's, Hwan's discography also includes several CD's of solo alto improvisations and a duo CD with Tuvan vocalist Sainkho Namtchylak. More recently he has been collaborating with Alfred Harth during Harth's residency in Seoul. Percussionist Yoshimitsu is well-traveled in both improv and rock circles, having been a member of Omoide Hatoba and a frequent collaborator with heavyweights like Otomo Yoshide and Haco. The inescapable Makoto Kawabata is best known for his Deep Purple-style rock as a member of Acid Mothers Temple, but on his own he has produced a string of subtle, elegica solo CD's, performing on guitar, organ, electronics, etc.

More minimalist than free jazz, Love Time centers on Hwan's long circular tones, avoiding common free-alto styles in favor of a roughly-hewn clarion approach. Kawabata and Yoshimitsu shadow Hwan subtly on sarangi and bowed percussion. The music gradually builds to a crescendo, with Kawabata swtiching to guitar and Yoshimitsu moving to the drum kit. An atmospheric and understated work. 1 Track, 50 Minutes

http://www.mediafire.com/?5g3ommoxmjo

Kang Tae Hwan
Korean Free Jazz -live improvisation
PonnyCanyon Korea PCLD00002

Kang Tae Hwan (as)/ Choi Sun Bar (tp -1)/ Kim Dae Hwan (perc -1)/ Takada Midori (perc -2)/ Evan Parker (ss -3)

1.Soul Free Music Trio (11'23)/ 2-3.Duo (13'27)/ 4.Duo (15'09)/ 5.Solo (7'22)

Recorded live at FM Tokyo Hall, Tokyo, on 23rd of June, 1988 (1, 4),
live at Suntory Hall, Tokyo, on 3rd of July, 1988 (2),
live at Yeh Eum Hall, Seoul, on 14th of September, 1988

http://www.mediafire.com/?dmuyomnzkqh

2007-07-13T11:55:00.001-07:00

matsuo ono / takehisa kosugi "roots of electronic sound"

a reproduction of a 1979 victor label reissue of a 1975 lp on the legendary alm label featuring a series of short tape music experiments, recorded between 1963 and 1966 by matsuo ono, with assistance from none other than takehisa kosugi. the artwork and libretto on the lp are full of references to “atom” (better known to westerners as “astro boy”), a mid-60s japanese cartoon to which many of these tape-sounds were used as sound effects and incidental music... pretty incredibly given how zonked & explosion-oriented these short pieces are.

the whole thing comes across as an earlier, analog version of jean-claude risset’s catalogue of computerized sound synthesis (i.e. each cue is announced beforehand by a loud/distorted japanese voice solely in the right/left channel.) as the record progresses, the jabs get longer and longer, until morphing into a suite of fully realized, multi edit-per-second blasts & cosmic drift that rival only the earliest wdr & ina-grm lineage tape-music etudes. one of the key pieces historical japanese electronic music puzzle, entirely fantastic & completely necessary...

(5 tracks -tracks 1-4 contain intros in japanese before each short piece- track 5 contains no vocals pure electronic music)

(a creel pone limited release)

http://www.mediafire.com/?bzm0d4tmtom

2007-07-13T11:53:00.001-07:00

Sounds Like A Sandwich
Cato Salsa Experience and The Thing with Joe McPhee

Sometimes you can't help bursting out laughing while listening to a record. Sounds like a Sandwich, a twenty-minute EP with a most appropriate title, is one of those releases. It features a Norwegian psychedelic rock band, Cato Salsa Experience, together with a jazz power trio, The Thing, and reed man Joe McPhee—or as they call themselves, two bands and a legend. The idea of Joe McPhee blowing Led Zeppelin's “Whole Lotta Love” may sound outrageous at the beginning, but after the initial laughs you'll find yourself pushing the replay button again and again.

The Thing (saxophonist Mats Gustafsson, bassist Ingebrigt Håker Flaten, and drummer Paal Nilssen-Love) has a history of playing non-standard covers. The group has already covered PJ Harvey's “To Bring You My Love” (She Knows, Crazy Wisdom, 2001) and the White Stripes' “Aluminum” (Garage, Smalltown Supersound, 2004), and has collaborated closely with McPhee. The Thing's collaboration with CSE began last summer at Kongsberg Jazz Festival in Norway, where this EP was recorded live, and continued with a studio recording that is supposed to be released later this year, as well as an upcoming Norwegian tour later this summer.

The EP begins with CSE's title tune, and you get the idea when Gustafsson and McPhee begin to rip the air in the middle of the short song. CSE's two guitarists manage to recreate Jimmy Page's huge, primitive guitar riff on “Whole Lotta Love,” which is still effective after more than thirty years, but it is clear that no singer can contest Robert Plant's vocal cords. In any case, Gustafsson's baritone solo and McPhee's supporting tenor sax skyrocket the song into the stratosphere. Nilssen-Love adds some Elvin Jones-que sophistication to Bonham's original thumping. The Yeah, Yeah Yeahs' “Art Star” was covered on The Thing's Garage; here it enjoys the reckless rhythm that CSE injects into the chorus.

McPhee shines through Don Ayler's “Our Prayer,” first on his muted pocket trumpet and later in a beautiful tenor sax duet with Gustafsson. CSE's Bard Enerstad's organ adds a gospelish tinge to this quiet track, while Cato Salsa's gritty guitar pushes it to the edge. The concluding track, “Hardcore Mama,” is a simple tune, just like the opener, that uses a catchy guitar riff and lets Gustafsson and McPhee blow the chorus as if they were in some left-of-center R&B brass band

Track listing: Sounds Like A Sandwich (CSE); Whole Lotta Love (Page, Plant, Jones, Bonham); Art Star (Yeah, Yeah, Yeahs); Our Prayer (Don Ayler); Hardcore Mama (CSE).

Personnel: Cato Salsa Experience: Cato Salsa: guitar, vocals; Bard Enerstad: guitar, organ, theremin, vocals; Christian Engfelt: bass, vocals; Jon Riise: drums. The Thing with Joe McPhee: Mats Gustafsson: baritone and tenor saxophone; Ingebrigt Håker Flaten: doublebass; Paal Nilssen-Love: drums; Joe McPhee: tenor saxophone, pocket trumpet.

http://rapidshare.com/files/16603917/Cato_Salsa_Experience___The_Thing _With_Joe_Mcphee__sounds_like_a_sandwich.rar.html

2007-07-13T02:00:00.001-07:00

VITO PRICE/SWINGIN' THE LOOP

1. Time After Time
2. Bye Strain
3. Beautiful Love
4. Credo
5. As Long as I Live
6. Swinging the Loop
7. Mousey's Tune
8. Why Was I Born?
9. Duddy
10. In a Mellow Tone

Rare work from obscure Chicago tenor player Vito Price -- recorded back in the days when there actually used to be a jazz scene in the loop! Price moved to Chicago in the mid 50s, and is typical of the white players in the city who were able to shift between club work and better-paying union gigs for TV and radio stations. The groove here isn't totally hard, but there's some nice moments, with kind of a Basie-esque flair. Titles include "Credo", "Eye Strain", "Swingin The Loop", "Mousey's Tune", and "Duddy".

http://www.mediafire.com/?6iqhmlnmjii

2007-07-12T20:55:00.000-07:00

Paul Moravec: The Time Gallery; Protean Fantasy; Ariel Fanstasy

1. Bells: Devotional Hours

2. Time Machine

3. Pulse: The Feeling Of What Happens

4. Overtime: Memory Sings

5. Protean Fantasy

6. Ariel Fantasy

Composer: Paul Moravec Performer: eighth blackbird, Aaron Shorr, Petter Sheppard Skærved Paul Moravec, the 2004 Pulitzer Prize winner for music, collaborated with crack new music ensemble eighth blackbird to create a riveting, fascinating, and downright fun exploration of time and our relationship to it.

http://anonym.to/?http%3A%2F%2Fwww.mediafire.com%2F%3F0u22nynmqnv

2007-07-12T19:50:00.000-07:00

Children Of Ibeji, ENJA, USA 1992

1. Mina Do Sante
2. O Morro
3. Chant For Logum
4. Oh! Que Noite Tao Bonita
5. Chant For Oshum
6. Chant for Oshala
7. Little Rocks of Aruanda
8. Tom's Diner
9. Chant for Ibeji
10. Cantara

http://anonym.to/?http%3A%2F%2Frapidshare.com%2Ffiles%2F39603333%2FChildren_Of_Ibeji.part1.rar.html

http://anonym.to/?http%3A%2F%2Frapidshare.com%2Ffiles%2F39606546%2FChildren_Of_Ibeji.part2.rar.html

2007-07-12T02:38:00.001-07:00

denis smalley “the pulses of time” compact disc recordable

* the pulses of time (19:58) 1979

* pentes (12:53) 1974
* chanson de geste (16:25) 1978

creel pone of a 1981 lp privately released by the university of east anglia containing three sparse musique concrète pieces composed between 1974 and 1979 at the grm and uea studios by new zealand born/bred composer denis smalley.

widely considered to be one the classics of early british electro-acoustic music (alongside trevor wishart’s “journey into space” & “red bird”, desmond leslie’s “music of the future”, and basil kirchin’s “worlds within worlds”), the three pieces on “pulses” each work discrete combinations of synthesized timbres, processed close-mic’ed instrumentation, and slowly shifting/morphing drones...

no shortage of documentation on the modus/practices at work here, so i’ll let the libretto (below) do the talking... those who found favor and/or inspiration within the hilda dianda, jocy de oliveira, and/or “new zealand electronic music” creel pones will be in familiar terrority here...

electro-acoustic music uses electronic technology to create and transform sounds. it harnesses the resources of the recording studio, synthesizers, specialised treatment devices, and computers for musical composition and performance.

the three works on this record represent two types of electroacoustic music. the pulses of time and pentes exist only on stereo tape and were composed using the resources of the studios where they were created, the groupe de recherches musicales, paris, which now forms part of the institut national de l'audiovisuel, and the recording and electronic studio at the university of east anglia, england. both works involve extensive transformation of instrumental and electronic sounds. chanson de geste on the other hand is a live performance piece which needs closely positioned microphones to magnify sounds otherwise inaudible, and to enable detailed sound-balancing.

the three works were composed over a period of five years.

pentes (1974) has been widely acclaimed and with another of denis smalley's works won the fylkingen prize for electronic composition in sweden in 1975. chanson degeste (1978) which uniquely combines new vocal techniques with clavichord sounds was composed for carol plantamura, one of the foremost american sopranos specialising in new music. the pulses of time (1979) has been widely broadcast and performed in concerts and festivals in many parts of the world

denis smalley, born in new zealand, in 1946, now iive:s in england and works in norwich where he is lecturer in music at the university of east anglia. his music displays consummate skill in using electro-acoustic resources in a strikingly imaginative and individual manner.

http://rapidshare.com/files/39618497/Denis_Smalley.part1.rar.html
http://rapidshare.com/files/39619082/Denis_Smalley.part2.rar.html

enjoy......