Saturday, December 29, 2007

Thursday, December 27, 2007

Flora Purim - 1974 - 500 Miles High

"Recorded when she was at the peak of popularity, a result of her stint with Chick Corea's Return to Forever, 500 Miles High presents Flora Purim in concert at the 1974 Montreux Jazz Festival. Accompanied by an all-star band including guitarist David Amaro, flutist Herbie Mann, keyboardist Pat Rebillot, bass legend Ron Carter, and husband (and star in his own right) Airto Moreira on drums, vocals, and various percussion, the Brazilian songstress delivers a fiery performance that must have been a joy to behold. Strictly speaking, this is really more of a band album than a Flora Purim album, as Airto and the guys are featured for extended instrumental romps. However, when Purim is in the spotlight, her vocal magic lifts the proceedings to a high level. The trademark "500 Miles High" is wilder and more electric than in its Return to Forever studio version. Special guest Milton Nascimento leads the ensemble through his "Cravo e Canela" (Cinnamon and Cloves), a joyously percussive highlight of the show. Elsewhere, Airto joins his wife for a vocal give-and-take while the band cooks along underneath. The lengthy set closer, "Jive Talk," is really more a showcase for him than for his wife, but when it kicks into high gear, it provides a scorching climax highlighted by the twosome's wordless vocals. Although a fine document of her live show, 500 Miles High is probably not the best place to go for an introduction to the vocal artistry of Flora Purim. Stories to Tell and Butterfly Dreams would serve this purpose better, as would Corea's Light as a Feather. Nonetheless, it's an enjoyably eclectic and exciting outing." ~ AMG

DJ NOBODY remixes yet to be released Mars Volta track Ouroboros

Low End Theory - Unreleased Beat Invitational #6 12/26/07

Tuesday, December 25, 2007

Pink Floyd-Atom Heart Mother Live Saint Tropez 1970

Sun Ra and his Solar Arkestra - 1965 - The Magic City

"It is notable especially for the title track. While it begins with use of tape echo recalling the experiments on Art Forms of Dimensions Tomorrow, the key features quickly emerge: Ra's simultaneous piano and clavioline intertwining with Boykins' bass as the underpinning for new long-forms of group music-making which draw on varying sub-ensembles from the Arkestra through the course of the piece.

"The Magic City is an early indication and prime example of the direction in which the music of the Sun Ra Arkestra would move, leading almost immediately to The Heliocentric Worlds of Sun Ra later in the same year." ~ Wikipedia

By the mid-1960s, bandleader and composer Sun Ra was delving deeply into extended, improvisation-heavy suites like The Magic City. Reckoned to be a tribute to his hometown of Birmingham, Alabama, this long, circuitous piece comes in two different takes on the CD reissue, and both takes are rambunctiously keeled on Ra's core band members, tenor saxophonist John Gilmore and alto saxophonist Marshall Allen, who each offer scouring, ear-pinning interludes. Even so, the music here is huge, with sprawling collective improvisatons that burst with wholehearted high energy, suggesting a latent power that Sun Ra often channeled through both his own intricate scores and reams of cover tunes elsewhere in his several decades as jazz's chief outer-space renegade. --Andrew Bartlett." ~ Avax Sphere


01. "The Magic City" – 27:22
02. "The Shadow World" – 10:55
03. "Abstract Eye" – 2:51
04. "Abstract "I"" – 4:08

Monday, December 24, 2007

The Bad Plus - 2003 - These Are the Vistas

The Bad Plus
These Are the Vistas
Recording Date: Sep-Oct 2002
Release Date: Feb 2003
Label: Columbia


"Whether or not pianist Ethan Iverson is literally using it, all of the Bad Plus' These Are The Vistas sounds as if it was recorded with the sustain pedal of the piano depressed. It's actually probably mostly the fault of producer Tchad Blake (Soul Coughing, Cibo Matto, Los Lobos), who applies his incredible treatments throughout the album, shining through especially in his work on David King's chaotic drums. Nonetheless, the Bad Plus sound as if they are in a cavernous space. The band rolls out the now-requisite jazz covers of pop tunes (in this case, Nirvana's "Smells Like Teen Spirit," Blondie's "Heart of Glass," and Aphex Twin's "Flim"), but it is their attitude (the very fact that they hired Blake to begin with, for example) that carries them the distance. The band itself is quite compelling. Iverson is a complex piano player. His skills come to bear on the abstract epic "Silence Is The Question," which closes the album, as his spidery piano lines melt into chaotic statements, left hand meeting subtly with bassist Reid Anderson, right hand meeting crazily with King. What is impressive is that the trio manages to sound contemporary using only piano, bass, and drums, and without resorting to electronic gimmicks. Whether or not the band is reinventing jazz is irrelevant. These Are The Vistas is good, interesting music." ~AMG


01 Big Eater
02 Keep the Bugs Off Your Glass and the Bears Off Your Ass
03 Smells Like Teen Spirit
04 Everywhere You Turn
05 1972 Bronze Medalist
06 Guilty
07 Boo-Wah
08 Flim
09 Heart of Glass
10 Silence Is the Question

The Gaslamp Killer - 2007 - It's A Rocky Road Vol. 2

Another unmixed comp of dusty psyche gems from Gaslamp's personal stash! GLK is a complete mystery to most of us here in the BK office, but these collections (and his way too infrequent blog posts) tell us all we need to know - this man is dangerous. 15 tracks, with no silly things like artist names or song titles to bind your mind. For some original Gaslamp beats, check his track on the Secret Hangout EP or his upcoming 12" from Money Studies. Highly recommended. - Turntable Lab

Nobody - 2007 - Valentine's Day Mix

Nobody (Elvin Estela), has been a fixture in the Los Angeles music scene since the early 1990s, first as a producer for many of the premier emcees at the Good Life Cafe/Project Blowed, and then as a remixer, producer, and important member of the global electronic and indie-rock communities. He has worked with, remixed, and toured in support of the Postal Service, Prefuse 73, The Mars Volta, Aceyalone, Mia Doi Todd, and many others. His releases for Ubiquity and Plug Research have garnered him not only critical praise, but the clout to define and redefine his sound as he sees fit. His productions effortlessly flow from the hip-hop themes of his early career to the psychadelia and rock motifs of his most recent work, and his vast musical vocabulary allows him to deliver with each and every mix. - Mush Records

Andy Votel - 2005 - Songs Of Insolence

Mind bending selection of twenty obscure fuzzed-out-psychadelic-
funk rarities taken from Andy Votels “Music To Watch Girls Cry” and “Songs In The Key of death” fat city mix tapes.
The album features 18 tracks in their entirerity that were included on Andys two mix CD’s for fat city. The tracks featured are all things obscure form the worlds of psyche, funk, jazz, soul and exotica including productions from half way around the world including Hungary, Japan, U.S, U.K, German, Czechoslovakia and Poland.
Most noteable artists are Badly Drawn Boy with a track from his now uber collectable first 7 inch on Twisted Nerve. The film score maestro John Barry with a super rare Japanese only release. Billy Childish’s The Headcoatees cover of the Northern classic “Have Love Will Travel”.
Also featured are a handful of exotic cover versions including a wonderous experimantal electronica extranganza of the Beatles classic “Hey Jude”, Otis Reddings “Sitting On the Dock Of The Bay" done Japanese karaoke style backed a hard snap snare, and Gershwins “Rhapsody In Blue” mooged- out Hungarian prog rockers. - Fat City Records

Andy Votel - 2002 - All Ten Fingers

With fingers in design, production, label management, DJing and a whole bunch of other pies, Twisted Nerve honcho Votel has to have every single one at his wanton disposal. With such a busy lifestyle, it's no surprise that it's taken him so long to muster up his first full-length album. The result is as a 15-track album that borrows as much from his label's love of lo-fi acts as it does from their love of electronic noise-smiths like Mum and Dad or Sirconical. All in all, though, it's a dark album where water drips down the studio walls as moody, sullen beats interrupt themselves occasionally with churns of garage-rock guitars. Votel lets his fingers do the talking. - xlr8r

Daedelus - 2006 - Live On Dublab

With a string of releases on Plug Research, Hefty, Tigerbeat 6, Eastern Development, and Alpha Pup, Daedelus has refined a style that has no imitators. Contrasting IDM styled cut-ups with childlike arrangements from the 30s and 40s, he has created a sound that is entirely new. His productions find the hidden common denominator between modern electronics and sampled music from days gone by. Recording out of Santa Monica, Daedelus also incorporates hip-hop into his mix, with guest spots from Busdriver, MF Doom, TTC, Mike Ladd, Absract Rude, Madlib, and High Priest (Anti-Pop Consortium). His live show, which utilizes a custom-built sample trigger device and software package, has amazed audiences across the US, Europe, and Japan and secured his reputation as one of the most exciting producers in electronic music. - Mush Records

this set is not like his usual sets on dublab, he usually will do a playlist of songs but for this special set he brought in his whole live set up and blessed the airwaves with a beautiful hour long soundscape. if you have seen him live then you know that your in for a treat with this set here!

D Styles - 2005 - Inspiration Information

The leader of the pack to deejays like Ricci Rucker and Mike Boo, D-Styles is the crown ruler at moving the role of the hip hop dj forward. Firstly as a ISP member and subsequently in solo mode guesting on nuff stellar projects plus we can't forget all those perverted battle break albums. This 34 part one hour CD is part old school mix and half a compilation of old school jams that have influenced D's scratching and jams that are obviously some of his favourites. The majority of the tracks are low riding 808 boom tunes, you know the type rocked by Too Short and most influencially by 2 Live Crew on the sick 'Ghetto Bass'. Blunted beatbox rockets drop from DMX and Ready Roc C backing up Fresh Prince and Just Ice. Forgotten crew UTFO feature as well as JVC Force, Gucci Crew, Z-3Mc's, Steady B, School Of Hard Knocks and Jewel T. Extra props for including Knights Of The Turntables 'Techno Scratch', a ill education. Extra bonus tracks at the end of this CD include D rocking with Ricci Rucker and Mr.Henshaw plus much more. Highly recommended. - Bookmat

Dublab Presents - 2002 - Summer

This collection of fresh summertime tunes was released in 2002. Our good friends at Hefty Records distributed the cds and an accompanying "Immediate Action" 12 inch featuring the first four songs. Only 1000 copies of each was produced and they disappeared in a flash. If you missed "summer" the first time around happy hunting!

2. Cody ChesnuTT - serve this royalty
3. PREFUSE 73 - perverted undertone
4. BENEATH AUTUMN SKY - winter solstice
5. BURDY - doobie da da
6. MICHAEL FLUME - agolele (Cosmic Rocker & Zeb remix)
7. I-WOLF - inna meditation
8. BACKYARD BANGERS - if nothing else then this
9. MANITOBA - people eating fruit
10. THE DYLAN GROUP - a hue from the land of plinky
11. TOM CHASTEEN - point dume
12. DAEDELUS & FROSTY - the age of aquariums

long out of print, enjoy!

Miles Davis - 1971 - Live/Evil


Disc 1

01 - Sivad
02 - Little Church
03 - Medley: Gemini/Double Image
04 - What I Say
05 - Nem Um Talvez

Disc 2

01 - Selim
02 - Funky Tonk
03 - Inamorata And Narration by Conrad Roberts


There’s something about the way this music hits me. It’s not as if I haven’t been exposed to lots of hard, loud music – in fact, compared to some of the stuff that now gets called “fusion,” Miles Davis’ version can often seem quaint on the surface. At the time of the shows documented on this 1970 set, he was playing with a new band (something he was doing more often than in any period of his life theretofore), and playing music that, while broached in the previous couple of years by himself and very few others, was rather unheard of to most music listeners of the time, and certainly the canonical jazz guard.

Davis’ ability to pluck players from all over has been fairly well absorbed into the arcane annals of jazz history, and something which I think rock listeners usually take some pride in, especially given that so many of the ones he plucked at that time were at least as much on a rocky road than a jazz one. Maybe that’s why the music they made was so unusual. Whereas the literal fusing of jazz and rock made journalists, critics and DJs have very little problem pigeonholing the sound of a hundred bands with virtually nothing in common except the way they were misunderstood or dismissed by various music experts and traditionalists. You know, Blood Sweat & Tears wins a Grammy in 1969 for “Spinning Wheel” and the rock press cheers their eccentricity and radical introduction of jazz into the pop vocabulary – Davis responds by making fun of the song’s hook on Bitches Brew. It turns out mixing rock and jazz wasn’t always revolutionary. Of course, the rock press redeemed themselves by sheer fickleness in the coming years by writing off bands like BS&T as lightweight clowns.

In the hands of a curious, inspired artist, the exact same convoluted fusion could work. Davis made the initial, relatively clumsy stabs on albums like Miles in the Sky and Filles de Kilimanjaro, and really got down to his genius business on In A Silent Way and Bitches Brew. The way he progressed, mastering one element at a time, from picking his players, experimenting with editing and tape loops in the studio, to jumping headfirst into the rock circus, playing in front of crowds more accustomed to “Suite Judy Blue Eyes” as an encore rather than “Miles Runs the Voodoo Down.” This modular advancement was at once subversive and marvelously efficient. In fact, the only other act in rock at the time to ever make such a successful leap in so short a time was The Beatles (in the mid 60s), and it shouldn't come as a surprise that Davis was highly influenced by Sgt. Pepper’s Lonely Hearts Club Band.

And there really is something about the way this stuff hits me. Live-Evil was released in 1971, and details two sets at The Cellar Door, Washington, DC, in December of 1970, and two recording sessions completed earlier in the year. The session stuff generally finds Davis in full mystical mode, as if starting from “Nefertiti” and working his way through Messiaen and who knows what rootless, exploratory concept of what makes a jazz ballad. The live stuff is a different animal entirely, and is arguably as close as Davis ever got to actual integration of rock and funk into his music. The beats are there, and the bass is right up front, but there is something else.

On paper, you can see how the players would probably sound good: Davis, the ringleader, on his horn, often with the wah-wah and other assorted aggressive filtration; Keith Jarrett, a holdover from the Bitches Brew touring band, on electric piano; Jack DeJohnette and Airto Moreira as the rhythm makers, also from the Bitches Brew band; Gary Bartz on soprano and alto sax, and Michael Henderson, fresh from Aretha Franklin’s band, on bass. A pretty nice lineup, and then there was the last minute addition of one John McLaughlin on guitar – these performances were probably fated to be special, as this kind of apparently offhanded, yet rather essential, arrival (Bartz later said that the group had never played with McLaughlin before this date) generally signals good things to come.

The first music recorded for Live-Evil actually came from sessions just after Bitches Brew, in February 1970. “Gemini/Double Image” is a slow burning, blues-mourn featuring most of the people who appeared on the legendary studio album, and was actually written by Davis’ former keyboardist Joe Zawinul. McLaughlin begins the wail with some very Hendrix-inspired figures, and in fact some of this tune is reminiscent of the more bluesy offerings from Jimi Hendrix’s Band of Gypsys release. Miles plays something like a head, accompanied by various exotic percussion instruments, and a rock-steady, albeit intermittent drum pulse.

In the summer of 1970, Davis entered the studio with a different band (featuring Steve Grossman, Ron Carter and Brazilian transplant Hermeto Pascoal, in addition to most of Davis’ regular partners from the time), and commenced laying down more peaceful tracks than the earlier session. “Selim”, at just over two minutes, is the shortest piece of music on the album, but is also one of the most singularly beautiful. Davis plays the tune, pensive and vulnerable, and is joined by Pascoal’s disembodied vocal. It is reminiscent of the otherworldly, hymnal music from In A Silent Way. “Nem Um Talvez” is in the same vain, though slightly longer, and featuring some subtle, reverb-laden auxiliary percussion. Furthermore, the band recorded “Little Church” the following day, which uses what sounds like a church organ and Pascoal’s (who wrote the tune) whistling alongside Davis’s muted trumpet to enhance the mood a tad. After so many years, it’s still odd to hear the breadth of expression of which these guys were capable. Warm, more than a little spacey and perfectly realized. And this stuff never even made it to the road.

As engaging as the studio material was, it is the live music that gives this release its teeth. “Sivad” begins without any hint of hesitancy over playing fairly unprecedented music, and in fact jumps headfirst into the groove like no music had ever come before. DeJohnette and Henderson are major reasons why Davis’ music from the period retains its power and cutting edge: these men play like hawks, circling around the band, pouncing at all the appropriate (and many other) moments, and just playing LOUD. One aspect of this band, and most of Davis’ bands in the 70s is that they tended towards the rock dynamic even if they played with jazz instrumentation.

“Sivad” begins as hard funk, but soon transforms into a blues lament (again recalling Hendrix), stretching out the hazy vamp for Davis, McLaughlin and Jarrett to take a chorus or six. Conversely, “What I Say” just stays with hard funk. The groove is faster than the former tune, and is superficially less “evil”, though I would add that any tune featuring Davis’ screech hits can never really be all that nice. Henderson lays down an assured ostinato, and DeJohnette plays the rock beats like he invented the stuff. Jarrett wastes no time in launching a solo. The tune also features one of two drum solos by DeJohnette on the record, both of which are great examples of a mixture of abstract jazz exploration and sheer rock pummeling.

“Funky Tonk” is mostly famous for Jarrett’s amazing, unaccompanied solo in the middle of the tune, for which the audience – doubtlessly less familiar with the piano player than they were Davis – emphatically gives its approval. “Inamorata and Narration by Conrad Roberts”, despite featuring the rather stream of consciousness prose from Roberts referenced in the title, is still more prime hard fusion. It would be hard to imagine a band more on top of their game than this one was at the Cellar Door date, and given that Davis would go on to tinker with his lineups increasingly before his early retirement in 1976, that this group of people were playing this closely and passionately is practically a miracle.

And even beyond all the grooves and tunes and solos and mystical cul-de-sacs, there is still something about Live-Evil that hits me strangely. Most of Davis’ other live albums from the period are a lot spottier than this one, especially as he got closer to retirement. It could be that he hadn’t gotten so heavily into drugs and the “rock star” lifestyle by the time of this album that he couldn’t still have some semblance of control of his sound. Or, it could be that this band of players simply couldn’t go wrong, and were actually on the verge of becoming so powerful, they had to split off, one-by-one, to start their own journeys. But what I really think it is, what I really believe makes Live-Evil so great is its sheer aggressive spirit. Miles Davis didn’t claim to be the best bandleader or the best trumpet player, but he did lead by example, and his bands played harder than anyone else I can think of. Live-Evil is a testament to what can happen when a real leader and artist sets his group free to tear down barriers, and on these dates, they did like no others.
--Dominique Leone

AstroNation Mixtape Vol. 6

01 - Free The Robots - Diary
02 - Rhythm of Black Lines - Sweet Naess of the Sun
03 - Black Uhuru - Sponji Reggae
04 - Frank Zappa - Dummy Up
05 - Radiohead - Nude
06 - Stanley Clark - Life Is Just A Game
07 - The Evens - All These Governors
08 - Roy Ayers - aragon
09 - Mono - are you there
10 - Albert King - Oh, pretty woman
11 - Jimmy Smith - Can't Get Enough
12 - Give Love Another Try
13 - ...Is Pushing Luck
14 - Herbie Hancock - Man-Child - 05 - Steppin' in It

The Roots feat. Roy Ayers: Proceed 2

Freddie King live @ Ann Arbor Blues Festival 1969


Freddie King
Ann Arbor Blues Festival

lineage unknown, but it seems to be a SBD or pre-fm record sound quality is B+ to my hears. i got it here flac (level 8) and burnt it on CDR, then i reencoded it today into shn format.

1. San HO Zay
2. See See baby
3. Have you ever loved a woman ?
4. Get out of my life woman
5. Hideaway
6. I just play it cool (fades out)

Dead Kennedys - Rhienterassen , Bonn Germany 15.10.1980



Lineage TAPE - CDR - WAVE - FLAC

Cleaned up & levels normalised using nero 6 with a little stereo widening added

Clearish soundboard recording



this was shared previously at ZOMB by BrockDenker, I believe, but I could be wrong as it is no longer on that tracker anymore. Sounds pretty good. Sorry no samples but if your hesitant then just DL 1 song to sample sound quality.

Bob Marley and The Wailers - 1975 - Manhattan Center, New York





sound quality : AUD: A







Ian Francis

"I was influenced by a huge range of people when I was growing up; I think probably the biggest single influences were Reggie Pedro, for the fantastic compositions & painting, Stanley Donwood, simply because I love some of the textures he uses and Dave McKean for the mixed-media & computer aspect.

The sometimes apocalyptic feel of my work comes from the combination of the fact we're probably the safest and wealthiest we've ever been against both the mass media sense of impending doom and also the fact that a potential world resource shortage could realistically mean that we won't be living this lifestyle for that much longer.

I'm interested in life, small inter-personal relationships, celebrities, etc. Against that backdrop there are a lot of huge apocalyptic things that you read about or see on the news that aren't always immediately obvious when you walk out the door. It’s about pornography and news reports from war zones instead of sex and death.

“My work is about modern life, particularly television, world events, celebrities, and day-to-day living.”" ~ Prime Arts

Chi Coltrane - Thunder and Lightning

Sunday, December 23, 2007

Chin's Calypso Sextet


As Jamaica's original music, all other Jamaican music can trace its roots to mento.
Some styles of mento would evolve into ska and reggae. (As a matter of fact, some mento songs are still being recorded "inna dancehall stylee" today.)

01 Honeymoon
02 Monkey's Opinion
03 Look Before You Leap
04 Riddle Me This
05 Guzoo Doctor
06 Why Jamaican Man Tan So
07 No Money No Music
08 Woman's Style
09 Jamaican Bananas
10 My New Year Rules
11 Mussu And John Tom
12 A Food Wedding
13 Woman's Tenderness
14 Adam And Eve
15 Melda
16 Why Blame Calypso

Calypso/Mento recorded for Chin's Radio Service at 48 Church St. in Kingston Jamaica,in the 50s. personally recorded by the artist. A classic, vintage recording.

The Chin's Calypso Sextet Band consisted of a Rumba Box,a Bamboo Saxophone, a Bamboo Flute, a Banjo, a floor Bass Guitar with four strings, a regular Guitar, two heavy sticks called clave, which they knock together, and a pair of Maracas. Most of the instruments were made with local materials, the Maracas was made from a fruit called Calabash, with some Jancrow beads put in as shaker. Most of the musicians were from the country districts but lived in Kingston, Everard F. Williams was the lyrics composer and band manager, Alerth Bedasse was the musical arranger, singer and director of the band.

All the recordings were done with a recording machine that used a cutting needle to cut grooves into 10inch 78 rpm vinyl resin discs. The microphones used were the large old ribbon types, RCA and Shure, they were very good.There were no acoustic rooms for recording, the recordings were done in the store at nights, after the store was closed, the floor was concrete, the ceiling was low and made with gypsum.

The musicians in the Chin's Calypso Sextet Band were the salt of the earth Jamaicans of the old days, they played calypso/ mento music from their hearts, they put everything they had into their music.

Most of the lyrics were done in Jamaican English PAT WA (PATOIS ).

Toshio Hosokawa/Gagaku: Deep Silence


In spite of a kinda new-age title, a thick, tight, laser-focused record of ur-timbral drone-magic...maybe one of my favorite drone-oriented recordings ever. Awesome.

Toshio Hosokawa / Gagaku: DEEP SILENCE (Wergo Concept Series 68012)

Label description:

“Music,” says Toshio Hosokawa, “is the place where notes and silence meet.” This identifies his aesthetic concept as a genuinely Japanese one. It is found both in Japanese landscape painting and in the music, such as the courtly gagaku, in which audible sound always stands in relation to nonsound, i.e. to silence. In their rhythmic proportions Hosokawa's compositions are oriented around the breathing methods of Zen meditation, with their very slow breathing in and very slow breathing out: “Each breath contains life and death, death and life.”
Mayumi Miyata (sho – the instrument of the universe or of tradition) and Stefan Hussong (accordion – the human or contemporary instrument) are among the most important interpreters of Hosokawa's music, which here is framed by four traditional gagaku pieces.

Toshio Hosokawa:

1. Cloudscapes. Moon Night for sho and accordion
2. Sen V for accordion
3. Wie ein Atmen im Lichte for sho solo

Traditional Gagaku:

1. Banshikicho no choshi for accordion and sho
2. Oshikicho no choshi for sho solo
3. Hyojo no choshi for accordion solo
4. Ichikotsucho no choshi for accordion and sho

Aki Takahashi - Piano Space


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)

Podcast: In My Continental December 22, 2007


01 Jay Electronica - Eternal Sunshine
02 Jay Electronica - …Because He Broke The Rules
03 Jay Electronica - Paper Thin
04 Jay Electronica - Voodoo Man
05 Jay Electronica - FYI
06 Ngoma - On The Day The Pope Died
07 Jon Brion - Phone Call
08 Rick James - Bustin’ Out (On Funk)
09 Nicole Willis - All The Time (Jimi Tenor Dub With Chris Dawkins)
10 Jon Brion - Collecting Things
11 Kanye West - Take Over (Interlude)
12 Kanye West - Take Over (Instrumental)
13 Chaka Khan - Through The Fire
14 Steve Fisk & Benjamin Gibbard - Overture
15 Benjamin Gibbard - Indian Summer
16 The Four Tops - Are You Man Enough
17 Marva Whitney & Osaka Monaurail - I Am What I Am (Part 1 & 2)
18 Charles Wright & The Watts 103rd Street Rhythm Band - Express Yourself
19 William De Vaughn - Be Thankful For What You Got
20 Cymande - Brothers On The Side
21 Ohio Players - Funky Worm
22 Teddy Pendergrass - Love TKO
23 Bob Marley & The Wailers - So Jah Seh
24 The Melodians - Rivers Of Babylon
25 Bob & Marcia - Young, Gifted & Black

Listen To The Podcast Here

Al Di Meola - 2007 - Diabolic Inventions and Seduction for Solo Guitar, Volume I, Music of Astor Piazzolla

"Too some, Al di Meola is best known for is shredding guitar work as part of Return to Forever, and also his early solo albums. But di Meola has always had an interest in flamenco styled acoustic playing ("Mediterranean Sundance" off of Elegant Gypsy, anyone?) — which is the six-string style that he fully embraces on his 2007 release, Diabolic Inventions and Seduction for Solo Guitar, Vol. 1: Music of Astor Piazzolla. Like its title says, the album is comprised solely of renditions of tunes by Argentine tango composer Astor Piazzolla, who is best known for trailblazing the nuevo tango style (which contained traces of both jazz and classical). And di Meola has no problem offering up a fine tribute, especially on such tracks as "Campero" and "Romantico." With Diabolic Inventions and Seduction for Solo Guitar, one of the world's most technically gifted guitarists proves once and for all that he is also one of the most versatile, as well." ~ AMG


1 Campero 4:49
2 Poema Valseado 4:27
3 Tangata del Alba 5:17
4 Adios Nonino 4:52
5 Tema de Maria 5:59
6 Milonga del Angel 4:58
7 Romantico 4:35
8 Milonga Carrieguera 3:06

Czeslaw Niemen Tapes & Rarities (1962-1999)


Artist: Czeslaw Niemen
Title: Tapes & Rarities
Lineage: tracks are mostly FM sourced, quality differs from poor to very good :)

My flood of unreleased Niemen recordings continues. This time I decided to look through various CDs/files and collect all tracks and concert fragments that are too small to make separate release, but too precious to just throw away. To my surprise it turned out to be over 4 hours of music.

First part: the 60ies. You'll find here some ridiculous tracks from Niemen's early career, like "Felicidade" (samba from "Orfeu Negro" movie, sang in Portuguese), or Little Eva's cover "The Loco-Motion", and lots of other early songs in different, radio versions.

[01] Felicidade (live, 1962, Szczecin, Poland)
[02] Czy mnie jeszcze pamietasz (live, 196x, unknown location)
[03] Allilah (radio version, 1968)
[04] Byc moze (radio version, 1965)
[05] Dziwny jest ten swiat (live, 1967, Opole, Poland)
[06] Ciuciubabka (live, 196x, unknown location)
[07] Domek bez adresu (radio version, 1967)
[08] Dziwny jest ten swiat (live, 1967, Sopot, Poland)
[09] Gdzie to jest (radio version, 1967)
[10] Locomotion (radio version, 1963)
[11] Nigdy sie nie dowiesz (radio version, 1963)
[12] Przyjdz w taka noc (radio version, 1965.10, with "Studio Rytm" ansamble)
[13] Jezeli (radio version, 1968)
[14] Pamietam ten dzien (radio version, 1967)
[15] Jak mozna wierzyc tylko slowom (radio version, 1965)
[16] Nie badz taki bitels (radio version, 1965)
[17] Nigdy sie nie dowiesz (radio version, 1967)

Part two: 70ies. Including brilliant early radio version of "Pielgrzym" with Grupa Niemen and studio version of Krzysztof Komeda's "Kattorna" (in truly hard-core-jazz-rock version).

[01] Pielgrzym (radio version)
[02] Daj mi wstazke blekitna (radio version)
[03] Smutny ktos, biedny nikt (radio version)
[04] 41 potencjometrow pana Jana (live, Jazz Jantar Festival, Sopot 1974, Poland)
[05] Daj mi wstazke blekitna (radio version)
[06] Kamyk (live, Opole 1974, Poland)
[07] Daj mi wstazke blekitna (live, Opole 1974, Poland)
[08] Kattorna (1972, studio?)
[09] Boze uchron nas (live, Niemen, Nadolski, Jazz Jamboree '75, Warsaw, Poland)
[10] Piesn Chochola; Miales chamie zloty rog (from "Wesele" by Andrzej Wajda, 1972)
[11] Nim przyjdzie wiosna (live, Sopot 1979, Poland)
[12] Piosenka o mojej Warszawie (live, Sopot 1979, Poland)
[13] Piosenka o mojej Warszawie (studio, 1979)

Part three: 80ie. Including three tracks from 1984 concert in Berliner Ensamble Theatre (I really wish I had the whole thing) and some soundtracks for movies and theatre plays.

[01] Moja ojczyzna (live, Berliner Ensamble Theatre, 1984-02-16, Germany)
[02] ? (live, Berliner Ensamble Theatre, 1984-02-16, Germany)
[03] Psalm XV (live, Berliner Ensamble Theatre, 1984-02-16, Germany)
[04] Wszystkim ludziom co do pracy spiesza (from TV show for children)
[05] Trzy etiudy Chopina (soundtrack)
[06] Etiuda rewolucyjna (F. Chopin)
[07] Psalm XV (from "Zaglada na ciebie" soundtrack)
[08] Wspomnienie (jubilee of Niebiesko-Czarni, 1987-07-xx)
[09] Dzis prawdziwych cyganow juz nie ma (OPPA, Wroclaw 1988, Poland)
[10] Usnij nam
[11] Maz i zona - Kontredans (theathre music)
[12] Maz i zona - Piosenka (theathre music)
[13] Maz i zona - Kontredans (theathre music)
[14] Maz i zona - Final (theathre music)
[15] Amen (live, unknown location)
[16] List do Koryntian (studio?)

Part four: (mostly) 90ies. Starting with medley of greatest hits sang with orchestra and including early demos from "Terra Deflorata" album and extremely rare duet with Italian singer Farida.

[01] Medley (live, Orkiestra Zbigniewa Gornego, 1980)
[02] Dziwny jest ten swiat (live, Korty Legii, Niemen i Perfect)
[03] Terra Deflorata (demos)
[04] Spod chmury kapelusza (live, Sopot, Poland)
[05] Musica Magica (1990, with Farida)
[06] Terra Deflorata (live, Italy 1990)
[07] Czy mnie jeszcze pamietasz (live)
[08] Dziwny jest ten swiat (live)
[09] Wiem ze nie wrocisz (21 lipca 1995 Sopot, Poland)
[10] Czy mnie jeszcze pamietasz (21 lipca 1995 Sopot, Poland)
[11] Pod papugami (Trojka, 1999-11-06, Warsaw, Poland)


Albert King - 1967 - Born Under a Bad Sign

"Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears). Initially, these sessions were just released as singles, but they were soon compiled as King's Stax debut, Born Under a Bad Sign. Certainly, the concentration of singles gives the album a consistency — these were songs devised to get attention — but, years later, it's astounding how strong this catalog of songs is: "Born Under a Bad Sign," "Crosscut Saw," "Oh Pretty Woman," "The Hunter," "Personal Manager," and "Laundromat Blues" form the very foundation of Albert King's musical identity and legacy. Few blues albums are this on a cut-by-cut level; the songs are exceptional and the performances are rich, from King's dynamic playing to the Southern funk of the MG's. It was immediately influential at the time and, over the years, it has only grown in stature as one of the very greatest electric blues albums of all time." ~ AMG


01. "Born Under A Bad Sign" (Bell/Jones) – 2:47
02. "Crosscut Saw" (Ford) – 2:35
03. "Kansas City" (Leiber/Stoller) – 2:33
04. "Oh, Pretty Woman" (Williams) – 2:48
05. "Down Don't Bother Me" (King) – 2:10
06. "The Hunter" (Cropper/Dunn/Jackson/Jones) – 2:45
07. "I Almost Lost My Mind" (Hunter) – 3:30
08. "Personal Manager" (King/Porter) – 4:31
09. "Laundromat Blues" (Jones) – 3:21
10. "As The Years Go Passing By" (Malone) – 3:48
11. "The Very Thought Of You" (Noble) – 3:46

Albert King live @ the The Purple Carriage in St. Charles, IL 1974


Albert King
The Purple Carriage
St.Charles, IL

original lineage: FM broadcast > ? > CDR > EAC > FLAC

01. Believe
02. Don't burndown the bridge
03. I wanna get funky
04. Crosscut Saw
05. Stormy monday
06. Station ID
07. I'll pay the bles for you
08. Breaking up somebody's home
09. Blues power
10. Born under a bad sign

Albert King I'll Play The Blues For You Live @ Blues Carnival in Japan 1989

Albert King Fillmore East, 9.23.70