Saturday, January 19, 2008

DigitalJ: The Mars Volta Live @ Terminal 5 January 14, 2008

Viscera Eyes

Wax Simulacra




Cygnus I

Cygnus II

Cygnus III

Metatron I

Metatron II

Aberinkula I

Aberinkula II

Horace Tapscott/Pan Afrikan Peoples Arkestra - Los Angeles, CA - September 9, 1979 (FM)


As with my previous Tapscott torrent, I finally got around to remastering this show and putting together a setlist. Needed a fair amount of work and, with the help of Cool Edit Pro and a few other programs, I removed a number of microgaps, retracked as necessary and added a few fades.

The show itself is an FM recording featuring the master in a leading the Pan Afrikan Peoples Arkestra, Tapscott's LA ensemble. This is it's first appearance on DIME.

A gold star for anyone who can identify track 1.

Lastly, I likely will post art for this in the comments section in a few days.

More Tapscott to come.


Horace Tapscott/Pan Afrikan Peoples Arkestra
Century City Playhouse
Los Angeles, CA, USA
September 9, 1979


Horace Tapscott (p)
Sabir Mateen (ts)
others unknown

1. Unknown 14:27
2. Niossessprahs (Mateen) 18:13
3. FM announcement 0:14
4. Raisha's New-Hip Dance (solo piano)(Tapscott) 8:32
TT 41:30

"Horace Tapscott's Pan Afrikan Peoples Arkestra

The Call (1978)

Horace Tapscott Jazz Collection
Horace Elva Tapscott (b. Houston, 6 April 1934; d. Los Angeles, 27 Feb 1999) began piano studies at the age of six with his mother, the pianist Mary Lou Malone, and took up trombone two years later. His family moved to Los Angeles in 1943 and he studied trombone in school, playing with Frank Morgan in a high-school band; other young associates from this period included Don Cherry and Billy Higgins. Tapscott worked with Gerald Wilson's orchestra before graduating from Jefferson High School in 1952. After studying briefly at Los Angeles City College he enlisted in the air force, and served in a band in Wyoming (1953-7). He then returned to Los Angeles and worked with various local bands before touring as a trombonist with Lionel Hampton (1959 to early 1961), for whom he also wrote a number of arrangements and at times sat in on piano. By the early 1960s he was playing piano exclusively, in part because of persistent dental problems resulting from an automobile accident during his high-school years.

By the end of 1961 Tapscott had formed the Pan Afrikan Peoples Arkestra, which at various times included Arthur Blythe, Stanley Crouch, Azar Lawrence, Marcus McLaurine, Roberto Miranda, the brothers Butch and Wilber Morris, David Murray, the saxophonist Michael Session, Sonship Theus, and Jimmy Woods. The purpose of the Arkestra was to preserve, develop, and perform African-American music within the community. Its rapid growth and branching off into related social and artistic activities led to the formation in 1963 of a larger organization, the Underground Musicians Association (UGMA), of which the Pan Afrikan Peoples Arkestra was a component. By the late 1960s the organization's continued evolution led to broader community involvement, symbolized by a change of name to the Union of God's Musicians and Artists Ascension (UGMAA). Although activities had tapered off by the mid-1980s, both the Arkestra and UGMAA continued to play a role in their community in the 1990s.

Between the late 1950s and early 1970s Tapscott recorded with Lou Blackburn (1963) and Onzy Matthews (1963, accompanying Lou Rawls), arranged and conducted the music for two albums for the singer (and, later, Black Panther Party leader) Elaine Brown, and composed and conducted the material for Sonny Criss's album Sonny's Dream (Birth of the New Cool) (1968, Prst. 7576); his first album as a leader was made one year later. From 1978 through the mid-1980s he recorded for Interplay and Nimbus, two labels formed by enthusiasts for Tapscott's music. He recorded with the Arkestra, as an unaccompanied soloist, in a duo with the drummer Everett Brown, with his trio (notably a session in performance at the Lobero Theater in Santa Barbara, California), and as the leader of a sextet. In the 1990s he became increasingly busy with writing and international touring. His commissioned composition Two Shades of Soul was the centerpiece of the 17th annual Asian-American Jazz Festival in San Francisco in 1998. With S. Isoardi, he wrote his autobiography, Songs of the Unsung: the Musical and Social Journey of Horace Tapscott. His date of death appeared in some obituaries as 28 February 1999; he actually died on the 27th, at ten minutes before midnight.

The Tapscott Archive includes both sound recordings and musical manuscripts documenting the life and work of Horace Tapscott, and the music of the Pan Afrikan Peoples Arkestra (P.A.P.A.) and the Union of God's Musicians and Artists Ascension (UGMAA). The recordings include radio interviews, airchecks, concert tours, rehearsals, club dats, studio recording sessions, and performances at educational and other locations with PAPA, UGMAA and Tapscott's various small jazz groups. The music collection includes original compositions and arrangements by Tapscott, and arrangements for other composers." ~ luganskymichelangeli

Doseone Tale of The Private Mind

by Chris Ruffatto

Populous feat. Doseone - My Winter Vacation

"Director: Rosso aka Michele Ciro Franzese

Innovative hip hop/rap/electronic videoclip directed from rosso aka michele ciro franzese of and played from populous feat. doseone of cloudded in the album "queue for love" p.s. writing tag of vincenzonnembo aka mysigns 3D of toming aka antonio funaro" ~ theredislove

Les Savy Fav - McCarren Park Pool Show July 9th 2006

McCarren Park Pool Show July 9th 2006

Miles Davis - The Bottom Line - June 10, 1975 and June 11, 1975


Let me add the companion to the Bottom Line Show recently uploaded by jkeisers. I don't think this has been up here before. Forgive me if I'm wrong.

Sound: B, probably audience recording
Lineage: CD from trade->EAC->flac level 8

Info from Peter Losin's site:

June 10, 1975 (12 items; TT = 96:24)
Bottom Line Club, New York NY
Audience recording
Miles Davis Septet

Miles Davis (tpt, org); Sam Morrison (ss, ts, fl); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

First concert, first set
1-1 Funk [Prelude, part 1] 12:11
1-2 Latin (incomplete) 5:22
1-3 Untitled Original 750505 4:49
1-4 Announcement 0:10

First concert, second set
2-1 Band warming up 0:53
2-2 For Dave 14:10
2-3 Ife 7:42
2-4 Right Off 9:13

Second concert, first set
2-5 Maiysha 12:39
2-6 Latin 5:55
2-7 Untitled Original 741106a 11:51
2-8 Untitled Original 750505 7:14

Note: In the ancient "1975 Tree" there was a CD labeled "Bottom Line 1975-6-10". However, this was _not_ the present show. It was another version of the 1975-6-11 show seeded by jkeisers. If you have the CD from the 1975 tree you don't have this music


June 11, 1975
The Bottom Line, New York City
audience recording or radio broadcast

Miles Davis (tp, org)
Sam Morrison (ts, ss, fl)
Pete Cosey (g, pc, synth)
Reggie Lucas (g)
Michael Henderson (b)
Al Foster (d)
James "Mtume" Foreman (pc)

First set:

1. Turnaroundphrase [Moja] (14:05)
--> Willie Nelson
--> Tune in 5
--> Turnaroundphrase [Nne}
2. For Dave [Will, Unknown L] (16:26)
3. Untitled original 750505 [Untitled #19, Untitled original F] (04:31)
--> applause

Second set:

1. Funk [Prelude part 1, Tatu, Untitled original C] (13:40)
2. Ife (17:25)
3. Maiysha (08:40)
4. Right Off (15:55)
--> applause

Source/lineage: unknown. Received in trades.
Sound is decent for an audience recording from this period.
According to Enrico Merlin this comes from a radio broadcast.

I had two nearly complete versions of this, and a version with large parts of the first and second set. This seed is a compilation of the best of what I have. There are some problems with the first tune of the second set. It has a few cuts and gaps, and I have made no attempts to correct this. I have another version without the cuts and gaps, but because of the lesser sound quality I did not include that one. This seed has the complete show. It is one of my personal favorites--one of the highlights of the period between 1972 and 1975.

A Silver Mt. Zion Tour Dates

"Constellation has revealed the new ASMZ North American tour dates : first there will be a gig in their hometown Montreal on the 20th of March, and a month later their real tour starts at the First Unitarian Univresalist on the 16th of May. I posted the full list of tour dates here under.

As for some more tour dates coming up, someone send me an e-mail in which he claimed that the band told him they'd do a tour in Australia, but this hasn't been officially confirmed yet. Also I expect them to come over to Europe too, but no official confirmations there either." ~

20 MAR 2008 - Montreal, QC - La Tulipe
16 MAY 2008 - Burlington, VT - First Unitarian Univresalist
17 MAY 2008 - Cambridge, MA - Middle East
18 MAY 2008 - Northampton, MA - Pearl Street Nightclub
19 MAY 2008 - Brooklyn, NY - Music Hall Of Williamsburg
20 MAY 2008 - New York, NY - Bowery Ballroom
22 MAY 2008 - Philadelphia, PA - First Unitarian Church
23 MAY 2008 - Washington, DC - Black Cat
24 MAY 2008 - Asheville, NC - Grey Eagle Tavern
25 MAY 2008 - Atlanta, GA - Drunken Unicorn
26 MAY 2008 - Nashville, TN - Mercy Lounge
27 MAY 2008 - St Louis, MO - Bluebird
28 MAY 2008 - Des Moines, IA - Vaudeville Mews
29 MAY 2008 - Minneapolis, MN - Varsity Theater
30 MAY 2008 - Milwaukee, WI - Turner Hall
31 MAY 2008 - Chicago, IL - Logan Square Auditorium
02 JUN 2008 - Detroit, MI - Magic Stick
03 JUN 2008 - Columbus, OH - Skully’s Music Diner
04 JUN 2008 - Cleveland, OH - Grog Shop
05 JUN 2008 - Milvale, PA - Mr Small’s Theatre
07 JUN 2008 - Toronto, ON - Lee's Palace
08 JUN 2008 - Toronto, ON - Lee's Palace

A Silver Mt. Zion ATP April 07


Hawkwind Live 1971 and 1972


Hawkwind - Kinetic Playground, Birmingham. 6 December 1971

Band Name : Hawkwind
Venue : Kinetic Playground, Birmingham, England.

Date : 6 December 1971

Source: CDR


Low gen tape transferred to CDR >Soundstudio >Shorten >SHN >WAV >FLAC

Taped by: Some guy with a tape recorder in the audience


01 Technicians Of Spaceship Earth
02 You Shouldn't Do That
03 The Awakening
04 You Know You're Only Dreaming
05 Spirit Of The Age
06 Master Of The Universe
07 Paranoia
08 Earth Calling
09 Silver Machine
10 Welcome
11 Born To Go
12 Jam


An early audience recording of Hawkwind in full flight. It's a surprisingly good one as well and very much nature of the band at that time. The regular drummer at the time, Terry Ollis got mislaid for this show and so Twink from the Pink Faries is on drums throughout. Some may be surprised to see Spirit Of The Age in the set so early on as it's usually associated with later Hawks.


Hawkwind - Gruga Halle, Essen. 8 September 1972

Low Gen Tape>cdr>shn>wav>flac

Set List

Technicians Of Spaceship Earth
Born to Go
Seven by Seven
Electronic no 1
The Black Corridor
Master Of the Universe

Dave Brock - guiar, vocals
Simon King - drums
Nik Turner - sax, flute, vocals
Lemmy - bass, vocals
Del Detmar - synths

Artwork included

A piece of vintage Hawkwind from the early "classic" lineup. This is a very clear, powerful audience recording with lots of depth.
No idea of the generation of this but it sounds very low. One of the better recordings of early Hawkwind.

Thanks to the person who originally shared this on STG many moons ago

Pink Floyd Live at the Philipshalle, Duesseldorf, West Germany 1971-06-04


Pink Floyd Live at the Philipshalle, Duesseldorf, West Germany 1971-06-04 from new reel-to-reel AUD source with artwork- Another Doinker/TheTooleman/GTheCock conspiracy of true Pink Floyd weirdness! (mp3 sample provided)

This is the longest, most complete known version of this show to date, and is NOT another SHN archive drudged up from an out-of-print CD! It features a prehistoric version of "Echoes" and is a unique and an amazingly good performance overall.

"Mrs. Doinker" and I visited Prague in November. On the way back, we stopped to stay with our German friends Mr. & Mrs. (Herr und Frau) Peter D. This is the person responsible for the source vinyl for the "Pictures Of Pink Floyd" restoration project, and it's him I have to thank for this most unexpected surprise. While thumbing through his amazing record collection, I ran across a BASF reel tape labeled PINK FLOYD DUESSELDORF. "What's this?" I asked. "Oh, that" he said with an unexpected air. "I had totally forgotten about that... Do you still have a reel
machine?" "Yes", I said. "Take it", he said.

When home again, I compared the setlist against the two known Pink Floyd dates, and found it to be the rarer of the two. Something was wrong with the sound, so Dime member The TooleMan has carefully restored the sound quality. As an added bonus to you all, Dime member G The Cock (one of the best for artwork!) has made you a new cover to keep the goods!

Setlist (Runtime 1hr 51min 49sec)


Atom Heart Mother
Careful With That Axe, Eugene
Fat Old Sun
Embryo (cut)


The Return Of The Son Of Nothing (Echoes)
Set The Controls For The Heart Of The Sun
A Saucerful Of Secrets (cut)

Lineage: Mono reel tape at 3.75 ips > Restoration >FLAC


A DoinkerTape

Chick Corea Freedom Band 2007-12-04 Yoshi's Jazz Club - Late Show - San Francisco, CA


Chick Corea Freedom Band
Yoshis Jazz Club (Late Show)
San Francisco, CA

01-Captain Marvel (16:29)
02-Windows (10:40)
03-Sweet And Lovely [Arnhem and Lemare](07:31)
04-Ba-lue Bolivar Ba-lues-are [Monk](06:08)
05-Prelude Une Berceuse [Henri Dutilleux](03:37)
06-With a Song in My Heart [Rodgers/Hart] (12:40)
07-Sometime Ago - La Fiesta (22:38)
08-Crowd Applause (00:59)
09-Airto's story "Antonio"/ Desafinado [Antonio Carlos Jobim] (14:50)


Chick Corea - Keyboards, Grand Piano, Percussion
Airto Moreira - Drums, Percussion, Vocals
Hubert Laws - Flute, Piccolo, Percussion
Eddie Gomez - Bass

STC-11(omni capsules)>CA-9100>H4@24Bit/48kHz>Protools_PowRdither16Bit44.1kHz>TLH>FLAC(Level 6)

Recorded and edited by Keyd

This band really exceeded my expectations. There wasn't as large of a crowd as I have seen with his other line-ups but this is one of my favorite Chick performances I have ever seen. I highly recommend this and go and see this band or any of these amazing musicians if you have a chance.

Please support the artists, live music, and live jazz.

Please do not sell. Please do not redistribute in mp3 or other lossy formats.

"Yeah Eddie"

Thursday, January 17, 2008

Bartok: Solo Violin Sonata ("Melodia")

"The 3rd movement from Bartok's Solo Violin Sonata. Played by Ivry Gitlis." ~ kiwizzarrd

Augustus Pablo - 'King Tubby Meets The Rockers Uptown' - Dub


Roland Kirk - 1959 Lover Man and Down Beat 1975

"In a little restaurant in Amersfoort, Holland, Roland Kirk was recorded with the Swiss trio of pianist George Gruntz in 1959 by the KRO broadcasting company
Roland Kirk ( 1936-1977)

Preferring to lead his own groups, Roland Kirk rarely performed as a sideman, though he did record with arranger Quincy Jones, Roy Haynes and had especially notable stints with Charles Mingus. His playing was generally rooted in soul jazz or hard bop, but Kirk's knowledge of jazz history allowed him to draw on many elements of the music's history, from ragtime to swing and free jazz. Kirk also regularly explored classical and pop music. Kirk played and collected a number of musical instruments, mainly various saxophones, clarinets and flutes. His main instruments were a tenor saxophone and two obscure saxophones: the manzello (similar to a soprano sax) and the stritch (a straight alto sax lacking the instrument's characteristic upturned bell). Kirk modified these instruments himself to accommodate his simultaneous playing technique. He typically appeared on stage with all three horns hanging around his neck, as well as a variety of other instruments, including flutes and whistles, and often kept a gong within reach. Kirk also played harmonica, english horn, recorders and was a competent trumpeter. He often had unique approaches, using a saxophone mouthpiece on a trumpet or playing nose flute. He additionally used many extramusical sounds in his art, such as alarm clocks, whistles, sirens Kirk was also an influential flautist, employing several techniques that he developed himself. One technique was to sing or hum into the flute at the same time as playing. Another was to play the standard transverse flute at the same time as a nose flute. Some observers thought that Kirk's bizarre onstage appearance and simultaneous multi-instrumentalism were just gimmicks, especially when coming from a blind man, but these opinions usually vanished when Kirk actually started playing. He used the multiple horns to play true chords, essentially functioning as a one-man saxophone section. Kirk insisted that he was only trying to emulate the sounds he heard in his mind. Kirk was also a major exponent and practitioner of circular breathing. Using this technique, Kirk was not only able to sustain a single note for virtually any length of time; he could also play sixteenth-note runs of almost unlimited length, and at high speeds." ~ ilbofilms

Down Beat 1975 poll-winners' show: 'Pedal Up'

"From the 'Down Beat' 1975 poll-winners' show, a performance of Rahsaan Roland Kirk's 'Pedal Up'.

Rahsaan Roland Kirk - horns
McCoy Tyner - piano
Stanley Clarke - bass
Lenny White - drums

The performance is introduced by Quincy Jones." ~ Davelovesjazz

also from youtube user Davelovesjazz

Down Beat 1975 poll-winners' show: 'Work Song'

"From the 1975 'Down Beat' poll-winners' show, here's a performance of 'Work Song, dedicated to the great Cannonball Adderley, who passed away that year.

On stage:
Sonny Rollins - tenor saxophone
Rahsaan Roland Kirk - tenor saxophone
Freddie Hubbard - trumpet
Bill Watrous - trombone
Hubert Laws - flute
McCoy Tyner - piano
George Benson - guitar
Stanley Clarke - bass
Lenny White - drums
Airto Moreira - percussion

Jimmy Hendrix Shotgun Live 1965 Night Train

Biota - 1995 - Object Holder

Review of Object Holder - from CMJ New Music Monthly (June 1995)
by Douglas Wolk

Out in Colorado, the musical collective Biota (this time, seven people plus four guests) and its visual-arts comrades Mnemonists (three members of Biota and eight others) have been making beautiful, startlingly original records for 15 years, untouched by genre, fashion, influence or much of an audience -- there's really no word that approximates what they do, even one as broad as "rock" or "jazz." They play guitars, piano and drums; more often, though, they play accordion, flugelhorn, hurdy-gurdy, nae, clavioline and whatever other reed, percussion and keyboard instruments are at hand. Most of the time, their records sound as if they'd heard about music and liked the idea of it but never actually heard anyone else's, then come upon a cache of instruments and learned to use them to make something that sounded good to them. Biota's music is dense, rich and consistently lovely, with "processing and tapework" adding rumbling, musique concrete-like layers to the sound or streamlining it, as necessary. Object Holder, essentially a 24-part suite with sections that segue into one another, adds an element that's new to the group: vocals, from guest Suzanne Lewis (a New York resident, from Biota's labelmate Hail), singing texts by members of the group. With the incorporation of "songs," it's their most accessible record to date, at least on its surface. But it takes patience to appreciate it fully; it may take years to probe its depths.

Wednesday, January 16, 2008

Make a Rising - Rip through the Black Hawk Night

1. Look at My Hawk (6:22)
2. Song for Dead Nickie (5:09)
3. When Moving West (6:38)
4. Plastic Giant (3:58)
5. Pun Womb (2:02)
6. I'm Scared of Being Alone (5:23)
7. Lovely It May Seem (4:41)
8. Lonesome in the Skiff (4:49)
9. Expired Planet (3:26)
10. Partial Thoughts (2:34)

Tunneling its way out of the West Philadelphia netherworld, Make A Rising is a band that is beyond unique. The quintet's debut record is a swirling mix of violin, keyboard, guitars, drums, saxophone, trumpet, bells, whistles, and assorted noisemakers - all swelling together for subversively addictive pop gems. With orchestral crescendos combined with off-kilter vocals and fast-changing tempos, Make A Rising is the sound of chaos, bliss, bravado, nerves and naïveté, avant chamber rock at its most dynamic - like Daniel Johnston singing Beach Boys songs interpreted by Naked City.

Concealed by layers of exposed innocence and dark humor, Make A Rising is a serious compositional enterprise that owes as much to Henry Cowell as Henry Cow. The band's unique sound is derived from fusing progressive rock with elements of modern composition and free-jazz abandon. Make A Rising's unique arrangements and reckless tempo shifting make the band much more exciting than other bands who attempt a similar amalgamation. Rip Through the Hawk Black Night is a testament to the band's emphasis on creativity. It's not invention for the sake of invention, but rather a challenge to themselves to project ideas rather than reflect them.

John Cage Meets Sun Ra - 1986

Sun Ra improvising on the Yamaha DX7 synthesizer. Empty Words IV performed by John Cage, voice.

Recorded live in concert: June 8, 1986 at Coney Island, N.Y.
LP released in 1987

These are unedited segments of the historic concert that was part of the "Sideshows by the Seashore" held on June 8, 1986 in Coney Island, NY. Improvisations and songs by Sun Ra and Cage's indeterminate performance vocals based on strict composition methods are contrasted and find a common meeting ground as, toward the end of the session, they play together.

Pharoah Sanders - 1969 - Karma

From Allmusic:

Pharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There are only two tracks on Karma, the 32-plus minute "The Creator Has a Master Plan" and the five-and-a-half-minute "Colours." The band is one of Sanders' finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion. "Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colours," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it.

Track List

1.The Creator Has A Master Plan-32:47

Carlos Santana and Buddy Miles - 1972 - Carlos Santana and Buddy Miles! Live!

From Allmusic:

From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ("Evil Ways") and Buddy Miles hits ("Changes"), plus a 25-minute, side-long jam. It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies.

Track Listing

3.Evil Ways–6:36
4.Faith Interlude-2:13
5.Them Changes-5:50
6.Free Form Funkafide Filth-24:54

Tuesday, January 15, 2008

John McLaughlin Session Group 1968


1968-11-09 / McLAUGHLIN

JOHN McLAUGHLIN SESSION GROUP (McLaughlin-Hoeffer-Kowald-Stevens)
November 9, 1968 - Berlin/W, Quartier von Quasimodo (Total Music Meeting Berlin '68)
John McLaughlin g; Donata Höffer p; Peter Kowald b; John Stevens d.

1. QUARTET 1 - 13:11
2. QUARTET 2 - 16:00
3. QUARTET 3 - 7:13

Length: 3t/37'
Source: audience recording (UHER Report)
Lineage: Master Tape > Tape mono copy > HD > wav > flac

Fela Anikulapo Kuti & Egypt 80 Live @ Captain Video Club, Montmartre Paris


by is a lossless, known gen version of this incredible show.
Lots of Fela ranting and reasoning...and the music is TOP FLIGHT!
Includes one of the only other known versions of GCB, Felas "new rhythem"...
If anyone else has any masters, or other sets, PLEASE UPLOAD...
I have 4 or 5 shows...will get to them as time permits!

and in the words of my old friend Solomon..."G'BAS!!"


Captain Video Club, Montmartre
xx xx 1981
AUD. CASS. MASTER - Cass. 1 - DAT - CDR - Flac - world

after comparing Felas comments, i have found this is not the same show as appears on bootleg video.
It must be another night at the same venue.
any additinal info would be appreciated!

1 band welcomes Fela to stage (beg. cut)
2 Felas Intro
3 Cross Examaination of the African Colonial Soldier
4 Fela speaks
5 Original Sufferhead
((tape flip))
6 Original Sufferhead Pt 2

disc 2
1 Felas Intro
2 Gov't Chicken Boys (end fades- inc.)

Preserve and Share!

Monday, January 14, 2008

Lee "Scratch" Perry - 1978 - Return of the Super Ape

"Return of the Super Ape is a reggae album produced by Lee "Scratch" Perry, credited to The Upsetters. The album was originally released in Jamaica in 1978 and was the last album by The Upsetters to be released before Perry closed down his Black Ark studio.

The album has been re-released on several different labels. In 1998, it was re-issued by Jet Star with five bonus tracks under a slightly different title, The Original Super Ape." ~ Wikipedia


Side one

"Dyon Anaswa"
"Return of the Super Ape"
"Tell Me Something Good"
"Bird In Hand"
"Crab Yars"

Side two

"Jah Jah Ah Natty Dread"
"Psycha & Trim"
"The Lion"
"Huzza A Hana"
"High Ranking Sammy"

John Zorn 2007-08-10 Chapiteau de Marciac, France


John Zorn : Bar Kokhba & Acoustic Massada
Chapiteau de Marciac, Jazz à Marciac
August, the 10th 2007

Audio & Video part :
Digital Satellite Receiver (TV) -> Thomson DTH8000 Standalone DVD -> DVD Decrypter -> HD -> TMPGEnc DVD Author (menus & chapters)

Video : 720 x 576
Video Bitrate : 5000 Kbps Vbr
Format : PAL & 4/3
Audio : 1536 PCM Kbps
Duration : 50'26"

Bar Kokhba & Acoustic Massada

John Zorn : saxophone
Dave Douglas : Trumpet
Greg Cohen : Acoustic Bass
Joey Baron : Drums
Marc Ribot : Guitar
Mark Feldman : Violin
Erik Friedlander : Violoncello
Cyro Baptista : Percussion


Kashiwa Daisuke - 2007.08.24 - Program Music I

Score: 8.5/10

Being completely un-familiar with the work of Kashiwa Daisuke, I had no idea what to expect when I recieved this assignment for review. Which, in all certainty, made this a lot more interesting and difficult of a review to write. While Daisuke has released a few 12”s and one previous full length album prior to Program Music I, his presence hasn’t been quite so well known until now.

On the opening track "Stella," a 35 minute epic, Kashiwa Daisuke opens by dabbling a few piano keys accompanied by well placed electronic blips and glitches found rather (too) often in the works of World's End Girlfriend. After a few minutes, he introduces an acoustic guitar which beautifully eases into the orchestral strings, layered with subtle and very delicate glitches, and then he's off into his own fantastically beautiful world which we, as the audience, can only watch him peform in wonder. This track is truly one of the most ambitious I've heard in years, in fact, not since B. Fleischmann's - "Take Your Time" (Welcome Tourist) has an epic been written so effectively.

The second track, while not quite as effective as the first, is still a great feat from this up and coming musician. This again shows why Kashiwa Daisuke is going to be one of the top musicians performing and composing modern classical pieces right now. To be able to follow up something so mind blowing with another respectable track afterwards,not only shows Daisuke's consistency, but also just how creative this man is.

Overall, to say this album is worth picking up would be a giant understatement. Hell, buy it for your grandmother and parents as well. If they're not captivated by it, then you have my sincere permission to disown them. Assuming they're human, you shouldn't have to.

-Jonathan Craig

Review taken from

Sun Ra - Jazz Jamboree Warsaw Poland, 22nd October 1987, Late Show


Thanks to jogemimu for providing all the relevant information!

Sun Ra Arkestra
Jazz Jamboree Warsaw/Poland, 22nd October 1987, late show; DVD (PAL)

personnel (this is the personnel of the Leverkusen appearance in September 1987):

Sun Ra, p, keyb, voc, lead
Fred Adams, tp
Tyrone Hill, tb
Marshall Allen, as, fl
Pat Patrick, as
Danny Ray Thompson, as, bs
John Gilmore, ts, cl, voc
James Jacson, fl, bsn, Ancient Egyptian Infinity Drum
Leroy Taylor (Eloe Omoe), as, bcl, contra, alto cl
Danny Davis, as, fl
Kenny Williams, ts, bs
Robert A. Williams, space instruments
Oscar Fleming Brown, b
Earl C. (Buster) Smith, d
June Tyson, voc, dance
Judith A. Holton, dance
Cheryl Banks, dance
Greg Pratt, dance
Darrell Brown, dance


01 Untitled Improvisation
02 Discipline 27, II
03 Unidentified blues
04 Yeah Man
05 I Dream Too Much
06 Carefree (Egyptian Fantasy)
07 Untitled Improvisation
08 In A Sentimental Mood

TT: 1:02:01

Source: Digital Satellite , > raw data to HDD, , > ProjectX , > TMPGEnc DVD Author , > Video_ts;
audio is 2 channel MP2@384

No conversion of any kind, this is the actual very hq broadcast signal!

Miles Davis Quintet - 1969-11-07 Berlin Germany DVD


Miles Davis
November 7, 1969
Berlin, Germany

Video: TV > 1st Gen VHS > ? Author > DVD
NTSC 4:3
8900 kb/s
720x480 29.97fps

Audio: SBD
384 kb/s (2 channel)
48 kHz

Bitches Brew
It's About That Time
I Fall In Love Too Easily
The Theme

Miles Davis - Trumpet
Wayne Shorter - Sax
Chick Corea - Keys
Dave Holland - Bass
Jack DeJohnette - Drums

Lazy Sunday Instrumentals Vol. II

1. Daedelus - Dnt Fk Sgr
2. Take - Dusk Day
3. Otis Jackson Jr. Trio - Free Son
4. Black Monk - Monk's Music
5. Medeski Martin and Wood - Bloody Oil
6. RJD2 - Find You Out
7. Nobody - The Free Design - The Girl's Alone (with Ikey Owens)
8. Nobody - Tilijem's Forest
9. Blockhead - Put Down Your Dream Journal and Dance
10. Kid Koala - Skanky Panky
11. DJ Shadow - Dark Days (main theme)
12. Coleman - Home
13. Dabrye - Smoking the Edge
14. Dan the Automator & DJ Shadow - Punjabis, Pimps, & Players
15. Hudson Mohawke - Unreleased 9
16. Beastie Boys - Dramastically Different
17. Flying Lotus - Beautifulaccidents
18. Daedelus and Frosty - The Age of Aquariums
19. Georgia Anne Muldrow - Skaw De Beaft
20. Heliocentrics - Sirus A
21. Nobody - Images of April Instrumental
22. Sixtoo - Jackals and Vipers in Envy of Man, Pt. 6
23. Nujabes - Kumomi
24. Jaylib - The Red
25. Free the Robots feat. Gaslamp Killer - Wake Up or Die

Sunday, January 13, 2008

Organized Konfusion - 1991 - Organized Konfusion

"The inspired debut album from the duo of Prince Poetry and Pharoahe Monch was arguably the underground rap album of the 1990s, at a time when "underground," aside from Ultramagnetic MC's, didn't really yet exist in the coherent manner that it would later in the decade. It most definitely represented an alternative and ran perpendicular to much of what passed for mainstream hip-hop in 1991, with the possible exception of the Native Tongue family, with which Organized Konfusion shared a maverick, sometimes playful, sensibility if not an identifiable sound. The MCs trade rhymes and intertwining, singsong choruses like a pair of old school pros, but their lyrical flows and topical themes were decidedly progressive for the era, and even still manage to sound almost futuristic. Poetry is no slouch as a rapper and, in fact, probably would have been the headliner in almost any other group, but Monch is obviously the breakout star here. His vocal presence is looming and imposing, to an almost apocalyptic degree at times ("Prisoners of War," the title song), as he throws out a relentless jet stream of complex verbiage and knotty images. But each is constantly surprising throughout Organized Konfusion, the reason it felt like such a cobweb clearer upon its release, and still feels so today. The duo also handled most of the production chores itself, creating a dense, visceral tapestry of strangely organic sounds, from the syrupy smooth and viscous tones of "Fudge Pudge" and "Audience Pleasers" to "Releasing Hypnotical Gases," all gurgling, alien internal processes, to the first whimsical single, Who Stole My Last Piece of Chicken?, presented here in its strikingly disparate original and remix versions. Organized Konfusion may be, alongside Main Source's Breaking Atoms, the quintessential cult hip-hop album from a decade full of forward-looking efforts." ~ AMG


01. Fudge Funk
02. Fudge Pudge
03. Walk Into The Sun
04. Releashing Hypnotical Gases
05. Audience Pleasers
06. Jiminez Criqueta
07. Prisoners Of War
08. The Rough Side Of Town
09. Organized Konfusion
10. P.S. 48
11. Roosevelt Franklin
12. Who Stole My Last Piece Of Chicken? (Remix)
13. Open Your Eyes
14. Intro
15. Who Stole My Last Piece Of Chicken?

Acid Mothers Temple US & Canadian Tour 2008 + Roadburn Festival

From The Acid Mothers Temple Official Website:

US & Canadian Tour 2008

Thu 03/13/08 Echo Los Angeles CA Danava
Fri 03/14/08 Che Cafe San Diego CA Danava
Sat 03/15/08 Plush Tucson AZ Danava
Mon 03/17/08 Emos Jr. Austin TX Danava
Tue 03/18/08 HaileyÃÔ Denton TX Danava
Wed 03/19/08 One Eyed Jacks New Orleans LA Danava
Thu 03/20/08 The Earl Atlanta GA Danava
Fri 03/21/08 Local 506 Chapel Hill NC Danava
Sat 03/22/08 Ottobar Baltimore MD Danava
Sun 03/23/08 Rock N Roll Hotel Washington DC Danava
Mon 03/24/08 Johnny Brendas Philadelphia PA Danava
Tue 03/25/08 Mercury Lounge New York NY Danava
Wed 03/26/08 Middle East Upstairs Cambridge MA Danava
Thu 03/27/08 La Sala Rossa Montreal PQ Danava
Fri 03/28/08 Legendary Horseshoe Tavern Toronto ON Danava
Sat 03/29/08 Magic Stick Detroit MI Danava
Sun 03/30/08 Grog Shop Cleveland Heights OH Danava
Mon 03/31/08 Empty Bottle Chicago IL Danava
Tue 04/01/08 7th Street Entry Minneapolis MN Danava, Born Ruffians
Fri 04/04/08 Pats Pub Vancouver BC Danava
Sat 04/05/08 Sunset Tavern Seattle WA Danava
Mon 04/07/08 Holocene Portland OR Danava
Tue 04/08/08 Bottom of the Hill San Francisco CA Danava

Acid Mothers Temple & The Melting Paraiso U.F.O. :
Tsuyama Atsushi : monster bass, voice, cosmic joker
Higashi Hiroshi : synth, guitar, voice, dancin'king
Shimura Koji : drums, latino cool
Kawabata Makoto : guitar, voice, speed guru

more information will be uploaded soon...

They will also be appearing at the fallowing festival:

Roadburn Festival

Saturday, April 19th, 2008

Cult of Luna
Acid Mothers Guru
Cephalic Carnage

Electric Wizard
The Heads
Electric Orange
Dixie Witch
Tia Carrera

Year of No light
My Sleeping Karma

Friday, April 18th, 2008

Blood of The Sun

Tony McPhee's Groundhogs
Scott Kelly
Baby Woodrose
Mos Generator

Church of Misery
La Ira de Dios
The Assemble Head in Sunburst Sound
Gentleman's Pistols
Zone Six

Tera Melos Tour

* Image Created by Seizure Lion Design Firm

* This Image is Seizure Inducing :)

Jan 13 2008 8:00P Slims San Francisco, California
Jan 14 2008 7:00P Club Underground Reno, Nevada
Jan 15 2008 8:00P The Boardwalk Sacramento, California
Jan 17 2008 8:00P El Corazon Seattle, Washington
Jan 18 2008 8:00P Hawthorne Theatre Portland, Oregon
Jan 19 2008 8:00P The Venue Boise, Idaho
Jan 21 2008 8:00P Avalon Theater Salt Lake City, Utah
Jan 22 2008 8:00P Jillians Las Vegas, Nevada
Jan 23 2008 8:00P Marquee Tempe, Arizona
Jan 24 2008 8:00P Soma San Diego, California
Feb 1 2008 8:00P Rollertowne - Headlining Visalia, California
Feb 2 2008 8:00P 924 Gilman Street - Headlining Berkley, California
Mar 14 2008 8:00P SXSW Austin, Texas
Mar 15 2008 8:00P SXSW - Sargent House Official Show Austin, Texas
Mar 16 2008 2:00P SXSW - Red 7 Austin, Texas

Otis Redding Whiskey A Go Go West Hollywood Ca 1966-04-10


Otis Redding
Whisky A Go-Go
West Hollywood CA

Stereo Sbd RR > Cass (#?) > Dat > CD > shntool > Flac

Disc 1 Early Show
01. Intro
02. I'm Depending on You
03. I Can't Turn You Loose
04. (I Can't Get No) Satisfaction
05. Chained and Bound
06. Just One More Day
07. Any Ole Way
08. I've Been Loving You Too Long
09. (I Can't Get No) Satisfaction

Disc 2 Late Show
01. Intro
02. Your One and Only Man
03. Security
04. Good to Me
05. Respect
06. Ole Man Trouble
07. I Can't Turn You Loose
08. A Hard Day's Night
09. These Arms of Mine
10. Papa's Got a Brand New Bag (false start)
11. Papa's Got a Brand New Bag
12. (I Can't Get No) Satisfaction
13. Outro

Banco del Mutuo Soccorso, Cascina Monluè 17 july 1980


Banco del Mutuo Soccorso
Cascina Monluè 17th july 1980

recording got from an old friend.
Original Scotch XS II, Chrome tape. transferred to CD with Terratec Phase audio 26.
Then Flac Files with DBpoweramp

Great Soundboard recording.

Francesco Di Giacomo
Vittorio Nocenzi
Gianni Nocenzi
Pierluigi Calderoni
Rodolfo Maltese
Bass player ?? Colaiacono ?

Set list:
Canto di Primavera
Garofano Rosso
Si dice che i delfini parlino
E mi viene da pensare
Quando la buona gente dice
Di terra
Il ragno
Non mi rompete
Piano improvvisation
750.000 anni fa...l'amore
Traccia II

Enjoy it!


The Mars Volta - 2008.01.09 - Higher Ground, Berlington, VT


The Mars Volta
January 9th, 2008
Higher Ground Ballroom
South Burlington, Vermont

Source: Mics: DSM-6S/M
> PA-6LC3 (Battery Box w/ Bass Roll Off @ 108 Hz)
> Recorder(Portable Digital Hardrive):iRiver Model:iHP-120(wav @ 44.1 KHz 16 bit)
Transfer: >USB2>Computer Hardrive> Adobe Audition (EQ and Normalization)>CD WAVE> FLAC (level 8)

Edit notes: Bass reduction with parametric eq

Recorded By: Nathan Chow (
Seeded by: Zaid Khan (

01. Intro/Fistful of Dollars
02. Roulette Dares (The Haunt of)
03. Viscera Eyes
04. Wax Simulacra
05. Goliath
06. Conjugal Burns
07. Tetragrammaton
08. Agadez
09. Cygnus....Vismund Cygnus
10. Metatron
11. Drunkship of Lanterns
12. Ilyena
13. Meccamputechture
14. Aberinkula
15. Day of The Baphomets

Record Notes: This is my first recording ever. I think it turned out alright. Thanks to Zaid Khan for the equipment, and much respect to the following tapers for giving the Volta community great boots over the years. I`t's because of you guys that I wanted to add to the library;
Galen, Al Tavorich, Martin, Jeff Shaw, Mike B, Adam Lancaster, T Simpson, Rob Cunningham, Rob Kismet, Adam, Iceman, Brian V, and any others I may have forgotten
Recorded from stereo mics behind the ear 5.5 ft. from the ground spaced 7 inches apart.
The show was recorded about 45 ft back in at center stage in the audience.
The iRiver was set to +35.0 dB volume gain.
This is a dancing recording. I was dancing like a maniac. What this means to the recording;
There is a rotating stereo effect, due to my 'head-banging'. I don't think it takes away from the recording... I rather enjoy it, but it's a personal feel.
There are one or two volume dropouts (very noticiable for a second or two in Cygnus) do to me 'getting down' behind people, and the sound being partially blocked.
There are skips in some of the tracks. Most noticiable in Metatron, Drunkship (especially during the jam) and Baphomets. I think this is because I'm dancing so hard that the iRivers cache is being expended.
There are two mic drops (one during Cygnus and another during Metatron).
Another issue, there are some static noises in Drunkship, Ilyena, and Aberinkula.
I tired to minimize my clapping and cheering to get a good recording, but you can hear me say 'Yes.' before Ilyena, as well as sing some fo the lyrics. I also expect that you can hear my exhuasted breathing sometime after Metatron, though I haven't had a chance to listen to the boot with high quality cans yet.

Show Notes: This is the first official show of the Bedlam tour. It was the 6th TMV show I've seen, and possibly the best. I was certainly the sorest after dancing to this show. There was no opener, they were set to start at 9pm, but didn`t go on until about 9:40pm. I thought the crowd was great, but I was at center back. I heard some complaints afterwards of slam dancing, near the middle of the ballroom. The rumours are very true, Pridgen is a beast incarnate.

Enjoy this. And be nice to tapers, please.


L.$.R.C.'s First Event of the New Year: Art Show on Melrose Feb 2nd in LA

we are having an art show on melrose feb 2nd in LA

words from drol:
Greetings friends and fans.....

I would like to proudly announce L.$.R.C.'s first event of the New Year.....


Armored Children. will be our first collective art endeavor under the L.$.R.C. massive moniker...featuring many if not all of our artists, it will showcase a broad spectrum view of our diverse range of styles and influences...the title "Armored Children" is ment to depict the mindset of inner city children sheltered by the ability to imagine....our tough skin, complimented by our security in obscurity, has allowed us to obscure our own conditioned view of the world into something more familiar....this show will also have a "round the clock" onslaught of superstar MyHollowDrum Dj's, so stick around and catch your favorite member behind the wheels of steel...

for any and all addtional info, contact the L.$.R.C. page.

I hope to see all of you out there and id like to thank D.A. with EPEC for the threads, my comrade in arts p.Lo for the flyer design and most of all Rels and the Midnight Architects for helping us make this happen.

just trust, we'll keep crushin.

L.$.R.C. x MHD

Don't Sleep

Fela Kuti and Africa 70 1978-11-14 Berlin Jazz Days


Fela Anikulapo Kuti and Africa 70
Berlin Jazz Days

Source:unknown, probable FM or TV broadcast
trade cdr>EAC>.wav>WavEditor>flac

This is the last Fela performance with the Africa 70. After this show, Fela announced intentions to use revenue from the shows to further political goals. The band promptly quit.

1. CCP
2. Panza Panza
3. Cross Examination of African Colonial Soldier

329 mb, 1 disc

Changes to this Recording:
patch and crossfade tracks 3 & 4 on original disc into one track
several pops removed and dropouts repaired
Entire show- improved channel parity and stereo image by adding 30% of left channel signal into the right channel using WavEditor Stereo Processor tool.

I received this show in trade from __ . The only other time I have seen this show it was listed as "aud?". This version came with no source info. After much listening, I believe this to be an aud-heavy FM or TV broadcast matrix from a cassette source. There are several clues to support this theory. When I received this recording, track 3 was split across track 3 and 4. The total Time for tracks 1-3 was 46 minutes, half of a 90 minute tape. Also, there is a fade between tracks 1 and 2 that doesn't go all the way down to silence. What remains during the fadeout looks like an FM carrier wave. I have also recently learned that this show was broadcast on German television. It's possible this may play some part in the lineage.
Then there is the sound. This is where it gets a bit subjective. It's easy to listen to the first 5 minutes of CCP and decide this is an audience. Now go to track 2, Panza Panza, listen to the spoken intro and opening drums and tell me this is a pure audience. All I know for sure is that I have never heard an aud from the mid-'70s portray drums so well. Any insights or info on this recording, PLEASE email or PM me. shacklyn75