Saturday, February 9, 2008

Funkadelic - Live: Meadowbrook, Rochester, Michigan 12th September 1971



Not released until 1996, this was an unusual gig for the band, which was breaking in a new rhythm section (this may have been this lineup's first show) without much or any rehearsal. You can't tell from this 77-minute disc, which offers a typically amorphous, free-floating set of black rock -- which is to say, judged by most standards, it's not typical music at all. Seguing from spaced-out jams to occasional numbers with vocals by George Clinton, and throwing in imaginative improvisations by guitarist Eddie Hazel and keyboardist Bernie Worrell, it sounds something like a combination of Jimi Hendrix, James Brown, and Sun Ra. The 14-minute "Maggot Brain" verges on prog rock/psychedelia (in the good sense), with its almost mystical guitar lines; earthier pleasures are offered with cuts like "I Call My Baby Pussycat" (two versions). The fidelity is pretty good, though the vocals lack the presence of the instruments. Funkadelic are still shown to their best advantage on their studio recordings of the era, but this is certainly a fascinating find for fans, augmented by detailed liner notes about the gig by Rob Bowman. --AMG, Richie Unterberger

Tracklisting:
1. Alice In My Fantasies
2. Maggot Brain
3. I Call My Baby Pussycat (Fast Version)
4. I Call My Baby Pussycat
5. Good Ole Music
6. I Got A Thing, You Got A Thing, Everybody Got A Thing
7. All Your Goodies Are Gone (The Loser's Seat)
8. I'll Bet You
9. You & Your Folks, Me & My Folks
10. Free Your Mind & Your Ass Will Follow (Instrumental)

Personnel:
Fuzzy Haskins, George Clinton , Grady Thomas, Ray Davis, Calvin Simon (vocals); Eddie Hazel , Harold Beane (guitar); Bernie Worrell (organ, keyboards); Billy Bass Nelson (bass guitar); Tyrone Lampkin (drums).

Burning Star - Self-Titled (2003)



"Burning Star emerged into the Los Angeles music scene in 1998, capturing the attention of a diverse and conscious listening audience. Often described as eclectic soul, this multi-cultural band arranges music that includes an eclectic mix of Hip-Hop, Reggae, Soul, Gospel, Funk, Latin Jazz and Middle Eastern Music. They find inspiration in the cultural diversity and experience of its band members; who offer their own musical influence to create a harmonious sound reminiscent of the late 60's and early 70's, when music was played and its spirit celebrated.
Bringing together seven of Los Angeles' best musicians, Burning star is compromised of: Koliyah Whitecloud (M.C., Lead Vocals), Yoshua Alvarez (M.C.,Vocals), Quincy McCrary (Vocals, Keyboards), "Alter" (Guitar) Emilio Saenz (Bass Guitar), Cisco Huete (Drums), Gerardo Morales (Latin Percussion). The band features lyrics that speak of the constant common struggle for dignity, family, community and strength from culture....."--Excerpt from band bio

Tracklisting:
1. Intro (Creations)
2. Creations
3. Warriors
4. On My Own w/ Will.I.AM from Black Eyed Peas
5. Travelin'
6. Full Control
7. Victory
8. Elementary
9. Breathe
10.No
11.Velas w/ Taboo from Black Eyed Peas and Andy Vargas from Santan
12.Intro (Lanto del Cielo)
13.Lost Souls
14.In The Distance
Bonus Tracks:
21.Maze of Man
22.Warriors-Will.I.Am (BEP) Dub Remix

Erykah Badu Video Collection

Erykah Badu - On & On



Erykah Badu - Other Side of the Game



Erykah Badu - Didn't Cha Know



OutKast ft Erykah Badu, Cee lo, Big Rube... Liberation!



The Roots - You Got Me feat. Erykah Badu



Common feat. Erykah Badu - The Light



Erykah Badu - Bag Lady



Sergio Mendes feat. Erykah Badu & Will.I.Am "That Heat"



Erykah Badu - "Back in the Day [Live on the Chappelle Show]"



Erykah Badu & Jimmy Cliff - No Woman No Cry (Live at One Love: The Bob Marley All-Star Tribute )



Erykah Badu - Honey



Stevie Wonder Chaka Khan & Erykah Badu - Diana Ross Tribute

Intelligent Hoodlum - Grand Groove (Bonus Mix)

Mumbling of Citadels - Poll of the Day #4

If you would like to be a part of this poll, go here

Wu-Tang Clan - "Enter the Wu-Tang (36 Chambers)"



A Tribe Called Quest - "The Low End Theory"



Nas - "Illmatic"



Eric B. and Rakim - "Paid in Full"



N.W.A. - "Straight Outta Compton"




Notorious B.I.G. - "Ready to Die"



OutKast - "Aquemini"



Dr. Octagon - "Dr. Octagonecologyst"




Public Enemy - "It Takes A Nation of Millions to Hold Us Back"



Madvillain - "Madvillainy"



UGK - "Ridin' Dirty"



Snoop Dogg - "Doggystyle"



Deltron 3030 - "Deltron 3030"



Aesop Rock - "Labor Days"



Tupac - "Me Against the World"

Bob Marley - Pomps and Pride Demos



AS POSTED ON DIME HERE

well, since the Marley ban has been lifted I thought I might join the line of folks who have been uploading Marley material during these past days

what you are about to find here has been (to the best of my knowledge) available to only a few people until it was finally "liberated" over at M&T for Mr. Marley's birthday

I've had my copy for little while longer so for those who finished their download at M & T and would like to join seeding here I'm not sure if this will work - my version does NOT come from there...it is extremely likely that they come from the same source and might have the same track lengths (I haven't compared them yet); however, the check files might not match

anyway, these five songs have been circulating as the "Pomps and Pride Demos"

01 Pomps and Pride
02 Russian Invasion - Take 1
02 Russian Invasion - Take 2
04 Slogans - Take 1
05 Slogans - Take 2

of course a re-recorded version of "Slogans" has been officially released; however these demos here are imho very different so they will hopefully be allowed to remain in the seed

"Pomps and Pride" and "Russian Invasion" have yet to see any official publishing

there is some speculation as to when this stuff was recorded...Stephen Davis writes in his marley biography that Bob was preoccupied with "Slogans" while in London during the summer of the 1980 Uprising Tour...others believe that while he might have worked on the song he did not start recording early versions until later that same year (September, Essex House, NYC)

to sum it up I guess the general consensus at this point is that this material was recorded between 1979 and 1980

John Coltrane 4tet, ALove Supreme Resolution 1st Live Execution,1964 August 18



AS POSTED ON DIME HERE

John Coltrane Quartet,A love Supreme Second Movement First live Execution, August 18, 1964
Pep's Lounge, Philadelphia
Source/Quality: aud (C+) improved to B/B-


John Coltrane (ts);
McCoy Tyner (p);
Jimmy Garrison (b);
Elvin Jones (d)


00 Adjusting the mic 0:06

01 Resolution Theme - Trane solo 6:05
02 Resolution McCoy 8:45
03 Resolution Bass solo I 0:35
04 Resolution Bass solo II 6:29
05 Resolution Trane solo - Theme 10:23


track02 (Resolution complete raw) 32:24



After some 18 hours of work I can offer to you this very rare (to me a premiere) version of RESOLUTION,
the second movement of A Love Supreme, the first live known to exist to my knowledge.

The original Tape (you'll find it as Track02) was very noisy and needed a lot of volume adjustment.

The Bass solo is divided into 2 parts because it seems to come from to different sources.
The first part was almost inaudible and I had to pump up the volume to make it listenable (but almost without
ambiance noises )
The second part was pretty much louder and with a lot of noises as if the taper moved to a better place
to record the bass (it seems to me that there might be some music missing here in between).

Hope you all enjoy

Thanks to Peter losin for the original CD

Ciao

Maurizio

The Entrance Band Live in Big Sur 2007

Supersilent Live @ Shanghai 04/10/2007

Helge Sten - Tape Experiment,Sampling
Ståle Storløkken - Keyboards
Arve Henriksen - Voices,Trumpet,Percussions
Jarle Vespestad - Drums



Sunburned Hand Of The Man

Alash Live @ The Rotunda (01/29/08)

"Alash and the Extra Special Terrestrial Guests (AKA members of the Sun Ra Arkestra) both take to the stage and do some improvising for the grand finale!" ~ joefrederick





Black Panthers (1968)











Pink Panther Theme

Lee Perry & Mad Professor - Mad Man Dubwise

Stark Reality: All You Need to Make Music

"Late-1960s footage from Hoagy Carmichael's Music Shop, a children's public television show which featured the music of vibraphonist Monty Stark's extremely funky band, the Stark Reality" ~ flannagan11

Floating Rubbish Dump in Pacific Ocean



Xavier La Canna

February 03, 2008 11:00pm

It has been described as the world's largest rubbish dump, or the Pacific plastic soup, and it is starting to alarm scientists. It is a vast area of floating plastic debris.

It is a vast area of plastic debris and other flotsam drifting in the northern Pacific Ocean, held there by swirling ocean currents.

Discovered in 1997 by American sailor Charles Moore, what is also called the great Pacific garbage patch is now alarming some with its ever-growing size and possible impact on human health.

The "patch" is in fact two huge, linked areas of circulating rubbish, says Dr Marcus Eriksen, research director of the US-based Algalita Marine Research Foundation, founded by Moore.

Although the boundaries change, it stretches from about 500 nautical miles off the coast of California, across the northern Pacific to near the coast of Japan.

The islands of Hawaii are placed almost in the middle, so piles of plastic regularly wash up on some beaches there.

"The original idea that people had was that it was an island of plastic garbage that you could almost walk on. It is not quite like that. It is almost like a plastic soup," Dr Eriksen says.

"It is endless for an area that is maybe twice the size as continental United States," he says.

The concentration of floating plastic debris just beneath the ocean's surface is the product of underwater currents, which conspire to bring together all the junk that accumulates in the Pacific Ocean.

Moore, an oceanographer who has made the study of the patch his full-time occupation, believes there is about 100 million tonnes of plastic circulating in the northern Pacific - or about 2.5 per cent of all plastic items made since 1950.

About 20 per cent of the junk is thought to come from marine craft, while the rest originates from countries around the Pacific like Mexico and China.

Australia plays its part too, he says.

The waste forms in what are called tropical gyres - areas where the oceans slowly circulate due to extreme high pressure systems and where there is little wind.

The garbage in the patch circulates around the North Pacific Gyre, the world's largest.

A lack of big fish and light winds mean it's an area of the Pacific less travelled by fishing boats and yachts.

Moore says he discovered the floating mass of rubbish by chance, after steering his catamaran into the gyre while returning home from a yacht race.

Historically, flotsam in the gyres has biodegraded. But modern plastics do not break down like other oceanic debris, meaning objects half a century old have been found in the North Pacific Gyre.
Instead the plastic slowly photodegrades, becoming brittle and disintegrating into smaller and smaller pieces which enter the food chain and end up in the stomachs of birds and other animals.
Because the plastic is translucent and lies just beneath the surface, it is apparently undetectable by satellite photos.

"It is not like going to a parking lot after a rugby match. It is not like a landfill," he says.

"The material is breaking down continually. It is photodegrading all the time. It is what I call a kaleidoscope or an alphabet soup. You won't see it from a satellite shot of the ocean. You only see it from the bows of ships," he says.

If the waste is to be controlled people must stop using unnecessary disposable plastics, otherwise it is set to double in size during the next 10 years, Moore warns.

Dr Eriksen said the small plastic particles acted like a sponge to trap many dangerous man-made chemicals that found their way into the ocean, like hydrocarbons and DDT.

"What goes into the ocean goes into these animals and onto your dinner plate, It is that simple," Dr Eriksen said.

Larger pieces of plastic are also a threat to birds, which mistake them for food.

Dr Eriksen said he has found syringes, cigarette lighters and tooth brushes from the patch inside sea bird carcases.

Professor David Karl, an oceanographer from the University of Hawaii, said the garbage patch represented a new habitat, and more studies were needed to find out what impact it was having on the ocean's eco-system.

News Source

Thursday, February 7, 2008

Omar Rodriguez Lopez of The Mars Volta - Calibration



Add this myspace page to your friends list and tell them AstroNation sent you :)

http://www.myspace.com/omarcalibration

Buy Calibriation!

Calibration's All Star Personnel

* Omar Rodriguez-Lopez (Mars Volta, At The Drive In, De Facto) – guitar, synthesizer
* Cedric Bixler-Zavala (Mars Volta, At The Drive In, De Facto) - vocals
* John Frusciante (Red Hot Chili Peppers) - vocals
* Juan Alderete (Mars Volta, Racer X, Big Sir, Vato Negro) – bass
* Money Mark (Beastie Boys) – keyboards, synthesizer
* Thomas Pridgen (Mars Volta) - drums
* Tina Rodriguez - Voice
* Adrian Terrazas Gonzales - Woodwinds and percussion
* Kim Humphreys - Violin
* Marcel Rodriguez Lopez - Drums, synths, and percussion
* Sara Gross - Saxophone

Check out the Omar Rodriguez Group playing "Bolling Death Request A Body To Rest Its Head On" at Fuji Rock Festival '07 in Japan:



(BELOW IS THE JAPANESE DESCRIPTION)
Mars Voltaのオマーまたもソロ! OMAR RODRIGUEZ LOPEZ 「Calibration」 (N2O) 2007.12.15 CD/IND ※日本先行発売 MARS VOLTAの中心人物、AT THE DRIVE INのメンバーとしても知られるオマー・ロドリゲス・ロペス! 6月に発売された『Se Dice Bisonte, No Bufalo』で孤高のエクスペリメンタル精神世界ジャム・セッションを打ち立てた彼が大胆にエレクトロニック・ダブ・シンセを取り込み、新たなステージに突入した傑作がここに登場!

マーズ・ヴォルタの頭脳とも称され、そのギタリスト、プロデューサー、コンポーザーでもあるOmar Rodriguez Lopezの通算4作目となるソロ・アルバムが本作『Calibration』となる。タイトルは「補整や調整処理」を意味する言葉で、コンピューター関連や、画像処理の工程で耳にしたことがある人も多いはずだ。恐らく物議を醸し出すに違いない今作を理解するにはタイトルの意味するところを理解することが助けになるだろう。オマーが今作を語る際に頻繁に登場させる"Electronic"や"Dub"、"Synth"、"Synth-Bass"といったキーワードとアルバムタイトルが暗示するもの、それがソロ4作目にして新たなステージに突入した事を示唆することとなる。回りくどい言い方をしたが、オマーは今作でディレイやフィルターなどのエレクトロニックなエフェクトを多用し"DUB"的手法を大胆に導入して、楽曲の構造やエレメンツに『Calibration(補整・調整処理)』を加えている。念のため加えておくと、楽曲は彼がアムステルダム居住時に全て書き下ろした新曲である。

オマーといえば、ロバート・フリップ(キング・クリムゾン)やジョン・マクラフリン(マハヴィシュヌ・オーケストラ、マイルス・デイヴィス・グループ)と並んで称される技巧派ギタリストとしてそのスタイルを比較され、毒に独創的なインプロヴィゼーションは高い評価を得ているが、今作に於いてもそのインプロヴィゼーションは深度を増している。恐らくオマーはディレイやフィルター、ノイズなどのエフェクト処理をインプロ的(DUB的)に用いており、それがギターインプロと組み合わさることにより、それぞれが複層的、立体的に絡まり合い、音の位相や強弱などがリアルタイムで変化し、音楽的カタルシスが創造され、インプロの完成度と危険度も同時に増幅されるという奇跡的なバランスを成し得ている。

エクスペリメンタルでアヴァンギャルドな側面はソロ前作と同様に多分に感じられるが、今作はエフェクトにより音数が増え、その分一種ポップな趣も感じられる点も今作の魅力と言える。ポップ感はジャケットのアートワークも同様で、オマーの幼少期からの盟友であり、長きに渡り芸術的影響を与え合い、コラボレーションを行ってきた伝説的なグラフィティ・アーティストGREYが担当している。参加ミュージシャンはソロ前作と同様、マーズ・ヴォルタの全メンバーが参加し、レッド・ホット・チリ・ペッパーズのジョン・フルシアンテ、ビースティ・ボーイズのバック・バンドとしてもお馴染みのマニー・マークも参加している

Tuesday, February 5, 2008

J. Bannon - 2008 - Hephaestus



Jacob Bannon
Hephaestus
Unveiled at "Public Domain" at Tradition in Westlake Village

Sunday, February 3, 2008

The Real Godfathers of Punk

http://www.furious.com/PERFECT/jazzpunk.html

"The Real Godfathers of Punk
by Jason Gross (July 1996)

Sun Ra; Albert Ayler; John Coltrane; Ornette Coleman

--------------------------------------------------------------------------------


When jaded music-nuts, chin-strokers and hipster whipper-snappers mull about things like 'where did punk rock come from,' very rarely do you hear anything about jazz. Some poor souls are under the misconception that "jazz" only means Chuck Mangione or George Benson, forgetting such pioneers as Ornette Coleman, John Coltrane, Sun Ra and Albert Ayler, all of whom are the real grand-daddies of punk.
To see the connection, you have to go back to the original performers who influenced punk. Usually you hear about the MC5, the Stooges, the Velvet Underground and Captain Beefheart and his Magic Band. One thing all of these amazing groups had in common (other than not burning up the charts) is the raw grit and noise they splashed across their records, something that had been lacking in rock for a while. One other important common denominator is that they were all jazz fans, using their guitars to imiate their favorite players or actually using horns themselves.

Look at those Detroit greasers, the MC5. Ray Charles and Screamin' Jay Hawkins were part of their sets but so was Pharoah Sanders and Sun Ra- this is most obvious on Kick Out The Jams and semi-legitimate releases of their early material. Unfortunately, their record companies and their producers scrubbed up their music somewhat and this wasn't always obvious from their records- their next album, Back in the USA was based on Chuck Berry much more than any jazz that they loved.

Then there's their Motor City homeboys the Stooges. Iggy was lecturing at a college (!) a few years back, talking about the Stooges. He played a Stooges record then he played a jazz album (I think it might been have Coltrane). His whole point was to show what the band was trying to do, successfully or not. Most of all, you heard this with Steve Mackay's sax wailing on Funhouse, especially on the free-form "L.A. Blues." Maybe they were trying to simulate how their live shows ended or maybe they didn't have enough material (like on their first album) but there was no doubt that this wasn't Chuck Berry material (I ought to stop picking on Berry though since he is a pioneer and a God in his own right).


When I started out I was inspired by people like Ornette Coleman. He has always been a great influence- Lou Reed
Even though John Cale's influence and the work he did with minimalist composers John Cage and LaMonte Young heavily influenced the early work of the Velvet Underground, there was another strong influence at work with the band. Lou Reed said that "European Son" was his way of trying to imitate Ornette Coleman with guitars- I don't think it was successful but it was still a mind-melting blast. Later on, Lou would follow this influence by using the late Don Cherry (a Coleman sideman and a great player himself) as part of his stage band in the late '70s and recording The Bells with him. Reed actually can full circle when he made a guest appearance with Ornette and Prime Time at their live show at Avery Fisher Hall in New York in '97: since Lou is playing the elder musical statesman nowadays, he decided to do 'Satellite of Love' rather than 'European Son' (which would have been more appropriate).

Most of all, there's that lovable crank Captain Beefheart. If the spastic rhythms that his band blurted out weren't clue enough, then his saxophone playing should have left no doubt about his influences. Especially on Trout Mask Replica, his playing is a tribute to Coleman and Ayler, even more so than the Stooges, Velvets or MC5. Delta blues were also important to him and this became to dominate his music more and more in the seventies.

It's interesting to think about the other performers from the late sixties who were jazz buffs. Jimi Hendrix and Jerry Garcia not only played a kind of jazz in their long solos but they would also perform with jazz musicians (Jimi with Larry Young and Garcia with Ornette years later). Most guitarists from that time (Page, Beck, Clapton, Richards, Townshend) were most into blues and R&B. The garage bands would take this to an extreme, making the same music rawer, simpler and louder. Years later, most alternative bands would follow the same path.

At this same time, jazz itself was going through an interesting development. The Filmore in California was hosting the psychedelic bands as well as Miles Davis, Cannonball Adderley and Roland Kirk. This was important because it helped to open jazz up to young, white audience. In the case of Davis, it also may have changed his attitudes about music. The stupid rumor that he was pressured into fusion by his record company doesn't hold up- Miles had the idea himself to use electric instruments. The shock was as big as when Bob Dylan did the same thing with his music but proved just as influential. If Miles helped produce a whole wave of bland fusion performers, in his time, he also made music in the '70s that was as metal as AC/DC or Metallica.

Years later, when punk started up, some of the players were also jazz fans, especially the incestuous New York scene. Patti Smith's second album, Radio Ethiopia, contained a frenzied title-track that rivals "L.A. Blues." (Supposedly, Ornette himself was slated to play on it). Tom Verlaine and Richard Lloyd of Television certainly had Coltrane and Ayler in mind when they took off on their solos. Voidoids guitarist Robert Quine sounded like this was where his head was at also. In all, they had the same thing in mind as Lou Reed when he was trying to get his guitar to imitate the jazz he loved.

By in large though, this kind of jazz influence was not directly seen in most punk rock. Other than Lora Logic (Essential Logic/X-Ray Spex) and James Chance (who had played with Ornette guitarist Bernie Nix), you didn't even see any saxophones. Most punk bands went for noise and maybe songs but not much "improvisation" or musicianship- these seemed too foreign or uncool to the whole experience. Look at the Sex Pistols, Dead Boys, Dictators, Blondie, Ramones, Clash, Talking Heads, Heartbreakers, Adverts and the Cleveland and West Coast groups just to see this. They listened to a dirtier version of the blues and R&B that most of the sixties guitarists were into: the garage bands. And of course, there was also the MC5, Stooges, Velvets, Beefheart...

Today, many of the grunge and alternative bands follow the same path. The list of jazz-influenced bands ranges from the few obvious to many not-so-obvious. Sonic Youth had done a show with Sun Ra shortly before he died and the Minutemen did a show with Ornette bassist Charlie Haden. Other signs of hope abound: Naked City (with John Zorn), Borbetomagus, Blurt, Spanish Kitchen and Bazooka. Most likely, and hopefully, there's many more. This may mean that there isn't a real, solid movement out there for this yet but that may only because most alternative bands who broke through the charts haven't taken this particular route yet. That's how we measure things, isn't it?

So what is the real, direct link between the free jazz of '50s and '60s and punk rock? One big difference is that in free jazz there were very talented, accomplished musicians playing complex music. With punk, you had a bunch of amateurs who played simple music. They did and still do have a lot in common though. Both were (and are) hated by many so-called critics, writers and the old guard of their respective types of music. They also each re-wrote the the whole goddamn book on their own music, challenged many preconceptions and opened many eyes- you may hate them but it's hard to ignore each of them. Maybe most importantly, they each spawned a sub-culture of musicians, bands, clubs, scenes, record labels and all kinds of collectives to help nuture their own music. This was important because it took YEARS for either style to be accepted and assimliated into the mainstream. Still, the two types of music are, mostly, as exclusive of each other as they were in the heydey of punk or free jazz (hey, how about FREE PUNK then?).

This isn't to say that the whole idea of rock-fusion music isn't dead or gone. Who knows if any of those new bands won't constitute a movement themselves. Or maybe they'll become influences for another wild style of music just like the punk grand-daddies did. One thing is for sure: it'll be quite a laugh to see how the record companies would try to market all of this. If Ornette ever makes it onto The Simpsons or even back on Saturday Night Live (which actually happened years ago but is unthinkable today unfortunately), you'll know it's happened. And there will be much rejoicing."

Life is Full of Difficult Decisions

Last Poets with Pharoah Sanders

Watts Prophets - Rappin' Black

Anla Courtis en Santiago de Chile

ALUK TODOLO 'Descension'



Release Info: The first full-length shows the band developing the esoteric theorems established on it's debut 7" and going far deeper in the methodical exploration of the occult powers of musical trance. With the goal to create a timeless, organic mixing of krautrock's strangeness and black metal's coldness, Aluk Todolo conjures rabid obsessive rhythms and abyssal disharmonic guitars, subliminal spiritualist vibrations and bizarre, magick summonings. By reducing psychedelic improvisation to a bare, telluric instrumentation, and basking in the archaic rawness of lo-fi production, the trio elaborates on an audio ritual meant to be monolithic and stabbing, hypnotic but unpredictable, minimalist yet teeming.

http://www.riotseason.com/REPOSELP015.htm

Francisco Mora - Sun Ra Research 1998





Herbie Hancock Demonstrates the Fairlight on Sesame Street

Weaver of Dreams Rollins Sonny 1959

John Lennon and Frank Zappa play the Filmore East in 1971

Frank Zappa Thicke of the Night interview 4/28/84

Frank Zappa on Arsenio Hall in February 1989