Saturday, March 15, 2008

Andrew Bees and Rumour Rumour @ Red Planet Records, Riverside CA Saturday March 15

Andrew Bees and Rumour Rumour w/ Them Novus and Don't Trip
Red Planet Records
6192 Magnolia Avenue
Riverside, CA

Show Starts @ 9:15

Rumour Rumour Myspace Page

The Mars Volta 2008-03-11 Glasgow - Carling Academy


The Mars Volta
Carling Academy

Recording Info:
Church Audio ST-11 Cards -> Church Audio ST9100 -> Edirol R09

Transfer Info:
Audacity (amplify) -> CD Wave (track split) -> TLH (flac level 8) No SBEs

Taped and Transferred by jamroom - JAM006

The set list was tracked by Flipzoso, as I was almost completely lost where they should be done, with all the jamming and Omar's little loop interludes - great stuff and thanks mate! I have split it just about where you said - apologies if it's slightly out. I would also like to point out that I have not faded for cd splits, so if you're going to burn this to cd, then you'll need to do this yourself (Audacity does the job for free) and three hours will mean three cds, or one DVD, of course...


01 [01:44] Intro
02 [16:31] Roulette Dares (The Haunt Of)
03 [09:46] Viscera Eyes
04 [02:38] Wax Simulacra
05 [17:18] Goliath
06 [06:51] Ouroborous
07 [05:51] Pre-Tetragrammaton
08 [16:39] Tetragrammaton
09 [06:03] Pre-Agadez
10 [06:15] Agadez
11 [05:36] Pre-Cygnus
12 [27:34] Cygnus
13 [06:55] Pre-Aberinkula
14 [06:53] Aberikula
15 [26:33] Drunkship of Lanterns
16 [08:01] Ilyena
17 [07:30] Meccamputechture

The band:

Omar Rodriguez-Lopez – guitar
Cedric Bixler-Zavala – vocals
Isaiah Ikey Owens – keyboards
Juan Alderete – electric bass
Thomas Pridgen – drums
Marcel Rodriguez-Lopez – percussion, synthesizers
Adrián Terrazas-González – flute, tenor saxophone, bass clarinet, and additional wind and percussion instruments
Paul Hinojos – guitar, sound manipulation


My first time seeing this amazing band and what a show! Three hours of amazing sonic complexity. I don't where to start. Whether it was Cedric's vocal acrobatics and dance moves, or Omar's awesome use of the guitar and his (arc)arsenal of effects and loops, or Thomas and Juan's amazing backline, or Isaiah's great organ and keyboard work, or Marcel, Adrian, and Paul adding their own embellishments that makes the band's live show the epic journey that it is.

I will admit that for some, a three hour show with lots of jammed-out songs, maybe going too far, but a band like this comes along only once in a while. There were so many great moments at this atmospheric show, that only a listen will reveal. Despite being a big ATDI fan, I haven't really listened to this band over the last few years, but I'll rectify that shortly.

Cedric says at the end that "we would play more, but we have to stop... we could go on for two more days if we wanted...". lol. I don't know if my legs could stand it :)

There were quite a few folks that only seemed to be at the gig to talk, but it doesn't detract from the music too much, I hope. At least you have a source for this show.

Please support the band by buying their albums & merch, and going to see them live.

No art - make your own!

Do not sell this recording - trade freely!


Return to Forever Reunion Tour 2008

Chick Corea

Stanley Clarke

Lenny White

Al Di Meola

Return to Forever Official Site


5/29/08 - Austin, TX - Paramount Theatre
5/30/08 - Austin, TX - Paramount Theatre
5/31/08 - Houston, TX - Verizon Wireless Center

6/01/08 - Dallas, TX - Nokia Theatre at Grand Prairie
6/03/08 - Denver, CO - Paramount Theatre
6/04/08 - Salt Lake City, UT - Kingsbury Hall
6/06/08 - Portland, OR - Schnitzer Concert Hall
6/07/08 - Medford, OR - Britt Music Festival
6/08/08 - Seattle, WA - Paramount Theatre
6/09/08 - Vancouver, BC - Centre for Performing Arts
6/11/08 - San Francisco, CA - The Grand
6/12/08 - San Francisco, CA - The Grand
6/13/08 - Los Angeles, CA - Gibson Amphitheatre
6/14/08 - Phoenix, AZ - Dodge Theatre
6/17/08 - St. Louis, MO - Fox Theatre
6/18/08 - Omaha, NE - Holland Performing Arts Center
6/19/08 - Minneapolis, MN - The Orpheum Theatre
6/20/08 - Chicago, IL - Chicago Theatre
6/21/08 - Detroit, MI - Freedom Hill
6/22/08 - Indianapolis, IN - Murat Theatre
6/24/08 - Cleveland, OH - Plain Dealer Pavilion
6/25/08 - Toronto, ONT - Sony Centre
6/26/08 - Ottawa, ONT - Confederation Park
6/27/08 - Montreal, QUE - Pelletier Hall/Place des Arts
6/28/08 - Saratoga Springs, NY - Freihofer's Jazz Festival

7/02/08 - Vilnius, Lithuania - Utenos Arena
7/04/08 - Warsaw, Poland - Congress Hall
7/05/08 - Budapest, Hungary - Budapest Arena
7/06/08 - Belgrade, Serbia - Belgrade Arena
7/08/08 - Paris, France - Olympia Hall
7/09/08 - Vienne, France - Vienne Jazz Festival
7/10/08 - Madrid, Spain - Via Jazz Festival
7/11/08 - Girona, Spain - Cap Roig Festival
7/12/08 - Lorca, Spain
7/13/08 - Valencia, Spain
7/16/08 - Neuhardenberg, Germany
7/18/08 - Montreux, Switzerland - Montreux Jazz Festival
7/19/08 - Essen, Germany - Grugahalle
7/21/08 - London, England - Indigo2
7/23/08 - Nice, France - Nice Jazz Festival
7/25/08 - San Sebastian, Spain
7/30/08 - Miami, FL - The Fillmore Miami Beach
7/31/08 - Clearwater, FL - Ruth Eckerd Hall

8/01/08 - Orlando, FL - House of Blues
8/02/08 - Atlanta, GA - Cobb Energy Center
8/04/08 - Baltimore, MD - Merriweather Post Pavilion
8/05/08 - Philadelphia, PA - The Mann Center - w/ Bela Fleck and The Flecktones
8/06/08 - Boston, MA - Bank of America Pavilion - w/ Bela Fleck and The Flecktones
8/07/08 - New York, NY - United Palace

Check Out The Line Up W/ Chick, Al, Lenny And Stanley From '74 Here

Friday, March 14, 2008

Jimi Hendrix - 1969-06-22 Newport 16MM


Newport69 DVD

22 june 1969

All the 16mm Jimi Hendrix footage in the best possible quality

From an actual 1st gen VHS tape

22 minutes, EX-

torrented on


PS This DVD is MUCH better quality than the other Newport69 DVD currently on the tracker but this version only includes the 16mm film.
Artwork is included.

Newport Pop 1969 (Collector's Disc / 2005? / DVD-R)
(Newport Jam, Newport '69 Pop Festival, San Fernando State College, Devonshire Downs, CA 22.06.69; Silent 16mm footage w.synch'd sound from Sbd Source: 16mm footage (21:46)
- By far the best available version of the Newport footage.

Here's a youtube clip with the color and 16mm film.

Matrix Tuesday Night Jam Sessions San Francisco, California October 21 1970


Matrix Tuesday Night Jam Sessions
The Matrix
San Francisco, California
October 21st 1970

This comes straight from the John Cipollina's collection, i personally made a copy of his reel
and his notes....I did not touch the sound or edited anything in the trasfer, you get what
i got in first place.

Line up :
John Cipollina, Jerry Garcia, David Freiberg, Papa John Creach, Jack Casady, Jorma Kaukonen, Nicky Hopkins.

1. Jam 1
2. Jam 2
3. Jam 3
4. Jam 4

Notes :

Pretty good recording, awesome stuffs. Almost all the songs are not complete, some fades in,
some fades out, some are cut, but it's just an super jam !

1st generation reel to reel > revox > amplifiers > tascam audio cdrw750 > cd > computer > plex tool professional XL > wav > flac.

Make Believe - 3/9/08 - For Lauri Bird


Tuesday, March 11, 2008

Toubab Krewe Tour Dates


Plan for it ...

We've got a great run this week, with a show tomorrow night (3.12) in Nashville at the Mercy Lounge, a two night run in Atlanta at Smith's Olde Bar (3.13-14), and our Tallahassee, FL debut at the Beta Bar (3.15).

We're happy to have some good friends with us for these shows -- the Josh Phillips Folk Festival, which includes members of Yo Mama's Big Fat Booty Band and Strut, will join us in Nashville, and Blueground Undergrass and Snake Oil Medicine Show will join us in Atlanta.

Also, we've got lots of new Rocky Mountain and West Coast dates confirmed, and we're really looking forward to spending much of April in California!

Mar 12 | Nashville, TN | Mercy Lounge w/special guests Josh Phillips Folk Festival
Mar 13 | Atlanta, GA | Smith's Olde Bar w/ special guests Blueground Undergrass
Mar 14 | Atlanta, GA | Smith's Olde Bar w/ special guests Snake Oil Medicine Show
Mar 15 | Tallahassee, FL | Beta Bar

Mar 19 | Falls Church, VA | State Theatre
Mar 20 | Baltimore, MD | The 8X10
Mar 21 | Harrisburg, PA | Appalachian Brewing Company
Mar 22 | Pittsburgh, PA | Club Cafe
Mar 26 | Ann Arbor, MI | Ark
Mar 27 | Bloomington, IN | Bluebird Nightclub
Mar 28 | Chicago, IL | Kinetic Playground
Mar 29 | Minneapolis, MN | Cabooze
Mar 30 | Lincoln, NE | Knickerbockers

April 1 | Denver, CO | Quixote's True Blue
April 2 | Denver, CO | Quixote's True Blue

April 4 | Telluride, CO | KOTO End of Season Street Dance
April 5 | Park City, UT | Park City Playground
April 6 | Teton Village, WY | Mangy Moose (End of Season Celebration)

April 11 | Seattle, WA | Tractor Tavern
April 12 | Portland, OR | Goodfoot Lounge
April 13 | Ashland, OR | Mobius

April 16 | Santa Cruz, CA | Moe's Alley
April 17 | Petaluma, CA | Mystic Theater
April 18 | San Francisco, CA | 12 Galaxies (Green Apple Music Festival)

April 24 | San Diego, CA | Winston's Beach Club
April 25 | Redondo, CA | Harvelle's
April 26 | Scottsdale, AZ | McDowell Mountain Music Festival

May 10 | New York, NY | Highline Ballroom

Drop us a line if you'd be up for helping us get the word out about any of the upcoming shows!:

The Pourhouse in Charleston, SC - October 24, 2007

Eric Burdon & WAR Feat. Jimi Hendrix - Tobacco Road

Ronnie Scott's Club, 47 Frith Street, London W1, England

September 16, 1970

Jimi Hendrix's last ever live performance

Monday, March 10, 2008

In Memory of Buddy Miles

Buddy Miles - Booger Bear - 1973

Band of Gypsys - Them Changes

Electric Sky Church

Sunday, March 9, 2008

Albert Ayler - 1964 - Spiritual Unity

All Music Guide Review:

"Spiritual Unity was the album that pushed Albert Ayler to the forefront of jazz's avant-garde, and the first jazz album ever released by Bernard Stollman's seminal ESP label. It was really the first available document of Ayler's music that matched him with a group of truly sympathetic musicians, and the results are a magnificently pure distillation of his aesthetic. Bassist Gary Peacock's full-toned, free-flowing ideas and drummer Sunny Murray's shifting, stream-of-consciousness rhythms (which rely heavily on shimmering cymbal work) are crucial in throwing the constraints off of Ayler's playing. Yet as liberated and ferociously primitive as Ayler sounds, the group isn't an unhinged mess — all the members listen to the subtler nuances in one another's playing, pushing and responding where appropriate. Their collective improvisation is remarkably unified — and as for the other half of the album's title, Ayler conjures otherworldly visions of the spiritual realm with a gospel-derived fervor. Titles like "The Wizard," "Spirits," and "Ghosts" (his signature tune, introduced here in two versions) make it clear that Ayler's arsenal of vocal-like effects — screams, squeals, wails, honks, and the widest vibrato ever heard on a jazz record — were sonic expressions of a wildly intense longing for transcendence. With singable melodies based on traditional folk songs and standard scales, Ayler took the simplest musical forms and imbued them with a shockingly visceral power — in a way, not unlike the best rock & roll, which probably accounted for the controversy his approach generated. To paraphrase one of Ayler's most famous quotes, this music was about feelings, not notes, and on Spiritual Unity that philosophy finds its most concise, concentrated expression. A landmark recording that's essential to any basic understanding of free jazz."

Charles Lloyd - Sangam

Max Roach - The Third Eye

Dizzy Gillespie Cuba

Pharoah Sanders - Thembi

Scott Henderson - Mr. PC

Don Cherry in Bombay

Subtle ExitingARMTour Dates...Announced

Friends and fam...
lads and lass's...

theSubtle6 and myself are proud to present....
the ExitingARMTour....

as announced exclusivly by the fine folks at theFork...

needless to say, we are nothing without you all...
so we can't wait to see you in your hometowns respectivly,
or the closest approximate metropolitan area...

So as always&forever,
we will be playing the blood from our bones in a theatre near you...
and brandishing the live layers of all our Fresh New songmeat...

and there is still...
more secret ExitingARM and Subtle news to come,
beyond the ides of stay tuned...

love adam kidd & theSubtle6

05-07 San Francisco, CA - Great American Music Hall *
05-09 Portland, OR - Doug Fir ^!
05-10 Seattle, WA - Nectar Lounge ^!
05-12 Salt Lake City, UT - Urban Lounge
05-13 Denver, CO - Bluebird Theatre
05-15 Minneapolis, MN - 7th Street Entry $
05-16 Madison, WI - Annex $
05-17 Chicago, IL - Empty Bottle &
05-19 Toronto, Ontario - TBA
05-20 Montreal, Quebec - La Sala Rossa
05-21 Cambridge, MA - Middle East Downstairs @
05-22 Philadelphia, PA - Johnny Brenda's @
05-23 New York, NY - Knitting Factory @
05-24 Washington, DC - Rock and Roll Hotel @^
05-26 Atlanta, GA - Drunken Unicorn
05-27 Baton Rouge, LA - Spanish Moon
05-28 Austin, TX - Mohawk
05-30 Los Angeles, CA - Knitting Factory *

* with Clue to Kalo, Facing New York
^ with Efterklang
! with Slaraffenland
$ with Fog
& with Pit Er Pat
@ with Black Moth Super Rainbow

Lennie Tristano

Biography from the All Music Guide

Lennie Tristano
Birth: 1919 03 19 - Chicago, IL
Death: 1978 11 18 - New York, NY

The history of jazz is written as a recounting of the lives of its most famous (and presumably, most influential) artists. Reality is not so simple, however. Certainly the very most important of the music's innovators are those whose names are known by all -- Armstrong, Parker, Young, Coltrane. Unfortunately, the jazz critic's tendency to inflate the major figures' status often comes at the expense of other musicians' reputations -- men and women who have made significant, even essential, contributions of their own, are, for whatever reason, overlooked in the mad rush to canonize a select few. Lennie Tristano is one of those who have not yet received their critical due. In the mid-'40s, the Chicago-born pianist arrived on the scene with a concept that genuinely expanded the prevailing bop aesthetic. Tristano brought to the music of Charlie Parker and Bud Powell a harmonic language that adapted the practices of contemporary classical music; his use of polytonal effects in tunes like "Out on a Limb" was almost Stravinsky-esque, and his extensive use of counterpoint was (whether or not he was conscious of it at the time) in keeping with the trends being set in mid-century art music. Until relatively recently, it had seldom been acknowledged that Tristano had been the first to perform and record a type of music that came to be called "free jazz." In 1949 -- almost a decade before the making of Ornette Coleman's first records -- Tristano's group (which included Lee Konitz, Warne Marsh, and Billy Bauer) cut the first recorded example of freely improvised music in the history of jazz. The two cuts, "Intuition" and "Digression," were created spontaneously, without any pre-ordained reference to time, tonality, or melody. The resultant work was an outgrowth of Tristano's preoccupation with feeling and spontaneity in the creation of music. It influenced, among others, Charles Mingus, whose earliest records sound eerily similar to those of Tristano in terms of style and compositional technique. Mingus came by the influence honestly; he studied with the pianist for a period in the early '50s, as did many other well-known jazz musicians, such as Sal Mosca, Phil Woods, and the aforementioned Konitz and Marsh.
Tristano was stricken permanently blind as an infant. He first studied music with his mother, an avocational pianist and opera singer. From 1928-38, he attended a school for the blind in Chicago, where he learned music theory and developed proficiency on several wind instruments. Later, he attended Chicago's American Conservatory of Music, from which he received a bachelor's degree in 1943. During his early years as a professional performer and teacher, Tristano worked in and around Chicago, achieving his first measure of critical attention and attracting his first important students, Konitz and composer/arranger Bill Russo.

In 1946, Tristano moved to New York, where he made something of a big splash, performing with many of the leading musicians of the day, including Dizzy Gillespie and Charlie Parker. The influential critic Barry Ulanov took an extreme liking to Tristano's music and championed his work in the pages of Metronome magazine; Tristano was named the publication's Musician of the Year for 1947. Tenor saxophonist Warne Marsh began studies with Tristano in 1948, and when Bauer and Konitz came back aboard, he had the core of his great sextet. In 1949 -- with the addition of bassist Arnold Fishkin and alternating drummers Harold Granowsky and Denzil Best -- Tristano, Bauer, Konitz, and Marsh recorded what was to become the basis of the band's collective legacy, the Capitol album Crosscurrents. The Capitol sessions spawned many of Tristano's best-known works, including the title track, and of course, the freely improvised cuts "Digression" and "Intuition" (these latter recorded without a drummer). The recordings synthesized the Tristano approach: long, rhythmically and harmonically elaborate melodies were played over a smooth, almost uninflected swing time maintained by the bassist and drummer. Counterpoint, which had been mostly abandoned by post-New Orleans/Chicago players, made a comeback in Tristano's music. Tristano's written lines were a great deal more involved than the already complex melodies typical of bebop; he subdivided and multiplied the beat in odd groupings, and his harmonies did not always behave in a manner consistent with functional tonality. The complexity of his constructs demanded that his rhythm section provide little more than a solid foundation. Tristano's bassists and drummers were not expected to interact in the manner of a bop rhythm section, but to support the music's melodic and harmonic substance. Such restraint lent Tristano's music an emotionally detached air, which to this day has been used by unsympathetic critics as a sledgehammer to pound him.

In 1951, Tristano founded a school of jazz in New York, the first of its kind. Its faculty consisted of many of his most prominent students, including Konitz, Bauer, Marsh, and pianist Sal Mosca. His public performances became fewer and farther between; for the rest of his life, Tristano was to concentrate on teaching, mostly to the exclusion of everything else. He shut down his school in 1956, and began teaching out of his home on Long Island. Thereafter he would play occasionally at the Half Note in New York City. Recordings became scarce. He made two albums for Atlantic, Lennie Tristano and The New Tristano. A compilation of odds and ends entitled Descent Into the Maelstrom was released on Inner City; its title track documents Tristano's experiments in multi-track recording of the piano. He toured Europe in 1965; his last public performance in the U.S. was in 1968.

Until his death in 1978, Tristano continued to teach. A later generation of his adherents continues to work and thrive in New York to this day. Musicians like pianist Connie Crothers, saxophonists Lennie Popkin and Richard Tabnik, and drummer Carol Tristano -- the pianist's daughter -- carry on his work into the next century. ~ Chris Kelsey, All Music Guide

Lennie Tristano - Tangerine (Copenhagen '65)

Otis Rush and Eric Clatpon "Double Trouble"

Sun Ra - The Mystery Board


Sun Ra
"The Mystery Board"
Unknown Venue (Live concert)
November 2nd & 3rd 1972

Soundboard Recording - Total Time 1:38:41

Thumbs Up! Records (bootleg)"silvers" > xACT > flac level 8

band line up : unknown [possible lineup below]

set list : unknown

disc 1

01. 13:24
02. 30:55

disc 2

01. 37:11
02. 17:11

Supposedly a live recording that was to be released on Saturn.
There are a few tape problems.... But nothing major. Absolutely
essential listening.

art work : in torrent
disc scans : attached in thread below


[possible line up]

Ra - p, space org, Mini-Moog;
Akh Tal Ebah - tp, flhn, reed tp, voc;
Lamont McClamb (Kwame Hadi) - tp, perc;
Marshall Allen - as, fl;
Danny Davis - as, fl, acl;
Larry Northington - as;
John Gilmore - ts, perc, voc;
Pat Patrick - ts, el b;
Danny Ray Thompson - bs, fl;
Eloe Omoe - bcl;
Lex Humphries - d, perc;
Robert Underwood - d;
Harry Richards - perc;
Alzo Wright - perc;
Stanley Morgan (Atakatune) - perc, cga;
June Tyson - vocals
Ruth Wright - vocals
Cheryl Banks - vocals
Judith Holton - vocals ("Space Ethnic Voices")