Ok ..the thing is ..I can be so effin lame. I guess everybody who really (really) loves music has a bit of madness/ (slash) depression going on.....between bits of creativity and so called normality.
Anyway, I feel like a bit of a shit.
Here's this guy...Khabu, who actually reached back out to me and mailed me a couple CD's MONTHS AGO...(ok, It took him a minute to get it together...but he did a hell of alot better than me.) but, as I said..I been in the grips of the blues.
FOLKS. one of the things I really really like Is when somebody reads my blog a discovers somebody they were absolutely clueless about.
I was clueless about Khabu till a bud told me 'bout him.
This is a killer player, wrapped up in a nice personality (apparently).
AND...to top it off...he's picking up the UKE!!
(I stay in Hawaii, Brah.)
Anyway...here's so updated info...
Nice pic here..and a good place TO BUY MUSIC.
these guys write better than me...
Why, its the guy!
I git this..if you are feeling adventurous...go for it. If you just want to put your fingers in the waters....check out the reviews below.
Although vocalists ranging from Betty Carter to Ann Dyer to Kitty Brazelton have made exciting contributions to avant-garde jazz, the vast majority of avant-garde jazz recordings have been totally instrumental. So when a vocal-oriented CD that is relevant to avant-garde jazz comes along, one tends to take notice. Avant-garde jazz isn't the only ingredient on OK OK's vocal-oriented Eating Mantis; most of the material combines avant-garde jazz with avant-garde rock, and some fans of art rock and alternative rock are likely to take notice of this experimental recording. But avant-garde jazz is certainly a major part of the equation for OK OK, who have a major asset in lead singer Kyoko Kitamura. Singing primarily in English but occasionally detouring into Japanese, Kitamura is an expressive vocalist who knows how to be quirky and eccentric but is also quite musical. In fact, that is true of everyone in OK OK -- not only Kitamura, but also, clarinetist Michael McGinnis, guitarist Khabu Doug Young and drummer Tony Moreno. For all its eccentricity and oddball experimentation, Eating Mantis is a highly musical album. An inside/outside perspective defines this 2006 session, which chooses melody and harmony over atonal chaos and is a long way from the type of harshness and claustrophobic density that some free jazz is known for. Anyone who expects this 45-minute CD to be a blistering vocal equivalent of Charles Gayle or post-1965 John Coltrane will be disappointed, but those who are looking for something along the lines of Dyer or Brazelton will find a lot to appreciate on Eating Mantis -- which is a promising and engaging effort from this New York City-based foursome.
Here's what the guys up to now............
Using ukuleles, guitars, cavaquinho, harmonica, and voice, Khabu creates music in a spirit of collaboration and interaction, exploring the continuum between improvisation and composition, sculpting sounds into musical journeys of the unknown. Born Doug Young in Lubbock, TX, he grew up in Houston and became known as Khabu while attending the High School For The Performing And Visual Arts (HSPVA). After two semesters at William Paterson College (Wayne, NJ), in hopes of being close to the NYC jazz scene, he found his way instead to Boulder, CO. While there, The Naropa Institute provided fertile ground for integrating his diverse interests in Tai Chi, Buddhist meditation, improvised music, health & healing, and anthropology. He soon became an adjunct faculty member and formed The Russian Dragon Band with Art Lande. Later, he moved to New York City to work with artists from all disciplines: theater, dance, spoken word, film, as well as musicians of many styles (often with unique instrumentation). Khabu has toured the US, Canada, Europe, and India with musicians such as Art Lande and Paul McCandless. Along with his cohorts Bob Bowen, Brian Drye, Mike McGinnis, and Jacob Sacks, he is a founding member of The Creative Music Workshop.
This special EP of solo ukulele music is available for free exclusively from Yeah Yeah Records for a limited time only. To download, click "Add to Cart" below. You'll be asked to sign up and checkout as you would with a regular purchase, but at checkout you'll be charged $0.00.
Yes...you must do this.
I tell ya...Mark Nodwell is murderous.
The book of bhu ...will knock you on your ass.
Khabu Doug Young
Right after xmas 2009 a old friend got a hold of me (merry xmas) and we got talkin music as always, We talked about old favorites like Allan Holdsworth, David torn, Soft Machine and he asked me, what do you think of Doug Young? my answer was...Huh? Never heard of him. Well I checked him out..hell of a pedigree, plays with Art Lande..nice reviews. So I went to All Music Guide to check out what sessions he was on, looking good! then I went Amazon and found a bunch of cd's he plays on. I found some real nice deals and I bought about 4-5 for less than 30 bucks. IT WAS MONEY WELL SPENT!
This is a major new talent people...go to AMAZON...and find the cd's I have noted in this post, they are all five star cd's!
The Book of Bhu
Khabu Doug Young and the Russian Dragon Band (2003)
By Farrell Lowe
Guitarist Khabu Doug Young's first outing as a leader is whimsical, musical, and deceptively deep. It seems he's been saving up his vast musical awareness to simply cut loose with this double album tour-de-force. The music is well-executed, well-conceived, and covers a dizzyingly broad tableau of styles and influences. On the second disc, Young explores guitar sonorities reminiscent of the most subtle of Jimi Hendrix's work on Electric Ladyland, or a delicate Sonny Sharrock approach, along with McLaughlinesque chops. From an overall compositional point of view, fans of Carla Bley, Frank Zappa, or John Zorn could find niches in this silly/serious brew of styles. Young is definitely someone to be aware of in the world of modern music, and if his freshman effort is any indication of what lies ahead for him, we're all in for treats ahead.
Visit Synergy Music on the web at www.synergymusic.com .
6.Piece in the Middle East;
7.A Perfect Chance;
10.If You Can't Chew It, You Can't Drink It;
11.Old McBhugaloo (had some ducks);
13.Xibalba's Ball Court;
19.Carnivale duh Stupido;
Dwight Kilian-acoustic and electric basses, tuba;
Shane Endsley-trumpet, drums;
Mark Miller- tenor, alto,and soprano saxophones, alto flute, flute; Bruce Williamson-alto and soprano saxophones, bass clarinet, clarinet, flute, temper-tampered piano;
Khabu Doug Young-guitar, compositions, and arrangements
The following CD SLOG..is NUTS! man it is sooo freeking good! SLOG was just a real pleasant surprise for me. Its some crazy Garage-jazz stuff. Its gets out at time and others tight in the pocket funkyness. I don't think of myself as a Trombone aficionado, but Brian Dry pulls all kinds of sound out! And of course Khabu Doug Young tears it up.
Just a suggestion...get it. jayD
Slog - Drew Field 45
(NCM East Records 40125)
This concept drawn out by these instruments with this execution is not on the books yet. This said with no mention of the grace and passion that fills Drew Field 45, from compositions of blazing energy to ear-twisting brain prod.
Brian Drye- Trombone
Khabu Doug Young- Guitars, Baritone/alto double neck guitar
Bob Bowen- acoustic and electric Basses
Greg Joseph- drums
Special Guest: Bruse Williamson - Bass Clarinet & Alto Saxophone on Tracks 7 & 9
The russian Dragon band...When Kentucky was Indiana is a real solid opening effort from this band, I had heard mention of "The Russian Dragon Band" but somehow, I had mixed them up with the Japanese guitarist Ryo Kawasaki (why does the brain do this...hmmm.)
I mean, check this out:
Russian Dragon Biographies
Grammy-nominated Art Lande is considered one of the premiere improvisational jazz pianists today. He began piano at age 4, studied at Williams College & moved to San Francisco in 1969. He has mostly carved out his own singular path throughout his career, taking the innovations of Bill Evans several steps further. In 1973 he recorded with Jan Garbarek and Ted Curson and in the mid-1970's had started his own jazz school. In 1976 he formed the quartet Rubisa Patrol which recorded for ECM and performed until 1983. After teaching for three years in Switzerland, Lande, in 1987 moved to Boulder, Colorado.
Art appears in many of the "Who's Who in Jazz" encyclopedias available today for his role in the development of "Chamber Jazz." He is also a noted teacher having divised innovative courses for improvisation and ear training and has lead improvisation workshops in many parts of the U.S., Canada and Europe.
I create music in a wide variety of settings and purposes. The underlying feature to any ‘Khabu’ performance is improvisation, although I have an equal affinity for composition – which I see as opposite ends of the same spectrum.
I use ukuleles and guitars (both acoustic and electric) to create a rich and colorful tapestry of sounds, moods, and atmospheres, in order to tell musical stories of journeys into the unknown. Usually the context is a concert type setting, where the art of the moment can hopefully penetrate the surface layers and offer an engaging adventure or possibly a lucid meditation on the web of existence. At other times, I’m simply plucking along with the family sing-a-long or spontaneously creating the soundtrack along with a gathering.
I’ve worked with artists from all disciplines: theater, dance, poetry (spoken word/storytelling), film, visual forms (painting, etc), as well as musicians of many styles (often with unique instrumentation). My favorite mode of play is collaborative and interactive. Teaching is no different in this regard. I play and create art with my students, regardless of level or style. And my favorite way to teach is team-teaching with my cohorts. Communal work and individual work both are necessary and vital for art to be a transformational process. This is where I find the most love and joy in art.
Dwight grew up in Kansas, the “heartland” of America. He started his musical journey by playing guitar, which led to tuba and finally to electric and acoustic bass. He graduated from Russell High School in 1981and received a Bachelor of Music degree from Wichita State University in 1986. From 1982 to 1988, Dwight was a “Kansas Jazz Artist in Residence” and a member of the “Kansas Touring Arts”. He also taught jazz bass at WSU, Bethel College, and Hutchinson Community College. In 1988 he moved to Denver CO. and free-lanced with local and national artists.
Dwight has performed with many top jazz artists such as Sheila Jordan, Art Lande, Herbie Mann, Teddy Edwards, Mark Murphy, Ernie Watts, Richie Cole, Mose Allison, Myra Melford, Jerry Hahn, Milcho Leviev, Claudio Slon, Paul McCandless, Nick Brignola, Lee Konitz, Ken Peplowski, Bob Florence, Lennie Niehaus, and Marvin Stamm. He has performed at many of the major jazz festivals in the Midwest and also at the Holland Blues Festival.
Dwight relocated to Phoenix Arizona, in November of 1998, as bassist with the Discovery Jazz Trio at The Boulders Resort in Carefree AZ for six years. He currently freelances throughout the valley doing Jazz Concerts with some of the area’s top musicians. Dwight’s festival performances while living in Arizona include: 1999 Wichita Jazz Festival, Carefree Music Festival from 2003 to 2007, and the Prescott Jazz Summit from 2003 to 2006. While in the valley he’s taught Jazz Bass at Glendale Community College, Mesa Community College, and Arizona State University from 1999 to 2006. He is currently teaching applied bass lessons and leading Music Serving the Word seminars at Southwestern College. In 2005 Dwight became Executive Director of Music Serving the Word Ministries and the bassist for The Inner Journeys Trio led by pianist Bob Ravenscroft. He also co- leads a concert series in Glendale at New Hope Covenant Church called Jazz For The Soul the 2nd Sunday of each month.
Mark Milller plays flute, saxophone and shakuhachi, the traditional bamboo flute of Japan. He has toured and recorded with Art Lande, Paul McCandless, Peter Kater, R. Carlos Nakai, David Friesen, Tuck and Patti and Nawang Khechog as well as poets Anne Waldman and Allen Ginsberg. With jazz pianist Art Lande he has recorded three albums of improvised duets, The Story of Ba-Ku, Prayers, Germs and Obsessions and World Without Cars, as well as two award-winning children's albums featuring Meg Ryan and Holly Hunter. With pianist Peter Kater, he has recorded seven albums including Migration, Honorable Sky and Rooftops, as well as sound tracks for television and Off-Broadway.
Mark is a member of the core faculty of Naropa University, a Buddhist inspired liberal arts college in Boulder, Colorado where he pursues an interest in meditation practice and contemplative education.
Bruce Williamson (sax, woodwinds, piano) has performed with a wide variety of jazz instrumentalists; Art Lande, Fred Hersch, Mark Isham, Gary Peacock, Benny Green, Tom Harrell, Dave Douglas, Jim Pepper, Paul McCandless, Toshiko Akiyoshi and Jack McDuff. He has also appeared with the American Ballet Theatre Orchestra, the NYC Metropolitan Opera Orchestra, Manhattan New Music Project, Partita Chamber Ensemble and Spit Orchestra (Bang On a Can Festival). He has worked with director Julie Taymor and composer Elliot Goldenthal on theater projects “Juan Darien” and “The Green Bird” and the films “Titus”, “Frida” and “Across The Universe”. He was recently a featured soloist (along with clarinetist Richard Stoltzman) with the Slovakian Radio Orchestra.
Bruce has received two NEA grants for Jazz Composition. He can be heard on dozens of recordings, including his debut CD as a leader, “Big City Magic” (featuring Randy Brecker) on Timeless Records. Bruce is also on the Music Faculty at Bennington College, Vermont.
A Denver native, Shane is a CU alum (if two years of hanging out at the rec center counts as alum) and graduate of the Eastman School where he studied trumpet, drums/percussion and composition.
He has toured and recorded extensively with Ani DiFranco and Steve Coleman and has been doing work around NY with Josh Roseman, Dave Binney, Ravi Coltrane, Donny McCaslin, John Hollenbeck, Erin McKeown, Anna Egge and others. His most consistently working project is with Kneebody. The NY/LA based electro-acoustic quintet that has been garnering international attention during the last few years.
He is currently playing drums and trumpet in a trio with Ralph Alessi and Tim Berne and leading his own group, "Feature", and doing regular work wih Steve Coleman vocalist, Jen Shyu.
Peter Sommer, saxophonist and composer, is in demand as a performer, clinician and recording artist throughout the state of Colorado and across the nation. Since establishing himself among the Denver area’s elite jazz musicians, Peter has contributed his muscular tenor playing and creative spirit to a wide variety of musical projects ranging from mainstream bebop to avant garde and beyond. This Spring, Peter is releasing his second album as a leader, Crossroads on Capri Records, which features a two-tenor frontline with New York saxophonist Rich Perry. Peter is also featured on Terra Firma (Synergy Music) by the Ken Walker Sextet, Unfailing Kindness (Capri Records) by Chie Imaizumi, and the debut release from Ninth and Lincoln (Dazzle Records), as well as his first release as a leader, Sioux County (Tapestry Records) which features his duo with jazz piano legend Art Lande.
The Peter Sommer/Art Lande Duo has recently given concerts and clinics at Middle Tennessee State University, Portland State University, Western Oregon University, Southern Oregon University, Baylor University, the University of Colorado, and at the Jazz School in Berkeley, California. This Spring they will also perform and present clinics at the Cincinnati Conservatory of Music.
Peter has performed with the Colorado Symphony Orchestra and the Colorado Music Festival Orchestra, and has appeared at many jazz festivals throughout the state including the Telluride Jazz Celebration, Jazz in the Sangres and the Vail Jazz Festival. Peter was featured as a guest soloist with the University of Wyoming Jazz Ensemble I as part of the North American Saxophone Alliance Region 1 Conference held in Laramie, WY. Peter has also performed at IAJE International Conferences in Anaheim and Toronto, Canada (Jan. 2008), and performed at the World Saxophone Congress in Valencia, Spain. Peter has performed in concert with Greg Gisbert, Ron Miles, Brad Goode, Bobby Shew, John McNeil, Clay Jenkins, Bobby Watson, Dave Pietro, Don Aliquo, Gary Smulyan, Paul McKee, Dale Bruning, Jim McNeely, Joanne Brackeen, Chip Stephens, John Riley, Roseanna Vitro and Ernie Andrews. He has also played for Tony Bennett and John Pizzarelli with the Colorado Symphony.
Peter Sommer is Assistant Professor of Jazz Studies and Saxophone at Colorado State University in Ft. Collins. At CSU, Mr. Sommer directs Jazz Ensemble I and the CSU Jazz Combo program, in addition to teaching courses in Jazz Improvisation and Jazz Pedagogy.
Mark Nodwell: Nemesis
(Songlines 1539) Art Lande
Mark Nodwell, composer
Ron Miles, trumpet
Khabu Doug Young, guitar
Art Lande, piano
Drew Gress, bass
Tom Rainey, drums
Flight of the Pterodactyl
Canadian saxophonist/composer Mark Nodwell surfaces as a formidable modern jazz composer on Nemesis, where he puts down his sax in favor of having others carry out his musical plan. Nodwell handpicked these musicians for this set consisting of nine original compositions. Notables such as Colorado-based trumpeter Ron Miles, pianist Art Lande, and others execute the artist's material in superb fashion. With this production, the listener will embark upon a multifaceted expedition, brimming with subtle intricacies and poignant dreamscapes. Electric guitarist Khabu Doug Young is apt to put matters into overdrive on occasion. Yet Lande, bassist Drew Gress, and drummer Tom Rainey often engage in odd-metered rhythmic exercises amid a few atypically constructed passages, derived from the free jazz scheme of things. In addition, Miles executes some knotty bop lines via linearly devised themes. The thrust of this outing resides within the rather supple flow, dappled with soft melodies and the soloists' often-striking harmonic excursions. Overall, the musicians perform Nodwell's works with a burning desire as programs like this might insinuate a bit of renewed faith for modern jazz aficionados. ~ Glenn Astarita, All Music Guide
Nemesis was perhaps the best surprise of all the CD's I got, Its really a bit of a revelation, combining "free" and straight jazz texture's with electro-acoustic instrumentation. It's really quite good.
Nemesis the albums title, opens the set..you'd think looking at the artist listings that your are about to embark on a difficult, (hard to listen to) project. However, the sound here is straight ahead modern electric jazz...and to start out..almost mellow. Khabu is just such a superb player. Nodwells decision not to play, but to hire musicians to fufill his compositions is curious, but clearly well thought out. Nodwell has picked well using the duo of Lande and Young along with long time collaberator Ron Miles crating a "rock" to build around has paid good dividends. The end result is an almost astonishing suite of music, that has me reminiscing to the "good old days" when the mix of electronics, jazz and rock was still fresh. The date is solid throughout, there's no dead weight in either band or compositions...but to me there are highlights: On Sortex, we really get an idea of what Khabu Doug Young is capable of. (what can Khabu do for you!) When my friend from Colorado and I were talking music, David torn came up and somehow we worked to Khabu Doug Young. I had never heard of him. He compared Young to Torn's playing. What I here is more of a young John Abercrombies tone and attack. In fact Sortex, to me feels like it could be a part of Enrico Rava's "the plot" date. Youngs playing has that early 70's Abercrombie sound with a distorted yet almost country tone. It has that Manfred Eicher sound and Ron Miles is so strong here. Ron Miles is such a great player, and another familiar with both Lande and Young. Fleet has the band in one of those goofy "downtown" rollicking messes....Young is again given the lead and he trades off finely with Lande. Flight of the Pterodacty is kinda a psychotic tango. the band blasts through vaguely Latin bizarre chord changes and odd meters, bouncing great solos off each other along the way. Nodwell's musician choices really show how well picked and thought out they were here. There is great chemistry here. Resurrection pulls it back in, Drew Gress's subtle underpin's remind me why I think so highly of his work. Ron Miles pulls some lovely laid back trumpet out of his bag, sweet stuff. Art Lande's piano tops it all off Landes in charge. This is a definite 5 star effort, Hats off to all involved.