Whatevers next

Yoron Isreal

2012-01-25T12:53:00.000-08:00

I was lucky enough to be able to see a wonderful singer and member of the Berklee School of music staff Gabrielle Goodman last week at KCC. She brought the house down (no surprise there) and another cool thing was a cameo by Stephen Webber, playing a lovely samba on guitar.

She gave her backup (Matthew Truss) a solo appearance and I don't think there was one person who did not get "chickenskin". Amazing .....(grace).

But, I was stoked by the band. Will Lydgate, island resident and Berklee alum was as always, subtle yet stunning, the pianist (of whom I am unfamiliar with) Jiri Nedoma , definitely showed he will be going places...But most of all..give the drummer some. Yoron Isreal, who I have never had the pleasure of hearing live was a monster. Not a loud monster..a perfect monster.

Here is his website: http://www.yoronisrael.com/bio.html

Now I have heard him on several recordings, but I had not as a leader: check this out..

YORON ISRAEL & ORGANIC
Ronja Music

Yoron Israel - Drums
Kyle Koehler- Organ
Ed Cherry - Guitar
Jay Hoggard - Vibes, Marimba
Bill Pierce - Tenor, Soprano Saxophones
Ernesto Diaz - Percussion

Man, look at the line up..ed cherry, bill pierce...I tell you< its as good as it looks!

and there's more:
A GIFT FOR YOU
Ronja Music Company

Yoron Israel - Drums
Donald Harrison - Alto Saxophone
Phillip Harper - Trumpet
James Williams - Piano
("The Move" only)
Ed Cherry - Guitar
John Lockwood - Bass
Bryan Carrott - Vibraphone
Lance Bryant - Tenor/Soprano Sax... again a killer,

Yoron has a couple more. One with Joe Lovano and another with Eric Alexander. Man..I wish he had copies!
I guess its amazon for me:

Live at the Blue Note by Yoron Israel (1999) - Live

(2)

Formats		Price		New	Used
Audio CD, Live, 1999 Temporarily out of stock. Order now and we'll deliver when available. Eligible for FREE Super Saver Shipping and 1 more promotion		$18.03		$3.49	$2.25

Basic Traneing by Yoron Israel and Organic (2004)

Formats		Price		New	Used
Audio CD, 2004 Order in the next 23 hours to get it by Friday, Jan 27. Only 2 left in stock - order soon. Eligible for FREE Super Saver Shipping and 1 more promotion		$23.71		$15.27	$15.27
MP3 Download, 2007 Available for download now		$8.99

Amazon's Yoron Israel Store

Top Selling Yoron Israel Songs See all 31 Yoron Israel MP3 Songs
	Gavriel's Dance	$0.99
	Valdez In the Country	$0.99
	Afro Blue	$0.99

Chicago by Yoron Israel (1999)

(1)

Formats		Price		New	Used
Audio CD, 1999 Order in the next 2 hours to get it by Thursday, Jan 26. Only 1 left in stock - order soon. Eligible for FREE Super Saver Shipping and 1 more promotion		$16.27		$8.85	$7.48
MP3 Download, 2007 Available for download now		$8.99

Dance World Dance by Rodney Kendrick, Graham Haynes, Arthur Blythe, Michael Bowie and Tarus Mateen (1994)

Formats		Price		New	Used
Audio CD, 1994				$5.95	$0.73
MP3 Download, 2005 Available for download now		$9.49

The Telarc Collection, Vol. 9 by Eduard Strauss, Jean Sibelius, Ludwig van Beethoven, Johannes Brahms and Marc-Antoine Charpentier (1993)

Formats		Price		New	Used
Audio CD, 1993				$19.99	$6.23

Gift for You by Yoron Israel (2006)

Formats		Price		New	Used
Audio CD, 2006				$14.06
MP3 Download, 2007 Available for download now		$8.99

Gift for You by Yoron Israel (1995)

Formats		Price		New	Used
Audio CD, 1995				$49.99	$4.99

Amazon's Yoron Israel and Organic Store

Find all the CDs, MP3s, and vinyl, plus photos, videos, biographies, discussions, and more. Visit the store.

And I got to tell you, the Rodney Kendrick, dance world, dance...nice.

here is an article about the show:

Kaua‘i welcomed acclaimed singer-songwriter Gabrielle Goodman and Matthew Truss to the stage at Kaua‘i Community College on Jan. 8 to perform an incredibly diverse offering of spiritual and jazz standards, R&B and original compositions. The Berklee –Steelgrass Residency Program brings Boston’s Berklee College of Music faculty to Kaua’i with the support of the Kaua’i Concert Association and Tony Lydgate.

Goodman, a long-time Berklee College voice professor, has performed with musical greats Roberta Flack, Miles Davies, Chaka Khan, Patti Labelle and Nancy Wilson. She wrote “You Can Make the Story Right” for Chaka Khan, which earned her a top 10 ASCAP songwriters award. She was magical Sunday afternoon with stunning vocals and a talented keyboard performance.

Truss sang backup vocal for Goodman during the first half and then took center stage for an acapella solo that brought everyone to their feet. Goodman and Truss were accompanied by Yoron Israel, Jiri Nedoma and Kaua‘i’s own Will Lydgate on bass. Truss teaches private voice instruction at Berklee and focuses on bringing music into the inner city, not just in Boston but in more than a dozen cities around the world.

Stephen Webber, a professor of music at Berklee, the world’s largest music college, accompanied on guitar for a few of the arrangements and granted an interview for this piece. Berklee College began in the 1940s focusing on the dominant musical style of the day which was jazz. True to its roots, John Mayer, Amy Mann and Quincy Jones graduated from their halls.

Webber is the executive producer of the Berklee-Steelgrass Residency program, which for five years now has come to Kaua‘i’s west side to host workshops and five weeks of resident training to aspiring students from all over the world.

Proceeds from the Jan. 8 concert will go to help sponsor a place in the residency program for a young musician from Kaua‘i. A recording studio also on the west side affiliated with the college is dedicated to help preserve the dialect, songs and music of the area. It also provides the college faculty and residents a place to concentrate on their art and to learn recording. The Steelgrass facility is sponsored by Tony Lydgate and interestingly. Will Lydgate, Sunday’s bassist, is a graduate from the residency program.

Sunday was a musical journey from “Misty” to a soulful duet between Goodman and local music teacher Leinani Springer for “Wade in the Water” before tribute tunes, from Marvin Gaye to Steve Miller. A finish with “God Bless the Child” earned Goodman a standing ovation and four minutes of applause that called her back to the stage to perform a soulful rendition of “My Funny Valentine.”

Berklee College of Music has a faculty of 525 teachers and 4,000 undergraduates. The college is introducing graduate studies in writing and scoring for film, video games and television, as well as the music business. Anyone wanting to help secure a spot in the residency program for a music student from Kaua‘i can contact Stephen Webber at swebber@berklee.edu.

Read more: http://thegardenisland.com/entertainment/music/a-whole-lot-of-soul-at-kcc/article_89c65366-3f24-11e1-9dfc-0019bb2963f4.html#ixzz1kVQ3wh4h

Here is the berklee site: http://www.berklee.edu/

a letter

2012-01-25T11:50:00.001-08:00

Dear mr. president. I voted for you as did my wife. We believed "change" had to happen.
I am a life long democrat, I worked in campaigns both local and national. I applaud your decisive action regarding wall street. I that, I see the vision I had of the man I voted for.

But I implore you, please rectify the mistake made in the National defense Act bill. The language is obtuse, and it , in it's current form is not only unconstitutional but stands against all the values that made the republic.The detention of United States citizens and there possibility of no legal consul is horrifying

Sir, I will vote for you again. Please don't make it a vote of choosing the lesser of two evils.
It is your responsibility, as our leader to show the way. It is time to roll-back some of the powers that have been bestowed on the executive branch, rammed through without education of the public by your predecessor.

Please, don't fool me twice.

David torns new album..........

2012-01-24T13:53:00.001-08:00

As I write this, I am using my newest toy I-pod to CRANK this into my brain. It took me a bit to get this cd as I am Broke, but I bought it of a friend , who surprisingly found it too "straight".
He is a Prezen's guy....I love this, this is the first album with david that I have really connected to in the last few years. ( check out the soundtrack for "The Order").
I read some other reviews that we're not completely favorable, but I say this: BUY the freakin thing.
This is full of different flavors, almost an update to David's Door X but so much better!
Ok, I have been lame, the band rocks and Alan White is killer. Tony Levin is as always amazing but as I listen I am amazed buy the sounds produced by a trio. Oh yeah..Polytown...think Polytown. If you don't have this (and Polytown) get them.

This is both a throwback (fusion- prog-rock) and moving forward at the same time.
sorry, it's Torn.

01 - No Warning Lights
02 - Ultra Mullet
03 - White Noise
04 - The Hood Fell
05 - Monkey Mind
06 - Cheese It the Corpse
07 - Convergence
08 - Pillowfull of Dark Dreams
09 - The Egg Man Comith
10 - Sleeping Horse
11 - Prom Night of the Centipedes
12 - Crunch Time
13 - Brain Tattoo
14 - Lights Out

Tony Levin: bass and Chapman Stick
David Torn: guitar and textural events
Alan White: drums and percussion

just plain lucky

2012-01-24T12:13:00.000-08:00

As a few of you have figured out, I live off in the middle of the Pacific.

It's a small Island , with musical opportunities..... yet, still enclosed.

I will be posting some events, recent reads and thoughts.

But, If you are American........wake up and see whats happening of late.

http://www.huffingtonpost.com/bill-quigley/ten-steps-for-radical-rev_b_1223404.html

The National Defense Authorization Act for Fiscal Year 2012, or the NDAA, was inked by President Barack Obama on New Year’s Eve, despite immense opposition from Americans who were concerned by vague language that could allow the commander-in-chief to use military forces to domestically police the United States. Under Section 1021 of the NDAA, any person, US citizen or not, can be held without trial by American armed forces if they are suspected of being engaged in hostilities against the country by al-Qaeda or associated forces.

At this point, there is no definition of "terrorist" read: ORWELL, nor does it say just whom determines who is a terrorist.

YOU MUST UNDERSTAND this, ANYONE CAN BE THROWN AWAY without trial, for an "indefinite" period.
It means also, that the Military is free to act as a police force w/in the United States.....how would you like to get pulled over, and then thrown away. Taken away, in the middle of the night ...with no one to speak to.

Do you still think we live in a COMPLETELY free society?

Mark Nodwell Nemesis review

2012-01-24T12:07:00.001-08:00

I know I am a bit behind...but I thought I'd write about some of my favorite things over the last few months......

Here is..a bit about a cd I got in the last year.

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 fulfill his compositions is curious, but clearly well thought out. Nodwell has picked well using the duo of Lande and Young along with long time collaborator 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 underpinning'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.

Mark Nodwell (leader)
Ron Miles (trumpet)
Art Lande (piano)
Khabu Doug Young (guitar)
David Gress (bass)
Tom Rainey (drums).

Nemesis
Sortex
Pitfall
Corpse
Fleet
Aura
Flight of the Pterodactyl
Resurrection
Dreamtime (epilogue)

Asaf Sirkis Great new players.... Tassos piliotopoulos

2011-03-30T15:18:00.000-07:00

I recently got turned on to these fellows....

“Devastatingly creative” (John Fordham, The Guardian on Asaf Sirkis)Following on from Tony Williams’ ‘Lifetime’, the Asaf Sirkis Trio picks up the baton and finds new space for a drummer-led trio in the noughties. ‘The Monk’, the group’s recording debut, will be released mid-September through Sam Productions. Asaf, a self-effacing Israeli ex-pat living in North London cuts a refreshing dash through London’s fertile jazz landscape. He reflects in a characteristically understated way, “For me, music begins where ideas finish”. Whilst an afternoon spent with Asaf will find him flitting between themes of existentialism, fatalism, political propaganda and loss it’s never something he does to be elitist. Maybe it’s the years working with Gilad Atzmon and the politics that swirl around their BBC-award-winning live performances, or the military service in Rehovot or the spates of self-imposed exile due to extreme tendonitis (the latter of which gave him the required writing time for this album) that have made him such an intriguing figure and have left telling traces on his accomplished musicianship. This group, a new electric power trio plays original material by Asaf and ranges from delicate jazzy ballads to hard rock-ish improvisations. The line up features Tassos Spiliotopoulos (guitar), Yaron Stavi (bass) and on occasion Asaf's long time friend, drummer and keyboardist Gary Husband on keys. Although Sirkis has been described as having the ‘drumming muscle for a thunderstorm’, dust off the surface a little and a sensitive writer shines through. Opening track “Stoned Bird” takes in Chick Corea-esque jazz fusion, whilst ‘Without A Story’ has a more post-rock feel. A piano solo on ‘The Bridge’ shows the variety on offer from a composer with a broad tonal palette, and title track ‘The Monk’ shows the contrast of pastoral organ with the rock antics of Tassos’ guitar - swinging it back into Tony Williams territory. The gothic rock descriptions that floated around his past record may again be referenced, but this album has a subtle style of its own. Asaf has previously collaborated with luminaries including Tim Garland and Larry Coryell, he has traveled across the globe playing with some of the best figures in jazz and won vast critical acclaim for Atzmon’s Orient House Ensemble. Whilst acknowledging the politics and challenges that have coloured his life, this album stands alone as a beacon of contemporary British jazzfrom a truly international trio.

With the zest and zeal of a thunder and lightning storm, Asaf Sirkis takes his new electric trio into blissful states of improvisational glory... and all amidst a multitude of subtle musical delights that can only be described as "pure joy." THE MONK is simply Asaf's best recording to date and his drumming is just phenomenal... every beat... every phrase... every single second!

For this album, Asaf has assembled a truly outstanding group of talented musicians that features Tassos Spiliotopoulos on guitar and Yaron Stavi on bass with the amazing Gary Husband adding keyboards to several tracks.

As a composer, Asaf has branched way out from his gothic jazz journeys with the "Inner Noise," yet still manages to push the jazz-rock envelope into very fresh territory. As any great monk learns from his Masters, Asaf has fused the multi-directional influences of Tony Williams and Jack DeJohnette with the adventurous song writing styles of Allan Holdsworth and avant garde composer, Erik Satie.

The overall mix of tunes on the CD runs the entire spectrum from harmonically gentle to brash creativity. Lightning does indeed strike numerous times throughout the album, but it is never overpowering... there is a calm and confident, almost illuminating attitude that is quite refreshing in comparison to Asaf's previous work.

The guitar work of Tassos Spiliotopoulos is gorgeously sparse and minimalistic on the title track, "The Monk" and "The Journey Home", yet can jump into hard rockin jazz genius at the drop of a hat on tunes like "Without A Story" and the very tasty "Dream". Check out Tassos' site at MySpace.com

On the bass, Yaron Stavi, holds down heavy hanging notes on "End of the Circle" and gets super melodic on "Stoned Bird", "The Monk", and "The Journey Home." Like the patience of a saint, Yaron, delivers a solid foundation for the music to build and grow upon. Check out Yaron's site at MySpace.

Not to be missed is the highly spirited fifth track, "Alone", which features soloing from the entire band, ending with an especially tasty bit of drumming between Asaf and guest percussionist, Adriano Adewale.

All in all, THE MONK delivers beyond expectations. It is an album by an ingenious composer and drummer who carries the listener into new and exciting musical heights! It's definitely not for the meek. This CD has balls, yet it is also very quiet and thought provoking. It's bold music coming from a higher plane and from a drummers perspective, it is a major slice of heaven.

Thanks Asaf, you have learned well from your Masters and are definitely walking the path of an inspired Monk of Rhythm!

Highly recommended with 5 stars.

Asaf Sirkis - Drums/Compositions
Tassos piliotopoulos - Guitar
Yaron Stavi - Electic Bass
Plus special guests:
Gary Husband - Keyboards & Piano
Adriano Adewale - Percussion
SAM Productions 9015 (2008)

1 Stone Bird
2 The Monk
3 The Bridge
4 Without A Story
5 Alone
6 End Of The Circle
7 Dream
8 The Journey Home

Khabu Doug Youg (a slight return)

2011-01-05T20:23:00.000-08:00

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.
http://downtownmusic.net/khabu-doug-young/ddygg-07-17-2004

these guys write better than me...
http://www.allaboutjazz.com/php/article.php?id=12817

Why, its the guy!
http://khabu.net/?page_id=2

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.

Khabu'Ukulele

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.

http://yeahyeahrecords.com/store/index.php?main_page=product_music_info&products_id=51

Yes...you must do this.

ALSO>>>

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!

http://khabu.net/ http://www.allaboutjazz.com/php/article.php?id=12817
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 .

Track listing:

1.Brina Chorale;
2.Rhound Things;
3.Ahnimalism;
4.Bhutism;
5.Squishy;
6.Piece in the Middle East;
7.A Perfect Chance;
8.Gas Chamber;
9.NPR;
10.If You Can't Chew It, You Can't Drink It;
11.Old McBhugaloo (had some ducks);
12.Nukeyuler Pop-Tart;
13.Xibalba's Ball Court;
14.Puddin' Time;
15.Bhad,Ahwful Nhoises;
16.Eulogy;
17.Pain Uncramped;
18.Someplace Downunder;
19.Carnivale duh Stupido;
20.Played Some;
21.Ololiuqui;
22.Strange Visit

Personnel:

Art Lande-drums;
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.

Slog is:
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

http://www.allaboutjazz.com/php/news.php?id=8276

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

Art Lande

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.

Khabu Doug Young

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 Killian

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 Miller

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

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.

Shane Endsley

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

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

Nemesis
Sortex
Pitfall
Corpse
Fleet
Aura
Flight of the Pterodactyl
Resurrection
Dreamtime (epilogue)

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

RON MILES

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.

some vids..................

http://www.youtube.com/watch?v=509qQ321xLY

http://www.youtube.com/watch?v=EIeyTfM_hno

Kauai eden tours

2010-02-23T13:00:00.000-08:00

here's a shot of my wife an I from her Eden tours website.

beauty and the beast, eh? ( I'm the beast in the Tilley hat).

here's a link, If you are coming to Kauai.

http://www.kauaiedentours.com/About_Us.php

Interview with Richard Hallebeek

2010-02-21T13:06:00.000-08:00

I have been having some correspondence with a few of my favorite artist's ...bugging them for brief interviews. Richard was kind enough to send me this via e-mail..

Hi Jay,

Here's some anwers, feel free to change my rusty English here and there if necessary.
If you have additional questions, let me know.
Rich

(NOTE HERE) I am always impressed by Many European artist's and their command, both in speaking and writing the English language. I could find NO editing issues with Richards reply.

Here is what he had to say..my sometimes trite questions are in this color...its been awhile since I have done any interview.

Do you remember the moment you decided to become
a musician full time?

I was 10 when I started playing the guitar and started taking lessons. I have been gigging since age 12 and started teaching when I was 14 years old.
I never thought of doing anything else really, but when I started my study at the conservatory at age 17 I decided I wanted to make a living making music. Never looked back since.

What was the first record that turned your head.

Around different ages, different records turned my head. Around 10 years old it was The Beatles and Frank Zappa, my sister had all their albums. I played them on my pickup for hours after school. When I was around 12 it was Charlie Parker and Pat Metheny and Weather Report. Later on I found out about Holdsworth and Henderson. I cannot really name one record that did it for me, it has to be different records that you discover at different periods in your life that change the way you look at music and hear music. If I have to name some:

John Coltrane – My Shining Hour

Pat Martino – Road Song

Wes Montgomery – D Natural Blues

Pat Metheny – First Circle

Allan Holdsworth – The 4.15 Bradford Executive

Weather Report – A Remark You Made

And the list goes on..

What would you tell a young kid about playing music.

I teach children from 6 years old.. the main focus is on having fun. If I would try to teach them sight reading or other boring stuff, they would be gone after one lesson. I have to make money so it’s also an economic choice to keep them interested so they keep coming back!

I think it works for adults in the same way. Nobody wants to do boring practice sessions alone at home. The key is to challenge yourself and keep being inspired and keep coming up with fresh ideas. Also try not to be stuck with the image and style you think you should have or the person you should be. Try to reinvent yourself all the time. Have fun.

Do you have any musical favorites/heroes?

All the great players of course continue to keep inspiring me; Wes Montgomery, Allan Holdsworth, Van Halen, John Coltrane, Django Reinhardt, Lalle Larsson, Bach, the list goes on…….

What do you listen to.
Right now there is Jacques Loussier who does a fresh take on Bach with a jazz trio. Incredible stuff!

Is there a musician/group you feel like should
receive better recognition.

I don’t really understand people complaining this or that should receive more recognition. For instance Shawn Lane was a very small artist but he was touring the world and doing his own thing 100%. Being a bigger name means lots of times pressure, signing 5 album deals and coming up with what the audience wants and not what you really would want perse. I think being a small artist has a lot of advantages and gives a lot of freedom. I know of a lot of small artists that are financially starving so to speak, but they also have the freedom of doing their own thing, whatever that is. There is something to say for that freedom. I still don’t make much money making music, but at least I always do what I want whenever I want.

Have you been to "the states".

Sure, I studied at GIT in L.A. for a year and stayed there for a while after my graduation. Been back numerous times to L.A. Great city and great vibe. Lots of musicians and lots of small talk too haha…!

If you had a "soapbox" what would you say.

Anybody here plays anything? Wanna jam?? Let me hear what you can do…!

What are some things you'd like to have
happen/accomplish while you are in "this mortal coil".

Learn how to play the guitar! That answer is too easy.. I’m interested in writing songs and playing an instrument and trying to play what I hear in my head. My head is always ahead of my fingers, so I guess there is always something to work on. You never reach that point that you are satisfied.

What art, including books and movies moved, or move you.

Last book I read was ‘Het Diner’ from Dutch writer Herman Koch, a great read.
I try to stay in touch with the latest movies. Avatar 3D was pretty impressive! Also, I watched 'The Machinist' for the 3^rd time last week.

Besides that, anybody creating something original and moving that’s made with heart and soul, I’m interested in checking out.

What music are you listening to now, TRUTHFUL! don't try
to impress!

Jacques Loussier and while writing this, my iTunes library switched to Philip Glass, ‘The Witches Of Venice’. Great album. Thruthful answer!

Whats your world view, do you follow politics?

I try to avoid it as much as I can. Too much sneaky stuff going on there. My job is making music and I think music should be an escape from daily life. I do care about the rainforest and the children in Africa, but I don’t want to write songs about it. Music should be an escape.

Name some musicians you like to play with...
different than who you play with now. Musicians
that would challenge and change you.

Pff… Philip Glass would surely challenge my harmonic knowledge.. and I would like to have been the guitar player in the band with Pekka Pohjola, the Finnish composer who sadly died a couple of years ago. I saw him live a couple of times and he was a great bassplayer and composer.

What sessions can we look forward to there release in the next year.

There’s a new Rene Engel album coming up, Weaveworld from Lalle Larsson is just out. I will have to start writing some material for a new album, possibly RHP II in 2010. Keep an eye on www.richardhallebeek.com for details.

Thank you R.H.!

I "borrowed" this....

www.richardhallebeek.com/

Richard Hallebeek has been playing guitar professionally for over 25 years and has recorded with Shawn Lane, Scott Henderson, Brett Garsed, Frank Gambale, Scott Kinsey, Dan Gilbert, Carl Verheyen, to name just a few.

Born august 2, 1969 in Bilthoven, Netherlands, Richard Hallebeek started playing guitar at age ten and took lessons from local teachers. He formed some local bands and started performing in various Jazz and Rock groups. Influences early on were Pat Martino, Allan Holdsworth, Scott Henderson's first album 'Spears', Eddie Van Halen, Pat Metheny, the radio and every album he could get his hands on at the local library. Already at the age of 17 he was submitted to the Hilversum Conservatory, a conservatory best known for it's strong Jazz history drawing musician's from all over Europe. Richard studied with Jazz legend Wim Overgaauw and Maarten van der Grinten, a.o.

In 1989 Rich was the winner of the Dutch 'Yamaha Band Explosion' with his band 'What A Gig'. The Yamaha Band Explosion is a world wide talent search for bands writing their own material. The grand finale was held at the Budokan Hall, Japan, Tokyo for a 17,000 people screaming Japanese audience. In the jury were, a.o. Bon Jovi, Europe singer Joey Tempest and Casiopea guitarist Issei Noro. Hallebeek finished fourth with "Question of Love'.

In 1993 Richard was chosen out of more then 300 contenders to take part in the International Ibanez Guitar Award for 'Best All round Player'.

The finale was happening in Ahoy, Rotterdam and in the jury were a.o. Alex Skolnick (Testament) and Dutch session ace Lex Bolderdijk. Performing the Jazz Standard 'Road Song', the Rock Classic 'After Midnight' in an 'all instrumental' version and playing an unaccompanied solo, Hallebeek became the second price winner.

Around this time, things start to get real busy, besides already playing in different groups, there's also teaching and doing countless sessions and studio hours for radio, movies, commercials, (Dutch PTT Phonecompany, Hooghoudt, Region Police, Fokker, etc.etc.) and TV.

In 1994 he received a scholarship for a foreign study from the Prins Bernhard Fonds. At the end of '94 he leaves to Los Angeles for a one year study at the Musician's Institute to study ear training, composition and improvisation. He studies with Scott Henderson, Dan Gilbert, TJ Helmerich and Brett Garsed, a.o. He graduates with an honors degree.

It's at Orchid Avenue, Hollywood, where Richard meets his 'improvising over strange chord progressions' neighbor, Antti Kotikoski, a young guitar player from Finland. Antti has a big influence on the way Rich looks at music, composing and improvising. Together they team up to do a weekly performance at the Musician's Institute with various musician's at first, but later notably with Jan Fabricky on drums and J.K. on bass. Their goal is to write strong material, while still staying true to their guitar roots and leaving a lot of room for improvisation. Influences in their music can be anything, ranging from Rock, Fusion, Jazz to Pop and Heavy Riffs since they both have such a varied background. They continue to perform all year and record their first album in the M.I. studio, (now known as 'Tommy Tedesco' studios where numerous artists have recorded CD's since the first recordings of Richard and Antti) which was an initiative from engineer and eight finger tapping guitar wonder TJ Helmerich (now with Planet X). Some players who stop by to jam at those recording dates are Scott Henderson, M.I. teacher Dan Gilbert, Carl Verheyen and Frank Gambale.

At the end of '94, Richard gets the call from guitar guru Mark Varney well know for his monthly 'Spotlight Column' in Guitar Player and his Legato Records label who had featured so many great players Richard was heavily into before moving to L.A. Mark had heard some rumors about two hot new players and was interested in hearing some music.

At the beginning of '95 Richard and Antti sign a four album contract with the Legato label and Mark Varney. The first CD 'Generator' was released in November '96. Featured on that album are also Scott Henderson, (Chick Corea, Joe Zawinul) Frank Gambale, Dan Gilbert, Scott Kinsey (Keyboardist from Tribal Tech) and Carl Verheyen (Probably the most recorded guitarist in L.A session history.)

In '98 back in Amsterdam, Holland, 'True Colors', from Richard's rock group Maximum Brain Disfunktion is printed in a small quantity and sold at local gigs around Holland.

The beginning of 2000 brings a welcome distraction from the usual fusion stuff: Rich plays a 6 month tour, playing 6 nights a week, performing Händel’s classical masterpiece ‘The Young Messiah’ throughout the Benelux.

Rich also starts gigging around with drummer René Engel, probably best known for his CD project 'Jazz Sick' with Mike Stern and Danny Gottlieb.
In march '98 'Spheres of Samarkand' is released which features alot of outstanding guitarwork. Featured on that CD are also:Jeroen de Rijk (Mezzoforte), Nippy Noya (percussion legend). In 2003 ‘Nostalgia’ is released which further showcased the style of Rich which is moving more and more in his own original direction.

2003 Rich thinks it’s about time to do it his way, all the way. He initiates the Richard Hallebeek Project and gets help from some of his musical friends: Shawn Lane and Brett Garsed both contribute four solos. The band consists of a few of his musical heroes, young drummer Bas Cornelissen and keyboard virtuoso Lale Larson both contribute songs for the RHP and are heavily involved in the creative process, making it more of a band effort. Within a month after it’s release on the new guitar oriented U.K. Liquid Note Records label, RHP tops guitar9.com being the best selling and most popular fusion album and the album gets rave reviews through out the world.

There have been interviews and reviews with and about Richard in the 'Guitarist' and the Dutch 'Music Maker', American 'Guitar World' and 'Jazz Times' and the Japanese 'Young Guitar' and the Italian 'Axe'.

Richard Hallebeek has an endorsement with Brian Moore Custom Guitars USA (playing a C-90),KOCH guitar amps and speaker cabinets and Diezel amps. He has a habit of using too many pedals.

Where does the journey end? Stay tuned and we will see.

and some vid links....

http://www.youtube.com/watch?v=McvEQhLwU2k

http://www.youtube.com/watch?v=O_E-0S7SteQ

http://www.youtube.com/watch?v=m3M9_8RzZJo

http://www.youtube.com/watch?v=gAMyyGD5Ip4

GMO's. What are we in for.....

2010-02-21T12:52:00.000-08:00

I don't want to paint myself as a Luddite, I am not in the "anti-science" camp. I believe in the use of properly vetted new inventions, However I have real concerns about the use of genetically modified organism's in everyday life.
It really seems like the business sector has pushed through a lot of legislation regarding the use of GMO's in everyday life. Did you know, that if you are shopping in an American supermarket if you purchase 10 processed food items your odds of
having at least 1 GMO is over 90%? (75% of all processed foods in the U.S. contain a GM ingredient).

The problem is testing, GMO's are allowed into the U.S. without significant testing thanks to the ruling that In the U.S., the FDA has said there is no significant difference. However GMO crops have cross pollinated with other, wild and domestic crops and since they are under patent farmers can be charged for growing these cross-pollinated crops!
Its up to the farmer to be sure the pollen doesn't reach his crops. Its Insane and to me the entire reasoning behind the patenting of a life-form is foul.

Genes ...all kinds of genes are "spliced" into target crops. Scientists have learned how to put human or animal genes into plants
and have also learned how to create "factory" plants that will produce certain substances. (Pharmaceuticals, Herbicides even hormones).

On the last note,Plants producing hormones. The human hormone testosterone has been hacked into citrus, The Navel orange now can provide anabolic steroids. What science has created is a new frankenfruit, the navel orange in its "lower" form....

the Penis orange.

Killer guitarist richard hallebeek

2010-02-19T17:48:00.000-08:00

Richard Hallebeek has become one of my favorites...see the review I did of One Spirits second release.

here's a bio at Richard's site: http://www.richardhallebeek.com/bio/index.php

:: One Spirit - Go For It! (2009)

Richard Hallebeek, Frans Vollink, Sebastiaan Cornelissen - Go For It!
:: Tracks ::
1) Tricky's Tales listen mp3
2) Demo Of Demonstration
3) Purpurama
4) Done listen mp3
5) If So
6) Port listen mp3
7) Go For It MF listen mp3
8) Maybe-Interlude
9) Leo's Dance listen mp3
10) 25-8 listen mp3
11) Sergio's Pants listen mp3
12) TBA listen mp3
13) Paraquats listen mp3
:: Musicians ::
Richard Hallebeek
Guitars
Frans Vollink Bass
Bas Cornelissen Drums
Ada Rovatti Sax
Randy Brecker Trumpet
Steve Hunt , Lalle Larsson Keys
Martin Verdonk Percussion
Rob van Bavel Piano

:: U-Turn (2009)

Title ::
Sebastiaan Cornelissen - U-Turn
:: Tracks ::
1) Can do
2) Fruits & Fibre
3) Uturn
4) Caspar
5) 4 Hands
6) Stello
7) England Green listen mp3
8) All So Familiair
9) Stevenage
10) Up There listen mp3
11) Bread Maker
12) Squash listen mp3
13) Snox!
14) Last One
:: Musicians ::
Sebastiaan Cornelissen
Drums
Jimmy Earl, Tom Kennedy, Frans Vollink, Hadrien Feraud, Johnny Copland, Gary Willis,Ruud Cornelissen Bass
Richard Hallebeek, Alex Machacek, Susan Weinert, Leonardo Amuedo, Mike Outram Guitar
Gary Husband, Steve Hunt, Scott Kinsey Keys
Gerard Presencer Flugel Horn
:: The Alchemists II (2007)
:: One Spirit (2005)
:: Richard Hallebeek Project (2005)

This is Hallebeeks solo release...its great!

Richard Hallebeek Project

guitar 9

http://www.guitar9.com/richardhallebeek.html

"Richard Hallebeek Project"

The Story
The "Richard Hallebeek Project" is the self titled debut CD featuring advanced instrumental jazz/rock fusion by Dutch guitar monster Richard Hallebeek, along with Lale Larson (keys) and Bas Cornelissen (drums), and showcasing Shawn Lane (guitar) and Brett Garsed (guitar) on four tracks. As Hallebeek himself wrote in January of 2004, "After being a sideman for many years, I finally felt the time was right to step out on my own. I've enjoyed playing in different formats in the past, but have always had a very clear picture about how I wanted things to be. Meeting Cornelissen and Larson was a big turning point - we seemed to hit it off right away. They made unique contributions to the songs and to the project as a whole. At the same time, Liquid Note Records gave us the green light to write and play the kind of music we loved, but rarely hear nowadays. Of course, we didn't stop there - the guest performances by Shawn and Brett added to the excitement we felt when we first got to play together with this group." In short, the "Richard Hallebeek Project" provides the listener with terrifyingly good fusion.

Richard Hallebeek Project with Lale Larson and Bas Cornelissen Feat. Shawn Lane & Brett Garsed
:: Tracks ::
1) Prescription Strength listen mp3
2) Good Food listen mp3
3) Enigma listen mp3
4) Lined Out
5) Canoga Park
6) Free listen mp3
7) Axe
8) Imagine
9) Orange Faces
:: Musicians ::
Richard Hallebeek
Guitars
Shawn Lane Guitars
Brett Garsed Guitars
Bas Cornelissen Drums
Lale Larson Keys
Udo Pannekeet Bass

BUY IT!

https://www.paypal.com/nl/cgi-bin/webscr?cmd=_flow&SESSION=bgxOEf7sbUFlg3fBi1lViiWIaRZhB_k9CtZJ5S2BD3TJxWJs3BF3qImha48&dispatch=50a222a57771920b6a3d7b606239e4d529b525e0b7e69bf0224adecfb0124e9b5eb2336391e7cbed125f6c5bdaf8a1cd2bd526d80f731bcf

:: Flowriders - Starcraft (2005)
:: Flowriders - Pheromone (2004)
:: Attitude (2002)
:: The Alchemists (2002)

:: Nostalgia (2002)

René Engel - Nostalgia (All songs by René Engel)
:: Tracks ::
1) Adventures In Afghanistan listen mp3
2) Tour De Force
3) Enschedé, may 13 2000
4) Song For Mandela listen mp3
5) Sikat Sekali Lagi, Nyong! (p3)
6) Nostalgia listen mp3
7) Nels
8) Sikat Sekali Lagi, Nyong! (p4)
9) Ode To Bach
:: Musicians ::
René Engel Drums
Richard Hallebeek Guitar
Maik Schott Keys
David De Marez Oyens Bass
Davy De Wit Bass
Nippy Noya Percussion

BUY IT!

https://www.paypal.com/nl/cgi-bin/webscr?cmd=_flow&SESSION=pBuKJw6hwpPTGs1FtP6GtOYLfMb0IXjcRTswnY4CBfpsDT2yE4h1_AuqE5u&dispatch=50a222a57771920b6a3d7b606239e4d529b525e0b7e69bf0224adecfb0124e9b5eb2336391e7cbed125f6c5bdaf8a1cd2bd526d80f731bcf

:: Perception Of The Beholder (2002)

Isotope - Perception Of The Beholder
:: Tracks ::
1) Compound
2) Bowshock Nubula
3) Soundset
4) Rename Later
5) Perception Of The Beholder
6) 24 Pilot Lights: listen mp3
7) 12 Men Left
8) Dipsy
9) Voodoo Horns
:: Musicians ::
Sebastiaan Cornelissen
Drums
Udo Pannekeet Bass
Rob Van Bavel Rhodes
Tom Beek Sax
Ruud Breuls Trumpet
Ilja Reijngoud Trombone
Jan van Duikeren Trumpet
Wim Both Trumpet

BUY IT!

http://www.aggressiveattack.com/

:: Spheres Of Samarkand (1998)

Rene Engel - Spheres Of Samarkand
(all songs by rene engel)
:: Tracks ::
1) Cullera listen mp3
2) Devils Of The Desert listen mp3
3) Hunting Song
4) So Deep listen mp3
5) Aranjuez listen mp3
6) Curacao On My Mind
7) Spheres Of Samarkand
8) Sikat Sekali Lagi, Nyong! (Part 1)
9) Fears listen mp3
10) Sikat Sekali Lagi, Nyong! (Part 2)
:: Musicians ::
Richard Hallebeek
Guitars
René Engel Drums
David De Marez Oyens Bass
Davy De Wit Bass
Maik Schott Keyboards
Nippy Noya & Jeroen De Rijk Percussion

BUY IT!

https://www.paypal.com/nl/cgi-bin/webscr?cmd=_flow&SESSION=u2gKtQnuDSPuqLkcNItM_gdV_GwvpJ2B5xO8VJa5YSQL4rwfFeryaY_HkLK&dispatch=50a222a57771920b6a3d7b606239e4d529b525e0b7e69bf0224adecfb0124e9b5eb2336391e7cbed125f6c5bdaf8a1cd2bd526d80f731bcf

:: No Respect In '98 (1998)

Richard Hallebeek and Antti Kotikoski - No respect in '98
:: Tracks ::
1) DJ Bunuel Tells It Like It Is
2) Band Aid (Kotikoski)
3) Seasons (Hallebeek) listen mp3
4) Amsterdam (Hallebeek) listen mp3
5) Pain And Relief (Pratskin)
6) New World (Hallebeek)
7) Urban Enigma (Wessman) listen mp3
8) Swang Thang (Hallebeek) listen mp3
:: Musicians ::
Richard Hallebeek
Guitar & Midi
Antti Kotikoski Guitar & Midi
Timo Pratskin Keyboards
Jaan Wessman Bass & C. Stick
Harri Lehtonen Drums

:: Generator (1995)

From Richard's site: (I think its a tad harsh about the composition comment.

:: Gitarist (Holland) ::

Hiding behind the name 'Richie & Antti' are Richard Hallebeek and Antti Kotikoski. They have a four-album deal with the prestigious 'Legato' guitarlabel. On this label, led by Mark Varney, there have been albums released with big names shredding such as Allan Holdsworth, Frank Gambale, Shawn Lane, Brett Garsed and Carl Verheyen. You can take that 'shredding' part seriously, because a lot of the Legato albums use the same receipe: a simple groove, complex harmonies, and incredible powerful guitarchops. It's, in other words, music made by and for guitar players. It's common knowledge that the market for guitar music has been going down in recent years, emphasized by the fact that Relativity (Joe Satriani and Steve Vai's label) will switch to rapmusic in the future! Honour to Mark Varney for not letting this group of guitar players down still striving for technical perfection.

The 'Generator' album from Richie & Antti follows the same receipe as described above: a funky rhythm section with long layers of chords where the soloist can go ahead and go off. In that respect, it's unavoidable to compare this album to for example 'Truth In Shredding' from Frank Gambale and Allan Holdsworth. Richie & Antti are not from the same caliber( which is no disgrace at all!) Yet there is more then enough potential present to be very curious what the future will bring us from these two gentlemen. Besides that, Generator is not a strict duo-CD. From the 9 songs, Richie & Antti only perform three tunes together. They did compose everything together though. At the time of this pressing, Richard is already back in L.A. to record the follow-up to Generator; the new album will feature some more special guests like Allan Holdsworth.

If Richard works a little bit on his composing and gets a little bit away from his Holdsworth/Henderson influences, there will undoubtly be exiting times ahead of him!First impression: Fahrenheit, Persian RugM.R.

:: True Colors (1994)
Maximum Brain Disfunction - True Colors
:: Tracks ::
1) True Colors (MBD)

2) I Gotta Go (MBD)

3) Light Of Day (Hallebeek)

4) Now's The Time (MBD)
5) Guarana (Hallebeek)
6) No One knows (MBD)

:: Musicians ::
Richard Hallebeek
Guitars
Bart Dalenoord Drums
Jaap Bokma Bass
Maarten De Wit Zang

videos

http://www.youtube.com/watch?v=O_E-0S7SteQ

http://www.youtube.com/watch?v=inHJBFJ2RW0

http://www.youtube.com/watch?v=m3M9_8RzZJo

http://video.google.com/videosearch?client=firefox-a&rls=org.mozilla:en-US:official&channel=s&hl=en&source=hp&q=richard%20hallebeek&um=1&ie=UTF-8&sa=N&tab=iv#

gigs.......

February 2010

Feb 06 FOREIGN AFFAIR Westbroek, Kerkdijk 36, start 21:00
Feb 18 MASTERCLASS Zwolle Conservatory, Aan De Stadsmuur 88, start 14:00

Tim Miller hook-ups

2010-02-18T12:00:00.000-08:00

i forgot:

6 nights - April 14th - 19th

Tim plays with Paul Motian

at the Village Vanguard

NICE!!!

also..

Clinics

w/Terri Lyne Carrington, Greg Osby

February 5, 2010

8:15 AM - 9:15 AM Improv clinic

9:30 AM - 11:30 AM Group clinic

1:00 PM - 2:00 PM Improv clinic

2:15 PM - 3:00 PM Guitar clinic

Spokane, WA

Major Talent: Tim Miller

2010-02-18T11:52:00.000-08:00

One thing I have noticed about musicians
when I have a chance to talk to them about material.

They are generally a poor judge as to the quality, often
times consigning something I find amazing to the rubbish bin.

So...how did I get to that statement...Hmmm.
we're talking about guitarist Tim Miller, a recent discovery (for me)
and a major talent to be reconded with. (I will show you who's he's hooked up with)

Anyway, I heard a Tim Miller cut at a friends house and I
thought...Cool, Allan's (Holdsworth) playing nylon again!
Ah, but it was not holdsworth, it was Tim Miller.
In fact by the end of the piece I was listening to, it was
pretty clear that this was NOT holds, It was of VERY high
quality but, obviously the player had ideas of his own.

As I turned out, the CD was Miller's "trio 2" release.
and I could'nt tell you the exact cut.
Suffice to say, Miller's got the legato "sheets of sound" (I forget if
this originated from John Coltrane or maybe..John Klemmer!)
He's been listening to Reed players as much as other guitarist's.

So, I've found some reviews and grouped them up, also some links for
you to check Miller out in action.

Here's a quick breakdown:

TimMiller@timmillermusic.com

2008 Live at the 55 Bar - Janek Gwizdala

When I spoke (e-mailed Miller) talking about some of his music,
I asked for recommendations. He left this out. Hmmmm.

well, I think it was just an oversight, Gwizdala is a GREAT bassist!
and Miller burns on this!

2008 Chasing Shadows - Tony Grey
Another bassist here, the session also feature
the FUZE on guitar. But, this did not grab me.

2001 Blown Fuse - Steve Hunt

JUST KILLER..buy it now.I love steve Hunt anyway.
(he was the keyboard player in Allan Holdsworths
band for some of what is my favorite Holdsworth)

Hunt clearly is using Miller as a holdsworth "proxy" here
but the results are amazing.

1998 Corners - Aldo Romano

This is my favorite Non-Miller self release. I mean,Aldo Romano!
The guys a effin genius. Miller is utelized very, very well here.

and he shines!

and these:

Tim Miller Trio 2

Tim Miller
Trio Vol. 2
Avenir Records
2008

Very few guitarists have digested, head-on, the daunting influence of Alan Holdsworth, and then assimilated it into their own playing. Fewer still have combined Holdsworth's no-longer-futuristic linearity with the science of melodic chord permutation, as promulgated by the likes of George Van Eps, Ted Green and Mick Goodrick. Even fewer are in their thirties, like Tim Miller.

These qualities alone would make Miller's current release—the second with his trio including acoustic bassist Dr. Joshua Davis and drummer Take Toriyama—auspicious, but there is much more to consider here. Miller has taken his game up—way up—in terms of the sound he's achieving on record, to the point where his work advancing the breadth of the tone palette alone can now be compared to those at guitardom's highest levels.

Miller's approach is deceptively simple. Driven by his belief that the electric guitar is too midrange-heavy to "work" with acoustic instruments, he chased down the high end by isolating himself in a room with a guitar and a microphone and placing his amplifier in another room. Both acoustic and electric outputs were recorded, and are capable of being blended at will throughout. From a technical recording standpoint, then, the degree of innovation here appears relatively modest.

Aesthetically, though, there is a level of shimmering discernment and detail at play here that pushes the elusive annals of tone. A dazzling bounty of tonal delights—from vintage dreadnought to fat bop, steely Strat to Texas Tele—emerge, played at breakneck speed and sometimes changing from measure to measure. Miller's blistering legato technique is more percussive than Holdsworth's—his chord work even more modern and complex, yet always musical, never guitaristic. Steve Hunt recorded and engineered this outing, making it special by bringing all his previous experience with Holdsworth to bear.

The opening track, "Electric," features an airy acoustic head, pulsed by a chord ostinato and propulsed by a beaten snare that sounds copped from rag-tag street kit by Toriyama. Miller begins his solo with a gorgeously sustained single tone. From there he builds, in seconds, two complex, rhapsodic figures that collapse on themselves, all the while adding echo, subtracting sustain, metering metal and pumping air into the tone. He then combines the discerning changes in tonal detail with improvisational detail, repeating a 32nd note motif that subtly changes from measure to measure, developing into its own intervallic song. Toriyama does not keep pulse, challenging Miller at every turn, the clatter abetting what up to that moment, is Miller's (and band's) finest hour.

That five minutes alone anoints Miller as the jazz world's guitar Superboy. The next 40 minutes only get more momentous, with Miller out-playing and out-tone-meistering himself from one tune to the next. He takes respite only to issue a definitive solo spot that sounds like his personal revel to the "Night Sky." Miller also gives composition a twist by intermingling motifs, statements and devices from each of the tunes, to the degree that the recording becomes one labyrinthine compositional whole. Yet many, like "Trace," can stand on their own, as catchy gems chock full of hummable melodies, with flashes of energetic soloing.

Joshua Davis' sense of time is solid—at times locking with the bass portions of Miller's chord voicings—and (thanks to some crafty recording) sounds electrifying yet woody, as on "Trace." Toriyama logs one of his greatest recorded performances ever, benefited by the best recording of it, as evidenced in the turn-on-a dime ride swing melded to crushing jazz-rock stylings slammed against each other in "Thread." Miller dedicated the recording to Toriyama but it's the drummer himself who provides the only tribute needed. Whoever hears this recording will know that during his all-too-short stint here, Toriyama thoroughly mastered the drum kit, fearlessly incorporating some sounds that, previous to his work, seemed not to belong. And whoever hears some of his other work will know he did the same over the complete range of musical idioms.

Miller believes that this is his most personal recording to date, on which the sound he has imagined for so long has finally made it onto record. That's just one reason why Mr. Miller was recently cited by no less than Alan Holdsworth, in the most recent issue of Guitar Player Magazine, as one of two current guitar players to watch.

Tracks: Electric; By The Sea; Elements; Flying; Night Sky; Arc; Thread; Grey To Blue; Trace; Drop of Ink; Recall; Open.

Personnel: Tim Miller: guitar; Joshua Davis: bass; Take Toriyama: drums.

Tim Miller Trio

http://www.allaboutjazz.com/php/article.php?id=18917

Tim Miller's third indie effort stands out by manifesting his influences as an aural whole. Compositionally, the freedom and openness in the music reflects the deep influence of Keith Jarrett, while sonically, the air-infused yet electric guitar sound dances with bass and drums mixed in a pastoral acoustic style. Even with headphones, the listener hears the trio of instruments entwined in the air, coupled by intense playing and musicianship.

From the perspective of guitar-related influences we hear the chordal inspiration of a fellow Bostonian, voicing-god Mick Goodrick. Linearity is Miller's calling card, seamlessly melding Allan Holdsworth's 21st Century legato technique with a non-guitar-centric, truly jazz vocabulary and phraseology, with notes percussing from the fretboard in pianistic fashion.

Another facet that takes Trio up a notch is the particular attention paid to tone and articulation on the high end. Miller devoted requisite consideration and time to sonics, and the dividends are sumptuous. An advocate of the ergonomically correct Klein axes, Miller's performance on "Untied sounds as if he's playing two of them at once, electric for the atmospheric chords of the intro and acoustic for the quick sixteenth-note turn-backs found on high, doubled by the drums. Take Toriyama's tone is apart from the more athletic norms of the "fusion realm, with more of the room than the kit in the mix. His use of slackened snare, coupled with bassist Josh Davis' booming upright sound, is especially effective on this track.

Miller employs a super-thick tone for his solo, alternating bop-legato mastery with sax-like repeated figures that belie the layout of the fretboard. Miller can lay into a rock'n'roll repeating hyperspeed four-note figure akin to traditional Hendrix or Page twelfth-fret pentatonics, but in the middle of the neck, using four notes at spread intervals of the harmony-of-the moment, something more out of Mike Brecker's vocabulary.

While the recording weighs in at the forty-minute mark, there's much to be said for concentration and self-editing. "Sparkle is ninety seconds of inspired melodic riffing against Toriyama's percussion arsenal and will alone reward consecutive listening surpassing the total of the disc's real time. It would be an interesting musical exercise to map out here where each of Miller's melodic phrases begins or ends, or to pick the midpoint of each. I am sure each roadmap would in turn comprise alternate songs. Similarly, the three minutes of "MG, dedicated to mentor and Berklee fellowman Goodrick, forge a successful marriage of modern rock balladry with jazz.

"Straight Lines is the composition of the set, a mid-tempo cut smoldering with the passion and memorable melody usually reserved for ballads, especially in Miller's opening solo salvo. The two "Density compositions, using minimal themes fashioned from rhythmic chordal materials growing out of and into weaving strands of single-note improvisation, reveal substantial rewards unearthed by exploring repetition as a means of mining new melodic and improvisational territory.

Nothing should stand between this one getting heard and Miller's justifiably meteoric ascension on the worldwide guitar-watchers org-chart.

Track listing: Intro; Untied; Shift; Paris; Sparkle; Straight Lines; The Trees the Sun; Density One; TR; Two View; Density Two; MG.

Personnel: Tim Miller: guitar; Joshua Davis: bass; Take Toriyama: drums.

Tim Miller Trio Sides This apparently is the CD that Mr. Miller considers his "debut".
Its a bit "fuller" than the next two, with the addition of a reed player. I know Mr.
Miller will likely cringe at the Holdsworth compairisons...(I'm sorry,
its apt). But..I always enjoyied Allans work with Gordon Beck (jazz) and Pat Smyth.
He can be a hell of a jazz player.
Here, I get a simelar "legato" playing jazz.

But, I can't find this:

1997 With The Distance

some vids......

http://www.youtube.com/watch?v=I4ow7HgUbA0

http://www.youtube.com/watch?v=I0b0YQAD_zU

http://www.youtube.com/watch?v=zcb5ptVgXYk

Allan Holdsworth With Terry Bozzio, Tony Levin & Pat Mastellotto

2010-02-17T19:34:00.000-08:00

Well, I guess there is a santa claus......

I gotta tell you Mr. Holdsworth, I love your music and I buy everything you have ever played on. (even the one's you say "Stuff I recorded..and wish I had not"...) but your not the only 'narley Geezer out there.
I just wanted something different, a new challenge, a change of pace.

and boy have you delivered!

I wish this tour came to Kauai.. ah well.

Anyway, I cannot wait for the CD...and for gods sake studio and a live double disc!

I mean, cheese and crackers! When are four players like this going to happen again? Its like a modern electric improvisational version of those old time jazz all-star gigs!

here's where they been, wrecking havoc....

BOZZIO HOLDSWORTH LEVIN MASTELOTTO
WEST COAST USA TOUR
Terry Bozzio drums
Allan Holdsworth guitar
Tony Levin bass guitar, Chapman stick, upright bass
Pat Mastelotto drums, percussion

January 2. 2010 - Seattle, WA
Venue: The Triple Door
www.thetripledoor.net

January 3. 2010 - Seattle, WA
Venue: The Triple Door
www.thetripledoor.net

January 4. 2010 - Portland, OR
Venue: Aladdin Theater
www.aladdin-theater.com

January 6. 2010 - Santa Cruz, CA
Venue: Kuumbwa Jazz Center
www.kuumbwajazz.org

January 8. 2010 - Oakland, CA
Venue: Yoshi's
www.yoshis.com

January 9. 2010 - Oakland, CA
Venue: Yoshi's
www.yoshis.com

January 10. 2010 - Oakland, CA
Venue: Yoshi's
www.yoshis.com

January 12, 2010 - Whittier, CA
Venue: Whittier Theater

www.calprog.com

January 13, 2010 - San Diego, CA
Venue: Brick By Brick

www.brickbybrick.com

(More dates to be announced)

Next..europe!

then?

2010

BOZZIO/ HOLDSWORTH/ LEVIN/ MASTELOTTO

European Tour

TERRY BOZZIO drums
ALLAN HOLDSWORTH guitar
TONY LEVIN Chapman Stick, upright bass
PAT MASTELOTTO drums, percussion, samples

April 6, 2010 – Berlin (Germany)
venue: Quasimodo
www.quasimodo.de

April 7, 2010 – Hamburg (Germany)
venue: Fabrik
www.fabrik.de

April 8, 2010 – Amsterdam (Holland)
venue: Paradiso
www.paradiso.nl

April 9, 2010 – Zoetermeer (Holland)
venue: Boerderij
www.boerderij.org

April 10, 2010 – Münster (Germany)
venue: Jovel
www.jovel.de

April 11, 2010 – Groningen (Holland)
venue: Oosterpoort
www.de-oosterpoort.nl

April 12, 2010 – Limbourg (Belgium)
venue: Salle Le Kursaal
www.lekursaal.be, www.spiritof66.be

April 13, 2010 – Bonn (Germany)
venue: Harmonie
www.harmonie-bonn.de

April 14, 2010 – Ludwigshafen (Germany)
venue: KUZ Dashaus
www.dashaus-lu.de

April 15, 2010 – Eindhoven (Holland)
venue: Muziek Centrum Frits Philips
www.muziekcentrum.nl

April 16, 2010 – Karlsruhe (Germany)
venue: Tollhaus
www.tollhaus.de

April 17, 2010 – Dornbirn (Austria)
venue: Das Haus Spielboden
www.spielboden.at

April 18, 2010 – Trezzo Sull’Adda, Milano (Italy)
venue: Live Club
www.liveclub.it

April 19, 2010 – Zurich (Switzerland))
venue: Moods
www.moods.ch

April 21, 2010 – Vienna (Austria)
venue: Planet.tt
www.planet.tt

April 22, 2010 – Ostrava (Czech Republik)
venue: Fabric Club
www.fabric.cz

April 23, 2010 – Prague (Czech Republik)
venue: Lucerna Music Bar
www.musicbar.cz

April 24, 2010 – Opole (Poland)
open air festival venue: TO BE ANNOUNCED

April 25, 2010 – Katowice (Poland)
venue: Mega Club
www.megaclub.pl=

This is the gig you do not want to miss, I have followed Bozzio since the Zappa days,(re-form group 87!) and to have Bozzio, Tony Levin and Pat Mastellotto is almost too much to ask...but you add Mr. Holdsworth..DAMN.

Here's some really good bio...http://www.yoshis.com/oakland/jazzclub/artist/show/1060

John Flynn wrote:

I saw the Levin-Holdsworth-Bozzio-Mastelotto concert at the Triple Door in Seattle. It was quite accessible for free jazz (as usually I'd be thinking "oh, so that's why it's free"). Liked it a lot except I was wanting a little more acoustic texture in the percussion and drums, and maybe some more structured composition now and then. It was entirely improvised.

After the show as I sat at the bar with my friend, Alan Holdsworth happened to sit next to us and order beers. So I bothered to chat him up a short bit. He seemed like he'd been waiting for the beer all night. He was polite and a regular guy, despite a couple of intervening autograph hound requests -embarrassingly one presented him a vinyl of Atavachron to sign that clearly had a used price tag stuck to the front in a manner no collector would resist peeling off. I asked about his schooling and he said he is self-learned except that his Dad taught him a lot of his music knowledge. I was moved by how he remarked what an amazing man his father was.

The Tony Levin contribution was not as rewarding to hear as his band's concert at Bumbershoot in 2000. But it struck me how much Levin and Holdsworth made sounds reminiscent of David Torn's Cloud About Mercury... weird because I always had thought that album reminded me of Holdsworth from other sonic angles.

Overall it was worth the ticket price and expensive drinks. My only real complaint with the lack of compositional form was that it may have kept Holdsworth a bit restrained in presenting his usual lush, densely poignant chording and extended harmonies I love hearing from him so much.

some vids...

http://www.youtube.com/watch?v=miOmVHyxpuc

http://www.youtube.com/watch?v=2LSgcSPOe5U

Soma FM

2010-02-17T18:55:00.000-08:00

a shameless plug for Nitya...but he will play some good stuff...and that picture show's exactly how he's furnished his house!

http://somafm.com/play/sonicuniverse

Sonic Universe: NuJazz + avant-garde EuroJazz. Transcending the world of jazz with experimental takes on tradition.

Music Director / DJ: Nitya

All Roads Lead To the Flesh

2010-02-17T15:33:00.000-08:00

I wrote the following review for the Detroit Metro Times back in 1995, when this CD was first issued.

Since that time "All Roads" had fallen out of print and was only recently reissued.Kip Hanrahan is a personal favorite of mine, since his early efforts like Coup de Tete and Desire Develops an Edge. Having worked for the Jazz composer's co-op, Hanrahan had plenty of contact's with leading jazz musicians and his session's reflect this with many top names performing.
Pretty much all of his work "stands the test of time" and is just as fresh on every listen.

Here's my review:

“All Roads Lead To the Flesh”

Kip Hanrahan

American Clave/Rounder Records

For the initiated, New Yorker Kip Hanrahan is a jazz and world music renaissance man. He is not only a fine percussionist and composer, but a very talented producer and arranger as well, able to bring together disparate collaborators seamlessly to realize a single project. His previously recorded works are more like novels in sound than conventional jazz outings. They’re all conceptually conceived and feature compositions that are stories within stories: they even develop characters. His music resembles no one else’s, though there’s no question as to his influence on more famous sonic auteurs like Hal Wilner.
That said, on “All Roads Are Made Of The Flesh”, Hanrahan abandons his previous methodology to release a collection of short stories that stand on their own, rather than as chapters in an aural novel. As usual, he has assembled a stellar cast of musicians to help him realize his vision: I only wish I were in the audience-they’ve never played in Detroit.
The disc kicks off with “Buddy Bolden’s Blues,” a tribute to the legendary, but never recorded trumpeter who many credit as inventing jazz.

Jack Bruce gives the track a wonderful reading with both his bass and voice, as Allen Toussaint and the late Don Pullen’s piano and organ respectfully give the piece a smoky , stomping New Orleans’s feel.
“The first and Last to Love Me” is a gorgeous version of the track recorded on an earlier, and now sadly out of print, album. It segues beautifully into “The September Dawn”. The band is stripped down with Bruce’s vocals shining on both tracks. As a modal musical interlude gives way to his singing, the effect is smooth, relaxed and resonates with nuance and texture. Here’s where the pace picks up. Percussion and rhythm steer the band into unknown and funkier territory.

The album closes with a gorgeous solo piece by Pullen ( would that he were still with us) and a second instrumental take of “The First and Last to Love Me,” with The late George Adam’s tenor sax in place of Jack Bruce’s vocals. The feel is tender, low-key and provides a fitting, loving tribute to both Pullen and Adams.

“All Roads Lead To the Flesh” is a chronicle of the evolution of Hanrahan’s ideas, and how he transposes them to fit a live setting. How he puts these artists together for tours is amazing. I only hope he sees fit to visit Detroit the next time around. – Jay Dorrance

And here's what wikipedia has to say..(they need an update).

Kip Hanrahan (born December 9, 1954) is an American jazz music impresario, record producer and percussionist. Born to an Irish-Jewish family in the Bronx, New York.

Hanrahan has an unusual role in the albums released under his name, one which he has analogized to that of a film director. He assembles players and materials, combining modern/avant-garde/free jazz figures like Don Pullen and Steve Swallow, Latin jazz players such as Milton Cardona and Horacio "El Negro" Hernandez, and occasionally rock singers like Sting and, most notably, Jack Bruce.

Hanrahan produced a number of significant recordings by the Nuevo Tango master Astor Piazzolla in the last decade of Piazzolla's life, as well as recordings by Latin music figures Jerry Gonzalez, Milton Cardona, and others.

Hanrahan also worked with the poet Ishmael Reed on 3 recordings with the Conjure Ensemble, including the 2006 "Bad Mouth." These side projects were not the only poetry based discs; "Darn It!" from 1994 celebrates the work of Paul Haines.

[edit] Discography

This listing includes recordings released under Hanrahan's name, as well as those released under the name Conjure.

Coup de Tete - recorded 1979-81

Kip Hanrahan, Jerry Gonzalez, Daniel Ponce, Arto Lindsay, Jamaaladeen Tacuma, Anton Fier, Chico Freeman, Carlos Ward, Ignacio Berroa, John Stubblefield, Carla Bley, Teo Macero, Bill Laswell, Billy Bang, Lisa Herman, Nicky Marrero, Byard Lancaster, George Cartwright, Orlando DiGirolamo, Dom Um Romao, Fred Frith, Mike Mantler, Dave Liebman

Desire Develops an Edge - recorded 1982-3

Jack Bruce, Kip Hanrahan, Steve Swallow, Puntilla Orlando Rios, Arto Lindsay, Elysee Pyronneau, Ricky Ford, Ignacio Berroa, Jerry Gonzalez, John Stubblefield, Jamaaladeen Tacuma, Anton Fier, Milton Cardona, Teo Macero, Tiplume Ricardo Franck, Frisner Augustin, Sergio Brandao, John Scofield, Jody Harris, others

Conjure - recorded 1983, released 1985

Taj Mahal, Allen Toussaint, David Murray, Steve Swallow, Carla Bley, Lester Bowie, Kip Hanrahan, Carman Moore, Olu Dara, Jamaaladeen Tacuma, Puntilla, Milton Cardona, Kenny Kirkland, Ejaye Tracey, Don Jay, Jean-Paul Bourelly, Billy Hart, Frisner Augustin, Olufemi Claudette Mitchell, Robert Jason, Molly Farley, Brenda Norton, Elysee Pyronneau, Andy Gonzalez, Peter Scherer, Sal Cuevas, Arto Lindsay

Vertical's Currency - recorded 1984

Jack Bruce, Kip Hanrahan, Steve Swallow, Milton Cardona, David Murray, Arto Lindsay, Ignacio Berroa, Puntilla Orlando Rios, Peter Scherer, Frisner Augustin, Elysee Pyronneau

A Few Short Notes for the End Run (EP) - recorded 1984-5

Jack Bruce, Kip Hanrahan, Milton Cardona, Giovanni Hidalgo, Ignacio Berroa, Andy Gonzalez, Steve Swallow, Allen Toussaint, Clem Clemson, others

Conjure: Cab Calloway Stands in for the Moon - recorded 1987-8, released 1988

Ishmael Reed, Allen Toussaint, Don Pullen, Leo Nocentelli, Steve Swallow, Robbie Ameen, Olu Dara, Eddie Harris, David Murray, Bobby Womack, Clare Bathe, Robert Jason, Fernando Saunders, Grayson Hugh, Milton Cardona, Hamiet Bluiett, Giovanni Hidalgo, Frisner Augustin, Ignacio Berroa, Elysee Pyronneau, Johnny Watkins, Lenny Pickett, Diahnne Abbott, Tennessee Reed, Shaunice Harris

Days and Nights of Blue Luck Inverted - recorded 1988-9, released 1990

Fernando Saunders, Andy Gonzalez, Leo Nocentelli, Giovanni Hidalgo, Jerry Gonzalez, Milton Cardona, Robbie Ameen, Willie Green, Charles Neville, John Stubblefield, Kip Hanrahan, Jack Bruce, Ignacio Berroa, Peter Scherer, Anton Fier, Lew Soloff, Mario Rivera, David Murray, Pablo Ziegler, Alfredo Triff, George Adams, Carmen Lundy

Tenderness - recorded 1988-9, released 1990

Sting, Diahnne Abbott, Carmen Lundy, Lucy Penebaz, Fernando Saunders, Kip Hanrahan, Robbie Ameen, Andy Gonzalez, Giovanni Hidalgo, Leo Nocentelli, Don Pullen, Alfredo Triff, Chocolate Armanteros, Chico Freeman, Milton Cardona, Richie Flores, Ignacio Berroa, Andrew Cyrille, Marvin Smith, Cecilia Engelhardt

Exotica - recorded 1992, released 1993

Jack Bruce, Don Pullen, Robbie Ameen, Alfredo Triff, Leo Nocentelli, JT Lewis, David Sanchez, Ralph Peterson Jr., Anthony Carillo, Richie Flores, Milton Cardona, Lucy Penabaz, Andy Gonzalez, Mario Riviera

Anthology - released 1993

Two disc Compilation

All Roads Are Made of the Flesh - recorded 1984 – 1994, released 1995

Kip Hanrahan, Jack Bruce, Don Pullen, Charles Neville, Carmen Lundy, Allen Toussaint, Leo Nocentelli, Alfredo Triff, Robbie Ameen, JT Lewis, George Adams, Milton Cardona, Anthony Carrillo, Chocolate Armenteros, Dino Saluzzi, Renaud Garcia-Fons, Michael Reisler, Wolfgang Puchnik, Andy Gonzalez, Giovanni Hidalgo, Jerry Gonzalez, Elysee Pyronneau, Steve Swallow

A Thousand Nights and a Night (1 - Red Nights) - recorded 1994-6, released 1996

Don Pullen, Robby Ameen, Carmen Lundy, Charles Neville, Jack Bruce, Brandon Ross, El Negro Horacio Hernandez, Henry Threadgill, Silvana Deluigi, Mike Cain, DD Jackson, Anthony Carrillo, Fernando Saunders, Puntilla Orlando Rios, Milton Cardona, Alfredo Triff, Eric Schenkman, Andy Gonzalez, Steve Swallow, Abraham Rodriguez

A Thousand Nights and a Night (Shadow Nights 1) - released 1998

Don Pullen, Steve Swallow, Robbie Ameen, Carmen Lundy, Charles Neville, Billy Bang, Brandon Ross, El Negro Horacio Hernandez, Henry Threadgill, Mike Cain, Anthony Carrillo, Milton Cardona, Alfredo Triff, Eric Schenkman, Andy Gonzalez

A Thousand Nights and a Night (Shadow Nights 2) - recorded 1994-8

Don Pullen, DD Jackson, JT Lewis, Erica Larsen, Alfredo Triff, Horacio El Negro Hernandez, Robby Ameen, Fernando Saunders, Paoli Mejias, Richie Flores , Anthony Carrillo

Drawn from Memory (Greatest Hits, Or Whatever... Kip on Campus) - 2000

Compilation

original music from the soundtrack to Piñero - recorded 2001, released 2002

Kip Hanrahan, Benjamin Bratt, Jerry Gonzalez, Andy Gonzalez, Chocolate Armanteros, Peter Scherer, Robby Ameen, Puntilla Orlando Rios, Milton Cardona, Richie Flores, Mario Rivera, Edsel Gomez, Lysandro Arias, Fernando Saunders, Yomo Toro, Alfredo Triff, Papo Vasquez, Mauricio Smith, Abraham Rodriguez, Felix Sanabria, Brian Lynch, Carlos Alberto Gonzalez

Conjure: Bad Mouth - recorded 2005, released 2006

Ishmael Reed, David Murray, Kip Hanrahan, Leo Nocentelli, Alvin Youngblood Hart, Fernando Saunders, Anthony Cox, Yosvanni Terry, Pedro Martinez, Billy Bang, Horacio El Negro Hernandez, Robby Ameen, Richie Flores, Dafnis Prieto

"Beautiful Scars" - released 2007

Some links....

http://www.americanclave.com/

http://allmusic.com/cg/amg.dll?p=amg&sql=11:t69fs36ba3pg~T0

http://www.bbc.co.uk/music/release/9j54/

some vids

http://www.youtube.com/watch?v=-r-_-6AbEcc

http://www.youtube.com/watch?v=E8Dp21T8c7c

http://www.youtube.com/watch?v=0eP12wbsdR4

Fresh Talent: Scott Mcgill

2010-02-16T13:05:00.000-08:00

Talent deserving wider recognition guitarist Scott Mcgill

Frankly, I figure if Downbeat can do it why not me!

Its ALL Allan Holdsworth's fault really (hows that for a logic dis-connect). What I am talking about is this...every once in a while a musician comes along with a whole new style or sound, their ideas change (or add) to the musical paradigm and I would argue that Mr. Holdsworth is one of those very musicians.

Back in the late 70's early eighties I used to get in discussions about who gets the credit for the legato "sheets of notes" with accompanying slurring lay-off's so familiar in Holdsworth's playing. Not to mention the bizarre fingerings and speed...it was nuts! My rocker/metal Friends would claim that Eddie Van Halen led the way, I scoffed. I mean certainly Eddies got loads of talent, but he's not Holdsworth.

.

That point made, and now 20+ years down the road there is a whole "holdsworth school". Fairly or unfairly, guitarist's get clumped into this.

Enter Scott Mcgill.

Mcgill does play at times in the holdsworth school..but more like a metal version of Holdsworth's I.O.U. band. Its good. CRUNCHY. Also..I gotta tell you MCGILL STANDS OUT. The trio stuff with Manring et al is great music, you need this. I am just about to spin over to mcgill own site to load up on a couple of his newer releases..since he hooked up with David Torn his playing has taken the great leap forward (sorry Mao).
There's also a trio with percy jones, for some reason the only way to get it is I-tunes (yow) It's nuts. I detest I-tunes...but ...I had to.

Scott, some oddballs (like me) like to actually hold a CD.

Do this now....The download of percy/mcgill is the best thing I have heard all year!

the album...

Scott McGill: Freak Zoid

Scott McGill (Guitars, iGuitar Synth, Roland GR-33, Fretless Guitar on "Seven Zoid"); Ritchie DeCarlo (Drums, Battery 2 Softsynth Percussion, Theremin, Gongs, Vibes, Moog Voyager); Kjell Benner (Fender Bass, EHX Bi Filter, Midi Moog Voyager on "Ginger Canyon"); Dave Kloss (Chapman Stick, Midi Moog Voyager); Special Guest: Percy Jones (Fretless bass on "Anvil Purse").

With the dissolution of McGill Manring Stevens, Scott McGill continues to explore the outer realms of rock and fusion with his new band Freak Zoid. On board is Ritchie DeCarlo on drums and assorted analog keys, Kjell Benner on bass and Dave Kloss on Stick. Percy Jones is the guest bassist on one track. The music has a far more experimental quality than MMS. Freak Zoid buries its roots in improvisation resulting in a more band oriented sound than McGill's previous solo album Awareness. The refinement and restraint is most welcome.

A great guitarist...but where is his music?

2010-02-16T13:01:00.000-08:00

Great Great guitarist...and I can find no links to his music at Amazon.

Philippe Caillat - Fire Brigade

1. Hardtwist (3:35)
2. Invaders (3:59)
3. Space Blues (4:07)
4. Big Ben (4:57)
5. Fire brigade (2:45)
6. Vanzaline (4:25)
7. Récréation (2:35)
8. Marie-Madeleine (3:00)
9. Eros (3:00)

Songs composed and arranged by Philippe Caillat

Philippe Caillat:

electric & acoustic guitar, guitar synthesiser (Arp Avatar) (5), electric bass (7)

Alexander Scheliga:

acoustic bass

Stephan Riemer:

acoustic bass (3 & 4)

Joel Allouche:

drums, percussions

Ulrich Hornberg:

keyboards (1, 2, 5, 6, 8)

Produced by Jaques Andre Martin
Recorded at Cottage Studio, Spenge Germany, September 1982
Engineered by Wigbert Pieper
except (3. & 4.) recorded at Studiop du Village, Montpellier France, April 1982
Engineered by Guy Simon
Mixed at Cottage Studio by Wigbert Pieper & Jacques Andre Martin
Cover Photo: Jacques Andre Martin
Cover Concept: PEF.
Copyright: Editions Musicales Jaques Andre Martin

Triggering a MIDI synthesizer with his guitar, usually a Fender Telecaster, Philippe Caillat takes a harmonious, deeply personal, approach to improvisational jazz. Classically trained and thoroughly schooled in European music, he skillfully weaves a unique blend of classical, jazz, avant-garde, and world music influences. A native of Paris, Caillat was raised in Montpelier in southern France. Residing in Germany for nearly three decades, he has taught at the jazz academy in Dortmund since 1997.
Craig Harris, All Music Guide

2010-02-16T13:00:00.000-08:00

www.michaelshrievesspellbinder.com

I date myself...SANTANA drummer Michael Shrieve has a new live album and it is really really good!

here's some info:

Track listing: Every Step of the Way; Flamingo; Moon Over You; Jungle Strut; Gole Sangem; Inside Four Walls; They Love Me Fifteen Feet Away.

Personnel: Michael Shrieve: drums; Danny Godinez: guitar; Joe Doria: Hammond B-3 organ; John Fricke: trumpet; Farko Dosumov: bass.

Man, I don't Know these guy's but I'll tell you Shrieve know's talent...nice band! Shrieve and company cover some tasty tunes...some Santana...."Moon over you" , A really nice tune from the under appreciated Stilleto project, heck even Arto Tuncboyaciyan's "they love me 15 feet away" ( which is a great tune!)

here's a review from All About Jazz:

Live At Tost Michael Shrieve's Spellbinder | Colorburst Soundfield Records, LLC (2008)

By Douglas Payne

Discuss

Drummer Michael Shrieve was the rhythmic force behind the classic Santana band (1969-74) and the one Carlos Santana credits with introducing the guitarist to the music of Miles Davis and John Coltrane—quite something, since the guitarist has paid homage to both jazz legends many times since. Shrieve went onto to many other gigs that mixed the propulsive fury of rock with the challenging musicianship of jazz, including stints with Stomu Yamashta, the Rolling Stones, Klaus Schulze and others.

Ever the busy session player, Shrieve's name isn't as well known as it ought to be, despite his infrequent solo recordings (the last being some decade-and-a-half ago). That should all change with Michael Shrieve's Spellbinder, an elegant jam band of the first order that mixes rock with jazz in equal and exciting measure. This beautifully conceived quintet takes its name from guitarist Gabor Szabo's tune, which is best known from its brief appearance at the end of Santana's hit, "Black Magic Woman." Shrieve's unit contains trumpeter John Fricke, offering a taste of 70s-era Miles, organist Joe Doria, guitarist Danny Godinez and bassist Farko Dosumov—all fellow Seattle residents. The band has a standing Monday night gig at the Seattle club Tost, where this exceptionally fine performance was recorded during February 2008.

Shrieve offers up some familiarity by reacquainting his audience with his own excellent "Every Step of the Way" and Gene Ammons' "Jungle Strut." While both retain their classic Santana groove, Shrieve gets to show off his young band's intriguing personality by revealing some genuinely exciting playing. Shrieve also revisits his own "Moon Over You" and the unusual "Gole Sangem," a tune he first explored in 1994. Two out-of-the-blue but convincingly appropriate selections surface from bassist Marc Johnson's Right Brain Patrol (JMT, 1993)—"Inside Four Walls" and "They Love Me Fifteen Feet Away."

This disc's highlight, though, is undoubtedly Godinez's beautiful "Flamingo," whose open-ended structure recalls Szabo's Latinesque melodic jam themes (e.g., "A Thousand Times"). Godinez sounds positively inspired and inspiring here and beautifully works in appropriate kudos to George Benson's "Affirmation" as well.

Both Doria and Godinez get the lion's share of solos, which is fine, given their exceptional talent. Organist Doria is an ideal accompanist, crossing the spacey near-free otherworldliness of Larry Young with the strong rock-ish foundation of Gregg Rollie. Guitarist Godinez has quite the career ahead of him, if this disc is any indication. He is a thoughtful and engaging player that pays props to the past (Santana, Larry Coryell, Szabo, Benson, Pat Metheny) while making it clear that he's got something of his own to say. Few organ/guitar/drum groups have been this stimulating since John Abercrombie's association with Dan Wall and Adam Nussbaum.

While Live at Tost is an excellent—if sadly too brief—introduction to this band, it only scratches the surface of what is hoped will be the start of something beautiful (their version of "Spellbinder," which is not heard here, is indeed spellbinding)—a long and well-recorded career for Michael Shrieve's Spellbinder.

it is REALLY good!

you can get it at CD baby or go to Michael Shrieve website.
www.michaelshrieve.com/

MORE SHRIEVE INFO...

Michael Shrieve
From Wikipedia, the free encyclopedia

Michael Shrieve (born July 6, 1949, in San Francisco) is a U.S. drummer, percussionist, and later, an electronic music composer. His name is included on the alumni "Wall of Fame" at John F. Kennedy Middle School in Redwood City, California. He is an alum of Junípero Serra High School.

History

Michael Shrieve is best-known as the drummer in an early lineup of Carlos Santana's band, Santana, and for his performance at the 1969 Woodstock festival, when he was just 20 years old (he turned 20 on July 6 of that year; he was the youngest musician to perform at the festival). He left the original Santana band to pursue solo projects. One little-known but worthy effort was his drumming in the 1976 release of Automatic Man, with guitarist Pat Thrall.

He also played in the band Hagar Schon Aaronson Shrieve (with Sammy Hagar, Neal Schon, and Kenny Aaronson).

In addition, he played drums on (former Supertramp member) Roger Hodgson's first solo album, In the Eye of the Storm.

From 1979 to 1984, he collaborated as a percussionist in Richard Wahnfried, a side project of Klaus Schulze (another drummer turned electronic composer) while recording with Schulze his own first "solo" album of electronic music, Transfer Station Blue, in 1984.

He has also collaborated with David Beal, Andy Summers, Steve Roach, Stomu Yamashta, Jonas Hellborg, Buckethead, Douglas September, and others.

In 2001, he appeared on the Revolution Void album Increase the Dosage.

He currently lives in Seattle, Washington, and plays in his fusion jazz group, Spellbinder, at TōST in Fremont, Seattle, with Danny Godinez, Joe Doria, John Fricke, and Farko Dosumov.

Discography

Drummer

(This is a partial discography.)

bLUE MEANS i HAVE COPIES FOR SALE AT AMAZON

* (1969) with Santana — Santana (drums)
* (1970) with Santana — Abraxas (drums)

* (1971) with Santana — Santana III (drums) * (1972) with Santana — Caravanserai (drums) * (1973) with Santana — Welcome (drums) * (1974) with Santana — Borboletta (drums)
* (1973) with Santana - LOTUS LIVE IN JAPAN * (1973) with Santana/ MCLAUGHLIN -- LOVE DEVOTION SURRENDER
* (1976) with Automatic Man
* (1976) with Go/Stomu Yamashta
* (1979) with Richard Wahnfried — Time Actor (percussion)
* (1981) with Novo Combo — Novo Combo (drums)
* (1981) with Richard Wahnfried — Tonwelle (drums)
* (1982) with Novo Combo — Animation Generation (drums)
* (1984) with Richard Wahnfried — Megatone (percussion)
* (1984) with Hagar Schon Aaronson Shrieve (HSAS) — Through the Fire (drums)
* (1984) with Roger Hodgson — In the Eye of the Storm (drums)
* (1993) with Jonas Hellborg and Buckethead — Octave of the Holy Innocents (drums)
* (1997) with Abraxas Pool — "Abraxas Pool" (drums)
* (2004) with Revolution Void — Increase the Dosage (drums) (one track)

Composer

* (1984) Transfer Station Blue (with Kevin Shrieve & Klaus Schulze, recorded 1979–83)
* (1989) The Big Picture (with David Beal)
* (1989) Stiletto (with Mark Isham, David Torn, Andy Summers, & Terje Gewelt)
* (1989) The Leaving Time (with Steve Roach)
* (1995) Two Doors (with Jonas Hellborg & Shawn Lane)
* (2001) Fascination (with Bill Frisell & Wayne Horvitz)
* (2005) Oracle (with Amon Tobin) Available only on iTunes
* (2006) Drums of Compassion (with Jeff Greinke, Jack DeJohnette, Zakir Hussain, & Airto Moreira)
* (2009) Michael Shrieve's Spellbinder Live at Tost

One Spirit Go for it!

2010-02-16T12:57:00.001-08:00

one spirit go for it
author: jay dorrance

Allright, I have to admit..I'm biased.
I will buy ANYTHING with the Dutch guitarist, Richard Hallebeek. But, I'll tell you One Spirit is a band to be on the lookout for as well.
Their eponymous named 2005 release was a killer eye (ear)opener. I have to admit Sebastiaan Cornelissen and Frans Vollink were unfamiliar names to me and it was the impressive list of "guest" musicians like Randy Brecker and Susan Weinert that got me to purchase their first release.

What a great surprise that CD was! It instantly became one of my favorite releses of 2005. These guys form a monstrous rhythm section and with the addition of long time collaborator Hallebeek they are one of the best electric jazz bands going.
Cornelissen and Vollink both have distinct "voice" and as a fan in particular of bass players ( Jaco, Percy jones) I really like Frans Vollink's fat fretless tone.
"Go for it" nicely avoids the sophomore jinx ( I guess when you take 3-4 years between releases you can save up some good material..jeez guys!)I have waited a long time for this their second effort and it was no letdown.
Anyway, I'm am not going to break down "go for it" track by track, but I will tell you fans of Tribal Tech, Allan Holdsworth or just plain high energy electric jazz should not miss this. Comparing music is just a way to give people a hint of what the music's about..but I'll say this..in a few years I would not be surprised to read a review stating: " These guys sound like One Spirit".
My only complaint: why not a double CD? (unless that increased the wait for another release). I am really hoping that, like many other musicians of late these guys offer a CD baby live release. They have to absolutely kill it live.

Best thing I have heard so far this year. Thanks guys! Money well spent.

http://cdbaby.com/cd/onespirit

Jon Hassell

2010-02-16T12:54:00.000-08:00

Jon Hassell Has a new album!

Ah, this is big news for me...I love hassells music, and I think Marifa Street is a wonderful band!

To that end..I have purchased all of Hassells work as well as Mr. Rick Cox, a frequent contributor to Hassells projects. I highly recommend Mr. Cox's solo atmospherics as well....

I currently have copies of the following for sale at AMAZON.

Sulla Strada (out of print)
The Million Dollar Hotel
Power Spot
Dressing for pleasure
The Surgeon of the night sky..
OST (score) Trespass

25 YEARS AFTER his last ECM recording, the highly-influential Power Spot (recorded in 1983/84), Jon Hassell returns to the label with a new album—issued to coincide with the trumpeter’s first US tour in two decades.

Last night the moon came dropping its clothes in the street takes its title from a line from a 13th century poem by Jalaluddin Rumi:

Last night the moon came dropping its clothes in the street.
I took it as a sign to start singing.
Falling up into the bowl of sky.

The striking, almost surreally-vivid image (in Coleman Barks’ contemporary translation) seems to speak to Hasssell’s aural re-imaginings. His own ‘singing’ opens up new angles of vision, as his very vocal trumpet lines are reframed in works that contrast, combine, or melt together aspects of ancient and hypermodern idioms in a musical meta-language which can embrace sounds from all the compass points, sounds of the city, sounds of the natural world. In the past Hassell’s termed his personal genre Fourth World: by any name inspirational, its implications have registered with pop and rap and jazz artists as well as classical chamber musicians and filmmakers... And purely as an instrumentalist, Hassell’s influence has been widely felt, too. Nils Petter Molvaer , Arve Henriksen and Paolo Fresu are but three ECM-associated trumpeters who acknowledge a debt to the liquid tone and weightless, floating quality of Jon Hassell’s trumpet improvisations, and to his pioneering use of electronics in tandem with his horn.

Hassell describes the music of Last night the moon as “a continuous piece, almost symphonic, with a cinematic construction” and drifting “clouds made out of many motifs”. Core material is drawn from a session at Studios La Buisonne near Avignon in April 2008, with detail added in Los Angeles in November and December. Live recordings from Courtrais, Belgium and London, as well as a remix of a piece originally created for a Wim Wenders movie, are also integrated into the atmospheric, filmic flow, along with short samples snared throughout 2008.

Jon Hassell: “The word ‘montage’ pops out of my memory bank...Not only does it describe the little montages that serve as transitions between longer pieces (themselves montages of motifs that keep reappearing in new contexts) but the music presented here is a montage of the last years of concerts and the changing cast of the group I call Maarifa Street—all musicians who have contributed their personalities—the way an actor does to a film—to this living, morphing process that occasionally gets set down as a ‘record’.”

Jon Hassell was born in Memphis, Tennessee, and grew up with ears alert to divergent aspects of the jazz tradition, one early influence including Maynard Ferguson’s “stratospheric” trumpeting with the Stan Kenton Orchestra. While studying at the Eastman School of Music Hassell became increasingly interested in serial music and more experimental expressions of the new music avant-garde, in the mid-60s travelling to Cologne to study with Karlheinz Stockhausen. Returning to New York in 1967 he met and befriended Terry Riley. Hassell played on Riley’s landmark recording In C, and was introduced by him to La Monte Young with whose Dream House project he toured through the 1970s. An encounter with the music of Indian singer Pandit Pran Nath proved pivotal. Hassell studied extensively with Pran Nath, subsequently incorporating vocal inflections of raga into his trumpet playing, developing a new style for his instrument and his music as a whole. Vernal Equinox (1977) laid down the matrix of the idiosyncratic yet wide-open idiom Hassell has continued to develop and redefine over the last three decades: “My aim was to make a music that was vertically integrated in such a way that at any cross-sectional moment you were not able to pick a single element out as being from a particular country or genre of music.”

In 1986 Brian Eno, a frequent collaborator, would observe that “Jon Hassell is an inventor of new forms of music—of new ideas of what music could be and how it might be made. His work is drawn from his whole cultural experience without fear or prejudice. It is an optimistic, global vision that suggests not only possible musics but possible futures.” An enticing proposal for the most diverse musicians, Hassell’s collaborators over the years have ranged from Peter Gabriel to the Kronos Quartet, Ry Cooder and Bono, and his trumpet performances have featured on recordings with Björk, Baaba Maal, Ibrahim Ferrer, Ani di Franco, David Sylvian, the Talking Heads and many others.

Additionally his playing and/or music has been heard in numerous films including The Last Temptation of Christ, Trespass, Wild Side, Greenwich Mean Time, Angel Eyes, Owning Mahowny, Million Dollar Hotel and more.

Jon Hassell’s albums as a leader are Vernal Equinox (1977), Earthquake Island (1978), Fourth World Vol 1: Possible Musics (1980), Fourth World Vol. 2 : Dream Theory In Malaya (1981), Aka-Darbari-Java / Magic Realism (1983), Power Spot (1986), The Surgeon Of The Nightsky Restores Dead Things By The Power Of Sound (1987), Flash Of The Spirit (1988), City: Works Of Fiction (1990), Dressing For Pleasure (1994), Sulla Strada (1995), The Vertical Collection (1997), Fascinoma (1999), Maarifa Street / Magic Realism 2 (2005), Last Night The Moon Came Dropping Its Clothes In The Street (2009).

Since 2005 he has led the collective Maarifa Street, with whom he will perform on his February 2009 tour. Dates are:

February 5: Columbus, OH (Wexner Center)
February 6: Knoxville, TN (Bijou Theater)
February 8: Philadelphia, PA (World Cafe Live)
February 10: New York, NY (Zankel Hall)
February 12: Minneapolis, MN (Walker Arts Center)
February 13: Los Angeles, CA (Royce Hall)
February 14: Vancouver Jazz Festival (Chan Center for Performing Arts)

http://www.jonhassell.com/

http://en.wikipedia.org/wiki/Jon_Hassell

Jon Hassell
From Wikipedia, the free encyclopedia

Jon Hassell
Born March 22, 1937 (1937-03-22) (age 71)
Memphis, Tennessee, U.S.
Genre(s) World music
Instrument(s) Trumpet

Website www.jonhassell.com

Jon Hassell (born March 22, 1937) is an American trumpet player and composer. He is known for his influence in the world music scene and his unusual electronic manipulation of the trumpet sound.

Life and career

Born in Memphis, Tennessee, Hassell received his Master's degree from the Eastman School of Music in Rochester, New York. During this time he became involved in European serial music, especially the work of Karlheinz Stockhausen, and so after finishing his studies at Eastman, he enrolled in the Cologne Course for New Music for two years (founded and directed by Stockhausen). Hassell returned to the U.S. in 1967, where he met Terry Riley in Buffalo, New York and performed on the first recording of Riley's seminal work In C in 1968. He pursued his PhD in musicology in Buffalo and performed in La Monte Young's "Dream House" (aka Theatre of Eternal Music) in New York City.

On his return to Buffalo in the early 1970s, Hassell was introduced to the music of Indian Pandit Pran Nath, a specialist in the Kiranic style of singing. Hassell, Young, Marian Zazeela (Young's wife) and Riley went together to India to study with Nath. His work with Nath awoke his appetite for world music, and on the album Vernal Equinox, he used his trumpet to imitate the vocal techniques of Nath (treated with various electronic effects) where he stated:

"From 1973 up until then I was totally immersed in playing raga on the trumpet. I wanted the physical dexterity to be able to come into a room and be able to do something that nobody else in the world could do. My aim was to make a music that was vertically integrated in such a way that at any cross-sectional moment you were not able to pick a single element out as being from a particular country or genre of music."

In 1980, he collaborated with Brian Eno on the album Fourth World, Vol. 1: Possible Musics. Hassell's 1981 release, Dream Theory in Malaya, led to a performance at the first World of Music, Arts and Dance (WOMAD) Festival, organized by Peter Gabriel. In the late 1980s, Hassell contributed to Gabriel's Passion: Music for The Last Temptation of Christ, the soundtrack album for Martin Scorsese's film, The Last Temptation of Christ. Hassell and Pete Scaturro composed the electronic theme music for the television show The Practice.

Style

Hassell coined the term "Fourth World" to describe his musical style, as expressed both in his trumpet playing and in his approach to composition. This musical conception combines the philosophy and techniques of minimalism with Asian and African styles, and relies heavily on the use of electronic instruments. Critics of Hassell's style have noted its incorporation of New Age and world music styles, but have also detected the influence of Miles Davis, particularly Davis' use of electronics, modal harmony and understated lyricism.[1] Both on record and during live performances, Hassell makes use of traditional western instruments--keyboards, bass, electric guitar, and percussion--to create modal, hypnotic grooves, over which he plays microtonally-inflected trumpet phrases in the style of Nath's Kiranic vocals.[2]

Jon Hassell
Last night the moon came dropping its clothes in the street

Jon Hassell trumpet, keyboard
Peter Freeman bass, percussion, guitar
Jan Bang live sampling
Jamie Muhoberac keyboard, drums
Rick Cox guitar
Jon Hassell violin
Eivind Aarset guitar
Helge Andreas Norbakken drums
Pete Lockett drums
J. A. Deane live sampling
Steve Shehan percussion

Aurora
Time And Place
Abu Gil
Last Night The Moon Came
Clairvoyance
Courtrais
Scintilla
Northline
Blue Period
Light On Water

Recorded November 2008
ECM 2077

25 years after his highly influential “Power Spot” album, Jon Hassell returns to ECM with his collective Maarifa Street and some spacious Fourth World dub-montage music, his uniquely vocal trumpet sailing forth into mysterious soundscapes. Jon Hassell describes “Last night the moon” as “a continuous piece, almost symphonic, with a cinematic construction” and drifting “clouds made out of many motifs”. Core material is drawn from a session at Studios La Buissonne near Avignon in April 2008, with detail added in Los Angeles in November and December. Live recordings from Courtrais, Belgium and London, as well as a remix of a piece originally created for a Wim Wenders movie, are also integrated into the atmospheric, filmic flow, along with short samples snared throughout 2008.

This album can be ordered in the USA from February 10th and via the ECM webshop from March 20th

ECM Last night the moon came dropping its clothes in the street PAGE

http://www.ecmrecords.com/Catalogue/ECM/2000/2077.php?cat=&we_start=0&acat=Artists%2FHassell+Jon%23%23Jon+Hassell

ECM power spot page

http://www.ecmrecords.com/Catalogue/ECM/1300/1327.php

Paul Schutze

2010-02-16T12:51:00.000-08:00

Paul Schütze music...but the fact is he's got it wired. Go here:

http://www.paulschutze.com/

Besides, I have had albeit limited correspondence with the guy and he's really really nice.

BUY HIS MUSIC.

Paul Schütze
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Paul Schütze (born May 1, 1958) is an Australian artist resident in London. Over thirty years his work has spanned composition, performance, installation, video, printmaking and photography.

Schütze was born in Melbourne, Australia. He spent his childhood painting and drawing but left Caulfield Institute after only two months of an Arts Foundation Course to work in a factory. There he earned the money to buy his first electronic musical equipment. In 1979 he spend several months travelling and ended up in London where he immersed himself in concerts, museums and galleries. Returning to Melbourne he formed seminal improvising group Laughing Hands with Gordon Harvey, Ian Russell and Paul Widdicombe. The group existed in several forms until disbanding in 1982.

Schütze spent the next decade writing scores for films. His first feature soundtrack, The Tale of Ruby Rose (1987), won the Australian Film Institute Award for Best original Music Score[1]. During this period Schütze lectured on film sound at both Swinburne Institute and AFTRS and worked as a film critic both in print and on national radio.

In collaboration with Michael Trudgeon, Anthony Kitchener and Dominic Lowe Schütze curated and featured in Deus Ex Machina, an ambitious exhibition/ publication at Monash University in 1989. This was to be his first sound installation and subsequently his first solo album.

In 1992 Schütze re-located to London during a period of particular fertility in the independent music scene and released nearly thirty albums of original works over the next decade. Schütze contributed writings to The Wire, and performed his music in Europe, Scandinavia and Japan often with regular collaborator Simon Hopkins. In 1996 he formed improvising super-group Phantom City with Bill Laswell, Raoul Björkenheim, Dirk Wachtelaer at its core and Alex Buess, Toshinori Kondo, Lol Coxhill and Jah Wobble as guest collaborators.

In 2000 Schütze was invited to exhibit in Sonic Boom at the Hayward Gallery London by curator David Toop. The same year he received a large commission for a permanent installation work for Cap Gemini and a second for a massive twenty-two screen audio/video work at the Gasometer in Oberhausen, Germany. He also contributed a sound work to James Turrell’s Eclipse event/publication in Cornwall.

In 2002 Schütze began working with Alan Cristea Gallery London. In 2003 his first solo show Vertical Memory opened at ACG. The show included prints, video, sound and a huge wall work in which the whole of Alain Robbe-Grillet’s novel Topology of A Phantom City was rendered as a continuous plane of silver text. In 2004, Stiftelsen 314 in Bergen, Norway mounted his solo show Garden of Instruments. This was the next stage in a large scale project that began in 1997 with the release of Schutze’s spoken architectural opera Second Site and continued with a series of lightboxes for ACG also in 2004. This project which is still ongoing now has its own site.

In 2006 Schütze began to work with Galleria Estiarte in Madrid showing prints, videos and lightboxes. Following Schütze‘s two residencies at Cité des Arts in Paris making photographs, a solo show of photography – Twilight Science – opened in London at Alan Cristea Gallery in May 2008.

An ongoing commission (initiated in 1999) to make a sound work for James Turrell’s Roden Crater has involved several research trips and has now been completed as a five-hour installation piece in Dolby Surround.

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Sean Wayland South Pacific Soul

2010-02-16T12:49:00.000-08:00

Sean Wayland south pacific soul

2002

Seed CD005

"This will hopefully be remembered by someone as my jazz-rock CD."
Sean Wayland

http://www.seanwayland.com/home.html

“Superman plays for keeps” : Sydney Morning Herald CD review

His was a musical family, his father's love of jazz enabled Sean to hear the music of Keith Jarrett, Chick Corea and others as a young child. His father's mother Muriel Cohen was a concert pianist and the first Australian to perform Olivier Messiaen's Catalogue D'Oiseax publicly. To this day Sean is still entranced by Debussy and Messiaen. Perhaps intimidated by living up to his family's talent, Sean chose to study the violin as a child. His interest in the piano increased and as a teenager he fooled around on the instrument. The fact that he was already an accomplished fiddler and had a busy schedule playing with school orchestras etc meant that he had little time to practise piano. In his final year of high school Sean met jazz pianist John Bostock. http://www.johnbostockmusic.com

At the time in Australia it was difficult to find out about jazz and John hipped Sean to the music of Miles Davis, Herbie Hancock and John Coltrane. After school Sean spent a couple of years at University studying Electrical Engineering, but the seed had been sown and he came to realise that his calling in life was to be a musician. Sean studied at the Sydney Conservatorium of Music in 1992 and 1993.

He has had numerous piano teachers including Mike Nock, Roger Frampton, Judy Bailey, Paul Macnamara in Australia. In New York he has studied with Barry Harris, Kevin Hayes , Geoff Keezer, George Colligan, Sam Yahel and Bruce Barth. While at the Conservatorium he received the Jack Chrostowski piano award. In 1993 he was a finalist in the National Jazz Piano Awards at the Wangaratta Festival. In 1999 Sean recieved a grant from the Australia Council to study jazz piano in New York which helped him to relocate there.

Sean has worked for a number of internationally renowned musicians including : David Binney, Madeliene Peyroux, Tim Miller, Ingrid Jensen, Jon Gordon, Dave Smith , Dan Pratt, Ike Sturm , Russ Nolan , Matt Geraghty, The Dangit -Bobbys, Moses PAtrou , Cornell Dupree, Jesse Harris, Sheryl Bailey, Gerald Hayes, Dale Barlow, Justine Clark, Phil Slater , Jackie Orsascky, Steve Hunter, James Muller and Steve Mckenna

01. They All Dance http://cdbaby.com/mp3lofi/wayland3-01.m3u

This is a nice funky intro to Wayland's world. Sweet rhodes funkyness with wordless vocals ala Mark Ledford...we're slidin' right in there.

02. Shaun

Breaks into that fusion funk, got some bite here!

03. Sam Toucan

An interlude, Brief...and darker. Brings to mind Headhunters deep funk.

04. Hans

Wayland tosses more colors into the palette.Guitarist Muller makes a nice funky statement, and Wayland drags out the B-3 and a dollop of seventies "Arp" weirdness!

05. This Is Great http://cdbaby.com/mp3lofi/wayland3-05.m3u

Yeah Baby! Opens with a clean straight piano statement, backed by Brett Hirst's walkin' upright Bass. Its a bit rollickin' with a nod to master Don Pullen. Again, Guitarist Muller "drops in" with a fine, funky solo that would make Cornell Dupree proud!

06. Vibing

Another Brief interlude...With some right on funkafied guitar scratchin' over Waylands synth washes...the tune walks into....

07. Loop

Is a bit of a surprise, It knocks you off that relaxed spot that we've been worked into. Semus Blake, another of Wayland's well chosen talent's (there are MONSTERS all over this date!) takes back in a time warp to that killer sixties sax sound.

08. Vibe Up

Another interlude...Hey we're back, No we're not. Yow! The band is freakin' Trippin'. Distortion, loops and backwards, Waylands breakin out of the box.

09. VB http://cdbaby.com/mp3lofi/wayland3-09.m3u

Now that Wayland has busted in our ears...here comes the real flood of ideas.
VB starts out with Mullers rough, distorted rips...its FAT TIME.On Vb the band cranks out a solid brain twisting 10 minute "jazz-rock" tour de force.Here the band flexes its collective muscles an its a scary thing. Wayland gets a lot from Muller here and he demonstrates why he's a force to be reckoned with.To me VB is an instant classic. It stands up favorable to any of the old "fusion" names and is interesting to boot.

( No offense to Sean ...but this is what got me to originally check out Waylands work. As a "guitar head" when I first heard James Mullers work on Chad Wackerman's
"Legs Eleven" and " Scream", "aping" Allan Holdsworth...just a bit, my jaw dropped! I started chasing any and all releases with Muller present. But Mullers A LOT more than just a Holdsworth "clone". He's a major young talent, who's poised to "break out",a player who's comfortable and capable of playing in just about any context.
That's how I first got a hold of Waylands work and now his become another player who's discography I'm chasing around! Wayland also puts together great bands, The guys got a great eye for up and coming players who because of the nature of Waylands work are flexible and capable of cross-genre playing.

But back to the point...VB is a freakin killer tune! Its become one of those "put in the middle of the Radio show/ or CDR cuts that breakup any doldrums. Its Dark distoreted and dangerous! "A" list shit.

10. Chrisella http://cdbaby.com/mp3lofi/wayland3-10.m3u

Takes us back, its "old school". Again Wayland show's us he's "The Colossus of Rhodes" Wth layers of that rhoads funkyness and bubbling up underneath a swirlin B-3 ala Larry young. I know, I keep dropping names...I can't think of another way to hip you to this "new guy".
Face it, Wayland is one funky white boy! He must have a killer record collection and some fine taste. He knows how to funk, swing and rock out too!
Alvester Garnett, (what a great handle) behind on kit throws down a head-turing poly-rythmic stew, pining down this funky mix. Now I'm a ole' grand-pa born in the fifties. I grew up on the blue note, muse, Impulse! and Mainstream records. This bit of sweetness takes me back to my good old teenage jazz lovin' years!

11. Bunker Spreckles http://cdbaby.com/mp3lofi/wayland3-11.m3u

Where doe's he get these names? Spreckles is back to the "core" group of Wayland's.( Brett Hirst Bass , James Muller Guitar, Nick McBride Drums And Percussion and Wayland.) I don't know if this is a touring band, but they are solid in the pocket. This is a trip! Upbeat, its the new sound from far out! Its an upbeat, hip tempo bounce...trippy funk.

12. Genius http://cdbaby.com/mp3lofi/wayland3-12.m3u

Aw heck, what can I say...when I listen to this tune I think of those classic Sonny Clark dates on blue note from the sixties. I'm in a time warp! Wayland is certifiably funky. Genius sounds like Waylands tribute to all those 60's funk-jazz masters. Its a sweet acoustic piano trio piece, just rolling along and making happy sounds.
Genius is just about that, simple but great. Its fun. Think sweetness and cornbread.

Thanks Sean.

SEED005

SEAN WAYLAND
South Pacific Soul

01. They All Dance
02. Shaun
03. Sam Toucan
04. Hans
05. This Is Great
06. Vibing
07. Loop
08. Vibe Up
09. VB
10. Chrisella
11. Bunker Spreckles
12. Genius

Hamish Stuart Drums 1
Nick McBride Drums And Percussion 1, 2, 3, 5, 6, 8, 9, 11
Greg Gonzales Drums 4
Alvester Garnett Drums 7, 10
Jochen Ruckert Drums 12
Alex Hewetson Bass 1
Brett Hirst Bass 2, 5, 6, 8, 9, 11
Adam Armstrong Bass 3
Matt Penman Bass 12
Arne Hanne Guitar 1
James Muller Guitar 2, 4, 5, 6, 8, 9, 11
Pete Zog Guitar 3
Blaine Whittaker Alto 1
Tim Hopkins Tenor 1
Seamus Blake Tenor 7
Ian MacDonald Organ 10

get it here....http://cdbaby.com/cd/wayland3

Terje Rypdal His first ECM efforts.

2010-02-16T11:20:00.001-08:00

Terje Rypdal

Terje Rypdal guitar, flute
Inger Lise Rypdal voice
Ekkehard Fintl oboe, English horn
Jan Garbarek tenor saxophone, flute, clarinet
Bobo Stenson electric piano
Tom Halversen electric piano
Arild Andersen electric bass, double-bass
Bjørnar Andresen electric bass
Jon Christensen percussion

I've been listening too some of my 70's stuff (as always) and often times I get drawn to my early ECM catalog.
Another thing that I frankly have Too much time for is my Amazon store. (I'd rather have a job to go too) Amazon has that clever software that try's to track where you go and select (and propose to you) thing you might want to buy in the future. So...I get a lot of advertising for groups like Chick Corea's Return to Forever, Mahavishnu Orchestra, Herbie Hancock's Mwandishi (wow, they never pushed this before)
Miles, Heck they even sent me a link to Arve Henriksen.

BUT NO RYPDAL...AND NO EARLY ECM'S

I remember when I was a young, teenage jazz fan, I loved Miles bitches brew and Larry young/Tony Williams. The first time I saw Miles it blew me away! It was too much, went literally over my head.
But I came to love mile's stuff and he became my favorite.
This was when record companies limited what was released, no bonus stuff..or box sets. Just the album and you waited for the next to come out. I was a hendrix nut too, and there was plenty of weird releases and bootlegs...just a lot! But with Miles
No bootlegs, no weird releases. I ran out of stuff, and it seemed like nobody
"brewed" like miles.

Then I discovered the ECM label.The covers were exquisite, just great art and nice concise credits too. The production was cool too, literally! Icy and clean. "The ECM sound"was a selling point all by itself. ECM covered and released some American jazz artist's but what I really enjoyed was hearing european artist's.
My first Non-US artist I really went for was Terje Rypdal, again since I was looking for more "brew" type music I quickly grabbed both Rydal LP's that were out at the time. Rypdal "Terje Rypdal" ECM 1016 and "What Come's after" ECM 1031. Notice, I had Missed Rypdal's first release for over a year.
I think, actually what really grabbed me was Gateway's first release too.
I had seen Abercrombie with Gato barbieri's band and right away knew
he was a favorite!
But, In this period ECM, along with Impulse! Muse, Cobblestone,
was putting out just amazing ground breaking music. See The list I provided.under the review of Rypdals sessions.

Keep It Like That - Tight open's the LP with a funky electric bass beat,
slow and solid, Rypdal joins in and comps choppy electrified licks.
Its a slow burbling brew. Finally Jan Garbarek's burning tenor
takes over with various honks and beeps. Next (briefly)
Bobo Stenson shows off his funky side with a short clavinet/
electric piano solo and finally Terje Rypdal plays a solo
over the entire ensembles sound. Here he shows what the talk
back in 72 (oh..BoB Seger there!) anyway, what guitar heads
(like me) were mumbling about.It aint Bitches Brew..
but its a nice brew all the same.

Rainbow opens very quiet, with Garabreks soprano over and around what
sounds like possibly bowed guitar. Its almost orchestral, yet limited
instrumentation. Rypdal doubles on flute, showing nice
feel for this new instument.

Electric Fantasy Opens quietly as well, with a dreamy feel
Albeit briefly, somehow Ekkehard Fintl, Garbarek and Rypdal manage
to double and make their instruments sound like an orchestra.
Inger Lise Rypdal's voice makes its session debut here,
adding another dreamlike texture, the master Jon Christensen
lays a subtle background on his cymbals as Rypdal and mates create
a sonic palate for Lise's vocals to cover. Just beautiful.
And for my crew, between National Healths Amanda Parson's
and Inger Lise it open up our ears to a new possibility.

Lontano II Is again very quiet, and it was a new thing at the time
to hear a "guitar- hero" who understood the value of space and silence.
Nice tricks by Rypdal here, stretching and bending.

Tough Enough Opens with a rypdal "announcement" that hes going to be heard this time, Its interesting...his tone is almost telecaster-country. As he knocks off riffs,
in the back you can hear a second level of axe-strangulation.
Then it all kicks in, really ala Miles "right-off" I not
even sure Rypdal had heard "right-off, it was released February 24, 1971 in
the United States and probably later in Europe. I just
think good minds work along the same lines.

Recorded August 1971
ECM 1016

Terje Rypdal What Comes After...

Terje Rypdal guitars, flute
Barre Phillips basses
Jon Christensen percussion, organ
Erik Niord Larsen oboe, English horn
Sveinung Hovensjø electric bass

Bend It

Opens with a repeating electric bass line with Rypdal's great tone electric guitars soloing over and around.Clearly, from the start we hear that Mr. Rypdal has been
doing some serious "woodshedding".
His tone and attack have improved greatly since the first release.
"Bend it" comes clearly through the Miles/Mahavishnu filter but Rydal has his own
thing going on.

Yearning features the first extended solo acoustic guitar that I can recall
from rypdal. Its mostly a duet with Erik Niord Larsen's oboe.
Its a delicate interlude and again reminds us that Rypdal (like any good
composer) recognizes the value of "quiet time".

Icing is the music from a dream.Rypdal's touch here is light as is drummer Christensen,who wisely lays off providid bells and a light touch backbeat.Barre Phillips on acoustic bass weave into the mix, which also features
an other worldly oboe, the tune builds to a subdued crescendo then lays off..into..

What Comes After where Rypdals electric guitar is more powerful. He trades off Larsen's oboe while Christensen pushes the combo forward and Hovensjø comes into the mix.The tempo is slow, but with restrained power.Layers of guitars blend off solo's by other members.This, to me is basically early Odyssey music, a taste of where rypdal is moving forward to.

Séjours Opens with bowed bass and oboe, (think hendrix electric church). Here rydal picks up the flute showing off his mixed talents. Sejours is lovely, spacy, storybok music.

Back Of J. Ah yes J. I like to think this is for me. (not!) Barre Phillip and Rypdal play acoustic ( rypdal on spanish guitar) over cymbal washes.Its a laid back ending to a session that shows off many musical ideas.

After listening to "What Comes After" I was left waiting for more. Fortunately Rypdal's
"Whenever I Seem To Be Far Away" and "Odyssey" came fairly soon after, providing
more wonderful sounds to enjoy.

Recorded August 1973
ECM 1031

Here are some other early releases from ECM that I loved.

ECM 1012
Bobo Stenson
Underwear
℗1971 Recorded May 18 & 19, 1971 at the Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

ECM 1015
Jan Garbarek Quintet
SART
℗1971 Recorded April 14 & 15, 1971 at the Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher
Also reissued on CD as part of a box set ECM 2146/48

ECM 1016
Terje Rypdal
℗1971 Recorded August 12 & 13, 1971, Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

ECM 1022
Chick Corea
Return To Forever
℗1972 Recorded February 2 and 3, 1972 at A & R Studios New York City
Engineer: Tony May
Produced by Manfred Eicher

ECM 1024
Gary Burton / Chick Corea
Crystal Silence
℗1973 Recorded November 6, 1972 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher
Also reissued on CD as part of a box set ECM 2036/39

ECM 1028
Paul Motian
Conception Vessel
℗1973 Recorded November 25, 26, 1972 at Butterfly and Sound Ideas Studios, New York
Engineer: Kurt ... / George Klabin
Produced by Manfred Eicher
This album is part of the ECM Touchstones series.

ECM 1031
Terje Rypdal
What Comes After
℗1974 Recorded August 7 and 8, 1973 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

ECM 1039
Dave Liebman
Lookout Farm
℗1974 Recorded October 10 & 11, 1973
Generation Sound Studios
Engineer: Tony May
Produced by Manfred Eicher

ECM 1042
Eberhard Weber

When I first heard Weber..I was AMAZED!
The Colours of Chloë
℗1973 Recorded March 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: K. Rapp, M. Wieland
Produced by Manfred Eicher

ECM 1043
Bennie Maupin

really, More Mwandishi ( a very good thing)

The Jewel In The Lotus
℗1974 Recorded March 1974, Record Plant, New York
Engineer: Dennis Ferrante
Produced by Manfred Eicher
Remastered by Manfred Eicher with Jan Erik Kongshaug in Oslo in February 2007.
Released on CD by ECM in August 2007.

ECM 1044
Julian Priester Pepo Mtoto

really, More Mwandishi
Love, Love
℗1974 Recorded June 28 & September 12, 1973 at Different Fur Music, San Francisco
Engineer: John Viera and Dane Butcher
Produced by Julian Priester and Pat Gleeson

ECM 1045
Terje Rypdal

Just wonderful music

Whenever I Seem To Be Far Away
?1974 Recorded 1974 in Oslo and Ludwigsburg
Engineer: Kongshaug and Wieland
Produced by Manfred Eicher
Also reissued on CD as part of a box set ECM 2136/39

ECM 1046
Dave Liebman
Drum Ode
?1975 Recorded May 1974, Record Plant, New York
Engineer: Jay Messina
Produced by Manfred Eicher
Available as a digital download from Amazon.com.

ECM 1047
John Abercrombie

Here is Abercrombie LET LOOSE!
Timeless
?1975 Recorded June 11 & 12, 1974, Generation Sound Studios, New York
Engineer: Tony May, Jan Erik Kongshaug
Produced by Manfred Eicher

ECM 1048
Paul Motian
Tribute
?1975 Recorded May 1974, Generation Sound Studios, New York
Engineer: Tony May, Martin Wieland
Produced by Manfred Eicher

ECM 1050
Keith Jarrett
Belonging
?1974 Recorded April 24 and 25, 1974 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

Released in Japan as UCCU-5213

ECM 1051
Gary Burton Quintet w/ Eberhard Weber

What a great band
Ring
?1974 Recorded July 23 and 24, 1974 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher

ECM 1054
Richard Beirach
Eon
?1975 Recorded November 1974 at Generation Sound Studios, New York
Engineer: Tony May
Produced by Manfred Eicher

ECM 1057
Bill Connors
Theme To The Gaurdian
?1975 Recorded November 1974 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

ECM 1059
Arild Andersen
Clouds In My Head

My first taste of this great bassist
?1975 Recorded February 1975 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

ECM 1060
Ralph Towner
Solstice
?1975 Recorded December 1974 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

ECM 1061
John Abercrombie / David Holland / Jack DeJohnette

Incredible, a desert island disk!
Gateway
Recorded March 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher

ECM 1062
Collin Walcott
Cloud Dance

Abercrombie is all over this!! A wonderful session.
Recorded March 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher

ECM 1063
Enrico Rava
The Pilgrim And The Stars

a great session...where I first heard Ravas playing...Abercrombie is all over this!!

Recorded June 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher
This album is part of the ECM Touchstones series.

Khabu Doug Young

2010-02-15T23:01:00.000-08:00

Russian Dragon Biographies

Art Lande

Khabu Doug Young

Dwight Killian

Mark Miller

Bruce Williamson

Shane Endsley

Peter Sommer

Jacek Kochan

2010-02-15T22:28:00.000-08:00

http://www.jacekkochan.com/

Jacek Kochan
From Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Jacek_Kochan

Jacek Kochan is a Polish born drummer, composer, arranger and music producer. After having started his adventures in music in Poland in the seventies he moved in the early eighties first to New York and then to Canada. There he worked with among many others Michel Donato, Karen Young, Andrew Leroux, Yannick Rieu, Oliver Jones, Jean-Pierre Zanella, Michel Cusson, John Abercrombie, Jerry Bergonzi, Pat Labarbera and Kenny Wheeler[citation needed].

In 1995 he returned to Europe where he continues to compose, play, tour and record music with artists like Dave Liebman, Greg Osby, Marc Copland, Gary Thomas, Joey Calderazzo, Palle Mikkelborg and Eddie Henderson. Kochan has released several albums as a leader[citation needed]. Among those are "One eyed horse" (2004) and "Yearning" (2006).

http://www.polishjazz.com/pjn/profiles/kochan.htm

Jacek Kochan is a monster drummer.

Born in Poland, he has been active in the musical scenes of Poland, USA, and Canada since the late 1970s. He is also an arranger, imaginative composer and music producer, but most of all - a superior drummer. His very distinctive modern drumming style is jam-packed and full of rhythmical gradations with stylistic references from the whole history of jazz. He is fully aware of versatile jazz and contemporary music traditions, but at the same time is completely immersed in contemporary fusion, funk, electronic and club beats. He is also very fluent in the language of free jazz, but in contrary to many others modern European drummers, he has no complex of avant-guard. He is a master of sound sampling, and has an exceptional gift of time and style. His smart and intelligent music is filled with nuances, full of space, with layers of acoustic and electronic sounds, and complex textures. As a drummer he does not over-emphasize the role of his instrument, but in contrary he focuses on collective sound, melodies, adventurous arrangements, original harmonies and rhythms.

Kochan's astonishing improvisational creativity makes him one of the most highly regarded and in-demand drummers on the Polish and European jazz scenes. His music engages the listeners, keeps them interested, sometimes puzzled, but always longing for more. Furthermore, Kochan excels in a recording studio environment, where he is able to masterfully utilize many wonders of the modern recording technologies, and at the same time able to restrain himself from the traps of artificial apparatus.

During the last decades, Kochan has played with many of the most important figures of American and European jazz. The list is too long to quote, but he is primarily an accomplished leader of a variety of his own bands. As a leader Kochan continuously encourages other band members to express their artistic creativity, and at the same time, he stays in charge of the band's musical direction and style, always leaving no doubt that the final creative output is his own.
Biography:

Jacek Kochan, composer, arranger, producer and drummer begun his adventure with music in seventies.

In early 80-ties he moved to New York. There he have played and recorded with jazz, funk and r&b bands and studied among the others.with Jaco Pastorius, Mike Clark, Robbie Gonzales.

By the mid 80's, Jacek moved to Montreal, where he further expanded his musical lexicon to include writing for choirs and orchestra (Tudor Singers, Repercussion) as well as playing and recording ethnic music (latin , african , balkan). There he worked with Michel Donato, Karen Young, Andrew Leroux, Yannick Rieu, Oliver Jones, Jean-Pierrre Zanella, Michel Cusson, Katleen Dyson, Helmut Lipsky, Lazaro Saucedo, Geoff Lapp, Johnny Scott and many others, perfoming at the clubs and jazz festivals.

In 1990 , after moving to Toronto, he started to work as a leader and sideman in countless live and recording projects with artists like John Abercrombie, Jerry Bergonzi, Pat Labarbera, Kenny Wheeler, Don Thompson, Mike Murley, Neil Swainson, Reggie Schwager, Lorne Lofsky, Bernie Senensky, John MacLeod, Dave Restivo and Brian Dickinson.

In 1995 he returned to Europe where he continues to compose, play, tour and record music with artists like Dave Liebman, Greg Osby, Marc Copland, Gary Thomas, Joey Calderazzo, Palle Mikkelborg, Eddie Henderson, Dave Tronzo, Briggan Krauss, Cuong Vu, Eric Vloeimans, Lars Danielsson, Dave Fiuczynski, Bo Stief, Christian Spering, Michel Benita, Furio DiCastri, Franz Hautzinger, Klaus Dickbauer , Eddie Schuller, Uchihashi Kazuhisa, Axel Dorner, Ernesto Molinari, Francois Corneloup, Krzysztof Knittel, Skerik, Tomas Stanko, Zbigniew Namyslowski, Adam Pieronczyk, Piotr Wojtasik, Assif Tsahar, Tomasz Szukalski, Maciej Sikala and Piotr Baron.

Jacek Kochan ...... Double Life of a Chair (Mikkelborg)

Polish drum wiz, groove-king and multi-bandleader has upwards of a dozen discs out, each with different personnel from around the world, as well as some of downtown's best (Tronzo & Krauss here). Jacek seems to dig trumpet players and has worked with Kenny Wheeler, Cuong Vu, Eric Vloeimans, Franz Hautzinger and here he uses ECM great Palle Mikkelborg. This disc features a fine seven-piece band, the largest assemblage Jacek has recorded so far. Jacek works his wonders setting up sly, spacey, somewhat funky grooves that players can add their tones and colors to and solo on occasion. Often these slamming grooves push the soloists to come up with something different than what they are use to in their own situations. With so many fine musicians Jacek often selects melodic patterns that violin and accordion or the guitar and sax can add their harmonies to. Both Tronzo and Briggan Krause contribute one short piece each, mainly a solo interlude. On a couple of tracks Jacek sets up a quiet, spacious, slow groove so that Palle's muted trumpet and Tronzo's ultra subtle guitar can float on top. Rather than just set up some all-star jam sessions, Jacek works out each piece in advance so that the groove and background textures or loops provide a different challenge on each piece. I find Jacek Kochan to be more consistently successful than Nils Petter Molvaer who often provides a similar set-up, yet his results I find often less-than-engaging.

I just got hip to Polish drum-king Kochen in the last year or so, Actually I had an earlier CD of his "Corporate Highlanders" but it just had not registered that this guy would be a monster writer and bandleader.
Kochen has put out in the last few years a couple dates that are on my "heavy rotation" list....

JACEK KOCHAN:
DOUBLE LIFE OF A CHAIR
GOWI RECORDS, CDG 55(CD)
(P)(C)2002 GOWI RECORDS, POLAND
RELEASED: 2002, POLAND
J-ISSUED: BOMBA RECORDS, BOM22162(CD)
RELEASED: 2002, JAPAN

CREDITS (productions) :
All arrangements by Jacek Kochan
Produced by Jacek Kochan; Executive Producer: Zdzislaw Gogulski
Recorded by Rene Cambony at Grapehouse, Copenhagen,
Tomek Dukszta at Chrost Studio, Waeszawa,
Jacek Gawlowski at Q-Sound, Waeszawa, Norbert Blacha at Studio B1, Gliwice
Mixed and mastered at Grapehouse by Rene Cambony and Jacek Kochan
Design and original art by Marta Kochan
Jacek Kochan plays Sabian Cymbals

CREDITS (musicians) :

Jacek Kochan : drums, bass, keyboards, loops, sampler
Palle Mikkelborg : trumpet
Dave Tronzo : guitar
Briggan Krauss : alto saxophone
Anthony Alexander : acoustic piano, electric piano
Henryk Gembalski : violin
Slawek Jaskulke : accordion

TRACKS (total time 57:45) :
1. Alberta (8:34) [Jacek Kochan]
2. Momentations (1:31) [David Tronzo]
3. Indiano (5:51) [Jacek Kochan]
4. What About Them Penguins On Hudson Pkwy (4:04) [Jacek Kochan]
5. Tjame (5:39) [Jacek Kochan]
6. El Toro (7:13) [Jacek Kochan]
7. WHat's Left (3:25) [Jacek Kochan]
8. Gash (4:46) [Jacek Kochan]
9. Day In Apparatus (:55) [Briggan Krauss]
10. Corporate Highlanders (5:59) [Jacek Kochan]
11. Kowloon (7:31) [Jacek Kochan]
12. If You Went That Far (1:42) [Jacek Kochan]

Kochen's "Double Life of a Chair" features one of my all-time favorite players The underrated danish trumpet Monster Palle Mikkelborg. Now, I can go on about Palle Mikkelborg but suffice to say if you dig the things Nels Petter Molvaer, Erik Truffaz and Jon Hassell are doing some of the sounds are due to this master!
"Chair" also features a killer varied cast (see above) with to me the big surprise is slide player Dave Tronzo playing at times what for him is a pretty straight guitar.
Alberta the sessions opener features Mikkelborgs muted sounds. Its beautiful, dreamy "fourth world" stuff with electronic weirdness adding tension.
Momentations, is an interlude with Tronzo's slide floating in space...Indiano is back to the ensemble, dark and foreboding but with a funky thang. Can you get with some Laswell?
Other highlights include Gash with Briggan Krauss's ripping sax over "space-age" sounds!
The for-mentioned Ms Krauss kicks in with a composition "Day In Apparatus" which is melded into Kochen's composition "Corporate Highlanders". The re-working is funky and harsh, with tripped out background electronics and a twisted string section. Kochen even add's accordion to the mix...its kitchen sink time and it works well.
Kowloon brings us back to earth, with the sound at time similar to Molvaers "Khmer" but there's more here. A whole different flavor is added with violins (real one's!) just texture here.
If You Went That Far..closes the set, and it ask's a good question...ripping ripping ripping. Jay D.

"New Expensive head"
Bomba Records BOM 22177, GOWI Records CDG 58

Jacek Kochan - drums, bass, keys, samplers, loops,
Cuong Vu - trumpet, trumpet fxs,
Skerik - tenor sax, sax fxs,
Eivind Aarset - guitar, guitar fxs

1. More (Kochan)
2. Part Time Vip (Kochan)
3. New Expensive Head (Kochan)
4. Less (Kochan)
5. Nott: Chain of Being (Kochan)
6. Lai-sien-kee (Kochan)
7. Mo Bu (Kochan)
8. Three Dollars Wiser (Kochan)
9. Faast (Kochan)
10. Scout's Inamorata (Kochan)

New Expensive head opens with a bang....More is more, as with Kochen's 02 release, "Double Life of a Chair" you can tell that Kochens been listening to the ground breaking Norwegian trumpeter Nel Petter Molvaer. In fact for "New Expensive head" Kochan
has added Molvaers right-hand man Eivind Aarset to bring his signature sound to the project.
But that's not to say Kochen merely "apes" molvaer's sound...far from it. Kochan is way further out than Molvaer, a somewhat more "difficult listen at times. As with his earlier project "chair" Kochan has brought in a Reed player with a fat, full ripping sound.
On Head its the up and coming Skerik, who clearly has been listening to late period Coltrane as well as Pharoah and Ayler.
Its an interesting mix with an avant ripping sax over layers of electronics.
This is definitely one of my favorites of late. Jay D.

some vid links....

http://www.youtube.com/watch?v=ww8bI-NuRT8

http://www.youtube.com/watch?v=OaXHi_ZLaAA

http://www.youtube.com/watch?v=l0XwzKxiffY

http://www.youtube.com/watch?v=ddUk80lxCis

http://www.youtube.com/watch?v=WDrpOmu8cEQ

DAVID IS TO BE RETURNED TO ITALY ( a Joke)

2010-02-15T22:25:00.001-08:00

To the dismay of his sponsors Michelangelo's "David" will be returning to Italy after a year in the United States.

Here what it is

2010-02-15T21:07:00.000-08:00

The deal is this...I want this blog to be about music that you just don't hear enough about.

Its going to be reviews, links to artist's sites, links to vid's or samples on the web...and the occasional RANT.

Whatevers next

Yoron Isreal

a letter

David torns new album..........

just plain lucky

Monday, January 16, 2012

10 reasons the U.S. is no longer the land of the free (Washington Post OUTLOOK)

Mark Nodwell Nemesis review

Asaf Sirkis Great new players.... Tassos piliotopoulos

Khabu Doug Youg (a slight return)

Khabu Doug Young

Russian Dragon Biographies

Art Lande

Khabu Doug Young

Dwight Killian

Mark Miller

Bruce Williamson

Shane Endsley

Peter Sommer

Kauai eden tours

Interview with Richard Hallebeek

GMO's. What are we in for.....

Killer guitarist richard hallebeek

Tim Miller hook-ups

Major Talent: Tim Miller

Allan Holdsworth With Terry Bozzio, Tony Levin & Pat Mastellotto

Soma FM

Sonic Universe: NuJazz + avant-garde EuroJazz. Transcending the world of jazz with experimental takes on tradition.

All Roads Lead To the Flesh

[edit] Discography

Fresh Talent: Scott Mcgill

A great guitarist...but where is his music?

One Spirit Go for it!

Jon Hassell

Paul Schutze

third site

Site Anubis

Sean Wayland South Pacific Soul

Terje Rypdal His first ECM efforts.

Khabu Doug Young

Russian Dragon Biographies

Art Lande

Khabu Doug Young

Dwight Killian

Mark Miller

Bruce Williamson

Shane Endsley

Peter Sommer

Jacek Kochan

DAVID IS TO BE RETURNED TO ITALY ( a Joke)

Here what it is