12 09 2007

RIP Zawinul






Joe Zawinul

Widely influential jazz musician and composer who introduced world music and electronic keyboards to the genre

Immediately recognisable with his col-ourful woollen hat, Zapata moustache and huge sideburns, Joe Zawinul was a vivid and individual musical personality who wrote some of the best-known standard tunes in jazz and pioneered the use of electronic keyboards.

As a member of Cannonball Adderley’s band in the 1960s he composed their best-known piece, the Grammy-winning Mercy, Mercy, Mercy.As a colleague of Miles Davis in 1969, he wrote the title track for the seminal fusion album In a Silent Way, and in addition to the 1976 disco hit Birdland he also wrote a sizeable proportion of the remaining repertoire for the band Weather Report, which he coled with Wayne Shorter. More recently his Zawinul Syndicate band fused elements of world music into jazz, using keyboard samples and a range of Native North American, African, Asian and Latin American musicians.

Josef Erich Zawinul was born in 1932 in Vienna, where he attended the music conservatory and played his first professional engagements as a jazz and dance band musician, before moving on swiftly to studio work and broadcasting. For a time he was the house pianist for Polydor records, and worked with his fellow countrymen Friedrich Gulda and Hans Koller.

But postwar Austria was not the place to make a reputation as an international jazz player, and when Zawinul won a scholarship to the Berklee School of Music in Boston in 1959, he took the opportunity to emigrate to the US, and seek his fortune there.

His time at Berklee was short, because he swiftly landed the job as the pianist in Maynard Ferguson’s powerhouse big band, and opted to go on the road with this dramatic and exciting group, which featured its leader’s flamboyant trumpet and the saxophone of the young tenorist Wayne Shorter, who was to become a lifelong associate of Zawinul. Initially, however, their paths diverged, as Shorter went off to join Art Blakey, while Zawinul became the accompanist to the singer Dinah Washington, before joining the alto saxophonist Cannonball Adderley’s band in 1961.

This was the group that made his name, both for his forceful gospel-inspired piano playing and for his capacity to write chart successes for Adderley and his cornet-playing brother Nat, such as Mercy, Mercy, Mercy and the later Country Preacher. Towards the end of the 1960s Zawinul left Adderley and began working with Miles Davis, in particular contributing to the studio albums In a Silent Way and Bitches Brewin which Davis charted out new territory in the hinterland between jazz and rock.

A significant element of this was Zawinul’s use of electronic keyboards. He had begun to use the Fender Rhodes and Wurlitzer electric pianos in Adderley’s band, altering the ensemble sound to something which was perceived at the time as less dated and hidebound by tradition than the acoustic piano.

In due course, and beginning with Davis, Zawinul added a range of synthesizers to the instruments he used, and by the time he formed Weather Report with Shorter at the end of 1970, the idea of using electronic samples as additional tone colours was an essential ingredient of his style. Few musicians in jazz have been as influential in determining the sound of an entire branch of the music, and Zawinul’s command of the ARP, Oberheim and Prophet synthesizers set the standard for jazz-rock fusion throughout the 1970s.

He and Shorter jointly led Weather Report until 1985. Over the years such players as the bassists Miroslav Vitous and Jaco Pastorius, the drummers Alphonse Mouzin and Peter Erskine and the percussionists Alex Acuña and Airto Moreira passed through the lineup, and the band made a series of extremely influential recordings, including I Sing the Body Electric, Heavy Weatherand Black Market.Several critics have identified this band as changing the way jazz musicians improvise, because of the way soloists were made to function within the context of the overall ensemble, reexamining notions of collective improvisation that to some extent had been dormant since the 1920s.

Zawinul’s finest playing dates from the 1970s period of Weather Report, with an ability to infuse performances with boundless energy and drive – the finest example of which was the Birdland opening with synthesized bass notes that introduce stabbing, urgent keyboard phrases that underpin the repetitive main theme.

In later years the energy was sometimes quick to subside, and somewhat theatrical effects took over from genuine musical substance. This was particularly true of his most recent band Zawinul Syndicate. The Times critic wrote of their appearance at Ronnie Scott’s in 2002 that it was like “a latterday Weather Report without the tunes. Most numbers involve setting up a heavy groove from drummer Paco Sery, guitarist Amit Chatterjee and bassist Etienne Mbappe, decorating it with percussion and wordless vocals from Sabine Kabongo, and then waiting for Zawinul to drop in thunderous riffs or ethnic samples from his battery of keyboards.”

Such internationalism was a Syndicate hallmark, but too often it lacked the dash of inspiration that had made Weather Report a cut above the fusion standard.

More recently Zawinul had once more been active in his native Austria, receiving several awards for his services to jazz, and opening a club in Vienna. There he recorded his most successful recent album, Brown Street, a collaboration with the WDR Big Band, revisiting several of his famous compositions with considerable verve.

Joe Zawinul, jazz keyboard player, bandleader and composer, was born on July 7, 1932. He died of cancer on September 11, 2007, aged 75

From Times online

11 09 2007
11 09 2007


10 09 2007


06 09 2007

book ads of the ages



And RIP Pava!

05 09 2007

Nader Sadek


Nader Sadek's 'The Faceless' Joins Islamic Imagery, Death Metal in
Multi-Media Installation at Michael Steinberg Fine Art

New York, NY – Egyptian artist Nader Sadek's multimedia installation 'The Faceless' opens September 6 at Michael Steinberg Fine Art in New York's Chelsea district. Sadek's uniquely installed drawings hyperbolically juxtapose the iconographies of Death Metal and Middle Eastern fundamentalism, which outsiders often associate with darkness, moon worship, and anti-Christian fervor. 'The Faceless' startles the audience into rethinking connections between these two frequently misunderstood and vilified cultures. Sadek invited well-known Death Metal and Arabic musicians Steve Tucker (formerly of Morbid Angel), Trym (Emperor, Zyklon), Alex Skolnick (Testament), and Ralph Santolla (Obituary, formerly of Deicide, formerly of Death), as well as Middle Eastern music legend Omar Faruk Tekbilek, Miles Jay (formerly of Weird Al, Fathy Salama's Orchestra), Liron Peled (of Raquy and the Cavemen) and Raquy Danziger to contribute to "The Faceless."

These musicians worked with Sadek to produce a cacophonous noise experiment moving in and out of independently conceived Death Metal and Arabic music tracks that provide the sonic component to the multi-media installation. Having grown up a Death Metal fan in Egypt, Sadek works from the knowledge that the Egyptian state perceived both Death Metal and religious fundamentalism as threats to its power and legitimacy: Death Metal rebels against religious and political hypocrisy; piety rebels against a bureaucratic, commercialized, and godless world. Through sound, image, and space, 'The Faceless' mingles these cultures in thoughtful, frightening, and uncanny ways.

Says Sadek: "For a while now, I've been interested in exploring what different cultures perceive of as extreme. 'The Faceless' grows out of years of walking the crowded streets of Downtown Cairo dressed as a full-on death metal fan (i.e., long black hair, long-sleeve Morbid Angel/Deicide t-shirts, and an overall grungy look). Then, in a sort of twisted reversal, I decided to walk the streets of New York's Times Square in the black garb of a fully veiled woman. The intense reactions I got in each case confirmed for me the potential of this project. Those experiences inspired me to channel the popular paranoid fantasy in which the fully veiled woman is wrought from a dark death metal world, full of serpents, skulls, demons and dark mountains. I hope that by reflecting back to the audience their paranoid fantasies, which totally oversimplify the reality of Middle Eastern and death metal culture, that my work will get them to question their own prejudices and sense of the extreme."

'The Faceless,' multimedia installation by Nader
Sadek. Michael Steinberg Fine Art, 526 West 26th Street, Suite 215, New York, NY. Sep 6- 25.

05 09 2007







03 09 2007



TROUM is proud to be a part of the forthcoming "PRATSAYANA TOUR" of the legendary US experimental
projects VOICE OF EYE (their return after more than 10 years!!) and ASIA NOVA (with the notorious Mr. Ure Thrall)!!

13. September: BREMEN, Germany: Spedition www.ga-bremen.de
19. Sept.: LILLE, France: Cafe Rumeur www.larumeurlille.com
20. Sept.: FRANKFURT AM MAIN, Germany : Tanzhaus West www.tanzhaus-west.de
23. Sept.: COLOGNE, Germany: Stadtgarten www.stadtgarten.de
for venue adress details & any last minute changes & additions please watch www.myspace.com/troum !

TROUM will also do collaborative studio-recordings in between the shows with both projects, and maybe an additional live-impro set at the shows!
So come on, drop out and drone your mind free at an evening of transcendental sounds !!

Please spread the dates, thank you !!

new Troum CD out - RELEASE INFO:

AIWS is the first full-length cd release from Troum since 2003. It covers studio-recordings composed from 2002-2005.
These musicians have compiled some of their most favorable pieces through the years to be placed on this release. Presenting nine analogue(4&8 track) recorded compositions that lead the listener through vast feelings of beautifully deep melancholic and hypnotic states of mind. Composed with guitar-drones and harmonic phrases that are processed in various ways creating an atmosphere of the sublime and emotional meditative states that transcend listener to immerse within themselves.
Ingredients: Sufi-songs, old vinyl-crackles, acoustic & e-guitars, e-bow, e-bass, voice & whisperings, accordion & flute. Stunning photography & design work by Alan McClelland(Eye.lyft). One of the most emotional and profound Troum releases to date now available on Transgredient Records.
Dedicated to Eternity.

drone records


now available from Drone Records and any good mailorder or shop for experimental vibes !

TROUM - "NARGIS" 7" & T-Shirt on the new Berlin-based cult label VIVA HATE RECORDS ! www.vivahaterecords.com

"These are dreams, dreamt by dreamers
who are awake"


TROUM contact:
for current live-dates, best to check :
mail adress:
BarakaH / S. Knappe
Celler Str. 33
28205 Bremen

03 09 2007

ATTN OZZIES... KTL vs OZ September 07

Maximum Arousal & Stomp present:

Stephen O’Malley
Peter Rehberg

Sun Sept 16
@ The Bakery
Perth 233 James St Northbridge, Perth
Info: www.artrage.com.au/bakery, www.beap.org

Tue Sept 18
@ The Toff In Town
Level 2, 252 Swanston St, Melbourne
Limited seats available!
Tickets available from Metropolis, Polyester, Missing Link, Corner Box Office
+ Defektro (Japan)
Info: www.thetoffintown.com, www.missinglink.net.au

Thu Sept 20
@ Factory Theatre
105 Victoria Road, Enmore, Sydney
Tickets available online from Moshtix
+ Defektro (Japan), Wog,
Justice Yeldham &
His Dynamic Ribbon Device
Info: www.moshtix.com.au, www.factorytheatre.com.au

Fri Sept 21
@ The Judith Wright Centre
420 Brunswick St, Fortitude Valley, Brisbane
Info: www.room40.org, www.jwcoca.qld.gov.au

Hot on the heels of the recent mindblowing SUNN O)))/BORIS Australian tour, Maximum Arousal and Stomp are proud to present KTL, a threatening new collaboration taking in the parallel worlds of Extreme Computer Music and Black Metal.

KTL is Stephen O’Malley (USA), guitarist of SUNN O))), Khanate and Peter Rehberg (Vienna, Austria) aka PITA, head honcho of the hugely influential EDITIONS MEGO label and one of world's most important electronic musicians.

Be prepared for an evening of blackened low-end psychedelics and total aural disorientation... not to be missed!!!


Thanks for reading.

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