Lets hear it for the new Castro and Nader entering the picture.
| vhf111 cover sample | 24 March 2008 | |
| Delicious!
Lets hear it for the new Castro and Nader entering the picture. | ||
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| More Galàs | 23 March 2008 | |
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| RIP TEO | 22 March 2008 | |
| Teo Macero, 82, Record Producer, Dies
By BEN RATLIFF Published: February 22, 2008 Teo Macero, a record producer, composer and saxophonist most famous for his role in producing a series of albums by Miles Davis in the late 1960s and early 1970s, including editing that almost amounted to creating compositions after the recordings, died on Tuesday in Riverhead, N.Y. He was 82 and lived in Quogue, N.Y. His death followed a long illness, his stepdaughter, Suzie Lightbourn, said. Helping to build Miles Davis albums like “Bitches Brew,” “In a Silent Way” and “Get Up With It,” Mr. Macero (pronounced TEE-oh mah-SEH-roh) used techniques partly inspired by composers like Edgard Varèse, who had been using tape-editing and electronic effects to help shape the music. Such techniques were then new to jazz and have largely remained separate from it since. But the electric-jazz albums he helped Davis create — especially “Bitches Brew,” which remains one of the best-selling albums by a jazz artist — have deeper echoes in almost 40 years of experimental pop, like work by Can, Brian Eno and Radiohead. Davis’s routine in the late 1960s was to record a lot of music in the studio with a band, much of it improvised and based on themes and even mere chords that he would introduce on the spot. Later Mr. Macero, with Davis’s help, would splice together vamps and bits and pieces of improvisation. For example, Mr. Macero isolated a little melodic improvisation Davis played on the trumpet for “Shhh/Peaceful” on “In a Silent Way” and used it as the theme, placing it at the beginning and the end of the piece. Even live recordings he sometimes treated as drafts; the first track of Davis’s “Live at Fillmore East,” from 1970, contains a snippet pasted in from a different song. Mr. Macero strongly believed that the finished versions of Davis’s LPs, with all their intricate splices and sequencing — done on tape with a razor blade, in the days before digital editing — were the work of art, the entire point of the exercise. He opposed the current practice of releasing boxed sets that include all the material recorded in the studio, including alternate and unreleased takes. Mr. Macero was not involved in Columbia’s extensive reissuing of Davis’s work for the label, in lavish boxed sets from the mid-’90s until last year. Attilio Joseph Macero was born and raised in Glens Falls, N.Y. He served in the Navy, then moved to New York in 1948 to attend the Juilliard School of Music, where he studied with the composer Henry Brant. In 1953 he became involved with Charles Mingus in the cooperative organization called the Jazz Composers Workshop; he played in Mingus’s other groups and put out his own records on Debut Records, the label founded by Mingus and Max Roach. While simultaneously working as a tenor saxophonist — with Mingus, Teddy Charles and the Sandole Brothers, among others — and composing modern classical music as well as working in the classical-to-jazz idiom then called Third Stream, he joined Columbia Records in 1957. He was first hired as a music editor; in 1959 he became a staff producer. At Columbia he worked with artists like J. J. Johnson, Mahalia Jackson, Johnny Mathis, Thelonious Monk and Dave Brubeck, for whom he produced the famous album “Time Out.” He also produced Broadway cast albums like “A Chorus Line” and film soundtracks. Mr. Macero left Columbia in 1975. He later worked with the singer Robert Palmer, the Lounge Lizards, Vernon Reid, D.J. Logic and others. Besides Ms. Lightbourn, of Morristown, N.J., he is survived by his wife, Jeanne, of Quogue, N.Y., and his sister, Lydia Edwards of Sarasota, Fla., and Queensbury, N.Y. | ||
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| Cancelation | 20 March 2008 | |
| Due to the death of a person close to us, I have to cancel my appearances this coming weekend at Sonic Acts / Paradiso / Amsterdam and Stockholm New Music / Fylkingen / Stockholm. My apologies for any inconveniences this may cause.
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| 16 March 2008 | ||
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| Aint it the truth brothers and sisters... | 16 March 2008 | |
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| KTL vs TOURCOING | 16 March 2008 | |
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| Another victim | 16 March 2008 | |
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| BAD ARSE | 05 March 2008 | |
| SPEED GLUE & SHINKY
I demand that you check this shit out. | ||
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| JUST ALAP | 04 March 2008 | |
| The Just Alap Raga Ensemble
Tribute to Ustad Abdul Wahid Khan Sahib & Ustad Hafizullah Khan Two Concerts in the MELA Dream House Friday evenings, February 8 and 15, 2008, 9 pm La Monte Young, voice Marian Zazeela, voice Jung Hee Choi, voice Da'ud Constant, voice Jon Catler, fretless sustainer guitar Naren Budhkar, tabla The Tamburas of Pandit Pran Nath from the Just Dreams CD MELA Foundation Dream House 275 Church Street, 3rd Floor, between Franklin & White Streets in Tribeca Friday evenings, February 8 and 15, 2008, 9 pm Admission $24. MELA Members, Seniors, Student ID, $18. Limited seating. Advance reservations recommended. Info and reservations: 212-219-3019; mail@melafoundation.org. Two Concerts of Evening Ragas in the contemporary Kirana Gharana (Style) of North Indian Classical Music will be performed by La Monte Young and Marian Zazeela with The Just Alap Raga Ensemble on Friday evenings, February 8 and 15, 2008, at 9 pm in the MELA Foundation Dream House light environment, 275 Church Street, 3rd Floor. The concerts are a memorial tribute honoring two pillars of the Kirana gharana: Pandit Pran Nath’s Guru, Ustad Abdul Wahid Khan Sahib (c. 1879-1949), the greatest master of the tradition during his lifetime, and Wahid Khan Sahib's son, master sarangi player, Ustad Hafizullah Khan (1946-2002), the late Khalifa of the gharana. La Monte Young and Marian Zazeela will be accompanied by Jung Hee Choi and Da'ud Constant, voices, Jon Catler, fretless sustainer guitar, Naren Budhkar, tabla, and The Tamburas of Pandit Pran Nath from the Just Dreams CD. The Just Alap ensemble will perform a composition by La Monte Young featuring extended alap sections and sustained vocal drones in just intonation over tamburas. Pandit Pran Nath has said, "Alap is the essence of Raga. When the drut [faster tempo] begins, the Raga is finished." With the Just Alap Raga Ensemble, La Monte Young applies his own compositional approach to traditional raga performance, form and technique: a pranam (bow) of gratitude in reciprocation for the influence on his music, since the mid-fifties, of the unique, slow, unmetered timeless alap, and for one of the most ancient and evolved vocal traditions extant today. Featuring extended alap sections and sustained vocal drones in just intonation over tamburas, Young and Zazeela premiered this ensemble on August 22, 2002 in a memorial tribute marking the passing of Ustad Hafizullah Khan. Ustad Abdul Wahid Khan’s revival of the khayal at the turn of the 19th century stands, in itself, as a virtually unparalleled contribution in the recent history of Indian classical music. Although a youthful prodigy of the Kolhapur court, remaining unchallenged after his public debut there at the age of 18, he had not the inclination to spend time singing in the courts. Instead, he lived a devout, reclusive life, singing in the presence of holy men and at the tombs of Sufi saints, and only occasionally sang in public. His command of the art was of such stature that no other musician ever performed in his presence. Requiring rigorous discipline and fierce devotion, he took very few disciples; among them Pran Nath became the most important through his ceaseless practice, natural talent, and extraordinary ability to serve his teacher. In The Hindustan Times (2003), Shanta Serbjeet Singh wrote: “[Young and Zazeela] would create works like the “Just Alap Raga Ensemble” which would amaze musicians of the caliber of Bhimsen Joshi, Pandit Jasraj or the Gundecha brothers were they to hear it. In fact I wish they would hear it and savour their own legacy of Indian classical music in two new ways, one, by way of the Youngs’ immense sadhna and two, by way of the fact that today the great art of Hindustani Shastriya sangeet has actually become so much a part of the world of music. Did not the ancients say: Vasudeva Kumutbhakam—the world is a family? A work like “Just Alap Raga Ensemble” actually proves it.” In the 2005 article, “TALES OF EXEMPLARY GURU BHAKTI / PRAN NATH, LA MONTE YOUNG AND MARIAN ZAZEELA,” SPIC MACAY (Society for the Promotion of Indian Classical Music and Culture Amongst Youth) quarterly magazine "The Eye," it is noted: “He [Young] is a master of Hindustani classical music. ... La Monte Young and Marian Zazeela, founders of the MELA Foundation Dream House in New York are responsible for having single-handedly introduced vocal Hindustani classical music to America. In 1970 when they brought renowned master vocalist Pandit Pran Nath of the Kirana Gharana to the U.S. and became his first Western disciples, studying with him for twenty-six years in the traditional gurukula manner of living with the guru, Americans and Westeners only had a nodding acquaintance with Indian music, that too, only instrumental music through the performing tours of Pandit Ravi Shankar. Also some introduction to Indian rhythm techniques through the charismatic playing of Pandit Chatur Lal, the tabla player who always accompanied Ravi Shankar through the sixties. But the deep, unfathomable intricacies of Khayal Gayaki and of the whole cosmos of Alap were totally unknown to them. Indeed, as his many American shishyas, most of them practicing musicians themselves, would say later, even unimaginable. ... Young and Zazeela, who taught the Kirana style and performed with Pandit Pran Nath since 1970 in hundreds of concerts in India, Iran, Europe and the United States, have continued their Guru’s work in the most exemplary manner. In June 2002, shortly before he died, Khalifa Hafizullah Khan Sahib, Ustad Wahid Khan Sahib’s son and a great sarangi master, conferred on Young the title of Khan Sahib.” Pandit Pran Nath's 1971 morning performance at Town Hall, New York City, was the first concert of morning ragas to be presented in the U.S. Subsequently, he introduced and elaborated to Western audiences the concept of performing ragas at the proper time of day by scheduling entire series of concerts at special hours. Many students and professional musicians came to him in America to learn about the vast system of raga and to improve their musicianship. In 1972, Pran Nath established his own school in New York City under the direction of his disciples La Monte Young and Marian Zazeela, the Kirana Center for Indian Classical Music, now a project of MELA Foundation. Over the years Pran Nath performed hundreds of concerts in the West, scores of them in New York City, and in Fall 1993, he inaugurated the MELA Foundation Dream House with three Raga Cycle concerts. He continued to perform here annually during his remaining years and on May 12 and 17, 1996, his two concerts of Afternoon and Evening Ragas in the Dream House were his last public performances before he passed away on June 13, 1996. Pran Nath's majestic expositions of the slow alap sections of ragas combined with his emphasis on perfect intonation and the clear evocation of mood had a profound impact on Western contemporary composers and performers. Following Young and Zazeela, minimalist music composer Terry Riley became one of his first American disciples. Fourth-world trumpeter Jon Hassell, jazz all‑stars Don Cherry and Lee Konitz, composers Jon Gibson, Yoshimasa Wada, Rhys Chatham, Michael Harrison and Allaudin Mathieu, Sufi Pir Shabda Kahn, mathematician and composer Christer Hennix, concept artist and violinist Henry Flynt, dancer Simone Forti, and many others took the opportunity to study with the master. In 1994, violinist Rose Okada became a disciple of Pandit Pran Nath and he suggested she also become a disciple of Khalifa Hafizullah Khan and study sarangi. Since Hafizullah Khan Sahib's father died when he was very young, Pandit Pran Nath was like an elder brother to him and they became very close. Rose brought Ustad Hafizullah Khan to the West on two tours in 2000 and 2002. Khan Sahib’s performance at the MELA Dream House in New York on June 13, 2002 was dedicated to the memory of Pandit Pran Nath. During his two week residency at the Dream House, Hafizullah Khan Sahib, Young and Zazeela developed a strong musical relationship. Sadly, only two months later at the age of 56, Khalifa Hafizullah Khan's health failed and he passed away in New Delhi. Admission is $24 / $18 MELA members; seniors; students with ID. Limited seating. Advance reservations recommended. For further information and reservations 212-219-3019, email mail@melafoundation.org or visit www.melafoundation.org MELA's programs are made possible with public funds from the New York State Council on the Arts, a State Agency and generous contributions from individuals and MELA Members. If you believe you have received this email by mistake and wish to be removed from our mailing list, please let us know and accept our apologies. If you know someone who would like to be on MELA's e-list, please email us their address. | ||
| Gloomy Sunday | 04 March 2008 | |
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| KTL IKKI | 01 March 2008 | |
| Live recording from Kita-Kyushu, edition of 200 copies, tour only release. Yumm! | ||
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| KUBOAA | 01 March 2008 | |
| Easter 2000 rehearsal recording now available for listening on myspace. This was a short lived project in Brooklyn early 2000... featuring Jan Kotik (RIP) on drums, and Ian Christe & myself on guitars.
KUBOAA "Easter 2000 rehearsal" Permadawn Prayer To Ressurect The Morning of Kuboaa In the veins of crude sludge between Hellhammer, Corrupted and more abstract Knut Hamsun, Burning Witch, Rhys Chatham, The Unknown. "But I wasn't sleepy and couldn't fall asleep. I lay awhile looking into the darkness, a thick massive darkness without end that I wasn't able to fathom. My thoughts couldn't grasp it. It struck me as excessively dark and I felt its presence as oppressive. I close my eyes, began to sing in an undertone, and tossed back and forth in the bunk to distract myself, but it was no use. The darkness had taken possession of my thoughts and didn't leave me alone for a moment... Suddenly I snap my fingers several times and laugh. What the hell was this! Ha! I imagined I had found a new word. I sit up in bed and say, It’s not found in the language, I have invented it—Kuboaa. It does have letters like a word—sweet Jesus, man, you have invented a word . . . Kuboaa . . . of enormous grammatical importance. The word stood out sharply against the darkness in front of me. "...I had made up my mind what the word shouldn't mean, but had taken no decision on what it should mean. That is a minor question! I said aloud to myself, clutching my arm and repeating that it was a minor question. The word had been found, thank God, and that was the main thing...No, the word was really suited to mean something spiritual, a feeling, a state of mind--couldn't I understand that?" Jan Kotik rest in peace! 
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| KTL vs POLAND 08 | 30 March 2008 | |
| 03.04. - Stary Browar-Slodownia, Poznan
04.04. - Firlej, Wroclaw 05.04. - CDQ, Warszawa | ||
| 29 March 2008 | ||
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| TREBLINKA REUNION SHOW | 28 March 2008 | |
| Treblinka - Hail To Cruelty live at Kafé 44, Stockholm 080126. The line-up for this show consisted of the three original members "Emetic", "Juck The Ripper" and "Najse Auschwitzer" + "Hellbutcher" & "Tyrant" from Nifelheim
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| SUNN on MTV in the 90s | 28 March 2008 | |
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| DOOM IN TIME | 26 March 2008 | |
| http://www.time.com/time/magazine/article/0,9171,1704694,00.html
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| Reptile Madness | 26 March 2008 | |
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| SUNN vs ALEPH | 25 March 2008 | |
| Past 2 weeks of overdubs on the new SUNN opus, in Seattle at Aleph Studios (primarily) with Randall Dunn on the rudder. This here is Alan Vega tribute tracking. Steb-MFin-Mo! | ||
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| BURNING WITCH | 24 March 2008 | |
| Attention: There is no Burning Witch reunion tour. Please go watch Earth instead. Thank you. | ||
| Elephant | 24 March 2008 | |
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| 22 March 2008 | ||
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