jon hassell • flash of the spirit

1  Flash of the Spirit (Laughter)
2  Night Moves (Fear)
3  Air Afrique (Wind)
4  Out Pours (Kongo) Blue (Prayer)
5  Kaboo (Play)
6  (Lide) Warriors Everywhere (Courage)
7  Dreamworld (Dance)
8  Tales of the Near Future (Clairvoyance)
9  Vampire Dances (Symmetry)
10  Masque (Strength)

Taking a vacation from abstraction, Hassell kicks out a near set of dance tunes with Burkino Faso musicians, Farafina. So great is his exhilaration, he even gives us peeks at the natural timbre of his trumpet. It was produced by Hassell, Daniel Lanois, and Brian Eno. Perhaps the most acoustic of all Jon Hassell albums, "Flash of the Spirit" unites him with the African rhythm group Farafina, who provide a vivid rhythmic foundation for Hassell's trumpeted meanderings. A single, sustained note starts the proceedings and, one by one, awakens the other intruments, which pulse, rise, fall and return throughout the hour-long album. The second half seems like a more pensive restating of the first half--that is, until "Blue(Prayer)," which closes the album. "Blue" is twelve minutes of hypnotic dreamtime propelled by a two-note bass line that simulates the deep breathing of a mountain. It's all a vicarious experiencing of indigenous human life; it is surprising not to hear more of Hassell on movie soundtracks. An earthy harbinger of "City: Works of Fiction," "Flash of the Spirit" is (was) a hard-to-find jewel in Hassell's amazing body of work.

Jon Hassell • trumpet, keyboards
Soungalo Coulibaly • flute, percussion
Baba Diarra • percussion, balafon
Tiawara Keira • drums
Mahama Konaté • balafon
Tiawara Nei • ta • drums
Ben Palm • drums
Seydou Quattara • drums
Souleyname Sanou • percussion
Paco Ye • drums, djembe
Mahama Konté • balafon
Dan Schwartz • bass

Produced by Brian Eno, Daniel Lanois and Jon Hassell

Mephiskapheles • God Bless Satan

•••••••••

The members of Mephiskapheles consider themselves to be the world's only Satanic ska band -- an assertion that is amply reinforced by their first full-length release, "God Bless Satan". The cover of the disc's liner notes features a remarkably evil-looking chicken and its last page shows some guy named Chris apparently copulating with an inflatable plastic goat (or is that a sheep?). Frankly, it's difficult to determine how much of the group's fiendish rhetoric is morality and how much is marketing, but putting the dogma aside, Mephiskapheles is one fine ska band! The group combines members of the short-lived hardcore/ska band the Skatterbrains with a horn section made up of classically/jazz trained wind players. The fact that the horn players know how to play ranks Mephiskapheles higher on the musicianship scale than your average garage-ska band and makes for depth and sophistication that is not common to the genre.

NW •  Splendid Ezine

1.Mephiskapheles

2.Satanic Debris

3.Bad John

4.Centre of the...

5.Hard Times

6.Doomsday

7.Rank & File

8.Eskamo

9.Saba

10.The Ballad of Admiral Stockdale

11.Dance Me Not

12.Finnigan Froth

13.The Bumble Bee Tuna Song

info • http://www.silent-watcher.net

The Nubian Nightmare • lead vocal
Brendog • the guitarist
"Underpants" Martin • the organist
Alexander McCabe • the organist
Osho "Hollywood" Endo • the trumpet. flugal hornest
Greg Robinson • the trombonist
Michael Bitz • the upright bassist
Mikal "The Virgin" Reich • the drummerist


Produced by Bill Laswell and Bob Musso

William S. Burroughs • Spare Ass Annie And Other Tales (The Operators Manual)

William S. Burroughs, Hal Winder and Michael Franti talk about the making of Spare Ass Annie and Other Tales.

1.  INTRO...MUSIC UP (21.57)
"Interlude 1 (Wrinkled Earlobes)". "Spare Ass Annie".
"Interlude 2 (T.I.I.)". "The Last Words of Dutch Schultz".
"Interlude 3 (The Vultures Are Gone)". "Mildred Pierce Reporting (Old Sarge)".
"Dr. Benway Operates". "Huntsman's Hounds (Get Rid of That Dog)".
"Last Words With Zulu"
OUTCUE..."...in just a sec".

2.  INTRO... (24.30)
"I had a...". "One God Universe".
"Interlude 4 (Fletch/Intro Junky's Xmas)". "The Junky's Xmas".
OUTCUE..."...hath no rat!"

3.  INTRO... (10.20)
"Welcome back to the CMJ...". "Words of Advice For Young People".
OUTCUE..."...Magnificent! MAGNIFICENT!"

4.  "Next Week" PROMO (0.25)

5.  "This Week" PROMO (0.25)

6.  "Tonight" PROMO (0.25)

7.  Words of Advice For Young People (8.37)
(Mutatis Mutandis-Lemurs In the Mist-Interzone Mix)

8.  Words of Advice For Young People (4.28)
(Interzone Radio Edit)

Spoken word recorded by Hal Wilner
Music recorded by Pete Scaturro
Additional recording by Jeff Williams and Brad Murphy
Tracks 7 and 8 remixed by Bill Laswell
Produced in New York by Neer Perfect Productions
Produced by David Bailes and Jym Fahey
Executive Producers: Dewitt Nelson and Dan Neer
Mastered by Howie Weinberg

For Promotional Use Only. Not for Sale

Label: Island Red Label – PRCD 5003-2
Format: 320
Country: US
Released: 1993
Genre: Hip Hop, Non-Music
Style: Spoken Word

Drum Wisdom • Bob Moses

I'd like to dedicate this (e)book to two great drummers who had a very strong influence on me both musically and personally. One is the great Edgar Bateman. When I was growing up he was my main inspiration; in my mind he was the greatest drummer I ever heard. His dedication, honesty and striving for excellence have always been a great inspiration to me. Edgar possesses one of the most graceful motions I've seen in a drummer. When I see him play with brushes, it reminds me of a swan on a lake. I can't thank him enough for all that he's given me, I'd also like to dedicate this book to the great Roy Haynes (the father of Graham Haynes) who deserves to be praised at every opportunity, because he has had an incredible effect on so many drummers. He initiated so much of the new style of playing, influencing players like Tony Williams and Jack DeJohnette, and all of the people who are known for breaking up the time, and for grooving hard in an extremely creative manner. A lot of those innovations really stem from Roy Haynes. In addition to that, he is also a great funk and dance-groove player, and anticipated a lot of the current trends in drumming, now seen in people like Steve Gadd, Steve Jordan and other funk and R&B masters. For all the joy he's given me, I also dedicate this book to him.

I would like to thank several people who helped make this book a reality: First is Rick Mattingly, who helped me put this book together by editing tapes of conversations and working with me endless times. He put much time, love, expertise and dedication into this book. Next is Danny Gottlieb, who is, to his credit, the eternal student — always studying, practicing and growing, although he is already an excellent drummer and an accomplished musician. Danny was the one who suggested that I write a book and who put me in
contact with Modern Drummer. He also spent many, many hours transcribing music and writing examples. Without these two people, the book definitely would not have happened, I'd also like to mention Jahnet "Dr. J" Levatin, who helped with the final editing, and whose touches made the text immeasurably better.

Bob Moses 1984

Bob Moses • Time Stood Still

“Leave it to Moses, a multi-directional shamanistic groovilator, to put all the pieces together. On Time Stood Still, another sprawling production of DeMille-ian scale. He seamlessly blends Monk, funk, tap, hip hop, bebop, big band, blues, Bahia, Tanzania, and the avant garde into one organic package while paying homage to the spirits of Gil Evans, Charles Mingus, Rahsaan Roland Kirk, and Jaco Pastorius.”

Bill Milkowski • Downbeat

1. Prelude 

(Simul-Circular Loopology) 

Mike Peipman • trumpet | Rob Scheps • tenor saxophone | Brian Carrot • vibes, marimba | Yossi Fine • bass | Matthew Garrison • bass | Jamshied Sharifi • keyboards | Bill Martin • percussion | Ben Wittman • percussion | Bob Moses • drums

2. Felonious Thunk
Miles Evans • trumpet (solo) | Rob Scheps • tenor saxophone (fills) | Brian Carrot • vibes (solo) | Yossi Fine • bass | Matthew Garrison • bass | Bill Martin • percussion | Ben Wittman • percussion, drums during Rap | Simone Haggiag • congas | Bob Moses • drums, talking drums, keyboards, rap | The Boston Illharmonic • horns

3. Time Stood Still 

(Africa and Back In A Day)
Miles Evans • trumpet | Rob Scheps • tenor saxophone, soprano saxophone, flute | Brian Carrot • marimba | Wesley Wirth • bass | Matthew Garrison • bass | Bill Martin • drums (on slow part), percussion | Ben Wittman • percussion | Simone Haggiag • congas | Bob Moses • log drums, keyboards (slow part), drums (fast part) | Stan Strickland • voice | Duke Levine • slide guitar | The Boston Illharmonic • horns

4. Jaco

Wesley Wirth • bass (Melody) | Matthew Garrison • bass | Brian Carrot • vibes | Bill Martin • percussion | Ben Wittman • percussion | Bob Moses • drums | The Boston Illharmonic • horns 

5. Gregarious Chants
Miles Evans • trumpet | Rob Scheps • tenor saxophone | Brian Carrot • vibes (solo) | Yossi Fine • bass | Matthew Garrison • bass | Bill Martin • percussion | Ben Wittman • percussion | Simone Haggiag • congas | Bob Moses • drums • keyboards | The Boston Illharmonic • horns

6. Elegant Blue Ghosts 

(Dance Like Clouds Over Mean Street U.S.A.)

Miles Evans • trumpet (solo) | Rob Scheps • tenor saxophone (solo with intro) | Bob Gay • alto saxophone (solo) | Brian Carrot • vibes | Yossi Fine • bass | Wesley Wirth • acoustic bass | Bill Martin • percussion | Ben Wittman • percussion | Simone Haggiag • congas | Bob Moses • drums | Jimmy Slyde • tap dance | The Boston Illharmonic • horns

7. Lost In Your Eyes

Miles Evans • trumpet | Rob Scheps • soprano saxophone | Ole Mathisen • soprano saxophone (solo) | Brian Carrot • vibes • marimba | Wesley Wirth • bass | Matthew Garrison • bass | Jamshied Sharifi • keyboards | Luciana Souza • voice | Evan Ziporyn • bass clarinet | Bill Martin • percussion | Ben Wittman • percussion | Simone Haggiag • congas | Bob Moses • drums | The Boston Illharmonic • horns

8. Word From The RA
Rafael Moses • rap • alto saxophone (solo) | Brian Carrot • marimba | Wesley Wirth • acoustic bass | Bill Martin • percussion | Ben Wittman • percussion | Bob Moses • drums, voice

9. Mbira Tanzania
Miles Evans • trumpet | Rob Scheps • tenor saxophone, soprano saxophone, piccolo | Brian Carrot • marimba | Wesley Wirth • bass | Matthew Garrison • bass | Bill Martin • percussion | Ben Wittman • percussion | Simone Haggiag • congas | Bob Moses • drums, marimba (solo) | Alvin Roberts • voice | Luciana Souza • voice | The Boston Illharmonic • horns

10. Black East Blues
Miles Evans • trumpet | Rob Scheps • tenor saxophone (solo) | Brian Carrot • vibes | Wesley Wirth • bass | Matthew Garrison • bass | Bill Martin • percussion | Ben Wittman • percussion | Simone Haggiag • congas | Bob Moses • drums | Duke Levine • guiutar (solo fills) | The Boston Illharmonic • horns

11. Deusa Do Amour
Miles Evans • trumpet | Rob Scheps • tenor saxophone | Brian Carrot • vibes | Yossi Fine • bass | Matthew Garrison • bass | Bill Martin • percussion | Ben Wittman • percussion | Simone Haggiag • congas | Bob Moses • drums | Tisziji Munoz • guitar (solo) | Jamshied Sharifi • keyboards | Luciana Souza • voice | The Boston Illharmonic • horns | W.Marshall Sealy • french horn (rubato melody)

12. Once In A Blue Moon 

Miles Evans • trumpet | Rob Scheps • tenor saxophone, soprano saxophone simultraneously piccolo | Brian Carrot • vibes • marimba | Yossi Fine • bass | Matthew Garrison • bass | Bob Gay • alto saxophone (solo) | Jamshied Sharifi • keyboards | Bill Martin • percussion | Ben Wittman • percussion | Bob Moses • drums | Evan Ziporyn • bass clarinet | The Boston Illharmonic • horns

13. Prayer
Stan Strickland • voice • tenor saxophone (solo) | Miles Evans • trumpet | Brian Carrot • vibes (solo) | Wesley Wirth • | Matthew Garrison • bass | Jamshied Sharifi • keyboards | Bob Moses • drums | The Boston Illharmonic • horns

All music compositions by Bob Moses, except
"Prayer" composed by Harold Vick
Horns arranged by Michael Gibbs and Bob Moses
with help from Bob Pilkington and Takuya Nakamura


Produced by Bob Moses and Ben Wittman

Label: Gramavision – R2-79493
Format: 320
Country: US
Released: 1994
Genre:Jazz
Style: Jazz Fusion

Graham Haynes & No Image • What Time It Be

One of the leaders of free funk/M-Base music, trumpeter Graham Haynes gained experience playing with altoist Steve Coleman's band before going out on his own. On What Time It Be!, his band (called No Image) utilizes electronics and eccentric funk rhythms that are quite unpredictable. There is a brief departure with a fairly straightforward reading of the standard "Sweet and Lovely," while the closing "Heat of Quiet Resignation" is a brooding ballad. Otherwise the emphasis is split between avant-garde jazz and completely unpredictable funk lines.

Graham Haynes • Cornet, Producer, Programming, Trumpet

Andy Bassford • Guitar
Lance Bryant • Flute, Tenor Saxophone
David Gilmore • Bass

Marque Gilmore • Chapman Stick, Percussion

Kevin Bruce Harris • Bass

Produced by Graham Haynes

Label: Muse
Format: 320
Country: USA
Released: 1990
Genre: Jazz, Funk
Style:Jazz, Experimental
 

Manu Dibango • Abele Dance

Manu Dibango was a Laswell regular during the mid 80's contributing sax on a number of releases including Sly & Robbie's Language Barrier, Deadline and his Laswell produced solo project Electric Africa. When I first heard this track I thought it was a Laswell production.

1. Abele Dance    
2. Abele Dance (Club Mix) 

Manu Dibango • Saxophone, Vocals, Synthesizer
Florence Titty • Vocoder
Martin Meissonnier • Synthesizer
Abdul Alafrez • Synthesizer 
Jerry Malekani • Guitar
Francis Mboppe • Bass, Vocals 
JeanPierre Coco • Congas, Vocals
Valery Lobe • Percussion, Vocals

Produced by Martin Meissonnier 

Label: Celluloid
Catalog#: CEL 171
Format: 320 kbps
Country: US
Released: 1984
Genre: Electronic
Style: Electro