After a forgettable false start peddling iffy acid jazz, Mo’ Wax made a stylistic shift in 1994, kickstarting a four-year period that continues to resonate two decades on. The first Headz compilation is a neat 18-track digest of that transition, a declaration of what was to come. Influences, ambitions and comments on the status quo of the time are found in the slowed down grooves and samples as well as the track titles: ‘Ravers Suck Our Sound’, ‘Contemplating Jazz’, ‘In Flux’, ‘The Time Has Come’. The titular beatheads may have seemed like a stoned, uncreative bunch at the time but their aesthetic has proven resilient. Alongside obvious names like DJ Shadow, La Funk Mob and R.P.M, Headz also featured Nightmares On Wax, Autechre, Howie B. and various members of Major Force
Headz - A Soundtrack Of Experimental Beathead Jams
Disc 1
1. Freedom Now Meditation • Patterson 2. Contemplating Jazz • Attica Blues 3. Symmetrical Jazz Flapper Till 5AM mix • Awunsound 4. Stars • Nightmares on Wax 5. Ravers Suck Our Sound • La Funk Mob 6. Miles Out of Time Astrocentric Mix 'n' Beats • M.F. Outa 'National 7. The Inside • RPM 8. Lowride • Autechre 9. Wildstyle (The Krush Handshake) • Olde Scottish
Disc 2
1. Lost and Found S.F.L. • DJ Shadow 2. Destroy All Monsters • Skull 3. .....Don't Fake It • Deflon Sallahr 4. 2000 • RPM 5. Slipper Suite (i) Jeremy's Velvet Slippers (ii) Moonraker (iii) Unspeakable Acts Palm Skin Productions 6. The Time Has Come • Unkle and The Major Force Orchestra 7. Head West – Gun Fight at the O.K. Corrall • Howie B. Inc. 8. They Came in Peace • Tranquility Bass 9. In-Flux • DJ Shadow
British "trip hop" label owned and run by James Lavelle. Launched in 1992, defunct in 2002
Label: Mo Wax – MWCD026 Series: Headz Format: FLAC Country: UK Released: Oct 31, 1994 Genre: Hip Hop Style: Downtempo, Trip Hop
The pairing of electric guitarists Bill Frisell and John Scofield had to be one of the most auspicious since John McLaughlin and Carlos Santana. Acoustic bassist Marc Johnson's stroke of genius in bringing the two together on Bass Desires resulted in a sound that demonstrated both compatibility between the guitarists and the distinctiveness of the two when heard in combination. Add drummer Peter Erskine and you had a bona fide supergroup, albeit in retrospect a short-lived one, before Frisell and Scofield would establish their own substantial careers as leaders. The guitarists revealed symmetry, spaciousness, and a soaring stance, buoyed by the simplicity of their rhythm mates. This is immediately achieved on the introductory track, "Samurai Hee-Haw," as hummable, head-swimming, and memorable a melody as there ever has been, and a definite signature sound. A perfect country & eastern fusion, the guitarists lope along on wafting white clouds of resonant twang, singing to themselves while also playing stinging notes, supported by the insistent two-note funk of Johnson and the rolling thunder of Erskine. The title track is a one-note ostinato from the bassist with a popping, driven drum rhythm and the guitars more unified in their lines, but broadening their individualistic voices. The light reggae funk of "Mojo Highway" sounds more conversational and jam-like, while "Thanks Again" is a relaxed, unforced waltz, again eschewing Asian-Missouri folkloric alchemy fired by Frisell's wah-wah and Scofield's stairstep strums. Ethereal and effusive sky church inflections lead to loose associations, especially from Frisell's moon-walking guitar synthesizer on "A Wishing Doll." There are three covers: a take on Elmer Bernstein's "A Wishing Doll;" "Resolution," the second movement from John Coltrane's A Love Supreme suite, with a more spiky bass and spacy lead melody played only once; and the standard "Black Is the Color of My True Love's Hair," floating and eerie, held together by silk and lace threads. One of two Bass Desires albums, this debut has stood the test of time -- it is priceless, timeless, and still far from being dated.
Marc Johnson • Bass Desires
1. Samurai Hee-Haw (Johnson) 2. Resolution (Coltrane) 3. Black Is the Color of My True Love's Hair (Traditional) 4. Bass Desires (Erskine) 5. A Wishing Doll (Bernstein, David) 6. Mojo Highway (Johnson) 7. Thanks Again (Scofield)
MILES DAVIS was not only the great musical wizard of our time, but he was indisputably the greatest procurer of new talent the world over. In fact, most of Miles' finds went on to become jazz stars in their own right. In addition to the long list of "discoveries" such as John Coltrane, Herbie Hancock, Chick Corea, John McLaughlin, Dave Holland, Wayne Shorter, Miles Davis also discovered SAM MORRISON.
In 1975, During Miles' funk-fusion period, Miles heard a 22 year-old saxophonist from Long Island named Sam Morrison, and was so intrigued by his playing,(reportedly saying "I haven't heard that much fire on the saxophone since 'Trane was in my band")that the very next day Miles fired Sonny Fortune, and hired Sam as a regular member of the Miles Davis group. Sam toured the U.S. with Miles, including a concert at Central Park, and concerts recorded live at the Bottom Line. While just about to embark on a tour of Japan, Miles suddenly cancelled the
tour, and went into retirement for five years.
Dune (1976)
In 1976 Sam Morrison recorded his first record as a leader. For this date, The 23 year-old saxophonist assembled the super rhythm section of Al Foster and Buster Williams. The resulting record Dune, released on the Inner-City label, won critical acclaim as a ground-breaking fusion album. His second disc, Natural Layers, released in 1977 on the Chiarosciuro label, saw Sam incorporating world rhythms into a tapestry of jazz, fusion and funk. In 1978, Sam became a member of the Woody Shaw quintet, giving a stunning performance later that year at New York's famed Village Vanguard.
On both a professional and artistic level, Sam's life seemed to be on an ascendency. But the mounting pressures of supporting a wife and two children, and living a life on the road led to a disenchantment of the jazz life. So in 1979, without notice, Sam dropped out of the music scene, sold his saxophone, moved to the Catskill mountains, and pursued a career as a professional tennis instructor. For nearly a decade Morrison existed if he were half a person, wandering aimlessly (but not painlessly) through the jungle of the status-quo.
Natural Layers (1977)
Then in 1989, Sam had a mystical vision that manifested itself in the form of a dream. In this dream, Sam states that he sees himself giving a tennis lesson. Then suddenly, he hears a strange whistling sound that at times, resembles a soprano saxophone. He turns around and notices a middle-aged black man standing at side court. Some strange and unknown force drives Sam to walk up to the man. "What do you want" Sam asks. A tear streams down the man's sullen face. "In 1957, I was addicted to drugs, had no money, no gigs, and no place to live" the man replied. "But I never gave up. Never! Two years later, I went on to record one of the most important and influential records of my career......Giant Steps." From that day on, Sam Morrison knew what he had to do. He bought a used sax at the pawn shop. He began practicing his horn incessantly, day and night. He got a hold of every record, manuscript, and music book he could beg, borrow, and steal. It was as Sam describes as a re-birth of his soul. A reawakening that has sparked a new interest and exitement for the music he has always loved.
Today, at age 42 (1996), Morrison is an established veteran of the American artform we know as jazz. However, he refuses to remain idle. In his home, nestled in New York's Catskill mountains, Sam is sitting in his livingroom, which also houses vintage Hi-Fi stereo equipment and some five-thousand vinyl jazz records. At once, he appears lost in thought, fingering his saxophone, working on a new musical idea, preparing music for an upcoming concert. As his gaze slowly pans the room, he suddenly turns his head. "This is the second show,", he says bemusedly. "The first one was a quite a trip." As he leans back in his chair, arms stretched outward, he breaks into a wide grin reminiscent of the Cheshire Cat. "This is the second show."
Cosmic Trip, a brand new solo album by legendary Miles Davis saxophonist
Sam Morrison. Blazing with heat, flowing with cool, crisp and edgy
electric sound, the music allows you to savor every aspect of his
remarkable talent. Mix-translation by iconic producer Bill Laswell. Not
to be missed!!
Sam Morrison
Soprano & Tenor Saxophonist, Alto & Bass Flute Player, Composer, and Synthesist
Sam Morrison is a multifaceted musician known for his mastery of the
soprano and tenor saxophones, as well as his artistry on the alto and
bass flutes. With a career that spans several decades, he has left an
indelible mark on the world of jazz, collaborating with legendary
artists and contributing to iconic recordings.
A Trump insider and longtime friend of Charlie Kirk tells The
Grayzone how the assassinated conservative leader’s turning point on
Israeli influence provoked a private backlash from Netanyahu’s allies
that left him angry and afraid.
The source said anxiety spread within the Trump administration after an apparent Israeli spying operation was uncovered.
