Sunday, 28 December 2014

Electric Ladyland (Vol.1)


The original Electric Ladyland comp, not the Clickhop version which came out some years later. Some good tracks including Maschine by Gas, not be confused with the my previous post by another artist under the same name.

1. Alec Empire • Kick Some Soul Pt. 1
2. Zulutronic • Drop A Lot
3. 4E • 91 Killer
4. Kerosene • Please Harder
5. G 104 • Bassphemic Village
6. Alec Empire • Kick Some Soul Pt. 2
7. Ian Pooley • Dancehall Killer
8. Mouse On Mars • Schlecktron (Double Mix)
9. Zulutronic • Hong Kong Phui
10. Gas • Maschine
11. Hanin • The Outback
12. Himadri • Disconnect Dissect
13. Abe Duque • You

Label: Mille Plateaux: MP 019 CD
Series: Electric Ladyland 1
Format: CD, Compilation
Country: Germany
Released: 1995
Genre: Electronic, Hip Hop
Style: Abstract, Experimental

Friday, 26 December 2014

Excavation • Unauthorized Cut-Up Vol. I

1. Untitled • Bill Laswell 
2. Untitled/Ta'Wil • Bill Laswell/Ira Cohen/Pharoah Sanders/Submerged
3. Untitled • Bootsy's Rubber Band
4. Untitled • Tony Williams/Bernie Worrell
5. Simple As That • Jungle Brothers
6. Untitled/The Furies • Bill Laswell & William Burroughs/Praxis & Iggy Pop
7. Untitled • Ornette Coleman/Bill Laswell
8. Untitled • Hasil Atkins
9. Doriella du Fontaine • Jimi Hendrix/Buddy Miles
10. Untitled • JT Money/George Clinton
11. Untitled • Bill Laswell/Bootsy Collins
12. Untitled • Bill Laswell/Ornette Coleman/Julian Schnabel
13. Abi Virus • Bill Laswell/John Zorn/Masada String Trio/SPL
14. Family Affair • Iggy Pop

The Players
Bill Laswell • George Clinton • Ornette Coleman • William S. Burroughs • Pharoah Sanders • Jimi Hendrix • Tony Williams • Bernie Worrell • Iggy Pop • Bootsy Collins • Hasil Atkins • Ira Cohen • Jungle Brothers • Buckethead • Submerged • John Zorn • Julian Schnabel • Fred Wesley • Masada String Trio • Maceo Parker • Brain • Buddy Miles • SPL • Master Musicians of Jajouka • Bernard Fowler • Aiyb Dieng • JT Money • Genesis P. Orridge • Mudbone • Billy Bang.

Reconstruction and mix translation done at Orange Music, West Orange, NJ
Engineer: Robert Musso
Mastered by Michael Fossenkemper at Turtle Tone, NYC
Production, reconstruction and mix translation: 
Bill Laswell

info • Silent Watcher


Country: US
Released: 2008
Genre: Electronic
Style: Jazz, Rock, Funk, Experimental, Ambient

Thursday, 6 November 2014

Kenny Wheeler R.I.P.

Kenny Wheeler • flugelhorn
Keith Jarrett • piano
Dave Holland • bass
Jack DeJohnette • drums

Kenny Wheeler
January 14 1930 - September 18 2014

Wednesday, 2 April 2014

gas 0095

Gas 0095 was the debut album of electronic musician Mat Jarvis (High Skies) released under his Gas moniker (not to be confused with Wolfgang Voigt's Gas) . It was written, performed and recorded in his Nottingham studio during 1994 and released on Em:t Records (Emit Records) in January 1995.

The album was never advertised and quickly sold on word of mouth alone. Today it is much sought after among collectors and on auction sites like eBay. The album was encoded in 3D by the huge and hugely expensive Roland Sound Space RSS 3D sound imaging system.

In 2008, Gas 0095 was remastered at 32bit/96 kHz from the original studio tapes, and re-released on CD and digital download by Jarvis on the Microscopics label as Micro-000001.

1. Generator 0000
2. Experiments On Live Electricity
3. Microscopic
4a. Miniscule
4b. Pixels
5. Vapourware
6. SeOCl₂
7. Earthshake
8. Mathematics And Electronics
9a. Timestretch
9b. Earthloop
10a. F. 0:16
10b. H₂TeO₃
11. Discovery
12. Generator 0072

Tracklisting oddities:
- The track "Miniscule" is only a fraction of a second long, so it is listed here as 0:00 in length.
- The track "Timestretch" is a full track, 4:30 long, compressed into one second of audio.
- Tracks 10a and 10b are listed separately as Tracks 10 and 11 on the CD packaging, thus pushing Tracks 11 and 12 back to 12 and 13.
- Track 12 also comprises the extra tracks "Pink" and "Doom", not listed on the packaging.

Producer, Electronics, Mathematics

Label: em:t ‎– 0095
Country: UK
Released: 1995
Genre: Electronic
Style: IDM, Experimental, Ambient

Wednesday, 26 March 2014

em:t 0094

Cult ambient label from the UK, originally active 1994-1998. Known for its digipak releases with animal-themed covers created by The Designer's Republic. In its old incarnation, it was a sublabel of t:me. em:t shut down in 1998 when t:me succumbed to financial troubles.

In late 2003, em:t was reformed as its own company and began releasing new music, but they again went out of business in late 2006.

Catalogue numbers: For old em:t releases, the last two digits represent the year of release, and the first two represent the order of release within a year ('00', then '11', then '22' etc).

1. Coco, Steel & Lovebomb • Harlem
2. Voodoo Warriors Of Love • Swea
3. Bad Data • Deep Freeze
4. Gas • Pixels
5. Qubism • Anthropomorphic
6. Milan • Earthloop
7. Miasma • Walking Blindfold
8. Strawberry Girl • Poesie
9. Woob • Void, Part One

Recorded and mixed at Square Centre Studios, Nottingham, England, 
and other studios across the world. 

Label: em:t ‎– 0094
Format: 320
Country: UK
Released: 1994
Genre: Electronic
Style: Ambient

Wednesday, 19 March 2014

The Rise and Fall and Rise of Sensational

Five years in the making, The Rise and Fall and Rise of Sensational is a riotous, visually seductive, and thematically inspirational portrait of an eccentric artist who defies all explanations and proves that believing in your own talent is the only option.
The film chronicles the life and music of Colin Julius Bobb, aka Sensational. Described as part rapper, part genius, and part extraterrestrial, this consummate artist lives completely in his own reality. He’s also one of the most bizarre, paradoxical, and creative names in hip-hop, a true character whose self-destructive tendencies and unique worldview come to the fore in this comical yet moving documentary.
The Rise and Fall and Rise of Sensational blends current footage, stock footage, vintage music videos, and Super 8 film to visually illustrate Sensational’s creative persona. Colleagues, collaborators, and fans such as legendary producer Bill Laswell, Mike G from the Jungle Brothers, WordSound owner and music journalist Skiz Fernando, and Curver Thoroddsen from the Icelandic band Ghostigital weigh in on the rapper’s ingenuity and unorthodox working methods. But it’s the soundtrack, culled from Sensational’s extensive catalogue, that truly weaves the story together. And, of course, the always unpredictable, often hilarious comments of the man himself.

Produced by
S. H. Fernando Jr.

Score by

Produced, Directed and Edited by

E. A. Moore

Monday, 17 March 2014

Derek Bailey, George Lewis, John Zorn • Yankees

A collaborative trio no doubt this was, but both Zom and Lewis have made clear their admiration and debt to Bailey and it is the guitarist who as often as not defines the parameters of these five excellent tracks. The two long items, 'The Legend of Enos Slaughter' and 'On Golden Pond', are both indicative of Zorn's great skills as an improviser; not just a pasticheur or ironist, he is also a first-rate saxophone player, an aspect of his artistic personality that tended to be overlooked in the period between this record and the later Masada project. Lewis is a giant, a player with a huge tone, a complex grasp of higher harmonics and, like Zorn, a dedicated deconstructor of his instrument, constantly experimenting with his component elements: mouthpiece, bell and slides. It's Bailey, though who makes things happen. His acoustic and amplified playing is tight marshalled, fierce and never less than expressive. His first entrances on the opening 'City City City' are breathtaking, and anyone who takes the plunge and samples this now mid-price disc could well find it a taste-altering experience.

Richard Cook and Brian Morton
The Penguin Guide to Jazz on CD

1. City City City
2. The Legend Of Enos Slaughter
3. Who's On First
4. On Golden Pond
5. The Warning Track

Derek Bailey • Acoustic Guitar, Electric Guitar
George Lewis • Trombone
John Zorn • Alto, Soprano Saxophone, Clarinet, Game Calls

Recorded at OAO Studio, Brooklyn NY
Recorded by Martin Bisi

Label: Celluloid ‎– CELL 5006
Format: 320
Country: US
Released: 1983
Genre: Jazz
Style: Free Jazz, Free Improvisation

Wednesday, 12 March 2014

The Otherside featuring Musa K • Burn Baby Burn

1. Prelude To Monkey Dread    
2. Monkey Dread    
3. Roadblock    
4. Journey 2 Darkness    
5. Daygal    
6. Binta: La Vie De Femme    
7. Pressure Point - Pressure Dub    
8. Forgive & Forget    
9. Love In The Jungle    
10. Black Orchid    
11. Demna    
12. The Beauty Of Song    
13. Giovanni's Room

It is only fitting to the musicians who performed on this album, not to list their names according to songs on which they performed, because each songs' influence gave a new dynamism and life like metamorphosis to the other. I chose to list the musicians' continent of origin and instrument played. I am deeply indebted.
Musa K

Musa Kalamulah • Vocals, Rap
Mustapha 'Heavy M' Kalamulah (my son) • Vocals, Rap
Edward N'jie • Vocals, Rap
Ayo Roy Macauley • Guitars
Aziz Salim • Guitars
Mamadi Kamara • CONGAS
Gabriel • CONGAS
David Oladunmi • CONGAS

Brian Edwards • Tenor Saxophone, Alto Saxophone
Ray Carless • Tenor Saxophone, Alto Saxophone
Kevin Robinson • Trumpet, Flugelhorn
Alan Weeks • Guitar
Adrian Reed • Keyboards
Gary Dawkins • Toasting (old skool)

David Toop • Drum Programming, Guitar, Flute, Bass Guitar, Steel Guitar
Steve Beresford • Bass Guitar
Peter Ind • Double Bass
Adrian MacIntosh • Drum
Musa M'boob • Sabarr
Assane N'doye-Cisse • Sabarr
Niaw N'ying • TAMA
Massamba Diop • TAMA

Recorded at Dave Hunt's Studio and Mark Angelo's Studio
Mixed at Mark Angelo's Studio   
Executive Producer  Musa Kalamulah
Produced by David Toop

Label: Jungle Rendez-Vous Records ‎– JRVCD101
Format: 320
Country: UK
Released: 1995
Genre: Electronic, Folk, World
Style: African

Thursday, 27 February 2014

Burundi Black • Burundi Black

I wasn't aware of this recording back in 1981 when it was re-released, but the bands it influenced like Bow Wow Wow ans Adam and the Ants were playing Burundi drums on these space age (to me) Staccato drum kits which have amazing sound. Now if anyone knows of any sampled Staccato drum sounds, drop me a line.


"Burundi Black" is a 1971 recording credited to Burundi Steiphenson Black.
Released as a single, it made #31 on the UK Singles Chart.
The single was arranged and produced by French pianist, arranger and record producer Michel Bernholc (1941 – June 5, 2002). He was a classically trained pianist who had previously worked with pop musicians such as Michel Berger, France Gall, Françoise Hardy and Claude François. For the "Burundi Black" single, he used the pseudonym Mike Steiphenson.
The record sampled a recording of drumming by 25 members of the Ingoma people in Burundi. The recording was made in 1967 by anthropologists Michel Vuylsteke and Charles Duvelle, and was released on the album Musique du Burundi on the French Ocora label in 1968. Steiphenson overdubbed his own piano and guitar rock arrangement onto the recording.
In 1981, a new arrangement of "Burundi Black" was recorded by drummer Rusty Egan and French record producer Jean-Philippe Iliesco, and released in the UK and US where it became a dancefloor hit, described by music critic Robert Palmer as "glitzy pop-schlock, a throwaway with a beat". Palmer noted that, although Steiphenson had retained copyright over "Burundi Black", the Burundian musicians made no money from any of the recordings.
The recording of Burundi drummers was also sampled by Joni Mitchell on her song "The Jungle Line" (1975), on "Zimbo" by Echo & the Bunnymen (1983),  the Def Leppard single "Rocket" (1987) and the Beastie Boys' "59 Chrystie Street" (1989).

1. Burundi Black (First Part)
2. Burundi Black (Second Part)

Drummers of Burundi
Additional Drums • Rusty Egan
Special Re-mix • J.P. Illiesco, Rusty Egan
Written by Mike Steiphenson

Label: Barclay ‎– BAX1, Decca ‎– BAX1
Format: 320
Country: UK
Released: 1981
Genre: Electronic, Folk, World, & Country
Style: Tribal, Experimental

Saturday, 22 February 2014

Black Arc • Black Rock | Cyberfunk | Future Blues

Black Arc was a short lived record label that Laswell set up through Rykodisc focusing on ‘Black Rock, Cyber Funk and Future Blues’, according to the released sampler.
This sampler contains the first five releases, three other releases followed.
Some of the albums were re-released on Laswell's Innerhythmic label.

1. O.G. Funk • Yeah Yeah Yeah
2. Zillatron • Bugg Light
3. Slavemaster • Godless
4. Hardware • Got A Feeling
5. O.G. Funk • I Wanna Know
6. Zillatron • Count Zero
7. Buddy Miles Express • Born Under A Bad Sign
8. Slavemaster • Each One Teach One
9. Hardware • Hard Look
10. Buddy Miles Express • Let It Be Me 

ZILLATRON • Lord Of The Harvest
is the creation of Boosty Collins and Laswell,
designed as a vehicle for radical
explorations of funk into the
virgin territories of Ambient,
Hardcore, Techno, and beyond

is an organic fusion of hard, Gothic,
Heavy Rock guitars with Funk and Hip Hop grooves,
led by bassist/vocalist Islam Shabazz
O.G. FUNK • Out Of The Dark
is raw, uncut Funk from original Funkadelics Billy "Bass" Nelson.
Screaming guitars, gutbucket grooves, nasty vocals and gritty production

HARDWARE • Third Eye Open
is a hard Blues/Rock power trio featuring Drummer Buddy Miles,
bassist Bootsy Collins and Guitarist Steve Salas,
With all three contributing vocals.

is hard Rhythm & Blues from veteran drummer/singer/ Buddy Miles
on his most powerful recording ever.

Released later, not on sampler:

Abiodun Oyewole: 25 Years

The Last Poets: Holy Terror
This is the P-Vine release version.

The Last Poets: Black And Strong (Homesick) Promo

Jerome Brailey and Mutiny: Aftershock 2005

Bernie Worrell's "Free Agent" was also released on the this label but in Japan only.
Domestic copies sold by Bernie do not show the Black Arc logo.

At The Center Of This Stands Creativity The Revolutionary Forces Of The Art Through Freedom The Only Aim Is Not Thinking The Only Result Is Communication The Repetition Of Familiar Form Is The Basis Of Ideology That Information Is The Model Of False Communication The Communication Of The Inauthentic - The Non-Living The Language Of The Whole Man Will Be A Whole Language Freedom Leads To Freedom Those Are The First Words Of The Truth
 Bill Laswell

Label: Rykodisc ‎– RCD 10313
Series: Black Arc
Format: 320
Country: US
Released: 1994
Genre: Electronic, Hip Hop, 

Rock, Funk / Soul
Style: Blues Rock, Funk Metal, Industrial

Thursday, 13 February 2014

Wednesday, 12 February 2014

Derek Bailey • guitar, drum 'n' bass

This interview with Derek Bailey was undertaken by Stefan Jaworzyn (of Shock records) in mid-1995. It originally appeared in the magazine Music from the empty quarter (an irregular publication), no. 12, 1995. 

Derek Bailey:
Well, I did some recording... The jungle music's by Ninj - a beautiful piece, about 50 minutes - in fact it's five pieces I think. He does mainly studio work I believe - an interesting character. So he'd done his thing... I got to the studio - all this had been arranged from New York by Zorn and Laswell - the day before we were supposed to tape it. The studio was run by Mick Harris, a nice little place... I set up and tried a few things, then said to him, "Have you got a chair because I sit down to play.' And he said, 'No'(!) then, 'Well, there's one in there' but it was no good because it had arms. So he didn't have any chairs - but there was his drum stool. So I said, 'Well, I'll try the drum stool' but the drum stool was broken and it kind of weaved around. It spun round, but not only did it spin round but it conducted a circle in which it would spin - it would spin round in a circle, if you see what I mean - the upright was not upright...

Stefan Jaworzyn:
It swooped...

Derek Bailey:
Yep. So it was a fairly skilful business just keeping upright on it. (I should have asked Zorn for a chair. I realise now that when I got to Birmingham I should have phoned him and said 'There's no fucking chair here John - get a chair!'). We got talking about the way to record, and he played me a bit of the jungle stuff and I said, 'Don't play it just now.' Then I went back to the hotel, and I remembered about the chair, so I rang him up and said, 'Tomorrow, get a chair'. And he said, 'It's impossible.' So I left it with him anyway... I turned up the following day and there's no chair! I used the drum stool. It turned out that the drum stool wasn't really a problem. What was a problem was that Mick didn't seem capable of mixing a DAT and a live instrument. There were also some things that went on that were somewhat in the chair vein - like I played with the first piece then said, 'I'll just have a listen to that'. he replied, 'I didn't record it.' and I said 'What the fuck do you think I was doing?' and he said 'I thought you were just getting used to it.' So we started again. Anyway, we finished after about 40 minutes - by which time I'd been into the control box a few times. And by, let's say the third take, it was possible to detect that there was a guitar player. Now I was playing comparatively loud, but that doesn't mean anything if you're mixing - you're at the desk with a DAT and a live instrument - but there was nothing there (on the DAT). Eventually, as time wore on, I could hear some plinking and plonking behind this very nice jungle stuff - a bit like rain falling on a roof, very softly. I said, 'Just turn the fucking thing up Mick, don't worry about what it sounds like.' but we never made it onto the tape; after about 40 minutes my spirits started to sag...

Stefan Jaworzyn:
Uh...(Longish pause) So...

Derek Bailey:
(Laughs) Ninj was there - I have to say his enthusiasm was the only thing that was sustaining me - he seemed knocked out by what was going on. It's just that none of what was going on was making it onto tape! So I finally said, 'We're going to stop this now.' And Mick - it seemed with some relief - said, 'Yeah. Maybe you could record it at Laswell's studio.' I bet I could. And they've probably got chairs too... So the two lads helped me down with my equipment and I got a taxi back to the station and that was the end of that session... It just completely baffled me - he seemed so relieved when I said 'Let's pack this up'... It was getting louder, but I was getting exhausted - when it finally got to the point where it was starting to register on tape I thought it should have been over!
Anyway, I've got the Ninj DAT and the aborted DAT, so I'll probably take it over to New York with me in September. I've talked to Zorn about it and the arrangement is that we'll do it with Laswell.

Stefan Jaworzyn:
So it's not as imminent as I'd originally thought...

Derek Bailey:
Oh well, these things... Zorn's releases are backed up to the turn of the century...

Stefan Jaworzyn:
So Laswell will engineer it?

Derek Bailey:
No, it'll probably be Bob Musso - he's very good. Plus I can borrow his amp - he's got a fantastic old amplifier...

Bailey says that what he'd really like to do most is play a concert with 'live' jungle (ie: with a couple of DJs and several turntables for an uninterrupted flow of music), but there are obviously many attendant problems - not least the (presumable...) incompatibility of jungle and improvised music audiences, not to mention the difficulty of finding a suitable venue. I find this idea most appealing, and it strikes me as closer to Bailey's aesthetics than producing a CD with specially composed jungle. Well, I guess it now just remains to be seen what actually emerges from all the apparent chaos...

1. N/Jz/Bm (Re Mix)
2. Re-Re (Up Mix)
3. Dnjbb (Cake Mix)
4. Concrete (Cement Mix)
5. Ninj (De Mix)
6. Pie (Amatosis Mix)

Derek Bailey

D.J. Ninj
drum programming

Bass and drums recorded spring 1995 in Birmingham, England.
Guitar recorded September 1995 at Bill Laswell's studio, NYC.

Label: Avant ‎– AVAN 060
Format: 320
Country: Japan
Released: 1996
Genre: Electronic
Style: Noise, Drum n Bass, Experimental

Monday, 10 February 2014

Buckethead • Day of the Robot

The most consistent and coherent-sounding of Buckethead's releases to date (two qualities usually absent from his earlier works). Most often referred to as his "jungle album" (it features rhythm tracks by U.K. beat scientist DJ Ninj), the hyperspeed breaks are actually the least interesting aspect of the album, which is instead notable for its steady and inspired, chaos-by-design integration of diverse elements (treated guitars, keyboards and pianos, loping bass, etc.). Much of the credit for this goes to Bill Laswell's excellent production.

1. Destroyer
a. Speed Flux Quadrant
b. Inclusion
c. Exhaust Release

2. Flying Guillotine

3. Quantum Crash

4. Collision

5. Caution Drop

Buckethead • guitars
Ninj (2,3,4,5) • bass, drums, keyboards
Bill Laswell • low bass, drums

Recorded at Coast Recorders, San Francisco, CA and Greenpoint Studio,
Brooklyn, NY
Rhythm tracks for 2,3,4 and 5 created in the UK by Ninj
Engineering in San Francisco: Oz Fritz
Assistant in San Fransisco: Mike Johnson
Engineering at Greenpoint: Robert Musso
Mastered by Robert Musso and Anton Fier

Produced by Bill Laswell

Label: Sub Meta ‎– SM 9804
Format: 320
Country: US
Released: 1996
Genre: Electronic, Rock
Style: Breakbeat, Drum n Bass, Heavy Metal

Tuesday, 28 January 2014

Jaz Klash • Thru The Haze

 Perhaps the best thing out of Bristol drum'n'bass since New Forms, the debut album from the collaborative trio Jaz Klash is a set of jungle jazz with a definite edge to it, courtesy of live instrumentation by noted jazz keyboardists Jacky Terrasson and Brian Auger. The drum programming by More Rockers and the Angel is superb and distinctive, while even the Angel's own vocals on two tracks come off quite well.

1. Off The Edge
Louis Russell • Electric Guitar

2. Intrigue (Down For Whatever)
The Angel • Lead Vocals
Katisse Buckingham • Flute

3. BQE
Cokni O'Dire • Rap

4. Intoxicated
Katisse Buckingham • Flute

6. Traffic
Greg Cook • Bass Guitar
Rob Chant • Electric Guitar

7. Thru The Haze
The Angel • Lead Vocals
Brian Auger • Hammond Organ, Electric Piano
Katisse Buckingham • Saxophone

8. The Finale
Louis Russell • Electric Guitar
Jacky Terrasson • Hammond Organ, Electric Piano

9. The Gift
Louis Russell • Electric Guitar

10. The Party Next Door 

11. One Fine Day

All tracks recorded & mixed in Bristol & L.A.
Composed, Mixed, Engineer, Programmed, Performed, Produced by
The Angel, Peter D, Rob Smith

Label: Cup Of Tea Records ‎– COT CD 008
Format: 320
Country: UK
Released: 1996
Genre: Electronic
Style: Trip Hop, Drum n Bass, Jungle

Sunday, 26 January 2014

Plug • Plug 1 | Visible Crater Funk

"Plug 1 are a drum and bass outfit with a difference. Hailing as west country Techno stars, they came to London and were influenced by the jungle sounds of their new surroundings."

"Spaced out jungle tunes on an ambient tip or intelligent jungle would hint at where this release is coming from but with music as unique as this why try to categorise things that are on a trip of their own."
Taken from the Distributor sheet that came with the promos

1. 7.10
2. 3.41
3. 7.44
4. 6.07

Created by Luke Vibert

Incidental information:
"Visible Crater Funk" is an anagram for Luke Francis Vibert.

Label: Rising High Records ‎– PLUG 1
Format: Vinyl Rip Flac
Country: UK
Released: 10 Apr 1995
Genre: Electronic
Style: IDM, Drum n Bass, Jungle

Wednesday, 22 January 2014

Jerry Gonzalez • Ya Yo Me Cure

 A monumental masterpiece of New York Latin Jazz by Jerry Gonzalez. I think this was American Clave's first release, I remember reading a Kip Hanrahan interview that he had some ambitious ideas which were not to Jerry's liking, prompting Jerry to comment maybe you should record your own album (Coup de tete).

The debut recording as a leader by Jerry Gonzalez, Ya Yo Me Cure features an early version of the trumpeter/Latin percussionist's Fort Apache Band (although it had not been named at this point). The advanced Latin jazz set (which has been reissued on CD) features such notable sidemen as trombonist Steve Turre, Mario Rivera on tenor, pianist Hilton Ruiz, singer Frankie Rodriguez and several percussionists. In addition to three originals by Rodriguez, the hot ensemble Latinizes such unlikely tunes as "Caravan," Wayne Shorter's "Nefertiti," Thelonious Monk's "Evidence" and "The Lucy Theme." Frequently exciting music.

1. Aguaybana Zemi
2. Nefertitti
3. Ya Yo Me Cure
4. The Lucy Theme
5. Evidence
6. Baba Fieden Orisha
7. Caravan

Jerry Gonzalez • Trumpet, Flugelhorn, Coro
Frankie Rodriguez • Lead Vocals, Quinto, Bata, Chekere
Milton Cardona • Vocals
Steve Turre • Trombone, Conch Shell, Percussion
Papo Vázquez • Trombone, Coro
Mario Rivera • Tenor Saxophone, Coro
Edgardo Miranda • Electric Guitar
Hilton Ruiz • Piano
Andy Gonzalez • Bass, Coro
Gene Golden • Bata, Bata, Chekere
Carlos Mestre • Coro, Tumbadora, Chekere
Vicente George • Guiro, Percussion
Nicky Marrero • Timbales, Chekere, Guataca
Don Alias • Drums

recorded July / August 1979

Produced by Kip Hanrahan and Jerry Gonzalez

Label: American Clavé – AMCL 1001
Format: 320
Country: US
Released: 1980
Genre: Jazz
Style: Latin Jazz

Saturday, 11 January 2014

American Clave • Anthology

An anthology of musics (sequences of angers, passions, sexualities made audible and intangible by music) formed by the labor of Kip Hanrahan, Jack Bruce, Astor Piazolla, Robby Ameen, Horacio El Negro Hernandez, Don Pullen, Silvana DeLuigi, Paul Haines, Milton Cardona, Ishmael Reed, Steve Swallow, Alfredo Triff, Allen Toussaint, Puntilla Orlando Rios, David Murray, Taj Mahal, Sting, Andy Gonzalez, Arto Lindsay, Giovanni Hildalgo, Fernando Saunders, Leo Nocentelli, Benjamin Bratt, Pablo Ziegler, Fernando Suarez Paz, Carmen Lundy, Bobby Womack, Robert Wyatt, Peter Scherer, Lester Bowie, John Tchicai, Mike Cain, Jerry Gonzalez, Xiomara Laugart, Lucy Penebaz, George Cartwright, Elysee Pyronneau, Pedrito Martinez, Olu Dara, Amadito Valdez, Yosvannit Terry, Chocolate Armenteros, Dziga Vertov and many others informed by, but irreverent of expected form; but informed by and not irreverent of passionate cause and intent ...1980-1992

A two-disc compilation of songs (greatest hits?) from american clave records

“American Clave is both the label and the vehicle of Kip Hanrahan, one of the most experimental musical artists working today. In addition to Hanrahan, some of the artists featured range from power rocker Jack Bruce on vocals and bass to soul singer Bobby Womack to blues guitarist Taj Mahal to avant garde jazz pianist Don Pullen to New Orleans keyboardist Allen Toussaint, usually in some combination with each other. As the above names suggest, Hanrahan has created a body of work that is the most imaginative and complete syntheses of different traditions ever put together... This collection proves that experimental music can be just as listenable and melodic as the most mainstream material..."
—Blade, Citizen Preview

Gold Disc • 1020
1. Salute to Elegua (traditional, arranged by Milton Cardona) Milton Cardona • iya; Hector “Flaco” Hernandez • checkere; Steve Berries • itotele; Jose Fernandez • okonkolo; Sandra “Fela” Wiles, YomiYomi Awolowo, Carole Awolowo, Paulette “Nirvana” Buckley, Amma Oforiwaa Agyapon, Denise Ola DeJean, Jean Evans, Amma Dawn McKean, Teresa Gomez • chorus / recorded 8/85 / from AMCL 1004

2. Tanguedia III (Astor Piazzolla) Astor Piazzolla • bandoneon; Fernando Suarez Paz • violin; Pablo Ziegler • piano; Horacio Malvicino • guitar; Hector Console • bass / recorded 5/86 / from AMCL 1013

3. “…when I lose myself in the darkness of love, no, this love…” (Kip Hanrahan) Fernando Saunders • electric bass; Giovanni Hidalgo • quinto; Milton Cardona • congas; Robbie Ameen • trap drums; Ignacio Berroa • trap drums; Kip Hanrahan • percussion; Diahnne Abbott • voice; Andy Gonzalez • bass; Alfredo Triff • violin / recorded 8/89 / from AMCL 1016/1017

4. “…she turned so that maybe a third of her face was in this fuckin’ beautiful half-light…” (Kip Hanrahan) Giovanni Hidalgo • quinto; Milton Cardona • congas; Robbie Ameen • trap drums; Ignacio Berroa • trap drums; Kip Hanrahan • percussion; Andy Gonzalez • bass; Fernando Saunders • electric bass; Sting • electric bass, voice; Alfredo Triff • violin / recorded 2/90 / from AMCL 1016/1017

5. ‘Sputin (Ishmael Reed, Leo Nocentelli, Alien Toussaint, Kip Hanrahan) Leo Nocentelli • guitar; Steve Swallow • electric bass; Bobby Womack • voice; Allen Toussaint • piano; Robbie Ameen • trap drums; Lenny Pickett • tenor sax; Olu Dara • trumpet; Hamiet Bluiett • baritone sax / recorded 2/89 / from
AMCL 1015

6. Jes’ Grew (David Murray, Ishmael Reed) Taj Mahal • voice, guitar; Ejaye Tracey • voice; Don Jay • voice; Olu Dara • trumpet; David Murray • tenor; Jean-Paul Bourelly • electric guitar; Allen Toussaint • piano; Steve Swallow • electric bass; Jamaaladeen Tacuma • electric bass; Billy Hart • trap drums; Puntilla Orlando Rios • percussion / recorded 9/83 / from
AMCL 1006

7. Make Love 2 (Jack Bruce, Pete Brown) Jack Bruce • voice, electric bass; Steve Swallow • electric bass; Ignacio Berroa • trap drums; Milton Cardona • congas; Puntilla Orlando Rios • congas; Peter Scherer • synclavier; Arto Lindsay • electric guitar; David Murray • tenor sax / recorded 2/84 / from AMCL 1010

8. Ah, Intruder (Female) (Astor Piazzolla; arranged by Kip Hanrahan and Astor Piazzolla) David Murray • tenor sax; Pablo Ziegler • piano; Andy Gonzalez • bass; Alfredo Triff • violin / recorded 5/86 / from
AMCL 1012

9. Prelude to the Cyclical Night (part One) (Astor Piazzolla) Astor Piazzolla • bandoneon / recorded 8/87 / from AMCL 1019

10. The First and Last to Love Me (2, December) (Kip Hanrahan) Steve Swallow • electric bass; Jack Bruce • electric bass; Andy Gonzalez • bass; Giovanni Hidalgo • congas; Milton Cardona • congas; Ignacio Berroa • trap drums; Fernando Saunders • voice; George Adams • tenor sax / recorded 10/85 / from AMCL 1012

11. Ebioso (traditional, arranged by Milton Cardona) Milton Cardona • lead singer, atchere; Hector “Flaco” Hernandez • checkere; Steve Berrios • congas, checkere; Jose Fernandez • checkere; Sandra “Fela” Wiles, YomiYomi Awolowo, Carole Awolowo, Paulette “Nirvana” Buckley, Amma Oforiwaa Agyapon, Denise Ola DeJean, Jean Evans, Amma Dawn McKean, Teresa Gomez • chorus / recorded 8/85 / from AMCL 1004

12. The Author Reflects on his Thirty-fifth Birthday (Ishmael Reed, Steve Swallow) Bobby Womack • voice; Steve Swallow • electric bass; Don Pullen • organ; Alien Toussaint • piano; Robbie Ameen • trap drums; Eddie Harris • tenor sax; Leo Nocentelli • electric guitar; David Murray • tenor sax; Olu Dara • trumpet / recorded 9/87 / from AMCL 1015

13. Curtsy (Paul Haines, Robert Wyatt) Robert Wyatt • voice, keyboards, percussion; Evan Parker • tenor sax / recorded 8/86 / from AMCL 1014/1018

14. At the Moment of the Serve (excerpt) (Kip Hanrahan) Jamaaladeen Tacuma • electric bass; Arto Lindsay • electric guitar; Daniel Ponce • congas, iya; Jerry Gonzalez • congas; Anton Fier • trap drums; Ignacio Berroa • trap drums; Kip Hanrahan • percussion; George Naha • electric guitar; Carlos Ward • alto sax; Chico Freeman • tenor sax / recorded 1/81 / from AMCL 1007

• • • 

1. Meaning a Visa (excerpt) (Kip Hanrahan) Steve Swallow • electric bass; Elysee Pyronneau • electric guitar; Arto Lindsay • electric guitar; Alberto Bengolea • electric guitar; Jody Harris • electric guitar; Puntilla Orlando Rios • percussion; Kip Hanrahan • percussion / recorded 7/82 / from AMCL 1008/1009

2. Two (Still in Half Light) (Kip Hanrahan) Jack Bruce • electric bass, voice; Andy Gonzalez • bass; Milton Cardona • congas, checkere, quinto; Ignacio Berroa • trap drums; Giovanni Hidalgo • quinto; Steve Swallow • electric bass; Kip Hanrahan • checkere/ recorded 7/84 / from AMCL 1011

3. Soledad (Astor Piazzolla) Astor Piazzolla • bandoneon; Fernando Suarez Paz • violin; Pablo Ziegler • piano; Horacio Malvicino • electric guitar; Hector Console • bass / recorded 5/88 / from AMCL 1021

4. Fool-ology (The Song) (Lester Bowie, Ishmael Reed) Lester Bowie • voice, trumpet; Molly Parley • voice; Brenda Norton • voice; David Murray • tenor sax; Elysee Pyronneau • electric guitar; Jamaaladeen Tacuma • electric bass; Andy Gonzalez • bass; Frisner Augustin • congas; Milton Cardona • congas; Billy Hart • trap drums / recorded 8/83 / from AMCL 1006

5. A Lover Divides Time (To Hear How it Sounds) (excerpt) (Kip Hanrahan) Lisa Herman • voice; Daniel Ponce • congas; Jerry Gonzalez • congas; Ignacio Berroa • trap drums; Anton Fier • trap drums; Jamaaladeen Tacuma • electric bass; Arto Lindsay • electric guitar / recorded 2/81 / from AMCL 1007

6. India Song (Carios d’Alessio, Marguerite Duras) Carla Bley • voice, piano; Bill Laswell • electric bass; Chico Freeman • tenor sax; Orlando DiGirolamo • accordian; Billy Bang • violin; Carios Ward • alto sax; George Cartwright • flute; John Clark • french horn / recorded 1/81 / from AMCL 1007

7. Poem for Gretchen Ruth (Paul Haines, George Cartwright) Alex Chilton • voice; Wayne Horvitz • piano; David Hofstra • bass; Bobby Previtte • drums / recorded 10/86 / from AMCL 1014/1018

8. New Fast (Ikue Mori, Tim Wright, Arto Lindsay) Ikue Mori • drums; Tim Wright • bass; Arto Lindsay • guitar, voice / recorded 3/80 / from AMCL 1003

9. Velasquez (Kip Hanrahan) Jack Bruce • voice; Steve Swallow • electric bass; Puntilla Orlando Rios • congas; Ignacio Berroa • trap drums; Anton Fier • trap drums; Elysee Pyronneau • electric guitar; Arto Lindsay • electric guitar; Jody Harris • electric guitar / recorded 7/82 / from
AMCL 1008/1009

10. There Aren’t These Things (Paul Haines, John Tchicai) John Tchicai • tenor sax; Andrew Cyrille • trap drums / recorded 1/90 / from
AMCL 1014/1018

11. Leijia’s Game (Astor Piazzolla) Pablo Zinger • piano / recorded 8/87 / from AMCL 1019

12. Shadow Song (Mario’s In) (Rene Hernandez, Kip Hanrahan) Jack Bruce • piano, voice; Steve Swallow • electric bass; Ignacio Berroa • trap drums; Puntilla Orlando Rios • congas, bongo; Milton Cardona • congas; David Murray • tenor sax; John Stubblefield • tenor sax; Mario Rivera • baritone sax; Ned Rothenberg • tenor sax; Lew Soloff • trumpet; Richie Vitale • trumpet / recorded 2/84 / from AMCL 1010

13. Geography (Kip Hanrahan) Robbie Ameen • trap drums; Fernando Saunders • electric bass; Lucy Penabaz • voice; Leo Nocentelli • electric guitar / recorded 2/90 / from AMCL 1016/1017

14. Prelude to the Cyclical Night (part two)
(Astor Piazzolla) Astor Piazzolla • bandoneon/ recorded 8/87 / from
AMCL 1019

Produced by Kip Hanrahan

Label: American Clavé – AMCL 1020/26
Format: 320
Country: US
Released: 1986
Genre: Folk,  Latin
Style: Afro-Cuban, Religious