WHAT IS “BLACK” CULTURE?

 

 

 

truthunedited

Bill Laswell on Album by Public Image Ltd

 

 

 

Bill Laswell on the making of Public Image Ltd’s Album (1986) - first takes, unlikely sessions, and the stories that grew around it. In this long-form conversation, Bill Laswell reflects on how PiL’s Album took shape - from cutting key tracks as first takes with Tony Williams at New York’s Power Station, to bringing Ginger Baker into the sessions, to working with musicians including Steve Vai, Ryuichi Sakamoto, Bernie Worrell and others. Laswell also discusses the recording approach behind the album’s distinctive sound and shares his memories of how the sessions unfolded. The interview also touches on a long-circulating story that Miles Davis appeared at the sessions. Laswell explains that Ornette Coleman briefly visited the studio but did not record. The story has circulated in different forms over the years, and John Lydon also revisits the episode in his memoir Anger Is an Energy: My Life Uncensored, where he reflects on the same period from his own perspective. As with any historical recording session, memories and perspectives can differ, and the conversation is intended as part of a broader exploration of how the record came together. This episode is part of a short run of Album-related conversations on The Ireland Podcast, including a two-part episode with Steve Vai. Chapters and links in the description. The Ireland Podcast is a record of long-form conversations. Views and recollections are those of the guest.

The Ireland Podcast 

Chapters 
00:00 Steve Vai intro + opening 
00:24 Introducing Bill Laswell 
01:15 “The project came into me” - how Album began 
03:00 Building the record before vocals 
04:47 Tony Williams - first-take recordings 
07:29 Bringing Ginger Baker to New York 
10:13 First takes and recording philosophy 
13:33 Steve Vai joins the sessions 
17:10 Recording drums in elevator shafts & car parks 
21:42 Space and restraint in production 
24:25 The Miles Davis / Ornette Coleman story 
26:32 Recording John Lydon’s vocals 
31:37 Mixing the record 
33:07 Release, credits and legacy 
35:28 Creating “Ease” 
38:29 Writing and constructing “Rise” 
41:29 South African musical influences 
43:05 Studio logistics and momentum 
47:28 Looking back on the record 
49:07 Respect for John Lydon 
51:48 Final thoughts 
53:07 End

 

 

 

 

 

 

 

Bill Laswell and Cosmic Trip

misterG · bill laswell

 

Green Arrow Radio

 

 

 

 

 

 

 

Keep this website a secret

 

https://youtube.com/shorts/ANtSmVic7dM?si=WnDZkWRrc1LJ7Uc0

 

 

The Wednesday Classic #2

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

factmag

 

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 Wednesday Classic #1

  

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)

 

 

Marc Johnson • Bass
Bill Frisell • Guitar, Guitar Synthesizer
John Scofield • Guitar
Peter Erskine • Drums 

 

 

Label: ECM Records – ECM 1299
Format: Flac
Country: Germany
Released: 1986
Genre: Jazz
Style: Fusion, Contemporary Jazz 

 

 

Sam Morrison • Cosmic Trip #2

 High Blood Pressure the 2nd preview track from Cosmic Trip

Sam Morrison

 

 

 

Sam Morrison

By Flibbert J. Goosty

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

 

 

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 sax (except 9), alto flute synthesizer, logicdrums, electronics
Bill Laswell: EFX

 

 

 

Whatever : Anthology 1

 

 

 

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. 

 

released October 7, 2023  

 

 

 

 

••• 

Hmmm #5 Must Watch

 

Hmmm #4

 

Hmmm #3

 Are We Asking the Right Questions?

Hmmm #2

 

Hmmm

Charlie Kirk refused Netanyahu funding offer, was ‘frightened’ by pro-Israel forces before death, friend reveals 

Max Blumenthal and Anya Parampil·September 12, 2025

 

 

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.

 

READ MORE 

 

 

Haus Social / York / 23rd August ‘25 • Steve Cobby

 

Cosmic Trip • Sam Morrison

 

 

 

 

 

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 sharing thoughts, "Music comes to me somewhere outside and Inside my mind. I incorporated all of the sounds I have available, woodwinds, software and electronic synths in old and new ways. Melody and harmony flow from the sounds and instruments through me."

credits

releases October 17, 2025

Sam Morrison • soprano sax (except 9), alto flute synthesizer, logicdrums, electronics
Bill Laswell • EFX

Recorded by Sam Morrison at Livingston Manor, NY & Truth or Consequences, NM
Mixed by Bill Laswell
Engineering: James Delatacoma
Mixed at Orange Music, West Orange, NJ
Created and produced by Sam Morrison
Mastered by Michael Fossenkemper at Turtletone Studio
Artwork by Yoko Yamabe @Randesign
M.O.D.Reloaded: Dave Brunelle & Yoko Yamabe 

 

 

 

Professor John Mearsheimer • Who Can Stop Israel?

 

Not Available in Your Region

 

 

JOLT.FILM

Using never-seen-before interrogation footage, this investigation of Benjamin Netanyahu and his inner circle provides an unflinching gaze into the private world behind the headlines. Petty vanity and a sense of entitlement leads to corruption, and the unwillingness of the Netanyahus to give up power. The extreme right senses opportunity in Bibi’s weakness, and the dominos fall.

The Bibi Files is available to watch in the United States, Brazil, Canada, China, Hong Kong, India, Japan, and South Korea on Jolt.film.

 

Not Available in Your Region 

 

 

 

CCL • Expansive digging methods for Discogs

 

 

 

• CCL •

 

 

Animalia · ani/live Fifty Six: CCL @ Freerotation

CCL · 𝙡𝙞𝙦𝙪𝙞𝙙𝙩𝙞𝙢𝙚 w CCL #12 Mist @refugeworldwide

Compact Disc's 2025

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

...and more

 

 

 

 

That's the Way I Feel Now • A Tribute to Thelonious Monk • RE-UP

 

 RE-UP

 

One of the many vinyl albums destroyed from a leaking roof many moons ago. Fortunate to find a rip sometime ago but I can't remember where, hope I thanked the original postee.  One of the curses (I find) of music blogs and blogging is that I hardly get time to listen to what I find, even the stuff I have been searching for forever. Gave this a bit of a listen while preparing the post and enjoyed what I was hearing.

• Stylo •

Two years after the death of pianist-composer Thelonious Monk, this very unusual and quite memorable double-LP tribute was put together. Producer Hal Willner's most successful project, the 23 interpretations of Monk originals all feature a different group of all-star players and stretch beyond jazz. Some of the performances are fairly straightforward while others are quite eccentric; certainly the crazy duet on "Four in One" by altoist Gary Windo and Todd Rundgren (on synthesizers and drum machines) and the version of "Shuffle Boil" featuring John Zorn on game calls (imitating the sound of ducks) are quite unique. There are many colorful moments throughout the project and the roster of musicians is remarkable: Bobby McFerrin with Bob Dorough, Peter Frampton, Joe Jackson, Steve Lacy, Dr. John, Gil Evans, Randy Weston, Roswell Rudd, Eugene Chadbourne and Shockabilly, the Fowler Brothers, NRBQ, Steve Khan, Carla Bley, Barry Harris, Was (Not Was) and many others. There is not a slow moment or uninteresting selection on this highly recommended set.

allmusic

 

 Thelonious


Arranged by Bruce Fowler


Bruce Fowler • trombones


Phil Teele • bass trombones


Tom Fowler • bass


Chester Thompson • drums


Little Rootie Tootie



Performed by NRBQ and the
 Whole Wheat Horns


Al Anderson • guitar


Terry Adams • piano


Joseph Spampinato • bass


Tom Ardolino • drums


Donn Adams • trombone


Keith Spring • tenor saxophone

Reflections


Arranged and preformed by 
 

Steve Kahn • guitars


Donald Fagen • synthesizers


Blue Monk



Arranged and performed by
 

Dr. John • piano

Misterioso


Arranged by Carla Bley


Performed by 

The Carla Bley Band


with special guest
  

Johnny Griffin • tenor saxophone


Carla Bley • organ


Mike Mantler • trumpet


Gary Valente • trombone


Vincent Chancey • French horn


Bob Stewart • tuba


Steve Slagle • alto and baritone
 saxophones


Hiram Bullock • guitar


Kenny Kirkland • piano


Steve Swallow • bass


Victor Lewis • drums


Manolo Badrena • percussion, 
special effects


Hal Willner • the voice of death

Pannonica

Arranged and performed by
Barry Harris • tack piano

Ba-Lue-Bolivar-Ba-Lues-Are

Was (Not Was)
David Was • flute
Don Was • guitar, synthesizer, horn arrangement
Sheila Jordan • vocal
Marcus Belgrave • trumpet
Jervonny Collier • trombone
David McMurray • alto saxophone
Michael Ward • tenor saxophone
Larry Fratangelo • percussion
Sweet Pea Atkinson • background vocal
Harry Bowens • background vocal
Carol Hall • background vocal
Donald Ray Mitchell • background vocal

Brilliant Corners

Arranged by Mark Bingham
Mark Bingham • guitar
Brenden Harkein • guitar
John Scofield • guitar
Steve Swallow • bass
Joey Barron • drums

Ask Me Now

Arranged and performed by
Steve Lacey • soprano saxophone

Charlie Rouse • tenor saxophone

Monk's Mood

Arranged by Sharon Freeman
Sharon Freeman • French horn, celeste
Featuring special guest
Willie Ruff • solo French horn
Vincent Chancey • French horn
Bill Warnick • French horn
Gregory Williams • French horn
Kenneth Barron • piano
Buster Williams • bass
Victor Lewis • drums, percussion

Four In One

Arranged and performed by
Todd Rundgren • synthesizers, 

keyboards, guitar, drum machines

Gary Windo • alto saxophones

Functional

Arranged and performed by 

Randy Weston • piano

Evidence

Arranged and performed by  

Steve Lacey • soprano saxophone 

and Elvin Jones • drums

Shuffle Boil

Arranged by John Zorn
John Zorn • game calls, alto saxophone, clarinets
Arto Lindsay • guitar vocal
Wayne Horvitz • piano, organ, celeste, electronics
M. E. Miller • drums, timpani

In Walked Bud

Performed by Terry Adams and Friends
Roswell Rudd • trombone
Pat Patrick • alto saxophone
Terry Adams • piano
John Ore • bass
Frankie Dunlop • drums

Criss Cross

Arranged and performed by 

Shockabilly
Eugene Chadbourne • acoustic, electric guitars
Mark Kramer • piano, organ, bass guitar, alto trombone, 

Dad's clocks, tapes
David Licht • drums, percussion

Jackie-Ing

Mark Bingham • guitar
Brenden Harkein • guitar
John Scofield • guitar
Steve Swallow • bass
Joey Barron • drums
Additional horns
David Buck • trumpet
Don Davis • clarinet
Mars Williams • clarinet, tenor saxophone
Ralph Carney • bass saxophone, whistle

'Round Midnight

Arranged by Joe Jacckson
Joe Jackson • piano
Sharon Freeman • conductor
Jerry Little • concertmaster
Melanie Baker • violin
Sandra Billingsles • violin
Karen Gilbert • violin
Cheryl Hong • violin
Stan Hunt • violin
Crystal Garner • viola
Maxine Roach • viola
Muneer Abdul Fatah • cello
Enrique Orango • cello
Lawrence Feldman • clarinet
Steve Slagle • clarinet
Ken McIntyre • bass clarinet
Bob Cranshaw • bass
Buddy Williams • drums

Friday The Thirteenth

Original tracks arranged and performed by
Bobby McFerrin • vocals
and Bob Dorough • vocals
Dave Samuels • vibes, marimba, percussion

Work

Chris Spedding • guitars, arrangement, concept
Peter Frampton • guitars, solo
Marcus Miller • bass
Anton Fig • drums

Gallop's Gallop

Arranged and performed by 

Steve Lacey • soprano saxophone

Bye-Ya

Arranged and performed by 

Steve Slagle • alto saxophone

Dr. John • piano
Steve Swallow • bass
and Ed Blackwell • drums

Bemsha Swing

Arranged and performed
by Steve Lacey • soprano saxophone
and Gil evans • electric and acoustic pianos

ALL MUSIC COMPOSED BY THELONIOUS MONK Published by Thelonious Music BMI except: "Bemsha Swing" written by Thelonious Monk and Denzil Best 

 "'Round Midnight" published by Warner Bros. Music, and is registered as written by Thelonious Monk, Cootie Williams, and Bernie Hanighen 

"In Walked Bud" and "Monk's Mood" published by Embassy Music BMI

Recorded and mixed at
MEDIASOUND STUDIOS through MediaMax Corporation.
Recording and mix engineer Doug Epstien

Produced by Hal Willner

 

Label: A&M Records ‎– SP 96600
Format: 320 
Country: US
Released: 1984
Genre: Jazz
Style: Bop, Post Bop