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

 

 

 

 

 

 

 

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  

 

 

 

 

••• 

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 

 

 

 

Jah Wobble presents PJ Higgins • I Did Bad (Bill Laswell Remix)

 

 

 

 

 

 

•

Bill Laswell : Mixtape N°7 - The Return of Celluloid

 

 

 

01. Time Zone • World Destruction


02. The Last Poets • When The Revolution Comes


03. The Golden Palominos • Boy (Go)


04. Touré Kunda • Natalia (Natalia)


05. Deadline • Makossa Rock

06. Massacre • Legs

07. Mandingo • Herima


08. Grand Mixer D.ST. / Crazy Cuts (Crazy Cuts)


09. Manu Dibango / Electric Africa (Electric Africa)


10. Ginger Baker • Interlock


11. The Golden Palominos • Clean Plate 

12. Beside • Change The Beat

13. Bill Laswell • Work Song


14. Shango • Shango Messag

15. Lightnin’ Rod • Sport

16. John McLaughlin • Marbles

17. Material feat. Whitney Huston • Memories

18. Lightnin' Rod, Jimi Hendrix • Doriella Du Fontaine (Doriella Du Fontaine)


19. Material / I’m The One (One Down)


20. Daniel Ponce • Invocación De 80

The Voice Of Cassandre

Bill Laswell • Ambient Compendium

 

This is a compilation of edited material taken from the Subharmonic and Strata catalogs. Track 9 on each disc are new tracks.  Track 6 on disc two is the same as "Najm-Al-Din", which can be found on both 'Excursions In Ambience', and the Stoned Heights Divination release, 'Light In Extension'.

 

 Dark Massive (Ambient)

1. Descent
2. Maps Of Impossible Worlds (with Buckethead)
3. Angel Tech (with Pete Namlook)
4. Aion (with Jonah Sharp)
5. Monochrome Existence (with Tetsuu Inoue)
6. Open URL (with Terre Thaemlitz)
7. Distal Sonority (with M. J. Harris)
8. Broken Dream

Disengage (Ambient Bass And Drums)

1. Tangier Space Draft (with DXT)
2. Black Dawn (with Pete Namlook)
3. Evil Eye (with Jah Wobble and Jeff Bova)
4. Ports of Entry (with Automaton)
5. Ancient Evenings
6. Zurvan Akarana (with Jonah Sharp)
7. Asiyah Dub (with Automaton)
8. White Lies

 

Disc one: Bill Laswell: bass, beats, sounds; (3) Buckethead: guitars, sounds.

Disc two: Bill Laswell: bass, beats, sounds; (2) DXT: turntables; (4) Bill Laswell: bass, sounds; Jah Wobble: bass, sounds; Jeff Bova: sounds; (5) Nicky Skopelitis: guitars, treatments; Lili Haydn: violin; Tetsu Inoue: electronics; Bill Laswell: bass, beats; Robert Musso: treatments; (8) Bill Laswell: bass, sounds; Gabe Katz: bass, sounds; Sly Dunbar: beats.

Compiled & Edited By Jean Pierre Stuys
Engineer By Robert Musso
Mastered By Anton Fier

Silent Watcher

Label:    M.I.L. Multimedia – ESP 8508
Format: 320
Country: US
Released: 1996
Genre: Electronic
Style: Ambient, Dark Ambient, Drum n Bass, Dub

Against Empire: Co-conspirators Weigh In

 

 In addition to our interview with Bill Laswell, we asked some of the artists and musicians who have worked with him to share some thoughts on their work and experiences together.

These are their stories: By David Cristol

Bachir Attar

Photo by Cherie Nutting

"Bill Laswell is a wonderful producer and a great musician. We were honoured to have him come to the village of Jajouka to record Apocalypse Across the Sky with the group "The Master Musicians of Jajouka" in 1992. I remember the donkeys climbing the mountain road to the village carrying Bill’s recording equipment to my father's house where we spent three days playing our music under a sky holding a big moon. This was the first record after the 1972 recording The Master Musicians of Jajouka with my father Hadj Abdesalam Attar who led the group before me. My brothers and I were all born in this house and famous people like Ornette Coleman, Paul Bowles, William Burroughs, Brion Gysin and many others stayed. We call it the "History house" but sadly today it is falling down and it needs repair. We hope to save it someday.

We had a 3-day recording session. The old musician Mfdal was too ill to play with us but we carried him in a chair to the house and he watched everything. Later, Boujeloud, his son, danced around a big fire when we played our ghaitas.

Bill took me to America to record a solo album with Maceo Parker and Ayib Dieng. Writer and composer Paul Bowles [living in Tangier at that time] once said that Bill had "perfect pitch". We thank Bill for all he has done for me and The Master Musicians of Jajouka."

• The Master Musicians of Jajouka - Apocalypse across the sky (Axiom, 1992)
• Bachir Attar - The Next Dream (CMP, 1992)
• Various – The Road to Jajouka : a Benefit Album (Howe Records, 2013)
  With John Zorn, Marc Ribot, Medeski Martin & Wood, Mickey Hart, Lee Ranaldo, Ornette Coleman…
• The Master Musicians of Jajouka led by Bachir Attar with Material - Apocalypse live (M.O.D. Technologies, 2017)  

Continue reading here

Against Empire: an Interview with Bill Laswell

 

 

 

The Interview

By Paul Acquaro and David Cristol 

Free Jazz Blog: I'd like to start asking how are you doing? We know that you've been dealing with some health and other issues with the studio, but at the same time, you're keen on writing another chapter.

Bill Laswell: Well, yeah, I think I can get one more.

FJB: What would you like to see in there?

BL: I just want to continue. There's a lot of records that I've done that need to come out. We have to work on that. And I have wanted to do a lot of drum and bass records without so much music. Just rhythm. There are a few key people that I would work with and want to work with. But again, there's quite a few things in the can that should come out soon.

FJB: About some recent and upcoming projects. In 2020 you started getting a dazzling number of unreleased live recordings out there, from different eras and bands that you had organized.

BL: Yeah, that's still going on. It's on Bandcamp. Why do you do music in the first place? It's so people can hear it. And there is a kind of base of people that want to hear it, so, you know, I keep digging it out and we put it on Bandcamp and there's a subscription that gives access to it. You can get all that stuff from digital places.

FJB: Yeah, the subscription model is interesting. How has that been working for you?

BL: I don't monitor it so much, but I think it's going OK. It's not really selling because the thing is, it's more to do with people getting access to things that they would normally not have heard. I'm glad that people hear it and it's a good document and it measures history in a way. I like the idea.

FJB: How many recordings would you say you have unreleased?

BL: Not many. I have the things that are finished and that will be coming out soon. That's unreleased as of now. But I don't keep a lot of things around that are unreleased. I try to use all.

FJB: As you have gone back to the vaults, were there any projects that you heard differently than you remembered?

BL: All of them, you know, it’s a long time ago. There's a lot of music there and a lot of live recordings. I don't go back to my vault because I don't have a vault. And I don't know how to go back, so…

FJB: I’d like to ask about an upcoming album with The Last Poets...

BL: It should come out soon. Pharoah Sanders played on it. I've worked with The Last Poets for many years. A few years ago, I said let's make a record and go back to the original idea which is just rhythm, percussion and voice and then add a few sounds from Pharoah and Graham Haynes. And that's how this happened. The Poets have done a lot of releases, with bands and one was reggae, one was kind of fusion… We did one that was heavily funk-influenced, Holy Terror, back in the 90s. I wanted to go back to the original source, reel it in and bring it back to this kind of African concept, rhythm and voice for the most part.

 

Continue reading here

In Conversation with Bill Laswell

 

 

Interview by Stephen Lepre

 

Bill Laswell GoFundMe

An Interview with Bill Laswell on Decades of Collaborations with John Zorn

 

Unbounded Horizons: An Interview with Bill Laswell on Decades of Collaborations with John Zorn

Can you share with us how your friendship with John Zorn began and how it evolved over the years?

My friendship with John Zorn began many years ago, and it has been a continuous connection ever since. We first crossed paths through the vibrant New York music scene in the late '70s, where our shared interests and creative inclinations quickly brought us together. Over time, we've developed a simple and easy-going relationship based on mutual respect and understanding. As musicians and artists, our paths have intertwined on numerous occasions, resulting in a multitude of collaborations that have left a profound mark on both of us. Our shared passion for pushing the boundaries of music and exploring unconventional sonic territories has fostered a strong bond between us. We've always believed in the power of creative expression as a means of transcending genres and conventions.

What are some of your earliest memories of collaborating with John Zorn? How did those experiences shape your musical journey?

I collaborated with John Zorn on a couple of projects, like the Cobra pieces and the I Ching pieces. They were early experiences that influenced my musical journey. John's innovative game-like structure challenged traditional notions of composition and performance. It was an entirely new way of approaching music, where the musicians' interactions shaped the direction of the piece in real time. This experience opened my eyes to the potential of collective improvisation as a powerful means of creative expression. That started everything, and later we formed bands together, most notably PainKiller and Bladerunner.

John Zorn is known for his eclectic and experimental style. How has his unique approach to music influenced your own artistic development?

John Zorn's eclectic and experimental style has definitely influenced me. We have different approaches, but knowing each other for so long has shaped our tastes. While we may have different approaches to music, there is no denying the significant impact of John's work on my tastes and creative outlook. On the other hand, you can say he didn’t influence me at all. We just have a great relationship. Our collaborations have been characterized by a sense of mutual respect and a shared commitment to artistic integrity. We understand that the strength of our partnership lies in our differences, and we cherish the creative energy that emerges from our diverse perspectives.

Could you describe the dynamics of your creative process when working with John Zorn? How do you navigate the balance between structure and improvisation in your collaborations?

Our creative process is open-minded and without a specific plan. We don't have much structure, but it works well because we get along and respect each other. Our creative process when working together is a unique and fluid journey that thrives on openness and spontaneity. One of the defining characteristics of our collaborations is the absence of a rigid plan or preconceived structure. Instead, we embrace the freedom to explore and experiment, allowing the music to evolve naturally in the moment. 

 

Nenad Georgievski

 

Read full interview

 

 

The Photographer's Wife • Stina Nordenstam & Anton Fier

Re-Upload

Browsing in the aptly named Cheapo cheapo Records in the soundtrack section (I'm not really a soundtrack fan). This intriguing cover, with what looks like a still from the thirties film, begged further investigation. I thought the music Gods were guiding me when I found Anton Fier & Stina Nordenstam as the main performers and Laswell was on bass duties too.
I've read of a personal falling out between Fier & Nordenstam on this project, which probably amounts to there only being three tracks in existence. A planned Golden Palominos album, I'm guessing may have been in the works. Another strange thing about these three tracks is that they are credited as remixes, the original tracks have never been released in fact the film itself was never released. An imdb search shows an unrelated film with the same title and to confuse matters more, on the Stina Nordenstam website the "The Things You Said" maybe miss titled [?] "The Photographer's Wife" or there are two versions of this release, but more likely part of the Fier & Nordenstam spat (eventhough a rogue fourth track would be nice).
The only film credits on the cover are of Director of Photography Eric Rondepierre and Art Direction by Ricky/F+.
The music sounds like later Golden Palominos releases, ambient electronica,
Stina Nordenstam's fragile fractured vocal sits perfectly. I also like Knox Chandler's minimalist guitar parts too.

Stylo


1. I Could Still (Be An Actor)
(Microman remix)

2. Now When I See You
(Descendence remix)

3. The Things You Said
(Descendence remix)


Stina Nordenstam • Vocals
Knox Chandler • Guitars
Bill Laswell • Bass
Anton Fier • Drums

Recorded September 1995 at Greenpoint Studio / Brooklyn N.Y.


Produced by Anton Fier
and Stina Nordenstam 

 

Label: EastWest – EW055CD
Format: 320
Country: UK
Released: 1996
Genre: Electronic
Style: Ambient, PW_stylo350s,Downtempo 

 

 

 

Fireside Chat • GrandMixer DXT

GrandMixer DXT earned the distinction of being hip-hop’s first turntablist when his scratch solo on Herbie Hancock’s 1983 megahit “Rockit” established an altogether new standard of DJ musicianship. This landmark musical moment was in fact the culmination of DXT’s already deep commitment to hip-hop — as a youth coming up in Edenwald Projects in the Bronx, he was a firsthand witness to such foundational figures as Kool Herc and the Herculoids, and he understood the mammoth cultural shift taking place around him. An uptown DJ who was among the first to invade the early '80s downtown NYC scene, he’d rock punks and b-boys alike at the Roxy, and showcased his prodigious cutting in the climax of the film _Wild Style_. And as an artist and producer in his own right, his singles for Celluloid and with Bill Laswell’s Material remain dynamic contributions to hip-hop’s then-burgeoning rhythm revolution.

The Non-Writer • Material Interviews

Michael Beinhorn Interview 

Jan 26, 2022

multi-platinum music producer gets started in NY Gong, Zu Band, Material 

If you’re a fan of NY No Wave Downtown music circa 1980, you probably know that Michael Beinhorn was a member of the band Material. If you’re in the music biz, you probably know him as the multi-platinum music producer of hit records by Soundgarden, Marilyn Manson, Hole, Red Hot Chili Peppers, KoRn, Ozzy, with worldwide sales of more than 45 million albums, and a 1998 Grammy nomination for Producer of the Year. It was my pleasure to talk with Michael about how he got his start.

 

Young Michal Beinhorn

 

Fred Maher Interview

Feb 14, 2022

Once again it is my great pleasure to continue the interview series with Fred Maher. He started playing the drums as a kid, and was still only 14 when he met Bill Laswell and joined the newly forming Zu Band. Fred tells us how that happened, and how Zu Band would become Material.

 

 

Young Fred Maher

 

 

 

 

 

 

 

 

 

 

Bill Laswell Interview 

March2. 2022

It was a pleasure to talk with Bill Laswell about his early days in NYC. You will hear about some of the key people he would meet then — some by intention, and some by chance.

Young Bill Laswell

  

 

 

 

 

 

 

 

Bill Laswell Research Institute: Vol I & II

 

The Bill Laswell Research Institute was coined by a group of like-minded record heads based in Philadelphia. We gather regularly and listen to records in a Hi-Fi listening room under the moniker Health Connection. Time and time again, someone in the crew would bring something mind blowing to a listening session and Bill Laswell’s name would pop up in the credits. This inevitably led to unraveling minds and eye-opening conversations, followed by more worm-hole like research where we realized the true prolificness, scope and breadth of one man’s body of work. It’s truly astonishing how Laswell collided with vastly divergent musicians and genres while somehow still representing complementary musical spheres. We know we were late to a party that super fans have been having for years, but we’re just happy to be at the party.

While pulling together tracks to compile a mix that we felt would best represent Bill’s work, we realized it was going to take multiple volumes due to the sheer magnitude of his output. As such, we decided to compile the mixes based on two 15 year blocks.

 

Volume One: 1980-1995
01. Material – Reduction [Red Records, 1981] 
02. Herbie Hancock – Rough [Columbia, 1983]
03. Nona Hendryx – Transformation [RCA, 1983]
04. BeSide – Change The Beat (French Rap) [Celluloid, 1982]
05. Bill Laswell – Work Song [Elektra Musician, 1983]
06. Genji Sawai – 1969 (The Real) [Agharta, 1984]
07. Material – Bustin’ Out [Ze Records, 1981]
08. Lenny White – My Turn To Love You (Dub Version) [Elektra, 1983]
09. Kip Hanrahan – This Night Comes Out Of Both Of Us [American Clavé, 1981]
10. Haruomi Hosono – Spinning Spirits [Mercury, 1995]
11. Laurie Anderson – Gravity’s Angel [Warner Bros. Records, 1984]
12. Bill Laswell – Lost Roads [Virgin, 1988]
13. Deadline – Boat Peoples [Celluloid, 1985]
14. Peter Gabriel – In Your Eyes (Special Mix) [Geffen Records, 1986]
15. Public Image Limited – Rise (Instrumental) [Virgin, 1986]
16. Material – Cosmic Slop [Axiom, 1991]
17. Hector Zazou – I’ll Strangle You [Crammed Discs, 1992]
18. Blind Light – Our Completion [Alida, 1994]
19. Monday Michiru – Is This How It Feels [Kitty Records, 1994]
20. Aiyb Dieng – Boka Devotion [P-Vine Records, 1995]
21. Ginger Baker – Under The Black Skies [Axiom, 1990]
22. Automaton – The Terran Invasion Of Alpha Centauri Year 2794 [Strata, 1994]
23. Transonic – Flow Cycle [Fax +49-69/450464, 1995]
24. Cypher 7 – Ladder Of Lights [Strata, 1994]
25. Bill Laswell – Ruins [Axiom, 1994]

 

 

Volume Two: 1996-2010
01. Gigi – Kahn [Palm Pictures, 2003]
02. Sacred System – Black Lotus [Wicklow, 1998]
03. Ryukyu Underground – Koi No Michikusa (Bill Lasswell Remix) [High Note Records, 2005]
04. Bill Laswell & Style Scott – Brooklyn Dub Syndicate [WordSound, 1997]
05. Maghrebika With Bill Laswell – From Mecca To Najar [Barraka El Farnatshi, 2006]
06. Jah Wobble and Bill Laswell – Alam Dub [Axiom, 2001]
07. Activities Of Dust – Written In Nowhere [Adluna Records, 2008]
08. Shin.e – Interwoven [Ion, 2007]
09. Bill Laswell – Cut Virus [Sub Rosa, 2004]
10. Bill Laswell – Dystopia [ROIR, 2004]
11. Bob Marley & The Wailers – Exodus (Bill Laswell’s Dub) [Axiom, 1997]
12. Outland – An Intelligent Force [Fax +49-69/450464, 1997]
13. Havana Mood – Ai El Vaiven De Mi Carreta Dub [APC, 1997]
14. Bill Laswell – Habana Transmission #3 / Shango Sound Scan [Wicklow, 1999]
15. Fanu & Bill Laswell – Transfer Code [Karlrecords, 2008]
16. Miles Davis – Black Satin (Bill Laswell Remix) [Columbia, 1997]
17. Gigi – Salam [Palm Pictures, 2006]
18. Sacred System – Thunupa [ROIR, 1997]
19. Equations of Eternity – 5th Element [WordSound, 1996]
20. Bill Laswell – Beyond The Zero [ROIR, 2000]
21. Possession – Shadow Crossing [Sub Meta, 1996]
22. Haruomi Hosono & Bill Laswell – Jeephead Shamen [Baidis, 1996]
23. Pharoah Sanders & Graham Haynes – Morning Tala [Evolver, 2003]
24.Mark Nauseef, Kudsi Erguner, Markus Stockhausen & Bill Laswell – Suspension [Metastation, 2008]
25. Divination – Reflection [Meta Records, 1998]

 

Aquarium Drunkard

A conversation with Bill Laswell

 

BBC Radio 3 • Free Thinking

Miles Davis and On The Corner

From James Brown to Stockhausen, the influences which fed into Miles Davis's 1972 album On The Corner are explored by Matthew Sweet and guests, 50 years after its release. Bill Laswell, Chelsea Carmichael, Kevin LeGendre and Paul Tingen join Matthew to celebrate an album that was dismissed by some jazz critics as evidence of Davis 'selling out' when it came out, but that has gone on to be appreciated as an important and influential milestone.

Producer: Torquil MacLeod

Bill Laswell's many recordings and productions include Panthalassa: The Music of Miles Davis 1969-1974.
Chelsea Carmichael is a saxophonist and composer. Her most recent album is The River Doesn't Like Strangers.
Paul Tingen is the author of Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991.
Kevin Le Gendre is one of the presenters of BBC Radio 3's J to Z broadcast Saturdays at 5pm

 

 

Listen now

Download 

 

 

 

 

 

Translations in Dub • A Conversation with Bill Laswell

 

Ambient translations in dub, Japan in the ’80s, and future music with visionary bass player / producer Bill Laswell.

A few months ago, news arrived that iconic bass player / producer Bill Laswell was in need of help from his fans, friends, and fellow artists. The note, titled “Entering the 2nd phase of Sacred Begging: EMERGENCY,” included details of Laswell’s difficulties over the pandemic with preexisting health conditions, his recent eviction from his Manhattan home, and struggle to hold on to the lease of his legendary New Jersey studio, Orange Music. A GoFundMe campaign was set up and within moments, Laswell’s global network responded with an outpouring of love and support:

“Your records, your performances, your principles have imprinted in my soul and I’m better for it.”

“Bill. Without you, nothing if you ask me. You are a true warrior with a big musical integrity. We need you out there.”

“It’s a damned crime that the man behind so much innovative sound and music is out here in this situation.”

While the casual music fan might not recognize Laswell by name, the artist has had a hand in producing some of the most inventive and sonically adventurous music of the last four decades. “Rockit” with Herbie Hancock introduced turntablism to the world and helped hip-hop crossover to the mainstream. Last Exit, a quartet with Sonny Sharrock, Peter Brötzmann, and Ronald Shannon Jackson, pushed the sonic boundaries of free jazz and ventured into noise territory. Gigi forged a new world pop sound fusing traditional Ethiopian music with jazz, ambient, and gospel. The album would go on to inspire generations of Ethiopian youth.

Read the full interview: insheepsclothinghifi.com

 

 

 

 

 

 

Bill Laswell Gofundme

 

The past two years have been difficult for everybody, but especially those whose livelihood has been affected by the pandemic. Bassist, iconic producer, and sonic visionary Bill Laswell becomes the latest to fall victim to the vagaries of these crazy times.

Dealing with a whole host of preexisting health conditions, Bill’s musical output has been seriously curtailed by Covid, which is basically a death sentence should he be infected. With the risk too great, he has not been able to keep up his usual pace, working alongside other musicians and engineers in his Jersey studio. The pandemic has also forced him to cancel live appearances at European festivals, where he has generated the bulk of his income. To add insult to injury, he is now desperately searching for a place to live after getting evicted from his current Manhattan home. He is also struggling to hold on to the lease for Orange Music, the legendary New Jersey studio that he has helmed for the last 20 years. Bill is putting the call out to all fans, friends, and fellow artists: If you can help, please chip in. It’s NOW or NEVER, and no contribution is too small. 

 

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