Soviet vs US Jet Train
Sunday, February 27, 2011
tOUKI bOUKI - senegal 1973
The story of Touki Bouki goes back centuries: men have always set out for new lands where they believe time never stops… Only few adventurers seem to make it, but that has never stopped anyone… Djibril left his country with the dream of finding success and solace in Europe. He soon discovered, however, the cruelty of life. While his dream fell apart little by little Djibril found he was unable to leave “Europe”, his host country. That was when returning to Africa became the real dream for him. Ending his days in Africa was a dream he would never fulfill. “Touki Bouki” is a prophetic film. Its portrayal of 1973 Senegalese society is not too different from today’s reality. Hundreds of young Africans die every day at the Strait of Gibraltar trying to reach Europe (Melilla and Ceuta). Who has never heard of that before? All their hardships find their voice in Djibril’s film: the young nomads who think they can cross the desert ocean and find their own lucky star and happiness but are disappointed by the human cruelty they encounter. Touki Bouki is a beautiful, upsetting and unexpected film that makes us question ourselves.What a pleasure and what an achievement for Martin Scorsese’s Foundation to give Djibril Diop Mambéty a second life. To all those who support cinema: bravo!" —Souleymane Cissé, May 2008
Thursday, February 24, 2011
dancing cigarettes
Live performance of Bloomington's the Dancing Cigarettes from 1982.
http://en.wikipedia.org/wiki/Dancing_Cigarettes
http://dancingcigarettes.indianavinyl.com/
Wednesday, February 23, 2011
bOG sHED
"Two tracks from the 1984 demo that got them signed to John Robb's Vinyl Drip label for their first release the following year."
bIG fLAME
'The Big Flame' was writer Jim Allen's second Wednesday Play (BBC, 1964-70), and his first with director Kenneth Loach. After 'The Lump' (tx. 1/2/1967), about the exploitation of casual labour in the building trade, Allen used his Marxist credentials to depict striking Liverpool dockers enacting a Communist-style system of workers' control.The play was filmed in Loach's accustomed drama-documentary format, honed on previous Wednesday Plays like 'Up the Junction' and 'Cathy Come Home'. Real dockers appear, and the actors speak not well-rehearsed lines but in the disjointed, often incoherent, manner of authentic speech. It is captured on murky 16mm film, giving the picture the same quality as contemporaneous newsreel footage. Only the occasional voiceovers diverge from the apparent objectivity of this fly-on-the-wall aesthetic That the play is politically partisan cannot be contested. The central character of Jack Regan is, like Allen himself, a self-confessed Trotskyite. In advocating an attempt at workers' control as a beacon to the workingman's emancipation, he becomes the author's mouthpiece. The system of workers' control is portrayed not only as the logical conclusion to industrial instability, but also as entirely successful until violent intervention by the forces of the state.Allen's script is remarkably prophetic; it foreshadowed Britain's massive industrial unrest of 1973-4 and its conclusion prefigures the explosive clash of worker and state in the miners' strike of 1984. Although they would work together frequently, Loach considered 'The Big Flame' to be Allen's "definitive script".The mix of radical politics and the documentary approach proved incendiary. Anticipating controversy, the BBC postponed the play's transmission twice. When finally screened, it was labelled a "Marxist play presented as sermon" by the Daily Mail and it rekindled the press's vociferous interest in the ongoing debate about television drama-documentary.Mary Whitehouse, secretary of the National Viewers' and Listeners' Association, complained that the play was "a blueprint for the communist takeover of the docks" and wrote to both Prime Minister Harold Wilson and Conservative leader Ted Heath to urge a review of the BBC's charter. The play's subject would become all too real for Heath, who, as the next Prime Minister, presided over a period of bitter industrial conflict.
obscurelyfragile.blogspot.com - bIG fLAME - ICA, London 4th Oct 1984 (live)
1. Debra
2. The Illness
3. Chanel Samba
4. Breath Of A Nation
5. Sink
6. Saragasso
7. All The Irish Must Go To Hevard (I Have A Cold)
8. Where's Our Carol?
9. Man Of Few (Guitars) Syllables
http://en.wikipedia.org/wiki/Big_Flame3. Chanel Samba
4. Breath Of A Nation
5. Sink
6. Saragasso
7. All The Irish Must Go To Hevard (I Have A Cold)
8. Where's Our Carol?
9. Man Of Few (Guitars) Syllables
Monday, February 21, 2011
Sunday, February 20, 2011
SEPTIC DEATH
http://bloggedquartered.blogspot.com/Friday, February 13, 2009 Septic Death 1984-1991 Discography Ah, Septic Death. They don't make 'em like this anymore. All tracks ripped from the Crossed Out Twice CD and arranged in chronological order. Enjoy.
Thomas Mapfumo - Marehwarehwa
Saturday, February 19, 2011
Andy Kerr
http://en.wikipedia.org/wiki/Andy_Kerr_%28musician%29
http://andymeanskerr.blogspot.com/
ANDY KERR - Once bitten, twice removed (Holland, 1998)
downloadshangaan electro
SHANGAAN ELECTRO 6 from s o u n d t r a v e l s on Vimeo.
Nwa Gezani My Love / SHANGAAN ELECTRO from s o u n d t r a v e l s on Vimeo.
Shangaan Carnival 2011 from s o u n d t r a v e l s on Vimeo.
Shangaan Electro3 from s o u n d t r a v e l s on Vimeo.
TSHE-TSHA BOYS - NWAMPFUNDLA - SHANGAAN ELECTRO from The Trilogy Tapes on Vimeo.
Thursday, February 17, 2011
Philip Cohran and the Artistic Heritage Ensemble
"Around '59 all the cats pulled up here and left. I didn't want to go to New York. So I was stumblin' around, and John Gilmore and I got to be friends, and I started rehearsing with Sun Ra. That's when Sonny was rehearsing six hours a day and playing six hours a night. We played all around here. His music was more difficult than anything I have ever seen. I didn't run up on anything in Anacostia that would touch what Sun Ra was doing - Wagner or anybody else. It wasn't no funny thing. Sometimes he had us trumpet players skipping two octaves, with eighth notes.
Philip Cohran and the Artistic Heritage Ensemble
download
Malcolm X Memorial
Reissue of the 1968 Zulu Record Co. LP. Released March 2007. Mastered by Tim Stollenwerk. Nicely-packaged replica album features gatefold cover with archival photos and liner notes. An early member of the Sun Ra Arkestra, Cohran went on to record and self-release this LP in 1968, originally in an edition of 1000. Cohran, a personal friend of Malcolm X, created this concept album retelling the story of Malcolm's political and spiritual journey from a little boy ("Malcolm Little") to his later life pilgrimage to Mecca ("El Hajj Malik El Shabazz"). Features a tight groove-oriented band (which later evolved into the Pharaohs and then Earth, Wind, & Fire) who explore soul, jazz, and Middle Eastern rhythms. A radical and intense recording. This is a live performance recorded on February 25, 1968, at the Afro-Arts Theater, a cultural center in Chicago operated by Cohran from 1967-1970. "The personnel and instrumentation are almost identical to Cohran’s ‘On the Beach’ session. This historic concert was originally an LP issued on Cohran’s Zulu label. Original copies of that record are very rare collector’s items and sell for hundreds of dollars. Kelan Phil Cohran is an unsung hero of jazz history and a cosmic treasure. He played with Sun Ra in the late 1950s and early ‘60s and was a co-founder of the world famous AACM (Association for the Advancement of Creative Musicians)." Personnel: Arranged and composed by Philip Cohran; Louis Satterfield (bass); Master Henry Gibson (congas); Philip Cohran (cornet); Bob Crowder (drums); Pete Cosey (guitar); Charles Handy (horns); Charles James Williams (alto sax); Donald Myrick (bari sax); Eugene Easton (tenor sax); Willie Woods (trombone); Charles Handy (trumpet, Chinese musette); Aaron Dodd (tuba); Ella Pearl Jackson (vocals)
AFRICAN SKIES
Kelan Philip Cohran and Legacy present "African Skies"Captcha Records is proud to announce the arrival of “African Skies”, the most recently recorded album from the visionary Brother Kelan Philip Cohran and his band Legacy. This record was influenced and realized in 1993, shortly after the passing of Brother Phil’s friend, mentor and band mate, Herman Blount (better known as Sun Ra). It was heard publicly for the first and only time at the Adler Planetarium in Chicago, Illinois that same year. By channeling the energy of Sun Ra, Brother Phil brings us closer to enlightenment, closer to the cosmos with melodies that are as ancient as time itself. Sun Ra believed that music is the voice of the spirit, the energy we want to live within. In the aftermath of his death, Brother Phil drew upon his mentor’s cosmic perspective to produce an elegiac album that is utopian in spirit: a vessel brim-full of primordial vibes and a memo from some higher astral plane. In the words of its maker, “African Skies” is a “nourishing and inspirational” document - a nuanced portrait of one of the most visionary musicians of our time in his prime. Source Kelan Phil Cohran-harp, frankiphone, trumpet, congas, violin uke, guitar and flute Oscar Brown III-regular and piccolo string bass (bow), fluteMalik Cohran -guitar, string bass and fluteAquilla Sadalla -bass clarinet, guitar, flute and vocalsJosefe Marie Verna -classical harp, trombone and flute
http://en.wikipedia.org/wiki/Phil_Cohran
"He left in 1961. Gilmore came by and said, 'Man, we're gettin' ready to go to New York. We need you to go with us.' Sun Ra's music was so great. He removed all the borders in my mind. He moved you so powerful and generated such a response in people that I knew I wanted to do that on my own. That's the reason I didn't go with him.
"So I stayed here and became a recluse. I started walking the streets in my GI clothes, let my hair and beard grow out. My mother thought I lost my mind. But I just got serious and started working seven days a week on music, at least 16 hours a day. I made the Frankiphone (an amplified thumb-piano, named after his mother) and some other instruments.
"Around April 1965, I ran into Steve McCall and Muhal walking down Cottage Grove, by the cemetery. We talked about how everybody had gone to new York and there was nobody around here and nothing happening. So we said, 'Man, we ought to do something about this ourselves. We'll just get together. You call all the guys you know, send them a card; I'll take the guys I know.' I had a place at 740 East 75th Street, and it had a large living room. So everybody met there on May 8, that was a Saturday. And that was the first AACM meeting."
The Artistic Heritage Ensemble, which Cohran put together at that time, was one of the best received of the early AACM groups. "A year before that, I had a rehearsal group, but that's all that it was because I didn't think that the music I was writing would be accepted for 10 to 12 years. That first concert, when we got a standing ovation, I was really shocked." But differing philosophies drove Cohran from the AACM tent. "Everybody wanted to play OUT, see. My nature wanted me to go somewhere else. I'm not a spaceman; I'm an earthman. We always had a very strong rhythmic foundation and sound centers, and we always knew where we were going."
source
Philip Cohran and the Artistic Heritage Ensemble
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"Amazing work from the legendary Phil Cohran -- and a much-needed collection of his rare singles on the Zulu label! The work here is contemporary to the sides issued by Phil's Artistic Heritage Ensemble on their two famous records -- but the sound is often a bit tighter, and funkier too -- kind of the 45 distillation of sounds the group was working out in larger format on the full albums! As with those classics, the approach is amazing -- a hip blend of jazz, soul, and African elements -- very much in the spirit of Sun Ra, Cohran's predecessor on the Chicago scene -- but often with a lot more groove, and a lot less avant garde elements. Players on the set include Charles Williams on alto, Don Myrick on baritone, Charles Handy on trumpet, Louis Satterfield on bass, Pete Cosey on guitar, and Henry Gibson on timbales and conga -- all working at a level that easily rivals the best from Ra, Salah Ragab, Mulatu, and other space jazz legends from the time! Titles include "The African Look", "Loud Mouth", "New Frankiphone Blues", "Frankiphone Blues", "Detroit Red", "El Hajj Malik El Shabazz", and "Black Beauty". Dusty Groove America
Reissue of the 1968 Zulu Record Co. LP. Released March 2007. Mastered by Tim Stollenwerk. Nicely-packaged replica album features gatefold cover with archival photos and liner notes. An early member of the Sun Ra Arkestra, Cohran went on to record and self-release this LP in 1968, originally in an edition of 1000. Cohran, a personal friend of Malcolm X, created this concept album retelling the story of Malcolm's political and spiritual journey from a little boy ("Malcolm Little") to his later life pilgrimage to Mecca ("El Hajj Malik El Shabazz"). Features a tight groove-oriented band (which later evolved into the Pharaohs and then Earth, Wind, & Fire) who explore soul, jazz, and Middle Eastern rhythms. A radical and intense recording. This is a live performance recorded on February 25, 1968, at the Afro-Arts Theater, a cultural center in Chicago operated by Cohran from 1967-1970. "The personnel and instrumentation are almost identical to Cohran’s ‘On the Beach’ session. This historic concert was originally an LP issued on Cohran’s Zulu label. Original copies of that record are very rare collector’s items and sell for hundreds of dollars. Kelan Phil Cohran is an unsung hero of jazz history and a cosmic treasure. He played with Sun Ra in the late 1950s and early ‘60s and was a co-founder of the world famous AACM (Association for the Advancement of Creative Musicians)." Personnel: Arranged and composed by Philip Cohran; Louis Satterfield (bass); Master Henry Gibson (congas); Philip Cohran (cornet); Bob Crowder (drums); Pete Cosey (guitar); Charles Handy (horns); Charles James Williams (alto sax); Donald Myrick (bari sax); Eugene Easton (tenor sax); Willie Woods (trombone); Charles Handy (trumpet, Chinese musette); Aaron Dodd (tuba); Ella Pearl Jackson (vocals)
AFRICAN SKIES
http://en.wikipedia.org/wiki/Phil_Cohran
VRIL in occii 20-2-11
VRIL
Alan Jenkins - guitar
Chris Cutler - drums
Bob Drake - bass
Lukas Simonis - guitar
ABOUT VRIL;
Vril was originally a studio project, instigated by Drake, Simonis & Cutler. After making their first album they asked english surrealist writer Frank Key to come up with the meaning for all that. And Frank did. He invented a story ( see the sleevenotes) & the names of the songs. Then VRIL made another album, two years later. And Frank did it again. Both albums were recorded & mixed at Bob's studio in the south of France. For the second album they were helped by the swiss musician Pierre Omer (ao. The Dead Brothers) on guitar. So now there were two albums but until now no public performances whatsoever. Then -after reading the sleevenotes about the Ulm award- Lukas thought it might be a good idea to really ask people to make films to the music (NOT in a videoclip kinda way and NOT the other way round). So now we've asked 15 filmmakers to come up with a film that belongs to a vril song, the idea being that there will be a VRIL DVD with films & music.
(filmmakers we asked; Pieter Jan Smit, Nino Purtskhvanidze, Florian Kramer, Daniel Zimmer, Sander Blom, Stella van Voorst van Beest, Esther Urlus, Marit Shalem, Lenno Verhoog, Christine Bruckmeier, Chuck o'Meara, Sandra Salter)
Vril was originally a studio project, instigated by Drake, Simonis & Cutler. After making their first album they asked english surrealist writer Frank Key to come up with the meaning for all that. And Frank did. He invented a story ( see the sleevenotes) & the names of the songs. Then VRIL made another album, two years later. And Frank did it again. Both albums were recorded & mixed at Bob's studio in the south of France. For the second album they were helped by the swiss musician Pierre Omer (ao. The Dead Brothers) on guitar. So now there were two albums but until now no public performances whatsoever. Then -after reading the sleevenotes about the Ulm award- Lukas thought it might be a good idea to really ask people to make films to the music (NOT in a videoclip kinda way and NOT the other way round). So now we've asked 15 filmmakers to come up with a film that belongs to a vril song, the idea being that there will be a VRIL DVD with films & music.
(filmmakers we asked; Pieter Jan Smit, Nino Purtskhvanidze, Florian Kramer, Daniel Zimmer, Sander Blom, Stella van Voorst van Beest, Esther Urlus, Marit Shalem, Lenno Verhoog, Christine Bruckmeier, Chuck o'Meara, Sandra Salter)
And this might come as a shock to some of you but somebody uttered the idea that playing live would not be such a bad idea after allŠ Pierre said he couldn't do that as he was allready travelling a lot between Geneva and Madrid so we asked twangy englishman Alan Jenkins (Cordelia Records, Chrystanthemums, Deep Freeze Mice) to replace him. And he said he would. The idea is that we will start in the NetherlandsŠ And maybe Present the DVD there as well. And not use a PA, just play the stuff on our backline. (if that is possible for the places we'll play). And then we'll see what happensŠ maybe use the films as a background to the songs?
FIRST ALBUM 'Effigies In Cork'; Drake goaded guitarist and sometimes collaborator Lukas Simonis to come up with catchy fragments and unfinished bits for the 21st C. equivalent of the surf record. Simonis' guitars sometimes wiggle with a nervous twangy tremolo, but they're often just drop-dead gorgeous as they flesh out little compact rock puzzles with odd cadences and unexplored melodic quirks. At moments it could be the post-Zeppelin guitar album that Jimmy Page has never managed to make, for all it's texture. ' Effigies in Cork ' with it's brief song-like pieces, seems simple on the surface, but it's an illusion -it's got depth equal to 'Spoors', plus a charming quality that makes it the more immediately hosptable.
FIRST ALBUM 'Effigies In Cork'; Drake goaded guitarist and sometimes collaborator Lukas Simonis to come up with catchy fragments and unfinished bits for the 21st C. equivalent of the surf record. Simonis' guitars sometimes wiggle with a nervous twangy tremolo, but they're often just drop-dead gorgeous as they flesh out little compact rock puzzles with odd cadences and unexplored melodic quirks. At moments it could be the post-Zeppelin guitar album that Jimmy Page has never managed to make, for all it's texture. ' Effigies in Cork ' with it's brief song-like pieces, seems simple on the surface, but it's an illusion -it's got depth equal to 'Spoors', plus a charming quality that makes it the more immediately hosptable.
SECOND ALBUM 'The Fatal Duckpond' Award-winning soundtrack to the film by Horst Gack, (Prix Ultra de Concourse Lumiere, Ulm, 2009: Best Soundtrack). After a break of six years, Chris Cutler, Bob Drake and Lukas Simonis, now with added ingredient Pierre Omer, present the second volume of recordings by the elusive VRIL - a band who revive and update both the great institution of the guitar instrumental and the now sadly neglected practice of collective arrangement, intense rehearsal and live studio performance. Appropriate to the half century that has passed since the birth of the form, these hits dodge about, get bored easily and blend both concentration and complexity with the still indispensable traditional qualities that made the genre great: hummability, crafted sounds, nifty arrangements, ridiculous gimmicks and ensemble playing. 'Neither tribute nor parody, these enigmatic pieces are never more nor less than exactly what they are'.... wrote Lothar Preen in his Melbourne concert review....'but perfectly realised'. With film stills, misleading sleeve-notes and storyboard by the Diogenesian recluse Frank Key.
http://www.z6records.nl/VRIL.html
http://www.xs4all.nl/~lukas/english/vril.html
http://www.rermegacorp.com/Merchant2/merchant.mv?
SLEEP GUNNER
Mark Morse - guitar
Jeroen Kimman - guitar
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€5 Doors open 20:00 - 0:00
Colette Magny - 3 records found elsewhere...
http://inconstantsol.blogspot.com 11 February 2008
Colette Magny "Feu et rythme" & "Répression"
"Two more records from the 1970's French underground, a little different from what is usually seen here. Reading the last Wallofsound post inspired me to try writing something a little longer than I would usually do but I'm experiencing difficulties ! So probably later, in the comments.No .flac rip this time as my vinyls were not in the best shape and while out of print, the music has been reissued on cd so it don't make much sense to try getting the best of amateur transfers. High quality - time consuming! - cover scans in the .zip files.
My recommendation would be to listen to "Feu et rythme" first, as it is my favourite of the two.
Enjoy,
Pierre"
- Colette Magny - Feu et Rythme
Colette Magny "Répression"
get this gem hereLegendary French avant garde/protest singer.She has collaborated with Raymond Boni,Michel Portal,Catherine Ribeiro,Un drame musical intantante,Didier Malherbe ,Andre Almuro amongst others.
"Colette Magny came first, (and has sadly died first) and was a massive influence on much French music to come. Beginning her career as a blues and folk singer, she became radicalized by the U.S. Civil Rights movement, the Nueva Canción musicians in South America, as well as the worldwide student revolt of that bygone era - you know the one. Her most astounding material is unapologetically violent, shocking, yet quite effective agit-prop accompanied by a heavy, romping jazzy rumpus.
I'm quite confused to see that the only Magny's album linked to the NWW list is Transit. Actually Colette Magny was some sort of politically involved blues/french chanson singer at the beginning of her career, but she soon evolved toward something much more experimental :
1° Feu et Rythme (Le Chant du Monde LDX 744 44)This is the most vanguard LP by far : There, the highlight is the two free jazz double bass players Beb Guerin and Barre Phillips (who on most tracks are the only musicians and who are well known to European free jazz listeners). Though the texts are quite well written, this album is the most appealling to the non French speaking part of the NWW audience, and in my opinion the musically most successful of all. The melody is not the backbone of this LP since Colette Magny experiments with her voice by reaching different levels of screams, monkey-like shoutings, putting the stress on the sound of harsh French words, and so on. On two tracks she's singing along an ensemble wich definitely gives a contemporary music feel to it.
I highly recommend this one to any vanguard music collector and especially to the NWW list addicted.
2° Repression (Le Chant du Monde LDX 74476)This one is somehow different from the previous one. On the flip side of the LP, Colette Magny still sings with Barre Phillips and Beb Guerin on double bass, but all tracks are much more structured though still kind of weird. On the A side, there's a complete change of personnal with the introduction of Bernard Vitet (Famous on the NWW list for his La Guepe LP on Futura), Francois Tusques (also famous for many entries on the NWW list such as Operation Rhino - Fete de Politique Hebdo, many sessions on Futura, and many other free jazz/experimental LP's). But despite all the expectations you could have, the music is basically a blues number (with a unique delivery style wich makes it quite different from regular blues numbers) with extremly violent political lyrics that sound dated nowadays.
This one is very nice, still weird but less experimental than the previous one.
3° Transit (Le Chant du Monde LDX 74570)This one is the one that seems to be pointed out by the NWW list. Actually this is the less experimental of all. You have a 3 minutes track filled with tape loops that is probably the closest work to the NWW music she has done. And this is probably the reason why this album is usually mentioned. The rest of the album is french chanson, wih some very nice vietnamese texts and poetry read, including a testimony of torture practiced in vietnamese jails during the 60's. The musicians here are from a band called The Free Jazz Workshop (one of the earliest recordings with French clarinettist Louis Sclavis) wich is, despite its name, not free jazz at all on this record. The record is globally speaking quite conventional and despite the 3 minutes tape loops very much dedicated to the French audience, not to the non French speaking audience.
To conclude :Transit is the one with a short track that is the most similar to Steve Stapelton's work.Repression is half a blues number half a demented LP with some of the best French and American free jazz musicians of this time.Feu et Rythme is definitely the one to get if you're in vanguard music. The whole record is breathtaking. I just can't figure out why this one is always missed when refered to NWW, since it all makes sense this is the most forward thinking one of all.
So you know what to do from now on.
From WFMU blog
Rhodia 4/8 by Groupe Medvedkin / France / 4 min
http://docalliancefilms.com/film/2172...
Marker's experiments with a militant film from 1968-70 are associated with SLON, a production workmen cooperative operating in Besançon, which was a symbol of the strike fight of the time. It was also a founding place of the Medvedkin Group that used the term 'film as ammunition' - a movie is not just work of a director and a cameraman, but that it can be signed by its heroes themselves. It comes as no surprise that workmen's claims expressed in Rhodia were rejected by the French communists as anarchistic. Rhodia 4/8 is a music video starring Colette Magny.
Brotherhood of Breath / Blue Notes and Exiled Voices
Brotherhood of Breath in Altena Castle, Germany, 1972
downloadThere's been an encouraging spate of Chris McGregor and Brotherhood rereleases lately, some of which has been featured on this blog before. Just around the corner is a Blue Notes box set containing all of their four releases on the Ogun label. One of them has also been posted here previously.
But what's on offer here and now has not been officially released yet at any rate. It's an excerpt from a concert inside Balver Höhle in Germany in 1972.
Call 8:44
Andromeda 9:13
Think Of Something 14:19
Track 4 4:14
Andromeda 9:13
Think Of Something 14:19
Track 4 4:14
Harry Beckett
Marc Charig
Malcolm Griffith
Nick Evans
Dudu Pukwana
Mike Osborne
Gary Windo
The first three pieces are announced as such by the radio presenter, but "Call" sounds uncannily like "Ismite is Might" off the Willisau album and features most likely Nick Evans on the trombone. The second piece is "Mra" leading into "Andromeda". The third piece is "Do It" leading into "Think of Something", the latter featuring Mike Osborne on alto, Gary Windo on tenor and either Mark Charig or Harry Beckett on trumpet. The last piece is quite clearly "The Serpent's Kindly Eye", also on the Willisau album (which was the first ever release on the Ogun label).
The sound's fair on the first three, but a bit grimy on the last, though. The band is at its ramshackle best as ever. Some may find the BoB cacophonous at times, but to these ears it's beautiful cacophony.
Marc Charig
Malcolm Griffith
Nick Evans
Dudu Pukwana
Mike Osborne
Gary Windo
The first three pieces are announced as such by the radio presenter, but "Call" sounds uncannily like "Ismite is Might" off the Willisau album and features most likely Nick Evans on the trombone. The second piece is "Mra" leading into "Andromeda". The third piece is "Do It" leading into "Think of Something", the latter featuring Mike Osborne on alto, Gary Windo on tenor and either Mark Charig or Harry Beckett on trumpet. The last piece is quite clearly "The Serpent's Kindly Eye", also on the Willisau album (which was the first ever release on the Ogun label).
The sound's fair on the first three, but a bit grimy on the last, though. The band is at its ramshackle best as ever. Some may find the BoB cacophonous at times, but to these ears it's beautiful cacophony.
WIKI Brotherhood of Breath
Louis Moholo and Barbara Pukwana talk about the Blue Notes, Chris McGregor and exile from South Africa; segued with Brotherhood of Breath live and full-on from the 100 Club.
www.jacquesholender.com
Les Baudouins Morts
Les Baudouins Morts existed between 1996 and 2000. They were a local cult band, with a strong following in the underground scene in and around the town of Leuven (Belgium). Their music, if that's what you want to call it, was just an excuse to promote radical leftwing protest, make sick jokes, criticize about everything and everyone walking the face of the planet and give everyone involved the opportunity to play his instrument to his own liking...
ARCHIEF download
Wednesday, February 16, 2011
Tuesday, February 15, 2011
Sunday, February 13, 2011
Saturday, February 12, 2011
Friday, February 11, 2011
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