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2. Folklore Ensemble Volya - Ya gulyala veselo Demo mix

  • Published: 2009-08-24T16:42:36Z
  • By IZBA
Folklore Ensemble Volya - Ya gulyala veselo Demo mix

Folklore Ensemble «Volya» was created in 1989 at the Faculty of musical folklore, Voronezh State Institute of Arts. In his repertoire - songs of all genres of southern Russia, to recreate authentically, preserving regional dialectal traits and characteristics of life. Speaking of real costumes, with historical value, the Ensemble will play at some folk singing and action games. The dominant sound is the traditional folk a'kapella, but according to tradition, are often used harmonica, zhaleyka Russian and other tools. Ensemble «Volya», as one of the leading teams of Russian folklore Union (XRF) is frequently demonstrated their skills at national and international festivals, a lot of touring around the country and abroad. On collecting and creativity band an American television film «Russia. Hidden memory », which had considerable success. According to the selection of votes and the nature of their use is perceived in the band corresponds to the areas south pure folk "singing izbam" and "peasant gang". This is evident, particularly in the dissection of the votes at nizhnegrudnoy and verhnegolovnoy registers and maintaining their tessitura in the performance of a particular song. This relatively small range of each party (the exceptions are rare), using mainly natural "medium" tone of the singers, to identify and colloquially. Regional characteristic is also the sound of one case of male and female voices, vivid emotional performance tembralno rich deep-mouthed voice, refined sophisticated geterofonnoe plexus melodic lines. Artistic Director of "faith" Galina Y. Sysoyeva its functions as determined in accordance with the folk tradition, where there is in professional choirs and orchestras, a conductor, its subordination to the will of the individual artists (the name of the group thus acquires an additional meaning). Its authority, however, is undeniable, but it is based on a desire not to pay, but, rather, to highlight the individuality of each artist and the ability to remain home and be ordinary ansamblistom or a singer. It affects the experience of a deep connoisseur of folklore, even in childhood come folk song in its natural life, for many years led by different folk groups and mastered almost all the specific forms and techniques of Russian artistic culture of the people, particularly thoseThat in the beginning of this century have been identified famous sobiratelnitsey folklore E. Lineva: Folk Choir sings "not a single person, but how many people" who "seek to everyone to show their personality, but also care about the beauty of the overall performance ( "Great songs in the folk harmonization", B1, St. Petersburg, 1904, s.HH111-HH1U). Continuing the idea of authentic performance style ensemble «Volya», emphasize that the CD band recorded zauchennye music samples. The singers have gained the ability not to follow the letter but the spirit of folk performance for which they needed not just to learn specific songs, but to master the techniques specific to the region zvukovedeniya melodic lines, the plexus in the inspired improvisation of polyphonic complexes. Particularly valuable is the skill of improvisation, which, in Belgorod, Voronezh borderlands is a rare intensity and leadership. This is evident in the skill of the singers (rural «correspondent») Institute of the Arts and ansamblistov «Will» perform every song on the number of different sets of votes, always maintaining the necessary completeness of harmony. That improvisation (not zauchennost) creates a special specific folk, nepredustanovlennoe music, which (allow me the analogy) can be compared with skoropisi equipment used in carrying copies of paintings from ancient icons. Concert Ensemble life - this is the annual speech at folklore festivals, dozens of concerts in front of different audiences, but always with authentic folklore. The ensemble has appeared in Russian cities: Moscow, St. Petersburg, Astrakhan, Vologda, Novosibirsk, Omsk, Volgograd, Kursk, Lipetsk, Belgorod, etc.. Ensemble «Will» became the winner in the nomination «Teaching folk ensembles» at «Krasnaya Gorka» (1 prize, Bryansk, 1999), First All-Russian contest of ethnic music (Grand Prix, Moscow, 2002). International creative ensemble travel: Greece (1996), United States (1997, 1998), Netherlands (1998), Italy (2003). On the creative life of the team and its leader, the American television Utah was withdrawn hour documentary film «Russia. Hidden memory », which in 1995 in the United States has won 5 national awards. Issued two solo audioalboma team. First released in 1997, two editions - in Russia, entitled «In the glorious city of Voronezh» and in the United States - «Narodnaja», in 2003, the second - «Oh you will». Recorded and prepared for publication of the third disc - «In the last year» Email us international booking: [email protected]

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4. Just Your Fool (Backing Track)

Just Your Fool (Backing Track)

Backing track for Just Your Fool lesson - http://wp.me/p5rtj9-24R

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5. The Sound Of Friendship

The Sound Of Friendship

It's hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation and a sense of play. Unlike other pastichists, who tend to duck passion, Mr. Frisell plays up the pleasure in the music and also takes on another often-avoided subject, tenderness." - The New York Times "Frisell is a revered figure among musicians - like Miles Davis and few others, his signature is built from pure sound and inflection; an anti-technique that is instantly identifiable." - The Philadelphia Inquirer "I like to have fun when I play and I like comedy - but it's not a conscious thing. I'm basically a pretty shy person and I don't dance or get into fights. But there are all these things inside me that get out when I perform. It's like a real world when I play, where I can do all the things I can't do in real life." - Bill Frisell to The Village Voice Over the years, Frisell has contributed to the work of such collaborators as Paul Motian, John Zorn, Elvis Costello, Ginger Baker, The Los Angeles Philharmonic, Suzanne Vega, Loudon Wainwright III, Van Dyke Parks, Vic Chesnutt, Rickie, Lee Jones, Ron Sexsmith, Vinicius Cantuaria, Marc Johnson (in "Bass Desires"), Ronald Shannon Jackson and Melvin Gibbs (in "Power Tools"), Marianne Faithful, John Scofield, Jan Garbarek, Lyle Mays, Vernon Reid, Julius Hemphill, Paul Bley, Wayne Horvitz, Hal Willner, Robin Holcomb, Rinde Eckert, The Frankfurt Ballet, film director Gus Van Sant, David Sanborn, David Sylvian, Petra Haden and numerous others, including Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack for Wim Wenders’ film Million Dollar Hotel. This work has established Frisell as one of the most sought-after guitar voices in contemporary music. The breadth of such performing and recording situations is a testament not only to his singular guitar conception, but his musical versatility as well. This, however, is old news by now. In recent years, it is Frisell's role as composer and band leader which has garnered him increasing notoriety. "For over ten years Bill Frisell has quietly been the most brilliant and unique voice to come along in jazz guitar since Wes Montgomery. In light of this, it may be easy to overlook the fact that he may also be one of the most promising composers of American music on the current scene." - Stereophile "Bill Frisell is the Clark Kent of the electric guitar. Soft-spoken and self-effacing in conversation, he apparently breathes in lungfuls of raw fire when he straps on his (guitar)...His music is not what is typically called jazz, though it turns on improvisation; it's not rock'n roll; and it sure ain't that tired dinosaur called fusion. In one of the biggest leaps of imagination since the Yardbirds and Jimi Hendrix, Frisell coaxes and slams his hovering split-toned ax into shapes of things to come...But besides being a guitar genius, he's turned into a terrific songwriter. Like Monk, Frisell's harmonic and melodic ideas form a succinct, seamless mesh with outer sonic and rhythmic ideas about his ax." - Spin "Frisell just has a knack for coaxing the most inviting sounds out of the instrument, and the composition skills to put them in just the right order. Combine a Colorado youth given to soul and C&W with solid jazz training, abetted by a decade-long residency in the heart of NYC's avant scene, multiplied by a fun factor of X (he has scored Buster Keaton's films) and you've got a recipe damn near perfection." - The Mirror Wire, the British music publication has observed: "What's really distinctive is Frisell's feel for the shape of songs, for their architecture; it's a virtuosity of deep structure rather than surface." Bill explains this sensibility to Guitar Player, "For me, it's really important to keep the melody going all the time, whether you are actually playing it or not, especially when it's some kind of standard tune or familiar song form. A lot of people play the melody and rush right into their solo, almost with an attitude of 'Whew - that's out of the way, now let's really play!' Then they just burn on chord changes, and it doesn't relate to the song anymore. I like to keep that melody going. When you hear Thelonious Monk's piano playing - or horn players like Ben Webster, Miles Davis and Wayne Shorter - you always hear the melody in there. Sonny Rollins is the classic example of that - I've read that he thinks of the words while he's playing the sax, so the song really means something to him. It's not just an excuse to play a bunch of licks over chord changes." Much has been made of the uncategorizable nature of Frisell's music and the seamlessness with which his bands have navigated such a variety of styles. "Frisell's pals just happen to be superb musical chameleons, up to every change of gears and genre the guitarist's catch-all music throws at them. The band even comfortably follows the leader onto Country and Western turf, as Frisell often approximates the whine of a lonely steel guitar." Minneapolis Star Tribune. Bill's comments to the same publication: "When I was in Colorado, I never really played that country stuff or even liked it that much, though it was all over the radio. But as I got older, it crept into my music a lot." In fact, the Chicago Tribune observed that "Frisell possesses not only impressive compositional skills but also a remarkable ability to encompass seemingly antagonistic musical genres." Commenting on his eclectic compositional inclinations, Frisell told Down Beat: "When I write something, it just sort of comes out. I'm not thinking, 'Now I'm going to write a cowboy song'. It just happens, then I usually think about what must have influenced it later. When I sit down to write something in a certain style, it doesn't work. I don't know if that's important or something I need to do, or if it doesn't matter. I don't care; I'm just thankful something comes out sometimes." This musical kinship with Miles Davis has been cited repeatedly in the music press. The New Yorker notes: "Bill Frisell plays the guitar like Miles Davis played the trumpet: in the hands of such radical thinkers, their instruments simply become different animals. And, like Davis, Frisell loves to have a lot of legroom when he improvises--the space that terrifies others quickens his blood." On this subject Down Beat has noted: "With his respectful if improbable eclecticism and audible ethnic guitar roots, Frisell is the new music's Ry Cooder...His engagingly droll sense of humor is never far from the surface; no one else's persistent dissonances sound so consistently congenial." Sometimes using delays and distortion and an unmistakably unique touch, Frisell, as Jazz Times once observed "has an airbrushed attack, a stunning timbral palette and a seemingly innate inability to produce a gratuitous note." Musician has described his guitar style as "modern in the best sense of the word, straddling the electronic ambiance and distortion of contemporary rock and the nuances of touch and harmonic sophistication usually associated with jazz." The guitarist won the 1990 Down Beat critics' poll. "The electric guitar sound of the decade - oozing, cloudy enveloping - belongs to jazz renegade Bill Frisell - Like the best artists in any field, Frisell is not a slave to his tools; he's the creator who gives them new validity...His guitar sound is unmistakable - billowing, breathlike, multi-hued, immense at times, almost palpable. Frisell's music is accessible and avant-garde, a lyrical victory of man over machine, of personality over mechanics, of message over mathematics." - Minneapolis Star Tribune Biography / Recordings: Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio. Soon, the Chicago Blues became a passion through the work of Otis Rush, B.B. King, Paul Butterfield and Buddy Guy. In high school, he played in bands covering pop and soul classics, James Brown and other dance material. Later, Bill studied music at the University of Northern Colorado before attending Berklee College of Music in Boston where he studied with John Damian, Herb Pomeroy and Michael Gibbs. In 1978, Frisell moved for a year to Belgium where he concentrated on writing music. In this period, he toured with Michael Gibbs and first recorded with German bassist Eberhard Weber. Bill moved to the New York City area in 1979 and stayed until 1989. He now lives in Seattle. "When I was 16, I was listening to a lot of surfing music, a lot of English rock. Then I saw Wes Montgomery and somehow that kind of turned me around. Later, Jim Hall made a big impression on me and I took some lessons with him. I suppose I play the kind of harmonic things Jim would play but with a sound that comes from Jimi Hendrix", Frisell told Wire. Bill also lists Paul Motian, Thelonious Monk, Aaron Copland, Bob Dylan, Miles Davis and his teacher, Dale Bruning, as musical influences. Bill recorded his first two albums as a leader on ECM, both produced by Manfred Eicher. Subdued and lyrical in nature, In Line, the first of the ECM recordings, employed both electric and acoustic guitars in a series of solos (including some overdubbing) and duets with bassist Arild Andersen. Second was Rambler, featuring Kenny Wheeler, Bob Stewart, Jerome Harris and Paul Motian. About Rambler, Fanfare said: "Bill Frisell has built a little masterpiece here - not just a showcase for his own instrumental creativity (of which there is much in evidence), but a clever and poetic whole." Frisell's third album and last for ECM, Lookout For Hope, marked the recording debut of The Bill Frisell Band featuring Hank Roberts, Kermit Driscoll and Joey Baron. Produced by Lee Townsend, the album's diverse material - ranging from country swing to reggae, quasi-heavy metal and backbeat rock with a twist to Monk's "Hackensack" - nevertheless possessed the cohesive and unmistakable personality of a working band on to a sound of its own. High Fidelity called it "the fullest showing of Frisell's ability to date, especially his compositional range." The Chicago Tribune said, "Lookout For Hope offers one of the most hopeful signs that contemporary jazz can evolve with dignity, wit and charm." Before We Were Born, Frisell's debut recording for Nonesuch, featured three musical settings: Peter Scherer and Arto Lindsay produced, co-arranged and performed on three Frisell compositions. "Some Song and Dance", produced by Lee Townsend, is a suite of four pieces performed by Frisell's Band with a saxophone section featuring Julius Hemphill, Billy Drewes and Doug Wieselman. Frisell's "Hard Plains Drifter" is an extended work shaped, produced and arranged by John Zorn and played by the Frisell Band. The New York Times observed: "By following through on the implications of his unfettered sounds, Mr. Frisell has made his best album." Frisell's second Nonesuch album, Is That You?, features nine original Frisell compositions, one by producer Wayne Horvitz and two cover tunes - "Chain of Fools" and "Days of Wine and Roses". With Frisell playing guitars, bass, banjo, ukulele and even clarinet, Is That You? demonstrated with great clarity his pan-stylistic, yet strangely unified musical world. Musician called the album "a very personal vision, tearing down stylistic barriers with delicacy and sudden bursts of emotion." Frisell's third album for Nonesuch, Where in the World?, also produced by Wayne Horvitz, was the band's final recording with cellist Hank Roberts. The Philadelphia Inquirer said: "There is nothing standard about Where in the World?...Frisell is not only a master of an unusual guitar-based sonic tapestry, he's one of the few composers capable of writing for an interactive ensemble." Have a Little Faith, Frisell's 1992 Nonesuch recording, was something of a tribute album. Here, he interpreted the music of a number of American composers whose music had inspired him - Aaron Copland, Muddy Waters, Bob Dylan, John Hiatt, Sonny Rollins, Stephen Foster, Charles Ives, Victor Young, Madonna and John Philip Sousa. The extent to which Bill has made this music his own demonstrates the completeness of its link to his own compositional approach. For this recording Frisell's Band was augmented by Don Byron (clarinet, bass clarinet) and Guy Klucevsek (accordion) and produced by Wayne Horvitz. The San Francisco Bay Guardian said, "Frisell treats each piece with typical earnestness and lyricism, breaking into wrenching distortion and stormy group improv only after breathing the original full of a softly glowing life." This Land, Frisell's fifth Nonesuch recording, consists of all original material with the band and a horn section of Don Byron (clarinets), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone). Produced by Lee Townsend, the album readily displays the connection between Frisell's own writing and the composers' work to whom he pays tribute on his previous Have a Little Faith. From the standpoint of synthesizing his celebrated composing and arranging talents with exuberant improvising and spirited band interaction, it is a landmark recording, which prompted this description in Rolling Stone: "Strange meetings of the mysterious and the earthy, the melancholy and the giddy, make perfect sense by Frisell's deliciously warped way of thinking. The warpage is catching on and not a moment too soon." In 1994, Frisell recorded a pair of recordings of music that he composed for three silent Buster Keaton films - The High Sign, One Week and Go West. The band premiered this music along with the films to a spirited and sold-out audience at St. Ann's in Brooklyn in May '93. The pairing displayed a natural affinity between work of both artists. Their works together possess an undeniable sense of adventure and penchant for the unexpected that only enhances the warmth and humanity of both the musical elements and the films themselves. It has proven to be the rare case where the whole truly transcends the sum of its parts. Of the "Go West" recording , Billboard noted: "With this set of music for the classic Buster Keaton film, "Go West," Bill Frisell has crafted one of his finest, most evocative albums. Evincing his best qualities as both guitarist and composer, he harvests melancholy Americana from deceptively modest, episodic themes. Coloring the scenes with acoustic as well as his trademark electric, Frisell produces strangely cinematic motifs on guitar, and his rhythm cohorts - longtime bassist Kermit Driscoll and drummer Joey Baron - provide abundant narrative drive." Both albums were produced by Lee Townsend. Frisell's success with the Keaton films has led him to other film-related projects. He scored the music for Gary Larson's "Tales From the Far Side" animated television special and Daniele Luchetti's Italian feature film, "La Scuola." Some of the music from these projects has been adapted and recorded by Frisell on Quartet, Frisell's Nonesuch recording released in April '96. The formation of the Quartet, with Ron Miles (trumpet), Eyvind Kang (violin) and Curtis Fowlkes (trombone), was a new working band for Frisell, who had worked with the telepathic rhythm combination of Kermit Driscoll and Joey Baron for nearly ten years. Frisell told Down Beat: "It’s so different from the traditional guitar-bass-drum thing, even though Joey Baron, Kermit Driscoll and I never played like a typical jazz trio. This group, with violin and brass, can play an orchestral range of sounds. It’s gigantic. It’s given me a chance to write and arrange in an even bigger way." Quartet, was quickly hailed by critics. The New York Times declared: "Quartet may be his masterpiece." Nonesuch released Nashville in April of 1997. Recorded in Nashville and produced by Wayne Horvitz with members of Allison Krauss’ Union Station band - mandolin player Adam Steffey and banjo player Ron Block - the project also features her brother and Lyle Lovett’s bass player Viktor Krauss, dobro great Jerry Douglas, vocalist Robin Holcomb and Pat Bergeson on harmonica. "Comprising acoustic instrumental folk tunes with unpredictable stylistic accents, Nashville boasts a dreamy, seductive grandeur. The backing mandolin/dobro/bass interplay simmers - Frisell himself picks and strings and most of all floats, laying out liquid tones that settle over the melodies like heat haze on a swampy, swimmerless lake." wrote the LA Weekly. The Atlanta Journal-Constitution summed it up simply as, "Frisell’s nod to Nashville is Americana at its best." In January of 1998 Frisell's next project Gone, Just Like A Train came out. On this exceptionally melodic and rhythmically vital instrumental collection of original compositions, Frisell is joined by Viktor Krauss and by Jim Keltner, all star drummer of choice for Bob Dylan, Ry Cooder, T-Bone Burnett, George Harrison, John Lennon and The Traveling Wilburys. The Rocket in Seattle wrote that "Frisell has managed to pull together an ad hoc super trio of musicians from drastically different pasts, and they manage to assemble a machine of colossal proportions: part skewered jazz, part roadside folk blues, part gritty rock..Gone presents Frisell at a creative apex. He's integrated a thoroughly unique understanding of so much American Music. And it's all gift-wrapped in a lean, unimposing trio framework that conveys sheer genius in a million directions. It flies with shining power." Produced by Lee Townsend, the album proved to be one of Frisell's most celebrated and popular to date. Good Dog, Happy Man, brims full of Frisell's shimmering original compositions. Here he is reunited with the Gone Just Like a Train rhythm section of Viktor Krauss on bass and Jim Keltner on drums and joined by Wayne Horvitz on Hammond B3 organ, multi-instrumentalist/slide guitarist Greg Leisz (known for his work with Joni Mitchell, K.D. Lang, Emmy Lou Harris, Beck and Jimmie Dale Gilmore, among others) plus special guest Ry Cooder on the traditional folk song "Shenendoah". Produced by Lee Townsend, Good Dog, Happy Man celebrates Frisell's emergence as a composer who has created a genre unto himself. The Philadelphia Inquirer wrote: "The 12 breathtakingly beautiful originals on Good Dog, Happy Man resist every obvious classification. Frisell's been doing the undefinable for years - creating revelatory music from threadbare accompaniment; finding vital contexts for jazz improvisation that are worlds away from bebop; burying shiny nuggets of melody beneath a gauzy lace-like surface. Frisell manages to evoke big worlds with stark single notes and foreboding sustained tones, conjuring a richly textured atmosphere that is both understated and undeniable. No matter what you call it." "Bill Frisell makes such consistently great records that it would be easy to take the guitarist for granted. That would be sad, since no one refracts age-old Americana through a cutting-edge prism with the warm-hearted, fleet-minded individuality of Frisell. With Good Dog, Happy Man, he has crafted one of his earthiest essays yet. Backed by an ultra-hip band, Frisell has forged originals whose folky melodies and big-sky grooves make them seem like old friends in snazzy new clothes." - Billboard. Bill’s solo album, Ghost Town was called described as "moody, articulate music is a milestone in the career of a true innovator - enchanting as anything he has done and a clear window into his muse" CMJ. With producer Lee Townsend, Frisell has created a sonic tapestry that weaves in and out of original material and cover songs, some recorded in multiple layers, others recorded nakedly solo. According to Billboard, "Ghost Town sounds like a classic already". For Frisell's acclaimed CD Blues Dream, released on Nonesuch in early 2001, the New Quartet of Greg Leisz, David Piltch and Kenny Wollesen is joined by a horn section of Ron Miles (trumpet), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone). In many ways it represents a culmination of the strands running through many of the recordings in Frisell's catalogue, combining the homespun lyricism of Good Dog, Happy Man, Gone Just Like a Train and Nashville with the orchestral timbres of Quartet and the expanded tonal palette and harmonic sophistication afforded by a larger group (i.e. The Sweetest Punch, This Land and Before We Were Born.) Produced by Lee Townsend, it has been described as "A rich, eclectic masterpiece." Blair Jackson, Mix Magazine. The Autumn of 2001 saw the Nonesuch release of Bill Frisell with Dave Holland and Elvin Jones, on which Bill was joined by two jazz legends to interpret a number of the most enduring compositions from his songbook as well as Henry Manicini’s "Moon River" and Stephen Foster’s "Hard Times" in another Townsend-produced set. "Holland and Jones warm well to the folk-inflected material, complimenting the guitarist’s offbeat charm and unerring taste with their muscular authority." ­ Billboard. The Willies is Frisell’s characteristically inimitable and modern take on bluegrass and country blues with Danny Barnes (from The Bad Livers) on banjo and guitar and Keith Lowe, (known for his work with Fiona Apple, David Sylvian, Kelly Joe Phelps and Wayne Horvitz) on bass. Produced by Lee Townsend and released in June, 2002 on Nonesuch, the material consists of such traditional songs as "Cluck Old Hen", "John Hardy", "Single Girl", "Sugar Baby", "Blackberry Blossom", "Sitting on Top of the World", "Good Night Irene", "Cold, Cold Heart" and a number of Frisell’s original compositions. John Cratchley, in The Wire described it as follows: "This is music that you feel you have known yet you have never heard before, like some treasured memory of an event that hasn’t happened yet . - It is firmly rooted in the simplest of musical gestures yet manages to build, intricate layer by intricate layer into a manifestation of cultural timelessness - . This is composition of the highest order masquerading as back-porch rambling." Frisell’s encounters with such Malian musicians as singer and guitarist Boubacar Traore and percussionist Sidiki Camara, who has played with many of Mali’s most renowned performers, left him eager to further explore the commonalities of African and American roots musics. His grammy-nominated 2003 Nonesuch release, The Intercontinentals, produced by Lee Townsend, is evidence of those impulses. In late 2001, Frisell assembled an intriguing quartet with Brazilian composer, singer, guitarist and percussionist Vinicius Cantuária, Greek-Macedonian musician Christos Govetas on oud, bouzouki and vocals and Mali’s Camara on percussion and vocals. The debut concerts at Seattle's Earshot Festival created quite a stir. Downbeat described the group's music as possessing "fine webs of guitar interlacings, swaying momentum, dense textures and rhythmic urgency." The group was soon expanded to include Greg Leisz (on pedal steel and various slide guitars) and Jenny Scheinman (violin). The material on the album consists of Frisell compositions plus songs by Boubacar Traore, Cantuaria, Gilberto Gil and Govetas. It is an album that combines Frisell’s own brand of American roots music and his unmistakable improvisational style with the influences of Brazilian, Greek and Malian sounds. The Washington Post called it, "A remarkable achievement - a hybrid that somehow both respects and transcends the styles involved..... with a sort of earthy, relaxed feeling - it's country music from the global village." Post Frisell’s 2004 Nonesuch release, Unspeakable, featuring his long-time rhythm section of Tony Scherr and Kenny Wollesen as well as percussionist Don Alias, horn arrangements by Steven Bernstein, and Frisell’s string writing for the 858 strings of Jenny Scheinman, Eyvind Kang and Hank Roberts is "a revisiting of an old friendship that stretches back 20 years: a partnership with producer Hal Willner. Taking fragments of obscure vinyl records as a launching point, the duo traverses a landscape that passes, in an almost hallucinatory way, through myriad styles." - Billboard. The Observer describes it this way: "The brilliant 53-year old guitarist embraces a jazzy kind of post-rock whose most immediate point of reference is the electric Miles Davis. It's a multi-textured, multi-hued disc that never sees Frisell sacrifice his impeccable technique, or neglect the deep structure of his songs, but never sees him forget to have fun either." And the Sunday Independent had this to say about it: Unspeakable radiates the kind of authority that only absolute confidence in the primacy of melody and feel in music can confer." It won a Grammy award in 2005 for Best Contemporary Jazz recording. East/West is a double-live CD featuring Frisell's two working trios. "West" features Bill's trio with Viktor Krauss and Kenny Wollesen and was recorded at Yoshi's in Oakland. "East" features Frisell's other working trio with Tony Scherr and Kenny Wollesen. It was recorded at the Village Vanguard in New York City. Further East/Further West offers additional material by these two trios available in download format only. Produced by Lee Townsend, Salon.com described it as follows. "The two trios are vastly different. In general terms, the Krauss trio works by accumulation and aims to mesmerize, while the Scherr trio operates much closer to traditional jazz... Wolleson, essentially a groove player in the Krauss trio (and a monstrously good one), becomes an interactive, improvising presence in the Scherr trio..... In both settings Frisell is a wonder.... For any skeptics of modern jazz, this should be required listening... one of the best of his career." His album, Bill Frisell, Ron Carter, Paul Motian (Nonesuch), a collaboration with two musicians who Bill considers to be true mentors and inspirations, represents a personal milestone for him. All About Jazz described it as "A gorgeous, restrained meeting of the minds, this recording embodies fine, subtle improvisations from three of today's most iconic players." History, Mystery, nominated for a Grammy award in Best Instrumental Jazz category and featuring an octet of strings, horns and rhythm section with some of his closest music collaborators, it explores a fuller palette of compositional colors and timbres than any Frisell has previously written for. "The whole album stands as yet another testament to the man's place at the very epicenter of modern American music." - BBC. The recent collection titled The Best of Bill Frisell, Vol 1: Folk Songs is the first in a series of compilations, this one drawn from Frisell's catalog spotlighting his idiosyncratic excursions into country and traditional folk. Disfarmer features long-time colleagues Greg Leisz, Jenny Scheinman and Viktor Krauss and was inspired by the photographer Mike Disfarmer. "Frisell's pacing is magnificent, and the album sweeps along with purpose like a gorgeous, spacious epic. It is full of sounds that suggest settings and characters, including the mysterious eccentric who inspired the recording." - The Houston Chronicle After 22 years of a fruitful relationship with Nonesuch records dating from the late ‘80’s, Frisell has embarked on an exciting new chapter with the Savoy Label Group. For his first album for the label, Beautiful Dreamers features a trio Eyvind Kang on viola and Rudy Royston on drums. The material consists of a number of Frisell originals plus interpretations of such classic songs as “It’s Nobody’s Fault But Mine”, “Tea for Two”, “Goin’ Out of My Head”, “Keep on the Sunnyside” and a rousing rendition of Benny Goodman’s “Benny’s Bugle". “This record doesn’t really sound much like jazz as much as compelling, emotionally resonant, genre-free music. Sure, it swings in places, and there’s some fiery improvisation. But after decades of trodding such a brave and singular path, maybe Frisell deserves his own genre. How about ‘friz’?” Financial Times (London). Frisell’s second album for Savoy Jazz, Sign of Life, with his 858 Quartet featuring Jenny Scheinman (violin), Eyvind Kang (viola) and Hank Roberts (cello) finds him exploring chamber-group dynamics and interplay on a set of all-Frisell original material in a seamless concoction of all composition and improvisation. “Of the many families of musicians that nourish Frisell’s music, the 858 Quartet is among the most satisfying yet least recorded. So make the most of this endlessly varied, gloriously inventive music ... Most of all, it’s music retains that classic Frisell feel of melancholic optimism... and in its humility and generosity stands prouder and than music that swaggers and brags.” Jazzwise (UK) In 2011, Frisell assembled a trusted ensemble consisting of Greg Leisz (guitars), Jenny Scheinman (violin), Tony Scherr (bass) and Kenny Wollesen (drums) to record his take on the classic songs of John Lennon. The project had long been in the works—one could go as far back as the first time he heard the Beatles at the age of 13. Fast forward a few decades and Frisell was asked to put together a performance in honor of Lennon as part of a special event in Paris. The arrangements and interpretations came to fruition with this project on All We Are Saying... (Savoy Jazz) “This is a glorious hymn to the art of playing together, of which Lennon would surely approve." - The Independent (London) Collaborative Projects: Floratone II is Frisell's newest offering to be released in March, 2012, with the cooperative group of the same name featuring collaborators Matt Chamberlain, Lee Townsend and Tucker Martin. Their debut album was described as a "studio-collaged musical masterpiece" - (Guitar Player) and "some of the most riveting music to emerge this year." - NPR Frisell’s collaboration with Brazilian singer-songwriter and multi-instrumentalist Vinicius Cantuaria, Lágrimas Mexicanas (E-one), has been described as “warm, sexy and visionary” All Music Guide. Drawing heavily from Brazilian and Latin rhythms and blending them with contemporary ambient sonic effects, they create a fresh new brew of multi-cultural music. Frisell’s collaborative project with drummer Matt Chamberlain and producers Lee Townsend and Tucker Martine, Floratone (Blue Note), is a groove-based and textural extravaganza, described by Guitar Player as "a modern masterpiece and one of the best recordings of 2007". Frisell’s 2003 recording with Petra Haden, the self-titled Petra Haden and Bill Frisell, is a collection of their interpretations - some sparsely arranged and others more lushly orchestrated - of songs by Elliot Smith, Foo Fighters, Tom Waits, George Gershwin, Henry Mancini, Stevie Wonder, traditional material, as well as songs written by Frisell and Haden. Frisell, who had known and played with Petra’s father Charlie Haden for many years, was captivated when he went to see Petra perform in Seattle. The two began talking, occasionally performing together, and eventually they began work on their CD, produced by Lee Townsend. It has been described as "a gem of an album" by the Star Bulletin. Other projects include a Burt Bacharach - Elvis Costello CD, The Sweetest Punch, on Decca which features Frisell's arrangements of the same 12 tunes Elvis and Burt recorded together on their pop record for Mercury, Painted From Memory. The record was produced by Lee Townsend and features Bill on guitar, Viktor Krauss on bass, Brian Blade on drums and a horn section comprised of Curtis Fowlkes on trombone, Ron Miles on trumpet, Don Byron on clarinet and Billy Drewes on saxophone. Cassandra Wilson and Elvis Costello lend vocals to a couple of tracks. In September 1998 Nonesuch released a duo recording of jazz standards by Frisell and labelmate pianist Fred Hersch entitled Songs We Know. In 2002, Frisell was appointed the musical director of Century of Song by artistic director Gerard Mortier and Chief Dramaturg Thomas Woerdehoff for the 2003-2004 seasons at the Ruhr Triennale Arts festival in Germany. The celebrated series of programs featured guest songwriters, interpreters and performers in collaboration with Frisell not only to investigate their own bodies of work, but to bring a fresh perspective to songs and songwriters that have been influential upon their own music, as well. Guests included Elvis Costello, Suzanne Vega, Van Dyke Parks, Loudon Wainwright III, Rickie Lee Jones, Vinicius Cantuaria, Vic Chesnutt, Ron Sexsmith, Jesse Harris, Petra Haden and Marc Ribot with band members being specially selected for each program. With Lee Townsend producing, the concerts took place in former industrial spaces that have been converted into performance venues in the Ruhr region of Northern Germany. Moviegoers will hear Frisell playing alongside Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack of Wim Wenders' film, Million Dollar Hotel, starring Mel Gibson with a screenplay by Bono. He is also a featured player on the T-Bone Burnett soundtrack for Walk the Line, the biographical motion picture about Johnny Cash. In addition, Frisell composed the score and performed on the soundtracks of the following productions: The independently produced feature film entitled All Hat directed by Leonard Farlinger; Double Lives, a documentary film directed by Ruby Yang; American Hollow, an HBO documentary special by Rory Kennedy; two Gus Van Sant films - Finding Forrester and the remake of Psycho; La Scuola by Italian filmmaker Daniel Luchetti; Gary Larson's animated television project "Tales From The Far Side." ; and two public radio series - The DNA Files and Stories from the Heart of the Land. Awards Frisell has won numerous awards over the course of his career, a list of which can be viewed at the following link. Here is a timeline of lesser known important musical events leading up to the time when Bill Frisell began to record more extensively in the 80's. This is not meant to be a complete biography - Bill used his not so good memory for most of this. It may not be completely accurate but should give a pretty good approximation. 1951 Born in Baltimore, Maryland, March 18 Moved with his parents to Denver, Colorado 1953 Bill's brother Robert Benjamin was born (June 3) 1955 Built his first guitar out of a piece of cardboard and some rubber bands for strings after being inspired by Jimmy, leader of the Mousekateers on the Mickey Mouse Club TV show. 1960 Began study of the clarinet. Joined the "Gold Sash Band," a marching and concert band he would be involved in for eight years. Studied clarinet privately with Jack Stevens, the band's director. It was here where he really learned the fundamentals of music. Also played clarinet in the Teller Elementary School band directed by Jack Fredrickson. 1962 Bill really looked up to his older friend George Kawamoto, who lived across the street. George was playing guitar by this time and Bill wanted to also. The first things he tried to learn were by the Ventures and the Astronauts. Got his first "real guitar" for Christmas - a 20 dollar archtop. 1963 Bought his first record "Little Deuce Coupe/Surfer Girl", by the Beach Boys, a 45 rpm single. Entered Gove Jr. High School. Played in the school band directed by Charles Fields. Began playing tenor saxophone. 1964 Traveled to New York for the first time to perform at the World's Fair with the "Gold Sash Band." Saw the Beatles on the Ed Sullivan Show. Took some guitar lessons from Bob Marcus at the Denver Folklore Center. This was a fantastic music store, record shop, concert hall, and meeting place for musicians, where he heard about Paul Butterfield, Otis Spann, Junior Wells, Buddy Guy, Elizabeth Cotton, and many others. It was here where he heard Frank Zappa's "Freak Out" album for the first time. 1965 Bought his first electric guitar with money earned on a paper route (Fender Mustang guitar and Deluxe amp) at Happy Logan Music. Went to Herman's Hermits concert (first live concert). Started first band with Greg Jones on drums and Tony Eberhart on guitar ("The Weeds"). 1966 Started going to many more live concerts (Buffalo Springfield, Bob Dylan, Jimi Hendrix, Paul Butterfield, Ravi Shankar, James Brown). Started East High School and continued playing clarinet in the school band directed by Vincent Tagliavore. Other East High students included Philip Bailey, Larry Dunn, and Andrew Wolfolk who were in a band called the "Mellow Mystics." After high school, they all went to Los Angeles and joined "Earth Wind and Fire." 1967 Began clarinet studies with Richard Joiner of the Denver Symphony. Learned Wes Montgomery's "Bumpin On Sunset" and performed it at the all school talent show with Mike Ringler on drums and Bob Chamberlain on bass. This eventually evolved into the "Soul Merchants" with Chauncy Blakely or Victor Cooper on vocals, Keary Nitta, tenor sax, Rick Yamamoto, alto sax, and Ken Wright, trumpet. Played songs by James Brown and The Temptations at school dances and fraternity parties. Went to "Interlochen Arts Academy" for the summer. Went to more concerts: Big Brother & the Holding Company, Sons of Champlin, Electric Flag, Chuck Berry, Canned Heat, Blue Cheer... 1968 Played in the "McDonald's All American High School Band" at the Rose bowl Parade in Los Angeles and the Thanksgiving Day Parade in New York. Went to a Charles Lloyd concert. The band included Keith Jarrett, Ron McClure, and Paul Motian. Heard Gary Burton, Thelonious Monk, Cannonball Adderley, and Dionne Warwick at a jazz festival at Red Rocks Amphitheater. 1969 Began guitar lessons with Dale Bruning who brought to his attention Charlie Parker, Sonny Rollins, Jim Hall, Bill Evans, Charles Ives and so many others for the first time. Bruning helped Bill apply many of the theoretical things he had learned on clarinet to the guitar and opened up the whole world of jazz. His parents moved to South Orange, New Jersey, just outside of New York City. Made his first visit to the Village Vanguard where he would eventually hear Charles Mingus, Roland Kirk, Gary Burton, Thad Jones&Mel Lewis, Elvin Jones, Dexter Gordon, Charlie Rouse, Hank Jones, Freddie Hubbard, Sonny Rollins, and Chick Corea. Went to hear Lou Rawls and Al Kooper in Central Park instead of going to Woodstock. Started studies at the University of Northern Colorado as a music major on clarinet. Played tenor saxophone and guitar in the big bands. 1970 With UNC Jazz band went to intercollegiate jazz festivals in Salt Lake City, Utah and Champaign Urbana, Illinois. Won outstanding soloist awards at both festivals. Judges included Quincy Jones, Gary Burton, Oliver Nelson, Cannonball Adderley, Benny Carter. Continued studies with Dale Bruning. Also studied with Johnny Smith at UNC. Heard Miles Davis Group with Gary Bartz, Michael Henderson, Jack DeJohnette, Airto, and Keith Jarrett. Played in the group "Joshua" with other UNC students - Lyle Waller-trombone, John Sherberg-electric piano, Bob Gillis-trumpet, Keary Nitta-saxophone, Fred Hamilton-bass, Alan Aluisi-drums. 1971 Decided to stop playing clarinet and saxophone and to concentrate on the guitar only. Jim Hall came to Denver to play for a week at the Senate Lounge with Bill's teacher Dale Bruning on bass and guitar. Bill met Jim for the first time there. Attended Berklee College of Music in Boston for one semester. Went to the Jazz Workshop and Paul's Mall in Boston for the first time where he would eventually hear Hubert Laws, Herbie Hancock, Larry Corryell, Jack DeJohnette, Dave Liebman, McCoy Tyner, Anthony Braxton, Sonny Rollins, the Tony Williams Lifetime, Bill Evans, the MJQ, Pat Martino, Ron Carter, Dave Sanborn, B.B. King, James Cotton, Pat Metheny, Stuff, Gary Burton, and others. Heard Jim Hall and Ron Carter Duet at "The Guitar" in New York City. 1972 Studied for eight weeks with Jim Hall in NYC. Heard Sonny Rollins at the Village Vanguard. Moved back to Colorado and continued studies with Dale Bruning. Played in the "Bermuda Brass," a small big band that played Glenn Miller arrangements. The Bill Evans Trio performed for a week at the "Senate Lounge" - Bill was there almost every night and had the opportunity to meet him. Taught guitar lessons at Gordon Close's Melody Music. One of Bill students at the time was Kenny Vaughn, a great guitarist now living in Nashville who plays with Lucinda Williams and many others. 1973-74 Continued teaching, performed jazz gigs around Denver with Bob Gillis and Dale Bruning at places like the Folklore Center, Global Village, Downstairs Lounge. Recorded a few local commercial jingles, went to jam sessions, and played shows with Rod McCuen, Frank Gorshin. Met and played a lot with Mike Miller, a guitarist who influenced Bill a lot at the time. 1975-77 Returned to Boston and the Berklee College of Music where, on the first day, he met Kermit Driscoll. He also met and played with Tiger Okoshi, Pat Metheny, Mike Stern, Vinnie Johnson, Vinnie Colaiuta, Tommy Campbell, Leni Stern, Joe Lovano, Hank Roberts, Lowell Davidson, Donald Rubinstein. Studied jazz guitar with John Damian and arranging and composition with Mike Gibbs and Herb Pomeroy. Played in a top 40 band, "The Boston Connection," with Kermit Driscoll and Vinnie Colaiuta. Played often at "Michael's" and "Pooh's Pub." Heard Michael Gregory Jackson who's way of playing would be very influential. 1978 Moved to Belgium to play in a band with Steve Houben, Greg Badolato, Vinnie Johnson, Kermit Driscoll, resulting in first record, "Mauve Traffic." Began writing his own music. Met Carole D'Inverno who he would marry one year later. Heard Ornette Coleman at the North Sea Jazz Festival. On two separate occasions during the festival Ornette approached Bill and asked, "Where did you get that Coke?" and "What's back here?" Toured England with Mike Gibbs' Orchestra which included Charlie Mariano, Kenny Wheeler, and Eberhard Weber. Recorded on Eberhard Weber's "Fluid Rustle" with Gary Burton for ECM. This is where Bill first met Manfred Eicher. 1979-80 Moved to New Jersey/New York City area. Met and played with D. Sharpe, Bob Moses, Percy Jones, Mike Clark, Dave Samuels, Julius Hemphill, Billy Drewes, Tom Rainey, Scott Lee, Ratzo Harris, Nick Pike... Played club dates, weddings... Played with "Men Working" with Alan Brower. Recorded with Chet Baker in Belgium. Played at NY clubs "7th Avenue South" and "55 Grand St." 1981 On Pat Metheny's recommendation, Bill played with Paul Motian for the first time. Toured Europe as a duo with Eberhard Weber. Met Thomas Stöwsand who worked at ECM at the time and is now Bill's European agent. At ECM he also met Hans Wendl who later worked as Bill's manager and now handles his publishing. First European tour with Paul Motian and recording of Motian's album "Psalm" for ECM. Also recorded "Paths, Prints" with Jan Garbarek. Recorded a track on "Amarcord Nino Rota," his first recording under his own name and first of many collaborations with producer Hal Willner. 1982 Recorded "In Line" for ECM, his first album under his own name. Met John Zorn at the Soho Music Gallery where he was working at the time. 1983 Met Bob Hurwitz who worked for ECM in New York. Bob would later take over Nonesuch Records. 1984 Recorded "Rambler"... Toured with Julius Hemphill 1985 Daughter Monica Jane was born... 1986 Played duet concert with Jim Hall at Walker Art Center in Minneapolis. Started the first band under his own name with Kermit Driscoll, Joey Baron, and Hank Roberts. Recorded "Lookout For Hope," his first band record and first time he worked with Lee Townsend as producer. Lee is now Bill's manager. 1987 Left ECM and began present relationship with Nonesuch Records. Performed at the Knitting Factory in New York playing the music of Robin Holcomb with Doug Wieselman and John Zorn's composition "Hu Die" with Fred Frith and Ruby Chang during the Knitting Factory's first series of concerts. 1988 Bill's friend, Betty Berkin, gave him a John Hiatt record, "Bring the Family" with Jim Keltner, Ry Cooder, and Nick Lowe. He became a big fan of all these guys 1989 Recorded "Is That You?" with Wayne Horvitz as producer for the first time Moved with his family to Seattle. Since then, Bill's work has been very well documented on his many recordings. His performance schedule has been more and more taken up with his own projects. He continues to play with Paul Motian's Trio with Joe Lovano and has also performed with Jim Hall, Don Byron, Ginger Baker, Charlie Haden, David Sanborn, Marianne Faithful, Elvis Costello, Ron Carter, and the Hal Wilner produced tribute to Harry Smith. He performed Steve Mackey's composition "Deal" at Carnegie Hall with the American Composers Orchestra conducted by Dennis Russell Davies and in Los Angeles with members of the L.A. Philharmonic conducted by Esa-Pekka Salonen. As he is also becoming more active as a film composer, Bill's music can be heard in Gary Larson's "Tales from the Farside," Gus van Sant's "Psycho" and "Finding Forrester," Rory Kennedy's documentary for HBO, "American Hollow," and Wim Wenders's "Million Dollar Hotel" (with Brian Blade, Jon Hassell, Bono, Daniel Lanois, Brian Eno, Greg Cohen, and Adam Dorn.) He has also written music for the Frankfurt Ballett and the ACT Theatre's production of "Temporary Help." He has been featured on TV on "Night Music," "The Tonight Show with Jay Leno," and "Sessions at West 54th Street." When he's home, he likes to play at clubs like "The Tractor Tavern". He continues to work with Wayne Horvitz and Robin Holcomb - and it was in the Northwest where he had the opportunity to meet many musicians and artists who have been an inspiration, such as Eyvind Kang, Michael Shrieve, Kevin Sawka, Danny Barnes, Keith Lowe, Christos Govetas, Martin Hayes, Boubacar Traore, Sidiki Camara, the film director Gus van Sant, cartoonists Jim Woodring and Gary Larson, the painter Claude Utley and so many others. Since then, Bill's work has been very well documented on his many recordings. His performance schedule has been more and more taken up with his own projects. He continues to play with Paul Motian's Trio with Joe Lovano and has also performed with Jim Hall, Don Byron, Ginger Baker, Charlie Haden, David Sanborn, Marianne Faithful, Elvis Costello, Ron Carter, and the Hal Wilner produced tribute to Harry Smith. He performed Steve Mackey's composition "Deal" at Carnegie Hall with the American Composers Orchestra conducted by Dennis Russell Davies and in Los Angeles with members of the L.A. Philharmonic conducted by Esa-Pekka Salonen. As he is also becoming more active as a film composer, Bill's music can be heard in Gary Larson's "Tales from the Farside," Gus van Sant's "Psycho" and "Finding Forrester," Rory Kennedy's documentary for HBO, "American Hollow," and Wim Wenders's "Million Dollar Hotel" (with Brian Blade, Jon Hassell, Bono, Daniel Lanois, Brian Eno, Greg Cohen, and Adam Dorn.) He has also written music for the Frankfurt Ballett and the ACT Theatre's production of "Temporary Help." He has been featured on TV on "Night Music," "The Tonight Show with Jay Leno," and "Sessions at West 54th Street." When he's home, he likes to play at clubs like "The Tractor Tavern". He continues to work with Wayne Horvitz and Robin Holcomb - and it was in the Northwest where he had the opportunity to meet many musicians and artists who have been an inspiration, such as Eyvind Kang, Michael Shrieve, Kevin Sawka, Danny Barnes, Keith Lowe, Christos Govetas, Martin Hayes, Boubacar Traore, Sidiki Camara, the film director Gus van Sant, cartoonists Jim Woodring and Gary Larson, the painter Claude Utley and so many others.

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8. JUST ANOTHER DAY (Julie Atherton, Paul Keating, Oliver J Hembrough and Ensemble)

JUST ANOTHER DAY (Julie Atherton, Paul Keating, Oliver J Hembrough and Ensemble)

A New Musical by Laurence Mark Wythe (Music/Lyrics) and Judy Freed. Developed and Licensed by Perfect Pitch Tracks recorded live at the Perfect Pitch Gala Concert of the show in 2009 (Trafalgar Studio 1) Orchestrations by Paul Herbert. For more information please visit www.perfectpitchlicesning.com

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9. 1 necessary absent liberties . . 3 - 5 a.m. , 13/01/09 , ckut.ca 90.3 fm , wombeat fables

1 necessary absent liberties  . . 3 - 5 a.m. , 13/01/09 , ckut.ca 90.3 fm , wombeat fables

necessary absent liberties theres no necessity to go on living [rep allan watts] there really is no necessity to go on living 0058 if enough people would not go along with wars they would not be able to wage wars for they cannot wage wars without our cooperation 0150 harmonica n guit ya 0207 woooohhooooooo oooo 0239 oooo 0247 0303 thmp hthmpp thmp 0342 weeoooo 0514 universal right to sexual privacy right to this is about all of us 0558 howwo ewoow eeee eeee eeee 0620 oowoo 0646 [amber viola] 0710 woo ooo ooo ooooo ooo 0727 uu uu uu 0737 special interest politics 0801 nya nya nya naaaa 0818 dmmd dmdm guit 0832 [drop] 0840 druuuuuum druuuum [great changes bass] 0910 we be in (g) concert 0923 wanna have fun 0927 take the pressure and we blow away conventionality 1013 thmpt+t+ 1046 changes [washy] 1100 harmonica in thumps 1118 changes [heavy slow distortion repeat] 1140 changes 1203 denied us its been damaged our heritage its been denied us been damaged we needed to search become the present reality of our people if were gonna survive 1220 stronger search become the present reality of our people excluded from any political accord or movement reality there will be great changes our ability determines actively 1311 hahyaa ha hay haa yaaa 1320 its not bad thing to know there will be great changes 1336 bang bang a thumpy bass 1406 determines actively our ability [warp fade] 1434 ay yaa a a a thumpsity 1503 destruction do you know what a dreadful miserable day we had [hiroshima nagasaki] 1525 do you know 1531 absence generates [herzog] absence 1559 understanding our ability determines actively [tom hanks] 1631 hmmmmmm 1647 absence con sequence absence 1708 dreamy swish absence 1722 percolating bubbly 1738 denied us devastation [taiaiake alfred] on the community was devastation on th family search become 1810 if we r gonna survive if enough people yesterdays gone [fleedwood] wooo concentrate develop relationship and friendships ya yi ya yi yay i 1852 reminder of our history 1903 time changes 1912 destruction [beat] 1936 construction dont you know that you can count me out consequences conversation count me out converse us through us a sense of tonight 2017 that do not reduce to language even if we have to use lang to talk about them [manuel delanda] 2050 [viola] 2130 [thumpyreturn] 2145 have this as our heritage [break down] even if we have to use lang to talk about 2240 changes there will be great changes 2335 [viola builds] 2428 [viola tweek n scrunchy ness] 2500 [fuzzy guitar strum builds] a world that has a future 2525 our children [viola creeee]2547 what tomorrow will do it getting better a little better all the time admit use lang to talk about them i used to be angry do what you really believe in anger 2630 keeps us from facing 2640 what lovers do anger meditation 2655 2708 facing getting better all the time 2720 2725 itll take a little time a little cry blind pretending [MJ] moderate demonstration and development 2809 absence together 2821 yes i admit better better better better better better [kid yellin] 2258 if enough people cooperation 2916 ing not to see them change the world 2931 will not go along with war not go along with wars they will not be able to wage war 2954 now well try our desired result 3011 aspirations like a tune i swear iv heard before 3026 we 3034 well try 3042 lovers do take a sad song and make it better what you wanna do 3103 3126 our desired results aspiration s 3152 [pluck] 3208 change happens when enough people demand it come together 3224 keeps us movin on [inxs] change change 3300 they tried to break us looks like theyll try again never close your eyes theyll try again 3318 this way [beat ] dancing for your pain others war with arrows open our hearts and minds dancing 3400 tried to tame us look s like they ll try again [duran-duran] [beats] 3430 willing to be totally honest with yourself describe the pain 3457 how wild it is [maximillian] another who is deeply hurt i will never hurt you not thing you can do 3530 plucky viola 3551 admit 3608 gettin better all the time [low slow draw out . . .] 3636 admit 3653 consequence 3705 tres bien ensemble say the only words i know that youll understand with my little songs i could change well you know i go on trying faithfully maybe on some special night when my song is right i can change the world revolution changed 3809 and challenged be the change you want to see in the world [orion mountain] dreamer transform wiser way evolution 3857 [oliver twists] 3920 great changes 4037 [tape breaks] 4054 we be in concert 4108 yapwassar [fuzzy voice] 4127 [viola reemerge] 4150 who is really serious [K repeat] 4202 yesterdays gone who i am [hillary clinton] what ya gonna do 4226 [high pitch plucky voice] 4242 heard it all so many times 4304 we all share in and help understanding [repeat] 4326 understanding [anna] connects us to deeper wisdom [MJ] 4356 together open our hearts and minds [Pema Chödrön] together in the very situations where we habitually shut down panic to protect ourselves i dont want to get to conceptual about this whole thing i want it to flow today the effects attention it has on you n me this body is now 4431 we think we can ['t deleted] tension stand here our we stand on our own two feet [malcolm x]4438 we manifest us thus persistent 4451 us persistent us effect think we can stand on our 2 feet 4505 has on you n me 4527 stand on our own 2 feet [drawn out warp] [wooo ooo oooo] 4555 focus the mind get too conceptual about this i want it to flow focus the mind [squeaky wheee repeat] i want it to flow [Ow oo o oooo ] large portion ho we ho ee yeee yee yeee 4657 [retards nader , will , me]what your sending out chain reaction denial aggression craving 4717 all kinds of ways to get away your world gets very small 4724 denial aggression craving craving chain reaction 4740 what your sending out creates a chain reaction and you start talking to yourself 4755 sort of obvious feelings 4801 denial aggression craving craving all kinds of ways to get away your world gets very small 4808 and you start talking to yourself 4820 doodoodoooooo oooo ooo ooo 4834 if i could just have more time if i could just have more time [repeated] wooooooo oooooo oooo [also repeated] 4915 strum drum da dum 4925 there is no necessity to go on living [wobbly repeat] 4935 [thmppt thmpt return] there really is no necessity to go on living 5022 here are we courage dizziness us being as passionate vitality who 5039 vitality vitality 5049 fwuu fwuu fwuuuu chk chk chk hck 5108 likening to ourself 5118 breathe in 5127 results results 5140 of a world 5150 [harmonica] woooooohooowhowhoowhooo 5207 5226 lies who foresee and foretell grief can predict how silence to everyone but yourself 5252 shear thirst 5300 yee rooow 5315 dtdtdtdt td td ttd 5333 [whistling retarded drumming] 5427 are 5530 fusion in history so malleable 5543 fusion in history between moments when people can hear people can 5555 people can hear whats being said and whats urgent and when they cant predict 5607 know when the times are that people will hear 5617 yes inside i remember o o o 5631 tomorrow will do in world where we re living ya yeaa cant predict how cant know 5643 [harmonica] 5651 spoken but all at once cant be its inside what lovers do do what lovers do 5731 anger meditation 5751 plink plink plink woeoeoeoe all 5807 right all right just gonna be ok all right just dance just just dance woo o o o o 5828 whats goin on on the floor 5840 yeaaaae gonna be ok da da du du just dance 5909 [banjo bang clang] 5959 dance wooooo o o o ahh denied us 010000 ah its been damaged present reality we needed to search the present reality 010032 hwoo ououo ooo aoa a aa [fade out wailings] 010126 . END.

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10. Weekend Sun - Forever Tomorrow (HR013CD)

Weekend Sun - Forever Tomorrow (HR013CD)

* The file above contains 192kbps snippets of this album * Buy limited edition CD and digital download at http://shop.herorecords.co.uk/album/forever-tomorrow-hr013cd Hero Records presents the debut album from Weekend Sun 'Forever Tomorrow' (HR013CD) After the well-received limited 7” vinyl releases 'Figo' b/w 'Keep Running' and 'You're Good To Me' b/w 'Her Name Escapes Me' Weekend Sun are back with their debut album of soul, funk, jazz, hip hop and reggae-flavours entitled 'Forever Tomorow'. Influenced by sample-heavy 90s hip hop, with its rule-breaking blend of 60s Soul and Funk and old danceable jazz, Weekend Sun blend old and new. Some double bass and laptop beats, meet North East England's finest musicians whose influences vary wildly: from early Duke Ellington and New Orleans jazz through to The Incredible Bongo Band, Be–Bop and A Tribe Called Quest. Weekend Sun are Darlington-based musician Phil Smith and producer/dj Chris Tarn who met at the world-famous Sound It Out Records while both looking for records to sample - look out for a cameo from Chris djing in the excellent documentary 'Sound It Out – The Very Last Record Shop In Teesside'). Phil and Chris ended up swapping samples and, after discovering they shared similar tastes in 90s hip hop and black music from the 60s and 70s, started the band to create their own unique mix of their musical influences. For their live shows, Weekend Sun mix samples and the DJ with the best musicians the Tyneside and Teesside has to offer. This is not some generic soul/jazz/funk band, the band have developed a unique style that does touch on soul & jazz but also includes cinematic sounds, a dose of disco and a dash of Mod. As the band has grown, Weekend Sun has relied less on sample-based music though some tunes start with an embryonic idea based around a sample which is later removed. Soulful vocalists Beth Miller and Lindsay Hannon met Phil in a jazz club in Newcastle and he chanced upon Esther Taylor while in Greenwich Village, NYC. The funky pianist Alan Law, from the Alan Law Trio, bonded with Phil over a shared love of Blue Note jazz. Stevie Bongo who learned percussion in Los Angeles is now the most sought after percussion player in the north east of England. Darren Moore is also the drummer in Newcastle funk and jazz outfit King Bee and he and Phil have both played for the well-known singer/songwriter Elaine Palmer. The versatile guitarist Chris Davison also has his own band, The Kickshaws. Also featured on the album are a number of guest musicians, including the incredible flute-playing Dave Wilde from Smoove and Turrell's band. Weekend Sun have supported DJ Craig Charles on a number of occasions and as well as receiving plays on his Funk & Soul Show on BBC 6 Music, support of Weekend Sun's previous vinyl releases has come from the likes of Wayne Hemingway, Dean Rudland (Blue Note Breaks) and Acid Jazz Records owner Eddie Piller who has played a number of tracks on his The Modcast show. The band have also had plays on BBC Newcastle, BBC Tees and BBC Scotland as well as Pete Isaac's Jelly Jazz and many radio shows across Europe. Listen out for forthcoming live broadcast on Nick Robert's More Than Soul show on BBC Newcastle. The quality of the musicians means Weekend Sun are an in demand live act who have the ability to take the songs in different directions each time they play . Past bookings have included supporting Belleruche (Tru Thoughts Records), mod queen Fay Hallam (Blow Up Records), The Kelburn Garden Party (sharing the bill with the likes of Hypnotic Brass Ensemble, Red Snapper and The Nextmen), the Just So Festival, Matt n Phred's Jazz Club in Manchester and Newcastle’s infamous Hoochie Coochie Club. The 'Forever Tomorrow' album launch is scheduled for the start of August at the band's initial meeting-place (and spiritual home!) Sound It Out Records and future gigs include slots at The Boiler Room, Newcastle on 6th September and supporting The Stone Foundation at The Forum, Darlington on 27th September. 'Forever Tomorrow' is a true melting pot of styles from the uptempo funk of 'Come With Me' and 'You're Good To Me' to the disco grooves of 'Feeling Inside', the hip hop beats of 'Not My Problem' to the dub flavours of 'Talk About It' ; the Motown stomp of 'Moody Old Man' to the downtempo acoustic sounds of 'St. Vincent Blues'. Perfect for people who like to get down and groove as well as those who like to lie down and listen 'Forever Tomorrow' is the stunning debut from Weekend Sun to be played at the weekend in the sun (as well as during the week in the rain!). For more information please check http://www.herorecords.co.uk Release Date – 4th August 2014. Limited CD released worldwide through Kudos Distribution. Digital release available via iTunes, Beatport, Amazon and all other good online stores. Tracklisting 1 : Keep Running 2 : Come With Me 3 : Love Remains 4 : Not My Problem 5 : Jose Paronella 6 : You're Good To Me 7 : Lies 8 : Her Name Escapes Me 9 : Talk About It 10 : Feeling Inside (2am Disco Remix) 11 : Moody Old Man 12 : St. Vincent Blues Reactions to Weekend Sun releases: "this futuristic slice of northern soul should stir even the toughest of hearts, a cracking tune...looking forward to the album lads!" Emrys Baird (Blues and Soul) “Good stuff, I’ll support for sure” Smoove (Smoove & Turrell / Jalapeno / Wack Records) “A cracking piece of dancefloor action.” Craig Charles (BBC Radio 6) “Wonderful sunny Soul vibes from Weekend Sun!" Renegades Of Jazz (Agogo Records) “Nice dancefloor rocker. Would get the ladies dancing too” K-Delight (Playing Around) “Outstanding percussion doing a funky little dance with the rhythm section whilst the horns are trying to make everyone party together” Mark Boyd (Heavenly Social) “Fantastically fun and beautiful sounding records. This is what I want to listen to whilst I groove away with a pina colada in hand on some beach somewhere. Tip top.” Nick Thayer "Weekend Sun - they're really really good." Ginger Tony (Solar Radio) Digital distribution thanks to AWAL.com. Tracklisting 1 : Keep Running (Album Version) [4:25] 2 : Come With Me [4:36] 3 : Love Remains [4:39] 4 : Not My Problem [4:43] 5 : Jose Parronella [3:59] 6 : You're Good To Me [4:16] 7 : Lies [3:54] 8 : Her Name Escapes Me (Album Version) [3:57] 9 : Talk About It [4:16] 10 : Feeling Inside (2am Disco Remix) [4:10] 11 : Moody Old Man [3:52] 12 : St. Vincent Blues [2:55] CREDITS 1. Keep Running – Music by Phil Smith. Lyrics by Phil Smith & Chris Tarn. 2. Come with Me – Music by Phil Smith. Lyrics by Phil Smith & Chris Tarn. 3. Love Remains – Music by Phil Smith. Lyrics by Phil Smith & Chris Tarn. 4. Not My Problem – Music by Phil Smith & Alan Law. Lyrics by Phil Smith 5. Jose Paronella – Music by Alan Law, Dave Wilde & Phil Smith. 6. You’re Good To Me – Music by Phil Smith. Lyrics by Phil Smith & Chris Tarn. 7. Her Name Escapes Me – Music & lyrics by Chris Tarn. 8. Lies – Music & lyrics by Chris Tarn. 9. Talk To Me – Music & lyrics by Chris Tarn & Esther Taylor. 10. Feeling Inside (2am Disco Remix) – Music by Phil Smith. Lyrics by Phil Smith & Chris Tarn. 11. Moody Old Man – Music & lyrics by Phil Smith. 12. St. Vincent Blues – Music & lyrics by Phil Smith. All songs arranged by Phil Smith & Chris Tarn except Track 8 arranged by Chris Tarn, Track 9 arranged by Chris Tarn & Esther Taylor & Track 11 arranged by Phil Smith & Alan Law. All tracks produced by Phil Smith & Chris Tarn except Track 9 produced by Chris Tarn. Upright & electric bass / Guitar (tracks 9 & 12) / Synthesisers – Phil Smith Sequencing / Drum Programming – Chris Tarn Keyboards – Alan Law Piano (track 11) – Ian Wynne Guitar – Chris Davison Guitar (tracks 2,3 & 11) – Jim Coldwell Vocals – Esther Taylor Vocals (tracks 4 & 10) – Beth Miller Vocals (track 3) – Lindsay Hannon Congas & Bongos / Drums (track 4) – Steve Blakeburn Congas & Bongos (track 6) – Darren Moore Flute – Dave Wilde Alto Saxophone (tracks 1, 2, 6 & 11) – Gav Lee Tenor Saxophone (track 6) – Paul Gowland Baritone Saxophone (tracks 1 & 11) – Jim McBriarty Trombone (track 2) – Brian Chester Trombone (track 6) – Don Fairley Harmonica – Herbie Hudson Reaction to the album and earlier Weekend Sun releases: “Good stuff, I’ll support for sure” Smoove (Smoove & Turrell / Jalapeno / Wack Records) “A cracking piece of dancefloor action.” Craig Charles (BBC Radio 6) “Figo is the feelgood hit of the summer. Fantastic modern Jazz sounds from Darlington!” Renegades Of Jazz (Wass Records) “Nice dancefloor rocker. Would get the ladies dancing too” K-Delight (Ruf Beats / Playing Around) “Outstanding percussion doing a funky little dance with the rhythm section whilst the horns are trying to make everyone party together” Mark Boyd (Heavenly Social) “Love Keep Running …. nice female vocal. Full marks.” Steve Austin (Bongo Club) “Can see it appealing to fans of Mr Scruff” Martin Brew (J-Walk) “Bass sounds great on Keep Running, very Roy Budd sounding” Mark Gurney “It’s good. I’d play Keep Running.” Bill Brewster (DJ History) “Fantastically fun and beautiful sounding records. This is what I want to listen to whilst I groove away with a pina colada in hand on some beach somewhere. Tip top.” Nick Thayer

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11. Dude Just Grooving So Damn Hard To The Harmonica Solo in "Hook" by Blues Traveler

Dude Just Grooving So Damn Hard To The Harmonica Solo in

Tweet: https://twitter.com/BassoonJokes/status/402649074848903168 Spoken by Jake @ twitter.com/YourTextSpoken Voice for hire presently- [email protected]

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12. The Man With The Tooth /// Brass Tax

The Man With The Tooth /// Brass Tax

Brass Tax debut LP, BRASS TAX ALBUM The creation of the LA-based multi-instrumentalist/songwriter Jada Wagensomer, Brass Tax conjoins 60s soul and garage rock with smart, classic storytelling pop inspired by the Kinks,Van Dyke Parks, Randy Newman, Dusty Springfield, and Harry Nilsson, all tied together with a swath of punk spirit. The songs on Brass Tax's debut long-player Brass Tax Album comprise a work of immaculate detail with wide array of instrumentation (saxophone, violin, lap steel, wurlitzer, wind chimes, kazoo etc ) coloring the spaces between Wagensomer's clever, sometimes dark (sometimes humorous) tales. Growing in depth and resonance with each listen, it's an album that sounds epic and spacious but the subject matter brings it somewhere closer, more intimate. From the countrified psychedelia of the album opener "And Then It Starts All Over Again" to the retro R&B stomp of "I Won't Cry" to orchestral, sweeping pop of "The Man With The Tooth", Brass Tax Album covers a lot of sonic ground in just 8 songs. While you couldn't say that this album is locked into any particular sound, this album is unified by Wagensomer's versatile twang, and echoes of Spector, even Lou Reed's Transformer, or John Cale's Paris 1919. Generous with her musical talents, Wagensomer lends her abilities to many LA outfits including Jail Weddings, Dante Vs Zombies, Baby & Guy, Streetrobe and the Zappa/Fugs-style doo-wop group, The Dumbheads. The current incarnation of Brass Tax includes other LA players who get around including Brian Watson (The Pope), Alex Myers (Watts Ensemble), and Lowell Abellon. All songs written by Jada Wagensomer Performed by... Jada Wagensomer - guitar, banjo, wurlitzer, keyboards, hand claps, wind chimes, vocals Lowell Abelon - bass, backing vocals Brian Watson - drums Alex Myers - tenor sax Brad Caulkins - tenor sax Aran Tanchum - baritone sax Laena Geronimo - violin Matthew Polley - lap steel, harmonica, backing vocals (The Buffalo) Recorded by Nicole Turley @ The Room Next Door Mixed/Produced by Jada Wagensomer & Nicole Turley Except The Buffalo... Recorded, mixed, produced by Jada Wagensomer & Matthew Polley Mastered by Bernie Grundman BRASS TAX ALBUM is now available on CD and a limited edition 12" white vinyl + free download with bonus track ODE TO TEDO.

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14. Feel Better /// Brass Tax

Feel Better /// Brass Tax

Brass Tax debut LP, BRASS TAX ALBUM The creation of the LA-based multi-instrumentalist/songwriter Jada Wagensomer, Brass Tax conjoins 60s soul and garage rock with smart, classic storytelling pop inspired by the Kinks,Van Dyke Parks, Randy Newman, Dusty Springfield, and Harry Nilsson, all tied together with a swath of punk spirit. The songs on Brass Tax's debut long-player Brass Tax Album comprise a work of immaculate detail with wide array of instrumentation (saxophone, violin, lap steel, wurlitzer, wind chimes, kazoo etc ) coloring the spaces between Wagensomer's clever, sometimes dark (sometimes humorous) tales. Growing in depth and resonance with each listen, it's an album that sounds epic and spacious but the subject matter brings it somewhere closer, more intimate. From the countrified psychedelia of the album opener "And Then It Starts All Over Again" to the retro R&B stomp of "I Won't Cry" to orchestral, sweeping pop of "The Man With The Tooth", Brass Tax Album covers a lot of sonic ground in just 8 songs. While you couldn't say that this album is locked into any particular sound, this album is unified by Wagensomer's versatile twang, and echoes of Spector, even Lou Reed's Transformer, or John Cale's Paris 1919. Generous with her musical talents, Wagensomer lends her abilities to many LA outfits including Jail Weddings, Dante Vs Zombies, Baby & Guy, Streetrobe and the Zappa/Fugs-style doo-wop group, The Dumbheads. The current incarnation of Brass Tax includes other LA players who get around including Brian Watson (The Pope), Alex Myers (Watts Ensemble), and Lowell Abellon. All songs written by Jada Wagensomer Performed by... Jada Wagensomer - guitar, banjo, wurlitzer, keyboards, hand claps, wind chimes, vocals Lowell Abelon - bass, backing vocals Brian Watson - drums Alex Myers - tenor sax Brad Caulkins - tenor sax Aran Tanchum - baritone sax Laena Geronimo - violin Matthew Polley - lap steel, harmonica, backing vocals (The Buffalo) Recorded by Nicole Turley @ The Room Next Door Mixed/Produced by Jada Wagensomer & Nicole Turley Except The Buffalo... Recorded, mixed, produced by Jada Wagensomer & Matthew Polley Mastered by Bernie Grundman BRASS TAX ALBUM is now available on CD and a limited edition 12" white vinyl + free download with bonus track ODE TO TEDO.

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15. It's All The Same To Me /// Brass Tax

It's All The Same To Me /// Brass Tax

Brass Tax debut LP, BRASS TAX ALBUM The creation of the LA-based multi-instrumentalist/songwriter Jada Wagensomer, Brass Tax conjoins 60s soul and garage rock with smart, classic storytelling pop inspired by the Kinks,Van Dyke Parks, Randy Newman, Dusty Springfield, and Harry Nilsson, all tied together with a swath of punk spirit. The songs on Brass Tax's debut long-player Brass Tax Album comprise a work of immaculate detail with wide array of instrumentation (saxophone, violin, lap steel, wurlitzer, wind chimes, kazoo etc ) coloring the spaces between Wagensomer's clever, sometimes dark (sometimes humorous) tales. Growing in depth and resonance with each listen, it's an album that sounds epic and spacious but the subject matter brings it somewhere closer, more intimate. From the countrified psychedelia of the album opener "And Then It Starts All Over Again" to the retro R&B stomp of "I Won't Cry" to orchestral, sweeping pop of "The Man With The Tooth", Brass Tax Album covers a lot of sonic ground in just 8 songs. While you couldn't say that this album is locked into any particular sound, this album is unified by Wagensomer's versatile twang, and echoes of Spector, even Lou Reed's Transformer, or John Cale's Paris 1919. Generous with her musical talents, Wagensomer lends her abilities to many LA outfits including Jail Weddings, Dante Vs Zombies, Baby & Guy, Streetrobe and the Zappa/Fugs-style doo-wop group, The Dumbheads. The current incarnation of Brass Tax includes other LA players who get around including Brian Watson (The Pope), Alex Myers (Watts Ensemble), and Lowell Abellon. All songs written by Jada Wagensomer Performed by... Jada Wagensomer - guitar, banjo, wurlitzer, keyboards, hand claps, wind chimes, vocals Lowell Abelon - bass, backing vocals Brian Watson - drums Alex Myers - tenor sax Brad Caulkins - tenor sax Aran Tanchum - baritone sax Laena Geronimo - violin Matthew Polley - lap steel, harmonica, backing vocals (The Buffalo) Recorded by Nicole Turley @ The Room Next Door Mixed/Produced by Jada Wagensomer & Nicole Turley Except The Buffalo... Recorded, mixed, produced by Jada Wagensomer & Matthew Polley Mastered by Bernie Grundman BRASS TAX ALBUM is now available on CD and a limited edition 12" white vinyl + free download with bonus track ODE TO TEDO.

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18. University of Minnesota Jazz Ensemble I: Eliane Elias, "Just Kidding"

University of Minnesota Jazz Ensemble I: Eliane Elias,

University of Minnesota Jazz Ensemble I performs Eliane Elias's "Just Kidding" February 25, 2012 Ted Mann Concert Hall 7:30 pm

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