1. Bill Laswell Blixt Rar Free

Cup The Farm Cup The Future We go back in time - to pure and authentic ingredients - and go forward with technology to make them available with revolutionary convenience. Hear No Evil is the second album by American composer Bill Laswell. It was released on March 21, 1988 by Venture and Virgin Records. 1 Track listing; 2 Personnel; 3 Release history; 4 References; 5 External links. Track listing[edit]. All music composed by Bill Laswell. Title, Length. 'Lost Roads', 7:.

This album was first released as an untitled 2LP set on the Japanese BYG label in 1973. The first CD edition on Affinity was titled 'Student Studies'.

Bill Laswell Blixt Rar Free

Later Black Lion issued another CD edition entitled 'The Great Paris Concert'. The original cover is included in the files.and I have added two pieces from (most probably) the same session - 40 minutes more from this excellent group.

Cecil Taylor, piano Jimmy Lyons, alto saxophone Alan Silva, bass Andrew Cyrille, drums 1. Student Studies (Part 1) 16:00 2. Student Studies (Part 2) 11:00 3. Amplitude 19:44 4.

Niggle Feuigle 12:06 5. A Bright Light (Lover And Love) 21:13 6. Over There 19:20 Recorded in Paris at Maison De L'ORTF, Salle 105 on November 30, 1966 (Broadcast 'ORTF'). Tracks 1-4 originally released on BYG YX4003/4004. Source for the rip BLACK LION BLCD760201. Tracks 5 + 6 not released in any form.

Note: tracks 5+6 possibly recorded on December 1, 1966 at the Grand Amphitheatre de la Faculte de Droit, Paris, France. Note 2: track 5 also titled 'Bread, Wine, Lover & Love'. Note 3: alternate album title 'THE GREAT PARIS CONCERT'. Joe Phillips here credited under his muslim name Yusuf Mumin plays alto sax. He is accompanied by Abdul Wadud on cello and bass, credited under his birth name Ron (Ronald) DeVaughn. The last musician, Haasan-Al-hut on percussions, is I think a totally unknown player that was recorded only during this session.

The more well-known of the participants is of course Wadud who is one of most important cellists in free jazz. The only other known session to which Phillips participated was the ESP recording of trumpeter Norman Howard that was just recently reissued as 'Burn Baby Burn'. Also a pretty obscure recording in itself (we're reaching the darkest corners of free jazz history here!). The group was from the Cleveland area, probably from Oberlin where Wadud studied. Recording date is not indicated but we can think that it took place after 1968 (recording of the Norman Howard ESP session where Phillips is not listed under his muslim name) and before 1972 (release of Julius Hemphill's 'Dogon A.D.' Where Wadud is credited under his muslim name and do not double on bass anymore). A word on the label and pressing.

Amongst the rather small amount of info featured on the back cover, we learn that the disc was manufactured by Rite Records, an Ohio based operation offering low-costs packaging to its customers that included everything needed to make a record: recording, mixing, mastering and pressing. It is likely that the 'Salaam' label existed only with the release of this record (the catalog number would second that, its choice seems more related to symbolism than to practical counting reasons). That's it for the historical info. Maybe something on the music itself later but trust me, it is pretty good. My favourite part of the record is the second side, just check Wadud's arco work on 'Opening Prayer' and on the intro of 'John's Vision' and I think you'll be convinced.

As my rip originates from a cassette copy (lots of thanks to NK from Japan by the way) I choosed to post only MP3 at 320, but if some of our readers really want to get a lossless version just let me know in the comments. Dedicated to all those not yet members of the Braxton sect:).

Enjoy, Pierre. Anonimus Recorded in October 1979 at Kichijoji Temple Ito Fukuo, guitar Masaru Soga, guitar Kikuo Shimura, guitar Masashi Shinohara, guitar Kozo Tate, guitar Seimatsu Shunsuke, guitar Hisao Nakamori, guitar Hironobu Maekawa, guitar A2. Gap Recorded in April 1974 at Gap Works, Sasazuka Masaru Soga, electric guitar Sano Kiyohiko, synthesizer Masami Tano, percussion A3. Cue Recorded in December 1973 at Aoyama Town Hall Kazuhiko Ogawa, guitar Masashi Shinohara, guitar B1. Toss-up Recorded in May 1975 at Sophia University Hall, Yotsuya Sano Yumiko, violin Miyajima Motosakae, soprano saxophone Naohiro Tsuke, trumpet Fujisawa Nobuyuki, trombone Hitoshi Nakamura, baritone saxophone Murai AzumaTatsuki, contrebasse B2.

For TRAZOM Recorded in October 1975 at Sophia University Hall, Yotsuya Kikuo Shimura, guitar, bass drum and cymbal B3. URN Recorded in November 1978 at Jean-Jean, Shibuya Junko Oda, voice Miura Takashi, saxophone Fumiko Takahashi, keyboards C1. Source Recorded in October 1971 at the Tokyo American Centre, Akasaka Piano, Jo Kondo Oboe, Soichi Wakioka Mouri Kyojin, cello Yasu-sei Ken, guitar Unknown Performer, flute, clarinet, viola, cor anglais Vocals, Tokyo Music University Choir C2. Space Recorded in October 1975 at Sophia University Hall, Yotsuya Ritsuko Tsuchiya, piano Yasunori Yamaguchi, percussion Unknown Performer, flute D.

Kiui Recorded in October 1979 at Kichijoji Temple Masami Tada, 13 and 17 string koto Sano Kiyohiko, 20 oscillators Masaru Soga, electric piano ALM Records ‎– AL-3008-9 Vinyl Rip. And this is the 10th and last of the Radio Jazz Group recordings - at least for the moment. Got it about two months ago from Dime - thanks to the original uploader! Track 1-3 (March 31): RJGS feat. Engstfeld/Herr Quartet + Didier Loockwood Wolfgang Engstfeld, tenor saxophone Didier Lockwood, violin Wolfgang Dauner, piano Michel Herr, piano Palle Daniellson, bass Leroy Lowe, drums Track 4 (April 25): RJGS feat. Toto Blanke's Electric Circus Charlie Mariano, soprano saxophone Johannes Faerber, trumpet Wolfgang Dauner, piano Toto Blanke, guitar Norbert Daeumling, bass Heinrich Hock, drums Trilok Gurtu, percussion 1. Continuous Flow 07:20 2.

Changes 07:43 3. Blues For Ede 07:22 4. Bolero Torcello 23:32 Recorded at Radio SWR Studio, Villa Berg, Stuttgart, Germany on March 31 (tr.1-3) and April 25 (tr.4), 1980.

More Terumasa Hino, here's a favourite, unbelievably out of print, by Hino's touring quintet of the early 70's, incredibly inventive unit, stradling freeish post Bop, Fusion you name it. Of note specifically is some remarkably free shredding by guitarist Kyoshi Sugimoto,(Taku Sugimoto's father) who steals the show here, for me, along with Hino's folksy vocal tone and incendiary attack. Cycle Circle, on side one has a lurching ominousness that's very similar territory to K.Komeda's Astigmatic. Dave Liebman, alto & tenor saxophone Steve Grossman, alto & tenor saxophone, flute Lanny Fields, bass Teruo Nakamura, bass Mike Garson, piano, electric piano Terumasa Hino, trumpet, flugelhorn Dave Holland, bass Gary Pribec, alto saxophone Pete Yellin, alto saxophone, flute Bobby Moses, drums Motohiko Hino, drums, handclaps Olu Dara, trumpet Recorded at Upsurge Studio, New York City, March 1970. Love Records - TP-103; Canyon Records ‎– CAJ-1001 Vinyl Rip EVERYTHING IS EVERYTHING - JUST FLASH IN THE COSMIC PAN (COLUMBIA, 1970).

For an Australian friend. A great Paul Bley trio session, put out by radio Canada international transcription service, recorded in Montreal in December 68, i believe this was Bley's last entirely acoustic release from the sixties and for some time until ECM'S, Open to Love, last in a glorious sequence spanning ten or so indispensable records, and one of the few which has never made it to cd. Four great tunes by Annette Peacock, his wife at the time, with Mario Pavone's only stint in Bleys acoustic trio. For some inexplicable reason this album is not mentioned In the Paul Bley entry on the Jazz discographies t site. This album's been posted as mp3's at lucky psychic hut, and may well still be available somewhere in that format. Bley's, a rich source of articles, interviews and home of the IAI label.

By I suppose that Blixt is best described as a rock power trio. Working with industrial strength rhythms, thickly distorted leads and dark enveloping bass, the trio moves through a series of tough minded improvisations bracketed by short heads. However, as tough and stormy as the tunes may get at times, the musicianship and sensibilities of all involved provide enough nuance and sophistication to keep even the heaviest moments buoyant. That being said, the album begins with a flat out hard rock tour-de-force. Bjorkenheim's guitar is dressed up in crunchy distortion and highly stylized mayhem as he leads bassist Bill Laswell and drummer Morgan Agren through a Hendrixian opening statement into a series of dark riffs. As the tune opens up, Bjorkenheim's jazzier proclivities bends the metal a bit.

Throughout the next two songs, the three musicians cohere to create a densely rhythmic workout. Halfway through the recording there is a quiet moment. More world fusion than shredding, 'Shifting Sands Closing Hour' settles into percussive groove and Bjorkenheim puts down the guitar momentarily as other more exotic instruments enter the fray. This song also seems to mark a shift in the dynamics, as the next eight and a half minute of 'Ghost Stokes' and eleven minutes of 'Invisible One' features slightly less distortion, more texture and space for the melodic bass lines. The shift brings the trio slightly closer in style to Bjokenheim's Scorch Trio without duplicating it in any sense. Laswell's processed bass sound and evocative lines lends the music a unique aesthetic and Agren's strident and precise percussion gives Bjorkenheim's guitar more than adequate space and support to dive into some heady improvisation. While the aforementioned slow build in 'Ghost Stokes' serves as an excellent example of how well the players listen and empathize with each other, this is true throughout.

Overall, there is not a song that feels out of place or seems like filler, 'Blixt' is an excellent jazz rock album, from the full on shredding workouts to the smouldering tunes and back. Listen to '.