Bill Lasswell Blixt Rar Download

This is another entry for M.O.D.' S new download-only Digital Incunabula series, which concentrates on live recordings from the vaults. Here's a Jajouka/Material set from 2015's Gent Jazz Festival in Belgium, a performance actually witnessed by your scribe. The five-piece Jajouka Sufi trance contingent (from the eponymous mountain village in Morocco) are led by, a longtime collaborator with Western experimenters, mostly as a consequence of his work with producer and bassist Laswell.The Jajouka introduce their ghaita double reed-pipes and percussion, moving at a fast clip, making a repetitive accumulation of buzzing and clattering, until Material's and bring in their own percussion, immediately increasing the heavy momentum. It's heads-down for the full surge, as the first three tracks allow ample time for establishing a subjective hypno-terrain, being around 20 minutes apiece. Seven minutes into 'Dancing From The Heart,' Laswell delivers his first bass payload, with jumping in straight after with a tenor saxophone repeat.

1. Bill Laswell Blixt Rar Download Windows 7
2. Bill Laswell Discography
3. Bill Laswell Blixt Rar Download Youtube

The entire ensemble peaks and then makes a brief cut, heightening the drama before continuing onwards. Around half way, Laswell shifts character to dub reggae, slightly distorted, and hesitant, until the players discover this fresh direction. Sometimes the dawning of a new Laswell bass line can be unsettling, as if the Material man is in human shuffle mode.'

The Bird's Prayer' has a lighter, aerial feel, dominated by trilling flute, before finding an /Prime Time theme to incorporate, led by cornetist. The cohesion becomes deeper as the music progresses, Haynes and Apfelbaum starting up a Memphis Horns-styled repeating blast, pumped full of dub echo. 'The New And The Ancient' also opens with spaciousness, but it's not long before Laswell deals another persistent riff, and the ghaitas re-enter. The shortest track (relatively, at seven minutes) is 'HLallia,' an encore offering, and consequently more condensed, building rapidly up to its explosive potential.

I'm one of the few around here who does not appreciate Derek Bailey's fine qualities, so I'm not the ideal person to present this. Perhaps some afficionado can add some more qualified opinion after listening. I was intrigued by his cohorts on this recording when I came across it. Jack DeJohnette is one of my all-time favourite drummers, but I've never heard him playing the sort of music you'd normally expect Bailey to play. Bill Laswell I only know from his projects with John Zorn, but if you look at his career, he's played in countless rock and fusion bands. I won't comment on Mr Disk!I must admit I haven't heard this in it's entireity, but from bits that I've listened to, Bailey almosts seems to play in time with the rhythm section a la John McLaughlin, but then there are other parts where he seems to ignore them.I'm posting this in flac.

Could somebody please do the honours and upload an mp3 version.Concert details:Transmutation 1998-6-7Bill Laswell - bassDerek Bailey - guitarJack DeJohnette - drumsDJ Disk - turntableJune 7, 1998Frankfurt, GermanyLineage is unknown, but possible a soundboard recording. Thanks to malleable for seeding. Said.jazzme, i would post this in mp3 for you and the vandermark but i exeeded my dl limit and have no bandwidth, so if you can wait a week. You or someone else was saying they need winamp to handle flac. I dont see why, most cd burning programs burn flac files (the decompression takes place during the process.

I dont understand why people want to convert down from flac to mp3. Ipods etc ipods make music sound like its coming out of tin cans to me. How anyone can stand that beats me. What it comes down to is,downloaders being to lazy to do their homework.get a conversion program. Learn to deal with other formats. Which makes more work for uploaders having to post to multiple formats.

There is a freeware program called burrrn ( for pc users) which will burn most formats, its free and it doesnt embed itself into the registry and cause debilitating problems. If you are on a mac, mac flac is supposedly the codec you need and the plugin many people use to deal with flac. Since I've spent most of the day staring at the screen of the home computer, I might as well do the odd bit of conversion. So here's the mp3 version: My preferred tool for all kinds of ripping and burning and audio conversions is Easy CD - DA Extractor (professional).

It's not a freebie, but on the other hand, a truly Swiss Army knife of solutions for digital audio. Another little nifty programme is the Flac frontend which can be found here: With this one, you can decode flac files to wav which can be burnt to cd and encoded to another format, such as mp3. General info on flacs here to suit your need: This is all getting a bit geeky, though. The music: well, this is probably the closest Derek Bailey would ever be to getting funky (if you like that sort of thing). I kinda like Bailey branching out in the 90s, getting close to the NY downtown scene, but it's admittedly a different bag from the old British school of improv, associated with the Incus label (which at times can get too austere for me). I very much dug the two records from Derek & the Ruins (not to be confused with Derek & the Dominos). You find lowlife a low point in brotz's oeuvre because of laswell.

Im not a great fan of laswell, and particularly dont like his ambient/dub/world musak kitch. But to give him some credit as an improvisor i thought he (and brotzmann) was exeptional on low life, and the punked out free rock album 'killing time' by massacre from 1981 with fred frith. My problem with some of the last exit stuff is sharrocks 80's metal tone, and somewhat rock licks orientation, particularly on 'iron path'. Said.This is a humorous discussion!

I haven't down loaded this and probably won't; BUT I CAN enjoy some of Laswell's music particularly the Brotzmann collaborations. My problem with even the more interesting albums like Low Life and Massacre is after listening one or two times I tend to trade them in for music I find more engaging.

They FEEL TOO chic-pop for me to keep coming back. So I dump them because I hear so very many limiting factors especially rhythmically and harmonically. They just seem rather restrained even when they are loud and 'noisy.' I don't know if I think Laswell is 'poison' so much as BORING! NOW, as far as I'm concerned, Bailey is another matter. I think of him like I do some of the most accomplished 'outsider' artists (such as Thornton Dial). Or 'busy scribblers' like Cy Twombley.

They are folksy and/or eccentric AND QUITE UNIQUE. There is NO ONE like Bailey and some of those 'Company' records and the duets with Evan Parker, Braxton and Oxley are, IN MY VIEW, musical treasures. My advice to people is to keep trying him. He was a crusty old dude who made few compromises in his music; AND he made a difference. Are his contributions to music as strong and important as those of Cecil Taylor, Coltrane or other powerful improvisers like Braxton, Evan Parker, Schlippenbach, Brotzmann or (for that matter) Julius Hemphill?

I don't think so BUT he DID make me a more careful listener. At some point I was amazed and said to myself: 'How did I miss this before - This is REALLY amazing music.' Like Boromir I hesitate to comment on sound collagists (turn-tablists' is it?). It's organized sound so in a broad sense it's music. So far, however, what I'VE heard sounds WAY too much like latter day disco - which, again, bores me NO END. But then, it could only be that, I'm old and arthritic and just don't feel like dancing. Perhaps a graphite cane would get me on my feet-NAW!!

Bill Laswell Blixt Rar Download Windows 7

Said.dale, just one quibble here. Bailey may be eccentric,but he's no self taught outsider. Not that i have any problems at all with outsider art. Bailey is a true master, who could play any style of music and did in fact until the mid sixties. Any guitarist will tell you, that bailey is a virtuoso( having absolure mastery, command of the instrument) as he has repeatedly said before meeting people like bryars and oxley, he made purely commercial (in its many different forms) music. He played in orchestra pits, swing and bebop bands, backing comedians, vaudeville acts, rock and roll, jingles you name it.

He probably plays anonymously on quite a lot of late 50's early 60's middle of the road albums. Say sandy shaw albums.

Bailey says that when he played jazz. Before 1965 he had no concept of it as serious art music, he concieved of it as entertainment only.

So he cant really be considered an outsider. A commercial music career as prolific as his before 1965.makes him very much an insider.

Outsiders are often sui generis, visionaries having no formal training. Who arrive at their work often very much by means of a singleminded obsessively pursued narrative vision. Most outsider art either musical or visual is programatic even when it appears very abstract. It in other words relates to specific emotional or spiritual events, is informed by a singular visionary outlook and (originally when the term was first coined, it was thought)by a an absence of knowledge, or willful ignorance of orthodox cultural norms. Bailey deliberately shunned (or thought he was)either implicit or explicit emotional content. But he certainly didnt have that singleminded exclusive visionary outlook, and either willful or otherwise ignorance of and complete lack of interest in cultural norms and currants, which characterises the true outsider.

Justinsaid.The only six-string bassist who I really consistently enjoyed is Skuli Sverrisson, who has played in a vast number of settings, ranging from Allan Holdsworth's 80s fusion records to avant-garde outings by Chris Speed's Yeah No and Jim Black's Alasnoaxis onward to his own minimalist projects with guitarist Hilmar Jensson and bass-clarinetist Anthony Burr. Laswell's overall musical being somewhat rubs me the wrong way in the same way that John Zorn's does. Every time I turn around, he's got more and more discs out and it's become harder and harder to expect that one will actually be really good. Some of their collaborative Painkiller sets I've listened to just do absolutely nothing for me. The Last Exit discs I've heard are also hard to keep interested in, although I do love Peter Brotzmann's work. Sotise has taken me to school. I know the definition of outsider art; BUT I was surely way off the mark in comparing Bailey's style, technique and unique (and I think somewhat eccentric) 'emotional' content with the work done by some obsessive loner in the backwoods of Mississippi (or where-ever).

I think I had read someplace (or perhaps Evan Parker related this to me in a conversation) that Bailey intentionally shunned 'implicit or explicit emotional content' in his work. Thanks for reminding me of this - I forget a lot these days. But continuing in this vein, this notion/intention to leave emotional content out of guitar playing reminds me a little of comments made by the pipe smoking chess player Braxton when he was a young man. Braxton confided in me in the late 80s that he regretted ever having made the remark because critics still occasionally remind him of it.

A few writers continue to argue that his work is 'too intellectual' and/or emotionally arid. Braxton feels that his 'brash' remarks may have contributed to his public persona. Anyway, Sotise, thanks for the backgrounding. You know what is going to happen next? I will pull out my copy of Ben Watson's book 'Derek Bailey and the Story of Free Improvisation' and read it. The next time I open my big trap (on Bailey) I'll know more about him. I'm curious, have you read this book?

It looks dauntingly erudite but worth reading - slowly. It might interest you to know (since you have the 2 Beak Doctor albums on you site) that I have an interesting digital recording I produced (when I was working and had money) of a performance by Evan Parker and Greg Goodman (in July, 1990). 2 sets, approximately 45 minutes each. Never released.

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Goodman didn't like the miking/mix. His inside the piano 'flummery' (you know, ping pong balls and sundry metal objects) was a little hard to hear especially when Parker was basting away on tenor. BUT that was the way it was. My view is that there is over an hour of REALLY great stuff on the 'tape' (recorded on a Toshiba DX900 digital VCR).

Approximately 40% is solo work with the rest being brilliant free improvisational interactions between the two. HatHut (Uehlinger) liked the tape and was interested but Goodman was coy and Parker wanted MORE money up front rather than a box of 100 or so CDs to peddle. As a consequence the project never flew.

Bill Laswell Discography

So here I am with a unique 18 year old tape that should be edited and re-engineered before it loses integrity. BTW, We also brought Bailey to town one time and Braxton three times. No tape of the Bailey performance but there are two unique tapes from Braxton (from'78 and '89).

Well, enough boasting. I don't know your view/policy on bootlegs (I guess that's what this stuff I have is) but I THINK this music should be made available. Said.dale my objection to bootleggers is that they are enriching themselves at the expense of others hard work. I personally dont have any objections whatsoever with people trading live shows of concerts.

Bill Laswell Blixt Rar Download Youtube

Your tapes sound tantalizing and anytime you want to post here just say the word leave a gmail or hotmail address and ill invite you formally through blogger to make your own posts here on this blog. As for watsons book its an informative and entertaining read, mostly for baileys own contributions. Bailey would have made a wonderful stand up comedian, his music is so thoroughly laced with that same dry humour. Watson is unintentionally funny, especially when bailey takes the piss and watson confusedly doesnt realise it. Said.nice blog - nice show. Full disclosure.I work for Bill (well, somewhat more accurately for his manager but with Bill's direction). Was a huge fan long before I met him.

Very polarizing figure and I understand people's gripes. But I also think that too often people can't judge individual projects on their own merits, but rather by his name. Although you can often pick out his 'touch', particularly when he plays on an album, I'm willing to bet there are a number of albums you wouldn't know he was involved in. That's just me - like I said, I'm a fan. Actually just finished gaining a complete (as far as I know) collection of all his released work.