David S Ware Quartet - Freedom Suite (2002)

The continued implication that free jazz is a fraud perpetrated by history-deficient no-talents gets another smackdown thanks to David Ware. Well known for his blistering improvisations, Ware daringly decides to take on Sonny Rollins’ legendary “Freedom Suite” as a basis for his quartet to shine. Ware is ably assisted by Matthew Shipp and William Parker — two players with a history of paint-peeling freedom — on piano and bass, as well as rock-solid drummer Guillermo E. Brown, whose own solo work veers more toward the funk spot. Were this group to be, in fact, history-deficient no-talents, it’s doubtless that this CD would have wound up being a skronky mess. And though Ware does take frequent flights of fancy (the first within two bars of the opening), his solos — and those of the rest of the quartet — are all quite restrained and do much justice to the original work. Though the group obviously recognizes “Freedom Suite” for the political statement Rollins intended it to be, the work is less a clarion call than it is a celebration.

Jason Ferguson, Orlando Weekly 9/1/2003




David S. Ware - tenor sax
Matthew Shipp - piano
William Parker - bass
Guillermo E. Brown - drums

Produced by David S. Ware and Steven Joerg
Recorded by Jim Anderson on July 13, 2002 at Systems Two Studio, Brooklyn.
Design by Ming@409 from photographs by Edvard Vlanders.

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Dumb Type - S/N (1995)

Dumb Type's work is as formally complex as it is socially involved. Their most well-known works fall somewhere within the bounds of performance, often accompanied by installations. In many ways, such work fulfills their original declared intent to "develop an art/performance form to fill the gap between static visualart and performance dependent on dialogue." The 'dumb' in Dumb Type thus does not denote a level of intelligence, but rather describes a desire to create without words. "When we first came together," explained Furuhashi in High Performance (Summer 1990), "we just had too many things we wanted to say. We decided not to shout. We try to keep it simple." Although Dumb Type's work spans a much greater range than performance, they are generally perceived as a performance group because touring outside Kyoto forces them to modify works to fit more conventional settings and traditional schemes of venue scheduling. When they work in Kyoto, they are known for spending weeks or, given the opportunity, months just preparing a space for one of their events, often completely restructuring an interior to meet their demands.

The performance S/N (1992-96) is about the body as love, and involves performers fighting against even more sophisticated technological stage devices. With AIDS as the thematic center, the work brings out issues such a gender, homosexuality, nationality, identity, and life and death. S/N is critical not only of the reality of discrimination in contemporary society, but also attempts to use this criticism as an opportunity to advocate the message that love can equal communication, provided that humans and technology can be permitted to intersect freely and equally.

1-Counter-Invention
based on the soundtrack for "S/N" 1993
2-Silence Fiction
based on the soundtrack for "Pleasure Life" 1988
3-Water
based on the soundtrack for "036-Pleasure Life" 1987
4-Vacant
based on the soundtrack for "The Enigma of the Late Afternoon" 1992
5-Trans-Limit
based on the soundtrack for "S/N" 1993
6-Love/Sex
based on the soundtrack for "Plan for Sleep" 1986
7-White Out
written for "S/N" 1992
8-Pier 21
based on the soundtrack for "036-Pleasure Life" 1987
9-Picnic
based on the soundtrack for "Pleasure Life" 1988
10-Passport Control
based on the soundtrack for "pH" 1990

Released by Disques Du Soleil Et De L'Acier in 1995.
Composed & performed by Tiru Yamanaka & Teji Yamanaka
Produced by Ryoji Ikeda.

link@320

Bravo Clippings #34

Hake's Americana & Collectibles #179 (June 2004)

Lenny Bruce - The Lenny Bruce Originals (1991)

" 'To' is a preposition, 'come' is a verb, the verb intransitive.

To come. To come.

I've heard these two words my whole adult life and as a kid when they thought I was sleeping. Tooo commmme...

It's been like a big drum solo.

Did you come? Did you come? Good. Did you come good?

... Now, if anyone in this room or the world finds those two words decadent, obscene, immoral, amoral, asexual -- the words "to come" really make you feel uncomfortable -- if you think I'm rank for saying it to you ... you probably can't come."

Lenny Bruce, quoted in "Lenny Bruce died for our sins", Salon.com

LINKS REMOVED BY DMCA CENSORSHIP

Bravo Tubes #6

Jan Švankmajer, "Zamilované maso/Meat Love" (1988)

King Sunny Adé and His African Beats - Juju Music (1982)

"After nearly 15 years as Nigeria's biggest musical draw and juju music's reigning monarch, King Sunny Ade went global in 1982 with a brief but fertile stint on the Mango label. The three albums that resulted -- Juju Music, Synchro System, and Aura -- gave Ade unprecedented exposure on the Western market and introduced a slew of music lovers to the sounds of Afro-pop. Juju Music was the first of Ade's Mango titles and remains the best of the lot. Over the course of seven extended cuts, King Sunny Ade & His African Beats lay down their trademark mix of talking drum-driven grooves, multi-guitar weaves, lilting vocal harmonies, and pedal steel accents; for this major-label debut, the band also chucks in some tasteful synthesizer bits and a few reggae-dub flourishes. Besides classic juju pop like 'Ja Funmi' and 'Ma Jaiye Oni,' Ade and his 20-piece entourage serve up percussion breakdowns like 'Sunny Ti de Ariya' and a heady blend of soul, dub, and synth noodlings on '365 Is My Number/The Message.' Throughout, Ade deftly inserts Hawaiian slide guitar licks and Spanish-tinged lines reminiscent of Hendrix' 'All Along the Watchtower.' Juju Music should not only be the first-disc choice for Ade newcomers, but for the Afro-pop curious as well."

Stephen Cook, allmusic.com

1. Ja Funmi
2. Eje Nlo Gba Ara Mi
3. Mo Beru Agba
4. Sunny Ti de Ariya
5. Ma Jaiye Oni
6. 365 Is My Number/The Message
7. Samba/E Falaba Lewe

Thanks to the original uploader.

link @320

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This message was approved by JR Ewing

Bravo Juju's First Anniversary _ 08.08.2008

365 days pumping the most refined SOMA oil into the international markets
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Dear All;

Today, the 8th of August of 2008, marks an important ephemerid we must celebrate, for it is the 1st anniversary of Bravo Juju!
Nowadays we face, as never before, the unstable forces of the market, we're bound to cruel enslavement as we have never been before, the oil-dollar governs contemporary society and will continue to rule and shamelessly devour our earth...
In order to succeed and endure in this oily-monster-machine we call world we have to consume a certain oil, and this oil is SOMA oil!
The U.S.A. are going to have a serious impact on our global future, as we all know...
Obama or McCain?!!? No!! We at Bravo Juju support none of these candidates. In the great "indecision" 2008 U.S. of A. elections, we support the incredible J.R. Ewing for President of the United States, for he's different from all other politicians. He represents the archetype of infinite success, honor, universal love and peace among all the nations of our beloved blue and green planet!
His political ideas serve the highest values of true democracy, stoic morality, freedom, justice, humanity, ecology and Love.
J.R.'s political ideas are directly concerned with a broad platform of serious social concerns such as: the creation of a free and universal health care system, of a free and universal education system, the promulgation of anti-liberalist laws and strong financial incentives to enterprises/companies & industries with radical socialist economic policies, the creation of heavy taxes for multimillionaire individuals and companies, the eradication of world poverty and hunger, the enforcement of the Kyoto agreement & the creation of worldwide non-polluting alternative energy systems, etc... . Even if you're not American, to support J.R. For president is to act consciously for our future, in favor of our grandsons and towards a healthier planet!

To musically celebrate this unique campaign and also Bravo's 1st anniversary, nothing more adequate than the classical electroacoustic recreation of Dante Alighieri's - The Divine Comedy -, a timeless literary piece of knowledge, by Francophone composers Bernard Parmegiani (hell) and François Bayle (purgatory and earthly paradise).
The piece is narrated by Michel Hermon and follows the actual main scenes of Dante's Divine Comedy.

As we enter the dawning of a "new era"(?!º"=#?) it's useful to look back portraying or longing for new perspectives to timeless classics like this one!



The Ewings at Bravo Juju sincerely wish to thank all of our friends, collaborators and users for this first year of continued support!!
We do hope to continue to celebrate and share our life with all of you!!!

Long Live the SOMA Oil!!

J.R. for President!!

The Ewings; Now-where-land, 8th of August of 2008.

Parmegiani _ Bayle : La Divine Comédie : d'après l'oeuvre de Dante _ 1995

Parmegiani _ Bayle : Divine Comédie - Enfer Purgatoire & paradis terrestre - d'aprés l'oeuvre de Dante -1995

Parmegiani - Enfer

CD1-01 Bernard Parmegiani La Découverte De L'Ombre (3:54)

Les Portes (9:59)
CD1-02 Bernard Parmegiani La bête (1:52)
CD1-03 Bernard Parmegiani Le chemin difficile (1:25)
CD1-04 Bernard Parmegiani Les portes de l' Enfer (9:59)
CD1-05 Bernard Parmegiani L' étendard humain (2:28)
CD1-06 Bernard Parmegiani Passage de l ' Achéron (1:52)

L'Impouvoir (7:08)
CD1-07 Bernard Parmegiani Béatrice (2:08)
CD1-08 Bernard Parmegiani Désir sans espérance (1:55)
CD1-09 Bernard Parmegiani Les châteaux (0:33)
CD1-10 Bernard Parmegiani L'ouragan infernal (2:32)

Mal - Mort (5:13)
CD1-11 Bernard Parmegiani Mal - Mort (4:10)
CD1-12 Bernard Parmegiani Le messager céleste (01:03)

Les monstres (7:26)
CD1-13 Bernard Parmegiani Femmes de griffe (01:58)
CD1-14 Bernard Parmegiani Hommes de ronces (02:15)
CD1-15 Bernard Parmegiani Metámotphoses (02:06)
CD1-16 Bernard Parmegiani Cérbères (1:07)

Les abysses (10:33)
CD1-17 Bernard Parmegiani Les abysses (03:56)
CD1-18 Bernard Parmegiani Le Styx (03:48)
CD1-19 Bernard Parmegiani Les rêve du rêve (02:49)

Fond de bleu (03:06)
CD1-20 Bernard Parmegiani Le phénix (0:41)
CD1-21 Bernard Parmegiani Fond de bleu (02:25)

Le noeud ardent (10:03)
CD1-22 Bernard Parmegiani Bataille des dragons (03:23)
CD1-23 Bernard Parmegiani Le noeud ardent (06:40)

CD1-24 Bernard Parmegiani Le crépusculede l'aube (03:50)

duration: 61'20''
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Bayle - Purgatoire & Paradis Terrestre

CD2-01 François Bayle Danse Des Chiffres (3:01)
Chiffre 1 L'Ange de Dieu (12:07)

CD2-02 François Bayle le roseau (5:19)
CD2-03 François Bayle ils... (1:35)
CD2-04 François Bayle la barque (2:07)
CD2-05 François Bayle danse du tremblebemt initial... (3:06)

Chiffre 2 La Vallée des Princes(06:05)
CD2-06 François Bayle polyphonie de texte 1 (0:51)
CD2-07 François Bayle polyphonie 2 (0:50)
CD2-08 François Bayle longue attente 2 (1:50)
CD2-09 François Bayle rêve de l'aigle (2:34)

Chiffre 3 La porte (06:29)
CD2-10 François Bayle ou deuxième Ange (6:29)

Chiffre 4 Les sculptures (10:45)
CD2-11 François Bayle éprouve de l'orgueil (4:43)
CD2-12 François Bayle Ô notre père (6:02)

Chiffre 5 Extase (06:13)
CD2-13 François Bayle polyphonie 3

Chiffre 6 L'Angue-Feu (07:21)
CD2-14 François Bayle danse en six parties

Chiffre 7 Epreuve des flammes (06:29)
CD2-15 François Bayle fusion (4:04)
CD2-16 François Bayle maître de toi-même (2:25)

Chiffre 8 Paradis terrestre . Béatrice (07:48)
CD2-17 François Bayle danse des trois dames (2:10)
CD2-18 François Bayle la forêt (2:32)
CD2-19 François Bayle Béatrice (3:06)

Chiffre 9 Transparence (3:59)
CD2-20 François Bayle le repentir (1;33)
CD2-21 François Bayle la vérité révélée (2:26)
CD2-22 Chiffre 10 Figure supérieure (1:02)

duration: 71'28''

Total Duration : 132'48
Labels: Ina-GRM / Magison
Resume : d'après la Divine Comédie de Dante , précédé de Enfer de Parmegiani

Link CD1 | Link CD2 @ 320

Bravo Clippings #33

Alfred Kubin
10.04.1887 - 20.08.1959

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Das Sel (the egg) _ 1902

Argwohn _ 1898

Alter, Selbstbildnis _ 1949

Der Tod Kommt in die Welt _ 1947

Ornette Coleman - Virgin Beauty (1988)

1. Wishes
2. Bourgeois Boogie
3. Happy Hour
4. Virgin Beauty
5. Healing The Feeling
6. Singing In The Shower
7. Desert Players
8. Honeymooners
9. Chanting
10. Spelling The Alphabet
11. Unknown Artists

Bern Nix - guitar

Calvin Weston - drums

Chris Walker - bass

Denardo Coleman - percussion, drums, keyboards

Ornette Coleman - trumpet, performer, arranger, violin, saxophone

Jerry Garcia - guitar

Al Macdowell - bass

link@320

Filipe Pires - Canto Ecuménico

1. Canto Ecuménico (Ecumenical Chant) - 1979
The choice of a religious theme is a pretext for an approximate comparison of traditional music from different cultural areas. The similarities and differences are presented in the form of collages and quotations, connected and superimposed on the sequences of sound material - vocal and instrumental - drawn exclusively from the musicians. Some parts are fragments of Australian Aboriginal rites, joined with Rain Spirits and mixed with sound taken from a funeral ceremony of the Somba of North Benim. Also included are materials from Tibet, Japan, Orthodox Christian Chants from Armenia and Syria, Islamic rites from Morocco, Yemen and Tunisia. Moroccan, Yemenite and Tunisian jews are also quoted here. From a formal point of view, the grand lines of the composition come together in a single block, in the middle of which distinct sessions develop.

2. Litania (Litany) - 1972
This work was composed while Pires was studying with the French GRM. The improvised parts are controlled in the editing process. The sound materials originate mostly from sheets of iron and metal wires, which are joined at their ends. To produce sound, these are plucked, struck or rubbed, obtaining an extensive range of vibrations. Other sound objects are inserted into the discourse, upon which there are opposite characters, that stop and start under a repetitive pattern.

3. Homo Sapiens - 1972
At the heart of this work is the human voice, used as the symbol of earth and creation. It is phonetically framed towards movement, elaboration, and the fusion of disparate sound elements. Homo Sapiens is a revision of the first part of the Nam Ban ballet, composed in 1970. The present version was composed while Pires was studying at the GRM in Paris.

Released in 1980 by Imavox SARL.
Re-released on CD by Strauss in 1997.

link @320