Django Reinhardt - Djangology (1961)

Born in Belgium in 1910 in a gypsy family, Django Reinhardt is said to be one of the most unique and influential guitar players of all times. In 1934, after his exuberant techniques became notorious in Belgium and France, he and legendary violonist Stephane Grappelly formed the Quintet of the Hot Club of France. The group stayed together until 1939. Django then moved to London and toured the US in the 1940s with the Duke Ellington Orchestra, playing electric guitar. This turned out to be a highly influential tour, and it is usually said that no other European artist has had such an enormous impact in the New World.
The material in this LP was recorded in 1949 in Rome, just four years before his death. The recordings remained unpublished till they were rediscovered in the late 50s by a RCA Victor executive. Reuniting Django and Grappelly, the selections are a characteristically varied assortment. The standards are well-chosen: Charles Trenet's "Beyond the Sea"; Fats Waller's exuberant "Honeysuckle Rose", and the perennials "After you've Gone", "Lover Man", and "I Saw Stars". Several of the originals were written by Django and Grappely. "Minor Swing" was devised a few minutes before a 1937 recording session, later becoming a staple at the French Hot Club. "Bricktop" was also written in 1937; "Heavy Artillery", composed in 1944, was one of Dajngo's favorite tunes; "Djangology", composed in 1935, was his first composition. Compelling versions of Trenet's "Menilmontant" and "Où es-tu, mon Amour" ("Where are you, my Love?) are bonus track in this set, a striking and provocative survey of the playing of a mature, moving musician.

1. I Saw Stars
2. After you've Gone
3. Heavy Artillery (Artillerie Lourde)
4. Beyond the Sea (La Mer)
5. Minor Swing
6. Menilmontant
7. Bricktop
8. Swing Guitars
9. All the Things you Are
10. Daphne
11. It's only a Paper Moon
12. Improvisation on Tchaikovsky's Pathétique (Andante)
13. The World is Waiting for the Sunrise
14. Djangology
15. Où es-tu, mon Amour? (Where are you, my Love?)
16. Marie
17. I Surrender, Dear
18. Hallelujah
19. Swing 42
20. I'll Never be the Same
21. Honeysuckle Rose
22. Lover Man (Oh, Where can you Be?)
23. I Got Rhythm

Django Reinhardt - guitar
Stephane Grappelly - violin
Gianni Safred - piano
Carlo Pecori - bass
Aurelio de Carolis - drums


Recorded in Rome, 1949.
Released by RCA Victor in 1961. CD Re-release in 2002.

no link@320 - not removed by request

While a simple message would have been enough for us to remove the link, Blogger took the liberty of simply deleting the entire post, together with the text and readers' comments. While Spiderman is out there fighting crime, we can remake the post (minus link) as many times as necessary.

Royal Court Music of Thailand

1. Sounds of the Surf Ouverture
Pleng Homrong Kleun Kratob Fang
Composed by His Majesty King Prajadhipok, Rama VII
Performed by the Piphat Mai Khaeng Ensemble

2. The Floating Moon
Pleng Bulan Loy Luen
Composed by His Majesty King Phra Buddha Lertla Napalai, Rama II
Performed by the Piphat Mai Nuam Ensemble

3. A Starlit Night
Pleng Ratri Pradab Dao Thao
Composed by His Majesty King Prajadhipok, Rama VII
Performed by the Krueng Sai Ensemble

4. Heart of the Sea
Pleng Ok Thalay Thao
Composed by Her Royal Highness Princess Maha Chakri Sirindhorn & Choi Suntharavathin.
Performed by the Mahori Ensemble

Recorded by MR Chakrarot Chitrabongs
Released by Smithsonian Folkways in 1994

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Origami Replika - Kommerz (2006)

This CD sees Origami Replika (a now defunct part of the ever changing Origami cultural collective/phenomenon) made up by three of Norway's most diehard noiseheads -- Lasse Marhaug, Tore H. Bøe, and Mads Staff Jensen. Recorded in 1997, this effort is entirely based on sound sources from the back catalogue of Merzbow. With no back-bending, knee-scraping humility, and with a pure love for all source sounds, Origami Replika have shaped classic Merzbow sound into all-new compositions. These are innovative and highly potent re-workings of the harsh soundwaves, recommended to all those who still have a healthy addiction to the Merzbow sounds of yesterday. Thick and meaty, the blasts emanating from the speakers is filled with lusty, fetishized, organic heavy noise and experimental Dadaism, ready to be devoured by the faithful disciples.

Originally planned for release on another label, and now finally unleashed on Segerhuva, this is a CD that has been tried and tested over and over again. These recordings, created almost a decade ago, have been remastered by Lasse Marhaug, and it is safe to say that this CD has stood the test of TIME. After nine years, it sounds remarkable -- a solid chunk of the classic, living breathing Noise Object that some call religion. Bottom line -- the noise fetish is still very much alive and well. Label Hype

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All sound sources taken from Merzbow recordings:

Cassetes: Metal Acoustic Music; Chant; Sadomasochismo; Age of 369; Lowest Music 2; Vratya Southward; Kibbutz.
CDs: Spiral Honey; Oersted; Project Frequency; Loves; Akasha Gulva; Rectal Anarchy.
Plus: destroying 9 Merzbow Cassete Cases.

Produced & Mixed in Trondheim, May 1997
Released by Segerhuva Records in 2006

link@320 +++ removed by request

Robert Ashley & Paul de Marinis - In Sara, Mencken, Christ and Beethoven There Were Men and Women (1974)

"New definitive CD reissue of this original Cramps label album from 1974, an early classic from Robert Ashley (previous CD version on Cramps is now deleted). This deluxe slipcased version features a 110-page book, reproducing the original Wolgamot text along with fascinating liner notes explaining the whole project from Keith Waldrop and Robert Ashley. The CD features one long composition with Ashley reading a text by poet John Barton Wolgamot. The poem has 128 stanzas; each stanza is made up of the same phrase, into which are introduced four variables, three are names or groups of names or constructions of names, and the fourth variable is formed by the adverb of the active verb. The result is considered "one of the most unusual and difficult linguistic textures in the English language". The underlying music is supplied by Paul DeMarinis on Moog synthesizer. Ashley on DeMarinis: "Paul has elaborated seven different modular combinations, each of which can be controlled by programmed impulses. These derive from the sound of the reading of the poem passed through the regeneration high frequency filter and successively translated into a series of command impulses."

"This uniquely original work for voice and electronics dates from 1972. A 128-stanza poem by the legendary John Barton Walgamot traces a hidden story of social progress and influence within the gradual repetition of a single grand phrase. For example, "In its very truly great manners of Ludwig Van Beethoven, very heroically the very cruelly ancestral death of Sara Powell Haardt had very ironically come amongst his very really grand men and women to Rafael Sabatini, George Ade, Margaret Storm Jameson, Ford Madox Hueffer, Jean-Jacques Bernard, Louis Bronfield, Friedrich Wilhelm Nietzsche and Helen Brown Norden very titanically." In the other verses names are added and subtracted, and there occurs a subtlety organized variation of syntactical parts leading to further mysterious integration of meanings. The voice part is read with as few inflections and breaths as possible -- in the first realization prepared on tape, all pauses were removed, so that the voice has this eternal quality. (Gertrude Stein once mentioned that she aimed for this same quality while in the 1934-35 recording of her works, but had to settle for reading in long breaths). The voice activates electronic sounds that respond with inflected sounds; in the initial realization for records, electronic sounds designed by composer Paul DeMarinis were variously beautiful and humorous. The musical effect is that of an internal voice stimulating involuntary ideas and feelings. This piece, together with Ashley's "Automatic Writing" (1979), "The Wolfman" (1964), "Fancy Free, or It's There" (1970), "Purposeful Lady Slow Afternoon" (1968, from The Wolfman Motorcity Revue) and "She Was a Visitor" (1967, from the opera That Morning Thing) offer a profound musical exploration of the relation between the physical nature of the voice and social/language behaviors". AMG

Synthesizer - Paul DeMarinis
Voice - Robert Ashley
Text - John Barton Wolgamot

CD reissue in 2002 by Lovely Music

Link removed by request.

See comments.

Rick Roderick - Nietzsche and the Post-Modern Condition

Nietzsche and the Post-Modern Condition
by Rick Roderick

Eight Audio-Lectures on Friedrich,
Published by The Teaching Company

1. Nietzsche as Myth and Mythmaker
2. Nietzsche on Truth and Lie
3. Nietzsche as Master of Suspicion and Immoralist
4. The Death of God
5. The Eternal Recurrence
6. The Will to Power
7. Nietzsche as Artist
8. Nietzsche's Progeny

NOTE:
This post has been deleted by Blogger. There was a complaint regarding copyright infringement some weeks ago. We removed the link for the lectures, although this share was for educational purposes and therefore under the umbrella of "fair-use". Despite us removing the link, Blogger then took the liberty of deleting the entire post - therefore deleting reader's comments, our own art-work, etc.
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The Hafler Trio - Fuck (1992)

"Fuck is the second part of a projected trilogy that begins with Masturbatorium, and for which the third part has not been released as of early 2001. While Masturbatorium used sounds generated by performance artist Annie Sprinkle in a sonic investigation of female sexuality, Fuck concentrates on male sexual energies, using sounds leading to the brink of male orgasm from Andrew McKenzie, in addition to various atmospheric frequencies and field recordings. As with the trilogy's first part, the liner notes go into some detail about the sonic origins and the overall purpose of the piece, its specific practical intents, and its relationship to investigations into sexual energy.

Unusually, McKenzie directs that the recording be played at maximum volume, and that the CD player be in strict accordance with left and right channel connections. With the correct playback configuration, the ominous low drone opening shakes the room, and when the various fast rhythmic layers are added in, the piece takes on an overwhelming aura seldom found in other Hafler Trio releases. A looped bass vocal alternates between the two channels in the second track, exercising the separation McKenzie mentions. Given the sexual intent of the piece, one might suppose that it would start slowly and build, but in fact the opposite is the case. The beginning is the loudest, densest, and fastest, with an overall tranquility and lightening as the piece progresses. Its unity of purpose makes it one of the better Hafler Trio releases, although the cover art and subject matter make it for mature listeners only".
Caleb Deupree, All Music Guide

"The first piece can be seen as an abrasive experience in deep-breathing oppressive terror-technonoise, somehow reminiscent of both Gerechtigkeits Liga and Porter Ricks; the second piece finds the "trio" in more familiar ground, reducing the scope of sonic assault to create a slow, bass-based progression from multilayered noise to total darkness". The Juju Unintelligible Reviews

Performed by A.M. McKenzie & Zbigniew Karkowski

link@320 +++Removed By Request; See Comments+++

Die Like a Dog Quartet - Aoyama Crows (1999)

Peter Brötzmann: tenor sax, soprano saxophone
Toshinori Kondo: trumpet
William Parker: double bass
Hamid Drake: drums, frame-drum, percussion

link removed by request.
buy the record at FMP.