There's stars in my beard and I feel real weird

2010-07-10T02:10:00.000-07:00

Surprise surprise. I've moved to wordpress.

http://www.abeardofstars.wordpress.com

Cumbias Para Bailar

2010-07-08T10:36:00.000-07:00

Orquesta Del Chamaco Avila con Carlos Oropeza al organo - Cumbias Para Bailar (Discos Corona, 196?)

It's not really right to call this a cumbia record, but rather an American re-interpretation of cumbia. There is no information online about Chamaco Avila nor the Carlos Oropeza featured on this record. Discos Corona was an LA based record label that released quite a few Latin-themed records, many of them Mariachi or Boleros. I found THIS website that lists a pretty complete discography (minus the record here, but I'm sending this link asap) and as you can tell a lot of it is exotica compilation type stuff that seems to have been very popular with record labels in the 50s and 60s.

As it's an American production there is a heavy cha-cha influence throughout the record, with loads of brass and lots of bright organ. The orchestra can't be very big, it's definitely only a few horns, the organ, a conguero, a drummer and some light work on the timbales. The fact that it's a small group is a huge plus because the groove is right in front and not buried underneath a ton of other instruments - the drumming is tight and loud, the organ is pretty funky and the horns only pop when they need to.

Overall, this is a great record, with some really fiery grooves that will put a smile on your face and get you dancing. Tracks like "Simon," "Cumbiamberita," and "Los Soldados" are heavy hitters with a lot of swing. If you've heard my EN VIVO DESDE EL OTRO LADO mix you're already aware of the dancefloor bomb that is "Canta Pescador," a heavy hitting cumbia-track that is led by the summer-sweet organ work of Carlos Oropeza. I'm listening to it right now and am having trouble sitting still! "Borrachera" is another great track as it storms in with these salsa-influenced heavy horns, and organ that wont quit - really, a late-night track that will seal the deal every time. However, there are a couple of sleepers on here where the cha-cha just gets a little redundant or the organ comes off a little cheesy, but that's just my taste and you may be more interested the tracks that I dismissed.

I'm proud to say that I present to you, dear reader, a record that is neither found online nor is there any mention of the record or the players. And as I always say, if it's not available through Google it doesn't exist. Well, I guess I just gave birth to a 40+ year old cumbia record!

Link is in the commmmmmments.

Please Inform the Captain This is a Hijack

2010-07-02T01:35:00.000-07:00

Please Inform the Captain This is a Hijack - S/T 12" EP (Empire Records, 2003)

This is one of my all-time favorite records for so many different reasons. I was at Super Sabado Gigante Fest in LA in 2003 and my friend Andy shoved this record in my face and demanded I buy it. Based solely on his insistence I knew it was going to be great and when he informed me of the DIY punk royaltly Mike Kirsch (of Pinhead Gunpowder, John Henry West, Bread and Circuits, Torches to Rome) as well as members of Former Members of Alfonsin, I couldn't wait to get home and listen. Upon first listen, I don't think any other record has ever confused and delighted me like this record did.

The needle slipped into the groove and a voice whispers through my speakers: "blast off" then ushering in an explosion of sounds that breaks down normal conventions of what a "punk" record ought to sound like. The track is put together like a hip hop instrumental as it loops a funky locked groove squeezed between esoteric samples reminiscent of a blaxploitation soundtrack, but all the while with the artistic conviction of a carefully articulated sound collage. The track ends quickly and a hypnotic riff spirals into your ears, it's hypnotic, but foreboding, a perfect calm-before-the-storm as it leads into a furious Nation of Ulysses inspired attack. The track ends and and another funky groove is looped while a sampled narration describes the role of the cosmopolitan epicenter. The formula repeats over and over throughout the record, 6 punk songs with a sound collage between each track. Some of these collages are tightly crafted units drawing samples from jazz and funk such as Ramsey Lewis, but other samples are as simple as a joke from Malcolm X.

While this record greatly challenged the normal confines of what defined a "punk" sound, these sample-based creations were not new as Mike Kirsch had previously used a Fela Kuti sample on the Bread and Circuits LP and numerous bands had popularized the use of sampling lines from speeches or movies. However, in the way that so much attention and time is devoted to these sample-based tracks defies cliche and somehow makes the record less of a "punk" record and more of a "political" record. Whether it comes from the polyphonic vocal attack, the driving hypnotic guitars, or the samples that simulate a kind of Black Panther Soul Train, this records exudes agitation in a way that is intelligent, but also in a way that is more accessible than the traditional punk song.

The slick production on the record is mirrored by the amazing design work that makes up lyric booklet. The LP cover itself is not very interesting, but the booklet is done in a crisp style that mirrors the funk and flavor of the samples with the apocalyptic imagery of the fiery riffs. The lyrics are neo-romantic, dripping with post-modern metaphors as the group finds unique ways to criticize capitalism, war and the American government.

This is a record that I will always buy whenever I run into it because I know there is someone who still hasn't heard it. Give it a listen, expand your musical concepts. In the zip file I have included full scans of the booklet for your viewing pleasure. If you just want to look at the rest of the images, check out my flickr.

In the coming weeks I will post a rip of their second record as well as with an essay discussing sonic protest through the aggressive nature of politically charged hip hop group Public Enemy and Please Inform the Captain This is a Hijack.

Link in the comments. Scans with the help of Eydie McConnell.

Goodbye Laura V!

2010-05-26T14:51:00.000-07:00

Sorry I haven't updated, I have been having some difficulty pulling together a new post, but trust me a lot of good stuff is coming.

Just wanted to let everyone know I'm going to be djing Laura V's going-away party at Ashley's Bar in Long Beach this Friday night. Come buy Laura a pitcher. No cover, and I'm spinning until they tell me to stop.

"

	Ashley's Bar
	1731 E 4th St.
	Long Beach, CA $3.25 well drinks $3.00 domestics $2.50 pabst pints cheap pitchers!!!

People & Love

2010-05-14T20:03:00.000-07:00

Johnny Lytle - People & Love (Milestone, 1972)
Johnny Lytle was straight up a baaaad (as in cool) vibe player, this guy was able to really groove and get a lot of energy from an instrument that usually often sounds stuck in the land of bad 60's feel-good soundtracks. He was a player who often eluded fame, but not because of his lack of talent and this record really showcases his full abilities as both musician and songwriter. The record is from 1972 and electric instruments were beginning to show up in jazz bands - fusion was still in its baby steps, but this is is less a fusion record than a funky jazz record that makes wide use of its acoustic instruments with the added power of the keyboard and electric bass.

If you checked out my first mix Live at the Velvet Lounge you are already familiar with the funk that Lytle brings on the track "Tawhid," but the record also conveys a more mellow sentiment on his own "Family" as well as a cover of the Stylistics song "People Make the World Go 'Round." The group he has is awesome, no big names, but each player is on point and the overall recording is very warm. Listen to Lytle's playing on the track "Libra" the dexterity and speed of the man is spell-binding, and he does a type of hard-slide along the bars with the mallet that sounds like a magical UFO landing or something - really the way he controls the way the sound resonates is awesome. Also, listen to the drumming on "People Make the World Go Round," Jozell Carter plays a tight kit, but with the energy of a rock drummer.

Overall this is an awesome record, definitely something you want to listen to when you are staying in for the evening and need something to keep the mood groovy. I definitely give this one a lot of play. And check out the writing all over my record cover, this Ed Randall fellow was making sure no one was stealing his jazz records. Love the "Power! to Blacks" tag next to the great shot of Johnny Lytle on the back cover.

Johnny Lytle: Vibraphone
Marvin Cabell: Flute, Alto flute, Tenor sax
Daahoud Hadi (aka Butch Cornell): Electric piano and organ
Bob Cranshaw: Electric bass
Jozell Carter: Drums
Arthur Jenkins: Conga drums and percussion
Betty Glamann: Harp

1. Where is the Love?
2. Libra
3. Family
4. Tawhid
5. People Make the World Go 'Round

320-rip in the comments. Album photos by Eydie McConnell

Bridge into the New Age

2010-05-12T21:31:00.000-07:00

Azar Lawrence - Bridge into the New Age (Prestige, 1974)
As you can tell by the cover, this is not your typical coffee shop jazz record. Azar Lawrence is best known for his work with McCoy Tyner and Miles Davis, but his records as a leader were just as powerful and innovative. Bridge into the New Age is the first of three records the sax player recorded for Prestige and I feel it's his most dynamic and interesting to listen to as a whole. His other records get more recognition because of their inclination towards a jazz-dance feel, but this record shows a young player (he was 21 when this record was recorded) taking in the history of jazz and updating it into a time period focused on Afro-centrism, peace and love.

The first thing that I have to say about this record is that for the time period, it's astounding to hear this much experimentation and musical abstraction without the use of ANY electric instruments, it is a completely organic acoustic jazz experience. Not to say this is a free jazz record, because it definitely is not - it's a new-jazz record, a sound just as challenging and interesting at a time when people like Miles and Herbie began making jazz marketable by adding synthesizers and electric guitars. Instead of going electric, he looks towards his contemporaries Keith Jarrett (he was also in Miles' band) and Carlos Garnett to achieve a sound which was rich and experimental but still acoustic.

There are a lot of great players on this record, firstly the amazing Jean Carn who is known for her immense breadth of work including records with Earth, Wind and Fire, Doug Carn, Dizzy Gillespie, and Norman Connors as well as her solo work on Philly International and Motown. Other stand-out musicians include Woody Shaw, Billy Hart, Ndugu and the legendary Mtume. An interesting note here is that Eddie Harris engineered these recording sessions which is pretty wild.

The sound on here is "new jazz" but the use of multiple percussionists keep the music earthy, and Azar's solos are never too far-out, just wild enough to show you he's playing from his heart. "Bridge," "Warriors," and "Forces" are all faster numbers that truly take you into a new age of jazz, while "Fatisha" and "Beautiful" are more contemplative spiritual jazz tracks. Overall a fantastic listen. For those interested, Azar is still playing and in fact released a new record last week with the late Rashied Ali on drums. I haven't heard it yet, but 2009's Prayer For My Ancestors was great and I'm sure the latest one wont disappoint.

Link is in the comments! Album photos by Eydie McConnell

En Vivo Desde El Otro Lado

2010-05-10T23:38:00.000-07:00

Grooves Grooves No. 2: En Vivo Desde El Otro Lado

Latin America is united in its struggle against oppression, whether it is inflicted by foreign powers or from a minority military regime. In the US we are taught as school children that the slaves sang gospels and spirituals and that is where the Blues come from. For most of the Americas the musical influence brought over from Africa (another location of mass oppression) was more grounded in percussion, the cajón being a popular instrument in Cuba and Peru as when under suspicion the instrument returned to its original function as a crate. Hand claps, makeshift drums and group singing have led countless generations to stomp their feet and dance, for a brief moment forgetting the unmentionable daily struggle. Through the dialogue of music and dance, a deeply spiritual experience, groups unified and broke their chains, built their own schools, and taught their own history. Imagine the atmosphere in the back room of a Haitian slave house the night before the revolution, Toussaint L'Ouverture droppin knowledge, sharing strength and love.

This mix is a direct response to the current passing of Arizona Immigration Law SB1070. This is an issue that affects me personally for a multitude of reasons. Both of my parents immigrated here illegally when they were young. My father crossed back and forth a number of times, sometimes in the dashboard of a car, between two other people in a trunk, or on foot through the desert. My parents obtained their citizenship soon after I was born. My dad lost his factory job after 20+ years in 2007 and they moved out to Phoenix because real estate was affordable and he wanted to start his own business. My dad stocks vending machines in big, white-collar buildings and he drives a big white van filled with sodas and snacks to work every day. Three years ago, Maricopa County Sheriff Joe Arpaio began arresting and detaining all illegal immigrants they came in counter with.

Now, my parents moved to Maricopa county three years ago. My dad drives a big white truck, and he's a middle-aged man who looks more than his fair share of Mexican, throw in his imperfect English and we're talking my dad getting pulled over for the most arbitrary reasons. Luckily he is a citizen, but there are about 500,000 illegal immigrants in the state of Arizona alone. Some of these people may have been here for thirty years and have kids. My grandma waited for five years before giving up on the endless bureaucratic red tape known as the naturalization process. Is it right for families to be broken up for the simple fact that a family member is here illegally? When there are mouths to feed, is it okay to send a father who was working as a landscaper to a prison with a number of MS13 and other gang networks?

Yes, there are illegal immigrants who do need to be arrested and those are with affiliations, with positions in the drug cartels of Latin America. The reason that Phoenix is the kidnapping capital of America is precisely due to the level of cartel influence in the state. These cartels are routinely killing people, cops, government officials in Mexico and their reign of terror is spreading into the US. However, SB1070 negatively affects the situation for two huge reasons:

1) It misappropriates manpower, facilities and resources to the menial task of busting non-threatening illegal immigrants. I heard Joe Arpaio speak on a San Diego conservative radio program recently where he bragged about picking up 30 illegals at McDonalds - wouldn't the money it cost to transport, book, do paperwork, house and feed (not to mention the wages for the law enforcement used) these harmless illegals gone to better use trying to bust the US connections of drug cartels?

2) This law will necessitate the gun-toting cartel to act violently whenever encountering a situation where law enforcement are in the mix. Maybe in the past it would have been possible for cartel members to be pulled over while transporting guns, drugs or people and simply be excused by the police, but now in a situation where they risk everything they may react aggressively.

The biggest criticism of the law I have is the fact that it is inspiring prejudice, it is inspiring hate. The law itself is not racist, but it is making it acceptable to look at one person and accuse them of being a criminal. There are ad campaigns on Arizona TV that blame illegals for taking American jobs (I don't see too many citizens working the jobs illegals have) and spreading the idea that an illegal immigrant is the same thing as a violent criminal. Those who claim that I'm paranoid and full of liberal propaganda need only acknowledge that states like Pennsylvania, Ohio and Minnesota are attempting to enact laws inspired by SB1070. How much violent crime do illegals cause in those states? Are they getting a lot of angry Canadians?

To be serious, though, Arizona gun laws (signed into legislation by Governor Jan Brewer, who also signed SB1070) allow a person over 21 years old to carry a concealed firearm. Without a background check. Only two other states have that law and they are Alaska and Vermont, two states where if you're wondering around outside you probably need a gun to protect your ass from a wolf or bear. Are Arizonians trying to protect themselves from illegals? This is a bomb just waiting to go off.

The mix is reflective of the situation, but reflective of the Latin American identity as a whole. Salsa, cumbia, son, samba and other styles are represented, but ultimately the focus is on the beautiful artistic expression as much as it is in the spiritual communion of dance. Currently, I have it streaming and downloadable from Soundcloud. To download, click on the down arrow on the right of the player. I have the tracklist posted in the comments.

Akwid + Clorofila: FREE at the Echo

2010-05-06T16:51:00.000-07:00

Just wanted to announce this last minute FREE show going on this Saturday at the Echo. The show is being put on by VotoLatino in order to celebrate the Latina/o community's participation in the census.

To those in the know about the Latino hip hop community, Akwid is not an unfamiliar name. They released their first album under the Akwid incarnation in 2003 and since then produced a slew of releases earning themselves quite a few American and Latin Grammy awards and nominations. They upgraded their West Coast classic G-funk style (not just sampling ZAPP, but actually collaborating with the current group's Roger-less incarnation), to a fresh Banda-hiphop which blends the notorious oompa beat and horns with their smooth lyricism creating a sound that is uniquely LA. This is a sound that wont resonate with everyone, but I gotta say I love hearing the music I grew up with as a kid being reworked into something fresh, relevant and booty-bumpin.

Clorofila is the new solo project by the Nortec Collective founding member, Jorge Verdin. Clorofila follows the same path that Nortect Collective paved by blending elements of norteña and banda with electro-pop, industrial and techno. Clorofila's album, which just came out last month, is absolutely great and every repeated listen only secures it's place in my top ten list for this year. Absolutely a fun listen.

See you on Saturday!

myspace.com/clorofilanorteccollective

myspace.com/akwid

attheecho.com

La Mara Tomaza

2010-05-05T00:48:00.000-07:00

So, I have this thing that when I find new music, I HAVE to do hours of research and find out everything I can about it. This translates to a new blog entry! Thinking about my workload tomorrow, I should definitely be asleep, but why should I sleep when I could be listening to El Hijo De La Cumbia?

El Hijo De La Cumbia is a young Argentine producer/DJ who commands prolific knowledge over the vast extent of cumbia regardless of time or geography (cumbia sounds different in every region and have obviously evolved over time). He is dubbed the "Son of Cumbia," and this moniker suits him well as he is the product of hundreds of generations of cumbia before him, but his take on modern cumbia will make him the Father of nueva cumbia, or cumbia new roots. Cumbia has a deep regional characteristic, for example in Colombia the style is strictly percussion and vocals and sometimes accordion, and in his present day Argentina cumbia is of the light-hearted and somewhat goofy villera style. He is able to break away from the norms of cumbia and incorporates elements of instrumental hiphop, dub and dancehall, with a heavy amount of cumbia samples. The end product is nueva-cumbia, a high energy, psychedelic dance groove with lots of spaced-out accordion and obligatory cuts of cumbieros of yesteryear shouting in glee.

He has out a mix-tape and a few appearances on modern cumbia/dance compilations as well as his first full length, Freestyle De Ritmos which was released by the Spanish label, Soot Records, in 2008. This video is from the Freestyle album, but was released in February so I'm not sure if it's indicative of something new to come? Either way, I love this video for being everything that a typical indie-hiphop video is: tour of the hood (in Mexico City) with lots of local color, a trip to the record store and the necessary shot of gems, and then DJing the party. Great sound, hope to hear a lot more from him in the future. Hit up his myspace page and check out "Soy El Control," and tell me that track wont be making your trunk rattle for the next week. Also, check out the second video which has a live in the studio version of "Soy El Control" with his "band." CUUUUUUUUMBIIIIIAAAAAAAAAAA!

elhijodelacumbia.com.ar

myspace.com/elhijodelacumbia

Independance Cha-Cha

2010-05-01T12:42:00.000-07:00

ParisDjs.com in a recent podcast mix focusing on contemporary African music, state that "Africa is the future" and while I believe this is an undeniable truth, the future wont sound like a Fela Kuti record released in 1975, but rather closer to the music that artsists like Baloji are making today. Unlike many of the artists included in the ParisDJs mix, Baloji is not using the same formula of blaring horn sections, thundering congas and chicken-scratch guitars as his vehicle, but rather using the influence of African music of the last 60+ years to guide his politically charged rapping into the future where Africa is king.

Using only local musicians for his backing band, Baloji incorporates all elements of the West African musical tradition in his quest for a spiritual unity amongst not just those people in his native Congo, but to anyone who has the capacity to feel music. As many hoping to escape the degradation and civil war that imperialism left across the continent of Africa, Baloji moved to Belgium as a child. He spent time in the hip hop group Starflam, before parting ways and recording his first solo release, Hotel Impala in 2007. The record has an African vibe as far as hip hop records go, but with his latest release Kunshasa Succularse he abandons the drum machines, samples and electronic effects, in favor for a completely organic sound while adapting many of the songs off the Hotel Impala record. There are a few totally new numbers on here, specifically the latest single "Le Jour d'Après - Siku Ya Baadaye (Indépendance Cha-Cha)" which is a cover of a song written in celebration of Congolese independence in 1960. 2010 marks the fiftieth anniversary of the ousting of Belgian control of the Congo and Baloji is at the helm of a pivotal movement to help stabilize a nation that has struggled with poverty and civil war for most of its European cartographical existence. For a country who only dropped dictatorial rule in 1997, who democratically elected their first president in 2001, who saw their leader assassinated in 2003 and who had to elect a new president (the prior's son) in 2006, 2010 marks a pivotal year as country-wide elections are due to take place again.

Baloji spent 2009 recording with various musicians in the Democratic Republic of Congo adapting his previous work with inspired jam sessions molding a style of pan-African music with rapping in French (the official language of the DRC) and Swahili (the official language of the Congolese) with touches of English (the official language of capitalism). The result is absolutely beautiful, an organic product that could not have been created anywhere else other than the dirt streets of Congo's captial Kinshasa. This is the sound of future-Africa, an internalization of roots that are as old as the human race itself, with the conscious knowledge of the past, present and future.

When I first heard Kunshasa Succularse it was released as a free download backed by Baloji himself, a product geared towards a now online Africa. I had been gearing up to post the album here, but while doing my research this week I found the old links taken down and according to his Myspace page, Kunshasa will be officially released by French label Kraked in September of this year. The move is understandable, Kraked is responsible for the influential blog ParisDjs.com as well as playing a role in the biggest distribution networks in Europe. I will respect both Baloji and his record label by not posting the album, but I will instead post the videos he has made.

Baloji will be a name to watch in the future of not just African music, not just hip hop, but all conscious music of the future.

baloji.com
baloji.com/blog (fantastic blog! all things africa, art, hip hop)
myspace.com/baloji

Sonate de Concert

2010-04-30T09:50:00.000-07:00

Charles-Valentin Alkan - Sonate de Concert for Violoncello & Piano (1857)

Frankly, I'm excited to post my first classical record. I love classical music, especially that of the Romantic and Modern period. Like Debussy, Alkan is a composer who as a master pianist, writes challenging and intriguing pieces primarily for piano. Unlike Debussy, Alkan is vibrant with emotion as he has can turn from writing a dramatically tongue-in-cheek funeral march for a parrot, to a social critique of war, to writing melodramatic oneiric solo piano pieces that would make John Brian feel a little uneasy.

Charles Valentin Alkan was born in France in 1813, and his circle of friends included Victor Hugo, George Sand, and Chopin. His stature as a master pianist was renown and exemplified by often playing with fellow composer, Franz Liszt. It is interesting to note that of the famous piano composers of the Romantic period (Chopin, Liszt, Debussy, Schubert) Alkan is not among them although he was certainly as talented as any of his peers. My deduction is that unlike the other composers of the period Alkan was unafraid to write pieces that criticized war (Le Tambour Bat Aux Champs) and that delved into the deepest recesses of the human subconscious (before Dostoevsky was writing, mind you!) in order to expose the dark psychology of the troubled mind. In other words, the man was ahead of his time. At the ripe old age of 25, Alkan took leave from social life and retired to the countryside where he would continue to compose, not performing again until right before his death in 1888.

His Sonate de Concert is not his most beautiful, nor is it his most provocative piece, but it contains a level of refinement, a level of play, a myriad of emotions that is so masterfully crafted. I will be the first to admit that the 'cello pieces are not the most dynamic or challenging, but the way it engages in a fantastic dialogue with the incredibly challenging piano is absolutely stunning. To me, this is less of a sonata, but rather a precursor to the idea of a jazz duet as both instruments do not directly follow one another, but rather converse in a way that seems improvisational. I wish I could read music, as I understand that Alkan often left his scores rather vague and in fact did encourage improvisation of his pieces. I'm not aware if this piece is one of those such cases, but it does in fact remind me a little of McCoy Tyner and Coltrane duking it out on "My Favorite Things."

Frankly, this is the year 2010 and we do not listen to music in the same way that audiences were listen to music in 1857 or 1961 ("My Favorite Things"). We have been trained to listen to listen to different harmonies and melodies, to notice different elements of instrumentation, to react to music differently than fifty or a hundred and fifty years ago. That being said, upon first listen, upon second listen, you may just be in love with the sounds you are hearing, the warm buzz of the cello and the grandiose leaping piano, but listen to the conversation between the instruments and don't be afraid to add your own element into the dialogue.

Verbal Headlock

2010-04-26T09:40:00.000-07:00

Clutchy Hopkins has returned with his fourth release for Ubiquity Records and his second "solo" album, The Storyteller. For those not familiar with Clutchy, the man is a mysterious cooperative of talent (I've heard rumors about DJ Shadow being in the mix?) putting together some of the freshest, grooviest, mellow music around. The team incorporates elements of instrumental hip hop, dub, jazz, funk, fusion, and psychedelic rock with the end product fitting into none of these pigeonholes.

As usual, the production is something to really enjoy as the instruments (usually acoustic instruments with exotic percussion and slight touches of electronics) sound clean and the drums sound crisp, the bass deep and the jam hypnotic. Upon first listen you may not be impressed, but take a second time to look at ol' Clutchy and listen to the way these masterminds incorporate elements from music around the world and throughout time. Accordions layered over funky basslines, andean flutes dance with electric guitars, and my favorite, humming becomes a valid instrument when paired with congas, cajon and a funky backbeat.

The single "Verbal Headlock" is the most "hip hop" sounding track on the album with the deep bass and the claps, but I can see a smoked out MC mumbling shit on top of any of the tracks. Great single, amazing album, in fact I think it is my favorite Clutchy record so far. Definitely will make it to my top ten albums of the year. Not uploading this one, go out and support the people who are making music right now.

http://www.ubiquityrecords.com/
http://clutchyhopkinsmusic.com/

GroovesGrooves No. 1 - Live at the Velvet Lounge

2010-04-19T17:47:00.000-07:00

My first mix. Live at the Velvet Lounge explores thick bass lines, smoke-filled horn sections, dripping piano and the hip hop that could never be played on the radio. Can't give away anymore details, but a tracklist is included. This is the soundtrack to your night at the place where champagne dreams and smoke-filled fantasies come true. Cover design by Eydie McConnell.

http://www.mediafire.com/?ynygzgjld5m

DOOD Records back catalog

2010-04-15T15:31:00.001-07:00

DOOD Records was a record label I ran from 2004-2007. DOOD was responsible for 9 releases, with the mission statement from day one being to support my local DIY punk/hardcore community in a way that was creative, fun and motivating. I released only vinyl and it wasn't until my last year as a label that I released anything that was even available in another format. DOOD has been defunct for some time now, a lot of the bands I worked with have now broken up and a lot of these releases have not (and perhaps will never) see a reissue. For this reason I have decided to make available those releases which are not currently available. Take a trip through time with me...

DOOD01: Lachance/Occam's Razor - Split 7"
This was the one that started it all out for me. I had been friends with Lachance (Riverside), often booking them at the shows I was putting on. They had nothing but an already years old CDR and we decided to do a record together. They suggested we do a split with their friends Occam's Razor from Fresno. Lachance were borrowing the epic flowing song style of 90s emo bands like Julia or Still Life, but incorporated a harsher almost thrash-like attack that would blow up living rooms wherever they played. Occam's Razor were a trio who played shorter songs, incorporating elements of grind with screamo (think Reversal of Man's 'Revolution Summer' record) and I always loved to watch Jordan drum, he hit harder and played faster than most. Fun facts about this record: 1) Occam's Razor recorded their side with Scott Crouse of Earth Crisis, thus resulting in that very metallic sound they had. Occam's Razor would continue to record with him and Lachance later recorded their 10" there as well. 2) Jordan of OR was one of the most creative people I had the opportunity to work with and we pieced together the intricate artwork for this recording to make it look like a criminal file. Those are actually fingerprints of his, mine and Charlie Wagner. Charlie and I spent what seems like months putting together all 500 copies. I also included in each release medical files that I had stolen from an abandoned hospital. The test presses for the record had very eerie photos that I had found at the same hospital. 3) Sergio Amalfitiano (sp?, sorry brother) of ACxDC, Liberaté, Hollywood hipster club fame helped finance this first release. He's a good guy and I hope he's still up to some cool stuff.
http://www.mediafire.com/?idzvvoyzmuw

DOOD03: ACxDC - He Had it Coming 7"
The ACxDC kids had been friends of mine since day one. I had been bugging them endlessly to quit playing in the San Gabriel Valley and do a record. They pulled it together and Militant Records (Andres of Bastardäss) and I put out this now classic powerviolence revival record. This was a great record and moved very fast. ACxDC incorporated all the speed and strength of classic PV bands like Infest or Siege but added the ruthless assault of grind like Discordance Axis with heavy Harley Davidson riffs ala Enewetak. Great band, great record, and from what I hear they recently just did a reunion show. Fun fact about this record is that it was recorded by the unbelievable Erol "Rollie" Ulug who also has done recordings for Graf Orlock, Dangers, Final Fight, Jesus Christ and the Pirate Fuckers and basically every other hardcore/metal band from socal worth listening to.
http://www.mediafire.com/?tdkyvuiqjt0

DOOD04: Lachance - Nietzche Said There'd Be Days Like This 10"
Lachance were picking up steam and really coming into their own at this point. After two split 7"s (the one I released as well as a record they did with Colorado stoners Autokinoton), they were getting their first solo release on the awkward 10" format. This record was originaly supposed to be a split LP with Mustaphamond, who had released a phenomenal cult classic 7" on Grey Sky records, but because they were lagging and Lachance was gearing up for a west coast tour we decided to instead release the Lachance material as a 10". Unfortunately Lachance broke up not too much after they returned home from tour. Fun fact: I silkscreened each of these jackets in my High School print shop class, but because I ran out of time/fucked up the screen I had to individually color in the covers.
http://www.mediafire.com/?2onz15jyzm2

DOOD06.5: Owen Hart - One-sided 7"
This is a record I still put on all the time. This was the first solo release I did for a band not from Southern California, but the Tacoma, Washington crew (Greyskull, Owen Hart, Sidetracked) were like brothers to me at this point and I had been after Owen Hart to do a record for some time. Owen Hart was a powerhouse of Northwest hardcore that never failed to blow away everyone they played for. Mixing up the heavy style of NW hardcore ala Botch with the grind assault of bands like Pig Destroyer and adding heavy doses of Pantera riffs was the perfect combination. This record was originally released for a West Coast tour as a 5" limited to 100 pieces but they had already sold out by the third day on tour. I rereleased the record later that year as a one-sided 7" and Hellfish silkscreened the two-color Pantera-themed artwork for the b-side. Phenomenal record and phenomenal people. I don't think they ever did another record which is truly a shame. If anyone has a copy of the Owen Hart demo or the Divinity of Truth demo please let me know - I don't have a copy of either anymore!
http://www.mediafire.com/?2nnitwi3wqk

Vientos Del Pueblo

2010-03-11T10:40:00.000-08:00

I'm back, and you're not even close to ready for what I have in store for you. Before I get into things, I just want to make a few quick announcements:

1. I will be deleting a few of the older entries whose albums are still available in stores (Mulatu, Sun Ra, Miles, Roots of Chicha) and change my focus to only albums that are out of print and hard to find.

2. All uploads from now on will be vinyl-rips from my own personal record collection. I'm still perfecting the art, so they'll be better as time goes on... But please enjoy the 320kbps mp3s.

3. As part of my love for music is: what else is going besides music, I will be doing more infrequent postings but they will be great records and include extensive information.

Thanks, enjoy the blog!

Victor Jara - Vientos Del Pueblo (Monitor, 1976)

Read my analysis of Jara's poetics and politics on Jaguar Press.

I've been wanting to upload this since day one! Victor Jara is the golden voiced folk singer from Chile, killed by the merciless military coup that ousted the worlds first democratically elected socialist president, Salvador Allende. Jara was campaigning for Allende, for the Popular Unity party, for Chileans and for the rights of all those suffering at the hands of Imperialism until his last breath. He was shot in the head while a group of 15 prisoners watched as he sang songs of revolution until his tongue no longer moved. His wife and two children spent four days not knowing of his whereabouts as the military regime placed curfews and patrols shot indiscriminately at anyone who looked suspicious.

The collection on this album is an American release, a product of a tribute concert to Jara which included sets by Bob Dylan, Arlo Guthrie, Phil Ochs and Pete Seeger. Although it is a compilation of Jara's material it is mostly of his late stuff written in either '72 or '73 and featuring his most political work. It is a great collection and I'm happy to have it because when the Pinochet regime came into power in Chile all of Jara's records, and tape masters were collected and destroyed. Fortunately, Joan Jara, his wife, was able to smuggle out a few of the original masters from their home studio and that is how we have a compilation such as this. I have a Jara compilation from Spain that is actually dubs of the original vinyl which is a wild, if you think the quality on this record is lo-fi, wait until you hear that record...

Jara remains an important figure in the realm of music for many reasons: his incredible willingness to sacrifice himself for his beliefs, his incredible talent as a musician, his incendiary and beautiful lyrics, his desire to help his common man. Victor Jara is a true revolutionary hero, a man who should be as highly regarded as your beloved Che Guevara or Zapata poster.

As always, link is in the comments.

Negro É Lindo

2010-01-12T16:15:00.000-08:00

Jorge Ben - Negro É Lindo (Phillips, 1971)

Today I find myself in a Starbucks somewhere in Downtown San Francisco. They ran out of bagels, it looks like rain, I have a fifty pound backpack with me and I'm not sure where I'm staying tonight. So obviously, I only need the best feel-good music right now.

I'm posting another Tropicalia album by one of the more discreet figures of the scene. Like Jards Macalé he is also a native of Rio de Janeiro and was somewhat of an outcast of the movement. He did not fit into Macalé's group either as Ben's focus was a bit more light-hearted and reminiscent of street samba of the favelas. What distinguishes and makes Jorge Ben a lasting figure is his heavy use of samba, as well as soul - two styles which were born in and dominate black neighborhoods - and incorporating them with the rock and bossa-nova music his contemporaries were playing. Jorge Ben's music will often fuse samba drumming and whistles, bossa nova piano, and powerful soul singing to create a song that is both soothing and beautiful, but upbeat and danceable.

Negro É Lindo is a great record, but it's hard to go wrong with any of Ben's releases from this time period. The main reason why I posted this record versus any of his others is for the song "Cigana." It opens so sweetly and serenely with a very clean bell and acoustic guitar, Jorge Ben's smooth voice seeps into your ears like honey and dreamy violins ease away all tension. Overall, this is a fantastic album with a perfect blend of oneiric bossa-soul songs and lively samba-soul tracks. Interest in Jorge Ben's music has resurfaced in the US as most of his early stuff has been reissued recently and he is more and more widely appreciated. Get going on this already!

1. Rita Jeep
2. Porque é Proibido Pisar Na Grama
3. Cassius Marcelo Clay
4. Cigana
5. Zula
6. Nego é Lindo
7. Comanche
8. Que Maravilha
9. Maria Domingas
10. Palomaris

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Mind Fusion Vol.1

2010-01-12T01:12:00.000-08:00

Madlib - Mind Fusion Vol. 1 (???, 2004)

Madlib is one of my favorite hip hop producers of all time. His body of work goes so deep, constantly making groundbreaking beats, and redefining the concept of what a beat is. By thoroughly sampling from the deep bombshelter of jazz, funk, soul, hip hop and more recently Bollywood and Brazilian music, his breadth is huge. This man can boast working with MF Doom, J Dilla, Talib Kweli, Ghostface Killa, Erykah Badu, Mos Def.... basically an endless list of amazing hip hop artists, but also having worked with legendary Brazillian drummer Mamão Conti of Azymuth on a collaborative album. Madlib's alias "the Beat Konducta" is not just a slick nickname, but really a fitting title for him as he literally orchestrates samples, loops and beats to create the perfect track.

There's a lot to say about Madlib, and unfortunately I don't have time right now to fully delve into a deep study on the artistic significance of Madlib's groundbreaking beat constructions. Instead I'm going to look at the album at hand, Madlib's Mind Fusion Vol. 1. There is not much information available about this record (or any of the other 4 Mind Fusion records), and the official Madlib discography page makes no mention of it either. Regardless, this is definitely Madlib's work at hand. Each volume in the series runs like a mixtape, and this first one is somewhat of an early Stones Throw sampler with remixes of Oh No, Quasimoto, Jaylib, Madvillain, but also Method Man and Common.

This is a really great mixtape, a lot of fun to listen to. My favorite track on here is probably the Dudley Perkins song, but the Wildchild tracks are also super ripe. I'm not going to post the tracklist on here, but trust me in that you need to hear this whether you're new to Madlib or not.

For more information on Madlib check out the Stone's Throw website for more info about the Mind Fusion series check out the Rappcats blog.

Link in comments.

Aprendar a Nadar

2010-01-08T16:13:00.000-08:00

Jards Macalé - Aprender a Nadar (Phillips, 1974)

Macalé is an interesting character in the Brazilian music scene of the late '60s and '70s. He was involved in the developing Tropicalia movement by writing music for such musicians as Gal Costa, but due to strict censorship by the military dictatorship at the time he was exiled before recording his first album. He returned to Brazil in '72 and immediately became a big player of the art community in Rio, hanging out and collaborating with artists, poets and other musicians. Macalé was never really a part of the Tropicalia movement and as his music never was poppy or commercial enough, he always stayed under the radar of the fame.

Interdisciplinary cooperation was a major point of Macalé's artistic philosophy and Aprendar a Nadar is his first major example of collaboration. The album is a concept album based on the "morbeza romantica," which translates to the romantic morbid-beauty, a phrase developed by Macalé and poet Waly Salomão. The term meant to represent a sentiment of "ill health and beauty," a state which represented the Rio artists of the '70s as they struggled to be creative under the dictatorship. Unlike other artists, the Rio group refused to flee to Europe as ex-patriots, instead choosing to produce art that would get Salomão arrested and tortured and lead poet/journalist Torquato Neto to suicide.

The album itself is a piece of collaborative art in every sense, as the lyrics are put together by Macalé, Salomão, Neto as well as a few other poets and the music is a combination is a mixture of bossa nova, tropicalia, mambo, folk and jazz. The theme of "morbeza romantica" is fully present throughout the album as it is moody, sexy, dark, but just slightly off and uncomfortable. Macalé's vocals are scotch-smooth, tinged with a bit of fire and irony, but trust me this cat can sing! Gotta love this record, it's a bit haunting. If it doesn't grab you on the first lesson, give it a second shot and listen to the way Macalé sings, the way the piano echos and how ironic the strings sound, maybe read some Baudelaire or Marquis de Sade or some Neto.

The following poem by Neto fully illustrates what Macalé and his group were attempting to achieve, it was used in 1982 as a song off Macalé's album Os Últimos Dias de Paupéria:

Let's Play That

when I was born
a crazy, very crazy angel
came to read my palm
it wasn't a baroque angel
it was a crazy, crooked angel
with wings like a plane
and behold, this angel told me,
pressing my hand
with a clenched smile:
go on, pal, sing off key
in the happy people's choir
go on, pal, sing off key
in the happy people's choir
let's play that

1. Jards Anet A Vida
2. Corações/No Meio do Mato/O Faquir da Dor/Rua Real Grandeza/Pam Pam Pam
3. Imagenes
4. Anjo Exterminado
5. Dona de Castelano
6. Mambo da Cantareira
7. E Dai...
8. Orora Analfabeta
9. Senhor Dos Sabados
10. Boneca Semiotica

For more information about Jards Macalé and his involvement in Rio counter-culture read this article by Marcelo Ballve that appeared in Waxpoetics over the summer. If anyone has links to Tropicalia poetry online, please let me know!

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Sunflower

2010-01-08T02:07:00.000-08:00

Milt Jackson - Sunflower (CTI, 1972)

CTI was on fire at the time of this recording, studio musicians on this album including Herbie Hancock on piano and fender rhodes, Ron Carter on bass, Freddie Hubbard on flugelhorn and trumpet. Sunflower is a very orchestrated and cinematic record, but manages to groove really well. The way Milt Jackson and Herbie Hancock pair each other is fantastic especially with the subtle overtunes by Freddie Hubbard. This is a very beautiful record, and is one that means a lot to me. I find myself going through periods of time where I can only listen to this record. The way the strings cascade in "What Are You Doing the Rest of Your Life?" never fails to give me chills and "People Make the Go Round" has one of the sweetest intros, especially when Freddie Hubard comes in wailing on the trumpet. Needless to say this is a record that is in constant rotation and I don't doubt that you'll find it enjoyable.

Milt Jackson is a vibraphone player most known for his work in the Modern Jazz Quartet, but was most active in the 50's and 60's as a sideman and solo musician. He worked alongside jazz greats including John Coltrane, Thelonious Monk, Miles Davis, Ray Charles, and Wes Montgomery. Although usually a hard bop or bebop guy with soulful elements, Sunflower is a groove-filled record that takes a very symphonic approach. The vibes on this album are subtle and sweet, adding a mellow undertone and keeping a dream-like quality about the whole session. As always Milt Jackson knows when is best to take the lead and when to accent another player.

The original vinyl release only has four songs, but the CD release includes a bonus track. One of my favorite records, a true jazz classic and one of CTI's best releases.

1. For Someone I Love
2. What Are You Doing the Rest of Your Life?
3. People Make the World Go Round
4. Sunflower
5. SKJ

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Los Sueños de América

2010-01-06T18:28:00.000-08:00

Manduka/Los Jaivas - Los Sueños de América (Movieplay, 1974)

A great lazy day album by Brazilian folk singer Manduka and the Chilean psychedelic group Los Jaivas. There is not much information available in English about Manduka at all, but from what I gather he was a folk musician from Brazil who was born into a family of poets and writers. He lived the bohemian lifestyle as he traveled throughout Latin America playing with different groups and incorporating different influences into his music. According to one account he actually lived in a house with Pablo Neruda at one point - very interesting. On his travels in Argentina he joined up with Chilean psychedelic group Los Jaivas and their meeting resulted in this fantastic album.

Los Jaivas, originally from Chile, were ousted after the coup that overthrew Allende in '73. A Pinochet dictatorship obviously could not handle the rocking political grooves of Los Jaivas so the group moved to Argentina then later relocated again to France. As the first recording since the groups exile, this album must be seen as a reaction to the unjust Pinochet regime. Simply enough in the title, "Los Sueños de América," we find a sense of hope, and as the album has a drifting dream-like quality, we listen as Manduka and Los Jaivas explain the current state of a Latin America struggling for its identity and for hope in the future.

This record is beautiful, epic and very groovy. Manduka said that this album attempts to explain "the wisdom of the mountains, the intoxication of the sea and the hermetic jungle." This geographic dialogue is heard through the extensive use of flute, chanting and percussion. A great record to sip coffee to as you start your day, or perfect for tucking you in at night. Favorite track on here is "Date Una Vuelta en el Aire," absolutely beautiful.

1. Don Juan de la Suerte
2. La Centinela
3. Date Una Vuelta en el Aire
4. Tá Bom Tá Que Tá
5. Traguito de Ron
6. Los Sueños de América
7. Primero Encuentro Latino Americano de la Soledad

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