Friday, June 27, 2008

BOOK OF DAYS

A few months ago, the Brian Jonestown Massacre unleashed the monumental My Bloody Underground album.

While making the album, Anton Newcombe also made short films for each song. This is called the "Book Of Days". I am of the opinion that the films are the equal of the songs, and should be experienced in tandem. Enjoy! Have a great and memorable weekend. We are supposed to enjoy life while we can. Ignorance is the enemy. What should we do to our enemies? Life is not meant to be spent being miserable.
If you haven't heard this album...here is your chance. I wish all albums were also watchable. Both the Beatles and Public Image Ltd wanted to make "film-albums". John Lennon, Kate Bush, Sonic Youth, and Neil Young (and now the BJM) actually did it. Use your life for good. Enjoy your weekend. Make love, create love, think love, talk love. Life. Life is the only thing worth living for as some geniuses once sang.

"Bring Me The Head Of Paul McCartney On Heather Mill's Wooden Peg (Dropping Bombs On The White House)" – 6:27


"Infinite Wisdom Tooth/My Last Night In Bed With You" - 6:06


"Who Fucking Pissed In My Well?" - 4:33


"We Are The Niggers Of The World" - 5:19


"Who Cares Why?" - 8:20


"Yeah-Yeah" - 4:29


"Golden Frost" - 3:44


"Just Like Kicking Jesus" - 4:38


"Ljósmyndir" a.k.a. "Photographs" - 4:08


"Automatic Faggot for the People" - 5:46


"Dark Wave Driver/Big Drill Car" - 7:42


"Monkey Powder" - 6:55


"Black Hole Symphony" - 10:20


I GOT NO VALUES/NOTHING TO SAY/I GOT NO VALUES/MIGHT AS WELL BLOW YOU AWAY

(Fortune Small Business) -- Wesley Higdon didn't have to go far to get his handgun. After an argument with his supervisor at Atlantis Plastics in Henderson, Ky., the 25-year-old simply walked out to the parking lot and retrieved the weapon from the glove compartment of his car. Then, in the early hours on Wednesday, he shot and killed five co-workers before turning the weapon on himself.

There was nothing Atlantis Plastics could have done to make that trip longer: Kentucky is one of six states where employers must allow employees and customers to keep firearms locked in cars parked on company property. Many of these laws apply only to concealed-weapon permit holders, but in Kentucky, if the weapon is stored in the glove compartment - as Higdon's was - no concealed-weapons permit is required. Henderson police say that Higdon had no criminal record that would have prevented him from legally purchasing the gun.

"Employee safety is a priority at Atlantis. We do not allow weapons of any kind in our facilities," Atlantis Plastics spokeswoman Michelle Ebbitt said after the shooting.

Because only about 3% of citizens hold concealed-weapon permits, the guns-at-work debate is primarily one over principle, pitting gun rights against property rights. The group disproportionately affected by the issue is small-business owners, who don't have large corporate HR departments to manage staff conflicts.

Some business owners struggle to balance personal support for Second Amendment rights with their interest in providing a safe, healthy work environment.

Take Tim Rice, owner of Ward's Heating & Air Conditioning in Lakeland, Fla. Rice considers himself a supporter of gun rights, but he's also found his company in a situation that could have led to fatalities. Several years ago, an argument between two of Rice's employees escalated to the point where coworkers had to break them apart; Rice fears that if guns had been on the property, they would have been used.

"If I want to tell somebody that he is not allowed to bring a gun onto my property, then that should be my right," Rice said.

The Florida legislature, however, recently disagreed, and on July 1 legislation similar to Kentucky's is scheduled to go into effect in Florida. The Florida Chamber of Commerce has sued to block it, but if a federal judge rules against their injunction, the state joins a trend that began in Oklahoma, where a Weyerhaeuser paper plant in Valliant fired 12 employees after trained dogs sniffed out the weapons in their vehicles. The guns violated the employer's policy, but it was the start of hunting season, and the workers intended to head to the woods right after their shifts.

The employees sued and lost. But in 2005, Oklahoma's legislature acted to prohibit employers from banning guns in their parking lots. Business groups persuaded a federal court to overturn the law, but that ruling is being appealed. Similar laws have since been passed in Alaska, Kansas, Minnesota, and Mississippi, along with Kentucky.

All the measures claim to exempt employers from liability in the case of a tragedy like Atlantis Plastics', but some entrepreneurs still fear the consequences. When guns are accessible, conflicts intensify. Last year, an employee at a Jackson, Miss., electroplating plant settled a dispute by retrieving a gun from his car and shooting a co-worker in the leg.

John McLean, owner of McLean Tennis in Crawfordville, Fla., supports his state's new law.

"I have no problem with law-abiding citizens carrying firearms in their personal vehicles on my property," he said.

But Tom Burke, owner of TMF Business Forms in Clearwater, sees only a violation. "Governor Crist, he's shoving loaded guns down our throats," he said. "Our property is not owned by him or the Florida legislature."

In Kentucky, recent events are not likely to cause a repeal of the law.

"I'm not opposed to people having the right to bear arms, but I am opposed to people having readily available firepower to do things like this," said state Rep. David Watkins, D-Ky., whose district includes the town of Henderson. "This was a true tragedy, but I'm not willing to tackle another issue which would be very controversial. It would be an issue that I don't think I could win."

First Published: June 27, 2008: 12:04 AM EDT

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One can interpret today's decision in the DC vs. Heller case from both "external" political perspectives or from a more "internal" legal one. I begin with the former: My own hope, which was spectacularly unrealized, was that the Supreme Court would unanimously accept the very well-written and -argued brief by the Solicitor General, in behalf of the Bush Administration, which argued both that the Second Amendment indeed protected an individual right to "keep and bear arms" and disagreed with the particularly rigorous test that the Court of Appeals for the District of Columbia had applied to the D.C. ordinance. Thus, according to the Solicitor General, the Court should remand the case back to the court below for reconsideration under a proper, somewhat looser, standard that would still have easily supported invalidating the ordinance.

Unanimous acceptance of his sensible view might have helped to diminish at least some of the culture war that has been waged now for at least four decades between advocates of "gun rights" and "gun control," who have their own interests in demonizing their opponents. Instead, the Court fractured along an all-too-predictable 5-4 axis, with the five conservatives supporting the rights of gun owners and the four liberals (or, more accurately, "moderates") seemingly supporting the most extreme version of gun "control," which is outright prohibition. The Solicitor General also offered a way for the Court to make sure that gun control would not become a key issue in this year's presidential race. Now there is no avoiding it, though, as a partisan Democrat, I confess to being relieved that the dissenters did not prevail, for the upholding of the D.C. ordinance would, in effect, have served as a massive in-kind campaign contribution to John McCain.

Then there are the "internal" features of the opinions, more interesting, no doubt, to lawyers (and law professors) than to pundits, but not without their broader interest. One of the most remarkable features of Justice Scalia's majority opinion and Justice Stevens's dissent (joined by Justices Ginsburg, Breyer, and Souter) is the view that the Second Amendment means only what it meant at the time of its proposal and ratification in 1789-91. Thus they spend a total of 110 pages debating arcane aspects of the purported original meaning of the Amendment.

If one had any reason to believe that either Scalia or Stevens were a competent historian, then perhaps it would be worth reading the pages they write. But they are not. Both opinions are what is sometimes called "law-office history," in which each side engages in shamelessly (and shamefully) selective readings of the historical record in order to support what one strongly suspects are pre-determined positions. And both Scalia and Stevens treat each other -- and, presumably, their colleagues who signed each of the opinions -- with basic contempt, unable to accept the proposition, second nature to professional historians, that the historical record is complicated and, indeed, often contradictory. Justice Stevens, for example, writes that anyone who reads the text of the Second Amendment and its history, plus a murky 1939 decision of the Court, will find "a clear answer" to the question of whether the Second Amendment supports a "right to possess and use guns for nonmilitary purposes." This is simply foolish. Neither Scalia nor Stevens pays any real attention to a plethora of first-rate historical work written over the past decade that challenges this kind of foolish self-confidence.

What is especially ironic is that the strongest support for Scalia's position comes from acknowledging that the Second Amendment, like the rest of the Bill of Rights, has been "dynamically" interpreted and has taken on some quite different meanings from those it originally had. Whatever might have been the case in 1787 with regard the linkage of guns to service in militias -- and the historical record is far more mixed on this point than either Scalia or Stevens is willing to acknowledge -- there can be almost no doubt that by the mid-19th century, an individual right to bear arms was widely accepted as a basic attribute of American citizenship. One of the reasons that the Court in Dred Scott denied that blacks could be citizens was precisely that Chief Justice Taney recognized that citizens could carry guns, and it was basically unthinkable that blacks could do so. Thus, in effect, they could not be citizens. Charles Sumner, who, unlike Taney is quoted by Scalia, strongly endorsed the rights of anti-slavery settlers in Kansas to have guns to protect themselves against their pro-slavery opponents.

If one reads only Scalia and Stevens, one would believe that there is no dynamism to the Constitution, which is both stupid as a theory of interpretation and, more to the point, completely misleading as a way of understanding the American constitutional tradition.

All in all, a dismaying performance by the Supreme Court, whatever one thinks of the actual result.

(FROM ALTER.NET)

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HSPH study shows guns in homes linked to higher rates of suicide
April 17th, 2007

In the first nationally representative study to examine the relationship between survey measures of household firearm ownership and state-level rates of suicide in the United States, researchers at the Harvard School of Public Health (HSPH) found that suicide rates among children, women, and men of all ages are higher in states where more households have guns. The study appears in the April 2007 issue of The Journal of Trauma.

“We found that where there are more guns, there are more suicides,” said Matthew Miller, assistant professor of health policy and management at HSPH and lead author of the study.

Suicide ranks as one of the 15 leading causes of death in the United States; among persons under 45 years old, it is one of the top three causes of death. In 2004, more than half of the 32,439 Americans who committed suicide used a firearm.

Miller and his colleagues Steven Lippmann, David Hemenway, and Deborah Azrael used survey data to estimate rates of household firearm ownership in each of the 50 states and examined whether rates of suicide were related to rates of household gun ownership. They controlled for measures of poverty, urbanization, unemployment, drug and alcohol dependence and abuse, and mental illness. The researchers found that states with higher rates of household firearm ownership had significantly higher rates of suicide by children, women, and men. In the 15 states with the highest levels of household gun ownership, twice as many people committed suicide compared with the six states with the lowest levels, even though the population in both groups was about the same.

The association between firearm ownership and suicide was due to higher gun-related suicides; nongun-related suicide rates were not significantly associated with rates of firearm ownership. Also, suicide attempts using firearms, which constitute just 5 percent of all fatal and nonfatal attempts, are highly lethal — more than 90 percent of all suicidal acts by firearm are fatal. By comparison, individuals who use drugs to attempt suicide, which constitute 75 percent of all attempts, die in the attempt less than 3 percent of the time.

The researchers recommend that firearm owners take steps to make their homes safer. “Removing all firearms from one’s home is one of the most effective and straightforward steps that household decision-makers can take to reduce the risk of suicide,” says Miller. “Removing firearms may be especially effective in reducing the risk of suicide among adolescents and other potentially impulsive members of their home. Short of removing all firearms, the next best thing is to make sure that all guns in homes are very securely locked up and stored separately from secured ammunition. In a nation where more than half of all suicides are gun suicides and where more than one in three homes have firearms, one cannot talk about suicide without talking about guns,” he adds.

The bottom line, says Miller, is that “people are less likely to die from attempting suicide when they don’t have access to guns in homes.”

The study was supported by the Joyce Foundation.

Source: Harvard University

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It has always been my hope
It has always been dream
that we would live in peace
turns out all we had to do- was become police













Oh, and just dont remember---guns don't kill people...wait of course guns fucking kill people, what kind of retarded motherfucker would say otherwise?



and is it peace to aim the gun is war to fire the gun?

who cares, jesus dies for you every day, you ungrateful fag...you better start being more like jesus




I dont know about you, but I want the world to look like beuatiful Georgia on my mind
THIS COULD BE YOU SOMEDAY!




oh, and for the record i dont believe in and never believed in "arming the proletariot" socialist shit. blowing people away to save themselves from their own obsolescence is just as evil as what we're doing in iraq

Friday, June 13, 2008

Top ten from the free jazz underground

by Thurston Moore. Published in Grand Royal Magazine #2


No matter how you listen to it JAZZ is ostensibly about FREEDOM.

FREEDOM and the MYSTERY surrounding it.

And, like MUSIC, it is an ABSTRACT.

It's SHAPES, FORMS (SOUNDS!) are DISTINCT and PERSONAL and SENSITIVE to each player's DESIRE.

And the DESIRE is INFINITE.

FREEDOM is not just another word for nothing left to lose.

We know this from MESSAGES beamed from the space-lantern of his cosmic highness SUN RA! The MESSAGE was clear:

"NOTHING IS."
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To freely improvise a solo within a structural context may have begun with a young Louis Armstrong in the early 20's. As a boy he grew up in New Orleans hearing and seeing musicians both black and white cultivating a celebratory and spiritual vibe.
They were flowers in the dustbin.
Slaveships stole the horns and drums. The captured African would not be allowed to communicate as they had.
Upon THE FREEDOM ACT the freed slave sought and fought for the EXPRESSION oppressed.
And THE FREEDOM PRINCIPLE developed.
Jelly Roll Morton, like Louis Armstrong began to record compositions of PURE BLACK AWARENESS. Both these men had been witness, early in the century, to BUDDY BOLDEN - a man who supposedly blew the cornet so masterfully (and so loud!) that his legend was rampant. He supposedly recorded upon a cylinder (pre-vinyl format) and it has yet to be found!!
Ideas of improvisation, live and on recordings, became increasingly more sophisticated and political throughout the 40's, 50's and 60's. From Lester Youngs' twisting reedy tones to Charlie Parkers spurious key changes and (along with Miles Davis, Max Roach, et al) hyper-fast note-fly.
John Coltrane was the man. With the introduction of the long-playing record, people like Trane could experiment and extend their playing for posterity. The vinyl communicated around the world. Trane's SOUND was BEAUTIFUL and COMPLEX and inspired all who received it. Trane himself was duly inspired by some of the most far-out musicians of the then burgeoning jazz avant-garde. Chief amongst them was Sun Ra & his Arkestra.
Factions of experimentation abounded throughout the 50's and 60's. Trane, Ra, Ornette Coleman and his white plastic alto playing notes and tones at once beautiful and harsh. Thelonius Monk, Lennie Tristano, Charles Mingus and Eric Dolphy composing and playing music inspired by whole worlds of experience (blues, eastern and western classical, religion, etc.)
Music like no one had yet imagined would emanate from the wild hearts of those such as Albert Ayler and Cecil Taylor.
These are all names of artists commonly associated with the avant-garde jazz underground of the 20th century. They all recorded fairly prolifically throughout their lifetimes (and some, like Cecil Taylor, continue). But there were so many more musicians performing and recording so-called "new" music at the time. It happened mostly in the late 60's/early 70's with the concept of artist-run collectives coming into fruition.
To play jazz totally FREE and ORGANIC was a gesture whose time had come in the 60's. It was SOCIAL and POLITICAL for reasons involving relationship, race, fury, rage, peace, war, love and FREEDOM.
We search for artifacts from this underground constantly. They were arcane and obscure at the time and are even more so today. No record labels are reissuing this stuff (some are e.g.: Evidence Records reissuing all of Sun Ra's independent Saturn label releases).
Here's a list of ten (out of hundreds of) LP's recorded in total grassroots fashion from the FREE-JAZZ underground. These are fairly impossible to locate and if you want to know what FREE-JAZZ may sound like you can get CD's of certain crucial classics where this music was allowed to exist: John Coltrane-Interstellar Space (Impulse/MCA), Ornette Coleman-Beauty Is A Rare Thing (Atlantic/Rhino), The Art Ensemble - 1967/68 (Nessa, PO Box 394, Whitehall, MI 49461), Sun Ra-various titles (Evidence)


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TOP TEN FREE JAZZ UNDERGROUND

1. DAVE BURRELL - Echo (BYG 529.320/Actuel Volume 20)..

In the fall of 1969 Free Jazz was reaching a kind of nadir/nexus. Within the industry it was controversial. Classic traditionalists (beboppers included) were outraged by men in dashikis and sandals jumping on stage and just BLOWING their guts out creating screaming torrents of action. Most musicians involved with this crying anarchy could get no bookings beyond the New York loft set. The French lovers of the avant-garde embraced this African-American scene wholly. This recording is one of many in a series of LP's with consistent design. BYG released classic Free Jazz documents by Archie Shepp (at his wildest), Clifford Thornton, Art Ensemble of Chicago, Grachan Moncur III, Sunny Murray, Alan Silva, Arthur Jones, Dewey Redman and many others. A lot of these cats are present on this recording where from the first groove it sounds like an acoustic tidal wave exploding into shards of dynamite. If you can locate Alan Silva's "Lunar Surface" LP (BYG 529.312/Actuel Vol. 12) you'll find a world even that much more OUT.

2. MILFORD GRAVES & DON PULLEN - Nommo (S.R.P. LP-290)

Milford may be one of the most important players in the Free Jazz underground. He enforces the sense of community as a primary exponent of his freely improvised music. His drumkit is home-made and he rarely performs outside of his neighborhood. When he does perform he plays his kit like no other. Wild, slapping, bashing, tribal freak-outs interplexed with silence, serenity and enlightened meditation. This LP was manufactured by the artists in 1967 and is recorded live at Yale University. The interplay between Milford and Don (piano) is remarkable and very free. There's a second volume which also is as rare as hen's teeth.

3. ARTHUR DOYLE Plus 4 - Alabama Feeling (AK-BA AK-1030)

Arthur is a strange cat. Not too many people know where he's from (Alabama is a good guess). He resided in New York City in the 70's and showed up in loftspaces spitting out incredible post-Aylerisms. Mystic music which took on the air of chasing ghosts and spirits through halls of mirrors (!). He hooked up with noise/action guitarist Rudolph Grey who was making the current No-Wave scene and with Beaver Harris (drums) they played gigs in front of unsuspecting art creeps apparently not "hip" enough to dig, let alone document, the history blasting their brains. Arthur did release this lo-fi masterpiece and it's a spiraling cry of freedom and fury. AKBA Records released a number of classic NYC loft-jazz sessions, most notably those of label boss Charles Tyler, a screaming tenor player who also blew with Rudolph in the late 70's/early 80's. Arthur continues to play/teach etc. in Binghamton, N.Y. and recently released in 1993 "More Alabama Feeling" on yours truly's Ecstatic Peace label (available from Forced Exposure/POB 9102/Waltham, MA 02254)

4. SONNY MURRAY - Sonny's Time Now (Jihad 663)

Sonny was the drummer considered to be the first to realize and recognize and perform, on drums, pure FREE jazz. He played behind and along with Ayler early on and Cecil Taylor. He constructed groups which always flew and raged with spiritual abandon. He took time as an abstract and turned it into free motion. This recording is super-lo-fi and is awesome. On it play Ayler(tenor) and Don Cherry (trumpet) as well as Leroi Jones (now known as Amiri Baraka) reading a killer poem called "Black Art". This music is very Ayler but more fractured and odd. Like a lot of these records there is only a front cover with the back of the jacket blank. Whether this was done for economic or artistic reasons is unclear. Jihad was a concern of Leroi Jones and anything released on this label is utterly obscure. The only other title I've seen is one just called "BLACK AND BEAUTIFUL" from the mid-60's which is Leroi and friends sitting on the stoops of Harlem chanting, beating drums and celebrating Leroi's "poems" ("The white man/at best/is..corny!") There was an ad for Jihad in an old issue of Jazz & Pop magazine which announced a Don Ayler (Albert's amazing trumpet-playing bro) LP but I've yet to meet anyone who's actually seen this. "Sonny's Time Now" was reissued a few years ago in Japan (DIW-25002) on CD and LP (with an enclosed 7" of two extra scratchy tracks!) but even that is near impossible to locate. Recorded in 1965.

5. THE RIC COLBECK QUARTET - The Sun Is Coming Up (Fontana 6383 001)

Issued in the UK only in 1970. Ric was an interesting white cat who came to the U.S. to blow some free e-motion with NYC loft dwellers. He's most well known for his amazing playing on the great Noah Howard's first ESP-Disk release (ESP 1031). The whole 1000 series of ESP is critical & crucial to anybody wanting to explore this era of Free Jazz featuring recordings by Ayler, Ornette, Sonny Simmons, Sun Ra, Henry Grimes, Steve Lacy, Sunny Murray, Marzette Watts, Patty Waters, et al. I'm not including any of these in this list as they're all available on CD now (from Forced Exposure, address above). The picture of Ric on the Noah Howard LP shows a man with race-car shades and a "cool" haircut playing his horn while a ciggie burns nonchalantly from his relaxed grip. A very hip dude. And very FREE. His only solo recording is this Fontana LP which he recorded while cruising through Europe. He connected with South African drummer Selwyn Lissack (whatever happened to...) and the UK's famous avant-altoist Mike Osborne and bassist J.F. 'Jenny' Clark (student of 20th century compositionists Lucian Berio and Karlheinz Stockhausen) to create this exceptional and complex masterpiece

6. JOHN TCHICAI AND CADENTIA NOVA DANICA - Afrodisiaca (MPS CRM711)

Tchicai is a 6'6" Danish/Congolese tenor sax player who, in the early 60's, started blowing minds all across the Netherlands with his radical "music for the future". Archie Shepp encouraged him to come to NYC and join like-minded souls of avant-guardia. Tchicai came over and kicked everybodys ass. Leroi Jones shouted his name and talent loudly as Tchicai hooked up with Shepp and Don Cherry for the New York Contemporary Five and later an even heavier ensemble with Milford Graves and Roswell Rudd called the New York Art Quartet. The NYAQ recorded one of the most crucial sessions for ESP-Disk (esp1004) which had Leroi reciting his infamous BLACK DADA NIHILISMUS (available on CD from Forced Exposure). AFRODISIACA was released in Germany (and in other re-release configurations...supposedly) and is Tchicai gathered with 25 other local-Euro musicians playing a hurricane of a piece by trumpet/composer Hugh Steinmetz. This music gets way way out and has the real ability to take you "there". The echo effect on some of this shit is quite ill in a very analog way. And the way the shit gets that dirty-needled distortion at the end of side one (all 25 cats GOING AT IT!) is beautiful, baby, BEAUTIFUL!!

7. RASHIED ALI and FRANK LOWE - Duo Exchange (Survival SR101)

Frank Lowe has been studying and playing a consistently developing tenor sax style for a few decades now. At present he's been swinging through a Lester Young trip which can be heard majestically on his Ecstatic Peace recording (E#19..from Forced Exp.) In the early 70's, however, he was a firebrande who snarled and blew hot lava skronk from loft to loft. He played with Alice Coltrane on some of her more out sessions. Rashied Ali was the free-yet-disciplined drummer whom Coltrane enlisted to play alongside Elvin Jones and Pharaoh Sanders (and Alice) in his last mind-bending, space-maniacal recordings (check out surely the Coltrane/Ali duet CD Interstellar Space). Elvin quit the group cuz Rashied was too hardcore. Those were the fuckin' days. And Rashied had his own club downtown NYC called Ali's Alley! Duo Exchange is Rashied and Frank completely going at it and just burning notes and chords where ever they can find 'em. Totally sick. Survival was Rashied's record label which had cool b&w matte sleeves and some crucial releases mostly with his quartet/quintet and a duo session with violinist LeRoy Jenkins.

8. THE PETER BROTZMANN SEXTET/QUARTET - Nipples (Calig - CAL30604)

The influence of Free Jazz-era Coltrane, Ayler, Esp-disk, Shepp, etc. on hard drinking, knuckle-biting European white cats is formidable. These guys didn't care so much about plaing "jazz" as just totally ripping their guts out with high-energy, brain-plowing NOISE. Brotzmann (sax, German), Evan Parker (sax, UK), Derek Bailey (guitar, UK), and Han Bennink (drums, Dutch) are a few of the spearheaders of this Free-Euro scene and are caught on this insanely rare early document. The b&w cover has a fold-out accordion post card set of personal images of the musicians glued and paperclipped to its front. Brotzmann went on to help further the critical documentation of the Euro-Free-Jazz scene with FMP (Free Music Productions) Records which still exists to this day. There are over a 100 releases on this label of pure Euro-improv and they all offer remarkable moments. Derek Bailey went on to create his own categorically similar Incus Records in the UK which is also still extant. As is the Han Bennink associated I.C.P. (Instant Composers Pool) Records. The most mind-blasting of these recordings may be MACHINE GUN (FMP 24 CD available from NorthCountry Distr./Cadence Bldg./Redwood, NY 13679) where Brotzmann leads an octet through a smashing clanging wonderland of noise. Improvisation and classic western musics are seriously tended to by a large Euro community and it's all pretty fascinating. Check out the works of Alexander von Schlippenbach, Barry Guy & The London Jazz Composers Orchestra, Misha Mengleberg, Peter Kowald, Andre Jaume, Andrea Centazzo, Lol Coxhill and just about anybody who plays with them.

9. THE MARZETTE WATTS ENSEMBLE - (Savoy MG-12193)

Marzette was a serious black art cat who resided in downtown NYC when Free Jazz as a NEW cultural revolution was in full gear. He painted and composed wonderful music where some of the coolest locals could flow their flavor. One of the heaviest ESP-disk recordings is Marzette's MARZETTE AND COMPANY (On CD from Forced Exposure) which has the incredible talents of saxist Byard Lancaster (who released an early indie b&w Free Jazz classic out of Philly called LIVE AT MCALLISTER COLLEGE - find it and send it to me..) and guitarist Sonny Sharrock (check his wild influence on Pharaoh Sanders' TAUHID Impulse CD and his own obscure noise guitar masterpiece BLACK WOMAN on Vortex) and cornetist Clifford Thornton (academic NEW MUSIC/Free Jazz "teacher" who released a few crucial sides such as COMMUNICATIONS NETWORK on Third World and THE PANTHER AND THE LASH on America) and the amazing free vocalist Patty Waters (who recorded two infamous hair-raising platters on ESP-Disc). This recording on Savoy was one of a series produced by Bill Dixon, an early associate of Archie Shepp's, who was an incredible composer in his own right. I've heard tapes of Dixon leading Free-Jazz orchestras into sonic symphonic heavens. Very hardcore.

This recording I list because of all its obvious loaded references but it's also quite happening and anything with Marzette, Dixon (especially INTENTS AND PURPOSES on RCA Victor), Byard (careful, there's some clinkers) and Clifford is extremely worthwhile.

10. MARION BROWN - In Sommerhausen (Calig 30 605)
BLACK ARTISTS GROUP - In Paris, Aries 1973 (BAG 324 000)
FRANK WRIGHT QUARTET - Uhuru Na Umoja (America 30 AM 6104)
DR. UMEZU-SEIKATSU KOJYO IINKAI - (SKI NO. 1)
CECIL TAYLOR - Indent, part 2 (Unit Core 30555)

Five way tie for last? Well, seeing as there's no "beginning" or "end" to this shit I have to list as many items as possible just to reiterate the fact that there was (indeed) a ton o' groovy artifactual evidence to support the reality of the existence of FREE MUSIC. Dig? There's used record stores all over the country (the world!) and they all have the potential to be hiding some of these curios amongst the bins and most peeps just ain't sure of their worth and sometimes you can find 'em really cheap. It's definitely a marketplace of the rarefied so when peeps are "hip" to it expect this shit to be way pricey.

Marion Brown was/is an alto player who made an incredible LP with Tony Oxley and Maarten Altena called "Porto Novo" that just twists and burns start to finish. Marion could really get on OUT as well as just play straight up. Shepp dug him and got him to do some great LP's on Impulse. He had a septet at one point that was especially remarkable featuring Beaver Harris (drums), Dave Burrell (piano), Grachan Moncur III (bone), and Alan Shorter (trumpet). Alan being Wayne Shorter's (Miles Davis sideman/classicist) brother. Where Wayne was fairly contemporary (though eclectic as a muh'fuck) Alan was strictly ill and has two obscuro LP's worth hunting down: "Orgasm" (Verve V6 8768) and "Tes Estat" (America AM 6118). "In Sommerhausen" is Marion in late 60's exploratory fashion and is quite freaky with the vocal whoops of Jeanne Lee. There's another LP from this period called "Gesprachsfetzen" (Calig CAL 30601) which really lays down the scorch.

The Black Artists Group was an unit not unlike that of The Art Ensemble of Chicago. Except they only recorded this one document and it only came out in France on a label named after the group. This is squeaky, spindly stuff and very OPEN and a good indication of what was happening in the early 70's with members Oliver Lake (later of the infamous World Saxophone Quartet) and Joseph Bowie (Art Ensemble's Lester Bowie's bro, later to start Defunkt).

Tenor saxist Frank Wright may be (previous to Charles Gayle's current reign) the heir apparent to both Trane and Ayler. Unfortunately he had a heart attack a few years back while rockin' the bandstand. All his recordings are more than worthwhile especially his BYG outing "One For John" (529.336/Actuel Vol. 36), his two ESP sessions (on CD from Forced Exposure) and his Center-of-the-World series of trio recordings with Alan Silva (bass) and Muhammed Ali (drums - Rashied's brother, not the pugilist) on the French label Sun. This LP "Uhuru.." is nothing short of killer with the great Noah Howard (alto), Bobby Few (pianist of Steve Lacy fame) and Art Taylor (heavy old-school drummer in free mode) going OUT and AT IT in stunning reverie.

FREE JAZZ of course made a strong impression on the more existential-sensitive populace of Japan. Some real masters came out of the Japanese scene and were influential to some of the more renowned noise artists of today (Boredoms, Haino Keiji). One such Jap-cat is alt-saxist Dr. Umezu who has mixed it up with NYC loft-dwellers on more than one occasion. On this completely obscure, underground release he unleashed some pretty free shit with the likes of William Parker (bass), Ahmed Abdullah (trumpet), and Rashid Shinan (drums). Parker is possibly one of the most important FREE musicians working in NYC. He's got his own constant writing/performing schedule as well as gigs with anyone from Cecil Taylor to Charles Gayle. He recorded one solo LP in the 70's called "Through Acceptance of the Mystery Peace" (Centering Records 1001) which is, as you might've guessed, "good".

I suppose we should wind things up with the king of FREE MUSIC then and now: Cecil Taylor. Cecil started experimenting with sound, new concepts of "swing", open rhythms and room dynamics very early on. He furthered his adventure with music-conservatory studies and applied a master's technique to his fleeting, furious, highly-sensitive pianistic ACTIONS. Today he's almost shaman-like in his mystic noise transploits. He hates record business weasels after years of scorn and neglect (club owners had been know to beat him up after gigs claiming he damaged their pianos) and records now for the aforementioned artist's label FMP. In the early 70's he had his own label called Unit Core and released two crucial LP's: the one listed above and one titled "Spring of Two Blue J's" (Unit Core 30551). This is when his group included two critical figures on the FREE scene. Alt-saxist Jimmy Lyons (now deceased) was a consistent improviser and a perfect player alongside Cecil as was veteran drummer Andrew Cyrille who recorded his own solo (and duos with the likes of Milford Graves and Peter Brotzmann) LP's on various small labels (BYG, FMP, Ictus).

So..that's it...and that's not it. If you're at all intrigued by this personal primer do yourself a favor and seek some of this shit out and free yr fucking mind and yr ass will surely scream and SHOUT.

later...............thurston

Monday, June 09, 2008

IS IT JUST ME?

or has anyone else noticed that with press announcements about raising the defense budget again (up 45 percent since 1998), that the pentagon officials are just offhandedly tossing in asides that we'll need that extra money to fund military conflicts not with the terrorists...but with china. And why arent reporters questioning that further? They just let a penatgon spokesperson slip that in and dont catch it or elaborate on it???

So anyway, China here we come, we finally figured out a way to get out of debt! It's like a bank heist except really really really big. Oh, and really really really practical, cuz bank heists ALWAYS work, and after all we sure could use a victory lap after kickin so much dust ass in Iraq.

I think it's safe to say we can ALL start suckin each other's dicks. This is great coffee.

Friday, June 06, 2008

WHOA

Objectively, I shouldn;t think is cool, but I can't help it---this is pretty fucking cool...

from the London Times

"My time with Dylan is up and we stand in preparation for my leaving the room. As a last aside, I ask for his take on the US political situation in the run-up to November's presidential election.

“Well, you know right now America is in a state of upheaval,” he says. “Poverty is demoralising. You can't expect people to have the virtue of purity when they are poor. But we've got this guy out there now who is redefining the nature of politics from the ground up...Barack Obama. He's redefining what a politician is, so we'll have to see how things play out. Am I hopeful? Yes, I'm hopeful that things might change. Some things are going to have to.” He offers a parting handshake. “You should always take the best from the past, leave the worst back there and go forward into the future,” he notes as the door closes between us. "

Monday, June 02, 2008



Side one
"Let's Go" (R. Ocasek) – 3:35
"Good Girls Don't" (D. Fieger) – 3:13
"How Do I Make You...?" (B. Steinberg) – 2:23
"Refugee" (T. Petty/M. Campbell) – 3:07
"Frustrated" (D. Fieger/B. Averre) – 2:54
contains an unlisted excerpt from "(I Can't Get No) Satisfaction" (M. Jagger/K. Richards).

Side two
"Call Me" (D. Harry/G. Moroder) – 3:11
"You May Be Right" (W. M. Joel) – 4:03
"Crazy Little Thing Called Love" (F. Mercury) – 2:39
—this track was extended to – 2:47 on the CD
"My Sharona" (D. Fieger/B. Averre) – 4:03