Independent Music and Its Humanity

This is a terrific episode (#194) of DigiMusicTrends from Andrea Leonelli. It highlights the great liberating tool, Bandcamp, and also makes a smart account of the current environment for making a livelihood from music. Nowadays that environment is full of disruptive modalities, but the will and integrity of the artist is the main defense against the chaotic entanglement of de-evolution and evolution that has been in force in the biz for almost twenty years.

h/t Ashley at Palm Sounds

DigiMusicTrends web site

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Doug Woods and His Essential (for IOS musicians) Sound Test Room


Musician and IOS music-making evangelist Doug Woods has been cranking out in his Cornwall, UK, studio introductory and tutorial videos for iPad music apps at a relentless pace for three years. One can basically count on Doug following up a hot new app release with a youtube video within a day or two.

Doug is an affable and enthusiastic presenter. It’s not easy to put together an effective video even if all the tools are accessible in our day and age.

If you’re using IOS devices to make music you likely know of his essential contribution to our community, if not, today is your lucky day.

Doug Woods, The Sound Test Room

Twitter | Facebook

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The Beatles – Come Together

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Linda Perry, Savioress?

Linda Perry

Can Linda Perry Save Music (Daily Beast)

This article about Linda Perry’s sense of the voice in the music business is equal parts stuck in a Hollywood bubble and rebellious maven. The rubble of the old star making music business remains warm, but Ms. Perry seems buffered away from literally hundreds of singers, tens of terrific ones, and, maybe more than a few who are already trying to figure out how to obtain a livelihood under the difficult circumstances the post-music business has in instantiated.

The lightning-in-a-bottle appeal of the televised artists and repertoire contests casts a large, albeit absurd, shadow. The reality is that the music business is completely fragmented and the result is you have to be an explorer and willing to venture beyond the silly music centers of the moment.

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Dub Collision: Charlie Haden compilation


1 PEE WEE RUSSELL Pee Wee’s Blues 4:24
2 ORNETTE COLEMAN Check Up 10:08
3 CHARLIE HADEN Nardis 12:56
4 GERI ALLEN Blues In Motian 8:20
5 ORNETTE COLEMAN Song For Che 12:05
8 ENRICO PIERANUNZI Distance from departure 6:46
9 QUARTET WEST Lets Call it A Day 5:53

compiled by Dub Collision – July 2014 noguts noglory studios – Cleveland Hts Ohio [download mp3]


“I’m always searching. It’s the reason I’m here. It’s not really about music, it’s about searching for meaning.” Charlie Haden (interview)

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Mantra Modes Blog Coming Home

The original Mantra Modes blog, dedicated to the music and artistry of Dr. Abdullah Ibrahim, the greatest and most profound jazz musician the continent of Africa has produced over the past 40,000 or so years, was created in 1999 and attached to my original web site.

It’s third incarnation began in 2008. However, I have not been able to give it the care that its mission deserves. As a result, I am going to move, piece-by-piece, its content back into the structure of its second incarnation, here on the home blog of all my musical interests. Most of the pieces will be re-highlighted as blog posts.

I’ll keep the Mantra Modes blog up until the move is completed sometime in the next few months.

The South African Dr. Ibrahim’s own, very fine web site, is in its second incarnation. He turns eighty on October 9th. I am honored to highlight his artistry in any manner–after all he is both my favorite musician, and the instigator of some significant moments of rewarding personal learning during our rewarding intense encounter and association long ago (and sometimes seeming like yesterday too!)

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Back to a new version of E9

Fender Steels 1969

Fender Steel advertisement, circa 1969. The Sunburst pedal steels depicted here were obsolete. (This didn’t stop Sneaky Pete or Red Rhodes.)


Pedal steel guitar tuning chart, or copedent. Open strings on left, pedal tuning changes on the top row, pedals go from left-to-right, and are played with the left foot, most of the time.

I changed over one of my two 8 string, four pedal Fenders to–yet another–version of E9th. I can’t replicate the standard four foot pedal, 3 knee lever tuning because the guitar lacks all the knee levers and two of the strings (given the standard set-up requires a ten string pedal steel.

Many standard, if not hoary by now, country licks are built on the A & B pedals, and the lower to (E to) D, and raise to F#, and the B to C#, on the no. four string. I’m looking to redeploy some of those augmented/suspended licks in (my decidedly) non-country context.

E9th deconstructed

However, I made some departures from what is termed the standard tuning. I switched the A with B pedal and made these the inside pedals. Then I turned the right-most pedal–no. 4 or the ‘D’ pedal–in a minor chord grip.

My main Fender 400 remains in a B6th; a tuning with more than a hint of the E9th in it anyway, but also keyed to a much lower voiced B6 chord. Whereas the modified E9 loses its lowest pitched stringsand so is a very mid-to-treble kind of tuning.

fender-underside Fender underside, showing the cables connected to the changer flanges. The guitar can be completely set to a new tuning in 15 to 30 minutes, if there are no string changes to also be made. Although its mechanical changer’s design is nowadays obsolete going on fifty years, that it can be set, at once, to a new tuning and to a new set of strings within an hour is the Fender pedal steel guitar’s only world beating feature. Although, in noting as much, these old contraptions stay in tune too.

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Youssoupha Sidibe

Some kora music for today. Youssoupha Sidibe’s youtube channel is chock full of his sweet sounding mastery.

His web site is deep too.

The music of Yous­soupha Sidibe is deeply infused with a long­ing for the full real­iza­tion of divine love in this world. Youssoupha’s musi­cal career began over twenty years ago in his home of Sene­gal, West Africa, where he was trained as a Kora player at the National Music Con­ser­va­tory of Sene­gal. His music fuses tra­di­tional West African sounds on the Kora, with the Sufi devo­tional chant­ing of the Sene­galese Baay Faal com­mu­nity. The angelic sounds of the Kora, an indige­nous harp, soul­fully carry Youssoupha’s devo­tional lyrics sung in Wolof, Ara­bic, French and Eng­lish.

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Taylor Ho Bynum & Tomas Fujiwara – Through Foundation

Bandcamp hosts this unalloyed sparkler from cornet virtuoso Bynum and percussionist Fujiwara. It’s their third duo record, They are currently one of the most substantial and resourceful improvising pairs.

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La Chiva Gantiva

Pelao by La Chiva Gantiva
From the album “Pelao”
Crammed Discs

The dangerous adventures of an immigrant.
Directed by Nicolas Moins & Rafael Espinel.
Shot with a Sprintcam (an extreme slow motion camera, courtesy of I-Movix).

The band:

Felipe Deckers (guitar, tiple, tambor alegre), Natalie Gantiva (tambora, campana, guache, maracones, llamador, backing vocals), Rafael Espinel (lead vocals, maracones, tambor alegre, guitar, flautacanade millo), Florian Doucet (clarinet, backing vocals, bass), Martin Merau (drums, trumpe, tambola, llamador), Seppe Van Hulle (bass), Tuan HoDuc (alto, tenor and soprano saxophone, gaita)

A Columbian-Belgium band. World Funk for sure, politically committed. Be sure to visit their web site. Their latest record Vivo is excellent and it can be auditioned at Soundcloud

Taking Colombia’s rich musical history as its starting point, la Chiva Gantiva is a Molotov cocktail of rock, rap, soul and ferociously funky Latin rhythms. Formed in Brussels by expat Colombian musicians, La Chiva Gantiva’s truly explosive fusion of danceable, percussion-heavy sounds takes cumbia, funk and Afrobeat to giddy new heights. via Womad

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