Noguts Noglory Offshoots

Posted on October 30, 2011 by admin

Dub Collision mixes on Tumblr

All the Dub Collision mixes available here have been represented on Tumblr as “pointer posts;” posts which point back here.

dubcollision.tumblr is geared to promote my mixes/podcasts in a new venue. This minor effort led to a big spike in traffic. Yippee.

Kamelmauz at Nogeno and Chuck Mintz Portrait

Meanwhile, on the Kamelmauz front, or, maybe better on the ‘fronting Kamelmauz’ tip, I set up a new Kamelmauz web site at upstart Nogeno. More than similar to Bandcamp, the web aggregator for musicians can pull in Bandcamp embeds. Bandcamp probably is not keen on such upstarts grabbing embedding source code, yet it affords me another experiment in leveraging free web venues. I haven’t spend anytime actually figuring out how to leverage Nogeno, (on the other hand!)

The new ‘subsidiary site’ does allow a nice format to present Chuck Mintz‘s photograph of Stephen aka Kamelmauz, taken last year as part of his Precious Objects Series. The photo expresses my relationship to pedal steel guitar: vertical!

The big surprise was Nogeno, in importing releases from Bandcamp, mangled the order for each release, and, at the same time, assembled an oddly representative selection on the Kamelmauz front page. Weirdness, yet, also delightful.

Kamelmauz is on Google+ too; this, allowing for video uploads. For example, I just poked Quark into the mix there. Once I get a smartphone, all the efforts will be revamped. Shameless self-promo request: always hoping for LIKES and PLUSSES and LINKS.

To reprise my musical outposts, other than this blog:

1. Kamelmauz/Bandcamp/Releases – full, free release of my experimental music at Bandcamp
2. Kamelmauz/Bandcamp/Sounds – free releases of individual tracks; current demos, works-in-progress
3. Kamelmauz/Nogeno – full releases, poached from Bandcamp
4. Kamelmauz/Facebook – fan page
5. Kamelmauz/Twitter
6. Kamelmauz/Google+
7. Dub Collision/Tumblr – pointers back to posts on this blog
8. Kamelmauz/Myspace – screw myspace
and:
Rhythm River Imaginal Musicology
9. Rhythm River/web site – imaginal musicology; transformational learning as a listening proposition

LEARNING BY LISTENING

Both THE RIVER and PENTATONIC DRIFT, each consisting of three stand-alone programs, are focused on particpant’s experiential and imaginal journey of musical discovery. The experiential learning is centered on listening to an evocative sound world. Each Rhythm River program begins in various ancestral musical cultures, cultures found on every continent and active to this day. The modern traces of those ancestral sound worlds constitute the other music heard in these programs.

These sounds also provide the context for imagining how they came to be transmitted between tribes, across continents, and over oceans, and, in deep listening, further evoking something of the order of sonic and soulful archetypes. The channels of musical transmission constitute the raw materials, and the awareness of the listener plays their experience as if it is an instrument.

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Dub Collision mix: Groovin’ High

Posted on October 11, 2011 by admin

Dub Collision bebop mix

1 Dizzy Gillespie-Groovin’ High 2:44
2 Billy Eckstine-Good Jelly Blues 2:54
3 Bud Powell-It Could Happen To You 3:16
4 Milt Jackson-Evidence 2:34
5 Dexter Gordon-The Chase (Parts One & Two) 6:49
6 Dizzy Gillespie w. Charlie Parker-All The Things You Are 2:49
7 Dizzy Gillespie-Manteca 3:08
8 Thelonious Monk-Eronel 3:04
9 Fats Navarro-Dextivity 3:01
10 Bud Powell-Un Poco Loco 4:46
11 Howard McGhee-The Skunk 3:03
12 Wardell Gray-Easy Living 4:24
13 James Moody-The Fuller Bop Man 2:59
14 Al Haig-Yardbird Suite 3:06
15 Dizzy Gillespie-Cubana Be 2:43
16 Dizzy Gillespie-Cubana Bop 3:21
17 Tadd Dameron-Lady Bird 2:52
18 Miles Davis-Webb’s Delight 2:54
19 Charlie Parker-Klactoveesedstene 3:05
20 Don Byas-Mad Monk 2:42
21 Charlie Parker-Salt Peanuts 7:37

Moving backwards through jazz’s recorded history, as I did while hiking into the past from the contemporary epiphany evoked by Miles Davis in 1973, I came to the golden bebop moment very early in my investigation.

Prior to this my friend and mentor Dooz had played for me something from Charlie Parker’s Jazz at Massey Hall, and this didn’t register. However, when I heard Manteca by Dizzy Gillespie, available then on a RCA Vintage volume, I was blown away.

1973 was on the cusp of the flood of jazz reissues on LP which would come tumbling my way over the next ten years. At the time, most of the classic bebop sides recorded between 1945-1955 were not readily available. Still, some of the Parker Dials and live broadcasts were obtainable on small, low-end, labels. Then, soon enough, the dam burst and I could dive into the great catalogs of Dial, Savoy, Prestige, Blue Note, Musicraft and the like.

This meant a big swim in the glorious artistry of Gillespie, Parker, Powell, Monk, Jackson, Moody, Gray, McGhee, Navarro, Gordon, and many more–each of whom offered up golden moments in the birth of a jazz revolution. It was Dizzy Gillespie that rocked my world the hardest; my jazz radio show on WRMC-fm from 1976-1986 was named Groovin’ High in recognition of the glorious side from 1945.

In the history of music has there ever been such an intense upwelling of virtuosity across the spectrum of individual instruments?

This compilation doesn’t range beyond well-known masterpieces. If you’ve never received your bebop baptism, here you go.

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Dizzy Gillespie Orchestra – Manteca

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Vinyl

Posted on October 6, 2011 by admin

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Chico and Rita

Posted on October 2, 2011 by admin

Soundtrack heaven underneath, and, a terrific animated feature, Chico y Rita.

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Robert Randolph – Voodoo Child

Posted on September 27, 2011 by admin

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Dub Collision mix: Devil In Disguise

Posted on September 24, 2011 by admin

Dub Collision Devil In Disguise Country Rock podcast

Devil In Disguise podcast tracks

1 Nitty Gritty Dirt Band-Billy in the Low Ground 00:56
2 The Dillards-Man Of Constant Sorrow 1:24
3 Jesse Winchester-The Brand New Tennessee Waltz 3:09
4 Linda Ronstadt-Keep Me From Blowing Away 3:09
5 Buffalo Springfield-Kind Woman 4:11
6 The Byrds-You Don’t Miss Your Water 3:49
7 Dillard & Clark-Train Leaves Here This Mornin’ 3:53
8 The Flying Burrito Brothers-Christine’s Tune 3:04
9 Rick Nelson-So Long Mama 3:28
10 The Grateful Dead-Mama Tried 3:03
11 New Riders of the Purple Sage-I Don’t Know You 2:27
12 Neil Young-If I Could Have Her Tonight 2:21
13 The Band-King Harvest (Has Surely Come) 3:38
14 Barbara Keith-The Bramble and the Bush 2:55
15 Crazy Horse-Dance, Dance, Dance 2:13
16 Michael Nesmith-Propinquity (I’ve Only Just Begun To Care) 3:00
17 Crosby, Stills, Nash & Young-Teach Your Children 2:53
18 Beau Brummels-Jessica 2:21
19 Jerry Jeff Walker-Backslider’s Wine 3:35
20 Cowboy-Seven Four Tune 2:42
21 Ian Matthews-Biloxi 4:17
22 Moby Grape-If You Can’t Learn From My Mistakes 2:36
23 Little Feat-Texas Rose Cafe 3:41
24 Poco-Just in Case It Happens, Yes Indeed/Grand
Junction/Consequently So Long 9:36

Because my musical world triangulates, as I would tell you, The Byrds, Thelonious Monk, and Pauline Oliveros–crazy, I know–here’s a mix that speaks for itself.

Although I was partly deflected off the folk-rock course for a long period, the time during which I sank my ears into all sorts of different waters, the fact is folk and country rock was my original ‘home.’ This compilation brings together some prime exemplars from roughly the period 1967-1974. Favorite tunes here and music for DFH like me.

Full stream:

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The Desert Blues In Touareg Country

Posted on September 20, 2011 by admin

World Deserts

Because access to music is easy in our networked world, when music from far-flung corners trends, it’s also easy to delve into it without any concern for its context. There are ways to both superficially and deeply characterize the appeal of the sound of cultures here-to-for foreign to us. At the surface these musics are exotic, different, danceable, funky. More deeply, because this diffusion works in the other direction too, such musics are syncretic, can contain hooks familiar to us, and, in certain respects, can replicate the ‘sociality’ of music–although without the western listener knowing anything about the context of sociality at the source. So, we well comprehend that this exotic music is communicative, one can move to it, and, that even a strict language barrier doesn’t prevent our interest and enjoyment.

Touareg Territory

 

Rough Guide to Desert Blues

http://casualradio.blogspot.com/2010/06/these-countries-that-are-not-mine.html

Toubab Krewe

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The Old Timers

Posted on September 10, 2011 by admin

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Fender 400 Tuning Revisited

Posted on September 3, 2011 by admin

Glori(a) Perched

For my iconoclastic sound designer’s esoteric purposes, a pedal steel guitar is a platform and not a hideously complex testbed for figuring out how to manipulate a prolific set of changes.

The basic operation is simple: pedals allow the player to change the tuning of a string in the midst of, or right before, or after, or during a movement of the bar from fret to fret.

Here, the great player and friend of the pedal steel Mickey Adams, offers beginner’s lesson that shows in two minutes what I’m describing.

He’s using a modern two 10-string neck pedal steel guitar, and, likely the total number of tuning changes on the E-9th neck, the so-called country and western neck, numbers at least fourteen. My guess is the number is very roughly the number of pedals, three on the floor and four on the knees, times two.

My two Fender 400′s are antiques and the string changes are driven by a dependable, slow-responding, archaic mechanism consisting of four cables attached to four pedals. Leo Fender and his team figured this particular mechanism out sometime in the mid-fifties. Although it remained the mechanism underneath Fender steels until 1974, it was mechanically obsolete by around 1960.

Two changes per cable allow me eight changes in all. Unlike modern pedal steel guitars, I can change the overall tuning in fifteen minutes, rather than in an hour or more. This has made me, for lack of a better term, ‘a tuning slut.’

This month I decided to normalize my tunings. This means deciding once and for all to keep the poor man’s E9 on one guitar, and do a modified B6th on the other. (B6th was the tuning my favorite steel master, Sneaky Pete Klienow utilized, also on a Fender 8-string guitar.)

Eight changes isn’t enough to support full modern tunings, yet, after some consulting with the helpful crew on the Fender Steel Forum, I made some decisions, and now am all over this:

Fender 400 Tunings

Note-KL means Knee Levers; this lever isn't on the guitar, yet

I look at my tunings as a sixteen-string guitar. In this way the intervals, irrespective of the key, may be analyzed at every fret. For example, the A pedal on the B6th is used to get a Major chord at every fret. A big chunk of any scale is hidden in this ‘sixteen string’ way of looking at a tuning. The B6th is very close to the E9th, with the same suspended chords, as-it-were, right under foot.

Experimental tunings now move over to two of the lap steels.

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Tony Allen & Hypnotic Brass feat Baaba Mal – Ise Nla

Posted on August 30, 2011 by admin

Lesson:

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