Brian Eno: Improvising Within The Rules

When Brian Eno works his musical magic, his presence is unmistakable. You may not know of his long solo career or remember his flamboyant debut as the synthesizer stylist in the early days of Roxy Music. But if you're a rock fan, you've certainly heard his studio wizardry as one of pop music's most sought-after producers. Movie soundtracks have long interested Eno; early in his solo career, he released an album called Music for Film. He calls the pieces on his new CD, Small Craft on a Milk Sea, "the mirror-image of silent movies — sound-only movies." Eno's last scoring project was for The Lovely Bones; he co-produced the music with two other esteemed film composers, Jon Hopkins and Leo Abrahams. When they finished, a great amount of music remained unused, inspiring the idea for a separate full album. "We decided to try to work on it as we had been working anyway together, which is to improvise together and then select parts of the improvisation and work on those," Eno says. "Only five of the pieces on here were related to The Lovely Bones. The rest are fantasy pieces, entirely separate." Improvising Within A Structure A communal white board acted as the gathering place for the composers' ideas. Eno says he insisted on improvising within a structure. "People tend to play in their comfort zone, so the best things are achieved in a state of surprise, actually," Eno says. "I wanted to set up a way to get people to shut up sometimes, because a big problem with improvisation is that everyone plays all the time unless told not to." The composer mentions an old friend of his, Berlin-born artist Peter Schmidt, who died in 1980. The two had similar personalities, both interested in the rules, structures and thoughts involved in making their best work. Each kept a separate list of the rules that applied to them. Eno still uses his list, sharing one of many rules: "Honor thy error as a hidden intention." "It was a sort of a commandment that I would take into the recording studio," Eno says. "So when something went wrong, instead of saying 'Do that again,' I'd say, 'Let's listen to it. Maybe there's something there that I didn't intend, but which may be better than I did intend.' " For Small Craft on a Milk Sea, Eno returned to his rules. Hear 'Small Craft On A Milk Sea' In Its Entirety "I used them fairly often, really," he says. "I find that for improvisations, if each player takes one of those cards and keep them to themselves, don't tell anyone what rule they're operating under, that can produce some really interesting results." via

sleepyhead

post pouring rain the sun attempts to burn through only to retreat and pull the shades and bury the head.

like a young fool......

i had bought this kit before it was trendy to have vintage gear for 200.00 at a high end music store. it was Quite the score with the og logoed plastic heads on every drum and the most amazing 3-d moire finish. i loved it then yet the ass i was i sold it in order to get a new and "better" kit. what an asshole. since i figured out how new is not always better i've been searching for it or something similar. no such luck. i just found out that the exact kit had been through 2 other owners and now found it's way to nyc to be for sale now for 6000.00! ugg! history and source

Jerry Cole- By the Time I Get to Phoenix

He’s the most prolific session guitarist in music history, a master of six-string twang and ax muscle. He’s JERRY COLE, the king of hot rod guitar, and his astonishing six-decade career leaps from top of the chart classics to over 100 gold and platinum recordings. This isn’t retro or rockabilly, it’s the real thing. As a charter member of session all-stars the Wrecking Crew, JERRY COLE bent strings with everyone from the Byrds (“Mr. Tambourine Man”) and Nancy Sinatra (“These Boots Are Made for Walking”) to the Beach Boys (Pet Sounds) and Paul Revere & the Raiders (“Kicks”). As performer, he and bandmate Glen Campbell headed The Champs after “Tequila” shot up the charts. Cole was featured guitarist on Shindig and Hullabaloo and backed up Elvis Presley in 1974. His bandleader abilities were tapped by Frank Sinatra, Dean Martin, Roger Miller, and Rick Nelson and he was a first-call guitarist on TV show bands for Andy Williams, Sonny & Cher, the Smothers Brothers, Laugh In, and Dick Van Dyke. Yes, he matched Dick Dale on the surf turf, recording with the Stingers (Power Surf) and the Spacemen (Surf Age). Cole also recorded numerous instro albums under his own name and turned out the hotly collectible Guitars A Go-Go series. Yet his most unheralded contribution to modern rock is as King of the Hot Rod Guitar. While the Beach Boys and Dick Dale were making waves with surf music, Cole was revving up his guitar by making music to drive faster by. During the mid-Sixties he recorded over a dozen albums of hot rod and dragstrip songs, music that’s inspired and influenced bands from the Blasters to the Cramps and Butthole Surfers While stand-alone record shops and the rare department store music section offered the latest in vinyl, drugstores and grocery stores were a treasure trove of gems by anonymous performers such as The Scramblers (Cycle Psychos) and Billy Boyd (Twangy Guitars). The Blasters (Sounds of the Drag) and Eddy Wayne (The Ping Pong Sounds of Guitars in Percussion). The Winners. The Hot Rodders. The Deuce Coupes (The Shut Downs). The Red Jackets (Surfers Beat). The Id (The Inner Sounds of the Id). All were JERRY COLE. Dig a little deeper and you’ll unearth Cole as an architect of psychedelia with his proto-psych albums The Id and The Animated Egg in 1966, and Astro Sounds from Beyond the Year 2000 with 101 Strings (!). A highly collectible vinyl recording titled Organ Freakout by “The Mustang” actually featured JERRY COLE with The Id. The list of stellar names Cole worked with as guitarist, vocalist, writer, arranger, producer, or bandleader is endless: Jerry Lee Lewis, Roy Orbison, Aretha Franklin, the Righteous Brothers, Little Richard, Dean Martin, Merle Haggard, Ray Charles, Tony Orlando & Dawn, Lou Rawls, Johnny Rivers, Gregg Allman, Lee Hazelwood, Blood Sweat & Tears, Kenny Rogers, Neil Diamond, Steely Dan, Isaac Hayes, Steely Dan … Read more: http://www.myspace.com/thejerrycole#ixzz13kXJS0YN my 2 cents- yes while he was all of these things his country Lp is underated. this LP is a gem and a MUST HAVE! songs like "i guess i would", "sad boy", and of course his version of "phoenix" are all fantastic. a very hard to find LP which is why i had to load my personal vinyl rip for you! please get on it! sample songs here Tracklist; 1. By the time i get to phoenix 2. As i grow into a man 4. Wise man 5. Let me tell you about mary 6. Sad boy 7. I want her back with me 8. You're not the same 9. Writing love letters in the sand 10. I guess i would 9. Like my baby and me Get side 1 Get side 2

red dawn

"There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge." from; "Red Wind" (1938) Raymond Chandler previous Red Wind posts here

Way Out on the Mountain: Jimmie Rodgers Songs by Bud Reed.

Country(s) United States Culture Group(s) Anglo-American Keyword(s) Country music; Folk songs--United States Instrument(s) Guitar; Vocals Year of Recording 1982 Record Label Folkways Records Source Archive Smithsonian Center for Folklife and Cultural Heritage Credits Artist Bud Reed sample songs get it here

renaissance man expands

all pix and text via http://www.andrewkidman.com/ Shaping Philosophy I shape boards that I’m interested in riding. Be it channel bottoms, single fins, traditional fish or prototypes that are combinations of these designs. I believe in customizing equipment for the individual. I grew up with access to this kind of one on one experience, for me it has been one of the most enjoyable parts of the surfing journey. I’d like to continue to make that experience available for other surfers. Shaping surfboards is a craft. It takes years and years to develop ones skills. I am still learning my craft being taught by such masters as Pat Curren, Skip Frye, Terry Fitzgerald, Wayne Lynch, Simon Anderson, Dave Parmenter, Wayne Deane, and Michael Mackie along the way. All these shapers have dedicated their lives to making equipment for themselves so they can surf the way they want to surf. Sometimes this translates for other surfers, sometimes it doesn’t. This is the beauty of one on one custom shaping - the shaper is able to talk about and consider what the client wants before applying his skills and experience to the task. I don’t believe in making cheap, replicated surfboards. Hence the starting price for a custom order. Dreamboard 5’10” x 21 ½ x 2 3/8 Traditional Skip Frye fish outline and rocker. Vee bottom with eight channels. Modern box rail. Wooden keel template taken from a late 40’s early 50’s Bob Simmons. Works best in hollow waves from one to eight feet. The Crush 6’6” x 19 ¾ x 2 5/8 Flat bottom running into six channel, my version of the Parmenter Widow Maker. Works best in overhead barrels. The Single Splice 6’7” x 19 3/8 x 2 ¾ This board was shaped with Wayne Lynch and Dave Parmenter using their templates. It’s the best single fin I’ve ever ridden. It’s a ‘magic board’ - no wonder considering its’ pedigree. Replicating this would be hard, but worth attempting. Works all the time in any kind of wave.

tuesday am. part 4. of 4. (epilogue)

30 minutes later came the wind.... the end.....

tuesday am. part 3.of 4. (enter the bonzer 5)

Jessie Faen - Bonzer 5 - take 1