PathMAN - ...Poza... (2002)

Po rozpadzie Teatru Dźwięku Atman Piotr Kolecki i Marek Leszczyński utworzyli grupę &D&G&, zapraszając do współpracy dwóch młodych muzyków: grającego na klarnecie Michała Nowaka oraz perkusistę Dominika Czwartka. Po kilku koncertach do grupy dołączył Wojt3k Kucharczyk - plastyk i twórca oryginalnej grupy Bębniarze z kraju Mołr, a formacja w tym składzie przyjęła nazwę pathman.

Propozycja muzyczna i brzmieniowa oparta  na akustycznym instrumentarium: cymbały polskie, cymbały ukraińskie, tscheng, cytry, sitar, gitary akustyczne 12-strunowe oraz zabytkowa gitara dwugryfowa, drumbass, klarnet, flety, akordeon, polskie bębny ceramiczne, polski bęben strażacki z psim naciągiem, bębny z kraju Mołr, gongi, blachy ze stoczni gdańskiej, kantówki i teowniki, dzwonki indyjskie, sanza, angklung, procesor zoom, kazoo oraz drobne instrumenty perkusyjne i narzędzia muzyczne. W niewielkim stopniu, z pełną świadomością i kontrolą muzycy używają urządzeń elektronicznych.

Oryginalne rytmy, delikatne brzmienie instrumentów akustycznych, momentami przetwarzane elektroniczne budują coś, czego nie da się zaklasyfikować do określonej kategorii lub nurtu muzycznego. Muzyka grupy, prezentowana podczas kameralnych koncertów to ciągła emisja dźwięków, tworzących długi, około 70-minutowy utwór, w którym dynamika zmienia się od ciszy po łoskot, barwy od dźwięków lasu i łąki po zgiełk ulicy i hal fabrycznych, a nastrój od kontemplacji, poprzez jazzowy feeling do rockowego koncertu. Energię tak kreowanej muzyki w dużym stopniu tworzy publiczność, której zaangażowanie w odbiór zapętla się z muzykami, tworząc zamkniętą, "Miniaturową Przestrzeń". (pathman)

Here is a record that could be of interest for those who likes avant/free/freak/whatever-folk, Pathman is a group formed by two members of Theatre of Sound Atman. When they split Marek Styczynski founded The Magic Carpathians Project, Piotr Kolecki and Marek Leszczynski teamed up with Michal Nowak and Wojt3k Kucharczyk and started to play as Pathman.

Each musician operates on many instruments and all are also credited with "others", those described include: cimbalom, guitars, clarinet, accordion, zither, drums. Kucharczyk, who also uses electronics, did some editing and sequencing of the recorded material. (klilledincars)

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Stephen & The Farm Band - Up In Your Thing (1973)

The Farm is an intentional community in Lawrence County, Tennessee, near the town of Summertown, Tennessee, based on principles of nonviolence and respect for the Earth. It was founded in 1971 by Stephen Gaskin and 320 San Francisco hippies; The Farm is well known amongst hippies and other members of similar subcultures as well as by many vegetarians. The Farm now has approximately 175 residents.

The Farm was established after Gaskin and friends led a caravan of 60 buses, vans, and trucks on a speaking tour across the US. Along the way, they checked out various places that might be suitable for settlement before deciding on Tennessee. After buying 1,064 acres (4.1 km2) for $70 per acre, the Farm began building its community in the woods alongside the network of crude logging roads that followed its ridgelines. Another adjoining 750 acres (3.0 km2) for $100 per acre was purchased shortly thereafter.

From its founding through the 1970s, Farm members took vows of poverty and owned no personal possessions, though this restriction loosened as time passed. During that time, Farm members did not use artificial birth control, alcohol, tobacco, man-made psychotropics, or animal products.

Lacking any form of government, distribution of wealth and housing allocation often fell to Gaskin and the more 'popular' members of the Farm.

In the original manifestation of The Farm, all members were believers in God and smoking marijuana was a sacrament, though Farm members did not accept alcohol or other drugs. Also there was no private property, no leather products, no harming of animals and no consumption of meat. Stephen Gaskin had been a marine and got his start as a religious leader in San Francisco in the 1960s, coming to teach a blend of Eastern religions and Christianity. Due to his devotion to marijuana, he and three followers spent time in 1974 in the Nashville Penitentiary following convictions for growing marijuana on Farm land. (see published article, "How They Keep Them Down On The Farm" in Harrowsmith, v.2,no.1 (whole number 7, from original start), May/June 1977, pages 45–47 et. seq., AS REPRINTED from The New York Times; specifically quote: "The Farm's way of life is religious communism in which work and raising children are considered spiritual disciplines... ""No private property, no private use of money, no Government welfare, no artificial means of birth control, no abortions.... "Smoking marijuana, according to their religious beliefs, is a sacrament... "Stephen and three followers spent much of 1974 in the Nashville Penitentiary...").

The Farm installed its own water system but resisted running 60-cycle alternating current powerlines beyond the main house that served as its administration office and publishing center, hoping some day to establish home power systems off of the grid. Communications within the Farm were carried out with an old plug wire phone system donated by a local town and later with CB radio for emergencies. Kerosene lamps and outhouses were standard for the first 5–10 years. A 12-volt trickle charge system charged used golf cart batteries in homes, which in turn powered automobile tail light bulbs hanging from the ceilings and walls. Oftentimes these home systems would be powered by returning off-Farm work vehicles' batteries. Many of the buildings on the Farm were unconventional, ranging from converted school buses to modified 16 x 32 army tents. Over time, larger homes were constructed, each providing shelter for multiple families and single people, often with up to 40 people under one roof. Visitors were also housed in a two-story tent made by sewing two army tents together.

The Farm had its own electrical crew, composting crew, farming crew, construction & demolition crew, clinic, firewood crew, alternative energy crew, motor pool, laundromat, tofu plant, bakery, school and ambulance service. It established The Book Publishing Company, which published the works of the Gaskins and other Farm members. The Farm's midwifery school and Ina May Gaskin's seminal book "Spiritual Midwifery" are highly regarded throughout the world for their very high maternal and newborn compassion, safety and success rates.

They also ran a "soy dairy", which developed and later marketed a soymilk ice "cream" called "Ice-Bean", and a vegetable store in the town of Summertown. A crew constantly manned the gate where all traffic passed and was logged.

They maintained The Farm Band, a rock group in the early Jam Band genre, which toured the country performing for free at parks, schools, churches, and other accessible venues. Albums included 'The Farm Band' on Million Records, 'Up in Your Thing','High On the Rim of the Nashville Basin' and 'Communion'; issued on Farm Tapes and Records. These were self-produced and distributed. Mantra Records and Akarma Records distributed bootleg copies of their albums in later years.

In 1974, after helping local neighbors after a tornado, the Farm formed Plenty (later, Plenty International), its charitable works arm. It began by gathering and supplying food for local disaster victims and holding weekly "quilting bees" to make blankets for them.

Plenty's most notable early project was its four-year presence in the Guatemalan highlands after the earthquake of 1976, helping to rebuild 1,200 houses and lay 27 kilometers of waterpipe. There, it established a micro-commune of volunteers and their families, living simply among Mayan populations and working under the approval of the military government.

Plenty donated an ambulance in the early 1980s to the Akwesasne Mohawk Reservation in upstate New York. Two Farmies - one a paramedic and one an EMT - taught a licensed Emergency Medical Technician course to 22 reservation residents, helping them set up their first Mohawk-run EMT service, the "Mohawk Council of Akwesasne Ambulance Unit". Plenty has set up clinics in Lesotho and Mexico and created the Jefferson Award-winning South Bronx Ambulance Project in New York City.

Plenty maintains an office in Belize, Central America, which initiated a school lunch program based on organic gardens planted next to each school to help provide more vegetables for the children's diets. A midwifery program helped train over 60 Mayan women from villages throughout the region in prenatal care and safe delivery techniques.

Plenty was one of the first relief organizations to enter New Orleans, getting past federal roadblocks to bring supplies to survivors just three days after Hurricane Katrina. Plenty helped establish a base camp for volunteers and channeled funding to Common Ground, a local group assisting in clean up, legal defense services, and the operation of free clinics. Plenty volunteers purchased and restored a home in the area to serve as a headquarters for housing relief volunteers and construction crews helping to rebuild

Gaskin believed that marriage was a sacred act and that the sexuality between two people was created by the flow of cosmic energy, which was known as “the juice”. “For a community to exist in harmony and balance, both kinds of energy had to be nurtured, and most importantly shared.” The ideology of marriage at the Farm could be described as “synergistic”. Seriousness and commitment were required in marriage. Birth control was frowned upon, and abortions were prohibited in the community. Childbearing was natural and performed by midwives. Premarital sex was greatly discouraged, and most couples on the Farm were married.

Some of the original community members believed in the practice of group marriage. The “four marriage system” was viewed as an important social structure in the early days of the commune. Gaskin himself was in a “six marriage” in which there were three women and two other men (the third man deciding not to participate). They shared three beds and would switch partners continuously. This, however, was not required; Gaskin understood that not everyone was ready to be in a group marriage. It was taught only people with great ability and “the juice” were in plural marriages. None of these "marriages" survived more than 10 years, most falling apart within five.

At its peak, the Farm claimed somewhere between 1200 and 1600 members living on the main property, along with many small "satellite" communities located in the U.S. and internationally. However, the Tennessee community lacked the infrastructure and income to properly support its growing numbers and grew increasingly in debt. Furthering the Farms growing pains was a 'baby boom' shortly after the commune's establishment. As the Farm's population peaked, the proportion of the population that could not significantly contribute to the work required to maintain the commune increased.

In 1983, due to financial difficulties and also a challenge to Gaskin's leadership and direction[citation needed], the Farm changed its agreement and began requiring members to support themselves with their own income rather than donate all income to the central bank.

The 'Changeover,' also known as 'the exodus', was a difficult time. The local area provided few possibilities for employment. The nearest large city, Nashville, was a 1.5-hour drive and 75 miles (121 km) away. Disillusioned, many people left to start over, and eventually the population settled down to its current (2009) level of about 175 adults and children. Those that stayed made the choice to continue living in community for its freedom and peaceful atmosphere, and the safety and security it provided for the children. It is also argued, however, that the members who stayed were close to Gaskin and had been benefiting from a disproportionate distribution of wealth for years. Many of the members were upset with an inequitable distribution of wealth, favoritism and a lack of plumbing despite large giardia outbreaks.

The $400,000 plus debt was paid off after several years and the community has remained debt-free to this day. An entrepreneurial spirit took hold, and numerous small businesses were established to provide support for the residents. Many members went back to school to get degrees in the medical field, and many now work at clinics and hospitals throughout central Tennessee.

In the nineties, with the community back on solid ground, The Farm returned to its original purpose of initiating social change through outreach and example. The Ecovillage Training Center was established as an educational facility in new technologies such as solar energy, bio fuels, and construction techniques based on locally available, eco-friendly materials.

The Farm maintains contact with its over 4000 former members through list serves, an annual reunion, and through the work of its nonprofit organizations. Former members have gone on to become leaders in many different fields and endeavors, maintaining a sense of right livelihood and a commitment to the betterment of the world.

Four ex-members of the Farm (Matthew McClure, Cliff Figallo, John Coate, and Nancy Rhine) were instrumental in establishing and managing the Whole Earth Lectronic Link (The WELL), one of the most influential early online communities. One of them (Nancy Rhine) went on to found Women's Wire, which became Women.com, the first commercial women-focused online community. Another (John Coate) founded SFgate, one of the first newspaper-based online sites (of the San Francisco Chronicle).

The man who had been in charge of growing food for the Farm (Michael O'Gorman) is an established leader in the organic farming movement, managing production on over 4,000 acres (16 km2). Recently O'Gorman has extended his farming reach to establish the Farmer Veteran Coalition, bringing returning war veterans into the fold of small-scale family farming. Former members of Farm Foods are now the marketing force behind many healthy food products found on store shelves nationwide. A former member who was an MD spent years helping to eradicate polio in India. Many other former members help manage other nonprofits. (wikipedia)

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SBB - Sikorki (2006)

Album zawiera nagrania z udziałem „trzech dętych wspaniałości, a każda z nich genialna sama w sobie”, jak Tomasza Stańko, Tomasza Szukalskiego i Andrzeja Przybielskiego określił Józef Skrzek. Płyta była dotychczas dostępna jedynie w "Anthology 1974-2004", a teraz ukazuje się w formacie DG. - „Sikorki” wyszły od Szakala, bo tak Tomek Szukalski opiewał piękne kobiety na swoim grubym saksofonie – wyjaśnia Józef Skrzek. Tomasz Stańko ze smakiem ubarwia typowe dla SBB harmonie „Bitew na obrazach”, a zespół bez problemu odnajduje się w rozimprowizowanych, jazzowych partiach rozbudowanego utworu „Z Tomaszem”. 

Józef Skrzek - vocal, keyboard, harmonica, bass guitar, Hammond Organ

Apostolis Anthimos - guitar

Jerzy Piotrowski - drums

Tomasz Stańko - trumpet (1-3) 

Tomasz Szukalski - soprano sax (4, 5), tenor sax (6) 

Andrzej Przybielski - trumpet (7) 

Jan Błędowski - violin (8) 

Podobnie rzecz się ma z Tomaszem Szukalskim. Sam proponuje liryczny temat „Sikorki” do współtworzenia którego dołącza się trio, a jednocześnie dopełnia brzmienia fragmentu „Pamięci” (zatytułowanego po prostu „Wyjątek z ‘Pamięci’”) saksofonem tak, jakby był on tam od zawsze. Wreszcie hiszpańsko brzmiąca trąbka Andrzeja Przybielskiego kreuje nastrój jego kompozycji pod – jakże adekwatnym do nastroju – tytułem „Pablo” i dopełniające całości nagranie „Lula” czteroosobowego składu SBB z Janem Błędowskim na skrzypcach. Zespół potrafi prostymi środkami uzyskać nowe brzmienia – stosując prosty, włoski syntezator firmy Davoli („Bitwy na obrazach”, „Sikorki”) czy proponując niesamowite unisona skrzypiec i harmonijki ustnej („Lula”). Całość – choć nagrana na przestrzeni dwóch lat w różnych składach – robi niesamowicie spójne wrażenie. Tym samym dyskografia SBB poszerzyła się o płytę, która trafi zarówno do fanów SBB, jak i fanów polskiego jazzu. (Metal Mind Productions)

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Crass - Demos 1977-79 (2007)

Nie zawsze świat jest kolorowy. Czasem jest czarno-biały .....

Crass formed in 1977, based around Dial House, an anarchist community near Epping, Essex, in England. They were progenitors of a militant anarcho-pacifism that became pervasive in the punk music scene (see also anarcho-punk). Whereas the Sex Pistols' anarchism seemed to be a self-consciously nihilistic prank, Crass's anarchism was more directly linked to the libertarian socialist or communalistic varieties of 20th century political thought. Taking literally the punk manifesto of "anyone can do it", they combined the use of song, film, sound collage, graphics and subversion to launch a sustained and innovative critical broadside against all that they saw as a culture built on foundations of war, violence, religious hypocrisy and blind consumerism.

Crass, originally thus named as a reference to David Bowie's song "Ziggy Stardust" (specifically the line "The kids was just crass"), came together when Dial House founder and former member of avant garde performance art group EXIT Penny Rimbaud (real name Jerry Ratter) began jamming with Clash fan Steve Ignorant who was staying at the house at the time. Between them they put together the songs "So What?" and "Do They Owe Us A Living?" as a drums and vocals duo. Other members of the household began to come onboard, and it was not long before Crass performed their first live gig as part of a squatted street festival at Huntley Street, North London. Shortly afterwards they played at the legendary Roxy punk club in London's Covent Garden area. By the bands' own account this was a drunken debacle, ending in the group being ejected from the stage, and immortalised by their song "Banned from the Roxy" and Rimbaud's essay Crass at the Roxy.

After this the band decided to take themselves more seriously, especially paying more attention to their presentation. As well as deciding to avoid drugs such as alcohol or cannabis before gigs, they also adopted a policy of wearing black clothes at all times, whether on or off stage. They also introduced their distinctive stage backdrop, a logo designed by Rimbaud's friend Dave King, as seen on the sleeve of The Feeding Of The 5000. This gave them a militaristic image, which led some to accuse them of fascism. However Crass explained that their uniform appearance was intended to be a statement against the 'cult of the personality', so that, in contrast to what was the norm for many rock bands, no member would be identified as the group 'leader.

The logo represented an amalgamation of several 'icons of authority' including the Christian Cross, the swastika and the Union Jack combined with a two headed snake consuming itself (symbolising the idea that power will eventually destroy itself). Using such deliberately 'mixed messages' were also part of Crass' strategy of presenting themselves as a 'barrage of contradictions', which also included using loud, aggressive music to promote a pacifist message, and were in part a reference to their own Dadaist and performance art backgrounds.

Crass' first release was in 1978 on the Small Wonder label. This was an 18 track 12" 45rpm EP entitled The Feeding Of The 5000. However the group encountered problems when workers at the pressing plant contracted to manufacture the disc refused to handle it due to the allegedly blasphemous content of the song "Reality Asylum". The record was eventually released with this track removed and replaced by two minutes of silence, wryly retitled "The Sound Of Free Speech". This incident also prompted Crass to set up their own record label in order to retain full editorial control over their material, and "Reality Asylum" was shortly afterwards issued in a re-recorded and extended form as a 7" single (NB. A later repress of The Feeding Of The 5000 on Crass records restored the missing track).

As well as releasing their own material, Crass were able to use Crass Records to make available recordings by other performers, the first of which was the 1980 single "You Can Be You" by Honey Bane, a teenage girl who at the time was staying at Dial House whilst on the run from a children's home. Others who recorded for the label included Zounds, Flux Of Pink Indians, Conflict, Icelandic band KUKL (who included singer Björk), classical singer Jane Gregory, and the Poison Girls, a like-minded band who worked closely with Crass for several years. They also put out three editions of Bullshit Detector, compilations of demos and rough recordings that had been sent to the band which they felt represented the DIY punk ethic. The catalogue numbers of Crass Records releases were intended to represent a countdown to the year 1984 (eg, 521984 meaning "five years until 1984"), both the year that Crass stated that they would split up, and a date charged with significance in the anti-authoritarian calendar due to George Orwell's novel of the same name.

Crass released their third album Penis Envy in 1981. This marked a departure from the somewhat testosterone-driven, 'hardcore punk' image that Feeding of the 5000 and it's follow up Stations of the Crass had to some extent given the group, for it featured more obviously complex musical arrangements, as well as exclusively female vocals provided by Eve Libertine and Joy De Vivre (although Steve Ignorant remained a group member and is credited on the record sleeve as not on this recording). The album addressed feminist issues and once again attacked the institutions of 'the system' such as marriage and sexual repression. One track, a deliberately sacharine parody of an 'MOR' love song entitled "Our Wedding", was given away as a flexi disk with a teenage girl's romance magazine after having been offered it by an organisation calling itself Creative Recording And Sound Services (note the initials). A minor tabloid furore erupted once the hoax was revealed, with the News of the World going so far as to state that the album's title was too obscene to print.

The band's fourth LP, 1982's double set Christ The Album, took over a year to record, produce and mix, during which time the Falklands War had broken out and been fought. This caused Crass to fundamentally question their approach to making records, for as a group who's very reason for existing was to comment upon political issues, they felt they had been overtaken and made to appear redundant by real world events. Subsequent releases, including the singles "How does it Feel to Be the Mother of A Thousand Dead" and "Sheep Farming in the Falklands", and the album Yes Sir, I Will, saw the band strip their sound 'back to basics' and were issued as 'tactical responses' to political situations.

From their earliest days of spraying stencilled graffiti around the London Underground network, the band had always been involved in Direct Action as well as musical activities. In 1983 and 1984 they were part of the Stop The City actions that can be seen as fore-runners of the early twenty first century Anti-Globalisation protests. Explicit support for such activities was given in the lyrics of the band's final single release "You're Already Dead", which also saw Crass abandoning their long time commitment to pacifism. This led to further introspection within the band, with some members feeling that they were beginning to become embittered as well as losing sight of their essentially positive stance. As a reflection of this debate, the next release using the Crass name was Acts of Love, classical music settings of 50 poems by Penny Rimbaud described as songs to my other self and intended to celebrate the profound sense of unity, peace and love that exists within that other self.

Crass all but retired from the public eye after becoming a particularly irritating thorn in the side of Mrs. Thatcher's Government following the Falklands War. Questions in Parliament led to a round of court battles and harassment that finally took its toll. On July 7th 1984 the band played their final gig at Aberdare in Wales, a benefit for striking miners before retreating to Dial House to concentrate their energies elsewhere.

Steve Ignorant went on to join the band Conflict, with whom had already worked on an ad hoc basis, and in 1992 formed Schwartzeneggar (sic).

The philosophical and aesthetic influence of Crass on numerous punk bands from the 1980s cannot be overstated, even if few bands mimicked their later more free-form musical style, as evidenced on the album Yes Sir, I Will, and their final recording, 10 Notes on a Summer's Day. For the band's part, they have stated that their musical antecedents and influences were seldom drawn from the rock music tradition, but rather from classical music (particularly Benjamin Britten, from who, Rimbaud states, some of Crass' riffs are direct plagiarisms!), dada and the avant-garde such as John Cage as well as performance art traditions. Their painted and collage-art black-and-white record sleeves produced by Gee Vaucher themselves became a signature aesthetic model.

In November 2002 several former members of Crass collaborated under the name of The Crass Collective to arrange Your Country Needs You, a concert of "voices in opposition to war" held at the Queen Elizabeth Hall on London's South Bank that included a performance of Britten's "War Requiem". In October 2003 The Crass Collective changed their working title to Crass Agenda, and continue to perform on a regular basis at the Vortex Jazz Club in Stoke Newington, North London.

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Silver Apples - The Garden (1998)

"The Garden" to trzeci album nagrany w latach 1968-1969 duetu Silver Apples. Płyta została wydana dopiero po latach w 1998 roku. Stylistycznie jest to w dalszym ciągu kontynuacja poprzednich płyt, ale według mnie bardziej hermetyczna i eksperymentalna.

New pressing for the Silver Apples “lost” third album, which was originally released in 1998. For those that don’t know, the Silver Apples released just two albums in 1968 and 69, records which were promptly ignored by the general public and eventually became those kind of high influence pieces that bands from nearly every genre cite as cornerstones. I guess you could reasonably call it psych rock, but their sound is way bigger than that. This record features 7 full tracks that were recorded in 1969 and 7 tracks that are based on drum instrumentals (!) from 1968 (you can identify those ones by “noodle” in the title). The tracks are alternated throughout the album, which makes for a great listen. As sick as they are, I probably would have burned out on a full album of the drum tracks or even 7 of them in a row, but mixed intermittently with the full sound of the Apples floating psych vocals and I’m looking forward to both things with rapt attention. You should check em out the same way: near-hymnal style on “Again,” hard as fuck drums on “Cannonball Noodle,” 23 million miles ahead on “I Don’t Care What People Think,” bass synth ripping alongside the kit on “Anasazi Noodle,” the Apples twerking rock classic “Mustang Sally,” and back to the knock on “Starlight Noodle.” As opposed to the release that came out in 98 on Whirly Bird, they have also included two bonus unreleased tracks. This is really exceptional shit and highly recommended (good job Bully!) - MGMT.

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Psych Trail Mix - The Psychedelic Zine

I started Psych Trail Mix zine back in the winter of 2008 and have done it ever since. It's something that I wanted to do to just get things out of me! For one thing, I loved music so much that I wanted to write about it, review it, explore it further, talk with others who are into the particular genres that I enjoy, and to create something of my own in appreciation for it. It's been an amazing creative outlet that has let me communicate with other like-minded individuals who are into the psychedelic genre and all the great things that come with it. Psychedelia isn't just a kind of music, or a passing fad, it's a whole THING. There's a lot to it. At first I printed them out myself and mailed them out completely free of any sort of charge. This went on for the first 2 issues. Then the 3rd issue I had to charge for shipping costs. Now. through talking with others who had a printed zine to start, I figured "PRINT YOUR OWN ZINE" might be the best way to go. This allows you to view the zine in PDF format and hopefully, PRINT IT if you'd like to. I hope that now, being web-based and COMPLETELY FREE that I will bring in even more readers. I hope you enjoy Psych Trail Mix. If any of you would like to communicate, I love to hear from readers, so I highly encourage it. Please contact me at psychtrailmix@yahoo.com with comments. Thanks!

Some might already recognize this zine and/or Brent's Helios Creed fan site, but if you haven't I urge you to check both of them out.

Psych Trail Mix is one of the most dedicated zines I've seen in a while, and it focuses on exactly what you would expect it to (it covers everything from the God Bullies to the Beatles) with some unexpected and fun extras like the laugh inducing rant on things that should just stop at the end of the most recent issue. Issue #5 was just released and it's downloadable in PDF format so you can read it that way, or he encourages you to print it yourself to get the full experience.

I also encourage you to shoot Brent an e-mail at psychtrailmix@yahoo.com with your love and feedback

The Psych Trail Mix is available for free at http://www.helioschrome.com

The Heavy Co. - The Heavy (Please Tune In) (2011)

Formed in the Fall of 2008, the Heavy Co. has been steadily working on writing, recording, and performing distinctive psychedelic rock music that combines the vibe of classic rock, the acid flashbacks of Haight-Ashbury and Swinging London, and the improvisational driven live experience of the jam band scene. The band was formed by members of Indiana’s burgeoning doom/stoner rock scene seeking a subtler approach to getting spaced and fuzzy, musically speaking.

Greatly influenced by the giants of classic rock such as Pink Floyd, Jimi Hendrix, and Led Zeppelin, the Heavy Co. also gives credit to modern underground rockers Fu Manchu, Nebula, and Clutch for helping form the power trio’s unique approach to blues-driven, grooved-out psychedelia.' -theheavycompany.net

I've been getting alot of band requests through Bandcamp lately, it's fantastic how much talent you can find on there. 'The Heavy Co.' from Indiana is another great example; 60's/ 70's inspired psychedelic rock, taking influences from stoner/ blues jam bands like Clutch & The Atomic Bitchwax. 'The Heavy (Please Tune In...)' is a damn fine EP and a colorful trip through the land of psychedelic blues... Groovy & laid back vibes, check it out.

The full album is available for free on the band's website.

Univers Zero - Loft Berlin (1984)

Zespół Univers Zero powstał na drodze ewolucji belgijskiej formacji Necronomicon, której liderzy - Daniel Denis i Claude Deron zmienili nazwę na Univers Zero w 1974 roku. Nazwa grupy powstała pod wpływem noweli belgijskiego pisarza Jacquesa Sternberga. Do dnia dzisiejszego liderem a także pomysłodawcą większości kompozycji jest wirtuoz perkusji a także charyzmatyczny kompozytor - Daniel Denis. W 1977 roku zespól przystąpił do nieformalnej organizacji awangardy rockowej - Rock In Opposition. Univers Zero zmieniając swój skład muzyczny istniało do 1987 roku. Zawsze w jego składzie znajdowali się niezwykli muzycy. W 1997 roku niespodziewanie dla wszystkich fanów zespół pojawił się nagle na festiwalu FIMAV w Kanadzie 1997 roku. Jak zawsze pod wodzą Daniela Denisa. Ten zaskakujący koncert zaowocował powróceniem do regularnej działalności. W ciągu swojego istnienia nagrał kilkanaście płyt, które wszystkie przynoszą niezwykłą muzykę będącą konsekwencją obranej na początku formy, ale zarazem ciągle świeżą. Ich muzyka określana jest mianem "nowej elektrycznej muzyki kameralnej". I rzeczywiście jest to intrygujące skojarzenie napięć awangardy rockowej z wyrafinowaniem nurtu muzyki klasycznej wykreowanej przez Igora Strawińskiego.

Muzyka Univers Zero zabiera nas w rejony katakumbowych ciemności, ponurych i złowieszczych namiętności, zagadkowego mrocznego oczekiwania, zagrożenia. Ich druga płyta "Heresie" przez wielu uważana jest za najbardziej mroczną muzykę, jaka została stworzona i wydana. Wyrafinowana forma muzyczna wypełniona brylantowymi i szmaragdowymi rozwiązaniami nie przeszkadza zespołowi Univers Zero podniecać oraz uwodzić niezwykłą dynamiką i ekspresją awangardy rockowej. Barwa budowana jest na elektrycznie i akustycznie brzmiących instrumentach: perkusja, obój, fagot, saksofony, skrzypce, instrumenty klawiszowe, gitara basowa. Dzisiaj nadal zespołem dowodzi Daniel Denis a z pierwszego składu pozostał charyzmatyczny Michel Berckmans. Ten duet uzupełniają młodsi, ale już doświadczeni w tworzeniu niezwykłej dzieł, muzycy: Kurt Bude, Martin Lauwers, Dmitiri Evers oraz Pierre Chevaler. Univers Zero jest bezsprzecznie nie tylko legendą współczesnej muzyki, ale także wręcz kanonem awangardy rockowej inspirującym wiele młodych zespołów. Pomimo zmian w składzie zespołu oraz ponad trzydziestoletniej twórczości każdy koncert jest wydarzeniem, który pozostaje w naszej pamięci na zawsze, tak jak Ich płyty na naszych półkach. (Henryk Palczewski)

With a musical vision that is at the same time dark and ominous, yet stylish and sophisticated, Univers Zero are one of the most unique and influential bands ever to be associated with progressive rock, and the undisputed creators of the genre known as 'chamber rock'. Getting their inspiration from such diverse sources as rock, jazz, European folk and classical music (both ancient and modern), they have forged a distinctive sound that has received widespread critical acclaim, as well as influencing a vast number of contemporary avant-garde bands and ensembles.

Hailing from Belgium, the band was formed in 1973 by drummer Daniel Denis and trumpeter Claude Deron, with the original name of Necronomicon - though this was changed to Univers Zero (after a book by Belgian novelist Jacques Sternberg) in 1974. At the time, their music was strongly influenced by electric jazz, though this changed when Michel Berckmans (reeds) joined the band. Their self-titled debut album (also known as "1313"), composed by Denis and guitarist Roger Trigaux, was released in 1977 as a limited edition, and soon afterwards reissued by Atem, a label specialized in avant-garde music. The following year, Univers Zero joined four other groups from different countries (Henry Cow, Stormy Six, Etron Fou Leloublan and Samla Mammas Manna) to set up the movement known as "Rock in Opposition" (RIO).

Shortly after the release of their second album, "Heresie" (1979), Trigaux left Univers Zero to form his own band, Present. Then keyboardist Andy Kirk joined the band, and began to contribute his own compositions. The new line-up soon embarked on a tour of France, Yugoslavia, Switzerland and the Netherlands. After the recording of their third album, "Ceux du Dehors" (1981), which featured only a portion of the material the band had composed in that period of time, Univers Zero ground to a temporary halt because of financial problems, and only resumed their touring activity after several months, with a revamped line-up (including Dirk Descheemaeker on clarinet, and Alan Ward on violin). Their heavy touring schedule in 1981-82, as well as other stresses, led to Kirk's leaving the band in 1983, and yet another line-up change, with Jean-Luc Plouvier (keyboards) and André Mergenthaler (cello) joining, as well as the return of bassist Christian Genet. This version of Univers Zero played concerts in France, Germany and Belgium, prior to the release of their fifth studio album, "Uzed" (1984), considered by many as their masterpiece.

After that, more line-up changes occurred, with Mergenthaler leaving to join French outfit Art Zoyd, and former members Andy Kirk and Patrick Hanappier (violin) returning to the fold, together with a new guitarist, Michel Delory. Univers Zero; now a seven-piece, participated in a number of prestigious events in 1985 and 1986 (notably the Frankfurt Jazz Festival), performing Denis' newest compositions, as well as several unrecorded material written by Kirk in 1981-83. In the summer of 1986, this line-up went into the studio to record the band's sixth album, "Heatwave", released in the early months of the following year by US-based label Cuneiform Records. However, in spite of the positive feedback received by the disc, Denis had already decided to dissolve the band, frustrated by the minimal sales and the lack of opportunities for live performances. The two final line-ups of Univers Zeros's early years are documented by the live album "Relaps", released by Cuneiform in 2009.

After the band's demise, Daniel Denis worked as a solo artist, releasing two albums of new compositions, "Sirius and the Ghost" (1991) and "Les Eaux Troubles" (1993) on the Cuneiform label, which also began to reissue Univers Zero's entire back catalogue. He also joined Art Zoyd for a period of seven years. However, the worldwide success of those reissues convinced Denis to resurrect the band, both as a live and a recording project, at the end of the 1990s. At first Univers Zero got back together to play a one-off concert at the Festival des Musiques Actuelles at Victoriaville (Canada) in 1997 - with a line-up that included Andy Kirk and Guy Segers. Then, the following year, Denis and Michel Berckmans reunited, and, with the help of a number of guest musicians (including some former band members), produced four studio albums: "The Hard Quest" (1999), "Rhythmix" (2002), "Implosion" (2004), and "Clivages" (2009), all released on Cuneiform - as well as a live album, "Live!" (2006), and the above-mentioned "Relaps", featuring previously-unreleased archival material. (Raffaella Berry)

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Yerba Mater - Raga Praga (2003)

Yerba Mater - polski zespół folkowy powstały w 2001 roku.

Pierwszy skład zespołu tworzą: Raf, Bart i Cierlik - trzej muzycy zafascynowani brzmieniem egzotycznych instrumentów, takich jak: sazu, sarangi i sitaru. Wkrótce do grupy dołącza Seba, a instrumentarium poszerza się o flet i sopiłkę, pozostali zaś sięgają po inne instrumenty - ud, lirę korbową i wiolonczelę. W sierpniu pierwsze utwory zostają zarejestrowane w studiu Akademii Muzycznej. Jesienią 2001 roku, do zespołu dochodzi Ania, Luka, a pod koniec roku Hubert.

"Yerba Mater" gra m.in. na Mariensztacie w ramach imprezy "Tydzień Wielu Kultur", na Agrykoli - "Dzień Uchodźcy", w Ursusie jako support Zespołu Domu Seniora, w Czeremsze na Festiwalu Muzyki Folkowej oraz w Teatrze Academia na Pradze. Z Yerbą występuje wówczas Asia "Azja" Furmańska (obecnie wokalistka "Ogrodów Alamaut") oraz Milena Machczyńska.

Wiosną zespół rozpoczyna współpracę ze "Studnią O"- teatrem opowiadaczy historii. 30. 07 rodzi się Yerbuś - Kosma Sindbad Mamiński, pierwsze i jak na razie jedyne dziecko (w) Yerba Mater We wrześniu Yerba występuje w ponad 70 szkolnych audycjach poświęconych muzyce Indii. W listopadzie w Studio Buffo powstaje płyta z muzyką przeznaczoną do celów medytacyjnych - "Meditation"

Koncerty m.in. na Dworze Artusa w Toruniu, na Festiwalu Instrumentów Dziwnych i imprezie "Sąsiedzi dla Sąsiadów" w Warszawie, na Festiwalu Kultury Alternatywnej w Dobrym Mieście, na festiwalu Orient Lublin, oraz w warszawskim kinie Iluzjon przy okazji I- go Święta Niemego Kina (akompaniament do animacji Emila Cohla).

Początek działalności klubowo-chill-outowej w ramach imprez Arabski Pępek oraz Masala Party. 6 kwietnia "Yerba Mater" zdobywa pierwszą nagrodę na Festiwalu Muzyki Folkowej Nowa Tradycja. Dzięki festiwalowi zespół zostaje zauważony przez Krzesimira Dębskiego, który umieszcza śpiew alikwotowy członków Yerby na ścieżce dźwiękowej do filmu "Stara baśń - kiedy słońce było bogiem". Również Maria i Jerzy Pomianowscy zainteresowali się muzyką "Yerba Mater". W sierpniu Yerba bierze udział w Międzynarodowym Festiwalu Muzyki Dawnej w Jarosławiu, przyczyniając się do ożywienia atmosfery festiwalowego klubu. W listopadzie "Yerba Mater" spotyka się z muzykami Huun-Huur-Tu, którzy po zakończeniu trasy koncertowej po Polsce, przyjeżdżają do Międzylesia i przeprowadzają, specjalnie dla Yerby, warsztaty śpiewu gardłowego.

Koncert na Festiwalu Dzieci Tybetu we Wrocławiu. Spotkanie z Julią i Siergiejem Charkow z Republiki Chakaskiej - warsztaty śpiewu gardłowego "Yerba Mater" bierze udział w nagraniu płyty Masala Sound System. Koncert "Pod Aniołem" w Toruniu oraz w CK Zamek w Poznaniu W lipcu, dzięki zaproszeniu Instytutu Polskiego na Ukrainie, Yerba daje pierwsze koncerty poza granicami kraju - na festiwalu muzyki etnicznej w Szeszorach oraz w klubie "Lalka" we Lwowie. (wikipedia)

• Bart Pałyga - wiolonczela, sarangi, śpiew alikwotowy
• Maciej Cierlik Cierliński - `ud, fujara słowacka, lira korbowa, drumla, duduk, głosy
• Huba Połoniewicz - tabla, bendir
• Raf Mamiński - baglama, saz, tanbur, śpiew gardłowy
• Seba Wielądek - lira korbowa, ney, kaval
• Ania Mamińska - suka biłgorajska, tanpura, głosy

Gościnnie:

• Milena Machczyńska - śpiew miękki i ciepły
• Kasia Staniszewska - śpiew biały
• Ted - śpiew szamański
• Patryk Zakrocki - skrzypce
• Luka Hołuj - didjeridu
• Piter Kostarczyk - fortepian
• Adaś Kubacki - trójkąt i tarło
• Ryszard Latecki - kornet

Yerba Mater's music is a quest for saying something new in an old language. Although the instruments and inspiration find their origin in diverse music cultures and traditions of the Old World, our music does not represent any particular ethnic group or musical style and resembles rather the cultural melting-pot of our imagination and our own musical Neverland. Thus the music consists of unimpeded improvisation, our own compositions, classical pieces, folk tunes and dances. (yerbamater.serpent.pl)

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Elektrobus - Nedefinitivni (2001)

Elektrobus - legendarny czeski zespół istniejący w połowie lat 70-tych. Płyta "Nedefinitivni" to zapis nagrań koncertowych tej grupy z lat 1975-76, wydanych w roku 2001  przez wytwórnię Black Point, zajmującą się przypominaniem starej, niezależnej muzyki czeskiej. Zespół klimatem wyraźnie nawiązuje do twórczości Franka Zappy, cześć otworów to wprost jego covery, zinterpretowane jednak w ciekawy i trochę inny sposób, pełny swoistego charakteru.

Nedefinitivni was released by the Czech label Black Point in 2001 as part of its Archiv series. It gathers live recordings from 1975-1976 by one of the most influential avant-rock groups in communist Czechoslovakia. Of course, the sound quality is poor - rock concerts were illegal, let alone recording them. But if one is willing to look over some tape noise, muffled sounds, and signal overload, Nedefinitivni has a lot to offer, especially to fans of '90s alternative Czech rock, progressive rock fans, and Frank Zappa fans. Drummer Vlastimil Marek and guitarist Pavel Richter were dedicated Zappa followers. It shows in their writing ("Dumka" is simply stunning), but also in their set list. Renditions of "King Kong," "I'm the Slime," "Muffin Man" (these two sung in Czech), and a surprising "Theme From Lumpy Gravy" cohabit with Elektrobus' originals. The longest tracks show his influence, but also an interest in prog rock in general (maybe even Henry Cow), while the shorter ones are inhabited by the zaniness of early Uz Jsme Doma: high-pitched vocals, grunts, and unexpected twists and turns (another comparison would be a keyboard-less Samla Mammas Manna). Most of the performances are musically very strong, with a peak reached in "Mojo Hlava Neni Zdrava," "Dumka," and "Strach" - a very powerful closing section. This CD has historical value (these are the only live documents of this band) and exciting music for the curious listener not offended by sound-quality issues. (François Couture)

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Bauhaus - Stairway to Escher (2003)

Nagrana w maju 1974 roku w Rzymie a wydana na CD w roku 2003, płyta ‘’Stairway To Escher’’ zadowoli z całą pewnością nawet najbardziej wybrednych smakoszy jazz-rocka. Od pierwszych taktów wyraźnie zauważalna jest zdumiewająca sprawność techniczna wszystkich mużyków, dzięki czemu zaledwie po roku działalności, szybko okrzyknięci zostali jednym z najlepszych, ówczesnych włoskich zespołów jazz-rockowych. Tytuł oraz okładka albumu odnosi się do twórczości holenderskiego grafika Mauritsa Cornelisa Eschera, twórcy znanego przede wszystkim z prac, w których formy przestrzenne były ukazywane w sposób sprzeczny z doświadczeniami wzrokowymi.

Bauhaus is an impressive five-piece fusion set from the early 70s who never released an album until the live cd "Stairway to Escher" was pressed by Akarma in 2003. Three of their musicians (guitarist Luigi Calabro, bassist Paolo Damiani and drummer Rino Sangiorgio) have been members of Buon Vecchio Charlie. However, Bauhaus is totally different, their material featuring instrumental jazz-rock heavily influenced by the likes of Weather Report and Miles Davis.

"Stairway to Escher" is a live 'in-studio' recording done at Festa Garage Studios in Rome, in May 1974. The technical proficiency of these musicians is astounding and the production surprisingly good for a 30-year old treasure. The keyboards (particularly the electric piano), the saxophone, guitar, bass and drums all get into some serious blowing that will satisfy the most blasé jazz-rock fans. (progarchives)

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Aquarius Rock-The Hip Reggae World of Herman Chin-Loy (1971?)

Music mad from childhood, Herman Chin-Loy sold albums, managed record shops, and DJ'ed before opening his own Aquarius record store and label in 1969 at age 21. Although he oversaw vocal tracks, it was his fabulous instrumentals that best defined his early career, and which this compilation focuses on. Utilizing the talents of both the Hippy Boys (aka the Upsetters Mach II) and the Now Generation, Chin-Loy began unleashing a stream of steaming instrumental 45s, with the organ-led ones credited to Augustus Pablo, regardless of who was sitting at the keys. Thus when a young melodica player showed up at his door, the producer released his debut single "Iggy Iggy" under that alias as well. Horace Swaby, however, kept the name, and kept the hits coming, beginning with "East of the River Nile," which established his distinctive Far East sound.

Aquarius Rock bundles up half a dozen classic Pablo/Swaby's solo singles, a couple with the producer standing in as DJ. Some are twinned with the band instrumentals, further highlighting the groups' exceptional work, as well as Pablo's own astonishing creativity. The musicianship throughout is absolutely phenomenal, be it on the band instrumentals, the brass led solo outings, the jaunty harmonica pieces, and, of course, the fiery organ-led numbers. These instrumentals and Pablo's own solo singles make up the bulk of this set, fleshed out with a quartet of vocal cuts. A pair come from Alton Ellis, who offers up a clean and rude take on his "Alton's Official Daughter," while Dennis Brown delivers the emotive "Song My Mother Used to Sing." Archie McKay's lovelorn "Pick Up the Pieces" is no relation to the Royals' classic, while Beres Hammond offers up one of his earliest recordings, an incredibly heartfelt "No More War." Less renowned than his cousin Leslie Kong, nonetheless Chin-Loy certainly deserves attention, and this compilation is a long overdue tribute to one of reggae's most influential talents. --- Jo-Ann Greene, AllMusic

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Edward Lear - Dong, co ma świecący nos

Jedna z moich ulubionych w czasach dzieciństwa - zresztą pozostaje taką do dzisiaj - książeczka Edwarda Lear'a - angielskiego XIX-to wiecznego pisarza, poety i malarza z ilustracjami kultowego Bohdana Butenko wydana oryginalnie przez Naszą Księgarnię (wznowiona przez Drzewo Babel).

„Dong co ma święcący nos i inne wierszyki” to zbiór wierszy i limeryków napisanych przez Edwarda Leara angielskiego poety i rysownika. Jest to książka bardzo niezwykła, pełna humoru i zagadkowości. Jej piękno dostrzec mogą przede wszystkim dorośli, ale i dzieci fantastycznie mogą z nią czas spędzić. Nie jest to jedna z wielu książek z limerykami czy wierszami jakie na rynku można spotkać. Cechuje ją przede wszystkim zagadkowość, niebanalny styl i głębia przekazu jaką czytelnik powinien się doszukać.

Podczas jej czytania możemy zastanowić się nad absurdem bezsensowności, i dostrzec inne pojęcie estetyki. „Dong co ma świecący nos..” to książka która urzeka mnie swoim poczuciem humoru jak i całą oprawą. Jest po prostu niezwykła i można się w niej zakochać niezależnie od wieku. Można ją czytać na wiele sposobów i starać się za każdym razem na nowo odnajdywać ukryte w niej przesłanie. Wierszyki i limeryki Edwarda Leara zostały bardzo elegancko wydane przez Wydawnictwo Drzewo Babel, w twardej okładce i na papierze offsetowym. Nadają się zatem idealnie na prezent zarówno dla dziecka jak i dla osoby dorosłej.

Chwile spędzone z tą książka będą na pewno nie zapomniane. Jestem pewna, że zyska ona sobie jeszcze więcej swoich wiernych fanów i zagości w niejednym domu na dłużej. Polecam Wam ją gorąco i zachęcam do poznania niezwykłego Donga co miał świecący nos (Agata, ksiazkimlodziezowe.pl)

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Andrzej Przybielski, Marcin Oles & Bartlomiej Brat Oles - Abstract (2003)

Andrzej Przybielski: Takim go zapamiętamy
Emilia Iwanciw, Marta Krygier

Andrzej Przybielski, legenda freejazzowej trąbki, od 1948 r. mieszkał przy ul. Jagiellońskiej 2 nad klubem Savoy. Na wprost klarysek. Jednym z jego ulubionych popisów było przedrzeźnianie hejnału, który codziennie dobiegał z kościoła. Dodawał do niego na swojej trąbce wariackie kontrapunkty. Przez kilka ostatnich tygodni nie był jednak w nastroju do zabawy. Wisiała nad nim groźba eksmisji, bo nie płacił czynszu za swoje komunalne mieszkanie. Miał dług 40 tys. zł.

Poprosił zaprzyjaźnionego muzyka Józefa Eliasza, żeby coś zaradził.

Eliasz: - Andrzej dzwonił do mnie codziennie od dwóch tygodni i pytał nieśmiało: "Cześć, bracie, i jak tam moja sprawa?". Bardzo się martwił, że straci mieszkanie. Dla niego wyprowadzka gdzieś na peryferie do lokalu socjalnego oznaczałaby śmierć nie tylko artystyczną. Ostatni raz rozmawialiśmy we wtorek. Powiedziałem mu, że środowisko muzyczne chce mu pomóc spłacić dług. Dogadaliśmy się z pięćdziesięcioma zaprzyjaźnionymi muzykami, że każdy z nas będzie mu wpłacał na konto po 20 zł miesięcznie. Chcieliśmy też poprosić prezydenta miasta o pomoc materialną. Nie zdążyliśmy.

Andrzej Przybielski zmarł sam w swoim mieszkaniu.

- Kiedy razem nagrywaliśmy w 2009 r. płytę, mieliśmy świadomość, że mogą to być jedne z jego ostatnich nagrań - mówi Rafał Gorzycki, bydgoski perkusista. - Nigdy się nie oszczędzał, od lat palił marihuanę, żył na krawędzi, wyniszczał się. Miał wielki talent, ale był nieprzystosowany społecznie. Mimo że nigdy nie zwracał specjalnie uwagi na sprawy materialne, to bardzo się przejmował grożącą mu eksmisją. Styl życia i te wszystkie zmartwienia, które go ostatnio dopadły, mogły sprawić, że jego serce nie wytrzymało.

Wzrok na w pół do dwunastej

Stalowa Wola. Aula Zespołu Szkół Muzycznych wypełniona po brzegi. Na sali uczniowie, młodzież i dzieci, rodzice, grono pedagogiczne, dyrekcja.

- Opowiadamy dyrdymały o instrumentach i muzyce - wspomina basista Grzegorz Nadolny. - Karol Szymanowski, wibrafonista, zagaja: "A teraz pan Andrzej opowie coś o trąbce". Przybielski wychodzi zza kulis, na szyi ręcznik, w jednej ręce trąbka, w drugiej flugelhorn, podchodzi do mikrofonu i milczy. Wzrok utkwiony w przestrzeń, i nic. Mija minuta, nic, milczy. Mija druga, i nic. Mija trzecia minuta, i nic. Dzieciarnia szemrze, młodzież dowcipkuje, rodzice robią głupie miny, nic. Mija czwarta minuta. Co robić, cholera? Szum coraz większy, dyrektor coś komuś mówi na ucho, nam cierpnie skóra. Andrzej stoi niewzruszony ze wzrokiem na w pół do dwunastej, trąbka, flugelhorn, ręcznik. Mija piąta minuta, Przybielski cichym i spokojnym głosem mówi:

"Trąbka, bracie, trąbka, bracie, to jest piękny instrument".

Takimi anegdotami o bydgoskiej legendzie freejazzowej trąbki jazzmani z całej Polski sypią jak z rękawa.

W latach 70. Andrzej Przybielski sparaliżował pierwszy dzień obrad zjazdu Polskiego Stowarzyszenia Jazzowego, zadając wszystkim zebranym wciąż to samo pytanie: "Koledzy, czy jazz jest sztuką?". Następnego dnia przed obradami został zawieszony transparent "Jazz jest sztuką".

Co to, kurde, za gość?

Rafał Gorzycki dobrze pamięta pierwsze spotkanie z Przybielskim.

- Był początek lat 90., trwa jam session w nieistniejącym już klubie Trytony. Moją uwagę zwrócił jakiś dziwny facet w kapeluszu, z trąbką w ręku, zatopiony w fotelu. Trudno powiedzieć, czy spał, czy kontemplował. Nagle poderwał się, wskoczył na scenę i nie zważając kompletnie na to, że trwa występ innych muzyków, zaczął dąć z całych sił w trąbkę, wydobywając z niej jakieś szalone brzmienie. Cały ten popis trwał niecałą minutę, po czym Przybielski wrócił na fotel i znowu zasnął. Po jakiejś pół godzinie znienacka otworzył oczy i cała sytuacja się powtórzyła. Kurde, co to za gość, jakiś chyba z kosmosu, myślałem.

Miałem go wtedy za totalnego świra. Dopiero parę lat później, kiedy spotkaliśmy się przy jakimś nagraniu, dostrzegłem w nim genialny muzyczny umysł.

Przybielski nie był zbyt rozmowny. Wolał, gdy za niego mówiła jego muzyka. Był za to mistrzem krótkich, błyskotliwych strzałów.

Eliasz: - Niektóre jego teksty zapamiętam do końca życia. W latach 90. Andrzej był kreatorem życia towarzyskiego w Trytonach. Muzycy wtedy grali bardzo głośno, często do białego rana. U góry, nad klubem, mieszkała poukładana rodzina, która miała już dość tych koncertów. Kiedyś pewien muzyk spotkał Andrzeja na Starym Rynku i spytał, co tam w Trytonach? A Andrzej westchnął: "Oj, niedobrze, bracie. Fala zastrzeżeń popłynęła kanałami administracyjnymi".

Najlepszy z wojskowych

Muzycy są zgodni co do jednego - gdyby Andrzej Przybielski chciał choć trochę współpracować z innymi artystami, to byłby jedną z pierwszych trąbek na świecie. Osobowość, talent i wyobraźnię bydgoskiego trębacza wychwalali wszyscy artyści, z którymi grał, Czesław Niemen, Krzysztof Komeda, Józef Skrzek, Stanisław Soyka, Tomasz Stańko i wielu innych.

Stańko, na którego płycie "Peyotl" gra Przybielski, mawiał: "Z wojskowych najbardziej cenię majora Andrzeja Przybielskiego, a z królów Władysława Jagiełłę".

Muzycy cenili Przybielskiego przede wszystkim za jego talent, oryginalne brzmienie i bezkompromisowość.

Nadolny pisał o Przybielskim: "Zazdroszczę mu tego, że jest wolny i niezależny, ale cena, jaką za to płacił, odstrasza mnie od tego, by żyć jak on. Czasami chudy, głodny i cichy, czasami z wielkim brzuchem, rozrabiaka. Nauczył mnie bardzo ważnej rzeczy, że muzyka nie kończy się na odgrywaniu tekstu z nut czy akordów, ale zaczyna się ona, kiedy się ją tworzy na scenie z innymi muzykami. Odkrył przede mną wielki świat żywej kreacji".

Przybielski zwany w różnych okresach życia "Przybiełka" albo "Andy", zawsze był otwarty na grę z młodymi muzykami. Nie zależało mu na pieniądzach. Żył na skraju nędzy.

Bartek Chwastek z Przybielskim nagrał kilka utworów: - Dla mnie jeszcze jako dzieciaka to był prawdziwy guru, postać historyczna, człowiek, o którym krążą legendy, trębacz, który grał z tyloma muzykami, że nie sposób ich wymienić. Kiedy dowiedziałem się, że będę z nim grał, byłem podniecony jak nigdy w życiu. Nie wiem, czy Bydgoszcz wyda kiedyś jeszcze tak utalentowanego muzyka.

Sławek Janicki, współzałożyciel klubu Mózg i muzyk yassowy, twierdzi, że najlepiej wychodziły takie koncerty, w których Przybielski był główną gwiazdą.

- Jak zaczynaliśmy grać w 1991 r. z zespołem "Trytony", nie mogliśmy zrozumieć, co ten Andrzej gra - wspomina. - My zajmowaliśmy się wtedy jeszcze standardami i dziwiło nas, że on je gra jakoś po swojemu. Spytałem kiedyś, Andrzej, co ty właściwie grasz? A on na to: "Gram do bębna basowego, bracie". Ale czemu się nie uczysz tematów? On na to: "Bo to ze mną się gra, bracie". On sam chciał nadawać ton, a nie się podporządkowywać nutom.

Ciche chrapanie Andrzeja

Przybielski uwielbiał wprawiać ludzi w konsternację.

Gorzycki: - Kiedyś wracaliśmy z jakiegoś koncertu, a on nagle głośno zawołał na cały bus: "Rafał, weź zjedź do jakiegoś kiosku, bo muszę kupić kondomy na wieczór!". On kompletnie nie przejmował się, co sobie pomyślą inni.

Powszechnie znana była jego słabość do skrętów.

- Kiedy poznawał nową osobę, to pytał bez ogródek, masz, bracie, zioło? Zaczepiał o to znajomych, barmanów, szefów lokali, kucharki, każdego bez wyjątku - mówi Gorzycki.

Bartek Chwastek przed nagrywaniem Przybielskiego został uprzedzony, żeby mieć przy sobie marihuanę, jeśli chce, żeby sesja się udała.

- Załatwiłem gram jarania - opowiada Bartek. - Andrzej przyszedł. Myślałem, że najpierw porozmawiamy, ale on od razu zapytał, masz zioło? Dałem mu tego grama, wypalił od razu. Włączyłem ścieżkę ze swoją muzą. On od razu zaczął grać, choć nigdy tego kawałka nie słyszał. Zorientowałem się, że już się zaczęło i włączyłem nagrywanie. Utwór był długi, ponad dziesięć minut. W pewnym momencie słyszę, Andrzej nie gra. Patrzę, zasnął. Nie wiedziałem, co robić. Przeczekałem trzy minuty. Nagle Andrzej się budzi i jak gdyby nigdy nic zaczyna grać. Niczego nie zmieniłem w tym nagraniu, zostawiłem sen Andrzeja. Jak ktoś się dobrze wsłucha, może w nim usłyszeć ciche chrapanie.

Dziesięciu małych Chińczyków

Każda próba z "Przybiełką" obfitowała w niespodzianki.

Basista Grzegorz Nadolny do dziś wspomina pierwszą próbę składu Asocjacja Andrzeja Przybielskiego.

- Nuty, dziesięć całych taktów bez klucza i metrum, na środkowej linii dziesięć całych nut połączonych ligaturą, słowem, jedna wielka zagadka. Andrzej, jak ja mam to grać? - pytam. A on na to: "Zamknij oczy, bracie, i wyobraź sobie dziesięciu małych skaczących Chińczyków". Po czym bez słowa wszedł na taboret i z kamienną twarzą podskoczył dziesięć razy.

Gorzycki wspomina takie zdarzenie: - Dwa lata temu w Łodzi nagrywaliśmy materiał na koncertowy album. Nauczeni doświadczeniem, że Andrzej na koncertach odwala różne numery, już dzień wcześniej nagraliśmy materiał, żeby mieć w razie czego duble do wykorzystania. I dobrze zrobiliśmy. Kiedy tuż przed koncertem Andrzej rozstawił się już ze swoimi czterema trąbkami na przedzie sceny, wyjął fajkę i zaczął ją nabijać marihuaną, już wiedziałem, że będzie wesoło. Po paru minutach koncertu nagrywanego na żywo zaczął dyrygować całym zespołem. Głośno komentował, kto i jak powinien grać, kto ma zagrać solo, kto ma grać ciszej, a kto głośniej. Nagle nasz basista nie wytrzymał, rzucił instrument i nie patrząc na reakcję zdziwionej publiczności, zszedł ze sceny, rzucając przekleństwami. Andrzej siedział, zdziwił się: "O co chodzi, przecież gramy taki świetny koncert?"

Nie miał co jeść, kupił sobie kornet

Kiedy Przybielskiemu zaczęło brakować pieniędzy, Eliasz jako prezes stowarzyszenia jazzowego napisał prośbę do ratusza o pomoc finansową dla niego. Udało się załatwić trzy tysiące złotych.

Eliasz: - Andrzej był uradowany. Po kilku dniach zadzwonił. "Cześć, bracie. Kupiłem sobie nowy kornet" - mówi. Pytam, ile wydałeś? A on na to, "trzy tysiące, bracie". Nie miał co jeść, a kupił nowy instrument. To był właśnie cały Andrzej.

Innym razem chciał przyjść na próbę z big bandem i pograć solówki. - Byłem za - mówi Eliasz - ale przestrzegłem go, że gra jest bardzo poukładana, więc dam mu znać, w jakich momentach może się otworzyć. Przyszedł, i jak zwykle grał swoje solówki w tych najmniej odpowiednich miejscach. A potem zapytał: :Dobrze, bracie?". Dobrze, odpowiedziałem. Właśnie za to życie pod prąd wszyscy go kochaliśmy.

Korzystałyśmy ze wspomnień Grzegorza Nadolnego zawartych na stronie internetowej www.mozg.art.pl (Źródło: Gazeta Wyborcza Bydgoszcz)

Andrzej Przybielski has reserved his place in the history of Polish jazz music with a career that spans over 40 years . Starting out in the mid '60s playing the cornet in a traditional jazz band , he became fascinated with jazz avant-garde. During those years his carrier developed as he become involved with all the leading Polish jazz performers of the era, to name a few: Wanda Warska, Andrzej Kurylewicz, Tomasz Stańko , Czesław Niemen, Stanisław Sojka and Jerzy Skrzek. His talent was quickly recognised by jazz critics at many Polish and international festivals, where Przybielski won top prizes for his amazing playing technique as well as his compositions. In the '90s he began collaborating with European jazz musicians in his group: “Andrzej Przybielski Association”.

At present he works with some leading Polish theatrical groups, presenting his works at international festivals and releasing recordings made with various jazz artists. Andrzej is a hero of many often amusing stories but most of all he is a trumpet player who has performed with so many musicians that one would find it very difficult to list them. Each stage of his creative life is accompanied by a series of recordings (he has taken part in the recording of more than 50 albums).

Marcin i Bartłomiej Brat Oleś - double bass and drums – These guys are some of most creative artists, composers and important voices of the young generation in European jazz. They have cooperated with David Murray, Theo Jorgensmann, Ken Vandermark, Erik Friedlander, Simon Nabatov, Chris Speed, Kenny Werner, Herb Robertson, Frank Gratkowski, Jean-Luc Cappozzo, Rudi Mahall and more. Many of their albums were voted the best albums of the year or received the highest recommendations in jazz magazines.

The album you are holding was recorded in 2003 and its origins go back to a couple of days in July we spent together recording the soundtrack for the TV Theater show (Parasite, directed by Marcin Wrona). As long-time devoted fans of Andrzej Przybielski’s music, after having collaborated with him for a number of years, we remain constantly impressed by his working methods and the way he views life through the prism of improvisation. At the same time, we believe his music has never been fully presented. That is why we dared produce this disk and be his accompanying musicians during the recording sessions. Most of the music recorded here has been made with no previous rehearsals, preparations or agreements, which reflects Andrzej’s working methodology as well as his firm conviction that real music does not require declarations and if it is to come into being, it wilt do so without them – hence the comments made ad hoc in the studio right before recording a given track. In order to underline the rawness of this music we decided to record it using only three microphones, so that each instrument could fill the same portion of space and therefore be equally important as the other two. — Marcin & Bartlomiej Brat Oles

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Ultimate Spinach - Live At Unicorn Coffee House, Boston (1967)

Ultimate Spinach powstał w drugiej połowie lat sześćdziesiątych w Bostonie. Założył go wokalista Ian Bruce-Douglas - absolwent szkoły muzycznej. Grupa początkowo nazywała się Underground Cinema i grała mieszaninę rocka i muzyki dawnej. Podczas jednego z występów zauważył ich producent Alan Lorber i spowodował, że grupa (już pod nazwą Ultimate Spinach) podpisała kontrakt z wytwórnią MGM. W 1967 roku ukazała się pierwsza płyta nagranna na żywo w studiu. Zyskała sobie niezwykłą popularność w kręgach psychedelicznej młodzieży i bardzo dobrze się sprzedawał. Drugi album "Behold and See" zespół nagrał w 1968 roku i była kontynuacją muzycznych pomysłów z pierwszej płyty. Jeszcze przed ukończeniem nagrań grupę opuszcza jej założyciel i lider Ian Bruce-Douglas, perkusista Keith Lahteinen oraz basista Richard Nese i gitarzysta Geoffrey Winthrop. Ze starego składu pozostała tylko wokalistka i gitarzystka Barbara Hudson. Miejsce brakujących muzyków weszli członkowie równolegle działającej grupy Chameleon Church. Muzyka odrodzonego Ultimate Spinach praktycznie w niczym nie przypominała już tej z dwóch pierwszych płyt. Słychać to na ostatnim albumie w 1968 roku - Ultimate Spinach III. I tak grupa zakończyła swoje istnienie. Prezentowana płyta "live" pochodzi z najlepszego okresu działalności.

• Ian Bruce-Douglas - vocal
• Barbara Hudson - vocal, guitar
• Keith Lahteinen - drums
• Richard Nese - bass
• Geoffrey Winthrop - guitar

Ultimate Spinach was a psychedelic/ hard rock/ blues band originally from Boston. In their '60's heyday they specialized in lengthy songs such as "Ballad of the Hip Death Goddess", from Ultimate Spinach (1968) and "Genesis of Beauty", from Behold And See (1968). Since 1970 the band have largely abandoned the psychedelic sounds and have (since at least 1975) dropped all of the '60's songs from their setlists (with the exception of 'Ballad Of The Hip Death Goddess' and a few from the third album).

The Ultimate Spinach, comprised of keyboardist/guitarist Ian Bruce-Douglas and singer Barbara Hudson was a band of Boston's alternative scene in the second half of the 1960s. The phenomenon of a "Boston Sound" was more a publicity stunt than a legitimate artistic movement, and the Bruce-Douglas version of the band tends to be remembered for its name. The music is largely forgotten. Despite suffering claims of dishonesty, they published quite technically sophisticated but also musically dull albums. On Ultimate Spinach (MGM, 1968) the standout cuts are the suite "Ballad of the Hip Death Goddess", with an instrumental interval for theremin (an early electronic instrument), feedback and reverberation, and the psychoanalytic folk-blues "Ego Trip". They were taken to court by Country Joe McDonald for having copied "Section 43" in their "Sacrifice of the Moon". Also "Pamela" is reminiscent of Country Joe's "Grace".

More complex compositions, such as the suite in four movements "Genesis of Beauty" and "Fragmentary March of Green", two pieces soaked in mysticism, enliven the second album Behold And See (MGM, 1968). Jazz Thing and Mind Flowers experimented with even more unusual tempos and atmosphere, while the graceful "Gilded Lamp Of The Cosmos" exemplifies the best of their psychedelic folk ballads. (Note: Big Beat's re-release of Behold And See omits "Visions of your Reality". In addition, it liberally edits other cuts, and thus should not be considered a true re-release, if anyone cares). A third album was recorded, but the only original member was Barbara Hudson. One of the musicians who played on the album was guitarist Jeff Baxter, future session man for Steely Dan and The Doobie Brothers. This album is superior to the two before it, largely leaving behind the dated psychedelic effects that characterised the Bruce-Douglas period and developing a sound reminiscent of such acts as The Byrds, The Monkees and the '68-era Beach Boys.

Upon release of the 2nd album, Ian Bruce Douglas was fired by his own management and members of his band. The reason being two fold. First, none of the band members who played on that album were given a credit. Second, Ian was becoming more and more beligerent, insanely egotistical, and unreliable with psychotic and violent episodes. A new band was formed with only Russ Levine and Barbara Hudson as standing original members. Tony Scheuan, Ted Myers, Mike Levine and Jeff Baxter were also added.

In 1970 the band reformed with no original members and have continued to this day, performing (generally in the Oregon area) and releasing several independent albums. This band, while arguably superior to the '60's outfits, has always remained underground and in recent years Bruce-Douglas has derided their existence.

Years later Bruce-Douglas joined the Azlbrax, with whom he released In The Valley Of The Shadow (Intergalactic, 1988). (60s-classic-rock.com)

The first mistake I as a "virgin" bandleader made was that someone would introduce me to a guy who happened to play guitar and I would say "You play guitar? Cool! Wanna play in a band I'm putting together?" With the exception of Barbara Hudson...who I had heard play at an open mic at the UNICORN COFFEEHOUSE, in Boston...I had never heard any of these people play and I didn't have the sense to audition them or "feel out" their personalities beforehand. The drummer, Keith, was the brother of the local record store owner on Cape Cod, where I was living at the time. He, essentially, introduced me to the guitarist and bassist. Keith was a very nice, mellow, easy-going guy...and he played pretty well, too. Unfortunately, he had the good sense to leave the band right after we recorded the first album. Barbara was okay, too. However, I had nothing but problems with the guitarist and bassist. They were a couple of Cape Cod rednecks who played in country bands on weekends. They wanted no part of the Hippie Movement, didn't smoke cannabis or take LSD and had absolutely no concept of the psychedelic images I was trying to create. We nearly came to blows on a number of occasions and were on the verge of collapse when we were "discovered". In a word: I was sincere...if inexperienced...and was doing it for the passion and joy of creating and making music...well, maybe the sex and drugs were part of it, too! They, however, were only in it for the money. To put it mildly, there was something of a "culture shock" between me and the rest of the band. In fact, it ALWAYS seemed to be about "me against them"...and, having had a few really joyful bands since then, I know that it doesn't have to be this way...even if the band has a strong-willed leader, like me. I have always called my bands "benevolent dictatorships" since I reserve the right to make all decisions as I see fit...but, in my best bands, we have always shared a lot of laughter along with the hard work and as my respect and appreciation for my musicians grows, we tend to become friends outside the band and I end up considering their feelings whenever I make those decisions. In a word ULTIMATE SPINACH was a VERY bad mistake...even if it got me my "15 minutes of fame"! (100mirrorsproject.blogspot)

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Ne Zhdali - Hey, Driver, Cool Down the Horses ! (1994)

 

Ne Zhdali - sześcioosobowy zespół z Estonii, założony w 1987 roku w Tallinie. Ich muzyka to połączenie różnych osobowości, gustów muzycznych i inspiracji. Za każdym razem słuchacz ma do czynienia z zaskakującą i przewrotną mieszanką rocka, awangardy i folku. Od początku charakteryzowali się oryginalnym i świeżym podejściem do muzyki, zapewniając sobie solidną pozycję na scenie niezależnej w Związku Radzieckim. W 1989 roku zaprezentowali się po raz pierwszy na Zachodzie, w 1990 roku w Holandii nagrali swój pierwszy album "Rhinoceroses And Other Forms Of Life". Od tego czasu nagrali kilka udanych płyt, występowali w ponad 15 krajach Europy, Kanadzie i Japonii, zawsze przyjmowani z wielką przychylnością.

Hailing from Tallin, Estonia, Ne Zhdali was one of the most exciting rock bands to rise from the soviet underground following the fall of the Communist regime. Blending punk energy with the complexity of true progressive rock (think Henry Cow), occasional funk rhythms and Balkanese folk melodies, the sextet displayed tremendous amounts of energy on stage. It released a handful of albums during its first decade and launched the career of its leader Leonid Soybelman, who went on to become an important figure in European avant-rock.

Soybelman (guitar, vocals), Ilja Komarov (bass), and Andrei Kulagin (aka "Bitty" or Victor Bitlovsky, vocals, keyboards, euphonium) started to play together in high school After the guitarist's two years in the Russian army, they teamed up with drummer Vitali Redchits, trombonist Oleg Davidovitch, trumpeter Veeremaa Vadim, and keyboardist Avi Nedzvetsky. Soybelman was involved in the Russian Drama Theater, a group of multidisciplinary artists based in Tallin. The troupe needed a house band and thus in February 1987 Ne Zhdali came to life. The name means "Unexpected" and comes from the title of a 19th painting by Ilya Repin.

From the start Ne Zhdali built a wild stage show, its virtuoso rhythm section and eccentric brass section framing Soybelman's punkish vocal delivery and guitar playing. The first concert took place in November 1987 and soon the group was playing rock festivals around USSR (Gorbatchev's perestroika was in full motion). A rising popularity led to a permission in 1989 to go West, more precisely to Amsterdam to record the debut LP Rhinoceroses and Other Forms of Life, released on ADM (Netherlands) in 1990.

The fall of the Communists and Estonia's subsequent declaration of independence left many citizens, including Ne Zhdali members, in citizenship limbo, which made touring very difficult. Tired of the situation Soybelman emigrated to Israel and eventually moved to Switzerland. After a few months of uncertainty (during which the other members released She-Ye-Ye, a collection of material from 1989, and Nedzvetsky quit) the group resumed its activities, touring Europe and recording Hey, Driver, Cool Down the Horses!!!, released simultaneously in Russia (by Feelee) and Europe (by RecRec). The group appeared at the MIMI festival in 1994. Whatever Happens, Twist! came out a year later and marked the group's artistic peak. Appearances at Musique Action (France), the Moers New Jazz festival (Germany), and the Victoriaville FIMAV festival (Canada, the group's only visit in America) expanded the group's fanbase, but the flame was already dying. Growing tired of the format, Soybelman had other ideas. A "collaboration camp" with Amy Denio's Billy Tipton Memorial Saxophone Quartet yielded the CD Pollo d'Oro on which the group explores freer grounds. The guitarist's new group Kletka Red released its debut Hijacking in 1997.

Ne Zhdali continues to perform regularly, but besides archival material, live recordings and reissues, there hasn't been a new album in the works since 1996. Soybelman has a fruitful solo career, Komarov leads the group Les Halmas. Kulagin, Davidovitch, and Redchits formed the R&B group BBX. (François Couture)

 

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