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Skip James - Today! (1965)


A ja zakończenie roku 2012 pożegnam się w dosyć melancholijnym nastroju i nie będę życzył wszystkim nie wiadomo jakich frykasów czego na nowy 2013 rok tylko tego, żeby nie było gorzej niż jest. Od kilku dni towarzyszy mi muzyka Skipa Jamesa - jednego z najwybitniejszych bluesmanów wszechczasów.

Skip James (1902 - 1969) - pianista, gitarzysta i pieśniarz Skip James urodził się w miejscowości Bentonia, Mississippi (stąd przynależność do "Bentońskiej Szkoły Bluesa". W jego repertuarze - co charakterystyczne w tamtych czasach - można odnaleźć sporo bluesa, spiritual, kompozycji własnych oraz coverów. Obdarzony charakterystycznym, płaczliwym głosem miał duży wpływ na kształtowanie się amerykańskiego bluesa (jego naśladowcą był m.in. Robert Johnson). Spora aktywność muzyczna w latach dwudziestych i trzydziestych została zatrzymana na całe trzydzieści lat.

Dopiero w latach sześćdziesiątych udało się go namówić na serię występów i nagrań. 

Dziękuje, że wzięliście mnie do zoo, gdzie mogłem zobaczyć rybę, która szczekała jak pies.

Coś mniej więcej w tym stylu powiedział Skip James, gdy wiosną 1966 zaczynał występ w San Diego. Do zoo wzięło go na prośbę organizatora konertu kilku młodych muzyków z San Diego. Skip prawdopodobnie nigdy wcześniej nie był w zoo. Gdy oglądał czarne kruki natychmiast przyszła mu do głowy jedna z jego piosenek Crow James. Tym razem jednak o I’m so glad. Jeśli nie znasz tej piosenki, nie znasz Skipa Jamesa. To samo, jeśli znasz ją tylko dzięki Deep Purple czy Cream (wersja tego brytyjskiego teamu przyniosła Jamesowi nieoczekiwany dopływ zasłużonej gotówki). Wielu krytyków uważa I’m so glad za jeden z najbardziej świetlanych przykładów Fingerstyle, specyficznej techniki gry na gitarze, która pozwala na swoiste „dwa w jednym” – słuchający ma wrażenie, że gra jednocześnie dwójka gitarzystów. Co ciekawe, wykonując kawałek na żywo, James często pozwalał sobie na chwilę szalonego freestylu off the beat, który często wywoływał wśród publiczności obawy, czy ze starzejącym się muzykiem wszystko w porządku. Deep Purple nie byli więc pierwszymi, którzy I’m so glad przyprawili nieoczekiwanym intrem.

I’m so tired, and I am tired, I am tired, I’m tired – kawałek I’m so glad to nie tylko jedna z najbardziej znanych piosenek Jamesa, ale mocny dowód na to, że bluesowi artyści inspirowali także gigantów europejskiego rocka. A tak przy okazji - jakiego zwierzaka miał na myśli Skip, macie jakieś pomysły? (Muzyka Zjednoczona)


Born: June 21, 1902 in Bentonia MS
Died: October 3, 1969 in Philadelphia PA

Mired in obscurity, heard on only a handful of existing (and mighty scratchy) 78-rpm records, blues artist Skip James nevertheless would become one of the best-known and influential of the Mississippi Delta bluesmen during the early 1960s. Possessing a unique vocal style that often soared into a chilling falsetto, wielding a highly individual guitar-playing technique that utilized minor keys and odd tunings, James' legend is almost entirely based on the handful of sides that he recorded for Paramount Records in 1931.

Skip James - Rambling Man

Born Nehemiah Curtis James near Bentonia, Mississippi, James' mother worked as a cook and nanny for wealthy land-owners the Whitehead family, and his absentee father was a bootlegger-turned-preacher. James became enamored with the blues after hearing guitarist Henry Stuckey and the Sims Brothers playing in and around Bentonia. He taught himself guitar and piano, taking a few lessons and picking up more from Stuckey.

James was somewhat of a lazy bluesman, pursuing music when the mood hit him, often partnering with Stuckey to perform at parties and fish fries. Throughout the 1920s, James worked building levees, in logging camps, and performing other back-breaking labor, traveling from Mississippi to Texas and back. He worked in Bentonia, ostensibly as a sharecropper on the Woodbine Plantation, but he actually made most of his money as a bootlegger under the protection of the Whitehead family.

The Paramount Recordings

While living for a while in the Jackson, Mississippi area, James auditioned for local talent scout H.C. Speir, who got the bluesman a deal with Paramount Records. Speir arranged for James to travel to Grafton, Wisconsin for his first and only Paramount recording session. James waxed 26 songs over the course of two days, mixing his unique take on blues music with traditional spirituals.

Among the most emotionally powerful blues songs ever caught on shellac, James' original material and his versions of songs like "22-20 Blues," "I'm So Glad," "Devil Got My Woman" and "Hard Time Killing Floor Blues" are simply stunning, the starkest blues one will ever hear. Unaccompanied, James played both guitar and piano on different songs during the sessions, at least half of the sides he recorded (including the aforementioned songs) standing as classic performances.


Years In The Wilderness

Actually known as "Skippy" back home in Mississippi, the Paramount rep mistakenly labeled James' records as "Skip James," and that's how they went down in history. Sadly, with the impact of the deepening Depression affecting the economy throughout the rural South, James' records failed to sell in any significant quantities - thus their historic scarcity - and Paramount itself would go bankrupt in 1935.

James would return to Mississippi, temporarily quitting blues music, reuniting with his father in Texas and forming a gospel group to back his father's preaching. James himself would become an ordaining Baptist minister in 1932, later becoming a Methodist minister in 1942. James never led his own church, instead he often moved in his father's wake, traveling across the Southeast U.S. before returning to Bentonia. James played blues music only sporadically throughout the 1940s and '50s.

The Folk-Blues Revival Discovers Skip James

Due to the impact of those surviving 1931 Paramount sides, James would be the subject of much debate in the small but fervent early-1960s blues community. He would be "rediscovered" in 1964 by folk guitarist John Fahey, and his friends and fellow musicians Bill Barth and Henry Vestine (who would later become a founding member of Canned Heat). The three convinced James to pick up the guitar and perform at the 1964 Newport Folk Festival, his stunning performance leading to a deal with the folk label Vanguard Records.

Managed by blues historian Dick Waterman, James would subsequently be booked on the folk festival and coffee house circuit during the mid-1960s, often appearing alongside Mississippi John Hurt. James recorded two well-regarded albums for Vanguard, Skip James Today! and Devil Got My Woman, but he remained impoverished due to a scarcity of bookings. In 1966, Eric Clapton's band Cream recorded a cover of James' "I'm So Glad," which resulted in a minor financial windfall for the bluesman.

The Legend of Skip James

Better-educated than most of his peers, and raised in marginally better circumstances due to his mother's position in the Whitehead household, James seldom associated with other blues artists. Egocentric to the point of absurdity, and mistrustful of women, James thought highly of his own songwriting and performing skills. Due to the nature of his material, and his low-key, almost introverted performance style, James was not highly thought of as a juke-joint performer as were Charley Patton or Son House.

As historian Stephen Calt has recounted in his excellent James biography, I'd Rather Be The Devil, James was a complex and idiosyncratic personality.

He would take the best of what he heard from other bluesmen, but seldom shared his material with others. James openly disdained the folk music of the 1960s, and his religious beliefs often conflicted with his hard-drinking, gambling, and bootlegging lifestyle. Due to the unique tuning he pursued on his guitar, in part inspired by Henry Stuckey, James is often considered one of the leading proponents of the "Bentonia" blues style, the existence of which is still debated by blues scholars and historians.

Recommended Albums: Because of his relative obscurity as a blues artist, quality copies of James' early 78s are near-impossible to find. The Early Recordings of Skip James collects James' Paramount recordings from 1931, sourced from old records and rife with surface noise, but the songs feature the artist's incredibly complex guitar style, a bit of piano-pounding, and haunting falsetto vocals. Skip James Today! is the best of James' 1960s-era albums.

Reverend Keith A. Gordon
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Catherine Christer Hennix - The Electric Harpsichord (2010)


Album “The Electric Harpsichord” szwedzkiej kompozytorki Catherine Christer Hennix został zarejestrowany na żywo w 1976 roku w Sztokholmie. Zawiera tylko jeden, (ale za to jaki!) 25-minutowy hipnotyzujący utwór na elektryczny klawesyn, inspirowany twórczością La Monte Younga i Pandita Pran Natha. Bez wątpienia bardzo ważna pozycja pośród muzyki dronowej i minimalizmu.


Hyperbole and silence wrap around Catherine Christer Hennix’s music like the black and white of yin and yang. La Monte Young and Henry Flynt have praised her merger of music and mathematics for decades (well, initially his merger — Christer Hennix was born in 1948 and took the name Catherine when she adopted the female gender in 1990). Hennix hasn’t exactly promoted herself; while she’s lived and occasionally performed in Europe since the early ’90s, until now she hadn’t made any records. Until the release of this volume, the only way to hear Hennix was in person, on certain Henry Flynt records (C Tune, Purified By Fire, and Dharma Warriors) and via Ubuweb.

This release is an excerpt from a 1976 concert and is issued now in tribute to her late guru Pandit Pran Nath, the Kirana gharana singer who also taught Young, Terry Riley and Jon Hassell and died in 1996. Its swanky packaging signifies significance; the CD comes wrapped inside a 60-page booklet with two poems by Young, a lengthy historical-philosophical discussion of the work by Flynt, and an even longer (and decidedly over-my-head) mathematical discussion of the piece by Hennix. But the most meaningful part of the project is Hennix’s rather extraordinary music.

Hennix had been involved with music since her youth, when she got lessons from the American jazz musicians who stayed in her parents’ Stockholm home, and she’d begun working with primitive computer systems before she began associating with Young. After encountering Nath, she synthesized her analysis of tambura drones with the electronic sine tones that Young played in his house all day, every day. The outcome was a music mathematically calculated to induce altered states. The instrumental set-up on The Electric Harpsichord resembles Terry Riley’s time-lag accumulator — she plays an electric keyboard, in this case a Yamaha tuned in Just Intonation and fed into a tape delay system — but the results are quite different. Where Riley generated overlapping streams of notes, Hennix’s music rises and falls like ocean waves, with bright harmonics glinting atop a continuous sound like whitecaps. The harpsichord’s spindly key strokes accumulate into an undulating sonic mass that is neither harsh in the fashion of contemporary noisemakers nor bland. Instead, it’s rich in tones and overtones that seem to multiply in fractal cells that maintain their integrity as they increase in density. Put the CD on and putter about and it just sounds nice; give it your undivided attention and it sucks you right in and whips the alpha waves to the top of your brain pan like foam to the top of a cappuccino.

The effect is a slowing of experienced time, which may be a partial explanation for why it took Hennix so long to get this record out. But to stretch time is to stretch life, and what greater gift could you get from a five-inch shiny disc? (dustedmagazine)
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Khan Jamal Creative Arts Ensemble - Drum Dance to the Motherland (1972)


W komentarzu do kompaktowej reedycji nagrań kwintetu Khana Jamala z roku 1972 Ed Hazell określa "Drum Dance..." mianem jednego z najbardziej niezwykłych i bezprecedensowych arcydzieł w historii jazzu. I muszę przyznać, że w tej, nieco buńczucznej, deklaracji wstępnej kryje się sporo prawdy.

Trzymam bowiem w ręku płytę, która z pozoru wydaje się być jeszcze jednym albumem serwującym solidną porcję etniczno-jazzowych fuzji, tak charakterystycznych dla sceny muzycznej przełomu lat 60. i 70. Są to jednak tylko pozory. Punktem wyjścia i odniesienia dla muzycznej wizji znakomitego wibrafonisty, Khana Jamala, staje się bowiem nie davisowski jazz-rock, ani też hancockowskie electro-funky, ani nawet impro-raga spod znaku Shakti, lecz estetyczna wrażliwość jamajskiego dubu, ujęta jednak w eksperymentalne ramy skonstruowane przez genialnego koordynatora studyjnych poszukiwań Arkestry, Thomasa "Bugsa" Huntera.

Niemal wszystkie kompozycje na tym albumie wyrastają wprost z rozimprowizowanego ducha free, charakterystycznego dla tradycji AACM – wybrzmiewają tu więc dziesiątki perkusjonaliów, zaś małe instrumenty snują swe skromne opowieści. Ton nadają melodyczno-rytmiczne partie marimby i wibrafonu, spięte niezwykle motorycznym, plemiennym rytmem dwóch zestawów perkusyjnych (Alex Ellison, Dwight James). Wszystko to jednak zostaje zanurzone w czysto dubowych efektach, spiętrzających echa i pogłosy oraz zapętlających partie poszczególnych instrumentów, co sprawia, że nad wyraz oszczędne improwizacje solistów przeglądają się nieustannie w sobie nawzajem, odpływając i powracając w gęstej muzycznej magmie, ocierając się miejscami o dokonania repetycyjnego minimalu.

W konsekwencji otrzymujemy futurystyczno-archaiczną wizję afro-jazzu, osadzonego w dubowej estetyce, wzbogaconej o sferę przypadku i improwizacji. W tle pobrzmiewają zaś echa cudownych albumów Arkestry: "When Angels Speak of Love", "Art Forms of Dimensions Tomorrow" i "Lanquidity". Całość sprawia wrażenie, jakby The Art Ensemble of Chicago umówili się na improwizowany jam z Lee Perrym. Nie sądzę więc, aby jakikolwiek entuzjasta jazzu mógł przejść obok tej płyty obojętnie. (diapazon)


Khan Jamal is a well-known jazz vibraphonist from Philadelphia, but it was only recently that most listeners could discover his long lost piece of avant-garde afro-jazz pre-history: a live recording made with a psychedelic dub quintet Creative Art Ensemble. 

Critics were quick to attribute the innovative style to the influence that Sun Ra wielded over Philadelphia’s scene in the early 1970s.  It is true that after losing the lease of Sun Studios, the Arkestra moved to the house owned by Marshall Allen’s father in Germantown.  But as we know, Sun Ra never reconciled himself with the loss of his foothold in New York City (who would be?) and by 1972, the Arkestra was probably spending more time touring than at home.  Although Steve Buchanan (of ‘Tiny Grimes’ fame) once told me fascinating stories about Sun Ra followers in Philly, the extent to which Arkestra exerted direct influence on Khan Jamal and his young cohorts is rather difficult to measure. 

Jamal initially honed his skills in his band Sounds of Liberation, which also included Byard Lancaster.  He later perfected his climactic style with the greats of free jazz drumming: Sunny Murray – the ultimate destroyer of time-keeping dogmatism and Ronald Shannon Jackson, the man who reintroduced tense melodism into the harmolodic canon.  Yet none of these later recordings prepared the backtracking listener for this 1972 jewel. (sonicasymmetry)
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Bob Thiele Emergency - Head Start (1969)


Bob Thiele (July 27, 1922 – January 30, 1996) was an American record producer who worked on countless classic jazz albums and record labels.

He hosted a jazz radio show when he was 14. He also played clarinet and led a band in the New York area. At 17 he founded the Signature Records label and recorded many jazz greats, including Lester Young, Errol Garner and, in 1943, Coleman Hawkins. Signature folded in 1948 and he joined Decca Records in 1952, running its Coral Records subsidiary. His wife was the singer Teresa Brewer, whom he met and produced while working for Decca Records in the 1950s.

He took over as head of Impulse! Records from 1961-69 after founder Creed Taylor went to run Verve Records and signed, and recorded such artists as John Coltrane, Charles Mingus, Dizzy Gillespie, Sonny Rollins, Archie Shepp, Albert Ayler and others. Thiele's most successful hit song was with Louis Armstrong's "What a Wonderful World", which he co-wrote with George David Weiss. According to Thiele's memoir, the recording session for this now-famous song was the scene of a major clash with ABC Records president Larry Newton, who had to be locked out of the studio after getting into a heated argument with Thiele over the song. "What a Wonderful World" was credited to George Douglas or Stanley Clayton. These are pseudonyms Thiele used, made from the names of his uncles, Stanley, Clayton, George, and Douglas.


In the late 1960s Thiele was often brought in to produce artists on the company's Bluesway Records label. He produced the albums that graduated blues giant B.B. King toward the mainstream, including Lucille (1967), Live and Well (1968), and Completely Well (1969), the last biggest seller of King's career to that point. He also produced BluesWay recordings by John Lee Hooker, T-Bone Walker, and others.

After seven years with ABC Records, Thiele formed his own company, Flying Dutchman Productions, in 1968.Thiele later formed his own record label, Flying Dutchman Records, which is now part of Sony Music Entertainment. Later in his career Thiele formed Red Baron Records, which released a number of albums on compact disc, including three by the Bob Thiele Collective, each a different "all-star" group which Thiele himself assembled and produced. In 1995 he released a memoir titled What a Wonderful World.
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Ron Pigpen McKernan - Bring Me My Shotgun.The Apartment Demos 1965-1966


Ron "Pigpen" McKernan był jednym z ojców-założycieli moim zdaniem najwybitniejszego zespołu psychodelicznego. To on, wraz z Jerrym Garci'a, powołał do życia The Warlocks, z którego powstał The Grateful Dead. Pigpen prowadził bardzo hulaszczy tryb życia, co spowodowało, że dosyć szybko zawinął się z tego świata. Spowodował to przede wszystkim alkohol. Miał doskonałą bluesową barwę głosu i wspaniale grał na organach i harmonijce ustnej. To jemu głownie zawdzięczamy bluesowy sznyt w muzyce The Grateful Dead.



Ronald C. "Pigpen" McKernan (September 8, 1945 – March 8, 1973) was a founding member of the Grateful Dead. His contributions to the band included vocals, Hammond organ, harmonica, percussion, and occasionally guitar. In 1994, Pigpen was inducted into the Rock and Roll Hall of Fame, along with the other members of the Grateful Dead.

McKernan was born in San Bruno, California, the son of an R&B and blues disc jockey. He grew up with many African-American friends and felt very strongly connected to black music and culture. As a youth, McKernan taught himself blues piano and developed a biker image. In his early teens, McKernan left Palo Alto High School by mutual agreement with the school's principal. He also began using alcohol in his adolescence.

McKernan began spending time around coffeehouses and music stores, where he met Jerry Garcia. One night Garcia invited McKernan onstage to play harmonica and sing the blues. Garcia was impressed and McKernan became the blues singer in local jam sessions. A high-school friend named Roger gave him his nickname based on his "funky" approach to life. However, in an essay included with the Grateful Dead box-set The Golden Road (1965-1973) it is claimed that a girlfriend of McKernan's gave him the nickname, owing to his similarity to the permanently dirty character in the comic- strip Peanuts.

McKernan was a participant in the predecessor groups leading to the formation of the Grateful Dead, beginning with the Zodiacs and Mother McCree's Uptown Jug Champions. Bob Weir and Bill Kreutzmann were added and the band evolved into The Warlocks. Around 1965, McKernan urged the rest of the Warlocks to switch to electric instruments. Around this time Phil Lesh joined, and they became the Grateful Dead.

McKernan played blues organ as well as harmonica and vocals. While his friends were experimenting with LSD and other psychedelics, McKernan stuck to Thunderbird wine and Southern Comfort. He steadily added more signature tunes to the Dead's repertoire, including some that lasted for the remainder of their live performance career such as "Turn on Your Lovelight" and "In the Midnight Hour."



In 1967 and 1968 respectively, Mickey Hart and Tom Constanten joined the Grateful Dead, causing the band to take a stylistic turn from the blues toward full-blown experimental psychedelia influenced by avant-garde jazz, surrealism, and world music traditions. Constanten often replaced Pigpen on keyboards. In October 1968, McKernan and Weir were nearly fired from the band because of their reluctance to rehearse. Ultimately, the task of firing them was delegated by Garcia to Rock Scully, who said that McKernan "took it hard." The remaining members did a number of shows under the monikers Mickey and the Hartbeats and Jerry Garrceeah and His Friends, mainly playing Grateful Dead songs without lyrics. Weir asked repeatedly to be let back into the band, promising to step up his playing, and eventually the rest of the band relented. McKernan was more stubborn, missing three Dead shows; he finally vowed not to "be lazy" anymore and rejoined the band. In November 1968, Constanten was hired full-time for the band, having only worked in the studio up to that point. Jon McIntire commented that "Pigpen was relegated to the congas at that point and it was really humiliating and he was really hurt, but he couldn't show it, couldn't talk about it."

McKernan would achieve a new prominence throughout 1969, with versions of "Turn On Your Lovelight" (now the band's show-stopping finale) regularly taking fifteen to twenty minutes. When the Grateful Dead appeared at Woodstock, the band's set (which was marred by technical problems and general chaos) consisted mostly of a 48-minute version of the song.

McKernan developed a close friendship with Constanten based on their mutual aversion to psychedelics and eventually served as his best man when Constanten wed. After Constanten's departure in January 1970 over musical and lifestyle differences, McKernan resumed keyboard duties.

McKernan had a short relationship and longer friendship with Janis Joplin — a poster from the early 1970s featured them together. Joplin joined McKernan onstage at the Fillmore West in June 1969 with the Grateful Dead to sing his signature "Turn On Your Lovelight," despite her dislike of the band's jamming style. The two reprised this duet July 16, 1970 at the Euphoria Ballroom in San Rafael, California.


In 1970, McKernan began experiencing symptoms of congenital biliary cirrhosis. After an August 1971 hospitalization, doctors requested that he stop touring indefinitely; pianist Keith Godchaux was subsequently hired and remained a permanent member of the band until 1979. Ever restless, the ailing

McKernan rejoined the band in December 1971 to supplement Godchaux on harmonica, percussion, and organ. After their Europe '72 tour, his health had degenerated to the point where he could no longer continue on the road. He made his final concert appearance on June 17, 1972 at the Hollywood Bowl, in Los Angeles, California.

On March 8, 1973, he was found dead of a gastrointestinal hemorrhage at his home in Corte Madera, California. McKernan is buried at the Alta Mesa Memorial Park (Plot: Hillview Section 16 Lot 311) in Palo Alto, California. (Wikipedia)
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Kapela z Podola (fotografia: Henryk Poddębski) [Musicans from Podole]

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Niski Szum - Songs From The Woods (2011)


Niski szum jest.
Widmo, które tkwi w całym paśmie i całym świecie.
On zmienia nas: układ nerwowy, odbiór dźwięków, kolorów i przestrzeni.
Niski szum jest w mieście i na wsi, wśród ludzi i zwierząt.
Niski szum dotknie Ciebie jak niewidzialna ręka.
Jego moc jest słaba. Obecność niezbędna


Niski Szum to jedna z ciekawszych pozycji, które wpadły mi ostatnio w ręce chociaż ukazała się już jakiś czas temu w 2011 roku. nadrabiam jednak zaległości, bo z takim albumami to sama przyjemność obcowania zarówno pod względem muzycznym jak i metafizycznym.

Marcin „emiter” Dymiter - muzyk i producent muzyczny, znany improwizator - wydał właśnie materiał niepokojący i niezwykle klimatyczny…

Płyta składa się z czterech utworów, a właściwie to trzech – suita The Woods została bowiem podzielona na dwie części. Prawie trzynastominutowy utwór nie jest jednak najdłuższym na płycie, trzeci na EP-ce The River trwa szesnaście i pół minuty, z kolei otwierający materiał Blues From The Green Hills niecałe osiem minut. Łącznie czeka na nas trzydzieści siedem minut dźwięków z pogranicza ambientu, muzyki progresywnej i noise’owej ocierającej się nawet o doom i drone metal. Miejscami przywołuje twórczość Mariusza Dudy z jego projektu Lunatic Soul, który niedawno rozrósł się o suplement zatytułowany Impressions, czy płyt grupy Tides From Nebula.

Blues From The Green Hills został osadzony na delikatnych, kroczących dźwiękach gitar, które z jednej strony przypominają pasaże ze wspomnianego projektu Mariusza Dudy i Tides From Nebula. Senna harmonia zostaje jednak złowrogo przerwana drone’owymi tonami i nieco mocniejszą zagrywką, po czym następuje zejście. The Woods Pt. I również rozpięte na wolnej, sennej akustycznej gitarze z piękną i liryczną melodią. Fantastycznie wpasowuje się w muzykę wiersz amerykańskiego poety Roberta Frosta, który poraża niezwykłymi metafizycznymi słowami. W The River zmieniamy nieco klimat i wkraczamy na niespokojne drone’owe przestrzenie. Monodeklamacja Dymitera rozpięta na wolnym, wżerającym się w głowę tonażu to coś absolutnie niesamowitego przypomina mi o istnieniu gdańskiej grupy Kolonia Postęp. Nie wiem tylko czy naprawdę trzeba było ten utwór wydłużyć do niemal siedemnastu minut, jeśli w kawałku właściwie nic się nie dzieje – niektórzy poczują się znudzeni, a jeszcze inni zatopią się w emocjach, które wylewają się z każdego pojedynczego dźwięku. Ja należę do tej drugiej grupy - zamknąwszy oczy odpływam z nurtem, by wyjść na brzeg w drugiej części The Woods. Wracamy do akustycznych, wolnych, pachnących jesienną melancholią i bluesem klimatów. Właściwie jest to powtórzenie dźwięków z pierwszej części, ale mniej więcej od połowy całość zaczyna narastać. Przez chwilę słychać szum grzechotek, później mamy dalszy ciąg niesamowitego wiersza Stopping By Woods On A Snowy Evening Frosta. Wyciszenie, wyszeptane ostatnie słowa i zejście…

Materiał rozłamuje się na dwie części: z jednej strony do głowy przychodzą obrazy bieszczadzkich połonin, lepkiej mgły i iglastych gęstych lasów, a z drugiej przestrzeni opuszczonych starych fabryk, brudnego łoskotu maszyn, które nagle ze zgrzytem obudziły się do nowego życia. I właśnie ta kontrastowość, niezwykły klimat, w który trzeba wejść, żeby zrozumieć, jest siłą tej płyty. Podobnego grania było już wiele, więc nie jest to nic nowego.

Wszyscy, którzy cenią twórczość Marcina Dymitera, na pewno nie poczują się jednak zawiedzeni. Ci zaś, którzy nie znają, powinni sięgnąć po EP-kę bez chwili zawahania, zwłaszcza gdy ceni się minimalizm i metafizykę - typ muzyki, która nie zostanie puszczona w radiu i nigdy nie będzie piąć się po szczeblach listach przebojów. Wciskam play jeszcze raz i znów wyruszam w tę niezwykłą podróż. [lupus] (źródło)


niski szum is a new solo project of Marcin Dymiter, also known as emiter, co-founder and main person behind famous Ewa Braun, Mordy and Ludzie bands. After years of experimenting with electronics, ambient sounds and field recordings, here Dymiter turns his attention back to his roots: songwriting for guitar and vocals. As pure as blues can be and as mysterious as Robert Frost's poetry, this long awaited CD is a new direction in Dymiter's work.

released 26 September 2011
Marcin Dymiter - voc., guitar, lyrics (3)
lyrics (2, 4) by Robert Frost
(fragments from the poem "Stopping By Woods On A Snowy Evening")

Recorded and mixed by Marcin Dymiter
July-November 2010
Mastered and finalized by Cezary Joczyn and Marcin Dymiter, April 2011
Layout - Ludomir Franczak  

(AudioTong)
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Charles Mingus - The Black Saint & The Sinner Lady (1963)

Charles Mingus – bass, piano, composer
Jerome Richardson – soprano and baritone saxophone, flute
Charlie Mariano – alto saxophone
Dick Hafer – tenor saxophone, flute
Rolf Ericson – trumpet
Richard Williams – trumpet
Quentin Jackson – trombone
Don Butterfield – tuba, contrabass trombone
Jaki Byard – piano
Jay Berliner – acoustic guitar
Dannie Richmond – drums

Wielcy jazzowi kompozytorzy, a takim był z pewnością Charles Mingus często przymierzali się do dłuższych form wzorowanych na schematach znanych z mniej lub bardziej współczesnej muzyki klasycznej. Skomponować dobrą melodię, często ad hoc w studiu potrafi właściwie każdy improwizujący muzyk, a przynajmniej tak być powinno. Dłuższa forma, to co innego, wymaga wiedzy formalnej o teorii kompozycji, historycznej perspektywy związanej z wysłuchaniem odpowiednio dużej ilości płyt i pomysłu na zrobienie czegoś nowego, co wyróżni się wśród innych dzieł podobnej struktury. Tak więc to nie jest zajęcie dla każdego.

Charles Mingus z pewnością miał wszystkie umiejętności potrzebne do zbudowania dużej formy muzycznej oraz odpowiednią dozę kreatywności umożliwiającej mu odkrycie nowych, jeszcze nie wyeksploatowanych muzycznie terytoriów. Właściwie, to był jednym z dwu największych jazzowych kompozytorów (tych od form większych i bardziej skomplikowanych od jazzowego standardu i prostego bluesa). Tym drugim był oczywiście Duke Ellington. Obu czasem wychodziło lepiej, czasem gorzej. Obaj w swoich większych kompozycjach poruszali się w sferze muzycznego eksperymentu i mieszania różnych muzycznych konwencji.

„The Black Saint And The Sinner Lady” to z pewnością dzieło ambitne, z perspektywy czasu może niekoniecznie wybitne, ale z pewnością zarówno interesujące, jak i historycznie ważne dla całej muzyki jazzowej. Wielu historyków gatunku uważa tą płytę za najważniejszą (obok „Mingus Ah Um”) w dorobku lidera i jedną z najważniejszych płyt jazzowych w kategorii absolutnej.

Z tym pierwszym jeszcze mogę się zgodzić, choć dorzuciłbym do wspomnianej dwójki jeszcze co najmniej „Pithecanthropus Erectus”. Z tą drugą tezą jednak zupełnie się nie zgadzam. Dobrze zorkiestrowana i poprawna formalnie kompozycja, to za mało, żeby nosić miano najważniejszego dzieła gatunku. Nie uważam, że to zła płyta, jednak daleko jej do wielu magicznych be-bopowych sesji, wysmakowanych aranżacji Gila Evansa, kilku dzieł orkiestrowych Duke Ellingtona i jeszcze paru nagrań koncertowych. Tak więc w pierwszej setce płyt jazzowych z pewnością się zmieści, ale w pierwszej dziesiątce z pewnością nie.

Jest jednak w muzyce z „The Black Saint And The Sinner Lady” jakas przedziwna magia. To zdolność generowania w głowie słuchaczy obrazów, pobudzania wyobraźni w specyficznie nieoczywisty sposób, za każdym razem inaczej.

Album zarejestrowała w 1963 roku 11 osobowa orkiestra dowodzona przez lidera, który oprócz kontrabasu zagrał na fortepianie. Pozostali muzycy nie są bezimienni, ale z pewnością nie są muzycznymi indywidualnościami. Być może to najlepsza recepta na duże składy. Być może to także unikalne zestawienie, rodzaj magii również w doborze muzyków cechujący nadzwyczajne i ponadczasowe nagrania.

W oryginalnym komentarzu kompozytora i lidera do płyty znajdziemy odrobinę ekstrawagancji i dorabiania teorii nieco na siłe do praktyki. Jak to często bywało, i tą płytę Charles Mingus uznał za dzieło swojego życia, niemal zalecając słuchaczom wyrzucenie wszystkich poprzednich… Dodatkowy komentarz pochodzi od jego osobistego psychoterapeuty…

Tylko taki geniusz jak Charles Mingus mógł przygotować tak wyrafinowaną, a jednocześnie niespodziewanie dostępną dla każdego, wielowarstwową muzykę. Tylko on mógł w tak momentami niespodziewany sposób wykorzystać barwy powszechnie znanych instrumentów do stworzenia niespotykanych współbrzmień pobudzających wyobraźnię.

To nie jest album, który pokochacie za pierwszym razem. Ale to jest album, który pokochacie na pewno. Mało jest takich płyt, co do których mam absolutną pewność, że tak będzie…(Subiektywny Dziennik Muzyczny)



The Black Saint and the Sinner Lady is a studio album by American jazz musician Charles Mingus, released on Impulse! Records in 1963. The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements.

The album was recorded on January 20, 1963 by an eleven-piece band made up of Mingus (double bass, piano), Jerome Richardson (soprano and baritone saxophone, flute), Charlie Mariano (alto saxophone), Dick Hafer (tenor saxophone, flute), Rolf Ericson (trumpet), Richard Williams (trumpet), Quentin Jackson (trombone), Don Butterfield (tuba, contrabass trombone), Jaki Byard (piano), Jay Berliner (acoustic guitar) and Dannie Richmond (drums). Bob Thiele served as producer and Bob Simpson as studio engineer.

Mingus has called the album's orchestral style "ethnic folk-dance music". Mingus's perfectionism led to extensive use of studio overdubbing techniques.

The album features liner notes written by Mingus and his then-psychotherapist, Dr. Edmund Pollock. The Black Saint and the Sinner Lady is often characterized by jazz and music critics as one of Mingus's two major masterworks (the other being Mingus Ah Um) and has frequently ranked highly on lists of the best albums of all time.

The reception to The Black Saint and the Sinner Lady has been generally positive. Indeed, Piero Scaruffi ranks it as the greatest jazz album of all time. Richard Cook and Brian Morton, writers of The Penguin Guide to Jazz, award the album a "Crown" token, the publication's highest accolade, in addition to the highest four-star rating. Steve Huey of Allmusic awards The Black Saint and the Sinner Lady five stars out of five and describes the album as "one of the greatest achievements in orchestration by any composer in jazz history." Q magazine describes the album as "a mixture of haunting bluesiness, dancing vivacity, and moments of Andalusian heat..." and awards it four of five stars.
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Wesołych Świąt / Merry Christmas


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White Heaven - Levitation (1997)


I znów rock psychodeliczny z Japonii, tym razem zespół White Heaven. Założony w 1980 roku jako Living End, po kilku zmianach personalnych zostaje ostatecznie przemianowany w 1985 roku właśnie na White Heaven. Wydali w sumie pięć albumów, z czego "Levitation" to materiał zarejestrowany jeszcze w 1988 roku, wydany jednak po raz pierwszy w 1997 roku na winylu w limitowanej edycji 700 sztuk. Niezła ciekawostka nie tylko dla amatorów japońskiej psychodelii.


The roots of Japanese neo-psych legends White Heaven date back to 1980. Originally dubbed Living End, the group was shaped from a series of jam sessions helmed by singer/guitarist You Ishihara, its sprawling, ever-revolving lineup of musicians eventually crystallizing in 1984 around You, guitarist Tetsuya Sakamoto, bassist Takayuki Nakagoshi, and drummer Ken Ishihara. After a handful of gigs, Living End added guitarist Ken Matsutani, and in late 1985 the quintet adopted the name White Heaven. Matsutani exited in mid-1986 to form his own outfit, Marble Sheep & the Rundown Sun's Children, and after adding ex-ONNA guitarist Michio Kurihara, the group issued Electric Cool Acid, a self-released cassette documenting a live appearance in Tokyo. A series of lineup changes plagued White Heaven over the next few years, and when in the spring of 1991 the band finally issued its first official LP, the P.S.F. label release Out, the lineup consisted of You on vocals, Michio on guitar, Ken on drums, and Naohiro Yoshimoto on bass. Michio and Naohiro both exited soon after the sessions wrapped, with new guitarist Souchirou Nakamura and bassist Kouji Samura signing on for the second White Heaven LP, 1993's Strange Bedfellow. Michio returned to the roster in time for 1994's Next to Nothing, with bassist Koji Shimura replacing Kouji for the follow-up single, "Threshold of the Pain." After issuing an expanded Electric Cool Acid, White Heaven toured Europe. Upon returning to Japan, Kouji returned to the lineup, this time replacing Ken on drums, with Chiyo Kamekawa assuming bass duties for what would prove to be the group's final LP, 1997's Levitation. Following an Osaka performance later that year, White Heaven dissolved, with You mounting a solo project and Michio joining Ghost. In late 1999 You, Michio, and Chiyo reunited as the Stars, recruiting drummer Yasunobu Arakawa for their 2004 debut LP, Will. (amg)
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Roy Brooks & The Artistic Truth - Ethnic Expression (1973)


Easily one of the most coveted and sought-after of all jazz LPs is the elusive Holy Grail that is Roy Brooks’ Ethnic Expressions. It’s not just rarity that makes a record of this nature so desirable, nor is it the compelling music within… sometimes, like a Van Gogh or a Picasso, it’s the personality of the artist himself that’s inexorably entwined with the record itself that lends a fascinating, mesmeric and mythical quality that simply can’t be contrived.

The sixth release in our HOLY GRAIL series is an attentive reissue of one of Detroit drummer Roy Brooks’ two LPs for the tiny Im Hotep label out of New York. This Jazzman release is in conjunction with P-Vine records of Tokyo, whose Japanese reissue has already vanished with only a handful having reached these shores late in 2009.

Ethnic Expressions was recorded live in NYC in 1973, and exhibits a powerful message of black consciousness and spiritual freedom. This is post-Coltrane progressive jazz of the highest order! With a cry to his African roots, Brooks’ music combines modal, rhythmic and Afro-centric jazz with politics, spirituality and a positive vibes. The result is deep, esoteric spiritual jazz that any fan into real deal vibrant jazz will require as essential listening.

The LP is a reproduction of the original, pressed on 180g virgin vinyl. The CD also contains a colour booklet with extra pictures and liner notes translated from those written by respected Japanese jazz collector Yusuke Ogawa. Limited to 1000 copies. --- Jazzman Records Ltd.
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The Legendary Stardust Cowboy - Paralyzed! His Vintage Recordings 1968-1981


The Legendary Stardust Cowboy (born Norman Carl Odam on September 5, 1947, in Lubbock, Texas) is an outsider performer who is considered one of the pioneers of the genre that came to be known as psychobilly in the 1960s. While sometimes considered a novelty artist, he regards himself a serious performer.

Odam was interested in space travel from early childhood, recalling that at kindergarten age he "used to look at the moon and told myself that some day man will go to the moon." As a teenager he combined his interests in outer space and the American west to create the name "Stardust Cowboy," adding the word "legendary" because "I am a legend in my own time." The fact that the initials of "Legendary Star Dust," LSD, referred to a popular drug at the time was coincidental; he claims to have adopted the name in 1961, before the drug was popularized.

Odam took up music in his high school years as a means toward popularity and impressing girls. Inspired by Chet Atkins he took up guitar and also taught himself to play the bugle. After high school he briefly attended college, majoring in electronics.

While in college Odam had the idea of "writing a wild song that would captivate everybody." This led to his writing of a song, "Paralyzed," which he performed at local talent contests. He recorded "Paralyzed" in 1968 in what was apparently a moment of spare time in a recording studio in Fort Worth, Texas. He played dobro and bugle, while T-Bone Burnett played drums. The track features unintelligible snarls, growls, and similar vocalisms, surrounded by frantic strumming on acoustic guitar, Burnett's equally frantic drumming, and occasional yelps of the song's title, "Paralyzed!" The exact words that are uttered change with each performance, and are occasionally somewhat intelligible. The song's title stems from the fact that the utterances resemble what a person who has suffered paralysis in the mouth (such as that from a stroke) and subsequently lost the ability to speak would sound like when attempting to yell or sing; on some covers of the song, Odam can be somewhat clearly heard stating "left me paralyzed."


Five hundred copies of the single were initially pressed and were released on Odam's own "Psycho-Suave" label. The song gained some regional popularity and was picked up by a major label, Mercury Records, eventually entering the Billboard Top 200. The song's popularity earned "the Ledge" (as he is known by fans) an appearance on NBC's Rowan and Martin's Laugh-in comedy television series in which he dressed in his trademark buckskin jacket, boots and spurs, and ten-gallon hat. He performed "Paralyzed" and its B-side, "Who’s Knocking On My Door." During the latter song the Laugh-In cast began cavorting and clowning around him. The Ledge, in his words, "got mad and ran off the set. That wasn't part of the act."

Odam was invited to appear on other programs but these were canceled because of a musicians' strike that halted live television performances. By the time the strike was over, his 15 minutes of fame had lapsed. Historian Rob Weiner of Texas Tech University considers Odam's musical career "a product of desperation," a result of the adage that "there is nothing to do in Lubbock". "Paralyzed" went on to be featured on several Doctor Demento compilations, and it often appears prominently in lists of the worst recordings ever made.

Odam has continued recording intermittently since "Paralyzed" and released several albums and singles. "I Took a Trip on a Gemini Spaceship" was covered by longtime fan David Bowie on his Heathen album. Odam returned the compliment by recording his version of "Space Oddity". Bowie himself has said that the term "stardust" in "Ziggy Stardust" is taken from The Legendary Stardust Cowboy.

A documentary of Odam's career, entitled Cotton Pickin’ Smash! The Story of the Legendary Stardust Cowboy, was prepared during the late 1980s. It remains unreleased commercially but is occasionally viewed non-commercially.

Odam currently resides in San Jose, California, and still performs regularly. Since the late 1990s Odam has played with a backing band called the Altamont Boys, which includes bassist Klaus Flouride (of the Dead Kennedys), guitarist Jay Rosen, and drummer Joey Meyers. In May 2007, he played at the David Bowie High-Line festival in New York City at Bowie's invitation. Weiner said that Odam has never returned to perform in Lubbock, having believed that his hometown, where he first gained experience by playing in parking lots to draw an audience, offered him little encouragement.

College radio station KMSU in Mankato, Minnesota flew the Legendary Stardust Cowboy and his band to Mankato in May of 2010 for a show, at which the Mayor declared, officially, that May 21 is "Legendary Stardust Cowboy Day" in Mankato, Minnesota. Mankato has emerged as a "Mecca" for Legendary Stardust Cowboy fans, perhaps 2nd only to San Francisco, California.

In late 2011, The Legendary Stardust Cowboy released an anthology of his life's work, a double CD on Cherry Red Records from England,  titled "For Sarah, Raquel, and David: An Anthology". The first names refer to Sarah Ferguson, Duchess of York, Raquel Welch, actress, and performing artist David Bowie, all longtime fans of The Ledge's work. Rumors of a European tour abound.
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Asahito Nanjo - Greed (2005)


Asahito Nanjo to japoński basista oraz wokalista dobrze znany z  psychodelicznych grup High Rise, Mainliner i Musica Transonic, aktywny na tamtejszej scenie od końca lat 70-tych zdobył sobie pozycję jednej z najważniejszych postaci japońskiej współczesnej awangardy. Dotychczas wydał tylko jeden album firmowany swoim nazwiskiem, do nagrania którego zaprosił trzech muzyków, byli to: Makoto Kawabata (gitara), Hisashi Yasuda (bas) i Nobuko Emi (perkusja). Muzycy stworzyli bardzo ciekawą płytę składającą się z dwóch interesująco długich psychodelicznych wycieczek z charakterystycznym japońskim pazurem.


Leader and bassist of the cult heavy-psych japanese band High Rise, Asahito Nanjo started as guitarist under the name Red in the late seventies with his first experience : Red & Lapis and have formed later many other group, such as the well-knows Mainliner, Toho Sara, Musica Transonic.

In more than 25 years, “Greed” is in fact Nanjo’s first solo release. Recorded in 1993 and mastered at La Musica studio 2004, with the participation of Makoto Kawabata (guitar), Hisashi Yasuda (bass) and Nobuko Emi (drums), Nanjo use the criminal guitar, effect, voice and offer two long tracks. Composed and structured in the same vein as the solar first album of Ash Ra Tempel, “Greed” is a dark psych-fuzz esoteric album, a veneration of the black sun, who follow more deeper the musical direction taken with the mysterious Ohkami No Jikan. (fractal-records)
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Julia Doszna - Tam na Łemkowynie (2000)


... Urodziłam się, gdy śnieg leżał jeszcze na stokach, lecz pączki miały rozwinąć się lada dzień.
Mowa, którą w sobie noszę jest mową mojej ziemi, jej wiary, tęsknoty, radości.
Kiedy jest mi smutno, idę posłuchać, co mówią drzewa. One mnie nigdy nie zawiodły.
Gdy czuję, że żyję - śpiewam.
Bo śpiew jest we wszystkim co żyje: w kwiatach i ptakach, w cieple słońca i chłodzie kropel deszczu, w potoku stromo spadającym i nawet w ciszy przydrożnego kamienia ukryte jest tajemne jego brzmienie.
Śpiew jest modlitwą stworzenia do Stwórcy. Moją modlitwą.

Julia Doszna - Łemkowska pieśniarka, obdarzona ciepłym , przejmującym głosem. Urodziła się w Bielance - małej wsi w Beskidzie Niskim. Dziś mieszka i pracuje w Łosiu niedaleko Gorlic. Śpiewanie od najmłodszych lat stanowi jej chleb powszedni, jest jej modlitwą i rozmową z ludźmi. Z pewnością wiąże się to z wyrastaniem w tradycji i kulturze swych przodków, co jest fundamentem poczucia własnej tożsamości.

Przez wiele lat śpiewała z zespołem "Łemkowyna", z którym gościła na wielu koncertach w Polsce, Kanadzie i Stanach Zjednoczonych. Julia Doszna uczyła się śpiewać jeszcze w dzieciństwie. Techniki wokalne i umiejętność operowania głosem opanowała w czasie pracy w zespole "Łemkowyna". Postanowiła odejść z zespołu, gdyż miała wrażenie, że w grupie nie jest w stanie przekazać pieśni tak, jakby chciała. Stara się zachować i uwypuklić wszystkie charakterystyczne dla łemkowskiej melodyki cechy: czardaszowe rytmy, przeciągania, zawodzenia. Jej interpretacja starych łemkowskich pieśni pozwala słuchaczom przenieść się na Łemkowszczyznę do krainy lasów, łąk, zapomnianych wsi i drewnianych cerkwi. Julia Doszna jest gościem i ozdobą wielu przeglądów i festiwali prezentujących kulturę mniejszości narodowych i regionów Podkarpacia. Zabiegają o jej udział organizatorzy licznych koncertów folkowych w kraju.

W Łosiu prowadzi dziecięcy zespół "Wereteno", działający przy tamtejszej parafii grekokatolickiej.W swoim artystycznym dorobku ma kasetę pt.: "Z kolędami po Karpatach" oraz dwie płyty CD : "Tam na Łemkowynie", "Czoho płaczesz". Płyta "Tam na Łemkowynie" została laureatem Folkowego Fonogramu Roku 2000. Współpracuje z Krakowskim Ośrodkiem TVP przy realizacji filmów "U siebie" ukazujących kulturę i życie Łemków. Sama była bohaterką telewizyjnych filmów dokumentalnych. 

From these songs
A green-eyed angel comes to you.
With finger placed across her lips
She leads you deep inside yourself
And commands your attention.
There, with a kiss
She opens your eyes.
After a moment, she nestles into the wall
And transforms into an image of stained glass.
This Angel is Julia.


Julia Doszna, gifted with a voice soothing as a natural spring, hails from the picturesque hamlet of Bielanka in the very heart of the gentle land known as the Beskid Niski.

She was raised in a Lemko family, with a deep sense of her ethnic identity, in the tradition of the Eastern-Byzantine Church.

She says of herself, "Singing is not just an internal need, or even an internal force. It is rather my prayer and my way of talking with people about Lemkos, about their love for God, people and this land." That is why in Julia's songs one finds such a wealth of emotion and a sense of that which is sacred.

From the beginning, singing songs of her heritage became Julia's passion. The origins of her performing on stage are closely tied with the folk group "Lemkovyna." Later, she began appearing alone. At present, Julia sings in various configurations: "a cappella"; with classical guitarist Krzysztof Pietruch; as well as appearances with a choir under the direction of Jaroslaw Mazur.

Julia's repertoire comprises traditional, religious, ceremonial and lyrical songs. One can hear her on the cassette entitled "Christmas Carols in the Carpathians" as well as on the CDs "Tam na Łemkwyni"/"There in Lemkovyna" and "Czoho płaczesz?"/"Why Are You Crying?"


Her a cappella singing on the disc "There in Lemkovyna" is an attempt to preserve traditional Lemko songs in their age-old sound, however, with an interpretation such that they could just as easily ring out on the stages of a philharmonic hall. This is due not only to the innate talent of this singer, but also to the refined quality of her voice.

"Why Are You Crying" is a CD with songs accompanied by the guitar of Krzysztof Pietruch. These lyrical tunes are creations, among others, of such poets as Jaroslaw Mereny and Bohdan Ihor Antonycz, with the music of Stepan Kozak.

Julia has appeared with her Lemko songs under the lights of such stages as The Summer Opera in Sopot; the Groteska, Zydowski, and Buckleina Theatres in Krakow; the National Library, The "Small" Theatre and the "General" Theatre in Warsaw; the Kozla Theatre in Wroclaw; the Zankowecki Theatre and the Opera in L'wow; and at Iwaszkiewiczs'in Stawisk. She had the good fortune to appear with known artists such as: Dudaryk, Lemkowyna, Roma, Orkiestra sw. Mikolaja, Kwartet Jorgi, Muzykance, Czeremszyna, Teatr Wegajty, and Teatr Gardzienice.

She has participated numerous times at: The Festival of Ukrainian Culture in Sopot; Reviews of the Artistic Works of Ethnic and National Minorities (Warsaw); The Lemko "Watra" Festivals; and folk events such as the Folk Fiesta in Slaskie Zabkowice; International "Kiczer" Meetings in Legnica, The World Gathering of the Federation of Lemkos in Kiev; The World of Lemko Culture in Zyndranowa, various gatherings in Olchowiec, Radoszyce, Losie, and Krynica Górna.

In the 1990s, representing the Lemko minority, she co-produced a program in the cycle entitled "At Home" with Krakow Television. Parts of the cycle received either special recognition or awards.

Julia Doszna is co-founder and present director of the children's group "Wereteno." With full determination, she puts into action her dream to raise a generation of future ambassadors who will spread the "spellbinding beauty" of Lemko culture. "Wereteno" is something more than just a singing group, it is a musical meeting of the youngest Lemkos, with the sounds of speech and song that one hears in Lemkovyna "in the tiny huts, along small brooks and in the church." The children are presently working with the splendid sounds of a choir under the direction of Jaroslaw Mazur on a new CD entitled "Only Lemkos".

In 2004, together with the actor Zygmunt Sierakowski of the "Teatr Powszechny" in Warsaw, Julia prepared Jerzy Harasymowicz's "Rusyn Candlestick". The show premiered in October 2004. (source)
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Niebieski Lotnik - Love Surprise (2000)


"Na początku lat 80. młody klarnecista Mazzoll założył zespół, w którym zapragnął udokumentować obecność Ducha Świętego. [...] Do dziś wiadomo, że pierwszy etap lotów Niebieskiego Lotnika zamyka współpraca ze znanymi polskimi dżezmenami Olem Walickim i Jackiem Olterem.

Od 1999 roku datuje się reanimacja Niebieskiego Lotnika, Mazzoll odnajduje się w braterskim uścisku odwiecznych przyjaciół, Wojtka i Gwizdka. Pisze tekst: "Przyjaciele! Nie odczuwam niepokoju, LOVE SURPRISE ORA PRO NOBIS". Niebieski Lotnik rozwija i doskonali metodę muzyczną zawartą na "Out, Out To Lunch" grupy Mazzoll & Arhythmic Perfection. Otwiera nowe kierunki improwizowania."

Powyższy tekst napisał Tomasz Gwińciński, niejako przybliżając zawiłe koleje losu, nie tak zupełnie nowej (jak się okazuje), formacji Jerzego Mazzolla. "Love Surprise" - debiut tria: Mazzoll, Tomasz Gwińciński, Wojciech Mazolewski - przynosi 17 krótkich, bo trwających zaledwie trzy kwadranse, utworów - improwizowanych opowiadanek, zarejestrowanych w bydgoskim studiu "Sanatorium". Posiadają one swój indywidualny wyraz, słucha się ich bardzo dobrze, choć, przyznam szczerze - jak na Mazzolla - wszystko to brzmi nieco "zachowawczo". Owa zachowawczość nasuwa mi się na myśl, gdy słucham "Azure Excess" - eksperymentalnego albumu z pogranicza muzyki współczesnej, nagranego przez 15-osobowy zespół Diffusion Ensemble pod przewodnictwem Mazzolla i plastyka Roberta Knutha.

Trio Niebieski Lotnik nie podejmuje (bo przecież nie może - choćby z racji uszczuplonego składu) tych "artystowskich" koncepcji, bazując raczej na wywodzących się z jazzu (Albert Ayler, Eric Dolphy, Don Byron) doświadczeniach "klasycznego" już dziś zespołu Mazzolla - Arhythmic Perfection. Nie wydaje mi się jednak, aby metoda muzyczna z "Out, Out To Lunch" została tu udoskonalona, ani tym bardziej, abyśmy mieli do czynienia z jakimkolwiek odkrywaniem nowych sposobów improwizowania.

Prawda, jak to zwykle bywa, leży gdzieś pośrodku, a wyrafinowani słuchacze po kilku przesłuchaniach "Love Surprise" z pewnością docenią niebanalne popisy instrumentalne grających, humor (tytuły utworów: "Święta lutownica", "Morskie potwory wracają do domu", "Zwierzęta domowe (królik, niedźwiedź, wieloryb i młot)", wreszcie - stylistyczną spójność całego materiału.

Warto zwrócić uwagę na bardzo dobrą realizację techniczną Lotnika - tu brawa należą się Grzegorzowi Kaźmierczakowi. Muzyka tria przykuwa uwagę jakością brzmienia i atmosferą całości, a jej odbioru nie zakłócają zbędne fajerwerki czy też producenckie nowinki. (diapazon)


I guess that title which may be translated as "Blue Pilot" refers in typical for Mazzoll ironic way to Holy Spirit. And it is fully justified! As on best recordings with "black jazz" this music is authentic, spontaneous and free. Yet it is very important to underline that this affinity with great recordings of Afroamerican jazz is only in spirit not in form of music which is something original and by no means imitation or counterfeit (as in many cases in European version of jazz). This is what we call in Poland yass: distantly rooted in jazz, sometimes directly opposite to it, taking very much from European classics but also rock, pop and folk. Probably the most interesting music phenomenon in Polish music in twenty or so years. If you are interested in it this is perfect starting point as this album maybe be seen as one of the most important for the movement (together with albums by groups like Miłość, Maestro Trytony or Arhytmic Perfection). 

The band consists of three musicians of whom dominant remains Jerzy Mazzoll playing on bass clarinet. If you ever listened to Eric Dolphy you will immadietely recognize by whom he is inspired. His improvisations are free but no without directions. He is accomplished musician in every sense and his charsima keeps all these material together. But the success of this album would be impossible without excellent rhythm section which follows his meandering line. On bass guitar we find his younger brother Wojtek Mazolewski who later made stunning carrer with his band Pink Freud and guitarist Tomek Gwińciński who however on this album plays mainly on drums. Their support is first class and these three gentlemen rock and roll so hard that I cannot do anything else than wholeheartedly recommend this album! (polish-jazz)
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Woodstock Workband - Armed And Dangerous (1978)

Jerry Moore - vocal, guitar
Naga Udcoff - percussion
Lincoln Schliffer, Don Moorer - bass, vocal
Robin Strugeon, Gil Silva - guitar, vocal
Pepi Pabon - drums
David Waldo - keyboards, trumpet
Chris Sigwald - drums
Collin Tihoon - sax
John Pratt - trumpet
Graham "Monk" Blacburn - sax

Beginning: Of The Jerry Moore Work Band -

We - The Children Of GOD Band - finally disbanded. Gil went and played w/ Donnie Hathaway for awhile, then he and Donald went on a world tour playing for Harry Belafonte.

Eddie became the lead singer for Dreams (Steve Cropper (Otis Redding's Producer arranger - Stax Volt)- the Brecker Brothers -basically the guys frm Blood Sweat And Tears)

Pratt (John) Went south liked playing the Sam & Dave horn sections and reviews -

Chris went and lived in the Islands for awhile - Munc and I stayed in Woodstock.

I started playing single gigs again - Folk and Blues. One night I was playing at the Espresso (Cafe Espresso) in town (Woodstock) and best as I can remember after my first set Marc Mazur who was new to WDSTCK asked me if he could sit-in w/me on guitar.

Greg was hanging out - If I remember he went and got his bass and an amp so we jammed. I would always let people sit in and play w/ me.

After the gig we all ended up at the Bear Cafe in Bearsville (Albert Grossman - Bob Dylan , Janis Joplin, Peter, Paul, and Mary, Todd Rundgren, The Band, Paul Butterfield's Manager) had opened it.

We were hanging out at the bar and Marc and Greg wanted to get together and rehearse - we had really sounded good - A lot of times when people are jammin I would have to change things on the fly so it would at least sound like we knew what we were doing - but it really meshed w/ Marc and Greg there was a natural flow - like they had me down - I went and they were right there w/ me.

If I remember right Richtie came up to us he was new in town also - said he was a drummer and would love to jam w/ us.

I didn't really want to get back into a band thing. But what the heck. We got together went over some tunes. It gel-led - people in town loved it .

So now the name thing - I told the guys I wasn't looking to get back into the whole music industry thing - recording deals etc. And we all agreed we were gonna be a gig band a Work Band so wa-la the Jerry Moore WorkBand.

Munc brought his horn and we started doing a mix of cover and original tunes.

Couldn't help myself - called Bob Fass (Radio Un-Name-able WBAI in NY) he had us play live for a USO show.

We were spreading out the guys were really stoked.

I guess me and Munc were a bit jaded - Munc had come to USA playing w/ Van Morrison - we had played a lot of places - beside the Fillmore East as far as I know we were at that time the only group or performers to play at the Apollo Theatre as a Marquee act that did not have a record out.

Sometimes I wonder where it would've gone if we'd kept that format but changes were coming.

One thing I thought was really wonderful - One night Marc's Mom and Dad came up to one of our gigs. It's not just that they were really gracious and nice people - they were supportive of Marc playing music. There are not a lot of parents that support their children's call to play music.

Oh yeah Marc played w/ Stevie Wonder for awhile and then w/ the guy w/ the Zoot Suit and feather then I lost track of him - have been trying to find him.

(source)
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Us Mob & No Fixed Address - Wrong Side of the Road (1981)


To smutne, ale społeczność Aborygenów w swojej ojczyźnie od dawna już nie jest w najlepszej kondycji. Na przestrzeni wielu lat znaczna jej część spychana bezceremonialnie przez białych kolonizatorów na społeczny margines powoli i nieubłaganie popada w marazm, beznadzieję i zapomnienie. Na całe szczęście nie stanowi to reguły i wciąż znajdują się liczni aborygeńscy artyści dumni ze swej narodowej tożsamości usiłujący zrobić wyłom w zaistniałej sytuacji. Tak właśnie było w przypadku muzyków z zespołów No Fixed Address i Us Mob, którzy za pomocą reggae oraz rocka próbowali wyrwać się z ogólnie panującej stagnacji i na swój sposób wyrazić protest przeciw powszechnie panoszącej się w Australii dyskryminacji i niesprawiedliwości wobec narodu Aborygenów. Muzycy obu grup zaprezentowali się osobiście ze swoją twórczością w interesującym niskobudżetowym filmie z 1980 roku Wrong Side of the Road (Po złej stronie drogi), który co ciekawe przed laty wyemitowany został również w polskiej telewizji.


No Fixed Address is an Australian Aboriginal reggae group formed in 1978. Led by Bart Willoughby, the band supported Peter Tosh on his 1982 Australian tour. After the success of the Peter Tosh tour No Fixed Address became the first Aboriginal band to travel overseas becoming cultural ambassadors for their people while touring the United Kingdom playing at nine cities including London, Bristol, Leeds, Plymouth and Manchester.

The band coalesced at the Centre for Aboriginal Studies in Music in North Adelaide. The band were a very popular pub rock outfit among students and the alternative music scene, especially supported by community radio station 5MMM. The band made a movie "Wrong Side of the Road" with another CASM band, Us Mob. The movie dealt with the trials and joys of touring and the contrasting receptions they received in Indigenous and non-Indigenous communities. With the recording of the soundtrack, No Fixed Address and Us Mob became the first contemporary aboriginal bands to be recorded. Following the release of the movie and its soundtrack album, No Fixed Address toured widely.

In 1982 the band were contracted to Rough Diamond Records, a subsidiary of Polygram Records and released their debut mini album From My Eyes. The album was launched at the Hilton Hotel by the Australian Prime Minister, Bob Hawke. Didgeridoo player, Billy Inda, made a guest appearance on folk rock band Goanna's single "Solid Rock" from their album, Spirit of Place – it peaked at No. 3 in October on the Kent Music Report Singles Chart - it is the first charting rock song to feature the didgeridoo.

In 2008 the band reformed and played at the Dreaming Festival & Tarerer Festival in Woodford, Queensland, where they released a limited edition CD copy of From My Eyes.

In 2011 No Fixed Address, along with Coloured Stone, were inducted into the Hall of Fame at the National Indigenous Music Awards. (wikipedia)



Us Mob were an early Aboriginal rock band from South Australia. The band was formed with the help of the Centre for Aboriginal Studies in Music in Adelaide.

Us Mob appeared in the film Wrong Side of the Road with fellow CASM band No Fixed Address The recording of the soundtrack made the two bands the first contemporary aboriginal bands to be recorded. Along with No Fixed Address they were nominated for the 1981 AFI Award for Best Original Music for the music from the film. They relocated to Sydney and broke up after their equipment was destroyed by a fire. The band were the subject of an ABC Message Stick documentary in February 2000. (wikipedia)
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Mount Rushmore - High On & 69 (1969)

Mike "Bull" Bolan - guitar
Glen "Smitty" Smith - vocals, guitar
Travis Fullerton - drums, percussion
Terry Kimball - bass

Ile razy słucham tego zespołu mam mieszane uczucia - z jednej strony podoba mi się siermiężne brzmienie, ale z drugiej tchnie jakimś brakiem określenia. W każdym razie musi coś być w muzyce Mount Rushmore skoro mimo upływu lat - stale do niej wracam. Ciekaw jestem wrażeń Czytelników chociaż jakoś ostatnio coraz mniej komentarzy.


Mount Rushmore was a rock band in the late 1960s from San Francisco, California that played a heavy blues rock style with psychedelic elements.

The band formed in late 1966 at 1915 Oak Street, a large Victorian rooming house in the Haight-Ashbury district. In June and July 1967 they were featured on posters for shows at the Avalon Ballroom with other bands including the Quicksilver Messenger Service and Big Brother and the Holding Company. After some members including Phillips left for the band Phoenix in 1968, new members were added and the group made two albums.

Warren B. Phillips was the former lead singer for the band and wrote a few songs that were recorded by the band after he left.

Fullerton continued a career as a drummer. Mike Bolan and Glen Smith were previously members of The Fabulous Shadows, a band from Coeur d'Alene, Idaho, 1963-1968. Mike Bolan rejoined them later and they have been performing in Idaho on through 2005. Terry Kimball (deceased) was a member of the band Tony Vance and The Progress Hornsby 4, from Spokane, Washington, 1967 - 1968.
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Kolaże Grażyny - Grazyna's Collages


Przedstawiamy prace naszej przyjaciółki Grażyny Sielczak. Prezentujemy kilka kolaży powstałych w różnych okresach czasu.

We would like to present art of our friend Grazyna Sielczak. Hope you will like it :))








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DDAA - La famille des saltimbanques (1984)


Niemcy miały Can, Wielka Brytania dała światu Nurse With Wound, ze Stanów Zjednoczonych pochodzą The Residents, a gdyby poszukać równie ważnego dla rozwoju muzyki eksperymentalnej zespołu z Francji, to ten zaszczyt z pewnością przypadnie Déficit Des Années Antérieures – w skrócie zwanego po prostu DDAA. Bez wątpienia ta formacja jest jednym z niekwestionowanych liderów całej niezależnej, eksperymentalnej i industrialnej sceny francuskiej lat 80-tych XX wieku. Za tą radykalną i pełną utopijnych idei grupą stoi trzech samouków muzycznych – Jean-Luc André, Sylvie Martineau-Fée, Jean-Philippe Fée, którzy w latach 70-tych spotkali się na artystycznej uczelni w Caen. W muzyce projektu DDAA punktem wyjścia są zanurzone w tradycji post-punka, awangardy i surrealizmu improwizacje i dźwiękowe kolaże. Rezultatem – dźwiękowy świat pełen dziwności, ujmującej naiwności i emocjonalności. To muzyczna mikstura przyrządzona w całości z eksperymentalnych elektronicznych dźwięków, avant-punka, improwizacji, industrialu, lo-fi-no-wave i innych składników, które sprawiają, że twórczość DDAA jest jedyna w swoim rodzaju i nie ma swojego odpowiednika na całej światowej muzycznej scenie. (industrialart)


DDAA was an obscure group of radical experimental noise makers used improvisation and collage to craft strange sounds and deconstructed songs for highly creative music that is as far off the path of conventions as that of similar but more known visionaries like the Residents and Nurse With Wound. In fact, DDAA roughly began the same time as NWW in the late ’70s, started by three visual artists, Sylvie Martineau, Jean-Philippe Fee, and Jean-Luc Andre in Lion sur Mer, France. The multi-talented trio originally formed Illusion Productions to create plastic sculpture and other various artistic pursuits and DDAA became the musical arm of Illusion. Déficits des Années Antérieures, their full name, translates roughly in English as “last year’s deficit,” though perhaps more appropriate is the fact that their initials are an anagram of Dada, that pre-Surrealism art movement at the time of World War I. As none of the three were trained musicians, their music had a distinct naive quality of outsider art and with few noticeable influences, exists on a plane of its own. Like others whose music is too uncompromisingly different to become commercial, DDAA began releasing recordings under the umbrella of Illusion Productions, starting with a 7” 45, Miss Vandam, in 1979. Research into various traditional ethnic music resulted in the EP Adventures in Africa in 1981 and the LP Action & Japanese Demonstration the next year, with hand-painted covers and elaborate packaging and inserts. Bernard C joined the lineup to play on the 1984 album Les Ambulants and continued on and off with them until the early ’90s. Throughout the ’80s and ’90s, the group continued to put out records and tapes, as well as perform, and even exhibit artwork in various galleries in Paris and Nice. Starting with the 1992 CD Nouveaux Bouinages Sonores (Dans la Période), DDAA has further enhanced its pursuit of strange sounds with the invention of an imaginary culture, the Maracayace, a theme explored more fully on the three-CD Baggersee and the full-length La Conference Maracayace, as well as live shows. DDAA continues to forge on in the new millennium with its highly creative artistic vision. Most of their works were released on the legendary Illusion Production label. (thethingonthedoorstep)
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