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Peter Brötzmann - Nipples

Nipples is a 1969 album by free jazz saxophonist Peter Brötzmann, originally released on the Calig record label. The title track is performed by a sextet comprising Brötzmann (tenor saxophone), Evan Parker (also on tenor saxophone), Derek Bailey (guitar), Fred Van Hove (piano), Han Bennink (drums), and Buschi Niebergall (bass). The other track featured, "Tell a Green Man", is performed by a quartet made up of Brötzmann, Van Hove, Niebergall, and Bennink.

Due to its previous rarity, Nipples has been something of a free jazz cult item, even championed by Sonic Youth's Thurston Moore. Now with a more easily found CD available, listeners can hear that it's not quite a lost classic but still comes by its reputation honestly. To be fair, the slightly muffled sound quality doesn't help music this detail-oriented, but perhaps listeners should be glad it was even recorded. The 18-minute title track (the original LP's first side) is a performance by improvisers who would become well-known names but were still making their marks in 1969. Brotzmann, of course, is on tenor sax with Evan Parker also playing tenor (instead of his usual alto), guitarist Derek Bailey, pianist Fred Van Hove, drummer Han Bennink, and the now mostly forgotten Buschi Niebergall on bass. They create a swirl of sound with saxes locking into repeated riffs that generally change slowly but sometimes take abrupt leaps while the drum, bass, and guitar roll in waves and the piano jumps in with hyperactive runs. The music's dense, everything-at-once nature sometimes makes it seem like a hot-headed competition, but in the end it's the musician's construction of intricately detailed patterns that really matter. The 15-minute "Tell a Green Man" finished the album. A performance by just Brotzmann, Van Hove, Niebergall, and Bennink, the piece offers a contrast by a closer focus on each instrument instead of group improvisation. The piece opens with Bennink alone on drums at a mid-tempo before Niebergall enters with bowed bass. Brotzmann and Van Hove eventually jump in, pushing the others. Nipples is certainly not the best introduction to these musicians but nevertheless offers a fascinating look at their early careers.

– Lang Thompson / All Music Guide

Track list:

[01] Nipples [17'54"]
[02] Tell A Green Man [15'32"]

Performers:
Peter Brötzmann, tenor saxes
Evan Parker, tenor sax
Derek Bailey, guitar
Fred van Hove, piano
Buschi Niebergall, bass
Han Bennink, drums

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Peter Brötzmann - Machine Gun Complete Sessions

Arguably the single most important landmark in European free music: The original BRO Records LP restored to its 1968 format, with two alternate takes, new liner notes by Brötzmann and John Corbett, plus the only live version of MACHINE GUN ever recorded- in a deluxe UMS O-card package!

Mind-blasting... a smashing, clanging wonderland of noise.

– Thurston Moore

Jaw-dropping, face-peeling, DNA-changing music.

– Mats Gustafsson

In 1968, there was a palpable sense of optimism in the air. This in spite of the fact that the shitheads seemed to have the upper hand, with the quagmire of Vietnam, the intractibility of the American struggle for Civil Rights, Martin Luther King's assassination, the "shoot to kill" order in Chicago. But in Paris during the spring of '68, the students took the reins, and across northern Europe a euphoric attitude had spread, charged by a sense that the world was not stuck forever but in fact could be changed. That was the impetus behind Peter Brötzmann's composition and subsequent LP "Machine Gun." As Brötzmann has said: "It was the feeling, the very naive feeling that we could take a little part in changing the world." Adopting its title from Don Cherry's nickname for Brötzmann, "Machine Gun" drew on the huge horn section of Lionel Hampton's "Flying Home" for inspiration, translating the hilarious saxophonic power of the jump blues, and Illinois Jacquet's booting and hollering into an abstraction painted with a flame-thrower, a la Alberto Burri.
Machine Gun was a watershed, and even if it has taken four decades to find its appreciative audience, it is now an essential recording, both in terms of the development of free music in Europe and taken on its own merits, outside of the context of its creation. For this reissue, we have resequenced the CD as the original LP, self-produced and released on Brötzmann's own BRO label in 1968, followed by the two extant alternate takes. For comparison, UMS has included the live version, recorded two months earlier at the Frankfurt Jazz Festival, which adds Gerd Dudek to the ensemble.

– John Corbett / Chicago, May, 2007

Track list:

[01] Machine Gun [17'18"]
[02] Responsible / For Jan Van De Ven [8'19"]
[03] Music For Han Bennink [11'26"]
[04] Machine Gun (2nd take) [15'00"]
[05] Responsible / For Jan Van De Ven (1st take) [10'05"]
[06] Machine Gun (live) [17'40"]

Performers:
Peter Brötzmann, baritone and tenor saxes
Evan Parker, tenor sax
Willem Breuker, tenor sax and bass clarinet
Fred van Hove, piano
Buschi Niebergall, bass
Peter Kowald, bass
Han Bennink, drums
Sven-Åke Johansson, drums

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Milton Babbitt - Philomel

Milton Babbitt is one of the first major U.S.-born academic composers, and he helped found the enormously influential Electronic Music Center of Columbia-Princeton Universities. His 1964 piece, Philomel, is a pivotal work for Babbitt – and for avant-garde New Music. It combines Bethany Beardslee's wavering, halting soprano with ample helpings of synthesized electronics. Blipping emanations dot Beardslee's vocal testament, and Babbitt explores an astonishing range of what electronics can do, either in duet with a voice or in solo contexts. Rounding out this collection are equally key pieces examining ways that piano can interact with voice and synthesized tape, as well as pieces that further push the envelope on the soprano voice.

– Andrew Bartlett

Track list:
[01] Philomel for soprano, recorded soprano and synthesized tape (1964) [18'47"]
[02] Phonemena for soprano and piano (1969) [4'57"]
[03] Phonemena for soprano and synthesized tape (1975) [4'13"]
[04] Post-Partitions for piano (1966) [3'31"]
[05] Reflections for piano and synthesized tape (1975) [10'16"]

Performers:
Bethany Beardslee, soprano (1)
Lynne Webber, soprano (2-3)
Jerry Kuderna, piano (2)
Robert Miller, piano (4-5)

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John Williams - Jaws: Anniversary Collector's Edition

John Williams - Jaws: Anniversary Collector's Edition
Decca Records | 2000 | MP3 320 kbps | 49'56" | 117 MB

Tubarão (Jaws, 1975) foi o filme que introduziu John Williams ao público geral. Ele já trabalhava em televisão e cinema por 15 anos, mais ou menos, e já tinha sido indicado três vezes ao Oscar, sendo premiado numa delas. Também não foi a primeira vez que trabalhou com o diretor Steven Spielberg, mas nessa obra é que conseguiu deixar uma marca permanente na cultura pop, com o famoso tema de duas notas de Tubarão (na verdade, uma inversão do início do quarto movimento da Sinfonia no. 9 em mi menor de Dvořák). O motivo segue crescendo e accelerando, até que o tema chega num fortissimo ameaçador nas cordas, similar às peças mais obscuras de Mussorgsky. Nessa obra, pervertendo o sentido tradicional do uso da trompa, em vez de Williams convidar você à caça, convida o predador a caçá-lo. De certa forma, a música de John Williams compensa o fato de, por motivos técnicos, o tubarão não aparecer muito no filme. O resto da música é típico das trilhas de John Williams, enraizadas na tradição romântica da música de programa, com temas que espelham as emoções e ações do filme. Embora não seja tão notável quanto a sua música para filmes posteriores, a trilha de Tubarão deu a Williams seu segundo Oscar.

― Retirado do site All Music Guide, traduzido por mim.

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Bernard Herrmann - Vertigo - Royal Scottish National Orchestra - Joel McNeely

Bernard Herrmann - Vertigo - Royal Scottish National Orchestra - Joel McNeely
Varèse Sarabande Records | 1995 | MP3 320 kbps | 63'13" | 116 MB

Trilha sonora composta por Bernard Herrmann para o filme Um corpo que cai (Vertigo, 1958), dirigido por Alfred Hitchcock. Uma das melhores trilhas do compositor (segundo o All Music Guide) num disco ganhador do prêmio Grammophone de 1997.

Em 1996, o tradicional selo dedicado à música de cinema colocou no seu catálogo duas edições desta que é considerada por alguns críticos como a melhor trilha sonora de todos os tempos. A primeira é uma regravação digital com o competente Joel McNeely conduzindo a Royal Scottish National Orchestra, com quase 30 min. de música adicional em relação ao CD da Mercury, o único até então disponível, com a gravação original da trilha regida por Muir Mathieson. Em que pese a competência de McNeely como condutor, amplamente demonstrada na versão de Fahrenheit 451 para a própria Varèse, esta nova edição vale principalmente pela música adicional, incluindo a presença da faixa "The Graveyard", cuja gravação original não mais existe, e pela superior qualidade de som. O que nos leva ao segundo CD, que contém exatamente as gravações originais do inglês Muir Mathieson. Um Corpo Que Cai, pelo seu conjunto de soluções criativas, é com justiça considerado uma obra-prima não apenas de Hitchcock, mas do cinema de todos os tempos.

Já no início da projeção, assistindo aos créditos magistrais de Saul Bass ao som do hipnótico "Prelude" de Herrmann, somos imersos em um perfeito universo "hitchcoquiano", repleto de problemas psicológicos, interpretações freudianas e, é claro, muito suspense. Sem dúvida a peça mais conhecida do score, o "Prelude" divide-se em dois segmentos: o primeiro inicia-se com os violinos, madeiras, vibrafone, harpas e celesta interpretando um ciclo aparentemente interminável de 7 notas: os metais surgem, então, para introduzir as cordas, que iniciam o segundo segmento, um motivo de 4 notas que posteriormente será desenvolvido no magistral tema de amor. Na mesma faixa, segue-se "Rooftop", agitada cena que nos apresenta a acrofobia do personagem principal, representada musicalmente por notas dissonantes, em glissando de harpa.

Para "The Dream", outro marco da peça, Herrmann utiliza um tango como base, sua essência latina remetendo aos dramáticos acontecimentos ocorridos na velha missão espanhola. É interessante notar que Bernard Herrmann, à época impedido, por problemas de produção, de conduzir sua própria obra, colocou restrições ao trabalho de Mathieson. Esta edição de 65 min. acompanhou o relançamento do filme em novas cópias, e a ausência de "The Graveyard" é amplamente compensada por 4 faixas nunca antes disponíveis: "Mission Organ", "The Streets", "The Past" e "The Girl". Apesar de, em alguns trechos, a restauração não ter conseguido mascarar os efeitos do tempo sobre as fitas originais, temos pela primeira vez, quase que na íntegra, a versão que os críticos consideram definitiva, o que nos leva a preferi-lo em relação ao CD de McNeely.

―Comentário de José Saldanha

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Carl-Gustav Jung (ed.) - Man and his Symbols (1964)

C.-G.Jung, J. L. Henderson, M.-L. von Franz, A. Jaffé, J. Jacobi, "Man and his Symbols"

Dell Publishing | 1968 | ISBN: 0440351839 | 415 pages | PDF | 28.3 MB

Man and His Symbols is the last psychological work undertaken by Carl Jung before his death in 1961. First published in 1964, it is divided into five parts, four of which are written by associates of Jung: Joseph L. Henderson, Marie-Louise von Franz, Aniela Jaffé, and Jolande Jacobi. The book is meant to be an introduction to Jung's theories and was originally written for a general audience rather than psychology students.

In the introduction to the book, John Freeman tells the story of how Jung came to get involved with the project. Apparently, the managing director of Aldus books had seen Jung on the BBC and was so struck by his warmth and personableness that he tried to persuade Jung to apply those same qualities to a book written for the general masses, rather than for psychologists themselves. While at first refusing, Jung was swayed by one of his own dreams into changing his mind and agreeing to take on the project. Given that the book to a large degree dwells on dreams and what can be learned from them, it is an appropriate anecdote.

The publisher does not get any praise for designing the cover in such a way that it implies Jung was the author of the entire book. He was the editor and wrote one of the chapters. Neither is the book an integral whole – the chapters treat different aspects of symbolism and the unconscious, each with their own viewpoint and flavor.
The essays in the book are as follows:

"Approaching the Unconscious" (Carl Jung) - for those who don't know his work, this is a very nice introduction to most of the basic points.

"Ancient Myths and Modern Man" (Joseph L. Henderson) - examines symbols as they appear in both myth and modern day culture.

"The Process of Individuation" (Marie-L. von Franz) - treats patterns of dreams over the lifetime of the individual. A good look at the concept of Animus and Anima.

"Symbolism in the Visual Arts" (Aniele Jaffé) - looks at the progression of sacred symbol to art.

"Symbols in an Individual Analysis" (Jolande Jacobi) - describes the treatment through dream analysis of a young Swiss man.

While the book felt uneven in places (and even contradictory), it serves well in the purpose for which it was intended. Someone reading the book will get the basic concepts of symbols and the unconscious, and some decent pointers to further readings in the notes if they wanted to find out more.

– Review at Amazon.com

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Naked City - Torture Garden (1990)

Naked City - Torture Garden (1990)
25'52" | MP3 320 kbps | 62 MB

Torture Garden is an album by John Zorn's band Naked City featuring Yamatsuka Eye on vocals. The album is a compilation of the "hardcore miniatures" that were also be released on Naked City and Grand Guignol. Unlike other Naked City albums, there are no breaks between the screaming, the seemingly random saxophone blasts and grindcore. The album was originally released on Shimmy Disc in 1989. Following controversy over Naked City's album covers it was re-released in 1996 on Tzadik Records with Leng Tch'e simply as Black Box. The tracks were also released as part of Naked City: The Complete Studio Recordings in 2005.

The name for the collection comes from Le Jardin des supplices, an 1899 Decadent novel by Octave Mirbeau.

Track listing

1. "Blood Is Thin" - 1:00
2. "Demon Sanctuary" - 0:38
3. "Thrash Jazz Assassin" - 0:45
4. "Dead Spot" - 0:31
5. "Bonehead" - 0:51
6. "Speedball" - 0:17
7. "Blood Duster" - 0:13
8. "Pile Driver" - 0:33
9. "Shangkuan Ling-Feng" - 1:14
10. "Numbskull" - 0:29
11. "Perfume of a Critic's Burning Flesh" - 0:24
12. "Jazz Snob Eat Shit" - 0:24
13. "The Prestigitator" - 0:43
14. "No Reason To Believe" - 0:26
15. "Hellraiser" - 0:39
16. "Torture Garden" - 0:35
17. "Slan" - 0:23
18. "Hammerhead" - 0:08
19. "The Ways of Pain" - 0:31
20. "The Noose" - 0:10
21. "Sack of Shit" - 0:43
22. "Blunt Instrument" - 0:54
23. "Osaka Bondage" - 1:14
24. "Igneous Ejaculation" - 0:20
25. "Shallow Grave" - 0:40
26. "Ujaku" - 0:27
27. "Kaoru" - 0:50
28. "Dead Dread" - 0:45
29. "Billy Liar" 0:10
30. "Victims of Torture" - 0:23
31. "Speedfreaks" - 0:29
32. "New Jersey Scum Swamp" - 0:41
33. "S & M Sniper" - 0:14
34. "Pigfucker" - 0:234
35. "Cairo Chop Shop" - 0:23
36. "Fuck the Facts" - 0:11
37. "Obeah Man" - 0:17
38. "Facelifter" - 0:34
39. "N.Y. Flat Top Box" - 0:43
40. "Whiplash" - 0:19
41. "The Blade" - 0:36
42. "Gob of Spit" - 0:18

Personnel

John Zorn: alto saxophone, vocals
Bill Frisell: guitar
Wayne Horvitz: keyboards
Fred Frith: bass
Joey Baron: drums
Yamatsuka Eye: vocals

All compositions by John Zorn and Yamatsuka Eye
Recorded in Brooklyn, New York City and Tokyo 1989-1990

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The Deliberate Dumbing Down of America (Charlotte T. Iserbyt)

The Deliberate Dumbing Down of America is a chronological history of the past 100+ years of education reform. Each chapter takes a period of history and recounts the significant events, including important geopolitical and societal contextual information. Citations from government plans, policy documents, and key writings by leading reformers record the rise of the modern education reform movement. Americans of all ages will welcome this riveting expose of what really happened to what was once the finest education system in the world.

Readers will appreciate the user-friendliness of this chronological history designed for the average reader not just the academician. This book will be used by citizens at public hearings, board meetings, or for easy presentation to elected officials.

Publication of The Deliberate Dumbing Down of America is certain to add fuel to the fire in this nation's phonics wars. Iserbyt provides documentation that Direct Instruction, the latest education reform fad in the classroom, is being institutionalized under the guise of "traditional" phonics thanks to the passage of the unconstitutional Reading Excellence Act of 1998.

-- From the book's official website

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Red Cocaine: The Drugging of America and the West

Red Cocaine: The Drugging of America and the West (Joseph D. Douglass, Jr.)
Publisher: Edward Harle | ISBN: 1899798048 | 2nd Edition | PDF | 183 pp. | 1.5 mb

An expose of long-term Russian and Chinese intelligence operations aimed at achieving the demoralisation and ultimate control of the West through drugs, as a dimension of the continuing Leninist World Revolution.

The shocking inside story of how the Soviet Union bosses contrived, plotted, planned and then put into action a world-wide drug offensive against the West would be unbelievable if the writing were not so scholarly and well-documented. Douglass's careful work that gets at all the horrible details of the story of our undoing by drugs is worthy of careful reading and rereading by intelligent people everywhere. Beginning with the very effective initiative against our soldiers, up to the present, there are very few families that have not, by this time, been touched by the awful epidemic. But embarrassment, guilt and other intensities apparently have crippled our abilities to even talk about the problem, much less fight an effective war against it. And then there is our government's impotence if not collusion. We are in denial and in the closet. It is time we came out. This unique book helps immensely in that effort. By seeing how the drug plague is really a war being waged against us, we are in a position to come out of the closet of denial and begin to take appropriate action. Red Cocaine is a must read for parents, helping and medical professionals, religious people, educators, employers, the military and our law makers and enforcers.

-- Roberta Gilbert M.D.

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