I have soulseek. What's your name?

cheesewhiz. I'll be on tommrow.

Noisefest 81 sounds cool.
any way i could get it without Soulseek?

Well, I got [I]Confusion is Sex[/I] and [I]Bad Moon Rising[/I].

I'm uploading Noisefest to yousendit but as the songs seperate.

You can't post those.

shucks

[QUOTE=Zappa]You can't post those.[/QUOTE]
any loopholes? like putting the link on another site, and posting a link to that?

or typing the link in reverse?

He could email you the links?

Listening to some Orange Juice at the moment. Never heard them before. It's ok stuff. But most of my night was spent digging Let My Children Hear Music. "Hobo Ho" is an amazing song. So is "The Shoes of the Fisherman's Wife Are Some Jive A[I]s[/I]s Slippers." Whole this is pretty awesome, actually.

the mulholland drive soundtrack is coooool.

Sleep Terror - Probing Tranquility
Alice Cooper - The Best of Alice Cooper
Ween - Quebec
Atmosphere - HeadshotsSeven

M. Ward - Post War
Envy - Insomniac Doze

yay. '06.

Spacemen 3- Taking Drugs to make music to take drugs to
Yo La Tengo- I can hear the heart beating as one ( it has a few terrible songs on it though)
Pink Floyd- Saucerful of Secrets

Hey. Nacho. New M. Ward leaked.

Yeah. I'm not a fan of the more than four track production. But whatever..

He's ridiculously talented at writing catchy, simple, beautiful songs.

I liked [I]Transistor Radio[/I]'s track layout much more.

My favorite is still [I]The Transfiguration of Vincent[/I] that album is amazing.

Fiona Apple - [I]Tidal[/I]
The Chemical Brothers - [I]Dig Your Own Hole[/I]

I finished that top 5 list. Should I post it here? Elsewhere? Nowhere?

That top 5 avant-garde jazz albums list that I was writing for a local magazine. I just mentioned it because those are the albums I was digging last night.

Top 5 1960s Avant-Garde Jazz Albums
By Alex Drosen

In the the late 1950s and throughout the 1960s, the sounds of bebop were becoming less popular among young jazz musicians. Free jazz emerged, spearheaded by Ornette Coleman, employg controversial concepts of spontaneous composition with no basis in pre-arranged harmonic structure. His passionate improvisations, filled with dissonance, looseness of rhythm, tension and release, and extreme attention to timbre and texture were incredibly influential. Simultaneously, avant-garde jazz developed, still making use of structure and planned harmony, unlike free jazz, but with the same basic tenets to create complex compositions and loose, uninhibited improvisations. These are my personal favorites from that productive scene.

1. Eric Dolphy – Out to Lunch [Blue Note, 1964]

To me, it’s the unique sonic texture of Out to Lunch that sets it apart from the pack of avant-garde jazz records. The sounds of these instruments, though all are familiar, blend in a way that is extremely alien and uncomfortably joyous. This exuberant discomfort is one of the most thrilling listening experiences I can think of. When so many “out there” jazz musicians were creating fiery music full of anger, or depressing dirge-like improvisations, Dolphy, whether on bass clarinet, flute, or alto saxophone, sang his feelings of jubilation loud and clear. The thing is, his approach to creating these feelings doesn’t come close to anything I’ve heard before. This album immediately establishes a bright, take-no-prisoners attitude. Dolphy’s bass clarinet and Freddie Hubbard’s trumpet are in the foreground, and a piano-less rhythm section featuring Bobby Hutcherson’s brilliant vibes, Tony Williams’ unhinged drumming, and Richard Davis’ popping pizzicato and sailing arco playing holds down what can hardly be called a “groove” so much as an outerspace landscape of sensitive interaction. There are five tunes here, one with Dolphy on flute, and two each with his reed instruments of choice. The bass clarinet tunes are probably my favorite, simply because I adore the tonality of that instrument, but there isn’t a sour note on this entire album. From start to finish, this is some of the most awe-inspiring improvised music I’ve ever heard.

2. Charles Mingus – The Black Saint and the Sinner Lady [Impulse!, 1963]

Did someone say “awe-inspiring?” Let’s continue down that road. Though Dolphy’s classic certainly has a character all its own, its dissonant melodies and wild small-group improvisations make it pretty well at home on this list. Bassist-composer Charles Mingus’ The Black Saint and the Sinner Lady, on the other hand, has a broader scope, and is distinct from the other albums ranked for a few reasons. For one thing, this is a thoroughly composed and meticulously orchestrated big-band work. Improvisation is an important part of the record, but Mingus had a concrete vision for this ambitious work, and, to the dismay of some purists, utilized overdubbing technology shamelessly to get the sound he wanted. The result is a ballet broken into six movements on four tracks, scored for eleven musicians. Its sound is full of anguish and inner turmoil, so much so that it comes as no surprise to the listener that he chose to include his psychiatrist’s words in the liner notes. Full of broad contrasts between crying alto saxophones and the bellowing depths of the lowest brasses and reeds—complex arrangements of lines so disparate they could only be made for one another—this is a composer’s record in a musician’s medium.

3. Sam Rivers – Contours [Blue Note, 1965]

Next up is a prime example of one of those fiery albums I mentioned earlier. Multi-instrumentalist Sam Rivers’ Contours is, for this list, perhaps the most in touch with the bop tradition. Rivers is chiefly a tenor saxophonist, with a tone that can be husky and brimming with energy, or a transparent coil of smoke weaving around Freddie Hubbard’s trumpet lines. Rivers also plays soprano saxophone and flute, these instruments being his preference on one tune each here. The compositions are all Rivers originals, and all are very memorable for their bold melodic themes and as springing-off points for extended improvisations from all involved. It’s been a year since Freddie Hubbard recorded Out to Lunch, and his command of the instrument (which was super-human that year before) as well as his comfort in an avant-garde situation have both been strengthened since. Pianist Herbie Hancock is in rare form here, creating huge blocks of dissonance in the rhythm section and dexterous improvisations during solo sections. Bassist Ron Carter and drummer Joe Chambers round out the quintet. The interaction between all involved is sensitive and sympathetic to Rivers’ compositional intent. This is an album that is full of energy and soul, wrapping the innovative searching spirit of the avant-garde in a more accessible, bop-based package.


4. Cecil Taylor – The World of Cecil Taylor [Candid, 1960]

Featuring only piano, drums, bass, and on some tracks Archie Shepp’s tenor saxophone, The World of Cecil Taylor is probably the “freest” album on this list, having the loosest compositions and improvisations. The focal point of the record is Cecil Taylor’s piano playing. The virtuoso has an approach that is akin to a tormented musician tearing fists full of keys from his instrument. There is so much aggression, dissonance, and free-wheeling craziness on this record, it’s absurd. The driving pulse of the swinging ride cymbal on the first track, combined with bassist Buell Neidlinger’s frantic walking line and Cecil Taylor’s “Thelonious Monk falling down the stairs” type solo, add up to an exhilarating listen. When Cecil and drummer Denis Charles trade improvised phrases back and forth, the whole thing just boils over, in time for the re-interpreted Rodgers and Hammerstein ballad “This Nearly Was Mine” to take over. There’s an air of mystery in opposition with the uninhibited aggression of this album that fascinates me. It’s a fantastic album whose rewards are as plentiful as its eccentricities.


5. Andrew Hill – Point of Departure [Blue Note, 1964]

Andrew Hill and Cecil Taylor are essentially known as the two pianists on the 1960s avant-garde scene. Hill is also a noted composer, and he flexes those muscles to the fullest on probably his most famous recording, Point of Departure. Featuring Out To Lunch players Dolphy, Richard Davis, and Tony Williams, but with writing credits on all tunes going to Hill instead of Dolphy, this sounds less like that album than you’d think. Kenny Dorham’s squawking trumpet and Joe Henderson’s insistent tenor sax playing fill out the lineup to a sextet here. Having such a large group gives Hill a lot of room for interesting interplay in his compositions. Hill’s are uproarious melodies that have a certain cerebral sense about them, as well as a strange sophistication. The improvisations, especially from Dolphy, are also magnificent on these five tunes, with the sounds of invention in every searching chorus. It’s a passionate date, on which emotional improvisations complement off-kilter, intellectual compositions.

hey Zappa, can you recommend me some good Bop?

The first three Meat Puppets albums.

Walking Boss is too awsome for its own good.

/goes to download the three albums on Zappa's list I don't own

Bebop:

Thelonious Monk - [I]Genius of Modern Music, Vol. 1[/I]
Bud Powell - [I]The Amazing Bud Powell, Vol. 1[/I]
Charlie Parker - [I]Bird and Diz[/I]

Hard-bop:
Miles Davis - [I]Cookin' with the Miles Davis Quintet[/I]
Tina Brooks - [I]True Blue[/I]
Art Blakey - [I]Moanin'[/I]

[QUOTE=Zappa]Bebop:

Thelonious Monk - [I]Genius of Modern Music, Vol. 1[/I]
Bud Powell - [I]The Amazing Bud Powell, Vol. 1[/I]
Charlie Parker - [I]Bird and Diz[/I]

Hard-bop:
Miles Davis - [I]Cookin' with the Miles Davis Quintet[/I]
Tina Brooks - [I]True Blue[/I]
Art Blakey - [I]Moanin'[/I][/QUOTE]
thank ya!

[QUOTE=Zappa]Top 5 1960s Avant-Garde Jazz Albums[/QUOTE]

Interesting read, Zappa. I only know the last three by name from you mentioning them in the past but I've been meaning to look into them. Really great write up.

Two of the bands that opened for DEP last night were both local bands that beared a strong resemblance to Coheed and Cambria. The first one was Kairos, whose singer had that Claudio-type voice. Their songs also ended with epic buildups similar to the title track of Co&Ca's "IKSSE:3" album. Some guy shouted out "I didn't pay to see Coheed and Cambria" and the singer said "heh... I like Coheed."

The other band was 3. They were really weird, the singer had a Claudio type singing voice too, but he also played acoustic guitar. Except he slapped and popped it like a bass, doing a little solo here and there. Very unique.

The Mekons dominated my stereo last night. Every once in a while I have a day where they're the only thing I can listen to, and last night I ran through [I]Fear and Whiskey, The Edge of the World, [/I]and [I]Honky Tonkin'[/I]. Such a fantastic band.

Little more Mekons today, with some PJ Harvey and Cat Power for some reason.

Also this album by Finnish folky Islaja called [I]Palaa Aurinkoon[/I] is about the most difficult folk album I've ever heard. It's gonna need more listens, most definitely.

The Twilight Singers - [I]Powder Burns[/I]

This is good, but every time i listen to "Bonnie Brae" it reminds me of that depressing Garfield YTMND :(

[QUOTE=YDload]Two of the bands that opened for DEP last night were both local bands that beared a strong resemblance to Coheed and Cambria. The first one was Kairos, whose singer had that Claudio-type voice. Their songs also ended with epic buildups similar to the title track of Co&Ca's "IKSSE:3" album. Some guy shouted out "I didn't pay to see Coheed and Cambria" and the singer said "heh... I like Coheed."

The other band was 3. They were really weird, the singer had a Claudio type singing voice too, but he also played acoustic guitar. Except he slapped and popped it like a bass, doing a little solo here and there. Very unique.[/QUOTE]
i think the singer of 3 is Claudio's brother or something. maybe cousin. but they're related.

Cursive - [I]The Ugly Organ[/I]
Built to Spill - [I]Perfect From Now On[/I]
Thom Yorke - [I]The Eraser[/I]
Bruce Springsteen - [I]Devils & Dust[/I]

Plus some other random stuff over the weekend that I can't remember too good.