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Cedar Walton, George Coleman, Sam Jones and Billy Higgins: Cedar Walton, George Coleman, Sam Jones and Billy Higgins - Eastern Rebellion (LP, Album, RE) Timeless Records (3) RJL-2621: Japan: 1983: Sell This Version. Cedar Walton 'Eastern Rebellion' - Boston 1995 Here's the first of the dime birthday party-shows, I'll post those mostly with the same comments I put up on dime, just because I'm a lazy bum, he he. So here you go.
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Said.As I indicated in my introduction to Dale's essay, I love this record. I came across the recording in its later Freedom release in the 1980s as my fascination with the free/funk hybrids started to take hold. I sort of went backwards from the New York No Wave movement, and ended up here, taking in AEC, Luther Thomas, and the Human Arts Ensemble on the way. I would also support Dale's enthusiasm for Benjamin Looker’s book. Ben was very generous to me in supplying a massive number of press cuttings and interview material when I was doing some research on the New York loft scene. This version of the record is a rare beast: Looker says only 1000 copies were pressed. He also offers some other fascinating snippets: that this had been intended as a big band date, but most of the musicians didn't show; that AD stands for adapted dance, and named after the dance rituals of the Dogon people which were adapted for the tastes of Western visitors.
The design of the later Freedom release is a representation of the ritual masks used in the dance. Hemphill, clearly felt there was a metaphore in there somewhere. Because I've always known the record through the Freedom release I hadn't seen the original front cover until Dale's shared it with me. Musing on the cover led to a moment of speculation. The front cover doesn't feature Hemphill's name, and instead presents Mbari as if it's the name of the artists. I wonder if at this point, then, Mbari was the name for a performance big band within the BAG collective? I've emailed Ben Looker to ask him what he thinks.
Anonymoussaid.Flac julius hemphill- coon bid'ness (1972-5) 1st 4 tracks hemphill, arthur blythe, hamiet bluiett- reeds abdul wadud- cello daniel zebulan-conga barry altschul-dr last track phillip wilson replaces altschul and zebulan bakaida carroll- tpt replaces arthur blythe. Anonymoussaid.Coon Bid'ness is much welcome, if only for final track The Hard Blues which was recorded at the same session as Dogon A.D. Great music all. Will Hemphill's heirs will ever see fit to have this re-released some day? See if you can find Chile New York, a nice duet with percussionist Warren Smith that Hemphill composed in the early 80s for a sculpture installation and later recorded for Milan-based Black Saint. Hemphill's duet and trio work with Abdul Wadud is also quite wonderful.
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Sotise and Wallofsound, I have a decent collection of free jazz on vinyl and CD but have no idea how to upload it though I'd love to spread the gospel. More to the point, I have qualms about the morality of it all — I assume it's OK while a record is out of print but what if it becomes available again? (fat chance of that happening to a lot of free jazz given the current condition of the record industry.) Anyway, many thanks for all the wonderful sounds you are sharing with the world! Said.Anonymous asked about how to upload some of his records to share with others. They need to be in digital form first. CDs can just be ripped on your computer, but vinyl needs digitiising using some software I use Audacity on my Mac (it's free). Then it needs converting to a compressed form that is smaller to up and download I use Max to convert the wav files into mp3 and flac files.
Mp3s are small, but flacs are lossless: they give you wav quality in a smaller size format. I put these files in a folder with the scanned art work, and then convert the folders into rar format. This is primarily a way of compressing the data to make files smaller, but it doesn't do that with already compressed music files. The main value here, is that you can make equal size files, set to just under 100mg which are easy to upload, and for others to download and open into their original form I use SimplyRAR, but macs already have zip file capabilities. Then you need to upload them to some sort of fileshare system. This saves a copy of your file to a remote server, and generates a url that you can send to others, or post on a blog most people use Rapidshare, and they buy a premium account which allows you to download or upload without so many restrictions.
Then you need a blog to post them on. I was invited to join inconstantsol, and that's good for me because I only post every ten days or so. It's easy to set up a blog of your own on blogspot or wordpress. As to the morality, I take quite an ethical stand as a file sharer. The main ethical issue, it seems to me, is if we were depriving a musician, or a record company owner who had a record available commercially, of income because people downloaded a shared file, rather than buy the record. For me sharing via a blog is just an extension of sharing records, or compiling the mix tapes that I used to do before I used the internet.
Few people download the files I post. The very few who comment clearly enjoy the music, and many run blogs of their own. It's a community of music fans who share their records.
I still buy records, and I buy music by a far wider range of artists because I've heard their music first via shared files on a blog. I try and only share music that is not currently available. That's the case with almost everything that's posted on inconstantsol. The music is available secondhand on eBay and the like; and as I said I sometimes buy records I have downloaded because I like to own the vinyl or CD. However, when I buy a secondhand record only the dealer gets the money.
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The musician and the record company doesn't. When I share, I get no financial advantage. Anonymoussaid.Regarding the comment from 'Wall of Sound' above: The front cover doesn't feature Hemphill's name, and instead presents Mbari as if it's the name of the artists. I wonder if at this point, then, Mbari was the name for a performance big band within the BAG collective? I've emailed Ben Looker to ask him what he thinks. Sorry not to respond to your email; I never received it.
I didn't find a lot of info about this, but from what I understand, Hemphill originally intended Mbari as a production unit for a variety of projects, including films, recordings, publications, and lectures. He did, of course, use it as an independent record label for this recording and for his collaboration with poet K. Curtis Lyle on The Collected Poem For Blind Lemon Jefferson. I don't believe Mbari ever took on many other projects, in part because the BAG musicians were filtering out of St.
Louis shortly after it was founded. However, by the time of this recording, I think Hemphill had already been asked to leave BAG (he was originally its chairman), and he was probably trying to create other collective vehicles to fill that space. Around the same time, he - along with visual artist Oliver Jackson and poet Michael Harper - was involved in a short-lived group called 'The African Continuum,' which held a major performance at St. Louis's Powell Symphony Hall.
Despite being ejected from BAG - product of internal acrimony during the last phase of the collective's life - Hemphill remained on good terms with many within the musical wing, some of whom joined him on Dogon A.D.
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