19 agosto 2017


Il forzato cambio di sede e il ripetuto taglio di fondi pubblici non sembrano per ora ostacolare più di tanto il cammino del Festival MIMI, giunto quest'anno alla sua trentaduesima edizione e pronto al via oggi con una decina di giorni di eventi e concerti presso la Cité des Arts de la Rue e in vari altri luoghi di Marsiglia.
Scrive Ferdinand Richard, da sempre direttore del festival: "Après seize années de symbiose quasi-parfaite entre le Festival MIMI, l’Hôpital Caroline, et les puffins cendrés, l’esquif d’amour vient presque de sombrer par le fond, suite à un mauvais coup de tabac. La DRAC et la Ville de Marseille réduisent chacune de 20 000 euros leur aide habituelle à l’association A.M.I., soit un petit moins quarante mille qui ne fait pas du tout rire notre commissaire aux comptes. Y’a plus d’argent… Déjà affecté par une baisse de 26 000 euros en 2016, l’insubmersible petit navire fait face à la lame de fond, mais réduit la voilure, met sous cape, et cherche un abri côtier plus favorable. Pas le choix… La confrérie des explorateurs de rue et de haute mer, bien connue pour sa grande solidarité, sa grande réactivité, sa chaleur humaine, nous accueille à la Cité des Arts de la Rue, une sorte d’île urbaine, elle aussi habitée par d’audacieux navigateurs, avec qui nous sommes fiers de partager la même facilité à faire perdre la boussole… MIMI prend ce coeur sur la main qui lui redonne courage, et ne lâche rien… On est à la maison. Certes, les palmes ne sont plus inscrites dans le dress-code (encore que… chacun s’habille comme il veut…) mais vous pouvez venir avec votre bouée si ça vous chante… Mêmes dates, même programme, même décoiffage, presque le même panorama, dans un lieu lui aussi incroyable… L’A.M.I. en ressortira renforcée. Trente deux années de militantisme artistique et culturel, ça résiste à tout, c’est comme au rugby, tout est dans le rebond Gardez l’oeil sur le radar, Terre à l’horizon!"

http://www.festivalmimi.com

18 agosto 2017


Doppio appuntamento con John Greaves in concerto in Italia nei prossimi giorni: a Bobbio (Pc) il 20 agosto, alle ore 18.00, per l'inaugurazione della mostra d'arte 'La natura e le sue forme' della moglie Laura Buxton, e a Vasto (Ch) il 22, alle 21.30, ai giardini di Palazzo d'Avalos.

http://www.johngreaves.org.uk

17 agosto 2017


Allo spirito del '67 è interamente votato il nuovo frizzante capitolo di Bing Selfish, Selfish Sentiments, con una dozzina di brani vecchi e nuovi affidati ai fedelissimi The Windsors e una confezione simil-chadbourniana piena di provocazioni intellettuali e di quisquilie mondane: "Mental, let's go mental, 'cos I haven't got the time to be sentimental"...

Bing Selfish and The Windsors burst into your life on a flying ice cream cart throwing multicoloured tunes everywhere. The spirit of '67/'17. Bing and The Windsors have arrived from another planet and have news to spill. The psychedelic hopes of 1967 have come to fruition and the psychedelic tropes of 2017 have come to Wolverhampton. New Bing songs with all the urgency, wonder, bile and laughter you may expect, but still surprising. This is the place where Galileo meets Conan Doyle and Caravaggio mixes business and pleasure with your hedge fund manager. They’ve also raided the 'Bing Selfish Songbook' and brought back into circulation Bing solo hits like Financial Advisor, World Without Government, and the previously-thought-to-be-impossible-for-a-live-band-to-play Relativity! So watch the skies and Bing Selfish and The Windsors pilot their ice cream drone across the dimensions and into your heart! Looks like it’s gonna be a long weird summer.

http://www.bingselfish.com
http://mparmstrong8.wixsite.com/mysite
https://bingselfish.bandcamp.com/album/selfish-sentiments
www.youtube.com/watch?v=K-mpYxmw8eM
www.youtube.com/watch?v=_xkuzs62xIs

16 agosto 2017


Importante appuntamento domani all'Edinburgh International Festival per celebrare la musica dell'Incredible String Band con uno dei suoi protagonisti, Mike Heron, affiancato da Danny Thompson e da una miriade di ospiti e amici. Gran cerimoniere e ispiratore dell'iniziativa - intitolata molto appropriatamente Very Cellular Songs - è Joe Boyd: "Whimsical, surreal, truly inspirational: psychedelic pioneers The Incredible String Band entranced listeners in the late 1960s and early 1970s with their visionary, dream-like songs. They remain one of the most influential groups to have come out of Scotland. The music of The Incredible String Band always defied categorization. Was it psychedelic folk? World Music ahead of its time? The avant-garde end of the Sixties singer-songwriter movement? In truth, it was at heart an outgrowth of the fertile and strange world of early '60s Edinburgh, with its deft folk musicians, its world-travellers, its Bohemian fringe and its psychotropic explorers."

For this very special concert paying homage to the group, former Incredible String Band manager and producer Joe Boyd invites guests to perform songs alongside collaborators from the group’s original recordings – including founder member Mike Heron and legendary bassist Danny Thompson. Guests include Justin Adams, Barbara Dickson, Green Gartside, Robyn Hitchcock, Janis Kelly, Greg Lawson, Sam Lee, Neill MacColl, David McGuinness, Karine Polwart, Alasdair Roberts, Georgia Seddon and Withered Hand.

https://www.eif.co.uk/2017/incrediblestringband#.WZG33VVJbSc
https://www.eif.co.uk/blog/2017/get-know-musicians-joining-music-incredible-string-band-line#.WZG3tlVJbSc

15 agosto 2017


Due collezioni di grande pregio festeggiano il cinquantesimo compleanno di Fairport Convention e Pentangle: rispettivamente Come All Ye-The First Ten Years (A&M/UMe) e The Albums 1968-1972 (Cherry Red).

https://mainlynorfolk.info/fairport
https://mainlynorfolk.info/folk/records/pentangle.html

14 agosto 2017


Due super-classici di trent'anni fa di R. Stevie Moore tornano attuali sotto l'ala protettrice di Cordelia Records: Glad Music (1986) e Teenage Spectacular (1987).

http://www.cordeliarecords.co.uk
http://www.rsteviemoore.com/cd/gladmusic.html
http://www.rsteviemoore.com/cd/teenage.html

13 agosto 2017


Chi li vide in azione in Italia nei primissimi anni Novanta a promuovere i materiali di All My Screws Fell Out e Who Eats? forse ricorderà che nel variopinto mercatino del dopo-concerto gli Honkies avevano ancora qualche copia in vinile - ciascun esemplare diversamente decorato a mano - del loro album di esordio, How Do We Prevent the Advance of the Desert? Oggi quell'album torna disponibile più sobriamente in cd, per meritoria iniziativa della barese Music à la Coque: Caroline Kraabel, Kathy Hulme, Andy Diagram e Richard Harrison.

https://musicalacoque.bandcamp.com/album/how-do-we-prevent-the-advance-of-the-desert-cd

12 agosto 2017


Dave Sturt, bassista nei Gong, raggiunge Kavus Torabi e Steve Davis nella sede di Phoenix FM per un episodio speciale di The Interesting Alternative Show. Tra i brani da lui proposti c'è qualche estratto dall'album del debutto solistico, Dreams & Absurdities (Esoteric Antenna, 2015), cui hanno contribuito molti gongster attuali o storici come Steve Hillage, Daevid Allen, lo stesso Torabi, Fabio Golfetti e Theo Travis. La puntata è quella del 24 luglio, e si riascolta via Mixcloud: http://www.phoenixfm.com/2017/07/26/playlist-mixcloud-stream-2017-07-24-dave-sturt-special

http://www.phoenixfm.com
https://www.cherryred.co.uk/product/dreams-absurdities

11 agosto 2017


Tra le letture estive avevi il volume di Carlo Pasceri Soft Machine 1968-1981 e ti è andato perso in spiaggia? Beh dai, poco male...

http://www.carlopasceri.it/blog/e-uscito-il-libro-soft-machine-1968-1981

10 agosto 2017


Se all'ora dell'aperitivo a bordo piscina ascolti una musicassetta - una c-68, precisamente - dal tuo walkman vintage e attorno a te non si parla che svedese ("det är du du du i denna kyss det är nu nu nu i detta nyss") scommetto che so cos'hai in cuffia: Testbild!

https://zeonlight.bandcamp.com/album/ett-blandband-fr-n-zeon-light-kassett-2017-c-68

08 agosto 2017


Dopo Beyond Jazz Trevor Barre prosegue il suo avvincente e dettagliato racconto della scena del jazz d'avanguardia e delle musiche di improvvisazione in Inghilterra con il volume Convergences, Divergences & Affinities, dedicato all'emergere di una seconda generazione di musicisti - dopo i pionieri Parker, Bailey, Guy, Rutherford, AMM, SME - nel cuore degli anni Settanta, con particolare attenzione a Beresford, Coxhill e Day e alla nascita della rivista portabandiera Musics. Il prossimo capitolo, il terzo, si occuperà in gran parte delle vicende del London Musicians' Collective.

The much anticipated follow-up to Beyond Jazz, Convergences, Divergences & Affinities continues the story of early English free improvisation, tracing the path of the music from 1973 to 1979. It follows the progress of the early pioneers and the formation of the ‘second generation’ of improvisers, examining how they continued to develop the sound through such outlets as the London Musicians Collective, Company and Musics magazine. Particular attention is given to the regional scene and to the formation of various collectives across the country. Trevor Barre’s new book is another very readable history of the initial period of one of the most radical and misunderstood musical genres of the 1960s and 70s.

If Beyond Jazz suggests a Golden Age, then Convergences can be said to cover a 7-year Silver Age, when free improv developed and changed, whilst remaining challenging and provocative, England's very own avant-garde, which paralleled and interacted with more popular strains like punk and post-punk. A fair amount of recorded evidence exists and is discussed in the book, and we are lucky that it is complemented by the contemporary magazine Musics, which is also studied in some detail as the house organ of the 'movement.' The emergence of a 'second generation' is studied, and the continuing work of the first, and the formation of several musical collectives/cooperatives across the country gets the attention is finally deserves. The figures of Steve Beresford, Lol Coxhill and Terry Day are identified as key mischief-making talents that represent the serious fun that the music provided, and get their own dedicated sections in the book.

improvmusic.co.uk

07 agosto 2017


Anche il doppio sito web di Mike e Kate Westbrook è attualmente in fase di rinnovamento e riorganizzazione, per paziente opera di Chris Topley. Tra le notizie che riguardano i più imminenti impegni spicca la ripresa di A Bigger Show da parte della Uncommon Orchestra, con due concerti a Londra e Bury St. Edmunds a fine mese prossimo. La sezione degli archivi storici, oltre che dare accesso alle ultime nove annate dello Smith's Academy Informer, segnala i filmati ritrovati di The Original Peter (1970) e The Cortège (1982), così come le recenti ristampe discografiche di Cherry Red Records (Marching Song) e Hux Records (Live 1972). In evidenza tra le ultime aggiunte anche una pagina commemorativa dello speciale Mike Westbrook Music Festival tenuto a Catania nel 1992, dal 24 al 26 luglio, giusto venticinque anni fa. Dal programma dell'ultima serata proviene un estratto dell'elegante View From The Drawbridge, con il sassofono di Alan Barnes in primo piano. Oltre a Mike e Kate e Barnes, l'Orchestra si componeva quella sera di Graham Russell, Dave Plews, Noel Langley, James McMillan, Paul Nieman, Adrian Lane, Tracy Holloway, Andy Grappy, Frank Schaeffer, Chris Biscoe, Alan Wakeman, Peter Whyman, Chris Caldwell, Steve Berry, Peter Fairclough, Anthony Kerr, Karen Street, Phil Minton, Danilo Terenzi, Dominique Pifarely e Pete Saberton.

http://www.westbrookjazz.co.uk
http://www.westbrookjazz.co.uk/photoalbum/catania.shtml

06 agosto 2017


Il nome non è cambiato, House of Chadula, ma il sito web è nuovo di zecca - sempre a cura di Ben Raskin - e nuova è anche l'organizzazione dell'immenso catalogo di registrazioni e documenti lì messo a disposizione da Eugene Chadbourne. Ci sono inediti e rarità inimmaginabili di ogni epoca e provenienza, diversi album dell'ultimissima ora, e anche la promessa di una quindicina di giorni da spendere in Italia per concerti (e altro) il prossimo ottobre: http://eugenechadbourne.com

05 agosto 2017


RockBeat Records pubblica in doppio cd un concerto di Phil Ochs ben noto ai fan ma finora ufficialmente inedito, registrato - anche dall'FBI, si disse - il 22 ottobre 1966 a Montreal: Live in Montreal, 10/22/1966. "It's not enough to know the world is absurd and restrict yourself to pointing out the fact. Still I am forced to go on because I don't want the world to be left in the hands of the Hitlers, This one thing I feel is a driving force: that I get repelled by certain things - or they strike me as funny, or weird or strange, or ridiculous - and my response comes out in the form of a song." (Phil Ochs)

Scrive Michael Simmons nelle note di copertina: "Repelled. Funny. Weird. Strange. Ridiculous. Hitlers. These words resonate 50 years later, especially under the current political circumstance, a sad indication of how little has changed. Few songwriters mirror the moment they lived in as definitively as Phil Ochs. He was considered a folksinger and yet he didn't rewrite Child Ballads or resurrect Delta blues. For most of his career he accompanied himself with a sole acoustic guitar, but by 1966 his lyrics became more complex, more artful and his melodies and arrangements more baroque. He'd have as much in common with Brecht and Weill as he would with Pete Seeger. The Montreal gig was smack dab between his final Elektra album and his first release for A&M Records in November '67. On the former he's still the lone troubadour, armed only with a guitar that kills fascists (to paraphrase Woody Guthrie), while on the latter he utilizes ornate orchestration and piano accompaniment ranging from classical to ragtime. In many of the renditions heard on this live set, one can hear Ochs toying with the arrangements, adjusting the tempo mid-song and applying dissonance for effect. In some instances, his ideas outrun his technical capabilities. And his voice, an instrument that could register as thin but here is full-bodied and blessed with one of the best vibratos in show biz."

04 agosto 2017


Gilad Atzmon parla con Adam Garrie (The Duran) del conflitto israeliano-palestinese, del ruolo della politica in musica, dell'opposizione tra dogmatismo e libertà di pensiero - 'Gerusalemme' e 'Atene' nel suo libro Being in Time - e anche delle prese di posizione sue, di Robert Wyatt e di Roger Waters in difesa dei diritti dei palestinesi, delle conseguenti azioni di boicottaggio promosse da attivisti israeliani e della realizzazione di un film esplicitamente diretto a Waters fin dal titolo, Wish You Weren't Here. Della propria recente esperienza in fatto di pressioni e minacce dice Atzmon: "Assaults against my artistic activity occur daily. Promoters and presenters of my work are subject to a constant barrage of pressure and even threats. Very rarely they succeed in having a gig of mine cancelled. However, this is crucial. In Europe there are broad hate speech prohibitions. Despite the endless attempts to silence me, not once have I been questioned by a law enforcement body anywhere around the world about anything I said or wrote."

http://www.gilad.co.uk/writings/2017/7/14/thedurancom-gilad-atzmon-on-politics-in-music-roger-waters-palestine-and-humanitarianism
http://theduran.com/exclusive-gilad-atzmon-on-politics-in-music-roger-waters-palestine-and-humanitarianism

03 agosto 2017


E' pronto anche in forma di newsletter l'aggiornamento #44 al magnifico sito web Une discographie de Robert Wyatt amorevolmente curato da quasi quattordici anni da Jean-Paul Marillier. E non sono poche le aggiunte degli ultimi mesi, distribuite nelle diverse sezioni dedicate a discografia, rassegna stampa, recensioni e archivi storici. Tra le segnalazioni di cose wyattiane più recenti c'è in particolare il libro di Philippe Gonin su Rock Bottom, con l'esplicito invito a riascoltarsi l'album. Bien sûr!

Scrive Marillier ai lettori: "Mon ami Antoine me fait remarquer qu'il y a bien longtemps qu'il n'a pas reçu la newsletter "disco-robertwyatt.com". Je lui rétorque tout de go qu'il peut tout aussi bien se rendre régulièrement sur le site pour découvrir les ajouts et les mises à jour successives. Mais ce n'est pas pareil, j'en conviens. La newsletter c'est comme un flash qui donne subitement envie de réécouter tous ces morceaux qui peuplent depuis tant d'années nos vies éclatées. Et depuis quelques mois, un album semble concentrer toutes les attentions: Rock Bottom avec des reprises passionnantes et un bouquin qui cherche à percer les recettes du chef d'oeuvre. Bon courage... Bonne (ré)écoute!"

http://www.disco-robertwyatt.com/images/newsletter/44/index_site.htm
http://www.disco-robertwyatt.com/images/Robert/rock_bottom/index.htm

02 agosto 2017


Dagmar... Dagmaar... Dagmaaar... Avete visto Dagmar?

https://www.youtube.com/watch?v=FhcJfCGzlRw

01 agosto 2017


Dal bollettino The Wire di agosto Clive Bell invita a immergersi nelle gioie (e rivoluzioni) delle musiche del ventesimo secolo tuffandosi dai trampolini di Probes sotto lo sguardo vigile ed esperto di Chris Cutler nello splendido scenario di Ràdio Web MACBA. Splasssh!...

http://rwm.macba.cat
http://rwm.macba.cat/en/probes_tag
http://www.hibou-anemone-bear.com/search?q=Radio+Web+Macba
http://www.perfomap.de/map3/kapitel4/ramos
http://www.perfomap.de/map3/kapitel4/ramos/pdf-download
https://www.thewire.co.uk/issues/402

31 luglio 2017


Con I 101 racconti di Canterbury (Edizioni Crac, 2017) Valerio D'Onofrio e Valeria Ferro mettono ordine agli scaffali della loro discografia preferita, allineando con criterio soprattutto cronologico un'ottantina di album di maestri e allievi delle scuole storiche del Grigio e del Rosa - con qualche azzardato slancio verso il R.I.O. e una fin troppo generosa sezione riservata al canterburismo de noantri - cercando di tenere in qualche modo insieme destini e vicende individuali e collettive di alcuni amatissimi protagonisti (Allen, Ayers, Sinclair e Wyatt in primis) nell'intreccio di parentele, amicizie di gioventù, divergenze e temporanee affinità che negli anni hanno disegnato una 'non-scena' artistica e ideale ben oltre - in verità quasi totalmente oltre - i confini della celebre città cattedrale.

http://edizionicrac.blogspot.it/2017/04/valerio-donofrio-e-valeria-ferro-i-101.html

30 luglio 2017


Alla vigilia di una massiccia operazione di recupero e riedizione in vinile di materiali noti e inediti dai favolosi/favoleggiati archivi dei Residents - già visitati più e più volte in varie epoche e in vario modo, e presto di nuovo oggetto d'attenzione con l'antologico 80 Aching Orphans - esce per Goodfellas un libro che ripercorre l'immenso e geniale apparato pubblicitario e iconografico prodotto negli anni dalla mitica (e criptica!) etichetta Ralph Records: Buy Or Die! Ralph Records Artworks 1972-2015, a cura di Matteo Torcinovich.

Goodfellas present Buy Or Die! Ralph Records Artworks 1972-2015, the first ever book of its kind on the history of the artwork of The Residents and their label Ralph Records. The life of Ralph Records and The Residents has always been cloaked in obscure mysteries, woven by the anonymous Cryptic Corporation, around which many luminaries have revolved; painters, graphic artists, cartoonists, musicians, film-makers, and writers. All have been channeled together by a powerful creative synergy that helped champion a new, mercurial and thoroughly multi-faceted artifact. Buy Or Die!, for the very first time, brings together a collection of images that represented the sounds of Ralph from 1972 to the present. A historical journey that traces the path of one of the most innovative record labels of the last fifty years. A collection of original, rare, and remarkable images drawn from record covers, fan catalogs, posters, and a wide variety of promotional material, demonstrating the technological and stylistic adaptations undergone through the arc of half a century. 400-page color book in English and Italian.

http://www.residents.com
http://libri.goodfellas.it/buy-or-die-the-residents-ralph-records-artworks-1972-2016.html
https://www.youtube.com/watch?v=KY0FAuqTfQw

29 luglio 2017


Era desiderio di Lawrence D. 'Butch' Morris (1947-2013) che il suo lascito di scritti e indicazioni metodologiche circa le conduzioni orchestrali da lui ideate e praticate in vita per molti anni fosse raccolto in un volume elegante e di prestigio, pur rimanendo principalmente uno strumento di lavoro. Lo ha esaudito l'editrice newyorkese Karma, pubblicandolo in edizione limitata nella sezione dei propri libri d'arte: si intitola The Art of Conduction, ed è frutto del certosino lavoro di ricerca e di redazione di Daniela Veronesi tra i mille appunti dell'autore, con l'apporto del fido J.A. Deane e di molti altri collaboratori. Ne scrivono entusiasti Taylor Ho Bynum sul numero di giugno di Point of Departure e Howard Mandel - autore anche della prefazione - al suo blog Jazz Beyond Jazz.

Posthumously published four years after his death, lovingly edited by Daniela Veronesi and assembled with the invaluable help of J.A. Deane and other long-time collaborators, The Art of Conduction: A Conduction Workbook provides a markedly clear and concise presentation of Morris’ life’s work. Beautifully assembled in an oversized, art press-style hardcover, the materials in the book basically fall into three categories. It collects Morris’ own writings about conduction, from formalized texts to interview transcriptions to musings, scribbles and emails. It includes essays and exercises by other writers, mostly from Veronesi and Deane but including contributions from jazz critic Howard Mandel and poet Allan Graubard, that provide historical context and practical applications for the work. And most crucially, it contains the Conduction Lexicon – the meticulously detailed vocabulary of the gestural and visual cues Morris painstakingly developed over many decades.

http://karmakarma.org/post/160131036873/lawrence-d-butch-morris-the-art-of-conduction
http://www.pointofdeparture.org/PoD59/PoD59Conduction.html
http://www.artsjournal.com/jazzbeyondjazz/2017/04/butch-morriss-workbook-for-spontaneous-composition-published.html

28 luglio 2017


"At some point every guitarist has to do it, so why not hang out with some friends and have fun while you’re at it? This is Strings and Things, the show where musicians come by to change their strings, talk about all kinds of things and make some music." E così è toccato l'anno scorso a Nick Didkovsky.

http://www.didkovsky.com
http://www.stringsandthingsshow.com/?p=115
https://www.youtube.com/watch?v=NlyBWEUiHQY

27 luglio 2017


Elaine di Falco e Mike Johnson sono stati ospiti di recente del programma radiofonico Prog Rock Deep Cuts, emanazione della statunitense House of Prog. La puntata si riascolta via Mixcloud.

Specializing in rare cuts by classic and modern bands, Prog Rock Deep Cuts is a forward thinking, live radio show that promises to match the obscure with the new and fresh. Intelligent, emotional, and visceral classic to modern progressive rock broadcasted live every Sunday from 6-9 pm EST on www.houseofprog.com. While all forward-thinking music is fair game, the music featured on Prog Rock Deep Cuts is admittedly inclined towards the obscure, less traveled, and strange avenues of progressive music. A typical episode of Deep Cuts intends to fuse diverse elements such as jazz, electronic, world music, avant garde, psych, space, and classical with rock music in a fresh, and hopefully, exciting journey that presents the classics alongside their modern counterparts.

https://www.mixcloud.com/progrockdeepcuts/deep-cuts-148-featuring-thinking-plagues-mike-johnson-and-elaine-di-falco

26 luglio 2017


Più ordinata e aggiornata di frequente è la collezione su Bandcamp dei Kalahari Surfers, curata direttamente da Warrick Sony. A maggio è stato pubblicato un EP gratuito con quattro nuovi brani al vetriolo (Anti State Capture Death Squad Alliance) mentre è del mese scorso una compilazione con lavori inediti o rivisitati frutto della collaborazione con Lesego Rampolokeng (Bantu Rejex).

https://www.facebook.com/kalaharisurfers
https://kalaharisurfer.bandcamp.com/album/bantu-rejex-a-half-century-album
https://kalaharisurfer.bandcamp.com/album/anti-state-capture-death-squad-alliance

25 luglio 2017


Non è forse agevolissima, ma riserva inattese ricompense la consultazione dell'archivio di materiali sonori - perlopiù inediti o rarissimi - curato da Guy Segers presso Bandcamp: molto di Univers Zero e Present, naturalmente, ma anche Liquidation Totale (con Michel Delory, Frank Wuyts e Daniel Denis), Guts, Galileo's Left Wing, Morton Fork Gang e Morton Object (con Geoff Leigh, Michel Delville e Ivo Sans), Eclectic Maybe Band, Uneven Eleven (con Makoto Kawabata e Charles Hayward), Gurumaniax (con Ax Genrich e Mani Neumeier), Moving Tones, duetti con Roland Binet e molte cose in solo. C'è anche gran parte del concerto degli Acid Mother Guru Guru Gong - cioè Segers, Kawabata, Neumeier e il compianto Daevid Allen - allo Zappanale del 2009.

https://guysegers1.bandcamp.com

24 luglio 2017


Una messe di titoli di nuova e antica produzione, in proprio o in distribuzione, è disponibile per tutta l'estate presso ReR Megacorp, con qualche piccante aggiunta dell'ultim'ora al catalogo generale (Hollis Taylor, Boris Kovac, Fausto Razzi tra gli altri) e un paio di gustose anticipazioni circa i mesi a venire (i box antologici di ZNR/Joseph Racaille e di Peter Blegvad).
Moltissime anche le proposte a prezzo più che amichevole rivolte a incoraggiare la ricerca e l'ascolto di lavori di grande qualità poco o per nulla noti, com'è sempre stato nello spirito delle raccomandazioni cutleriane. E a beneficio dei nuovi curiosi che approdano all'etichetta tramite il web, lo stesso Cutler ne riassume in poche righe la storia e la filosofia: "ReR was set up in 1978 by me and Nick Hobbs as an independent label and distribution service. The idea was to find and make available recordings from around the world (on numerous independent and specialist labels, including some rare and hard to find limited editions) which embodied the most interesting, experimental or important work in the musical field I cared about. It’s opinionated. I have tried to explain my choices in the notes that accompany each title - which are reviews rather than promo. We don’t deal in a narrow genres but look for what’s unusual across a very wide field. And since, with the worldwide web replacing record shops and the music press, certain kinds of music have, paradoxically, become harder rather than easier to find, our work of finding and selecting is, I hope, still useful, time saving and might be a source of serendipitous discoveries. By being strict with our choices, we hope to earn enough trust that you try things you don’t know as well as things you do."

http://www.rermegacorp.com
https://www.facebook.com/chriscutler2

23 luglio 2017


E per le attività extra-curricolari ti suggerisco uno zibaldone di Orang Lucky. Ottimo anche per il tempo libero.

http://oranglucky.blogspot.com

22 luglio 2017


Se ti serve approfondire su Canterbury dai un'occhiata anche da Burning Shed, che lì han sempre tanta roba. Il giorno della tesi però non prender troppi caffè. Fatti un buon  piuttosto, e scegli bene la tazza!...

https://burningshed.com/genres/CanterburyScene
https://burningshed.com/genres/CanterburyScene/gong_camembert_teapot
https://burningshed.com/store/rockpots/matching-mole_mug

20 luglio 2017


Per l'atteso debutto in proprio di Tali Atzmon, sorella di Gilad, ha parole di grande apprezzamento Robert Wyatt: "Talinka - such an evocative name - wittily appropriate for this intimate set so sensitively arranged around Tali's straight from the heart, true and soulful voice. Since hearing Ms. Atzmon's discrete contributions to records by Gilad Atzmon and friends I've long wished she would make a record revealing her own deeply personal approach to music, and here, at last, is that record."
L'album è Talinka, e lo produce MoonJune Records.

Led by vocalist Tali Atzmon, the group Talinka creates a new distinctive sound that explores the diverse musical journeys of four British musicians, each already distinguished in their fields. Tali Atzmon was a renowned actress and singer in Israel; Jenny Bliss is a baroque virtuoso artist who plays viola da gamba, baroque violin, flute and sings on the album; Yaron Stavi is one of the leading double bass players in Europe and Gilad Atzmon is an internationally acclaimed jazz saxophonist, performing here on bass clarinet, soprano saxophone and accordion.
Talinka transcends boundaries creating a natural continuum between folk, jazz, tango and early music. The unusual choice of instruments and combination of personalities create an amalgam of past and present, East and West. The album features seven original compositions, including Tali Atzmon’s soulful songs ‘Losing Vision’, ‘When You’re Gone’ and ‘Every Now and Then’. “I wrote the song ‘Losing Vision’ in response to the Syrian refugee crisis, she says, “The bass clarinet together with the viola da gamba create a primordial auditory realm that evokes a deep sense of Sisyphean existential struggle yet a cry for a change.” The album also features unique interpretations of the classic songs from The Great American Songbook ‘Don’t Explain’ and ‘You Don’t Know What Love Is’.

https://www.facebook.com/tali.atzmon.3
https://talinka-moonjune.bandcamp.com/album/talinka

19 luglio 2017


Prende il via domani e prosegue fino a domenica a Nickelsdorf (Austria) la trentottesima edizione del festival Konfrontationen, con un affettuoso ricordo di Misha Mengelberg alla presenza dell'ICP Orchestra e un occhio di riguardo alle proposte di Katharina Klement (Left) e Franz Hautzinger (Uruk). Tra i vari moltissimi altri ospiti ci sono Ken Vandermark, Oliver Lake, Joe McPhee, Mats Gustaffson, Klaus Filip, Isabelle Duthoit, Christian Kobi, Birgit Ulher, Ute Wassermann e naturalmente Han Bennink, anch'egli festeggiato speciale.

Ein musikalischer Reigen ganz im Geiste der Improvisation. Vom 20. bis zum 23. Juli ist es wieder so weit: Die in Nickelsdorf stattfindenden Konfrontationen öffnen einmal mehr ihre Tore für den Hörgenuss der etwas anderen Art. Wie gewohnt fährt auch die 38. Auflage des Festivals mit einem Programm auf, das in seiner geballten Art in Mitteleuropa wohl einzigartig ist. Spielorte sind die Jazzgalerie, der Kleyehof und die katholische Kirche.
Alljährlich im Sommer verwandelt sich das beschauliche burgenländische Dorf an der Grenze zu Ungarn für einige Tage in ein Mekka der freien Musikkunst. Die seit vielen, vielen Jahren von Hans Falb veranstalteten Konfrontationen haben sich im Laufe der Zeit zu einem Ort, an dem die Grenzgänge zwischen den Spielformen und Stilen und das Experiment im von allen Dogmen befreiten Raum zum bestimmenden Programm gemacht werden. Im Rahmen der vier Festivaltage kann im musikalischen Sinne quasi alles passieren, die geladenen MusikerInnen, Bands und Ensembles sind dazu aufgefordert, neue Wege zu erkunden und ihren eigenen musikalischen Welten und Umgebungen zu hinterfragen.
Das Zauberwort heißt 'Improvisation' – in verschiedensten instrumentalen Konstellationen und stilistischen Kombinationen. Innovative Klangkunst trifft auf Jazz, avantgardistische Elektronik auf futuristische Kammermusik, Elektroakustik auf Computermusik, Schräges auf noch Schrägeres, Reduziertes auf Großformatiges und, und, und. Erlaubt ist bei den Nickelsdorfer Konfrontationen alles, was mit gewöhnlichen Mustern, üblichen Regeln und althergebrachten Traditionen bricht.

http://www.konfrontationen.at/ko17
https://www.facebook.com/JazzgalerieNickelsdorf

18 luglio 2017


Cita il rosso hendrixiano di Bold As Love il titolo del programma del Music Unlimited edizione numero 31 a Wels (Austria) il prossimo novembre, dal 10 al 12: Ribbons of Euphoria, un'idea di Mary Halvorson.

http://www.waschaecht.at/music-unlimited
https://www.facebook.com/festivalmusicunlimitedwels

17 luglio 2017


Il catalogo digitale delle produzioni FMP è invece affidato da qualche tempo a Destination: OUT, che tra le sue più recenti iniziative segnala il recupero di alcuni importanti classici: State Of Volgograd, del Trio Trabant A Roma con Phil Minton, Alfred Harth e Lindsay Cooper; Blue Goo Park, del duo Joëlle Léandre & Rüdiger Carl; Et On Ne Parle Pas Du Temps, di Louis Sclavis con Ernst Reijseger; Twilight Etchings, di Keith e Julie Tippett dal vivo con Willi Kellers nel 1993; Stop Complaining-Sundown, con i duetti del compianto Hans Reichel assieme a Fred Frith e Kazuhisa Uchihashi, Seite A / Seite A del Cowws Quintett; un celebre solo di Alexander Von Schlippenbach, Piano Solo '77, e poi Binaurality della King Übü Örchestrü e diversi titoli di Peter Brötzmann.
I materiali FMP oggetto di graduale trasferimento in digitale spesso per la prima volta sono, assieme a molto altro, soggetto principe delle puntate domenicali di Give the Drummer Radio curate per la statunitense WFMU da Jeff Golick, uno dei due Jeff titolari di Destination: OUT in origine (l'altro è Jeff Jackson, ora scrittore).

http://www.fmp-online.de
https://destination-out.bandcamp.com
https://twitter.com/destinationout
http://wfmu.org/playlists/DO

16 luglio 2017


Chi cerca titoli vecchi e nuovi pubblicati negli anni dalla gloriosa Matchless Recordings di Eddie Prévost ne trova le versioni in digitale presso il negozio virtuale del Cafe Oto londinese, Otoroku. Per qualche esemplare, ormai raro, delle originali edizioni in cd o altro supporto fisico può provare a rivolgersi alla casa madre: http://www.matchlessrecordings.com/shop

Scrive Nicola Negri per Free Jazz Blog: "AMM – one of the first European ensembles entirely devoted to free improvised music – was founded in London in the early Sixties by percussionist Eddie Prévost, saxophone player Lou Gare and guitarist Keith Rowe, and was soon joined by bassist Lawrence Sheaff and especially composer, pianist and cellist Cornelius Cardew, whose rigorous ideas about music were essential in orienting the first developments of the ensemble. After their first record, AMMMusic, was released in 1966 by the major label Elektra, the group couldn’t find any other company willing to record and release their music, unable to recognize any potential in the radical approach and ideas put forward by the ensemble.
An episode recounted by Prévost is indicative of the attitude and difficulties they were confronted with: “I remember having a discussion with one who, frankly, gave me a going over. Speaking about The Crypt, he said, ‘why do you want to release this stuff? No one’s ever going to buy this - this is awful.’ We were taken aback, such a vehement response to the work you know. I said, ‘well, we didn't produce it for you to sell. We produced it because it was representative of our work and we thought it was an important part of it’.”
In the early Seventies Prévost then decided to create Matchless Recordings, at first as a mean to document AMM activities, taking a typical DIY approach: Rowe’s artwork adorned the cover of many of the releases, the musicians wrote the detailed liner notes themselves, and much of the production of the records happened in Prévost’s own house. After almost forty years of existence – and still active to this day – Matchless has become both an important catalogue of AMM performances (The Crypt, first excerpted in a split release with MEV on the Mainstream Records series curated by Earle Brown, was finally released in its entirety as a double LP by Matchless in 1981), and the opportunity for new improvisers to have their music released.
In late 2016 London’s Cafe Oto worked with Eddie Prévost to offer digital recordings of the Matchless catalogue, for the first time, through their own Otoroku label’s website, thus offering new possibilities for this musics to reach adventurous listeners anywhere."

https://www.cafeoto.co.uk/shop/category/matchless-recordings

15 luglio 2017


Il londinese Cafe Oto torna ad ospitare The Wire Salon, la fortunata serie di incontri pubblici ravvicinati con musicisti, artisti e autori intrapresa alcuni anni fa in alleanza con la redazione della rivista The Wire - nella persona di Tony Herrington, in particolare - e poi inspiegabilmente interrotta nel 2013: vi intervennero tra gli altri Robert Wyatt, Terry Riley, Peter Cusack, David Toop, Ian Penman, Leafcutter John e Mark Fisher. Domani sarà eccezionale protagonista la grande giornalista, attivista e fotografa Val Wilmer.

As a writer and photographer, Val Wilmer has been documenting black music and the lives of the musicians who make it in the US and the UK since the early 1960s. In that time she has interviewed and photographed almost every significant figure in post-war jazz, blues and R&B, from Louis Armstrong and Thelonious Monk to Sun Ra and Albert Ayler via Muddy Waters and Aretha Franklin. Her journalism, which has appeared in multiple publications from The Guardian to The Wire, is distinctive for the way it combines reportage and musicology with a historian's concern for the facts and a radical political agenda informed by her contacts with black musicians and the burgeoning black liberation movement. Likewise, her portrait photography captures musicians in informal, domestic or communal settings, emphasising the social dynamics that underpin their lives and music. In the 1970s and 80s she became active in the women's movement, writing about the experiences of women in music, and co-founding Format, the UK's first all-women photographers' agency. In the UK her work is included in the archives of the British Library, the V&A Museum and the National Portrait Gallery, and she is a contributor to The Oxford Dictionary Of National Biography and The New Grove Dictionary Of Jazz. Her books include Jazz People (1970), The Face Of Black Music (1976), As Serious As Your Life: The Story Of The New Jazz (1977), and the autobiography Mama Said There’d Be Days Like This: My Life In The Jazz World (1989).
For this edition of The Wire Salon, Val has selected a number of photos from her personal archive, which will be projected during the talk and used as entry points to discuss her remarkable life in the jazz world and beyond.

https://www.cafeoto.co.uk/events/wire-salon-an-audience-with-val-wilmer

14 luglio 2017


Nella preziosa collana di documenti audio pubblicati da Günter Horn al suo spazio YT brilla quale perla a sé il concerto della Dedication Orchestra al festival Outside In di Crawley (Regno Unito) il 5 settembre 1992. La formazione è quasi identica a quella dell'album Spirits Rejoice inciso ai Gateway Studios londinesi pochi mesi prima: Julie Tippetts, Francine Luce, Phil Minton, Kenny Wheeler, Jim Dvorak, Lance Kelly, Claude Deppa, Radu Malfatti, Dave Amis, Paul Rutherford, Malcolm Griffiths, Dave Powell, Lol Coxhill, Elton Dean, Ray Warleigh, Alan Skidmore, Evan Parker, Chris Biscoe, Neil Metcalfe, Django Bates, Keith Tippett, Paul Rogers e Louis Moholo.

https://www.youtube.com/user/guenniii/videos
https://www.youtube.com/watch?v=nNTV2KEyMIY

13 luglio 2017


Anticipato ieri e oggi da vari eventi collaterali, prende il via ufficialmente domani a Bad Doberan (Germania) il festival Zappanale, giunto alla sua ventottesima edizione. Attrazione principale quest'anno è Dweezil Zappa. Nientepopodimeno. Anzi, arf!

http://www.zappanale.de
http://www.arf-society.de/arf
https://www.facebook.com/Zappanale-Festival
http://rockradio.radio.de

12 luglio 2017


Nuove confezioni in digipack per la riedizione di tre super-classici titoli Magma, con aggiunte all'apparato grafico, alla scaletta dei brani e qualche altro piccolo ritocco: Wurdah Itah, Attahk e il celebre Live registrato a Parigi alla Taverne dell'Olympia a inizio giugno 1975.

Suite au départ, à l'automne 1974, de Jannick Top et de la quasi-totalité des membres du groupe, Magma renait une nouvelle fois de ses cendres, proposant une formation rajeunie et pleine d'ambition. Après de nombreuses répétitions et de la confirmation pour Christian Vander, qu'il tient une formation d'exception, décision est prise d'enregistrer le premier album live de Magma. L'enregistrement, qui a lieu en Juin 75 a la Taverne de l'Olympia, restitue à merveille l'impact formidable qui se dégage des prestations scéniques du groupe. Au service exclusif de la musique d'un Christian Vander au sommet de son art, la formation joue comme un seul homme et balaie tout sur son passage. Que ce soit sur les anciens morceaux (Kohntark, Kobah, Mekanik), habillés de nouveaux arrangements, ou sur les titres inédits (Hhai, Lihns), le souffle de Magma n'a jamais été aussi puissant. Bien qu'il soit difficile d'extraire de cette formation prestigieuse un quelconque exercice individuel, on peut néanmoins difficilement rester insensible à la performance décoiffante d'un Didier Lockwood, dont le violon contribue pour une grande partie à la profonde originalité de ce magnifique double album!

http://www.seventhrecords.com/magma-19/magma-attahk-remasterise-nouvelle-66.html
http://www.seventhrecords.com/magma-19/magma-live-remasterise-nouvelle-64.html
http://www.seventhrecords.com/magma-19/wurdah-itah-remasterise-bonus-inedit-1263.html

11 luglio 2017


Ristampe di lusso in doppio vinile di qualità e copertine apribili ad album per i magnifici quattro di Brian Eno: Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World e Before and after Science. Pronti da inizio agosto: http://www.brian-eno.net/halfspeed/releases.html

While Eno’s current output as a musical and visual artist and writer of philosophy, science and socio- political theory is still prolific, his illustrious back catalogue holds as much influence as ever. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating.
Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments.

http://www.enoshop.co.uk/product/herecomethewarmjets
http://www.enoshop.co.uk/product/takingtigermountain
http://www.enoshop.co.uk/product/anothergreenworld
http://www.enoshop.co.uk/product/beforeandafterscience

10 luglio 2017


Con lodevolissima iniziativa Real Gone Music si incarica di riportare alla luce le versioni mono dei primi due album della grande Laura Nyro, More Than a New Discovery (Verve Folkways, 1967) e Eli and the Thirteenth Confession (Columbia, 1968), recuperando sequenze originali e versioni alternative, più qualche altra preziosa aggiunta: A Little Magic, A Little Kindness: The Complete Mono Albums Collection.

Throughout the course of her life, Nyro wrote and introduced some of the most beloved popular songs of all time with her singular fusion of pop, jazz, R&B, soul, Broadway, and folk sounds. Real Gone Music and Second Disc Records are proud to celebrate the golden anniversary of Laura Nyro’s debut with a landmark 2-CD collection. A Little Magic, A Little Kindness: The Complete Mono Albums Collection features, for the very first time on CD, both of Nyro’s original mono albums newly-remastered by Vic Anesini at Sony’s Battery Studios from the original master tapes. More Than a New Discovery, originally released on Verve Folkways in 1967, premiered the songs that Barbra Streisand, Blood Sweat and Tears, and The 5th Dimension would all take up the charts, including “Stoney End,” “And When I Die,” “Blowin’ Away,” and perhaps the most famous song Nyro ever wrote, “Wedding Bell Blues.” This special edition restores the original album sequence and mono mix from the very first version of the album. In 1968, Nyro moved to Columbia Records for her most acclaimed album, Eli and the Thirteenth Confession. Its songs were once again adopted by other artists such as Three Dog Night, Frankie Valli, and of course, The 5th Dimension. Featuring “Eli’s Comin’,” “Emmie,” “Sweet Blindness,” and the era-defining “Stoned Soul Picnic,” this ultra-rare album – thought by many Nyro connoisseurs to be superior to the familiar stereo version – also makes its maiden appearance on CD. A handful of bonus tracks round out this special package, including the Bones Howe-produced “pop” version of “Save the Country,” and the CD debuts of the Verve “censored” single version of “Stoney End” and the single mix of “Eli’s Comin’.”

09 luglio 2017


Punteggiata nei giorni scorsi da vari eventi con musica dal vivo, incontri e presentazioni, chiude oggi alla Red Gallery di Londra la nuova esposizione - dopo quelle presso Tenderbooks l'anno scorso, sempre a Londra, e al Sonos a New York lo scorso aprile - dei materiali d'archivio della gloriosa rivista Musics, recuperati recentemente in un corposo volume edito da Ecstatic Peace Library.

Musics was published, from 1975 to 1979, by musicians and artists on the London scene of free improvisation, focusing on the most innovative participants of their generation. Steve Beresford, David Toop, Annabel Nicholson, Evan Parker, David Cunningham, Lindsay Cooper, Eddie Prevost, John Russell, Derek Bailey, Valerie Wilmer, Hugh Davies, Peter Riley and many, many others contributed to the writing, graphics and photography. Musics was a blueprint for the interdisciplinary activities of sound art, field recording, free improvisation, live electronics, 20th century composition and audio culture. It came out six times a year and ran for twenty-three hand-assembled issues.

https://www.instagram.com/musics_magazine
https://ecstaticpeacelibrary.net
http://www.hibou-anemone-bear.com/search?q=Tenderbooks
https://sonos-101-greene-street-in-nyc
https://www.facebook.com/redgallerylondon

08 luglio 2017


Richard Williams segnala ai lettori del suo blog The Blue Moment alcune delle più recenti riedizioni discografiche del jazz britannico storico - album di Daryl Runswick, Alan Skidmore, Harry South, Billy Jenkins, Neil Ardley, Red Price - con parole di elogio per il recupero (con bonus) del capolavoro westbrookiano Marching Song da parte di Cherry Red.

Scrive: "Of all the many fine British modern jazz records made in the last 50 years, the ones that probably most deserve to survive another half-century are Mike Westbrook's large-scale pieces, including MetropolisCitadel/Room 315 and The Cortège. In a sense, Marching Song is where it all began: released in its entirety as two LPs on the Deram label in 1969, representing a statement of scale and intent. And of moral purpose, too: this is every bit as much a portrait of the pity and horror of war as Picasso's Guernica, making a similarly startling use of modernist techniques. This reissue also contains a third disc of previously unheard material including a nine-minute sketch of the piece recorded in 1966 by a sextet including Mike Osborne, John Surman, Malcolm Griffiths, Harry Miller and Alan Jackson -- its approach very heavily influenced by Mingus -- and two wonderful extended quartet tracks by Osborne with the rhythm section, making this just about an essential purchase."

https://thebluemoment.com/2017/06/28/jazz-in-britain-part-2
http://www.westbrookjazz.co.uk/mikewestbrook/marchingcd.shtml
https://www.cherryred.co.uk/product/marching-song-vol-1-vol-2-plus-bonus-3cd-box-set

07 luglio 2017


(Pierre Henry, 1927-2017)



06 luglio 2017


E un doppio omaggio a Willem Breuker (1944-2010) a sette anni dalla scomparsa viene dalla pubblicazione di una ricca selezione video curata dalla vedova Olga Zuiderhoek in occasione del lancio un paio d'anni fa del sito web ufficiale dedicato alla vita e alle opere del compianto musicista (Favourites of the Widow) e dalla pubblicazione di un corposo volume antologico - comprendente un prezioso libro fotografico e undici cd ricchi di inediti e di documenti integrali altrimenti introvabili - per Bvhaast: Out of the Box.

For over 45 years, Willem Breuker played a large part in the musical life of the Netherlands, as a musician, composer, arranger and organizer. Between 1974 and 2012, the Willem Breuker Kollektief presented an adventurous and innovative mix of jazz, free improvisation, contemporary classical and theatre and circus music, often enlivened by a personal sense of humor. From this huge body of work, original Kollektief members Arjen Gorter and Bernard Hunnekink have now compiled an anthology, to be found on these 11 beautifully remastered CD’s. Themes such as music for film, theatre and strings are featured, as well as songs and longer, more complex pieces. Many of the pieces presented here are either no longer available elsewhere, or are now released for the first time, including the complete sound track for the film Faust, and the farewell concert Happy End.

https://www.willembreuker.com/shop/cd-box-wkb
http://www.willembreuker.com/project/2016-favourites-the-widow

05 luglio 2017


Sei concerti consecutivi per ricordare Allan Holdsworth, con la partecipazione dei suoi collaboratori più stretti degli ultimi anni (Steve Hunt, Evan Marien, Virgil Donati), una girandola di funamboli delle sei corde (Alex Skolnick, Alex Machacek, Tim Miller, Nir Felder) e vari altri ospiti a sorpresa: da domani a New York, pomeriggio e sera, presso il celebre Iridium.

The Iridium will be celebrating the life and music of iconic British guitarist and composer Allan Holdsworth with a run of tribute shows July 5-7, 2017. The tribute shows will feature the Allan Holdsworth Band - Virgil Donati, Steve Hunt, Evan Marian - along with Alex Skolnick, Alex Machacek, Tim Miller, Nir Felder, and surprise guests. For over 40 years, Allan Holdsworth influenced rock, metal and jazz guitarists across the globe, well-known for his advanced approach to harmony and his blindingly fast and intricate legato style which left even some of the world's greatest guitarists shaking their heads in awe. Throughout his career he released twelve studio albums as a solo artist, including his most recent 12-CD box set release aptly titled The Man Who Changed Guitar Forever!

https://www.facebook.com/jamieglaserspage/videos/851190421697333
http://theiridium.com/events/6550/celebrating-the-iconic-guitarist-allan-holdsworth-30-40