Sun Ra Story #2
It must have been 1985 I was in San Francisco on a trip with these suits from this company I worked for down in Southern Cal. I was CEO of the shipping dept and we had some probs to iron out with another company. On top of everything else I was strung out at the time. We checked into the St Francis on Union Square and as I sat down to take my early evening shot I turn on the tv and the hotel has it's own channel and it shows footage of fucking President Reagan & Nancy checking in that very day! I'm sitting there with a syringe realizing the hallways will be crawing with Secret Service. Wonderful.
Luckily, I was a junkie in a suit, and heroin isn't like booze where you get all sloppy. Not unless, of course, you get hoggish and do too much. You must practice moderation in all things, dude. So, I clean out my syringe and squirt Nancy's face a direct hit. Roll down my sleeve and make it on over to Oakland to catch Sun Ra and his Arkestra. ( I ditched the boss and his cronies.)
So, Sun Ra does his usual great show. June sings angelic. Marshall Allen throws notes all over the place. John Gilmore digs in on tenor.
You can see all the photos from the evening at my UCLA photo archive. And you can hear "The Sun Ra Story" ( # 1 ) on my cd O SHENANDOAH.
Afterwards there's a couple guys from KPFA interviewing Sun Ra with a tape recorder. They sort of fizzle out, run out of things to ask. So, I sorta edged in and took over. I'd been talking with Sun Ra for years having first caught him in November of 1974 for a week at Keystone Korner in Frisco. And a half-dozen other times.
So, we talk for what seems like two hours but must have only been an hour. He's doing his usual space baloney talk and quasi-Egypto riff and we're having a pleasant time and it occurs to me that Sun Ra has been reading Immanuel Velikovsky (remember WORLDS IN COLLISON from the 50s?)(that was like the It Book back in the 70s, in reprint) and when I tell him that, his mouth drops. I totally busted him. And for a minute there he's searching for his legs and then regains his stance and says, in amazement, "I woke up one morning and the book was mysteriously next to my bed." So, we talked about that for a little while, then he paused and lookt at me and said, "You know, I talk a lot of this space jive and all this, you know." One of the great admissions in jazz!
And I never got a copy of the tape, because, well, I was a junkie and I flew back to Los Angeles and my own strange life. (I hear that KPFA is putting their interviews on-line. Maybe they've got that?)
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Los' Bubbadinos Reviews
~~~~~~~~The Bubbadinos,We're Really Making Music Now
...... The Bubbadinos call what they do "honky tonk music," but don't expect ragtime here. This isn't the music of the honky tonk brothels of the deep south, or even music of the city at all, but deliberately rural, "pure American" redneck music which intends to make you squeal like a piglet. "It's 'bad' awful," explains The Bubbadinos' Mark Weber in his helpful sleeve notes. "Seriously, if you've got a jones for correctness, such as metrical rhythms, proper intonation, western ideas about harmony, then this band is definitely not for you."Rambles Magazine
Well, that might be going a bit far. These boys -- Mark Weaver (tuba), Stefan Dill (guitar, trumpet), Bubba D (lap steel, bass flute, piano, drums), Mark Weber (covals, guitar, violin, harmonica) and Ken Keppeler (violin, mandolin, banjo, accordion, harmonica) -- know the chords to old songs like "Oh Bury Me Not On The Trail," and not-so-old ones like "Fading Into The Sunset," they do indeed mostly have nice 4/4 metrical rhythms and Weber's voice is pure moonshine. What they do manage to do is create something very special within those parameters.
Their songs seem to struggle with a wall of reverberating, slightly dissonant violins and feedbacked weirdness, and the recognizable world of blues and cowboy songs is delicately balanced against the band's tendency towards strange textures and noisy outbursts. Far from a what-will-they-do-next experience, however, listening to this disc has a satisfying gestalt quality which is not at all easy to achieve.
Don't believe a word of their appeals to "front porch style" music, and certainly not "the blood songs of the American working class" (thirteen of the twenty tracks are original compositions). This is a highly electrified, very contemporary band creating an image of America which is extremely sophisticated but which isn't to be taken for the real thing, which it rather self-evidently isn't, and which is all the better for it. One of the most puzzling and fascinating of recent releases, this is also very enjoyable, and can even be played at parties (the sedate sort where you can get away with Tom Waits, I mean). ........
~~~~~~~~The BubbadinosWe're Really Making Music Now
This oddly magnificent curio, while helpfully categorized on its back cover as "Honky Tonk Chamber Music," actually defies -- and quite possibly defiles -- such handy self-categorization. From no less than its very opening benediction ("Lone Prairie" --Residents-style, that is) through its continuous wilding loops from surprise (Ernest Tubb meets Leon Redbone) into sonic surprise (Johnny Paycheck by way of the circa 1972 Magic Band even!), these here Bubbadinos have concocted nothing short of a carnival-glass journey through the deepest, dankest reaches of the Far, FAR West, yet in doing so never ever fail to keep the ear both interested and fascinated -- despite all notions to the contrary, it sometimes seems.By Gary "Pig" Gold , In Music We Trust
Its twenty tracks sequentially sliced 'n' diced in all the right places by composer Mark Weber's delightfully whacked li'l Uneasy Listening interludes (with Mark Weaver's ubiquitous tuba employed more sparingly -- and thus effectively -- than a whole posse of Brave Combos), it's a danger at times to pass off these here entire proceedings as nothing more than mere Zappaesque gut-bucket novelty. But one listen to the oddly luscious "Pastoral In Open D" (which scouts uncharted territories even the "Aereo Plain"-era John Hartford passed by) and especially the truly magnum "Albuquerque Nocturne" (like some cruelly cast-off "Smile" experiment, it's no less than "Cabinessence" times Ten, I kid you not!), "We're Really Making Music Now" certainly demonstrates there's some, uh, serious music-making -- and genre-breaking -- going on within the Bubbadinos' ranks.
Hopefully, these merry mavericks are at this moment busy stirring up their next hour's worth of digital wonder. They should also "seriously" consider getting their marvelous work either out there on the road and/or up into the nearest Cronenberg film score as soon as is humanly possible. Okay, guys?
~~~~~~~~The BubbadinosThe Band Only A Mother Could Love
As it sez right there on the slip cover, "Ultra Americana Deluxe." And may I just add to that, here and right now, that these here Bubbadinos continue to explore the EXTREMELY-alt.Western kinda canyons even Johnny Dowd merely peers down every now and then.By Gary "Pig" Gold, In Music We Trust
Focal point, as always, is the slip-jawed Tom Waits-ery of Mark Weber's lead vocals, not to mention covers of traditional slices of, yes, Americana ("Clementine" and "Yankee Doodle," f'rinstance) which you're surely not about to hear filling pre-newscast holes on NPR anytime during our particular lifetimes. Speaking of which, the "You Are My Sunshine" included rivals even Dennis Wilson's "Smile" treatment of same, while "Singing The Blues" and Steve Earle's "The Mountain" can quite possibly even be considered definitive.
Check out each bandmember's solo spots as well (especially the Jimi-thru-the-spooking-glass "Goin' Home" and, I kid you not, "Amazing Grace" gone flamenco!) Only during this disc's concluding minutes do "The Big Offramps Of Life" and "Party Line" hint at the band's big, cinemascopic-wide "Sgt. Bubbadino" sessions to come, but the other fifty-odd minutes provide more than their fair share of Uneasy Listening Pleasure as well.
Turn it on, tune in, drop far out.
~~~~~~~~Los BubbadinosYup, We're Beating a Dead Horse
(The Sgt. Bubbadino Sessions)
The latest dispatch from this New Mexico band is another fascinating collection of songs, most of them by Mark Weber, whose vocals continue to have an appeal that a listener not yet jaded by the ways of the commercial world might even assume might have a place on Top 40 radio. He certainly is charming, and the varied and sometimes intricate backup from his musical associates doesn't hurt a bit. As seems to be the way with this group, some of the tracks depart from the song norm completely in order to present performances such as a multi-tracked collage by J.A. Deane, himself a well-respected performer on the avant-garde scene as well as seeming to be a member of this band, although a secretive one. Choices of covers are good, including a fine tune by the underrated songwriter Jim Lauderdale. Several tracks of poetry also show that the group is aiming at a sophisticated, intelligent audience, which all those interested in creative American music surely hope the group will find.Posted by Eugene Chadbourne | Jun 18, 2004 @ Music.com
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A short Bio of :
J.A. Deane (Dino)
Musician, composer, sound designer, performer, BioAcoustics research associate: (bass flute, percussion, lap steel, sampling, electronics) E-Mail email@example.com
EDUCATION: Studied music in the Los Angeles public school system grades 5 through 12 and left college after one year to conduct independent studies in acoustic and electronic composition. Ten years of study while working as a musician/arranger in Los Angeles and San Francisco in rock, funk, salsa, jazz and free improvisation ensembles. Also as a “studio musician” doing pop, film and commercial recording sessions and as a sound designer/recording engineer for theater companies and dance companies.
Over the past twenty-five years J. A. Deane has performed on over 40 recordings
. From his own work to recordings by Ike and Tina Turner, Butch Morris
, Brian Eno, Jon Hassell
, and John Zorn
. Mr. Deane has created sound designs for over 45 theatrical productions
, and has worked with playwright/directors Sam Shepard, Joseph Chaikin, and Christoph Marthaler. In the world of dance he has composed, recorded and performed music for over 50 dance works during a twenty-year collaboration with choreographer Colleen Mulvihill
. As a musician/performer Mr. Deane has given concerts
at over 80 international music festivals in the U.S., Canada, Europe, Asia and South America. In New Mexico he works with Theater Grottesco, producer Mark Weber, drummer Al Faaet, The Bubbadinos
, and “OUT OF CONTEXT” (a conducted improvisation ensemble consisting of viola, cello, bass flute, bass trombone, harp, acoustic guitar, percussion, and live sampling).
Mr. Deane is also a BioAcoustics
research associate. BioAcoustics uses low frequency sound to help stimulate the self-healing potential of the body.
…”Mr. Deane adjusted his electronics with the glee of a villain in a science fiction epic and raised his trombone as if it were a weapon. He could have been a sorcerer.”
… The New York Times
…”Circuitry in the service of aesthetics”
… Interview Magazine
…”When Deane orchestrates a series of feedback loops, the result is beautiful, driving and mercurial”
… THE Magazine
J.A. Deane Nomad (Victo 035) Studio Recording
…”Deane mixes unlike sonic textures together in a way that gives life to something entirely different - something you’ve never heard before”
… Vanishing Point
Butch Morris-Cornet Le Quan Ninh-Percussion J.A. Deane-Trombone/Electronics
…”Takes the focus of jazz improvisation and turns it on it’s head……Burning Cloud is an atmospheric set churning the air with energy……hearing a recording like this makes one realize how little of the creative imagination is really celebrated in current times”… Coda
J. A. DeaneNominations and Awards“Waters Edge”
Bay Area Theatre Critics Circle Nomination for Outstanding Sound Design“Tongues” & “Savage/Love”
Bay Area Theatre Critics Circle Award for Outstanding Musical Score“Interiors”
Isadora Duncan Award for Outstanding Musical Score“Greek”
Bay Area Theatre Critics Circle Nomination for Outstanding Sound Design“Pickup Axe”
Bay Area Theatre Critics Circle Nomination for Outstanding Sound Design“True Beauties”
Drama-Logue Award for Outstanding Sound Design
Bay Area Theatre Critics Circle Nomination for Outstanding Sound Design“Fool For Love”
Obie Award for Best Production
Bay Area Theatre Critics Circle Nomination for Outstanding Sound Design
J.A. Deane Selected Performance Events
1981 - 2001
Concerts - Theatre - Dance
Out Of Context, Albuquerque NM
Faaet/Deane/Lowe/Mulvihill, Santa Fe NM
Butch Morris, Conduction, NYC & Lisbon Portugal
This is Life as we know it, Theater Grottesco, Santa Fe NM
Nomad in Time, Santa Fe NM
Butch Morris, Conduction, Istanbul Turkey & Madrid Spain
Bonefied, Albquerque NM
Shorts, Theater Grottesco, Santa Fe NM
Lizard, Mulvihill/Deane, Albuquerque NM
Out of Context (live film sound track), Albuquerque NM
SoloDino, Composers Symposium UNM
Behrman/Deane, Santa Fe NM
Simpatico, Compo Santo, San Francisco CA
Fortune, Theater Grottesco, Santa Fe NM
Mary Stuart, Theater Work, Santa Fe NM
Animals of the Heart, Mulvihill/Deane, Santa Fe NM
Butch Morris & Holy Ghost, NYC
Butch Morris, Conduction, Albuquerque NM
SoloDino, Santa Fe NM
Weber/Deane, Albuquerque NM
Angels Cradle, Theater Grottesco US Tour
Bataan, Theater Work, Santa Fe NM
Question of Mercy, Magic Theater, San Francisco
7 Gates, Mulvihill/Deane, Santa Fe NM
Melford/Deane, Henry Cowell Festival, Cal State Berkley
Out of Context, Albuquerque NM
Dillinger, By Todd Moore KUNM Radio, Albuquerque NM
Wedding of Dona Sol, Theater Work, Santa Fe NM
Retrospective, Mulvihill/Deane, Santa Fe NM
Deane/Muller/O’Rourke/LeQuan, Paris France
Butch Morris & Orchestra Della Toscana, Florence Italy
My House, Dance Theater Workshop, NYC
Francis of Assisi, Theater Work, Santa Fe NM
Pieces of the Quilt, Magic Theater San Francisco CA
Waters Edge, Magic Theater, San Francisco CA*
Mud Girl, Mulvihill/Deane, Santa Fe NM
Butch Morris, Skyscraper, Verona Italy
Deane/Sabella/Rolleri, San Francisco CA
Melford/Deane, Albuquerque NM
Deane/Ostertag/Frasconi, San Francisco CA
Last of the Suns, Berkeley Rep, Berkeley CA
The Sirens, Magic Theater, San Francisco CA
Firmament, La Mama, NYC
Morris/LeQuan/Deane, Nickelsdorf Austria
Excesstet, Hamburg Germany
Butch Morris, The Cloth, Verona Italy
Tongues/Savage Love, Magic Theater, San Francisco CA*
Night Train to Bolina, Magic Theater, San Francisco CA
Sucht/Lust, Deutsches Schauspielhaus, Hamburg Germany
Sunken Cathedrals, Mulvihill/Deane, San Francisco CA
Butch Morris, Freuds Garden, Munich Germany
Morris/LeQuan/Deane, FMP Festival, Berlin Germany
Deane/Sabella/Rolleri, San Francisco CA
Solid Longing, Mulvihill/Deane & The City Contemporary Dance Company, Hong Kong China
Butch Morris, Conduction, NYC, Istanbul Turkey,Montreal Canada, Kassel Germany
Marclay/Morris/Deane/Muller, Frankfurt Germany
Schutz/Deane, NYC, Montreal
Interiors, Mulvihill/Deane, Edge Festival, San Francisco CA*
Butch Morris, Vanguard Band, NYC, Saalfelden Austria
Wayne Horvitz & The President, US Tour
States of Shock, American Place Theatre, NYC
Interiors, Mulvihill/Deane, Santa Fe NM, Oakland CA
X-Communication, FMP Festival, Berlin Germany
Horvitz/Morris/Deane, Audio Box Festival, Matera Italy
Greek, Magic Theatre, San Francisco CA*
Ring of Changes, Mulvihill/Deane, San Francisco CA
Butch Morris, Conduction, Whitney Museum, NYC
X-Communication, Nickelsdorf Austria
Horvitz/Morris/Deane, Vancouver Canada
The Promise, Magic Theater, San Francisco CA
Dark Lullaby, Mulvihill/Deane, Santa Fe NM
Butch Morris, Conduction, San Francisco CA
X-Communication, Tour of Europe
Horvitz/Morris/Deane, Tour of Europe
Deane/Frisell/Rolleri, ICA Boston
Jon Hassell & Farafina, Tour of Europe & Japan
Pickup Axe, Eureka Theater, San Francisco CA*
The Conversation, Mulvihill/Deane, San Francisco CA
Butch Morris, Homing FMP Festival, Berlin Germany
Horvitz/Morris/Deane, Kitchen & Summer Stage, NYC
Jon Hassell, Tour of Europe
True Beauties, Magic Theatre, San Francisco CA*
Prelude to the Bride, Mulvihill/Deane, San Francisco CA
Horvitz/Morris/Deane, Tape Theatre Munich Germany,
ARS Electronica Festival, Linz Austria
Jon Hassell, Tour of Europe
How They Make Hawaiian Music, Mulvihill/Deane, NYC &
Butch Morris, Goya Time, NYC
Jon Hassell, Tour of Europe
Indoor Life, NYC
Erector Set, Mulvihill/Deane, NYC
Dream Vendor, Mulvihill/Deane, Basel Switzerland
Jon Hassell, Tour of Europe
Indoor Life, NYC
Fool For Love, Circle Rep., NYC*
H.T.M.H.M., Mulvihill/Deane, NYC
First Figure, Margaret Jenkins Dance Company, US Tour
Jon Hassell, Tour of Europe & Japan
Indoor Life, NYC & San Francisco CA
Fool for Love, Magic Theatre, San Francisco CA*
Echo Loop, Mulvihill/Deane, NYC
Indoor Life, NYC & Tour of Europe
Wild Cargo, Mulvihill/Deane, San Francisco CA
Memory Track, Mulvihill/Deane, NYC
Indoor Life, San Francisco CA, NYC, Tour of Europe
Mapped Origins, Mulvihill/Deane, NYC
All Deane Bio Links : J. A. Deane short Bio J.A. Deane Discographya Selected List of J.A. Deane's Performance Events J.A. Deane's Works- Nominations & Awardsan Interview with J.A. Deane
J.A. Deane - Discography Deane/Melford/Sabella
1975 to 2002
2002 Hex / Zerx 044Todd Moore
2001 Dillinger (2 CD set) / Zerx 039
1999 Dillinger (limited edition) / Zerx 010J.A.Deane/Out Of Context
2001 Never Never Land / Zerx 032
1999 Live at the Outpost / Zerx 013The Bubbadinos
2001 We’re Beating A Dead Horse / Zerx 034
2000 Band Only a Mother Could Love / Zerx 021
1999 We’re Really Makin Music Now / Zerx 014
1997 Ready As We’ll Ever Be / Zerx 002Deane/Frisell/Rolleri
2000 These Times / Zerx 028Faaet/Deane
2000 Grand Cross Eclipse / Zerx 024Bonefied
2000 Bonefied / Zerx 018J.A. Deane
1999 SoloDino / Zerx 020 Weber/Deane
1999 Vehicle, Vortex, Vertigo / Zerx 015Butch Morris
1999 Holy Sea (2 CD set) / Splasc(H) CDH 802-803.2
1995 Testament (10 CD set) / New World 804782
1991 Dust to Dust / New World 80-408-2
1987 Homeing / Sound Aspects 4015Mark Weber
1998 Brother Can You Spare A Dime / Zerx 012
1998 Beautemous Everlasting / Zerx 004
1997 O Shenandoah / Zerx 001Morris/Lequan/Deane
1996 Burning Cloud / Fmp 077J.A. Deane
1995 Nomad / Victo 035Splatter Trio
1995 Hi-Fi Junk Note / Rastascan BRD 021Roulette (NYC)
1994 A Confederacy of Dances Vol. 2 / Einstein 003X-Communication
1991 X-Communication / FMP 033Wayne Horvitz
1991 Miracle Mile / ElectraTerry Rolleri
1990 Out in the West / Bend 001Zoyd/Deane/Greinke
1990 Zoyd, Deane, Greinke / Ear-Rational ECD 1021Jon Hassell
1988 Flash of the Spirit / Intuition 79-1186-1
1987 The Surgeon of the Night Sky / Intuition 24-0779-1
1986 Power Spot / ECM 829-466-1John Zorn
1987 Cobra / Hat ArtHorvitz/Morris/Deane
1986 Trios / DossierIndoor Life
1985 Indoor Life / Electra
1983 Indoor Life / Relativity
1980 Indoor Life / CelluloidTina Turner
1978 Rough / United ArtistsIke and Tina Turner
1975 Nutbush City Limits / United Artists
All Deane Bio Links : J. A. Deane short Bio J.A. Deane Discographya Selected List of J.A. Deane's Performance Events J.A. Deane's Works- Nominations & Awardsan Interview with J.A. Deane
Interview with J.A. Deane
An Interview with
By R D Armstrong
Which came first, the interest in exploring sound & tone, or the love of music? Describe the evolution from one to the other.
The love of music came first in my life, ever since I was in grade school. My father was a musician, and had a “dance band” before he went into the service. When I was a kid, he taught me drumming, and got me very interested in New Orleans style jazz as well as big band music. He was the person who got me interested in playing the trombone as my main instrument. I had a very traditional music education, but from the beginning there was an awareness and an interest in improvisation as an important component in the creation of music.
The first experience that I can remember that really had a profound effect on my concept of music and started me on the journey into the exploration of sound and tone happened when I was maybe in the 6th or 7th grade. For some reason, one year at Disneyland in Los Angeles, they had a big band week, and all the bands played - Duke Ellington, Count Basie, Stan Kenton, Woody Herman, Harry James, Buddy Rich - and most of them were playing in “tomorrowland” (perfect really), in open-air settings. Well, my father took me to see the bands (on a school night even), and I remember walking from where Buddy Rich was playing, over to hear Count Basie, and at a certain distance I was able to hear the music coming from all of the bands. I just stopped in my tracks and listened. Something about the sound of all of these ensembles mixing together in the air really had an effect on what the definition of "music” was to my ears. That experience has stayed with me to this day.
I would say that there were two other events that factor into expanding my definition of music to include the exploration of sound and tone. One would have to have been when I bought my first tape recorder, an Akai open reel two track with “sound on sound” capability, the machine that I cut my teeth on in terms of learning the art of multitrack recording and how to create sonic environments. The second would have to have been when I started doing sound designs for theatre and dance, a world where sound is just as important as music in the vocabulary of a design. I've been fascinated with experimental music for ten years or so. I'm not even sure that is the proper term. What do you call the type of music you've been doing (with ZERX Records)?
I just call it music. It’s what I hear and it comes from my heart. Everything after that is just someone else’s idea of marketing or which bin in the store the CD should occupy. I'm particularly interested in how you created the sound on the CD Dillinger w/ Todd Moore. Is it always improvisational? Or do you also do scripted pieces? On "The Corpse is Dreaming", I believe you are performing live, how does that work?
“The Corpse is Dreaming” was done as a live radio broadcast and was the first time that Todd and I had worked together. There was no rehearsal for the event, just a pre-production meeting with Todd, Myself, Simon (the engineer), and Mark Weber (the host/producer). For that piece I was live sampling Todd’s voice, playing trombone/electronics, as well as mixing from 3 or 4 tape recorders. I had put together a set of tapes before hand with different sonic elements suggested by the text, (period music, heartbeats, atmospheres, etc), so there was a scripted/pre-production element to the piece. But, it wasn’t until we were in the moment with the text and the sonics live on the air, that the piece emerged.
“The Name is Dillinger” was constructed in the studio for later broadcast by the same team (Todd, Simon, Weber and myself), and it took place over two days. The first day we wanted to get a good reading of the text (in the clear) and then try some different processing on the voice. I really love Todd’s energy when he reads his work. He came into the studio all warmed up and ready to go. It turns out that he had already done two straight reads that morning (that’s a forty-minute read each time). He did two straight reads for the tape, and then we took a break. The rest of the first day was spent re-recording the version that was the keeper, and taking notes on how to divide the piece into subsections. By the end of the day I think that there was maybe 4 tracks of voice (clean, distorted, filtered, reverse reverbed), that we would be able to use to shade the text as the poem unfolded in the mix.
The second day was done in two parts, the assembly of the sonic textures and backgrounds, and then the final mix’s. I had two samplers in the studio with a very large collection of sounds from my archive of sound that I have made/collected through the years. I like to work in the studio as close to real time as possible, so the pace really moved along. As we went through the piece, everything really came together well with the appropriate sounds presenting themselves when needed, and by dinnertime, we were ready to mix.
It took all four of us to do the mix because each mix was a mix of the entire 41 minute piece, so any mistake meant starting from the top. I was in charge of the tracks of sounds (maybe 4 or 5 stereo pairs). Simon was in charge of the 4 tracks of voice, and Mark was the timekeeper, with a stopwatch and the list of cue points. Todd had the role of being the objective ear. We did 3 or 4 mix’s that night and then put them away (distance). A few days later the final mix was chosen from the four. Please describe how you develop an idea into a piece for either studio recording or performance (such as the track on Albuzerxque Vol. #8 "Outpost Repertory Jazz Orchestra" which I just got from Mark Weber).
Mark’s Albuzerxque series is such a wonderful thing for a couple of reasons. For one, it is this amazing documentation of a diverse range of music and text that is being created in this location (NM) at this point in time. For the artists it is a home for pieces that are either developed specifically for a sampler CD, like setting the first chapter of Huxley’s “Brave New World” to sound (Vol. #3). Or they are pieces that are very strong, but just haven’t found a home in a larger collection of work, like “Winter”, a conduction with O.R.J.O. (Vol. #8). Most of the people I interview are wordsmiths, so they tend to think in images, which they transpose to words. What form do your inspirations take and how do you translate them to sounds?
Many times it’s a sound that conjures up the images that become the inspiration for a piece. I’m always collecting new sounds, even if they don’t have an immediate place to go. Also sounds that were rejected for a specific project are added to the archive. Then when a sound is needed for a new piece, I just hear it in my head. The trick then is remembering where I stored it.I see that you're also involved with BioAcoustics. What is that? Do you tie it into your performances; in other words are you consciously selecting tones that will benefit your audience on more than one level?
BioAcoustics uses low frequency sound to stimulate the self-healing potential of the body. I am doing BioAcoustics research at the Whole Life Clinic in Santa Fe NM, working with a medical doctor. At this point in time my research and my musical life are separate, but the potential for creating pieces that could contain specific low frequencies is a possibility for a future project.You mention "sound tuning", in regards to guitarist Terry Rolleri's work on "These Times" (another Zerx Recording). In which he would "tune each string of the guitar individually, and not in relation to any other string or any tuning reference, one at a time until each string sounded good", which sounds really cool (I've done it myself). What other types of "tricks" do you use and could you describe how you discover them?
Well, for me, if it’s an acoustic instrument I try to explore all of the possibilities of “extended technique”, or trying to get the widest pallet of sound that I can from the instrument. If it’s a piece of technology, then it’s more of a game. Trying to get the box to work the way that I want to work, and not being forced into a way of doing things by the limitations of the gear. I try to find the simplest way to express what I hear in my head with whatever instrument I am playing.On the CD, "Solodino" (which is one of my favorites), you create some fearsome noises which, for some reason, I find very soothing. I often write with that CD on. For some reason, the more discordant it is, the more I can focus on what I'm doing or thinking.
Discordant isn’t a word that I would choose to describe that CD, but I get your point. Allot of the music that I find to be very soothing, also contains harmonic relationships that are often described by others as discordant. John Coltrane’s “Live at the Village Vanguard Again” comes immediately to mind, for me a very peaceful recording.What was your inspiration for Solodino? Was it scripted or were you flying blind? Talk about the creation process on that project, will you?
SoLoDiNo is a collection of concert improvisations on trombone/electronics, sampler and standing waves (feedback). The pieces are taken from two concerts, one was a very chamber like evening at a small gallery in Santa Fe, and the other was from the Composers Symposium at the University of New Mexico in Albuquerque. Both of the concerts were completely improvised, without any pre-determined structure other than the choice of sounds that went into the sampler before each concert, and those choices were also completely spontaneous. This kind of solo work is really about opening yourself, connecting with spirit and trusting in the moment. If you can get to that point, the music really creates itself.
What about the Internet? There are lots of poetry sites (not to mention all the visual ones). And there are lots of music sites (though mostly the MP3 sites are into popular music). Are there any sites that dedicate themselves to this (your) type of music?
I really don’t know, but I would imagine that there are. Do you use the Internet to collect sounds?
Now why in the world would I want to do that? These days, anyone with a little room left on a credit card can buy a lap top, download a bunch of loops and over a weekend put out a CD that sounds just like hundreds of other CD’s. No thank you. The only thing that you have as an artist is your personal vision; it’s what sets you apart.
Look, I could go out and buy a bunch of poetry books and lift sentences and paragraphs from them and cut and past them into a new book. I could put my name on it as the author, and even have the audacity to say that I’ve made something better than the originals. But they’re still not my words; it would just be some more shinny disposable appropriated stuff.
The only reason that there is so much of this kind of activity in the world of music these days is because the machines are optimized to do this kind of stuff really fast. Let’s not kid ourselves here, it is VERY easy to make loop/sample-based music at this point in history. The challenge is to come up with original sounds, “personal” sounds. The art is to create work with this technology that is going to survive after the fashion has past.What about you, do you have a site or webpage on the net that our readers can visit?
No, I do not have a website. I've always wanted to do a webcast where each player is located in another city/country. What sort of ideas like this have you come up with?
Well, I enjoy any kind of project that allows me to interact with open, like-minded artists who don’t take themselves too seriously. More and more the fashion of funding moves toward projects that embrace technological advances (?). But, technology brings with it allot of baggage that doesn’t always make a pleasant environment for the act of creation. The real trick is to get the technology involved in a project to become transparent, and not the focal point of the event.Who do you draw inspiration from these days?
It’s not so much who as it is what these days, and that would be “harmonics” or the way that sound follows the laws of the universe.Got any new projects planned?
Right now my focus is on finding the balance between my sound work at the clinic, and my musical life. At the moment I’m working on my bass flute playing, enjoying the evolution of “Out of Context” (the improvising ensemble that I conduct), and trying to get to a deeper relationship with my electronics. That seems like plenty for now.
More J.A. Deane Info Links : J. A. Deane short Bio J.A. Deane Discographya Selected List of J.A. Deane's Performance Events J.A. Deane's Works- Nominations & Awardsan Interview with J.A. Deane
Although I'm no big fan of plastic jewel boxes, it's a shame that Zerx have to release their albums in their customary cardboard sleeves (for budgetary reasons, I suppose): a photo of a gorgeous New Mexico skyscape would have been a nice idea for J.A. Deane's "Never Never Land". In 1999 Deane was commissioned to provide music to accompany four screenings of the 1932 silent film version of "Peter Pan". Directing his ten-piece band à la Butch Morris (whose conduction methods he knows well), Deane ended up with four different versions of the music, which he mixed together for this album. Some tracks, including the poignant and extremely beautiful "Belonging" (Alicia Ultan's viola and Courtney Smith's harp recall the pastoral world of Debussy's 1916 Sonata), use just one ensemble version, others overlay the four versions to create a dense and occasionally somewhat muddy orchestral sound. The musicians play superbly (soprano saxophonist Tom Guralnick is on smoking form throughout) and Deane's sampling and mixing is tasty. All he has to do now is sell it to Disney.
Zerx head honcho, poet, guitarist and KUNM Albuquerque DJ Mark Weber is also one of the prime movers behind the avant country of the Bubbadinos, whose fondness for oddball instrumentation (weird backwards guitars, accordions, jaw's harp, tuba and shakuhachi battle it out) inevitably recalls Tom Waits (though Weber's voice is more like Eugene Chadbourne on downers). Like Waits at his best, these songs get right under your skin: the banshee wailing guitars on "Walking Mood" give way to Mary Redhouse's fabulous vocals on Jim Lauderdale's "You Don't Seem to Miss Me". Redhouse (a better choice as guest vocalist than Gretchen Parlato on the earlier Bubbas outing "Ready As We'll Ever Be") sounds like she's been locked out of her trailer out in the desert and forced to survive on a diet of cactus. The album is packed full of fabulous moments and memorable lyrics ("it's quiet out here at night / the crow and me are having a little drink / we can hear a guitar off in the distance playing John Coltrane's 'Equinox'.."), but for my money the sumptuous sound of bass flute, accordion and tuba on "Leaving the Nest" needs some beating. 2'35" of pure perfection. Just think: if everyone reading this goes and gets a copy, Mark can invest in some classy packaging.
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These Times -Review
J. A. DEANE / BILL FRISELL / TERRY ROLLERI THESE TIMESZerx 028
These Times comes on the heels of Deane's Grand Cross Eclipse (Zerx 024), and though the two disks were recorded about 12 years and 2000 miles apart, with different accompanying musicians, the similarities between these two recordings demonstrate how strong Deane's music-making concepts really are. Unlike Grand Cross Eclipse (reviewed here a couple of months ago - check the Jazz Weekly archive!), These Times is a live recording (at Boston's Institute of Contemporary Art). Overall, These Times is less dense, less frenetic and less tribal sounding than Grand Cross Eclipse. It is, however, no less adventurous.
Throughout the late 1980s, Deane was using drum machines in various musical settings with Jon Hassell, Butch Morris and Wayne Horvitz. Frisell was then somewhat of an underground figure in the world of jazz, though he was playing with Paul Motian, Power Tools and John Zorn, among others. All of the defining characteristics of his unique and oft-imitated guitar style were fully realized, however. Terry Rolleri - a new player to me - was working with Deane in various groups around the Bay Area. His creative use of unorthodox, or just plain weird, guitar tunings is readily apparent and provides counterpoint to Frisell's no less otherworldly sound.
Deane's trombone-triggered live electronics play a subordinate role to the oddly compatible twin electric guitars of Frisell and Rolleri. He even blows up a hurricane of honest-to-god acoustic trombone on "Rotocaster," and as part of a fierce exchange with Frisell on "Conversation." More prominent on These Times are Deane's drum machines. These are used to set up some very oddly stuttering grooves that may persist in various permutations for a bit before slipping into the background. Deane also likes to speed them up so that they produce humorously robotic whirrings and maniacal clickings - or slow them down so that they produce odd thumps almost at random (as on the title track). The overall effect, at times, reminds me of some of the more experimental varieties of Dub music, or perhaps a Paul Schutze Phantom City recording stripped of the bass and real drums. These Times offers quite a bit of sonic variety: there are darkly atmospheric soundscapes, bits of free jazz improvising, and some oddly humorous touches - like Frisell's country-blues slide guitar bits on "Conversation." An interesting recording, and one highly recommended for fans of experimental electronics, and distorted guitars (especially Frisell's).JAZZ WEEKLY.COM
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Never Never Land -Reviews
J. A. DEANE / OUT OF CONTEXT “NEVER NEVER LAND”ZERX 032
J. A. Deane, conductor, sampler - Carla K. Barlow, sampler Stefan Dill, electric guitar - Steve Feld, double bell euphonium Tom Guralnick, soprano sax, vacuuphone - Katie Harlow, cello Travis Orr, live mix - Courtney Smith, harp - Alicia Ultan, viola Jefferson Voorhees, percussion, pan pipes - Mark Weaver, tubaReviews :
Recorded during the 1999 Taos Talking Pictures Festival, conductor / alchemist J. A. Deane’s sterling ensemble serves up a heady, swirling brew that trips right through the light fantastic.
SANTA FE REPORTER (December 2001) - (David Prince, top five recordings of 2001)
In 1999 Deane was commissioned to provide music to accompany four screenings of the 1932 silent film version of "Peter Pan". Directing his ten-piece band à la Butch Morris (whose conduction methods he knows well), Deane ended up with four different versions of the music, which he mixed together for this album. Some tracks, including the poignant and extremely beautiful "Belonging" (Alicia Ultan's viola and Courtney Smith's harp recall the pastoral world of Debussy's 1916 Sonata), use just one ensemble version, others overlay the four versions to create a dense orchestral sound. The musicians play superbly (soprano saxophonist Tom Guralnick is on smoking form throughout) and Deane's sampling and mixing is tasty.
PARIS/TRANSATLANTIC (December 2001)
J.A. Deane and the Out Of Context Ensemble of Southwestern musicians took on an ambitious project on “NEVER NEVER LAND”. They played a conducted improvisation as a score to the 1932 silent film Peter Pan. There were four screenings of the film with the ensemble, and the music varied each time it was performed under Deane’s guidance. Deane states he used Butch Morris’s conduction method to create the collage of sound. This recording is an amalgamation of all four performances, and Deane at times used multiple and overlapping segments, effectively magnifying the orchestration as much as fourfold. It is an airy and delicious blending of improvised sounds that captures the lightness of the flying scenes and the dense drama of the unfolding storyline of the tale we all loved as children. While the music has ethereal movements in keeping with the plot, it has just as many stimulating and vigorous improvisational segments. Guralnick on reeds, and Weaver and Feld on brass, are the only musicians playing horns. The balance of the ensemble is heard on strings, percussion, or electronic sampling. The music flies on high with lightness and fragility, spiraling upward in intensity to match the magical scenarios of the film script. The cello, harp, and viola set a delicate mood but erupt with thunder in depicting the plight of the children as they encounter adversity with the pirates. The darkness of the tuba and euphonium simulates the tenseness of the capture scenes, while the sampling techniques add color to the drama. The eighteen- minute “Rescue” heard with four ensembles (from the four screenings) is the most robust segment, but the entire recording is a wondrous musical experience. Deane did an extremely commendable job of inspiring the musicians, and the resulting music is an engrossing affair. While the basis may be a children’s tale, the music is for adults, and only those with open ears.
CADENCE (The Review of Creative Improvised Music)
Vol. 27 No. 12 (December 2001)
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The disc begins and ends with high-density, four ensemble tracks, but the middle sections of the CD, drawn from only one or two ensembles are quite special, a hazy almost naïve-sounding dreamscape whose most prominent elements are soprano sax, harp and strings. As the CD’s lovely coda “Home Again (For Now)”, slowly drifts away and dissolves, the last thing one can make out is the faint sound of pipes.
CODA MAGAZINE (May/June 2002)
Out of Context -reviews
J.A. DEANEOUT OF CONTEXTZERX 013(live at the outpost performance space)
J.A. Deane (conducting, live-sampling, bass flute), Stefan Dill (guitars), Steve Feld (euphonium), Tom Guralnick (soprano sax, electronics), Katie Harlow (cello), Rod Harrison (acting), Joseph Sabella (drums), Courtney Smith (harp), Alicia Ultan (viola), Jefferson Voorhees (drums), Mark Weaver (tuba)Reviews :
…A conjuring of musical gold… The Out Of Context ensemble is a shining, chimeric beast that’ll make you want to get up and scream.
(The Santa Fe Reporter
…conduction does create a completely different kind of music from group improvisation...The semi-orchestral textures, which can be obtained from the technique, are nigh on impossible without a conductor. The conductor must be a good one, of course, but Deane is, and the music here doesn't falter for a moment.The disk contains three pieces spanning over two years, and each has its own flavor. The first is a sweeping, delicate piece, which would work as a soundtrack, or as a piece for dance; for this listener, it was the high spot.The second is dominated by the presence of Rod Harrison, reading a weird collage of Marat/Sade,"Charlie and the Chocolate Factory" and a selection of other texts, his voice ducking in and out of the music which swirls around him like rough water, threatening to drown him out but never competing too strongly. It works much better than one might have imagined, although Harrison does get rather excitable at times, and it's a pretty confrontational performance.The third is more textural, with a dark, amorphous quality; it requires a little more work from the listener, but rewards it well enough. The performances documented here are quite different from Butch Morris's, and quite different from one another. Anyone with an interest in conduction would be well advised to seek it out; this is top-quality stuff, from a practitioner who ought to be better known, and it's pretty clear that there are some strong talents on the sharp end of the baton, too. Good stuff.
(Musings- The Archive)
Writing flexible music for a large ensemble of improvisers is one of the most difficult tasks in contemporary music. Despite this challenge, J.A.Deane has done a pretty remarkable job here of creating interesting and unique music with an ensemble that really makes the fusion of composition and improvisation quite seamless. The opening track, “One For Frank”, is primarily a soft and flowing piece, highlighted by the beautiful interplay of guitarist Stefan Dill and harpist Courtney Smith.The second track is somewhat of a head scratcher; dominated by Rod Harrison’s emotional poetic rantings about this and that, the ensemble compliments him nicely with energetic improvisational blasts and ostinato figures. Sounding like some sort of narrative stage-play, it’s a surprisingly successful piece.“The Arc Of Intention” begins with electronically processed, swelling bass sounds and picks up speed into loud and hectic ensemble passages. Deane’s compositions are very far removed from the jazz vein and are a lot more derived from classical music and in particular, serialism.This is an impressive release and will be a pleasant surprise to many who may not have heard (of) the musicians included. Recommended.
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BUTCH MORRIS: creator of conduction
( members of "Out of Context" and it's orginator, Butch Morris, speak of what this compositional method means to them)
J.A. DEANE: conductor, bass flute, live sampling
The conduction vocabulary developed from a need to create a spontaneous improvisational dialogue with music, musicians, and environment. Conduction is process and product, ensemble music; its vocabulary is interpretive. It is music of personal histories and individuals. It is not limited to style or category. It is not jazz, blues, pop, folk, classical, free, and so forth, although it may encompass all or none of them. Finally all are misleading.
CARLA K. BARLOW: sampler, live sampling
There is a real time feedback loop between the conductor and the ensemble. The conductor gives the first sign, which is interpreted by the ensemble, and the conductor interprets the resulting sound, and the journey begins. The group dynamic takes over, and the music creates itself. As the conductor of Out Of Context, I find it very similar to Chi Kung, in that I am responding not only to the sounds I hear, but also to the energy connecting all of us in the ensemble.
STEFAN DILL: acoustic & electric guitar, oud
O.O.C. more than any ensemble/band/group with which I've performed creates such moments of beauty with utter clarity, and I think it is because of how we get there: with no apparent context, out of what is most assuredly perceived by many listeners as chaos. The contrast heightens the beauty, distills and delivers the moment with absolute certainty.
STEVEN FELD: bass & contra-bass trombone
Working in O.O.C. is one of the most illuminating musical experiences I’ve had. The process is a fabulous and very unique collective endeavor. While certainly a collective, the interesting thing about conduction as a method of music making is how different the results can be (even with the same ensemble), depending on the conductor.
KATIE HARLOW: cello
My experience of O.O.C., it’s the ocean. Part ears listening for a juxtaposition of sounds that I have never heard before; part working on that part of my tongue/slide vocabulary that is uniquely shaped by it’s relation to the other voices and vocabularies in this ensemble. It’s certainly unlike any other kind of improvising I’ve done.
COURTNEY B. SMITH: harp
My participation in O.O.C has impacted every aspect of my musical life. It's as if I spent the first forty years of my life learning all of the rules for music, and now I've been invited to liberate myself from them and expand my vocabulary. It is an exhilarating experience to become immersed in the music of the moment and allow myself to play what I feel, not what I think. The truly miraculous part is that this work has lead me to a deeper understanding of my own potential as a creator of sound.
ALICIA ULTAN: viola
O.O.C. has allowed me to connect my energy and the harp's energy to one collective voice. Every session, every performance, the identity of the harp changes, and my overall relationship with the instrument has changed too. My ears are open and there is a sensitivity with my harp, and with the other instruments in the ensemble. This experience has given me the opportunity to create a new sense of energy for the harp and allows me to keep re-inventing my approach to the instrument.
JEFFERSON VOORHEES: drums & percussion
OOC is an experience that calls on me musically, emotionally, spiritually, intellectually and physically. I have experienced an evolution and growth in the ensemble and in myself that is exciting and inspiring. We each bring to the ensemble our unique musical and personal instincts, experiences, voices, and ideas. It is the process of conduction that brings together all of these forces in the group to create that one voice, that one moment, that is truly out of the ordinary!
MARK WEBER: poet, producer Zerx records
O.O.C. has been a great challenge and enormous fun for me. The ensemble must assemble everything we've ever learned about playing music and have it at our beck and call. Responding instantaneously to the signs and the sonic textures is both exacting and free-wheeling. After witnessing audience response and listening to our recordings, I am convinced that this intensely personal playing translates into a viable, musical experience for performer and audience alike.
I get the feeling that many of the people we call musicians don’t really know what music is. Jazz itself, the very apex of individualism, seems to be populated nowadays by re-hashed repertoire devoid of relevancy. You are never sure that what you are hearing has any notion of sincerity or that it comes from the soul. Now, I know that O.O.C. isn't a jazz band, but it's closer to jazz than anything else. It sounds like New Mexico to me. It has sense and relevancy to our lives here in this place.
AL FAAET & J.A. DEANE
GRAND CROSS ECLIPSE ZERX 024
( Al Faaet - drums, framedrum, percussion…..
J.A. Deane - trombone/electronics, standing waves, bass flute )
The accompanying photocopy promo relates a story of Albuquerque NM DJ Mark Weber who was told to "shove [this record] up your ass!" when he played it on KUNM. Funny, the folks I met when travelling through New Mexico some years back were quite peace-loving, adobe characters. Then again, one blast of "Grand Cross Eclipse" might just be enough to set those aptly named Sangre de Christo Mountains bleeding for real. The aim of the two musicians is to create a "large ensemble sound" by superimposing myriad electronic effects on the feedback generated from their instruments, and the overall sound created is as immense and at times intimidating as the desert landscape these guys inhabit. Make no mistake, you can't come up with music like this if you live in a teeming urban jungle, this music belongs out there in the desert with Walter de Maria's amazing "Lightning Field"
installation. It's as vast and mind blowing as a Robert Wilson theatre epic. Deane admits he doesn't play "more than a handful of actual trombone notes" (shame, because he's a damn fine player: check out "Burning Cloud
" on FMP, and, if you're really nostalgic for New Wave, the old 1981 Indoor Life album on Celluloid). Music as epic as this should be blasted on a speaker system surrounded by two billion year old rocks at the bottom of the Grand Canyon. Magnificent stuff.
Deane and Faaet are quick to point out that their album Grand Cross Eclipse is not electronic music, but instead is music played on electronic instruments. The differentiation is substantial, in that it is a creative human endeavor and not the simple output of a mechanical gadget. They reach an orbital speed that encircles far-off galaxies on most of the six selections. Although they produce a cacophonous symphony of unearthly tones, none of it is overdubbed. It all originates and is controlled by the musicians. Faaet is a multi-faceted drummer providing a baseline of explosive propulsion. He is diverse and demonstrative in fueling the rocket ship. Deane inter-relates with himself as well as Faaet as he presents contrasts in styles with both acoustic passages and interactive electronics. It all comes together in a kaleidoscope of supernatural sounds that have a definable beat and continuous flow to make it very appealing. Faaet said “This CD will be, for many, impenetrable” Now, if that isn’t a challenge to free-minded listeners, what is? (Cadence The Review of Creative Improvised Music…..United States)
Faaet and Deane make loud, highly-focussed music. Despite the way it looks on paper, don't be fooled by this duet of drums and trombone, the electronics are what define this record and form the big block of sound which these pieces tend to be carved from. The sounds are generally of the sort heard in sci-fi films as atmospherics, but Deane piles them up and forces them to rub against one another, creating richly-textured sounds which Faaet's percussion can give shape to. (Musings The Archive…..England)
One does get respite from the big sounds, of course, on "Zeropoint Chamber" Deane proves himself a capable flautist while Faaet lays down a groove with bells and a framedrum, and the electronics take a more filtered, less domineering role. Even at their loudest and most frenetic, however, these guys sound as if they're in no hurry, as if the whole fifty minutes is the soundtrack to a single establishing shot at the start of a film. There's a delicious paradox here when things heat up and the music becomes funky, loud and aggressive, it somehow never loses that slowness at its heart.
This is a record of rare pleasures, with bits you could even dance to. A throbbing, low-slung kind of cool radiates from it; it is hot and cool at the same time, urban and rural, minimal and maximal.
Every once and awhile, a disk comes along that is at once so compelling and yet so tantalizingly uncategorizable, that it simply makes it’s presence felt on it’s own terms. Grand Cross Eclipse is just such a disk. (Thirsty Ear Magazine…..United States)
Al Faaet and J.A. Deane have tossed this gem out with little fanfare and no pretension. On GCE, dense, inscrutable textures, shifting and transforming into pulsing, burbling streams of sounds, move through a weird concoction of free jazz and Jimi Hendrix like free form noise. All this with the kind of focus, brevity, and concision that much of today’s “outside” music sadly lacks. It’s impossible to put your finger on what this music actually is, which is why it’s so compelling. Clearly, it’s related to the more experimental popular music of the last four decades, yet it retains an identity all it’s own. It’s fifty minutes of pure, visceral immersion into tambour, that elusive yet completely obvious aspect of musical texture that seems so neglected, in comparison, by modern pop and jazz. Which is not to say that this is either pop or jazz. Which is emphatically to say that, whatever you call it, it’s forceful, seductive, intelligent, and relentless in it’s pursuit of a sheer aural experience. If all this makes Grand Cross sound thorny and uninviting, don’t believe it for a second. It may not have the reassuring features of your usual musical landscape, but it’s stark and rugged beauty embodies integrity and self-assurance that will reward any but the most timid and misguided listener.
Zerx Chapbooks and Anthologies by Various Authors#07 SOME GOOD STUFF
Poetry Anthology April 1986#10 TOAD COMES TO CLEVELAND
poems by Locklin, Franke, Shipley, Weber, & Sallinger October 1988#14 CONFESSIONS OF A SMALL PRESS HEDONIST
Kurt Nimmo, stories September 1989#16 POSTCARDS CON CARNE
anthology March 1990#17 69 EROTIC POEMS
Ron Androla & Cheryl Townsend, June 1990#18 A SLIGHT REBELLION AT THE GATES OF DAWN / DR.SIMON I PRESUME
Brent Leake / Mark Weber, poems January 1991#19 MAILBOX BOOGIE
Kell Robertson & Ann Menebroker, correspondence & poems February 1991#22 ALL THE TREES ARE DEAD
Kurt Nimmo, stories July 1991#27 STRANGE ATTRACTORS
t.l. kryss, poems July 1993#30 F. RICHARD (DICK) THOMAS’ FIFTIETH BIRTHDAY
Hugh Fox, poems December 1991#32 WRITE WHEN YOU ARRIVE / UP SHIT CREEK
John Levin / Mark Weber, poems September 1992#33 THE HONEYMOON OF KING KONG & EMILY DICKINSON
Fred Voss & Joan Jobe Smith, poems July 1993#34 TODD MOORE PACKS IT IN
Todd Moore, poems October 1992#35 MANNEQUIN ANYMORE THAT
Judson Crews, poems October 1993#36 LONG DARK
Michael Kriesel, poems December 1993#37 THE DURANGO POEMS
Ray Zepeda & Gerald Locklin, April 1994#38 SHOOTING OUT THE LIGHTS / SWINDLER’S HARMONICA SIESTA
Todd Moore / Mark Weber, April 1994#42 ASSEMBLED ZEN
program guide to concert August 1996
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chapbooks - locklin
#12 LOST AND FOUND / BE HONEST LIKE A KNIFE
Zerx Split Chapbooks by
Gerald Locklin & Mark Weber
Gerald Locklin / Mark Weber , January 1989#13 THE TREASURE OF SIERRA FAULKNER / HIWAY OSTINATO
Gerald Locklin / Mark Weber, September 1989#21 THE RETURN OF THE PRODIGAL FATHER / THE DAYS OF WINE AND REMEGEL
Gerald Locklin / Mark Weber, poems May 1991#31 OUTTAKES / CEREMONIES ABOARD THE DRUNKEN BOAT
Gerald Locklin / Mark Weber, April 1992#39 TWO JAZZ SEQUENCES / TRANSITORY LIKE SMOKE
Gerald Locklin / Mark Weber, poems October 1995#40 THE PITTSBURGH POEMS / NOT THE PITTSBURGH POEMS
Gerald Locklin / Mark Weber, February 1996#43 ART FARMER SUITE / I’LL BE GO TO HELL
Gerald Locklin / Mark Weber, poems January 1997#46 MORE JAZZ POEMS / NEVER BEEN TO YURP, BUT I’VE BEEN TO D.C.
Gerald Locklin / Mark Weber, poems June 1998#49 THE FACE OF CHET BAKER / Em6
Gerald Locklin / Mark Weber, poems December 1999#50 FOUR JAZZ WOMEN / SHOOTING THE BREEZE
Gerald Locklin / Mark Weber, poems December 2000#51 DUKE, LESTER, CHARLES / REVERIES FROM THE CHAISE LOUNGE
Gerald Locklin / Mark Weber, December 2001
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#01 THE PHONE
Zerx Chapbooks by Mark Weber
Mark Weber, poems October 1983#02 OUT OF IT
Mark Weber, poems & collages March 1984#03 JUMPING THE CONCLUSIONS
Mark Weber, poems July 84#04 ABANDON SHIP
Mark Weber, poem January 1985#05 THE SELECTED COLLECTED LEFTOVER POEMS
Mark Weber, 1985#06 TWO BODIES MAKE ONE
Mark Weber, erotic poems 1985#08 3 RING CIRCUS
Mark Weber, short stories January 1988#09 NIGHT BEFORE
Mark Weber, poems December 1987#11 THE ODES OF BIG WEB
Mark Weber, November 1988#15 HOGWASH
Mark Weber , stories June 1990#20 LOCKLIN BIBLIO bibliography
Mark Weber , March 1991 #23 DRUNK CITY
Mark Weber, poems May 1992#24 BIG WEB BEHIND THE ZION CURTAIN
Mark Weber, stories (unreleased) 1992#25 DARK GARAGES
Mark Weber, dope poems (unreleased) 1992#26 WANDERING JEW MOM / THE COMPULSIVE GUILTRIDDEN TERMINAL MOTHER
Mark Weber / Catherine Lynn , poems & drawings March 1992#28 LOCKLIN BIBLIO 2
Mark Weber, November 1997#29 BIG WEB BRINGS HOME THE BACON
Mark Weber, post office memoirs (unreleased)#41 LIBRETTO : OBBLIGATOS FOR TERPSICHOREAN DIPSOMANIACS
Mark Weber, poems from the CD (9 Winds 0182) may 1986#44 LIBRETTO: OH SHENANDOAH BE NOT TELLING ME THIS
Mark Weber, poems from CD (Zerx 001) August 1997#47 VEHICLE VORTEX VERTIGO
Mark Weber, poems & concert program (w/ J. A. Deane ) November 1998#48 LOOSE FRONT END
Mark Weber / Scott Virtue, poems & drawings August 1999
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The Mark Weber Collection
of Jazz Photographs 1970-1995
Just this past year I donated thousands of pictures i had taken of the experimental jazz scene in L.A., from the 70's to the mid 90's , to the UCLA archives
. Now known (oddly enough?) as the " Mark Weber Collection...", these fine souls are now slowly getting the whole collection up online. You can tap into the MAIN PAGE here
, or go straight to some photos in the ' container list' link
And there will be more Photo List to to come, no doubt !