Zerx

THE SADDEST DAY IN AMERICA

2008-02-20T12:04:00.001-07:00

my Pa loves sports
in any shape or form, goes to games
to watch, and on tv, mostly football, basketball, and track --

my Ma & Pa are retired
and our family home, in the suburbs
is next to a Presbyterian Church
which added a private school component
back in the 80s during the middle class
flight from bussing laws --

so, one day last year, my Pa
steps over to the recently constructed
chainlink fence, that separates us
from the schoolyard, to watch the kids
playing basketball --

and one little pint-sized bastard started pointing
and yelling Hey what are you looking at?
you must be a pervert get out of here!

we all know how these intimidations and insinuations
work these days -- my folks are good people --
my Pa didn't want any trouble
and has refrained from watching the games next door
ever since

--mark weber
4feb08

Writers Todd Moore and Mera Wolf Read at Acequia Booksellers

2008-02-16T14:17:00.002-07:00

POETS TODD MOORE AND MERA WOLF
READ AT ACEQUIA BOOKSELLERS

February 24th - 3 pm

Poets Todd Moore and Mera Wolf will be reading from their new work at Acequia Booksellers on Sunday February 24 at 3pm. Acequia Booksellers is located at 4019 4th St. NW in Albuquerque.

Todd Moore is best known for his long poem DILLINGER. Since 1970 he has written and published more than a hundred books and chapbooks and his poetry has appeared in more than a thousand literary journals and magazines. He is one of the founders of the Outlaw Poetry Movement. He will be reading from his recent chapbooks Restless and Tell the Corpse a Story. Both books deal with the Dillinger mythos.

Mera Wolf, when recently asked by a young woman to describe her profession, responded, "I'm a cosmologist." "That's just wonderful," replied the young woman, "Do you also do nails?" After 35 years of learning, volunteering, working, child-raising, writing, and teaching, Wolf earned her Ph.D. from the University of New Mexico in 2002. Currently, while still juggling all six activities, she is writing a novel in serial form, and completing a screenplay. Mera Wolf is the author of two chapbooks, May Day and Lost Things.

This reading is free and the public is invited

Acequia Booksellers
4019 4th St. NW
Albuquerque, NM 87107
505.890.5365

A Gerald Locklin Bio

2008-02-15T14:00:00.002-07:00

Gerald Locklin is now a Lecturer in the Master of Professional Writing Program at the University of Southern California and a Professor Emeritus of English at California State University, Long Beach, where he taught from 1965 through 2007. He is the author of over 125 books and chapbooks or poetry, fiction, and criticism, with over 3000 poems, stories, articles, reviews, and interviews published in periodicals. His most recent books and chapbooks include The Cezanne/Pissarro Poems and the forthcoming Gerald Locklin: New and Selected Poems, from World Parade Books; New Orleans, Chicago, and Points Elsewhere, from R)v Press; Wedlock Sunday and Other Poems (Liquid Paper Press/Nerve Cowboy Magazine); The Hotel Ristorante (Bottle of Smoke Press) and The San Antonio, Savannah, and Daytona Beach Poems (Pitchfork Press). His full-length books from Water Row Press include Candy Bars: Selected Stories; The Life Force Poems; Go West, Young Toad: Selected Writings; The Pocket Book: A Novella and Nineteen Short Fictions; and Charles Bukowski: A Sure Bet. An Italian edition of his novel Down and Out (Event Horizon Press) has been published by Leconte Publishers in Rome as Piu Morto che Vivo, as well as Charles Bukowski: A Botte Sicuro. Other titles from EH include The Firebird Poems; Three Mid-Century Tales; Hemingway Colloquium: The Poet Goes to Cuba; and The First Time He Saw Paris (in Two Novellas, with Donna Hilbert). A series of annual dos-a-dos jazz chapbooks, with Mark Weber, are available from Zerx Press (Albuquerque, NM), most recently Thank You, Dave: A Brubeck Tribute. His writings are archived and indexed by the Special Collections of the CSULB library. Many early and rare works are available from Water Row Books, amazon.com, barnesandnoble.com, borders.com, and on eBay and other sites. He has resumed (with his son, Zachary Locklin) co-editing the poetry for the Chiron Review and will serve as fiction editor of Shaya magazine. He is listed in the usual literary directories. He publishes regularly in 5:00 AM, Ambit (London), Tears in the Fence (Dorset), Poetry International, New York Quarterly, Nerve Cowboy,

Slipstream, Freefall, Coagula Art Journal, and many other periodicals. He is available for readings, workshops, festivals (fees negotiable). A website and occasional blog are in progress at www.geraldlocklin.com. See also www.rvpress.net and www.worldparadebooks.com

A Quincy Memorial

2008-01-22T00:34:00.000-07:00

A few photos from today are at http://streaminghotcoffee.org/Q

Photos by Craig Goldsmith

well, the Irish would say that

Quincy is in the clover

and Quincy certainly had a large dose of that crazy Celtic blood in him

but

as you can see from Craig's good photographs

that

clover wouldn't last three minutes out here in the Wild West

Quincy's ashes were left under that old juniper

right on the eastern edge of the Laguna Pueblo lands

next to an old remnant of Rt.66

so he can listen to the cars roll by

western bank of the Rio Puerco

in full view of the Gallinas Mountains to the south

the Sandias and Monzanos to the east

Mt Taylor to the west

then, we made it back into town

to the American Legion Post

for a gathering and tall tales surrounding the legend of Q

(the slim girl with cap is Quincy's sister Kimberly from Durango)

it was a good thing

to hear the words

of so many that worked with Quincy, hip hop culture, avant garde folkies,

jazzers, rockers, rap stars, gospel singers, poets, country dudes,

nuns, politicos, gangsters, winos, come one come all, Quincy

brought the best out of them............

................mark weber

Christmas Trombones Broadcast

2007-12-15T15:28:00.000-07:00

Weber & Quincy photo

2007-11-14T13:15:00.000-07:00

Mark Weber & Quincy
photo by Cal Haines

Quincy - The Zerx Soundman

2007-11-09T13:28:00.000-07:00

"Quincy" by Craig

Quincy is the Soundman and Recordist behind almost every Zerx release, a friend without whom Zerx would hardly exist.

REGARDING ALBUZERXQUE VOLUME 29

2007-09-26T21:54:00.000-06:00

Mark Weber comments: A. Barnhouse makes their brilliant debut on Zerx, actually just a taste, with 2 selections from a concert at the Outpost Performance Space during the Creative Soundspace Festival 2007.

But, first, whatNtheHell does "A. Barnhouse" mean, what is the name all about? I had to ask, I'm the producer. That's the producer's job. "So, you stuck a sock in the saxophone bell and stood on one leg, why?" (Note: A. Barnhouse isn't that weird) (that's something I saw John Zorn do in the mid-70s) (I've found that on the web a person should double-explain everything) (why am I whispering?) Anyway, Carlos Santistevan of A. Barnhouse give us these clues:

Definitions of A. Barnhouse:

place: origin of numerous non-vegetarian delights
name: An individual with a First name that starts with A and has a surname of Barnhouse (rare: 1 in 100000 families; popularity rank in the U.S.: #17056)
musical ensemble: the thing you do when you revert to your adolescence, never mind the mess

Four Poems from New York

2007-09-16T22:08:00.000-06:00

Our good friend Klaus has done a beautiful job of posting the chapbook of " Four Poems from New York" over at his Metropolis site.

But now I'm ensconsed back on the hometurf, in my favorite cockpit of radio :

IDLE THOUGHTS

2007-09-14T19:15:00.000-06:00

in the 1960s, the early 1960s

we had never heard backwards tape recordings

and it was fascinating

think of it: Baudelaire never heard

backwards tape

neither did Man Ray

the avant garde is about possibilities

the parameters of anything you do

always implies something

further out

i believe in the avant garde

but

to my avant friends

i'm probably conservative

i understand the value of forms

and structures and physical laws

to me

the most avant garde thing

that has ever happen'd in music

is: Alice Cooper playing golf --

i still have a hard time

wrapping my brain around

that one

--mark weber

25aug07

Recording the "Zatoichi" way

2007-09-13T21:47:00.000-06:00

I asked J.A.Deane to explain 2 things about his "blind swordsman" technique that is employed on his composition "Chain Letter." 1) What is the blind swordsman 2) How did you use it with "Chain Letter" which can be found on ALBUZERXQUEs Vol. 17 & 29 -- the piece is for bass flute (Dino) and cello (Katie Harlow).

-mark weber

The blind swordsman (like in the martial arts movies), is a technique I love to use when I'm creating a multi-track piece and using other musicians. the idea is to remove the person doing the overdub (or remove the sense of hearing), from some of the key elements of the piece. this is easy in a multitrack situation where people are adding parts after the people who played the first parts have left the studio. it's kind of like the childrens game where you whisper a story into your friends ear and they whisper it into the next ones ear and so on, until the story that comes back to the original person has mutated but retaines certain elements of the original.

This works very well with improvisation, and the results are always amazing, filled with musical responses that just would not happen if the people all played in the room together. always full of surprise, with a very low percent of un-usable material. a great multitrack technique that can be expanded on in many interesting variations.

In the case of "Chain Letter" i had katie in the studio to do several tracks of drones on cello for a play i was working on, and decided to make a little side piece with her.

1 - she listened to a mix of the drones (that she had played), and played a solo over them.
2 - she played a second solo only hearing the first solo with no drones
3 - she played a third solo only listening to the second solo
4 - later after she had left, i played a solo only listening to her third solo
5- i played a second solo only listening to her second solo
6- i played a third solo only listening to my two solos

The drone tracks which were part of another project were removed altogether and I now had 3 cellos and 3 bass flutes to work with. I think that I ended up with 5 mixs that I liked. just going through and trying the different combinations of duos trios a quartet and the sextet

There is a clear connection between all the parts but there is also a removed quality at the same time. just like the blind swordsman who must connect with his opponent without the use of his eyes.....removed yet connected.

dino

NOTES ON PLAYING THE HUBCAPS

2007-08-22T17:18:00.000-06:00

It has taken me years to understand how important forms are. Structures.
Musical forms like ballads, sonatas, 12-bar blues, various song forms, rhythm changes, etcetera. What we call "closed forms," and "through-compositions." That is, music that is read off the sheet and played straight through to the end, and no fucking around. And closed forms, are structured like say 32 measures of 4 beats, but you can fuck around a little bit, being mindful that you better meet up at the end, with the rest of the band. So you can all start over again. Cycles. Verse forms are cycles. You cycle back to the top.
Start over, play it again. Some music like gamelan has cycles within cycles. Very cool.
It always amazed me, that year I played gamelan music, how one little sheet of music could take upwards of ten minutes to complete. Mozart's clarinet quintet K.581 is 21 pages and takes half an hour, if you don't fuck around. Three verses and a repeating chorus of Hank Williams takes about three minutes, with plenty of wiggle room to, you know, fuck around. Of course, the masters of fucking around are the jazz musicians. They operate on such a high level of musicianship that wiggling around within the form is as easy as breathing air. Myself, like Hoagy Carmichael, I'm only a "half-educated man" when it comes to music. My identity is mostly tied up with being a writer, of words. I've played a lot of music over the years, because it's too much fun. Hard but fun. If I was better at it, it might not be so hard. But life ain't easy, is it? It doesnt have to be hard, either, so, let's just ride the banana boat downstream, okay?

Cycle back to the top. Let me explain that first sentence. What I dig about closed forms is that having to play over a grid allows you to build tension. Just those ever-so-slight deviations in note placement, one or two ticks off the beat in either direction. This leads to the phenomenon known as swing. (Not the big band dance music of the 30s & 40s of the same name.)
Swing as in propelled like a slingshot, like hold on to your hats, velocity, ignition, explosion, release. I'm of the belief that swing is the A-numero-uno most important innovation in music in centuries. (And you can thank the Black jazzman in America for this development.) When you're swinging you are literally messing with Time. You are a warp in the time space continuum. The melody is being jigger'd slightly backwards and forwards across Time, like a slide ruler.
Just be sure you all meet together at the end of the cycle.

Like that old saw about how Time was invented so we don't have to do everything all at once.

So. Playing hubcaps. There's nothing like getting into the middle of something to find out what's going on. And what parameters you are dealing with. The anthropologists call this sort of investigation: participatory consciousness.
I've been playing hubcaps for years. The 20th century is chuck full of modernistic percussion music.
Edgar Varese, Harry Partch [1], John Cage, Frank Zappa, Art Ensemble of Chicago, I grew up in the 60s in southern California when there was this huge sense of doing things new. Artists were caught up in re-inventing the wheel.
And though I'm perfectly certain that it was hearing the composer Henry Threadgill's[2] work with his hubkaphone that gave me the push, I'm having a hard time locating the recordings that exerted this influence upon me. If you asked me yesterday I would have said it was Joseph Jarman's second album, AS IF IT WERE THE SEASONS (June 1968), which I first heard in 1973. But, my memory is playing tricks because now I see that Henry and his hubcaps are nowhere to be found on that record.
Nor, are the hubcaps on any of the early AACM recordings. It is not until mid-70s that the hubcaps show up on albums by the trio Air [3]. Maybe I had only read about them and that was the spark?

Okay. So, you'd think that playing hubcaps is an opportunity for some major fucking around. Not so.
At first I resisted playing patterns. But when you're playing with someone else, it's kinda helpful if you set up some sort of pattern. And/or non-pattern, that has its own uniformity. Logic. Symmetry.
In writing, it's what's known as parallelism. You know, keeping all your tenses in the same barn. Grammar and syntax conforming to the same logic. All that. But, playing non-patterns is extremely difficult, at least, for me. Not that I'm any great shakes at patterns, either. The idea is to try building a logical improvisation outside of patterns, that has symmetry. (Yes, this begs the chaos theory suspicion that all is of a pattern.)[4]

What do hubcaps sounds like? They sound like the back end of the insane asylum where the orderlies have not ventured in years. They sound like all the garbage of the Industrial Revolution has come to collect on it's Faustian deal. The Devil is here to cash in your chips. Claim your soul. They sound like all Hell has broke loose. All the wheels have fell off. Asphalt perdition.
They sound wonderfully trashy. We've thought to put a spectrometer on them to see what sort of notes they each make but they're so over-blown with overtones & partials & buzzing that that is impossible.
Hubcap notes are what is known as "indeterminate." Indeterminate notes for gotterbeldungstrumm.

I've very rarely notated my hubcap pieces. Mostly, because they're spontaneous improvisations.
I might say to whoever I'm playing with, something like, "This'll be in 4," or, "This one will be four plus one," or "This one is busy," or "This one is haiku," or "This one is 3 plus 6." Etcetera.
Myself, I mostly play the pretty notes. I like the round, clean, ringing tones, that fade in a long decay.
That sound can be very introspective.

It's all a revelation, and reveals parts of yourself and how you think and how you go about making decisions.

-----

1. Harry Partch went to Albuquerque High and lived at 208 S. High Street from 1913 - 1919. He is one of the greatest composers who ever lived.

2. Henry Threadgill is a composer, alto saxophonist, and founding member of Association for the Advancement of Creative Music (AACM) in Chicago in the early 1960s, along with Richard Muhal Abrams, Roscoe Mitchell, Joseph Jarman, Malachi Favors, Fred Anderson, Lester Bowie, Leo Smith, AEC, Leroy Jenkins, Anthony Braxton. The ensemble Art Ensemble of Chicago exerted a monstrous influence upon me, and if you visit my house you'll see a triangular sticker on the front window that says AEC, that Joseph gave me years ago.

3. A cooperative trio of saxophone, bass, and drums, Henry Threadgill, Fred Hopkins, Steve McCall.
Formed out of members of AACM.

4. All I'm trying to say in this paragraph is that non-patterns seem very haphazard but are not.

4B. Lisa (the editor) Gill, asked me to put a footnote explanation about chaos theory, but i'm not conversant in those sorts of things. I'm a house painter for gawd sakes, what do I know for chaos theory! I got all my info from PBS on tv.

mark weber
9&12jan07

The EURO Branch

2007-08-16T23:27:00.000-06:00

Our good friend Klaus over at Metrpolis has an amazing Blog and SHOP set up all based around promogulating New and " Unheard" Music to the world... with podcast and all kinds of goodies. He even carries the famous Zerx " fine leisure products" brand of audiophony (priced in euros) for those of you fine sono-consumers who may be overseas and looking to score.
A recent writeup and Bio he did of our favorite Trombonophiliac, M. Pierre Vlatkovitch, and his cohorts is here and with our fingers crossed maybe he'll be selling his works also in a ' metropolis shop' soon . Drop him a line an let him know if you'd like to see that.

"516 Words" Review

2007-07-25T13:58:00.000-06:00

Johnny Mango has written a very nice review of the "516 words" poetry reading over at the Duke City Fix....along with a couple of Videos he took of yours truly, now up at Youtube Here & Here.

A Blue Weber

2007-06-05T18:24:00.000-06:00

A Blue Weber as caught in the wild by the great Lensbearing "time stopper" Cal Haines .

And a Poem to go with it :

THE WIDE OPEN SPACES WITHIN A BEAT

there is a theory that
some people are able
to slow time down

or, as drummers say:
divide the time

and hear more & more deeply
into the space than us mere mortals

Muhammad Ali was the example used
when this idea was first presented to me
how he'd let himself be rope-a-doped
for ten rounds
and then out of the blue
he'd stop time
and dot some poor unfortunate's lights out

I also posit that Charlie Parker
had these sort of powers

and then there's this drummer in Santa Fe name of Cal Haines
who also, obviously
hears between
the cracks in Time.

--mark weber
30may07

Don't Miss it !--Out of Context 10th anniversary show

2007-05-02T19:47:00.000-06:00

Melody Sumner Carnahan -Bio

2007-04-25T22:24:00.000-06:00

Writer Melody Sumner Carnahan has six books in print and numerous works published in anthologies including the City Lights Review, the Leonardo Music Journal, At a Distance (MIT Press), Factorial (Japan), and music compilations from Zerx Records. Carnahan has worked with artists, composers, and performers for two decades to present her writing off-the-page as live "performance novels," soundtracks for film and video, recordings broadcast internationally, and intermedia installations. Molly Sturges and Chris Jonas commissioned words for live performance at SITE Santa Fe's Biennial 2007. In 2005, The Out of Context ensemble, directed by Dino J. A. Deane, interpreted Carnahan's One Inch Equals 25 Miles in performance (w/ CD from HighMayhem.org). Carnahan received an Artist Residency at the Atlantic Center for the Arts in association with iconoclastic writer William Gass; KUNM's AetherFest commissioned a half-hour audiowork, Dido's Revenge; Morton Subotnick's Gestures (DVD/CD-rom, Mode Records) features four of Carnahan's stories; and Carnahan was awarded a Creative Media Arts Fellowship at ABC Radio and the University of Technology in Sydney, Australia, where she produced The X, Y, Z of It: an audiowork broadcast internationally featuring the voices of Robert Ashley and Joan La Barbara. Woody Vasulka commissioned "The Maiden" for his The Brotherhood installation at NTT/ICC in Tokyo. Carnahan received an Independent Publisher Award in Audio-Fiction for her book/CD, The Time Is Now (Frog Peak/Burning Books) and has received acknowledgements from the Art Institute of Chicago, the NEA, New American Radio, NYC's Experimental Intermedia Foundation, and the Whitney Museum of American Art.

Words on Words

2007-04-24T10:53:00.000-06:00

coming soon on Albuzerque vol 27 ........

Try Being Alive in THIS World is a portrait in sound and words of episodes in the internal life of one of our latent citizens: a female who ranges the lanes and aisles of an enormous purchase and exchange arena (K-Mart in this instance).

She hears voices and speaks in tongues--some familiar, some unknown: haughty animals, machine deities, dangerous babies and celestial teenagers, utopian migrant laborers, jaded dream and faded jean inseam workers. She attempts to live in her time--a type of salvation available, maybe, if she follows her own advice, or...capitulates completely to the offering.

--Melody Sumner Carnahan, apr07

[Sumner Carnahan's words on ZERZ vol. 27 are from See You In Hell, a video-audio installation in collaboration with artist Michael Sumner, along with sound designer Dino J.A. Deane and vocalist Elizabeth Wiseman, which premiered at MOV-in Gallery, College of Santa Fe, 2006. Here excerpted and redesigned for audio CD by Deane, 2007.]

Smiles all around

2007-03-04T22:44:00.000-07:00

Louie Armstrong with Bobby Bradford's Kids.

Remembering Kenny

2007-02-07T15:17:00.000-07:00

Mark at the "Kenny Davern Memorial" event held at The Outpost - 2/4/07

Review : BONAFIED - Trombone Revenge

2007-02-02T20:39:00.000-07:00

BONAFIED - Trombone Revenge
[KURT E HEYL/J A DEANE]
(Zerx 18; USA)

Review by Bruce Lee Gallanter
of Downtown Music Gallery , NYC

Featuring J.A. Deane on tenor trombone & bass flute, Kurt Heyl on tenor trombones & flutes, Steve Feld on trombones, euphonium & sousaphone, Gary Sherman on soprano & tenor trombones & tuba, Mark Weaver on tuba & tenor trombone and Jefferson Vorhees on drums. Kurt Heyl is one of those mysterious improvisers that consistently produces interesting improv discs, yet remains relatively unknown. He leaves us with his discs a few times a year, which I usually review but we rarely sell very many copies. He used to live in New Mexico, which is where this disc was recorded, but has moved here a couple of years back and plays our store from time to time.
Bonefield is a trombone-fronted sextet with a tuba and drummer rhythm team. The only other player that I recognize here is J.A. Deane who used to work with Jon Hassell, Wayne Horvitz, and Butch Morris. Trombone ensembles are pretty rare, although I did hear a great trombone quartet called SlideRide at the Knit many years ago. Bonafied are quite different as they feature some spoken word vocals and chants, which are kept to a minimum. Besides the trombones, some of the members double on flutes, euphonium and tuba, adding a few other odd sounds to the mix. Ever since seeing/hearing Joe Bowie playing elephant-like blasts on his trombone during the late seventies, I've been a fan of myriad of sounds that trombonists produce. I've caught a number of the greats: George Lewis, Roswell Rudd, Paul Rutherford, Connie & Johannes Bauer & Ray Anderson, to name but a few. On "Dave's Lines", the four or five trombone players explore odd sounds together and play strange sounds and harmonies. "Primal Slides" is dedicated to Roswell Rudd and features some strange sliding notes and ghost-like drones. Oddly enough, Bonafied cover Duke Ellington's "Azure", and do a fine job of evoking those old muted wah-wah sounds that Duke's trombone section excelled in. Each piece gives the trombonists a different area to explore, growling, humming, bending notes inside-out, screaming, whispering through the 'bone, Another most interesting disc from the under-recognized Kurt Heyl. Take one home will you, please.

-BLG

Zerx Ordering info

Brassum - Mini Tour

2007-01-11T22:02:00.000-07:00

Be sure to catch these boisterous Brass-ilians if they pass you soon !

Michael Vlatkovich - trombone (Portland)
Harris Eisenstadt – drumset (NYC)
Mark Weaver – tuba (Albq)
Dan Clucas – cornet (LA)

Dates:
Wed. Jan 17 The Adobe Bar in the Taos Inn, Taos NM (505) 758-2233

Thu. Jan 18 Smokebrush Foundation for the Arts, Colorado Springs CO (719) 444-1012

Fri. Jan 19 High Mayhem, Santa Fe NM (505) 501-3333

Sat. Jan 20 The Blue Dragon, Albuquerque NM (505) 268-5159

.. and keep up with all their wanderings at the Brassum page

RIP : Kenny Davern

2006-12-15T13:32:00.000-07:00

(click photo for larger version)

L to R: Michael Anthony, Kenny Davern, Mark Weber
April 15, 2006 at Bumblee Bob's Baja Grill, Santa Fe
photo by Genevieve Russell

John Kenneth Davern :1935-2006

see a video clip on YouTube of
Kenny Davern playing " Pee Wee's Blues"

YouTube search: More vidclips of the Late Great Kenny Davern

a New Interview with Todd Moore

2006-12-04T12:53:00.000-07:00

A nice new ( Dec 06) Interview with Todd Moore is up over at Poetry Circle.

This Todd Moore Poem may shed a bit more insight:

---------------

the way

.

i write

is strictly

fuck you

no cap

ital letters

no punc

tuation

the words

jammed

together

or all

smashed

up like bro

ken glass

crushed

pop cans

& used

condoms

the ameri

can sen

tence is

either a

stutter

or a

scream

& i’m

waiting

to watch

it explode

------------------

Zerx Free Mp3 Downloads

2006-11-28T13:47:00.000-07:00

Just a note to let any of you Mp3 downloader types know that Zerx has "appropriated" another (free) space which allows us to Upload Music files among other things ( whoohoo).

We have a few Zerx tunes/ samples uploaded now for your free grabbin' pleasure and hope to add more in the future. You can find them at :
Zerx Free Downloads

and also linked in the sidebar..... enjoy.

New Book : Plain Old Boogie Long Division

2006-10-20T21:29:00.001-06:00

New book now available !

"Plain Old Boogie Long Division "
by
Mark Weber

73 Poems and one long prose boogie disquisition

A whole 144 pages in all

"Mark Weber has the authenticity of a born-in, lived-in poetic soma. His poetry will cause you to percieve the sublime in the ordinary and put you in contact with the ordinary common humanity in the sublime " - Connie Cruthers

... no, mark weber still thinks chap books are the best forum for poems even tho, he has this new book on BURNING BOOKS PRESS.

Get your copy today !
Special price $12 ppd from ZERX PRESS

And /or from BURNING BOOKS PRESS , PO Box 2638, Santa Fe, NM 87504
burningbooks.org /email: brnbx@nets.com

=============

the world is just
too much
for some of us
coming on strong
we grip the teeth
of this monster
pulling ourselves
out
of it's throat
it's gullet churning
and sucking
at our toes

[ an excerpt from " plain old boogie long division"/ Mark Weber]

Photos - at the Radio Station

2006-10-19T17:40:00.000-06:00

Some Photos of your humble DJ driving the KUNM radio Spaceship to the sonic heavens.
.... Photos by the indisputable Rob Raucci , 8/17/06

Beam Me Up Scotty ! ( Lafaro, that is).

Review of Plain Old Boogie Long Division

2006-10-07T15:30:00.000-06:00

A review by Daryl Rogers
at Gypsymag #4

Plain Old Boogie Long Division

Mark Weber is a bird, albeit a big one, a man who took part in staged fist fights when he was a teenager and expresses anguish over vacuuming up a bug in his latest collection of poems. Big Web is an Okie who wound up in Cucamonga, California, a guy that can get off on some aural, mathematical construct by Coltrane, Bird or Monk and then cue up one of George Jones’ crying-in-your-beer-honky-tonk masterpieces as if no gap existed between the two. (All That Jazz, KUNM, Thursdays,2:00PM EST.)
This collection, of poems and prose pieces, is a lot like that. Just look at his photo: the one in the papaw, with hair hanging down like Don Van Vliet, and picture him holding down a teaching position. But the photo of Mark in his old pickup says something else. He’s laughing, and his face is the face of a healthy, humorous, warm, hospitable man ... a man that’s overcome a heroin addicttion, alcoholism and spanked those monkeys till they laughed out loud. Plain Old Boogie Long Division is one crazy grab bag of stories, tempo experiments ( ala Creely by way of a Muddy Waters biography), and narrative poems that express a love of the commonplace common to Joyce, Hemingway, WCW, Gary Snyder and Merle Haggard. If you own a copy of Leaves of Grass, Kaddish, On the Road, Hank Williams’ Greatest Hits, or anything by Li Po or Robert Johnson, then do yourself a favor and order this sunlit book of living poetry.

144 pp. $12 ppd. from :
Mark Weber
725 Van Buren Place SE,
Albuquerque, NM 87108

Taran's Free Jazz Radio Podcast

2006-09-28T14:20:00.000-06:00

Our good friend Taran has been spinning lots of Zerx Werx ( along with tons of other fine improvised musics) on his weekly 2 hour radio show done from the farflung wilds of Angers, France. He's got a Live net radio feed and he offers Podcast Downloads of his shows from his site.
Check him out sometime if you wish, and let the Free Jazz soar.

Taran's Free Jazz Radio Hour - Playlist and Podcast

Taran's Free Jazz Radio Hour -- Live Radio Feed
( showtime is Saturdays, 5-7pm NY time ).

Free Poetry Reading - "Blood on the Porch"

2006-07-04T15:03:00.000-06:00

Duende Poetry Series
BOX 281 PLACITAS NEW MEXICO 87043

Announces the 7th in its reading series at
Anasazi Fields Winery of Placitas, NM

Sunday, 7pm September 17, 2006

"BLOOD ON THE PORCH :TALES & SONGS OF THE REAL WEST"
Mark Weber & Todd Moore
With BAYOU SECO, Musicians Ken Keppeler & Jeanie McLerie

The reading will be held Sunday, September 17th at the Winery in Placitas
and will begin at 7pm.

Anasazi Fields wines will be available for tasting and purchasing.
Books by the poets and CDs by Bayou Seco will be for sale.

Free admission.
Any Donations go to the Musicians & Poets.

WINE BAR TASTY SNACKS GREAT PLACE
drive out for a good time & a fistful of literature

To get to the Winery : take I-25 to the Placitas exit 242, drive 6 miles east
to the Village, turn left at the sign just before the Presbyterian Church,
follow Camino de los Pueblitos through two stop signs to the Winery
entrance.

DRIVING MAP

Contacts:
Jim Fish Anasazi Fields Winery
505-867-3062
anasazifieldswinery@att.net
Cirrelda Snider-Bryan Duende Poetry Series
505-897-0285
cirrelda@laalamedapress.com

The "Pig" is Gold

2006-06-22T19:38:00.000-06:00

Old pal GaryPigGold gave Zerx a nice writeup/review over at "Lost in the Grooves".

You unrepentant music hounds can keep up with his Blog here.

Poem

2006-04-10T02:17:00.000-06:00

it's lightening , son
you don't want it close
it'll turn you cross-eyed
and evil, thirsty for
what the Lord can't provide
something down at
the bottom of the well
clarified, but
with hands grabbin at you
no, it's way too late for
the sign of the cross, brother
you best fire up that Pontiac
and burn rubber.

from " Avenida Mañana"

tough song

2006-04-09T01:15:00.000-06:00

simple damn song just won't get
up. in the air.
3 chords and 3 more if you want garnish
and it's tricky. so simple
but
tricky. sonny boy williamson 1937
good morning little school girl.
plucking my guitar
you realize much more has to be
brought to a song
than just merely playing through it.
you must inflate it.

poem

2006-04-09T01:09:00.000-06:00

you can open the
house. early let in all
the cool. night air.
some of the windows dont
have screens and we dont
have screens on the front
door or the back. be sure
to close them
when
that sun gets too close
and warms the wings
of the flies
them fuckers
can be a nuisance
especially when. you
start passing around
the watermelon

[mark weber]

Reviews: Kurt Heyl " One Days Music"

2006-04-08T23:45:00.000-06:00

Reviews of :
"One Days Music"/ Kurt Heyl & Jack Wright
(Zerx 043)

The Heyl/Wright/Nieisen quartet, with either Wayne or Faaet. on drums, plays totally improvised music that they state was not planned or overdubbed, It is a spontaneous collective of brass, reeds, and percussion, although each of the lead triumvirate plays several other instruments including bass and vibes. Everyone is listed as a percussionist as well. The music has the sound of the freewheeling 1960s, when piano-less unstructured collective improvisation was first making itself known to the general public. Heyl has a gruff, barking way of playing the trombone, which gives the date its muscular touch and fee. He forces the selections into the open with his assertive blowing, while Nlelsen and Wright jump in headfirst on their woodwinds to encircle the tunes.
The drumming duties are split evenly between Wayne,and Faaet. Both musicians are in a continual motivating role with their freeform styles. With everyone at one time or another, on percussion as well, irregular rhythms are plentiful. Heyl injects voice shouts and a scat-like form of vocal phasing between his trombone playing and also plays the mouthpiece for unusual emphasis. Nielsen concentrates on tenor and occasionally switches to bass, clarinet, while Wright takes it up higher on alto, soprano, or flute to fill the sound spectrum. When all horns are speaklng at once, the sound is voluminous. More typically, the leaders pair of in duet duels with the drum push behind them. This frees one of them to take on the bass or vibes role, giving a more cohesive sound to the free improvisations. The collective voices speak as one, providing the music with intense moments as well as softened ones. The recording amply demonstrates the instant composing talent of these solid muslcians."

--Frank Rubolino, Cadence Magazine, August 2002

JACK WRIGHT/KURT HEYL - One Day's Music (Zerx 043)

My strange pal from Delaware Michael Parker is always raving about saxist Jack Wright (as well as the Joe & Mat Maneri, Joe McPhee & Bhob Rainey). Michael only digs those improvisers that really push the envelope or the barriers to extremes.
The one time he played me a live set from Wright, I thought he sounded like Zorn in the early days when he mostly played mouthpieces and birdcalls. I am even less familiar with the talented crew of improvisers from New Mexico found on this cd. Kurt Heyl plays trombone, Dave Nielsen plays tenor sax, vibes, bass, etc, Dave Wayne & Al Faaet switch off on percussion. Things begin quietly and cautiously on "ODM1", slowly building and escalating into a controlled frenzy with some odd spoken words from Kurt. All three horns do a fine job of interweaving and spewing their rich palette of intense and focused improv all over. Both drummers also seem to be listening closely and also responding quickly to the ever shifting dynamics of the tight flow and free flight.
The more I listen to this, the more I realize there are pools of (unknown or little) improvisers everywhere in the US, as well as around the world, working at providing a challenging listening experience for those willing to give them the time and consideration. I raise my cup of cranberry juice on ice as a toast to these fine fellows for the chance to be blown away once more. Hooray!

from DTMgallery

see some of Kurt Heyl's Photos and Paintings

a Jack Wright Bio & Reviews

Mark Weber Poetry Band - Live

2005-11-30T19:03:00.000-07:00

somewhere there's always a train
roaring across the night

Mark Weber Poetry Band
MUSIC FOR WOODWINDS, POETRY & BRASS

Bill Payne - clarinet
Michael Vlatkovich - trombone
William Roper - tuba
Richard Tabnick - alto sax
Mark Weber - plainspeak ( poems)

COME AS YOU ARE
or
if you can't stop in
wave as you drive by

Thursday December 15th, 2005 7:30 pm
Outpost Performance Space
210 Yale SE, Albuquerque

Terrell on the Bubbadinos

2005-09-23T19:11:00.000-06:00

An great old Review of the Bubbadinos from "No Depression" magazine , by old pal Steve Terrell

THE BUBBADINOS

Welcome to Mutant Country. Welcome to the downhome alien world of The Bubbadinos.
If you look at the song titles on The Bubbadinos’ first CD Ready as We’ll Ever Be, (Zerx records,) most of the cuts are readily identifiable - "Lost Highway," "Tennessee Waltz," "Amazing Grace," "Battle Hymn of the Republic" (!), "Pancho & Lefty."

But I guarantee, you've never heard these tunes sound like this.

Like an advertisement for their first public performance at Albuquerque’s Outpost Performance Space read: “The Bubbadinos done tarred of playing all the regular notes.”

In one published 1997 interview, chief Bubba Mark Weber talked about the band he was forming. “I've managed to talk these jazz musicians (and one Cajun) into playing them olde country songs me and my granddad used to do.” Weber said, “This is not so different than what Jimmie Rogers was doing in the late 20s.”

But I don't think Jimmie done it this way.

Weber, a writer and poet by trade, and his cohorts went and created a surreal country sound that would repulse purists among the country and folk set as well as the jazzbos. With a lap steel sounding like an assault weapon, a grunting tuba, a fiddle trying to make sense of everything while a singer growling and mumbling the lyrics of country classics or venerated spirituals over the din, it's easy to see why.

“The jazz crowd, from whence most of us come, don't want to have anything to do with country music,” Weber says. “The country crowd would string us up if they could find us: and the folkie people have turned so rigid and conservative and narrow minded they shiver at the thought of us.”

While purists of any stripe might be horrified by the avant-hillbilly sounds of The Bubbadinos, fans of The Residents or Captain Beefheart or Thinking Fellers Union Local 282 or even Giant Sand probably would understand.

The origin of The Bubbadinos began back in Weber’s native Los Angeles in 1995 when he and several collaborators created a music and spoken word “collage”. Here Weber told stories about making music with his grandfather, between snatches of songs. He performed this with a band (which included pre-Geraldine Fibbers Nels Cline) at the Alligator in Santa Monica.

Back in Albuquerque he decided to record the verses of those songs that he'd left out of the performance piece. For this he rounded up Bubba D, aka J.A. “Dino” Deane (lap steel and bass flute), Mark Weaver (tuba), Ken Keppeler, (fiddle, accordion, mandolin, harmonica, jawharp) and Stefan Dill, who previously worked with jazz great Cecil Taylor, (flamenco guitar and hubcap).

Bubba D is a jazz trombonist who says he used to hide his albums by The Band from his jazz cohorts. He says Weber originally approached him to play his horn with The Bubbadinos. “I said the only way I’d be in this band was if I could play lap steel. He said he didn't know I played lap steel and I said, `I don't.’ But that didn't bother him. I still like to maintain a primitive relationship with that instrument.”

Keppeler is the only Bubbadino coming from a country or folk music background, playing for nearly 20 years or so in a Cajun-centric band called Bayou Seco with his wife Jeannie McLerie. Former residents of Louisiana, the couple has worked with the likes of the Balfa Brothers and Beausoleil.

According to Bubba D, after hearing the playback of “Wade in the Water,” the first song the Bubbadinos recorded, “Everyone grew real quiet. Finally Ken said, `Well, there goes my credibility as a folk musician.’

Credibility or not, Keppeler remains a Bubbadino, joining the group in recording their second, soon-to-be-released CD, We're Really Making Music Now. This will contain covers like "I'm An Old Cowhand," Johnny Paycheck’s "11 Months and 29 Days," Jimmie Rogers’ "My Blue Eyed Jane" and Japanese pop hit "Sukiyaki," as well as a dozen or so Weber originals.

For the time being The Bubbadinos are a studio phenomenon with only two live performances under their belts. Geography is a problem, the members living all over the state. But Weber intends for the band to keep going. “We're still not quite where I want it to be.”

STEPHEN W. TERRELL

You can keep an eye on more of Steve's writings over at his blog
And download some MP3s of his project "the Winking Tikis" here.

Connie Crothers Quintet in NY

2005-09-12T10:42:00.000-06:00

If you happen to be aorund NY way...be sure to check out Connie and her Crewe.

CONNIE CROTHERS QUINTET

Connie Crothers, piano
Richard Tabnik, alto saxophone
Roger Mancuso, drums
Ratso Harris, bass
Mark Weber, poet

Sunday, September 18, 2005
3:00 p.m.

Connie’s Loft
475 Kent Avenue, #410
Brooklyn, NY 11211
718 302-4377
$10
(bread and cheese, fruit, wine, coffee, tea)

The band will be celebrating their new CD,
“Live, Outpost Performance Space”

Directions
By car: Take the first exit from the Williamsburg Bridge, “Broadway-Staten
Island,” bear right on Broadway, left on Wythe Avenue, park anywhere near Wythe
and S. 11th St.
By train: L (this runs across 14th St.) to Bedford Avenue, the first stop in
Brooklyn, walk one block east to Driggs Avenue, take #61 bus to Division
Avenue, walk right one block to Kent Avenue, turn right to 475; M or J to Marcy
Avenue (the first stop in Brooklyn), walk down Broadway to Kent Avenue (seven
blocks), turn right on Kent and walk to S. 11th Street (you can transfer from the
F to the M or J at the Delancey Street station)

The Rev

2005-07-23T01:00:00.000-06:00

" The Reverend Lonnie Farris at home ...1979"

Just a peek from the Weber Jazz Photo Collection at UCLA

Sun Ra Story #2

2005-07-23T00:55:00.000-06:00

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?)

Shameless Promotion

2005-07-22T23:58:00.000-06:00

Just a couple of Zerx Ads for anyone who might want to download' em.

See here for Zerx ' scientifically designed' Ads made for the Web.

Bubbadinos Reviews

2005-07-22T23:57:00.000-06:00

Los' Bubbadinos Reviews

~~~~~~~~

The Bubbadinos,
We're Really Making Music Now
(Zerx 014)

...... 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."
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). ........

Rambles Magazine

~~~~~~~~

The Bubbadinos
We're Really Making Music Now
(Zerx 014)

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.
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?

By Gary "Pig" Gold , In Music We Trust

~~~~~~~~

The Bubbadinos
The Band Only A Mother Could Love
(Zerx 021)

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.
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.

By Gary "Pig" Gold, In Music We Trust

~~~~~~~~

Los Bubbadinos
Yup, We're Beating a Dead Horse
(The Sgt. Bubbadino Sessions)
(Zerx 034)

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

Get your Bubbadinos Exclusively on Zerx

Zerx WebAds

2005-07-17T17:20:00.000-06:00

More shamelsss self-promotion ! Heres a bunch of 150 pixel width Ads ( in a variety of colors for your choosing) perfect for placing in most sidebars. If you'd like to help promote Zerx on your website Zerx would love it.
Just copy your Ad of choice, place it on your site, and link it back to "zerxpress.blogspot.com".
OR...you web-clever folk might want to "view source" , find the Ad's code, copy and paste it on their site , and the graphic will automatically be pulled from Imageshack with the linkback already in place....voila.

Deane Bio

2005-07-16T00:58:00.000-06:00

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 dino@plateautel.net

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

~~~~~~~~~

Burning Cloud (FMP 077) Live Recording

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

All Deane Bio Links :

J. A. Deane short Bio

J.A. Deane Discography

a Selected List of J.A. Deane's Performance Events

J.A. Deane's Works- Nominations & Awards

an Interview with J.A. Deane

J.A. Deane page @ music.com with some samples of works

Deane Awards

2005-07-16T00:47:00.000-06:00

J. A. Deane
Nominations 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

All Deane Bio Links :

J. A. Deane short Bio

J.A. Deane Discography

a Selected List of J.A. Deane's Performance Events

J.A. Deane's Works- Nominations & Awards

an Interview with J.A. Deane

Deane Performances

2005-07-16T00:20:00.000-06:00

J.A. Deane Selected Performance Events
1981 - 2001
Concerts - Theatre - Dance

2001

Concerts:
Out Of Context, Albuquerque NM
Faaet/Deane/Lowe/Mulvihill, Santa Fe NM
Butch Morris, Conduction, NYC & Lisbon Portugal
Theatre:
This is Life as we know it, Theater Grottesco, Santa Fe NM
Dance:
Nomad in Time, Santa Fe NM

2000

Concerts:
Butch Morris, Conduction, Istanbul Turkey & Madrid Spain
Bonefied, Albquerque NM
Theatre:
Shorts, Theater Grottesco, Santa Fe NM
Dance:
Lizard, Mulvihill/Deane, Albuquerque NM

1999

Concerts:
Out of Context (live film sound track), Albuquerque NM
SoloDino, Composers Symposium UNM
Behrman/Deane, Santa Fe NM
Theatre:
Simpatico, Compo Santo, San Francisco CA
Fortune, Theater Grottesco, Santa Fe NM
Mary Stuart, Theater Work, Santa Fe NM
Dance:
Animals of the Heart, Mulvihill/Deane, Santa Fe NM

1998

Concerts:
Butch Morris & Holy Ghost, NYC
Butch Morris, Conduction, Albuquerque NM
SoloDino, Santa Fe NM
Weber/Deane, Albuquerque NM
Theatre:
Angels Cradle, Theater Grottesco US Tour
Bataan, Theater Work, Santa Fe NM
Question of Mercy, Magic Theater, San Francisco
Dance:
7 Gates, Mulvihill/Deane, Santa Fe NM

1997

Concerts:
Melford/Deane, Henry Cowell Festival, Cal State Berkley
Out of Context, Albuquerque NM
Theatre:
Dillinger, By Todd Moore KUNM Radio, Albuquerque NM
Wedding of Dona Sol, Theater Work, Santa Fe NM
Dance:
Retrospective, Mulvihill/Deane, Santa Fe NM

1996

Concerts:
Deane/Muller/O’Rourke/LeQuan, Paris France
Butch Morris & Orchestra Della Toscana, Florence Italy
Theatre:
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*
Dance:
Mud Girl, Mulvihill/Deane, Santa Fe NM

1995

Concerts:
Butch Morris, Skyscraper, Verona Italy
Deane/Sabella/Rolleri, San Francisco CA
Melford/Deane, Albuquerque NM
Deane/Ostertag/Frasconi, San Francisco CA
SoloDino, NYC
Theatre:
Last of the Suns, Berkeley Rep, Berkeley CA
The Sirens, Magic Theater, San Francisco CA
Firmament, La Mama, NYC

1994

Concerts:
Morris/LeQuan/Deane, Nickelsdorf Austria
Excesstet, Hamburg Germany
Butch Morris, The Cloth, Verona Italy
Theatre:
Tongues/Savage Love, Magic Theater, San Francisco CA*
Night Train to Bolina, Magic Theater, San Francisco CA
Sucht/Lust, Deutsches Schauspielhaus, Hamburg Germany
Dance:
Sunken Cathedrals, Mulvihill/Deane, San Francisco CA

1993

Concerts:
Butch Morris, Freuds Garden, Munich Germany
Morris/LeQuan/Deane, FMP Festival, Berlin Germany
Deane/Sabella/Rolleri, San Francisco CA
Dance:
Solid Longing, Mulvihill/Deane & The City Contemporary Dance Company, Hong Kong China

1992

Concerts:
Butch Morris, Conduction, NYC, Istanbul Turkey,Montreal Canada, Kassel Germany
Marclay/Morris/Deane/Muller, Frankfurt Germany
Schutz/Deane, NYC, Montreal
Dance:
Interiors, Mulvihill/Deane, Edge Festival, San Francisco CA*

1991

Concerts:
Butch Morris, Vanguard Band, NYC, Saalfelden Austria
Wayne Horvitz & The President, US Tour
Theatre:
States of Shock, American Place Theatre, NYC
Dance:
Interiors, Mulvihill/Deane, Santa Fe NM, Oakland CA

1990

Concerts:
X-Communication, FMP Festival, Berlin Germany
Horvitz/Morris/Deane, Audio Box Festival, Matera Italy
Theatre:
Greek, Magic Theatre, San Francisco CA*
Dance:
Ring of Changes, Mulvihill/Deane, San Francisco CA

1989

Concerts:
Butch Morris, Conduction, Whitney Museum, NYC
X-Communication, Nickelsdorf Austria
Horvitz/Morris/Deane, Vancouver Canada
Theatre:
The Promise, Magic Theater, San Francisco CA
Dance:
Dark Lullaby, Mulvihill/Deane, Santa Fe NM

1988

Concerts:
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
Theatre:
Pickup Axe, Eureka Theater, San Francisco CA*
Dance:
The Conversation, Mulvihill/Deane, San Francisco CA

1987

Concerts:
Butch Morris, Homing FMP Festival, Berlin Germany
Horvitz/Morris/Deane, Kitchen & Summer Stage, NYC
Jon Hassell, Tour of Europe
Theatre:
True Beauties, Magic Theatre, San Francisco CA*
Dance:
Prelude to the Bride, Mulvihill/Deane, San Francisco CA

1986

Concerts:
Horvitz/Morris/Deane, Tape Theatre Munich Germany,
ARS Electronica Festival, Linz Austria
Jon Hassell, Tour of Europe
Dance:
How They Make Hawaiian Music, Mulvihill/Deane, NYC &
San Francisco

1985

Concerts:
Butch Morris, Goya Time, NYC
Jon Hassell, Tour of Europe
Indoor Life, NYC
Dance:
Erector Set, Mulvihill/Deane, NYC
Dream Vendor, Mulvihill/Deane, Basel Switzerland

1984

Concerts:
Jon Hassell, Tour of Europe
Indoor Life, NYC
Theatre:
Fool For Love, Circle Rep., NYC*
Dance:
H.T.M.H.M., Mulvihill/Deane, NYC
First Figure, Margaret Jenkins Dance Company, US Tour

1983

Concerts:
Jon Hassell, Tour of Europe & Japan
Indoor Life, NYC & San Francisco CA
Theatre:
Fool for Love, Magic Theatre, San Francisco CA*
Dance:
Echo Loop, Mulvihill/Deane, NYC

1982

Concerts:
Indoor Life, NYC & Tour of Europe
Dance:
Wild Cargo, Mulvihill/Deane, San Francisco CA
Memory Track, Mulvihill/Deane, NYC

1981

Concerts:
Indoor Life, San Francisco CA, NYC, Tour of Europe
Dance:
Mapped Origins, Mulvihill/Deane, NYC

All Deane Bio Links :

J. A. Deane short Bio

J.A. Deane Discography

a Selected List of J.A. Deane's Performance Events

J.A. Deane's Works- Nominations & Awards

an Interview with J.A. Deane

Deane Discography

2005-07-15T23:17:00.000-06:00

J.A. Deane - Discography
1975 to 2002

Deane/Melford/Sabella
2002 Hex / Zerx 044

Todd Moore
2001 Dillinger (2 CD set) / Zerx 039
1999 Dillinger (limited edition) / Zerx 010

J.A.Deane/Out Of Context
2001 Never Never Land / Zerx 032
1999 Live at the Outpost / Zerx 013

The 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 002

Deane/Frisell/Rolleri
2000 These Times / Zerx 028

Faaet/Deane
2000 Grand Cross Eclipse / Zerx 024

Bonefied
2000 Bonefied / Zerx 018

J.A. Deane
1999 SoloDino / Zerx 020

Weber/Deane
1999 Vehicle, Vortex, Vertigo / Zerx 015

Butch 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 4015

Mark Weber
1998 Brother Can You Spare A Dime / Zerx 012
1998 Beautemous Everlasting / Zerx 004
1997 O Shenandoah / Zerx 001

Morris/Lequan/Deane
1996 Burning Cloud / Fmp 077

J.A. Deane
1995 Nomad / Victo 035

Splatter Trio
1995 Hi-Fi Junk Note / Rastascan BRD 021

Roulette (NYC)
1994 A Confederacy of Dances Vol. 2 / Einstein 003

X-Communication
1991 X-Communication / FMP 033

Wayne Horvitz
1991 Miracle Mile / Electra

Terry Rolleri
1990 Out in the West / Bend 001

Zoyd/Deane/Greinke
1990 Zoyd, Deane, Greinke / Ear-Rational ECD 1021

Jon 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 829-466-1

John Zorn
1987 Cobra / Hat Art

Horvitz/Morris/Deane
1986 Trios / Dossier

Indoor Life
1985 Indoor Life / Electra
1983 Indoor Life / Relativity
1980 Indoor Life / Celluloid

Tina Turner
1978 Rough / United Artists

Ike and Tina Turner
1975 Nutbush City Limits / United Artists

All Deane Bio Links :

J. A. Deane short Bio

J.A. Deane Discography

a Selected List of J.A. Deane's Performance Events

J.A. Deane's Works- Nominations & Awards

an Interview with J.A. Deane

Interview with J.A. Deane

2005-07-13T18:58:00.000-06:00

An Interview with .... J.A.Deane
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 Discography

a Selected List of J.A. Deane's Performance Events

J.A. Deane's Works- Nominations & Awards

an Interview with J.A. Deane

NNL-Bubbadinos-Review

2005-07-13T18:39:00.000-06:00

Zerx Releases
Reviewed by Dan Warburton

J.A. Deane - NEVER NEVER LAND
Zerx 032
The Bubbadinos- YUP, WE'RE BEATING A DEAD HORSE
Zerx 034

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.

PARIS/TRANSATLANTIC 12/2001

Email Mark
for current pricing, availability, and ordering info

These Times -Review

2005-07-13T18:28:00.000-06:00

J. A. DEANE / BILL FRISELL / TERRY ROLLERI
THESE TIMES
Zerx 028

Review by Dave Wayne/ JazzWeekly

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

Email Mark
for current pricing, availability, and orderinf info

Never Never Land -Reviews

2005-07-13T14:41:00.000-06:00

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, tuba

Reviews :

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)

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)

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for current pricing, availability, and ordering info

Out of Context -reviews

2005-07-13T14:02:00.000-06:00

J.A. DEANE
OUT OF CONTEXT
ZERX 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)

…A brilliant ensemble… Deane’s music unfolds with a refreshing variety.…A strange and intensifying roller coaster of sound… Brilliant stuff.
(Cadence-The Review Of Creative Improvised Music)

…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.

(Signal To Noise-The Journal Of Improvised & Experimental Music)

Email Mark
for current pricing, availability, and ordering info

On Conduction

2005-07-13T00:30:00.000-06:00

ON CONDUCTION
( members of "Out of Context" and it's orginator, Butch Morris, speak of what this compositional method means to them)

BUTCH MORRIS: creator of conduction

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.

J.A. DEANE: conductor, bass flute, 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.

CARLA K. BARLOW: sampler, live sampling

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.

STEFAN DILL: acoustic & electric guitar, oud

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.

STEVEN FELD: bass & contra-bass trombone

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.

KATIE HARLOW: cello

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.

COURTNEY B. SMITH: harp

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.

ALICIA ULTAN: viola

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!

JEFFERSON VOORHEES: drums & percussion

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.

MARK WEBER: poet, producer Zerx records

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.

GCE Reviews

2005-07-12T23:58:00.000-06:00

AL FAAET & J.A. DEANE
GRAND CROSS ECLIPSE
ZERX 024
( Al Faaet - drums, framedrum, percussion…..
J.A. Deane - trombone/electronics, standing waves, bass flute )

Reviews:

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.

(Paris Transatlantic…..France)

~~~~~

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.
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.

(Musings The Archive…..England)

~~~~~

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.
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.

(Thirsty Ear Magazine…..United States)

Email Mark Weber
for current pricings, availability, and ordering info

chapbooks-various

2005-07-04T12:30:00.000-06:00

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

Email Mark
for availability, pricing and ordering info on all chapbooks

chapbooks - locklin

2005-07-04T12:18:00.000-06:00

Zerx Split Chapbooks by
Gerald Locklin & Mark Weber

#12 LOST AND FOUND / BE HONEST LIKE A KNIFE
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

Email Mark
for availability, pricing and ordering info on all chapbooks

chapbooks-weber

2005-07-04T11:49:00.000-06:00

Zerx Chapbooks by Mark Weber

#01 THE PHONE
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

Email Mark
For availability, pricing and ordering info on all chapbooks

Photocollections

2005-07-01T12:33:00.000-06:00

The Mark Weber Collection
of Jazz Photographs 1970-1995
at UCLA

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 !

Chatroom

2005-06-29T19:26:00.000-06:00

Zerx Chat Channel

Zerx has a Chatroom set up for anybody to use, gather in, or yak it up on their blazing keyboards.

IRC Client:
If you have an IRC Chat Client Software you can reach the Chatroom via :

server: irc.everywherechat.com
port : 7000 or 6667
room: #ZerxChat

or click here to automatically enter the room in your default IRC client.

Java Version:
You can also use this Java Web-based version to enter and use the Chatroom in your Browser , but it is quite slow, clunky, and has an outrageous lag time. We strongly suggest folks use a Chat Client, like mIRC or any number of others, to access the room and for a better experience all around.

You can learn a bit more about IRC Chat here if you wish.

RadioShow

2005-06-28T17:50:00.000-06:00

Weber's Weekly Worldwide Radioshow

Every Thursday afternoon Mark Weber strolls out into his yard and, with nothing more than a couple of tin cans, some string, and a headful of good intent, he magically creates a Worldwide Radio Broadcast that everyone can hear.
Well, not really ... He usually takes the easy way out and rolls down to the fine studios of KUNM - (89.9 on the local FM dial) - where he DJ's forth every Thursday from Noon to 1:30PM (mountain time).
Spinning slabs of secret musical codes from the future as well as quaint ditties and equations from the ancient past and hosting slews of interviews with JazzWorld luminaries, he can also be heard worldwide right thru this computer-thang currently under your nose.

Tune in here to
KUNM's Live Radio feed
via Realaudio
( there are other feed options at the KUNM homepage)
Every Thursday / 12 Noon - 1:30 PM - MTN
( thats 10-11:30am in NY, or 1-2:30pm in CA ...if you're anywhere else on the globe, sorry, you'll have to figure it out for yourself.)

Wanna Yell at Mark ?
you can do so at either the "All that Jazz" message board ,
or the Mark Weber message board hosted at KUNM.

Don't believe he plays strange stuff ?
You can snoop around through his Playlists here.

or maybe you'd like to cluster in the Zerx Chatroom and yak it up while the show is on ?

KUNM has also begun tentatively tiptoeing into PODCASTING !
See their List of Podcasted Shows here
And hope they add "All That Jazz" soon.

(Not so) Bright Moments ?

2005-06-27T16:27:00.000-06:00

Roland Kirk & Ed Sullivan
whddaya think these two guys talk about ?... leave your caption in the comments section below.

BTW--Still Under Construction !

ZerxCatalog-ALBUZERXQUE

2005-06-27T03:04:00.000-06:00

Zerx Famous
ALBUzerxQue Compilation
CDs

#022 - ALBUzerxQUE Vol 1 - compilation of New Mexico
My greatest invention. Some people call these things “samplers” akin to them embroidery and needlework delicacies those dear 19th century maidens stitched together. Just like that. Here we got just about everybody in the Zerx catalog including JB, and Manny Rettinger, and the late dearly departed poet Dick Barnes.

#023 - ALBUZERXQUE Vol. 2
Carla Kay Barlow’s Egyptian elevators, Simon Ortiz, Steve Peters, Chris Allen/Jon Gagan/Lewis Winn, Bayou Seco, Dave Nielsen/Al Faaet/Kurt Heyl....

#030 - ALBUZERXQUE Vol. 3
Steve M Miller pc for Willa, Mitch Rayes, Dino, The Legendary Jimmy Hamm, Protuberance, Lisa Gill, Kanoa Kaluhiwa Trio, Bonefied, Martian Funk....

#031 - ALBUzerxQUE Vol. 4
Janet Feder, Kell Robertson, ORJO, Bayou Seco, Joe Somoza, Michael Anthony, Zimbabwe Nkenya, Gerald Locklin, Tom Guralnick/David Moss, & More.

#033 - albuZERXque Vol. 5
Simon Ortiz sings ! Kurt Nimmo, Lisa Polizar, Alicia Ultan, (Bubbadinos are on every ALBUZERXQUE), Todd Moore, Woody & Boomer, TGI / D. Moss, Joseph Sabella, Lewis Winn / Jon Gagan, Protuberance, etc .....

#035 - ALBUZERXQUE Vol. 6
Larry Goodell, Courtney Smith, Brent Leake, Mark LeClaire / Jon Baldwin, Judson Crews, Dennis Dillon, Selsun Blue, Carla K Barlow, Robert Creely, AMH trio ( a/ Alan “The Barn Owl” Lechuza)& More.

#037 - ALBUzerxQUE Vol. 7
Tony Cesarano, Fred Sturm, Gamelan Encantada, Janet Feder, Ray Zepeda, Katie Harlow, Chris Shultis, Jeff Bryan (aka JB), Out of Context, much more ....

#038 - ALBUZERXQUE Vol. 8
Lisa Gill / Mitch Rayes, Kell, Woody & Boomer (David Parlato & Michael Anthony), Brent Leake, Mark Weaver, ORJO, Steven M Miller, ....

#040 - ALBUZERXQUE Vol. 9
Steve Peters, Stefan Dill, Mary Redhouse, Socorro Romo, Fred Sturm, among many others. 23 tracks.

#042 - ALBUZERXQUE Vol. 10
Lisa Gill’s numbers poem, Janet Feder rendering a Michael Vlatkovich composition ( she on prepared guitar), Todd Moore, High Desert Duo, Mark Weaver / Vlatkovich, ( Michael Vlatkovich is a jazz trombonist to the tenth power), NYC hard-boiled crime novelist Lawrence Block, Michael Vlatkovich’s “Londonderry Error” aka “ Country Music”, and John Tritica, and more. 18 tracks.

#045 - ALBUzerxQUE Vol. 11
Miriam Sagan, Mary Redhouse, Al Faaet, Mitch Rayes, Michael Vlatkovich, Chris Shultis, &c. 17 tracks.

#46 - ALBUZERXQUE Vol. 12
Michael Anthony, Alan Lechusza, Steve Terrell, Theo Keely-LeClaire, Bayou Seco, Uncle Stevie, J.A. Deane, Stefan Dill, & more. 24 tracks.

#050 - ALBUZERXQUE Vol. 13
The folkified compilation with Ken Keppler, Fred Sturm, Stefan Dill, Mitch Rayes “ Carp Song”, Janet Feder playing Bach, and much much more.

#052 - ALBUZERXQUE Vol 14
Michael Vlatkovich, Bill Pearlman, Lisa Gill, Todd Moore, Daniel Davis, Vlatkovich-Weaver Duo, Bubbadinos, Jeff Bryan, High Desert duo, Mark Weber, Mitch Rayes, Stefan Dill, Simon Ortiz.

#055 - ALBUZERXQUE Vol 15
Mark Weber, Gerald Locklin, CK Barlow, Melody Sumner Carnahan, Mark Weaver, Bob Swearingen, Bayou Seco, Out of Context, Chris Shultis.

#056 - ALBUZERXQUE Vol 16
Jonathan Konrad & Mike Balistreri, J A Deane , Bob Swearingen, Dottie Grossman, Melody Sumner Carnahan, Mark Weber, Mary Oishi, Mitch Rayes, Le Quan Ninh .

#057 - ALBUZERXQUE Vol 17
J A Deane , Lisa Gill, Chris Shultis, Mark Weber, Bing, Todd Moore & M Weber, Weber & Vlatkovich, Bayou Seco, Gerald Locklin, Connie Crothers, Richard Tabnik, CK Barlow, Field Recordings, Gene Frumkin.

#059 - ALBUZERXQUE Vol 18
Connie Crothers & Mark Weber, Brassum, Todd Moore, Weber & Kurt Heyl, Gerald Locklin, M Weber Poetry Band, Dottie Grossman & Vlatkovich Trio, Jeff Gburek, Sraddha, Brent Leake, Ken Keppler, Bayou Seco.

ALBUZERXQUE Vol 19

ALBUZERXQUE Vol 20

#063 - ALBUZERXQUE Vol 21
Paul Lombardi, Al Faaet, Rumble Trio, Todd Moore, Tom Guralnick & J A Deane, Mark Weber, The Lonesome Shack, Bayou Seco, Achang, Paul Gonzales, Dottie Grossman, Submersible Trio , Keif Henley & Weber, Out of Context.

#065 - ALBUZERXQUE Vol 22
Alicia Ultan , M Weber, Bayou Seco, Todd Moore, The Bubbadinos, Bill Payne & Weber, Melody Sumner Carnahan, Steve Terrell and the Desperados, Vlatkovich&Payne&William Roper, Weber Poetry Band, Gerald Locklin.

#067 - ALBUZERXQUE Vol 23
Bobby Bradford Mo’Tet , Bill Payne, Dimi Disanti Trio, Todd Moore, Vlatkovich-Roper-Payne, Outpost Repertory Jazz Orch, Mark Weber, Jonathan Baldwin, Alicia Ultan, Kurt Heyl & Mark Weber, Weber Poetry Band, Mitch Rayes, Jonathan Baldwin Trio, Jeff “JB” Bryan, Payne & Weber, Stefan Dill String Quartet, Lisa Gill, Vlatkovich-Roper-Payne, Todd Moore.

#069 - ALBUZERXQUE Vol 24
J A Deane , Janet Feder & Mark Weber, Melody Sumner Carnahan, Jefferson Voorhees, Qut of Context, Mitch Rayes, Dave Neilsen -Kurt Heyl -Al Faaet, Dave Wayne, Han Bennink -Michael Moore -Mark Weber, Weber & Bayou Seco , JA Deane- Kurt Heyl- Dave Neilsen, Gerald Locklin, Bubba D.

#070 - ALBUZERXQUE Vol 25
Dave Neilsen-JA Deane-Kurt Heyl, Southwest Jazz Orchestra, Janet Feder, The Bubbadinos, BubbaD - Harlan Katlow-Big Web, Weber & Bayou Seco , The Chris Ishee Trio, C K Barlow, Dottie Grossman & Michael Vlatkovitch, Out of Context, Michael Anthony, Jim Fox , Quincy’s Birds !, The Lonesome Shack .

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !
Ordering Info

ZerxCatalog-Mark Weber

2005-06-27T02:59:00.000-06:00

Zerx CD Releases by Mark Weber & Co

#001 - Mark Weber - O SHENANDOAH BE NOT TELLING ME THIS
This record was so complicated and required so much work that I vowed never to make another record again. Five different bands and easily 3 dozen sessions went into this project , recorded in L.A. and Albuquerque. Poetry & Music in the tradition of Kenneth Patchen’s great experiments along the same lines.

#004 - Mark Weber - BEAUTEMOUS EVERLASTING
After 20 years of writing narrative poetry I veered off into a style I call atmospheric/landscape poetry and this is the first examples of that. Too many musicians to mention all their names. Justine Flynn even wrote a complex chart for one of the numbers. ( Mostly everything else is purely freeform spontaneous glorious intuition.}

#005 - Mark Weber - JUST ME AND MY OL’ GUITAR
Not ever’one needs to hear me bellerin’ my favorite songs so we put this out in limited edition.

#006 - Big Web & The Fractious Companeros - LIVE AT THE OUTPOST PERFORMANCE SPACE - April 15, 1996
One of my best bands: Stefan Dill, flamenco guitar; Jo Chavez, kanun; Eileen Sullivan, violin; David Parlato, bass; Lou Morales, percussion; Justine Flynn, French horn. “Limited Edition”.

#007 - Mark Weber - TIME ZONE DIFFERENTIAL
During the mid-90s whenever I visited back home to Southern California rather than hang with my old friends on some street corner we’d book studio time and hang out there instead, and make music. They’d make the music and I’d tell stories. This is sorta like Volume 2 of my CD on the 9Winds label called OBBLIGATOS FOR TERPSICHOREAN DIPSOMANIACS which translates : Musical Ditties for Dancing Drunks.

#008 - Mark Weber - FRONT PORCH MUSIC
Me & my grandfather farting around with guitars & mandolins back in the olden days. Limited Edition.

#009 - The Mark Weber Poetry Band - BOUNDLESS COALESCENCE
I got tired of thinking up names for all my various bands so we lumped them all under this catch-all egomaniacal rubric. Atmosphere/Landscape poetry at it’s best, and what a band (!) Music rating: 12(on a Ten Scale).

#011 - Mark Weber - BYGONE TUMBLEWEEDS, TARNATION OF SMOKE
Okie Musique Concrete. Memory in all it’s aspects.

#016 - Mark Weber - PRECARIOUS solo, duets & trios
One great record if I do say so myself. Everything’s coming up roses. You got Ken Keppler on here, and Jeanie, and Mark Weaver’s nocturnal tuba, and Lisa Polisar’s clandestine flute, and Courtney Smith’s nautical harp, and Alicia Ultan’s eternal viola (we love you Alicia), and Stefan Dill’s auto transported flamenco guitar, AND AND AND ! Janet Feder (!) And her prepared & sauteed guitar.

#017 - Big Web & The Rubato Consultants - LIVE AT THE ALBUQUERQUE MUSEUM, November 21, 1996
I love the tv footage of this ‘cause it shows me and Chuy Martinez singing “Cieleto Lindo” with our guitars & ten-piece ensemble and when Chuy takes over the song after I’ve mangled it (I’m not a real sanger) I’m standing there in profile with my mouth agape in wonderment at Chuy’s beautiful voice. Limited edition.

#025 - Mark Weber - TEST PRESSING , solo okie guitar & song
I was curious about this CD manufacturer who had some el cheapo prices so I recorded this half baked gem and sent it off for a hunert copies. See how they moved. See if they can cut the mustard.

#041 - Mark Weber - OKIE MUSIQUE CONCRETE
the reel-to-reel as honky tonk band.

#48 - The Mark Weber Poetry band - TURTLE NIGHT
Atmospheric landscape poetry. Music rating: infinity

#049 - Mark Weber & the Vlatkovich Team - MESSAGE FROM L.A.
This is volume 3 that started with TERPSICHOREAN DIPSOMANIACS. Has Gretchen Parlato and Gerald Locklin. Stories that made the world true.

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !
Ordering Info

ZerxCatalog-Bubbadinos

2005-06-27T02:55:00.000-06:00

Zerx CD Releases by The Bubbadinos

#002 - The Bubbadinos - READY AS WE”LL EVER BE
Every town in America has half a dozen prettified country bands but no place on Earth is there a band like the Bubbadinos.

#014 - Bubbadinos - WE”RE REALLY MAKING MUSIC NOW
The quiet before the storm. Lonesome whippoorwill. MY grandfather used to call me up and say, “Mark, when’re we gonna make some music?” and I’d haul over to his place and we’d make some. Will the rappers someday be able to call their grandkids and ask the same ?

#021 - Bubbadinos - THE BAND ONLY A MOTHER COULD LOVE
Tenuousness, trepidation, drought, locust, musica antigua, cant & want, pock-marked chrome, lapsed backyard hallucinations, clippity-clop cowboys & indians, flat tires, cloven-hoofed, low odds, dice, subdural hematoma, jailhouse coffee, bellybutton lint.

#034 - The Bubbadinos - YEP, WE”RE BEATING A DEAD HORSE - THE SGT BUBBADINO SESSIONS
We read George Martin’s book about the making of SGT PEPPER and decided we’d like to make a record like that.

#47 - Bubbadinos - SET IN OUR WAYS
The band that showed so much promise. Here they are up on jack stands getting their tires rotated.

Learn more about The Bubbadinos and hear some streaming realaudio files to boot.

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !
Ordering Info

ZerxCatalog-Various Artist

2005-06-27T02:51:00.000-06:00

Zerx CD Releases by Various Other Conspirators

#003 - KUNM RADIO SYMPHONY ORCHESTRA & OTHER POETIC EXCURSIONS
Ten-Piece ensemble comprised of Mark Weaver, tuba; Justine Flynn, horn; Courtney Smith, harp; Pam Morden, violin, mandolin; Eileen Sullivan, violin; Bonnie Renfro, violin; Alicia Ultan, viola; Stefan Dill, guitar; Mark Weber, hubcaps, piano, radio dial; Lou Morales, percussion; accompanying poets Todd Moore, Patti Littlefield, David Abel, JB Bryan, Linda Yen, & Joshua Bodwell, in a live broadcast. This was released in a limited edition with bonus tracks of Outpost Repertory Jazz Orchestra w/ Mark Weber (me) recitin’ poemetry.

#012 - BROTHER CAN YOU SPARE A DIME I NEED A CHRISTMAS TREE
This title always makes me think that a christmas tree must be a sort of mixed drink. And this CD is a mixed blessing. It is so godawful that your friends will cringe. No yuletime gathering is complete without it. Other times I listen to it and think it is a pure masterpiece. Everybody’s on here. We even got one of America’s great poets, Gerald Locklin, to sing 2 registers above his natural range - a parlor serenade strained with rusty harmonicas, gunshots, and plenty of chestnuts roasting on an open fire. This probably should have been a limited edition.
some samples

#018 - BONEFIED
Steve Feld, Kurt Heyl, Gary Sherman, Mark Weaver, Jefferson Voorhees - low brass & percussion, mostly trombones because these guys are Roswell Rudd’s back-up band when he comes to New Mexico. Luxuriant maelstrom. Blissful chaos. No trivial corridor. Heraldic trombones !

#019 - Protuberance - TREATED AND RELEASED
Tweaked to perfection as well. This trio of electrical guitar, tuba, & drumnset ( Paul Pulaski, Mark Weaver, Dave Wayne) gargles with nails, spits out swooping streamers of refracted & imploding sonic waves. Hypnotic. Locomotion. Music rating: 423

#029 - Stefan Dill - FLOWER & SONG duets
Stefan Dill is one of the best guitarist I have ever heard in my life. Period. Better than best. Circles of harmonic density. Layered multiplicitous lyricism. Aztec sacrifices. Entirely improvised collaborations with Jack Wright, John Dikeman, Dave Wayne, John Jasnoch, and Dave Nielsen.

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !
Ordering Info

ZerxCatalog-JA Deane

2005-06-27T02:46:00.000-06:00

Zerx CD Releases by J. A. Deane & Co.

#010 - Todd Moore & J. A. Deane - THE NAME IS DILLINGER
John Dillinger was not a killer, he was a bank robber. Sorta different. This is a radio version. We took the 42-minute title track and fleshed it out with front & back interviews w/ the author so that it fills a radio hour. That means if you’re a disk jockey you can go take a nap. ( the title track is also found on Zerx 039.) Remainder of CD - filled to the brim - rare ( as in bloody) un-holy utterances from Todd “Keep Your Hands Up in the Air” Moore. Limited Edition.
some samples

#013 - J.A. Deane - OUT OF CONTEXT
Frank Sinatra dies May 14, 1998. Four days later Dino led this ten-piece ensemble through the purgatory at the Outpost Performance Space here in Albuquerque. Conducted improvisation. Redemption. Spring-loaded. Evanescent ghost & frozen time. Music rating: 374

#015 - J.A. Deane & Mark Weber - VEHICLE VORTEX VERTIGO
Hubcaps & poetry. Used cars three year warranty. We were asked to do this installation at an art gallery for this city-wide cultural provocation on the theme of auto transportation. Autotransportation? ( We used a volunteer for the levitation portion of our act but there was something wrong with the foot pedals. )

#020 - J.A. Deane - SOLODINO
The trombone as space ship. Seance. Conveyance to the other side. Eine Kleine nachtmusik. When I made the Linocut for this sleeve I forgot to mirror-image the letters (oops) but Colleen insisted I leave it because it looks like the words are on a glass wall and we’re inside looking out.
some samples

#024 - Al Faaet & J.A. Deane - GRAND CROSS ECLIPSE
Percussion & trombone/ electronics. Meteoric engagement. Cumulative effect. Eine Kleine buenas noches nachtfockingmusik. This thing’ll blow the top of your house off. When I played one of the tracks on my radio show at KUNM a listener suffering from cerebral cortical atrophy called to tell me, in slow measured fuming tones: “That record you are playing right now I want you to JAM IT UP YOUR ASS!” Actually, it’s our best seller here at Zerx Industries. Music rating: brutal.

#028 - J.A. Deane - THESE TIMES
You gotta see this one to believe it. Take it out for a spin. Test drive at $10 each o/b/o. Dino in Boston, 1988, with 4 drum machines and 2 guitarist, one of whom is Bill Frisell.

#032 - J.A. Deane Out of Context - NEVER NEVER LAND
Come with us now to thee thrilling days of yesteryear, cushioned by the sumptuous sonorous harmonies on this peter pan voyage to discovery. Ten-piece ensemble amidst silent movie. David Prince of THE SANTA FE REPORTER picked this one of the FIVE BEST OF 2001. Music rating: uncountable.

#039 - Todd Moore & J.A. Deane - DILLINGER double-CD
6 years in the making this blows any other “spoken word” CD out of the water. With a .44 magnum. ( I usually run for cover whenever someone uses that term “spoken word” - leave that one for the wussies.) Todd illuminates the abandoned soul of John Dillinger. Dino breaks open the Gates of Hell. Not for the squeamish. When an hour of Dillinger was broadcast over the radio one Sunday afternoon back in 1997, KUNM was inundated by calls from frightened listeners, huge flocks of crows blackened the skies over Albuquerque, and the churches had record attendances for that evening’s observances.

#044 - J.A. Deane - HEX w/ Myra Melford & Joseph Sabella
Jezus, how many masterpieces is one guy allowed, huh ? Will somebody please tell Dino he can hang up his headphones we’re impressed already, okay ? Add 4, carry the 6, multiply by 7.
some samples

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !
Ordering Info

More J.A. Deane Info Links :

J. A. Deane short Bio

J.A. Deane Discography

a Selected List of J.A. Deane's Performance Events

J.A. Deane's Works- Nominations & Awards

an Interview with J.A. Deane

ZerxCatalog-Bayou Seco

2005-06-27T02:42:00.000-06:00

Zerx CD Releases by Bayou Seco

#027 - Bayou Seco - THE LITTLE PLEASURES OF LIFE
Fiddles, accordeons, rubboards, harmony vocals, Cajun two-steps, sea shanties, murder ballads, moonlighting chotis, trail songs, processionals, Tohono O’odham melodies, Appalachian waltzes....I get the same feeling listening to Bayou Seco as I do when I’m at a pueblo ceremonial. That of witnessing something that is alive but goes all the way back 50,000 years ago.

#036 - Bayou Seco - HOME ON THE GREAT DIVIDE
Yeh, but can they yodel ? Can they Tuva throat sing ? Can they sing without microphones ? DO they sing in the car ? DO they sing on the big airplane on their way to Yurp? Yes, yes, yes, sometimes, and probably yes. And if they ain’t singing then Ken’s doing a buck & wing and Jeanie’s cooking up some gumbo. This is the road trio with the mysterious M., virtuoso of the cardboard box (fiddle & guitar, too).

#051 - Bayou Seco - 20 YEARS HAPPY IN THE BEWILDERNESS
I tried to convince Ken & Jeanie to call this BAYOU SECO STRANDED AT DRY GULCH but they declined on the grounds that it may incriminate them. Nevertheless, this is one smoking gun of a CD, compiled from across all those years of tapes and television appearances and CIA files and general mayhem that points a guilty finger on the fact that Bayou Seco is THE best band in New Mexico. Bar none.

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !
Ordering Info

ZerxCatalog- Kurt Heyl

2005-06-27T02:33:00.000-06:00

Zerx CD Releases by Kurt Heyl

#026 - Kurt Heyl & Dave Nielsen - INSIDE THE LANDSCAPE
These guys rewrote the Declaration of Independence. Homegrown and sky high. To me, jazz generally speaks of big cities. Here we have a breakthrough to the language of the high mountainous deserts & sagebrush of New Mexico. Music rating: organic

#043 - Kurt Heyl - ONE DAY’S MUSIC
This music was recorded at Zerx’s Northern Studio at Canoncito, in the hills of the Sangre De Christo Mountains with wide vista views remindful of that C.S. Lewis novel PERELANDRA - red landscape, green pinion / juniper, purple horizon, blue sky, popcorn clouds. This is modern jazz. And the legendary peripatetic saxophone of Jack Wright ! W/ Dave Wayne, Dave Nielsen ( his studio), Al Faaet. Smoking. Music rating: 3,093

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !
Ordering Info

Zerx - Order Info

2005-06-27T00:49:00.000-06:00

ZERX LEISURE PRODUCTS
“Roots Music from the Deep Southwest of the Mind”

ZERX CDs are:
$10 each / or THREE FOR $20

If you're in a hurry:
Just send CASH or Money Order , along with a listing of your selections TO :

Mark Weber
725 Van Buren Place SE,
Albuquerque, NM 87108

*Maybe include some alternate choices just in case your original choice isn't in stock.

For all other Questions or Ordering Info :
*To get prices and availability for the Poetry Chapbooks
*To pre- certify availability of your requested item or CD
*To ask about any extra International Mail charges
* Etc etc

Please
Email MARK

for details and to make sure your order goes through as planned.

ALL ZERX CDs COME IN A HAND PRINTED LINOCUT CARDBOARD SLEEVE RATHER THAN COMPUTER-GENERATED JEWEL CASE ART.

~~~~~~~~~~~~~~

Home of the Bubbadinos & other world / class musicians & poets who happen to live in New Mexico or would like to or visited some time or ‘nuther.

NOTE: Now, Before you start thinking Zerx is nothing but Mark Weber + a CD Burner in his garage let me say that most of the CDs on Zerx come out in editions of 1,050 copies and are not,
even then, strictly limited.

NOTE: Whenever Zerx uses the term “ limited edition” it’s not strictly limited in the same way as in the fine arts world where they make a certain number of prints and then break the mold. At Zerx it merely means we made about 100 copies of the CD and that more will be made available as demand presents itself.

ZERX LEISURE PRODUCTS
OVER 50 RECORDS AND STILL GOING WRONG !

Test Post- Picture ?

2005-06-25T19:27:00.000-06:00

Under Construction !

Sun Ra Story #2

2005-06-23T00:55:00.000-06:00