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Label: Les Disques Victo
Catalog ID: CD 046
Squidco Product Code: 740
Eugene Chadbourne-steel dobro national, electric banjo
Paul Lovens-drums, cymbals
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1. Patrizio Johnny Won Ton And Donna Ly 9:18
2. Patrizio Mt.Pleasant Thoughts Of Maryjane 20:41
3. Patrizio Snail Roulette 2:26
4. Patrizio Plunger Patente A Gos 5:25
5. Patrizio Husbands And Wives 12:23
6. Patrizio Second Serving Of Snail 4:43
7. Patrizio Disco Stomach 3:33
8. Patrizio Acid Disco Stomach 3:30
9. Patrizio Fortune Cookie 6:09
10. Patrizio I Just Want To Dance All Night 4:07
Percussion & Drums
Song Based Music
sample the album:
"Patrizio culls recordings from some of the first live shows guitarist Eugene Chadbourne played in a duo with drummer Paul Lovens in May 1996 (and no, there is not a note from their show at the Festival International de Musique Actuelle de Victoriaville that year). The album bears a subtitle - A Suite to the Waiters of the World - and most of the track titles relate to this very loose concept. While it is hard to believe these two had not been playing together for very long, they had not yet reached the level of perfection (if such a word can apply to Dr. Chadbourne's precise imprecisions) documented on later albums, such as the fantastic Young at Heart/Forgiven (2000, Leo). Chadbourne uses his steel dobro and his modified five-string electric banjo, plus some kind of electric plunger called a "patente a gos," more a visual prop than anything else. Lovens elegantly waltzes on his drums, carefully drifting away from any regular pattern that may arise, forcing the guitarist torestructure his thinking when losing focus, respectfully following when he jumps into one of his interpretations. The last part of the set is Peggy Lee's "I Just Want to Dance All Night," but bits of songs by Roger Miller and Nick Drake are hidden in "Husbands and Wives" and "Mt. Pleasant Thoughts of Maryjane," two longer improvisations. One must often listen closely as these two tend to get very quiet, as if they wanted to hide all the subtlety of their playing - bizarre, clownish at times - but always remarkably relevant."-Francois Couture, All Music
• Show Bio for Eugene Chadbourne
"A seemingly endless -- and endlessly eclectic -- series of releases made the innovative guitarist Eugene Chadbourne one of the underground community's most well-known and well-regarded eccentrics. Born January 4, 1954 in Mount Vernon, NY, Chadbourne was raised in Boulder, CO, by his mother, a refugee of the Nazi death camps. At the age of 11, the Beatles inspired him to learn guitar; later exposure to Jimi Hendrix prompted him to begin experimenting with distortion pedals and fuzzboxes. Ultimately, however, he became dissatisfied with the conventions of rock and pop, and traded in his electric guitar for an acoustic one, on which he began to learn to play bottleneck blues.
Perhaps Chadbourne's most significant formative discovery was jazz; initially drawn to John Coltrane and Roland Kirk, he later became an acolyte of the avant excursions of Derek Bailey and Anthony Braxton. Despite the huge influence music exerted over his life, however, Chadbourne first studied to become a journalist, but his career was derailed when he fled to Canada rather than fight in Vietnam; only President Jimmy Carter's declaration of amnesty for conscientious objectors allowed the vociferously left-wing Chadbourne to return to the U.S. in 1976, at which time he plunged headlong into the New York downtown music scene. After releasing his 1976 debut, Solo Acoustic Guitar, he began collaborating on purely improvisational music with the visionary saxophonist John Zorn and the acclaimed guitarist Henry Kaiser.
Quickly, Chadbourne carved out a singular style, comprised of equal parts protest music, free improvisation, and avant-garde jazz, topped off with his absurd, squeaky vocals. A complete list of Chadbourne's countless subsequent collaborations and genre workouts is far too lengthy and detailed to exhaustively document, although in the early '80s he garnered some of his first significant attention as the frontman of Shockabilly, a demented rockabilly revisionist outfit which also featured the well-known producer Kramer. Following the group's breakup, Chadbourne turned to his own idiosyncratic brand of country and folk, accurately dubbed LSD C&W on a 1987 release, the same year he joined the members of Camper Van Beethoven for a one-off covers project. In addition, he recorded with artists ranging from Fred Frith and Elliott Sharp to Evan Johns and Jimmy Carl Black, the original drummer in the Mothers of Invention; in between, he continued exploring unique styles inspired by music from the four corners of the globe, all the while issuing a seemingly innumerable string of records, most of them on his own Parachute label."-All Music (http://www.allmusic.com/artist/eugene-chadbourne-mn0000172925/biography)
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• Show Bio for Paul Lovens
"Born in Aachen, Germany, 6 June 1949; Drums, percussion, musical saw, etc.
Paul Lovens played the drums as a child. Self-taught, from the age of 14 he played in groups of various jazz styles and popular musics and from 1969 has worked almost exclusively as an improvisor on individually selected instruments. He has worked internationally with most of the leading musicians in free jazz and free improvisation, among whom have included the Globe Unity Orchestra, the Berlin Contemporary Jazz Orchestra, the Schlippenbach trio, Quintet Moderne, Company, and a duo with Paul Lytton. He has undertaken concert tours in more than 40 countries, is a founder member of a musician's cooperative and has produced recordings for his own label, Po Torch Records since 1976. He has worked with painter Herbert Bardenheuer. Despite very rare solo performances, and although giving occasional concerts with ad-hoc groups and an involvement in projects with film, dance and actors, Paul Lovens' main interest and work is musical improvisation in fixed small groups. In the mid-1990s these small groups numbered around 16, of which a few were part of a special selection, called 'vermögen'.
Paul Lovens somehow epitomises the free drummer/percussionist who is not there to lay down the beat and kick everyone else into action but to listen, colour, contribute, guide, and occasionally direct, the overall cooperative sound. In concert one cannot fail to be moved by his intensity and concentration and there is an overiding feeling that even the most random events are somehow planned in time. In this respect, there is a nice irony that on the Nothing to read CD with Mats Gustafsson, Lovens describes his kit as consisting of 'selected and unselected drums and cymbals'. Miking seems to be a problem at times with some recordings giving him undue prominence and others insufficient. Good recordings are Elf bagatellen, Nothing to read, Pakistani pomade, and ,stranger than love."-European Free Improv (http://www.efi.group.shef.ac.uk/mlovens.html)
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