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Catalog ID: TZA-CD-7328
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Packaging: Jewel Tray
Mark E. Miller
Big John Patton
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1. The Big Gundown
2. Peur Sur La Ville
3. Poverty (Once Upon a Time in America)
4. Milano Odea
5. Erotico (The Burglars)
6. Battle of Algiers
7. Giu La Testa (Duck You Sucker!)
8. Metamorfosi (La Classe Operaia Va In Paradiso)
9. Tre Nel 5000
10. Once Upon a Time in the West
11. The Sicilian Clan
12. Macchie Solari
13. The Ballad of Hank McCain (vocal)
14. Svegliatti E Uccidi
15. Chi Mai
16. The Ballad of Hank McCain (instrumental)
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Soundtracks, Movie Scores, &c.
Unusual Vocal Forms
Song Based Music
NY Downtown & Jazz/Improv
descriptions, reviews, &c.
"This is a record that has fresh, good and intelligent ideas. It is realization on a high level, a work done by a maestro with great science-fantasy and creativity. At times my works have been varied from but it doesn't change anything because the pieces are still recognizable. My ideas have been realized not in a passive manner, but in an active manner which has recreated and re-invented what I have done previously. Many people have done versions of my pieces, but no one has done them like this." - Ennio Morricone.
• Show Bio for Trevor Dunn
"About Trevor Dunn
1968: born traversing a fine line between hippies and rednecks behind the redwood curtain. first musical affinities: the beach boys, blondie, cheap trick, kiss. first television: ultraman, speedracer, bugs bunny. first films: over the edge, the mouse and his child, snoopy come home, bedknobs & broomsticks. first books: zylpha keatly snyder's witches of worm, the velvet room and the headless cupid.
1977: began studies on clarinet
1981: began studies on electric bass and subsequently quit the clarinet as i realized that girls would now talk to me.
1986: the same year that Lynch's blue velvet and Slayer's reign in blood were released, graduated from EHS. the school's motto: "pigs live in litter, loggers live in pride". started a band called Mr. Bungle. then i got a job at shakey's pizza. began classical technique studies on the contrabass.
1990: graduated from humboldt state university after studying the likes of harry partch, iannis xenakis, alban berg, igor stravinksy, gustav mahler, js bach, you know, all the cats. Also performed Koussevitsky's Concerto for Double Bass with the HSO.
1992: first Mr. Bungle record released on Warner Bros. Moved to SF and two months later embarked on the first MB tour of the US. At the age of 24 I was one of the oldest people in the van. For the next eight years played lots of weddings and restaurants between tours with MB. Learned a lot about music playing with Connah, Goldberg, Schott, Kavee, Amendola, Greenlief, et al.
2000: relocated to Brooklyn, NYC.
Currently playing in various projects under the direction of John Zorn (Nova Quartet, Dreamers, Electric Masada, Aleph Trio). The Nels Cline Singers, Curtis Hasselbring's New Mellow Edwards, Melvins Lite, Endangered Blood, Tomahawk, The Darius Jones Quartet & Erik Friedlander's Bonebridge. I still have plans for my own bands: trio-convulsant, PROOF Readers and MadLove; and I continue to write music for independent films, practice long tones, pine over Daisy Lowe and drink shitty beer in heavy metal saloons."-Trevor Dunn Website (http://www.trevordunn.net/biography.html)
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• Show Bio for Mark Feldman
"Mark Feldman (born 1955 in Chicago) is an American jazz violinist. Feldman worked in Chicago from 1973-1980, in Nashville, Tennessee from 1980-1986, in New York City and Western Europe from 1986. He has performed with John Zorn, John Abercrombie, The Masada String Trio, Dave Douglas, Uri Caine, and Billy Hart.
He was a member of the Civic Orchestra of Chicago and played in many bar bands in Chicago. He played on over 200 recordings in Nashville as a studio musician, was a member of the Nashville Symphony, and was a member of the touring groups of country western entertainers Loretta Lynn and Ray Price.
In 2003 he was soloist with Netherlands Radio Philharmonic Orchestra in Guus Janssen's Violin Concerto and with the WDR Jazz Orchestra in Concerto for Violin and Jazz Orchestra by Bill Dobbins. At New York's Lincoln Center he performed in duo with pianists Paul Bley and Muhal Richard Abrams.
He has recorded with Michael Brecker, Lee Konitz, Joe Lovano, and Chris Potter and has played on over 100 recordings in New York City as a soloist in contemporary music and modern jazz.
Feldman has released several albums, including Music for Violin Alone (Tzadik, 1995); Book of Tells (Enja, 2000); What Exit (ECM, 2006 with British pianist John Taylor; To Fly to Steal (Intakt, 2010) with bassist Thomas Morgan and drummer Gerry Hemingway; and Oblivia (Tzadik, 2010) with his wife, Swiss pianist Sylvie Courvoisier. In September 2012, he and violinist Jean-Luc Ponty produced the debut album of Scott Tixier. Feldman wrote the liner notes."-Mark Feldman Website (https://en.wikipedia.org/wiki/Mark_Feldman)
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• Show Bio for Fred Frith
"Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.
In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.
The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.
He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.
His film soundtracks (for award-winning films like Thomas Riedelsheimer's Rivers and Tides and Touch the Sound, Peter Mettler's Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow's Thirst, to name a few) won him a lifetime achievement award from Prague's "Music on Film, Film on Music" Festival (MOFFOM) in 2007. The following year he received Italy's Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life's work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.
Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland."-Fred Frith Website (http://www.fredfrith.com/biography.html)
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• Show Bio for Arto Lindsay
"Arto Lindsay (b. 1953) has stood at the intersection of music and art for more than four decades. As a member of DNA, he contributed to the foundation of No Wave. As bandleader for the Ambitious Lovers he developed an intensely subversive pop music,a hybrid of American and Brazilian styles.. Throughout his career, Lindsay has collaborated with both visual and musical artists, including Vito Acconci, Laurie Anderson, Animal Collective, Matthew Barney, Caetano Veloso and Rirkrit Tiravanija. Having been involved with carnaval in Brazil for many years in 2004 he began making parades."-Arto Lindsay Website (http://artolindsay.com/bio)
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• Show Bio for Christian Marclay
"Christian Ernest Marclay (born January 11, 1955) is a visual artist and composer. He holds both American and Swiss nationality.
Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.
Christian Marclay was born on January 11, 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts) in the Studio for Interrelated Media Program, and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.
Citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.
Marclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.
Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.
Marclay released Record Without a Cover on Recycled Records in 1985, "...designed to be sold without a jacket, not even a sleeve!" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's "coolest theatrical gesture" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album. In Five Cubes (1989), he melted vinyl records into cubes. In the 1980s and early '90s, he invented album covers. The Sound of Silence (1988) is a black-and-white photograph of the Simon & Garfunkel single of the same title. In a series of cyanotypes (2007–09), white negatives against a blue background, he unspooled cassette tapes.
Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious."
Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members."-Wikipedia (https://en.wikipedia.org/wiki/Christian_Marclay)
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• Show Bio for Bobby Previte
"Bobby Previte's first stage appearance came in 1956 at the Niagara Falls Talent Show, where, guitar in hand, and adorned in an over-sized suit, he belted out a solo rendition of Elvis Presley's 'Hound Dog.'
Eight years later, thinking drumming might be a good way to get girls, he fashioned a bass drum from a rusted garbage can, a kick pedal from a wire coat hanger wedged between two pieces of linoleum and a rubber ball stuck on top, tom toms from upside-down trash bins, cymbals from aluminum pie plates suspended on plungers, and a box of loose junk for a snare - then practiced for a year in his dark basement with a lone spotlight shining on him before eventually starting a band, the "Devil's Disciples." But when they finally got a job at the church he was fired for not having 'real' drums. Seeking revenge, he took a job as a paperboy, saved every penny, and a year later bought the drum kit he still uses today in concerts all over the world.
Strolling in the East Village one bright afternoon, he peered inside a limo stuck in traffic (crosstown) and suddenly found himself face to face with Jimi Hendrix. Thinking fast, he unfurled the poster of Jimi he had fortunately just acquired, then looked on in astonishment as Hendrix smiled and flashed him the peace sign.
HISTORY: BA, SUNY Buffalo. Moved to New York City in 1979. Has worked for/with an unlikely array of leading lights including John Adams, Terry Adams, Robert Altman, Johnny Copeland, Lejaren Hiller, Charlie Hunter, Lenny Kaye, John Lurie, Sonny Sharrock, Michael Tilson-Thomas, Tom Waits, Victoria Williams, and, the internet swears Iggy Pop, although he can't seem to remember that, exactly.
AWARDS: Guggenheim Fellowship, NEA, NYSCA, NYFA, Franklin Furnace, The American Music Center, MCAF, Mid Atlantic Arts, NY State Music Fund, Lower Manhattan Cultural Council, The Jerome Foundation.
EVENTS: TERMINALS PART 1, WNYC New Sounds Live/Ecstatic Music Festival at Merkin Hall, 2011, Institute of Contemporary Art Boston, 2011, Les Percussions de Strasbourg, 2013-2014; DIORAMA, Groundswell/Wave Farm/Olana State Historic Site, 2013; Franklin Furnace/Chashama, 2012, Lower Manhattan Cultural Council, 2010; THE 23 CONSTELLATIONS OF JOAN MIRÓ, Winter Garden, New York, 2008; THE SEPARATION, Walker Art Center, 2007; DIALED IN (with Benton-C Bainbridge), Lincoln Center, EMPAC, Eyebeam, 2007; Touring various other bands and projects since 1985 at festivals and clubs worldwide.
RECORDINGS: Sony, Nonesuch, Palmetto, Gramavision, Enja, Thirsty Ear, New World, Ropeadope, Veal, Spacebone, Rare Noise.
MASTER CLASSES: Eastman School of Music, Walker Art Center, Art and Music Omi, Merano Jazz Festival and Academy, So Percussion Summer Institute/Princeton University, Cornish University, Purchase College, Bard College, The New School.
RESIDENCIES: The Rockefeller Foundation Bellagio Center, Civitella Ranieri, Montalvo Art Center, eleven MacDowell Colony fellowships.
THEATER/DANCE/PERFORMANCE/ART: The Moscow Circus on Broadway, Theodora Skipitares, Andrea Kleine, Clarinda Mac Low, Aynsley Vandenbroucke, Benton-c Bainbridge, e-team.
FILM SCORES: Chain Letters (dir. Mark Rappoport), Maze (dir. Rob Morrow).
ODDITIES: actor, SATURDAY NIGHT LIVE, "The Mute Marine," w/ William Shatner, 1984; as "The Drummer" in SHORT CUTS - Robert Altman, 1993."-Bobby Previte Website (http://bobbyprevite.com/bio/)
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• Show Bio for Ned Rothenberg
"Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 33 years on 5 continents. He performs primarily on alto saxophone, clarinet, bass clarinet, and the shakuhachi - an endblown Japanese bamboo flute. His solo work utilizes an expanded palette of sonic language, creating a kind of personal idiom all its own. In an ensemble setting, he leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla, works with the Mivos string quartet playing his Quintet for Clarinet and Strings and collaborates around the world with fellow improvisors. Recent recordings include this Quintet, The World of Odd Harmonics, Ryu Nashi (new music for shakuhachi), and Inner Diaspora, all on John Zorn's Tzadik label, as well as Live at Roulette with Evan Parker, and The Fell Clutch, on Rothenberg's Animul label."-Ned Rothenberg Website (http://www.nedrothenberg.com/short&extended_biography.html)
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• Show Bio for Jamie Saft
"Jamie Saft (piano, organs, analog synthesis, bass and guitar, steel guitars) is a native of Queens, New York. Since returning to New York in 1993, Saft's stylistic versatility, multi-instrumentalist capabilities, and production skills have been featured with the Beastie Boys, Bad Brains, the B-52's, Laurie Anderson, Bobby Previte, John Zorn, Dave Douglas, Jerry Granelli, Holly Palmer, Marc Ribot's Los Cubanos Postisos, Elysian Fields, Black Beatle, Antony and the Johnsons, Chocolate Genius, JoJo Mayer's Nerve, E-Z Pour Spout, Cuong Vu, Chris Speed Trio Iffy, Jane Ira Bloom, and the Groove Collective.
Saft is a mainstay of the downtown scene and a member of bands such as The Beta Popes, Whoopie Pie, Swami LatePlate, The Shakers and Bakers, Kalashnikov, Pramrod Sexena, and John Zorn's Electric Masada.
Saft was the pianist for the New York and Paris premiers of John Adams' opera "I Was Looking at the Ceiling and then I Saw the Sky" at Lincoln Center and MC93 Bobingy.
Saft has recently composed a number of original film scores and music fortelevision. Recent films scored include the Oscar nominated film"Murderball", Sundance Grand Jury Prize winner "God Grew Tired Of Us",and currently airing HBO documentary "Dear Talula". Saft has alsocontributed score music for Nickelodeon, MTV, and A&E.."-Jamie Saft Website (http://www.jamiesaft.com/html/bio.html)
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