Yoshiwara Oiran Dochu - 1004 花魁遊行 JAPAN

This is an Oiran Dochu, a performance that re-enacts how the Oiran, or Japanese courtesans, used to parade around the red-light district as part of a procession. These displays were used to greet important customers upon their arrival Yoshiwara Oiran Dochu procession

Frank Zappa - 1988 05 14 - Auditorio de la Casa de Campo, Madrid, Spain - EU ESTIVE AQUI NESTE DIA

on this day I was here FZ, Ike Willis, Mike Keneally, Scott Thunes, Chad Wackerman, Ed Mann, Bobby Martin, Bruce Fowler, Walt Fowler, Paul Carman, Albert Wing, Kurt McGettrick. 1988 05 14 - Auditorio de la Casa de Campo, Madrid, Spain The Black Page Packard Goose Medley Alien Orifice I Ain't Got No Heart Love Of My Life Cruising For Burgers Find Her Finer Big Swifty (q: Feelings, Four) More Trouble Every Day Penguin In Bondage Hot Plate Heaven At The Green Hotel Cosmik Debris Inca Roads Sharleena Bamboozled By Love Bolero Crew Slut The Closer You Are (Lewis/Robinson) Johnny Darling (Statton/Statton) Let's Make The Water Turn Black Harry, You're A Beast The Orange County Lumber Truck Medley Oh No Theme From Lumpy Gravy (aka Duodenum) Whipping Post (Allman) "Nos lo vamos a pasar de puta madre". It was Frank Zappa's greeting to the respectable person as soon as he took the stage at the Madrid Rockódromo. Then, two hours of music, two hours of a lesson in eclecticism, composition, and a lot of irony and acidity. This time, the destination of Zappa's satire was Iberia. Throughout his entire performance he did not stop insulting the first Spanish airline. The reason? The organization's version is that, apparently, Zappa found in Bilbao that there were more passengers than seats on his flight to Madrid, and he had to make the trip by car. Upon arriving, he asked for a change in the order of performance - initially he had to close the night -, claiming that he was tired, and so, every time the lyrics of his songs criticized something, that is, almost always, he closed the phrase with a "like Iberia". The Zappa-Iberia anecdote ran throughout a concert of a high level of quality, both musically and in the provocative aspect; facet that reached its culmination with the group's farewell: all the musicians horning the audience, with both hands! [...] The night had begun, with great punctuality, at 9:30 p.m. At that time, while more than half of the approximately 25,000 spectators who attended were stuck in the usual M30-Extremadura highway traffic jam, Mermelada came on stage. His performance was very similar to what Burning offered, more than three hours later. [...] When Burning began his performance it was already around two in the morning and it was intensely cold in the Casa de Campo. Despite this, more than half of the attendees stayed until the end. La primera actuación en España de Frank Zappa & The Mothers Of Invention fue en Badalona, el 4 de octubre de 1974

MNOZIL BRASS | Wilhelm (William) Tell Overture

Das Gelbe vom Ei - La Crème de la Crème (Official Music Video) G2film & JH Pictures Production – directed by Jasmina Hajdany filmed @ Kubinsaal Schärding 2008

Leo P meets our CONTRABASS SAXOPHONE

Leo Pellegrino plays the monstrous Benedikt Eppelsheim Contrabass Saxophone in the Sax.co.uk London Store.

Sopranino & Basst Saxophone Due

Welcome to Sax.co - The World’s Leading Saxophone Specialist. A family-run business with over 25 years of experience. Our staff are players, teachers, technicians, and repairers so no one is better equipped to help you enjoy a great sax life.

"CONTRABASS SAXOPHONE" (really BIG)

Raffaele, who allowed me to record this video !! is one of the best Sax shops in the world, and you can buy anything through

Horror Musical Instrument - The Apprehension Engine

The Apprehension Engine has come a long way since this video was made. Here's a performance from 2020: • Apprehension in Quarantine I made a sketch of an idea I had for an instrument that specialized in creating horrifying sounds, and together with my good friend Tony Duggan-Smith, we designed it and Tony built it for me, with the intention of using it in horror film score. It consists of metal rulers which are bowed, a hurdy gurdy like mechanism, a string played with an attached Ebow, a spring reverb (also played with an ebow) some long metal rods, magnets, trash, anything at all to get unnerving sounds.

andrew huang - Water in an antique clarinet, and other fun sounds!

Power House Selmer Mk VI bass saxophone -Mark Davey playing Power House on a mid-1980s Selmer Mark 6 bass saxophone.

Vasilios Karapanos- Contrabass Saxophone -There aren't that many contrabass saxophones in the world, very few exist today. About 6 feet tall and only weighing about 35 pounds

There aren't that many contrabass saxophones in the world, very few exist today. About 6 feet tall and only weighing about 35 pounds

Attilio Berni plays the giant J'Elle Stainer sub-contrabass saxophone

Attilio Berni plays Cute with the giant J'Elle Stainer sub-contrabass saxophone. Cute Moonlight big band band conductor: Augusto Travagliati drummer: Alfredo Romeo

Revelator (Will Bernard, Bill Laswell, Peter Apfelbaum, Aaron Johnston) ...

Will Bernard - guitar, lap steel Bill Laswell - bass Peter Apfelbaum - saxophones, flutes, organ, piano Aaron Johnston - drums

CP Unit, Before The Heat Death - Quantized - Brandon Seabrook · Tim Dahl · Weasel Walter · Chris Pitsiokos

CP Unit, Before The Heat Death (Clean Feed) Ever since extreme-music overlord Weasel Walter took Chris Pitsiokos under his wing in 2012, the saxophone wunderkind has been a major player in Brooklyn’s DIY jazz and experimental underground. In late 2016, Pitsiokos and his Quartet offered up One Eye with a Microscope Attached quickly followed by the early 2017 release of his CP Unit’s Before the Heat Death, a godhead assault that channels the downtown free-improv mayhem of John Zorn, the ecstatic groove throw downs of electric-era Ornette Coleman and the proggy precision of Walter’s Flying Luttenbachers. Fittingly, it’s Walter and his Lydia Lunch Retrovirus bandmate, bassist Tim Dahl on drums and bass respectively, holding the chaotic fort, giving free rein to Pitsiokos and guitarist Brandon Seabrook to go batshit-crazy with a brutal punk-jazz monolith that calls to mind no wavers like James Chance and the Contortions, DNA and John Lurie and The Lounge Lizards.

Crown Larks Population 2017 - Stranger (Unce Down to the New Store)

7) Crown Larks, Population (Already Dead) From the land of post-rock, Shellac, Thrill Jockey Records and The Association for the Advancement of Creative Musicians (AACM), comes yet another group making a holy racket, albeit under-the-radar, in Chicago’s underground scene and beyond: Crown Larks. On Population, the follow-up to 2015’s Blood Dancer, the adventurous, free spirited noisemakers in Crown Larks form a psychedelic rainbow colored by soaring alto sax and flute-driving pirouettes, tribal-centric polyrhythmic action and organ-drenched post-jazz freak-outs on a Kraut-rock bender and topped by the cathartic wails of vocalists Jack Bouboushian and Lorraine Bailey. 10 Best Experimental Albums of 2017 So Far From interstellar rock to electro-samba to psych-jazz spirituality and back 10)Colin Stetson, All This I Do For Glory (50HZ) 9-Dálava, The Book of Transfigurations (Songlines) 8-Bearthoven, Trios (Cantaloupe Music) 7) Crown Larks, Population (Already Dead) 6- Mako Sica, Invocation (Feeding Tube) 5) Conformity Contortion (Sara Lund and Thollem Electric), Perception Management (Personal Archives) 4-Bill Brovold & Jamie Saft, Serenity Knolls (RareNoise) 3) Arto Lindsay, Cuidado Madame (Northern Spy) 2-Joshua Abrams & Natural Information Society, Simultonality (Eremite) 1) CP Unit, Before The Heat Death (Clean Feed) Ever since extreme-music overlord Weasel Walter took Chris Pitsiokos under his wing in 2012, the saxophone wunderkind has been a major player in Brooklyn’s DIY jazz and experimental underground. In late 2016, Pitsiokos and his Quartet offered up One Eye with a Microscope Attached quickly followed by the early 2017 release of his CP Unit’s Before the Heat Death, a godhead assault that channels the downtown free-improv mayhem of John Zorn, the ecstatic groove throw downs of electric-era Ornette Coleman and the proggy precision of Walter’s Flying Luttenbachers. Fittingly, it’s Walter and his Lydia Lunch Retrovirus bandmate, bassist Tim Dahl on drums and bass respectively, holding the chaotic fort, giving free rein to Pitsiokos and guitarist Brandon Seabrook to go batshit-crazy with a brutal punk-jazz monolith that calls to mind no wavers like James Chance and the Contortions, DNA and John Lurie and The Lounge Lizards.

Lydia Lunch · Rowland S. Howard Welcome to Our Nightmare: A Tribute to Alice Cooper ℗ 1993 Black Juju

Psychic TV Silver Sundown Machine vs. Alien Lighting Meat Machine 2012

Necessaries- State-Of-The Art - Jesse Chamberlain: Drums from PERE UBU

NYC power pop / new wave band, formed 1978, New York. Ed Tomney: Guitars, vocals, songwriter Randy Gun: Guitars, vocals, songwriter (left 11/79) Chris Spedding: Vocals, lead guitar, keyboards (replaced Randy Gun, left late 1980) Ernie Brooks: Bass Jesse Chamberlain: Drums from PERE UBU Arthur Russell: Vocals, keyboards, cello (replaced Chris Spedding, mid-1981). State-Of-The Art · The Necessaries Event Horizon 1982 Sire Recording Designer: Andrew Elias Cello, Guitar, Keyboards, Vocals: Arthur Russell Producer: Bob Blank Guitar, Synthesizer, Vocals: Ed Tomney Bass, Vocals: Ernie Brooks Coordinator: Jeff "Treader" Osborne Drums, Percussion: Jesse Chamberlain Graphic Designer: Paul Waldman Front Cover Photographer: Paul Waldman Coordinator: Steve Baker Manager: Steve Ralbovsky Writer: Ed Tomney

The Necessaries - Big Sky [1981] Jesse Chamberlain drummer of PERE UBU

NYC power pop / new wave band, formed 1978, New York. Ed Tomney: Guitars, vocals, songwriter Randy Gun: Guitars, vocals, songwriter (left 11/79) Chris Spedding: Vocals, lead guitar, keyboards (replaced Randy Gun, left late 1980) Ernie Brooks: Bass Jesse Chamberlain: Drums Arthur Russell: Vocals, keyboards, cello (replaced Chris Spedding, mid-1981).

Nadine Shah - Food For Fuel 2024

Apocalyptic, "cyber", hieratic, urban, tribal, mental but at the same time visceral is "Filthy Underneath" by Nadine Shah Always the author of excellent works including "Love Your Dum And Mad" (2013), "Fast Food" (2015) and "Holiday Destination" (2017), Nadine Shah, with "Filthy Underneath" (EMI), becomes ecumenical, abandoning the more rock and acoustic declinations that had given life to songs such as "Dreary Town", "The Devil", "To Be a Young Man", "Fool", "Evil" ... and making a definitive "cybernetic" upgrade, he exasperates his writing with apocalyptic, hieratic, urban, tribal, mental but at the same time visceral tones and rings a sequence of lightning-fast, nitric and nitrent compositions that explode and impose themselves right from the splendid opening entrusted to "Even Light", in which the singing is exalted on a perfect rhythmic base, sealed by abrasive and incisive instrumental openings ... "Tame the favourite child/Overweight on praise/Go and throw him to the wild/Leave him there to graze". This is followed by the swirling "Topless Mother", with the sublime refrain "Sinatra, Viagra, iguana/Sharia, Diana, samosa/Varuca, Tequila, banana/Alaska, Medusa, gorilla". "Food for Fuel" is sinuous and fluctuating in the assonances of words and in the preciousness of electronics where "Human nature petty feud". The pace of "You Drive, I Shoot" is pure electro-rock steeped in industrial, which hides Kraut references of Kraftwerk matrix between the grooves. "Keeping Score" is another gem in its quiet invocation and exact melody: "The world is on fire/You are a lifeline/There's nothing that's painless/Look how I am trying/The world is on fire/Take one more good time/Contagious and nameless/Seeking the divine/The world is on fire/You are a lifeline". "Sad Lads Anonymous" is rhythmic and deconstructive for a spoken word in which "Or what's worse/Dying before your time or living beyond it".

Ui Lifelike 2022 - The Fortunate One Knows No Anxiety

The Happy Family- The Mistake 1982 MOMUS

The Happy Family The Man On Your Street ℗ 1982 4AD Ltd

Mark Kozelek: On Tour - A Documentary (1 of 7)

Mark Kozelek on Tour: The Soundtrack 2012 for fans only, On Tour actually provides a very solid introduction to Kozelek as a songwriter. His melancholic view of the world is well and abundantly articulated here, but it is in that view that he finds beauty. In this intimate setting, he imparts it gently and tenderly to the listener. Singer-songwriter Mark Kozelek documents his life as he tours through Europe. Going from hotel to venue to train to plane to cab, On Tour portrays the grind of being a touring musician. Tonight in Bilbao Moorestown - Live in Usa Live in Spain Live in Italy

UI -- The Fortunate One Knows No Anxiety 1998

Paul Lemos · Joe Papa Gag 1991 Materiali Sonori Inland 2

Annette Peacock - This Feel Within

Annette Peacock - 2 the 1s We Deprive

Brigitte Fontaine - Genre humain

Jeanne Lee And Ran Blake - Blue Monk

Jeanne Lee - Straight Ahead

Jeanne Lee (January 29, 1939) – October 25, 2000)was an American jazz singer, poet and composer. Best known for a wide range of vocal styles she mastered, Lee collaborated with numerous distinguished composers and performers who included Gunter Hampel, Andrew Cyrille, Ran Blake, Carla Bley, Anthony Braxton, Marion Brown, Archie Shepp, Mal Waldron, Mark Whitecage and many others. Jeanne Lee combines acrobatic vocal maneuvers with a deeply moving sound and quality that allows her to alternate between soaring, upper register flights and piercing, emotive interpretations. She's extremely precise and flexible, and moves from a song or solo's top end to its middle and bottom accompanying an instrument with a stunning ease. Though many critics have cited Lee as creating free jazz's most innovative vocal approach, she's done very little recording, almost none of it as a leader, and even less on American labels. She's best-known for her many sessions with Gunther Hampel. Lee studied dance rather than music at Bard College, but while a student there, she met Ran Blake. They formed a duo, and she did her first recordings with him, which excited many critics. They toured Europe in 1963. Lee moved to California in 1964 and worked with Ian Underwood and sound poet David Hazelton, whom she later married. She and Hampel established their musical relationship while Lee was in Europe in 1967, going on to record over 20 albums together. Lee also recorded with Archie Shepp, Sunny Murray, and Hampel in the late '60s, and with Marion Brown, Anthony Braxton, Enrico Rava, and Andrew Cyrille in the '70s, while also working with Cecil Taylor. She began composing extensively in the '80s and began concentrating on performing her original material, which frequently included poetic and dance components. Most of her recordings have either been done for European labels or small independents. After living in New York in the mid-'90s, Lee taught at two music conservatories in Europe for several years. In 2000, Lee faced colon cancer without medical insurance. Some months after surgery, creative music lost a great voice. Benefit concerts (to help the family with expenses) were held by a number of jazz musicians, including Joseph Jarman, Gunter Hampel, Rashied Ali, Hamiet Bluiett, Abbey Lincoln, and many more. During the mid-1960s, Lee was exploring sound poetry, happenings, Fluxus-influenced art, and other multidisciplinary approaches to art. She was briefly married to sound poet David Hazelton, and composed music for the sound poetry by poets such as Dick Higgins and Alison Knowles, becoming active in the California art scene of the time. In the late 1960s, she returned to the jazz scene and started performing and recording, quickly establishing herself as one of the most distinctively independent and creative artists in the field. Already a few years after her return she had a major role in Carla Bley's magnum opus, Escalator over the Hill (1971), and recorded albums with eminent musicians including Archie Shepp, Enrico Rava and Marion Brown. In 1967, while in Europe, Lee began a long association with vibraphonist and composer Gunter Hampel, whom she eventually married. They had a son, Ruomi Lee-Hampel, and a daughter, Cavana Lee-Hampel. In 1976, she represented the African-American spiritual musical tradition in John Cage's Apartment House 1776, which was composed for the U.S. Bicentennial. The experience inspired Lee to devote more attention to her composing, and create extended works. The immediate result was Prayer for Our Time, a jazz oratorio. Lee continued to perform and make recordings until her death in 2000, recording for labels such as Birth, BYG Actuel, JCOA, ECM, Black Saint/Soul Note, OWL and Horo. She sang on a large number of albums by Gunter Hampel. In her late years, she ran the Jeanne Lee Ensemble, which performed a fusion of poetry, music and dance, and collaborated and toured with pianist Mal Waldron. Lee was also active as educator. She received a MA in Education from New York University in 1972 and taught at various institutions both in the US and in Europe. She published a number of short features on music for Amsterdam News and various educational writings, including a textbook on the history of jazz music for grades four through seven. Lee died of cancer in 2000 in Tijuana, Mexico, aged 61. She was survived by her husband and children

Norma Winstone - Edge Of Time

Norma Winstone has a beautiful voice, agile and expressive, and she's a fine improviser as well. That's not to say she's a vocal athlete, however; although she's known for her wordless improvisations, Winstone is a fine interpreter of lyrics and composed melody -- a plain-speaking, rhythmically direct singer who gets to the heart of the matter quickly and effectively. Winstone played piano and organ in her youth. She began singing semi-professionally at the age of 17, influenced by conventional jazz vocalists. During the '60s she became attracted to the avant-garde jazz. She played in groups led by pianists Michael Garrick and Mike Westbrook; she also sang with such forward-thinking musicians as saxophonist John Surman, flügelhornist Kenny Wheeler, composer Michael Gibbs, and pianist John Taylor (whom she married in 1972). A late-'60s gig at Ronnie Scott's club in London (also on the bill was the legendary tenor saxophonist Roland Kirk) garnered her critical notice. In 1971 she was named best jazz singer in a poll by the British publication Melody Maker. That year, she recorded her first album as leader, Edge of Time, for the Decca label. With Wheeler and Taylor, Winstone formed Azimuth, a critically acclaimed contemporary chamber jazz group that recorded several times for the ECM label starting in the mid-'70s. Winstone is also an accomplished lyricist, having written words to music composed by guitarists Egberto Gismonti and Ralph Towner, bassist Steve Swallow, and vocalist Ivan Lins, among others. Chamber Music Winstone has also performed and/or recorded in ensembles with Jimmy Rowles, Lee Konitz, Tony Coe, Fred Hersch, John Abercrombie, Dave Holland, Peter Erskine, and George Mraz. In 1992, she collaborated with composer/arranger Steve Gray in the creation of "A French Folk Song Suite," commissioned and performed by the North German Radio big band. She is also a member of Wheeler's big band. In July 2002 she was awarded the title Best Vocalist at the BBC Jazz Awards at London's Queen Elizabeth Hall. That same year, she released the album Chamber Music with pianist Glauco Venier. Winstone returned in 2006 with Amoroso... Only More So featuring the Stan Tracey trio. Winstone then paired for two more albums with Venier, including 2007's Distances and 2009's Stories Yet to Tell. In 2013 Winstone delivered the album Mirrors with longtime collaborator Wheeler. The trio album Dance Without Answer, featuring Venier, appeared on ECM in 2014. Rested: Songs for Films In 2018, Winstone issued one of her most ambitious projects in Descansado: Songs for Films for ECM. It offered re-arranged versions -- by Gesing and Venier -- of music by cinema composers Nino Rota, Michel Legrand, William Walton, Bernard Herrmann, and Ennio Morricone, some with new words by Winstone who, unknown to some, has been a sensitive and articulate lyricist throughout her career. For the project, the trio with Gesing and Venier was augmented by Norwegian percussionist Helge Andreas Norbakken and Italian classical cellist Mario Brunello.

Henry Flynt Graduation 2013

Laurie Anderson - Is Anybody Home

Laurie Anderson - Is Anybody Home - sur la compilation "Airwaves" (1977)

Julia Holter - Voce Simul

2018 Julia Shammas Holter American singer, songwriter and multi-instrumentalist, born 18 December 1984 in Milwaukee, Wisconsin

No-Neck Blues Band - The Doon

Henry Flynt Graduation ℗ 2013 Superior Viaduct Celestial Power

born: 1940, North Carolina Philosopher, artist, and avant-garde composer, American experimental violinist and philosopher, who produced much of his music from the period between 60s and 80s. A number of reissues of his old material introduced his work to larger American public. He also was a member of Velvet Underground for a short time. likeeeeeeeeeeeeee Henry Flynt Electronic, Jazz, Rock, Folk, World, Country, Modern Classical, Experimental, Minimal, Free Improvisation, Abstract,

Henry Flynt & Nova'Billy — Amphetamine Rhapsody 2007

IJacques Higelin ~~ l n'y a pas de nom pour le repos de son âme