Tipographica - Shinjuku Pit Inn, Shinjuku, Japan, 25-08-1993 & Electric Ladyland, Nagoya, Japan, 07-05-1996 / Bootleg Download

WOOOOWIE. HAPPY NEW YEAR. HOPE YOU HAD A MERRY CHRISTMAS? These last few months have been a complete ride, haven't they? Outside of the fact that a lot in my personal life has changed (and not that anyone should care particularly about that matter, but it is my blog after all), the world is just an entire mess right now. War, political drama and turmoil, deaths, huge losses in culture and music and film... and just life in general has been going strong throughout all this time. I think that has been the excuse or justification enough for me to just dive myself deep into old classics and stuff I had not checked out for literal years. I had promised myself to continue updating this small corner of mine as constantly as I could during 2025, something that I failed miserably due to a lot of personal things, which lead to half of that year just letting finally myself sink into my own pity... and the huge pending list of mutual friends recommendations that had been growing steady for almost 8 years. I tackled all of it to the very end, crossing it all out, and leading me into checking out all the classic psych and prog albums that had formed a part of my adolescence in order to clean up my storage, and as a reminder of why I had fallen in love with the music to begin with. Either way, it was a musical bubble I had locked myself in, but that really helped with my wellbeing I think.

Then again, and not that it matters to anyone, I AM BACK.

In the midst of all that experience, from time to time I was choosing and curating stuff from my huge bootleg collection and went back into the good old disgusting, annoying, unbereable, puzzling and wonderful world of trading. So now I can confidently say I can come back to this small corner of mine and continue to share the gems that I have acquired and that I have rediscovered, dedicating myself once again to just sharing music with anyone who cares. And there is no better way to start again than with small steps.

Tipographica is a band that I hold very dear, because it was one of the first three Japanese prog bands that I had ever discovered. Flower Travellin' Band, Shingetsu and Tipography were THE gateway for me to get into Japanese prog, and responsable for me to fall even deeply more in love with the genre and to get interested with all that it had to offer coming from that country. Of course, being birthed from Tsuneo Imahori & company (an ensemble where checking out the discography of every single member involved leaves one diving into incredible rabbit holes of fantastic musical ensembles and collaborators that make one just appreciate how endless the stream of captivating music really is, and also the fact that ONCE AGAIN all roads lead inevitably to Otomo Yoshihide for one reason or another), it is no wonder that the band ended as one of the most unique and niche acts to take place in the japanese progressive rock scene, becoming a cornerstone and referent when it came to peformances, sound, attitude and just general influence to a bunch of acts like Happy Family. And even if it has maintained this reputation of a fairly niche band that most people probably will never hear about (despite Imahori having a huge reputation for being an iconic composer for iconic soundtracks like the original Trigun and Hajime No Ippo adaptations), it is truly unforgettable.

A place where Frank Zappa, Henry Cow and 70's Jazz Fusion blend together into a unique musical perspective that just bleeds of personality and talent. Only four albums were made officially under the project, but every single one of them showcases brilliant writing capabilities and just an incredible musical experience of the type that leaves the listener perplexed all throughout, because how on earth can someone come up with some compositions like Floating Opera or Forest Tipographical? Let alone, how can these be played so precisely? Not one record of a fumble or doubt in the studio takes, just pure chemistry and seamless effort during compositions that make one recognize musical influences while also mashing them into paths that lead to completely new and unique places. All of their albums are the type of first listening experiences that I would give anything to be able to experience once again, because there is simply no way to predict what on Earth will happen next.

Of their four official releases one is a live project that just showcases the fact not only were all these musicians brilliant and incredible on stage as they were in studio, but that they were just a completely different force onstage. The Man Who Does Not Nod  stands out as a document of the incredible force the band was during their live performances, and because every single one of the songs presented there was a new composition, being a fantastic middle ground between their self titled and their absolutely brilliant God Says I Can't Dance. All six members are just something else entirely, and I had always wondered just how their complete shows would sound like, how they would feel like. Did they ever play their actual songs from the albums? Or was it almost entirely new material? And after years of those questions being present, I finally got my answers.

I acquired two fantastic live documents during last year, one of them being recorded during the self titled tour, in 1993, and the other one right during the promotion for GSICD, and both of them, while sharing things in common, just showcased how versatile, consistent, and incredible the band really was during their lifetime. They did, in fact, play a lot of their studio compositions, but there were also completely unique songs that might have been either rearranged versions of some songs of theirs as well as just an incredibly tight live jams that felt like a new experience. Either way, the band is just amazing. None of these recordings really live up to the quality of the polished official releases, with Shinjuku 1993 particularly being a bit muddy at times, but they are both just incredibly enjoyable and fantastic documents of one of my favorite Japanese prog bands. It was just a huge enjoyable time to try to identify as many recognizable tunes from them as possible during these recordings in order to tag them properly, but even then a lot of the "untitled" songs are just fantastic, really remarkable musical accomplishments that gave me a deeper appreciation to the evolution of the band. There are probably more recordings out there (I know one of their Farewell 1997 shows is uploaded to YouTube), but I haven't been able to get my hands on the actual raw files that are not noticeably compressed due to them being uploaded as online videos.

Either way, this is one way for me to express my love and appreciation towards this band (as well as a good way to properly return to this blog of mine, during my birthday I might add!). I hope that you guys get interested enough to not just listen to these recordings, but to really check out all the things related to them, specially considering the fact that GSICD is available for purchase and it being present with TMWDNN on all streaming platforms as well. It is truly delightful and joyful music with a very unique sound, performed by a group of individuals that was dedicated to their craft, creating some of the most enjoyable albums I have ever listened to in general. I JUST LOVE MUSIC AHHHHHHHH.

As always, whoever you are or whenever you get to read these words, I hope life is going well for you, that you always discover something new to fall in love with, and that you get to enjoy all the wonderful things music and life have to offer. 

Thanks for reading! I hope you discovered, or rediscovered, something new with this. I promise I will be back with much much more!

GOD SAYS I CAN'T DANCE?????????
He's most probably right.

Artwork and Tagging Made by Yours Truly

Tipographica - Shinjuku Pit Inn, Shinjuku, Japan, 25-08-1993

1. Introduction / Shinjuku Untitled 1 (10:28)
2. Shinjuku Jam 1(17:14)
3. Shinjuku Untitled 2(7:14)
4. Shinjuku Untitled 3 (6:16)
5. Shinjuku Jam 2 (19:15)
6. The Turf Have Discovered Gravity (7:49)
7. Shinjuku Untitled 4 (6:01)
8. Forest Tipographical (7:43)
9. Shinjuku Untitled 5 (8:12)
10. And Then The Last Ship Is Going (6:26)

Tipographica - Electric Ladyland, Nagoya, Japan, 07-05-1996

1. Introduction (2:04)
2. Friends (7:48)
3. Banter 1 (1:22)
4. Control Tower Says, 'TP-1, Break Down.' (11:08)
5. Electric Ladyland Untitled 1 (9:42)
6. Banter 2 (1:40)
7. Electric Ladyland Untitled 2 (8:03)
8. Electric Ladyland Untitled 3 (10:47)
9. Electric Ladyland Untitled 4 (5:59)
10. Banter 3 (4:35)
11. And Then The Last Ship Is Going (9:44)

Can say I am very satisfied with how this small illustration came out tbh

DOWNLOAD HERE:

https://drive.google.com/drive/folders/1gdida_r7WfJg5AtcRZRR79cRy5qi5vmG?usp=sharing

https://archive.org/details/tipographica-electric-ladyland-nagoya-japan-07-05-1996

https://archive.org/details/tipographica-shinjuku-pit-inn-shinjuku-japan-25-08-1993

Fulano - No Me Gusta Que Se Metan Conmigo: Documentos Incompletos De Una Banda Irrepetible (1989-2012) / Bootleg Download

 

Existe un pequeño video en línea que presenta a Arlette Jequier hablando en el canal/proyecto "Sonidos en mi, mujeres en la música" en 2018, con una cita en la que yo pienso mucho de forma continua, debido a que es de mi parecer la perfecta síntesis de toda la filosofía de la que fue una de las bandas más icónicas del léxico musical latinoamericano.

"El afán de todo coincidió en una cosa muy de experimentación y de busqueda. Para mi no me interesaba mucho la canción, no me interesaba mucho la letra, sino que tenía ganas de buscar algo que de algún modo fuera un terreno de nadie. Y con mis compañeros de Fulano nos dabamos esa oportunidad en terminos de crear como un taller de improvisación en busqueda de eso. ¿Qué quiero yo decir a través de mi instrumento y el mismo hecho de ir cantando?.... Y ese cuestionamiento yo me lo hice desde muy joven. No, yo no quiero cantar canciones. Me aburre eso de cantar una estrofa, coro, estrofa, osea... que fome."

 

Fulano ocupa un lugar demasiado especial dentro de la historia de la música latina. Fue una banda que luchó en contra de las limitaciones tanto contextuales como musicales de las formas más creativas y liberadoras posibles. Canciones de protesta, de rechazo a las convenciones y de una gran liberación personal para todos los miembros que formaron parte de la banda a lo largo de los años. La banda "anti-comercial" que curiosamente triunfo de una manera increiblemente admirable. El lenguaje musical que maneja Fulano es uno tan variado que resulta fascinante el indagar en el. Resulta terriblemente hipnótico el poder ser capaz de visitar todas aquellas grabaciones de estudio y redescubrir más y más cosas nuevas, de fascinarse por la química y el dominio total de los instrumentos que ofrecía cada miembro, tanto en sus épocas doradas como en sus últimos periodos previos a expandirse hacia otros horizontes (como Mediabanda, que terminó levantando aquella antorcha de una forma preciosa bajo la supervisión de Cristián Crisosto).

Siempre en rechazo de las etiquetas, en contra de ser clasificados como Jazz o como alguna clase específica de Progresivo en el rock, pero siempre abiertos acerca de sus tendencias, de una forma tan carismática y fascinante que todas aquellas entrevistas disponibles en línea no hacen nada más que poner una sonrisa en la cara de uno. La partida de Jaime Vivanco en 2003 fue un golpe demasiado duro en la trayectoria del grupo, pero el impacto definitivo a la esencia de toda la estabilidad de aquella banda que quedaba de pie fue la partida de Arlette en 2013, un par de años previo a la salida de "Animal en extinción", el último disco de estudio oficial del grupo. Paquita Rivera la suplantaría en ese entonces, con un gran trabajo por su parte y acabando en un producto muy bueno, digno de ser el cierre claro de un periodo muy especial para todos los miembros de la banda, pero el contraste con las grabaciones de 2012 y 2013 en las que se escuchan versiones en vivo de varias de aquellas canciones bajo el liderazgo de Arlette es estridente. 

Fulano era un acontecimiento demasiado brutal en vivo. Claro, siguen habiendo reuniones del grupo, incluso en tiempos muy recientes y para la emoción de todo el mundo, pero siempre son incompletas y tan solo una forma muy linda de recordar lo que alguna vez fue. Durante todo aquel periodo de 30 años hasta 2013 Fulano presentaba lo que creo que resulta ser fácilmente una de las mejores químicas y dinámicas interpersonales y musicales que se ha presenciado en toda la historia. Cada miembro aporta y no quita, y no es para nada complicado el notar lo riguroso que resultaban sus ensayos pero al mismo tiempo lo libres que eran todos los integrantes de aportar siempre algo nuevo a los temas. Ninguna versión de Suite Recoleta es igual, ninguna versión de Adolfo y Benito es igual, y lo mismo se puede decir con todo el catálogo de esta banda que rechazada lo tradicional para construir algo completamente propio de ellos mismos. 

Para mi resulta una pena muy grande el haber sido lo suficientemente inepto como para no encontrar mucho de su material grabado en grabaciones inéditas. Tantas anécdotas de tantas historias a lo largo de tan única trayectoria de las que tan solo puedo soñar con algún día poder presenciar aunque sea simplemente por medio de mis oídos y mi imaginación. Todos aquellos shows en los que fueron teloneros para las tocadas de Mike Patton, aquel show en el que tocaron en conjunto con Hermeto Pascoal, la gran cantidad de shows que realizaron durante años en el Café del Cerro o los aparentemente brutales shows que realizaron durante la promoción de "En El Bunker". Por ahora uno puede soñar. Aún así, todo a lo que puede accederse (o al menos a lo que pude acceder yo luego de todos mis intentos) es sencillamente magnífico. 30 años de diversión y carisma. Y aquí creía que simplemente podía ser conveniente el poder mostrarlo todo de una forma directa y conveniente. Una compilación personal de siete diferentes documentos de la banda a lo largo de todos aquellos años. Algunos en muchísima mejor calidad que otros, unos más icónicos que los demás, pero aún así todos increiblemente cautivadores de una forma maravillosa. 

Oro puro se encuentra presente aquí señoras y señores, lo suficiente para ignorar a todo el mundo y adentrarse en detalles y preciosidades durante una buena cantidad de horas. Ojalá les sea de su agrado.

LA VERDAD NO ME OFUSCA, SOLO ME ATRAGANTA.

ALGÚN DÍA. SOLO ASÍ. SOLO DIOS SABE SI VUELVO
→,∂...▼*

Presentación de "En El Bunker": Centro Cultural El Espiral, Santiago, Chile, 1989

1. El calcetín perseguido (4:00)
2. Nena, no te vayas a Chimbarongo; no te vayas hoy, andate mañana (8:57)
3. Fulano (6:49)
4. Suite Recoleta (6:57)
5. Un tango por Latinoamérica, la única (3:13)
6. Maquinarias (5:04)
7. No me gusta que se metan conmigo (4:49)

Solo Dios Sabe Si Vuelvo: Celebrando 10 Años En Vivo, Teatro Universidad De Chile, Santiago, Chile, 1º de Octubre 1994

1. Introducción / ¡No destruyan el teatro! (3:02)
2. 1989 (O esto no es bueno ni malo sino muy por el contrario) (9:00)
3. Tango (3:21)
4. La historia no me convence, solo me atraganta (12:59)
5. Fruto del goce (10:10)
6. Pinocho en Patolandia (7:18)
7. Nena, no te vayas a Chimbarongo; no te vayas hoy, andate mañana (11:35)
8. Lamentos (2:28)
9. Sentimental Blues (5:58)
10. En el bunker (5:45)
11. Adolfo y Benito, Augusto y Toribio (5:23)
12. Aporte al Jazz / Convicciones (De 3 minutos) (8:12)
13. Gran restrictor, ten piedad (De nosotros) (6:48)
14. Basura (4:50)
15. Buscando Peyotl (9:48)
16. Buhardillas (1:40)
17. Suite Recoleta (6:34)
18. Maquinarias (4:48)
19. Ciego y perdido en una ciudad extraña (10:39)
20. Fulano (7:00)
21. Morbosadoquista (5:48)

Sala SCD Bellavista, Santiago, "La Sociedad de los Músicos Vivos", Canal Rock&Pop 1996

1. Godzilla (4:41)
2. Rrope Cochi Loma (5:42)
3. Pinocho en Patolandia (7:16)
4. Maquinarias (4:17)
5. Aporte al Jazz / Adolfo y Benito, Augusto y Toribio (3:12)

En Vivo Sala SCD Bellavista, Santiago, Semana Corrida 1999

1. El calcetín perseguido (1:59)
2. Fulano (9:42)
3. Godzilla (5:46)
4. Convicciones (De 3 minutos) (13:03)
5. La historia no me convence, solo me atraganta (13:53)
6. Señor gorro capucho (6:07)
7. Pinocho en Patolandia (9:01)
8. Arañas de tribunal (11:29)
9. Reflexión sobre el amor / Nena, no te vayas a Chimbarongo; no te vayas hoy, andate mañana (15:37)
10. Canción formal en 7/8 (4:44)
11. Krikalev (6:42)
12. 1989 (O esto no es bueno ni malo sino muy por el contrario) (10:46)
13. Adolfo y Benito, Augusto y Toribio (4:49)

20 Años En El Bunker: En Vivo Radio Futuro, 03-12-2009

1. Basura (5:19)
2. Lamentos (3:33)
3. Suite Recoleta (6:00)
4. Canción formal en 7/8 (4:41)
5. Tango (2:44)
6. Adolfo y Benito, Augusto y Toribio (3:07)
7. Rap-Rock (3:32)

Presentación en Programa Movistar Música 2010

1. Fulano (5:17)
2. Suite Recoleta (5:27)
3. Adolfo y Benito, Augusto y Toribio (4:03)
4. Lamentos (3:34)
5. Sentimental Blues (6:36)
6. Godzilla (5:39)

Rockodromo 2012, Muelle Barón, Valparaíso, Chile, 11-02-2012

1. Adolfo y Benito, Augusto y Toribio (2:57)
2. Suite Recoleta (6:17)
3. Basura (6:14)
4. Convicciones (De 3 minutos) (10:53)
5. Conservadores por el cambio (4:29)
6. La tonada amarga de la vida del tercer mundo (7:32)

DOWNLOAD HERE:

https://drive.google.com/drive/folders/1FuJoLqGzBV2phWm8pwFsp2Fc9LgdLYcl?usp=sharing

Pat Metheny Group - Théâtre Antique (Jazz à Vienne), Vienne, France, 2005-07-02 / Bootleg Download

 

I think that for those who are familiar with me (on a music taste level I suppose) it is no surprise that my entry towards the world of Jazz was through Jazz Fusion. Of course, Miles Davis had a huge hand in this, particularly with that electric period that just kept me on the edge over and over throughout all the amount of hours I spent getting very into it, but also due a lot of other factors and characters that I encountered and just managed to drag me right into their little world. Pat Metheny and The Way Up were one of those things.

It is very curious really, The Way Up is an album that always felt magical to me, in the sense that it is, in my opinion and many others throughout the years apparently, one of the most perfect Jazz albums for people who are very classic/progressive rock oriented. Silly thing to say, but a very truthful one at that. The album is just baffling and engaging from beginning to end. It was THE last album by THE fucking legendary Pat Metheny Group. A name that, despite changing members throughout many phases, always managed to embody the most ambitious and challenging music that Metheny would ever bring through his personal catalog. This was the culmination, an almost 70 minute long album that was made up by a single piece that drifted across several different segments and motifs. It was undoubtedly just a very noticeable accomplishment, a statement to be made about the ambitions of an artist and his collaborators that helped him bring ideas to life. It was simply a huge achievement that channeled all the ideas, talent, versatility and virtuosity that Metheny had been building up to that point with his Group project. 

It is also very understandable why this period of Metheny can be very tacky for most. Virtuosity, as undeniable as it might be, can easily come across as very exaggerated for most with stuff like a 42-string guitar being displayed throughout a lot of compositions. The Way Up is a very interesting record to go through, and a very divisive one at that. The sprawling piece has simply way too many things going on. Motifs being built up from the very first few minutes, a lot of solos that take presence all throughout, a mix that can be somewhat overwhelming due to the attempt of bringing all the pieces of the album together on a coherent manner, and also the fact that most just are not used to 60+ minute album experiences (let alone those that are apparently made up by ONE single track dividing into parts). It can all be a bit too much, ending up being cataloged or described under terms such as "wanky" (dogshit term, btw), "pretentious", or stuff like that. All of which I can honestly understand to some extent. 

I think I am the only one in my "music" friend/acquaintance group that is really into this project. It is one of those special projects that, from time to time, as I expand my musical library and revisit albums or artists, I think about in a "was it really as good as I remember?" and it always ends up being as fucking amazing as I remember it. What a project. I just can't hate it, and I doubt that will ever change. 

What can I say. Listening to the album again and again, being able to somehow replicate a lot of it on drums during the time I was a very active drummer, it being one of THE gateways for me into some of my favorite genres and artists, and just loving it over and over for more than 15 years now is just hmmmmmmmmmm... The main album is so fucking great...

The tour that followed it was also an accomplishment on its own right. The recording made in South Korea, that was made up into The Way Up Live DVD, is simply something I watch religiously every single year during Christmas season, on December 20, in honor of the first time I watched it entirely by myself after begging one of my friends to burn it on a blank DVD-R that would end up scratched into oblivion (partially due to one of my dogs attacking it), and full recordings of the 2004-2005 performances are always something I am on the lookout for... and have not been very particularly successful at getting my hands on... 

Records of shows like the Hummingbird Center or Piazzale del Castello ones being available in bootleg form do exist, although I haven't been able to get my hands on them and I doubt that will change anytime soon. Even stuff like a full recording of the piece at Montreal 2005 has proven as very difficult for me to find, either due to traders being assholes (nothing new) or them asking for very exaggerated things in return (nothing new there as well), making my search of a full pristine recording from 2005 that includes all of The Way Up and the rest of the set just being one of my many bootleg/music lover dreams....

This right here is as good as it gets at this point though. A partial full recording of a 2005 set from the Jazz à Vienne festival, FM Broadcast and all. The sound is, thankfully, very clear, but the performance is sadly very chopped up... The Way Up can be found here, but only partially, many cuts involved, with a lot of fading in an out on every "Part" being included, and even if it's not as bad with the rest of the set, it definitely gets in the way of fully enjoying the experience, at least in my opinion. It is still a fantastic recording. The whole band is on point, very sublime chemistry and a lot of tracks like Roots of Coincidence, Always and Forever, and, of course, what can be heard of The Way Up are just a joy to listen  to. I just wish the whole recording was available but it is what it is.

I really hope Metheny and company plan to release a full recording of this tour officially anytime soon, but that doesn't seem the case... Either way I can only hope that a full recording somehow ends up in my hands. 

I really hate the french radio host here, but then again I hate most french folk either way (kidding....)

Hope your 2025 is going well and that you enjoy this wonderful music! Or just whatever you are listening to.

Cheers! 

During this recording, the Pat Metheny Group were:

Pat Metheny: guitars, guitar synthesizer, pikasso 42-string guitar, electric sitar
Lyle Mays: piano, synthesizers, guitar
Steve Rodby: acoustic bass, electric bass
Antonio Sanchez: drums, percussion, electric bass
Gregoire Maret: harmonica, vocals, guitar, electric bass, percussion, marimba, kalimba
Cuong Vu: trumpet, vocals, guitar, percussion, marimba, glockenspiel
Nando Lauria: guitars, vocals, percussion, vibraphone, flugelhorn, melodica, kalimba

1. The Way Up Part One (8:22)
2. The Way Up Part Two (6:19)
3. The Way Up Part Three (11:28)
4. The Way Up Part Four (2:56)
5. Drum Solo Into Ending of Lone Jack (3:58)
6. Pikasso Guitar Intro to AYGWM (4:37)
7. Are You Going With Me? (9:22)
8. Last Train Home (5:09)
9. The Roots of Coincidence (7:34)
10. Always and Forever (11:21)
11. Farmer's Trust (5:31)
12. Minuano (Six Eight) (7:59)
13. Song for Bilbao (10:48)

Artwork made by yours truly

DOWNLOAD HERE:

https://drive.google.com/drive/folders/1hw_EdVE7nCjIyRAbHcbyLVduzuwzyYMJ?usp=sharing

https://archive.org/details/pat-metheny-group-theatre-antique-jazz-a-vienne-vienne-france-2005-07-02

David S. Ware Quartet - Yerba Buena Center for the Arts Theatre, San Francisco, CA, 11-04-2002 // Bootleg Download

David S. Ware has been one of the musicians I have been truly fascinated with for quite a few years at this point. His discography, far from flawless, is one of the most captivating in the world of Jazz for me. He has been called a one of a kind improviser, which is an adjective thrown around for quite a lot of people in the genre, but which I only agree with for a handful of individuals, including Mr. Ware. His style, which evidently draws a low from giants such as Coltrane and Rollins for influence, is one of the most encompassing for me. As soon as the first few notes hit, I immediately get grounded and captivated for the whole experience. It is not a player that takes the whole space for himself, Ware had been playing with Matthew Shipp and William Parker to the point where their chemistry was just outwordly, truly something to behold and ending up in one of the strongest and most admirable dynamics in jazz trios and quartets.

In that same field however, I have not been able to find a lot of recordings from Ware ensembles available online that are not part of his official releases catalog, but from the few I have stumbled upon, this is certainly my favorite. "Performing a Reimagination of Sonny Rollins' Freedom Suite". To my ears, both this recording as well as the official album that would be released a few months later overshadow the original album and musical piece in a very beautiful way. This is a huge love letter to Sonny Rollins, but also to Free Jazz, in the form of very captivating and passionate performances, very hipnotizing from the very beginning to the very end. It is not the best recording quality wise, but as far as audience recordings go it is definitely very nice. All the instruments can be appreciated and heard, and the way it all flows together is just so rewarding and tasty for the listener. 

I can only hope that the future archive releases from this wonderful saxophone player keep doing justice to his amazing legacy, and I really look forward to keep finding more of these type of recordings to just get marveled once again at the unique force that was this musician onstage. For now, the main thing I can do is just share one little capsule of history that I appreciate very much, with a small writeup that I hope transfers a fraction of how I feel towards the effect the music Ware delivered to the world has always left inside of me. 

This is music to feel alive to, to appreciate and love the passion towards the craft, the genres and the instruments, and to truly feel free, even if just for a couple of hours.

During this gig, the David S. Ware Quartet was made up by:

David S. Ware: tenor saxophone
William Parker: bass
Matthew Shipp: piano
Guillermo E. Brown: drums

1. First Set: Announcements by Randall Kline / Band Introduction (5:34)
2. First Set: Freedom Suite, 1st Movement (19:07)
3. First Set: Freedom Suite, 2nd Movement (13:01)
4. First Set: Freedom Suite, 3rd Movement (10:07)
5. First Set: Freedom Suite, 4th Movement (15:11)
6. Second Set: Intro (0:55)
7. Second Set: Untitled 1 (15:12)
8. Second Set: Untitled 2 (13:21)
9. Second Set: Untitled 3 (17:51)
10. Second Set: Band Introduction (1:56)
11. Second Set: Untitled 4 (7:16)
12. Second Set: Untitled 5 (6:47)

Jean Lerond: original recording

Mateo Merino Aguilar (Yours Truly): cover design

DOWNLOAD HERE - 

https://drive.google.com/drive/folders/1PWjlDdr7QJIW9QnmnBWVXqSg0X6Rtanr?usp=sharing

https://archive.org/details/david-s.-ware-quartet-yerba-buena-center-for-the-arts-theatre-san-francisco-ca-11-04-2002

RAdIO - Live in Buddy, Ekoda, Tokyo, Japan, 17-10-2000 / Bootleg Download

 

I don't think there will ever be anyone that argues with the fact that Shibusashirazu will forever be the love child of Daisuke Fuwa. The band has been going strong for more than 30 years up to this point, and with a vast amount of studio and live recordings and an insane amount of unofficial recordings. Too many favorites to choose from, from their brutal 1999 tour, their appalling 2003-2007 run and their incredible 2010-2011 promotional tour. But before the band took proper shape Fuwa was already indulging in experimenting with performance styles, finding his own rhythm on the bass in order to slowly progress towards what he would end up delivering with his main act. That is easily felt on the first few live Shibusashirazu albums, but that sense of shit can also be heard with the rest of Fuwa projects that came up during that period. 

RAdIO was one of his first proper projects during those years, a group that was the culmination of ideas that were birthed on Mile and Half and Fedayien, aiming to giving more structure to his improvisations and interactions with other band members. A lot that came up in those RAdIO projects translated to his material with Shibusashirazu, and one can easily see that while listening to the live recordings that exist of the band. This bootleg here is a recording from one of the last few gigs the band did before parting ways, an almost two hour long concert comprised of two sets that showcase the musical strengths of all the members, with a selection of tracks that really make up for a satisfying experience.

Audience quality, but a good one at that. All the members can be heard enough to make sense of what was going on (outside of Yuji being a bit buried due to the live mixing on his violin), and it is a fantastic document that showcases what Fuwa, Yuji and Yoshigaki would end up bringing to both Shibusashirazu and their other endeavors moving forward. 

I will bring a lot of Shibusashirazu and Fuwa material in the coming months, along side a lot of other artists I have pending in the backburner, but this is a nice place to start. 

Hope you enjoy it!

RAdIO Were:

Daisuke Fuwa: electric bass
Naohiro Kawashita: tenor & soprano saxophone, violin
Katsui Yuji: violin
Yasuhiro Yoshigaki: drums

Set 1

1. Comme à la radio (29:34)
2. TOKI (20:37)

Set 2

3. Unknown (15:43)
4. Neapolitan (17:13)
5. Resolution (11:42)
6. El Derecho De Vivir En Paz (6:31)
7. Amazing Grace (8:34)

El Gran Julián: cover model
Mateo Merino Aguilar (Me): cover design, photography

Alternate Cover

DOWNLOAD HERE - 

https://drive.google.com/drive/folders/13X4IwCTkoE_EvSWTlFb14l9gJTdgvwuI?usp=sharing

https://archive.org/details/radio-live-in-buddy-ekoda-tokyo-japan-17-10-2000

Geordie Greep - 2025-01-24 - The Blue Room, Nashville, TN / 2025-01-28 - Majestic Theatre, Madison, WI // Bootleg Download

Original audio splitting and cover art design (using Toshio Saeki's artwork) by IdiotWhoLikesProg.

Geordie Greep - vocals, guitar, congas
Santiago Moyano - percussion, backing vocals, vocals (on Cua Cua Ra, Cua Cua)
Charlie Schefft - drums
Ethan Marsh - guitar, backing vocals
Dave Strawn - bass, backing vocals
Cameron Campbell - keyboards

 DOWNLOAD HERE:

https://drive.google.com/drive/folders/1h3870gdgh0y2NJnKm7SzYUDthufx2Wfj?usp=sharing

2025/01/24 - The Blue Room, Nashville, TN

1. The Long Good Friday Theme / Band Introduction (2:42)

2. Walk Up (3:25)

3. Terra (7:18)

4. The New Sound (9:26)

5. Through a War Intro (1:10)

6. Through a War (5:23)

7. Spain (3:42)

8. As If Waltz (11:24)

9. Holy, Holy Intro (1:05)

10. Holy, Holy (13:04)

11. Rectangular (with Sean Stephens) (4:33)

12. Cua Cua Ra, Cua Cua (6:43)

13. Parabola (7:20)

14. Motorbike / Blues Jam (7:37)

15. Blues (6:31)

16. Bongo Season (15:18)

17. The Magician Intro (2:11)

18. The Magician (15:29)

19. Outro (0:56)

https://archive.org/details/20250124-the-blue-room-nashville-tn

Unedited Video Uploaded on Youtube:

https://youtu.be/iqbx1zhFvCM

Audio from the video on Flac provided by user jacob2410 on the black midi discord

2025/01/28 - Majestic Theatre, Madison, WI

1. The Long Good Friday Theme / The Show Begins (2:32)

2. Walk Up (3:36)

3. Terra (7:55)

4. The New Sound (7:38)

5. Through a War Intro (1:09)

6. Through a War (5:26)

7. Spain (3:37)

8. As If Waltz (13:39)

9. Holy, Holy Intro (1:47)

10. Holy, Holy (14:20)

11. Cua Cua Ra, Cua Cua (7:36)

12. Dangerous Liaisons (4:40)

13. Parabola (9:59)

14. Motorbike / Blues Jam (9:06)

15. Blues (7:26)

16. Banter / Presenting the Band (0:38)

17. Bongo Season (20:09)

18. The Magician Intro (2:10)

19. The Magician (16:44)

20. Outro (2:23)

https://archive.org/details/20250128-majestic-theatre-madison-wi

Unedited Video Uploaded on Youtube:

https://youtu.be/KJXDT2LvpC8

Audio from the video on Flac provided by user jacob2410 on the black midi discord

Geordie Greep - Road to The New Sound (Live Recordings 2024-08-07 / 2024-10-06) / Bootleg Download

Alright so. Greep's solo endeavors were something I truly had not been expecting to be a thing so soon. He had always been my favorite black midi member, a vast number of my favorite songs from the band being mainly written and driven by him, but the break up of the band was something really unforeseen, being widely known from a livestream that had small responses in the form of tweets, but even more so was the fact that Greep would announce his solo album within a few days from that.

Greep had done a couple of sets before that, in March at the Windmill, along side his Swing Boys lineuo. But regardless, the build up to The New Sound was exhilarating, gig after gig right after the release of the first official single Geordie Greep managed to show everyone that he, in fact, was shaping his music to new horizons, blending all his influences in one place and delivering outstanding sets. In the midst of all this, and coming from someone who lives in south america, the black midi discord has been an outstanding source for all Greep related. While lurking in there one was able to see the full recordings shared week after week, delivering something wonderful to the eyes of people who couldn't manage to experience it first hand. In that vein I extend my hand, figuratively, as a thank you to all the wonderful users who shared these recordings (my heart goes out to all of you).

I have had a deep fascination towards this live period from Greep, towards all these songs and jams and his ever evolving guitar skills shining brighter and brighter the more he went into performing with these different ensembles, but more often than not what was shared were full unedited wav or video recordings of these gigs, so it became more of an inconvenience to go back to favorite moments or particular favorite tracks, so what I bring here is what I consider a sort of small nothing input to the community of simply editing and splitting up these recordings, as well as adding artwork to all of them, to the gigs that took place up to the release week of The New Sound. 

I have done some slight work on an attempt to clean up the audio as much as possible, within my tight schedule due to work and other life things, as well as making cover artworks using Toshio Saeki's wonderful pieces (which play really really well with the concepts of lust and obsession that are shown on the album), and I bring it all to be shared here. All exported on flac to avoid gaps between tracks (which for some gigs is justified and for others not so much but alas). 

I hope this brightens up your day as much as possible. 

Thank you oh so very much to the black midi discord for these wonderful recordings and to Geordie Greep for the wonderful sounds brought to the world due to The New Sound.

DOWNLOAD HERE:

https://drive.google.com/drive/folders/1kbkCbDHMFrFM8XkXe_pOU-tLS_aGC4d6?usp=sharing

2024/08/07 - MAP Studio Residency, MAP Studio Cafe, London, England

First Set - Geordie Greep & Daniel Rogerson

1. Bluesette (7:13)

2. Banter 1 (0:44)

3. A Tune From Geodie (3:23)

4. Banter 2 (0:39)

5. A Tune From Daniel (6:53)

6. Bongo Season (3:32)

7. All the Things You Are (7:55)

8. Banter 3 (0:43)

9. Another One From Daniel (6:11)

10. One Last Tune (5:28)

Second Set

1. Para Oriente (4:43)

2. Banter 1 (0:47)

3. Terra (3:53)

4. Untitled (4:20)

5. Untitled (7:10)

6. The Magician (14:45)

7. The New Sound (6:01)

8. Banter 2 (0:43)

9. Three Views of a Secret (7:15)

10. Banter 3 (1:03)

11. Going Home: Theme of the Local Hero (3:51)

https://archive.org/details/2024-08-07-map-studio-residency-map-studio-cafe-london-england

Unedited Videos Uploaded on Youtube:
https://youtu.be/bMqvn3hmiUU

https://youtu.be/2bLf1Awvb10

2024/08/09 - MAP Studio Residency, MAP Studio Cafe, London, England

1. Geordie Greep and The New Sound Band Jam (16:38)

2. The New Sound (14:25)

3. The Colours of Chloë (21:56)

4. Bongo Season (9:19)

5. Outro (1:33)

https://archive.org/details/2024-08-09-map-studio-residency-map-studio-cafe-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/xiqp2CebFDc

2024/08/14 - MAP Studio Residency, MAP Studio Cafe, London, England (Acoustic Solo Set)

1. Begins (4:40)

2. Terra (5:40)

3. The Defence (7:23)

4. Dangerous Liaisons (4:32)

5. The Magician (9:06)

6. Marlene Dietrich (3:03)

7. Aching Knees (4:36)

https://archive.org/details/2024-08-14-map-studio-residency-map-studio-cafe-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/7XVwp4V6FXM 

2024/08/17 - MAP Studio Residency, MAP Studio Cafe, London, England

1. Introduction (0:42)

2. The New Sound (18:00)

3. Untitled Tune 1 (6:42)

4. Instrumental Crazy One We Did at Lexington (5:39)

5. Through a War (5:29)

6. Gearing Up & Banter (1:03)

7. Receipt, Please (4:48)

8. Untitled Tune 2 (4:54)

9. Tuning Up (0:30)

10. Bongo Season (8:00)

11. "We Have Time Left" (1:30)

12. Blues (5:43)

13. Untitled Tune 3 (6:21)

14. The Magician (12:46)

https://archive.org/details/2024-08-17-map-studio-residency-map-studio-cafe-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/38HAR5MY37o

2024/08/29 - The Windmill Brixton, London, England

1. Introduction (0:54)

2. Blues (6:08)

3. Walk Up (3:34)

4. The New Sound (8:56)

5. Terra (4:58)

6. Holy, Holy (8:28)

7. Drinking Water Theme (1:23)

8. Through a War (5:51)

9. The Colours of Chloë (4:47)

10. Bongo Season (8:07)

11. As If Waltz (7:13)

12. The Magician (13:38)

13. Band Introduction & Outro (1:25)

https://archive.org/details/2024-08-29-the-windmill-brixton-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/6gPVZqfTT6Y

Original WAV Recording (Taken From the Black Midi Discord):

https://drive.google.com/file/d/1vIzd5OVHbHnITENJx_nqChSIgOkhWceW/view

2024/10/03 -  The Windmill Brixton, London, England

1. Introduction (0:52)

2. Bongo Season (7:46)

3. Blues (6:43)

4. Terra (4:16)

5. Banter (0:32)

6. Through a War (5:49)

7. Holy, Holy (11:31)

8. Getting Set (0:27)

9. Walk Up (5:27)

10. The New Sound (8:35)

11. "One More Song?" (0:56)

12. As If Waltz (10:05)

13. Band Introduction & Outro (1:05)

https://archive.org/details/2024-10-03-the-windmill-brixton-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/Ua__CSicv3E

2024/10/04 - Institute of Contemporary Arts, London, England

1. The Long Good Friday Theme / Introduction (1:28)

2. Untitled Tune (7:48)

3. Band Introduction (1:07)

4. Blues (6:10)

5. Walk Up (3:37)

6. The New Sound (7:51)

7. Banter (0:44)

8. Holy, Holy (10:22)

9. Terra (4:33)

10. The Colours of Chloë (7:37)

11. Bongo Season (11:18)

12. Through a War (6:04)

13. Motorbike (feat. Seth Evans) (7:34)

14. Blues Jam / The Dance of Maya (3:42)

15. Banter 2 (0:34)

16. As If Waltz (9:46)

17. The Magician (15:53)

18. Outro (1:23)

https://archive.org/details/2024-10-04-institute-of-contemporary-arts-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/PaBgPyDKu0E

Original WAV Recording (Taken From the Black Midi Discord):

https://1drv.ms/u/c/898c6b30cd549ec8/Efq8-R0ZoFBOml-6ZohBR5cBSfReo5tLJqnoIXacbpGl4A?e=jwGj13

2024/10/05 - Institute of Contemporary Arts, London, England

1. The Long Good Friday Theme / The Show Begins (1:56)
2. Band Introduction / Untitled Tune (6:13)
3. Walk Up (3:46)
4. Bongo Season (10:20)
5. The New Sound (6:44)
6. Terra (6:41)
7. Through a War (5:48)
8. Banter 1 (0:41)
9. Blues (6:47)
10. Banter 2 (0:31)
11. Holy, Holy (13:44)
12. Banter 3 (1:05)
13. The Colours of Chloë (14:52)
14. Banter 4 (0:48)
15. Motorbike (feat. Seth Evans) (7:44)
16. Banter 5 (0:41)
17. As If Waltz (8:45)
18. The Magician (14:19)
19. If You Are But a Dream (3:09)
20. Thank You For Coming (0:55)

https://archive.org/details/2024-10-05-institute-of-contemporary-arts-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/HAlMvREWjkA

Original WAV Recording (Taken From the Black Midi Discord):

https://1drv.ms/u/c/898c6b30cd549ec8/EdSS8fx9q-tLkRc3gIAxmToBCuGYhQLDlCYK60OOYrsHOA?e=3nDBcJ

2024/10/06 - Rough Trade East, London, England

1. The Long Good Friday Theme / The Show Begins (1:59)
2. Opening Jam (4:02)
3. Walk Up (3:52)
4. Terra (6:40)
5. Through a War (5:29)
6. The New Sound (8:45)
7. Tuning & Warming Up (1:05)
8. As If Waltz (9:20)
9. Band Introduction (0:25)
10. Bongo Season (9:19)
11. Banter (1:38)
12. Motorbike (feat. Seth Evans) (5:30)
13. One More Tune (0:21)
14. Holy, Holy (11:07)
15. Thank You For Coming (0:28)

https://archive.org/details/2024-10-06-rough-trade-east-london-england

Unedited Video Uploaded on Youtube:
https://youtu.be/5JXK1pAmdBg

Original WAV Recording (Taken From the Black Midi Discord):

https://1drv.ms/u/c/898c6b30cd549ec8/EWfv-XAJSOtJpW4vSFH-QYcBPQOkZxNnKhgwVmZX2qHI-w?e=sV9Olf

Samla Mammas Manna (Zamla Mammaz Manna) - 1979-03-21 Mariahissen, Stockholm / Bootleg Download

 

High Quality Live Radio Broadcast Recording

Definitely one of the most unique bands to come out of the RIO movement... as if any of them weren't unique in their own way. Anyways, Samla were always groundbreaking in how startling they were with their music. Their compositions truly lived up to the name of the scene they were a part of, heavy distorted and progressive improvisations that were clean in their structure and execution, with albums like Schlagerns mystik and Familjesprickor being the true keypoint where they came to their creative and musical peak, but at the cost of filtering a large part of their audience. This recording is from that period, meaning that I fancy it a whole ton. Absolute gem, worthwhile and praiseworthy. Nothing much to be said really. 

If you haven't listened to them from 1977 to 1980 then you ought to (or if you haven't listened to them at all really, just do yourself a favor). What an amazing moment in history.

1. Radio Intro (1:01)
2. Ikarien (18:47)
3. Knapplösa (3:46)
4. Proffession är amatörens lim (2:43)
5. Nya lunken (8:23)
6. Allsångsparodi (4:17)
7. Tredje rumänen (2:03)
8. Ryssland (3:35)
9. Ödet / Radio Outro (17:02)

Download Here!!! - https://drive.google.com/drive/folders/1ud3lEzoSFy8VevoUQ1b-yuIUtSP4GomM?usp=sharing

BEAT - San Jose Civic Center, San Jose CA 12 Sep 2024 / Bootleg Download

There are times during live recordings when you can tell someone is REALLY trying hard. Danny is absolutely giving a lot on drums. You can tell he is giving his all to not overplay anyone, to not get kouder or faster or more technical than the rest, in fact at times he simply just HOLDS back to give every single member their own room to breathe, and he simply is just giving his all to live up to Bruford. His solos are fantastic, spacious, very very intense when they need to be (tracks like Indiscipline, Sleepless, and the absolutely BOMBASTIC opening that was Neurotica), pulling from all his years from playing with Tool but stripping it all down to the essentials, the influences, the King Crimson elements, and just showcasing them in such a wonderful way.

Maybe it is the fact that I myself am a drummer that makes me gravitate to focus more on Danny's parts, but at the same time the more I listen to the recording the more I can just not deny the fact that the drums are absolutely amazing here. Don't get me wrong, the rest of the band is not THAT far behind. Levin and Belew don't have the energy that they displayed in the 80s tours (which is to be expected considering a thing such as aging), but the chops are still there. Belew's voice specially is just stunning in how little it has been affected from the passing of time (outside of not being able to sustain certain notes or segments as well as years ago, and honestly Levin's backing vocals are so charming in how he is just trying to keep up) but regardless; and Vai was just the fit for how technical and playful these songs are...

I think my main issue is simply the fact that it's all much... slower. I don't think it's a matter of just the older members kicking it a bit down in order to be able to keep up with two whole sets of music that will keep being the norm for a WHOLE tour with very VERY taxing setlists, but more of a matter of initial chemistry. They all compliment each other so well, but you can; tell that they will improve as time goes on in the tour. 

Nevertheless, for a first show? This is very very nice, with a nice little good audience quality bootleg recording of the whole thing to go along with it. Can't wait to see how this tour will develop the band's chemistry, and to just see how Danny and Vai will just evolve with their approach to complementing Belew and Levin ...

I wonder if they might release official live recordings of the tour? I sure hope so!

Either way, this whole lineup... this whole tour really... is just one of the things that my heart needed, and I'm just glad it had a lovely start.

Set 1

1. Intro  (2:06)
2. Neurotica (4:39)
3. Neal and Jack and Me (5:55)
                      4. Heartbeat (4:24)
5. Sartori in Tangier (4:08)
6. Dig Me (3:40)
7. Model Man (3:44)
8. Man With an Open Heart (3:07)
9. Industry (8:15)
10. Larks' Tongues in Aspic (Part III) (6:12)

Set 2

11. Intro (0:25)
12. Waiting Man (6:32)
13. The Sheltering Sky (9:40)
14. Sleepless (6:07)
15. Frame by Frame (5:12)
16. Matte Kudasai (3:53)
17 Elephant Talk (5:22)
18. Three of a Perfect Pair (4:17)
19 .Indiscipline (9:58)

Encore

20. Red (6:15)
21. Thela Hun Ginjeet (7:59)

DOWNLOAD HERE - 

https://drive.google.com/drive/folders/1CV8Oynn8-rG3JUEHv-CtyDAJ5bc4-kw5?usp=sharing

https://archive.org/details/beat-san-jose-civic-center-san-jose-ca-12-sep-2024_202409

Henry Now - 2022-11-18 Teatro President, Piacenza, Italy / Bootleg Download

 

Fred Frith my beloved....

Cover art design and some mixing/editing done by yours truly

Source 1

John Graves Set

1.1. Applause / Introduction by John Graves (0:56)

1.2. God Song (2:32)

1.3. Applause / Bad Alchemy (2:47)

1.4. Applause (0:16)

1.5. Twenty-Two Proverbs (3:28)

1.6. Applause (0:19)

1.7. Kew. Rhone. (5:16) 

1.8. Applause (0:34)

1.9. Swelling Valley (3:14)

1.10. Applause / The Song (4:54)

1.11. Applause (0:33)

1.12. How Beautiful You Are (3:23) 

Henry Now Set

1.13. Applause / Introduction by Max Marchini (3:21)

1.14. Improvisation #1 (33:24)

1.15. Applause (1:06)

1.16. Improvisation #2 (12:57)

1.17. Applause (1:50)

Encore

1.18. Improvisation #3 (6:21)

1.19. Applause (1:34)

1.20. Casablanca Moon ((3:02)

1.21. Applause (0:13)

1.22. Little Red Riding Hood Hit the Road (5:01) 

1.23. Applause (1:39)

Source 2

John Greaves Opening Set

2.1. Introduction by John Greaves (0:52)

2.2. God Song (2:47)

2.3. Bad Alchemy  (2:48)

2.4. Twenty-Two Proverbs (3:48)

2.5. Kew. Rhone. (5:52)

2.6. Swelling Valley (3:13)

2.7. The Song (5:24)

2.8. How Beautiful You Are (3:59)

Henry Now Set

2.9. Introduction by Max Marchini (1:51)

2.10. Piacenza 1 (34:34)

2.11. Piacenza 2 (14:46)

2.12. Piacenza 3 (8:05)

2.13. Casablanca Moon (3:14)

2.14. Little Red Riding Hood Hit the Road (5:31)

Tim Hodgkinson - clarinets, flute, lap steel guitar

Fred Frith - gitar, violin

Chris Cutler - drums

John Greaves - piano, voice, bass

Annie Barbazza - voice, piano (1.3, 1.5, 1.7, 1.10, 1.12, 1.20, 1.22, 2.3-2.8, 2.13, 2.14)

Download Here! - https://archive.org/details/henry-now-2022-11-18-teatro-president-piacenza-italy_202404