Gordon Grdina's Haram with Marc Ribot - Night's Quietest Hour (February 18, 2022 AttaBoyGirl Records)

Just before the Pandemic hit Marc joined our ensemble for two concerts in Vancouver Feb 28 and Seattle on March 1st, with a recording session on the leap year Feb 29th. This was an incredible experience and Marc blended into the ensemble from the beginning. He played almost our entire repertoire with us and these tracks are the previously unreleased pieces. This album reflects our continued exploration of the Classic Arabic repertoire and new exploration of Sudanese music from the 60's and 70's. An already incredibly dynamic group Marc's presence pushed the group's delicacy, intensity and explosive nature to new heights. The process of creating this album has reliagned the trajectory of the ensemble.

Gordon Grdina's Haram

Juno Award winner Gordon Grdina formed Haram in 2008 as a large ensemble vehicle to interpret classic Arabic repertoire. The group started with Iraqi folk music and the great era of Egyptian radio music in which Oum Khalsoum and Farid Al Atrash reigned. It has since expanded to incorporate the classic Sudanese and Persian repertoire. These pieces are lovingly reinterpreted with an ensemble half studied in the tradition and half in avant-garde improvisation. This blend of traditions is what gives Haram its unique sound.

Through improvisation and arrangement, the band keeps alive the spirit and Tarab inherent within the compositions. These time-tested pieces are blown wide open by the ensemble mixing elements of noise, electronic soundscape, and free improvisation. The music has developed to the state of effortless cohesion mixed with wild abandon conjuring up a sense of respect and homage while being explosively self-expressive. Haram is a powerhouse ensemble playing a repertoire that has been revered by millions. 

1. Longa Nahawand 8:58

2. Sala Min Shaaraha A-Thahab (Gold Streamed Down from Her Hair) 10:48

3. Dulab Bayati 9:39

4. Lamma Bada Yatathanna (When She Begins to Sway) 10:18

5. Hawj Erreeh. (Violent Wind) 8:14

Total time: 48:00

Recorded and mixed in 32 bits / 96kHz

Compositions by 1, Kevser Hanim, 2, Salah Ben Al Badiya, 3, Traditional - attr. Muhammad 'Abd al-Rahim al-Maslub 4, Traditional, 5, Ahmad Al Jaberi

Arranged by: Gordon Grdina

Gordon Grdina's Haram with Marc Ribot

-Night's Quietest Hour

Gordon Grdina -Oud

Marc Ribot -Guitar

Emad Armoush -Vocals, Ney

Tim Gerwing -Darbuka

Liam MacDonal -Riq

Tommy Babin -Bass

Kenton Loewen -Drums

Francois Houle -Clarinet

Christopher Kelly -Sax

Jp Carter -Trumpet

Josh Zubot -Violin

Jesse Zubot -Violin

Recorded, Mixed by John Raham at Afterlife Studios, Vancouver, BC

Mastered by Alex DeTurk at The Bunker Studio, New York, NY

Produced by: Gordon Grdina

All Photography by: Genevieve Monro. @genmonrophotography

Design by: Chelsey Maher

AttaBoyGirl Records

Made in Canada

A & P 2022 AttaBoyGirl Records

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Marc Ribot's Ceramic Dog - Hope (June 25, 2021 Northern Spy Records)

When these recording sessions began in the last week of May 2020, I hadn’t left my house to go anywhere other than the grocery store in over two months. I hadn’t taken a cab or subway. I’d lost several friends to COVID-19, and was afraid I’d also lose more thanks to the non-response of our would-be dictator/“president”, whose deliberate embrace of untruth fed tens of thousands of lives to the pandemic, and also reduced what little hope was left for avoiding global warming catastrophe.

I hadn’t seen my partner since February (our plans to fly to each other’s countries shut down) and it would be July before we finally got together. Our difficulties were nothing compared with others. When me and fellow Ceramic Dogs Ches and Shahzad figured out a way to record, we entered the studio separately, sat in separate, isolated rooms from which we couldn’t see each other, communicating through mics and headphones. We were careful to wash our hands: one of us has respiratory issues, so fuck-ups could’ve been bad. We wound up with two record’s worth of material, some released on Bandcamp in October on the EP What I Did on My Long Vacation, and the majority of the music here on this full CD-length recording.

If/when people look back on these times, maybe they’ll seem unreal... foreign, alien: the way I, as a child in the 1960’s, looked at the faded footage of the 1930’s as impossibly ancient, even though the family members who had survived those newsreels sat next to me at breakfast. In fact, my 9 year old self was closer to the burning of the Reichstag than we are now to the release of Nevermind.

Anyway, when we went into the studio, I thought we’d come up with something that spoke to our times… a message in a bottle to our equally shipwrecked (imaginary) listeners. But once we started, it was so much fun to jam that we forgot the disasters outside. So instead, we “spoke” to each other. And to other times that we couldn’t yet see: like the day, 5 months later, when people all over Brooklyn would dance in the streets for joy.

It’s almost December now. Things are shutting down again, and I’m quarantined in Europe writing liner notes for a record that will be released in the new year--once more, speaking to another time… perhaps a future? M Ribot

1. B-Flat Ontology

2. Nickelodeon

3. Wanna

4. The Activist

5. Bertha The Cool

6. They Met In The Middle

7. The Long Goodbye

8. Maple Leaf Rage

9. Wear Your Love Like Heaven

Ceramic Dog are:

Marc Ribot: guitars, vocals

Shahzad Ismaily: bass, keyboards, backing vocals

Ches Smith: drums, percussion, electronics, backing vocals

with Guests:

Darius Jones: alto sax (6,7)

Rubin Khodeli: cello (8)

Gyda Valtysdottir: cello (8)

Syd Straw: background vocals (3)

Mixed by Randall Dunn at Aleph Recording Company, Brooklyn, NY

Engineered by Shahzad Ismaily at Figure 8 Recordings, Brooklyn, NY

Except (8) Engineered by Shahzad Ismaily & Philip Weinrobe at Figure 8 Recordings

Mastering by Gregory Obis at Chicago Mastering Service

Creative Direction by Bryan Abdul Collins

Management: Mary Ho / Noise Inc

All Lyrics & Music by Marc Ribot (Knockwurst Music, ASCAP)

Except (2) (4) (5) (6) Music by Marc Ribot, Shahzad Ismaily (Wazir & Malika Music), Ches Smith (Preposterous Bee Music, BMI), And (9) by Donovan Leitch (Peer International Corp)

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Marc Ribot Plays Solo Guitar Works of Frantz Casseus (May 14, 2021)

Long before Marc Ribot made a name for himself as a pioneering force in NYC's downtown music scene, and as guitarist for luminaries like Tom Waits, Wilson Pickett and The Lounge Lizards, he began his guitar studies as a teenager with close family friend, the Father of Haitian classical guitar, Frantz Casséus. In 1946, Frantz came to NYC from his native Port-au-Prince, Haiti with the ambition to compose a distinctly Haitian classical guitar music, to fuse the European classical tradition with Haitian folk elements as Heitor Villa-Lobos had done with his native Brazil’s and as Béla Bartók had done with Hungarian folk songs. His three recordings, Haitian Folks Songs (1953), Haitian Dances (1954) and Haitiana (1969) were released on Folkway Recordings (and since reissued by Smithsonian Folkways) and his compositions have been covered by artists worldwide including the song “Merci bon dieu” by Harry Belafonte.

In effort to preserve Frantz’s musical legacy, Marc edited a collection of Casseus' solo guitar compositions, and performed those same pieces on his 1993 album "Marc Ribot Plays Solo Guitar Works of Frantz Casseus". This remastered and expanded edition, with three additional bonus tracks recorded in 2020, marks the first time Marc's interpretations of this work is available on vinyl. Also available again on CD.

From the original liner notes:

The pieces on this record are the work of my friend and teacher, Frantz Casseus. They were written over a period of approximately 40 years, from 1940 to 1980, most of which were spent in New York City, where Frantz emigrated in 1946. The music, however, remains consistently engaged with Haiti, where, in Port au Prince, 1915, Mr. Casseus was born. I believe Frantz saw it as his task to help create a national music for Haiti, and that as a composer, he used Haitian folk material in the same sense as Villa Lobos used the folk music of Brazil, Chavez that of Mexico, or Bartok that of Hungary. A formidable guitarist himself, Frantz originally recorded his own work. The four pieces of the “Haitian Suite” first appeared on a 1954 Folkway release. “Dance on Sunday”, “Dance of the Hounsies”, and “Simbi” appeared on a 1968 recording for the now defunct Afro-Carib label. Although I studied guitar with Mr Casseus, my own development (or perhaps regression) took me far from these studies. However, after complications from an early hand injury made it increasingly diffi cult for Frantz to play guitar, he and I began to discuss the possibility that I would record his work. This record is the most comprehensive recording of Frantz Casseus’s music for solo classical guitar.

In addition to the pieces mentioned above, it contains five compositions previously published as sheet music but never recorded by Frantz (Rara, Prelude #2, Serenade Lointaine, Valse and Romance) and six pieces (Romance 1978, Untitled, Chanson, Improvisation, Merengue and Prelude #1) previously unpublished in any form which Frantz, before his death in June 1993, had expressed a desire to have recorded. I made this recording with the hope that it will help reawaken an interest among listeners and classical guitarists alike in this beautiful but neglected body of work”. Marc Ribot, 1993

100% of the publishing proceeds benefits the "Frantz Casseus Young Guitarist Program" in Port-au-Prince Haiti, and other projects that promote the work of Frantz Casseus.

1. Simbi

2. Rara

3. Prelude #2

4. Haitian Suite: Petro

5. Haitian Suite: Yanvalloux

6. Haitian Suite: Mascaron

7. Haitian Suite: Coumbite (Merci Bon Dieu)

8. Prelude #1

9. Merengue

10. Improvisation

11. Chanson

12. Congo 03:16

13. Dance (On Sunday)

14. Serenade Lointaine

15. Valse

16. Untitled

17. Romance

18. Dance of the Hounsies

19. Romance 1978

20. Meringue Frangeul [Bonus Track]

21. Sobo [Bonus Track]

22. Nan Guinan [Bonus Track]

Marc Ribot - guitar

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Youn Sun Nah - essentials (3 CD Box) ACT MUSIC 2018

"This woman is a vocal miracle, absolutely awesome" - ZDF heute journal (DE) "One surprise after another, from a performer, who can turn anything into an art song." - The Times (GB) "One of the most beautiful voices of today's jazz." - Le Figaro (FR)The premium collector's edition of the three pioneering albums at a discounted price. She Moves On LentoSame Girl She Moves OnAn important step in a new musical direction, recorded in New York with an American band: pianist Jamie Saft, together with one of the most sought-after session musicians Brad Jones (bass) and Dan Rieser (drums) built the backing band for Youn Sun Nahs amazing singing. And a special guest on the guitar ensures the jazzy country and folk character of the album: Marc Ribot. In addition to her own compositions, "She Moves On" co...

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Youn Sun Nah / vocals, kalimba, music box, kazoo

Ulf Wakenius / guitars

Lars Danielsson / bass & cello

Vincent Peirani / accordion & accordina

Xavier Desandre-Navarre / percussion

Jamie Saft / Piano, keys

Brad Jones / Acoustic Bass

Dan Rieser / Drums

Marc Ribot / Electric & Acoustic Guitars

1 She Moves On ( ) 50:38

2 Lento ( ) 45:46

3 Same Girl ( ) 47:08

Marc Ribot: Songs of Resistance 1942 - 2018 (Anti- Records September 2018)

“Every movement which has ever won anything has had songs,” says accomplished New York City guitarist Marc Ribot. For his new political album Songs of Resistance 1942-2018 – with a September 14 release date on ANTI- Records - Ribot set out to assemble a set of songs that spoke to this political moment with appropriate ambition, passion, and fury.

photo by Barbara Rigon

The eleven songs on the record include a few original compositions as well as traditional songs that are drawn from World War II anti-Fascist Italian partisans, the U.S. civil rights movement and Mexican protest ballads. It also features a wide range of guest vocalists, including

Tom Waits, Steve Earle, Meshell Ndegeocello, Justin Vivian Bond, Fay Victor, Sam Amidon, and Ohene Cornelius, Tift Merritt, Domenica Fossati, Syd Straw.

At a time of such overwhelming social turmoil, finding a focus for this kind of project is challenging. Nevertheless, Ribot’s purpose remained clear. “There’s a lot of contradiction in doing any kind of political music,” he says, “how to act against something without becoming it, without resembling what you detest. Sometimes it is hard to figure out what to do, and I imagine we’ll make mistakes, and hopefully, learn from them. But I knew this from the moment Donald Trump was elected: I’m not going to play downtown scene Furtwangler to any orange-comb-over dictator wannabe. No way.”

Portions of the album’s proceeds will be donated to The Indivisible Project, an organization that helps individuals resist the Trump agenda via grassroots movements in their local communities. More info on The Indivisible Project can be found at www.indivisible.org.

1. Marc Ribot & Fay Victor - We Are Soldiers in the Army 05:27

2. Marc Ribot & Tom Waits - Bella Ciao (Goodbye Beautiful) 03:37

3. Marc Ribot, Steve Earle & Tift Merritt - Srinivas 06:09

4. Marc Ribot, Sam Amidon & Fay Victor - How To Walk In Freedom 05:44

5. Marc Ribot & Ohene Cornelius - Rata de dos Patas 04:46

6. Marc Ribot & Meshell Ndegeocello - The Militant Ecologist (based on Fischia II Vento) 04:10

7. The Big Fool 06:34

8. Marc Ribot, Steve Earle & Tift Merritt - Ain't Gonna Let Them Turn Us Round 03:23

9. Marc Ribot & Fay Victor - John Brown 05:53

10. Marc Ribot & Syd Straw - Knock That Statue Down 03:50

11. Marc Ribot, Justin Vivian Bond & Domenica Fossati - We'll Never Turn Back 04:33

Produced by Marc Ribot

1,3-11 Mixed by Kamilo Kratc @ Brooklyn Recording (Brooklyn, NY) & Soundworks Recording (Queens, NY)

1,3,4,7,8,9 Recorded by Daniel Schlett @ Strange Weather (Brooklyn, NY)

5,6,10 Recorded by Randall Dunn @ Brooklyn Recording (Brooklyn, NY)

11 Recorded by Ryan Kelly @ Studio G (Brooklyn, NY)

2 Recorded by Karl Derfler @ The School Bell (Sebastopol, CA) & Mixed @ The Shack (Crocket, CA)

Additional Overdubs Recorded by Alexis Berthelot, Chris Boerner, Bogdan Chavez, Jack DeBoe, Ryan Kelly, Gregory Smelley

Additional Editing by Jay Yow, Alexis Berthelot

Mastered by Scott Hull @ Masterdisk

Art Direction & Design by Bryan Collins

Cover Photor by Lewis W. Hine/George Eastman House/Getty Images

Photo of Marc by Ebru Yildiz

Project Coordinator & Management: Mary Ho / Noise Inc

PROCEEDS TO BENEFIT: THE INDIVISIBLE PROJECT (501c4) www.indivisible.org

SPECIAL THANKS TO: Kathleen Brennan, Jesse Bauer, Sheila Bowers, Michèle Desfrenne, Sara Fadabini, Joe Henry, Yuka Honda, Buddy Miller, Alison Riley, Andy Taub, Shanta Thake Kriegsman, Trixie Whitley

marcribot.com

New Album Out now ANTI- Records

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Gregory Lewis with Marc Ribot - Organ Monk Blue (2018)

Adapting the music and mood of Thelonious Monk to a Hammond B3 organ might be a tricky proposition but Gregory Lewis has literally made a career out of it. Organ Monk Blue is already Lewis’ fifth record since his 2010 debut Organ Monk, quickly following Organ Monk, The Breathe Suite just seven months earlier (in between these two dates was the 100th anniversary of Monk’s birthday, by the way). While the 2017 effort featured a six movement suite that tied to a theme of African-American lives wiped out by deadly police force, Organ Monk Blue is a return to Monk covers, like those found on Lewis’ first two albums. As the title implies, this collection of Monk covers sets out to illuminate the blues that’s found at the core of most every song he composed.

Guitarist Marc Ribot and Jeremy Bean Clemons are held over from The Breathe Suite, and so is Lewis’ inclination to ignore the need to consciously play ‘jazz.’ Broadly speaking, of course, that’s what this music is, but like all the best jazz artists, Lewis stretches that genre to the point that listeners forget what kind of music is being presented, because the presentation successfully transcends that.

Having said all that, I’d call this a blues record. Since the participants involved aren’t ordinary, neither is this an ordinary blues album. The very presence of Ribot insures there’s nothing run-of-the-mill about this organ-guitar-drums combo, but Ribot isn’t such an outlier that he doesn’t understand how a guitar and B3 interacts. After all, he was in Brother Jack McDuff’s band early in his career. He’s not here to do skronky freak outs, but he does lend a whole lot of diverse approaches, which is just what Lewis needs for a record that varies its plan of attack from track to track.

So for example, the basic thematic strain of “Green Chimneys” is retained but that swing is turned into a funky blues-rocker and Ribot complements Lewis’ thick slabs of B3 with jazzy guitar lines. On the other hand, Ribot rhythm guitar is dubbed over itself on “Blue Hawk,” and his lead part tilts on the rock side. The solo he leaves on “Mysterioso” [sic] sounds like no one else, full of inventive licks.

As the leader and brainchild, Lewis again demonstrates the countless ways Monk tunes can be refurbished into something that’s just as original as the original. For example, Lewis takes a small riff Monk played on “Raise Four” and turns it into the opening vamp for his way more combustible version. Lewis, Ribot and Clemons start “Blue Sphere” by playing extemporaneously until Lewis introduces Monk’s key figure nearly two minutes in. From that point, the trio quickly coalesces into a slow burning blues, Ribot and Lewis taking turns making fervent, blues-soaked statements. That epochal melodic figure of “Mysterioso” is retained, but once that’s out of the way, the boys ease back into another slowly-simmering blues.

“Nutty” is another Monk song distinctive for its off-kilter but endearing main figure, and the three exploit it fully. Once again playing untethered at the intro, Lewis & Co. settle into their jazziest stride of the whole album and Ribot is emulating bits of Wes Montgomery and Grant Green in his leads while Lewis evokes a lot of both Charles Earland and Larry Young.

The catawampus tempo “Ba-Lue Bolivar Ba-Lues-Are” is straightened out and made into a hard groove, while “Blues Five Spot” is played as a straight-up blues with a walking bass line. And Lewis doesn’t stick strictly to the classic numbers; “Blue Hawk” is a Monk obscurity but he rightly recognizes its potential and makes a funky little number out of it.

1 Green Chimneys 5:42

2 Blue Sphere 7:30

3 Raise Four 4:53

4 Misterioso 6:50

5 Blue Hawk 9:20

6 Nutty 7:44

7 Blues Five Spot 4:26

8 Ba-Lue Bolivar Ba-Lues-Are 5:04

Gregory Lewis, Hammond B3 Organ

Marc Ribot, Guitar

Jeremy Bean Clemons, Drums

www.greglewismusic.com

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The Jazz Passengers - Still Life with Trouble (2017)

Please join us in celebrating The Jazz Passengers exciting new release Still Life With Trouble.

Enja/Yellowbird is really proud and thrilled to be part of this landmark release and hope you share our enthusiasm.

The Jazz Passengers "Still Life with Trouble". 30th Anniversary Release Reaches New Heights.

Note from Roy Nathanson: The magnificent chaos of creating this 30th anniversary Jazz Passengers CD kicked off some serious personal introspection. So, if this press release appears to double as memoir, it's no coincidence.

In 1986, when my friend Ray Dobbins suggested we call our new band "The Jazz Passengers," I thought, "that's kinda funny!" The name felt like a clever take on the alpha nature of the great iconic names: The Jazz Messengers and The Jazz Crusaders. The self-deprecating irony of the term "The Jazz Passengers" seemed about right for our eclectic crew.

Most of us had been playing in the Lounge Lizards and several of us blended our appreciation for jazz with a deep affection and involvement in the east village culture of those late 80s early 90s days: punk music and poetry, gender bending theatre, and avant musics of different types in the context of venues that allowed for real experimentation with the support of cheap rents. Somewhere in this "downtown" universe we found a political/cultural/psychological world that valued stupid jokes and serious commitment to various types of exploration equally, and it was from this world that the Passengers emerged.

Then like the rest of our money infused global city and the world, the guys and guise in the band got shoved along in a variety of separate directions. But we liked each other enough, and valued these influences enough that somehow we hung in there. Somehow we stayed deeply connected and continued to evolve. No longer centered in a geographical location we managed to nurture and grow a collective sound and sensibility that has imbued quite a list of projects, which I recently digitized and got a chance to watch and listen to.

The Fire at Keaton's Bar and Grille, 2000 (the song cycle about a mythical bar with loads of mythical guests), The Rock Concert, 2005 (commissioned by the University of Wisconsin Science Museum to contextualize their discovery of the world's oldest piece of geological material), You're the Fool, 2003, (my semi-autobiographical Radio play for NPR), Jazz Passengers in Egypt (our own 1990 Marxist ? as in the brothers - musical comedy featuring members of the downtown Ridiculous Theatre community), and tons of our live performances from 1987 to today.

Seeing all this work ? all these crazy solos and stories, jokes and nuts arrangements was something of an epiphany. What struck me most was how the work sung of community and shared language, the weight of a collective life's work. It is in that spirit we carved out time in these last 2 years to work on this 30th Anniversary CD, "Still Life With Trouble". Thankfully, deep into our late 50's and mid 60's we've managed to record a CD that is a pure representation of this very particular Passengers language. It contains nine musical stories about trouble and the passage of time that describe a Still Life of odd birds native to these parts whose calls employ a variety of pitches, words, harmonies and rhythms that collectively translate into the following sentence: If there's still life, there's certainly still trouble!

With the help of our longtime producer/engineer/friend Hugo Dwyer these nine tracks represent a new path in the Passengers journey. The original members of the band, Curtis Fowlkes (who started the JPs with me while playing for dancing elephants in the Big Apple Circus), Bill Ware, Brad Jones, EJ Rodriguez and myself are supplemented here with newish (last 10 years) violinist Sam Bardfeld and a second drummer, the wonderful Ben Perowsky. Original member Marc Ribot plays on one track. After years of trying other guitarists in Marc's absence, we finally found a different way to broaden the band's palette in this recording by adding Ben as a second drummer.

This new CD finds inspiration in the intuitive abandon that characterized our first two CDs recorded in the late 1980s. "Paris," which opens this recording, is a blues dedication to the great city whose beleaguered banlieus has been a home to our band through the wonderful Banlieus Bleus Jazz Festival. "Everybody Plays the Fool" is a rearrangement of the great R and B classic. I was always so touched by the first verse when Cuba Gooding of the Main Ingredient asks, "I hear you're even thinkin' about dyin' / but before you do anything rash / dig this!". Such a thing to say in a pop tune! I thought we should try to make our sense of that.

"Trouble" is a multi-meter piece of mine with a blues head that moves between solo set-ups to give several of us a well-organized opportunity to complain with some eloquence. Brad's tune "Gleis, Spoor, Binario" is dedicated to all these years of European touring that have enabled so many of us to continue to play this eccentric heartfelt music. Next is my Passengers style pop tune, "Wake Up, Again," an off kilter groove in 5/4 featuring Curtis' mellifluous voice. Curtis wrote the next tune, "Where's Lonely Junior" and it features his distinctive loping trombone, one of the great delicacies of this peculiar world we all live in.

The seventh song "We're All Jews" references Lenny Bruce's perfect description of New Yorkers. True, no? The last two tunes are by Bill Ware whose vibes and arrangements have provided a whole lot of sheen on all of our work. Bill claims that the first of the two, "Friends", was given to him in a dream by Louis Armstrong, and who am I to quibble? The last tune, "Spring Flowers" celebrates the miracle of chemical enhancement.


Simply put, I'd like to share the joy and enthusiasm I feel about this CD - and about being a passenger on this 30 year ride with these very special odd musicians - and to offer you a seat.

Elliott Sharp, Mary Halvorson & Marc Ribot - Err Guitar (INTAKT RECORDS 2017)

Last summer in Elliott Sharp’s recording studio in Manhattan, New York guitarist Sharp spent a day with guitar colleague Mary Halvorson and another with Marc Ribot, legendary guitarist of Tom Waits, The Lounge Lizards and Marianne Faithful. The result was a series of recordings that could only be created by friends. They represent the great art of guitar playing by three exceptional musicians looking for new sonic adventures in search of the sound of our time.

“I hear in their playing both a step into an unknown future and wild growth from a deep past,” says Elliott Sharp. “The contradiction is resolved in improvisation – the transcendent sonic path of the now.”

01. Blindspot 07:22

02. The Ship I Am On 02:46

03. Wobbly 07:14

04. Shredding Light 06:59

05. Sinistre 03:47

06. I’m Gonna Party Like It’s 1988 02:40

07. Sequola Pt. 1 04:22

08. Sequola Pt. 2 02:59

09. Oronym 09:07

10. Sea Buzz 05:03

11. Nektone 03:02

12. Kernel Panic 10:12

Elliott Sharp: Guitar 

Mary Halvorson: Guitar 

Marc Ribot: Guitar

Marc Ribot & The Young Philadelphians - Live in Tokyo (2015)

The Young Philadelphians

"where deco meets disco meets decon"

Jamaaladeen Tacuma, G. Calvin Weston, Mary Halvorson, Marc Ribot:  4 professional, harmolodic noise improvisers with an uncommon love of Philly soul and hard groove. Forever young, forever Philadelphian, forever fixated on the moment before dance went digital. Stuck in the groove like a scratch in your favorite record. Ladies and Gentlemen…the hardest working musicians in punk/funk/soul/noise: The Young Philadelphians!!! 

The Young Philadelphians pays tribute to twin legacies: The mind-blowing harmolodic punk-funk of Ornette Coleman's first Prime Time band and the sweet, optimistic pulse of 1970s Philly Soul. Ribot enlists bassist Jamaaladeen Tacuma and drummer G. Calvin Weston, both Prime Time alumni and Philadelphia natives, along with guitarist Mary Halvorson plus a newly added 3-piece string section** to do the job.

Set list includes classics such as The Hustle, Love Rollarcoaster, You Are Everything

**This project can be booked using local or conservatory level string section.

"There are things you want at WJF, and then there are things you didn't know you wanted. Few but guitarist Marc Ribot would have the gusto to put a group together to recreate the soulful, sweeping funk of Gambel and Huff's Sound of Philadelphia. The groundwork was pure, unadulterated TSOP [The Sound of Philadelphia] - the cinematic strings, the funky propulsions by bassist Jamaaladeen Tacuma and drummer Calvin Weston, the shouts of "gettin' down" - but the layers on top were more unique. The twin-guitar attack of Mary Halvorson's spiky excursions and Ribot's No Wave rock stylings kept everything just on edge enough to perk ears up. With this in mind, it gave standbys like the Ohio Player's "Love Rollercoaster" and even Van McCoy's "The Hustle" new life."  

- Dan Lehner, Feast of Music Review at Winter Jazz Fest 2015

The Young Philadelphians are:

Marc Ribot - guitars, vocals 

Mary Halvorson - guitars 

Jamaaladeen Tacuma - bass 

G. Calvin Weston - drums

Takako Siba - viola

Yoshie Kajiwara - violin

Recorded live July 28, 2014 at Club Quattro - Tokyo, Japan

1.Love Epidemic (The Trammps) - 5:30

2. Love TKO (Teddy Pendergrass) - 6:47

3. Fly, Robin, Fly (Silver Convention) - 9:05 

4. TSOP MFSB (Mother, Father, Sister, Brother) - 9:22

5. Love Rollercoaster (Ohio Players) - 7:22

6. Do It Anyway You Wanna (People’s Choice) - 6:46

7. The Hustle (Van McCoy) - 9:07

BUY THIS ALBUM!!!

Domi