Bill Laswell – The Stone Residency

Now that’s a residency!

The Stone is a not-for-profit performance space dedicated to the
EXPERIMENTAL and AVANT-GARDE. A New Artists’ Space in the East Village

All shows $20. Very intimate venue, arrive early, cash only…

There are no refreshments or merchandise at The Stone. Only music.
All ages are welcome.

Bill Laswell, Advancing Art and Communication

Prolific, profound, pursuant, are just some of the inherent attributes of Bill Laswell. The music of our heart is openly receptive to the experimental spirit of this modernist vanguard. Bill Laswell is a bassist, producer and record label owner. He has touched 3,000+ recordings in his career. His extensive discography is well documented on Silent-Watcher.Net. The Bill Laswell Web site is managed by Dave Brunelle who manages the Bill Laswell Open Group on Facebook.

So the question becomes where do you wade into the water of Laswell (and others) musical output and start swimming. Do you start with Sacred Dub?, do you jump ahead to the 4 columns of the Method of Defiance?, do you assimilate the intelligent remixes of Miles Davis (Panthalassa: The Music Of Miles Davis 1969-1974) and Carlos Santana (Divine Light: Reconstructions & Mix Translation) just to name a few places to paddle out to…

The dimensionality of his sonic output defies categorization. Direct immersion in his recordings is the advised approach to assimilate what is carried forth in the mix. We as a global society have been rapidly evolving through the vortex of disruption, blow it up and build it anew. Read the mission statements of Bill Laswell’s latest nucleus, Method of Defiance.


M.O.D. TECHNOLOGIES, created by the principal members of Method Of Defiance, is a modern evolution of the original AXIOM label. Designated for the purpose of destroying musical genres,trends, approved or unapproved formats, false ideas and other unnecessary borders.

I noticed that Bill Laswell will have a residency at The Stone, John Zorn’s performance space in the East Village in April. I’d love to hear live what will become the next recording endeavors.

4/19 Saturday (RK)
8 pm
John Zorn and Bill Laswell Duo
John Zorn (sax) Bill Laswell (bass)

10 pm
Bill Laswell (bass, tapes)

APRIL 22—27

This leads into John Zorn, Dave Lombardo and Bill Laswell performing live as Bladerunner on May 4th, 2014 at Le Poisson Rouge. So yet another live music choice to make 🙂

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Bill Laswell – Miles Davis Remix

Wisps of smoke from a burning nag champa incense stick (Carlos Santana brand) swirl about my head as I channel my energies towards some difficult  academic writing this afternoon. I aid and abet the critical writing by listening to the ambient remix wizard Bill Laswell, as he works his magic with Miles Davis‘s electric funk period. I have an endless loop playing of  Panthalassa: The Music of Miles Davis, 1969-1974 along with the logical extension recording, Panthalassa: The Remixes.

I feel the writer’s block slowly beginning to erode 😉

The Last Poets, Alan Douglas, Bill Laswell

I was having a rough week but my loving wife gave me a gift that cured my blues. She gave me The Last Poets CD, thanks honey ((((hugs))))). I listened to it this morning on the drive to work. This revolutionary quartet, in poetic pentameter punctuated with percussion, ingrains you into the culture and turbulent times of 1968-1970. You can smell the concrete and feel the summer heat rising from the asphalt of 125th Street in every track.  The Last Poets are a wake up call. As the liner notes state, “Wake up, dammit, wake up.”

The Last Poets recording has reawakened my dormant interest in Alan Douglas and Douglas Records. Alan Douglas, the visionary record producer/label owner of Douglas Records recorded The Last Poets personally, overseeing the details, helping them perfect their craft to vinyl and master tape. Here are Alan Douglas’s words on the day he met and recorded The Last Poets.

      c. BAM Magazine Aug 25 95

I heard a snatch of material on television one night, and it stopped me
short. It was on PBS, so I called the station, and I got an address and a
telephone number. I called the next day and got a very hostile voice on the
phone. I told them who I was and that I had heard a little bit of their
material on television the night before, and I would like to talk to them
about making records. So he said, "Well, if you want to hear it, man, you
gotta come up here, and you have to be alone." Real hostile shit! So I
said, "Where's up here?" and he made a date with me at 137th Street and
Lennox Avenue. So, I went up there, and it was a schoolyard with two old,
funky basketball courts with rims and no nets. I looked over at one of the
courts, and there was a whole bunch of black guys - must have been 25 of
them - standing there. I got out of the car and walked over, thinking,
"This is either suicide or a great sign." As I got there, the crowd kind of
separated, and these four guys were left. There were three rappers and a
conga player standing underneath a basket. They pointed at the foul line
and said, "You stand there," and they did the material that ended up on the
first album with me. So I said, "Come to the studio with me right now, and
we'll record this. If you like the tape, we'll do a deal; if you don't like
it, you take the tape with you." They thought that was reasonable. They all
jumped in my car, and we went down to a friend of mine's studio on 66th
Street, and we recorded the whole thing in one afternoon. They liked it. I
got whatever money together I could - $1,000 or something - and we did a
deal. I put the record out, and the rest is history.

Visit The Last Poets on the Web. Their official Web site is  under construction but will be back with a renewed vengeance. 😉  The Last Poets continue to communicate and express at this location,

Alan Douglas has engineered some of my favorite recordings bringing them to vivid  life. I appreciate immensely the work he did with John McLaughlin on a recording I savor royally, Devotion.

The powerful synergy of Alan Douglas and Bill Laswell working in combination at Douglas Records is very compelling. (You can’t tell me Bill Laswell isn’t Alan Douglas’s direct descendant because the genetic DNA between and surrounding the two of them is ever present, especially when it comes to their studio engineering skills).

I expect great things of Bill Laswell in 2010, I am hoping we we might see the Carlos Santana, Bill Laswell studio work that will unearth more than Sonny Sharrock or Jimi Hendrix foundation they collectively share.

I plan to dig deeper into Alan Douglas and Bill Laswell’s unique doors of perception. There is much gold to pan from their efforts respectively.

Yours in electronic avant-garde,