Power Tools Strange Meeting 1987



Strange Meeting by Power Tools with Melvin Gibbs and Ronald Shannon Jackson (Antilles, 1987) Just So Happens with Gary Peacock (Postcards, 1994) American Blood/Safety in Numbers with Victor Bruce Godsey and Brian Ales (Intuition, 1995) Deep Dead Blue with Elvis Costello (Nonesuch, 1995). Power Tools Biography by Ron Wynn + Follow Artist. Experimental, hard-edged and intriguing trio that links surging rock, free-form jazz and funk. Power tools / strange meeting (repost). Charlie haden & jim hall / charlie haden & jim hal. Chris minh doky / cinematique. Sonny red / out of the blue (repost). Javier colina & antonio serrano / colina serrano p. Dudley moore / the other side of dudley moore. Wayne shorter / moto grosso feio / 1970. Apr 18, 2011 A Few Notes on Power Tools and Strange Meeting by David Breskin 5.6.2011 I met Shannon Jackson in the summer of 1979, when I was an intern at The Village Voice.

表演者: Power Tools
专辑类型: 专辑
介质: Audio CD
发行时间: 1987
出版者: Antilles
唱片数: 1
条形码: 0075679062727

简介 ······

fans of Last Exit should also check out this trio, led by mutual drummer Ronald Shannon Jackson and in this case featuring the guitar talents of Bill Frisell (Naked City, among other projects too numerous to list here) and the bass wizardry of Melvin Gibbs (whose most “famous” gig is probably with the Rollins Band, but also played in Jackson’s other project Decoding Society, ...(展开全部) fans of Last Exit should also check out this trio, led by mutual drummer Ronald Shannon Jackson and in this case featuring the guitar talents of Bill Frisell (Naked City, among other projects too numerous to list here) and the bass wizardry of Melvin Gibbs (whose most “famous” gig is probably with the Rollins Band, but also played in Jackson’s other project Decoding Society, Knitting Factory stalwarts Defunkt, Arto Lindsay’s post-DNA project Ambitious Lovers and no-wave greats The Contortions). playing it perhaps a bit more “straight” and lacking the sax-skronk that Peter Brotzmann brought to Last Exit, this group should nonetheless appeal to fans of the more “virtuostic” side of the 80s downtown-NY scene.

曲目 ······

1. Wolf in Sheep's Clothing
2. Wadmalaw Island
3. Unscientific Americans
4. Howard Beach Memoirs
5. When We Go
6. President's Nap
7. Song Is Not Enough
8. Blame and Shame
9. Unchained Melody

Power Tools Strange Meeting 1987Antilles New Directions
无论是一部作品、一个人，还是一件事，都往往可以衍生出许多不同的话题。将这些话题细分出来，分别进行讨论，会有更多收获。
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http://www.mediafire.com/?7zdmdbkhkvy Power Tools was a project from 1987 consisting of Bill Frisell on guitar, Melvin Gibbs on bass & Ronald Shannon Jackson on drums. They only recorded this one album, but it features some of Frisell's most brilliant play... (展开)

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Ronald Shannon Jackson died at his home in Fort Worth, Texas, this past October 19. Jackson was a renowned drummer, composer, and bandleader who supported some of the giants of avant-garde jazz, including Cecil Taylor, Ornette Coleman, and Albert Ayler. As a leader, he was instrumental in launching the careers of Bill Frisell, Billy Bang, Robin Eubanks, Vernon Reid, and Melvin Gibbs, among others. In recent years he continued pushing boundaries with adventurous players like Vijay Iyer, Joseph Bowie, and James “Blood” Ulmer.

In the May 1991 issue of Modern Drummer magazine, Jackson responded to reader Derek Scruggs, who asked him about the origins of his “stuttering groove” at the beginning of the track “Howard Beach Memoirs,” from Power Tools’ 1987 album Strange Meeting. The drummer’s answer provides insight into his musical and personal priorities.

“The figure you refer to in the opening of ‘Howard Beach Memoirs’ is created by playing African flams. Melvin Gibbs, the composer of this composition, is a towering, graceful man who grew up near the area of the nasty racial conflict [the piece was named after], which left one man dead and several young men having to live the rest of their lives with a needless killing on their consciences.

Power Tools Strange Meeting 1987 1992

“African flams are the conscious projection of rhythmic fluids converted to a solid state—yin-yang, right side to left, left to right. The left hand playing the left mounted tom…the right hand playing the right mounted tom…divided flams accentuated with compound 8th notes on the bass drum…the hi-hat playing modulating 2 and 4. Idea, emotion, and projections moving like a suspended cloud.

Antilles New Directions

“To breathe life into a rhythmic idea is the challenge. Anger is, at the surface level, very easy to trigger during these ‘nothing for sure’ days. Violence, in the air, is African flams on the drums. The Howard Beach conflict is the emotional material. Melvin Gibbs is the observer, historian, and reporter of this event. Bill Frisell is the angelic interpreter who weaves a harmonic collage that says ‘Shame, shame, shame’ from the left and ‘All sins are forgiven’ from the right. The overall mental auditory picture is a statement of life.”