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This is where all of culture and all of time are collapsed into one seductive portal and viewed through the panoramic lens of the exotic. Come and embark on an armchair-travel virtual-voyage to the heart of timeless darkness and beyond; embrace the numinous monolith of the exotic immensity. Let us find that place where hybridization meets its destiny as pure fantasy. Let us become observers observing those others who are ourselves. You wear your mask and I'll wear mine.
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January 27, 2022: Lost Continents, Ancient Temples, Forbidden Islands
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Artist | Track | Album | Label | Year | Approx. start time |
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Intro | |||||
Joël Vandroogenbroeck | Lemuria | Lost Continents | Coloursound Library | 1980 | 0:01:40 (Pop-up) |
Francisco López | Lemuria | Ha! Ha! Among The Trumpets | Sound of Pig | 1986 | 0:04:28 (Pop-up) |
Gail Laughton | Lemuria 16,000 B.C. | Harps of the Ancient Temples | Rapture | 1969 | 0:09:32 (Pop-up) |
Paul Lloyd Warner & Steve Kindler | Lemurian Sunset / Cone of Shadows | Lemurian Sunrise | Waterfall Music | 1981 | 0:11:14 (Pop-up) |
Joël Vandroogenbroeck | Lemurian Scale / Lemurian Harmonics | Lost Continents | Coloursound Library | 1980 | 0:15:50 (Pop-up) |
Sun City Girls | The Fine-Tuned Machines of Lemuria | You're Never Alone With A Cigarette | Majora | 1990 | 0:21:08 (Pop-up) |
Sun Ra and His Astro Infinity Arkestra | Lemuria | Atlantis | Saturn Research | 1969 | 0:33:05 (Pop-up) |
Joël Vandroogenbroeck | Lost Continent | Lost Continents | Coloursound Library | 1980 | 0:38:05 (Pop-up) |
Music behind DJ: |
King Kong Escapes |
0:40:27 (Pop-up) |
|||
Clyde Derby | Lost Island | Derby's Second Touch | Ruby Records | 1964 | 0:46:53 (Pop-up) |
The Surfmen | Forbidden Island | The Sounds of Exotic Island | Somerset Stereo-Fidelity | 1960 | 0:49:36 (Pop-up) |
The Islanders | Paradise Lost | The Enchanted Sound of The Islanders | Mayflower | 1960 | 0:51:46 (Pop-up) |
Frank Hunter and His Orchestra | Lost Plateau | White Goddess | Kapp | 1959 | 0:54:19 (Pop-up) |
Elisabeth Waldo | On the High Plateau | Realm of the Incas | GNP | 1962 | 0:56:12 (Pop-up) |
Les Baxter | Gardens of the Moon | The Sacred Idol: Strange and Exotic Music Keyed to the Mysterious Legends of the Feathered Serpent of the Aztecs | Capitol | 1960 | 0:59:57 (Pop-up) |
Tak Shindo | Moon Over a Ruined Castle | The Yellow Unicorn | Imperial | 1960 | 1:02:05 (Pop-up) |
Dominic Frontiere and His Orchestra | Moon Goddess (Ixchel) | Pagan Festival: An Exotic Love Ritual for Orchestra | Columbia | 1959 | 1:04:29 (Pop-up) |
Robert Drasnin | Chant of the Moon | Voodoo: Exotic Music From Polynesia And The Far East | Tops | 1959 | 1:07:09 (Pop-up) |
Les Baxter | Lost City | African Jazz | Capitol | 1959 | 1:09:38 (Pop-up) |
Elisabeth Waldo and Her Concert Orchestra | Ritual of the Human Sacrifice | Rites of the Pagan - Mystic Realm of the Ancient Americas | GNP | 1960 | 1:12:41 (Pop-up) |
Yma Sumac | Sauma (Magic) | Legend of the Jivaro | Capitol | 1957 | 1:14:52 (Pop-up) |
Russ Garcia And His Orchestra | Volcanoes of Mercury | Fantastica - Music From Outer Space | London Records | 1958 | 1:18:23 (Pop-up) |
Martin Denny | Volcano | My Tane (My Man) / Volcano 7" | Liberty | 1960 | 1:22:27 (Pop-up) |
Paul Page and his Paradise Music | Mele Of Forgotten Men (A Chanted Story) | Pacific Paradise | Subliminal Sounds | 2018 | 1:24:36 (Pop-up) |
Elisabeth Waldo | Saycusca! (The Weary Stones) | Realm of the Incas | GNP | 1962 | 1:28:40 (Pop-up) |
Les Baxter | Mountains of Mystery | Barbarian | American International Records | 1960 | 1:32:08 (Pop-up) |
Frank Hunter and His Orchestra | Mist of Gorongoza | White Goddess | Kapp | 1959 | 1:37:06 (Pop-up) |
Les Baxter, His Chorus and Orchestra | Wotuka | Tamboo! | Capitol | 1955 | 1:39:29 (Pop-up) |
Werner Müller and His Orchestra | The Banquet | East of India | Decca | 1959 | 1:41:49 (Pop-up) |
The Islanders | Forbidden Island | Forbidden Island / City Under the Sea 7" | Mayflower | 1960 | 1:44:08 (Pop-up) |
John McFarland | Forbidden | Provocatif: 9 Exotic Motifs | United Artists | 1959 | 1:46:21 (Pop-up) |
Martin Denny | Forbidden Island | Forbidden Island | Liberty | 1958 | 1:49:00 (Pop-up) |
Stan Applebaum, His Orchestra and Chorus | Undiscovered Island | A Touch of Green / Undiscovered Island 7" | Warner Bros | 19?? | 1:51:47 (Pop-up) |
Music behind DJ: |
Mondo Island |
1:54:30 (Pop-up) |
|||
Joël Vandroogenbroeck | Mu Ensemble | Lost Continents | Coloursound Library | 1980 | 2:08:27 (Pop-up) |
Ranta / Lewis / Plank | Mu IV | Mu | Metaphon | 1970 / 2010 | 2:10:23 (Pop-up) |
Sun Ra and His Astro Infinity Arkestra | Mu | Atlantis | Saturn Research | 1969 | 2:34:21 (Pop-up) |
Don Cherry | Sun of the East / Terrestrial Beings | "Mu" First Part | BYG | 1969 | 2:38:41 (Pop-up) |
Joël Vandroogenbroeck | Mu Migrations | Lost Continents | Coloursound Library | 1980 | 2:51:04 (Pop-up) |
Music behind DJ: |
Bells Of My Soul |
2:54:01 (Pop-up) |
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NOTES FROM THE FIELD/Autumn in Europe: Part 2b/Austria and Hungary
I'm not sure what was more exhilarating, getting the chance to play Cherry's compositions with Hamid at one of my favorite music festivals in the world, or meeting so many friends and colleagues after more than two years of not seeing any of them in person. It was an overwhelming weekend, in the best sense. The concert Hamid and I played at CvD was a remarkable experience: the setting, surrounded by Moki Cherry's artwork; Hamid's descriptions of meeting and working with Don Cherry that were shared with the audience; a chance to explore an overview of Don Cherry's compositional work, material he presented in the 60s (from "Complete Communion"), the 70s (from "Brown Rice," "Old And New Dreams"), and the 80s (from "Playing" and "El Corazón"). It was a circumstance that would be impossible to duplicate, how could we? But why would we? As always, the point was to go where the music suggested on the night itself, to discover where it would lead us and the audience. Though we utilized the same pool of compositions, I feel that's what we accomplished during our set on the opening night of the festival. The performance moved in completely different directions, revealing the strength of Don Cherry's compositions which, more and more, resemble the sensibility of Thelonious Monk's work to me. They seem to have always existed somehow- instantly memorable, timeless, perfect vehicles for inspired improvising. Though Hamid and I have been discussing collaborating on a project connected to Cherry's music since before the pandemic, and had been considering the idea of working with an expanded ensemble, playing this material as a duo now seems truly ideal. There is so much room for Hamid's melodic and rhythmic approach to the drums that, even though I've only been playing the tenor sax at these performances, it feels like we're already an orchestra. I am very, very happy both duo concerts were recorded because I'm sure that there will be a future release of this music.
very exciting that it likely to be released
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