Byron Allen - Interface (1979)

Interface - A Common Boundary Between Matter and Space.

Byron Allen's ESP album in 1965 is a widely loved early free jazz classic. Byron's only other album, recorded in 1979 in San Francisco is an odd affair. The first two tracks are beautiful pieces of free jazz. Slightly mellow, off kilter works that compare favorably with his earlier album. The ironically titled third track, 'No Time to Waste' is IMHO a complete waste of time in that it explores very a conventional melody for an EXTENDED period of time with very little free jazz spice, The last piece is called 'Drum Solo' though, oddly, it is not entirely a drum solo. Mr. Allen plays sporadically in the piece and I thought it was surprisingly interesting for a extended solo from a kid I never heard of with only occassional phrases from the veteran.

Byron's backup musicians are two unknown teenage musicians from San Francisco who don't seem to have any other recording credits to their name. Robbie Bitanga on 'guitar' (actually bass another odd misnomer on the album) and Tim Jordan on drums.

If you're like me, you'll skip tracks 3 and 4 but otherwise enjoy this album.

Side 1
1.) True Believer.
2.) Blues for Everyone
3.) No Time to Waste

Side 2
1.) No Time to Waste
2.) Drum Solo

ACC Productions
50 Oak Street
San Francisco, CA 94012

Enjoy!

Jalaleddin Takesh - Bellydance Music Vol. 2

Not your Father's bellydance record. Jalaleddin is an Azerbaijani American who spent the 70's making his psychedelic bellydance music in San Francisco. A very San Francisco / Marin in the 70's vibe. Near eastern music was playing nightly North Beach clubs of the era. Gilded Serpent documents this interesting moment in San Francisco culture and musical history.

The rock sensibilities show themselves more in side one's lone track 'Dance for Amir'. The organ is downright psychedelic and the guitar / oud interplay is fantastic. As Jalaleddin steps in, the proceedings take a much more truly Arabic feel. The mood can very widely across this album. Moments have the uncomfortable air of exploitation 'bellydance' albums but the great majority of the music is authentic, creative and full of surprises.



Jalaleedin currently runs a Azerbaijani restaraunt and plays for patrons nightly. Visit his restaurant
Enjoy this great album!

Ilahiler - Masterpieces of the Turkish Mystical Sufi Music (Kent)

I can't find any references to this online, historical or blogspot. Guess I've got a unique one for you. A beautiful recording. Very few pops and crackles. Enjoy!

Kurdish Music {UNESCO} 1972

Kurdish music is of Persian origin. It is closely routed in everyday life. In the Kurdish language, there is no concept to mean music, from which theories of some sort can be abstracted. The word "saz" refers as much to music itself as to the instruments. When a musician plays, he "works"; when he is "inspired," he knows "what he has to do." A musician is simply someone who plays an instrument while telling a tale or singing a song, to entertain or for dancing. Everything about music-making and performing is related in one way or another to everyday aspects of life. For them, a song cannot be sung the same if it is sung in the morning, in the evening, or at night; if it is sung by a young man or an old one; if it is sung up in the mountains, in the valley, or at sea. It is improvised accordingly.

Kurdish music has influenced the sound of del *.* for the last several years. Its heavy in both musical and metaphsyical terms. I have a deep reverence for these musical forms and the Kurdish spirit.

Enjoy it here!! Its out of print.

kiN and older releases by del *.*

My latest album is called kiN.
kiN download it here!!





Here's 2008's Choosing Problems album. Listen to me fall apart.

Choosing Problems



Next up is early '08's '500 Miles'. This one marks the beginning of tearing down the walls.

500 Miles

Ali Akbar Khan - Halfmoon - 1982





Two lesser played ragas with strict scale limitations. From the strict limitations comes the freedom in these ethereal pieces. Co-Produced by Henry Kaiser and David Karp. Metalanguage ML-122. Berkeley, CA.


[from the liner notes]

Rag Chhayant Alap was recorded on July 23, 1982 at the Bach Dancing and Dynamite Society, Half Moon Bay, CA.



Rag Malashri was record on Sept 19, 1982 at Fort Mason Center, San Francisco, CA.



The album was recorded digitally using a Song PCM F-1 digital converter, on Betamsx tape, with a Sony SLO-323 VTR. High frquency phase correction was accomplished using a Meyer Sound Labs filter network. The Sound was recorded with a Calrec Soundfield Microphone in stereo mic configuration.



In this rendering of Alap and Jor in Chhayanat, Ali Akbar Khan dwells on the subtle microtonal variations in pitch that are found in the sixth note (Dha), making a 'blue note' by mixing it with a flatted seventh. This performance also features the maestro's astounding use of meend, the sliders which, with one right hand pluck of the strings, produce fice to ten notes phrases of exquisite proportion.

Ali Kabar Khan and Swappan Chaudhuri, here expound Malashri in two speeds of teental (a sixteen beat rhythmic cycle). Khanashib make very subtle use use a hidden fourth degree to ornament the third; a raised fourth to ornament the fifth; and the seventh to ornament the tonic. With his starting rhythmic command he keeps the joyous mood inspired and sparkling.


get it here

del *.* albums are always free. Meyye is miwok for bird.

Meyye. These are some of my eastern tinged psychedelic brews; lots of instruments, sometimes noisy, sometimes not.
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Albums available through Deep White Sound

The full version of the Olema album and a condensed version of format c: are available through deep white sound Its a great label. Take a look.

Welcome to del *.*

Thanks for finding me. My music is available for free, find me on myspace or just leave a comment. thanks.