I've been working as the Music Supervisor and Composer for a short documentary called "The Oak Park Story" directed by my old teacher from high school Valerie Soe. She was my teacher in the Film and Video department at School of the Arts in San Francisco. In fact, she just blogged about it here:
http://theoakparkstory.wordpress.com/2010/01/29/la-musica-de-the-oak-park-story/
I'm also working on the score to another documentary called CoInTelPro 101 for The Freedom Archives about the FBI's program to undermine leftist organizations. Here's the trailer with my intro music:
Friday, January 29, 2010
Thursday, January 28, 2010
Birthday Hambo
This weekend is Doug Engelbart's 85th Birthday and what he wants to do for his birthday party is dance the Hambo. If you don't know who Doug Engelbart is, you can read this book about his hypothesis of augmenting human intelligence using technology and collaboration.
So I borrowed an accordion and started practicing. The Hambo is a Swedish folk dance. The amazing Dandara Backen will lead the dance instruction portion, Eric Matsumo will play bass, and I'll play accordion. Here's how far I've gotten so far:
So I borrowed an accordion and started practicing. The Hambo is a Swedish folk dance. The amazing Dandara Backen will lead the dance instruction portion, Eric Matsumo will play bass, and I'll play accordion. Here's how far I've gotten so far:
Monday, January 25, 2010
Review: Circular Colectivo by Maldita Vecindad y Los Hijos del Quinto Patio
Gigantic Mexican rockstars Maldita Vecindad are back with their first album in over ten years, and diehard Maldita fans need not worry: it rocks.
The long awaited release is now out in Mexico and was recently picked up by Tomas Cookman's Nacional Records for release in the US and on iTunes, et all. The Mexican ska-sters churn out their signature high-energy ska with smart, politically conscience lyrics and tons of cool touches that make the record sparkle.
"El Paiz de No Pasa Nada" sets the pace for the album with the classic Maldita sound, reminiscent of their biggest hit "Pachuco," the driving snare drum and quick, tight guitar skanks pushing the rest forward. The poetic lyrics about the craziness of modern life come swirling through degenerative delays while Sax adds his signiture horn lines behind the rocking number. Follow it directly with "Quinto Patio Ska" and the Maldita sound is all there. Rocking guitar lines set it all up, and the energy comes right through.
A very cool intro to "Expedientes Marcianos" features dialogue from an old Mexican wrestling movie, with "Santo llamando al Blue Demon" setting up the interplanetary tale of underground resistance. The "alien" theme is continued on the next tune, "Sur del Sur," the coro "Voy a cruzarme hoy" set to a jumping Palo de Mayo rhythm and of course breaking down to the compulsory punk-ska sections. The outro has lead singer Roco spewing a tribute to all the countries of Latin America in a fast-paced montuno that inspires a renewed look at Bolivar's vision of a unified Latin America through the eyes of modern globalization.
"Pura Diversion," the story of the Fút Callejero, is the unofficial theme song of the FIFA Cup of Nations, and my vote is to make it official. Once again Maldita aims at rocking down global capitalism, this time through the good times enjoyed on the soccer field. Fútbol is the one place where the poor man can beat the rich one, el juego del barrio. By the way, "fútbol negocio no es de nosotros, sin comerciales, pura diversion," puts the essence of soccer into just a few poignant words indicative of the band's political outlook.
Overall the sound of the album is solid. The energy and excitement of this raw rock band is not lost in the pristine production and sharp sonic sculpting that Circular Colectivo boasts. All the swirling delays and effects just add to the passion behind Roco's vocals, the bright sparkle of Pato's guitars, and the driving force of the drums. The carefully crafted lyrics and thoughtfulness of the compositions don't detract from the rockingness of the songs. And the songs are not just shallow, pop-punk radio targeted schlock; Maldita has something to say, and not just lyrically. If McCluhan's thesis is correct and the medium really is the message, these guys are doing it right. It's the whole package, the music, the guests, the poetry, all coming together to deliver a powerhouse listening experience.
Veteran fans, rejoice. Newcomers, take notice. Maldita is back and rocking hard.
The long awaited release is now out in Mexico and was recently picked up by Tomas Cookman's Nacional Records for release in the US and on iTunes, et all. The Mexican ska-sters churn out their signature high-energy ska with smart, politically conscience lyrics and tons of cool touches that make the record sparkle.
"El Paiz de No Pasa Nada" sets the pace for the album with the classic Maldita sound, reminiscent of their biggest hit "Pachuco," the driving snare drum and quick, tight guitar skanks pushing the rest forward. The poetic lyrics about the craziness of modern life come swirling through degenerative delays while Sax adds his signiture horn lines behind the rocking number. Follow it directly with "Quinto Patio Ska" and the Maldita sound is all there. Rocking guitar lines set it all up, and the energy comes right through.
A very cool intro to "Expedientes Marcianos" features dialogue from an old Mexican wrestling movie, with "Santo llamando al Blue Demon" setting up the interplanetary tale of underground resistance. The "alien" theme is continued on the next tune, "Sur del Sur," the coro "Voy a cruzarme hoy" set to a jumping Palo de Mayo rhythm and of course breaking down to the compulsory punk-ska sections. The outro has lead singer Roco spewing a tribute to all the countries of Latin America in a fast-paced montuno that inspires a renewed look at Bolivar's vision of a unified Latin America through the eyes of modern globalization.
"Pura Diversion," the story of the Fút Callejero, is the unofficial theme song of the FIFA Cup of Nations, and my vote is to make it official. Once again Maldita aims at rocking down global capitalism, this time through the good times enjoyed on the soccer field. Fútbol is the one place where the poor man can beat the rich one, el juego del barrio. By the way, "fútbol negocio no es de nosotros, sin comerciales, pura diversion," puts the essence of soccer into just a few poignant words indicative of the band's political outlook.
Overall the sound of the album is solid. The energy and excitement of this raw rock band is not lost in the pristine production and sharp sonic sculpting that Circular Colectivo boasts. All the swirling delays and effects just add to the passion behind Roco's vocals, the bright sparkle of Pato's guitars, and the driving force of the drums. The carefully crafted lyrics and thoughtfulness of the compositions don't detract from the rockingness of the songs. And the songs are not just shallow, pop-punk radio targeted schlock; Maldita has something to say, and not just lyrically. If McCluhan's thesis is correct and the medium really is the message, these guys are doing it right. It's the whole package, the music, the guests, the poetry, all coming together to deliver a powerhouse listening experience.
Veteran fans, rejoice. Newcomers, take notice. Maldita is back and rocking hard.
Wednesday, January 20, 2010
Review: Africa by Philip Montalban
Philip Montalban continues in the tradition Afro-Nicaraguan music with this cool album of Soca, Palo de Mayo, and Reggae from the Atlantic Coast of Nicaragua. Singing in Spanish, English, and Misquito (a semi-indiginous language from the Misquito coast of Central America) Philip sings his songs of life from a struggling region of the world.
Originally from Bilwí (Puerto Cabesas in Spanish) on the Atlantic Coast of Nicaragua, Philip Montalban is half Misquito indian and half Afro-Nicaraguan. In the semi-autonomous Atlantic Coast Region of Nicaragua live a people whose heritage is mixed, stemming from the co-mingling of escaped African slaves, black caribbean immigrants, Moravian missionaries, Native Americans, Victorian British traders, Garifunas, Dutch, English and Spanish pirates, and of course the dominant culture of the politically defined nation of Nicaragua. In Bluefields and the rest of la costa region, Nicaraguans from Managua and beyond are known as "paniaman" (translation: Spanish [speaking] men) in the very caribbean-sounding dialect of English that is commonly spoken, and since the official language is Spanish the costeños live an existence increasingly influenced by the dominant hegemonic culture of Nicaragua.
Coming this rich and diverse cultural background it makes sense how Montalban here explores the musics of his region and beyond. Having got his start in the 1980's revolutionary Afro-Nicaraguan reggae band "Soul Vibrations," who rose to the position of Official Band of the First Lady under the Sandinista government, Montalban is aware and proud of his African yet uniquely Nicaraguan heritage. Here in "Africa" he delves deeper into the true position he holds as a cultural liaison between Latin and caribbean music. Fluent in English, Spanish, and Misquito, he let's them all loose here among the various rhythms deployed. Palo de Mayo, a style specific to the Bluefields region of Nicaragua, gets it's roots from the Maypole dance brought over by the British who set up trade posts along the Atlantic coast. The soca that is so popular in Nicaragua and throughout the Caribbean is well represented here, as is Montalban's own favorite, Afro-Nicaraguan reggae as only he can play it. In fact, no International Reggae enthusiast can have a complete collection without this shining example of authentic Nicaraguan Reggae performed by one of the genre's groundbreaking founders Philip Montalban.
Originally from Bilwí (Puerto Cabesas in Spanish) on the Atlantic Coast of Nicaragua, Philip Montalban is half Misquito indian and half Afro-Nicaraguan. In the semi-autonomous Atlantic Coast Region of Nicaragua live a people whose heritage is mixed, stemming from the co-mingling of escaped African slaves, black caribbean immigrants, Moravian missionaries, Native Americans, Victorian British traders, Garifunas, Dutch, English and Spanish pirates, and of course the dominant culture of the politically defined nation of Nicaragua. In Bluefields and the rest of la costa region, Nicaraguans from Managua and beyond are known as "paniaman" (translation: Spanish [speaking] men) in the very caribbean-sounding dialect of English that is commonly spoken, and since the official language is Spanish the costeños live an existence increasingly influenced by the dominant hegemonic culture of Nicaragua.
Coming this rich and diverse cultural background it makes sense how Montalban here explores the musics of his region and beyond. Having got his start in the 1980's revolutionary Afro-Nicaraguan reggae band "Soul Vibrations," who rose to the position of Official Band of the First Lady under the Sandinista government, Montalban is aware and proud of his African yet uniquely Nicaraguan heritage. Here in "Africa" he delves deeper into the true position he holds as a cultural liaison between Latin and caribbean music. Fluent in English, Spanish, and Misquito, he let's them all loose here among the various rhythms deployed. Palo de Mayo, a style specific to the Bluefields region of Nicaragua, gets it's roots from the Maypole dance brought over by the British who set up trade posts along the Atlantic coast. The soca that is so popular in Nicaragua and throughout the Caribbean is well represented here, as is Montalban's own favorite, Afro-Nicaraguan reggae as only he can play it. In fact, no International Reggae enthusiast can have a complete collection without this shining example of authentic Nicaraguan Reggae performed by one of the genre's groundbreaking founders Philip Montalban.
Wednesday, January 13, 2010
On Tour in NJ, NYC, DC
Just got back from a mini-tour with The Cuban Cowboys, it was rocking! We flew into Nueva Jersey on a Wednesday in January, and we played that night in a little Hoboken bar called Maxwell's. Maxwell's gets it's name because the whole surrounding area was once dominated by the Maxwell's Coffee factory, now converted to luxury condos where we stayed a few nights. The band that opened the show was Del Exilio, a band who's inspiration also comes from the Cuban-American experience. While the show was the least attended of the four, it did rock hard, and it was a great way to get the band warmed up for the rest of the tour.
Thursday from Hoboken we headed the short distance over to Jersey City, where we recorded an in-studio performance on WFMU 91.1 FM radio, with host Rob Weisberg. The show is called Transpacific Sound Paradise, and our set complete with interviews can be heard at http://www.wfmu.org/tsp as soon as it get up there. Later that night we met up with Kelly, la compañera de Raul Navarete, who took us to all her favorite spots on the Lower-East Side of Manhattan. We went to Congee Village for tasty Chinese food, then back to Kelly's apartment with a view and on to Gonzales y Gonzales where a live Salsa band was rocking. After that we headed to Brooklyn where supposedly Antibalas was playing at The Knitting Factory but we discovered that they had cancelled at the last minute. Instead we went to Rose, which was a chill little Brooklyn spot. We met up with Ezra Gale and Brian Lazarus, buddies of ours who had lived in the Bay for a time, and there was a very cool afrobeat-jazz-funk-experimental-electronica band playing for free. Didn't catch their name. We caught a cab back to the Lower-East-Side and crashed out at Kelly's.
Friday was the showcase gig that we came for. Trouble Worldwide (Alex Casazza's booking agency) and Barbes Records put on this showcase for the APAP conference. Chicha Libre, a sort of hipster Cumbia band from Brooklyn, warmed up the stage nicely for us to step up and deliver a compact, rocking set. This was the key gig for APAP so since we rocked it pretty hard we should be working a good amount this upcoming year. After our set was the ridiculously high-energy band Slavic Soul Party, on stage with like 10 horns, accordion, standing percussion, and a big Scottish guy in a kilt rocking the tuba. Afterwards we were talking to Olivier from Barbes Records and Chicha Libre, he sounded enthusiastic about the band since he had seen The Cuban Cowboys with the old East Coast band, and it was clear that we killed them. They gave us their CD "Sonido Amazonico" and also their side project "Las Rubias del Norte" which we listened to on the drive to DC. I gave them all Carne Cruda CDs in return.
We headed back to Kelly's for some late-night chillin' and had to head out in the morning to SIR to return the Toca Percussion gear that Javier had hooked up for the tour through his endorsement with that company. There we met Ayla and The Cowboy and hit the road for Washington DC.
After a pit stop at the Walt Whitman Rest Area on the New Jersey Turnpike, we got in to Washington DC where we had our show at the Kennedy Center. The Millennium Stage there has music 365 days a year for free, broadcast live on the Internet and archived on the Kennedy Center website at: http://kennedy-center.org/explorer/videos/?id=M4091
After the show, which we rocked, Jorge's friend from his high-school days took us out to dinner at a Chinese restaurant on New Hampshire and M, with lots of pictures of politicians up on the wall. He is now a lawyer in the Justice Department, and he showed us where to find some nightlife, which we found but ultimately decided to take it easy for the night. In the morning I got up and wanted to go check for some coffee in Georgetown, where Scully lived, and I found a spot called Baked and Wired. Heading back on the New Jersey Turnpike it was the Woodrow Wilson Rest Area this time, and back in Hoboken before sundown. Headed out to meet Kelly again and picked up some kick-ass donuts just as the spot was closing, and they hooked us up with a bunch extra. Kelly cooked a nice meal and had also invited over some local New York musicians including Gabo Tomasini, the percussionist from the band Bio Ritmo. We went over to Oliva, near Katz' famous deli where a very cool Cuban son quartet was playing. After a bit we headed to catch the Plan B band at a bourgie spot called Flute Champagne Speakeasy. By the time we got there they were on their last song, but it sounded good with a seven-piece horn section. From there we caught the PATH train back to Hoboken where on our walk home we hit up a 24-hour bagel spot. Up early and to the airport we were back in the Yay by 4pm. Another triumphant return.
Thursday from Hoboken we headed the short distance over to Jersey City, where we recorded an in-studio performance on WFMU 91.1 FM radio, with host Rob Weisberg. The show is called Transpacific Sound Paradise, and our set complete with interviews can be heard at http://www.wfmu.org/tsp as soon as it get up there. Later that night we met up with Kelly, la compañera de Raul Navarete, who took us to all her favorite spots on the Lower-East Side of Manhattan. We went to Congee Village for tasty Chinese food, then back to Kelly's apartment with a view and on to Gonzales y Gonzales where a live Salsa band was rocking. After that we headed to Brooklyn where supposedly Antibalas was playing at The Knitting Factory but we discovered that they had cancelled at the last minute. Instead we went to Rose, which was a chill little Brooklyn spot. We met up with Ezra Gale and Brian Lazarus, buddies of ours who had lived in the Bay for a time, and there was a very cool afrobeat-jazz-funk-experimental-electronica band playing for free. Didn't catch their name. We caught a cab back to the Lower-East-Side and crashed out at Kelly's.
Friday was the showcase gig that we came for. Trouble Worldwide (Alex Casazza's booking agency) and Barbes Records put on this showcase for the APAP conference. Chicha Libre, a sort of hipster Cumbia band from Brooklyn, warmed up the stage nicely for us to step up and deliver a compact, rocking set. This was the key gig for APAP so since we rocked it pretty hard we should be working a good amount this upcoming year. After our set was the ridiculously high-energy band Slavic Soul Party, on stage with like 10 horns, accordion, standing percussion, and a big Scottish guy in a kilt rocking the tuba. Afterwards we were talking to Olivier from Barbes Records and Chicha Libre, he sounded enthusiastic about the band since he had seen The Cuban Cowboys with the old East Coast band, and it was clear that we killed them. They gave us their CD "Sonido Amazonico" and also their side project "Las Rubias del Norte" which we listened to on the drive to DC. I gave them all Carne Cruda CDs in return.
We headed back to Kelly's for some late-night chillin' and had to head out in the morning to SIR to return the Toca Percussion gear that Javier had hooked up for the tour through his endorsement with that company. There we met Ayla and The Cowboy and hit the road for Washington DC.
After a pit stop at the Walt Whitman Rest Area on the New Jersey Turnpike, we got in to Washington DC where we had our show at the Kennedy Center. The Millennium Stage there has music 365 days a year for free, broadcast live on the Internet and archived on the Kennedy Center website at: http://kennedy-center.org/explorer/videos/?id=M4091
After the show, which we rocked, Jorge's friend from his high-school days took us out to dinner at a Chinese restaurant on New Hampshire and M, with lots of pictures of politicians up on the wall. He is now a lawyer in the Justice Department, and he showed us where to find some nightlife, which we found but ultimately decided to take it easy for the night. In the morning I got up and wanted to go check for some coffee in Georgetown, where Scully lived, and I found a spot called Baked and Wired. Heading back on the New Jersey Turnpike it was the Woodrow Wilson Rest Area this time, and back in Hoboken before sundown. Headed out to meet Kelly again and picked up some kick-ass donuts just as the spot was closing, and they hooked us up with a bunch extra. Kelly cooked a nice meal and had also invited over some local New York musicians including Gabo Tomasini, the percussionist from the band Bio Ritmo. We went over to Oliva, near Katz' famous deli where a very cool Cuban son quartet was playing. After a bit we headed to catch the Plan B band at a bourgie spot called Flute Champagne Speakeasy. By the time we got there they were on their last song, but it sounded good with a seven-piece horn section. From there we caught the PATH train back to Hoboken where on our walk home we hit up a 24-hour bagel spot. Up early and to the airport we were back in the Yay by 4pm. Another triumphant return.
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