Sandy Bull & The Rhythm Ace Live 1976 is a live album by folk guitarist Sandy Bull, released in 2012 through Drag City. It contains Bull's performance at the Berkeley Community Theatre on May 2, 1976.[2] Many of the pieces performed were never recorded for his albums, making their debut appearance on this release.[3]
After playing one song in his live set, guitarist/multi-instrumentalist Sandy Bull pauses to demonstrate the presets on his new-fangled drum machine. He bought the Rhythm Ace from Japan, and he goofs on the programmed marches, jazz waltzes, western lopes, bossa novas, and boleros that this "drummer" can provide. "Now I'd like to introduce the rest of the band here," he announces to the crowd at the Berkeley Community Theater, opening up for Leo Kottke on May 2, 1976. "We got Sandy Bull on rhythm guitar (he whistles and impersonates the crowd's roars), we got Sandy Bull on bass, and Mr. Rhythm Ace playing the kick-ass drum part." The crowd laughs, as no doubt the only sight is of Mr. Bull on his lonesome up on stage, with guitar, oud, four-track machine, and the Rhythm Ace as accoutrement.
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Unlike another posthumous live album of Bull's recorded in 1969 (opening for Fahey), Live 1976 finds Bull in full command of his live setup, tape, and drum machines buoying his flights. His eight-minute oud improvisation is mesmeric, and on "Driftin'", he teases salsa rhythms out of an homage to doo-wop group the Drifters, all while garlanding steel guitar figures atop it. His vocal turn on "Love is Forever" proves that for all of this instrumental prowess, none of the steel-stringers should have ever been let near a microphone.
ha, just came to post about that. was frantically searching for live bootlegs of sandy and saw this
can't wait! been reading chronic city finally, sandy bull content is an interesting detail.
sooo this new live thing RULES. seriously great stuff, sandy jamming with a drum machine. much better than that matrix show released a few years back (which has its moments but is also a mess). even the groovy tune sandy sings on is nice, shoulda been a hit!
just by chance, i happened to pick up Inventions and Fare Forward Voyagers at the same time, just the other day! i haven't put anything else on the turntable since, i'm obsessed. i didn't know anything about sandy bull, tbh. barely recognized his name. whatever genre he might sort of fit into - cosmic americana? - is part of yet another giant gap in my musical knowledge. i just saw the Vanguard logo, a rad looking fuzzed out dude with a squirrel on his head on the back, billy higgins (fuck YEAH) on drums, and decided to go for it. "Blend II" is something else, but his take on "Memphis, Tennessee" is the one that blows me away. Higgins is on the drums, of course, but otherwise it's just Bull accompanying himself. He recorded the underlying bass and rhythm guitar parts and then overdubs a smokey psych guitar lead in and around the simple vamps. the result reminds me of the vibe of Mulatu Astatke's recording of "Tezeta (Nostalgia)".
inventions was the first sandy bull i heard, and it still remains my go-to for him. the 20 minutes of "blend" fly by, every single time, and his "memphis, tn" somehow sounds appropriate in just about any listening situtation.
what's more, if you look at rick lopez's william parker sessionography, you'll find there's an alleged recording floating around out there which features parker, sandy bull, don cherry, along with ed blackwell AND roger blank.
Il banjoista e chitarrista newyorkeseSandy Bull comincio` come folksinger alla Woody Guthrie alla fine degli anni'50 a Boston, dove stava studiando composizione, ma, tornato a New York nel1961, divenne presto una delleattrazioni fisse dei club d'avanguardia(sia folk sia jazz) del Greenwich Village.In locali come il "Gaslight Cafe", dove suonava fin dal 1961, venne incontatto con il nascente free-jazz, e ne rimase profondamente influenzato. Enfant prodige della chitarra e del banjo, studente di jazz e di musica indiana,nel 1963 Bull incise il suo primo disco,Fantasias For Guitar & Banjo (Vanguard, 1963),con il solo accompagnamento del batterista di Ornette Coleman (Billy Higgins), permettendosi il lusso di una suite di ventidue minuti, Blend, per chitarra accordata come un banjo e batteria.Influenzata dal suonatore di oud Hamza El Din, con cui aveva condiviso unappartamento nel 1963 a Hollywood,Blend una sintesi cadenzata di improvvisazioni jazz, sincopi raga, accordi arabi e melodie folk, un trascinante excursus sonoro che esplora mondi favolosi filtrati dalla sensibilit di un cantastorie popolare, alternando fasilente e trascendenti a jam furibonde. L'atmosfera e` spesso psichedelica, due anni prima che nascesse la psichedelia.Fra gli altri brani del disco si distinguono alcuni arrangiamentidi musica classica per solo banjo o sola chitarra.A questo capolavoro diede un seguito con Blend II, sul successivoInventions For Guitar And Banjo (Vanguard, 1965), registrato nel 1964.E Pluribus Unum (Vanguard, 1970 -Sutro Park, 2009), registrato in gran parte nel 1968,e` il suo disco psichedelico.Suonato con una chitarra dal suono metallico, secco, ispido, antitetico altwang di Duan Eddy, il segnale elettrico e` diviso perquattro amplificatori diversi.Il disco contiene due lunghe meditazioni:Electric Blend (una "blend" per chitarra elettrica il cui segnale amplificato in quattro modi diversi), suite proiettata da accordi spaziali che continuamente salgono e scendono, preghiera intensa e soffusa scandita a ritmo di processione dai tamburi indiani, con la chitarra ad imitare le note nasali del sitar; e No Deposit No Return Blues, jam vibrante per chitarra, basso, batteria, oud, cimbalo hi-hat, cowbell, che si svolge in un lento ritmato crescendo di tocchi, di vibrazioni, di contrappunti,di echi, di rumori percussivi. Demolition Derby (Vanguard, 1972) completa la trilogia dell'epoca d'oro.Re-Inventions (Vanguard, 1998) raccoglie parte del materiale di queiprimi tre dischi.La tossico-dipendenza ne distrusse la carriera nel 1972, obbligandolo a dieci anni di silenzio (durante i quali peraltro imparo` a suonare ilsarod da Ali Akbar Khan) prima di riuscire a incidere altre "blend" suJukebox School Of Music (ROM, 1988):Truth (la reunion con Billy Higgins, dopo un quarto di secolo) e Continuum For Guitar.Bull tornera` ancora a incidere con Vehicles (Timeless, 1992),una raccolta di brani strumentali degnidel suo passato, all'insegna di unraga-funk per orchestra etnica, accompagnato dalpercussionista senegalese Aiyb Dieng.Steel Tears (Timeless, 1996) e` un album di "canzoni" che sono in granparte dedicate alle sue radici culturali e interpretate da alcuni ospiti.Still Valentine's Day (Water, 2006) documents a live 1969 performance.Sandy Bull & The Rhythm Ace documents a live 1976 performance.Bull died of lung cancer in april 2001. Sandy Bull was probably the single most original performer of the early 1960s.Alas, he was 30-40 years ahead of the rest of rock music, and therefore wasstill neglected at the end of the century. While the Merseybeat bands wereflooding the charts with idiotic three-minute ditties,Bull was already composing 20-minute long raga/jams that belongedto no known genre. These "blends" marked the first fantastic fusion of easternand western music, even before western musicians learned what a sitar was.
Virtually no encyclopedia or history of music mentioned his name, but SandyBull is probably one of the few musicians of the 1960s who will be mentionedin every encyclopedia and history of music centuries from now.The musical "blends" of Sandy Bull constitute a prodigious synthesis of antithetical idioms and one of the most lasting conquests of the vanguard folk. Away from Nashville how much him can be been, Bull didn't have anything from to divide with the dawning movement country-rock, but his lesson of creative individualism was fundamental to open new horizons to the kind that will be called " american primitivism ". Banjoist and guitarist Sandy Bull started as folksinger a` la Woody Guthrie at the end of the 1950s in Boston, where he was studying composition. When he returned to New York in 1961, he became one of the fixed attractions of the vanguard clubs of the Greenwich Village. In clubs such as the Gaslight Cafe, where he played since 1961, he came in contact with the dawning free-jazz scene, that deeply influenced him. Enfant prodige of the guitar and the banjo, student of jazz and Indian music, in 1963 Bull cut his first record, Fantasias For Guitar & Banjo (Vanguard, 1963) with the lone accompaniment of Ornette Coleman's drummer Billy Higgins, indulging in the luxury of a suite of twenty-two minutes, Blend, for guitar tuned as a banjo and battery.(Italian text translated by Tobia D'Onofrio)Blend, influenced by oud player Hamza El Din whoshared a Hollywood flat with Bull in 1963, is a rhythmic synthesis of jazzimprovisation, raga syncopations, Arabic chords and folk melodies, aninfectious sound excursus that explores fabulous worlds filtered through thefeeling of a folk story-teller, alternating slow and transcendent parts withfurious jams. The atmosphere is often psychedelic, two years before thepsychedelic movement was born. A few classical arrangements, for banjo orguitar only, stand out among the other tracks of the album.
Though mostly known as an instrumentalist, Bull, who died in 2001, dabbled in singer-songwriter material. The best of the bunch, by Sandy Bull and the Rhythm Ace (his early drum machine), is a live recording at Berkeley Community Theatre from May 2, 1976.
Yes, there is quite a bit. There are some very good quality recordings, both live and some studio, of the earliest form of Entourage, which was quite different musically from how it would evolve. In 1976, we were commissioned by the American choreographer, Murray Louis, to create a two hour score for the ballet, Cleopatra, for the Royal Danish Ballet. While a number of tracks were issued by Tompkins Square in 2018, there are still quite a few unreleased recordings, all in excellent quality. be457b7860
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