Air Modern

John Wasylko's Fresh Air 2011

2011-12-27T10:09:00.000-08:00

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Paul's Fresh Air Reunion Christmas 2011

2011-12-24T09:20:00.000-08:00

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Fresh Air Archives

2010-05-16T11:58:00.001-07:00

Presenting A
Fresh Air Retrospective

FRESH AIR was a late-night radio program which aired on WKSU during the seventies. The student-produced program had its historical roots in the sixties and by the early seventies had evolved into a structured format with a rock and roll basis. What was originally called "Underground Rock" was eventually called "Progressive Rock" or "Alternative Rock" and could be one of the ways to describe Fresh Air in the early 70's. As additional rock and roll styles appeared, Fresh air evolved past Progressive music alone and into a Progressive format. By the late 70's, programmers were incorporating Jazz Rock Fusion, New Wave, New Age, Folk, World Music, Avant-Guard Jazz, Psychedelic sounds, Rock in Opposition, German techno, minimalist, 20th century classical, and Electronic sounds into the mosaic that became Fresh Air.

Rock's most popular music was often incorporated in its early days, but there was a reverence and desire to discover and present lesser known groups, artists, and musical styles. The tendency in programming was to play less of a group once they became well-known. Since each night was programmed by that night's host, Fresh Air often had a slightly different feel and sound from one night to the next. Generally, announcing was less important than the quality, selection, and flow of the music. The various styles of music were selected to complement each other, and the smooth segue between pieces was the programmer's golden ring. The musical journey, movement from one style of music to another, and one mood to the next, was the ultimate goal. This is not to say that Fresh Air was a totally free-form format. There was an unwritten understanding of the "format", though hard to verbalize, which was executed easily by the staff.

As WKSU matured as an NPR station, most of the many block formats offered in the seventies began to take notice of the developing public radio programming principles. The Fresh Air staff learned and incorporated many audience building techniques and its following grew and stabilized. Features such as: The Import Album Premier, Domestic Album Premier, Industrial Wasteland ( interview program), and the featured Artist Of The Week, established Fresh Air in local ratings books. In the early eighties, WKSU eliminated several of the block formats, including Fresh Air and others, to provide a more consistent, and less varied public radio service for Northeastern Ohio.

The Shows

2010-05-16T11:13:00.000-07:00

Fresh Air 1

Fresh Air 2

Fresh Air #3

Fresh Air #4

Fresh Air #5

Fresh Air #6

Fresh Air #7

Fresh Air #8

Fresh Air #9

Fresh Air #10

Fresh Air #13

Fresh Air #14

Fresh Air #15

Fresh Air #16

Fresh Air #17

Fresh Air #18

Fresh Air #19

Fresh Air #20

Fresh Air #21

Fresh Air #22

Fresh Air #23

Fresh Air #24

Fresh Air #25

Fresh Air #26

Fresh Air #27

Fresh Air #28

Fresh Air #27

Fresh Air #28

Fresh Air #29

Fresh Air #30

Fresh Air #31

Fresh Air #32

Fresh Air #33

Fresh Air #34

Fresh Air #35

Fresh Air #35

Fresh Air #37

Fresh Air #38

Fresh Air #39

KUSF 06.26.09 Spotlight Peter Hammill DJ Paul Ciminero

2009-07-03T11:22:00.000-07:00

2008-11-04T07:54:00.000-08:00

2008-11-02T22:52:00.002-08:00

2008-11-02T22:44:00.003-08:00

Kraftwerk Interview with Ralf Hutter, Jeff Wootton 06-19-78

2008-05-23T09:18:00.000-07:00

FAMP-3 1st Hour

2008-04-22T11:14:00.000-07:00

FAMP-5 1st Hour

2008-04-22T11:03:00.002-07:00

FAMP-6 1st Hour

2008-04-20T17:07:00.001-07:00

http://homepage.mac.com/xerographicoppossum/.music/FAMP6-1.mp3

FAMP-7 1st Hour

2008-04-19T12:59:00.000-07:00

FAMP-8 1st Hour

2008-04-18T18:26:00.000-07:00

http://homepage.mac.com/xerographicoppossum/.music/FAMP8-1.mp3

FAMP-9 1st Two Hours

2008-04-10T20:56:00.000-07:00

Fresh Air Show # 2 first two hours

2008-03-03T17:28:00.000-08:00

Fresh Air Show # 1 first two hours

2008-03-02T09:56:00.000-08:00

Ken Nordine Interviewed by Paul Ciminero

2008-02-19T21:38:00.000-08:00

Peter Gabriel Interview by Bryan Chandler and John Wasylko 6-25-1978.

2008-02-19T19:02:00.000-08:00

Bryan Chandler is still a DJ today on KUSF, San Francisco
www.kusfarchives.com

Fresh Air Magazine #6

2008-02-18T18:02:00.001-08:00

Fresh Air Magazine #6

2008-02-18T18:00:00.003-08:00

Fresh Air Magazine #6

2008-02-18T17:51:00.001-08:00

Fresh Air Magazine #5

2008-02-18T17:35:00.003-08:00

Fresh Air Magazine #5

2008-02-18T17:33:00.001-08:00

Fresh Air Magazine #5

2008-02-18T17:24:00.003-08:00

Fresh Air Magazine #4

2008-02-18T16:16:00.003-08:00

Fresh Air Magazine #4

2008-02-18T16:13:00.003-08:00

Fresh Air Magazine #4

2008-02-18T16:12:00.003-08:00

Fresh Air Magazine #3

2008-02-18T16:00:00.001-08:00

Fresh Air Magazine #3

2008-02-18T15:59:00.001-08:00

fresh Air Magazine #3

2008-02-18T15:57:00.000-08:00

Fresh Air Magazine #2

2008-02-17T00:37:00.003-08:00

Fresh Air Magazine #2

2008-02-17T00:35:00.001-08:00

Fresh Air Magazine #2

2008-02-17T00:34:00.001-08:00

Ernie Krivda interviewed by Chuck Ruby, 8-1-1979.

2008-02-15T20:10:00.000-08:00

Ernie Krivda (born February 6, 1945 in Cleveland, Ohio as Krvda Ernö) is a jazz saxophone player.
Ernie Krivda began his professional career in 1963 with the Jimmy Dorsey Orchestra. During the 1960s he played in bands of two Cleveland legends, organist Eddie Baccus and guitarist Bill D'Arrango. Later, in the early 1970s, he became the leader of the house band of the Smiling Dog Saloon. There he shared the stage with Chick Corea, Elvin Jones, Herbie Hancock and many other jazz greats.
His stunning performances in this heady company inspired the late jazz critic Bernard Larait to write, "Ernie Krivda should be ranked with the top musicians in jazz." Alto saxophonist Cannonball Adderley heard Krivda and recommended him to Quincy Jones. After touring and recording with Jones, Krivda moved to New York and signed a contract with Inner City Records. A series of albums received great critical acclaim with reviews calling him "a major talent" and "one of the more important saxophonists of the decade."
Krivda has since recorded numerous additional albums, eighteen in all, and has appeared at such prestigious venues as The Kool Jazz Festival, The North Sea Festival and at Carnegie Hall. In the 1990s, Krivda continued to add to his discography with critically acclaimed recordings for Cadence, Koch International and C.I.M.P. Records. It was during this time that he founded The Fat Tuesday Big Band which has become something of a phenomenon in Northeast Ohio. He continued to tour including concerts in Los Angeles, Chicago and New York City.
He remains active in education as Artistic Director of The Cuyahoga Community College Jazz Studies Program in Cleveland, Ohio and touring clinician for The Yamaha Instrument Company. Among his most prestigious gigs was a tribute to Stan Getz at Cleveland's hallowed Severance Hall, home of The Cleveland Orchestra at which Krivda played Eddie Sauter's FOCUS. It was the first performance of this storied piece since Stan Getz played it in 1961.
Krivda has been the recipient of many Cleveland awards including the Free Times Readers Poll for Best Jazz Act, Best Swing Big Band and Best Horn Player. He has also won The Editors Choice of ClevelandSearch.com, as The City's Best Instrumentalist. He continues to be the subject of articles in national publications, such as Down Beat and Jazz Times Magazine, and his work is documented in The Encyclopedia of Jazz and many Jazz Record Guides.

Ken Nordine Promo Spots for WKSU-Raw Files

2008-02-14T23:09:00.000-08:00

Ken Nordine (born April 13, 1920) is an American voiceover and recording artist best known for his series of Word Jazz albums. His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that "you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice." [1]
The son of an architect, Ken Nordine was born in Cherokee, Iowa. In Chicago he attended Lane Technical College Prep High School and the University of Chicago. He has three sons with his wife Beryl whom he married in 1945. He initially attracted attention when he recorded the aural vignettes on Word Jazz on Dot in 1957. Word Jazz, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over a cool jazz background. He began performing and recording such albums at the peak of the beat movement and was associated with the poetry-and-jazz movement. However, some of Nordine's "writings are more akin to Franz Kafka or Edgar Allan Poe" than to the beats. [2] Many of his word jazz tracks feature critiques of societal norms. Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios.

Tin Huey interviewed by Evan Smith at the WKSU studios, 1979, just as their Warner Brothers album Contents Dislodged is released.

2008-02-14T22:55:00.000-08:00

http://kusfarchives.com/Music/Tin Huey.mp3

Laurie Anderson Interviewed by Carl Palmer and Lois Crane, 5-20-1981.

2008-02-14T22:42:00.000-08:00

Laurie Anderson (born Laura Phillips Anderson, on June 5, 1947, in Glen Ellyn, Illinois) is an American experimental performance artist and musician who plays violin and keyboards and sings in a variety of experimental music and art rock styles. Initially trained as a sculptor, Anderson did her first performance art piece in the late 1960s. Throughout the 1970s, Anderson did a variety of different performance art activities. She became widely known outside the art world in 1981 when her single "O Superman," reached number two on the UK pop charts. She also starred in and directed the 1986 concert film, Home of the Brave. [1]
She has also invented several devices that she has used in her recordings and performance art shows. In 1977, she created a "tape-bow violin" that uses recorded magnetic tape on the bow and a magnetic tape head in the bridge. In the late 1990s, she developed a "talking stick", a six-foot long, batonlike MIDI controller that can access and replicate different sounds. [2]

http://www.laurieanderson.com/

Peter Hammill interviewed by Paul Ciminero 6-10-78

2008-02-14T22:38:00.000-08:00

Paul Ciminero interviews Peter Hammill 2-24-79 after Kent State Performance

2008-02-14T22:25:00.000-08:00

Peter Joseph Andrew Hammill (born 5 November 1948) is an English singer-songwriter, and a founding member of progressive rock band Van der Graaf Generator. Most noted for his vocal abilities, his main instruments are guitar and piano. He also acts as a record producer for his own recordings, and occasionally for other artists. He has been married to his wife Hilary since 1978 and they have 3 children.
Biography

Peter Hammill was born in Ealing, west London, and moved with his family to Derby when he was 12[1]. He attended Beaumont College, Old Windsor, and Manchester University, where he studied Liberal Studies in Science.
Hammill's solo career began with Fool's Mate (1971), while Van der Graaf Generator were still active. To some extent it is difficult to separate Hammill's solo work during the 1970s from his work with the band, as he tended to be credited as the sole songwriter on the majority of the songs included on the band's albums, whilst conversely many of his "solo" albums feature all the members of Van der Graaf Generator playing on the recordings – the difference between the two scenarios seemed primarily to be who was paying for the sessions. In general, however, solo Hammill is concerned with more personal matters, while the band's songs deal with broader themes. His earlier work was largely existential in nature and many of his solo album lyrics are literary, poetic and amongst the most sensitive and intelligent and complex expressions of angst and a search for meaning in the history of music. Indeed, his work ranges from short simple riff-based songs to highly complex lengthy pieces. Mainly because of the strangeness of his music, his refusal to make anything resembling middle-of-the-road music, and the general absence of any smooth or glamorous sounds in his music, there is much debate amongst his admirers whether Hammill is to be considered a part of the so-called progressive rock scene. It appears to be very difficult to categorize his music. In many interviews Hammill has stated that he does not want to be put in the progressive rock music label, or any music label at all.
Hammill recorded a series of diverse albums during Van der Graaf Generator's three year hiatus between 1972 and 1974. Among these, Nadir's Big Chance (1975) is notable for its anticipation of punk rock. In a 1977 radio interview, John Lydon of the Sex Pistols played two tracks from the album and expressed his admiration for Hammill in glowing terms: "Peter Hammill's great. A true original. I've just liked him for years. If you listen to his solo albums, I'm damn sure Bowie copied a lot out of that geezer. The credit he deserves, has just not been given to him. I love all his stuff"[2].
Hammill's solo career resumed in earnest after the final demise of Van der Graaf Generator in 1978, and has continued to the present day. Many different styles of music appear in his work, among them avant garde electronic experiments (Loops and Reels; Unsung; Spur of the Moment), opera (The Fall of the House of Usher); solo keyboard accompaniment (And Close As This); solo guitar accompaniment (Clutch); and band recordings (Enter K).
Despite the complexity of his work, Hammill's output is prolific, typically with new albums once or twice a year. His catalogue varies between artful complexity in the late 1960s and early 1970s; raw, energetic new wave in the late 1970s and early 1980s; mature, expansive songform in the late 1980s and early 1990s; and slow, melancholic balladry in the late 1990s and 2000s. There are numerous exceptions to all of these phases, illustrating the difficulty of categorising Hammill's work.
Hammill's early records, like the VdGG albums, were released on Charisma Records. He parted company with them after pH7 (1979), and then released albums on a number of small labels. A Black Box came out on S-Type, a label run by Hammill and his manager Gail Colson. Enter K and Patience appeared on Naive, Skin and The Margin on Foundry and In A Foreign Town, Out of Water and Room Temperature on Enigma Records. In 1992 he formed his own label, Fie!, on which all his albums since Fireships have been released. The label's logo is the Greek letter phi (Φ), a pun on PH-I.
Hammill survived a heart attack in December 2003. He was awarded the prestigious Italian Tenco Prize for songwriting at the end of 2004.
In 2005, Hammill reformed Van der Graaf Generator. They recorded a new album, Present, released in April 2005, and from May-Nov 2006 played a series of well received concerts.
Between 2005 and 2007 Hammill has overseen the remastering of almost all of his pre-Fie! releases, and has also started similar work on his more recent catalogue. The last of the Charisma remasters was released in September 2007.
Hammill released his new album Singularity in December 2006. In 2007 several gigs by Van der Graaf Generator as a trio (minus David Jackson) have taken place in Britain and Europe, and plans for a studio recording are now underway (to be released in March 2008). Solo concerts will continue simultaneously.
[edit]Hammill's voice

Many consider Hammill's dramatic voice to be the most distinctive element of his music. As a former Jesuit chorister, his delivery is invariably middle class English (rather than Americanised), and ranges in tone from peacefully celestial to screaming rants (which are nevertheless highly controlled). Singing in registers from baritone to high falsetto, he growls, croons, shrieks and shouts in ways that have drawn comparison with the guitar playing of Jimi Hendrix.
[edit]Lyrics

Hammill's lyrics are another distinctive feature of his work. He has visited a number of recurring themes including: love; human relationships; ageing and death; human follies; politics; self-awareness and introspection; religion; and current affairs. He expresses these themes with a verbal dexterity that is rare in rock. His lyrics often include literary references. For example, the Norse names mentioned in the song Viking on Fool's Mate are characters in the Icelandic Eiríks saga rauða. (Judging by the spelling of the names, Hammill's source seems to have been Magnus Magnusson's 1965 translation.)
The science fiction themes of Van der Graaf Generator's lyrics are mostly absent in his later work. In 1974 Hammill published a book, Killers, Angels, Refugees (Charisma Books, London), a collection of lyrics, poems and short stories. This was later reissued by Hammill himself (Sofa Sound, Bath) and was followed by a sequel Mirrors, Dreams, Miracles (1982).

Official Website: http://www.vandergraafgenerator.co.uk/

Pat Metheny Interviewed at WKSU studios at Kent State, 4-10-1978. with Chuck Ruby

2008-02-14T22:18:00.000-08:00

Biography

Metheny was born and raised in Lee's Summit, Missouri, a suburb south-east of Kansas City. Following his graduation from Lee's Summit High School, he briefly attended the University of Miami in Coral Gables, Florida. After Metheny withdrew from the University of Miami in his first semester, he was offered a teaching position.
Metheny came onto the jazz scene in 1975 when he joined vibraphonist Gary Burton's band and recorded Bright Size Life with bassist Jaco Pastorius and drummer Bob Moses.
Metheny's next recording, 1977's Watercolors, was the first to feature pianist Lyle Mays, Metheny's most frequent collaborator. Metheny's next album formalized this partnership and began the Pat Metheny Group, featuring several songs co-written with Mays; the album was released as the self-titled Pat Metheny Group on the ECM record label. Pat Metheny also has released notable solo, trio, quartet and duet recordings with musicians such as Jim Hall, Dave Holland, Roy Haynes, Gary Burton, Chick Corea, Pedro Aznar, Jaco Pastorius, Charlie Haden, John Scofield, Jack DeJohnette, Herbie Hancock, Bill Stewart, Ornette Coleman, Brad Mehldau, Joni Mitchell and many others.
Pat Metheny has also joined projects such as Song X with Ornette Coleman; Parallel Realities; and Jazz Baltica, with Ulf Wakenius and other Nordic Jazz players and plays with some great female musicians such as Silje Nergaard on Tell Me Where You're Going (1990), Noa on Noa (1994) and Anna Maria Jopek on Upojenie (2002).
Pat Metheny has been touring for more than 30 years, averaging 120-240 concerts a year. Metheny has written over 400 pieces and continues to push musical limits in both his composition and performance.
[edit]Pat Metheny Group

Main article: Pat Metheny Group
The Pat Metheny Group is a jazz band founded in 1977. The first Pat Metheny Group release, 1978's "Pat Metheny Group", featured the writing duo of Pat Metheny and pianist Lyle Mays, a collaboration which would span over 25 years and 15 albums. The recording featured the bass playing of Jaco Pastorius bass protégé Mark Egan. The second group album, American Garage (1980), was a breakout hit, reaching #1 on the Billboard Jazz chart and crossing over onto the pop charts as well, largely on the strength of the up-tempo opening track "(Cross the) Heartland" which would become a signature tune for the group. This early incarnation of the group included Dan Gottlieb (drums) and Mark Egan (bass).
The group built upon its success through constant touring across the USA and Europe. The early group featured a unique sound, particularly due to Metheny's Gibson ES-175 guitar and Mays' Oberheim and Sequential Circuits Prophet V synthesizers and Steinway piano. Even in this early state the band played in a wide range of styles from folk to rock to experimental. Metheny later started working with the Roland GR300 guitar synthesizer and the Synclavier guitar system made by New England Digital. Mays expanded his setup with the Synclavier keyboard and later with many other synthesizers.
From 1982 to 1985 the Pat Metheny Group released Offramp (1982), a live set Travels (1983), and First Circle (1984), as well as The Falcon and the Snowman (1985), a soundtrack album for the movie of the same name in which they collaborated with David Bowie. A single from the soundtrack, 'This Is Not America', reached number 14 in the British Top 40 in early 1985 as well as number 32 in the USA.
Offramp marked the first appearance of bassist Steve Rodby (replacing Mark Egan) and Brazilian "guest artist" Nana Vasconcelos whose work on percussion and wordless vocals marked the first addition of Latin music shadings to the Group's sound, a trend which would continue and intensify on First Circle with the addition of Argentinian multi-instrumentalist Pedro Aznar, which also marked the group debut of drummer Paul Wertico (replacing Danny Gottlieb) - both Rodby and Wertico were members of the Fred Simon Group at the time, and had played in Simon-Bard as well, in Chicago, before joining Metheny.
This period became a peak of commercial popularity of the band, especially for the live recording Travels. First Circle would also be Metheny's last project with the ECM label; Metheny had been a key artist for ECM but left over conceptual disagreements with label founder Manfred Eicher. The next three Pat Metheny Group releases would be based around a further intensification of the Brazilian rhythms first heard in the early 1980s. Additional Latin musicians appear as guests, notably Brazilian percussion player Armando Marçal. Still Life (Talking) (1987) was the Group's first release on new label Geffen Records, and featured several popular tracks.
The album's first tune, "Minuano (Six Eight)," represents a good example of the Pat Metheny group compositional style from this period: the track starts with a haunting minor section from Mays, lifts off in a trademark Metheny jubilant major-key melody, leading to a metric and harmonically-modulated interlude creating suspense which is finally resolved in the original major theme. Another popular highlight was "Last Train Home", a rhythmically relentless piece evoking the American Midwest. The 1989 release Letter from Home continued this approach, even more relentlessly Latin, in its bossa and samba pieces.
Metheny then again delved into adventurous solo and band projects, and four years went by before the release of the next record for the next Pat Metheny Group, a live set entitled The Road to You, which featured tracks from the two Geffen studio albums amongst new tunes. The group integrated new instrumentation and technologies into its work, notably Mays' unique playing technique accomplished by adding midi-controlled synth sounds at command during acoustic solos via a pedal on the piano.
Mays and Metheny themselves refer to the following three Pat Metheny Group releases as the triptych: We Live Here (1995), Quartet (1996), and Imaginary Day (1997). Moving away from the Latin style which had dominated the releases of the previous 10 years, these albums were the most wide-ranging and least commercial Group releases, including experimentations with hip-hop drum loops, free-form improvisation on acoustic instruments, and symphonic signatures, blues and sonata schemes.
After another hiatus, the Pat Metheny Group re-emerged in 2002 with the release Speaking of Now, another change in direction adding musicians to the band who are one generation younger and thus grew up with the Pat Metheny Group. The new members on the bandstand are the drummer Antonio Sanchez from Mexico City, trumpet player Cuong Vu and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon.
The latest release, 2005's The Way Up, is another large concept record which consists of one 68 minute-long piece (although split into four sections solely for CD navigation), a tightly organized, but not through-composed piece based on a pair of three-note kernels: The opening B, A#, F# and the derived B, A, F#. The reception of The Way Up was consistent, with standing ovations in each of the almost 90 concerts during the world tour 2005. On The Way Up, harmonica player Grégoire Maret from Switzerland was introduced as a new group member, while Richard Bona contributed only as a guest musician.
During the world tour Brazilian multi-instrumentalist Nando Lauria completed the line-up of the PMG. The Way Up was released through Nonesuch Records and all of Metheny's Geffen and Warner Brothers back catalogue is to be released on the label. Core members of the group are leader and founder, guitarist Pat Metheny, Lyle Mays (piano, keyboards) and Steve Rodby (double and electric bass) who joined in 1980. Drummer Paul Wertico, replaced Dan Gottlieb in 1983, and continued to play with the group for more than 18 years, until he was replaced by Antonio Sanchez, currently also a member of The Pat Metheny Trio.
The current Pat Metheny Group members are Pat Metheny (guitars), Lyle Mays (piano and keyboards), Steve Rodby (double bass, electric bass), Antonio Sanchez (drums), Cuong Vu (trumpet). Other musicians that have been hired regularly for Metheny Group tours are: Mark Ledford (vocals, trumpet, guitar); David Blamires (vocals, miscellaneous instruments); Armando Marçal (percussion); Pedro Aznar (vocals, guitar, percussion); Richard Bona (vocals, guitar, bass & percussion). On the most recent tour to promote the record 'The Way Up', Grégoire Maret (harmonica, percussion, vocals) and Nando Lauria (guitar, percussion, vocals) joined the Group. Pat Metheny has collected 17 Grammy Awards with, as part of The Pat Metheny Group, ten consecutive Grammys.

Oregon, Paul McCandless interviewed by Jeff Esworthy 10-24-79

2008-02-14T22:10:00.000-08:00

The origins of the group go to Oregon in the second half of the 60s. Ralph Towner and Glen Moore, the founder of the group. In the late 60s - the (incorrect) legend after they first met at the legendary Woodstock festival - came to Collin Walcott. 1972 Paul McCandless came later, with Walcott and Towner already together in the Paul Winter Consort played to the group. That was the main cast of the Quartet.
Until 1980, the quartet lot on tour and played in Europe. In the time developed the game of the group is not uniform, but served a whole range of jazz styles.
1980, the Group made a creative break for only a year later with a new sound on stage. With its electronic elements was this sound in the 1980s to date. The modified group sound is mainly due to Ralph Towner and his newly discovered passion for the keyboard, but also to the aesthetics of the ECM producer Manfred Eicher.
1984 Collin Walcott died in a car accident. After the group had decided to keep going, Trilok Gurtu 1985 sat for the next concert on drums. The studio album Beyond Words 1995, the three musicians played (Towner, Moore and McCandless) then alone. A year later, as the fourth musician Mark Walker, initially only for a few pieces.

Official Site: http://www.oregonband.com/

Malcolm Dalglish, Grey Larson Interviewed by Jeff Esworthy and Jeff Wootton

2008-02-14T22:03:00.000-08:00

Malcolm Dalglish (b. August 14, 1952) is an American hammered dulcimer player and builder, composer, and choral director.
A virtuoso performer on the hammered dulcimer, he is a former member of the folk/Celtic trio Metamora and has performed frequently with the percussionist Glen Velez. In addition to the dulcimer, Dalglish also plays the spoons and bones (both traditional American percussion instruments). He also composes prolifically for choir, and many of his compositions are for choir with dulcimer accompaniment. He has received more than 50 commissions to compose for choirs around the world. He played the hammered dulcimer in the score for the 2002 film Tuck Everlasting. Several of his songs with the Ooolite choral group come from the poetic work of Wendell Berry.
Dalglish attended Oberlin College and the University of Cincinnati College-Conservatory of Music. He lives in Bloomington, Indiana, where his publishing company, Ooolitic Music, is based.

Official Websites:

http://www.oooliticmusic.com/

http://www.greylarsen.com/

Larry Coryell Interviewed by Chuck Ruby 1979

2008-02-14T21:57:00.000-08:00

Larry Coryell (April 2, 1943-) is an American jazz fusion guitarist.
He was born in Galveston, Texas, in 1943. After graduating from Richland High School in eastern Washington, he moved to Seattle to attend the University of Washington. In 1965, Coryell moved to New York City where he became part of Chico Hamilton's quintet, replacing Gabor Szabo. In 1967 and 1968, he recorded with Gary Burton and Jim Pepper. His music during the late 1960s and early 1970s combined the influences of rock, jazz and eastern music. He formed his own group, The Eleventh House, in 1973. Following the break-up of this band, Coryell played mainly acoustic guitar, but returned to electric guitar later in the 1980s. In 1979, Coryell formed "The Guitar Trio" with jazz fusion guitarist John McLaughlin, and flamenco guitarist Paco de Lucia and toured Europe briefly, eventually releasing a video recorded at Royal Albert Hall in London entitled "Meeting of Spirits". In early 1980 Larry was replaced by Al Di Meola, due to drug addiction.
With over 60 recordings under his belt, Larry continues to be a groundbreaking force in the guitar world. He currently lives near Orlando, Florida, and still continues to perform and write music. Larry's two sons, Julian Coryell and Murali Coryell are also actively involved in the music business.

Official Site :http://www.larrycoryell.net/news.php

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Renaissance, John Trout, Terrance Sullivan Interviewed by Jeff Wootton 07-13-79

2008-02-14T21:47:00.000-08:00

Former Yardbirds members Paul Samwell-Smith, Keith Relf, and Jim McCarty organised a new group devoted to experimentation between rock, folk, and classical forms. This quintet (Relf on guitar & vocals, McCarty on drums, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane Relf as an additional vocalist) released a pair of albums on Elektra (US) and Island (UK), the first one being produced by Samwell-Smith, but dissolved quickly, leaving McCarty to reform the band into a very different lineup, though McCarty also soon departed.
The reconstituted lineup that was eventually settled on was the best-known of the band's history, and consisted of Annie Haslam (vocals), Michael Dunford (acoustic guitar), John Tout (piano), Jon Camp (bass/vocals) and Terence Sullivan (drums). This new Renaissance -- with Dunford in a composer-only role for the time being, and Rob Hendry (electric guitar) filling the guitarist's chair -- released Prologue in 1972 on Sovereign Records (UK). The music was written by Dunford and McCarty, with lyrics by poet Betty Thatcher. Hendry departed (to be ultimately replaced by Dunford) as the group turned away from the electric guitar in their music.
In the 1970s, Renaissance had a commercially successful career, their sound similar in many ways to folk rock with classical overtones. Renaissance included in their songs quotations and allusions from such composers as Bach, Chopin, Albinoni, Debussy, Rachmaninoff, Rimsky-Korsakov, Prokofiev and others. Renaissance's records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations, such as WNEW-FM, WHFS-FM,KSHE 95 and WVBR.
Renaissance scored a hit single in England 1978 with Northern Lights,which reached #10 there during the summer of 1978. The single was taken from the album A Song for All Seasons, but the band floundered following 1979's Azure D'or, as fans were unhappy with the band's turn towards synthesizers, a path followed by most progressive rock bands at one time or another. Camp had assumed more of the band's songwriting, and Tout and Sullivan left. Haslam, Dunford and Camp released a pair of albums in the 1980s and then broke up. Their albums were not available on CD for some time, though a pair of compilations were issued in 1990. During the 1990s and the current decade, though, much of their catalog has been re-released by reissue record labels such as Repertoire Records (Germany), Wounded Bird Records (US) and the now-defunct HTD Records (UK).
In the late 1990s, both Haslam and Dunford formed their own bands using the name Renaissance, and have released albums with different line-ups.
The band reformed in 2000 to record the Tuscany album and played one concert at the Astoria in London before embarking on a short Japanese tour. Haslam subsequently announced that the reunion would not be continuing, and Terry Sullivan later recorded an album in the Renaissance style with lyrics by Betty Thatcher Newsinger and keyboard contributions by John Tout.
In 2005, Annie Haslam announced that Renaissance had broken up for good.
[edit]Personnel

The original 1969 line-up comprised Keith Relf (vocals, guitar, harmonica), Jim McCarty (drums, vocals), John Hawken (keyboards), Louis Cennamo (bass) and Jane Relf (vocals). This lineup released Renaissance (1969) and appeared on most of Illusion (1971). (Note: The following list includes temporary replacements & sidemen.)
1970 - Added Terry Crowe (vocals), Terry Slade (drums) replaced McCarty, Neil Korner (bass) replaced Cennamo, Mick Dunford (guitar) replaced Keith Relf. This lineup recorded one track for Illusion (1971).
1970 - Binky Cullom (vocals) replaced Jane Relf
1970 - John Tout (keyboards) replaced Hawken
1971 - Annie Haslam (vocals) replaced Cullom
1971 - Danny McCullough (bass) replaced Korner
1971 - Frank Farrell (bass) replaced McCullough
1971 - John Wetton (bass) replaced Farrell
1972 - Crowe left, Terence Sullivan (drums) replaced Slade, Jon Camp (bass, guitar, vocals) replaced Wetton, Mick Parsons (guitar) replaced Dunford
1972 - Rob Hendry (guitar) replaced Parsons (who had died in a car accident). This lineup released Prologue (1972).
1973 - Peter Finer (guitar) replaced Hendry
1973 - Mick Dunford (guitar) replaced Finer. This lineup released Ashes are Burning (1973) through Azure D'or (1979).
1981 - Peter Barron (drums) replaced Sullivan, Peter Gosling (keyboards) replaced Tout. This lineup released Camera Camera (1981).
1983 - Gavin Harrison (drums) replaced Barron, Mike Taylor (keyboards) replaced Gosling
1984 - Greg Carter (drums) replaced Harrison, Raphael Rudd (keyboards, harp) replaced Taylor
1985 - Charles Descarfino (drums) replaced Harrison, Mark Lampariello (aka Mark Lambert) (bass, guitar) replaced Camp
1998 - Terence Sullivan (drums) replaced Descarfino, Roy Wood (bass, keyboards, percussion) replaced Lampariello, John Tout (keyboards) replaced Rudd
1998 - Alex Caird (bass) replaced Wood, Mickey Simmonds (keyboards) replaced Tout
2001 - David Keyes (bass) replaced Caird, added Rave Tesar (keyboards)

Jean Luc Ponty Interviewed by Al Bartholet

2008-02-14T21:39:00.000-08:00

Ponty is the son of a violin teacher, who began his instruction before he moved on to the Paris Conservatory. By the mid 1960s he had moved towards jazz, recording with Stéphane Grappelli and Stuff Smith. Ponty's attraction to jazz was propelled by Miles Davis's and John Coltrane's music, which led him to adopt the electric violin. Critic Joachim Berendt wrote that "Since Ponty, the jazz violin has been a different instrument" and of his "style of phrasing that corresponds to early and middle John Coltrane" and his "brilliance and fire". [1]
In 1967 he visited the USA for the Monterey Jazz Festival [2] and then made an appearance on Frank Zappa's Hot Rats album.
Ponty subsequently worked with Stéphane Grappelli, the Mahavishnu Orchestra, and Frank Zappa, and appeared on more than 70 recordings. His symphonic style to jazz fusion made him a popular fusion artist of the 70's.
In 1972, he featured prominently on Elton John's Honky Chateau album.
In 1977 he pioneered the use of the 5-string electric violin, with a lower C string. He sometimes also uses a 6-string electric violin called the Violectra, with low C and F strings – not to be confused with the violectra he played from the late 1960s to the mid-80s which had 4 strings, but tuned an octave lower. Ponty was among the first to combine the violin with MIDI, distortion boxes, phase shifters, and wah-wah pedals. This resulted in his signature, almost synthesizer-like sound.
In 2005 Ponty formed the acoustic fusion supergroup TRIO! with legendary bassist Stanley Clarke and Banjo virtuoso Béla Fleck.

Horslips Interviewed by John Lockhart 04-24-78

2008-02-14T21:33:00.000-08:00

Horslips were a 1970s Irish rock band that composed, arranged and performed their own Celtic rock songs and music based on traditional Irish jigs and reels. They were one of the first, if not the first, of the Celtic rock bands of that era. Formed in 1970, they disbanded in 1980, although in 2005, the original line-up has regrouped and performed a small number of gigs.
Horslips were one of Ireland's leading rock groups of their era, although their success overseas was mixed, they came to be regarded as one of the defining bands of the celtic rock genre, with a revival of interest in their music in the late 1990's, among a whole new generation of fans.

Harmonium Interviewed by Jeff Wootton

2008-02-14T21:27:00.000-08:00

Harmonium was one of the most influential rock bands from Quebec. Lead vocalist and guitarist Serge Fiori met Michel Normandeau (vocals and guitar) in a theatre music meeting. Later on in 1973 they met bassist Louis Valois and became Harmonium. In November of 1973 the group performed their first air play on CHOM-FM. They played 3 tracks: "Pour un instant", "Un musicien parmi tant d'autres", and "Un refrain parmi tant d'autres". The first 2 songs were demos at the time and were later recorded professionally to be put on their first album, Harmonium. The last song was a sequel to "Un musicien parmi tant d'autres", but never made the album cut, staying as a b-side. Apart from the album, one single was recorded at the time: "Pour un instant", featuring 2 tracks (one on each side), the title song and "100,000 Raisons", only released on the CD version of the album almost 20 years later.
After many little shows and a small tour played all over Quebec, they were up for the second album. The album, sometimes known as Les Cinq Saisons, was actually named Si on avait besoin d'une cinquième saison. There were five songs on the album, one representing each season and the last song being the "new" season. For this album the band had three new members: Pierre Daigneault, playing the flutes, sax, and clarinets, Serge Locat, handling the piano and synths, and Judy Richards, who sings the melody of the fifth season in "Histoires sans Paroles".
The third disk, L'Heptade, is about the seven states of consciousness of a person (during a day, or during a life). The first and the last song are named "Comme un fou" and "Comme un sage", indicating a progression towards wisdom.
In 2007, all three of Harmonium's studio albums were named among the 100 greatest Canadian albums of all time in Bob Mersereau's book The Top 100 Canadian Albums. They were the only francophone albums from Quebec named to the list besides Jean-Pierre Ferland's Jaune.

Happy The Man Interviewed by Jeff Wootton

2008-02-14T21:20:00.000-08:00

Happy The Man are an American progressive rock band primarily from the 1970s specializing in virtuoso instrumental tracks within complex time signatures.
The group formed in 1972 and recorded two albums, after which keyboardist Kit Watkins decided to leave the band to join Camel. The group put together their unreleased material and released a "final" album in 1983.
The band continued to be a cult favorite in progressive rock circles even after they broke up. In 2000, the group reformed for NEARfest joined by David Rosenthal on keyboards, and they released a new album in 2004: The Muse Awakens. Whitaker and Wyatt have released another album, Pedal Giant Animals since, and have formed a new band, Oblivion Sun.

http://www.happytheman.com/

The Muffins Interviewed

2008-02-14T21:11:00.000-08:00

The Muffins have long been noted for the way they craft memorable themes with adventurous musical structures and this is no exception. In addition, it is the band's most instrumentally rich work, featuring an unprecedented number of musical guest appearances. Two principal members of the Sun Ra Arkestra, Marshall Allen and Knoel Scott, play sax on several tracks, while longtime Muffins contributor, Doug Elliott, contributes excellent trombone parts to half the pieces and string players also contribute.

Vivian Stanshall Bonzo Dog Band interviewed by Evan Smith WKSU 1979

2008-02-14T21:01:00.000-08:00

http://www.kusf-archives.com/2009/09/kusf-092009-6-8-pm-spotlight-vivian.html

Softmachine Tree

2008-02-14T02:39:00.001-08:00

Fresh Air Show # 2

2008-02-13T21:46:00.000-08:00

http://www.airmodern.com/media/FAMP 2 1.mp3

fresh Air Magazine #1

2008-02-13T21:29:00.001-08:00

Fresh Air Magazine #1

2008-02-13T21:28:00.000-08:00

Fresh Air Show #1

2008-02-12T08:59:00.001-08:00

Daevid Allen Interviewed by Jeff Wootton-Divided Alien Clockwork Tour 07-09-80

2008-02-11T21:50:00.000-08:00

Fresh Air Sign Off

2008-02-10T19:43:00.000-08:00

http://www.ab-cd.com/mp3s/airmodern/WKSU-SignOff.mp3

Gentle Giant Ray Schulman interviewed by Jeff Wootton 8-13-78.

2008-02-10T19:31:00.000-08:00

Mark Bloch Interview about Fresh Air

2008-02-10T08:53:00.000-08:00

Fresh Air was a cool alternative show on the radio in Kent, Ohio in the 1970s. WKSU-FM was an NPR affiliate on the campus of Kent State University. It still is. There was a lot of great programming on that station. I did The Morning Show on the weekends. Exploration Jazz, which played stuff like Ornette Coleman and Don Cherry and Cecil Taylor. Really crazy stuff. There were other jazz shows less wild but that was the one I did. And then Fresh Air was this show on every night from 11 to dawn. There is a whole site about Fresh Air here. We played fantastic music. Tangerine Dream, Vangelis, Eno. Soft Machine. Gentle Giant. Van Der Graf Generator. All kinds of experimental stuff. This was in the late 70s. It was called progressive music. Still is.
Fresh Air WHAT IS IT is a documentary I made about the show. It tells part of the story. It is an MP3 in 4 parts.

By the way, we called our show Fresh Air before the Terry Gross show came along on NPR. Enjoy!

Thanks to Jeff Wooton and all the Fresh Air people.

Mark Bloch's Website:

http://www.panmodern.com/

http://www.ab-cd.com/mp3s/airmodern/Fresh Air WHAT IS IT whole show.mp3

Snakefinger, Phillip Lythman interviewed by John Wasylko and Evan Smith, recorded 2-18-1979, broadcast 4-15-79, rebroadcast 7-9-80.

2008-02-09T23:31:00.001-08:00

Warren Cann, Ultravox interviewed by Lois Crane, first broadcast 11-19-1980.

2008-02-09T23:00:00.000-08:00

John Marshall, the drummer from the Soft Machine Interviewed by Jeff Wootton

2008-02-09T22:26:00.000-08:00

Todd Rundgren Interview

2008-02-09T22:11:00.000-08:00

Talking Heads, Jerry Harrison interviewed by John Wasylko for WKSU broadcast on a Sunday in November, 1978.

2008-02-09T22:09:00.000-08:00

Philip Glass Interviewed by Jeff Esworthy

2008-02-09T22:05:00.000-08:00

Jeff Esworthy NOW:

http://minnesota.publicradio.org/about/people/jesworthy.shtml

Henry Wolfe Interviewed by Bryan Chandler

2008-02-09T20:59:00.000-08:00

The composer for the Tibetan Bells LP

http://www.ab-cd.com/mp3s/airmodern/Henry Wolfe 1-24-80.mp3

Francisco Lupica's Cosmic Beam Experience Interviewed by Jeff Wootton

2008-02-09T19:12:00.000-08:00

An Interview of Francisco at the same time:

Francisco Lupica Interview

by Positive Media Paul

(Webslave’s note: This is transcribed from a flyer picked up at a Cosmic Beam concert in 1978. I don’t know how to contact the author of this interview for permission to republish it, but believe it should be presented. Paul, if you’re out there, please get in touch.)

Francisco Lupica has given many years performing in California and around the nation developing his unique musical expression, which he calls the Cosmic Beam Experience. A versatile performer, he plays acoustic guitar, electric space guitar, drums, chimes, zither and an array of four steel channel beams, as well as unusual vocal effects. All this, combined with a specially designed sound system to produce a very full range of frequencies from very high, full mid and super low vibrations, creates an extraordinary sound experience.
While sitting with him in his beachside cottage, filled with the sounds of the ocean and the sweet scent of incense, I gaze upon this good gentle man and sense the significance of his future. I am aware that his music has provided many with nourishment and inspiring moments.
Much effort and growth have gotten his music to this point and I have asked him to share some of his feelings and motivations. Here is some of our conversation:

Paul: How do you relate to life? What is important to you?

Francisco: Feeling really nice inside, simple and free, clean. I love relating to the ocean and the sun. The energy of the sun sometimes makes me want to cry out and have everyone just wake up and recognize the joy of being alive, and being able to experience whatever your experience is. What’s my feeling about life? I’m learning more and more not to take it for granted.

Paul: What is it you are trying to express through your music?

Francisco: It is an extension of me. It is my apparatus to express myself. I am trying to share my innermost feeling of how I see and experience life.

Paul: Through your music you express feelings of health and vitality. Your concerts are more than just you on a stage and people sitting in an audience. It’s a complete environment that you endeavor to create. What is the basis of this environment?

Francisco: Well, I am working to provide a pure sound experience in harmony with enlightening visuals, laser images, video images, and film images, so that the audience can grasp or comprehend that there is more to life that what they perceive. It’s kind of like pushing a button to stimulate parts of the body that are numb.

Paul: So you believe that the sound you generate actually stimulate?

Francisco: Yes. Stimulate and enliven. One of the first comments people make is "Aha! I feel so high and I didn’t even get stoned." That’s real pleasing feedback for me because it shows me that the lifestyle that I have chosen to live or has chosen me, however you want to relate to that, is coming through the music. I surrender myself to the sun and I comprehend its infinite energy, then when I play I feel the sun shine and I share it with my music.

Paul: How did you get started?

Francisco: I was inspired about fifteen years ago buy a drummer named Sandy Nelson who did drum songs. I started with the attitude of doing drum solo music, but with lyrics and melodiousness. Through time I worked with many other musicians and bands - Travel Agency, Taj Mahal, Lee Michaels - before I came to LA looking for a record deal. That’s when I met Richard Bock, a producer of World Pacific Records, who brought Ravi Shankar to America. He introduced me to Ashish Kahn and to Indian music. He asked me and Ashish to join forces and that’s how the group Shanti was realized. So, I went okay and put my soloist trip away and started playing in Shanti which produced an album and was very close to being successful. When Shanti broke up I left the Bay area, which was where Shanti was based and came to Santa Barbara. Santa Barbara seemed to be the place I always went to for refuge and to get my head clear. After about three months of Shanti being over with and me wondering what to do next, and with an incredible amount of information within me, musically , because of Shanti, I had a vision and that’s how the Cosmic Beam Experience began. It just came to me in my meditations. I began building this experience about five years ago, and I have been true to that vision to the point where it is now. I did my first soloist concert on New Year’s Eve night, 1972 going into 73. It was sold out, my knees were shaking, my throat was dry as a desert, and I did it, and I have been doing it ever since.

Paul: So, do you just let the music flow through you or do you have some way of determining the sounds you generate?

Francisco: I have certain sign posts that I have set up, but no limits, no fences, just certain sign posts and if I happen to be near that sign post I go to it, if I’m not feeling in tune. I guess I am a radio on one degree, you could say, I just tune in to whatever frequency or station. All music is already available on any level. As I see it, we’re just vibrations, human bodies, trees, rocks, just all vibrations. And as humans we are fortunate to have the ability to become a radio or a receiver. My body, which is the house I live in, my temple, the cleaner it is the more far out it is, for me, this doesn’t mean anybody else, but for me. The more neat I feel internally and externally the higher the music. I feel much close to the music. The music is already here. I didn’t conjure it up or sit down for years to learn it. There is now a label to the next stage of life which is called New Age. What I think New Age music is, is people tuning into themselves and them music. The music from intunement is more nourishing and inspiring.

Paul: There are those that feel that new music forms and media techniques, NEw image capabilities, actually have an evolutionary role. Do you agree with this?

Francisco: Yes. The potential is phenomenal. The technology that is available today could change the whole planet but somehow, I guess, not enough people want it yet. There are handfuls of people like me and groups like Positive Media who want to provide experiences in the hopes of reawakening everyone, enlivening them through the senses which is OK because we are in the body and the masses of people are sensory oriented so that’s why media is unfolding more and more. We are a bunch of sensory freaks here on the planet earth. People like to be taken on trips. I guess the disappointment is that so many of the trips aren’t for an awake and sensitized being. They’re limited and without substance.

Paul: What is the substance of your songs which I find very enlivening and uplifting?

Francisco: I’m finding myself trying to present simplicity again in the hopes that the message that does come through will be heard. The songs come from my relationship with myself in life. The songs are also for me to learn. I mean some of the songs I sing, if I was living that way, I would be Joe Holy, so they’re also my therapy. They’re like reminders. Sometimes I have a hard time singing some of the songs I write because they’re saying something really neat about life and I’m not quite living that way yet, although I had the vision at the time it came through me. The songs are to remind me to get my act together and become more centered. I sing them publicly because we are all connected on one level or another and sometimes by someone speaking out we realize, "Wow, she or he’s going through that too. So I guess it’s OK. I’m not alone"

Paul: Some of the songs are called "Heal Yourself," "Sit Back and Relax," "Cosmic Feeling." They are simple direct songs we can relate to.

Francisco: Year, "Sit Back and Relax," for example I want to create a sound expression for that feeling. The image I had in my head was of somebody who worked all day long, stuck doing a job that’s not really what they want to do. One of their only outlets is listening to music. After a long day of work they come home and if they happen to have a cassette of the Cosmic Beam Experience e they can play that song and if you surrender to it, it does just that. You will get a relaxed experience.

Paul: Talking about your tapes and records, you succeeded in achieving something a lot of artists strive for, that’s independently producing your own album. How did that come about?

Francisco: Well, the people materialized the album. What I mean is, during four years of performing as a soloist, people would talk to me after concerts and give me validation or whatever and within a couple of sentences they would say, "Have you got a record out yet?" and I would say, "Soon." I said soon for years. Finally I was able to comprehend it fully in my mind and feel, yeah, it’s time and actually do it. I sought out people to invest in me in sort of a friendship-business relationship. Because of all the years working with other musicians, recording on albums and just learning the ropes of the industry through my eyes, I was able to produce my own album and all of the right people were there. Steven Moffit who does the Beach Boys was the engineer and I did some of the recording at St. Paul’s Cathedral where my next concerts are.

Paul: You also have distributed your records yourself.

Francisco: Yes, thousands of people have my tapes or records from direct sales at my concerts and mail orders. I would like to see Cosmic Beam records at all stores. It can be done. I like just the idea of visualizing an artist, she or he having an independent record company. For me, it just all came together as the songs came together.

Paul: How do you feel about playing in St. Paul’s Cathedral?

Francisco: It’s beautiful. I love to play with the sound within the Cathedral. It allows all the instruments that I play to have a more expansive sound, the harmonics that are developed inside the Cathedral are just beautiful. It’s just the sort of perfect place, perfect environment for the Cosmic Beam Experience. It’s one of my fantasies to play cathedrals all around the world. All those sort of epic environments that were built for people to go to for unique events. I feel honored to be able to play in St. Paul’s Cathedral. I really do. There’s something that seems to happen to me just sitting in that environment playing. It’s like a feeling of renaissance. It’s just a big beautiful open space and people can bring a pillow and a blanket and just lie down and share this experience with me.

Paul: As you and other artists who share a healthy, humanistic perspective, are able to reach larger audiences, what effect do you think this will have on our culture?

Francisco: I feel there will be a chain reaction and it will inspire more fulfilling relationships and neater environments to live in.

Paul: Who are you?

Francisco: Me. I’m just me, and if I want to step out of me I can create multidimensional experiences, whatever me wants to be. I can be Francisco or me is capable of channeling real neat energy by the Cosmic Beam Experience, but if we take all that away, I’m just me.

Paul: You’re working as an artist to express yourself, in that effort, are you also working with a sense of purpose in relationship to other people in the world?

Francisco: I sense a oneness with everyone. Sometimes I do feel isolated. I notice that the more I get involved in the here and now, a goal in mind seems to disappear. Goal is future talk which doesn’t exist now. Everyone is always trying to help the masses which is neat, but society is really made up of individuals. My concern isn’t a relationship with humankind but a relationship with myself. The fruit of it is that I can be more in harmony with others because I’m expressing myself. I do see people hurting themselves, being asleep. They’re not very happy. And yet inside I know that’s another part of me, a reflection of me. We’re all interconnected. I do feel humankind. We’re so many different facets. I used to try to promote healing and TM which I like, but there are many diverse ways of doing things. And I don’t promote it verbally, I just sort of sneak it in with my music. Just like the sun, it rises, just appears gradually and then goes down. Some people notice it happening and some don’t. Eventually everyone says, "Hey. What’s going on here? I feel different. I feel more alive." Even the numbest people. I guess wanting so much to scream out "Wake up, come on brother, come on sister, wake up." These incredible ideas of sound and visual art materialize. I want to provide encouragement for people. Hopefully they’ll come out of the Cosmic Beam Experience feeling a little more alive, feeling in tune with themselves and more aware of their potential. Yes, I have a sensitivity for humankind, more than I even know about.

Fresh Air Show Post 13

2008-02-09T19:11:00.000-08:00

Steve Reich interviewed by David Roden and John Wasylko.

2008-02-09T00:16:00.000-08:00

Tom Waits interviewed by Chuck Ruby (or very early Sunday morning) on 4/16/77

2008-02-09T00:03:00.000-08:00

Fred Frith interviewed by Jeff Wootton at the Mud Club in New York City.

2008-02-09T00:00:00.000-08:00

Bill Bruford interviewed by Bryan Chandler 07-31-79 Cleveland Agora

2008-02-08T23:48:00.000-08:00

Paul Horn Interview with Jeff Wootton

2008-02-08T23:02:00.000-08:00

Edgar Froese Interview Metro Radio the independent station in Newcastle

2008-02-07T18:22:00.000-08:00

2008-02-07T18:04:00.000-08:00

Devo members interviewed by Mark Janousek, WKSU 1979.

2008-02-07T17:49:00.000-08:00

Dave Stewart interviewed by Jeff Wootton,WKSU 07.31.79, before the performance, back stage at the Cleveland Agora

2008-02-07T17:46:00.000-08:00

Clone Records Interview with Carl Palmer and Nic Nicholas

2008-02-07T17:27:00.000-08:00

Brand X interviewed by Bryan Chandler, Paul Ciminero, Jeff Wootton, Interview recorded at WKSU Studios

2008-02-07T17:08:00.000-08:00

Bill Nelson Interview with DJ John Wasylko, WKSU 02-22-79

2008-02-07T17:01:00.000-08:00

WKSU FM 06.17.80 Industrial Wasteland Show Bryan Chandler interviews BB King

2008-02-07T00:19:00.000-08:00

Recorded at Blossom Music Center Akron Ohio, by John Binder Jr.
Played on Industrial Wasteland Interview Program on WKSU.

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Tin Huey Live at JB's 1979

2008-02-06T22:09:00.000-08:00

The band was originally known as Rags and started out with three members: Mark Price, Michael Aylward, and Stuart Austin. Later, the band decided to rename themselves after Aylward's younger brother. When the trio were Rags, Price (then known as Wesley the Stash) played guitar, Aylward played bass, and Austin (then known as Napoleon Lemens) played drums. Harvey Gold became the fourth member to join on organ.
When Price left the band, the remaining members switched to acoustic music before hiring electric guitarist Arthur Baranoff and bassist Wayne Swickley.
When they left, Price rejoined and became the bassist, while Aylward took on electric guitar, and Gold alternated between electric guitar and keyboards; they briefly added saxophonist Lochi MacIntosh to the lineup before replacing him with Ralph Carney. Chris Butler (who was the bassist for 15-60-75 (The Numbers Band), was the last to join, also on guitar. Tin Huey was part of the influx of bands emerging from the Akron/Cleveland music scene, others including Devo, Pere Ubu, Chi-Pig, the Electric Eels, the Bizarros and the Rubber City Rebels.

Recorded live at JB's in Kent, made by Tin Huey and given to WKSU for broadcast before their Warner Brothers contract. Permission was later withdrawn by the band for airplay of this recording (after they signed to Warner Brothers).

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