Over the course of his illustrious career, visionary bassist-producer Bill Laswell has been one of the most prolific and restlessly creative forces in contemporary music. A sound conceptualist who has always been a step ahead of the curve, he has put his inimitable production stamp on a stunning range of important recordings by such stars as Mick Jagger, Iggy Pop, Public Image Ltd, Laurie Anderson, Brian Eno, Bootsy Collins, Motorhead, Sting, Carlos Santana, just to name a few. Probably most notable was Herbie Hancock, who co-wrote with Laswell the pivotal 1983 worldwide smash-hit single “Rock-It,” which introduced scratching to the mainstream, inspired a generation of turntablists and gave the great jazz pianist instant street credibility among the burgeoning hip-hop cognoscenti.

Laswell’s sense of creative daring as a producer is further demonstrated on several recordings that have kept him on the cutting edge for over three decades, including Afrika Bambaataa’s collaboration with punk-rocker John Lydon (aka Johnny Rotten of Sex Pistols fame) on World Destruction and PiL’s Album (which brought together an unlikely crew of Sex Pistols’ frontman Lydon with drumming greats Ginger Baker and Tony Williams, synth-pop pioneer Riyuichi Sakamoto of Yellow Magic Orchestra fame and rising guitar star Steve Vai). His spoken word collaborations with beat poet William S. Burroughs and expatriate poet-composer Paul Bowles have gone against the grain of music industry trends while his radical remixes (or re-imaginations) of landmark recordings by Miles Davis (Panthalassa), Carlos Santana (Divine Light: Reconstruction & Mix Translation) and Bob Marley (Dreams of Freedom) have further defined Laswell’s audacious m.o. As a producer.

As a player, Laswell’s bass lines resound with rare authority on groundbreaking projects by Tabla Beat Science (with Zakir Hussain, Karsh Kale and Talvin Singh), his avant-dance band Material, his progressive dub flavored Method of Defiance and the throbbingly intense power trios Massacre (with Fred Frith and Fred Maher), Painkiller (with John Zorn and Mick Harris), Praxis (with Buckethead and Brain) and Blixt (with Raoul Bjorkenheim and Morgan Agren). Glasvegas Euphoric Heartbreak 320 Guest more. In recent years, Laswell’s artistic reach has extended to the continent of Africa, where he has sought out “the new thing” in countries like Morocco, Senegal, Mali and Ethiopia, just as he did in the South Bronx some 30 years ago. An eternal musical renegade, Laswell has always played by his own rules.

Eschewing standard music business models, he continues to call his own shots as a producer while pursuing a visionary path. Oracle Database 11g Manual Do Dba Pdf. With Means of Deliverance, his most austere and personal album to date, Laswell pushes the envelope in a zen-like way. An intimate and revealing solo bass outing, performed entirely on a Warwick Alien fretless four-string acoustic bass guitar, it puts a premium on melody while tapping into some of Laswell’s deepest roots as a musician. “I think in this case, it’s about where you come from,” he says of his first-ever solo bass recording. “And you never lose that. If you come from a background where you hear country music, you hear blues and simple music, and you’re born with itmaybe you forget about it later on when you get involved with more complex or avant garde things, but it never really goes away.

On the five extended improvisations that comprise Space / Time ・ Redemption, Graves and Laswell, who have in recent years occasionally performed live as a duo at The Stone and other New York venues, jointly create a sound world all of their own. The album was produced by Bill Laswell and the recording took place.

You just have to sometimes move away all the things on your plate and get back to that natural thing.” In a very real sense, Means of Deliverance celebrates Laswell’s own Americana upbringing in a small town outside of Bowling Green, Kentucky. “I grew up in the country,” he explains. “I heard hillbillies play, and it’s different than hearing them on records. And it stays with you. You see the trains go by on the tracks and you realize people are poor and there won’t be anything else for them, and that stays with you. Many of these bands today are inventing images of these things. I actually was there, I grew up like that.

So you have this thing deep in you and you play that thing of where you grew up. And it’s rich. It’s American musicMidwest music.” Pieces like the Delta blues-infused “Low Country” and the melancholy but moving “Against the Upper House” exude profound feelings of Laswell’s rural Midwestern upbringing while his sentir-sounding bass playing on “Buhala” and “Epiphinea” reflect his more recent interest in Moroccan, Malian and Ethiopian musics.