Following the lead I´ve taken with Janus, The Cosmo Sessions contain even more recylced material - and this not only because two of the tracks are remixes or cover versions of other songs. The following list contains a directory of all the snippets used in the recordings; some very obvious, some rather garbled. In some cases, samples appear multiple times; then only the first time of appearance is listed. This time, I also included some short notes about some of the songs or records these samples are taken from - listen and enjoy!
||Pictures at an Exhibition
||reverse classical loop
||Naja Naja Atra
||Cobra live at KnF
||Pictures at an Exhibition
||heavy metal guitar
||El Vito Cante
||Los Jovenes Flamencos
|Der misteriöse Walkman
||reverse guitar line
||Sol do meio Dia
||strange drum loops
||Men at Work
||Men at Work
||diverse drum loops
||"vocal out chorus"
||& United Nations Orchestra
||Piano Concerto No.2
||Boil that Dust Speck
||Back on the Block
||Back on the Block
||Modern Day Jazz
||King Kong Five
||An Bord der Flying Sausage
|Resistance is futile
||Natasacha die Porg
This is the definitive recording of Zorn´s most famous game piece, and it contains a
large variety of different lineups and instrumentations, each showing a completely
different interpretation of the composition. The quoted example pictures a session
organized by David Shea, on which all participants operated samplers, CD players or live
electronics. The sample used here is in turn a classical sample of unknown origin,
superposed by an arythmic percussion loop.
Klaus König: HEART
Although this recording of Königs latest project doesn´t match his earlier efforts
like on Reviews, it is still able to combine tight horn sectionwork with weird
rhythms - the quoted example making no exception.
Herbie Hancock: FUTURE SHOCK
One doesn´t really need to introduce this record: it was one of the mainstays of the
breakdance scene in the eighties, thanks to its android percussion meets digital synths
and virtuoso scratch quality. The samples taken here were edited with a 180db/oct
(hence the phase shift, which could have been avoided, as the operation was not realtime
and thus the filter needn´t be causal, but hey, it sounds real Cosmo!), cut up into tiny
segments, and then reassembled to create the scratch interlude on Welcome aboard.
Emerson, Lake & Palmer: PICTURES AT AN EXHIBITION
This album was the stunning proof that it was possible to reach highest chart
positionings in the pop/rock market with renditions of classical pieces - ELP´s version
of Mussorgski´s piano piece made the Top 10 in the States, and even reached place 2 in
the UK. Apart from the original pieces, it contains several own compositions by the band -
amongst them the title quoted here.
The WDR has gained quite a reputation for organizing and financing very interesting and
commercially desastrous projects - among them is this recording produced by Siegfried
Loch, which brought together the avantgarde-flamenco ensemble Los Jovenes Flamencos,
the WDR´s own big band, arrangers Arif Mardin and Vince Mendoza, plus several prolific
special guests, among them Mike Brecker, Peter Erskine and Al DiMeola. The piece quoted
from this production is a traditional flamenco tune, its guitar intro performed by Juan
Chick Corea: CLASSIC PERFORMANCES
This 2CD-release on the ominous Retro label contains a performance of Chick
with the Lionel Hampton band, and a recording of a Corea-led septet, from which this piano
improv on his original "La Fiesta" is taken.
Egberto Gismonti: SOL DO MEIO DIA
This album of the very esoteric Brasilian pianist, guitarist and composer Egberto
Gismonti is dedicated to the Xingu Indians, whose music Gismonti had studied while living
in the Amazon rainforest. Besides fellow ECM artists Walcott, Garbarek and Vasconcelos,
this album contains the performances of two masters of the acoustic guitar: Towner and
Dizzy Gillespie: AND THE UNITED NATIONS ORCHESTRA
This is a recording of Diz´s last project: a panamerican big band focusing on
Afro-Cuban jazz, an area in whose development Dizzy played a major part. The orchestra is
led by Cuban-born altosax madman Paquito D´Rivera, and contains performances by people like
Arturo Sandoval, Slide Hampton and Airto.
Mike Keneally: BOIL THAT DUST SPECK
This solo album of former Zappa tour guitarist and G3 member Keneally contains
intelligent and progressive examples of the art of rock-trio-playing. The sampled passage
is percussionist Satnam Ramgotra providing a "vocal drum part".
Quincy Jones: BACK ON THE BLOCK
This release by trumpetist, big-band leader and mega-producer Jones contains as a
retrospect on his musical archievements performances from about any famous musician from
the RockJazz/R&B world, among them Ray Charles, Dizzy Gillespie, Herbie Hancock, and
many more, despite the fact that the musical focus is on the HipHop/Rap direction. I got
the CD from Anne of the No Members cohorts.
Mano Negra: PUTA´S FEVER
Scotty lent me this CD. I was not able to retrieve some details about this release
quickly, as my Rock Discography doesn´t list this group at all, but I dimly remember that
this weird squad orientated somewhere between salsa, rock, hiphop and oriental pop had a
hit with King Kong Five back in the late Eighties.
Joey Baron: DOWN HOME
This is the solo debut of the former Zorn/Frisell drummer (who can be heard on some of
their most excellent albums, as Zorn´s Naked City and Spy vs Spy and
Frisell´s Before we were born). Despite his collaboration with some very
progressive artists, this album is pretty much mainstream. It features Arthur Blythe, Ron
Carter and Frisell, and opens with Mighty Fine, the best blues tune I´ve heard
Courtney Pine: UNDERGROUND
One of Pine´s HipHop releases. Although I do prefer both his Coltrane-style Destiny´s
Song and his first HipHop album, this work also contains some really nice material -
among it the outstanding out-solo on tenor on Modern Day Jazz. The outstanding
skills of DJ Pogo, winner of the ´97 DJ world championship, make up some of the great
drum loops on this release.
Miles Davis: DOO-BOP
The last Davis studio recordings, this album actually has very little to do with the
great master - as a matter of fact it´s some Easy Mo Bee rap shit where Miles plays some
trumpet lines, and what was marketed as a creative fusion of hiphop and jazz couldn´t
even get close to the stuff Davis and Hancock were doing back in the early Seventies.
Still, it can be used to sample some hiphop (or should I say doobop) grooves.
John Zorn: COBRA