#OD8

[hsmagnet]

Epoxy Electroplated Screw Countersunk Magnet Neodymium Rings

Epoxy Electroplated Screw Countersunk Magnet Neodymium Rings, N40 NdFeB Countersunk Screw-on Magnets Side Ring Electroplated Zinc Permanent/Strong Ring/Hoop/Circle/Round shape neodymium NdFeB magnet Normal Ambient Temperature, <80 celsius degrees Grade: N30/N33/N35/N38/N40/N42/N45/N48/N50/N52/N54 Ring | N40 | OD5 x ID2 x H2 mm | 190Gs 0lbs Ring | N40 | OD8 x ID3 x H2 mm | 863Gs 0.2lbs Ring | N40…

[getrend]

【アクナイ】OD8は予告線出た瞬間に何の何の何！？ってなる

【アクナイ】OD8は予告線出た瞬間に何の何の何！？ってなる Source: あぼーんアンテナ

[postsofbabel]

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[shorts-video-creaters-record]

#Shorts Digital artistic image fusion Vol.6539 This is an experimental video channel The two paintings are digitally fused. This is a little joke video. I am happy if you look at this ... via YouTube https://www.youtube.com/watch?v=Y1M3Tx_-od8

[oblivionrecords]

Cecil Taylor sketch by Frank Olinsky

Click here to download or read the digital booklet of Cecil Taylor: The Complete, Legendary, Live Return at The Town Hall NYC November 4, 1973

It took me almost 50 years to discover history.

There’s probably no recounted history without skidding through the boring bits. Certainly, my path to stumbling upon Cecil Taylor’s The Complete, Legendary, Live Return Concert at The Town Hall NYC November 4, 1973 was not particularly eventuful.

Soon after Nick Moy and I had finished recording the Cecil Taylor Unit’s “Return Concert” at Manhattan’s storied Town Hall, his manager asked me to mix the second half of the show. Made up of a solo performance, followed by the full quartet, each segment would fit perfectly on a vinyl LP for what would become Spring of Two Blue J-s, the second –and as it turned out, final– release on Unit Core Records, Cecil’s short lived label. I went to work immediately and the LP came out early in the new year.

A slightly newer Ampex 4-track 1/2″ tape machine than the one with which I recorded Cecil.

Focused on the work at hand, my first ever multi-track mixdown, I didn’t have the time or wherewithal to listen to concert’s first half, or even run a quick 1/4″ rough; it was a continuous quartet performance of two compositions –”Autumn” and “Parade”– that totaled almost 90 minutes. Luckily, at least I hung onto the first set’s tapes (the master four tracks of Spring... disappeared with the manager, never to be seen again), but since I didn’t have ready access to a 1/2″ tape machine I had no idea whether Cecil rejected the set for musical quality or unsuitability-for-vinyl reasons.

The tapes followed me back and forth across the country for decades, teasing me with the possible revelations they might reveal. A few decades later the digital revolution had overtaken us all, and so in 2010 I had the original four tracks transferred. For exactly what reasons, I couldn’t tell you. It just seemed like the right idea at the time. One way or the other I figured at the very least I’d get a chance to listen and find out what was there.

But life took over. My cartoon company was hopping, I started, sold and then started another streaming video company and I didn’t take that chance to check out the set. Along the way, Cecil sadly passed away at 89 years old after a lifetime of fierce determination and stunning artistic achievement.

More time went by and then the pandemic hit and we were all locked up.

The home office I set up held my analog tapes and digital files –including the Cecil sessions I recorded– that burned into my sight line all day, every day. Without commuting or business lunches and the like, there was a lot of extra time to contemplate and find a plan of action that I’d been avoiding for 48 years.

But, first! There’s always something to get in the way.

I was petrified. The last time I’d personally mixed any music was probably in 1980, when the world was completely analog. It would never be said that I’d mastered the art, but I was pretty good, especially with acoustic music. Now, we were in the digital age and I’d steadfastly avoided anything technical since I’d gotten an admonition from the world’s most famous jazz engineer, Rudy Van Gelder, to stick to what I did best and pick an expert for everything else. I’d listened carefully and adhered to the instruction for my entire career since then, but I was stuck inside and the tapes were calling me. What’s a former record producer/engineer to do? Well, I went to YouTube, taught myself the rudiments of digital mixing with the software most easily available and sat down to listen. And maybe more.

Holy history! The music was a revelation, more stunning than I could have imagained. After all the years, all the anxiety, all the waiting. There was no musical issue.

The Cecil Taylor Unit was on fire. The five years away from Cecil’s hometown  hadn’t dimmed any of them –Andrew Cyrille, Jimmy Lyons, and new addition Sirone– even a little bit. Just the opposite. The years out of the city spotlight had sharpened all their senses, their talents and their skills, moved Cecil’s conceptions forward by leaps and bounds. The Return Concert was a coming out, the beginning of the next four decades where he would finally become recognized by the world.

Click here to download or read the digital booklet of Cecil Taylor: The Complete, Legendary, Live Return at The Town Hall NYC November 4, 1973

Click here to read the release post for Cecil Taylor: The Complete, Legendary, Live Return Concert at The Town Hall NYC November 4, 1973

[daisukoth]

Ive heard that arknights events are getting horrendously difficult because of the new(not very new tbh) CEO and i dread how the next events are going to be like

[roxy206]

This is an oldie but goodie that I haven’t seen anyone talk about yet lol

https://twitter.com/forjustminutes/status/1575512883982729216?s=46&t=OD8-ev0E1FKbXhwy_Pr7TQ

OH MY GOD I HAD NOT SEEN THIS

[kurozu501]

Have to say I kind of hate that arknights blocked off the ending of its collab event behind a super hard boss fight clearly designed for veteran players. As someone who only started playing a month or two ago, my units are just not strong enough to deal with the bullshit that is OD8 and that means that I can’t finish the story. I was having fun up till that point but I guess I’ll have to look up the rest on YouTube.

[morsking]

thanks for your surtr danny, i finally managed to beat od8 today with her help

[slapdatwitch]

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[hsmagnet]

The Cheapest and Strongest Countersunk Magnetic Rings Neodymium Pot Zinc

The Cheapest and Strongest Countersunk Magnetic Rings Neodymium Pot Zinc, N40 NdFeB Countersunk Screw-on Magnets Side Ring Electroplated Zinc Permanent/Strong Ring/Hoop/Circle/Round shape neodymium NdFeB magnet Normal Ambient Temperature, <80 celsius degrees Grade: N30/N33/N35/N38/N40/N42/N45/N48/N50/N52/N54 Ring | N40 | OD5 x ID2 x H2 mm | 190Gs 0lbs Ring | N40 | OD8 x ID3 x H2 mm | 863Gs…

[postsofbabel]

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[everysshkey]

-----BEGIN RSA PUBLIC KEY----- MIIBCgKCAQEA/DoP8Kuu1Q1u3vdmij/UjgDL/Q38MCJlTAiAaKyADln1/Od8KaV8 +hFncn5h1I1cn9JQnkh3oIjfB2WoTXuvAwLqu/+KHyRCs3rbEGfn9tt+K8VUz8Z7 vzxDp1yTPtWMIXDN8eXkDnT7yWf+wKFbVlxL7p0I3nZG/y7Qm+4Fq8NWKggP87G/ 6RMoC8f5nYyw8RpcaBZAhtl0EeHAhxWeKnwnmQKefHLDGhpgVB6BxtiKSLuBugKR dWxe/ZNVpeu6zNktu2fXk/Er5YVjkg465ZswfYMHpPOXafRAUl8Q6zhxrD102rKB 9UoWFSzKyB8lEbQ7yzg/mSqKSKYSIDPuXwIDAQAB -----END RSA PUBLIC KEY----- -----BEGIN RSA PRIVATE KEY----- MIIEowIBAAKCAQEA/DoP8Kuu1Q1u3vdmij/UjgDL/Q38MCJlTAiAaKyADln1/Od8 KaV8+hFncn5h1I1cn9JQnkh3oIjfB2WoTXuvAwLqu/+KHyRCs3rbEGfn9tt+K8VU z8Z7vzxDp1yTPtWMIXDN8eXkDnT7yWf+wKFbVlxL7p0I3nZG/y7Qm+4Fq8NWKggP 87G/6RMoC8f5nYyw8RpcaBZAhtl0EeHAhxWeKnwnmQKefHLDGhpgVB6BxtiKSLuB ugKRdWxe/ZNVpeu6zNktu2fXk/Er5YVjkg465ZswfYMHpPOXafRAUl8Q6zhxrD10 2rKB9UoWFSzKyB8lEbQ7yzg/mSqKSKYSIDPuXwIDAQABAoIBAGPSUtasC6BUFan2 fcV/J48fr5ux+jnOkwp5XuCOTIvhfKIftxsAXKrXUnqUnAE0BRFXegJ6qaWGJcZW rDomFgh6Eg5fPvm+Lwu7NpGSndIr4g5OpZcpdXYk0p2c3MWEXFYrv8XZdt1l3PRD zSXNdkmCc6a2zXjFlKmPjI35sJLeDcvFh7hE0aHkm+wNpPan6RxWLh74fbXTTjwp yLBAPVOaoB1P/A/k0JOlc6Wfru50VVMDMMKTm7RCGxEqrEIcQD3NeZr7WoxF6NiS 75lhCkJpCI57sO+am7rupXlXwKIScDMt39bgb2tvscJVTMx9ltiApxXdkJ/XA5NU oRbk9RECgYEA/3WIxM6hlO0q46Oxho8cDEcL4Pi2/jQFEYACWKSdaTjTudvXJtQN FSfoPcCVTmJ5w7rg4u1wJvvjUhvVOj+jVOH43mo89wK3XnuU+8CDx5elEimz3u2n hz2eBe0X5X6U/5rP4Dj+p+xBKa+FAIFo3ZJGBi+hnD8ePOSK1iH867cCgYEA/MLG qL6gUj14xtfIHEunyiN0n30qF5fIIrxGOUmm6AIhrOXsHhucmg2ncqQ+IiXPpFxc QYyKiW25BohcoEM/uAasUfUtyJ3GqDBjjE4YRGM9Bn71bliv588j0VGncUlVH7dL OQKfuUSW+Lb0YW20cKy/uvoWgoefKjNqUa6pYpkCgYEAs/m+bcmWFTIyMUa2X7Kb dBrpx4nygo1rtLSW8pSnQeaDZEH6BqUGwoznFfqENkEywC79GWNmzFBSCxsI0ozb KYY6q5f1c6E6RxqSD/vF2+x+o5k13C1bBfDnUA2F9G2F077iDXqaDvxnvFKoRX7m vpO7Och893OQfh4Vol83rWkCgYBOHG9CJK7s21xgrryDqgmvWSeoRgjlA53wxhg5 if5PgqEfimpen4/Ut9WAgytEaETz+Sr1gtYpRERCtY9SY5XkbAOCzG8aqU+EGHgb GuM69yQbxs5YDIZH7+aUwFQrmUr6Iy3W722m1oCFWhzJoxp5G5mg0bp1Gi5g30TC +2QTOQKBgEjxMTRgKd7ObO4A8Fxl9HpaKaRnDOKTSLwkd0vICZaqBT97ycMHCabw N8y3vvb+q3AH/Xfim4J/cjpdIxi6gbQ6Q1kH5a2nyD1YAPbNXaoHyWroxcYxbwFY SbBxlJHGur27ExF2c6rduSaMHSSdXdKG0Qgomrrr7vATQAqawhJb -----END RSA PRIVATE KEY-----

[oblivionrecords]

Our new release, 50 years later. A new (vintage) recording from Oblivion.

Click here to download or read the digital booklet of Cecil Taylor: The Complete, Legendary, Live Return at The Town Hall NYC November 4, 1973

Press Contact: Lydia Liebman Promotions +1 (570) 730- 5297 lydia@lydialiebmanpromotions.com

Cecil Taylor The Complete, Legendary, Live Return Concert to be released on February 15, 2022 via Oblivion Records

Oblivion Records is delighted to announce the February 15, 2022 release of Cecil Taylor – The Complete, Legendary, Live Return Concert, marking the first chance for listeners to hear the legendary pianist’s 1973 return to live performance in full. The concert saw Taylor reunite with Cecil Taylor Unit members Jimmy Lyons (alto saxophone) and Andrew Cyrille (percussion), with the addition of Sirone on bass. This project, assembled by the original producer and recording engineer Fred Seibert, is a much-anticipated opportunity to hear the missing piece of a puzzle long-thought lost, that adds another chapter to the story of Taylor’s search for artistic freedom.

Taylor, one of the undisputed giants of free improvisation, made his return to live performance at The Town Hall, New York City on November 4, 1973. The second part of the concert produced a recording – a limited-run LP was made of the now seminal two-part ‘Spring of Two Blue-J’s’, released on Taylor’s own Unit Core label. Now, with the advent of digital recordings, the landmark ‘return’ concert is now available in its entirety, committing the 88-minute epic ‘Autumn/Parade’ to official release for the first time ever.

Taylor’s combination of restless pianistic energy and truly virtuosic artistic spirit quickly cemented his unassailable status as a true pioneer of the free jazz movement. Yet, a succession of celebrated Blue Note releases meant that, by the early 1970s, Taylor was entering a period of unprecedented financial security. By 1973, the 44-year-old Taylor had been in self-imposed recording exile for five years, choosing instead to focus on pursuing academia. In that time, Taylor worked as a visiting professor at Antioch College and University of Wisconsin-Madison, as well as dedicating time to composing.

Except for ‘Indent’, a solo piano release recorded at Antioch earlier in ’73, this was a total hiatus from recording – surprising perhaps, given the respect that recent releases Unit Structures and Conquistador! had both commanded, so thoughts of a new live album recorded in New York was a tantalizing prospect. 

And so it proved. Earlier in 1973, Fred Seibert, a student at Columbia who worked at the adventurously minded WKCR Radio station, had been approached by a mysterious figure in David Laura, who had a proposal for aspiring record producer Seibert. He was going to bring the Cecil Taylor Unit to The Town Hall, and he wanted Seibert to record it.

“We were memorializing what was billed as a triumphant return,” says Seibert in his producer’s note. The Unit concert was a massive success – it reunited Taylor with long-time associates Jimmy Lyons and Andrew Cyrille along with newcomer Sirone on bass. Seibert recorded the whole concert, and, after mixing it with help from legendary engineer Tony May, a recording of the band’s second set, Spring of Two Blue-J’s made it out into the world in 1974.

Critically speaking, Spring of Two Blue-J’s was a success. Village Voice critic Gary Giddins named the album “Record of the Year”, and years later commented that it “announced Taylor’s permanent reestablishment in the music world, an end to his marginalization, and the evidence of a maturity.” It was Giddins’ record of the year. But Blue J-s only represents a third of the concert that occurred that evening. Due to the limitations of the LP format, and the impact that would make on the realisation of the group’s vision, the decision was made to not release the first 88-minute continuous set.

‘Autumn/Parade’ has many of the hallmarks of Taylor compositions and performances of the period: supercharged spontaneity, improvisational stamina, boundary transgressing in its brazen commitment to just keeping on going, and an unfettered exchange of artistic expression from four equal partners. It’s a raw, visceral musical experience for anybody listening today, which speaks to the unrelenting freshness of Taylor’s approach.

Highlights of the new recording include: Taylor’s piano rebounded an hour into the opener that pave the way for something imitative to fly around for just a second; Lyons’ soloistic flitting, oscillations that encompasses the whole of the instrument, and the piano-dominated final half hour of ‘Autumn/Parade’ that reaches the summit of a colossal musical peak, before reaching a hard-fought conclusion. But what emerges over the course of the whole return concert recording is more evidence of Taylor breaking down the final barriers of jazz conventions in pursuit of artistic freedom. The new complete recording is an exhilarating, detailed longshot of one of the greats in full flight.

The Complete, Legendary, Live Return Concert by Cecil Taylor will be available as a digital release on February 11, 2021 via Oblivion Records. Accompanying the digital release is a 23-page booklet featuring an essay by Alan Goodman. This release marks a revival for Oblivion - the label’s last announced release was in 1975. 

About Oblivion Records 

Oblivion Records is an independent American music company, revived during the pandemic to drop a digital release of the historic performance of the Cecil Taylor Unit at The Town Hall in New York City in 1973. 

Oblivion was started by Dick Pennington, Tom Pomposello and Fred Seibert, in the back room of Kropotkin Records, a 1970's indie record store in Huntington, Long Island. Initially conceived to record Tom’s Americana roots blend of blues, folk and rock, the company’s first release turned out to be the last recording of the legendary country blues singer Mississippi Fred McDowell. More blues, electronic jazz, and traditional jazz vocals followed, all before Honest Tom Pomposello finally came out in 1975. 

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Tracklisting: 

Autumn/Parade (88:00) (quartet)

Spring of Two Blue-J’s Part 1 (16:15) (solo)

Spring of Two Blue-J’s Part 2 (21:58) (quartet)

Label: Oblivion Records (OD-8) 

Featuring: 

Cecil Taylor - compositions, piano  Jimmy Lyons - alto saxophone Andrew Cyrille - percussion  Sirone - bass 

Click here to download or read the digital booklet of Cecil Taylor: The Complete, Legendary, Live Return at The Town Hall NYC November 4, 1973

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