Archives for category: experimental



  1. One+ lbs. Beef Tenderloin
  2. Fresh Beef Bone Broth (Prepare in advance)
  3. One small Red Cabbage
  4. OneRed Onion
  5. Five cloves Garlic
  6. One bundle Dinosaur Kale
  7. Spinach
  8. Rice Noodles
  9. Butter
  10. Olive Oil
  11. Fish Sauce
  12. Chilli Paste
  13. Soy Sauce
  14. Hijiki, Wakame, & Kombu seaweed
  15. Button Shitake Mushrooms
  • Chop onion and saute in half a stick of butter in a large pan.
  • Chop cabbage and add to onion.
  • Tear kale stems from leaves, chop them separately and add the stems to the pan
  • In the background, have the broth heating up.
  • In the foreground, chop the tenderloin into cubes.
  • Brown meat  iron skillet on high flame + remove  from heat after turning once.
  • Crush garlic cloves
  • When onion and cabbage are pretty thoroughly sauteed, spread them  to the sides of the pan and in the open space in the middle, add a tbs olive oil, fish sauce, and the garlic (mind the flame is low)
  • Saute garlic combination two minutes + then mix together contents of pan.
  • Add to broth together with chopped kale leaves and as much spinach as you like.
  • Add seaweed + whole button shitake mushrooms
  • Let soup simmer and just before serving, add a handful of rice noodles.
  • Add meat separately so that it doesn’t heat beyond warming up in the soup bowl.
  • Add soy sauce and chili paste to taste.
  • YUM!



The Knife, Shaking the Habitual  <–read the great comic, End Extreme Weatlth!
“Within the album’s expanse, these are moments that alternately seethe and soothe, testing and prodding both the listener’s expectations and his or her patience. They also massage the album’s plentiful organic charges into a sonic puzzle with an almost symphonic reach, one that’s as challenging, bounteous, and ultimately unknowable as anything you’ll hear this year.”   –


by Alexander


I just heard/saw Morton Subotnick/Lillevan melt space/time at Town Hall in Seattle.  The surround sound was awesome in the true sense of the word and Subotnick/Lillevan created sounds/images both beautiful and challenging.  Need I say more?….  Here’s a taste from youTube.

“Following up Subotnick’s debut album, Silver Apples of the Moon was a record that was in many ways its twin partner: Titled The Wild Bull, it was commissioned by Nonesuch Records, executed on the newly-created Buchla synthesizer, sequenced into two parts (Side One and Side Two) totaling a length just under a half an hour and loosely inspired by poetry from the pre-technological past of humanity. But the similarities quickly end there, because whereas his previous album was based on the verse of Yeats and underlined by glittering displays of avant-garde freakouts and peaceful planetary soliloquies, on The Wild Bull Subotnick was touched with an inspiration far removed in both time and space and one infinitely darker than the space between the planets: namely, with a Sumerian poem cuneiformed into wet tablets sometime around 1700BC, from which The Wild Bull takes its title.”  Julien Copeland,

by Jefferson Petry


Gyokuro Green Tea


by Alexander

I recently heard Ken Vandermark & Nate Wooly duet at the Seattle Earshot Jazz Festival.  Familiar with Vandermark, Wooley was a new name to me and together the two tore the roof off the place, Vandermark playing clarinet, baritone sax, and lastly, tenor saxophone. Throughout their investigations there was a balance between form and free exploration –the one often suddenly breaking into the other with surprising synchrony–  and the level of interplay and sensitivity between the two was so uncannily high that it seemed they were a single organism with two horns.  With that said, Ken dedicated their duets to the influence of John Carter and Bobby Bradford’s duets –names I was totally ignorant of despite a wide and deep outside jazz collection.

In Laurence Svirchev’s article John Carter: The Unbelievalbe Possibilities of Music, he writes, “Carter and Bradford’s duet work is characterized by telepathic interplay, ability to hit and hold the same high tones simultaneously mid-improvisation, and their phenomnal ability to alter tempi at will without sacrificing the forward motion and logic of the composition. One never feels that they are displaying technique, but rather that they are achieving a musical end through the use of harmonic and melodic devices.”

Bobby Bradford-John Carter Quintet

On the new Vandermark/Wooley recording with Paul Lytton (percussion) and Ikue Mori (laptop) they’re called The Nows which can be had directly from their  label, Clean Feed.

by Alexander