Name: 08 Daktari Kokodei by Gala Gabriele Hummel in Reconnaissance 2019!!!!
Duration: 4 min 45 s
Description: Daktari is a Berlin-Band I played with in the 90's. On guitar: Jörg Maria Zeger. Keyboards: Michael Walz. Drums and Vocals: me myself Göttin Gala

Reconnaissance 2019!!!!

3rd ray from the rehearsel-room
unedtited recording of a rehearsel that took place earlier 2014
Work in progress !!!

live's a  miracle

Daktari is a Berlin-Band I played with in the 90's. On guitar: Jörg Maria Zeger. Keyboards: Michael Walz. Drums and Vocals: me myself Göttin Gala

08 Daktari Kokodei

Shift to Reverse is from the 'Carrying Stars' album,..

Shift To Reverse (live with DR Pigekoret at Studie2 07.11.2010)

http://fancymusic.ru/kruglov-nadzharov-shushkov-talalay-1607/

Alexey Kruglov: soprano, alto, tenor and baby saxophones, basset horn, nudi, prepared saxophones and basset horn, alto saxophone mouthpiece
Alexey Nadzharov: piano, keyboards, electronics, percussion
Denis Shushkov: double bass
Piotr Talalay: drums, percussion

In the summer of 2014 in the Moscow park “Museon” on the stage of the summer cinema a series of evenings under the title «Silent movie – live music» took place. Sergey Krasin offered our quartet to take part in scoring of the film “Zvenigora” by Alexander Dovzhenko. The idea seemed so appealing to us, that we started working on it right away. It was decided to choose the path of electro-acoustic, noise, improvisational and authorial directions using “straight” rhythms, where certain metro-rhythmic elements would serve only as a starting point for further transformation. The idea was for these elements to be influenced by the melodic basis and structure without being an idea-forming kernel.
We all really liked this project and Sergey Krasin offered an even more exciting idea – to make a studio recording of the music that was born during the process of preparation for the film. As a result, July 16, 2014, we gathered at the Vladimir Osinsky Studio and started to work. Studio work has allowed to have a more structural and thorough approach to music, without any inner references to the images of the film. Quartet members contributed their ideas, filling compositions with a spatial effect bearing a personal color and a very fragile attitude toward what was happening to each of us. Each sound and even every color of the sound living within the polyphonic field has its own metaphorical meaning. Figurative saturation and semantic polarity fit into the overall fabric and the idea of an ontological understanding what is happening. In this context, it is possible to speak generally not about real sounds, but echoes that are born, echoes searching for each other or already connected together. In any case, 1607 references not to the images, clear and temporary, but to the idea that these echoes only seem to the listener. Moreover, the main concept behind the project is the ideas being born at the studio on the day of recording.

The project has a hidden program or rather a tendency thereto and all the album pieces have titles in the plural form. I see this as a special symbolism expressed in contrasting, although bordering aspects. Certainly, this diversity is made possible with help of such a strong quartet. The participants of 1607 are different, but united by the idea of finding something new. For me this work on the project has been a pure joy, because there couldn’t be anything better than playing with such amazing musicians! It’s hard to believe, but after long years of our collaboration with an incredible composer and pianist Alexei Nadzharov it’s the first album made together! We’ve played with Peter Talalay since the mid 90′s and I’m really glad that we were able to play music built on such multifunctional ideological formations. Denis Shushkov always finds his own unique sound in every project, and it is just incredible! Dear friends, thank you so much! Special words of thankfulness are to Sergey Krasin. We’ve worked a lot on audio mixing, electronics and it was unforgettable. Arguments and discussions to find the right solutions in form and sound showed a living, creative laboratory where projects such as 1607 are born.

Alexey Kruglov, translated by Oleg Krokhalev

Kruglov, Nadzharov, Shushkov, Talalay - Displacements

Kruglov, Nadzharov, Shushkov, Talalay - Spheres

Kruglov, Nadzharov, Shushkov, Talalay - Dances

Kruglov, Nadzharov, Shushkov, Talalay - Luminescences

Kruglov, Nadzharov, Shushkov, Talalay - Facets

POING and Ratkje's collaboration Brecht/Weill collaboration started in Saunabar 17.08.00. This was the first time ever we performed this repertoire that has expanded and made the foundation for two recent records: Wach auf! and Kapital & Moral, the latter released May 2016. 
Songs in this bootleg are in order: Surabaya-Johnny, Kanonensong, Barbara Song, Alabama Song, Die Moritat von Mackie Messer.
POING is Rolf-Erik Nystrøm (saxophones), Frode Haltli (accordion), Håkon Thelin (double bass). On vocals and kazoo: Maja S. K. Ratkje.

The debut of POING and Maja S. K. Ratkje Brecht/Weill collaboration, Helsinki 17.08.00

A tape that the legendary J gave me of DJ Julie at one of his incredible mid-90's acid parties called The Sirius Connection at the Melkweg, Amsterdam.  Have absolutely caned this tape, is possibly one of the most influential mixes on my music tastes.  To this date I have no idea about what some of the tracks are and if anyone knows please trainspot away for me.

DJ Julie Delorme - The Sirius Connection - May 1996

"Gespräche mit Seth" inspired Content/Message  based on Planet Music due to the "Kosmische Oktave" by Hans Cousto
been made for "Linzer Klangwolke"

Geistige Welt Klangwolke Loop

hard hit strings _ doubled
made for "Linzer Klangwolke" 

Glocken Single Shot

A track from the album Sult, to be released on the Norwegian label Rune Grammofon March 8 2019. 

Composed, performed, mixed and produced by Maja S. K. Ratkje 2018.

The music on the album is based upon the music created for the ballet Sult/Hunger by Jo Strømgren for the Norwegian National Ballett, 2018. The track titles are quotes from Knut Hamsun's novel Sult from 1890. Sung text is in Maja's made-up language for the performance. 
The instrument used in the performance and on this record is designed for Sult and built at the Norwegian Opera around an old pump organ.

Recorded by Hågen Rørmark at the Norwegian National Opera & Ballet, May 2018.
Co-produced by Frode Haltli.
Mastered by Morgan Nicolaysen at Propeller Mastering.

Sjå, åmioda - og ikke en lyd kom mig fra strupen

Narrenmund

totseinistok

Here I'm going to post music I am and I was involved with. Have fun!

#IndustrialJazz,
Lo-fi music & noise, ANALOG, unmastered, RAW,  Soundscapes, sampling, Impro, RMXs, Ambient, DIGITAL;  ADAD, DADA

08 Daktari Kokodei

Gala Gabriele Hummel

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