"2003 hi wire edit (Warp Records Xmas party)" by xdj. This is the middle portion of a live, deck mixed set, recorded on that quaintest of 'near past' formats DAT. Slightly over recorded in true 'club' style. xdj's last ever set still sounds fresh....  another vintage case of 'quit while you're ahead'.

Lori is an Audio Engineer in the SF Bay Area. She currently works as a Live Sound Engineer during the summer concert season, but can be found spending most of her "off time" working at <a href:"http://www.differentfurstudios.com">Different Fur Studios</a> as a Recording Engineer. 

ENGINEER:
The Soonest, The Riot Professor, The Revealers, Joint Venture, Alexa Dorntge, I The Mighty (Live), Jafar Thorne, Afrogroove Connexion, Animolia, Red Journal, Tennis (Live), Burnside Stranglers, Lisa Marie Brackney, RothChilde

ASSISTANT ENGINEER:
Soda Pop Junkies, Murder of Lilies, Man And The Bearded Ladies, AB & The Sea, Alabaster Choad, MTV U (Ahead of The Curve), Burning House Records (Jarrod Gorbel & Mansions), Jorge Hernandez, Electric Wire Hustle, T-No Productions, Berner, I The Mighty, Blackstone Heist, Lia Ices, Celina Reynes, 

LIVE ENGINEER: 
Heather Combs, Guy Sebastian, Caldecott, The Riot Professor, LuVuDu, Mr. Mime, Wave Array, Ash Reiter, Buckeye Knoll, The Soft White Sixties, Misisipi Rider, The Tenderloins, Brittany Shane, Wires in the Walls, Your Real Parents, Two Headed Spy, Deeper, Thumper, Cold Steel Renegade, Parlor Tricks, Eulogies,  Stymie & The Pimp Jones Love Orchestra, Chi McClean, Spooky Flowers, Bailey Stone, Steinway Junkies, Winslow Ridge, White Buffalo, All Smiles (with Jim Fairchild), The Mad Maggies, Brian Belknap, Carney, Shark Alley Hobo's, Tennis, Kenny Loggins, Momoi Halko, ZZ, Crack 6



"Perelman is one of the great saxophone virtuosi and exponents of spontaneous composition to have emerged in the past three decades" Jazzwise 

"Ivo Perelman is perhaps the greatest living musical artist of our time" @CriticalJazz

"a modern day saxophone colossus.. a true improviser.." Echoes, UK

"“one of the world's most prominent avant- garde jazzmen” Hot House

"One of the leading tenor sax players of his generation, Perelman has been described as a unique genius by no less than Gunther Schuller" Jazzwise

"..supreme..brilliant..passionate abstractionist, Ivo's playing reconcile the emotional charge with technical agility and intellectual sophistication with a rare grace" Free Jazz Alchemist

"sublimely structured, perfectly dosed music that excels in the use of dynamics, feeling for the timbre and rhythmic smoothness. Intimate, clear music portraying huge beauty, all the while being witty and able to touch your heart" Jazzflit

"the tenor saxophone you hear is miraculously unique. ..piercing, burning, meaningfully warm, lyrically expressive, dream-awakening sounds that explode with an unrivalled urgency..Extremely rare, and just perfect!! orynx-improvandsounds.blogspot.com

" Daring and beautiful music...forceful, passionate, droll, incendiary, and ultimately satisfying...outstanding...an emotionally cathartic mini-masterpiece" All About Jazz

"the volcanic intensity of Ivo's playing hooked to his impassioned ‘spontaneous composing’ style, singles him out as one of today’s most ferociously creative saxophonists." Jazzwise

"Perelman is following in the footsteps of the great masters of the tenor sax..The lively and winding interweaving of the sax within the musical foundation constructed by pianist Matt Shipp produces fascinating results" Culture Jazz.

".. transcendent beauty.. quite remarkable..Perelman’s wide tenor sound with its slight vibrato contrasts beautifully with the acerbic, mordant response of the strings..all too rare in music of this kind.. a rather touching lyrical quality to it.." Jazzwise

"sensitive, flavourful and intelligent tenor sax with a unique sound..Perelman is unequaled or perhaps only equal to David Ware, a young Archie Shepp, Evan Parker and just a few others" Orynx

"An artist of real stature..a lyricism that is largely achieved by the considerable sensuality of Perelman’s approach..the performance is mercurial with the constant shifts in texture and pulse quite gripping..his tone, possessed of a steam heat solidity, and phrasing, bears marks of distinction." Jazzwise

"Perelman goes far deeper than any saxophonist to come before him. Ivo can see past the music with a zen like approach of focus, intensity and the appreciation of the stunning grandeur of silence when appropriate. Ivo Perelman has done but what a mere handful of jazz musicians have done. Some musicians are said to be "technically proficient" while others are "artistically gifted." Ivo Perelman is the best of both worlds." @CriticalJazz

"Perelman is one of the nowdays rarely encountered all-round geniuses..Ivo is also considered an internationally renowned painter, whose works adorn museums in New York and Amsterdam" Jazzpodium

"Perelman’s startling if unorthodox virtuosity..mastery with which the post-freedom saxist interwove his remarkably lyrical wails..uncanny command of the instrument’s upper-register 
squawk tones”.." Best in jazz 2012, Examiner.com

"emotional power and technical prowess in equal measure.Ivo is is as indebted to the un-categorisable invention of his compatriot Hermeto Pascoal as he is to the spiritual invocations of Albert Ayler... an episodic richness that marks him out as a soloist who wants to unwind a narrative thread in the most unexpected way" Jazzwise

"Perelman is a master craftsman at deconstructing his own creative force with a special twist..Ivo continues to inspire with work unmatched by his contemporaries.. an artist with the rare gift to transcend.. this is the genius of Ivo Perelman"@CriticallJazz

"complete virtuosity…Perelman can freely articulate any musical thought he hears..like an unstoppable force of nature..he's expressing microtonal melodies that are like condensed forms of the flurries of notes he lets fly in the tenor's middle register" Culture Catch

"Perelman extended the avant-garde innovations of the 1960s into the 21st century, creating a roadmap for todays new 'new thing.'"All About Jazz

" it’s people like John Coltrane, Albert Ayler and now Ivo Perelman..not only expanding boundaries but creating his own..Ivo has tackled just about every jazz inch capable of being heard by the human ear..mesmerizing" Goldmine

""Perelman is one of the most innovative musical artists in present times.. an examination of truth and intensity in music" Jazzpodium

"Ivo Perelman is an impressive musician. He is skilled technically and expressive musically. Besides, his creativity has no limits..He is incarnated measureless creativity." www.soundofmusic.nu

"Perelman plays like a man possessed, with a broad and attractively wobbly sound..a tour de force of instant composition..luminous and vigorous improvisations..serious listeners will want to tune in to Perelman and Shipp’s unique soundworld." Stuart Kremsky, Mr. Stu's Record Room

"the deep connection between Perelman and Shipp, both masters of improvisation, is a real clairvoyance..their empathy is amazing”AAJ

"Ivo's virtuosity and individual sound tremendously lyrical has created a world within the Avant-garde that is all his own, unlike of anybody else." Gary Giddins, author, critic - The New York Times, Village Voice, The Sun

"One of today's most prolific and adventurous tenor saxophonists. A master of extended techniques with a robust tone, his supple embouchure and intrepid virtuosity facilitates a wide range of expression - from altissimo glissandi and flutter-tongued chromatics to percussive slap-tongue and staccato split-tones - all seamlessly integrated into tortuous motifs....majestic ...sensitive romanticism ...hearty, abstract lyricism ...epic, stream of consciousness cadences" All About Jazz

"The epitome of the searching artist. A conceptual instrumental visionary pushing the envelope of the creative idea. Perelman is an incredibly lyrical player that can touch an individuals soul while setting their hair on fire at the same time. He plays on and from a different artistic plane than most, a perfect marriage of the visceral and cerebral ,the extension and ease of transition as performed by Perelman is unparalleled. Think Albert Ayler on steroids." @CriticalJazz

"Perelman is a master of linear development and control with a Romantic streak as wide as Ben Webster’s vibrato". Ed Hazell , Point of Departure.org

"Perelman's music happens to be quite courteous, elegant and artistic, the sound of his saxophone can be charmingly beautiful and romantic, sometimes too beautiful as for an expressionist..pure music that is quite rare to see nowadays.." Music and Time

"Ivo is a heavyweight champ who, at
times, moves mountains via his colossal sound 
and brusque attack. However, Perelman can also wind it down a few notches when delving into chamber jazz formats or exploring modern mainstream and bop. 
Indeed, he's a multitasking machine." - All About Jazz

" Perelman’s sax proves the man’s willingness to reach for the uppermost pinnacles of lyricism..He travels across various stages of shamanic liberation from the body, pushing his vision at the borders between coherent stoicism and consuming catharsis" Touching Extremes

"Perelman's broad, sweeping tenor seduces the listener with his patented mixture of strongly etched melodic lines mixed with well-placed cries and screams…he's clearly his own player" Cadence

"Perelman has the powerful voice, strength and melodic development that only great artists own..he has reached considerable artistic maturity with an impressive variety of techniques on the tenor sax" All About Jazz.

"Perelman is a master at improvising on melodic themes and at using this technique to deconstruct then rebuild statements already made.He is a decidedly idiosyncratic tenor player with a forcefully dramatic performing style. He has often been favourably compared with David Murray and Albert Ayler and as with those and othertop-flight musicians he is usually at his best when playing with artists of the same rank" . Jazz Views

“Perelman may well be one of the fiercest tenor players you will ever hear and the most unique" Digital Jazz news

"Perelman belongs to a lineage of aesthetically ambitious humanists like Duke Ellington, Charles Mingus, John Coltrane and Henry Threadgill." James C.Hall, author, New College Director, University of Alabama

"Perelman is a jazz/world treasure, always surprising, creative.....stupendous even…a wonderful sound journey....well worth the trip"
Mike Pettengell.. kkfi.org

"Perelman 's solos are grounded in the rich soil and rare earths of saxophone history, but they can also prove shockingly mercurial; they traverse that history in swift flights from zephryrous melody to supersonic yawps. He plays with an abandon – a fury, even – that can belie his natural inclination (to find order within the seeming chaos of free improvisation)".
Neil Tesser, award-winning jazz journalist

"a free jazz feast which epic eloquence will blow away any mind that’ll dare to listen..striking similitudes to the gloriously generosity of output of Perelman' s great predecessor, John Coltrane" David Cristol, Jazzman

"another masterpiece…creativity always an inexhaustible constant ..Perelman confirms that the message of freedom in jazz of the `60s has not been in vain" Vittorio Lo Conte, www.musiczoom.it

"Ivo Perelman makes the saxophone live and breathe. He has complete control over his instrument..He is the saxophone..he touches the reed with all the strokes of the world's greatest artists in wordless communication and poetry..intensely talented, creative he is a wordless poet, and without limits..A sweet middle register, beautiful spontaneous melodies, pleading high notes, somber low notes.His control of pitch is vocalized internally so completely, that he is not limited by the traditional 12 tones of the chromatic scale..it is his contribution to moving us just a bit further ahead as a civilization" Ken Radnofsky (Professor of Saxophone at New England and Boston Conservatories, Boston University and Longy School of Bard College). 

"To say Perelman is a strong player is an understatement. His tone is huge (and beautiful). His ideas are huge and multi-faceted." Cadence

"One might fear that tenor saxophonist Ivo Perelman may begin to repeat himself. To put it succinctly – not a chance.” All About Jazz

"...an entire new school of jazz..., unique genius..." Gunther Schuller, composer, conductor, jazz historian 

"One of the most distinctive and imposing tenor sax voices to come along in years." DownBeat 

"...a sound as passionately effusive as Ivo Perelman's is at once original, uncommon, and undeniable." AAJ 

"Ivo Perelman is undoubtedly one of the great modern tenor players, a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken." The Wire

"As an innovator in extended techniques, Perelman has few peers.Make all the comparisons you want: saxophonist Ivo Perelman has his own distinctive sound." All About Jazz

"One of the greatest colorists of the tenor sax." Ed Hazell, Boston Globe 

"Perelman just keeps on pumping out recordings bound to stand the test of time." All Music Guide

"...like the best free jazz tenors, Perelman's playing is shot through with a tenderness that stays just the right side of sentimentality." BBC (British Broadcast Company)

"The most important and distinctive tenor sax voices in recent years." Theiceberg.com

"Perelman is a monster with a tenor in hand, and I often feel that his music points out new directions in freejazz. His music is really complex, and he plays with a seemingly endless stream of ideas." Fire and Flux

"...the most intense, disturbing, tormenting sax player alive." Françoise Couture, Delire Actual

"Not since Coltrane duos with Elvin Jones and Rashied Ali have I experienced a sax/drums assault as powerful as Perelman's Soccerland." Los Angeles Weekly

"...fires with intensities rivaling those of John Coltrane." Chuck Berg, Lawrence Journal

"Perelman has a tenor tone worthy of Coleman Hawkins and Sonny Rollins- one that is virtually unrivaled today in its purity and beauty." Cadence

"... innovative genius...a new approach to jazz. " Ejazz news

"...Perelman is reassessing the power of genius." Touching Extremes

"One of the most impressive tenor players of his generation." Musings

"One of the most innovative approaches to emerge during the current decade." Avant

"One of the pre-eminent tenor sax-players of our time." Option

"One of the most vital voices in the rejuvenation of free-jazz." The Ottawa Citizen

"One of the world's most remarkable jazz musicians." Buffalo News

"One of the most interesting of the new one-world breed of jazzman." The Herald

"One of the most arresting tones heard on tenor sax." Bob Rusch, Cadence

"...the most innovative saxophonist to emerge in the last 15 years." CD Review

"Among the most risk-taking jazzmen of the 1990s." All Music Guide

"Tenor sax player of immense power and grace." Oprobium, New Zealand

"On tenor Perelman is a dominant voice possessed of a big sound that is capable of great flexibility and expressiveness." Cadence

"Incendiary." CMJ

"The world-class saxophonists to come from Brazil can be ticked off on one hand. Ivo Perelman is one of that rare breed." Jazz Times

"Perelman produces music of absolutely mesmerizing grandeur." Cadence 

"Jazz didn't get anymore scorching in the Nineties than Perelman's Seeds, Vision & Counterpoint." AMG

"To say that nothing new is happening in jazz is to be ignorant of Ivo Perelman." The Philadelphia Tribune

"Reinventing the spirit of Brazil's music." The Boston Phoenix 

"After two decades of musical stultification, Perelman's buzz saw brashness is a breath of spring."DownBeat 

"Revolutionary!" The Toronto Star

"...nothing less than miraculous... no one in the USA is playing and composing jazz with as much cross-cultural imagination as Mr. Perelman... a vital contribution to jazz history..."Norman Weinstein, ASCAP Award Critic

"Words cannot begin to convey the immediacy of Perelman. Listen!" Lawrence Journal 

"Thank God for albums like this one." (Children of Ibeji) Straight No Chaser "

...album like these (Man of The Forest and Soccerland) are desperately needed today." CD Review 

"Just when you thought that fire had died of contemporary jazz." Utne Reader

"Perelman is one of the few who reminds listeners that one of the most crucial elements in Albert Ayler's influential '60s work was a sense of almost unbridled fun." Aaron Cohen, Down Beat
Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who tried his hand at many other instruments – including cello, clarinet, and trombone – before gravitating to the tenor saxophone. His initial heroes were the cool jazz saxophonists Stan Getz and Paul Desmond. But although these artists’ romantic bent still shapes Perelman’s voluptuous improvisations, it would be hard to find their direct influence in the fiery, galvanic, iconoclastic solos that have become his trademark. 

Moving to Boston in 1981, to attend Berklee College of Music, Perelman continued to focus on mainstream masters of the tenor sax, to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane (all of whom would later be cited as precedents for Perelman’s own work). He left Berklee after a year or so and moved to Los Angeles, where he studied with vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation: “I would go berserk, just playing my own thing,” he has stated.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day. His discography comprises more than 50 recordings, with a dozen of them appearing since 2010, when he entered a remarkable period of artistic growth – and “intense creative frenzy,” in his words. Many of these trace his rewarding long-term relationships with such other new-jazz visionaries as pianist Matthew Shipp, bassists William Parker, guitarist Joe Morris, and drummer Gerald Cleaver.

Critics have lauded Perelman’s no-holds-barred saxophone style, calling him "one of the great colorists of the tenor sax” (Ed Hazell in the Boston Globe); “tremendously lyrical” (Gary Giddins); and “a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken” (The Wire). Since 2011, he has undertaken an immersive study in the natural trumpet, an instrument popular in the 17th century, before the invention of the valve system used in modern brass instruments; his goal is to achieve even greater control of the tenor saxophone’s altissimo range (of which he is already the world’s most accomplished practitioner). 

Perelman is also a prolific and noted visual artist, whose paintings and sketches have been displayed in numerous exhibitions while earning a place in collections around the world. 


Taking their name from material that’s bulletproof the heavy-hitting Tempered DJs (Pete Stanley and Mike Knapper) are exactly that! Their sonic fusion is as fired up as Eddie Halliwell and as tooled up as Mark Knight. A super-talented, technically tight twosome, whose signature sound knows no bounds, they blast out beats with a bass-shuddering twist. Uber-DJs, such as Carl Cox, Erick Morillo and Paul van Dyk, as well as the aforementioned Eddie and Mark, all pledge support for their productions, and they repeatedly storm the charts of Beatport, Trackitdown and DJdownload. Tempered’s ‘That Picotto Track’ even ranked in Trackitdown’s Top 20 Tech House Tracks of 2009. Meanwhile, as DJs, they’ve rocked everywhere from Sankeys, Area51 and Mission in the UK, to The Zoo Project in Ibiza. Yes, these floor smashers only joined forces in 2007 but rapidly won praise around the globe – emerging from Manchester’s underground to officially remix Britney Spears, and dropping a banging ‘Age of Love’ tribute in 2010.

Pete and Mike first met as school kids, in Manchester. They shared a love for clubbing and music-related mayhem and regularly hung out at club North, under Affleck’s Palace. For years, they followed their own dreams; Pete, always the more technical one, learnt several instruments and sculpted tracks, while Mike honed his DJ techniques. In fact, it wasn’t until 2007 that these party animals amalgamated to form Tempered DJs. It began in 2007, after Pete unleashed his debut track, ‘What Is It!’, with Petrae Foy, on techno label Sino. He then hooked up with Mike for production duties and their first tracks ended up being hammered by the likes of Anne Savage and Carl Cox. Later, Tempered DJs Vs Funkfreekz’s ‘People’ made the Top 10 of German trance giant Paul van Dyk, and reached 13 in Trackitdown’s Electro chart. Something clicked. Synergy sparked. Genres were defied. You could say their party-fuelled partnership was already a blinding success. In 2008, the guys went into overdrive, kicking out no less than eight fresh cuts on their new imprint, Tempered Records. They were even approached by Jason Nevins to produce a joint remix of Britney Spears’ ‘Break the Ice’ for Jive Records, and their second Funkfreekz collaboration, ‘Fuck the DJ’, became a 3 bestseller on DJdownload. This was a prolific year for Tempered, as they rolled out another eight turbo-charged hits across Clean Recordings, Second Coming and Phat Beat Records.

Building upon this production success, as well as their club-thumping residencies at Sankeys and Area51, 2009 saw Tempered take it up yet another gear. They signed to Manchester Underground Music (MUM) and continued to hit the sweet spot, with a whole new bag of tracks. Collaborations included ‘The Wire’, ‘Rocket Science’ and ‘Escape’, plus they remixed Curious George & The Agent’s ‘Machina’ for New York label Digiprana, and H2’s ‘The Bus to Mexico City’ for MUM. Then their massive Kean's Changed EP exploded, sending ‘That Picotto Track’ flying to the 1 slot on Trackitdown’s Tech chart – and it rode high in their Top 20 Tech House Chart of the year. 2009 also saw the guys breathe new life into one of their all-time favourites tunes – ‘Age of Love’ (by Age of Love). By turning this pioneering, trance anthem into a ticking, techno time bomb, they started a revival that has ignited floors, universally. Ahead of a release on Belgium’s N.E.W.S., its impact was immediately recognised by the elite. These include Lucien Foort, DJ Karotte, and don Carl Cox, who used it to raise the roof during a main room, peak-time session at Space Ibiza, and on his radio show, while Danny Rampling reckons it’s one of the best interpretations he’s ever heard.

All of this, together with a live show that goes way beyond effects, loops and a cappellas, proves their passion, and that their rapid ascent is justified. Yes, Tempered are exactly what it says on the tin – and stronger than ever in 2010!

Tempered DJ's appear exclusively for Manchester Underground Music.


For Bookings Contact: Jonathan.waller@manchesterundergroundmusic



Bringing you fun topics, drinks, food, juicy gossip, and much more. What better way to entertain yourself with Two MeCHICANs and a Chinito!

Cyril Pahinui, the son of musical legend, Gabby Pahinui, is, in his own right, one of Hawai‘i’s most gifted guitarists and singers. Cyril has twice played at Carnegie Hall, has contributed to three Grammy Award-winning albums, received several Hoku Hanohano Awards, and recorded on more than 35 Hawaiian musical releases. As a slack key guitarist, Cyril’s technical virtuosity, rhythmic adaptations, and instrumental harmonics impart the soul of Hawaiian music, and his beautiful, emotive, and well-recognized voice renders an intimate picture of his Pacific island home.

I was born on April 21, 1950, and grew up in Waimanalo at the foot of the Ko‘olau Mountains on the windward side of Oahu. I started playing music from the time I could hold an ukulele, began learning slack key at age seven, and performed on stage for the first time when I was 12. I grew up with four sisters and five brothers, and we all learned music in the traditional way, by listening and watching my dad and other musicians.

In those days, we didn’t get music lessons, and most of the musicians I knew didn’t read music. Most of the techniques were considered to be secret and were not shared outside the family or music community. We really had to work hard to learn. My dad would slack all of his strings and hide his guitar in the closet at night because he knew we would sneak in to try and figure out his tunings once he was asleep. He could always tell when someone had been in his guitar case. That was the style in the old days; if you really wanted to learn, you had to listen. Once I began to learn, I would get up at 4:00 in the morning and make my dad breakfast so that he would spend time with me before leaving for his job—just me, one-on-one with my dad. When he had shared something new, he would expect me to practice, and the next time I played, I could tell he was listening to see if I had mastered it. Then he would share something else.


Atta, Phil, Gabby, Cyril, and Martin in the family back yard.
Our home in Waimanalo attracted many well-known musicians, including slack key masters Leland “Atta” Isaacs, Sonny Chillingworth, and Ray Kane, along with David “Feet” Rogers, Joe Marshall, Aunty Genoa Keawe, and Eddie Kamae. Weekends at the Pahinui home were a continuous jam session, as we hosted dozens of musicians, both young and old, who came by to jam with "the Master." With a welcoming pot of beef stew and rice always on the stove, our home became the perfect setting for a rejuvenation of Hawai‘i's musical traditions. As my dad’s fame grew, attendance at the weekend jam sessions mushroomed—sometimes hosting a hundred or more musicians and fans. The jam sessions would begin early on Friday morning and continue straight through to Monday morning.

My dad and his many musician friends always encouraged me and my brothers to participate and to add something to the music. When I was 15, my dad invited me to join his group, The Gabby Band. One day he just asked me, “Son, would you like to earn a little money?” For me that was like receiving a Grammy—just to know that he recognized my commitment and considered me to be on his level. I also think that was the day that I knew I would continue my music. After that, my dad would ask me every morning, “Son, are all the instruments tuned?” Tuning the instruments became my responsibility and my next level of training. Because my dad had a perfect ear, he could be somewhat impatient, so I had to train myself to be more precise. Now, I am so grateful for his strict discipline. My training taught me to tune and play by ear, and that is what I still do, even today.

Music was my dad’s life, and in many ways he was ahead of his time. He loved classical music, and liked jazz and Mexican music. As his children grew to share his love of music, he always told us, "Play whatever you feel, whatever makes you happy, but always respect Hawaiian music and keep it in your heart."

I shared my generation's passion for rock-and-roll, from Fats Domino and Little Richard to the Beatles and the Rolling Stones, but that was never a roadblock to playing slack key. My father loved the Beatles, too; his favorite Beatles song was Hey Jude. In fact, sometimes my dad would ask me to play familiar Beatles and Stones riffs as introductions to traditional Hawaiian songs. Most people probably don’t realize it, but some of these intros and my arrangements are the distinguishing parts of my dad’s renditions.

I continued to play with my dad throughout my teens, and during this same time, my older brother Bla and I started a rock band, called The Characters. I joined a rock group called Sam and the Samlins. In 1968, I made my first album with the Sunday Manoa, and after returning from two years’ service in Vietnam, I rejoined my dad, brothers, Sonny Chillingworth, Atta Isaacs, and others in the Gabby Pahinui Hawaiian Band. I arranged songs and played a variety of instruments on all five of my dad’s albums on the Panini Label. During this same period, I worked with Palani Vaughan, on his Ia ‘Oe E Ka La albums, which chronicled the music and times of King David Kalākaua.

In 1975, I formed my own group, The Sandwich Isle Band. From there, I went to The Peter Moon Band, which also included my brother Martin. With The Peter Moon Band, I played and sang on four albums, including Cane Fire, which received seven Nā Hōkū Hanohano Awards in 1983, including Album of the Year, Group of the Year, and Song of the Year. Throughout the 1980s, I also played with steel guitarist Greg Sardinha, my brother Bla, and others, and continued to expand my musical horizons.”

In 1988, I recorded Cyril Pahinui, an album of traditional and contemporary songs, which won the Nā Hōkū Hanohano Awards for Best Contemporary Hawaiian Album and Best Male Vocalist. In 1992, at the urging of my mother, and accompanied by session heavyweights Ry Cooder, David Lindley, and Jim Keltner, I joined my brothers Martin and Bla for the Pahinui Brothers album. Recorded on Maui, this album included two traditional songs associated with my father, Henehene Ko Aka and Panini Pua Kea, and a cover of John Lennon’s classic, Jealous Guy.

In 1990, I began recording for Dancing Cat Records. My first Dancing Cat release, 6 & 12 String Slack Key Guitar, won a Nā Hōkū Hanohano Award for Instrumental Album of the Year in 1994. I then recorded Night Moon—Po Mahina in 1998, which featured a version of Hi‘ilawe. In 1999, I recorded a third Dancing Cat release, a duet album with Bob Brozman, Four Hands Sweet & Hot, which won the Nā Hōkū Hanohano Award for Instrumental Album of the Year in 2000. Brozman has so much energy; he doesn’t hold back anything when he plays. When we were recording this album, he kept getting cramps in his fingers because we were playing so fast. I remember George Winston of Dancing Cat Records laughing, because he had never seen Bob Brozman get cramps before.

In 1993, I participated in a slack key/country and western crossover when I played on a Randy Travis release, Wind in the Wire. Beginning that same year, and for seven years running, I also participated in the annual Chet Atkins Appreciation Society guitar convention in Nashville. My dad had been good-friends with Atkins, and they were planning to do an album together. When my dad passed away, Chet recorded the song Pu‘uanahulu in memory of my dad. When Chet found out that I was Gabby’s son, he invited me to attend his convention. As we were getting ready to play, Chet would say, “Cyril, what tuning are you in?” and I’d say, “Chet, this is an open C.” His eyes would open wide, and he would say, “What is that?” Not being a slack key player, he had never heard of that tuning.


Hi‘ilawe workshop at the base of the famouse Waipi‘o waterfall.
Over the years I have also had the opportunity to record with the Makaha Sons, Teressa Bright, Fiji, Frank Hewitt, Pali Ka‘aihue, Amy Hanaiali‘i and have laid a few other guitar parts here and there for friends. I have toured to Germany, France, Switzerland, Belgium, Japan and across the U.S with Ledward Kaapana and Dennis Kamakahi.

In the late 1990s, I had the good fortune to participate in the historic Hawaiian music concerts at Carnegie Hall. My father always told us, “One day my sons’ time will come.” When I walked onstage at Carnegie Hall for the first time, I said, “Dad, we made it.” I could feel him there with me, his ears on my every note and I played as though he was the only one listening.

These days, I am still recording and performing, but I have given up the nightclub thing in favor of colleges and theaters. In my younger days, I used to close the bar, and before I’d know it, the sun would be out. Today, I have to put it in low gear and take it slow.

Over the last three years, I have performed on three compilation albums, Masters of Slack Key, Volume 1 and Legends of Hawaiian Slack Key Guitar—Live from Maui, and Treasures of Hawaiian Slack Key Guitar all of which won Grammy Awards for Best Hawaiian Music Album.

My own album, He‘eia, recorded on the Dancing Cat label and released in September 2007, met with a pretty good response and was nominated for a Grammy and won a Nā Hōkū Hanohano Award for Island Music Album of the Year. The title song, which was originally composed as a chant for King David Kalakaua, was one of my dad’s favorites. All of the tracks on He‘eia are completely solo with no effects or overlays—just one take on the 6 or 12 string guitar.


Cyril teaching in Waipi‘o Valley.
In 2010, we released Amy Hanaiali‘i and Slack Key Masters of Hawai‘i. Artists included Dennis Kamakahi, Jeff Petersen, Sonny Lim, and Chino Montera. Each artist is featured and includes several new compositions and new adaptations of Hawaiian classics. Working on the project was a lot of fun and it demonstrates what happens when musicians who respect each other and Hawaiian music traditions come together to share their music. We received a Grammy nomination for the album and 5 Nā Hōkū Hanohano Award nominations as well.

I am currently performing at the Kani Ka Pila Grille in Waikiki every Wednesday night. This is a very nice venue, we get a good crowd, and I really enjoy what I’m doing. I do the best I can to be natural and honest, to let the music say it all. I am still shocked and amazed that my playing sometimes makes people cry—not just women, but men too. When someone tells me this, I usually say, “I’m sorry that I made you cry, brother, but that’s how it is, straight from the heart.”

I really found my love when I started teaching in the schools and communities throughout the islands and where ever I travel to perform. I have some really great students coming up and I look forward to watching them and hearing my stylings and C tuning in their playing.

I have also started a series of workshops called He Huaka‘i E Pana Ai Ke Ea, A Journey to Bring Pulse to the Living. The workshops were inspired by longtime family friend, Uncle George Na‘ope. Uncle George was there in the early days with my family and working with him reminded me of my dad, very old school, with strict attention to protocol. That’s something that you don’t see too often anymore.

The first workshop in the series was built around the song, Hi‘ilawe, which was probably my dad’s signature. He didn’t compose it, but after hearing someone sing it on Moloka‘i, he fell in love with it. He recorded it seven different times and always included it in his performances. My brothers and I have also played and recorded the song, so it has become kind of a family trademark. One of the special things about the new workshop project is that it opened the way for me to travel to the Waipi‘o Valley and to bring my students there. Even though I have performed the song Hi‘ilawe in concerts all around the world, I had never actually seen its namesake waterfall until I started this project. To be there with the students, singing and teaching the song with the waterfall above us and hula dancers and taro patches surrounding us, was truly one of the most awe-inspiring experiences of my life. I could feel the spirits of the ancestors listening and their love for that place flow though my fingers and ring out through the steel strings and tones of my guitar.


He‘eia lesson.
Another workshop focused on He‘eia, the title song on my solo album. I have already visited the beach several times to take photos for the album and to video and am now researching the song’s composer and historic context. My new passion is to really get to the depth of the material and to share that with my students. It means so much more than just learning the chords and the words for the song. I am also trying to learn more Hawaiian language. In our family, we learned what we used in our music, but we were not allowed to converse in Hawaiian. Today, students can earn college degrees in Hawaiian language. I am anxious to see what this generation does with music composition. To be able to understand the language and culture enough to really compose is something I can only imagine.

Teaching with workshops was something that my dad didn’t do for us. With him, it was all eyes and ears, just watching and listening. It was difficult, but it paid off. By paying attention and listening, I can now share the music with others. I feel so grateful for all I learned from my dad. I can always feel his presence when I play, and he is still my inspiration and the soul of my music.

My low to low-mid range voice is distinctly crystal clear, with concise syllables as I speak. It provides a warm, welcoming atmosphere for your audience. My solid, precise annunciation dictates your message to your target audience exactly as intended. I provide the diversity you need - "one voice fits all" - guaranteed to effectively communicate your message regardless of demographic!
 
I have produced everything from Automated Attendant (PBX) prompts, music-on-hold, high-end to low-end automobile spots, night club promos and educational videos/documentaries.

* My Voice Experience

I have voiced telephone chat lines, music-on-hold, all sorts of radio spots from automobile, night club promos, radio jingles & sweeps, corporate employee orientation videos, educational documentaries. While most of my radio work has been aired in the local Dallas/Fort Worth market, I have also voiced ads for national accounts played nationwide. 


When I was younger, being in radio was my dream. At the age of 15, I started a mobile DJ business which then turned into emceeing events and other public speaking gigs at the age of 17. Before I discovered my voice however, my love for computers started at age 10 which explains what I do today. I work for a major global financial institution in the Information Technology industry. This is what I consider my "real job". :-)
 
Since I am a computer-geek at heart, I can guarantee 100%error-free and super-fast delivery of your project in only the highest quality, crystal clear digital audio professionally produced in a state-of-the-art studio. I will work day and night to help you meet that deadline tomorrow!

* Accents, Impersonations, Characters and Dialects

I am proud to admit my voice is actually free of any particular accent or dialect. Although I am proud to be a Texan, I believe that my neutral voice is more effective especially when you need to communicate a business or corporate-friendly message, or if your target audience is upscale.
 
Since I have such pride in my trademark and unique dictation, I do not do any impersonations or characterizations.

* My Studio Equipment

I built my studio with technology in mind – utilizing only 100% digital, state-of-the-art equipment. My high-end studio hardware consists of Roland, Shure, BBE, TASCAM and Sony.
 
While I mainly use audio software for the bulk of production, I also employ BBE hardware (sonic maximizers and compressors/limiters) to ensure total clarity with zero distortion.
 
In my studio, I use the same gear that you would see in any professional production room. This is important because the quality of a track can greatly differ when played on studio speakers vs. home computer speakers. "Real" studio playback puts everything into perspective - as if it were being played on the air in high-def. It also allows for me to detect and correct any potential flaws (pops, crackles or other naturally occurring distortions) before I present my client with my product.

I am the voice talent that brings my own web-based service enhancements to the table!
 
I have built my own internet-friendly studio from the ground up. Everything from starting at the design of my studio, to the final delivery of my product, I utilize the perfect mix of both my audio engineering and computer backgrounds.
 
From a webserver that I built and host in my studio, in real-time you can instantly approve preliminaries (or "run-throughs") as is and/or make any necessary changes before we cut the finished product. Once final approvals are obtained, you can have your final air-ready track in your hands right there in your inbox in plenty of time ahead of your deadline.

* My Recording and Delivery Capabilities

• I have Source Connect in my studio 
• I can record and then deliver the audio files via Email 
• I can record and then upload the audio files via FTP 
• I can record and then deliver the files by regular mail 


* Pre-, Post- and Production Services I Offer

• I offer copywriting services 
• I can deliver edited and finished voice tracks 
• I offer radio ad production services 
• I have a music library and can add music to any project 
• I can add special effects to any project 


* My Home Base

Dallas/Fort Worth, Texas, United States


* Payment Methods Accepted

• PayPal 
• Credit cards 
• Personal checks, cashier's checks, or money orders in my local currency 
• Personal checks, cashier's checks, or money orders in any currency 
• Wire transfers 







DJ Flux Nova, 
A versatile DJ and audio engineer, born and raised in Las Vegas, NV. A powerful vibrational manipulator and magnifier. Blessed with the gift of a great ear, and a great voice, both which have allowed him the occasional opportunity to entertain those around him. His voracious passion for new music has taken him deep into the underground. Known for his pursuit of new music infused with the early underground sounds first made prominent by the masters of the craft, by legendary artists like Juan Atkins, Kevin Saunderson, Derrick May, and championed thereafter by the likes of Carl Craig, Jeff Mills, and Robert Hood. Inspired by Dj's Frankie Bones, and on the other side of the world, Dj's Carl Cox, and Nicole Moudaber.  With heavy influences by pioneering producer/artists The KLF, NIN, Depeche Mode, Daft Punk, Goldie and Moby.  Early pop influences Dee-Lite, The Snap!, Technotronic, Crystal Waters and Black Box. Early bass music influences Freestyle, DJ Magic Mike, The 2 Live Crew and the late 80s and early 90s Miami bass music scene.  Hip Hop, trip hop, grunge, punk, rock and rap were a staple on the cassette player growing up as well as bass music. Artists like DJ Shadow, Helmet, Mother Love Bone, Soundgarden, Pearl Jam, Operation Ivy, Rancid, N.W.A., Cypress Hill, ICE T, The DOC, Wu Tang, Portishead, Tool, Massive Attack, Sneaker Pimps, Hooverphonic, Mono, Outkast, Master P, and Rage Against the Machine all receive much praise.
DJ Flux Nova is constantly looking for new music, looking to meet new people, to learn new things, to broaden his understanding of humanity, it's various cultures and perspectives, so that he can then share those vibrations through the art of sound manipulation, design, and composition. Vibrations to expect during a presentation are Nu Rave, aka Rave Tech, Techno, DNB, House, Tech House, Deep Tech, Electro, Breaks, Hardcore, Jump Up, Bass music, some Oldies, Big Band, Swing, Jazz, RnB, Rap, Reggae, Rock, Metal, Grunge, Industrial, and on occasion some Trance, Trap and Dubstep. Recent live shows, podcasts or productions @ or with - Mark Farina, Oliver Dollar, Ed Rush and Optical, Frankie Bones, Alix Perez, Emalkay, 6blocc, Phutureprimitive, Ivy Lab, YehME2, at Dark Techno Night @ Recycled Propaganda Gallery, Sahara Events Center, Transmission with TALLA2XLC, Opening for Mike Dehnert at The Sahara Lounge, Sounds of the Underground's Back to the Underground show, Nickel Fucking Beer Night at the world famous Beauty Bar, Juicy Beets, HypnotiK, Backstage Bar & Billiards, House N Keg, EPYKLANDIA, The Baptizm 7, Artisan Boutique Hotel, Nacho House - Techno Night at Tacos & Beer, 2 Cent Beers @ The Sahara Lounge, Red Carpet, HEMPFEST, Anti-Corporate Overlords, Church Bass Worship, L Boogie's Masquerade Birthday Party @ Artisan, Neon Foundation, The Hard Hat, Artifice, Kanji Sushi Social, Apex Car Meet @ Game Nest, Movement @ The End Zombie Bar, Cafe Derbi, Eternal Beats, LTL Entertainment, Underground Events, and the Commonwealth on Fremont. Has headlined shows, opened many raves and played along side for mariachi bands, local rock bands, and has even had the opportunity to close out after The Alchemist in a jam packed world famous Playboy Suite at the top of The Palms Hotel and Casino.
For booking info please contact Flux Nova MGMT via FB at https://www.facebook.com/fluxnova/

We initially with can do the first part which is a temporary heart they can be done in our office well withered a tiny wired <a href="http://mensfitnessdiet.com/">Nitro Focus NO3</a> down to the pelvic floor muscles into the helmet partners and what we do is we have to keep aviary for two weeks and if it's successful than me go and permanently replace that wire however if it isn't them we don't go ahead with that but ninety percent of the time most patients go on to have a permanent placement very few surgeons were you get to try it and if it doesn't work you don’t go ahead with the surgery so it's really I think it's a great option for patients are having great success with that so in Fort Worth the countdown has started really and calling our mid to late push force for poor or it's crunch time the interior of the building is well underway all over the walls throughout the facility Force  through  are completely framed out drywall is on and force  through  than three weeks be habit-forming underway sewed all interior trades her are deep into the project now I'm getting towards the finish line but you do see is something that.
http://mensfitnessdiet.com/

Iola Melba is following