The Changing Same on XRAY.fm

2017-08-09T23:00:00.001-07:00

2016-01-23T20:06:00.002-08:00

Stream The Changing Same on XRAY.fm /// January 24th Broadcast via Soundcloud:

Time for CHURCH on sunday double hour! (we've moved!) welcome.

TRACKLIST:

Of Course, Of Course / Charles Lloyd - I Long to See You; Blue Note 2016
Tying Up Loose Ends / Gary Burton - New Quartet; ECM
Song For Jesus / William Parker Quartet - AUM Fidelity
European Echoes / Ornette Coleman - Body Meta; Artists House
Status Seeking / Mal Waldron Quintet - The Quest; Riverside Records
Full Moon / Roy Haynes - Senyah; Mainstream Records
La Llarona / Charles Lloyd - I Long to See You; Blue Note 2016
Semblence / Gary Burton - Times Square; ECM
Magnetar / Elliott Sharp Aggregate - Clean Feed
Wayfinder / Chris Potter - the Sirens; ECM
Toulouse / Ahmad Jamal - The Essence Volume 1; Birdology
Colors / Sam Rivers RivBea Orchestra - Aurora; Rivbea Records
Out of Nowhere / Sun Ra - The Eternal Myth Revealed; Saturn
Blues at Midnight / Sun Ra - Super Sonic Jazz; Saturn
Scrapbook / William Parker Violin Trio - Scrapbook; Thirsty Ear
Africa / Alice Coltrane - Live in Warsaw (bootleg)

FATAYIR

2013-05-15T17:17:00.002-07:00

Ok. Since now you've MASTERED my pita recipe, it is time to put that skill to work and make fatayir. Fatayer or Fitiir is an Arab meat pie pastry that can alternatively be stuffed with spinach (sabaneq), or cheese (jibnah). It is part of Arab cuisine and is eaten in Kuwait, Turkey, Syria, Palestine, Egypt, Lebanon, Jordan, and other Arab countries in the region.

Think Middle Eastern calzone.

I highly suggest reading through the entire recipe first, before you even go into the kitchen. There are instructions on how to compose fatayir as well as two fillings.

Fatayir: Middle Eastern savory turnovers

Lentil Filling

3 ozs. (by weight and measure) Lentilles du Puy (small, black-green French lentils)

1 medium-large potato (1/2 lb.)

Small bunch of spinach (5-6 ozs. by weight before cleaning/trimming)*

4 or 5 large scallions

1 small onion (1/4 lb.)

3 medium-size Roma tomatoes (scant 1/2 lb. total weight), or substitute 6 ozs. (by weight and measure) good-quality canned tomatoes (e.g., Muir Glen or Cento brand)

2 tablespoon olive oil

3/4 teaspoon salt, plus a little for cooking greens

2 tablespoons pine nuts

1 1/2 teaspoons powdered cumin

1/4 teaspoon black pepper

1/2 rounded teaspoon dried basil

1. In a small saucepan, in plenty of water, bring lentils to a boil; reduce to a simmer and cook about 20 minutes—until just tender but not mushy. Taste to tell. Check every few minutes and add water if drying out. Drain well and move to a mixing bowl. Meanwhile, peel, halve and boil the potato until just fork tender. Drain, return to pot, and mash coarsely, leaving some pieces about the size of a kidney bean. Add to lentils.

2. Remove all tough stems and veins from greens; clean and drain on a towel; chop or tear up small. You should have 2 cups of greens, packed down. Trim roots and any wilted parts from scallions, cut once lengthwise and chop crosswise to make about 1/2 cup. Peel and finely chop onion to make about 1/2 cup. Core tomatoes and cut into 1/4-inch dice; if using canned tomatoes, drain before chopping; either should equal 3/4 cup after chopping.

3. Place a skillet over high heat; when hot, add olive oil, then greens of choice*. Sauté greens with scallion, onion, and a light sprinkling of salt. Cook until limp and mostly dry—5-10 minutes. If using fresh tomatoes, add and saute until cooked through and mixture becomes dry again Canned tomatoes do not require re-cooking; add, mix in, remove from heat.

4. Add cooked greens mixture, nuts, and seasonings to lentil/potato and mix thoroughly. Taste and correct seasonings.

5. See recipe “Fatayir: Composing and Baking” above for final instructions.

Makes 18 ozs. filling by weight, 2 1/3 cups by measure—enough for 10-12 fatayir.

* For part or all of the spinach, you can substitute chard, kale, mizuna, arugula, tatsoi—any combination of greens that you like. Half of a 10-oz. package of good-quality frozen spinach (e.g., Cascadian Farms brand)—thawed and squeezed out well—can also substitute.

Spinach-Cheese Filling

1 large bunch spinach, 10-12 ozs. by weight before cleaning/trimming*12-15 large scallions**

5 ozs. feta cheese (by weight; measures 5-6 ozs. by volume after crumbling)

3 ozs. mozzarella (by weight; about 1/2 cup by volume after grating)

1/2 small bunch Italian parsley (optional)

2 tablespoons olive oil

Sprinkling of salt

3 ozs. ricotta cheese (by weight; 1/3 cup by volume)

1/4 teaspoon coarsely ground black pepper, or to taste

1. Remove all tough stems and veins from greens of choice*; clean and drain on a towel, then chop or tear up small. You should have 4 cups of greens, packed down. Trim roots and any wilted parts from scallions, cut once lengthwise, and chop crosswise to make 1-1 1/2 cups. Crumble feta small and grate mozzarella. If grating by food processor, use steel blade, not grating disc. If using parsley, discard stems and chop enough leaves to make a good-sized handful; set aside

2. Place a skillet over high heat; when hot, add olive oil, then greens and scallions and a very light sprinkling of salt—just enough to speed wilting and evaporation. Saute until greens are limp and almost dry—5-10 minutes. Combine all ingredients, including sautéed greens, etc. and mix thoroughly. Taste and add salt, if needed.

3. See recipe, “Fatayir: Composing and Baking” for final instructions.

(Makes 18 ozs. filling by weight, 2 1/4 cups by measure—enough for 10-12 fatayir.)

* For part or all of the spinach, you can substitute chard, kale, mizuna, tatsoi, arugula— any combination of greens that you like. A 10-oz. package of good-quality frozen spinach (e.g., Cascadian Farms brand)—thawed and squeezed out well—can also substitute.

**Or use a combination of scallions and leeks.

Composing and baking fatayir:

A little less than 1/2 batch “Bread Dough, Basic Yeast, f/ Baguettes, etc.”—see recipe

(i.e., 1 1/2 lbs. dough by weight, 1 1/2 cups by measure)

1 recipe Spinach-Cheese Filling for Fatayir or Lentil Filling for Fatayir (see recipes above)

1. Preheat oven to 425 degrees. Option: line a baking sheet with parchment paper for easier cleanup.

2. Divide dough into 10-12 equal portions (cook’s choice); shape each into a squat ball, like a small tangerine, then dip whole ball in flour. (For technique, see recipe, “Bread, Pita, etc.”). Cover with a clean, dry, low-lint towel and let rest 15 minutes. Meanwhile, divide filling into as many portions as there are dough balls.3. After the 15 minutes, roll out each dough ball on a floured surface to make a disc about 6-inches in diameter. To minimize sticking and maintain roundness, turn dough over and rotate it a quarter turn frequently, adding flour as needed. When ready, pat dough disc hard between palms to shed excess flour, then place flat on a clean surface. Preheat an ungreased baking sheet (with/without parchment ).

4. Brush or dab a little water along edge of lower half of each disc; moistened margin should be damp, not wet, and only 1/4-inch wide. Place 1 portion of filling on lower half of disc and distribute to cover that half without the filling touching the dampened rim. Fold (empty) top half of dough disc over bottom half so edges meet; pat filled area to flatten and distribute filling and to expel air pockets. Press wet and dry rims together hard, to seal; then flute, pinch, or twist to finish sealing and decorate.
5. Place on pre-heated baking sheet. Bake about 15 minutes, rotating front to back after 10 minutes for even cooking. Remove from oven when puffed and showing a little gold-browning in spots on top and underside.

Makes 10-12 pastries, i.e., 5-6 main-course portions of 2 per person; or 10-12 lunch or snack size portions of 1 per person

JOHN COLTRANE / CECIL TAYLOR - COLTRANE TIME

2013-02-21T20:21:00.002-08:00

Here is: the recording session where John Coltrane and Cecil Taylor collaborated. Originally titled "Stereo Drive," then "Hard Driving Jazz," finally "Coltrane Time."

COLTRANE TIME

ORNETTE COLEMAN - CRISIS

2013-02-12T18:51:00.000-08:00

Crisis is a live album by Ornette Coleman recorded at New York University in 1969 and released on the Impulse! label.

It features 1/2 of his classic quartet: Charlie Haden and Don Cherry. Dewey Redman also appears here, and he may as well be considered "classic" as far as an Ornette collaborator goes - and same goes for Ornette's son, Denardo, who plays drums on this recording (who must've been only 13 when this record was cut).

From Wikipedia:

"The Allmusic review by Brian Olewnick awarded the album 4½ stars and stated "Crisis somehow lacks the reputation of the revolutionary Coleman albums from early in his career, but on purely musical grounds it ranks among his most satisfying works."

info: http://www.mediafire.com/download.php?44cqo8g39ooqx3v

ANTHONY BRAXTON & RICHARD TEITELBAUM - SILENCE/TIME ZONES

2013-02-12T15:58:00.001-08:00

Here is an awesome 1996 reissue of some improvisations by Anthony Braxton, Leo Smith, Leroy Jenkins, and Richard Teitelbaum. Recorded in '69 and '76; Richard Teitelbaum plays various Moog synths - which teamed with Braxton's contrabass clarinet, makes this recording totally rad.

1 Anthony Braxton, Leroy Jenkins, Leo Smith – Off The Top Of My Head 16:43

Saxophone, Producer, Other [Miscellaneous Instruments] – Anthony BraxtonTrumpet, Producer, Other [Miscellaneous Instruments] – Leo SmithViolin, Producer, Other [Miscellaneous Instruments] – Leroy Jenkins

2 Anthony Braxton, Leroy Jenkins, Leo Smith – Silence 14:43

3 Richard Teitelbaum With Anthony Braxton – Crossing (Dedicated To Roscoe Mitchell) 23:08

Recorded By – Bill WarrenSopranino Saxophone, Alto Saxophone, Contrabass Clarinet – Anthony BraxtonSynthesizer [Modular Moog], Synthesizer [Micromoog] – Richard Teitelbaum

4 Richard Teitelbaum With Anthony Braxton – Behmoth Dreams (Dedicated To Maryanne Amacher) 18:24

Recorded By – Thomas MarkSopranino Saxophone, Alto Saxophone, Contrabass Clarinet – Anthony BraxtonSynthesizer [Modular Moog], Synthesizer [Micromoog] – Richard Teitelbaum 18:24

1, 2 recorded on July 18, 1969 in Paris, France.
3 recorded live in concert on June 10, 1976 at the Creative Music Festival, Mt. Temper, New York and mixed at Sound Ideas, New York City.
4 recorded on September 16, 1976 at Bearsville Sound, Woodstock, New York.

1 & 2 originally released on Freedom 278.128, 1974.
3 & 4 originally released on Arista/Freedom 1037, 1977.

info: http://www.mediafire.com/?f1esotcka5hl6vh

INTERPLANETARY SAM RIVERS MONTH: Sam Rivers Trio - Live in Lovere '77

2013-01-31T00:46:00.002-08:00

Sam Rivers Trio - Live in Lovere '77

Rec. live in Lovere, Italy, on June 13, 1977

(mics recording)

Sam Rivers,tenor & soprano saxes,piano,flute

Dave Holland,bass

Bobby Battle,drums

1. Improvisation (48:08)

2. Encore (11:42)

Total Time 59:51

mp3 (130 MB)

flac (371 MB)

INTERPLANETARY SAM RIVERS MONTH: SAM RIVERS - CONTRASTS - 1979 ECM

2013-01-31T00:42:00.001-08:00

Sam Rivers - tenor and soprano saxophone, flute

George Lewis - trombone

Dave Holland - bass

Thruman Baker - drums, marimba

Recorded in Ludwigsburg, December 1979

01 Circles

02 Zip

03 Solace

04 Verve

05 Dazzle

06 Image

07 Lines

http://www.mediafire.com/file/aze2nyyzudc

http://www.mediafire.com/file/jqh4m3mljyz

http://www.mediafire.com/file/nnkhoqmwiua

Flac with low quality cover image.

INTERPLANETARY SAM RIVERS MONTH - X2 LP: Black Africa! Villalago & Black Africa! Perugia

2013-01-30T22:31:00.002-08:00

Black Africa! Villalago:

Horo catalogue # HDP 03-04

Recorded at the Umbria Jazz Festival in Villalago, Italy, July 24, 1976 (except for track 5, which was recorded in Perugia, Italy on July 25, 1976)

Personnel:

Sam Rivers - Tenor Sax, Soprano Sax, Flute, Piano, Voice

Joe Daley - Tuba, Euphonium

Sidney Smart - Drums, Percussion

Don Pullen - Piano (track 3)

Tracks:

1. Soprano Section

2. Piano & Flute Sections

3. Flute & Tenor Sections

4. Villalago: Encore

5. Perugia Concert: Finale

Black Africa! Perugia:

Horo catalogue # HDP 05-06

Recorded at the Umbria Jazz Festival in Perugia, Italy on July 25, 1976

Personnel:

Sam Rivers - Tenor Sax, Soprano Sax, Flute, Piano, Voice

Joe Daley - Tuba, Euphonium

Sidney Smart - Drums, Percussion

Tracks:

1. Tenor Section

2. Piano Section

3. Flute & Soprano Sections

4. Tenor Section

Download Black Africa! Villalago

Download Black Africa! Perugia

INTERPLANETARY SAM RIVERS MONTH 2013: SAM RIVERS "PARAGON"

2013-01-30T20:54:00.000-08:00

Download/Info over at one of my favorite jazz blogs,

NOTHING IS V2.0

From: Nothing Is V2.0:

This trio date was recorded in Paris on April 18, 1977 and released in 1979 on Fluid Records, catalogue # 101.

Personnel:

Sam Rivers - Tenor Saxophone, Flute, Soprano Saxophone, Piano

Dave Holland: Bass, Cello

Barry Altschul: Drums

Tracks

1. Ecstasy

2. Bliss

3. Rapture

4. Tingle

5. Paragon

The titles should give you an idea of what to expect with this particular trio. "Ecstasy" is very much an ecstatic energy workout. "Bliss" captures Rivers on flute, and is musically quiet, as we would expect in a blissful state. "Rapture" goes back to a sax, bass, and drum format, and again the title sets the mood - very fluid, very fast-paced. Rivers switches to piano for "Tingle" which somehow manages to get the listener's senses tingling. Rivers becomes truly a multi-instrumentalist for "Paragon" - and all I can say is that if this is what perfection sounds like, I'm digging it. Drummer Barry Altschul and bassist Dave Holland were regular conspirators on Sam Rivers joints during the mid-1970s. On this one, they truly sound like they know each other well.

Rob Ferrier of Allmusic puts it thusly:

As the checks got smaller for jazz musicians, the bands did also. The fewer people to pay, the more profitable the venture. In some ways, this was a tragedy. For other musicians, men like Sam Rivers, it was an opportunity to make the music in his head. Rivers is a giant thinker. While his Blue Note recordings are certainly more accessible to the average listener, it is his remarkable trio output that is the core of his musical thought. Rivers is a player whose playing brooks no argument. There aren't many who can hang, even in a supporting role. There certainly isn't room for other soloists. This is sweeping, grand, muscular music, as regular and jagged as a seismograph, or the jittering of a lie detector. Here, he's supported by two men perfectly suited for their roles, Dave Holland and Barry Altschul. Fine musicians, here they are extensions of the music that pours from Rivers.

I'd like to think that Holland and Altschul are more than extensions of Rivers' music - not to diminish Rivers' accomplishments as an improvisor and composer, but to simply acknowledge that the music is a conversation, and the two sidemen involved are simply ones who happen to be fluent in the language Rivers speaks.

Download Paragon.

SAM RIVERS - PARAGON

2013-01-30T20:44:00.000-08:00

JANUARY 2013 IS THE 2ND ANNUAL INTERPLANETARY SAM RIVERS MONTH

PARAGON

Bass, Cello – Dave Holland

Drums, Percussion – Barry Altschul

Engineer – Claude Ermelin

Producer – Alain Wolfson, Christian Besnier

1977 FLUID RECORDS

2013 INTERPLANETARY SAM RIVERS MONTH: SAM RIVERS - FIRESTORM

2013-01-30T18:55:00.003-08:00

I was fortunate enough to catch the Sam Rivers Trio when they were on tour in support of this album. I caught the gig in downtown Portland Oregon, in a magnificent, gigantic, historic church. And when the band played, church was definitely in session.

While we were waiting outside before the show, Mr. Rivers came out to smoke a cigarette. Meeting him and chatting with him about jazz was one of the most exciting conversations I've ever had. Sam Rivers was a really, really, honest to God, an awesome dude.

The show was hot. I mean like smokin' hot. Now I know that saying stuff like that on a jazz blog is super cheesy, but those adjectives are really best used here in this context. Anyway, speaking of said adjectives, I refer to the the title of this album: Firestorm. The swirling ferocity of this trio literally felt like the sounds the three of them were making were on fire. Sam switched between reeds and piano. Doug Mathews, after slaying it on the upright bass, moved to bass clarinet and electric bass. Anthony Cole's spectacular drumming literally sent me into a trance (he played piano on a few tunes that night as well).

Sam Rivers played with Charlie Parker and Miles Davis when he was very young. He played or recorded with nearly every cornerstone musician in jazz, from the great masters of the past to the hottest new talent, consistently putting out perfect music all the way through his 70+ year career. Towards the end of his life he still blew that sax with the aggressiveness of someone 30 years his younger, still creating compositions with a creative spirit that was unparalleled in the genre; a creativity so rare, he lived in a class of musicians that people like Mozart lived in.

At the end of the show, after the 2nd or 3rd encore, he leaned towards the mic, and said: "You just witnessed the history of jazz."

He made that statement, a statement that some could take as egotistical, with utmost humility. He wasn't bragging; he was simply just letting us know what had just happened.

2ND ANNUAL INTERPLANETARY SAM RIVERS MONTH CONTINUES: "AURORA" FROM 2007

2013-01-30T14:31:00.001-08:00

A year has passed since Sam Rivers left planet Earth. The Changing Same is a little late at getting to the annual celebration Interplanetary Sam Rivers Month, but to make up for lost time we are starting of with a bang. Here we have a release from 2007, which is yet another one of Rivers' big band masterpieces. Utterly staggering large ensemble compositions, blazing improvisations, with smashing precision.

Preview the track "Filaments:"

Click the pic for the link :)

More to come!

Billy Bang / Dennis Charles -Bangception (1983)

2012-08-10T08:04:00.007-07:00

Check out this gem over at A Closet of Curiosities.

ONE OF MY FAVORITE SONGS OF ALL TIME: Music is the Healing Force of the Universe by Albert Ayler

2012-07-31T16:19:00.003-07:00

Wes Montgomery - Echoes of Indiana Avenue

2012-07-31T14:34:00.000-07:00

Ferocious playing by a young Wes Montgomery.

Pat Metheny called Wes "One of the most inspired and consistent improvisers of all time and one of the most transcendent inventors of melody ever."

This is the first full album of previously unheard Wes Montgomery music in over 25 years, and it is comprised of studio and live performances recorded in Indianapolis in 1957 and 1958.

Wes is young and on fire in this music. It is totally badass. Check out "After Hours Blues." Whoa.

Cory Pesaturo and Yasmine Azaiez - Meron

2012-07-29T16:39:00.001-07:00

SUN RA - MAKE A JOYFUL NOISE

2012-07-28T08:58:00.003-07:00

Here it is, in its entirety. I remember back in the day when I was in my late teens: The only way to see this was to rent the VHS copy from the snooty jazz record shop called "The Cat's Meow" in Eugene, Oregon. The dorks that worked there always liked to remind me they thought Sun Ra was "gay" and that I should be listening to Bill Evans instead, because his music was more "lyrical." I always thought it was strange that they couldn't tell that Sun Ra and Bill Evans actually shared similarities other than the fact they both played piano.

This is Sun Ra. If you're not familiar with him or his music and art, I suggest you get acquainted. This video is great way to do this.

ONE OF MY FAVORITE SONGS OF ALL TIME: SONNY SHARROCK - BLACK WOMAN

2012-06-22T12:54:00.003-07:00

This is one of my favorite songs of all time. The lineup is staggering: my favorite drummer (tied with Muhammad Ali) of all time, Milford Graves; Sonny Sharrock is one of the most underrated and creative guitar players jazz has ever seen; Linda Sharrock, who was married to Sonny when this album was recorded, lays down a vocal track that is unlike anything I've ever heard: There's the touch from Ayler in her sound, and her vocal expression is shocking. The legendary Dave Burrell is on piano, and on bass, none other than Norris Jones (Sirone) from the Revolutionary Ensemble and countless other cornerstone jazz sessions. This is the title track to the album of the same name, released in 1969, and the album was produced by Herbie Mann.

Anyway, this is what I am talking about: this is where we left off in 1969. Music, in my opinion, at least from the Western world, has only back-tracked, or at best, treaded water from this point. Imagine the possibilities if musicians had continued the voracious exploration of the 60's until now? Instead, these days, its all regular rock and hipster crap.

...And since you just made fresh pita, you may want some SHAKSHUKA...

2012-06-22T00:36:00.000-07:00

Maybe you've tried the shakshuka at Tasty n' Sons here in Portland (which is delicious, BTW). Anyway, mine is different.

Shakshuka

(Eggs in Purgatory, Tunisian Style)

Two 28-oz. cans good-quality diced tomatoes (e.g., Muir Glen brand)*

9 ripe Roma tomatoes *

16 large cloves garlic (or to taste)**

1/2 cup olive oil

2 1/4 teaspoons salt

Red pepper flakes** to taste; ideally, Aleppo red pepper flakes***, if available

12 eggs

1. Drain canned tomatoes well, but keep the juice; then chop into 1/3-inch pieces. Core Romas; chop into 1/2-3/4-inch cubes. Peel garlic and trim off root nubs; mince finely or put through a garlic press.

2. In a heavy, wide skillet, heat olive oil on high heat, then add all tomatoes—canned and fresh—with the retained tomato juice. Cook until mixture is bubbling hot and raw tomatoes are limp and cooked through, stirring often. Add garlic, salt, and red pepper flakes; cook on medium-low just until flavors blend and garlic is cooked—5-10 minutes. Taste and correct seasonings during this time, adding red pepper flakes gradually and tasting as heat develops.

3. Make small depressions in the tomato stew and drop a raw egg into each. Cover skillet and cook until egg whites are set—about 5 minutes. Serves best in a shallow soup/pasta bowl. Accompany with warmed pita or sturdy, European-style bread for scooping up sauce.

Serves 6

*In season, use all fresh tomatoes, no canned, for authentic shakshuka. 6 lbs. ripe Romas, (about 35 medium-large) should do the trick. The above recipe is adapted to the long off-season, when fresh tomatoes are less flavorful than good-quality canned. A few fresh Romas are added for texture. Use canned tomatoes only, no fresh ones, if time is short or fresh tomatoes are awful.

** Garlic and red pepper are typical of Tunisian shakshuka. Decreasing or eliminating both from part of a batch to suit children’s tastes is still tasty, like Italian Eggs in Purgatory.

***Aleppo red pepper flakes are available in most Middle Eastern markets, including the Middle Eastern aisle at Plaza Latina market on 7^th Avenue in Eugene. Better quality Aleppo flakes are available by mail order from Kalustyan’s, 123 Lexington Avenue, New York 10016; Tel:212-685-3451; e-mail:sales@kalustyans.com. Using Aleppo flakes—less hot than regular chili flakes and roasted for some sweetness—an average quantity is 2 1/2-3 tablespoons.

BEST PITA RECIPE. EVER.

2012-06-22T00:27:00.000-07:00

THIS IS HANDS DOWN THE BEST PITA RECIPE. PERIOD.*

*(and its 100% traditional - Bonus!)

Making Pita

1. Follow recipe, “Bread Dough, Basic Yeast for European-Style Baguettes, Pita, Pizza, etc.” below. When dough has risen and been punched down once, preheat oven and an ungreased baking sheet to your oven’s maximum heating capacity on “Bake” setting. Divide dough into 12-14 equal pieces (or 24-28 for miniature pitas). Shape each one into a tangerine-sized-and-shaped roll that is smooth on top and sides. You can do this by repeatedly pulling the protruding edges and corners of the piece of dough down and tucking them under, into the very bottom of the roll, while rotating dough ball in your two cupped hands. Alternatively, roll dough ball on work surface or between palms until totally smooth on top and sides. Dust entire roll with flour, cover with a clean, dry cloth, and leave to rest for no fewer than 10 minutes and no more than 15 minutes. Resting is crucial to the pocket forming properly. (Repeat…)

2. Working with one rested dough ball at a time, place on a floured surface, pat the dough ball down hard, repeatedly, to force out the air. Then roll out, with a rolling pin, to about 6 inches in diameter and a little less than 1/4-inch thick; turn over several times and rotate as needed to make a round shape. Slap disc between your palms to shake off excess flour and place on a very lightly floured baking sheet or board to rest, covered with a clean, dry towel, for another 10-15 minutes. (Again, crucial.)

3. After the 15 minutes, carefully transfer by hand as many pita rounds as will fit onto the preheated, ungreased baking sheet. Bake for 2-3 minutes, or until ballooned, then remove to rack to cool. If your oven door is glass, watch the process for the fun of it and to monitor doneness. If not, check after 2 minutes then each 30 seconds thereafter for doneness. Don’t be concerned with apparent whiteness: “grill marks” on commercial pita are an affectation used to mimic Middle Eastern baking techniques (and distract the consumer from the mediocrity of packaged pita). Remove from oven and cool, spaced, in a towel-lined bowl or basket; add a layer of toweling whenever adding a layer of pita to the top of a cooling layer to keep condensation from sogging bread discs. Cover all with a towel to keep warm and avoid drying out.

4. Serve immediately; or, when just cool, stack and wrap in a clean, dry kitchen towel (to absorb excess condensed moisture as pita cools further) and place inside a heavy, sealed plastic bag to use later. Reheat 1 pita, or a few at a time, by microwaving for a few seconds towel-wrapped in a sealed plastic bag. Or oven-warm by encasing in aluminum foil and placing in a pre-heated 300-degree oven; if there are several pita, rearrange contents of foil every few minutes to guarantee even warming and prevent drying out.

Makes 12

BasicYeast Dough (Note: if inexperienced, first see “Bread, Yeast, Basic Instructions for”)

(for Baguettes, Pita, Fatayir, Pizza*, rolls, breadsticks, bread pretzels, etc.)

2-2 1/2 cups warm water

1/4 teaspoon sugar

2 packets (4 1/2 teaspoons) active dry yeast, e.g., Fleischmann’s (but not Rapid Rise or other "instant")

6 1/4-6 1/2 cups white bread flour or all-purpose flour**, preferably, unbleached, organic

1/2 cup rye flour (optional—see* and **, below)

1 tablespoon salt

75 grinds of extremely coarse black pepper if making pizza (optional)*

1. Combine 2 cups of the water, the sugar, and yeast; stir well. Leave for 5-10 minutes, until bubbly. If it doesn’t bubble, it’s dead; replace it before proceeding. Note: Name-brand yeast is more reliable than bulk.

2. Combine 6 cups of the flour and the salt (and pepper, if wanted in pizza dough) in a large mixing bowl or the work bowl of a standing mixer (e.g., KitchenAid). Mix well with a wooden spoon if working by hand, or on low speed by machine. Add yeast mixture when bubbly, and mix until too sticky to stir; by machine, use low speed.

3. Clean spoon and sides/bottom of bowl with some of the loose flour from bottom of bowl. Continue mixing with a twisting motion of your closed fist, turning dough over often to pick up dry flour, until you have one shaggy mass of dough. By machine, increase speed to medium once flour is incorporated. Either way, gradually add a little of the extra flour if dough is too sticky to pull cleanly away from the sides of the bowl; or dribble in some/all of the extra 1/2 cup of water if surface looks dry and dough feels “tight”, not bouncy, when prodded.

4. By hand: Turn out onto a lightly floured surface; knead 10-15 minutes; add only enough flour at one time to keep dough from sticking to kneading surface. By machine: Mix on medium speed about 10 minutes, scraping down bowl/hook as needed; only add flour if dough sticks to bowl. Either way, dough is ready when it feels smooth, elastic, bouncy, not sticky. A finger poked into dough 1/3-inch should indent but “bounce back”.

5. Place dough in an ungreased bowl and cover with a clean, fuzz-free kitchen towel that has been dipped in hot water and wrung out well. Put in a warm place to rise. An unheated oven with the light on is always good, especially in cold weather. After about 1-1 1/2 hours, when dough is near 2 1/2 times its original bulk, punch down, knead briefly to release gasses, and turn out onto a clean, floured surface to shape. Or, at this point, you can: a) Allow dough to rise a second time in the bowl; it will take a shorter time than the first rise, and produce a finer-grained loaf. b) Store refrigerated or frozen for later use. If storing, not baking, punch down dough every 20 minutes until thoroughly chilled and no longer trying to rise. Will keep refrigerated with only a little loss in rising power for up to a week. For long-term storage—a week to a month—freezing is preferable; but frozen dough, once thawed and shaped, rises increasingly unevenly after the first couple of days frozen.

Makes 3 1/2 lbs. dough, enough for: 4 regular baguettes (or 8 skinny ones); 14 large pita (or 28 small ones); four 12-inch fatayir za’tar; 28 filled fatayir, two 14-inch x 17-inch pizzas—see recipes.

*For great chew, substitute 1/2 cup of rye flour for 1/2 cup of white flour in pizza dough (see below). Also: For uniquely tasty pizza crust, add about 75 grinds of extremely coarse black pepper in step #2. (above).

**Bread flour may require a little extra water, but makes superior bread of any type that is supposed to be dense, chewy and/or have a crusty exterior. All-purpose flour also works; it is more commonly stocked in home kitchens; it produces ideal sandwich bread, rich and/or sweet breads, and “quick” breads. If using all-purpose flour in this recipe, or anytime you are making pizza—even with bread flour: Substitute 1/2 cup of rye flour for 1/2 cup of the white flour in this recipe to produce better chew without changing flavor. (A little extra water may be needed.) Whatever size batch you’re making, ratio is 1 part rye to 15 parts white flour.

The Champion - In The Tradition - The Best and Most Authentic: Tahini Sauce

2012-06-22T00:20:00.001-07:00

Just in time for summer and its salads, tahini sauce. This is the way its supposed to taste. Unlike that other weirdness you get at pretty much every other place that sells food that is traditionally incorporated with tahini sauce, this stuff will blow your socks off AND belongs on baguettes, or better yet, fresh made pita, (yes, I'll post my pita recipe next - which is also the best pita recipe - and 100% traditional ((and if you have the ambition to attempt this next to a camp fire without an oven, like the real thing in some places, like Sinai, then you should go right on ahead (((at least around here its less likely you'll get sand in the dough))) as well as salads. Make sure to sprinkle some sesame seeds on top of that salad you just tossed with cucumber, romaine, tomato, and read onion.

Tahini Sauce

25 very large cloves fresh garlic

10-20 lemons, depending on size and freshness (to yield 2 cups strained juice)

2 cups (16 ozs. liquid measure) canned sesame tahini – Sahadi or Joyva brand*

2 1/4-2 1/2 teaspoons salt

1. Peel garlic, trim off tough root nubs, and chop coarsely. Squeeze and strain enough lemons to total 2 cups of juice. If making a partial batch (i.e., not using whole can of tahini paste), stir tahini paste until totally re-homogenized and smooth before measuring out to be sure that sesame oil and pulp are evenly distributed.

2. Puree garlic to a totally smooth, almost silky paste by processing with the salt in a food processor (or a blender, if no processor is available). Scrape down contents often with a rubber spatula. Ideally, process garlic and salt in a small—“mini”—food processor, if available. If no machine is available: Put cut up garlic cloves through a garlic press, or chop super finely with a knife; then grind with the salt in a mortar w/pestle until totally smooth; or grind garlic and salt to a paste on a wooden board with the flat side of a heavy knife blade or with a smooth rock—any heavy, blunt object will do—using circular, pressing-down motion. (Salt works like sand to abrade and grind down garlic fibers.).

3. In a normal-size food processor with motor running (or in a blender, 1/4 batch at a time), process garlic mixture with the tahini paste while drizzling in the lemon juice. Process until totally blended. If working by hand, not machine, beat ingredients together in a bowl with a large spoon. Taste and correct flavor balance. Note: Sauce should be tasted on bread or it will seem too strong even if it is perfect.

4. Sauce is now suitable for adding to cooked, drained, ground chick peas to make humus (see recipe); to roasted, mashed eggplant to make baba ghannoush (see recipe); to chopped Italian parsley for a traditional Middle Eastern sauce or dip; or to be thinned with a little water for salad dressing. Refrigerated, keeps well for over a week and never actually spoils; but, over time, you will notice diminished and changed flavor as garlic and lemon both weaken and ferment slightly. So freeze for long-term storage.

Makes 1 quart plus 1/2 cup

*Sahadi brand is first rate and (in Eugene) has been available at the Red Barn from time to time. P.C. Market on Franklin Ave. stocks Joyva, which is second best. Both are made to Middle Eastern (as distinct from “new age”) standards—seeds are well roasted, etc. Do not substitute Maranatha, Jerusalem or any other unroasted (raw) or lightly roasted product; it doesn’t taste correct. Other authentic brands of Middle Eastern tahini paste are available in Middle Eastern markets and the Middle-Eastern aisle of Plaza Latina market, in Eugene.

Tahini Salad Dressing

For dressing, add water—a couple of tablespoons at a time—to a quantity of tahini sauce slightly less than looks “right” for a single salad, whisking or beating in until homogenized. Vegetables will further dilute dressing; so take this into consideration when you taste to correct balance of tahini sauce to water.

Joseph Jarman - Don Moye: Earth Passage/Density /// BLACK SAINT/SOUL NOTE 1993

2012-06-09T12:03:00.002-07:00

Black Saint/Soul Note records out of Milan, Italy, is one of the handful of ultra crucial jazz record labels.

Ranging from jazz classics the the avant garde obscure, they've put out hundreds of albums that I consider to be some of the best examples of what the genre has to offer, not to mention some of the best albums in the history of the entire world, in my humble opinion.

Two cornerstone members of the Art Esnemble of Chicago and the AACM, Joseph Jarman and Don Moye never cease to blow minds.

This one is courtesy of Nothing Is v2.0

Enjoy.

Personnel:

Joseph Jarman - Flute, Clarinet (Bass), Flute (Alto), Flute (Bass), Piccolo, Sax (Alto), Sax (Soprano), Sax (Tenor), Clarinet (Alto), Bamboo Flute

Famoudou Don Moye - Percussion, Chimes, Drums, Triangle, Bells, Cowbell

Rafael Garrett - Bass, Clarinet, Flute, Pan Flute, Conch Shell, Bamboo Flute

Craig Harris - Flute, Percussion, Trombone, Vocals, Voices, Didjeridu, Cowbell, Bamboo Flute

Tracks:

1. Zulu Village (13:11)

a. Hommage

b. Summoning The Elders

c. Children's Sun Celebration

2. Happiness Is (10:15)

3. Jawara (12:15)

4. Sun Spots (11:00)

Recorded on February 16 & 17, 1981 at Barigozzi Studios, Milan, Italy, and released on Black Saint in 1981. The album saw one reissue in 1993.

Download Earth Passage/Density

via Nothing Is v2.0

ALICE COLTRANE - LORD OF LORDS

2012-06-09T11:49:00.003-07:00

Tracks:

1. Andromeda's Suffering (9:04)

2. Sri Rama Ohnedaruth (6:12)

3. Excerpts From The Firebird (5:43)

4. Lord Of Lords (11:17)

5. Going Home (10:02)

Credits:

Bass - Charlie Haden

Cello - Anne Goodman , Edgar Lustgarten (2) , Jan Kelly , Jerry Kessler , Jesse Ehrlich , Raphael Kramer , Ray Kelley

Drums, Percussion - Ben Riley

Harp, Piano, Organ, Tympani, Percussion - Alice Coltrane

Producer - Ed Michel

Viola - David Schwartz , Leonard Selic , Marilyn Baker , Myra Kestenbaum , Rollice Dale , Samuel Boghosian

Violin - Bernard Kundell , Gerald Vinci , Gordon Marron , James Getzoff , Janice Gower , Leonard Malarsky , Lou Klass , Murray Adler , Nathan Kaproff , Ronald Folsom , Sidney Sharp , William Henderson (2)

Music arranged and conducted by Alice Coltrane

Produced by Ed Michel under the direction and inspiration of Alice Coltrane

Recorded and mixed at The Village Recorder, Los Angeles, from July 5 to July 13, 1972

Engineering by Baker Bigsby

Dowload Lord of Lords via Nothing Is v2.0

Hannibal Marvin Peterson - The Tribe

2012-06-09T09:07:00.001-07:00