Niels & The New York Street Percussionists – ST 1990 320 😎

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Bill Laswell – Dreams Of Freedom (Ambient Translations Of Bob Marley In Dub) 😎

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Santana & Bill Laswell - Divine Light (2001) Flac 😎

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Herbie Hancock, Bill Laswell – Technovoodu: Astral Black Simulations (2007) 320

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Bill Laswell – Lost Remixes 4 (2020) 320

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Material – Memory Serves (1982) 320

* American experimental punk-jazz-funk-noise-electro band, founded circa 1978/79 by bassist Bill Laswell and keyboard player Michael Beinhorn.

Material was not only a band name, but an alias for the intensive production work of the duo (for Afrika Bambaataa, Herbie Hancock, Nona Hendryx ...).

Michael Beinhorn left the 'band' in 1985. In the 90s, Material became more world/indian/afro/ambient/dub-oriented. *

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VA – Akashic Bassmatter Chapter 2 (2024) (Bill Laswell Self-Released) Flac

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1997 - Bill Laswell Meets Style Scott - Dub Meltdown

1997 - Bill Laswell Meets Style Scott - Dub Meltdown (Flac)

As far as dub clashes go, this one, between New York titans Laswell and Style Scott, is pretty straightforward. The ghosts of Tubby, Scientist, Prince Far-I and other spirits of the dub world are stirred up in a soundblasted, funky trip through the studio. Scott manages to keep the beat rock solid, allowing his snares to occasionally ripple, ricochet and fuzz throughout the echo chambers, while Laswell tars the sonic roadway with his monstrous basslines.

On a track such as "Aeon", they decorate the sound field with some trippy fx and spacy samples. "Emergency at the Plant" kickstarts you back to reality, where Scott submerges Laswell's basses in burning oil, allowing his own skittery drumbeats and cymbals to crash in a hailstorm of metallic crescendos. Both men keep the proceedings hotwired, melting down the studio and plunging those around them into a deep, dubbed-out maelstrom of rhythm magic. (AllMusc)

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Bob Marley - Dreams Of Freedom (Ambient Translations Of Bob Marley In Dub) (1997) Flac

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Bill Laswell - 2004 - Version 2 Version A Dub Transmission

Bill Laswell - 2004 - Version 2 Version A Dub Transmission @320

These days, dubwise takes a back seat to dancehall in the reggae market. Go to a CD store that sells a lot of reggae -- perhaps in Kingston, Jamaica, perhaps in the Brixton section of London -- and you'll find a lot more new dancehall recordings than new dub recordings. Nonetheless, dub still has an audience, and not everyone who is recording dub in the 21st century favors a classic '70s-type sound along the lines of King Tubby, U-Roy, I-Roy, Big Youth, or I-Jah Man. There is also the neo-dub movement, which Bill Laswell has been a vital part of. Version 2 Version: A Dub Transmission finds the veteran bassist/producer offering yet another dose of his intriguing neo-dub experimentation. Instead of giving an exact replica of grooves from dub's classic era, a 49-year-old Laswell combines dub with modern electronica and takes it to a trippy, hypnotic, atmospheric place -- a place where the reggae beat interacts with ambient club/dance grooves. Version 2 Version doesn't cater to dub purists by any means; anyone who expects this 2004 release to sound exactly like King Tubby circa 1971 is bound to be disappointed. But then, anyone who is familiar with Laswell's history knows that expecting him to offer a carbon copy of old-school dubwise would be like expecting Ornette Coleman to play "Ornithology" exactly like Charlie "Bird" Parker played it in the late '40s. In other words, Laswell is known for shaking things up, which is why his vision of dubwise is experimental rather than traditional. Although not Laswell's best or most essential dub album, Version 2 Version is definitely rewarding -- and it's nice to see him maintaining his free spirit at 49. (AllMusic)

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Bill Laswell - 2002 - Book of Exit Dub Chamber 4 (as Sacred System)

Bill Laswell - 2002 - Book of Exit Dub Chamber 4 (as Sacred System) @320

One of the most prolific men in music, Bill Laswell doesn't release albums under his own name as often as he once did, which makes Book of Exit, the fourth in his "Dub Chamber" series, especially worthy of attention. While the previous "Dub Chamber" releases leaned more toward hard Jamaican-style dub music, with instruments dropping in and out and plenty of reverb and delay, this is altogether a different beat, in large part due to the vocals of Ethiopian singer Gigi. And what Laswell, Gigi, drummer/tabla player Karsh Kale, and percussionist Aiyb Dieng end up with is really ambient dub -- something lighter and more flowing because it adapts itself to the vocals. And Gigi is in excellent form, possibly better than on her own debut, whether on "Ethiopia" or the memorable, beautiful "Jerusalem," which mixes a slight R&B inflection with dub for something outstanding, beautiful, and ethereal. Laswell's light hand at the controls (even the disc's heaviest track, "The Lower Ground," is hardly the stuff of Lee "Scratch" Perry and King Tubby) works subtly -- shifts happen gradually, making for a sense of movement and focus about the pieces. And his work on guitar, bass, and keyboards is as accomplished as his colleagues. Slightly unearthly but always lovely, this dub chamber is a place worth exploring. (AllMusic)

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Bill Laswell - 2000 - Dub Chamber 3

 Bill Laswell - 2000 - Dub Chamber 3 @320

There's no doubting Bill Laswell's sincere love of dub (the reggae subgenre that anticipated remix culture by about 20 years). As one of the finest and most tasteful bass players on the planet, Laswell's grounding in reggae is evident in every note he plays, and his mystical, experimental production style has always been heavily influenced by such dubmasters as King Tubby, Scientist, and Lee "Scratch" Perry. But for all of the experimentalism (and sometimes downright abrasiveness) of many of his projects, he has been fairly criticized in the past for getting mushy when he gets into an explicitly dubwise context. Most notoriously, he managed to squander a great opportunity when he turned an entire album's worth of classic Bob Marley material into soupy multi-culti muzak. But the third volume in his Sacred System trilogy (called, confusingly, Dub Chamber 3) is more muscular than some of his other dubwise excursions, and although there's not much here to challenge the mind, the dreamy flavor of this music is consistently fortified by sturdy beats and Laswell's inimitably tasty basslines. The album consists of four long tracks; on all of them, he's joined by guitarist Nicky Skopelitis, and two of them also feature the playing of Norwegian trumpeter Nils Petter Molvaer, whose treated trumpet gives everything a beautiful, eerie sheen. Other guests include bassist Jah Wobble, percussionist Karsh Kale, and pianist Craig Taborn. Recommended.

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Bill Laswell -2003 - ROIR Dub Sessions

 

Bill Laswell -2003 - ROIR Dub Sessions @320

Few American record labels have done more to further the cause of modern dub than New York's ROIR imprint, which has not only reissued classic dub recordings, but also actively encouraged contemporary artists to reinterpret the tradition according to their own vision. And since bassist and producer Bill Laswell is among the most prolific and original modern exponents of dub, it was inevitable that the two would find their way to each other. Laswell has recorded four albums of progressive dub under his own name for ROIR, and this retrospective collection brings together one track from each of them to make a more-or-less full-length compilation. At just over 46 minutes, the program is a bit skimpy, but it does sell at budget price, and there's certainly no arguing with the quality of the content. The first track, which comes from the least interesting of his four Dub Chamber albums, is the most ambient and the least compelling, though it is very pretty. "Thunupa" livens things up considerably by incorporating the ethereal cornet sounds of Graham Haynes, the drumming of reggae legend Style Scott, and the tabla playing of Bill Buchen. "Cybotron" is a collaboration with fellow bass master Jah Wobble, guitarist Nicky Skopelitis and others, and is simultaneously spacier and funkier. "Ethiopia/The Lower Ground," featuring vocals by the Ethiopian singer Ejigayehu "GiGi" Shibabaw, is one of the most rapturous, lovely compositions in the Laswell catalog. This album would make a fine introduction to Laswell's work for ROIR, but you really need to own all four albums (or at least the last three). (AllMusic)

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