#peter warren

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[theartofthecover]

The Tin Can Society #1 (variant cover) (2024)

Art by: Yanick Paquette and Chris Chuckry

[maxsindiecomics]

[PREVIEW] The Tin Can Society #1 (September 18, 2024)

writer: Peter Warren | artist [penciller & inker]: Francesco Mobili | colorist: Chris Chuckry | cover artist: Francesco Mobili [pencils & inks] and Chris Chuckry [colors] | publishing company: Giant Generator [Image Comics]

synopsis: The first stunning issue of a brand-new miniseries from Giant Generator showcasing the first comics work by screenwriter and incredible talent PETER WARREN (_The Incal _feature film, Kill Me) with jaw-dropping art by FRANCESCO MOBILI (X-Men, SCUMBAG) and beautifully colored by CHRIS CHUCKRY (New X-Men, Gen 13).

Johnny Moore is a world-famous tech mogul known as much for his work pioneering mobility aids for people with disabilities (like himself) as he is for moonlighting as the metal-suited vigilante, CALIBURN. But when Johnny is found murdered and his suit stolen, his estranged childhood best friends reunite to solve the mystery of his murder.

THE TIN CAN SOCIETY is a heartfelt and human look at the evolution of friendships across a lifetime, at disability and ableism, and the destructive power of fame.

[jazzdailyblog]

"The Whirling Dervish:" Mal Waldron's Bold Exploration of Sound and Spirit

Introduction: In the vast landscape of jazz, few albums capture the sheer intensity and intellectual depth of the genre as profoundly as Mal Waldron’s “The Whirling Dervish.” Released in 1972 under the French America label, this album stands as a testament to Waldron’s daring creativity and his ability to transcend conventional boundaries in jazz. With only three tracks, the album may appear…

"The Whirling Dervish:" Mal Waldron's Bold Exploration of Sound and Spirit

[zef-zef]

Albert Mangelsdorff, Masahiko Sato, Peter Warren, Allen Blairman - Almapela from: Albert Mangelsdorff, Masahiko Sato, Peter Warren, Allen Blairman - Spontaneous (Enja Records, 1972, 2007; Ward Records, 2007)

original release on Enja Records in 1972 (without "Almapela")

Recorded at Audio-Studio, Berlin on November 8, 1971

Albert Mangelsdorff - Trombone Masahiko Sato - Piano, Effects [Modulator] Peter Warren - Bass Allen Blairman - Drums

Written-By – Albert Mangelsdorff (tracks: 1, 5), Allen Blairman (tracks: 2, 5), Masahiko Sato* (tracks: 4, 5), Peter Warren (tracks: 3, 5)

[bonsaieejit]

Scots Pine Next Step

This Scots Pine, recently arrived into Northern Ireland, hade been featured in Peter Warren’s book, ‘Bonsai’ published by DK. This showed its first styling by Peter.

When it arrived here it was obvious that in the interim it had undergone further changes and refinement.

The tree was ready for the next step and the new owner asked if I would do a little work on it. I was going to wait a…

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[merzbow-derek]

POST-POST-SCRIPTUM 1175

PERCEPTION, Live At The Stadium

Sept ans d'activité effervescente : peu d'ensembles de free jazz peuvent s'enorgueillir d'une telle longévité, surtout avec un personnel aussi stable que celui de Perception. Certes la formation invita quelques musiciens, dont Kent Carter et Jean-Charles Capon, le temps du deuxième opus… Certes la "difficulté d'être" de Siegfried Kessler généra un remplacement temporaire par Manuel Villaroel… Mais pour l'essentiel, c'est le noyau dur à quatre du premier album qui arpenta l'Europe, au gré des concerts, de la Belgique à l'Allemagne et passant par la Norvège, où Perception représenta la France au festival de Molde.

Peu de changements de personnel donc, si ce n'est à la fin, en 1975, une fois le troisième disque finalisé, après le départ du batteur Jean-My Truong qu'il fallut bien remplacer. D'abord par Mino Cinelu, alors dans Opération Rhino et Moravagine, puis par Jacques Thollot, déjà auteur des cultes Jeter la girafe à la mer et Watch Devil Go. Des changements qui n'entamèrent pas l'esprit de Perception, tant l'un comme l'autre surent s'intégrer à un ensemble à l'identité pourtant très forte.

Du passage de Jacques Thollot, aucun disque jusqu'à Live At The Stadium témoignait. Aussi cet enregistrement en public datant de 1977 constitue-t-il une archive précieuse, reflet de recherches toujours aussi singulières et contrastées bien qu'entreprises depuis 1970, dans le sillon du séminal Our Meanings And Our Feelings de Michel Portal. Archive accréditant ce qu'on savait déjà, à savoir que rares furent alors, en Europe, les quartettes à culminer à un tel niveau, en dehors de celui que formaient quasi au même moment, de manière occasionnelle toutefois, Gerd Dudek, Joachim Kühn, Peter Warren et Daniel Humair.

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Seven years of effervescent activity: few free jazz groups can be proud of such longevity, especially with a line-up as stable as that of Perception. Yes, there would be several guest musicians, including Kent Carter and Jean-Charles Capon, on the second album… Yes the "existential problems" of Siegfried Kessler would necessitate him being temporarily replaced by Manuel Villaroel… But for the most part, it was the core quartet of the first album which would tour Europe, through concerts from Belgium to Germany and including Norway where Perception represented France at the Molde festival.

So, few personnel changes then, until towards the end, in 1975, after completing the third album, when drummer Jean-My Truong left and had to be replaced. First by Mino Cinelu, at the time in Opération Rhino and Moravagine, then by Jacques Thollot, already behind the cult albums Jeter la girafe à la mer and Watch Devil Go. These changes did not alter the spirit of Perception, as both were able to integrate a group which nevertheless had such a strong identity.

There was no recorded trace of Jacques Thollot’s time in the group, until Live At The Stadium came to the rescue. So, this live recording from 1977 is a precious archive, displaying unique and contrasting directions which had first begun to be explored in 1970, following the seminal Our Meanings And Our Feelings by Michel Portal. An archive then, which proves what we already knew, that there were few quartets in Europe at the time capable of reaching such a level, other than that formed on an occasional basis, around the same period, by Gerd Dudek, Joachim Kühn, Peter Warren and Daniel Humair.

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