Miguel

Americana/ Blues/ Jazz

 Americana, Blues, Funk, Gigs, Harmonica, Miguel Weissman  Comments Off on Americana/ Blues/ Jazz
May 172017
 

Rock Blues

Indestructible Voices
Written, arranged and produced by Dean Landew
Phil Bloom: drums
Jeremiah Furr: rhythm guitar
Dean Landew: vocals, piano, organ, bass, lead and rhythm guitar
Tristen Napoli: trumpet on “My Beautiful Town”
Miguel Weissman: harmonica
Mark Wixom: acoustic bass on “My Beautiful Town”

https://deanlandew.bandcamp.com/album/indestructible-voices

 

Runin With the Blues
Moose and the Built Proof Blues Band Miguel mixed and co produced with Craig Randal At Brass Giraffe, recorded in 1995. Moose wrote the lyrics, Miguel composed and arranged the music with the Built Proof Blues Band, Ellard-James Boles (Moose): bass and vocals. James “T”T illson: guitar, Earthen Allen: piano, Danny Cipriano: sax, Dan augmented Miguel’s horn lines with the harmonies, Richie Johnson: drums, Miguel Weissman: harmonica.

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Americana

The Second Fiddles Produced, mixed and recorded at Miguel’s recording studio in 2007.
Guillaume Goussault: Lead vocals on Juanita and resonator guitar, Jon Verey: Mandolin, Lead vocal on Lonesome train backing vocals and Jug, I overdubbed drums, the virtual acoustic bass, bass vocals, piano and played the harmonica during the original recording.

Juanita


Lonesome Train

Acoustic blues

 Hot off the Zoom recorder {April 27th 2015}, our new project. In solo order is Miguel Weissman harmonica, Nick Russo slide resonator guitar and Brother Dave Likhtiger on acoustic guitar.


Quarter to twelve

A Smooth One

Hollow Log, Recorded live by Miguel at his studio 2006.6. Rich Cohen: Vocals and guitar, Miguel Weissman: harmonica.


Hollow Log
Rich and I at the

Chicago blues

Hoboken Blues Alstars Alan Camlet: production and mixing at Hoboken Recorders recorded 2003. Paul Zeichner: voice, Brother Dave: guitar and bass, Miguel Weissman: harmonica, Alan Camlet: drums.


Blues witha Feeling
Moose

New with old Blues

Old Gentelmen
Miguel Weissman – harmonica, piano and Voice, Jon- Guitar, Jason Ewald – Drums. Miguel mixed, produced and wrote this tune.

 

Jazz
The Hot Clubbers New CD

Tears

Caravan

 

World Music

 Reggae  Comments Off on World Music
May 162017
 

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Tree Of Life: Ari Ban Moses Band, Words The Bible Produced By Joe Havlock and Miguel Weissman for Countdown Studios. Ari Ben Moses Composed this track sang and played the keyboard and the B3. OSCAR DEBE, Drummer, Vocalist. Ghana, West Africa. BUDDY BOOKER, Bassist. New York City. RICHIE COHEN, Guitarist. los Angeles. Miguel Weissman Harmonica Jersey City. Miguel also is the Mixer.

EVER WEDNESDAY  @ Bar Tabac with JAHWID and the Brooklyners

7 to 10pm,  128 Smith street Brooklyn, NY 11201 (718) 923-0918

The JAHWID video was taken from a fan/s phone. Miguel enhanced the sound a bit and created the Logo and Titles.

– Jahwid, voc/guitar/drums {in this video}
– Brian Lazarus, guitar/voc {in this video}
– Ian Riggs, bass/voc
– Miguel Weissman, harmonica {in this video}
– Jon LaDeau , guitar,
– Jason Ewald, drums
– Joshua Levine, bass/voc {in this video}
– Willie Martinez, drums {in this video}


David Langlois composed and player the all vocal, guitar, percussion, and synth and drum programming. Miguel took it from garage-band and co-produced, over-dubbed mixed and played harmonica in his studio.

East Of Sweden Miguel created this and produced it.

Sir Shadow/ spoken word

 Acid Jazz, Miguel Weissman, Sir Shadow  Comments Off on Sir Shadow/ spoken word
Apr 162017
 


Big People in Small Places Spoken Word by Sir Shadow, Miguel Weissman: harmonica, piano, organ and drum programming


Hunger Recorded at Miguel’s recording studio in 2010
Spoken Word by Sir Shadow, Miguel Weissman: piano, drum programming, sound designs, composition and arrangement. Jesse Selengut: trumpet, Brian Petway: bass.


Thoughts of Love Recorded at Miguel’s recording studio in 2010
Sir Shadow Spoken word, Miguel Weissman: programming and arrangement . Rich Cohen: guitar and co composition, Mark Tipton: Trumpet, Reverend Chris St. Hilare: real hi-hat.


The Ocean of Life  Recorded at Miguel’s recording studio in 2013
Sir Shadow created the spoken word {FLOWETRY} and Miguel Weissman composed and programmed this original track, special quest David Langlois: djembe.


Love Dog Recorded at Miguel’s recording studio in 2010
Sir Shadow created the spoken word {FLOWETRY} and Miguel Weissman composed and programmed this original track, Guest Vocalist Angie Brown.


The Calling Recorded at Miguel’s recording studio in 2010
Sir Shadow Spoken word, Miguel programming, harmonica and arrangements, Rich Cohen: guitar, Reverend Chris St. Hilare: organ, Guest Vocalist Romona.

 

The Bionic Blues One

 About Miguel  Comments Off on The Bionic Blues One
Dec 272016
 

I’m very excited to be working with a media production team on a animation I wrote the screenplay for. The music for this new project is deconstructed from music I co-produced with the Second Fiddles about 12 years ago.. 

“What if blues music, not coal was a world’s power source, would they abuse musicians”?

I will up-date this page weekly with new content.

 

After titles on Black background, open spotlight to photo of amplifier toggle switch.

A long animated arm with a hand that looks like Mickey Mouse turns on switch.

Blue light comes on, some humming noise and guitar tubes warm up in belly or amp.

Pan up to headshot of bionic blues brother.

He’s very sad, very pale, stiff and in pain.

He tries to move his jaw and eyes, and things just won’t work. { kind of like the tin man from the Wizard of Oz}.

His eyes move to one side as the camera pans to a tank that looks like a water cooler, next to a guard stooped over a chair snoring.

He’s wearing a fascist captains hat that is exaggeratedly pointed and boots that you would use to duck step, he’s holding his baton.

Kind a looks like Donald Trump! His arm handcuffed to the water container. The guard kicks the cooler even though he seams asleep.

Bubbles come from the top of the liquid as a small amount of the contents start to empty into a tube heading to the blues ones body.

The contents seams to be a lubricant.

He starts the kick drum, out of time, and blows though the harmonica out of breath through his mouth.

All the parts on his body are wobbly and seem almost as if they’re about to fall apart.

His face looks hopeless as he squirms, not having a switch to get the stuff in the water cooler.

After a struggle and a pleading expression, he shakes his head, his expression  said “just can’t do it.”

 The guard begrudgingly gives a dirty look and presses a big read button.

 A little more of the liquid come in and the blues brother shakes!

.

The blues one plays the harmonica through a tep in his throat! Whips out the guitar with one arm from behind his back like a bandido.

But the music sound synthetic, 

As the Blues one starts playing the blues figure along with the kick drum, playing in rhythm now. The music slowly starts to become real music.

The piano comes from his waist or where the crotch would be, it’s like a trap door or a piano cover for the keys.

The Blues One is always self-conscious, but with an air of sophistication even though he looks disheveled.

Sometimes a arm comes out to adjust his tux and his bowtie. His long back end { a grand piano} with that third leg in the back to stabilize him! 

The bass is held by another arm and another face is introduced, the bass player, is a woman!, They seam to change like a chameleon according to their whim,  the Blues One’s lover is similar!

The jug is held by another hand and arm that comes from the back, and lips come out of the ear to blow into the jug.

They start to get a little more color as they start to sing. Their body warms up, all of the parts seem to work smoothly now. The music sounds less synthetic and the music eventually becomes real players.

At this point all the instruments are introduced one at a time, their playing the guitar, the piano, bass, blowing through a jug, banging on the kick drum, singing and playing the harmonica.

Singing about Juanita, we will choose a couple images from the video. Juanita is half woman and half man too. 

Side note: The sores material for this comes from this video, But I have six more tracks { from the Second Fiddles }  to work with! So the end track { MP3 above } will be a mixture of all I have at my disposal. 

The faces and hands in the photos animate to the music!

These photos will be like a dream sequence that will accentuate the story of this song!

At one point ( when their prowess is at it’s highest ) the amp starts to extract the blues essence as their body starts to overload.

The spindles and sprockets start to turn faster, little sparks and blue steam start to come out of their ears and in the tubes inside of the amp!

Everything is smoking and their skin is dark blue.

We see the tubes, sprocket’s and spindles in side the amp extract the blues essence, splitting into tubes in many directions.

Each connection has a little blues essence leaking onto the floor. All pulsating to the rhythm of the music and going into a power source that looks like a old 1910 power converter that Frankenstein might have used. With the electrical charge going between the two metal antennas.

Everything in the room is bouncing to the music and you see through windows.

We see endless factories with blue smoke bellowing out of their long chimneys wile their moving to the rhythm of the music. ( I got that image from a Max Fleischer cartoon).

As they solo, we see dreams of Juanita and the Blues One walking hand and hand, traveling to famous cities, with selfies next to landmarks, meeting Kings and Queens and sailing on tall ships.

All the while, the one’s creativity, { the blues essence of the music } is being extracted and sucked into the tubes on the other end, and powering this factory. 

Just as all the other factories throughout this alternative universe extract this vital resorse from their captives.

As the bionic blues ones song starts to end, the tubes extract all their creative essence out of their body. 

The One becomes pale blue again. All the machinery that keeps our heroes together, start to seize and fall part.

Almost is if they were Humpty Dumpty, the one’s frail body has been put together for the last time, they slowly explode into hundreds of pieces!

Almost as if each part was an accident within an accident.

As we fade out {like the end of a Looney Tunes cartoon}. The  long arm appears and finds the toggle switch on the amp and turns it off!.

The Camera fades to black as we hear the remnants of their parts settle on the factory floor.

Only to open the spot light again to the bionic blues ones faces on the ground.

 A close up revels a smile and a sigh as they close their eyes to rest  { knowing that somehow} they’ll figure out how to do it all again tomorrow!!

End

CopyRight 2016

Miguel Weissman

comments, email the to harpburn@yahoo.com

 Posted by at 7:04 pm

Chill Out Project

 About Miguel  Comments Off on Chill Out Project
Aug 292016
 

All music composed and preformed by Miguel Weissman including using Angie Brown’s Vocals and brother Dave { The Love} and Walter Roberti ‘s { Blue Spirit} guitar and Yancey Drew Lamber’s Bongo manipulated though melodyne and other treatments.

harpburn@yahoo.com

 

You and 1 2

East Of Sweden

 Posted by at 1:32 pm

What’s new!

 About Miguel  Comments Off on What’s new!
Dec 232015
 

Finally after some tuff physical recovery, I’m starting to practice again and will be taking lesson from Mark Hummel and others to improve my technique on the harmonica.

My Recording studio is almost completed, This will be a project studio to produce my music and other artist I want to collaborate with. No longer open to the public.

I am working on two new albums. I play in many different genres. And I work with many different bands.

So I decided to produce or co-produce these projects with new or original arrangements of tracks I like.

This includes the Brooklyners, two different blues projects, one with brother Dave, electric blues and jump swing. The other with Michaela Gomez and david langlois, prewar blues.

I’m also working on some electronic and worldbeat tracks.

Nikki Armstrong is collaborating with me on lyrics.

I’m working with Bob Stander and Crag Randel to notable producers.

I’m also remixing two tracks, one is “the boat goes to the bottom” by zap mama and also a track by Afrika Bambaataa.

I’m collaborating with so many musicians that it would be silly to list them here for now.

But I’m looking forward to getting these done in a timely manner, the right way!

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I’m working with Nikki Armstrong co writing for her up coming album. We’re also working on a track called “We Declare Peace”!

I’m also working with Sarah Herliani Saputri from Indonesia and her partner on some cool fusion of Downtempo and some of their countries’s indigenous music.

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I plan on producing my first full length album this year too. This will focus on my harmonica and feature different groups that demonstrate the different genre and sound I’ve created the music.

Along with the new music written for these projects, I’ve invested in custom harmonicas from Blue moon harmonicas Custom Marine Band 1896, Corian Comb, Set up for Overblows and Overdraws, “Blues Tuning” and Custom Suzuki Manji, Corian Comb, Set up for Overblows and Overdraws, “Jazz Tuning” and Sydel harmonicas costumed by Greg Jones. And costuming two amplifiers and vintages microphones.

Amps-
Gibson GA 5 Skylark (1959)
Lone Wolf Harp Train 10
Space Tone 6V6 se Amp
ZT Lunchbox Acoustic 2-Channel Acoustic Guitar / Vocal Amplifier

Vintage Harmonica Microphones
– Astatic JT-30 & W30 (vm774)
– RCA CX56A (vm828)
– Sure Bullet microphone
– Unidyne 3 5455

Pedals
– Boss direct box
– Hall of Fame Reverb TC Electronic
– Signal Pad Electro-harmonix
– The Squeal Killer
– Ten Ban EQ MXR
– PS-3 Digital Pitch Shifter/Delay
– Yellow Fall Delay

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RCAjt 2paul 1mug2Mug 1

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 Posted by at 5:27 pm

About Miguel Weissman

 About Miguel  Comments Off on About Miguel Weissman
Aug 102015
 

Composer and Producer
Miguel composes and produces music in a state-of-the-art recording studio using virtual instruments and harmonica for movies, TV, radio and theater. He also creates sound designs for those projects.

Multi-Instrumentalist: Harmonica, Flute, Keyboards, Saxophone
Miguel is best known as a harmonica player. He studied under the best in the business: James Cotton, Sonny Junior, William Galison and Howard Levy. Since his first jingle in the early ’80s, he has done countless sessions. carried a manhattan 802 union card for 10 years, with credits on TV, Radio and Film as well as music genres as diverse as Gyspy Jazz, Reggae, Blues, Americana, HipHop and Electronic.

Miguel Weissman’s exploration into the Manhattan, Bronx, East Village and Hoboken, NJ music scenes led to getting on wax and gigging in Harlem and deep into the East Village (Avenues A-D) at after-hour clubs. This was the advent of the emerging Black Rock, Blues, Punk and Avant Garde Jazz communities.

Miguel earliest collaborations with Donald Dixon, Tack Heads (Sugar Hill Gang}, Eddy Von Bach, Ghetto Fighters, The New Left, Spy v Spy, GTO and The Soul Squad, Sammy Carr, Johnny Thunders, Robert Gordon, Lester Chambers and Charles “Bobo” Shaw at the great clubs of the time like The 7A Club, The World Club and The Pyramid Club in the East Village as well as the Continental Divide, 55 Bar and Danceteria, to name a few.

He did milestone recording sessions such as Fat Jazzy Groves 6 & 7 for New Bread Records, as well as countless sessions for Warlock and Sleeping Bag Records where Miguel collaborated with the Dj Stone and Smash, GTO, Jungle Brothers and the Latin Rascals, and played up in Harlem with early emerging Black Rock scene.

In the Studio he co-produced and managed, Countdown Studio, he worked with The Drifters, Method Man, Blue blue oyster cult, The Roots on Brooklyn Babylon.

He is still an active session player. Whether working in person or virtually, he can record and send finished tracks through the web as HD96K files.

Stage Performer
Miguel has shared the stage around the world with a diverse group of artists. Currently, he works as a sideman for Jahwid and the Brooklyners and David Longlois and the Hot Clubbers and Moose and the Built Proof Blues Band and does guest appearances in the try state area. Miguel also has been on road with swing/blues bands for the dance community, venues like “swing out new Hampshire”. Some of the bigger music venues: The 92nd street Y, The UN, The Iridium, Town Hall. Miguel has toured Europe and Asia as well as though out the US.

Performers that Miguel has worked with include: Les Paul, Mick Jagger with the Sugar Hill Gang (Tackhead with Adrian Sherwood), The Brooklyn Funk Essentials, Flesh and Fuzztones, Rickie Lee Jones, David Johansen, Fela Kuti, James Cotton, Junior Wells, Cornell Dupree, lester chambers, Charles “Bobo” Shaw, David Longlois, Steve James, The Second Fiddles, Johnny Thunders, The New Left, the Holmes Brothers,Tamar Korn, Sammy Carr, Robert Lighthouse, Alou Lion Diarra, DJ Smash (Giant Steps), the Canglosi Cards, Gordon Webster, Frank Schaap, Freddie Stevenson, Robert Gordon, Bobby Forster, Gwen Cleveland, Tootsie Bean, The Uptown Horns, GTO and the Soul Squad, the Burning Brass, Michael Powers, Moose and the Bullet Proof Blues Band, Ari Ben Moses Band, Pete Seeger, Tom Paxton and DJ Stone.

Sound Designer and Technical Engineer
Miguel is a sound consultant/designer and/or board operator for all kinds of events. From theaters to film, to live music halls and hotel events, to art installations and product tours, he has recorded and mixed on 4 to 48 tracks recording studios and live halls, from break out rooms for hotel events, and black box theaters, understanding the live sound needs for every genres, and has worded every position, as an A3, A2 or A1. He works extensively with Macs and PCs, Qlab and SFX, Logic X, Pro Tools, and Final Cut Pro and Melodyne. He has also installed surround sound speaker set-ups in theaters (5.1 and 7.1).

For examples of Miguel’s theater sound designs, and detailed production credits go to sound designs.

For examples of ADR and sound designs created for those productions, go to video.

For examples of his synthesizer programming, treatments of voices and real instruments and virtual instruments manipulated through computer techniques, go to music.

Miguel produced or co-produced all the tracks on the Music page, and he is also the composer or co-composer and primary musician. All tracks can be licensed for your movie, TV or theater production. Contact him for details. harpburn@yahoo.com

 Posted by at 11:49 pm

The 80’s Manhattan music scene

 Acid Jazz, Art, Deep House, Electro, Gigs, Harmonica, HipHop, Recording Studo, Trance  Comments Off on The 80’s Manhattan music scene
Mar 142015
 

Miguel Weissman’s exploration into the Manhattan, Bronx, East Village and Hoboken, NJ music scenes led to getting on wax and gigging in Harlem and deep into the East Village (Avenues A-D) at after-hour clubs. This was the advent of the emerging Black Rock, Blues, Punk and Avant Garde Jazz communities.

miguelpyramid

Miguel played with Donald Dixon, Tack Heads (Sugar Hill Gang}, Eddy Von Bach, Ghetto Fighters, Afrika Bambaata, The New Left, Spy v Spy, GTO and The Soul Squad, Sammy Carr, Johnny Thunders, Robert Gordon, Lester Chambers and Charles “Bobo” Shaw at the great clubs of the time like The 7A Club, The World Club and The Pyramid Club in the East Village as well as the Continental Divide, 55 Bar and Danceteria, to name a few.

Miguel joined a band called The Gismo in 1979. Also in that band was Stan 157, one of the original graffiti artists. The Gismo was an early R & B band. They played at after-hours clubs in Harlem. For Miguel, as the only white man in the room most of the time, this was an experience he would never forget. The love shared there was profound and he was always welcomed.
Mig 1970 gtthe duck

Miguel Weissman Donald Dixon

Miguel collaborated with Donald Dixon in the Bronx in early 80’s on Hill Street, overlooking the Yankee Stadium. They worked on a 4-track reel-to-reel, with a Shure 57 microphone, a delay unit and one 8-bit AKAI sampler.

Miguel saw what life was like for black people in the ‘hood during a time when it seemed like the world had forgotten them. Miguel learned how resourceful this community was and risked his life going up there when crime and desperation were out on the streets! He knew back then that cops stopped men on the street for nothing at all.

There were guns shots constantly in the background. Sometimes there would be a knock on the door and Donald would explain to his clients that Miguel was here to record them and he was white. He would take their guns and bring them into the studio.

He experienced the same thing in the East Village. Going east of First Avenue back then was very dangerous! One night, Miguel was walking on 11th Street and was robbed of his Selmer Mark VI saxophone by a junkie. That’s when he decided to focus on the harmonica and music production, although he still plays the sax, flute and keyboards.

At Continental Divide, a club on 3rd Avenue and 8th Street, (the one that had a big dinosaur on top) he played with the DJs Smash and Stone, who were working turntables while he and other jazz musicians played over the top on the sax, flute and harp. They created the Acid Jazz Movement in the New York scene.

“Wet Ride, Fat Jazzy Groves 6 & 7″ for New Bread Records represents the collaborations between musicians and DJs that created the Acid Jazz Movement in New York. Miguel also worked with Warlock and Sleeping Bag Records where he collaborated with DJs Stone and Smash, GTO, William Socolov, and the Latin Rascals.


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“Wet Ride Fat Jazzy Groves 6 & 7” for New bread Records compiled by DJ Smash, Executive Producer; Asia Love; Miguel Weissman on harmonica; flute and keyboards; Willie Barrios, Co-Producer and drum programing.


The New Left – Tony Boil, vocals, guitar and composition; the late Mike Hoke, bass and backing vocals; Charlie Stedmen, drums; Miguel Weissman harmonica, saxophone and keyboards. Published on Jun 18, 2013 Label: Kingpin Records Released: 1985


GTO and Miguel co-composed and produced this track. GTO wrote the lyrics. Mixed by Craig Randal 1985.

The New Left Promo Pic
The New Left – Tony Boil, vocals, guitar and composition; the late Mike Hoke, bass and backing vocals; Charlie Stedmen, drums; Miguel Weissman harmonica, saxophone and keyboards. Published on Jun 18, 2013 Label: Kingpin Records Released: 1985


Solo Punk days Recorded at Miguel Weissman’s Studio in 1982.

Miguel Weissman, vocals, bass guitar, drum programing, harmonica and tenor saxophone; Dave Sewelson, baritone saxophone; the late Mike Hoke, rhythm guitar; Mark Danie: lead guitar.

This page was edited by Evens & Sue Colas

 Posted by at 8:56 am
Aug 242014
 

Miguel’s milestone recording sessions such as Fat Jazzy Groves 6 &  7 for New Bread Records, as well as countless sessions for  Warlock and Sleeping Bag Records where Miguel collaborated with the Dj Stone and Smash, GTO, Jungle Brothers and the Latin Rascals, and played up in Harlem with  early emerging Black Rock scene.


Surrender GTO and Miguel co-composed and produced this track. GTO wrote the lyrics. by Craig Randal mixed this track in 1985.

His exploration into the Manhattan music scene as a multi- instrumentalist and producer goes as far back as the 1982 . His early HipHop, Acid Jazz, Trip Hop, House and Punk Rock collaborations in the Bronx and the east village with Donald Dixon, The New Left, Tack Heads, Johnny Thunders, Charles “Bobo” Shaw at the 7A club and the Pyramid club in the east Village, and in the 22’s at Danceteria led to getting on wax.


Blue Spirit Disco Mix Recorded at Miguel’s studio originally in 1997. Re-mixed in 2009. Designed and programmed with virtual instruments altered and created though computers. Composed and produced by Miguel Weissman. Special guest; Donald Dixon: Bass,Yancy Drew lambert: Bongos, Walter Pretty: guitar, Miguel: harmonica and flute.


Techno Wave Mixed composed and preformed by Miguel Weissman in 1996.


The Love Produced, mixed and recorded at Miguel’s recording studio, Angie Brown’s Vocals and brother Dave’s guitar manipulated though melodyne and other treatments.

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