Miguel Weissman drums programming, Diego javier Cebollero Guitar and Kato Aya piano, Peter Maness Bass, David Langlois shaker.
I’ll See You IN My Dreams Aug 31stI’ll See You IN My Dreams Aug 31st less rhythm heavyI Found A New Baby Aug 31stI Found a New Baby G minor
Guillaume Goussault rhythm and Lead guitars.
Performing live is essential to every musician. But so is mastering creating your own voice and compositions or arrangements of music you appreciate.
“I have so many songs that are more than worth finishing. Only some of them are here. Some are top secret!!I Don’t know why but, I still write tunes that could be hits”!
Here is the first days with of experiments with the video for this track. Some problems with the time line…
Miguel Weissman vocals harmonica and piano, Brother Dave Likhtiger rhythm guitar and slide guitar. Jason Eward drums, Bob Srander Bass guitar and drum recording at Parcheesi Recording. Remastered by Craig Randall Composition Armstrong/Weissman
There have been many atrocities on this earth by powerful people.
The world is burning, here are some of the horrible images that should be ingrained in the human psyche.
My intention is to either expose or remind you of these atrocities.
i’ve also collected words of wisdom by some of the great minds that have walked this earth.
we should acknowledge these horrible images, but overcome them with loud music and words that should shake the earth back from upheaval.
One Eleven 111
Jason vocals and drums {recorded at Parcheesi Recording}. where Bob did the guitar and bass. Aya kato Roads, Miguel did the harmonica hybrid, synths, programing and composition.
Copyrighted 2018 Weissman/Armstrong Last edited July 13th
One of the other tunes Nikki and I are working on is a track called One eleven {111}.
For some reason at sometimes pivotal moments I see 111 on my clock”.
“I’ve had fantasy thoughts that it will be the number I see you when I die! Maybe even fantasize that everything is connected to this number LOL.”
The number 111 is one of the most important numbers in the study of numerology. … It is an angel number that encourages you to rely upon your inner wisdom and intuition to guide you. It is a number that will help you bring out the best in yourself and further make progress down your life path. Wow and I thought it was just me!
“I thought if I was being a crafty songwriter, I would also superimpose on top of all of this, as if I am pondering while I’m riding on a train for a significant meeting or date and either the meetings at 1:11”.
“Or it’s 1:11 on the clock as I’m on some train storming down the track. In a semi sleepy reminiscent/ connection with the Almighty moment. You know that moment when the sun is in your face though the window of the train wile your hear the train tracks rhythm but feel like a cat stretched out bathing in the sun”!
BUT, This video is the first draft and what I brought over to Bob’s studio. Every musician hears songs on their preferred AX, mine is the harmonica, so I create the melody this way. Brother Dave Solomon Likhtiger helped me out on the guitar.
THE TWITTER STOMP
Well looks like I’m singing again. Check its out!
Twitter Stomp Undated Dec 30th Copyrighted 2018 Weissman/Likhtiger
Miles Griffith will do lead vocals, Miguel Weissman backings Vocals, keyboards, harmonica, horns and arrangement, Brother Dave Solomon Likhtiger lead and rhythm guitar, Ian Riggs Bass, Jason Eward drums, drums recording at Parcheesi Recording
Nikki Armstrong and I have written many songs together, One of them is here, Where the Buffalo Roam. She is concentrating on First Fist!!!
First Fist
First Fist Set up Last edited Dec 22nd 2020for vocals
Miguel Weissman composition harmonica and Keyboard { virtual guitars, drums} programming, Diego javier Cebollero lead and melodic Guitars Dave Solomon Likhtiger Dobro. , Lap Steel, Electric big cords, Rhythm guitars and Kato Aya piano, Peter Maness Bass, David Tannenbaum cymbals and toms..
I was getting onto the F train, I veered into The train that was waiting at the station, but a young gentleman that thought I was being rude, punch me in the jaw.
I fell on the ground and stated out loud at him “you know you just punched a disabled man”!
He walked on as if nothing happened, nobody helped me.
I got up and did my gig with the Brooklyners! I was definitely emotionally shaken, and tried to figure out why this young man took his aggressions out on me!
I still have no answers, other then I’m glad I did not get up and escalate the situation!
Instead, I wrote this song to heal myself!
But Miguel is looking for others collaborators, film and animation,” I want to get videos from people saying “The World IS Burning” people to collaborate with on “The World is Burning” video”.. That’s going to take people to get the word out, Maybe an influencer might be employed.
“I will find some paid intern from NYU, I use NYU Langone, since they made their medical school free tuition, I want to be involved with them”!
On this page are just some of the tunes Miguel’s working on, Sooo many. Some are in their infancy, some are somewhere between almost finish and some in the mits of the creative flux!!
Also, Miguel plan is to do live podcast in my studio and use this studio in conjunction with others to finish the songs i.m working on. Also collaborate with a few producers to finish these tracks when they’re in the mixing process.
“But the tunes are copyrighted and in the state I feel presentable. But when they are finished, they will start here and move on to other pages where you can find a lot of my {past and present} projects that are finished in the recording process for sale or for your listening pleasure”.
“I’m sure that after a little sabbatical and taking care of my body which always needs maintenance because of my injuries, I’ll start excepting live gigs again. But for now, I am focusing on my health and practicing and recording”.
The Anniversary Song
About done
This is the short mix. I cut out some solos. Still thinking on this.
Miguel Weissman harmonica, Gordon Webster piano, Peter Maness bass, David Langlois Drums.
Recorded 2019
I worked out how I’m recording this track, the tone and mic’s and placement, two Coles mic’s in stereo and a silver Seydel 1847 harmonica in the key of G.
24 hours too late
24 hours too late, Weissman Copyright 2019
Diego javier Cebollero Guitars, Peter Maness bass, Miguel Weissman harmonica and keyboard programing.
24 hours too late
You stood there when the house was burning.
Let them down when they needed a hand.
Kept a blind eye, when there was much to see.
Would not hear, when there was cries for help.
Could not feel, when they were hearts that were broken.
Could not taste, when the water was poison.
Did not care, when the air was on breathable
Close your eyes to justice, when justice what is needed.
Betrayed your convictions to keep in power.
Stood with the devil, But now it’s
More lines need!!
Course
24 hours too late now baby.
The devil has come home to roost.
You can’t claim to be awaken now.
You must wear your shame now, for all to see.
Came the blame now, you should be shamed now.
your traders,Blockaders.
Not Crusaders, prognosticators, dictators and haters,
but rerobate-ors, interrogators,, with a narrow gate, and an impending date for all the weight, you cheapskate, for this game’s checkmate!It’s the due date, nor to debate. It’s time to open the flood gate!
Check your flow rate, when you’re an Inmate! Let’s meet your roommate, and check your postdate!
Use images { for video} of heads of politicians emptied with the crimes they’ve created inside their head image.
If I were The President of The World
If We were the President of the World May 19th 2021
Diego javier Cebollero rhythm guitar, Brother Dave Solomon is laying down some tremolo and lap steel and a Chet Atkins guitar track , Peter Maness bass, Miguel Weissman keyboard programing and composition.
Weissman Copyrighted 2020
if WE were the president of the world
if WE was a president of the world, I’d choose people smarter to run it.
WE wouldn’t go golfing! We’ll be involving, evolving, resolving.
we’d leave that to you,
We’ll have people checking people, that check people checking people, from all sides.
We’ll argue from noon until dawn, spawn a form, promised the curtains would not be drawn.
Hear everybody’s view. even people with no clue, that would poison that stew.
get out the drum, let’s leave no crumb, not think their dumb, but strum with our thumbs,
Not punish them, but know that with time, we’ll all sing that rhyme.
freedom to pursue, a new brew, with more than we could chew.
Our nation will renew.
chorus
That’s Right, You heard right.
It’s gonna be a fight, you’ll need all your might, a very long plight!
Last versre.
if WE were president of the world. we’d promise to you, if you approve this message, that nothing happen when your aggressive, let’s be impressive, not obsessive.
We’ll all stop guessing, and messing, hairdressing, distressing, Start professing and dressing the repressing and start progressing!
we will follow through, make a brighter hue, a major coup, with word and tool, for a world to renew, for me and you..
Video project
These two cover tunes will have a live performance mixed with mixed media images celebrating the working people, promoting peace and mercy, and remembering the good things we all hold dear!
Mercy Mercy Mercy Last edited Nov 27th 2021
Miguel Weissman drums programming, Diego javier Cebollero Guitar and Kato Aya piano, Peter Maness Bass, David Langlois shaker.
Angie Stone Vocals, Brother Dave guitars all manipulated though programing by Miguel Weissman Copyrighted 2017
This Video ” River Of Steel” was created dec 15th 2020
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.
Choose a song you like and scroll to the bottom and start the photo player. Watch Miguel’s collection of surrealistic images wile listening to his music!
Surender
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.
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Blue Spirit Disco Mix
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.
Miguel Weissman Copyright 2009
Jungle WaveTechno Wave Mixed composed and preformed by Miguel Weissman in 1996.Dream House Mixed composed and preformed by Miguel Weissman in 1990
Miguel Weissman Copyright 1999
Flute-Wave Mixed composed and preformed by Miguel Weissman in 1995.
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I worked out how I’m recording this track, the tone and mic’s and placement, two Coles mic’s in stereo and a silver Seydel 1847 harmonica in the key of G.
Miguel Weissman harmonica, Gordon Webster piano, Peter Maness bass, David Langlois Drums { third attempt}! I will get back to this one and do a few more takes.
The Hot Clubbers
Plays a mix of French chansons and gypsy jazz… With an extended repertoire including Jacques Brel, Georges Brassens, Edith Piaf, Serge Gainsbourg… and of course a lot of Django Reinhardt ‘s.
David had played his washboard with some of the most influential players of Gypsy Jazz over the years : Angelo Debarre, Dorado & Samson Schmitt, Stephane Wrembel.
Featuring: David Langlois, Pouquette, Vitor Goncalves, Robert Cuellari, Ian Riggs, Tim Clement, Miguel Weissman and Darius Scheider
Yes, I don’t smoke anymore…But if the gets legal here in jersey Monday I’ll have to resort to being a Secondhand Smoker – Dave Keyes vocals and piano, Greg Baker guitar, Miguel Weissman harmonica and horn arrangements, Shelly Robin Bass , Steve Robin drums, composition Baker/Weissman
The Harrison Ave Ramblers
Live Recordings July 9th 2018
Miguel Weissman Mississippi saxophone, Nick Rousso and Michaela Gomez – guitars, Dave Speranza bass and David Langlois percussion and bushes.
Some Of These Days
Tears
Caravan
Twitter Stomp
Rollin and Tumblin
Where the Buffalo Roam
Miguel Weissman vocals harmonica and piano, Brother Dave Likhtiger rhythm guitar and slide guitar. Jason Eward drums, Bob Srander Bass guitar and drum recording at Parcheesi Recording. Remastered by Craig Randall Composition Armstrong/Weissman
The World is Burning
Rhythm and lead guitars – Brother Dave, Piano – Dave Keyes, bass – Bob Stander, drums – Jason Ewald, Harmonica, Music and production – Miguel Weissman.
First Fist – Miguel Weissman composition, harmonica and Keyboard programming, Diego javier Cebollero Guitars and Kato Aya piano. Remastered by Craig Randall, Radio mix Craig.
Radio version
I was getting onto the F train, I veered into The train that was waiting at the station, but a young gentleman that thought I was being rude, punch me in the jaw.
I fell on the ground and stated out loud at him “you know you just punched a disabled man”!
He walked on as if nothing happened, nobody helped me.
I got up and did my gig with the Brooklyners! I was definitely emotionally shaken, and tried to figure out why this young man took his aggressions out on me!
I still have no answers, other then I’m glad I did not get up and escalate the situation!
Composer sound designer and producer Miguel composes, creates sound designs and produces music in a state-of-the-art recording studio using virtual instruments and harmonica for movies, TV, radio and theater.
For examples of Miguel’s theater sound designs, and detailed production creditsgo to sound designs.
For examples of ADR and sound designs created for those productions, go to video.
Kind Of Blues
Hoboken Blues Alstars Miguel Weissman: harmonica and organ, Brother Dave: guitar and bass, Alan Camlet: drums. Recorders recorded 2003.
For examples of his synthesizer programming, treatments of voices and real instruments and virtual instruments manipulated through computer techniques, go to music.
Multi-Instrumentalist: Harmonica, Flute, Saxophone, Keyboards,Vocalist. Miguel is best known as a harmonica player. He studied under the best in the business: James Cotton, Mark Hummel, 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.
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Miguel Weissman’s journey started in 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 honed his playing in the 70’s, his fist gig was in Northport park {1975} with a Bluegrass band for a large square dance. He played with a his two friends, two guitar players. Playing acoustic music by Doc Watson and other folk and blues masters at small festivals.
There he met Tom Paxton, He played with him for about a year and had a chance to play on the Clearwater, The Seeger’s boat.
But his first gig as a professional was with Lester Chambers band on 8th ave in Manhattan is a club and gig that only lasted about a year.
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. recently, he worked as a sideman for The Brooklyners, David Langlois and the Hot Clubbers 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), Peter Maness quartet, 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).
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
Experience
Member of the “top Reedsters Club” The Top Professional Harmonica players of the world.
Quotes; Junior Wells “ You is one Mother F##!%^^en harp player.”1994
Teaching harmonica: Taught harmonica at the New School from 1990-93, privately for 18 years. NYC Blues Harp Club 1993-2000 Founder: I created a teaching forum for famous harmonica players that were on road, to come in and teach to about 30 students.
I would talk over the class with them so it would be successfully. Every harp teacher that came to the NYC Blues harp club taught me a books worth! A beginning Harmonica Video and Harmonica Book are in the works, to be titled.
Some of the teachers were Annie Raines, Paul Oscher, Adam Gussow, Steve Guyger, Rick Estrin!
Music education/voice/flute/piano: Two years studying piano and music theory, privately with Chris Cheney. He has a Manhattan school of Music master degree. Two year studying Flute with Art Web and one year with Jean Cheney studying flute. A year of voice and phrasing lessons with Sam Harkners,
Harmonica Recording Highlights: Chunky Candy 1993-6, Hover Vacuum Cleaners 1994, for Roger Talisman Productions. www.thesomethings.com/, www.aribenmosesband.com/ Track title “Tree Of Life”, CD title “Burning Bush”. “Run’ in With the Blues” Moose and the Built Proof Blues Band. “The Harp Years” – compilation of the many original bands and projects that featured Miguel on harmonica- Rextreme Records.
Keyboard production highlights: “Working” from the CD Fat Jazzy Groves 6 & 7- DJ Smash {Giant Steps} New Bread Records. “Hyperion” {Dance} and “Music for film”– Rextreme Records, Radio: Glaxo Wellcome- Interlink productions Production and composition of backing track.
Production Credits
A few of Miguel’s Mixing live show credits 1985-2013:
– Bottom line – Webster hall – Tera Blues – Knitting factory – B.B. King – Cipriani and Capitale. – Brooklyn Navy Yard, – Teatro Heckscher – Central Park Jazz Moble and lager events – New Victory theater – Nassau Coliseum – Roosevelt Island.
INDUSTRIAL EVENTS
2000 – 2013 years
Industrial Events King Cole, Event Central, Bentley Meeker, Go Hammer productions: load-in and out, lighting, sound, video and staging. – Toy of the Year Awards (Sheraton Hotel/Imperial Ballroom) – MSN Music Conference – Panasonic: press event – Lady By The Sea: Martin Scorsese documentary premiere (Winter Garden, World Financial Center) – Guggenheim: product launch (Guggenheim Museum) – First Data: stockholders’ meeting (St. Regis Hotel) – Glamour Magazine’s Women of the Year (Museum of Natural History)
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Countdown Studios 1990-2000
Remixed Afrika Bambaataa for Sony Records / Leona Naess for MCA
Management: bookkeeping, Internet and magazine marketing. Long time customer relations with Sony, MCA, Bad Boy Entertainment, DreamWorks, Motown Records as well as film and photo shoots: “Brooklyn Babylon”, “Pootie Tang” and Levi’s Jeans.
Computer and network maintenance and software upgrades: responsible for music equipment outgoing and in-house repairs, recording studio maintenance and upgrades.
Rehearsal studio: Day to day operations of and three rehearsal rooms: Dido, Sting, “Love Janis”, Blue Oyster Cult, The Roots and The Drifters. Cattle calls for “One Life to Live”
Recording production and engineering: all styles, specializing in live and midi production.
Sales: sales and support of computers and software to clients through distributors.
Production highlights: African Bam Bata remixes For Sony Records. Demo production for MCA, Sony and Motown records. www.aribenmosesband.com/ CD title “Burning Bush”, mixer for Sleeping Bag Records, warlock Records 1986-1990, David Langlois and the Hot Clubbers Live at Iridium
High lights of Miguel’s Theatre, Show and work calls-2001-/ 2013
The Golden Dragon Acrobats and Cathay: Three Tales of China– Set construction- Show call Stage right fly Cues. October 28th though January 1 2006
Rain Loan-in New Victory- Set construction and cabling.
Luna Penguin- Shadow and show calls for three positions, New Victory Theater. Fly cues on Pin rail. Stage, right and left sound and stage reasonability’s.
Rennie Harris Legends of Hip Hop- November- New Victory Theater:Load-in, Sound and Set Construction.
Staging Techniques. MSN Music, Panasonic Press Event, March 8 and 9th, 2005, Lady By The Sea, The Winter garden World Financial Center, Guggenheim Product Launch, Guggenheim Museum, August 25, 2004 First Data: Jan 2004 Staging Techniques- St. Regis Hotel, NYC. Museum Of Natural History- November 8th- Glamour Magazine”Women of the year”.Staging Techniques. Press Room load-in and out- Sound and set construction.
The Berkshire Company. Load-in and outs, rigging, sound and light responsibilities.
Daryl Roth Theater, 20 Union Square East (@ 15th St.) De La Guarda- Load out.
Westside Theatre– Juetopia Load-in Set construction
The Promenade, Actors Play house, Bently Meeker– Lincoln Center tent- Bird Land and Zipper Theater and many more:
Kikker-October 22 – November 7 THEATER TERRA, Amsterdam, Netherlands-Load in and out, set construction and sound consultation for theatre production chef–-Show call: Props fly Cues
Plan B: Toulouse, France-October 1-17- Load in and out, set construction and sound consultation for theater production chef.
Eve-O-Lution- September 8th-16th- Cherry Lane Theater-Set construction, carpentry. Rigged Truss.
The Flaming idiots: May 22nd –June 4: Load in and out, set construction andsound consultation for theatre production chef. Show call: Front of house board operator.
Bug Music-Don Byron-April 23-May 2: New Victory Theatre. Load-in and out. Sound consultation for theater
production chef.
Vivace/March-April 2004: New Victory Theatre. Load-in and out. Sound consultation for theatre production chef. Show call: Props fly Cues
TOTY’S/2004/2005:Feb 2004 Staging Techniques. The Sheraton Hotel/Imperial Ballroom. Load-in and out, sound responsibilities.
Snow White and The Gruffalo: Tall Stories theatre Company. The Gruffalo– February 6th-27th 2004, New Victory Theatre- Load-in and outs sound and lights responsibilities.
Circus OZ: Dec 5-Jan 11 2004- New Victory Theatre- Load-in and Out. Sound consultation construction for production chef. Show call: Fly cues, rigging and prop responsibilities.
Cooking: Sept 25 -0ct19 2003- New Victory Theatre- Load-in and out, sound and lights responsibilities. Show call: Props fly Cues and Puppetry. Floor maintenance.
Dance Cuba:Nov 14- 30 2003- New Victory Theatre. Load-in and out. Sound consultation for theatre production chef and shadow for shop steward during show call. Floor inspections.
New Shanghai Circus:Load-in and out, sound consultation for theatre production chef and shadow for shop steward during show call. Show call: front of house Board Operations.
A Year with Frog and Toad: Children’s Theatre company. New Victory and the Court Theatre. Load-in and out, sound and lights responsibilities. Show call: Props fly Cues and Puppetry.
Twinkle Twinkle Little Fish: Windmill Performing Arts company– New Victory Theater- Load-in and outs sound and lights responsibilities. Show call: front of house Board Operations.
The Promenade, Bird Land and Zipper Theater and many more: The Berkshire Company. Load-in and outs, rigging, sound and light responsibilities.
Thwak: The Umbilical Brothers-New Victory Theater. Load-in and out. Sound consultation for theatre production chef and shadow for shop steward during show call. Show time at the Apollo and Annie Lenox live at the Apollo: June and July 2003- the Apollo theater at Load-in and out, sound and lights responsibilities.
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Past Gigs
The JAHWID videos taken from a fan/s phone in 2013. Miguel enhanced the sound a bit and created the Logo and Titles.
The Canglosi Cards
The Cangelosi cards with Tamar Korn, Jake Sanders, Marko Gazic Cassidy Holden Andrew Nemr, New Year’s eve 2007! This was at the grand ballroom is the Manhattan Center. The Dresden dolls saw us busking on the street and hired us to be one of the Warm-up bands. With the agreement that we would ask for donations to the couple thousand people in the audience! Was a lot of ones! Was the longest day ever! We had three gigs and two rehearsals! We started about 10 in the morning and went to about 6 AM the next day! This video was from the telephone bar on second Avenue. That’s Tamar on Vox and Mark Tipton on trumpet. We had a regular gig there in the back room, where people could dance but no one could talk! LOL! Was nice! Got spoiled!
The Canglosi Cards past gigs include opening the 2007 New Year’s Eve Show at the Grand Ballroom in Manhattan, Swing Out New Hampshire (’06, ’07,’08, ’09), the Washington D.C. Lindy Exchange (’08, 09’), The Big, Big, Event in Washington D.C. (’07).
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Sammy Carr Voice, Donald Dixon bass, Janine Lilly Voice, Joe Henderson and Monney guitars, Miguel Weissman harmonica voice and keyboards, Bill Elder drums. Mixed by Miguel, BILL and Donald. 1987-91
Can I say upfront, I am a musician Composer producer that has technical knowledge, but still have a lot to learn about final cut pro and 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”?
These are images I commissioned Ma media arts to render.
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!!
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 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.
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.
King Of KingsTake You Higher
Although I had a small part in this production, I wanted to add this. Never released! One of the Many artist we produced. This on has Flame and Billy Paterson { the Space Man} as well as Kamel and Shamel,two of our rappers at the time.
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.
“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.
Serenader
Gorge Timothy O’Brian {GTO} Voice and Keyboards, Miguel Weissman Keyboards and recording. Craig Randel Remix.
The New Left – Tony Boil, vocals, guitar and composition; the late Mike Hoke, bass and backing vocals; Charlie Stedmen, drums on All For You; Miguel Weissman harmonica, saxophone and keyboards. David Tannenbaum played drums later on Down in Flames and Monkey Reels. Published on Jun 18, 2013 Label: Kingpin Records Released: 1985
Down In Flames Recorded at Media Sound, was on 57th street {A & M Studios}. Monkey Reels Recorded at Clinton Studio, was on 10 ave and 50th in Manhattan.
Blue Crew
Get A Kick Out Of Life
Crazy Mixed Up World
Sammy Carr Voice, Donald Dixon bass, Janine Lilly Voice, Joe Henderson and Clifford Moonie Pusey { Crazy Mixed Up World} – guitars, Perry Robinson clarinet on {Get A Kick Out Of Life} Miguel Weissman harmonicas voice and keyboards, Bill Elder drums. Mixed by Miguel, BILL and Donald. 1987-91
Perry Robinson clarinet RIP Brother!
Solo Punk days Recorded at Miguel Weissman’s Studio in 1982.
Alisia
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. Recorded 1984
Godzilla Recorded composed and produced by Miguel in 1982 Flute Dreams Recorded composed and produced by Miguel in 1982
This page was edited by Evens & Sue Colas
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