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.

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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.
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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.

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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.

Aug 092014
 

Miguel was a art major in collage until he decided to focus on music, but his love for creating surrealistic  landscapes is demonstrated here. Here is a video he created with his music and art. He does work on albums covers and designed this site.

 

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May 032014
 

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For examples of Miguel’s film and video production, {ADR, mixing and sound designs} 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 compositions

For examples of Miguel’s theater sound designs go to sound designs.

For details on Miguel’s recording studio go to recording studio

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.
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Sep 182013
 


Solo project Recorded at Miguel’s studio originally in 1997. Re-mixed in 2007.
Designed and programed with virtual instruments altered and created though computers. Composed and produced by Miguel Weissman.
Special guest; Yancy Drew lambert: bongos, Walter Pretty: guitar, Miguel: harmonica and flute.

Solo project Recorded at Miguel’s studio originally in 1997. Re-mixed in 2007.
Designed and programed with virtual instruments altered and created though computers. Composed and produced by Miguel Weissman.
Special guest; Donald Dixon Bass.

Sep 152013
 


Solo project Designed and programed with virtual instruments altered though computers, composed and produced by Miguel Weissman recordedd 2012

Solo project Designed and programed with virtual instruments altered though computers, composed and produced by Miguel Weissman recorded 2010
For now these are solo projects for films, but Miguel will create a album of Ambient music.

Miguel created this from photos he has taken in his travels around the world.

Miguel’s Travelogue

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Sep 122013
 


Miguel programed Mixed and produced this track at countdown Studios C 1999
Deep house is known for complex melody, use of unrelated chromatic chords underlying most sequences, and a soul, ambient, or lounge vibe to the vocals (if any). In the early compositions (1988—89), influences of jazz music were most frequently brought out by using more complex chords than simple triads (7ths, 9ths, 13ths, suspensions, alterations) which are held for many bars and give compositions a slightly dissonant feel. The use of vocals became more common in deep house than in many other forms of house music. Sonic qualities include soulful vocals (if vocals are included), slow and concentrated dissonant melodies, smooth, stylish, and chic demeanor.[citation needed] Deep house music rarely reaches a climax, but lingers on as a comfortable relaxing sound.

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