Bill Laswell Celluloid Records
How do celluloid records have anything to do with Laswell?
How do celluloid records have anything to do with Bill Laswell?
Within a few years of moving to New York, Laswell founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn - Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s. During this time in the early to mid-1980s, Laswell was able to record some of his Material excursions (which ran the gamut from experimental jazz/funk to pop and R&B, featuring everyone from avant-jazz figures Henry Threadgill and Sonny Sharrock to Archie Shepp and pop star Whitney Houston) as well as projects such as Massacre, with Fred Frith and Fred Maher.  His association with Celluloid allowed some of his first forays into this so-called "collision music" - the term was coined for Laswell by the British writer Chris May, then editor of Black Music & Jazz Review and later a Celluloid staff member - and forays into world music. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeared on the label. Celluloid also released a slew of 12" devoted to Hip-Hop, becoming a precursor to the popularity the form enjoyed starting in the mid-1980s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12" World Destruction which paired PiL's John Lydon with Afrika Bambaataa - years before the Run-D.M.C./Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell's solo debut, Baselines.  Also recording a Laswell-helmed solo album for Celluloid was Ginger Baker, whom Laswell coaxed out of semi-retirement, giving the drummer's career a new boost. He likewise brought Sonny Sharrock out of semi-retirement and produced some of the guitarist's most acclaimed recordings, starting with the solo LP Guitar. CANNOTANSWER
Laswell became the de facto house producer for Celluloid until the sale of the label in the later 1980s.
William Otis Laswell (born February 12, 1955) is an American bass guitarist, record producer, and record label owner. He has been involved in thousands of recordings with many collaborators from all over the world. His music draws from funk, world music, jazz, dub, and ambient styles. 

According to music critic Chris Brazier, "Laswell's pet concept is 'collision music' which involves bringing together musicians from wildly divergent but complementary spheres and seeing what comes out." The credo of one record label run by Laswell which typifies much of his work is "Nothing Is True, Everything Is Permitted". Although his bands may be credited under the same name and often feature the same roster of musicians, the styles and themes explored on different albums can vary dramatically. Material began as a noisy dance music band, but later albums concentrated on hip hop, jazz, or spoken word readings by William S. Burroughs. Most versions of the band Praxis have included guitarist Buckethead, but they have explored different permutations on albums.

Career

Early years
Laswell got his earliest professional experience as a bass guitarist in R&B and funk bands in Detroit and Ann Arbor, Michigan. He saw shows that combined genres, such as Iggy and the Stooges, MC5, and Funkadelic. He was also influenced by jazz musicians John Coltrane, Albert Ayler, and Miles Davis.

New York and Material
In the late 1970s Laswell moved to New York City, immersing himself in the thriving New York music scene. He moved into producer Giorgio Gomelsky's loft and became part of a group of musicians that would become the first version of Material. Material became the backing band for Daevid Allen and New York Gong. The band consisted of Laswell, keyboardist Michael Beinhorn, and drummer Fred Maher. They were usually supplemented by guitarists Cliff Cultreri or Robert Quine.

He worked with Brian Eno, Fred Frith, John Zorn, Daniel Ponce, Ginger Baker, Peter Brötzmann, Kip Hanrahan, Sonny Sharrock, and with musicians in no wave, a genre that combined avant-garde jazz, funk, and punk.

He started a recording studio with Martin Bisi and met Jean Karakos, owner of Celluloid Records. Under the Material name Laswell became the de facto house producer for Celluloid until the label was sold in the 1980s. He recorded music that was experimental, combining jazz, funk, pop, and R&B, by musicians such as Whitney Houston, Sonny Sharrock, Archie Shepp, Henry Threadgill, and the band Massacre with Fred Frith and Fred Maher. His association with Celluloid allowed his first forays into "collision music", a term coined by British writer Chris May of Black Music & Jazz Review. Recordings with the Golden Palominos and production on albums by Shango, Toure Kunda, and Fela Kuti appeared on the label. Celluloid was an early advocate of hip hop, producing albums by Fab 5 Freddy, GrandMixer D.ST, Phase II, and Afrika Bambaataa. The album World Destruction paired John Lydon with Afrika Bambaataa years before Aerosmith and Run–D.M.C. collaborated on their rock/hip hop version of "Walk This Way".

In 1982, Laswell released Baselines, his solo debut album. A year later, he had a breakthrough with "Rockit", a song he co-wrote and produced for Herbie Hancock's album Future Shock. He played bass guitar and co-wrote other songs on the album, leading to collaborations with Hancock through the 2000s. He won a Grammy Award for producing Hancock's next album, Sound-System.

He became a member of the band Last Exit in 1986 with Peter Brötzmann, Ronald Shannon Jackson, and Sonny Sharrock. Aside from one album that Laswell cobbled together in the studio, the band was primarily a live one, showing up at gigs with no rehearsal. The first time the four members played together was on stage at their first show.

Laswell produced albums for Sly and Robbie, Mick Jagger, PiL, Motörhead, Ramones, Iggy Pop and Yoko Ono. Many of these bands afforded Laswell the opportunity to hire his working crew to record on more mainstream records. Sly and Robbie hired him to produce their 1985 album Language Barrier and 1987 album Rhythm Killers.

Running Axiom
Island Records founder Chris Blackwell gave him the opportunity to begin a label in 1990, thus forming Axiom Records. In addition to albums by Material that included Sly and Robbie, William S. Burroughs, Bootsy Collins, Wayne Shorter, and Bernie Worrell, he produced and released albums by Ginger Baker, Ronald Shannon Jackson, Sonny Sharrock, Nicky Skopelitis, and Umar Bin Hassan. Among the studio-based albums, Palestinian oud and violinist Simon Shaheen recorded an album of music by Egyptian composer Mohammed Abdel Wahab. Gambian virtuoso Foday Musa Suso recorded an album of dance music with his electric Kora, and Turkish saz master Talip Oezkan recorded an album. Master Musicians of Jajouka recorded an album in their village in the Rif Mountains. There were albums by Mandinka and Fulani recorded at Suso's family compound in Gambia and Gnawa music from Morocco.

Praxis featured guitarist Buckethead on Transmutation with Bootsy Collins, Bryan Mantia, Bernie Worrell, and Afrika Baby Bam from the Jungle Brothers. The album blended funk grooves and heavy metal riffs with many tracks co-written by Laswell. The band spawned other releases, never with the same line-up, though consisting of the core trio of Laswell, Buckethead, and Mantia.

Funkcronomicon included previously released tracks by Praxis and Skopelitis and tracks with members of Parliament-Funkadelic. George Clinton, Bootsy Collins, Bernie Worrell, and the last recordings of Eddie Hazel are featured prominently. The album includes DXT, Umar Bin Hassan, Abiodun Oyewole and Torture. Laswell remixed the Axiom catalog for Axiom Ambient, blending seemingly disparate tracks, releasing some of the music for Sample Material – International Free Zone, a sample library for other musicians to use as material.

Other labels
Subharmonic, conceived by Laswell and ex-Celluloid A&R Robert Soares, though not owned by Laswell, was essentially a vehicle for his projects, most in the ambient or ambient-dub categories. The label licensed a few releases from European labels for American re-release, notably Psychonavigation with Pete Namlook and Cymatic Scan with Tetsu Inoue from Pete Namlook's FAX label; Somnific Flux with Mick Harris and Cold Summer by Lull from the Sentrax label. Other collaborators included Jonah Sharp and Terre Thaemlitz. The label also released albums by Painkiller, Praxis, and Divination, an ambient dub project by Laswell. A sub-label called Strata was created with five releases in a more experimental dub/noise/ambient vein. Each of these releases (Death Cube K, Cypher 7, Azonic, and two under his alias Automaton) came in a black jewel case with the name of the project and album title printed on the front.

Three other short-lived labels were created after the demise of the Subharmonic deal. One was Meta, which was intended to be a spoken word label. The second label, Submeta, managed four releases before folding. Meta, formed with Janet Rienstra, released only one album, Baptism of Solitude with novelist Paul Bowles reading excerpts from his work over soundscapes by Laswell. Meta would appear periodically, distributed by other labels, over the next few years until it returned as a spiritual/yogic label run by Rienstra. The third label, Black Arc, was an associated label of Rykodisc focusing on "Black Rock, Cyber Funk, and Future Blues", according to a sampler. The label featured members of P-Funk on most of the albums and released albums by Bootsy Collins (under the name "Zillatron"), Bernie Worrell (Japan-only), Mutiny (Jerome Brailey), and Billy Bass.

Charged (1999) by Eraldo Bernocchi and Toshinori Kondo was released by Laswell's label Innerythmic. After a brief inactive period, the label restarted in 2001, releasing over the next few years and albums by Nicky Skopelitis, Raoul Björkenheim, James Blood Ulmer, Shin Terai, and Gonervill. Innerhythmic also released a live recording by Praxis and reissued Black Arc albums from the 1990, including Zillatron, The Last Poets' Holy Terror and Buddy Miles' Hell & Back.

Laswell moved his studio to West Orange, New Jersey and called it Orange Music Sound Studios. Under Palm's umbrella, though, four albums and a DVD set were released, including a studio album and a live 2-disc set from Tabla Beat Science centered on tabla virtuoso Zakir Hussain, son of Alla Rakha. The album included Karsh Kale, Trilok Gurtu, Ustad Sultan Khan, and Talvin Singh. This group has performed in the US, Lebanon, and Japan. Laswell, Kale, Kahn, and Hussain are usually supplemented by other musicians, which have included Gigi, DJ Disk, Serj Tankian from System of a Down, Sussan Deyhim, and artist Petulia Mattioli. In 2001 Life Space Death was released with Japanese trumpeter Toshinori Kondo, Laswell on bass, guitar, and keyboards, and words by the 14th Dalai Lama interviewed by Kondo. At the request of Blackwell, Laswell oversaw the debut album by Ethiopian singer Gigi for Palm Pictures with Wayne Shorter, Herbie Hancock, and Laswell. He also produced Abyssinia Infinite and Gold & Wax.

Laswell has stated in interviews that he met with Miles Davis a number of times and discussed working together, but busy schedules kept them from arranging such a recording before Davis' death. He remixed some of Davis's music for Panthalassa: The Music of Miles Davis 1969-1974 (Axiom, 1998).

New century, new labels
He signed a contract with Sanctuary Records that led to the creation of his label Nagual. He worked in the drum and bass genre, starting with Brutal Calling credited to Bill Laswell vs. Submerged that was released by Avant in 2004. He and Submerged worked together again on The Only Way to Go is Down (2006) under the name Method of Defiance. After this album, they assembled producers in drum and bass to collaborate with musicians from jazz. Evol Intent, Future Prophecies, and SPL recorded with Buckethead, Herbie Hancock, and Pharoah Sanders.

In 2010, Laswell created the label M.O.D. Technologies. Its first releases were the albums Jahbulon and Incunabula by Method of Defiance and Mesgana Ethiopia by Material with Gigi.

Along with live dates around the world with Massacre, Material, Method of Defiance, and Painkiller, Laswell travels to Japan every year for recordings and live dates, including with Tokyo Rotation.

In September 2017, Bill Laswell was interviewed by the Data.Wave webzine.

In November 2018, he performed in Dave Douglas Uplift band at the London Jazz Festival.

Collaborators
Laswell works frequently with a small group of collaborators. These include bassists Jah Wobble, Jonas Hellborg, and Bootsy Collins; guitarists Buckethead and Nicky Skopelitis; keyboardists Jeff Bova and Bernie Worrell; percussionists Aïyb Dieng and Karsh Kale, and musicians from P-Funk. Robert Musso has been his chief engineer for over twenty years. Oz Fritz has occasionally filled the role. Fritz is usually Laswell's live engineer of choice, known for live mixing technique. Remixes have been done for Sting, Nine Inch Nails, Almamegretta, Scorn, Ozzy Osbourne, and Tori Amos. He has done much work for John Zorn's Tzadik Records.

In 2005, Laswell was invited to appear on the PBS series Soundstage. The show featured musicians he has played with over the years, including members of Praxis and Tabla Beat Science, Pharoah Sanders, Foday Musa Suso, Bootsy Collins, and Catfish Collins.

Laswell worked with Sony Creative Software on a box set loop library called The Bill Laswell Collection.

He has also worked with Eraldo Bernocchi and Mick Harris on a project called Equations of Eternity, which is an ambient music project started in 1995 by Eraldo. Since its members live in separate parts of the world: Mick Harris in England; Bill Laswell in the US; and Eraldo Bernocchi in Italy, the project has been predominantly studio-based, with its members recording music in their respective countries.

Discography

See also
Axiom (record label)
List of ambient music artists

References

External links
 
 
 

Official  site

1955 births
People from Marion County, Illinois
Living people
20th-century American bass guitarists
Record producers from Illinois
Avant-garde jazz musicians
Curlew (band) members
Elektra Records artists
The Golden Palominos members
Gong (band) members
Last Exit (free jazz band) members
Massacre (experimental band) members
Material (band) members
RareNoiseRecords artists
ROIR artists
Virgin Records artists
ZE Records artists
Praxis (band) members
Painkiller (band) members
Deadline (band) members
SXL (band) members
Arcana (American band) members
Celluloid Records, a French/American record label, founded by Jean Georgakarakos (sometimes shortened to Jean Karakos) operated from 1976 to 1989 in New York City, and produced a series of eclectic and ground-breaking releases, particularly in the early to late 1980s, largely under the auspices of de facto in-house producer Bill Laswell.

Jean Georgakarakos had previously run a chain of record shops in France, Pop Shop, in cities such as Paris, Lyon, Grenoble and Aix-en-Provence. In 1967, he formed jazz record label BYG Records, which collapsed in the mid-1970s. Karakos also produced albums such as Sonny Sharrock's Monkie-Pockie Boo, and some Art Ensemble Of Chicago, Archie Shepp, Don Cherry Magma and Gong material.

Early releases

Celluloid began by releasing American no-wave and French avant-garde pop by artists such as Métal Urbain (who were signed to London's Rough Trade Records in the UK), Mathematiques Modernes, James Chance and Alan Vega. It also licensed tracks from other artists and labels, releasing tracks by Soft Cell, The Names, Cabaret Voltaire and Tuxedomoon among others. In the early eighties, Celluloid had a business relationship with Michael Zilkha and Michael Esteban's Ze Records; artists including Was (Not Was), Alan Vega, Suicide and Lydia Lunch released tracks on both labels, sometimes simultaneously, and at least one LP (Vega's eponymous debut) was released with both Celluloid and Ze logos on the sleeve.

Expansion

Thanks to the guidance and participation of now rising producer, Bill Laswell, the 1982 catalogue had expanded to encompass early hip-hop artists such as Afrika Bambaataa (under projects Time Zone, and Shango), Beside (Bernard Zekri's wife), Fab 5 Freddy, Grand Mixer DXT, Phase II -all recorded at Martin Bisi's studio called then O.A.O. in Brooklyn NY; and Tribe 2. Much of the hip-hop projects was produced by the group Material, who had already recorded a number of sides for Celluloid, and whose prime mover Bill Laswell would play an increasing role in the label's fortunes for the next five years. Celluloid also released an album of Futuristic Funk by punk/funk performer and cyberpunk writer John Shirley, John Shirley's Obsession, featuring guitarist Sync66 (Chris Cunningham) and Bassist Jerry Antonias (a.k.a. Jerry Agony) both of whom also played with James Chance (a.k.a. James White).  By 1983 the label released KONK Party by New York-based No Wave and Afro Punk group Konk.

Increasingly sought out to produce artists on major labels (such as Nona Hendryx, Yellowman and Herbie Hancock, for whom he produced the Grammy-winning "Rockit"), Laswell still found time to produce and play on Celluloid albums by Massacre (a power trio composed of Laswell, Fred Frith and Fred Maher) and his own group Material (whose One Down of 1983 featured a young Whitney Houston, in her first registered song, alongside Archie Shepp, Brian Eno, Bernard Fowler and Tony Thompson of Chic). Karakos next persuaded Laswell to helm the production suite for Celluloid recordings by African artists such as Toure Kunda, Mandingo and Manu Dibango. At the same time he was asked to remix Fela Kuti's Army Arrangement for Celluloid, the first of many such ventures (he would later remix Bob Marley, Miles Davis and Carlos Santana for major labels).

Celluloid's prolific output continued throughout the mid-eighties. As well as funding Laswell-related productions by Praxis, Time Zone, Shango, B-Side, Deadline, Last Poets, and even a resurrected Jimi Hendrix (appearing posthumously with Lightnin' Rod on the bluesy  "Doriella Du Fontaine"), Karakos also started a number of associated labels. OAO Records released much of Material's early output as well as albums by the aforementioned Golden Palominos and Cuban percussionist Daniel Ponce. Moving Target catered for the niche post-rock/reggae market, releasing material by Sly and Robbie, Yellowman, Dennis Bovell, Blurt, The Fleshtones, Splatcats and, incredibly, The Flying Pickets. The short-lived Mercenary Records, meanwhile, released straight-ahead rock albums by the Goo Goo Dolls and Victory. An equally short-lived partnership with Morgan Khan, head of Street Sounds, saw albums by B-Side. Manu Dibango and Mandingo licensed for release in the UK on Khan's Streetwave label.

Decline

By 1986, increasing demands on Laswell's time (including work on major label albums by Yoko Ono, Mick Jagger, Motörhead and PiL) meant that his work for Celluloid became more sporadic, though he did produce Horses & Trees for Ginger Baker (whom Laswell had tracked down in Italy and persuaded to play on PiL's Album) and contributed to the Golden Palominos' Blast of Silence and A Dead Horse albums, as well as recording with Last Exit and releasing an album with Peter Brötzmann for Celluloid. The label, meanwhile, continued to release records that did not involve Laswell; this eclectic selection included Eric Dolphy's Iron Man and Conversations, John McLaughlin's Devotion, and Welcome To Dreamland, a compilation of Japanese pop overseen by Fred Frith. African music also featured heavily in Celluloid's mid to late eighties output: Kassav, Toure Kunda, Fela Kuti, and Mahlathini and the Mahotella Queens all released albums through the label. Karakos also kept up his interest in the post-punk scene by releasing a comeback solo album by Television guitarist Richard Lloyd (Field of Fire 1986), as well as a follow-up (Real Time, 1987), and found time to start up two new offshoots, Braziloid and Skaloid, which released, Brazilian and ska music respectively. In conjunction with CBGB, the label issued the 1987 Ritual Tension live album The Blood of the Kid.

Close of business and aftermath

In 1989, Karakos having returned to Paris, produced in partnership with film director, Olivier Lorsac, the zouk/Brazilian music influenced, Kaoma band which consisted of ex-Celluloid recording artists from Toure Kunda and the main group to musically represent the repertoire of the lambada dance music explosion in Europe during that same year. Originally intended for Celluloid's Brazilian division, the lambada music compilation and video was eventually released on CBS Records worldwide, reaching no. 1 on top of the pop music charts in Europe. Facing the worldwide success of the hit, and the necessities of its management, Karakos sold in debt Celluloid to American businessman John Matarazzo for a symbolic dollar. Matarazzo  was to repay Celluloid's debt to French Bank Societe Generale, which had mortgaged the whole recording, publishing and branding catalog. As he failed to do so, Societe Generale got back its rights over the catalog and sold it all back to Karakos and his associates of Adageo in 1994.

Laswell had decamped to become a producer for hire and would later found Axiom, under the auspices of Island's Chris Blackwell which continued Celluloid's avant-garde musical policy. The French branch of Celluloid continued to license music for compilations on other labels, notably MauMau and Charly, while releases were sporadic at best, and largely aimed at the French market.

Charly Records has now an exclusive licence contract and holds the rights to exploit the Celluloid catalogue. 
They list all the references they use on the official Celluloid website: https://www.celluloidrecords.com/

See also
 List of record labels

References

 
French record labels
Defunct record labels of the United States
Industrial record labels
Alternative rock record labels
Experimental music record labels
Record labels established in 1976
1976 establishments in New York City Nicky Skopelitis (born January 19, 1960) is an American guitarist and composer of Greek descent. He also has performed on banjo, oud, lute, keyboards and other instruments. Although Skopelitis has recorded few albums as a bandleader, he has appeared on many more recordings, often collaborating with prolific bass guitarist and producer Bill Laswell. Until 1987 or so, he used the spelling "Scopelitis" for his last name.

Discography

As leader
 Next to Nothing (Venture, 1989)
 Ekstasis(Axiom, 1993)
 Revelator (Douglas Music, 1998)

As sideman
With Ginger Baker
 Horses & Trees (Celluloid, 1986)
 No Material (ITM, 1989)
 Middle Passage (Axiom, 1990)
 Live in Munich Germany 1987 (Voiceprint, 2010)

With Afrika Bambaataa
 Frantic Situation (Tommy Boy, 1984)
 Beware (DBK, 1986)
 The Light (EMI, 1988)

With Manu Dibango
 Electric Africa (Celluloid, 1985)
 Pata Piya (Celluloid, 1985)
 Afrijazzy (Enemy, 1986)

With The Golden Palominos
 The Golden Palominos (Celluloid, 1983)
 Visions of Excess (Celluloid, 1985)
 Blast of Silence (Celluloid, 1986)
 A Dead Horse (Celluloid, 1989)
 Drunk with Passion (Venture, 1991)
 This Is How It Feels (Restless, 1993)
 Pure (Restless, 1994)
 Dead Inside (Restless, 1996)

With Herbie Hancock
 Hardrock (CBS, 1984)
 Sound-System (Columbia, 1984)
 Perfect Machine (Columbia, 1988)

With Bill Laswell
 Hear No Evil (Virgin, 1988)
 Sacred System: Chapter Two (ROIR, 1997)
 Jazzonia (Douglas Music, 1998)
 Permutation (Ion, 1998)
 Broken Vessels (Koch, 1999)
 Dub Chamber 3 (ROIR, 2000)
 Filmtracks 2000 (Tzadik, 2001)
 Bill Laswell & Material (Golden Stars, 2005)

With Material
 I'm the One (Elektra/Celluloid, 1982)
 One Down (Elektra/Celluloid, 1982)
 Seven Souls (Virgin, 1989)
 The Third Power (Axiom, 1991)
 Live in Japan (Jimco, 1993)
 Hallucination Engine (Axiom, 1994)
 The Road to the Western Lands (Mercury, 1998)

With Swans
 The Burning World (UNI, 1989)
 White Light from the Mouth of Infinity (Young God, 1991)
 The Great Annihilator (Young God, 1994)
 Forever Burned (Young God, 2003)

With others
 Arcana, Arc of the Testimony (Axiom, 1997)
 Peter Brötzmann, The März Combo Live in Wuppertal (FMP, 1993)
 Peter Brötzmann, Organized Chaos (Konnex, 2002)
 Bootsy Collins, What's Bootsy Doin'? (CBS, 1988)
 Curlew, Curlew (Landslide, 1984)
 Curlew, North America (Cuneiform, 2002)
 Deadline, Dissident (Day Eight Music, 1991)
 Aiyb Dieng, Rhythmagick (P-Vine 1995)
 Dub Syndicate, Mellow & Colly (Lion and Roots, 1998)
 Dub Syndicate, The Rasta Far I Collision: Cause of Chapter 3 (2006)
 Anton Fier, Dreamspeed & Blind Light 1992-1994 (Tzadik, 2003)
 Grand Mixer DXT, Crazy Cuts (Celluloid, 1983)
 Masabumi Kikuchi, Dreamachine (Glass House, 1992)
 Buddy Miles, Hell and Back (Rykodisc, 1994)
 Public Image Ltd, Album (Columbia, 1986)
 Akira Sakata, Silent Plankton (Japan, 1991)
 Pharoah Sanders, With a Heartbeat (Evolver, 2003)
 Julian Schnabel, Every Silver Lining Has a Cloud (Island, 1995)
 Sonny Sharrock, Faith Moves (CMP, 1991)
 Sly and Robbie, Rhythm Killers (Island, 1987)
 James Blood Ulmer, America Do You Remember the Love? (Blue Note, 1987)
 Jah Wobble, Heaven & Earth (Island, 1995)
 Jah Wobble & Bill Laswell, Radioaxiom A Dub Transmission (Palm, 2001)
 Yosuke Yamashita, Asian Games (Verve Forecast, 1993)
 Yothu Yindi, Freedom (Mushroom, 1993)

External links
 
Excerpts from an interview with Sonny Sharrock and Nicky Skopelitis, "New Sounds" #711, WNYC-FM, 9/9/91
Downtown Composer Collective profile
Review on Next To Nothing in Rolling Stone
Review on Faith Moves in Rolling Stone

1960 births
Living people
American rock guitarists
American multi-instrumentalists
American people of Greek descent
Curlew (band) members
The Golden Palominos members
Place of birth missing (living people)