{"id":12285,"date":"2025-01-26T10:32:23","date_gmt":"2025-01-26T08:32:23","guid":{"rendered":"https:\/\/blueswave.radio\/fm223\/?p=12285"},"modified":"2025-01-26T10:38:49","modified_gmt":"2025-01-26T08:38:49","slug":"the-flower-power-hour-with-ken-mj-presents-a-music-and-interview-show-with-hawk-from-the-owsley-stanley-foundation","status":"publish","type":"post","link":"https:\/\/blueswave.radio\/fm223\/the-flower-power-hour-with-ken-mj-presents-a-music-and-interview-show-with-hawk-from-the-owsley-stanley-foundation\/","title":{"rendered":"The Flower Power Hour with Ken & MJ presents a Music and Interview Show with Hawk from the Owsley Stanley Foundation"},"content":{"rendered":"\t\t
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\"\"This week on The Flower Power Hour with Ken & MJ, interview with Hawk from the Owsley Stanley Foundation about the release of the John Hammond 3-CD set, \u201cYou\u2019re Doin\u2019 Fine – Blues at the Boarding House \u2013 June 2 and 3, 1973 San Francisco.\u201d\u00a0<\/p>

In a career spanning more than 60 years, John Hammond played with just about everyone and seemed to influence everyone else. You\u2019re Doin\u2019 Fine showcases John Hammond in his prime playing solo country blues. This master class of the blues romps through Delta, Chicago, Texas, and Piedmont blues, including six Robert Johnson songs.\u00a0<\/p>

\u201cSolo is like a black and white photograph as compared to a colored photograph with all the shade\u2026Black and white can be more stark and real, and more powerful than color.\u201d \u2013 John Hammond<\/b><\/p>

\u201cAs a true solo artist, John brings the power of a full blues band to the stage\u2026His guitar, his voice, and his harp transport us into a world where there is only the blues.\u201d \u2013 <\/span>Jorma Kaukonen<\/b><\/span>\u00a0<\/span><\/p>

Featuring:<\/span><\/h5>

Exquisite live sound quality<\/span><\/p>

A 60-page booklet with extensive new interviews with John Hammond, original new tribute verse from Tom Waits, memories from Jorma Kaukonen, and original artwork by Richard Biffle<\/p>

3 CDs with 45 tracks and more than 3 hours of music<\/p>

Deadheads will spot their blues roots in \u201cWang Dang Doodle,\u201d \u201cKing Bee,\u201d \u201cIt Hurts Me Too,\u201d and \u201cIt\u2019s Too Late, She\u2019s Gone\u201d<\/p>

Who Was Owsley Stanley?<\/h6>
Owsley Stanley, known as Bear to his friends, was a diversely talented, iconic figure of the 1960s.<\/h6><\/div><\/div>

While perhaps most widely known as the \u201cAcid King\u201d for his early role manufacturing the highest quality LSD to help fuel the psychedelic revolution of the 1960s, he was a self-educated innovator, scientist, artist, and patron of the arts with wide-ranging interests. As such, he had a profound and well-documented influence on other artists, musicians, and sound engineers, among others. (His personal website is maintained at\u00a0thebear.org<\/a>)<\/p>

Owsley essentially recorded every artist that ever played through a sound system that he built.<\/p>

His catalog is prolific \u2013 both in the quantity of recordings and the stature of the artists. These historic recordings comprise what he called \u201cBear\u2019s Sonic Journals.\u201d<\/p>

In the creation of his live mixes, or \u201csonic journals,\u201d Owsley Stanley was unique in his approach to live audio recording. Originally, these sonic journals allowed for a band to critique their performances and for Owsley to refine his recording techniques. Over time, these recordings have become a standard for excellent live stereo recordings.<\/p>

Owsley used a simple and clean approach, one based on solid scientific principal. He never used equalization (electronic tone control) on individual microphones or on the PA output to correct a poor sound, feeling that such manipulations improperly altered the sound created by the musicians. Instead, if the sound in the hall wasn\u2019t just \u201cright,\u201d he repositioned the microphone or replaced it with a different type of mic until the sound met his standard. As a result, his live sounds were clean, clear, and pure-not electronically corrected. He viewed his role as precisely facilitating the transmission of the music to the audience without altering or manipulating the sound \u2014his goal was to give the musicians complete control over what the audience heard.<\/span><\/p>

Because of the loud volumes intrinsic to a typical rock \u2019n\u2019 roll stage, microphones pick up much more sound than the engineer may intend, a phenomenon know as \u201cleakage\u201d. For example, a microphone positioned to pick up a snare drum may also pick up a loud guitar amp near it. To help eliminate this effect, engineers typically employ a technique known as \u201cclose miking,\u201d where microphones are placed very near to each individual instrument. The end result can be sterile and result in phase shifts, or sound cancellations. Owsley took another approach. While he occasionally used close miking, he also employed something he called \u201cconstructive leakage.\u201d By using a minimal number of microphones (he generally used twelve or fewer microphones) and positioning them appropriately, he was able to make use of the leakage in a positive way. This constructive leakage helped create a cleaner and more transparent sound with minimal phase shift problems-a technique particularly useful when recording the very complex instrument of a drum set. Instead of assigning each individual drum to its own microphone, he was able to reproduce a powerful and clear drum sound using only two mics positioned very specifically.<\/span><\/p>

The final stage of signal flow before the tape recorder was the mixer. The twelve microphones needed to be summed to a two-track (stereo) L-R image. Owsley used a very sonically pure mixer, usually several Ampex MX-10s. Simple in design and high in quality, the MX-10 allowed multiple microphones to create a coherent stereo output. The mixer had no pan pots, which degrade the signal, and a microphone was assigned left, center, or right-and here too, none of the mics were equalized; all sounds were pure. The end result was a \u201cpicture\u201d of the stage, with the positioning of the instruments spread across the stereo field just as they were heard from the audience\u2019s perspective.<\/span><\/p>

Through the use of high quality equipment, an expert knowledge of acoustics and electronics, and a fine ear for music, Owsley Stanley\u2019s sonic journals captured the essence of live music. To this day, his techniques exemplify the best live to two-track recording.<\/span><\/p>

About The Owsley Stanley Foundation<\/h5>

The Owsley Stanley Foundation is a 501c(3) non-profit organization dedicated to the preservation of \u201cBear\u2019s Sonic Journals,\u201d Owsley\u2019s archive of more than 1,300 live concert soundboard recordings from the 1960s, 1970s, and 1980s, including recordings by Miles Davis, Johnny Cash, The Grateful Dead, Jefferson Airplane, Fleetwood Mac, Janis Joplin, and more than 80 other artists across nearly every musical idiom. These analog reel-to-reel recordings are nearing the end of their expected shelf lives and will deteriorate and be lost forever if they are not preserved. The effort to preserve these historically vital recordings is estimated to cost between $300,000 \u2013 $400,000. All donations and proceeds from the development of the recordings flow back into the effort to preserve more of Bear\u2019s Sonic Journals and perpetuate Owsley\u2019s legacy, including patronage of the arts in all of its forms. Our staff is entirely comprised of volunteers, and many of the support services necessary to run the organization have been donated by generous contributors that believe in the mission to save this music before it is lost forever.<\/p>

If you want to donate to Owsley Stanley Foundation please click this link:\u00a0https:\/\/owsleystanleyfoundation.org\/donations\/save-the-music\/<\/a><\/p>

Save the Tapes!<\/h5>

The tapes are approaching the end of their known shelf-life, and if the recordings are not digitally preserved, they will be lost forever. Experts believe that the typical lifespan of this media is approximately fifty years if maintained in ideal conditions and have advised the Foundation that the digitization of the earliest of these recordings should occur within the next five years or they will not be salvageable; all of them will continue to degrade and will become unsalvageable unless eventually digitized. The cost of digitally preserving these recordings is estimated to be US $200,000 to US $300,000 and will require two to four years of studio time by sound engineering professionals to complete.<\/p>

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Listen to the Flower power hour with ken & mj during these times on blueswave radio<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Friday<\/th>\n\t\t\t\t\t\t\t\t\t\t11:00 pm<\/td>\n\t\t\t\t\t\t\t\t\t\ttrending_flat<\/i><\/td>\n\t\t\t\t\t\t\t\t\t\t12:00 am<\/td>\n\t\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t \t\t\t\t\t\t\t\t\t<\/table>\n\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

This week on The Flower Power Hour with Ken & MJ, interview with Hawk from the Owsley Stanley Foundation about the release of the John Hammond 3-CD set, \u201cYou\u2019re Doin\u2019 Fine – Blues at the Boarding House \u2013 June 2 and 3, 1973 San Francisco.\u201d In a career spanning more ...<\/p>\n","protected":false},"author":1,"featured_media":12286,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[94],"tags":[99,84,101,98,100],"class_list":["post-12285","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-shows","tag-bears-sonic-journals","tag-blues","tag-john-hammond","tag-owsley-stanley-foundation","tag-save-the-tapes"],"yoast_head":"\nThe Flower Power Hour with Ken & MJ presents a Music and Interview Show with Hawk from the Owsley Stanley Foundation - BluesWave Radio<\/title>\n<meta name=\"description\" content=\"The Flower Power Hour with Ken & MJ 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