Powermoves Entertainment is a locally based record company with international intentions. Eric Martinez established the label back in 2001 and now hosts his own team of personnel and artists. Powermoves has represented the Southwest at glitzy, big-time functions like the Latin Rap Conference, the Sundance Film Festival and the MTV Music Awards. Now, Powermoves vice president of operations John Chavez says the company is preparing for what may be its most important event yet—their Empowering The Youth block party, going down Saturday, July 28, at the Balloon Fiesta Park.
Mark Weaver is a man of two very different hats. In one he is an architect, governed by the strict rules of design and blueprints. But when he switches to the other he becomes a tuba-playing free-improvisation master. Since he doesn’t call himself a jazz musician, it’s hard to nail a genre to the sounds he creates—much of it being on the spot. That’s why in 2000 he decided to open his own record company, Plutonium Records, as an outlet for his work. Run out of his home, the label stands as a safe haven for local improvised music. Six Plutonium releases to date feature the music of several groups he’s played with. Now the Albuquerque native, who plays with groups such as Selsun Blue, The Patti Littlefield and Mark Weaver Duo, and Brassum, has a brand-new release: Brassum: Live. Here, the Alibi talks to the composer/tuba player about his work and the current state of improvised music in Albuquerque.
Like a sensitive weathervane, Charley's 33s & CDs catches wind of the economy's tricks and turns with the slightest of breezes. When it dips, customers sell off their beautiful vintage goods and records. When it climbs, the huge selection of vinyl nearly walks itself out the door.
Happening is an ambient voyage through a strange, drug-induced dream. It’s a transcendent journey, through the wonderful bliss of congealing sound, from one’s dreary reality to being drunk on some street in Rio de Janeiro, the towering lights from foreign buildings blinding your eyes. Gale’s smooth trumpet is eerily reminiscent of Miles Davis’ Bitches Brew (1969) and On the Corner (1972) sessions, but this album is a modern interpretation of avant-garde work, with more rock elements and a Latin feel. The afro-funk percussion gives life to a feeling reflected in the fantastical album artwork, the feeling that you're somehow slipping … from … reality … [TG]