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Members Bios

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Sadato (SoSaLa in 1993) (soprano sax, organ, flute and vocals): https://www.Sohrab.info

Mark C (guitar): https://en.wikipedia.org/wiki/Live_Skull (LIVE SKULL, FUSE)

As a founding member of post-punk bands Live Skull, Fuse, Spoiler and Int’l shades, Mark C has for three decades played an integral role in the hard and uncompromising downtown New York music scene. Releasing their first EP in 1983, Live Skull became a favorite of fans and writers like NY Times’ Robert Palmer for their edgy, transcendent two-guitar sound, that valued melody as much as anarchy. Since reforming in 2018, they have released two LPs, Saturday Night Massacre (2020) and Dangerous Visions (2022).

Mark C also works as a visual artist in Photography and Video, runs the recording studio Deepsea in Hoboken New Jersey, and performs in o13, an experimental electronic/post-punk duo who’s first release is Time Wave Zero.

@ liveskull_official

https://www.facebook.com/liveskullofficial

https://liveskull.bandcamp.com/

@ o13official

https://www.facebook.com/o13world

Video:  https://youtube.com/playlist?list=PL1UC0f0z0C3KWx_ipnpXe4Z-VZ2ezXsHx 

David Motamed (bass):

David played bass for a number of NY bands, including the Misguided, Das Damen, Cell, Two Dollar Guitar, and was in backing bands for Arthur Lee and Townes Van Zandt. He’s currently with The Royal Arctic Institute.

theroyalarctic.com

https://newyorkmusicdaily.wordpress.com/tag/david-motamed-bass/https://www.allmusic.com/artist/david-motamed-mn0001653843

James Lo (drums):

James played drums in the bands Live Skull and Chavez, releasing numerous records in the ‘80s and ‘90s on Homestead and Matador.  A retired software engineer, he now works as a sound designer for contemporary dance and has created scores for Neil Greenberg, Jodi Melnick, Vicky Schick, Molly Lieber/Eleanor Smith, Donna Uchizono, Sarah Michelson, and John Jasperse among others. He is the recipient of two New York Dance and

Performance (BESSIE) awards.

https://www.allmusic.com/artist/james-lo-mn0000139080   

Peter Gordon (tenor sax and Jaw Harp): 

Peter was born in New York and grew up in Virginia and Germany. After attending college in California he moved to New York in 1975, where his Love of Life Orchestra (LOLO) first gained attention at downtown venues such as the Kitchen, CBGB, Mudd Club.

An early proponent of the recording studio as a compositional tool, Gordon produced recordings for LOLO, as well as Arthur Russell, Rhys Chatham, Jill Kroesen, and others. He was music producer for Robert Ashley’s

Video opera Perfect Lives.  

Gordon has an ongoing collaboration of live video-music performances with video artist Kit Fitzgerald. He has composed four operas and his work has earned the Obie and Bessie Awards.

Film/tv credits include Joe Versus the Volcano, Desperate Housewives, and The Deuce; collaborations with Lawrence Weiner include films, recordings, and an opera.

In 1990-92 Gordon had residencies in Seoul and Tokyo. He had the good fortune to meet Sohrab at a gallery in Seoul, and they met again in Tokyo, leading to Sohrab performing with Gordon and Yasuaki Shimizu at a Tokyo live house.

Gordon has released sixteen recordings, including the retrospective Love of Life Orchestra (DFA 2010), Beachcombing w/Factory Floor (Optimo 2012), Symphony 5 (Foom 2015), Same Language, Different Worlds  (Ogenesis Records 2016), Condo (Foom 2017), Eighteen (Foom 2018) and Trust in Rock (Unseen Worlds 2019).  Gordon is Professor of Music at Bloomfield College.

https://en.wikipedia.org/wiki/Peter_Gordon_(composer)

Youtube: @pglolo

Twitter:  @pglolo

Instagram: @pg_lolo

Toshimaru Nakamura (guitar):

Toshi hails from Tokyo (Japan). He started his music career playing the electric guitar in various bans before joining SADATO (1991-1995), led by SoSaLa at that time. Recording two CDs with this band and joining SoSaLa for a recording session in NY in 1993.

In 1992 Nakamura formed his own new band A Paragon of Beauty, and the group released the CD A Paragon of Beauty in 1995.

In 1997 he decided to give up playing his guitar for personal and musical reasons. He started to produce electronic music and got deeply involved in improvised music making electronic sounds with a No-Input Mixing Board. As the name of his new instrument says: “No” external sound source is connected to the inputs of the mixing board. By connecting the output cables of the board to the input jacks, waves of feedback are created.

Meanwhile he has released a couple of CDs either solo projects or collaborations with other musicians. He has been performing live concerts in Tokyo and abroad, such as Europe, North America, Argentina, New Zealand, Australia, Korea, China, Taiwan, Singapore and Malaysia. Often collaborating with local musicians. He’s been also inviting foreign musicians to Tokyo organizing concerts for them.

He became one of the leaders of the Onkyo scene in Japan; and his No-Input Mixing Board shows him at his purest and most clear.

http://www.toshimarunakamura.com/

Martin Bisi (recording engineer and mixer): http://www.martinbisi.com/

SoSaLa recorded at BC Studios, January 1993

SoSaLa “1993”

Anouncement, SoSaLa, , , , ,

SoSaLa Resurrects a Masterpiece: 1993 – A Noisy Voice Again with Powerful Messages

” Hearing the eight tracks for the first time since ’93 knocked me out! I was struck by how much the core sound is indebted to No Wave’s abstract and chaotic aggression – albeit re-interpreted fifteen or so years after the birth of the original movement.” Mark C (LIVE SKULL)

SoSaLaSoSaLa

Artist: SoSaLa
Title: 1993
Formats: CD and digital
Label: DooBeeDoo Rec – Cat.#: DBDCD003 – UPC Code: 19800350266
CD Street Date: May 5th, 2023
Digital (International) Release date: August 1st, 2023
Genre: No Wave

All tracks composed by Sohrab Saadat Ladjevardi (© Sohrab Saadat Ladjevardi and ℗ DooBeeDoo Worldwide Music / CD Baby / BMI)
Produced and photos by Sohrab Saadat Ladjevardi
Recorded and mixed by Martin Bisi @ BISI STUDIOS (Brooklyn), January 1993
Mastered by Adam Reifsteck (Teknofonic Recordings, LLC, New York)
Manufactured and printed in the USA

Stream tracks HERE  –  Buy here: https://doobeedoobizllc.thrivecart.com/sosala-1993/

7/2/23 – SoSaLa released a retrospective recording that looks back to 1993 when music was made at a particular time and with exceptional musicians.

This retrospective album is a must for fans interested in SoSaLa’s interesting and accomplished music career. The music on this album comes from the No Wave and post-No Wave scenes in New York and out of the free jazz scene. There is a distinct connection between harmolodics and bands such as Live Skull, John Lurie and the Lounge Lizards, and James Chance and the Contortions.

On this album, SoSaLa seamlessly blends Harmolodic Free-Jazz and No-Wave rock to enhance every element the music draws on. The succinct song structures provide a perfect foil for his masterful improvisations on the soprano saxophone and flute (not to mention his work on the organ). The contributions of the other musicians in the sessions bring unique dimensions and startling voices to enhance an already compelling and potent mix. The music sits well with rock and jazz and, at the same time, transcends both.

SoSaLa (a.k.a. Sohrab Saadat Ladjevardi – whom Ornette Coleman, one of SoSaLa’s mentors, described as “the freest rock saxophonist” is a saxophonist/composer/improviser who has lived and performed in Switzerland, Germany, Japan, and the US. He has performed and recorded as a leader with his bands (SoSaLa, Alef, SADATO, The Tehran-Dakar Brothers, etc.) and with Salif Keita, Burnt Sugar & The Arkestra Chamber, Mandingo Ambassadors, and many others. He produced several independent releases, published the online magazine DooBeeDooBeeDoo NY, and founded and led the musician’s rights activist foundation Musicians For Musicians (MFM).

Besides being a limited edition CD (5/5/23) and a digital release (7/7/23), SoSaLa 1993 is unique in SoSaLa’s discography. All the tracks, which are unusually short for free jazz-inspired music, were composed on the spot during the recording session at BC Studios (engineered and mixed by Martin Bisi). It was a first in many ways. The recording was the only one in SoSaLa’s discography where he didn’t play the tenor saxophone and the first time he played the organ.

It is the first time it has featured two guitarists and NY indie rock musicians. Apart from SADATO alumni Toshimaru Nakamura, it was the first time they’d played together. The interplay between the two guitars creates a fascinating counterpoint. Peter Gordon’s tenor saxophone contrasts with SoSaLa’s tenor work on his other recordings and is very expressive and Dada-esque. The presence of Gordon’s jaw harp on “Khodahafez (Good Bye)” is a surprise. David Motamed played bass on all but one of the tracks. His work brought a sense of tranquility and peacekeeping into the tumultuous chaos of the overall sound. His bass lines articulated hope for an existential solution.

Half of the tracks have no drums. SoSaLa uses the deliberate absence of drums to evoke interesting moods in the music. Additionally, it is the only SoSaLA recording to feature spoken word performances in four languages (English, German, Japanese, and Farsi). Despite SoSaLa being neither a singer nor a poet, the spoken word performances eloquently demonstrate the message of each track and heighten its dramatic effects.

The cover photos are the work of SoSaLa. Like the other two previous CD covers, SoSaLa shot the moon with his iPhone late at night from his bedroom window. This continuous visual theme of the moon says that while life goes on, the moon’s appearance and status will never change. With this in mind, the cover is truthful to the title and quality of the album.

The Tracks

  1. Vor Geschlossener Tur (In Front of a Closed Door) (3:10)
  2. I’m Blind (2:27)
  3. Dadada Dadada Daaa (4:24)
  4. Vor Deiner Tur (In Front of Your Door) (2:47)
  5. So What (3:59)
  6. Omar Khayyam in New York (3:12)
  7. You Want to Be a Sex Star (3:00)
  8. Khodahafez (Good Bye) (2:01)