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Sideways in 3 Suites is a testament of life and how to approach obstacles, which are "Always" figures, gifts and challenges to make life all the sweeter. This album, WET PAINT's 13th, continues the conversation of the three primary dimensions, begun in 1995; Don Pate on stand up bass, Daniel Carter on tenor, alto, soprano saxes, flute, trumpet, clarinet & leader; Doug "dug" Elliot conga, djembe, cuica, clave, hinges, shakers and vox. As the addition of numerous players over the years, spices up the pallete. As this night was the reconvening of many alliances, other wise notable conversationalists; Tilman Reitzle on electric guitar ("7 Echos", "In No Name", "Periphery" & "Emergency Broad Cast Child Line" & soon to be duplicated in hard copy "A Circling") Chris Bradley on drum kit ("A Circling") noted other recordings with these players represented. With latest member Allan Len on electric bass. Malcolm Cecil Engineered this work, mastering through TONTO (Stevie Wonder, Isley Bros., Gil Scott Heron)

This CD is more towards where WET PAINT had laid down "Habibi" back in 2002... more in the directiones this project is headed... everything a bit twisted and askew, touching on numerous genres... swathing a deep rooted vane, flipping the undertow.

The night before New Year's Eve... placcid reflective and echoing "forever time"... spanning many feelings, vibes and emotions. A disc one would never be tired of, as fresh as "all n' all" time, as 8 sideways, is indeed infinity!

The bass amp borrowed was on the fritz, and sputtered, splayed a firing during the first set; prompting the impromptu title; "Emergency test..." as I answered these real time wire firings with lyrical flow.

Within the disc, I editted out these segments, where there was a change of amps, a switcharoonie. Therefore, as the groove commences to get "deep", there's a fade at the end of cut#3, and then the title cut #4, hence begins with that basso growl vocally, and the the rest of the treaties commences, as universally cawing the "emergency" (broad) cast CHILD line. As in most of Dug's lyrical splay, there are multiple meanings to each word; i'll leave it up to you, to read those strata, as every single word in the title, lends itself to sediment layers unfolding.



Aquamarine cut 5 one can detect a slight sputttering of the bass line wire, though, the spirit had us all relaxing and sinking below the surface, lolling alike a Manatee.

Chasm cut 6, well frees us to breach!

Weighting #7 just that, heavy suspenseful and tight ropes painted with dug's cuica.

Sophia #8 releases this tension and floats bobs and weaves, alike my eldest daughter, in which is name sake!

Into "Deep Dark Purple Blues" featured on utube, find it! and follow this description, eh. the actual live recording performance.

"For Ever Is Now" is exactly how it should be, touring space, all easily adjusting, having conversation, as if on the end of a limb, or speaking on a lazy afternoon upon each lily pad.

breaking into "Watt U Mean 2 Me" also featured on utube, heartfelt, moving and beautiful.

Catch cuts 8 and 11 on utube and see the two painters who joined us for this evening; Marko Shuhan (cover painting) and Larry Jackson. Both painters have joined the band on numerous outings. Larry's painting swathed behind the players, while we created featured on the cover of "Habibi" back in 2002. Also available on cdbaby.

This performance and captured WET PAINT on the eve of New Year's 2008 dedicated to my mama; Rita Arlene Barry Elliot, who lived her life as if in a musical. she has done to the other side... and lived 87 years, God bless.

After the quartet played a performance in April of 2007, combined with an art opening of Doug's more long rectangular pieces placed above the piles of volumes at Alternative Books in uptown Kingston NY, the same ensemble of Don, Daniel and Mark & Doug added Tilman on guitar, as was he present at this performance, listening and traveling along with us. As was painter of Kingston; Todd Samara, who commented, that he music sounded like what happens inside of his brain! He pained two canvases of this occassion of us playing; and they both sold!

So, the next gig upstate, in which I brought up the cats from the city, we added Tilman, as it just seemed to make sense & plug on in, and see where the music went? Hence and the result t'was "Periphery". Likened to when Miles went electric with Bitches Brew... and as the "Rhythm Man" has stated; "sounds like nothing I have ever heard before..."

That's quite a statement who plays every friday at Nick's Pub in Harlem, and has toured and recorded with Jackie McClane, Abbie Lincoln, Stanley Turrentine, and presently with David Murray!

Sadee Braithwaite was to hang her paintings within the venue that coming month, and I prompted her to hang her work earlier, as she responded and did so. Hence the cover painting by she.

So here it, is, never before, never again, in the WET PAINT style', as very often in this life, I feel comfortably on the "Periphery"...

 

 

The setting was right, the day was brilliantine... & the music lolled, turned & flipped in the undertow for 2 1/2 hours straight; no breaks, no introductions, no applause, just straight up flow'in.

This is "A Circling" where purging poetic melody meets rock and roll tumbling from the top curl of foam, underneath to where one is taken far from shore...

Tilman Reitzle infuses stellar flavors on electric guitar

Rob Norris (of the Bongos) along with a vibing Indian hurdy gurdy drone, twiddles the bass outside the margins with eerie grace

Christopher Bradley accents this "real time" spontaneous circus with button pushing exactitude

Eric Reeves adds percussive flavor during moments when Doug left his feet focused on the resonating pulse from the deep rooted soul release.

This work is a testament of all that WET PAINT is; faith over fear, high wiring telepathic communique through music, where lyricpoetiklicks taste divine vining about the roots of instrumentation, all building a fine sturdy Red Oak.

The disc begins with an eerie "Ice Reforming" instrumental leading into a spoken word piece; "Sunday Sale", picking up the throb into "No Thing" as the straining guitar rock begins, as if you have been taken to the top of the rollercoaster on the chain links and let go down the first drop of the ride.

Then echoing Tilman's melody line, Doug delivers the title poetry pass; "A Circling" which is reverberated and revisited through out the performance... rolling into stacatto and challenging all of the sheep with "Hey Ewe" no pun intended to Pink Floyd, however, this disc does have similarities in format to the rock opera. "Fungustoadstools" discusses where the true allness oneness connections eminate; underground, likening the fungus amongst us.

Calling all awake who are "11:11's" as this cut shows the many different movements and suites that can arise when all of the musicians are open fully and listening to one another, weaving magically. The piece turns a corner here, making it's personal statement as to the microcosm of the poets life struggle to be a father to his children with "U Look Back" & "Other Lines" as the band rolls down the hill locking in completely to enter the "Famleaseebed"...

"Let Go Dat Red Balloon" releases and unhinges the heaviness with "our shared spittle"... bordering on rock a billy, but it is not so very easy to categorize any of WET PAINT, as the grooves and music hint at some genres, but really do not quite "fit" per say, anywhere... which is fine by me, as was the philosophy and premise of "WET PAINT" to begin with. I don't know and have no problem with not knowing?!?!

Amorphosally moving into quieter seas "Fin Grown" returns to the bog or puddle whence we all come, as "Sand Bubbles" pops and disappears leading us to the shore line and the most RADIO PLAY tune of the album; "Stay Still" haunting and sensual.

A softening tasty "Time" instrumental percussive low rumble into an ushering new age plea to "Follow U'r Heart" melding the big three; Buddah/Jesus/Allah into and inclusively within all our hearts; so, whatz da fuss & fight, eh?

"Introduckzions" sums up what just took place and the players who brought the beast to life... alike the oroborus we are all circling.

This performance of "Stay Still" was prompted by the request of a mentally handicapped man to play his birthday party on November 19, 2006. Todd added that if WET PAINT were busy or couldn't do the gig, his second choice was the Dave Mathews Band...

This request was the catalyst to book three separate performances/recordings at the 60 Main conscious collective in New Paltz NY. As the conduit and infuser of WET PAINT Doug Elliot had the hunch that soon he would be sentenced to a term in jail, so he thought he may as well vent out some of his angst, pain and woe through the peaceful, loving healthy channels of making music.

NO WORRIES Doug is not a menace to society, only he has been chummed, charred and devoured by the Family Court gender bias system, where he has had little to no contact with his two daughters who are only 3 & 4 years old, have been jumped 5 states, NY, TX, TN, CA & now KY. At the same time due to his county of Ulster in NY, a corrupt tea party of officials in the "BAR" ordered he pay over 75 k in child support... Thank God, this hunch was correct and he leaped to put down these three recordings... as it 'twas to be on december 8th, Dug Deep was Deep sixed to serve six months in the Ulster County Jail! You have NO IDEA!!!

Three different ensembles were formed and captured in "real time" composition performances by Hans Ten Broeke & Red Cottage Recording mobile studio... sound man for the documentary (Super Size Me) directly before this "sentencing" as thier intensity exhibits and reflects the real life quandry an exiled purgatory parent may feel... what an opera!!! So, what better way to diffuse, infuse and enlighten the shadow world through the conversation of musica'& dat's watt dug did doo & t'was forced to "Stay Still" literally and figuritively in an orange jump suit holding his spork!

On this night, November 2, 2006 when the house supposedly tilted toward the left to end the OCCUPATION of Iraq, we communicated through the peaceful form of music and poetry to lay down "Stay Still". Eric Reeves behind the drum kit, Spiritual John Wittson on electric bass, Chris Hudzig on sax blew for a few and myself, D. As always I had my two children in my heart and communicating and connected over the "higher wire" our love and family.

This work dedicated to all those who exploit, use and obscure truths through evil intention; may they see the light and come out from the shadow into the "REAL WORLD", not the one they purport from the apathetic twisted delusional rationale of "that's the way it is"... as WET PAINT believes strongly that "THERE IS NO IS!!!" only what one wishes to manifest through his or her own free will... true and honest free will, not one imposed through subterfuge, obscuration, spin, half truths, outright cackling lies & manipulations, exploitation and ultimate deep slimy corruption. There is another LAW & that is UNIVERSAL LAW!!!

I "Stay Still" and allow the truth to arise, following many examples of wise sages before us who have proven through thier faith over fear, not to react with anger, but with and through love; the very highest and strongest of powers and ultimate truths. So, this work dedicated to all of you who rise above to LOVE in the face of blasphemy, evil intentions of others against you & false friends. Yea Mama!

The cuts; numero uno; "Daddy Lost" exactly, say no more...

#2 "Rumbl'in" what Eric Reeves and I have been doing for the past year or so drums and vocalese into the title cut "Stay Still" as I picked up Eric's talking drum and was able to stand on up from behind the congas and djembe to dance a bit while explaining my plight and prayers {note; same lyrics on "Stay Still" from "A Circling", completely different Rock format recorded a few weeks later for the actual Bday of Todd} this suite of three tunes finishes with "Hover'in" as Spiritual John gravitates and climbs the ladder on his bass for a fine denoument.

Then into the macrocosmic politikal pieces "Ta Kill" & "Zero Retraction" & "Firing" which are pieces that dug likens to Gil Scott Heron, all though the grooves have a bit more cream coloring.

"My Well" bubbles up with the dedication to "get outta u'r own way" and allow the spirit to speak through you, not of you... finding the heart beat of reggae as the song progresses

As I am not likely to stop playing, the last cut is a testament to the phenomena following when other musicians stop and believe the performance to be over and done, my hands find another groove and the page is turned toward another poem and off I go... "Play'in Horsey" which is what my eldest daughter was likely to answer, when I asked her what she was doin' whence I phoned for my "VISITATION"!!! This lyric associates the horse and more native american rituals, rounding the corner to what our culture has brought this "prize" to encompass; a race to be won for to gamble, domesticate, breed and exploit... the song does not sound depressing at all, but hopeful light and quite inspiring... well, rhythm and blues.

The cover paintings for both "Stay Still" and "A Circling" were abstracts, actually 4x8 feet in size. These two details of the larger vast pieces were dripped, bent and let flow in the fall of 2006' on luan sheets, which were curved around the rotundra of a new art space in Uptown Kingston for their grand opening. Often WET PAINT adjusts its arc for and through the space in which the music or painting would be applied. This idea of these paintings came from the offering of this rotundra space. The two covers of the albums or cd's or performances dried were details of these paintings. For prints of these works visit www.somanyroadsprinting.com and Brian Woodruff will hook ya up!

Wet Paint's "Spirits Cawing" was hatched when Doug saw a live show at the Vivikenanda Center in Stone Ridge NY featuring the Hansaverna; a long neck swan lap top sitar trading passes along with a sitar player KV Mahabala, accompanied by a tabla player. The two Sitars trading passes were simply Sublime. I was sitting in the front and could not keep still, as the Sitar player KV Mahabala was taking me through the roof on hovering journeys, so I moved to the way back of the meditation hall, not to disturb any of the other in attendance.

Following the performance, I asked for KV's information. I was scheduled for an art opening the next month in Kingston NY of my abstract paintings, which was also to be a CD release of a performance Wet Paint had recorded at the Joyous Lake in Woodstock; "Healing Rain" & I was planning on doing another performance/recording at this art opening/cd release.

Hearing KV began the mixture of musicians. I e-mailed him three times and he said he was busy playing with different tabla players every weekend forming his own ensemble. I requested his presence yet again... Finally, I told him I would pick him up and drive him back to his door where he lives in a Vedantic Temple in Queens NY. He agreed.

I contacted Don Pate on stand up bass, who has played with all of the jazz greats; Pharoah, Sonny Rollins, Rashied Ali, McCoy Tyner... As KV had come from the regal line of Ravi Shankar, I felt the weave would be mighty fine. Mark E. Johnson joined the ensemble on tablas and drums, as Mark has played with Stanley Turrentine, Abbey Lincoln & Jacki McClean, as well as just making a trip to Paris to play with David Murray. Mark had joined Wet Paint on numerous occasions in the past and was well weaved to my voice and percussion grooves. So, the ensemble was set.

This is truly an extremely beautiful poignant and timely recording that I am so very proud of.

I asked KV what his initials represent?

He told me that the town in which his father was from in southern India was named for a stone Lotus that magically came up from the ground. The town built a temple around this stone Lotus and this is what one of the initials stands for. The other initial is for his father's name.

I dedicate this work to my sister Katherine Anne Elliot-Cobb who left this plane on November 18, 2001 during a meteor shower. Kathoodle was my next eldest sibling and was truly a gem and left her luminescence in many corners of this world. Her last words were; "Love is forever"

The first song "Unwind our hearts entwining" is a unique slow blues... as how often do you hear a soulful blues lick coming from a Sitar?!?... as well as blues swallows from the water like gulps of the tabla, ofcourse Pate is in the proper space fer da blues.

2. Heavens Hounds begins with the Sitar/tabla classical interchange under a motivating lyric to rise up everyday...

the tune blends into the 3rd cut “Sway'in wid da treetops” spelling out the real worth of our "greening"

4th tune is "Rinsing" which is a truly magical interchange between the bass and sitar, listening to each others themes and passes & blending the palette swirling so sublime... moving into the 5th cut title track "Spirits Cawing" a departure from the previous line adding many steppes of percussion to the clouds as Mark takes a seat behind the kit and cymbals crossing his hands, as he does, while Doug journeys into other continents...

6th cut "Heavenly Chime" begins with the sitar & queeka (the Brazilian squeegee sounding instrument) leading into an inspiring vocal... sauntering into a deep groove from bassist Pate and "Lend A Smile U'r Way" unfolding a bit of R&B/Soul that Elliot is prone to unravel.

8th cut is a tribute to the Whales in our oceans... derived from an encounter with a humpback that Doug had many moons past, where out on the Dolphin II boat off of Provincetown, two whales were checking out the boat and the engines were cut off. All of the other passengers were on the other side of the boat, when I stayed on one side alone, looking over the side, when way down deep there appeared a luminescent glowing, which slowly became larger and larger as it surfaced, rolled over and the whales nose was very near to the boat. The Whale's eyes were set back on either side of its long face, back about 15 feet or so. We locked into eachothers gaze for a long long time, which seemed like an eternity.

Then the whale turned over, flipped it's fin and re submerged. When my friend came over to find me moments later, I opened my mouth to speak, and burst into tears and sobbing, having been moved so deeply by this profound encounter with a Humpback Whale. This song is the story and weaving poetry of this communication and conversation that took place of and from the gift of our oceans on earth.

9. "Pangae" which speaks for itself

Final note; Cover painting done by Sophia Willow Elliot, my eldest daughter, when she was 3 years old, who asked her Daddy to use the purple brush and paint along side her. She also informed her Daddy "not to talk" when she began...

As music is an incredible Healer and as the Rain does nourish us all... this ensemble on this night in the Joyous Lake in Woodstock New York; April 27, 2005 laid down just this; Healing Rain.

Pete Levin arrived first; amazing musician keyboard player who has played with Paul Simon, Gil Evans Orchestra and countless others in the biz, was all set up and ready.

My car would not start, so luckily Steve Gorn the amazing bonsouri flute player (classical Indian)lives in the same woods, so he came around and lifted me. His trunk was small, so I only brought my mini Djembe, which is actually my eldest daughter's Sophia Willow & she is featured on the cover in the painting, created from a photo of her kneeling down to give her new younger sister, Olivia her first kiss, gently with her two fingers... sorry, tangenting. Also in tow was my war horse white conga, or actually quinto and me bag of hand percussion. As I was saying, Steve Gorn also brought a few other reeded instruments; the soprano sax & the clarinet... he is all over this music from above and below. It was raining wind this night as well.

Don Pate on stand up bass and Mark E. Johnson tablas/drum kit arrived a bit late, shall we say, making the trip from Manhattan... on black time!

Strangley enough Pate and Levin had played alongside eachother on two European tours with the Gil Evans Orchestra 15 or so years prior to this date. They were both tentative to re-align, as Pate had left one of these tours and was fired from another... ole' "Jimmy Crack Corn" had most likely become bored, or elsewhere interested. Although there was an interesting story that the bassist imparted to me prior to this date, that Gil had taken him aside and told him to play his groove and pulse, oppossed to following the sheets. He then added not to mention this to the other rhythm section players; hence the discrepency and misunderstanding. How funny life can be, huh. That 15 years prior somewhere in Europe Levin was completely exhasperated with Pate for playing whatever the fuck... when... and thinks that Pate thinks himself to be a star!!! What a nerve... when all n' all we are all stars, naw ain't we naw...

Another synchronicity to this ensemble, not to my knowledge previously, was that Johnson and Gorn had played together two weeks prior at the University of Maryland. Unbelievably magical I thought it. & well, who am I, and who did I play with???

The album begins with the last tune of the night, as I could not stop playing. "boil ova wid luv" as I asked for "one more" Johnson and I were the only ones willing and eager... Pate asked what time it was? Gorn said he had to go home & Levin, well, he just sits back and smiles wryly choosing all encompassing velvet chords as a lush tier to the "forest floor", as all others continued to pour down da groove. Aptly, this cut weaves into the first song of the night & the second verse of "forest floor" as I enjoy editting these recordings donning another producer cap squeezing the most possible music in essay form to fill up the 80 minutes allotted on a disc. These two sections of the 1st and last tune of the night bookend the evening and begin the CD.

The second is a three suite opus, magically blending from a classical Indian duo of tabla and flute as I add the queeka in the mix falling into a funky blues, when Pate adds sum space scales, as Levin cushions a mighty fine pillow for moi to melodize. These three separated by time code, but actually performed in "real time" succession; "Sliver Moon", "Half Moon" & "Selah Sista' Moon"

The 5th cut "Fifteen Hundred Miles Away" features Johnson on timpani mallets rumbling over cymbals down the hill to a slow blues, while Gorn descends through the clouds to set me up to cry for missing my two wee ones, who were at the time 1,500 miles away in Texas.

The 6th cut "Fall into this Mystery" begins with a Celtic, Klezmer, Russian war folk weave. {Don't ask how these things occur, cuz I have absolutely no idea...} leading into a sun burst of hope and perserverance through the dark cumulus clouds, with the lyric; "Fragile web my brother's and sister's sparkle bright star. I've chosen you from the sip and age'd brine. Climb up my taproot... up my vine, falling over, into this mystery... c'mon now, fall into this mystery"...

Cut #7 the title track begins with the classical Indian drone underneath begun vocally and then furnished by Pate's bow as Gorn appreciates and adds his flute over which evolves into a piston firing pass between Pate's deep groove, Johnson 's echoing drum kit and Elliot's vocal percussive exhales. Levin is always underneath throughout this entire recording gluing sediments for the music to stand upon...

There is some very fine musicianship throughout this recording, as all truly have ears as big as Elephants and give and take, bob and weave, as if enjoying the spring rain, stepping between the drops.

This recording dedicated to my children; Sophia Willow and Olivia Willow. Your Daddy loves you & one day very soon we will all go out during a storm and we will all jump through some puddles, together!

This double CD recorded within 4 performances the spring of 2004.

On March 12th to celebrate my brother Chuckie's birthday whence he would have been 39 @ The Hickory BBQ with Jimmy Eppard on guitar, Charlie Kniceley on bass, as these two had been playing with one another for decades, we became a trio and had created music on numerous occassions working up to this date, in which we added Pete Levin on keyboards & Harvey Sorgen on drums resulting in 3 cuts on the second cd; "4 Cry'in Out Loud", "Manipulatah" & "Neighborhood Guy".

On April 10th the day before Easter, Nat Russell joined Charlie and I, bringing along his long time friend on the drums; Mark Pardy coming all the way from Las Vegas. These dates very healing and explosive for I was in the midst of numerous court dates and questionable ability to be an active father to my two daughters, as I had called them back through the courts from Texas. The verdict; what are these people talking about??? I am the father, what's to discuss. The music, as always heals and is a creative force in the midst of extremely destructive, manipulative and evil intentions of those who wish to control through lies, sterotypes and ultimate lazy collusion, purporting seperation, simplicity and ultimatley seriously damaging the lives of children, by dragging families through the legal system, which is the last place on earth in which should decide such matters. Only professionally trained social workers and therapists are qualified to relagate such decisions and parents should be mandated to enter resolution through mediation, not litigation. The only ones who make out are the lawyers, who are completely adversarial and coach their "clients" to be. Children should never be relagated to either parent solely. They should not have to choose either, or be kept from the other for ANY length of time, unless the other parent is DEFINITLEY dangerous and unfit, determined by therapists, not judges or lawyers or law gauridans. The system completely SUCKS and is CORRUPT and EVIL as it exists. The lyrics and music are deep blues in nature and express the confusion, disillusionment and wisdom behind, above, underneath and around our world, in a microcosm and macrocosm. I became Ill through out this ordeal and my voice on this date was less than par. The three cuts included on the second disc "Street Beat", "Ain't No Way U'r Com'in Back Stranger" & "With In".

The next date was to be my birthday, May 22nd also at the Forum on upper Broadway in Kingston, as was the April 10th date. I had bumped into Steve Gorn at the bank and asked him to join an ensemble I was creating. It is also his birthday on May 22nd and he plays the bonsurri flutes and other winds. Don Pate made the trip up from the city on fender bass. Harvey Sorgen played the drum kit and brought along his son, Jake to blow sax. Tilman Reitzle played guitar on this night. This music was way experimental and quite a luxurious and thick journey in many ways and directions. In fact, a whole entire CD was assembled from this performance called "7 Echoes" and a few cuts that could not be fit within this CD made it onto the second disc of this CD; "In No Name" & "Nefrititti".

June 12th we were back at the Hickory BBQ in Kingston, this outing with Mike Kimmel on drum kit, Jimmy, Charlie & Pete, joined on a few cuts by a horn player who stood up and blew from his seat. I do not know his name?

This gig gave birth to numerous "real time" compositions, never before and never again. The entire first CD is from this date, as well as "Candy Girl" on the second disc. My answer piece to the gender bias I have recieved from being the father to my two daughters... humour is always great medicine within insane abusive ridicule and guilty findings for ridiculous fabricated allegations or what is referred to as "family offenses" which are just that!

As always the music heals all what ails thee and as children are truly Gods children, they have "NO NAME". And within our politics of "Us and Them", separation, simplistic fabricated allegations to justify assasination, murder and war, incarceration and genocide due to "NAMES" for God, we gave birth to this double CD; "In No Name" on a personal level for me and on a macrocosmic level from all of us.

A special thank you to Hans Ten Broeke the recording engineer who "dried" all of these WET PAINT performances with his live Pro Tools set up and Nueman microphones, as he also was in the "real time" mix...

As Romere Beardon the painter collagist has said: "Great art comes from making beauty out of extreme ugliness"

7 Echos is 7 songs, 7 musicians and the 7th Wet Paint Cd produced.

There are a few cuts from this date on In No Name the proceeding double disc recorded May 22nd, 2004 at the now defunkt Forum Lounge on upper Broadway in Kingston NY.

The musicians weaving are Doug Elliot fearless leader on vocals and assorted hand percussion, Nadege Foofat on violin (her first ever improvisational outing), Steve Gorn on flutes and sax/clarinet, Don Pate on bass, Tilman Reitzle guitar, Harvey Sorgen drum kit & son Jake on sax.

the music speaks for itself; flowing bubbles popping and melding into the ether of energy we all share, alike trees, echos, puddles, collectively echoing within da race in no name.

In uptown Kingston the old capital of the state of New York there t'was a space being remodeled and my pick up truck and I offered to cart away torn down neon lighting. There I met the carpenter, who ended up to be the manager of the "Uptown" which was to focus mainly on Jazz. Eager to play and record within this beautiful space, I booked the gig, prior to the official opening. The date of the recording was August 4th, 2002. Larry Jackson agreed to paint a large canvas behind the ensemble while we created the music. Pregnant mother, Elizabeth McGuffey composed a poem during the first set and performed these words in front of the band during the second; "Zephyr", which was the embryonic name of the baby, who does indeed display her musicality through a breath within the song or more like a hiccup! This was all of our message toward the war effort. "Habibi" translated as "my dear one" in Arabic. Speaking words of Love and peace, oppossed to Hate and war.

All of the players were very used to one another having played numerous gigs together, mostly in Manhattan. And previous to this date, there were numerous duos and trios of the same players taboot. Jonathan Townes on guitar, Don Pate on stand up bass & Daniel Carter on saxes, trumpet, flute and clarinet joined Doug Elliot; percussion/vocals/producer. Thanks to Chris Lelli who captured this performance through his recording equipment and microphones and mastering the work. Upside down, through the many choices of doorways we travel forward... Habibi.

The 3rd installment of the debut triology from WET PAINT.

The most elaborately presented with painting and altered evolutions within the fold out. Dedicated to Imu "I Am You" our doggie. This pretty much sums up the sent I meant of the music, lyrically, process and completion.

We are all one.

So, Open like a flowa' within your heart, mind and soul. Thanks to Pate and Carter the original trio for flowing with me all of these years. You are my brothers.

Thanks to all of the other musicians who joined us; Heather Bennett, Phoenix Rivera, Jonathan Townes, Paul Duffy, Josh Margolis and Yael. Elizabeth McGuffey who created the graphic lay out and evolving the original painting on the cover, transforming its colors and shapes on the fold out panels underneath the song lyrics. Thanks to Larry Bentley the Cellar Dwellar for mastering the recordings captured by Chris Lelli. And thanks to the Creator for this creation.

Blessing, enjoy. d

As one can hear at the onset of "Cafe Con Leche'", one of the musicians say; "Here we go..." We all were flowing extemporaneously in one circle. Pate on fender bass, Josh Margolis on drum kit, Daniel Carter on horn, Jonathan Townes guitar & moi' conga, giro & vocals/poetry. recorded live in Sept. of 98' @ Mason's on Amsterdam Ave. NYC

Lyric being bout' the coffee craze and supporting locally grown products as well as our planetary folk who actually produce crops... Thee flag ideally being a circle, revealing the earth... the planet we inhabit, through this medium of the web and internet, we are truly all ONE, the meek have WON & "it's blooming" as the sun and moon shines equally for all species, regardless of the supposed lines drawn, whether political masks or economic supremacy, not to mention the evil threatening intimidation & sole propriety of not only our planet earth, but now SPACE all pompously and arrogantly self ordained!

2nd cut; "Take It" recorded in November of 97' at Wilson's on the corner of 79th street & Amsterdam. I had taken numerous groups of High School and Jr. High School tours into this restraunt through my job as a tour guide for teens visiting from the southern states for four years. I had an itinerary to follow of places to visit, and one of our dinners was served here, so I was acquainted with the owner and would forever ask for a gig. She finally agreed, most probably due to one visit, other than the group in tow, I had a date who was a tall model/ actress, who I met while walking my dog Benny in Central Park... She really was unbelievable & you know what they say; "the company you keep" wowed her into actually booking me a gig!

Phoenix Rivera joined on drums, as he was interested in playing with Pate, as Pate had played with Mario, his father (just passed on recently... sax with Tito Puente) I knew Phoenix from the neighborhood also and had heard him one Mother's Day up at the Lenox Lounge in Harlem. So, our conversation was tight, this being the first musically... Daniel Carter on horns & Paul Duffy from upstate, via Dublin Ireland on the "out of tune" piano. As I spoke to Duff following the gig, well, Duff, I said; It'll nevah be played like that again! So, the tunes that night were all adjustable, as the elasticity of da PAINT! This tune dealing with the subject of competitive "bad love"... in which alotta blues are based... I label it Aqua Marine Blues.

3rd cut "U r' Sew Cool" recorded fall of 98' at The Livingroom on Stanton street. the ole' one, began from Cafe' Sine', moved from St. Marks by Jennifer Gilson. A different ensemble of Bob Roe on bass & Walker T. Pettibone drums, borrowed from Jonathan Townes "Cube" & Heather Bennett on piano w/ Daniel on horns. A bit lighter and airy t'was the palette this night and a slow seduction 'tween da bass and piano... Another blues number concerning "bad love", if ya know what I mean??? Indigo blues

4th cut Outta Control same hit as Cafe con... @ Mason's, dealing with the spirit and allowing yourself to be led and giving up control to God. yup. Sky blues

5th cut Let it Breathe. title cut and same poem as U'r Sew Cool unraveled on a different night with a different ensemble same Mason's hit at cuts 1 & 4 Royal blues

6th cut e11even from Wilson's gig w/ phoenix, pate, carter & duffy. subject concerning child sexual abuse. which is a source of alotta folks bluuuueeeessss, in deep hues. Purple blues

7th cut Protect U'r Mind my rap number. a prayer to the raggedy anne's and andy'a so very hip and no bullshit. generation X, Y & Z... as Michael Fischer friend of Pate's, they had played together in Germany, unzippered his soprano sax and joined on in. He had just walked in the door and I motioned him to come play, wordless, as I had never seen or knew him beforehand, nice pocket, eh... This cut was recorded on another night at Mason's with just the trio from the same fall of 98' Navy blues

8th cut Badada same hit as cuts 1,4 & 5 a dark blue song dealing with false friendships, as it seemed to be many waves of such pods of fish those daze underneath frosty sugary smiles... Gray blues

9th cut "Sweet Kiss A Truth" from same performance at Mason's 'bout a confused love in which da insecure womah waz forever doubting & would act out in flourishes of defiant insanity. NEXT! Note; Pate calling out the key at the beginning of the tune... "B flat" that's how we do it; FLYINGLY. Tourquiose blues

10th cut "'Tis Okay Sum X" same story as above, different treatment or solution, as the blues affords these healing strums & drums. note the Intro. of the players from the Wilson's hit that Sunday on November 11th 1997 at the close of the cut & cd.

This performance t'was very special for moi, as I manifested and envisioned this final freezing of the songs that had been circulating within my inner ear, mind, heart and soul. None of the players really knew the tunes atall and we were all just listening and weaving mighty fine colors, as solidly proven also within cuts #2 & #6 from this cd.

Chris Lelli t'was the sound engineer and captured all of these sessions, as the Cellar Dweller Larry Bentley, mastered the recordings, although, as he noted, he did not have to alter much, as Chris was in "real time" along with us musicians and deserves a big credit. This recording date t'was really the beginning for me as an artist for to lay it down, package and arrive, so to speak and weave. It is seemingly so, although if you's a phoenix arising outta da ashes that thar' ain't so many in true support of yer flappings, but alike the alchemist, we transform, arise above, and deliver the deep red wine from the vineyard of our souls, open it up, pour into a glass & "Let It Breathe"

Cover painting is a water color from the view of the mountain range from the beach in Cannes, winter of 1999, where I went with the first CD I pressed "Da Wave" and shared and passed along my work to many about this globe... none knew quite what to do with it??? They all wanted a copy for themselves though, but did not have or know of a "niche" to "market"... I suggested "the undertow?!?" I guess I didn't have the proper breasts or booty at that point and time. I's been work'in out on it all though, as isn't music a VIDEO?!? I tuned the water color painting upright and upside down on its head to "fashion" MOTHER EARTH, eh...

"I dance to the drum of an older nation..."

lyric from "DA WAVE" title cut.

Doug Elliot & WET PAINT

Now finishing up the production work for his 11th self produced CD since 1995.

After 10 years of acting on the off off Broadway stages of New York and surrounding metropolitan area & leading the band “e11evens” a rock quartet, “Dug Deep” carried on his conga and vocal gymnastics, peeling the onion skins to reach the pearl!

Through the natural flowing of abstract oil painting, and thousands of performances, both as an actor and singer performer, WET PAINT seemed to be the synthesis of all of these foci. Heading to Little Italy one early morning to deliver bread at D&G bakery, Dug did not wish to go by his name for a performance this same night back in 95’, in a sleep walking gait down the ramp to connect to the N train at 42nd Street, there revealed on every single bright apple red iron I beam was the sign WET PAINT, WET PAINT, WET PAINT, WET PAINT… & this refracting mirage mirrored exactly what the philosophy of performing, making music, percussion, poetry, vocalizing, Dug had arrived to.

Dug is all ears & as an Elephant; “I meant what I said, Said what I meant, An Elephant’s faithful 100 %” {Dr. Zuess}, he would much rather naturally weave with others, than either wield the baton and have others play his lines, or be gathered, tied and confined to play another’s. Therefore, WET PAINT really has no leader per say, Dug likens himself to the “Glue” accessing his lyric poetry, and forming melodies along with the chords, keys and tones put out with and through the other voices, instruments alongside.

These combos or palettes of musicians are designated by Dug, as he sees himself as the conduit in forming the “band” for the booked “show”, in which is recorded or captured or “dried”. Within this philosophy, Dug rarely alters his vocals and performs “Dry”, as well as the other instrumentation through a live mix. Seeing through, in belief that we are all “here and now”, and each day have evolved and have something unique and fresh to offer to the world. As all of our skins shed and our blood renews, WET PAINT does not stay stagnant or safe to align itself artistically with what folks deem “Popular” today or chooses to regurgitate already realized works.

Dug turned off his Television, Radio & does not read Newspaper periodicals or even Magazines since he was 18. Realizing that he was a “sponge” and needed to “turn inwards” for truth and the flowering of his soul. Sounds a bit deep, but dat’s da road chosen! Another conscious choice of this ongoing project of WET PAINT was to create light and positivity through the music and paintings, percussion and other musicians. Some songs or tracks may be editorializing in content, however the end message is always an invitation to ONEness, which is the underlying theme of WET PAINT.

At present, Dug lives in the woods of Kripplebush New York at the foot of the Catskills in Yurts, ancient Mongolian round structures used as transient housing in the Himalayas from the 11th century BC. He plans on moving west to California in September of this year 2007. Rolling ‘em up and headed West, yup. Dug was raised in the fantasy land of Westport, Connecticut, a 1980 graduate of Staples High School, spent his youth on the Ice Hockey Rink, went to Syracuse University Newhouse School for Film/TV/Radio production. Graduated in 1985. Then spent the next 15 years in Manhattan, where soon afterwards the whole entire isle became an Ice Skating rink with the advent of rollerblades. Then in 99’ moved to the Catskills opting for trees instead of people.

In and around these travels, Dug has met and had musical conversation and recordings with many amazing voices… He is very much looking forward to this very weekend, where he will be unveiling new abstract paintings at the “Alternative Books” in uptown Kingston NY on North Front Street. At the opening he will be having musical conversation with WET PAINT. Daniel Carter, multi reed man, flute, trumpet will be making the journey from Manhattan, as well as Don Pate on bass, along with Mark E. Johnson on drums. Don and Daniel are the front line of WET PAINT since the inception of this project in 1995.

In the past Dug has invited Walker T. Pettibone on drums, Phoenix Rivera on drums, Harvey Sorgen on drums, Randy Chailante on drums, Josh Margolis on drums, Mike Kimmel on drums, Eric Reeves on drums, Christopher Bradley on drums, T. Xiques on drums, Heather Bennett on piano, Paul Duffy on Piano, Pete Levin on piano, Alan Palmer on piano, KV Mahabala on Sitar, David Cast on sax, Karl Raake on piano/bass/flute, Nat Russell on guitar, Jimmy Eppard on guitar, Juan Xionnes on guitar, Jonathan Townes on guitar, Dan Kessler on chapman stick, Jon Wittsen on bass, Charlie Kniceley on bass, Tilman Reitzle on guitar, Rob Norris on bass, Yael on flute, Foofat on viola/violin, Steve Gorn on flutes, Matt Cantello on guitar/bass, Michael Bernier on chapman stick/drums, Rolf Sturm on guitar, Harvey Kaiser on horns… and many others taboot.

Looking forward to including all of WET PAINT’s CD’s on CD BaBy… and please feel free to communicate through the website; www.wetpaint.net

Da Wave is Dug’s first CD produced in 1998 recorded as his father was dying and directly afterwards at three venues; Wilson’s on 79th St., Mason’s on Amsterdam & The Livingroom on Stanton St. all of which no longer exist… all of these songs were written on walks with Benny his Dawg to the slanted lounge rock directly below the access road in the lea with the great Elm in upper Central Park. Dug would leave his apartment from Columbus and 104th draped with an old army canteen bag full of oil paints, his micro cassette recorder and his journal, some water for Ben a course. As an exercise, he would find a board or discarded table top on route to be utilized as a canvas. Enter the park at 103rd stroll past the ponds with the weeping willows and back into the magic forest. Park it at the rock, write a poem, sing and develop the song while painting the found board/canvas. These songs inspired by life, books recently read and philosophies, and of course, muses of love. Specifically, “Language Down Unda” from the book “Mutant Message Down Under”. “In My Dreams” from Martin Luther King Jr. “Da Moon” from the tides and water within us all. “Red Line” from a book about singers and one chapter discussing the fact that the destruction of the Red Line, mass transit system in Los Angeles killed the big band era. “Yellow Line” due to the underdevelopment and research for solar energy. “Da Wave” from the subways of New York “U’r Ego” from a relationship and the streets of New York. “Around Me” from a four way transient relationship in New York. “Humble Sauce” written following a complete slandering slam session directed toward me by numerous bad poets and rappers who did not even know me at all @ “Baby Jupiter’s” in New York. Turning Poison into Medicine, yup!

Hope ya’ll enjoy and create a swath of color in your own special way today, cuz this is it!

Lots of love Douglas Doug Daniel Dug Deep Elliot. April 3, 2007