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     BROWSE ARTISTS: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
    Fred Ho
    Artist Views: 171537
    City of Birth: Palo Alto, CA
    Current Residence: Brooklyn, NY
    Played With: ("Sideman" years ended by mid-1990s) Freddie Hubbard, Dizzy Gillespie, Archie Shepp Attica Blues Big Band, Charlie Persip, Gil Evans, Change of the Century Orchestra, Relache Ensemble, Anthony Braxton, Julius Hemphill Septet, Isidro Infante.
    Instruments: After early 1990s, solely low-A baritone saxophone; prior flute, soprano sax, bass clarinet.
    Other Activities: Writer on radical cultural and political theory, retired hand-to-hand combat specialist trained in stealth assault techniques and strategic leadership operations, producer, revolutionary matriarchal socialist organizer-activist, designer (clothing, homes...)
    Website: www.bigredmediainc.com and www.voiceofthedragon.com

    “Fred Ho’s ‘Once Upon a Time in Chinese America,’ performed…at the Brooklyn Academy of Music Harvey Theater, unspooled to one of the best dance scores to be heard in these parts in recent times….the music was brash yet densely textured and full of witty musical asides. It required—and repaid---close listening.” Jennifer Dunning, The New York Times

    “[Fred Ho] achieves his cross-cultural goals with skill, grace and humor. The music merges Duke Ellington and Charles Mingus with Chinese instruments and vocal styles from Western opera, Chinese opera, and jazz; for a fusion that never seems forced…Mr. Ho’s act of East-West fusion has an audacious integrity.” Jon Pareles, The New York Times

    “[in his 20 year career] the self-taught baritone saxophonist has become a most commanding player and writer.” Bob Blumenthal, The Boston Globe

    “At last year’s San Francisco Jazz Festival, Fred Ho wowed the crowd with excerpts from his epic Journey Beyond the West: The New Adventures of Monkey…they rose to give Ho and crew a thunderous ovation…If, as Toni Cade Bambara suggested, the goal of the revolutionary artist is to make revolution irresistible, then Fred Ho has taken a giant step.” Aaron Shuman, Berekeley, CA EXPRESS

    Fred Ho is a one-of-a-kind revolutionary Chinese American baritone saxophonist, composer, writer, producer, political activist and leader of the Afro Asian Music Ensemble and the Monkey Orchestra. Writes The New Yorker: “It’s not every day that you run into a musician who joins a protean range of talents…” For two decades, he has innovated an Afro Asian New American Multicultural Music imbedded in the swingest, most soulful and transgressive forms of African American music with the musical influences of Asia and the Pacific Rim. As Larry Birnbaum writes in Down Beat “Fred Ho’s style is a genre onto itself, a pioneering fusion of free-jazz and traditional Chinese music that manages to combine truculence and delicacy with such natural ease that it sounds positively organic.” Ho is a prodigious composer, having written over a half dozen operas, music/theater epics, cutting edge multimedia performance works, martial arts ballet, and oratorios. Recent commissions include: Josephine Baker’s Angels from the Rainbow for Imani Winds; Suite for Matriarchal Shaman Warriors for the unique Asian zither and percussion ensemble IIIZ+; Fred Ho received a Jazz Commissioning Award to compose Suite Sam Furnace (in honor of the late alto saxophonist and 20 year member of Ho’s Afro Asian Music Ensemble) from Chamber Music America. The work premiered at the Brooklyn Academy of Music in fall 2004. Current blockbuster music/theater projects composed by Ho include: DEADLY SHE-WOLF ASSASSIN AT ARMAGEDDON!, a martial arts sword epic paying homage to Japanese manga and samurai cult film classics; a new opera MR. MYSTERY: THE RETURN OF SUN RA TO SAVE PLANET EARTH with libretto by Quincy Troupe; and for the Apollo Theater and the Brooklyn Academy of Music 2008 Next Wave Festival DRAGON Vs. EAGLE. As a musical leader, Fred Ho founded the Afro Asian Music Ensemble in 1982; the Monkey Orchestra in 1990; co-founded with David Bindman the Brooklyn Sax Quartet in 1997; and most recently in 2005, Caliente! Circle Around the Sun (featuring Ho’s solo baritone saxophone with poets Magdalena Gomez and Raul Salinas). In the mid-1980s, Ho created the Asian Pacific American performance art trilogy, Bamboo that Snaps Back, presented at the Whitney Museum, and for which the music/spoken word score was released on Finnadar/WEA records. Ho wrote the first contemporary Chinese American opera, A Chinaman’s Chance, staged at the Brooklyn Academy of Music, featuring a bilingual libretto (Chinese and English) and which signaled his ground-breaking combination of traditional Chinese and western instrumentation. In 1988 he conceived and composed the music/theater epic A Song for Manong as a tribute to Filipino workers. He composed and created a multimedia bilingual (Spanish and English) oratorio, Turn Pain Into Power! His music/theater/opera/dance-ballet epic Journey Beyond the West: The New Adventures of Monkey was commissioned by the Joseph Papp Public Theater, developed by the Guggenheim Museum Works and Process Series, and presented at the Brooklyn Academy of Music 1997 Next Wave Festival. Joining with librettist Ann T. Greene, Ho created the opera Warrior Sisters: The New Adventures of African and Asian Womyn Warriors, commissioned by the Mary Flagler Cary Charitable Trust, Aaron Davis Hall, the National Endowment for the Arts Opera/Musical Theater program, Dance Theater Workshop and Arizona State University-Tempe and premiered at The Kitchen in NYC. The opera was released as a double CD by Koch Jazz. In collaboration with librettist Ruth Margraff, Fred Ho created Night Vision: A Third to First World Vampyre Opera, supported by the New York State Council on the Arts and the Rockefeller Foundation, was presented at Cooper Union and the HERE Arts Center in NYC, with development by The Joseph Papp Public Theater New Work Now Festival and New York Theater Workshop. The book and double CD was published/released by Autonomedia and Big Red Media. The Mary Flager Cary Charitable Trust (again!) with the World Music Institute, the New York State Council on the Arts and the John Harms Center for the Arts commissioned the world premiere of Ho’s blockbuster Once Upon a Time in Chinese America…A Martial Arts Ballet and Music/Theater Epic, presented at the Guggenheim Museum, the JVC Jazz Festival, the Seattle International Children’s Festival and the Brooklyn Academy of Music 2001 Next Wave Festival. Re-titled VOICE OF THE DRAGON: ONCE UPON A TIME IN CHINESE AMERICA…THE MARTIAL ARTS EPIC, the show was signed to CAMI (Columbia Artists Management Inc.) for a tour to 33 U.S. cities in 2002-3. In 2003-4, the Caribbean Cultural Center, the Mary Flagler Cary Charitable Trust, the Apollo Theater Foundation, Mutable Music and the New York State Council on the Arts commissioned Fred Ho to compose and conceive the sequel to this highly successful show, Voice of the Dragon 2: Shaolin Secret Stories, which premiered in January 2004 at the world famous Apollo Theater. The Walker Art Center commissioned in 1999 All Power to the People! The Black Panther Suite with interactive live digital video editing and mixing. The staged production of this work incorporating martial arts choreography as a Black Panther ballet was commissioned by Northeastern University’s Center for the Arts and the Rockefeller Foundation and premiered in October 2003 in Boston. The Afro Asian Music Ensemble, founded in 1982, has recorded more than ten recordings including a historic first creative DVD, “The Black Panther Suite” on Innova Recordings. The Monkey Orchestra is featured on Monkey: Part One and Monkey: Part Two (Koch Jazz). Fred Ho has received numerous awards, including the McKnight Foundation Composer/ Residency award; five Rockefeller Foundation Multi-Arts Project grants (2005, 2003, 1999, 1998, 1991, 2002), two National Endowment for the Arts Fellowships (Opera/Musical Theater, 1994 and Jazz Composition, 1993); three New York Foundation for the Arts Music Composition fellowships (2004, 1994 and 1989); a 1988 Duke Ellington Distinguished Artist Lifetime Achievement Award from the Black Musicians Conference (the first Asian American to ever receive this); the 1987 Harvard University Peter Ivers Visiting Artist award, and many others. He has been a Master Artist at the Atlantic Center for the Arts, an Artist Fellow at the Djerassi Resident Artists Program; resident artist at the Civitelli Ranieri center in Umbria, Italy; and resident scholar and visiting artist at the Rockefeller Foundation Bellagio Study and Conference Center in Bellagio, Italy. As a life-long activist, Ho helped to found the East Coast Asian Students Union, the Asian American Resource Workshop, the Asian American Arts Alliance, among many others. Ho co-edited with Ron Sakolsky Sounding Off! Music as Subversion/Resistance/ Revolution (Autonomedia) which won the 1996 American Book Award; he also initiated and edits the popular and best-selling annual Sheroes/Womyn Warriors calendar. He also was lead editor of the anthology Legacy to Liberation: Politics and Culture of Revolutionary Asian Pacific America (AK Press), considered by many to be a milestone work. A collection of Ho’s writings on radical political and cultural theory, Wicked Theory Naked Practice will be published in fall 2005 by the University of Minnesota Press. In 2006 Duke University Press will publish Ho’s landmark anthology Afro/Asia: Revolutionary Political and Cultural Connections Between African Americans and Asian Americans co-edited with Bill V. Mullen. Fred Ho resides in Brooklyn, New York.



    Artist Comments

    Statement modified May 12, 2006 originally from a Roundtable moderated by Bill Shoemaker www.pointofdeparture.org

    In my opinion, the predominant suppression of discourse around music and the arts is not so much its social context, which aspects of “critical theory” and “ethnomusicology” and other “ologies” engage, but the actual political role music and music creators can play in challenging capitalist-imperialist hegemony, and even dare to overthrow and replace. That is the question: HOW DOES MUSIC FREE US?

    But before I proceed, let me not make the assumption that all of you reading may share this interest or commitment. So for the sake of civil intellectual discourse, let me argue why we should even be concerned about this matter as intrinsic to perhaps what I may assume to be our common interests and values such as artistic integrity, aesthetic development, creativity, originality, inclusivity and “racial/gender/economic” equity in terms of compensation, career recognition and rewards, valorization of transgressive and “avant garde” or innovative formic considerations, etc. Even if one subscribes and espouses “art for art’s sake” and “standards of creative excellence/artistic quality as the sole and determinant criteria”, I will argue that destroying capitalist-imperialism is the way to go for anyone who feels, believes and sees that commodification and desertification of creative resources and capabilities is the ever present danger.

    Caroline Kraebel's description of the onslaught of cultural and ecological degradation, and the exponential subordination to imperialist aggression (whether it be military conquest or socio-economic, the double effect of McPentagon and McWorld), are not understated.

    First let me define what I mean by “imperialism” or the capitalist-imperialist system. No one but the most dishonest or ideologically-blinded would disagree that the world-system of capitalism, which is hegemonic today, is at a global stage, running amok over the entire planet. Imperialism is this global, monopolistic, stage of capitalist economic and social development, which seeks to impose its relations of production everywhere and hence is totalizing and globalizing. Imperialism is not merely a policy of nastiness and bullying practiced by mighty nation-states over weaker ones. Even these policies and acts of bullying and domination are driven by competition to hoard and control resources, to exploit cheaper labor and to expand markets to stimulate and saturate with consumer goods and parasitic services. So my use of “imperialism” refers to this totalizing, world dominating process and effect of capitalism, thru both its state institutions (governments, military, world bank, trade cartels) and its monopolistic multi- and trans-national corporations.

    Let me address the symptoms and characteristics of imperialism mostly upon music.

    Imperialism and ecological and cultural desertification. The capitalist system of mass commodity production and exchange inevitably replaces and defeats individual production (from the family farm to the individual or cooperative craftsmen guilds to mom and pop businesses) by simply producing things more cheaply and faster. The inevitable effects and consequences of mass production are mass consumption/consumerism. Circulation of commodities (including music via recordings or packaged tours, digital downloading thru the purchase of more toys like Ipods, etc.) is accelerated and intensified. What might appear to be more “choices” in actuality is the homogenization of products as volume and per unit sales trumps quality and individuality. Even so-called “niche” markets cannot survive if sales don’t produce sufficient profits to stave off competitors who are always looking to capture and control greater market share. The syndrome becomes: so much information, so little knowledge; so many channels, so few choices; so many toys, so little satisfaction and pleasure.

    I just have to look at my LP collection to remind me that the music I most enjoy will most likely never be digitized and make it into CD format (which if this music were converted to CDs, would tempt me to buy for a lot more cost than I spent for my vinyl simply because I want the portability and the ease of great sound coming out of miniscule device via headphones, all of which I can conveniently put into my jacket pocket). Or if this music was digitized and put “free” on the web, I would be tempted to buy a new toy like an I-Pod. But should any component of the capitalist music industry figure a way to profiteer off my particularly esoteric musical tastes, they’ll figure out the temptation needed to get me to buy the CD versions, and since my own personal economics don’t have the growth trend of a university professor union contracted pay scale raises, I’d additionally be tempted to sell my vinyl somehow to afford my new conversion and to make space since I can’t afford to buy a bigger place to live and keep accumulating things.

    The advancing desert is a powerful metaphor. Ecologically, soil erosion, increased land salinity, deforestation, mono-crop botany and agriculture, have led to the devastation of desertification. So too has cultural desertification been a product of the homogeneity of commercial music (Pop music with a “capital/capitalist P” and not the popular music, small “p”, of indigenous creativity).

    Another by-product or “side” effect of cultural malnourishment, increasing mono-diets, over-consumption of processed, chemically treated/created culture and food is the over-reliance upon our musical intake from manufactured commodities such as loudspeakers, machines, computers, and thus greater passivity is generated where by people no longer look to themselves to make music, but simply purchase it via a concert ticket to a new electronic home entertainment toy. With this greater removal of participation and creation are two effects: the musical and artistic deskilling of the populace and its increasing specialization and monopolization by “experts” or marketers (often, with the complicity of academia and corporations, they are one and the same). I will discuss academia’s complicity far more below, so this is an early warning to you professors and self-important intellectuals that I’m comin’ after y-alls!

    So we get a listening population, similar to the general population, that is obese, out-of-shape, unhealthy, addicted to all the wrong and bad stuff. What is organic becomes a “specialty” niche market perhaps packaged as “world music”, etc. They are hooked onto the saccharine-saturated, they believe the hype, and worse, consume it as if it is suppose to be good for them. And the cycle of consumption/accumulation spirals out of control: more diet fad books to the latest pills to the latest exercise toys or gurus. In terms of music, consumers consume the latest glossy music junk journalism, buy the latest world music guide books or illustrated coffee table books about “jazz” or watch the Probably Bullshit and boring Stuff (PBS) documentaries called “Jazz” made by a well-financed darling who not only is a novice on the subject matter, but relies upon the most reactionary and backward “advisors” in the field.

    Technology has not only mediated and shaped how and what kinds of music we hear, but it has, under the control of capitalist interests, in a growing number of cases, become the actual music. Sound and recording engineers are as or perhaps, in the most commercially aggressive cases, more important to the finished product of music we buy and listen to than the actual musicians themselves! And as we all know, the most influential and determinant link in the process from recording studio to the marketplace has nothing to do with music production, but its marketing from visual packaging design, to advertising, to the hype of so-called music journalism to simply conforming to current lifestyle and fashion trends.

    I go to my food market, and “regular” foods are everywhere, while “organic” foods are in special sections. A “regular” apple I buy has been subjected to petro-chemical fertilizers and insecticides, artificial environmental treatment, probably genetically-modified to enhance its size and color attraction. The “organic” apple has to be labeled with its certification and of course, costs a whole lot more (because individual human labor power was much more direct rather than the lesser-costing automation).

    CULTURAL IMPERIALISM VS. CULTURAL RESPECT. Many who know me and my views are well aware of my pummeling of practices and rationalizations that are cultural imperialist. I won’t rehash such critiques here which include such commonplace cultural imperialist thievery and fakery of claiming credit where credit isn’t due, or posturing as knowledgeable about “other” music when you really aren’t, or promoting “exoticism” and pumping up your “newness” or unfair compensation between the first world “name” artist and the third world talent. Rather, I will focus on the principles and practices that would enhance CULTURAL RESPECT/SHARING.

    Working humbly for years with master artists from traditions you seek to learn, including giving such artists in your work full credit and just compensation; not simply “sampling” without regard to contextual source, respect for the sacred, acknowledging and crediting and compensating sources (including shared copyrights with entire villages or peoples, which Dr. Royal Hartigan has propounded and practiced); learning to liberate oneself from the bourgeois individualist artist-as-heroic-genius of simply using “sounds” for self-expression (self-gain) but as ways of supporting anti-racist, anti-imperialist, pro-fair exchange, pro-indigenous organizing causes and activity; living in the same conditions with, and learning from, the people and “giving back” in all the ways we can (from our sincere friendship, admiration and love to supporting and participating in the fight against all forms of imperialism and imperialist-supported assaults).

    In a nutshell, the three “C’s” of cultural respect and sharing: Credit, Compensation, Committed anti-imperialist solidarity. (As a hardcore revolutionary socialist, in the final analysis, I believe the greatest contribution will be the last aspect, especially what we in the first world can do to end the inequality and oppression within the citadel of our own comforts, compliance, conformism and corruption by rejecting first world chauvinism and privileges.)

    What is to be done, How can music free us?

    By recognizing and combating the ideological “givens” and values and assumptions of bourgeois culture/society, and by constructing its opposite so we can live and make music in total opposition, as revolutionaries, seeking to rid the world of all of its bullshit effects and toxins, and becoming organically whole and self-producing creative, imaginative and socially conscious human beings building socialist sustainability.

    Reject the cerebral over the physical. Some black artists, in reaction to being stereotyped or “essentialized” as “physical” and “emotive”, have tried to argue for and justify access, legitimacy, credibility and recognition for the more “serious” valorization of European high-art musical values. In academia, this is so readily apparent whereby music theory and analysis is valorized over performance or “playing.” Music, as emphasized in bourgeois academia, is more about knowing than doing (with the false assumption that one could ever really know something without being able to be engaged in doing). Performer-players are relegated to junior and adjunct positions. The stars are those who can throw together the most fashionable big-worded jargon masquerading as theory. When one scrutinizes what they can actually do, either as musical leaders or as performers, they come up shallow and superficial.

    Part of liberating the planet must be de-Europeanizing the world (Kalamu ya Salaam). With the ascendancy of the western European (and later American) bourgeoisie, music became increasing removed from its communal soil and sold on to the market place as the product of the individual-heroic-genius. Removed from its profound, inextricable, sustenance to communal life, with an elite detachment produced for (and soon, by) the leisure classes (bourgeois and middle-class), concomitant values of notation-primacy, equal temperament, technical perfection, fixed “classics”, “canon” construction, rigid hierarchal pedagogy and ensemble social relations, etc. are promoted and as capitalism takes root everywhere, become the “standards” for “art.” I am not advocating the total discarding of the bourgeois European art music traditions (tho personally, I have little interest or use for it), but rather, its canonization as anything superior or more profoundly musical. Indeed, I find the traditions of Asia and Africa to be far more evocative, especially when we get into shamanism and the spiritualizing totality of music. In those traditions, music IS a force to effect (wo)man and Nature.

    I personally would rather converse in “non”-European tongues, eat the food of local families in Third World villages, wear Afro-Asian clothing, and build movements of musical and political solidarity with the national liberation struggles of Africa, Asia, the Americas, and Oceania. But that’s me.

    Reject Technological Supremacy, Embrace Ludditism, Learn from and have Low Impact Upon Nature. I’d rather have sex with many womyn openly and freely without the repression of bourgeois monogamy, marriage and the nuclear family and failing to attain these “family values”, stay in front of tv or on the internet trying to find a date or masturbate to commercial porn. I’d rather be playing with musicians who I admire, without having a gig bring us together, enjoying the natural acoustics of my local church (I’m not religious, just rent the space to practice) to simply enjoy their musicality and personality. Acoustic live performance over electricity-dependent situations. Live performance is a social act in which all people participate and interact and have mutual influence. It wasn’t the recordings of Sun Ra, Rahsaan Roland Kirk or many other artists that had the most important and profound impact upon me (indeed, some artists’ recorded works are substantially inferior to the experience of hearing and being there live with them, which ironically, “live” recordings fail to capture/convey as well). It was hearing them live, being in the aura and experience. I have visited the home of Amiri Baraka many times and have been most profoundly struck, that given his output of writings and involvement with “the music,” how few actual recordings he had, how little “stuff”, except paintings and artwork, were in his home. Especially the low number of techno-types of toys. I realized that his great knowledge of “the music” and of black culture in general came from participation and involvement, not in accumulation of things and objects (again, with the exception of visual art). I also noted how freely he just gave away books he had (not just of the books he’s had published). It was like barter. He gives me a book, I give him a CD, he perhaps gives that CD away and someone gives himself something else to check out. This recycling is another form of circulation but outside of mainstream commodity exchange for cash.

    Computer-generated music, like computer-generated art/animation, can infinitely explore all the permutations and probabilities of responses to any and all data. They are the ultimate in technical perfection. But I would submit that it is in the imperfections where the imagination inhabits, and which is truly the stuff of great, soulful human expression.

    Reject City Domination over Countryside. Mao and the revolution in China have especially had to struggle with this contradiction/dichotomy. My life is made up of two extremes, of which Suburbia is completely removed and non-existent. Suburbia is the analogy for homogeneity and social engineering. I spend part of my time living and working in one of the world’s great cosmopolitan cities: Brooklyn (secondarily New York City which most presume is Manhattan!). I spend the rest of my time in Third World rainforests completely nude, usually living with an extended family from whom I get meals and a place to sleep. My music is most characteristically “urban” but my soul is “tropical rain forest.” While I think my music can communicate to humans, I am still learning to figure out how I can communicate with bears, coyotes, whales, dolphins, jaguars, mountain lions, cougars, bob cats, wild horses, etc. Raul Salinas, the great native American-Xicano poet-revolutionary socialist, said in a poem, that native Americans liked Rahsaan Roland Kirk a lot (“Song for Roland Kirk”) because:

    “…you were close to something, man… native brothers and sisters from the north dug you, too you talk to trees, bees and birds and things like that… the grey world judged you nuts, so what else is new?…”

    I haven’t learned how to make my own musical instruments like the elder musician I met on a beach in southern Turkey who made a flute from the marsh reeds by the beach, and played one of the most spectacular solos I’ve ever heard; and who, when finished, simply gave me the flute he made and had played (without me asking for it).

    We need to restore what some call community, others call collectivity, but what I would assert is communism: the social nature of production must finally and ultimately mean the social control and ownership and benefit of production over individual profiteering (transmogrified today into imperialism, the monopolization of power by a very few ruling over the very very many). Many would say: Fred, let’s focus on what’s possible. Or, Fred, your ideological and political predilection seems to preclude propensities for the here-and-now possible reforms. But I will only quote Sun Ra in response: Everything possible has been tried and nothing has changed. What we need is the Impossible. The music we make must embrace the Impossible in the arduous journey to make the music a true force for social revolution. Everything musically possible has been done. The world hasn’t changed. What we need is some Impossible music along with some Impossible thinking and activity.

    Artist Albums
    Fred Ho Collection
    Artist Tracks
    The March of the Opressed
    Funeral for the Fallen Martyrs
    Joystick Joyride
    Sling Your Arrowhearts
    Kill the Lambs Quickly Slaughter
    Bulrush Basket for the 3rd Millenium
    Prelude and Restore the Ming
    Let the Red Rain Fall
    State of Affairs
    The Gold Mountain
    A Curse to Be Born Female
    Long Day's Journey to the End
    The Master Race
    Earth Mother's Army
    The Future of China is
    Are You the Christian
    Womyn Warriors Three
    The Political Condition of America
    Armed and Dangerous
    You'll Get Life Plus
    A Recitation of the Charges
    Freedom Fighters
    She Who Runs When the Sun is
    The General is Waiting
    Nana
    Womyn Have Been Last, But They
    02 Roman Kissing Expose
    03 Car Chase Counter Revolution
    04 Heartsong Aria
    05 Roman Boy I Gets Her Autograph
    06 Rending the Holiest Veil
    07 How He Fantasized Her Autograph
    08 Limousine
    09 Pivot
    10 And They Follow Me
    11 Psalm 23 Home Movie
    12 Pivot Again
    13 New Idol
    14 Incomplete Blindness Duet
    15 Barfly Imitation
    16 Eulogy for the Renaissance Troupe
    b01 Why Don't Fairy Tales Come True
    b02 Fck Patriarchy
    b03 Sexism is a Fatherfcker!
    b04 Members of the Opposite Sex Want
    b05 Choose Choice
    b06 Yes Means Yes, No Means No
    b07 Naima
    The Way of the Wolf
    Imperial Intrigue
    Entger the She-Wolf Secret Weapon
    'Round and 'Round Hades We Go!
    In The Shadow of the Wolf
    Nightmares
    In A Silent Way I Seek My Prey
    Bok Mei-The White Lotus
    Colonel Ulysses Sam Armageddon
    Qaseem the Killing Machine
    The Storm of the She-Wolf
    We Have Arrived in Hell
    Influences
    Expert Articles
    Fred Ho's recent concert in Philadelphia - Steve Rowland
    THE GLORIOUS JOHN COLTRANE PT 3 - Marty Khan