text:
13 Monroe Street, New York, NY 10002-7351
Phone: (212) 473-0043 - Toll Free: (800) 622-1387 - Fax: (646) 781-9846
Mail To: POB 153, NYC, NY 10002-0153
NEWSLETTER - September 21st, 2012
A Fall Deluge of Absolutely Incredible Discs from:
Zorn: Blakelight! Wadada Leo Smith & Louis Moholo-Moholo! Daevid Allen & Soft Machine '71! Lytton/Woooley + Vandermark/Mori! Eyvind Kang! Kris Davis/Ingrid Laubrock/Tyshawn Sorey! Angelica Sanchez/Marc Ducret/Tony Malaby! Konitz/Frisell/Peacock/Baron! Jason Robinson/Marty Ehrlich/J D Parran/Liberty Ellman!
Jeffrey Shurdut's YAD! Laurie Spiegel! Alec K Redfearn! Martin Kuchen's Angles 8! Ahleuchatistas! So Percussion/Greg McMurray! Lisa Moore! Evan Ziporyn! Alan Sondheim/Helena Espvall/Azure Carter! John Cage! Morton Feldman! Jimmy Herring! Zeitkratzer! Alex Machacek FAT Trio!
Enzo Minarelli! Dave King Trucking Company! Kristin Norderval! Guillermo Klein Y Los Gauchos! Kalle Kalima & K-18! Ben Frost! Moebius/Plank! Framus 5!
..and a BIG Atavistic Label Sale!
The DMG Free Weekly In-Store Performance Series Continues With:
Sunday, September 23rd
6pm: The Return of the NoLabels Crew featuring: JEFREY HAYDEN SHURDUT / GENE MOORE / MATT LUCZAK / TODD KNAPP / SCOTT MAY / NICK GIANNI / PETE DRAGOTTA!
Rare Monday Set, September 24th
6pm: LIUDUS MOCKUNAS - Solo Saxist from Lithuania Returns to DMG!
Sunday, September 30th Double-Header
6pm: International Brass & Membrane Corps Feat: TED DANIEL/CHARLES BURNHAM/JOE DALEY/NEWMAN TAYLOR BAKER!
7pm: SEAN ALI - Solo Contrabass!
Sunday, October 7th
6pm: DENNIS REA / JAY JASKOT - Guitar/Drums!
Guitarist for MoonJune Artists Moraine & Iron Kim Style!
Sunday, October 14th Double-Header
6pm: ROSS HAMMOND/OLIVER LAKE/VINNY GOLIA/ADAM LANE - Amazing Quartet!
7pm: BEN TYREE - Solo Acoustic Guitar!
Sunday, October 21st Double-Header
6pm: OPERATION INFINITE SUNRISE with KEN SILVERMAN - Guitar / JOHN MUCHINSON - Bass / ANDY O'NEILL - Drums!
7pm: JUAN PABLO CARLETTI & DANIEL LEVIN - Amazing Drums & Cello Duo!
Sunday, October 28th
6pm: TWO BASS HIT with: J.D. PARRAN - Bass Clarinet / LARRY ROLAND - Acoustic Bass!
Sunday, November 4th Double-Header
6pm: STEW CUTLER & JOHNNY ASIA - Guitar Duo!
7pm: PHILIP GIBBS & MOSSA BILDNER!
Sunday, November 11th Double-Header
6pm: MOFODISHU Featuring: MIKE NOORDZY / CHRIS WELCOME / MAX ROSS! Contra-Alto Clarinet/Guitar/Laptop trio!
7pm: The Return of KYOKO KITAMURA (Voice) & JEN BAKER (Trombone)!
Sunday, November 18th Double-Header
6pm: BILL COLE / SHAYNA DULBERGER DUO! Double Reeds & Upright Bass!
7pm: ERIKA DAGNINO / RAS MOSHE / MATT LAVELLE! Poetry/Sax/Trumpet & Reeds!
Sunday, November 25th Double-Header
6pm: DEE POP and DANIEL CARTER! Outstanding Drums & Multi-Horn Duo!
7pm: FLIPCITY Featuring: DAVID AARON - Saxes / WILL McEVOY - Bass / KATE PITMAN - Drums!
Sunday, December 2nd Double-Header
6pm: ISAAC DARCHE - BJU Guitarist!
7pm: JESSE DULMAN & JASON CANDLER - Tuba & Alto Sax Duo!
New From Tzadik!
JOHN ZORN - A Vision In Blakelight (Tzadik 8303; USA) [special packaging] Inspired by the spiritual mythology of William Blake, A Vision in Blakelight is the latest in Zorn's continuing series of 21st century mystical works. With a cinematic sweep reminiscent of his best film scores the music is alternately romantic, ominous, ecstatic, driving and meditative. Featuring the Nova quartet augmented by harp and percussion - and the charismatic Jack Huston reciting from Blake's Jerusalem on one mysterious track - this suite of ten instrumental miniatures reference jazz, classical, easy listening, film music and minimalism. A lovely and varied suite reflecting the humanistic philosophy of the immortal visionary William Blake with a dramatic and brilliant lyricism. TZADIK ARCHIVAL SERIES
EYVIND KANG - Grass (Tzadik 8089; USA) Eyvind Kang's newest CD collects quiet new compositions spanning the past five years, which he considers to be among his truly breakthrough works. Music for solo piano, string quintet and more take the unique sonic environments of Morton Feldman to an entirely new place via the metaphors of agricultural poetry, Chinese medicine, sweatlodge, and Ikat weaving. Mesmerizing work from the elusive and ever-stimulating mind of Eyvind Kang! TZADIK COMPOSER SERIES
KRAMER - The Brill Building (Tzadik 7412; USA) Seven years in the making, Kramer has conjured what just might be his greatest CD ever - a brilliant tribute to the Jewish composers who made the legendary Brill Building in Times Square one of the centers of popular music songwriting for decades. From Bacharach to Carole King, Neil Diamond, Leiber and Stoller and Doc Pomus, these are the songs that made performers into superstars. Deeply personal yet wholly universal, Kramer captures all the poignancy and humor of these timeless classics. Welcome to The Brill Building! TZADIK LUNATIC FRINGE SERIES
DAVE DOUGLAS QUINTET With JON IRABAGON/MATT MITCHELL/LINDA OH/RUDY ROYSTON + AOIFE O'DONOVAN - Be Still (Greenleaf 1027; USA) Featuring Dave Douglas on trumpet & most compositions, Jon Irabagon on tenor sax, Matt Mitchell on piano, Linda Oh on bass, Rudy Royston on drums and Aoife O'Donovan on voice & guitar. You can tell that Dave Douglas takes his time with creating each and every release as all aspects of this disc are perfectly aligned. Dave has organized an all-new, all-star quintet with a superb cast of musicians. Each member of the quintet is a leader and/or an essential collaborator of their own. Monk award winner Jon Irabagon is a member of MOPDTK, Matt Mitchell has been working with Tim Berne & Claudia Quintet, Linda Oh has two fine discs of her own (one on Greenleaf) and Rudy Royston keeps extra busy playing with Bill Frisell, JD Allen and Ben Allison. This is the first time that Mr. Douglas has featured a vocalist in his band so he had to choose someone special. That person is Aoife (pronounced EEF-ah) O'Donovan, a Boston-based singer who has sung with the Wayfaring Strangers, Crooked Still and Jerry Douglas. Ms. O'Donovan is featured on the first five songs on this disc. Her voice is a pure delight - exquisite, lovely and subtly enchanting. Mr. Douglas does a wonderful job of using her voice as an integral part of the quintet. Aoife sings "High on a Mountain", a traditional sounding song written by Ola Bell Reed, with a charming soulful, bluesy tinge with some seamless arrangement which blends jazz and bluegrass in a unique. Besides Ms. O'Donovan's strong and often haunting voice, both Mr. Douglas and Mr. Irabagon play the most lyrically I've heard from either. One of things that makes this album special is the way Dave has blended jazz, pop and bluegrass influences into something new that is in between any established categories.Although the second half of this disc is mostly instrumental, the vibe remains the same with the trumpet, tenor sax and piano all taking some elegant, soulful and/or dreamy solos. The interplay between both horns is especially well done, near fireworks at times. The title of this disc, "be still..." seems befitting as this is what one must do in order to appreciate the more restrained, elegant side of things to appreciate this fine disc. - Bruce Lee Gallanter, Downtown Music Gallery
JEFFREY HAYDEN SHURDUT With GENE FREDERICK MOORE/TODD KNAPP/GENE JANAS/MATT LUCZAK/DIKKO FAUST/SCOTT MAY/PETE DRAGOTTA - Yad (JaZt Tapes 36; EEC) YAD features Jeff Shurdut on alto sax, Gene F. Moore on el. guitar & effects, Todd Knapp on bass clarinet, Scott May on violin, Dikko Faust on trombone, Pete Dragotta on tuba, flugel & pocket trumpet, Gene Janas on el. bass & voice and Matt Luczak on drums. When No Labels founder, Jeff Shurdut, contacted me about playing here at DMG, he had small group of players to work with. By the time the gig actually happened, he now had an octet so I worried that it couldn't fit our small stage area and that it would become a mess of free insanity. Turns out, that I shouldn't have worried, as everyone fit tightly with Jeff playing on the side next to our bathroom. Jeff picked all of the musicians carefully so that everyone listened and took their time and worked closely together. The group name is YAD which means "hand" and refers to a ritual Torah pointer from the Jewish tradition. Although this set was improvised, it sounds directed as different subgroups emerge, erupt and then submerge. Bassist Gene Janas adds the occasional scream or twisted vocal sounds pushing the ensemble into some heated interaction. There are a number of dense moments but they never last too long always move or mutate into other more sparse areas. I dig the way certain pieces start with an explosion but then different combinations of players create subgroups, everyone swirling tightly as assorted layers move around one another. There are a number of transcendent moments when everyone explodes at the same time and then break down into smaller, equally tight formations. What is interesting to me is that this set took took place just two months ago (7/17/12) and I remember enjoying it. But listening to it now at home alone and undistracted, it sounds even better. JaZt Tapes is a new label which is an offshoot of Ayler Records. The musicians own all of the rights to their music here. - Bruce Lee Gallanter, Downtown Music Gallery
"A recording of what these guy's did a few weeks ago [July 17th, 2012] here at DMG - You should sooner shoot yourself than miss this! Exquisite improv session, right up there with classic FMP blow-outs from the '70s.. oh yeah, and DYNAMIC enough to demand the ear of G-D!" - MannyLunch
YAD will be playing here again this Sunday, September 23rd at 6pm for free. Come on down and have your minds blown away once again.
Five new ones from Clean Feed!
PAUL LYTTON & NATE WOOLEY With IKUE MORI/ Or With KEN VANDERMARK - The Nows [2 CD set] (Clean Feed 260; Portugal) The duo of the veteran and pioneer Paul Lytton and the innovative newcomer Nate Wooley is one of the most powerful and intriguing of these last years. They managed to revalue this old instrumental format, seeing it not only as the most basic structure of interactive improvisation but also as a kind of metonymy of all the processes and lexical resources possible in this field. That's why after one masterpiece like Creak Above 33 and a deeper and deeper application of their 'one-to-one seeming more' ideas, they invited other musicians to join them. On stage people of several generations of the improv scene like Fred Frith, C Spencer Yeh, Ben Hall, Evan Parker and John Russell, among others, and on record musicians of the relevance of Christian Weber (Six Feet Under) and David Grubbs (The Seven Storey Mountain). At John Zorn's The Stone they played in 2011 with Ikue Mori and two weeks later they stepped at Chicago's Hideout with Ken Vandermark, besides presenting the original duet. The recordings of those dates are now reunited in a double album that enables you to fully understand that the Lytton/Wooley partnership is the same when only the two are involved and when there's a 'special guest'. The trios with Vandermark and Mori aren't duos plus one, and neither the duos aren't a return to the essentials: everything is in perspective, accomplishing the old aspiration to create collective music in which the individuality of the participants isn't damaged in any way. What a lesson!
"After "Creak Above 33" (Psi), and the eponymous LP (Broken Research), one wonders what would come out next from this magical duo that has been hitting the road for the past 5 years. Well, more amazing duo music but also trios with Ikue Mori (the Stone sessions in New York) or Ken Vandermark (Hideout sessions in Chicago) make this an outstanding release by some of the most open minded musicians on earth. I'm sure this double record will be featured on many end of the year lists." - BLG
PARADOXICAL FROG [KRIS DAVIS//INGRID LAUBROCK/TYSHAWN SOREY] - Union (Clean Feed 262; Portugal) The trio "Paradoxical Frog", made up of pianist Kris Davis, saxophonist Ingrid Laubrock and drummer Tyshawn Sorey made a significant mark with its self-titled debut album in 2010. The three musicians, who all contribute compositions to the group, have a shared ability to create dramatic musical peaks and valleys while moving in and out of a composition in a seamless motion. This is why listeners in NY and all over the world continually seek out this unique and ever changing group. "Union" is the second take of the project, confirming that the music from their first release didn't simply result from a happy gathering of circumstances. Redefining lyricism in a sometimes angular context, this is jazz with extreme space and dynamics, yet an unapologetic love for conventional tone and a solid sense of tension and release.
ANGELICA SANCHEZ QUINTET With MARC DUCRET/TONY MALABY/DREW GRESS/TOM RAINEY - Wires & Moss (Clean Feed 259; Portugal) It's no longer possible, today, to exclude the name of pianist and composer/improviser Angelica Sanchez when discussing the New York jazz scene. With her fluid, loose and lyrical style, contrasting with an energetic and avant-gardist approach, she seems to be at the center of a hurricane, dealing with poetic feelings and magmatic chaos. Somehow combining the influences of Herbie Hancock and Cecil Taylor, in her previous solo album, A Little House, Sanchez used a John Cage favorite instrument, the toy piano. Not to play children lullabies, but to introduce ironic and ambiguous shadows in her music, reminiscent of her memories of the horror movies she saw in a younger age, with soundtracks using that tool to maximum effect. If the toy piano was, then, her ghost-in-the-machine, now the same role is performed by Marc Ducret's guitar. With her quintet (besides the French guitarist, it includes Tony Malaby, Drew Gress and Tom Rainey, three of the best around), Wires & Moss is quite different from anything she already recorded. This is electric jazz with a hard bop twist. If it seems a paradox, take notice that Angelica Sanchez is a master of counterpoint, always combining opposites in astonishing solutions...
ANGLES 8 [MARTIN KUCHEN/GOREN KAFJES et al] - By Way Of Deception: Live In Ljubljana (Clean Feed 256; Portugal) Mats Aleklint trombone / Goran Kajfes trumpet / Eirik Hegdal baritone and sopranino saxophones / Martin Kuchen alto saxophone / Mattias Stahl vibraphone / Alexander Zethson piano / Johan Berthling double bass / Kjell Nordeson drums
It was a special configuration of the Swedish band Angles that leader Martin Kuchen brought to the Ljubljana Jazz Festival in its 2011 edition. To the instrumental formation of the sextet was added a second saxophonist, Eirik Hegdal (baritone and sopranino), and a pianist, Alexander Zethson. The other participants are the same who recorded Every Woman is a Tree, with the exception of Magnus Broo, replaced by Goran Kajfes: Mats Aleklint, Mattias Stahl, Johan Berthling and Kjell Nordeson. If in that previous album the six musicians seemed an entire big band, the eight playing in By Way of Deception go even beyond that format to give an orchestral impact to the music. Impact, here, has a double sense: the pieces are either massive, particularly when the blowing section of four create a wall of sound, or full of details and dynamics - the presence of two harmonic instruments, the vibraphone and the piano, contributing decisively to that objective. The deception alluded by the title is the one every European (and everybody else in the world) is feeling now, in relation to how things are going, economically, socially, politically and more.. So, don't expect joyous music; only great music.
IGOR LUMPERT TRIO With CHRISTOPHER TORDINI/NASHEET WAITS - Innertextures Live (Clean Feed 257; Portugal) Igor Lumpert tenor saxophone / Christopher Tordini double bass / Nasheet Waits drums
The present day jazz scene in the countries born when Tito's Yugoslavia collapsed is very badly known by the rest of the world. Only recently things changed a bit, and one of the most alluded names of that part of Europe is tenor saxophonist Igor Lumpert. Searching for international recognition, for his Innertextures Trio he uses to invite American musicians. After touring and recording with, for instance, Matt Brewer and Tommy Crane, Lumpert's rhythm section is now formed by two new-yorkers used to work together, bassist Christopher Tordini and drummer extraordinaire Nasheet Waits. More than an emergent name, Tordini collaborated with the likes of Greg Osby, Steve Lehman and Jim Black, and Waits is one of the most intriguing and brilliant drummers of our time. With partners like these and his very special talent, Lumpert is in the way to be widely known. The reasons why are in this CD - don't be the last to know it.
"Recorded at the 53nd Ljubljana Jazz Festival, this CD brings one of the most renewed Slovene sax ace living in New York, with one of the most in demand rhythm sections, Chris Tordini and Nasheet Waits. Superb sound and challening tunes from a very creative trio." - BLG
New from Tum!
WADADA LEO SMITH & LOUIS MOHOLO-MOHOLO - Ancestors (TUM 029; Finland) Wadada Leo Smith on trumpet & percussion and Louis Moholo-Moholo on drums & percussion. You got to hand it to the folks at TUM records, this disc is extraordinary on a number of different labels. The cover art, well-written liner notes, booklet presentation and recording/production are consistently superb. Wadada mentions in the notes that from the first time he played in London in the 70's, the South African listeners & musicians who attended these gigs would stomp their feet and let out a high pitched sound in response to his playing. There was indeed some ancient connection that reached out between this African-American and his South African brethren. The great trumpeter, Wadada, has a long history of playing duos with drummers: Ed Blackwell, Hamid Drake, Gunter Baby Sommer, Adam Rudolph and Jack DeJohnette. Each one of these duos is special, unique. Louis Moholo is the last living member of the legendary Blue Notes, South African jazz group that settled in London in the early sixties and changed the London jazz scene forever. Mr. Moholo is one of the finest and most distinctive drummers on the planet, hence this duo is beyond special.
This first thing we notice is how well this recorded: warm, sublime, well-balanced - perfect! "Moholo-Moholo/Golden Spirit" opens with soft, sizzling cymbals and poignant, bluesy muted trumpet. The slow, somber beat of Louis' bass drum is like a universal heartbeat bringing us all together. The second piece is dedicated to author James Baldwin and Wadada's brash, bright tone sails proudly over Louis' elegant, streamlined drumming. "Jackson Pollock - Action" was inspired by the avant-garde action painter of the title and it is a sprawling, action-filled duo with both players completely connected dancing around one another in a tight bond. "Siholaro" is dedicated to Louis' late father who passed in 1966 when Louis was living in London and couldn't attend the funeral due to the Apartheid siuation in South Africa. The drums here have a powerful, lilting bounce which has a wonderful ritualistic vibe, filled with pride and creative juice. The title piece is an incredible 5 part suite which is dedicated to members of the Blue Notes, as well as other musicians who influenced the duo: Sonny Rollins, Miriam Makeba, Art Blakey, Misha Mengelberg and Han Bennink. There is a rich and resourceful dialogue going on between Wadada and Louis as the two combine forces and tell their story together. This long piece is one of the best duo efforts I've heard as each musician completes each others lines, providing a perfect web of interaction and communication. CD of the month? Without a doubt. - Bruce Lee Gallanter, Downtown Music Gallery
KALLE KALIMA & K-18 With MIKKO INNANEN/VELI KUJALA/TEPPO HAUTA-AHO - Out To Lynch (TUM 030; Finland) Featuring Kalle Kalima on electric guitar & most compositions, Mikko Innanen on alto & bari saxes & flute, Veli Kujala on quarter-tone accordion and Teppo Hauta-Aho on double bass. Although the second disc by Kalle Kalima & K-18, Mr. Kalima has also appeared on other discs on TUM (Olavi Trio) and JazzWerkStaat (Jazz Parasites). Saxist Mikko Innanen, who has lived in NY in recent periods, keeps especially busy with more than a dozen discs on labels like Slam, TUM, Fiasko and Aeon. Bassist Teppo Hauta-Aho is from an earlier generation than the rest of this quartet (age: 71) and has worked with Cecil Taylor, Evan Parker, George Russell and Anthony Braxton.
Mr. Kalima's first disc for TUM was inspired by director Stanley Kubrick. This disc was inspired by film director David Lynch, hence the title. All of the song titles come from Lynch movies or characters in those movies. The opening fractured guitar intro reminds me of Marc Ducret tone-wise, but soon the quartet are playing some tight, challenging music together. That quartet-tone or microtonal accordion has an odd sound and works with Kalle's spiky guitar and Mikko's bent sax lines. The writing and sound of the band has a rather Beefheart-like approach at times. Kalima does a great job of composing complex, criss-crossing lines for the guitar, sax and accordion to play tightly and intricately. Some of the pieces are slow and moody and do recall certain disorienting scenes from the different Lynch films. This music does have a most cinematic quality, always evoking the spirit or vibe which is projected on our own eyelid movies when we close our eyes. Sometimes the quartet will be broken into duos or trios, whatever is necessary to complete the music. Nothing here sounds unfinished or wasted. Mr. Hauta-Aho is a master bassist and is often at the center of many of these pieces providing both rhythm team parts. Mr. Kalima is a gifted guitarist who changes his tone and approach throughout depending on what is required of the piece, occasionally playing slide or getting a Frippish sustain tone. Accordionist Veli Kujala is also impressive and doesn't quite sound like another else on that instrument. A solo disc by him would be a great thing for the folks at TUM to provide. Another winner. - Bruce Lee Gallanter, Downtown Music Gallery
New on Cuneiform!
JASON ROBINSON With J D PARRAN/MARTY EHRLICH/MARCUS ROJAS/BILL LOWE/LIBERTY ELLMAN/DREW GRESS/CHES SMITH - Tiresian Symmetry (Cuneiform 346; USA) On saxophonist/composer Jason Robinson's polydirectional masterpiece Tiresian Symmetry, he's gathered an extraordinary cast of improvisers to investigate and embellish the framework of his compositions. The music's richly suggestive harmonic and metrical relationships elicit a wide array of responses, but ultimately listeners find their own sense of order and meaning amidst the sumptuous sounds. For Robinson, a capaciously inventive artist who has flourished in a boggling array of settings, from solo excursions with electronics and free jazz quartets to roots reggae ensembles and multimedia collectives, Tiresian Symmetry represents his most expansive and exciting project yet.
"I was attracted to the myth of the soothsayer, who tells the future even when it's not welcome information," Robinson says. "But on a more technical level I was intrigued by the numerical relationships. Tiresias lived seven generations and spent time as both male and female, which gives you 7/2. The pieces I wrote for the album embody those numerical relationships in a variety of forms. Of course, in the end there's the litmus test. The music has to sound good and feel good."
ALEC K REDFEARN And The EYESORES - Sister Death (Cuneiform 344; USA) The group's unmistakable sound is the result of Alec's songs, which have poignant melodies and lyrics filled with doom-laden imagery. These songs are performed by a band who use unusual instrumentation (male and female vocals, accordion, double bass, French horn, organ, drums, percussion, electronics + many musical guests) in interesting and creative ways.
"I spent about 6 years writing for this record. I've trashed dozens of tunes along the way. This record is probably the most accessible of our releases so far. I spent a lot of time obsessing over kraut-rock, space rock and psychedelic rock on the past few years, so that influence is bound to be felt. I've tried to move away from the Eastern European/Gypsy sound.. we've always tried to change things up as we went. Probably the biggest change in our sound is the addition of Orion on the Acetone Top 5 organ and vocals. These latest songs have been built around the keyboard and accordion, but it still sounds like us. Some things simply don't change. My melodic obsessions and idiosyncrasies remain imbedded in the music, and I suppose they always will be." - Alec K. Redfearn
AHLEUCHATISTAS [SHANE PERLOWIN/RYAN OSLANCE] - Heads Full Of Poison (Cuneiform 347; USA) On their seventh album (third for Cuneiform), Ahleuchatistas' Heads Full of Poison is a sonic brew that reveals new flavors, new spices with every aural taste. Now a duo of charter member Shane Perlowin (guitar and bass) and Ryan Oslance (drums), Heads Full of Poison was developed over a two year period, road-tested and honed with numerous performances, including nearly 100 in Europe. The music was altered, edited, and embellished at nearly every gig with improvisational possibilities explored at length. The music combines highly detailed composition with a looseness that encourages a range of interpretation. Each track was recorded live in the studio. Oslance performed all the drums and percussion live with zero overdubs. Perlowin produced the various guitars and bass tracks to impart the richness and detail of a conceptualized studio album, but the basic tracks are performed live. By the time of the recording in January and February 2012, the music had been given ample time to ferment, so the performances captured are as close to perfection as possible, with technical hurdles surmounted, the sonic palette settled upon, each note and beat executed confidently and with nuance. CD $15 DAEVID ALLEN With GILLI SMYTH/ROBERT WYATT/HUGH HOPPER/ELTON DEAN - Live At The Roundhouse 1971 (Gonzo 115; UK) Australian poet and musician Daevid Allen, born in 1938, moved to Europe in 1960, inspired by the writings of the 'Beat Generation'. After a year or so in Paris, he arrived in the UK in 1961. After meeting William Burroughs, and discovering the peculiar music and philosophy of free-jazz maverick Sun Ra, he formed The Daevid Allen trio with his landlady's son Robert Wyatt. Some years later they teamed up with Mike Ratledge and Kevin Ayers to form Soft Machine (William Burroughs' name for the human body). After a European Tour in 1967, Allen was refused entry to the UK because of a visa irregularity, and moved back to France, where he became involved in the famous student insurrection of 1968. He then moved to Deya, Majorca where he, and partner Gilli Smyth began to assemble a loose-knit collection of musicians who began recording under the name Gong. One of these musicians was Didier Malherbe (latter dubbed Bloomdido Bad-De Grass by Daevid), a tremendously gifted saxophonist and flautist, who Daevid claimed to have found living in a cave on the estate of poet Robert Graves.
In 1971, in Daevid's own words.. "It was now three years since my deportation from the mum country so I was now able to legally re-enter England for the first time since 1967." One of his first appearances when he returned to the UK, was a performance at a benefit concert at The Roundhouse. The lineup of the legendary concert included Daevid, Gilli Smyth, and 3/4th of the sem inal quartet lineup of Soft Machine: Hugh Hopper, Elton Dean and that landlady's son, Robert Wyatt!
New & Recent from Cantaloupe!
SO PERCUSSION//GREG McMURRAY - Where [we] Live (Cantaloupe 21087; USA) Masters at crafting alluring sonic landscapes from the most unlikely found objects, So Percussion explores the idea of home with bold experiment in collaborative art-making. Where (we) live is a multi-media, multi-artist, fully-staged theatrical event and album featuring music written by Brooklyn-based quartet So Percussion (Adam Sliwinski, Eric Beach, Jason Treuting, Josh Quillen) and special guest singer/songwriter/guitarist Grey McMurray (itsnotyouitsme, (k)nights on earth). A celebration of community and collaboration, Where (we) Live is an exploration of So's outermost artistic boundaries, as well as a re-examination of comfort zones.
"For eight years, So Percussion has made our home in Brooklyn amid two million five hundred thousand others. In our city, each of the group's four members has constructed a personal ecosystem we call home. These homes are bound by space, time, sound and image. Equally, these spaces house rewarding, frustrating, supporting, damaging, tangible and never understood relationships. When we leave those homes, our four members unite to create another artistic home, with its own unspoken rules and expectations; its own rhythm of interaction, it's own banalities and mystery. Where (we) Live questions all these homes by purposefully inviting the unknown to 'come on over'."
As a live event, So Percussion has invited video artists, songwriters, painters, choreographers, directors (including Martin Schmidt (Matmos), Ain Gordon and Emily Johnson) and others to substantively alter their process. The resulting performance contains a society of possibilities: composed pieces, chance elements, visual associations, and theatrical interactions. The core of the experience, however, is the album itself; a distillation of the performance as it has evolved. Where (we) Live represents the 8th album release from So Percussion on Cantaloupe Music,spanning nearly a decade of creating music that explores all the extremes of emotion and musical possibilities.
LISA MOORE//DONNACHA DENNEHY - Stainless Staining [CD ep] (Cantaloupe 21062; USA) Pianist Lisa Moore completes her 3-EP series (Seven, Lightning Slingers and Dead Ringers with Stainless Staining, featuring compositions by Irish composer, Donnacha Dennehy. Commissioned by Lisa Moore with funds provided by the Arts Council of Ireland, the title track, Stainless Staining was written for piano and soundtrack. The soundtrack is made up of samples of a piano (played both normally, and 'inside') retuned to provide a massive harmonic spectrum of 100 overtones based on a fundamental low G#. Explains the composer, "This reflects an increasing recent concern of mine with a kind of pulsating, rhythmic use of the overtone series. That concern can range from a rather extreme concentration in this piece and Bulb ( a piano trio where pulsing glissandos connect nodes in the harmonic series) to a more integrated approach in the large scale vocal and instrumental pieces, where that approach is used often in a looser fashion only in particular areas."
Reservoir is a work for solo piano, written in two parts - the second part reflecting upon the first - was inspired by a Bill Viola video in which a man is gradually submerged in water. Though not intended, Dennehy's piece draws a similarity with the video; an oppositional relationship between the first and second halves of the work and that between being above or under water. The sustaining quality of the second half could feel as if it were underwater, a reservoir of collected resonances, amplified by the use of the sustain pedal.
Donnacha Dennehy is the founder of Dublin's renowned new music group, Crash Ensemble. He was recently appointed a Global Scholar at Princeton University and received rave reviews for his 2011 recording Gra Agus Bas.
CD ep for $8
EVAN ZIPORYN With BOSTON MODERN ORCHESTRA PROJECT - Big Grenadilla / Mumbai (Cantaloupe; USA) Founder and longtime member of of the Bang on a Can All-Stars and founder of the Gamelan Galak Tika, Evan Ziporyn creates music at the crossroads of genre and culture. Having avoided the standard classical orchestra for most of his career, Evan came around to viewing the western orchestra as a world music ensemble - a reliquary of folk instruments and practices, rebuilt and retuned to play together; something that was constantly evolving - and he wanted to be a part of the evolution, to bring more outside elements in. An album that could have been titled "Outsider Concertos", Big Grenadilla and Mumbai have done just that: two works written for orchestra featuring non-orchestral instruments.
Commissioned and premiered by the American Composers Orchestra in 2006, Big Grenadilla features Evan Ziporyn on bass clarinet and is named for the wood from which clarinets are made and the "big" orchestra, magnifying and framing. Wanting to highlight and amplify what he likes to do best on his instrument, Evan calls the piece "an attempt at ancestor worship, on two levels: the instrument dreams of its living, rooted reality, with the orchestra playing the role of its environs."
A concerto for tabla - Indian hand drums - and string orchestra, Mumbai is a memorial to and meditation on the terrorist bombings in that city in 2008. Soloist Sandeep Das is given "complete freedom and no freedom" - the underlying rhythmic structure of the tabla is intricate and inflexible, but the nuances and specifics of his solo part are up him. He is backed up by a full percussion section, which implores a mixture of rhythms and applications of percussive textures and both are set against the harmonically resonant body of a string orchestra. Mumbai was commissioned by BMOP and premiered on May 27, 2011.
ZEITKRATZER [REINHOLD FRIEDL/FRANK GRATKOWSKI/HILARY JEFFREY et al] - Neue Volksmusik (Zeitkratzer 14; Germany) Internationally-acclaimed ensemble Zeitkratzer tackles folk music on their project Neue Volksmusik (New Folk Music). Zeitkratzer approaches folk music in its essence: constant transformation. Genuine folk music is what it is due to an inherent state of flux, defined by its constantly changing nature. It is in fact an authentic practice for Zeitkratzer to claim different musical traditions, taking possession of them and forming them to fit specific ideas. This project started in 2009 when Zeitkratzer presented Volksmusik (ZKR 002CD), an anarchic ethno-musicological journey through the Danube valley. From heartrending group-yodeling to wild Balkan capers, the ensemble pulled out all the stops. Despite the somewhat brutal humor of the music, there is never an intention to fool around or make a satire on folk music. The previous folk music repertoire has been expanded for Neue Volksmusik with music traditions from Switzerland. Of course, Zeitkratzer does not treat this music in any less of a radical way than their other musical material. In "Alpen Horn Noise," (un)traditional alphorn sounds are combined with Romanian folk dance. Acoustic shadows of Bavarian/Austrian music merge with a droning, hurdy-gurdy like singing, suggesting a connection to the Balkan mountains. Musical traditions are tumbled together and meet each other in new ways. We hear some grotesque qualities of folk music, a music driven by cow bell percussion and a manic muezzin. Further on we hear group yodeling, which definitely turns every Alpine milk sour, but which also recalls the original function of shouting as a mountain signal. At the same time, Neue Volksmusik also includes contemplative and serious music. "Alpenrose" is dominated by uncanny body-less harmonic sounds, and the chords in "Alpsage" float ethereally. All recorded live at the festival Alpentone at the Vierwaldstatter lake in Switzerland.
LAURIE SPIEGEL - The Expanding Universe: Expanded Edition [2 CD Set] (Unseen Worlds 09; USA) The Expanding Universe is the classic 1980 debut album by composer and computer music pioneer Laurie Spiegel. The album is reissued here for the first time in a massively expanded two-CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased. Some of the already well-know works included in this set are "Patchwork", the complete "Appalachian Grove" series, and "Kepler's Harmony of the Worlds", which was included on the golden record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made. Each of the included works broke new ground, pioneering completely new methods of live interaction with computer-based logic - ways of creating music that are now reaching the heights of their popularity with Ableton Live, Max/MSP and other interactive music software entering mainstream music production. The package also includes an extensive 24-page booklet with notes by Laurie Spiegel and period photos.
2 CD set for $14
LAURIE SPIEGEL - Obsolete Systems (EMF 19/119; USA) Laurie Spiegel, electronic music pioneer, has been working with cutting-edge electronic instruments since the 1970s. She has written software, designed systems, and explored most of the early synthesizers. And she's a wonderful composer! The music on this CD is so talented, beautiful, and fascinating that it becomes a stunning demonstration of how musical and humanly expressive technology can be. The CD also demonstrates relationships between instruments and the music that can be composed for them. Spiegel writes: "Each musical instrument, whether electronic or not, implies an aesthetic domain and sensibility unique to its design ... These are a few I've personally explored. When it was new, each of these music systems, now long obsolete, was state of the art, visionary, radically new and so revolutionary that it required extended explanations in response to common questions such as 'Why would anyone ever want to do that?'"
The compositions and the instruments are:
'Four Short Visits to Different Worlds', which includes 'Swells' (c. 1972) and 'Crying Tone' (1975), both composed with an Electrocomp 100 modular analog synthesizer; and 'Mines' (1971) and 'A Garden' (c. 1970), both composed with a Buchla 100 modular analog synthesizer.
'Improvisation on a "Concerto Generator"' (1977), composed with a realtime digital audio synthesizer designed by Hal Alles and others at Bell Labs.
'A Harmonic Algorithm' (1981 version), composed with an Apple II computer with Mountain Hardware oscillator boards. CD $14
LAURIE SPIEGEL - Unseen Worlds (Aesthetic Engineering 11001; USA) "Composed between 1987-90. Released on CD late fall 1991 as Scarlet Records Infinity Series - 88802-2, Out of print March 1992 due to demise of Scarlet Records, Inc. Re-released on Spiegel's own Aesthetic Engineering 'label' in 1994."
'Three Modal Pieces' (1983) and 'Immersion' (1983), both composed with the McLeyvier computer-controlled analog synthesis music system.
'Drums' (1975), composed with the GROOVE Hybrid System at Bell Labs.
'Voices Within: A Requiem' (1979), composed with an Electrocomp analog synthesizer with classic tape techniques & Echoplex (a tape-delay device of the 1970s).
ALAN SONDHEIM/HELENA ESPVALL/AZURE CARTER - Cauldron (Fire Museum 18/Tequilla Sunrise 12012; USA) "Featuring Alan Sondheim on acoustic-electric guitar, guzheng, oud, alpine zither & ukelele, Helena Espvall on cello and Azure Carter on voice & songs. On a label already known for releasing truly weird and eclectic music, ESP unleashed a solo effort by Alan Sondheim in 1968 (more than forty years ago). When I finally heard this album sometime in the past decade, it still sounded completely perplexing. Over the past decade Mr. Sondheim has resurfaced and now has some solo & duo discs on Porter and Fire Museum.
'Cauldron' features a trio with Helena Espvall from the Philly folk/psych band Espers, who has also worked with Masaki Batoh from Ghost and Oluyemi Thomas. I can't tell you too much about singer/songwriter Azure Carter since I wasn't familiar with her before this. The music here has a mysterious, magical quality with warm, delightful cello and other somber ethnic strings buzzing around the enchanting blend. Azure has a sad, fragile, charming voice, perfect for the folk/psych ancient/modern vibe that us old freaks still dig. Since most of this music is sparse, every sound counts. Azure's voice has an odd, somewhat disorienting, sing-songy sort of charm. All of the instruments here sound acoustic yet they still have somewhat psychedelic vibe. The music has a loose, raga-like nature, yet it unfolds in its own organic way. Fans of the quieter side of Acid Mother Temple should this a treat." - Bruce Lee Gallanter, Downtown Music Gallery
[ltd time price; normally $25]
KRISTIN NORDERVAL - Aural Histories: Post-Ambient Arias For Voice And Electronics (Deep Listening 45; USA) Kristin Norderval cut her musical teeth touring with Einstein on the Beach in 1992, went on to record works of American composers such as Tania Leon, David Lang, and Anne LeBaron, improvised in the New Circle Five with Pauline Oliveros and Susie Ibarra, and co-founded the electro-acoustic duo Zanana with trombonist Monique Buzzarte. Now she has released a solo CD of her works for voice and laptop. The composer writes: "Aural Histories is a compilation of works for voice and electronics. None have lyrics, but they all have stories. Some are improvisations recorded in one take with live sampling and audio processing in real-time; others are electronic compositions with varying degrees of vocal improvisation; and still others are through-composed electronic works. Some use the voice alone as sound source, and others contain pre-recorded and processed sounds of machines and electronic equipment, from coffee machines and microwaves to incubators and antique motors."
ENZO MINARELLI - Fame (Pogus 21066; USA) This new CD, Fame, the first all sound poetry release on Pogus, consists of 20 new polypoems produced by noted Italian sound poet, scholar, and sound poetry archivist Enzo Minarelli between 2008 and 2010. "Every sound produced here, however strange it appears, has been made by my own voice; nearly 90% of this CD, the remaining 10% coming from the catalogue of special effects attached to the software. A very small percentage of sounds come from the musical side, a slight emphasis, and therefore the intervention will be perceived as non-musical music. The use of sampling effects that come with the software, chosen after a long period of research, finds its reason in my desire to insist on the meaning of the poem..While technological development is fascinating to me, it enables one to work through a much more satisfying, professional approach, I must admit, however, that the creative idea which is the first nucleus for this new CD, came to me listening to an old sound poem of mine, most recently performed in New York [Lincoln Center], Great platonic love for Giovanni Pierluigi da Palestrina, made in the late Nineties. FAME / What I want to state, is based on a dual Chinese practice, the first refers to that painter who, when he paints a tree, becomes himself a tree, and I, who have created all these sounds, am all these sounds; the second, studying the software, which allows me to know me the rules, I am like that Chinese who, once dominated all the rules, no longer feels the rules during the creative action, because he himself is the rule."
JOHN CAGE//LORE LIXENBERG/GREGORY ROSE/ROBERT WORBY - Song Books [2 CD set] (Sub Rosa 344; Belgium) Works for voices & electronics, performed by Lore Lixenberg, Gregory Rose, and Robert Worby. Recorded in 2012. "This year, 2012, the maverick American experimental composer John Cage would have been 100 years old. He defined experimental music in the 1930s and, since that time, his ideas, his music and his work have been copied by hundreds of other composers and musicians time and time and time again. Anybody who claims to make experimental music today has to acknowledge their debt to John Cage. He composed Song Books in 1970. This work comprises 90 solos for voice. Ninety individual pieces of music involving the voice, electronics and theatrical action. A few of these solos have been recorded ... but only a few. Now, for the first time, all of the solos in Song Books are gathered together in a recording. This double CD features individual solos for voice and several super-mixes that simultaneously combine and layer many solos creating a typical Cage-like experience of complexity, playfulness and glorious sound. Every individual solo for voice will be downloadable from the Sub Rosa web site." --Robert Worby; "The human voice is a magical instrument and John Cage's gargantuan opus, Song Books (Solos for Voice 3-92), is a magnificent homage. These performances by Lore Lixenberg, Gregory Rose, and Robert Worby are a stunning achievement, and their first complete recording makes a welcome (and long overdue) addition to the ever-expanding catalog of Cage's recorded works." --Laura Kuhn/The John Cage Trust. Includes a 20-page booklet with notes by James Pritchett, Rebecca Y. Kim, Gregory Rose and Robert Worby.
2 CD set for $19
MORTON FELDMAN//EBERHARD BLUM/NILS VIGELAND/JAN WILLIAMS - Crippled Symmetry: at June in Buffalo (Frozen Reeds 01/02; EEC) In 2000, Eberhard Blum (flute, alto flute, bass flute), Nils Vigeland (glockenspiel, vibraphone) and Jan Williams (piano, celesta), American composer Morton Feldman's close friends and collaborators, came together once more as The Feldman Soloists to perform Crippled Symmetry, the trio Feldman composed for them, on the 25th anniversary celebration of June in Buffalo, the festival he founded. The recording of this concert is now finally available on CD, and is destined to become the reference recording of this work. Required listening for all fans of Feldman's rich, hypnotic world of enigmatic harmony and mnemonic echo. Mastered by Denis Blackham, and presented in a card package which unfolds to reveal the musicians' "butterfly-like" arrangement on stage. "This turned out to be one of the best performances that we had ever given together. The rare and indescribable 'magic moment' of occasion and ambience seems to have inspired us. The recording of the concert belongs to my most valued sound documents. When I listened to it for the first time, my immediate reaction was: this performance ought to be available on CD. Now, ten years later, it is." --Eberhard Blum
2 CD set for $22
LEE KONITZ/BILL FRISELL/GARY PEACOCK/JOEY BARON - Enfants Terribles: Live At The Blue Note (Halfnote 4552; USA) According to the American Heritage Dictionary, enfants terribles describes "one whose startlingly unconventional behavior, work, or thought embarrasses or disturbs others." Alto saxophonist Lee Konitz has enjoyed a six decade career where he's been in the thick of unconventional work - Miles Davis' Birth of the Cool Nonet and Lennie Tristano's groundbreaking sextet, anyone? - but his mark on jazz is nothing to be embarrassed about. A free, deeply curious spirit, he's long tended to gravitate toward projects that challenges him or puts him in unconventional settings.
His latest album, the upcoming Enfants Terribles, doesn't at all seem on the surface to be one of those times where he's stretching out. It's a live date of done-to-death jazz standards with a backing guitar/acoustic bass/drums backing band. Ho hum, right?
Not quite. Forget what instruments are being played. The guys playing them are much more instructive about what this record is like: Bill Frisell, Gary Peacock and Joey Baron. These artists are also free spirits, incapable of playing things conventionally even at gunpoint. And Konitz, as a kind of forebear to these cats, attitude-wise, is a kindred spirit. Add to that singular Konitz tone, a slightly fragile one with a lot of that old school romanticism in it, a sound that helped to simultaneously define the both the cool and nascent progressive jazz movements of the early 50s.
Staying within the orbits of each song, everyone gets to express themselves in their own unique ways, not the last of whom is Konitz himself. However, it's the airy, open and sometimes abstract way these standards are undertaken that often take center stage; there are four distinct things that go on with each song, but somehow they all fit together. Frisell assumes a front line role alongside Konitz on What Is This Thing Called Love, leaving the chordal comping role vacant. It's merely implied, and the musicians seem to be playing as if the piano player exists, creating music in the abstract. The approach is fresh, and that came about perhaps because this was the first time Konitz had played these songs with these guys. At the same time, their collective approach also hearkens back all the way to Konitz's Lennie Tristano days.
Baron is the real game-changer in this set; his attention to tonal detail rivals the late Paul Motian. He smoothly switches between sticks and hands on the drums, engaging in a sublime tete-a-tete with Peacock during Body And Soul. Elsewhere, he's mixing up timekeeping with freeform percussion, managing to not disrupt the flow of a song while doing this. Frisell's sideman role is somewhat subdued compared to the projects he leads, as you would expect, but his masterful ability to dig into a timeless melody, be it John Lennon's or in this case, Stella By Starlight and I'll Remember April' is stellar and provides good counterpoints to Konitz. Peacock, who gives songs like these regular workouts as a member of Keith Jarrett's Standards Trio, displays more than a passing familiarity with these tunes, as displayed by his polished unaccompanied bass solo at the beginning of I Can't Get Started.
For a guy born in the 1920s and who started his professional career the same year that World War II ended, Lee Konitz isn't playing too shabby. Enfants Terribles is a record most talented twentysomething jazz musicians would kill to make. Konitz, an alto saxophonist who as a bop player in the 40s didn't copy Charlie Parker, is an original himself impossible to replicate. Even today. - S Victor Aaron
Jazz/Rock Guitar Freaks Please Take Notice!
The Abstract Logix label has been around since the turn of the century and has released CDs and DVDs by Alan Holdsworth, John McLaughlin, Wayne Krantz, Lenny White, Steve Smith, etc. Initially I didn't pay much attention since most of what they put out falls under the F-word (fusion) category and we all know how much respect that word gets. Not much. One of my distributors has been nice enough to send me promos from this label. And you know what, I was wrong! All three of these new Abstract Logix discs are great! The third one (by John McLaughlin), is not listed here since it has been delayed a bit, but we should get it in the next couple of weeks. In the meantime, both of the discs listed below, by Alex Machacek and Jimmy Herring, are fabulous! You want to hear some amazing guitar, strong writing and a minimum of showboating?!? Dig in! - BLG
FAT [FABULOUS AUSTRIAN TRIO: ALEX MACHACEK/RAPHAEL PREUSCHI/HERBERT PIRKER] - FAT (Abstract Logix 36; USA) The amazing Alex Machacek has done it again. Combining mind-boggling fluidity, daredevil string-skipping technique and audacious intervallic leaps on the guitar that will make even the most ardent Allan Holdsworth fan sit up and take notice, with a penchant for precision ensemble playing that rivals the late, great Frank Zappa's -- as heard on the rhythmically complex and slightly tongue-in-cheek Why Not (aka Disco Polka), and the equally intricate Safe Word -- the extraordinary Austrian native and current California resident has upped the ante on all of his previous impressive outings as a leader with FAT (Fabulous Austrian Trio). The guitarist is ably accompanied on his sophomore outing as a leader by superb drummer Herbert Pirker and outstanding bassist Raphael Preuschl, who appeared together on some tracks from [Sic], Machacek's impressive 2005 debut for Abstract Logix. Says Machacek, ''My last recording was 24 Tales, a 're-composition' of an existing 51-minute long drum solo by Marco Minnemann, and the focus there was on composition. On FAT I wanted to have more improvisations and more emphasis on interplay... just like a band, so to speak.'' That kind of organic interplay can be heard between Machacek, Pirker and Preuschl on the ethereal ballad What A Time To Be Me and the spacious Let's Not Argue, the latter of which has Alex playing baritone guitar. As a kind of relief from the sheer density, astounding intricacy and impossible unisons demonstrated elsewhere throughout FAT, there is the gorgeous solo bass piece Ton Portrait (a nod to the late, great Jaco Pastorius's anthemic Portrait of Tracy) and the atmospheric closer, Let's Not Argue, which incorporates a great deal of breath between the notes while also showcasing Machacek's inimitable six-string facility midway through. The guitarist reserves his most lyrical playing for D-Lite and on The Life of Herbert P. he creates a 're-composition' around an existing drum solo by Pirker. The Fabulous Austrian Trio also generates some potent swinging momentum on the album's jazziest number, Studio Swing.
JIMMY HERRING - Subject To Change Without Notice (Abstract Logix 25; USA) Jimmy Herring on guitars, with Matt Slocum or Ike Stubberfield on organ, Bela Fleck on banjo, Nicky Sanders on violin, Carter Herring on cello, Bill Evans on sax, Etienne Mbappe or Neal Fountain on bass, Jeff Sipe or Tyler Greenwell on drums. This is the second disc from monster guitarist Jimmy Herring. I caught Jimmy Herring with the Aquarium Rescue Unit way back when and was blown away by his speed, dexterity and crafty ideas. He has since worked with Phil Lesh & the Other Ones and is currently in Wide Spread Panic. Mr. Herring wrote most of the pieces here except for a few select covers like George Harrison's "Within You Without You", "Hope" by the Mahavishnu Orchestra and Jimmy McGriff's "Miss Poopie". "Red Wing Special" combines Django Reinhardt-like song with bluegrass dexterity. Violinist Nicky Sanders takes a smokin' acoustic solo which is following by more inspired solos from bassist Etienne Mbappe (currently working with John McLaughlin)and Jeff Sipe on brushes. Each piece here is a winner, memorable on various levels. "Kaleidoscope Carousel" has a Mahavishnu-meets-the-Dead-like ("Althea"?) repeating groove with some tasty, bluesy guitar from Herring. Jimmy dips into all sorts of American roots musics: jazz, rock, R&B, country, funk, blues, as well as the Indian music that inspired George Harrison. "Within You, Without You" (from the Beatles' 'Sgt. Pepper's') gets a strong reading with Herring playing the sitar part on slide guitar (a great idea!) with some sly cello added. Matt Slocum even adds an effective tambura-like drone with his keyboard referred to here as a "marxophone". What makes this disc special is that even though all of these players are chopsmeisters, no doubt shows off, the songs themselves are strong enough to be reckoned with and all solos fit perfectly within the entirety of each piece. Herring still sounds a bit like Alan Holdsworth at times yet he always plays with feeling and knows when to step up the plate and when to lay low. This disc is 21st century electric jazz at its best! - Bruce Lee Gallanter, Downtown Music Gallery
DAVE KING TRUCKING COMPANY With CHRIS SPEED/BRANDON WOZNIAK/ERIK FRATZKE/ADAM LINZ - Good Old Light (Sunnyside 1290; USA) Drummer Dave King and the music he creates are very much audacious. He continues to laugh off expectations. In doing so, King has developed his own musical language and style. Combine jazz and rock? The avant-garde and country? Why try to box him in? It s much more entertaining to let King roam.
The Trucking Company is King s Americana group. More specifically, this is the drummer s take on if the great Nashville bands of the '60s and '70s could improvise and were Coltrane fanatics. The legendary studio bands of Nashville are renowned for their incredible musicianship, tireless work ethic, and ability to play in any style requested. The thought of these roots musicians having a late-night jam session and blowing on Crescent isn t too far-fetched, but King obviously has his own spin on things. The CD begins with a quiet piano rumination played by King called April in Gary, showing the composer s ability to grab a listener regardless of instrument. You Can t Say Poem in Concrete is a bouncy, pop-ish tune featuring the two saxophonists playing against each other and culminating in a rousing solo by Wozniak. The declaratory I Am Looking for Strength has a direct melody reminiscent of gospel, a narrative solo by Speed, and a strong crescendo to glory..
GUILLERMO KLEIN Y LOS GUACHOS With CHRIS CHEEK/BILL McHENRY/BEN MONDER et al - caRREra (Sunnyside 1286; USA) An important vehicle aiding in the direction musical polyglot Guillermo Klein's art follows is that both the process and product have meaning. As a bandleader and principal composer/arranger for Los Guachos, Klein is responsible for sustaining a large ensemble of the highest caliber musicians that creates music that is both attractive and unique.
Klein's new recording with Los Guachos, Carrera, proves significant for a number of reasons. This recording is a collection of compositions generated prior to and after Klein s return to his birthplace Buenos Aires from Barcelona, a move that has had a tremendous impact on the composer and his family. The songs on the recording contain strong messages that Klein feels need to be heard. And most importantly, the recording demonstrates the tremendous bond that continues to grow amongst the members of Los Guachos.
REINES D'ANGLETERRE [GHEDALIA TAZARTES et al] - Globe et Dynastie (Bo Weavil 50; UK) Bo 'Weavil is totally psyched to have the opportunity to release the second album by Reines d'Angleterre -- this time, a thoroughly studio affair. Reines d'Angleterre is a fascinating collaboration between avant-outsider musician Ghedalia Tazartes and two electronic botanists, elg and Jo aka Opera Mort. This album covers more of the wild ground the band started with on 2010's Les Comores (SIDRA 003LP), but going further into a musical terrain that defies definite description -- a slow trip into wizard's intimacy, synthetic jungles, undersea zoos and Tibetan-industrial complexes. It feels like one has stumbled into disturbing dreams from a different realm. A quality of mystery, trickery and hallucinatory movements slip and shift across the recording. This is out-there, experimental music with no fixed idiom, with a unique quality that defies most of today's recordings. Embossed card cover. CD $16
also available as LP for $23
BEN FROST - Steel Wound (Room40 403; Australia) Room40 presents the first-ever vinyl edition of this classic Ben Frost album from 2007. "Seething washes of ambient noise, droning treated guitars and swelling compositions, littered like autumn leaves in the winter wind -- cold, atmospheric and truly beautiful. Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with Steel Wound he makes a bold statement of intent. Each of the pieces on Steelwound is an epic journey, coloured with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time -- a forgotten memory beautifully rediscovered in a moment of introspection."
C JOYNES/STEPHANIE HLADOWSKI - The Wild Wild Berry (Bo Weavil 49; UK) This is the first recording for Bo Weavil by English folk singer Stephanie Hladowski, coming together with regular recording artist, C Joynes. The Wild Wild Berry is a highly individual record that accents both of their respective styles. Chris' melodic beauty is equally matched by Stephanie's turn of phrase. The album contains their renditions of 11 British traditionals, some better-known than others. All the songs were mostly selected from archive recordings at Cecil Sharp House, and chosen on the basis of something unique about the original recording, rather than the song itself. Nothing about the record is a let-down -- the simple melodies and powerful authority make this a recording that one will play a thousand times over.
NIKHIL BANERJEE - Masterworks From the NCPA Archives: Pandit Nikhil Banerjee (Navras 8504; UK) "Described as a treasure trove of Indian classical music, the NCPA Archives has over 5000 hours of music of the 'who's who' of classical music - both in the Hindustani and Carnatic styles. According the artists themselves, the work recorded on the archives features some of their best works, recorded at the prime of their careers. This wonderful 'khazana' is being presented to the music loving public for the first time." Performed by: Pandit Nikhil Banerjee, sitar. Pandit Anindo Chatterjee, tabla. Featured works: Raga Maluha Kalyan, Raga Nat Bhairav.
A K SARDAR - Raggas in Gazals Vol. 2 (Doron 1021; UK) "The mystical concept of the Rubaiyaths by Omar Khayam. Transported to ancient India by Amir Khosrou, the legendary Persian poet and musician. To blend into yet another north Indian invention, Gazals... Improvised version, to blend within the ensemble, in strict adherence to classical norms, within the framework of the rag in question, has been strictly observed, in these musical compositions."
DIETER MOEBIUS & CONNY PLANK - En Route (Bureau B 120; Germany) "En Route was created in 1986, when the era of analog synths and rhythm machines seemed to be drawing to a close. Drum computers, samplers and digital instruments such as the Synclavier and Fairlight CMS would shape the immediate future of electronic music. Naturally, these wonderful machines formed a part of Conny Plank's arsenal and were used extensively by him and Dieter Moebius. The duo explored the new devices with their inimitable, cheerful sense of abandon, but were wise enough not to rely on them entirely. Analog instruments resurface time and again, such as trumpet (!), guitar and other sonic sources which are less easy to identify. Nor had Moebius packed his analog synthesizers away in mothballs. Rhythmic throughout, the music is wholly free of the darkness which characterized the fashionable industrial or new wave scenes of the period. A tendency to descend into enraptured sonic abstraction is similarly absent. The pieces almost sound as if they are the product of real-time improvisation -- airy and self-evident, ballast-free and without unnecessary embellishment. En Route is hip electronic music, yet it steers well clear of the mainstream. The fact that three tracks were remixed for a commission by Dave Stewart (Eurythmics) did nothing to change that. Stewart was planning a film project (which never came to fruition) and hired producer Manu Guiot, who reshaped the tracks together with Dieter Moebius shortly before release in Conny's studio. Moebius and Plank were en route, "on the way," so to speak. Sadly, it was to be the last in a sequence of five albums they recorded and released together. Conceived in 1983, Ludwig's Law was the fourth album in chronological terms but only appeared in 1998. Debilitated by severe illness, Plank was no longer able to mix the recordings himself. His studio colleague Bruno Gebhard took on the task, together with Moebius. Shortly afterwards, in 1987, Conny Plank died. The common path of the two friends was now at an end. But En Route was certainly not intended to mark the conclusion of their lengthy collaboration. For how much of the future, how much optimism is implicit in the certitude of being en route?" --Asmus Tietchens
KEVIN COYNE - Case History (4 Men With Beards 191; USA) "Case History is the debut solo release from bluesy British singer-songwriter Kevin Coyne (originally released on John Peel's Dandelion label in 1972). Primarily just guitar and vocals, Case History is a powerful album from a very unique voice who was celebrated by musicians as wide ranging as John Lydon, Sting, and the Mekons. Coyne, who passed away in 2004, spent much of the '60s working with the mentally disabled, and his songwriting is informed by a deep concern for the plight and mistreatment of those who have been tossed off by society. A bit of an outsider himself, he eschewed record industry pressure and maintained focus on his singular artistic vision. Another under-appreciated classic." On 180 gram vinyl.
MICHAL PROKOP & FRAMUS 5 - Porad to Plati: 1968-1989 [6 CD box set] (Supraphon 5822; EEC) "An exclusive collection of six landmark albums in Czech rock history! The box set contains a set of celebrated Framus Five works plus numerous bonuses, as well as a wide-ranging interview in which Michal Prokop discusses with Ondrej Bezr the music, the era and the people. The band's lineup, including guests, is a roll-call of the era's finest musicians, rock or otherwise."
6 CD Box Set for $48
BLUE EFFECT - Beatova Sin Slavt (The Beat Hall of Fame) [2 CD set] (Supraphon 5992; EEC) "On May 16, 2004, the station Radio Beat inducted three Czech legends into the new Beat Hall of Fame: Vladimir Misik, Jiri Schelinger (in memoriam) and the band Blue Effect, whose profile double CD was released immediately afterwards. The first of the discs was compiled on the basis of Radio Beat listeners voting for their favorite songs, the second was put together by the band's frontman Radim Hladik and the journalists Radek Diestler and Vojtech Lindaur. It features five rarity concert recordings made in 1973, the composition 'Golem' from the long-unavailable LP Stare Povestie Ceske (Old Czech Legends) and, most notably, a large part of the studio recordings of a series of musical settings of Jiri Wolker's poems, which the band recorded for Pilsen's Alfa theater in 1979. The extensive booklet comes with unique photographs, a detailed calendar, the producers' notes and texts written by the band's contemporaries Ondrej Konrad and Vojtech Lindaur. And what's more, over sixty minutes of recordings are appearing on CD for the very first time."
2 CD set for $17
BLUE EFFECT - Blue Effect: 1969-1989 [9 CD box set] (Supraphon 5990; EEC) 9 CD collection of this Czech prog band, featuring Radim Hladik of The Matadors. "The Blue Effect continued in the spirit of The Matadors, playing superb r&b material with Radim Hladik's fuzz guitar in charge. In 1969 they recorded their first single 'Sluceny Hrob' and an untitled 4-track EP. Their album Meditace (1970) was great. 'Pamet Lasky' opened the album with threatening Gothic voices, narrative lead vocals and careful orchestration, much like a post Soviet invasion requiem. The other tracks ranged from Yardbirds-like sitar excursions and blues-rock highlighting the flute (similar to vintage Jethro Tull) to well-written pop-psychedelia in the typical late sixties tradition. It seems that Vladimir Misik left The Blue Effect after a dispute over lyrics. He wanted to sing English lyrics, which didn't exactly please the Czech authorities. Misik joined the second version of Flamengo, but still had to sing Czech lyrics on their 1972-album (it was banned anyway!). His place was soon occupied by Le?ek Semelka, a vocalist with a very unique style. Hladik, Cozel and Cech then embarked on the first of three experimental recordings, attempting to combine free jazz and beat with Jazz Q Praha featuring Jiri Stivin. The sound of Coniunctio will puzzle the ears of many listeners, as this is considerably different to early Western attempts to combine jazz and rock at the time. The New Synthesis albums are indeed even stranger, recorded with the Czechoslovak Radio Jazz Orchestra. Judging by their playing techniques, these professional musicians collectively seemed to ignore any new developments in jazz since 1960 (and rock was totally out of the question). The result was not a 'synthesis' but two different generations of musicians playing on top of (but not with) each other. A self-titled and largely instrumental progressive rock album was recorded in 1973, but not released until two years later. Two tracks were over 10 minutes long and ideal showcases for Hladik's intricate style (somewhere between Jan Akkcrman and the non-Latin jazz-rock style of Carlos Santana). His reputation as the best guitar player in Eastern Europe has a lot to do with this album. In 1975 Hladik reformed the group (now as M. Efekt) with Cech and two new members: Fedor Fre?o from Bratislava had been the bass player in Collegium Musicum (and he would later join Fermata) and Oldrich Vesely from Brno, the keyboard-player of Synkopy 61 (later relaunched as Synkopy). Their album Svitanie (1977) marked a turn towards a more lyrical and symphonic approach with a wide array of keyboards (ARP, siring ensemble, pianos and organ). Some aspects of this new sound resemble Yes circa 1972-73. Svet Hledacu (1979) was recorded after the departure of Freso. He was replaced by the returning Le?ek Semelka, who in the meantime had played in the group Bohemia. The album fulfilled the M. Efekt-concept of long, elaborate tracks. It's interesting to note that no bass player was employed. This was also the case on their final album, 33."
9 CD Box Set for $72
AGORA - Live in Montreux (Vinyl Magic 86; Italy) "Founded in the Italy centre town of Ancona, Agora curiously debuted with a live album instead of a studio one: they played an almost-instrumental typical jazz rock, and they were invited to play at the famous Montreux Jazz Festival in Switzerland (a place that is most remembered for the fire that inspired Deep Purple's 'Smoke on the Water'). That's where Live in Montreux was recorded, a four-track LP, one of which has been cut in two parts on the two sides of the album. The music, as specified in the album notes too, is clearly inspired by Weather Report, but the influence of the conational Perigeo is evident too. The artwork, made by Cesare Monti, is very peculiar too, with a front standing-up edge-cut tree. A faithful reproduction of the gimmick cover, in black audiophile 180 gram vinyl."
BILL WILSON - Ever Changing Minstrel (Tompkins Square 2684; USA) "Indiana's Bill Wilson drove to Nashville and knocked on producer Bob Johnston's kitchen door in 1973. Bob let him in to play a few songs, liked it, and rounded up his crew that played on Dylan's Blonde on Blonde. They recorded Ever Changing Minstrel that night, and it was released on Columbia Records in 1973. The album is now reissued with rare photographs, notes by reissue producer and Tompkins Square label owner Josh Rosenthal, and remastered from the original tapes."
AKRON - Voyage of Exploration (VampiSoul 147; EEC) Under the Akron moniker stands one man bringing together all his influences from instrumental music from the '50s to the '70s: classic exotica by Martin Denny and Les Baxter, the proto-electronic sounds of Delia Derbyshire and Mort Garson, all kinds of soundtracks (from TV series like The Twilight Zone and Thunderbirds to Italian giallos), the work of unclassifiable artists such as Moondog and Sun Ra... And all of it filtered through Joe Meek's productions. Free from any scene or genre constraints, Akron manages to combine all these sounds in a unique and totally personal way. Voyage of Exploration, his debut album, takes us on a trip across different worlds, as if we were onboard the Enterprise and there were a new tune waiting for us on each planet.
CUMBIA BEAT [V.A.] - Vol 2: Tropical Sounds from Peru 1966-1983 [2 CD set] (VampiSoul 143; EEC) The "resurrection" of Peruvian tropical music, of psychedelic cumbia or, as others like to call it, "chicha," is perhaps one of the most surprising musical phenomena in recent years. The number of reissues, new releases and bands that have begun to play chichi or covers of tropical Peruvian classics in Argentina, England, Russia and the United States has multiplied. This cocktail of electric guitars, Caribbean percussion, Andean pentatonics and psychedelic soloing, synths, Moogs, guiros, wah-wahs, timbales and fuzztones was simply too striking to go unnoticed. Elements of rock, folklore, musica criolla, Andean music, Amazonian music, Colombian cumbia, salsa and even psychedelia intermingle in this "cannibal" genre capable of devouring and assimilating every possible influence. Both Enrique Delgado and Manzanita, the two great founding guitarists of the genre, made music that absorbed all possible manner of styles. Vampisoul features not only tunes from Delgado with his group Los Destellos and from Manzanita, but also from their side projects: Delgado's Los Casmenos and Manzanita's El Monje Loco. Los Girasoles, Los Yungas, Los Beta 5 and Los Ecos continued those sonic explorations. In the case of Los Girasoles, their great singer "El Chevere" Felix Martinez shows his tropical skills on "La Bocina." Although this compilation consists mostly of instrumentals, a classic of Peruvian tropical music, "Colegiala" by Los Ilusionistas, is included with vocals from Carlos Ramirez "Centeno." Los Beta 5 would never turn to the sung format. Their instrumentals represent the best of the first era of Peruvian tropical music: playful, bouncy guitars, simple but charming riffs, tropicalizations of ballads and certain rock classics. Another group that has in their origins instrumental beat spirit and sound are Los Ecos. The sparkling-clean guitar sound of their leader Beto Cuestas always shines in songs filled with a delicate pop sensibility and melodies that oscillate between melancholy and danceable experimentation. Los Yungas had recorded songs in which musica criolla and huayno are "cumbianized," but the more significant point of departure happened when Los Demonios del Mantaro released a historic single with "La Chichera" on one side and a tune called "Peti Pan" on the other. Its composer, Carlos Baquerizo, decided to make music not with a great orchestra but with a small band consisting of a snare drum, a guiro, a sax, a clarinet and a harmonica. Baquerizo was also the first to introduce an electric guitar in Peruvian cumbia in Los 5 Palomillas, a side project of Los Demonios. The influence of the "provincial sound" would be felt by many other guitarists, such as Tito de la Cruz, from Los Titanes; Aniceto Salazar; Pancho Acosta, from Compay Quinto; and Lener Munoz, from Grupo Celeste. One of the most original and surprising guitar sounds in Peruvian tropical music would be that of Maximiliano Chavez from Los Orientales de Paramonga, who created a very peculiar style of tropical music with deep basses, galloping percussion and wah-wah guitar. But if there was a place with the biggest party and explosion of sounds, it was the Peruvian Amazon, where large cities and small towns were infected by the tropical virus. From that wide spectrum are two of the most influential groups. Los Mirlos, with their guitars and hypnotic grooves, achieved the most popular and transnational of the Amazonian sounds. The other Amazonian miracle was Juaneco y su Combo, led by Juan Wong. Their music, full of references to Amazonian mythology and to ayahuasca (a psychoactive drink), featured the guitar of Noe Fachin. Their sound emerges like a message from another world, where the party is still going on and the pavement hasn't covered the rainforest. Includes a 24-page booklet of liner notes and historic photos.
2 CD set for $22
J MARKS & SHIPEN LEBZELTER - Rock and Other Four Letter Words (Paradigm 28; UK) This New York-based duo released their one and only LP in 1968 on Columbia Masterworks, just months after Frank Zappa released Lumpy Gravy in California. Although the TWO projects have some superficial similarity in structure, it would seem that this later LP must have been made (at least largely), without any knowledge of the Zappa masterpiece. Another morphogenetic reference point might be the first LP by The United States Of America, which also dates from 1968. Originally released simultaneously with Terry Riley's In C and Wendy Carlos' Switched on Bach, this new edition of Marks and Lebzelter's complex, 50-minute heady mix of spoken-word, electronics and experimental psychedelia is taken from the master tapes and consists of a suite of 13 tracks. Where Lumpy Gravy uses orchestral settings, here we have a combination of theatrical text and sung vocals by the Gregg Smith Singers, and on one track, a full Baptist gospel choir praising the virtues of baked beans. The core of this album though, stems from interviews conducted by J Marks for his book, also called Rock and Other Four Letter Words (essentially a book of photos by Linda Eastman, soon-to-be McCartney, with quotes from many of the leading U.S. and UK rock bands of the time). Included on this LP are numerous cut up and processed excerpts of these interviews with many young rock stars including Pete Townshend, Jimmy Page, Brian Wilson, Grace Slick, etc. Add to this concoction dense arrangements of tape loops, psychedelic rock, electronics and a huge guest list of contributors including jazz players Alan Silva, Andrew Cyrille, Roswell Rudd and Burton Greene, and the scope of this project begins to be seen. It's hard to believe this is their first time in a studio, such is their confident musicality and bold handling of these varied talents. No doubt much of this is due to the helping hand of the in-house engineers and John McClure who produced this, along with 100s of other recordings at CBS, including the Harry Partch records. After this album Lebzelter (1942 - 1986) went on to found The Trees Community, who released a legendary Christian folk album in 1975. Marks (1930 - 2001) subsequently changed his name in the early '70s to Jamake Highwater, which is how he is best remembered; writing books, making documentaries and setting up his own foundation for Indian art and culture. This long overdue reissue comes in a standard sleeve with a 4-page insert that includes all the original artwork and more.
THE ENTOURAGE MUSIC AND THEATRE ENSEMBLE - Entourage (Folkways 3386; USA) "Formed in Baltimore, MD in the early 70s, The Entourage Music And Theatre Ensemble played a kind of experimental, ambient, new age, proto-world music, made to accompany multi-media performance art pieces. This is the first of two albums they released on Folkways, reissued lovingly on vinyl in an exact replica of the original jacket and booklet."
CHARLES 'CHA CHA' SHAW - Into Morning (Folkways 3286; USA) "Released in 1976, this is the debut recording from trumpeter, Charles 'Cha Cha' Shaw. Incorporating elements of spiritual free jazz and post-bop, this is a beautiful session from an under-heralded talent who recorded with the likes of John Coltrane, Curtis Mayfield, Rashied Ali, and more. Lovingly reissued on vinyl in an exact replica of the original packaging."
ATAVISTIC - The Amazing Chicago label of New & Free Jazz, and the totally Outre!
Home to multiple releases by Sun Ra, Ken Vandermark, Joe McPhee, Peter Brotzmann, Glenn Branca, Nels Cline, Elliott Sharp, Alexander Von Schlippenbach, et al!
ORDER 5 OR MORE of the below Atavistic titles, and TAKE $2 OFF EACH ITEM!
These four titles are Back In Print!
FRED ANDERSON QUARTET With BILLY BRIMFIELD/LARRY HAYROD/HAMID DRAKE - The Milwaukee Tapes Vol. 1 (UMS/Atavistic 204; USA) Finally Back In Print!
JOE McPHEE/HAROLD E SMITH/MIKE KULL - Trinity (UMS/Atavistic 214; USA) Finally Back In Print!
MOUNT EVEREST TRIO [GILBERT HOLMSTROM/KJELL JANSSON/CONNY SJOKVIST] - Waves From Albert Ayler (UMS/Atavistic 202; USA) Finally Back In Print!
ALEXANDER VON SCHLIPPENBACH QUARTET With EVAN PARKER/PETER KOWALD/PAUL LOVENS - Hunting The Snake (UMS/Atavistic 213; USA) Finally Back In Print!
..and the rest of the catalog, many which are Out-of-Print, or very soon to be:
FRED ANDERSON QUARTET - Dark Day + Live In Verona [2 CD set] (UMS/Atavistic 218; USA)
CD $20 (Out of print, two copies left)
AZ aka AZITA YOUSEFFI [THE SCISSOR GIRLS] - Music For Scattered Brains (Atavistic 81; USA)
AB BAARS & TERRIE EX - Hef (Atavistic 130; USA)
GREGG BENDIAN'S INTERZONE With NELS & ALEX CLINE/JOEL HAMILTON - Requiem For Jack Kirby (Atavistic 125; USA)
GREGG BENDIAN'S INTERZONE With NELS & ALEX CLINE/MARK DRESSER - Gregg Bendian's Interzone + 2 (Atavistic 156; USA)
HAN BENNINK - Nerve Beats (UMS/Atavistic 206; USA)
CD $15 (Out of print, two copies left)
BINARY SYSTEM [ROGER MILLER/LARRY DERSCH] - From The Epicenter (Atavistic 117; USA)
BINARY SYSTEM [ROGER MILLER/LARRY DERSCH] - Invention Box (Atavistic 127; USA)
BOXHEAD ENSEMBLE [MICHAEL KRASSNER With FRED LONBERG-HOLM/GLENN KOTCHE et al] - Quartets [sndtck s] (Atavistic 136; USA)
BOXHEAD ENSEMBLE [MICHAEL KRASSNER With FRED LONBERG-HOLM/JACOB KOLLAR/FRANK ROSALY] - Nocturnes (Atavistic 174; USA)
BOXHEAD ENSEMBLE [MICHAEL KRASSNER With JEFF PARKER/FRED LONBERG-HOLM/GUILLERMO GREGORIO/GLENN KOTCHE et al] - Two Brothers (Atavistic 126; USA)
BOXHEAD ENSEMBLE [MICHAEL KRASSNER With KEN VANDERMARK/EDITH FROST/FRED LONBERG-HOLM/WILL OLDMAN et al] - The Last Place To Go: Recordings From The Dutch Harbor European Film Screening Tour (Atavistic 96; USA)
BOXHEAD ENSEMBLE [MICHAEL KRASSNER With KEN VANDERMARK/JIM O'ROURKE/DAVID GRUBBS et al] - Dutch Harbor: Where The Sea Breaks Its Back [sndtck] (Atavistic 85; USA)
GLENN BRANCA - Indeterminate Activity Of Resultant Masses (Atavistic 46; USA)
GLENN BRANCA - Symphony No. 3: Gloria (Atavistic 08; USA)
CD $15 (Out of print, two copies left)
GLENN BRANCA - Symphony No. 5: Describing Planes of an Expanding Hypersphere (Atavistic 15; USA)
GLENN BRANCA - Symphony No. 6: Devil Choirs At The Gates Of Heaven (Atavistic 10; USA)
GLENN BRANCA - Symphony Nos. 8 & 10: The Mysteries (Atavistic 12; USA)
GLENN BRANCA - The World Upside Down (Atavistic 16; USA)
GLENN BRANCA Featuring Z'EV [STEFAN JOEL WEISSER] - Symphony No. 2: The Peak Of The Sacred (Atavistic 05; USA)
GLENN BRANCA With STATIC [+ BARBARA ESS/CHRISTINE HAHN] & With THEORETICAL GIRLS [+ JEFF LOHN/MARGARET DeWYS/WHARTON TIERS] - Songs '77-'79 [CD ep] (Atavistic 43; USA)
BRIDE OF NO NO [AZ aka AZITA YOUSEFFI/J GRAF/M V CARBON/J KIENZLER] - B.O.N.N. Apetit (Atavistic 89; USA)
BRIDE OF NO NO [AZ aka AZITA YOUSEFFI/J GRAF/M V CARBON/J KIENZLER] - Bride Of No No [aka II] (Atavistic 141; USA)
BRIDGE 61 [KEN VANDERMARK/JASON STEIN/NATE McBRIDE/TIM DAISY] - Journal (Atavistic 172; USA)
PETER BROTZMANN - The Inexplicable Flyswatter [Book & CD] (UMS/Atavistic 242; USA)
PETER BROTZMANN & HAN BENNINK - Schwarzwaldfahrt ...Expanded [2 CD set] (FMP/UMS/Atavistic 254; USA)
PETER BROTZMANN & PEETER UUSKYLA - Born Broke [2 CD set] (Atavistic 185; USA)
PETER BROTZMANN ALARM ORCHESTRA With FRANK WRIGHT/WILLEM BREUKER/TOSHINORI KONDO/ALEXANDER VON SCHLIPPENBACH/HARRY MILLER/LOUIS MOHOLO et al - Alarm (FMP/UMS/Atavistic 257; USA)
PETER BROTZMANN GROUPS With DEREK BAILEY/EVAN PARKER/WILLEM BREUKER/FRED VAN HOVE/HAN BENNINK et al - Fuck De Boere [incl. Machine Gun - Live] - Dedicated To Johnny Dyani: Live At Frankfurt Jazz Festival 1968/1970 (FMP/UMS/Atavistic 211; USA)
PETER BROTZMANN SEXTET/QUARTET With EVAN PARKER/DEREK BAILEY/FRED VAN HOVE/BUSCHI NIEBERGALL/HAN BENNINK - More Nipples (FMP/UMS/Atavistic 236; USA)
PETER BROTZMANN SEXTET/QUARTET With EVAN PARKER/DEREK BAILEY/FRED VAN HOVE/BUSCHI NIEBERGALL/HAN BENNINK - Nipples (FMP/UMS/Atavistic 205; USA)
PETER BROTZMANN With FRED VAN HOVE & HAN BENNINK - "FMP 130" (FMP/UMS/Atavistic 244; USA)
PETER BROTZMANN/ALBERT MANGELSDORFF/GUNTER 'BABY' SOMMER - Pica Pica (FMP/UMS/Atavistic 258; USA)
PETER BROTZMANN/FRED LONBERG-HOLM - The Brain Of The Dog In Section (Atavistic 186; USA)
PETER BROTZMANN/PEETER UUSKYLA/PETER FRIIS NIELSEN - Medicina (Atavistic 149; USA)
NELS CLINE & GREGG BENDIAN - Interstellar Space Revisited: The Music Of John Coltrane (Atavistic 102; USA)
NELS CLINE With G E STINSON/CARLA BOZULICH/ALEX CLINE/ZEENA PARKINS/WAYNE PEET et al - Destroy All Nels Cline (Atavistic 122; USA)
NELS CLINE/ANDREA PARKINS/TOM RAINEY - Out Trios Vol 3: Ash And Tabula (Atavistic 148; USA)
THE CONTEMPORARY JAZZ QUINTET [TCJQ: HUGH STEINMETZ/FRANZ BECKERLEE/STEFFEN ANDERSEN/BO THRIGE ANDERSEN/NEILS HARRIT] - Actions 1966-67 (UMS/Atavistic 250; USA)
JOHN CORBETT Vs. JIM DEMPSEY [V.A. With PETER BROTZMANN/IKUE MORI/SUN RA et al] - Eye & Ear: Artist <-> Musician (Atavistic 176; USA)
LEO CUYPERS' QUARTET With WILLEM BREUKER/HAN BENNINK/ARJEM GORTER - Heavy Days Are Here Again (UMS/Atavistic 207; USA)
BABY DODDS - Talking & Drum Solos (UMS/Atavistic 241; USA)
GERD DUDEK/BUSCHI NIEBERGALL/EDWARD VESALA - Open (FMP/UMS/Atavistic 247; USA)
E.A.R. [EXPERIMENTAL AUDIO RESEARCH] With SONIC BOOM [PETER KEMBER]/EDDIE PREVOST/KEVIN MARTIN/KEVIN SHIELDS et al - Millennium Music: A Meta Musical Portrait (Atavistic 72; USA)
GEOFF FARINA/LUTHER GRAY/NATE McBRIDE - Out Trios Vol 4: Almanac (Atavistic 171; USA)
FAUZ'T [HANS JOACHIM IRMLER/Z'EV [STEFAN JOEL WEISSER]] - From The Frozen South (Atavistic 192; USA)
FIRE ROOM [KEN VANDERMARK/LASSE MARHAUG/PAAL NILSSEN-LOVE] - Broken Music (Atavistic 183; USA)
FULL BLAST [PETER BROTZMANN/MARINO PLIAKAS/MICHAEL WERTMULLER] - Black Hole (Atavistic 187; USA)
FULL BLAST [PETER BROTZMANN/MARINO PLIAKAS/MICHAEL WERTMULLER] - Black Hole + Live At Tampere [Ltd 2 CD edition] (Atavistic 187X; USA)
CD $20 (Out of print, two copies left)
CHRISTOPH GALLIO/URS VOERKEL/PETER K FREY - Tiegel (UMS/Atavistic 261; USA)
GERRY MILES [ALAN LICHT/LUCY HAMILTON aka CONNIE 'CHINA' BURG/MELISSA WEAVER/HAINO KEIJI] - Gerry Miles (Atavistic 71; USA)
GLOBE UNITY ORCHESTRA [ALEXANDER VON SCHLIPPENBACH/EVAN PARKER/MANFRED SCHOOF/PETER KOWALD/HAN BENNINK/PAUL LOVENS et al] - Globe Unity '67 & '70 (UMS/Atavistic 223; USA)
GOD IS MY CO-PILOT [SHARON TOPPER/CRAIG FLANAGIN et al] - Best Of... (Atavistic 82; USA)
GOD IS MY CO-PILOT [SHARON TOPPER/CRAIG FLANAGIN et al] - Get Busy (Atavistic 87; USA)
GUILLERMO GREGORIO - Otra Musica: Tape Music, Fluxus & Free Improvisation in Buenos Aires 1963-70 (UMS/Atavistic 209; USA)
GUSH [MATS GUSTAFSSON/STEN SANDELL/RAYMOND STRID] - Norrkoping (Atavistic 161; USA)
MATS GUSTAFSSON & DAVID STACKENAS - Plays The Blues: Mountain Blues From Sweden (Atavistic 163; USA)
BRIAN HARNETTY - American Winter (Atavistic 181; USA)
BRIAN HARNETTY With BONNIE 'PRINCE' BILLY [WILL OLDHAM] - Silent City (Atavistic 190; USA)
KEES HAZEVOET [HAAZZ & COMPANY] With LOUIS MOHOLO/KRIS WANDERS/ARJEN GORTER - Pleasure (UMS/Atavistic 234; USA)
KEES HAZEVOET/HAN BENNINK - Calling Down The Flevo Spirit (UMS/Atavistic 259; USA)
WILLIAM HOOKER/ROGER MILLER/LEE RANALDO] - Out Trios Vol 1: Monsoon (Atavistic 146; USA)
KINK GONG [LAURENT JEANNEAU] - Electronic World (Atavistic 194; USA)
STEVE LACY QUINTET - Esteem: Live In Paris 1975 (UMS/Atavistic 260; USA)
LAST EXIT [SONNY SHARROCK/PETER BROTZMANN/RONALD SHANNON JACKSON/BILL LASWELL] - Koln (1986) (UMS/Atavistic 252; USA)
FRED LONBERG-HOLM TRIO With JASON ROEBKE/FRANK ROSALY - Other Valentines (Atavistic 165; USA)
FRED LONBERG-HOLM TRIO With JASON ROEBKE/FRANK ROSALY - Terminal Valentine (Atavistic 180; USA)
MAGICAL POWER MAKO [MAKOTO KURITA] - Blue Dot (Atavistic 98; USA)
CD $14 (Out of print, two copies left)
MAGICAL POWER MAKO [MAKOTO KURITA] - Lo Pop Diamonds (Atavistic 101; USA)
MAGICAL POWER MAKO [MAKOTO KURITA] - Trance Resonance (Atavistic 99; USA)
CD $14 (Out of print, two copies left)
JOE MANERI/PETER DOLGER - Peace Concert (1964) (UMS/Atavistic 267; USA)
CHRISTIAN MARCLAY - Records '81-'89 (Atavistic 62; USA)
MARS [SUMMER CRANE/CONNIE 'CHINA' BURG aka LUCY HAMILTON/MARK CUNNINGHAM/NANCY ARLEN] - '78 +: Studio And Live Recordings 1977-1978 New York City (Atavistic 48; USA)
JOE McPHEE With MIKE KULL/TYRONE CRABB/BRUCE THOMPSON/ERNEST BOSTIC et al - Nation Time: Live At Vassar College (UMS/Atavistic 201; USA)
JOE McPHEE/JOHN SNYDER - Pieces Of Light (UMS/Atavistic 256; USA)
NORBERT MOSLANG/ANDI GUHL [aka VOICE CRACK] - Knack On (UMS/Atavistic 217; USA)
NACHTLUFT [GUNTER MULLER/JACQUES WIDMER/ANDRES BOSSHARD] - Belle-View I-IV (UMS/Atavistic 208; USA)
LARRY OCHS SAX & DRUMMING CORE With DON ROBINSON/SCOTT AMENDOLA - Out Trios Vol 5: Up From Under (Atavistic 182; USA)
JEFF PARKER/KEVIN DRUMM/MICHAEL ZERANG - Out Trios Vol 2 (Atavistic 147; USA)
POWERHOUSE SOUND [OSLO: KEN VANDERMARK/INGEBRIGT HAKER FLATEN/NATE McBRIDE/LASSE MARHAUG or U.S.: KEN VANDERMARK/JEFF PARKER/NATE McBRIDE/JOHN HERNDON] - Oslo/Chicago: (((Breaks))) [2 CD set] (Atavistic 177; USA)
TOM PREHN QUARTET - Tom Prehn Kvartet (UMS/Atavistic 221; USA)
LEE RANALDO - East Jesus (Atavistic 36; USA)
ROVA ORKESTROVA With FRED FRITH/NELS CLINE/CARLA KIHLSTEDT/IKUE MORI/OTOMO YOSHIHIDE et al - Electric Ascension 2003 (Atavistic 159; USA)
CD $16 (Out of print, two copies left)
DIETER SCHERF TRIO With JACEK BEDNAREK/PAUL LOVENS - Inside-Outside Reflections (UMS/Atavistic 255; USA)
THE SCISSOR GIRLS [AZ aka AZITA YOUSEFFI et al] - Here is the "Is-Not": Singles And More (Atavistic 88; USA)
THE SCISSOR GIRLS [AZ aka AZITA YOUSEFFI et al] - We People Space With Phantoms (Atavistic 63; USA)
ELLIOTT SHARP - ARC TWO: The Seventies 1972-1979 (Atavistic 92; USA)
ELLIOTT SHARP/CARBON With ZEENA PARKINS/MARC SLOAN/DAVID WEINSTEIN/JOSEPH TRUMP - Interference (Atavistic 50; USA)
SIRONE [NORRIS JONES] - Sirone Live (UMS/Atavistic 253; USA)
SOUND IN ACTION [SIA: ROBERT BARRY/TIM DAISY/KEN VANDERMARK] - Gate (Atavistic 160; USA)
SPACEWAYS INCORPORATED [KEN VANDERMARK/HAMID DRAKE/NATE McBRIDE] - Thirteen Cosmic Standards By Sun Ra & Funkadelic (Atavistic 120; USA)
SPACEWAYS INCORPORATED [KEN VANDERMARK/HAMID DRAKE/NATE McBRIDE] - Version Soul (Atavistic 132; USA)
STARSHIP BEER [KEVIN WHITEHEAD/PAT J O'BRIAN/WES MINGIN] - Nut Music: As Free As The Squirrels ..Plus! (UMS/Atavistic 220; USA)
CD $14 (Out of print, two copies left)
SUN RA - Spaceship Lullaby (UMS/Atavistic 243; USA)
SUN RA & His ARKESTRA - Music From Tomorrow's World: Chicago 1960 (UMS/Atavistic 237; USA)
SUN RA & His ARKESTRA - Some Blues But Not The Kind That's Blue (UMS/Atavistic 265; USA)
SUN RA & His ARKESTRA/EDWARD O. BLAND, dir. - The Cry Of Jazz [DVD] (UMS/Atavistic DJ-865-2289; USA)
SUN RA & His OUTER SPACE ORCHESTRA - Nuclear War (UMS/Atavistic 222; USA)
TERMINAL 4 [FRED LONBERG-HOLM/JEB BISHOP/BEN VIDA/JOSH ABRAMS] - Terminal 4 (Truckstop 19/Atavistic 319; USA)
CD $14 (Out of print, two copies left)
TERMINAL 4 [FRED LONBERG-HOLM/JEB BISHOP/BEN VIDA/JOSH ABRAMS] - When I'm Falling (Truckstop/Atavistic 326; USA)
LUTHER THOMAS/HUMAN ARTS ENSEMBLE With JAMES MARSHALL/CHARLES 'BOBO' SHAW et al - Banana: The Lost Sessions St. Louis 1973 (UMS/Atavistic 227; USA)
CLIFFORD THORNTON With JOE McPHEE/JIMMY GARRISON - Freedom & Unity (UMS/Atavistic 225; USA)
TRICOLOR [DAVID PATROVIC/JEFF PARKER/TATSU AOKI] - Mirth and Feckless (Atavistic 108; USA)
TRICOLOR [DAVID PATROVIC/JEFF PARKER/TATSU AOKI] - Nonparticipant+Milk (Atavistic 131; USA)
TRUE WEST - Hollywood Holiday Revisited (Atavistic 179; USA)
FRED VAN HOVE - The Complete Vogel Recordings [2 CD set] (UMS/Atavistic 229; USA)
CD $20 (Out of print, two copies left)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/FRED LONBERG-HOLM/KENT KESSLER/TIM DAISY] - A Discontinuous Line (Atavistic 173; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/FRED LONBERG-HOLM/KENT KESSLER/TIM DAISY] - Beat Reader (Atavistic 184; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/FRED LONBERG-HOLM/KENT KESSLER/TIM DAISY] - Beat Reader [Ltd 2 CD edition with 'The New York Suite' Live In Chicago] (Atavistic 184X; USA)
CD $20 (Out of print, two copies left)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - Airports For Light (Atavistic 140; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - Airports For Light [Ltd 2 CD edition w/Free Jazz Classics Vol 3] (Atavistic 140X; USA)
CD $20 (Out of print, two copies left)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - Elements Of Style, Exercises In Surprise (Atavistic 150; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - Elements Of Style, Exercises In Surprise [Ltd 2 CD edition with Free Jazz Classics Vol 4] (Atavistic 150X; USA)
CD $20 (Out of print, two copies left)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - Single Piece Flow (Atavistic 47; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - The Color Of Memory [2 CD set] (Atavistic 166; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM DAISY] - Free Jazz Classics Vols. 3 & 4: Six For Rollins/Free Kings - The Music Of Roland Kirk [2 CD Set] (Atavistic 170; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM MULVENNA] - Free Jazz Classics Vols. 1 & 2: Ornette, Braxton, Cecil, Cherry.. [2 CD Set] (Atavistic 137; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM MULVENNA] - Acoustic Machine (Atavistic 128; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM MULVENNA] - Acoustic Machine [Ltd 2 CD edition w/ Free Jazz Classics Vol 2] (Atavistic 128X; USA)
CD $20 (Out of print, two copies left)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM MULVENNA] - Burn the Incline (Atavistic 121; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM MULVENNA] - Burn the Incline [Ltd 2 CD edition w/ Free Jazz Classics Vol 1] (Atavistic 121X; USA)
CD $20 (Out of print, two copies left)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM MULVENNA] - Simpatico (Atavistic 107; USA)
VANDERMARK 5 [KEN VANDERMARK/DAVE REMPIS/JEB BISHOP/KENT KESSLER/TIM MULVENNA] - Target or Flag (Atavistic 106; USA)
WHITE EARTH STREAK [GUNTER CHRISTMANN/TORSTEN MULLER/LaDONNA SMITH/DAVEY WILLIAMS] - White Earth Streak (UMS/Atavistic 228; USA)
DAVEY WILLIAMS & JOHN CORBETT - Humdinger:14 improvisations and a monograph on failed wind instruments (Atavistic 124; USA)
ZU [MASSIMO PUPILLO/LUCA T MAI/JACOPO BATTAGLIA] & NOBUKAZU TAKEMURA - Identification With The Enemy: A Key To The Underworlds (Atavistic 178; USA)
ZU [MASSIMO PUPILLO/LUCA T MAI/JACOPO BATTAGLIA]/MATS GUSTAFSSON - How To Raise An Ox (Atavistic 168; USA)
Many of your incoming emails are being blocked and you don't know it! Many emails like our newsletter are frequently blocked by aggressive spam filters being used by nearly all email services.
To help avoid this problem and get our newsletter:
Hotmail Users: Place the domain " downtownmusicgallery.com " on your Safe List, so that you can receive our emails. The safe list can be accessed via the "Options" link next to the main menu tabs. Also place the email address email@example.com in your address book.
Yahoo! Mail: If one of our e-newsletters is filtered to your 'bulk' folder, open the message and click on the "this is not Spam" link next to the "From" field. The same goes for any other e-mail you receive that doesn't belong there. Add the address email@example.com to your address book.
Other email services [Earthlink, GMail et al]: Place the domain " downtownmusicgallery.com " on your email filter's whitelist. You may need to search your email help menu for details on how to do this. Depending on software/version, they may call it a "whitelist," a "good list" or similar name. Adding the address firstname.lastname@example.com to your address book will help too.
AOL: IF YOU HAVE AN AOL MAIL ACCOUNT, GET RID OF IT! They block senders WITHOUT the consent of the user, and recently virtually all of our AOL newsletter subscribers have not been able to receive it, and attempts to whitelist us have failed! WE RECOMMEND you get a GMAIL or YAHOO account, and switch over!


text:
Definition of Facial canal introitus
Facial canal introitus: The entrance to the facial canal, a passage in the temporal bone of the skull through which the facial nerve (the seventh cranial nerve) travels. In anatomy, an introitus is an entrance that goes into a canal or hollow organ.
Last Editorial Review: 3/19/2012
Back to MedTerms online medical dictionary A-Z List
Need help identifying pills and medications?

subset: commoncrawl


text:
Where Austria Meets Hungary
We took an interesting day trip to Burgenland, an Austrian province with a strong Hungarian influence. Burgenland was transferred from Hungary to Austria following the First World War, because of its predominantly German speaking population. The interesting cultural blend affects everything from food to architechture. For me, one memorable aspect of the day was that my necklace of coral beads suddenly broke. Andrew was able to save all of the tiny beads, but I had to go without them for the rest of the trip. Upon our return home, I pestered Andrew until he re-strung them for me, and they are now back where they belong.


text:
Policy PS13/1 - Payments to platform service providers and cash rebates from providers to consumers - We are setting out our rules for platform services and responding to the feedback to our consultation.
Whether a firm is still in business, stopped trading or been declared in default, find out who you should contact.Read More
Copyright © 2016 FCA. All Rights Reserved.