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NEWSLETTER - October 10th, 2008
William Parker Qt! Braxton in Moscow! Trio X 7CD Box! Elliott Sharp DVD! McGregor/Phillips/Moholo! Malaby Cello Trio! Noonan/Ribot/Maneri/Tacuma!
Flaherty/Nace Thurston! More archival Sun Ra! Dick/Baczkowski/Padmanabha! Locke/Kimbrough! Massaron/Bozulich/De Rossi! Tina Marsh! Anthony Davis! Charles Ives!
The 26th FIMAV: from 20th to 24th May, 2010!
The board of directors of Festival International de Musique Actuelle de Victoriaville announced that they decided to postpone the 26th edition until May 2010.
"FIMAV's health is excellent, but the landscape is changing. In order to ensure the future, we want more time to prepare the next edition" added Michel Levasseur, the festival's general manager and artistic director for the past 25 years.
For more information, please visit our official web site:
Phone: 1-819-752-7912 - firstname.lastname@example.org
Venting our spleen last week in the failed attempt to stop the nearly trillion dollar US government bailout of the private financial sector - as opposed to bringing foreclosures to a halt for the non-rich populace! - brought overwhelming positive [nearly all] response from our readers. We especially like this quote dug up by Charles P in Australia:
"The wealth required by nature is limited and is easy to procure; but the wealth required by vain ideals extends to infinity."
- Epicurus, Principal Doctrines
Two items of literature that should be freely distributed to anyone in the world, and
Especially publicly addressed and stuffed into the inboxes of politicians everywhere at any and all times in the future are:
1. Gertrude Stein's essay series "Money", originally published in the Saturday Evening Post in 1936; now to be found in collections of her writings, and even published as a small 25 page folio about a decade ago
2. The 7 page comic book story [yes, comic book!] "Attacks Of Horror" [read: 'a Tax of horror'], originally published in Tales From The Crypt #34 ca. 1952 and also easily found in reprint form
I urge you to find and read both!
How I wish I could reprint these by the millions and drop them by airplane - or zeppelin - in an alerted media event, over the Capitol building, White House, and City Halls, State Capitols, and Governor's Mansions everywhere - and perhaps not just in this country! - MannyLunch
For those lucky enough to live in the Philly area, here's an important performance announcement:
Today, Friday, October 10 at 8pm
ANTHONY BRAXTON'S FALLING RIVER QUARTET
Anthony Braxton, saxophones + contrabass clarinet, Erica Dicker, violin Sally Norris, piano & Katherine Young, bassoon
Settlement Music School, 416 Queen Street, Philadelphia
$35 General Admission. Seating is very limited.
All 10/10 ticket holders will receive free admission to the 10/11 concert.
And tomorrow, Saturday, October 11, 8pm
COMPOSITION N.103 (for Seven Trumpets)
Taylor Ho Bynum, Tim Byrnes, Forbes Graham, Sam Hoyt, John McDonough, Nicole Rampersaud and Nate Wooley, trumpet; and Anthony Braxton, conductor
COMPOSITION N.169 (for Brass Quintet)
Taylor Ho Bynum, trumpet; Nate Wooley, trumpet; Jeremy Thal, French horn; Reut Regev, trombone; Jay Rozen, tuba; and Anthony Braxton, conductor
St. Mark's Church, 1625 Locust Street, Philadelphia
$10 General Admission
Purchase tickets today at www.arsnovaworkshop.com
and now, this weeks Goodies!
JUST ARRIVED as we were pressing the 'send' button for this newsletter; New LEO Releases!
[Descriptions and reviews next week]
ANTHONY BRAXTON QUARTET With TAYLOR HO BYNUM/MARY HALVORSON/KATHERINE YOUNG - Comp. 367B (Moscow) 2008 (Leo 518; UK)
JOELLE LEANDRE/SZELEVENYI AKOSH - Kor (Leo 522; UK)
MARK O'LEARY/KENNY WOLLESEN/JAMIE SAFT - The Synth Show (Leo 521; UK)
DENIS BEURET - Alone: Bass Trombone & Electronics (Leo 511; UK)
FRANCOIS CARRIER/MICHEL LAMBERT/JEAN-JACQUES AVENEL - Within (Leo 512; UK)
JAMES CHOICE ORCHESTRA - Live At Musik Triennale Koln (Leo 513; UK)
ACTIS FURIOSO 2 [CARLO ACTIS DATO et al] - World People (Leo 510; UK)
THE DORF [JAN KLARE et al] - The Dorf (Leo 523; UK)
HEINZ GEISSER/SHIRO ONUMA - Duo (Leo 514; UK)
VYACHESLAV GUYVORONSKY - Caprichos (Leo 519; UK)
VYACHESLAV GUYVORONSKY/ANDREY KONDAKOV/VLADIMIR VOLKOV - Christmas Concert (Leo 520; UK)
CAROLYN HUME - Gravity And Grace (Leo 515; UK)
LAPSLAP [MICHAEL EDWARDS/KARIN SCHISTEK/MARTIN PARKER] - Itch (Leo 516; UK)
EVGENY MASLOBOEV/ANASTASIA MASLBOEVA - Russian Folksongs In The Key OF Rhythm (Leo 517; UK)
LENA SEDYKH - Magic Letters (Leo 524; UK)
CHRIS McGREGOR TRIO With BARRE PHILLIPS/LOUIS MOHOLO - Our Prayer (Fledg'ling 3070; UK) Another previously-unreleased gem from South African pianist/composer Chris McGregor and his cohorts in '60s UK free jazz. Our Prayer was culled from the same sessions that produced the also never-released Up To Earth in 1969 and was produced by Joe Boyd and engineered by John Wood at Sound Techniques studio. The previous year they had signed to Joe Boyd's illustrious Witchseason production company alongside Fairport Convention, John and Beverley Martyn, Nick Drake and the Incredible String Band. Our Prayer comprises a magical trio set, focusing on McGregor's piano playing, accompanied by the Blue Note's Louis Moholo on drums and Barre Phillips on double bass. Both Our Prayer and Up To Earth records were planned for release in 1969 before being shelved as the McGregor group morphed into the spectacular big band, the Brotherhood of Breath, and all energies were transferred to recording the Brotherhood's debut album.
ELLIOTT SHARP//BERT SHAPIRO, dir. - Elliott Sharp: Doing The Don't [DVD] (Pheasants Eye; USA) [Limited NTSC DVD-R] This is an extraordinary 2 & 1/4 hour documentary about one of downtown's most resourceful, inventive and diverse musicians and composers - Elliott Sharp. For more than thirty years, Mr. Sharp, has navigated various streams of music - rock, jazz, blues, noise, improv, modern classical, electric, acoustic, etc., playing assorted guitars, saxes, computer and instruments of his own invention, rarely resting and constantly evolving. For this lengthy documentary, Mr. Shapiro has captured many of E. Sharp's varied projects and contexts. Elliott is interviewed throughout and explains his long story and development, mentioning his many influences that helped him explore and find his own sound. While Elliott explains his own approach, he has a guitar in hand to show the points he is making. Elliott also shows the a handful of the instruments that he has invented and put together from different cheap or abandoned instruments or parts. This documentary includes various performances of Mr. Sharp's different ensembles and bands: an opera called "Em/Pyre" premiered in Italy, playing in Beijing with Chinese classical musicians, conducting one version of Orchestra Carbon performing his work "Quarks Swim Free", playing with his guitar ensemble, as well as his distinctive blues band, Terraplane. There are a number of extra features included as well like solo guitar and other ensemble performances, photos, musicians bios and other information on Mr. Sharp. I've always found Elliott Sharp's music to be endlessly fascinating, challenging, surprising, often intense and occasionally overwhelming. This long DVD captures Elliott's restless nature and exhausting experimentation just right. - BLG
WILLIAM PARKER QUARTET With LEWIS 'FLIP' BARNES/ROB BROWN/HAMID DRAKE - Petit Oiseau (AUM 50; USA) "William Parker's Quartet is the premier outlet for his (and their) immense and timeless talents. The group's first two albums are universally recognized as still-revealing exemplars of modern music. Here now is the third album -- Petit Oiseau aka 'Little Bird' -- a wholly new set of melodically, harmonically and rhythmically advanced compositions rendered by one of the greatest jazz bands the world has yet had the good fortune to bear witness to. Insinuating melodies and counter-melodies, layers upon layers of sound unfolding through dancing in your head and with your muscles 'n' bones. The band uses the launching pad of Parker's indelible tunes to explore the far reaches of collective improvisation and then returns home to move it back to you here on planet Earth. The music is delivered within a beautiful 6-panel digipak featuring extensive liner notes by William Parker and cover art by renowned modern master painter David Kroll. So eternally much here to enjoy, wrap yourself in sound and get alive with. Named after Little Bird (or Petit Oiseau in French), a character from one of bassist/composer William Parker's tone poems, this recording features eight original compositions, including works dedicated to musicians Malachi Favors, Alan Shorter and Arthur Williams. Other pieces take their inspiration from such diverse sources as the inherent rhythm of life and the nomadic people of Northern Europe."Its blend of tight inside and out playing, demon-possessed solos, and relentless groove delivers like no other band in jazz,' declared AllAboutJazz.com's Jeff Stockton. JunkMedia.org's Troy Collins adds, 'This quartet exemplifies the art of jazz improvisation at its most telepathic level, a group that will easily go down in the history books as revered as Miles Davis' second quintet or John Coltrane's classic quartet."
TONY MALABY CELLO TRIO With FRED LONBERG-HOLM/JOHN HOLLENBECK - Warblepeck [H-SACD] (Songlines 1574; Canada) [this is a Hybrid SACD (H-SACD) which means it is playable on ordinary CD players as well] [this is a Hybrid SACD (H-SACD) which means it is playable on ordinary CD players as well] Featuring Tony Malaby on tenor & soprano saxes, Fred Lonberg-Holm on cello & electronics and John Hollenbeck on drums, marimba, xylophone and assorted percussion. What I find most interesting about this trio is that, although all members are diverse bandleaders and musicians in their own right, this trio does have a distinctive group sound. Tony Malaby can be found on more than sixty discs over the past decade, collaborating with a unique plethora of artists like Mario Pavone, Kris Davis, GeorgeSchuller, Basement Research, Mark Helias, Satoko Fujii, a fine trio with his partner, Angelica Sanchez and leading his own bands. Chicago-based cellist, Fred Lonberg-Holm, also rarely rests and works with the likes of the Vandermark 5, Peter Brotzmann, Axel Dorner, Joe McPhee, Paul Rutherford, John Butcher and the Flatlands Collective. John Hollenbeck is a wonderful composer and player and leads the Claudia Quintet, his own orchestra and he has worked with Theo Bleckman, Satoko Fuji, Scott Fields, Achim Kaufmann and Cuong Vu.
Tony Malaby wrote most of these pieces with one cover by Bill Frisell, bassist Eivind Opsvik and one tune by Tony's wife, Angelica Sanchez. The title track is first and has a quirky structure with layers of twisted percussion, bent plucked cello and joyous, goofy tenor sax. On "Jackhat 11," there is a stunning blend of cautious, bent-note sax, birdcalls and odd minimal percussion. The roles are switched on each track, making for some unique combinations of sounds. The bowed cello and tenor sax drones on "Two Shadows" work well with John's dancing drums. There are times when it difficult if Fred is playing cello or electronics or manipulating his cello with distortion or some other device. I dig the toy-like percussion sounds that John utilizes on certain tracks, adding a child-like, magical quality to the sound. On "Anemone," Tony's austere somber tenor sounds just right with Fred's subtle, eerie cello and John's minimal percussion. On each piece it is as if each player has assumed a different character or role, the tone of Tony's saxes, often adds a layer of unexpected delight as he switches between textures, thus giving the other musicians a different palette to choose from. Just when you think you have a certain piece pegged, you are in for some surprising twists and turns. Every Tony Malaby disc has been very different and this one is the most enigmatic one of the bunch. - BLG
SEAN NOONAN BREWED BY NOON With MARC RIBOT/MAT MANERIJAMAALADEEN TACUMA et al - Boxing Dreams (Songlines 1573; USA] Sean Noonan, electro-acoustic drum set, percussion, compositions; Marc Ribot, electric guitar; Aram Bajakian, electric guitar, Max MSP; Mat Maneri, viola; Jamaaladeen Tacuma, electric bass; Susan McKeown, vocals; Abdoulaye Diabate, vocals, conga; Thierno Camara, electric bass, vocals; Thiokho Diagne, percussion
Since the release of his previous Songlines record Stories to Tell in early 2007, Sean Noonan has been busy stirring up the ingredients of his unique "wandering folk music" project, and here's the new brew. Grandiose, intoxicating, and sui generis, Boxing Dreams is a wildly ambitious and idiosyncratic concept album that blends passionate vocals and time-honored lyrics from Ireland, Mali and Senegal, raw power-jamming jazz/rock guitars, shape-shifting improv viola, dense soundscapes, funked or punked up drum and bass grooves and complex, dancing polyrhythms. The musical stories Noonan tells are as diverse as ever, but the overriding metaphor of the record's title suggests how he wrestled its elements and his own restless subconscious into a personal artistic vision:
"The main effect I wanted in Boxing Dreams was to give the impression that the entire album is a single boxed dream, where each song captures a different dreamed or imagined story. 'Morpheus' in some ways sets the dreamy mood of the album. Morpheus is the god of dreams, who assumes any shape and form, and on this song Susan McKeown sings from an Irish Gaelic aisling or dream poem called 'Magic Mist.' 'Courage' is a tribute to my hometown (Brockton, Massachusetts) boxing legend Rocky Marciano, who remains the only heavyweight champion in boxing history to retire having won every fight in his professional career. Lately I've been intrigued by the physical intensity and body movements of boxing. I'm beginning to visualize these movements and apply boxing concepts in my drumming. 'The Return of the Peanut Butter Queen' was first an actual dream I had about a queen named Ilylea who taught her fellow peanuts the magic of making peanut butter, creating great prosperity and hope in the land of peanut. Later I wandered this story into a composition. 'Story of Jones' is a country-style instrumental narrative - each of the three sections re-enacts what happened on the famous train engineer's journey to the promised land in 1900. Jones lost his life saving his passengers when he collided with Old No. 9 in Tennessee and was found dead still gripping the train's brakes."
Along with the dream concept there's a lot more singing on Boxing Dreams than on Stories to Tell, and generally the songs are multi-lingual (Gaelic, Wolof, Bambara, English)
TRIO X [JOE McPHEE/DOMINIC DUVAL/JAY ROSEN] - 10 Years Of Trio X Live: Limited Edition Box [7 CD set] (CIMP OL 5006-12; USA) This is a hand numbered limited edition box set and will not be reissued. (There is also a Deluxe Limited Edition of the first 100 copies [for mo' money] signed by the Artists, Producer, and Engineer.)
This limited edition box documents seven concerts on seven individually packaged compact discs. The accompanying booklet, detailing extensively the tour and the music, comprises program notes from the Producer,
Artists, and Recording Engineer, along with candid photos from the tour.
The hours & hours of listening provided by this box set not only have their own pleasures and inspirations but were designed to provide insight into the group as well as the creative improvised process using one of the most dynamic combos in Jazz.
CD 1: St. Lawrence University CD 2: Colgate University CD 3: Chicago, IL CD 4: Waukee, IA CD 5: Greenbay, WI CD 6: Detroit, MI CD 7: Hamilton College
[in stock next week]
7 CD Limited/Numbered Box Set $130
PAUL FLAHERTY/BILL NACE/THURSTON MOORE - Paul Flaherty/Bill Nace/Thurston Moore (Ecstatic Peace 22 E; USA) "Paul Flaherty has been a direct lifeline to the radical free-reed lineage of Albert Ayler, John Gilmore, Peter Brotzmann and Arthur Doyle since first coming into our vision sometime in the '80s. In the '90s he began woodshedding hard with Northampton, Massachusetts resident spirit-drummer Chris Corsano. As the contemporary free-noise-space-weird underground gathered around, minds were liberated to godhead heights. Also in the '90s a young and beautiful boy-man named Bill Nace was drawn to the region by the living art and music here and also began inter-sonic-guitar/linguistics with Corsano (as Vampire Belt). After Corsano relocated to the UK, Nace began a long-running duo with Flaherty. Sonic Youthian Thurston Moore had been tracking Flaherty's comet whilst perusing dog-eared copies of Cadence mag in the early '90s. He eventually booked the infamous Flaherty-Colbourne group for their first-ever NYC gig at the legendary now-defunct Cooler club on way West 14th Street. In '98, Moore and his family escaped to free-zone Northampton and immediately fell in with Corsano and Flaherty as a trio. (This group recorded, with the extended line-up of saxophonist Wally Shoup, for a Japanese-only CD produced by Jim O'Rourke -- which Ecstatic Peace will re-issue to the Western world soon 'nuff). Subsequently, Moore and Nace begat Northampton Wools, a basement-ritual guitar-noise duo (Ecstatic Peace CD forthcoming). From time-to-time Nace, Moore and Flaherty would collect their energies and throw down live trio sessions which still resonate through the valley's ear(s). This trio CD is a session Flaherty set up in the late winter of early 2008. There are three tracks ('Sex' 'Drugs' and 'Lavender'), one short, two looong. It is a primo example of this threesome's focus and sonic storytelling, ferocious yet pensive."
More unreleased Sun Ra from Transparency!
SUN RA - Live At The Electric Circus 1968/Newport 1969 [2 CD set] (Transparency 308; USA) Chronologically beginning the label's survey of the lesser-known psychedelic era of Sun Ra (1968-1971), these discs were painstakingly mastered from Michael Wilderman's original recordings. The Electric Circus show features an unknown female singer who was with the group prior to June Tyson. The sound quality is so good you might be fooled into thinking this is some lost studio album from that time. A continuous smooth acid groove, whereas the Newport set is raucous and frenetic. Sun Ra and his band from outer space! 121 minutes total.
[Caveat: These are incredible archive performances, but the sound quality may not be pleasing for those who find it hard to listen to recordings that were not originally meant for release, such as audience tapings. You've been warned. Me, I gotta have it! - MannyLunch]
2 CD set for $17
SUN RA - Untitled Recordings (Transparency 309; USA) A COMPLETELY UNKNOWN Quintet recording with Sun Ra, John Gilmore, Milford Graves, Andrew Cyrille, Don Moye from Prospect Park band shell in Brooklyn, June 1985 -- Plus two intimate recordings from "The House of Ra" in Philadelphia -- one, a rehearsal from 1978 in which Sun Ra plays, sings and talks extensively and the other a jam from 1973 which which features Sun Ra on mind-blowing synthesizer, Wilbur Ware on bass, and both Marshall Allen and John Gilmore in a small group setting. 75 minutes
MOHA! - One-Way Ticket To Candyland (Rune Grammofon 2078; EEC) This is the third full-length release from Norway's noise spastics MoHa!. The Wire has called them an "extremist hybrid between free improv, gutter electronics and darkwave scuzz," and they have elsewhere simply been proclaimed the future of Norwegian rock. They may now appear slightly more structured in their music-making on this record, but don't let that lead you into thinking they have gone soft or lost any of their unhinged fire and creative spark. Out of Norway's super-fertile improv scene, MoHa! have boldly been leading the way with a sound that encompasses the best of rock, free jazz and electronic music. Despite the enormity and broad spectrum of sounds that constitute their unique style, it is the work of just two talented young men, Anders Hana on guitar, obsolete electronics, a palette of effects pedals and now also a synth, and Morten J. Olsen on drums, triggering a multitude of noises from each skin and cymbal using custom-built software. Having played together in various projects for around 10 years, they have developed a high level of control and understanding in their musical communication. As anyone who has seen them live during one of many tours in Europe and USA can testify, they compliment and confront each other with sharp and mechanical movements on the one hand, free-flowing and loose gestures on the other. Hana is also a member of Noxagt, and both are members of Ultralyd and legendary Norwegian sax player Frode Gjerstad's excellent free jazz ensemble Circulatione Totale Orchestra.
ROBERT DICK/STEVE BACZKOWSKI/RAVI PADMANABHA - Doh Tala (Epoch; USA) Featuring Robert Dick on flutes, Steve Baczkowski on winds and Ravi Padmanabha on percussion. Indian percussion wiz, Ravi Padmanabha, now lives upstate and just us three very different self-produced discs, a solo & 2 trio discs. Ravi has worked with Daniel Carter, Tom Chess, Jeff Shurdut , Ed Chang and most often recorded with wind player Steve Baczykowski. Downtown flute legend, Robert Dick, has been an integral part of the downtown scene since the early days (late 70's) and more recently pianist Ursel Schlicht and is still in New Winds. Ravi plays subtle tablas and other percussion on "Lunar" with Robert's eerie flutes and Steve'a haunting sax. The recording here is warm, well-balanced and builds to a grand conclusion with all three members adding to the tasty blend. Steve plays a most affective didjeridoo drone on "Epoch" which is a perfect cushion for Robert's evocative flute and Ravi's selective frame drum groove. What I dig about this is that all three players combine their unique approach and combination of cultures, thus making a new and ever-evolving concoction. Robert Dick plays various flutes while Steve Baczkowski switches between saxes and clarinets and Ravi plays assorted percussion like snare drum, cymbals, frame drums, tablas and other ethnic percussion. The other magical quality that is evoked is when one of the players makes odd vocal sounds with his reed or wind instrument, adding ghost-like sounds to the already spirited and uplifting dreamworld. - BLG
JOE LOCKE/FRANK KIMBROUGH - Verrazano Moon (Omnitone 12209; USA) Featuring Joe Locke on vibes and Frank Kimbrough on piano. This is the this disc from this superb duo. In their first live recording, the piano-vibes duo of Frank Kimbrough and Joe Locke, described by the press as "stunning" and "lumnious," present the gentler side of "adventurous and listenable." Verrazano Moon, their third CD for OmniTone, is a well-balanced mix of originals and standards yielding deliciously rich and beautiful music that both sophisticated listener and good music lover will enjoy time and again.
SIMONE MASSARON With CARLA BOZULICH/ZENO DE ROSSI et al - Dandelions on Fire (Long Song 107; Italy) Featuring Carla Bozulich on vocals, Simone Massaron on guitars, banjo & loops, Xabier Iriondo on mahai metak, Andrea Viti & Davide Tedesco bass and Zeno de Rossi on drums. We know of guitarist, Simon Massaron, from two ther discs on this same label with Danielle Cavallanti and Giovanni Maier. Drum wiz, Zeno de Rossi, can be found on more than a half dozen discs on the El Gallo Rojo and Splasch labels.
I must admit that I've become a big fan of singer, Carla Bozulich, over the past few years. I've caught Carla live with the last version of the Gerald Fibbers, with Nels Cline in Scarnella, her tribute to Willie Nelson and with Evangelista at the Victo Fest a couple of years back. It is difficult to describe what it is that is so special about her, yet each time I hear her sing, she does me in. Once again, Carla is in fine form on this disc with these righteous Italian folk/blues rockers. She sounds so world weary on the opening tune, "Never Saw Your Face," which features some dark, probing string thing (mahai metak?) and scrunchy, scary guitar from Simone. The title track sounds as if it was written for Roy Orbison or maybe Elvis Presley, touching without being cheesy. Simone plays some earthy, skeletal banjo and slide guitar on "Love Me Mine" with some fine bluesy vocals by Carla. Carla wrote all of words here (in English) and does all of the singing as well. Simone's music, arranging and playing fit Carla's voice like a well worn glove throughout. Don't let this buried treasure slip from your hands, you deserve to soothe yourself in the haunting sounds of 'Dandelions on Fire'. - BLG
PEDAL [CHRIS ABRAHAMS/SIMON JAMES PHULLIPS] - Pedal (Staubgold 83; Germany) Pedal is comprised of duo improvisations for two pianos by Australians Chris Abrahams (The Necks) and Simon James Phillips. While Abrahams is inspired by jazz, be-bop, hard-bop, free-jazz, rock 'n roll, Thelonious Monk, Bill Evans, improvisation, Terry Riley, and dare I say... Little Richard, Phillips feels much more at home with the concert hall, opera house, chamber works, Grieg, Janacek, Feldman, Ives, old-school, new-school, classically-trained pianist, conductor, pedagogue. The music: What are they thinking? These guys are doing a recording of acoustic piano music in this day and age?! Just when you think two grand pianos and four hands have nothing to say in this 21st century, you're wrong, because these are two brilliant minds. Every single piece of music on this recording was fully improvised. To borrow a phrase from Ornette Coleman in relation to his view about the state of music in general: "Beauty is a rare thing." Well, here is that rare thing.
MICK BARR - Mick Barr [2 DVD SET] (Archive DVD-4/5; USA) An inclusive look at Mick Barr's esoteric approach to guitar playing. A project really spawned by the desire of Plotkin, and basically the inception of a DVD imprint for archive. Material spanning 06-07 of Mick's solo works, groupings (Ocrilim, Orthrelm), and an improv clip of Mick in battle with Zach Hill in SF. Two packed DVD's of material. Comes housed in a 4 panel fold out cover slipped inside a custom sized 10mil PVC sleeve. DVD's are placed in custom printed vellum sleeves with vellum obi adorned with franticly crafted doodles by Mick.
"No folks, the camera is not playing at double speed, Mick Barr actually plays that fuckin' fast! As guitar players of all ilk's drool at his precise techniques and try to fathom how and what the hell he is doing, Mick Barr just continues to create amazing music with the utmost integrity! This double DVD compedium, compiled and mostly filmed by James Plotkin, fragments of Mick's various projects through out a 2 year period. Disc 1 draws attention to Barr's experiments with and without drum machines through out a two year period while Disc 2 focuses on his collaborations; Orthrelm (his amazing duo with drummer Josh Blair), his duo with Zach Hill (from Hella), debuting the music from "Awnn" in a duo form with bassist Tony Gedrich (from Stay Fucked). Did I mention that there were only 500 copies of this beautifully packaged DVD made? Get it while you can. HIGHLY RECOMMENDED!!!" - Chuck Bettis/dmg
ASTRO/JAZKAMER/HAIR STYLISTICS - Motorcycle Fuck With The Ghost Rider [Ltd Ed] (Archive 37; USA) The personel of Hiroshi Hasegawa aka Astro - synth, vocals/ Masaya Nakahara aka Hair Stylistics - synth, electronics, vocals/ John Hegre - guitar & Lasse Marhaug - drum aka Jazkammer (Reiko A, former Merzbow collaborator, is credited for dance, but despite my well trained noise ears, I can't hear what she is doing, but she is probably credited for participating in the performance that is captured here in this live document). This cd examines American symbols of machismo with tongue-in-cheek references. From it's great cover of a skeleton riding a motorcycle, in addition to the Johnny Cash & Mr. T inlay art, to the unrelenting wall of noise skid marks this recording leaves on your ears. Some of us who live around Hell's Angels (DMG is currently one block from their Manhattan headquarters), know all too well that tough sound of the choppers. This is the musical equivalent. Not for those who tread lightly. Perfect soundtrack for a modern day biker flick. RECOMMENDED! - Chuck Bettis/dmg
LI JIANHONG/ITTA/MARQIDO - See You New World (2pi 07; USA) Chinese guitarist Li Jianhong accompained by Itta on voice and Marqido on electronics (both from the group 10) bring us this wonderful document aptly titled "See You New World". Together this international trio binds together their experimental permutations from China, Korea, and Japan to develop a psychedelic evolving mass the shape shifts through time and space. Invoking an unknown world of wonder that is both challenging and gratifying. Comparatively showing kinships to the fresh ground Yoko Ono and John Lennon ventured into with their "Two Virgins" records. HIGHLY RECOMMENDED! - Chuck Bettis/dmg
Back in stock..
OTOMO YOSHIHIDE - Core Anode (IMJ/Meenna 332; Japan) Core Anode is the roaring-sound project of the versatile and multifaceted Otomo Yoshihide, who works in genres ranging from free improvisation to jazz to rock to movie and TV music. The CD contains 3 pieces recorded live at concerts in Tokyo (2002), Copenhagen (2006), and London (2006). The players/numbers of players differed at each performance. In all cases the musicians were outside the audience area, surrounding the listeners, and in all cases they put out nothing but roaring sound.
In Tokyo the players were Otomo Yoshihide (guitar), Atsuhiro Ito (optron), Masahiro Uemura (drums), and Itoken (drums); in Copenhagen, Otomo (guitar), Ryoichi Saito (guitar), Mads Heldtberg (guitar), Nis Bysted (guitar), Yasuhiro Yoshigaki (drums), Andreas Hauer-Jensen (drums), and Toke Tietze Mortensen (drums); and in London, Otomo (turntable, guitar amp), Andrea Neumann (inside piano, mixing desk), Uemura (drums), Sachiko M (sinewaves), Rhodri Davies (harp), Yoshimitsu Ichiraku (drums), Stefano Tedesco (vibraphone), Tim Barnes (timpani, tam-tam, cymbal), Sarah Washington (electronics), Ko Ishikawa (sho, electronics), Matt Davis (trumpet), Angharad Davies (violin), Tom Chant (tenor sax), and Mark Sanders (drums).
MUSICA ELETTRONICA VIVA [MEV: ALLAN BRYANT] - 7 2 Berlz (IRML 07; USA) A MEV "theater piece", performed by Alan Bryant (or "Al B" as shown on the cover in "fnetc speling"). Alan Byrant was a founding member of MEV, but this is newly recorded & full of mystery. Not sure of the content, it's supposed to be some kind of conceptual work dedicated to (or inspired by) Samuel Beckett's classic 1957 play "Endgame". The sound is based around solo string ambiance, in a style akin to Alan's classic solo work Space Guitars. Abstract and thrilling.
CHRISTIAN FENNESZ - Plus Forty Seven Degrees 56' 37" Minus Sixteen Degrees 51'08" (Touch TONE 40; UK) Originally released by Touch in 1999, this is Christian Fennesz's second full-length solo album after the highly-acclaimed Hotel Paral.lel (Mego, 1997). Fittingly, "+47degrees 56' 37" -16 degrees 51' 08" takes its title from the coordinates of Fennesz's backyard garden, the site of the open-air studio where these tracks were created. Initial copies came in an oversized gatefold card sleeve, with booklet insert; the second edition was in standard jewel case format. This third edition is in digipak format with unaltered audio. The album has been out-of-print for two years and was Fennesz's first solo album for Touch, preceding his breakthrough Endless Summer (Mego, 2001). Anticipating his next album, The Black Sea (Touch, 2008), on +40 degrees..., Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. His lush and luminous compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece.
JACK WRIGHT & ALBAN BAILLY - The Harmony Of Contradictions (Sort Of 19; USA) Here are some terrifyingly precise daredevil tightrope freakouts on saxophone and acoustic guitar. The musicians are nobility at the fertile crossroads of the newer aesthetics of tense, careful, dramatic and the older aesthetics of kinetic, body-based, stop-on-a-dime interplay. When Alban Bailly moved to Philadelphia from his native France several years ago, it was largely due to his association with Jack Wright, so it's fitting for this duo to be one of his first major public documents as an improvisor. Alban was already an advanced musician in both conventional and experimental music when he arrived here, but he has developed in deep ways since becoming a central figure in the blooming Philly improv scene. There aren't many musicians who can keep up with Jack's level of technical and conceptual intensity, and I think Alban can be counted among the likes of Michel Doneda and Reuben Radding as an especially fruitful playing partner. Alban is the kind of player who holds back and listens carefully for long stretches, but can suddenly unleash and sustain a precise flurry or texture that matches the long tones and phrases of bowed or blown instruments just as well as he can cavort with rapid-fire call-and-response. He uses some extreme techniques on acoustic guitar as controlled phrases, not idle gimmicks. I've seen him play many times in the past few years and have sometimes been startled and amazed by the sounds coming from his unamplified acoustic guitar. Alban and Jack have such exotic sound vocabularies that sometimes their duo sounds more like a quintet of identifiable instruments. The album's title can be taken as a reference to the classic meme of non-idiomatic free improv, where not playing together in an obvious way can be heard as playing together in a deliciously non-obvious way, but in these duets there's a lot of relatively transparent togetherness in terms of shared motion and matched density of sound and action. When the saxophone slithers and the gutar slides, the actions are loosely coordinated and similar. When Alban somehow attacks his instrument to make a beastly growling crackle and Jack shivers with an ecstatic cry, the animals are tangled in some kind of benign embrace. There are dozens of moments on this disc where I'm reminded of why I love creative improvised music despite all its warts and alienating effects, and why Jack Wright is still the most amazing improvisor I've ever heard. Congratulations to Abstract on Black, an exemplary new label from Pittsburgh, for properly publishing a fresh masterpiece of new music I strongly recommend to anyone who enjoys the comparably kinetic, surgically sharp interplay of David Stackenas and Mats Gustafsson or John Russell and John Butcher, or who's simply interested in innovative saxophone or acoustic guitar playing with the complexity and timbral diversity of a Berio Sequenza. - Michael Anton Parker
Among the many pioneers on the Austin music scene, the Creative Opportunity Orchestra stands as one of the boldest and certainly the jazziest. Having involved more than 200 musicians over its 26 years, CO2 dared to cross the unknown frontiers of avant-garde jazz and improvisational music. Led by Texas Hall of Fame vocalist Tina Marsh, whose singing has been called "scat to the highest power," CO2 set out to break free of the pressures of commercial nightclub performance and explore composition and improvisation possibilities in a large-group format.
"Over the past few years, I've been getting promo discs from Tina Marsh and Alex Coke and realizing that there is yet another under-recognized scene in Texas that we all should know about. Tina Marsh and her CO2 Orchestra played at Roulette last week (10/3/08) word is that they were pretty amazing. Thanks to our friend, Diane Moser, Tina was kind enough to leave us with the three gems listed below. Time to dig in..."
ALEX COKE/TINA MARSH/STEVE FELD - It's Possible (VoxLox 308; USA) Featuring Alex Coke on flutes, tenor sax & toys, Tina Marsh on voice & toys and Steve Feld on ashiwa bass box & more toys. Alex Coke was once a member of the Willem Breuker Kollektiev, but now lives in Austin, Texas, as does out/jazz vocal legend, Tina Marsh. The trio composed most of the pieces on this disc with covers by Ornette Coleman, Charles Mingus plus a couple of standards. The title piece features the lovely, dreamy voice of Tina backed by magical thumb piano. "Frogs" features Alex's quietly twisted tenor with Tina's sublime scat vocals and more mesmerizing thumb piano. Ornette's classic gem, "Lonely Woman" features Alex's haunting flute and Tina's most hypnotic voice. The "Steve Lacy Suite" features more subtle vocal sounds, quiet fractured flute and delicate percussion. Alex's flute is extremely expressive and he is perhaps one of the finest flutists I've heard in years. Mingus' "Eclipse" features some strange Eastern reed instrument (a kaen?) along with Tina's poignant voice. At times it sounds as if Tina is singing in some invented language while still sounding completely natural or organic and always expressing her emotions effortlessly. "Deep River" sounds like a gospel song and Tina sings it just right with her lone voice and minimal percussion. What I dig most about this disc is that this trio uses minimal instrumentation and vocals to express so much. This sounds like one of delightful late night listening gems that we can warm up to with some fine cognac. - BLG
TINA MARSH & CO2 - The Heaven Line (Creop 02; USA) Much in the same way that the finest classical composers of the 20th Century have been Russian, some of the finest big band leaders and arrangers of the last 50 years have been women. There is plenty of evidence to back up this statement. I submit: Mary Lou Williams, Maria Schneider, Carla Bley, Toshiko Akyoshi, Melba Liston.... Risking sexism, I find the compositions, arrangements and performances by women directed big bands to be more carefully thoughtful than that of their male counterparts. Granted music is music regardless of source; it would simply be naive to believe that nature has no effect. Tina Marsh, leader of the Texas-based Creative Opportunity Orchestra (CO2) is a case in point. Her arrangements and compositions are tamer than Sam River's Rivbea Big Band without being as stiff and didactic as Wynton Marsalis' LCJO. This characterizes the overall sound. Touted as "cutting edge mainstream", I prefer to consider her music as progressive big band, a kind of marriage between the avant-garde and postmodern classical. Marsh, like Bley, favors low brass in assembly and solos. She uses her voice in a creative Meredith Monk sort of way that is not unattractive. These two discs are populated by mostly original extended compositions by Marsh and various band members. The music is refreshing and interesting and off the beaten path. - C. Michael Bailey / All About Jazz
ALEX COKE - New Texas Swing (Creop 10; USA) Featuring Alex Coke on saxes & flutes, Tina Marsh on voice, Arjen Gorter on bass and John Betsch on drums. This gem was recorded at the Bimhuis in Amsterdam in March of 1999. Both Alex Coke and Arjen Gorter have played with the Willem Breuker Kollectiev, while Paris-based drummer, John Betsch, was Steve Lacy's drummer of choice for many years during the 70's and 80's. Both jazz vocal sorceress, Tina Marsh and Alex Coke currently live in Austin, Texas. This was recorded at the Bimhuis in Amsterdam, often the home for the Breuker Kollectiev and the ICP Orchestra. This fine international quartet cover an eclectic mix of songs by Ornette Coleman, Charlie Haden, Huddie Ledbetter and David "Fathead" Newman, as well as a couple of original songs. Ornette's "Round Trip" opens this disc with Alex's tenor and Tina's fine voice harmonizing the theme superbly while the rhythm team spins magically around them. Alex switched to flute for the next section and takes an incredible solo while Arjen's bass pumps powerfully underneath. Both songs by Leadbelly are done in a righteous, gospel-sounding like way. When Tina's voice and Alex's sax or flute share the same note, they cast a magic spell, complimenting each other perfectly. They cover a song by another great Texan, David "Fathead" Newman and again, Alex takes a phenomenal flute solo. I am not sure if this rhythm team have ever toured or even played together previously, but they sound marvelous as they swirl tightly around the sax or flute and voice. One of the things that knocks me out about this quartet is that the vocals are an integral part and never take over. All of the material here is well chosen so that the entire quartet is always as one spirit. I must admit that I do appreciate but rarely listen to "jazz" vocals, yet here I find Tina Marsh's singing to be consistently captivating throughout. It also helps that she is a member of an extraordinary quartet that works together perfectly around and with her. - BLG
RICHARD BARBIERI With DANNY THOMPSON/STEVE JANSEN/GAVIN HARRISON - Stranger Inside (Snapper/K-Scope 104; UK] With a career that is entering its fourth decade, Richard Barbieri's eclectic musical career has encompassed innovative contributions to the group Japan in the late 70s/early 80s and contemporary worldwide success with Porcupine Tree.
Following the artistic and critical success of his 2005 debut album Things Buried, Stranger Inside further develops Barbieri's unique approach to texture, harmony and rhythm. Writing and producing the album himself, the album includes contributions from long-term creative partners Steve Jansen (mixing and co-arranging), Steven Wilson (mastering), Gavin Harrison (drums) and the legendary double bass player, Danny Thompson (currently enjoying renewed acclaim as part of the reformed Pentangle). In addition the album features the sampled voices of Tim Bowness (No-Man) and Suzanne Barbieri.
NO-MAN [STEVEN WILSON/TIM BOWNESS] - Together We're Stranger [CD + DVD-A] (Snapper/K-Scope 105; UK] Accomplished but slow, Together We're Stranger further envelops the epic arrangements of its predecessor, Returning Jesus. The echo of Talk Talk shrouds this album in that the bouncy pop of such material as "Teardrop Falls" is now long gone to the extent you wonder if they'll ever revisit such terrain again. Like Talk Talk, No-Man have now become moodsmiths of the minimal and the epic. The title song is one of the stronger pieces, beginning with what sounds like a power tool. Twenty seconds later the piece opens to a wider sonic pasture which, over eight minutes, explores an emotional terrain which is very English (not that they've sounded like anything but over their decade-long existence). This is melancholic stuff with a sensual warmth. "The City in a Hundred Ways" is the recurring theme running through Stranger's only mid-paced song, "All the Blue Changes" to "City" itself -- a mournful, clarinet-flavored piece leading into the standout and emotionally charged "Things I Want to Tell You"; the highlight of the album reveals itself in the two-and-a-half-minute electronic epilogue. Steven Wilson's academic musicality has studied the best parts of William Orbit's Pieces in a Modern Style with a looped cathedral-bell motif over wispy synth and crashing waves. The last three songs are acoustic-based tracks of which only the lilting "Back When You Were Beautiful" holds any No-Man traits; it was better done as "All That You Are." - Kelvin Hayes / AMG
1970's ALGERIAN PROTO-RAI MOVEMENT [V.A.] - Seventies Rai Music (Sublime Freq 045; USA) This is Rai music from Algeria as you've not heard it before. In the early 1970s, a new group of singers and musicians were operating on the northwest coast, and what they pioneered was a sound that eventually reached worldwide status by the end of the decade; however, their names are relatively unknown to this day outside Algeria. This crucial and defining period of the development of Rai is criminally ignored and overlooked by Algerian music historians and Rai fans. Due to censorship and government-controlled music diffusion, this scene and lyrical style was forced underground and banned from broadcasts, yet slowly built a small following around the seaside cabarets of Wahran (Oran). This period witnessed the rise of artists such as Groupe El Azhar ("The Flowers" group) and Messaoud Bellemou, who can comfortably be considered the godfather of the modern Rai sound. His group, L'Orchestre Bellemou, rewrote a heritage of centuries by using modern instruments and especially the trumpet, which became, during the 1970s, the backbone of the Wahrani genre. Reinterpreting the gasba melodies on trumpet, Bellemou backed singers such as Boutaiba Sghir and Sheikh Benfissa who carried on the lyrical tradition of their forefathers singing about daily preoccupations and problems as well as love affairs, alcohol, or simply owning an automobile! Toward the late 1970s, Cheb Zergui brought a newer ingredient: an electric guitar with a wah-wah pedal. Thankfully, the late 1960s saw the development of vinyl pressing in Algeria. This new industry allowed many small artists including the Wahrani "scene" to record and release singles documenting their repertoire. This compilation is a selection of this proto-Rai scene's vinyl 45s. This LP is limited to a one-time pressing of 1500 copies on 180 gram vinyl and comes in a full-color deluxe gatefold jacket with photos of the musicians and informative liner notes by the man who compiled it, Hicham Chadly.
CHARLES IVES//SUSAN NARUCKI/DAVID NERMAN - The Light That Is Felt: Thw Songs Of Charles Ives (New World 80642; USA) Charles Ives composed nearly 200 songs throughout his life. Wiley Hitchcock, in the thorough introduction to his 2004 critical edition 129 Songs, described the Ives song canon as "the contents of a kind of scrapbook or commonplace book or chapbook, or even a desk drawer. Into such a receptacle Ives tossed irregularly, if not casually, his reactions -in the form of songs-to memories, personalities, places, events, discoveries, ideas, visions, and fantasies in his life." Whether popular tale or personal reflection, this concept of the songs as memorabilia is realized in a most powerful way: the songs emotionally and viscerally evoke memory. Captured memories-real or idealized, distant or near-are the materials for the music. From cosmopolitan incident (Ann Street) to pastoral stroll (The Housatonic at Stockbridge) Ives's songs describe a range of experience: a child's playtime, a commuter's observations, a courter's hope. His songs exhibit reverence for the populace and pop culture, daring adventure, and family devotion; life and death. This new recording of 27 songs features superlative performances by soprano Susan Narucki, renowned for her authoritative interpretations of contemporary American music, and Donald Berman, whose recordings of Ives's piano music have been critically acclaimed. All recordings based on H. Wiley Hitchcock's 2004 Critical Editions with the exception of tracks 21, 24, and 25, based on the John Kirkpatrick Critical Editions.
ANTHONY DAVIS//THULANI DAVIS - Amistad [2 CD set] (New World 80627; USA) "Amistad is an opera that was ten years in the making. Thulani and I first discussed the idea of making an opera on the Amistad Rebellion in 1986, after the premiere of our opera X: The Life and Times of Malcolm X. We were drawn to the drama of the story, a successful uprising of captives on a slave ship, and the implications of the Amistad incident in an understanding of ourselves and the American experience. Through the Amistad, we could revisit the story of the Middle Passage, the contradictions implicit in the ethos of America, and also explore the emergence of the African-American as a cultural entity. Amistad is my most ambitious work to date and gave me the opportunity to expand upon what I learned from my previous operas as well as the chance to explore new musical areas." - Anthony Davis
The music of Anthony Davis (b. 1951) embodies an intercultural approach, drawing not only upon traditional and current African-American sources, but upon Javanese gamelan, American Minimalism, and the European and American avant-garde. Davis is best known for his operas. "[X: The Life and Times of Malcolm X] has brought new life to America's conservative operatic scene," enthused Andrew Porter in The New Yorker, "it is not just a stirring and well-fashioned opera-that already is much-but one whose music adds a new, individual voice to those previously heard in our opera houses." Amistad, Davis's fourth, is an opera in two acts with full orchestra, double chorus, and an integrated jazz ensemble with trap drums that drives its motoric rhythmic flow. In many ways, Amistad revisits aspects of Davis's previous operas, X and Tania, but in a form that exhibits maximum focus and a tightened compositional practice. The musical language is marked by constant motion and kaleidoscopic permutation of the same elements, including a four-note ending cadence that appears constantly, but in ever-shifting guises. This recording is drawn from Lyric Opera of Chicago's 1997 world-premiere performances.
2 CD set for $28
CLARENCE BARLOW - Piano Works [H-SACD] (Cybele 960308; Germany) "Clarence Barlow has written many pieces for piano, including thirteen preludes and fugues. The idea for the composition originated in a discussion about which similarities European and Indian music display. In the cycle, written between 1974 and 2006, Barlow interweaves the melodic peculiarities of Indian ragas with those of the European tradition dating back to Johann Sebastian Bach. Barlow has also written for the player piano, a normal instrument in appearance, but one driven by a computer. Four of his works for the player piano are featured on this Super Audio CD. In 1978, Barlow developed the computer program 'Autobusk' while writing his piano piece 'Cogluotobusisletmesi.' The inspiration for the piece came on a bus journey in eastern Anatolia (Turkey), when he heard the microintervals of local music: in his piece, he makes extensive use of microintervals, above all quarter tones. He sketched a structure of areas with different densities, each one narrowly defined. Thus, certain fields are rich in events or have very few and some areas feature complex rhythms, while others are regular. The composer used 'Autobusk' to help him devise a score which could be performed. 'Cogluotobusisletmesi' lasts for 30 minutes even and contains four sections of progressive durations: 2 minutes, 4 minutes, 8 minutes, and 16 minutes. The original solo version of 1978 is so complex that Barlow created a version for four pianos in 2006 in which the score delegates a specific part to each pianist. Hermann Kretzschmar, piano; Klarenz Barlow, player piano; Benjamin Kobler, Hermann Kretzschmar, Jurgen Kruse, Irmela Roelcke, 4 pianos; James Avery, conductor."
ENSEMBLE GELBER KLANG - Farben Der Stille [H-SACD] (Cybele 361201; Germany) [This is a HYBRID SACD, which means it will play in any ordinary DC player!] Toru Takemitsu (1930-1996): 'Rain Spell'; Scott Roller (1959-) 'Serraval'; Morton Feldman (1926 1987): 'For Frank O'Hara'; Kaija Saariaho (1952 -): 'Nymphea for String Quartet and Live Electronics.' Ensemble Gelber Klang: Klaus Dreher (percussion); Albrecht Imbescheid (flute), Michael Kiedaisch (percussion); Jurgen Kruse (piano); Gareth Lubbe (violin); Axel Porath (viola); Thomas Reil (clarinet); Scott Roller (violoncello); Maria Stange (harp); Ulrike Stortz (violin); Bryan Wolf (live electronics). "Were it possible to portray music in hues, white would offer us the most generally applicable coloration. Like no other color, white enables us to visualize the very aesthetical idea, which contemporary composers of the last decennia have explored: the dissolution of the distinction between sound and silence. Thus we can regard many contemporary compositions to be acoustical representations of what Wassily Kandinsky (1866-1944) described as the relationship of White and Silence, in his poetics The Spiritual in Art (1910): 'When considering White more closely, which is often seen as a non-color ( ... ) it appears to be a symbol of a world, where material properties and substances have disappeared altogether. Such a world is high above us, so we do not perceive its sound. Thence a great Silence comes towards us, resembling a cold and endless wall, indestructible and impassable. White therefore affects our psyche as a great Silence that is absolute. We perceive it as a non-sound, very much like a pause in the middle of a musical piece; the pause that temporarily halts the development of a certain piece or content, not being the conclusion of a certain development. This is a Silence which is not dead, but full of possibilities. White resonates like a silence that can suddenly be understood. It is a youthful nothingness, or more precisely: a void that exists before the beginning, before birth.'"
HARRISON BIRTWISTLE - Secret Theatre Carmen Arcadiae Mechanicae Perpetuum Secret Theatre/Silbury Air. (NMC 148; UK) The LondonSinfonietta's classic recording of Birtwistle's landmark scores, 'Secret Theatre' and 'Silbury Air,' is reissued in NMC's Ancora series. 'No more exciting recording of contemporary music than this has appeared for many a day. It celebrates the virtues, and the virtuosity, of the London Sinfonietta and also celebrates the Sinfonietta's long association with Harrison Birtwistle, including three of the four most substantial works he has written for them. It is 'Secret Theatre' that makes this new recording special... it is an enthralling exploration of the interaction between what Birtwistle terms 'cantus' and 'continuum' - chant-like melody and block-like, chordally-constructed harmony. These two elements are of equal importance, and serve to promote the real drama of the music: the confrontation, and achievement of equilibrium, between individual and collective. These compositions leave no doubts as to why Birtwistle is such a formidable, acclaimed presence on the contemporary scene. All that needs to be said about the performances, and the recording, is that they do the music justice.' - Gramophone, 1991."
HENRI POUSSEUR - Electronic Experimental and Microtonal 1953-1999 (Sub Rosa 289; Belgium) This is the fifth Henri Pousseur CD in Sub Rosa's Early Electronics series, exploring the work of this Belgian theoretician and experimental/avant garde composer. Along with previous releases in this series, Electronic Experimental and Microtonal (1953-1999) is comprised of 5 rare pieces that span over 45 years of microtonal and electronic work. Performed by Rohan de Saram (Quatuor Arditti), Evert van Tright (who played mainly Stockhausen), Brigitte Foccroulle, Danielle Dubosch, Isabelle Schmit (three great Belgian pianists) Sumila Goto, Mikoto Jakahata, Shuzan Morita (from the Japanese Yonin No Kai Trio) and for the first and only time, Henri Pousseur himself. These recordings are a continuation of Sub Rosa's earlier releases, namely: Musique Mixte, Liege a Paris, 8 Etudes Paraboliques and 4 Parabolic Mixes. Henri Pousseur studied at the Academies of Music in Liege and in Brussels from 1947 to 1953, and was closely associated with Pierre Froidebise and Andre Souris. He encountered Pierre Boulez, Karlheinz Stockhausen and Luciano Berio, and thereafter devoted himself to avant-garde research. As Posseur describes of his music: "When I first met Pierre Boulez in 1951, we both agreed that the materials of the young serial music had to be renewed, both on a purely acoustic basis (electronic music) and in the relationships between its components." Generally regarded as a member of the Darmstadt School in the 1950s, Pousseur's music employs serialism, mobile forms, and aleatory, often mediating between or among seemingly irreconcilable styles, such as those of Schubert and Webern, or Pousseur's own serial style. From 1970 until his retirement in 1988, he taught at the University and Conservatory of Liege where he also founded the Centre de Recherches et de Formation Musicales de Wallonie.
43 INTERNATIONALE FERIENKURSE FUR NEUE MUSIK DARMSTADT [V.A.] - 2006 (Neos 10821; Germany) "Robin Hoffmann (1970) - 'Locken for the Black Cock Septet' (2006): Hanna Petermann; Andrea Nagay; Kristof Kerremans; Kerry Lannan; Patrick Crossland; Laura Carmichael (guest); Tarmo Johannes (guest), black cock call. Dieter Mack (1954) - 'Kammermusik IV for 17 players' (2004): Angelika Luz, soprano; Ensemble Modern/Brad Lubman. Mark Andre(1964) - '...ALS..., Trio for bass clarinet, violoncello and piano' (2001): Rafael Caldentey Crego, clarinet; Wolfgang Zamastill, cello; Ueli Wiget, piano; Internationale Ensemble Modern Akademie (IEMA). Klaus Huber (1924) - '...a l'ame de descendre de sa monture et aller sur ses pieds do soi..., Chamber concerto for violoncello solo, baritone solo, alto, accordion and percussion (Text: Fragments (strophes) of a poem by Mahmoud Darwish)': Rohan de Saram (cello); Max Engel (baritone); Katharina Rikus (viola); Teodoro Anzellotti (accordion); Isao Nakamura (percussion); Lucas Vis (conductor)."
BRUCE SPRINGSTEEN//SUICIDE [MARTIN REV/ALAN VEGA] - Dream Baby Dream [10"] (Blast First Petite 17 EP; UK) This is the first in Blast First Petite's year-long series of monthly(ish) limited edition 10" vinyl EPs celebrating the 70th birthday of Suicide's Alan Vega. The first track is "The Boss" himself Bruce Springsteen doing a cover of "Dream Baby Dream," live from his 2005 Devils & Dust Tour -- exclusively available here. Totally haunting and unexpected! The flipside features Suicide performing that song on the Midnight Special live TV show in 1978 - recently recovered from a lost Suicide vault and previously unreleased - as well as a ripping cover of "Mr. Ray" by now-defunct contemporary New York band, Beat The Devil. Subsequent editions in this series will include tributes by artists such as The Horrors, Peaches, Primal Scream, SUNN O)))/Pansonic, Lydia Lunch, The Klaxons, Julian Cope, Liars, Spiritualised, and Grinderman. Edition of 4,000 black vinyl. Cover image: Stars by Edward Mapplethorpe (brother of Robert Mapplethorpe), 1994
New 24-bit remasters from Enja!
TOMMY FLANAGAN TRIO With GEORGE MRAZ/ART TAYLOR//THELONIOUS MONK - Thelonica (enja 2118; Germany) [24 bit remaster] Recorded just ten months after Thelonious Monk's death, pianist Tommy Flanagan's tribute feature
eight of Monk's compositions plus Flanagan's own "Thelonica." Assisted by bassist George Mraz and drummer Art Taylor, Flanagan does not sound at all like Monk but he recaptures his spirit and hints strongly now and then at his style on this fine (and often introspective) outing. - Scott Yanow/AMG
HAL GALPER With TERUMASA HINO/CECIL McBEE/TONY WILLIAMS - Now Hear This (Enja 2102; Germany) [24 bit remaster] Hal Galper has long been an underrated composer and pianist. This Enja release from 1977 finds him at the top of his game in both roles, leading a strong quartet with trumpeter Terumasa Hino, bassist Cecil McBee, and drummer Tony Williams. Opening with his thunderous, inventive post-bop vehicle "Now Hear This," each musician adds something special to this driving piece (which also benefits from an in-tune piano, something not provided to Galper for a rendition heard on the live LP Speak with a Single Voice). The first track sets such high expectations that one would expect a letdown, but that isn't the case. Galper quickly cools things down with "Shadow Waltz," a lush ballad. In addition to his superb originals, Galper offers a jaunty take of Thelonious Monk's "Bemsha Swing." - Ken Dryden/AMG
JEREMY STEIG & EDDIE GOMEZ - Outlaws (Enja 2105; Germany) 24 bit re-master. Featuring Jeremy Steig on flute & Eddie Gomez on contrabass, recorded in December or 1976. Jeremy Steig is one of the best jazz flute players to emerge since the late sixties. He has about 20 albums under his belt but many remain sadly out-of-print. I just listened to this duo disc and thought it was pretty amazing. Great to have this gem back in print. - BLG
FINALLY! Back in stock:
PAUL CHAMBERS - Aladdin/Transition/Blue Note Recording Sessions 1956-1959: Chambers' Music/Whims Of Chambers/Bass On Top..PLUS! [Ltd #'d 3 CD set] (Mosaic Select 005; USA)
Ltd Ed 3 CD set for $48
BENNIE GREEN With IKE QUEBEC/SONNY CLARK/ELVIN JONES et al - Back On The Scene/Soul Stirrin'/Walkin' & Talkin'/Congo Lament...........PLUS! [Ltd #'d 3 CD set] (Mosaic Select 003; USA)
Ltd Ed 3 CD set for $48
ANDREW HILL - Solo: Unreleased + From California With Love [Ltd #'d 3 CD set] (Mosaic Select 023; USA)
Ltd Ed 3 CD set for $48
ANDREW HILL With SAM RIVERS/CHARLES TOLLIVER/WOODY SHAW/PAT PATRICK/BENNIE MAUPIN/ROBIN KENYATTA et al - Five Unreleased Blue Note Sessions [Ltd #'d 3 CD set] (Mosaic Select 016; USA)
Ltd Ed 3 CD set for $48
BOBBY HUTCHERSON With WOODY SHAW/MANNY BOYD/HAROLD LAND/GEORGE CABLES et al - Blue Note Recordings: Cirrus/Inner Glow/Waiting/The View From Inside/Knucklebean [Ltd #'d 3 CD set] (Mosaic Select 026; USA)
Ltd Ed 3 CD set for $48
[DAVE] DAVID LIEBMAN & RICHIE BEIRACH & With QUEST/LOOKOUT FARM - Unreleased Live Recordings 1976-1991 [Ltd #'d 3 CD set] (Mosaic Select 012; USA)
Ltd Ed 3 CD set for $48
GRACHAN MONCUR III With JACKIE McLEAN/BOBBY HUTCHERSON/LEE MORGAN/WOODY SHAW/HERBIE HANCOCK/BILLY HIGGINS/RASHIED ALI et al - The Moncur Blue Note Recordings: Evolution/Some New Stuff/One Step Beyond/Destination Out/Hipnosis/'Bout Soul [Ltd #'d 3 CD set] (Mosaic Select 001; USA)
Ltd Ed 3 CD set for $48
GERRY MULLIGAN With CHET BAKER/LEE KONITZ/ZOOT SIMS/ANNIE ROSS/HENRY GRIMES/DAVE BAILEY et al - Mulligan-Baker Reunion/The Gerry Mulligan Songbook V1/Stringtime/Annie Ross Sings A Song Of Mulligan...Plus! [Ltd #'d 3 CD set] (Mosaic Select 021; USA)
Ltd Ed 3 CD set for $48
'BIG' JOHN PATTON With BLUE MITCHELL/RICHARD WILLIAMS/JUNIOR COOK/HAROLD VICK/FRED JACKSON/CLIFFORD JARVIS et al - Blue Note Recordings: Along Came John/The Way I Feel/Oh Baby!/That Certain Feeling/Understanding [Ltd #'d 3 CD set] (Mosaic Select 006; USA)
Ltd Ed 3 CD set for $48
DUKE PEARSON With BOBBY HUTCHERSON/FRANK FOSTER/RALPH TOWNER/HERMETO PASCOAL/BOB CRANSHAW/MICKEY ROKER et al - Blue Note Recordings: The Phantom/I Don't Care Who Knows It/It Could Only Happen With You/How Insensitive/Merry Ole Soul [Ltd #'d 3 CD set] (Mosaic Select 008; USA)
Ltd Ed 3 CD set for $48
DON PULLEN With GEORGE ADAMS/GARY PEACOCK/TONY WILLIAMS/DANNIE RICHMOND et al - Blue Note Recordings: Breakthrough/Song Everlasting/New Beginnings/Random Thoughts [Ltd #'d 3 CD set] (Mosaic Select 013; USA)
Ltd Ed 3 CD set for $48
DIZZY REECE With STANLEY TURRENTINE/DONALD BYRD/TUBBY HAYES/HANK MOBLEY/WYNTON KELLY/PAUL CHAMBERS/ART TAYLOR/ART BLAKEY et al - Blue Note Recordings: Blues In Trinity/Star Bright/Soundin' Off/Comin' On [Ltd #'d 3 CD set] (Mosaic Select 011; USA)
Ltd Ed 3 CD set for $48
CHARLES TOLLIVER/MUSIC INC. With STANLEY COWELL/CECIL McBEE or CLINT HOUSTON/JIMMY HOPPS or CLIFFORD BARBARO - The COMPLETE Live At Slugs' 1970 & Live In Tokyo 1973 [Ltd #'d 3 CD set] (Mosaic Select 020; USA)
Ltd Ed 3 CD set for $48
McCOY TYNER With GARY BARTZ/WAYNE SHORTER/ALICE COLTRANE/HERBIE LEWIS/FREDDIE WAITS et al - Blue Note Recordings: Expansions/Cosmos/Extensions/Asante [Ltd #'d 3 CD set] (Mosaic Select 025; USA)
Ltd Ed 3 CD set for $48
RANDY WESTON With COLEMAN HAWKINS/BOOKER ERVIN/KENNY DORHAM/CECI PAYNE/CLARK TERRY/KENNY BURRELL/GIGI GRYCE/FREDDY HUBBARD et al - Released & Unreleased 1957-1963: Piano-A-La-Mode/Little Niles/Live At The Five Spot/Uhuru Afrika...PLUS! [Ltd #'d 3 CD set] (Mosaic Select 004; USA)
Ltd Ed 3 CD set for $48
ARCHIMEDES BADKAR - Archimedes Badkar (South Side 4279; Germany) "Archimedes Badkar is a Swedish band who released three albums during the '70s. Their debut album, Badrock For Barn I Alla Aldrar shows an already mature band that tries to integrate ethnic music, jazz, rock and folk. Their style is fairly unique, but imagining a mix of Embryo and Arbete & Fritid would give one a good reference point."
HAPSHASH & THE COLOURED COAT - Two Originals: The Human Host And The Heavy Metal Kids/Western Flier (Minority 275; Germany) Grey-area two-fer of the only 2 albums by this IK based group. Features: Featuring The Human Host And The Heavy Metal Kids (1967) & Western Flier (1969). "Human Host was their classic first album freak out from the UK, originally released in 1967. Not far from the disassociational ecstasy being created in NYC by the Godz, this is perfectly tranced lysergic blather, and an underrated document of its time. "A band like this, incorporating flower power, love and peace, acid and psychedelic rock lifestyle, tainted with freak out, drop out, hippy and underground trends, could not have existed in any other era than the late '60's ('67/68). Before that time, this phenomenon was labelled amateurism or hype and dismissed as musical nonsense. The first extremely freaky LP the group launched was an LSD trip opera." Western Flier, was the 2nd album from 1969. "The talents of Groundhogs guitarist T.S. McPhee and songwriter Mike Batt can be heard on this 'strange' LP, the second and final release from Hapshash. The ultra rare 'Colinda' single is included amongst the 10 featured tracks. Contrary to the first album, which mainly consisted of free music, lyric poetry, Gregorian chants and Andalusian/oriental folk music, Western Flier was a crazy, high-spirited collection of old, well known folk-rock and blues material, spiced with all such currently used, individually distorted studio effects such as fuzz, feedback, phasing, etc."
LITTLE FEAT [LOWELL GEORGE/ROY ESTRADA/BILL PAYNE et al] - Sailin' Shoes (Mobile Fidelity Ultradisc 778; USA) [#d limited edition] Lowell George (vocals, guitar); Bill Payne (vocals, keyboards); Roy Estrada (bass, background vocals); Richard Hayward (drums, background vocals).This album marked the end of the first Little Feat line-up, as Roy Estrada left afterwards the band to rejoin the Mothers Of Invention.
"Although I became a prog/head early on with the Mothers, Soft Machine, and King Crimson, I always dug great rock bands like the Stones, Beatles, Kinks, The Who, Jefferson Airplane, the Dead and in the 70's, there was Little Feat. Little Feat were the best, the most soulful rock band of all! As far as I was concerned, they never made a bad record. I caught them many times live and still see them on occasion. Little Feat still rule! Yes, even without there former leader, the incredible Lowell George. Little Feat were an offshoot of the Mothers of Invention (Lowell & Roy Estrada) and the Fraternity of Man (Bill Payne & Richie Hayward). 'Sailin' Shoes' was the second Little Feat album and it still sounds wonderful today. For some odd reason, Little Feat had the habit of repeating (and often improving) songs from record to record, so here we find original versions of "Willin'", "Cold, Cold, Cold" and "Tripe Face Boogie". I got to admit that this OMR (original master recording) does sound nearly as good as some sweet virgin vinyl. Where else are you hear classic lines like "If you give me weed, whites and wine..." The opening song, "Easy to Slip" is one of those perfect songs that just makes me smile whenever I hear it. Do yourself a favor and get down with this groovy little gem." - BLG
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