1.ZEENA PARKINS-Pan Acousticon (Tzadik 7049) This is the third part of Zeena's Gangster Band Trilogy which contains 'Isabelle' and 'Mouth=Maul=Betrayer' so far. The Gangster Band consists of Zeena's sisters Sara on violin & Margaret on cello, Mark Stewart on guitar, dax & cello, Jim Pugliese on percussion, Zeena on el. harp, piano, accordion & sampler plus special guest (from Carbon) Joe Trump on spring. 'Pan Acousticon' was inspired by Louise and Bill McCagg, especially Bill's love of languages and dialogue. This work is broken down into three main sections - Akouein, Cavere and Ether. 'Akouein' is Greek for "to hear" and seems to contain a solitary theme of desperation (from isolation) illustrated by shadowy samples, twisted strings rubbed & cascading upwards & downwards (a Xenakis or Penderecki sound), followed by solo el. harp from a quiet section down into the depths of distortion and then looping some of theses disturbing parts, adding high end squeaking on top and ending with a solemn string fog. 'Cavere' is Latin for "to hear" or "take heed" and this brilliant section might just be Zeena's best realization yet. It enters with fascinating layers of samples, tympani and piano in a Frithian magical web which turns into an immensely sad & lovely violin solo and then into a (nostalgic?) sample of "Revolution No. 9" which mixes Mark Stewart's cosmic guitars with weird samples seamlessly sewn together into a hushed distant hovering strings duo with sporadic percussion delicate…The last section, the main title theme, Zeena unleashes & splatters the piano samples while the violin is manipulated and a section of riveting backwards tapes builds to a an exciting crescendo. 'Ether' is an instrument which produces sounds we can't hear and is the final part. The haunting beauty of the strings are accompanied by ancient wah-wah guitar and marimba which evolves into demented layers ditorto guitars & strange samples into hypnotic minimal percussion, followed by ghostly droning strings & tympani… Suffice to say that this entire work is worth the trouble of spending time and checking out a new world of sounds. $14. 

2.PRELAPSE-Prelapse (Avant 053) A Naked City cover band?!!? Almost too good to believe. Naked City was, for many of us, thee band that defined the spirit of the (early) 90's - an explosion of non-stop genre-hopping intensity, often at the hyper-speed pace of & mixed with hardcore/thrash/punk - their gigs were incredibly exciting. We all bummed after they played their last 4 nights at the old Knit during the 'Month of Zorn' fest in September of '93 - fans still ask about the long promised (double?) live cd. Actually, when I asked Zorn about it, as I do every year, he says that he would love to reunite Naked City for one last studio release, but that they could not play live due to Bill Frisell's hearing problem. But let's not jinx it by talking about it…
   
In the meantime, for those that still that Naked City jones, we have the amazing Prelapse, originally from Boston, but now mostly relocated to NY. Both el. bassist Rev. Mason Wendell & keysman Alex Lacamoire have been see/heard doing 'Cobra's with Zorn in recent times and I recall alto saxist Jeff Hudgins doing one of those Sunday sets here at DMG. Prelapse recorded this explosive delight almost two years ago, so it is great to finally have it in our trembling hands. Although half the pieces here were written by Zorn for Naked City & some of which were never recorded by NC, Wendell & Lacamoire have written the other half pieces in the same high-speed, genre-bending style, with many break-neck ditties under one minute. Naked City had a tradition of demented & throttling screaming singers like Eye, Kevin Sharp, Mike Patton & Zorn himself - here Rev. Mason also does a great job of ridiculous & hilarious vocal shredding on many of these pieces. One of the difficulties of playing this music keeping the flow going even when things change by the second, Prelapse do a wonderful job of balancing the extremes. Their originals are also filled with surprising twists & turns. Alex's "Lachrym" is a quiet, eerie, minimal piece, that breaks up the thrash/metal moments nicely. Some of these song titles ("Pools of Urine") are meant to be offensive, but no more than the in-your-face attitude of the music itself. Prelapse do play in NY on occasion, so check out their brutal brain-blasting sound at home or in concert. An Avant import for $18. 

3.DAVID WATSON-Skirl (Avant 077) You might recall bagpiper & guitarist - David Watson from the two self-produced cds he has out over the past few years reviewed here & featuring the likes of Ikue Mori, Kato Hideki and members of Machines For Making Sense from Australia. 'Skirl' features three bagpipe players, percussionists Jim Pugliese & Christine Bard (EasSidePercussion), Tony Buck (Peril) and Cyro Baptista w/ Beat the Donkey, plus the alto sax of Michael Attias, the didjeridu of Andy Haas (Avant cd) and the harp of Marjorie Fitts. Odd instrumentation, but not for an Avant release. While bagpipes are mostly associated with Scottish men in kilts, there have been a few players & composers who have done something different with this ancient folk instrument - jazz musician Rufus Harley in the sixties, new music composer Yoshi Wada, and even British free-jazz sax great Paul Dunmall played one at the Keith Tippett Mujicain set at Victo this year. There was even an unexpectedly cool bagpipe fest at the old Knit with a compilation cd to follow. It seems as if (former New Zealander) David Watson has been working with bagpipes longer than almost anyone else. Beginning with a swirling array of layered bagpipes and percussion, creating a mesmerizing haze of drones. The percussion throughout this release is often rich in textures, mystery and drama, while the bagpipes also drone a rather hypnotic haze throughout. Two cuts feature the dense Brazilian carnival percussion ensemble Beat the Donkey with two bagpipes at the center of the storm - an amazing combination of sounds. A haunting treasure of cosmic drones for $18. 

5.DANNY COHEN-Museum of Dannys (Tzadik 7405) Tzadik's Lunatic Fringe series continues to unearth bizarre pop(?) music from the outer fringe. Danny Cohen is brother to Masada's Greg Cohn and a third of 'Self-Indulgent Music' - who also have a Lunatic Fringe cd out. 'Museum of Dannys' compiles the warped charm from the 70's through the 90's of this unknown (to me) cult hero. The only one of the half dozen players I recognize on this cd is that ever busy horn specialist Ralph Carney. It sounds like more of a solo effort anyway, with Danny's oddball voices & characters telling their strange tales of two-headed babies, quiet but mysterious men, somber nightmares to marvel at. In some ways this reminds me of those wacky Shimmy artist - the Tinklers or Jad Fair. It is quite revealing how much we are fascinated with those who act out our weirdest impulses, exploring darker regions once illustrated by the Mothers or the Fugs. Where Tzadik finds these oddities, remains a mystery, but I'm glad they do. $14. 

6.FRED FRITH-Stone, Brick, Glass, Wood, Wire (Angelica 014) An utterly fascinating work in which some forty plus international musicians interpret 25 pictures that Fred has chosen and are included in the enclosed booklet. It was performed and recorded at five concerts from '92 through '95, including the Victoriaville concert which I attended. The main trio is Fred, Ikue Mori and Zeena Parkins, while the other musicians include Han Bennink, Chris Cutler, Lesli Dalaba, Jean Derome, Rene Lussier, Myra Melford, Guy Klucevsek, Hans Koch and Jean-Marc Montera. Fred discusses his long history of inspiration in considering the use of graphic scores, from John Cage, Terry Riley, Cornelius Cardew, Stockhausen and Butch Morris - who this release is dedicated to. Each picture is of the materials mentioned in the title and has a different set of directions described underneath each pic in the booklet. Although each piece is improvised, the pictures and directions bring each one into a more focused result. The pieces, like the pictures are often broken down into sections, so that the players know where to come in or drop out and which part of a certain picture they must interpret. Some pieces are conducted, some not, often a soloist will play throughout, while the others follow open-ended directions. A timekeeper is utilized at times so that repetition can work properly. Many of these pieces sound (partially) written out, since the directions and/or conductions often give structure the shape of each piece. At points, this work reminds me of the way in which John Zorn's game pieces often work/sound so successfully - Fred has been a part of the earlier game pieces in the past. Elements of mystery, humor, suspense and surprise seem to fuel this entire two hour endeavor. An excellent and challenging work for all, a fine Italian import two cd set for $31. 

7.BILL LASWELL-Broken Vessels OST (Koch 8055) After a flurry of activity on Axiom, Subharmonic, Strata, Sub Meta & Ion, this year has been a slow one for new releases from the always busy producer-el. bassist-idea man Bill Laswell. With Subharmonic, Strata & Sub Meta gone, Axiom in limbo (until now), and a smaller number of releases on Ion, Meta, Fax, APC & BMG, Bill is finally back with three new releases this month - including a new Material cd (Sept. 28th) on the new Axiom through Palm Pictures- Ryko, Bill's Cuban project on BMG & this soundtrack on Koch. Next month will (hopefully) be a solo project on Ion & three tracks from the Zorn-Frith-Laswell-Lombardo unit on Zorn's next 'Music for Children' release on Tzadik. 
  
This soundtrack features Bill's music played by his trio with long-time collaborator Nicky Skopelitis on guitars, Lance Carter (Sonny Sharrock Band) on drums and Bill on basses & everything else. The opening theme, which makes a few appearances here in various forms, is a totally slamming funk-rock power trio with Funkadelic/Hendrix-like blistering el. guitar and ultra-fat el. bass & drums fury. The second time this great theme pops up, it is done with a drum n' bass-line rippling underneath. There is also much rich ambient landscapes with ultra-thick throbbing bass, melodic & chiming acoustic guitars & el. sitar samples. Each piece drifts into the next one, a nice balance of contemplative ambient moodscapes and hard-charging funk themes. "Smoking Up' has that Praxis-like heavy electro-acid-funk groove, while "Falling Under" seems to move in slow motion waves. Bill plays his fretless bass & let's it ring with elegant grace on "Lost Control", which makes way for the final song & sad beauty of Lori Carson's pure voice. A perfect ending! $14. 

8.BILL LASWELL-Imaginary Cuba: Deconstructing Havana (Wicklow/BMG 63514) Grand opportunist, producer & bassist Bill Laswell continues to search the world for ethnic musics to record and transform. Ry Cooder's worldwide success of his Cuban project 'Buena Vista Social Club' and documentary film, have probably paved the way for Bill's latest excursion to Havana, but Mr. Laswell is equally successful in capturing the special spirit of such Cuban ensembles as Los Ibellis, Clave Y Guaguanco and Septeto Nacional, as well as transforming their sounds into a seamless journey. Half of these tracks feature dubby sensuous hypnotic percussion with Bill's ultra phat el. bass throb holding down the groove. Most of this music is understated, and often just percussion and vocals with just a bit of piano or acoustic guitar added. There is a continuous groove throughout, often recalling African or voodoo rhythms. Bill's occasional dub production keeps the flow moving in somber waves, one could even do some reggae dancing to this laid back party groove type of affair. A perfect cd to accompany that expensive and illegal Cuban cigar with some delectable cognac on the side. Yum yum. $14. 

9.MATT SHIPP/ROB BROWN/WILLIAM PARKER-Magnetism (Bleu Regard 1957) Matt tells me that this cd was not supposed to be released until next year, so let us look to the future and act as if this century has ended and the world has not come to an end. What is different about this release is that it is comprised of twenty mostly short improvisations/compositions for trios, duos and solos. Each piece seems to explore a different mood or terrain, sometimes minimal and haunting, often evoking a variety provocative sensations. There are moments which sound like modern classical angular stark suspended in silence types of twists. Matt even plays inside the piano at one point and this certainly the most minimal I've heard any of these three play ever. Quite a refreshing and unexpected change from these usual maximalists. Even the occasional bursts of energy are kept brief. Ideas are often explored one at a time, each piece works on its own accord, nothing is overwhelming. The solos pieces are usually the shortest and most concise. Those rare moments of full throttle ("Magnetism X") are a welcome relief and break up the tension when it is most needed. There are only a few times when their usual dense transmissions get too thick, but nothing lasts too long. For any of you wondering what all the praise for Matt Shipp is about, this release would be a good place to begin to unravel the mystery and for those of you who own all 15 or so cds by our local piano hero - this one is different, so both groups would be worthy of their time and moolah. A French import for $14. 

10.EUGENE CHADBOURNE INSECT & WESTERN PARTY-Beauty & the Bloodsucker (Leo 270) w/ Ellery Eskelin, Leonid Soybelman, Gino Robair, Jeff Sipes, Brian Ritchie & ten other accomplices. The storm of new releases from hurricane Eugene continues to overwhelm, with yet another wacky-tremendous Insect & Western Party offering. Once again Dr. Chad splices & dices 15 pieces from four locations - live sets from the Old Office in Feb. of this year, Beanbenders in Berkeley, Ca., Eyedrum in Atlanta, Ga. and from Frank Paul's studio in Wyandotte, Mississippi. Eugene tells us in the notes that "the jazz combo has long been a ripe ground for mixing genres" and this ever-evolving combo constantly mixes genres & ideas due to the diverse backgrounds of the many players involved. Still, there is a strong jazz/improv thread that runs throughout, more focused and less free than usual. Eugene has actually written a wad of scores and themes are explored with each of the four ensembles, the ongoing stream of inspiration from insect life continues as well. Occasionally elements of bluegrass, rockabilly, old-time jazz, punk & other noise pop up, but never for very long. "1998 was the Year of the Butterfly" Eugene tells us and the butterfly is a specific source of inspiration for this here work - both its beauty & bloodsucking are dealt with. Most of this release is more relaxed & less frenetic than Dr. Chad's usual excursions, a nice departure. Even the furtherest out sections seem more refined, less dense. A great job on editing keeps the flow continuous. Gee, what could be next for our hero, a mellow Trio for the Hard of Hearing with Bill Frisell and Charlie Haden perhaps? $14. 

11.SONNY SIMMONS/BRANDON EVANS/KEVIN NORTON-Universal Prayer (Parallactic 05) Brandon Evans is a great new multi-reed player, former student of & collaborator with Anthony Braxton, originally from the Bay Area, but now living in NY. Sonny Simmons is a legendary ESP alto & tenor sax master, who after living on the streets for too long, has bounced back in recent years & released a number of burning out/jazz cds. Kevin Norton is a fine drummer/percussionist/composer who has also collaborated with Braxton in recent years and recently released his own group recording, reviewed below. Brandon has just released this wonderful trio date on his own new label, both he & Sonny have composed three pieces each. Like Braxton, Brandon plays those odd reeds like c-soprano, bass clarinet, contra-alto clarinet, as well as the more common tenor sax. Although there is no bassist, not an uncommon occurrence, this trio is quite solid, each player equally matched and strong in their own way. The title track "Universal Prayer" is by Sonny is a long, sad, dirge or prayer, where both reeds sail somberly together while the drummer orchestrates the waves from below. Most of these pieces are not free/jazz blowouts, but more various combinations of reeds and percussion, swirling in & around one another, many different textures are explored - perhaps an inspiration from Braxton-land. Impressive & challenging sounds from a great trio. Brandon will be performing a solo reeds concert here at DMG on Sunday September 26th at 7pm for free in celebration of this new release, so come on down. You can purchase this cd for $14. 

12.MARIO PAVONE NU TRIO-remembering thomas [chapin] (KFW 257) When alto sax & flute giant Thomas Chapin passed away on Valentine's Day last year, he left the downtown community and fans worldwide devastated. He had a very special spirit that touched all who knew or even just heard him play. Thomas and I were close friends and it was me who introduced him to the Knit, who signed him to their label when it began and released seven outstanding cds by his fabulous trio. Mario Pavone was & is the incredible contrabassist who worked with Thomas for twenty years in both of their bands. Their playing, composing and vision, a constant source of inspiration to each other and all who heard them play. Mario's incredible nu piano trio consists of two wonderful jazz musicians who both played with Thomas on numerous dates - Peter Madsen on piano & Matt Wilson on drums. They cover four of Thomas' finest tunes, a Monk and an Annette Peacock cover, while the rest are Mario's originals which Thomas once added his special magic to. I have long been a fan of a great jazz piano trio date (from Bill Evans to Harold Mabern), but for me this is as good as it gets. Both Thomas' & Mario's tunes have this jubilant, finger snapping, propulsive & uplifting spirit that is impossible to resist and not be knocked out by. Annette Peacock's "Miracles" has that gnarly, dark edge that Paul Bley always dug and it shows a different side to this trio. Pianist supreme Peter Madsen never ceases to amaze me, he is constantly spinning webs of lines which erupt into small mountains. You haven't heard of him?!? You will. This release commences with Thomas' "Aeolus", perhaps the loveliest and most haunting of all his pieces and the last tune he performed in concert a week before his passing. The beautiful and infectious spirit of Thomas Chapin lives on in this wonderful release. Treat yourself. $13.

13.MISHA FEIGEN-Both Kinds of Music (Leo Lab 060) w/ Elliot Sharp, Eugene Chadbourne, Davey Williams, LaDonna Smith & Craig Hultgren. Misha moved the to the US from Moscow a few years back, to play folk music and ended up connecting with downtown improv scene. He roomed with my good pal Pete Seward for a long stetch and eventually moved down south to Louisville, Kentucky. He has been working long & hard on his improv abilities on balalaika & classical guitar and has been recording recently with some of our finest. He has played DMG on occasion and made it to Dr. Chadbourne's recent guitar fest. This cd features six duos & one trio with Misha and is mostly acoustic, except for Davey's el. guitar. Each duo & trio explore the outside/free/improv journey. Can't recall anyone else playing free/music on balalaika before and combining it with Elliot's dobro & Eugene's banjo is no doubt a first. Recorded at four different locations - an E. Sharp home studio in NY & a studio in Louisville, plus two live gigs from Birmingham, Alabama & Bern, Switzerland. There is never a dull moment here & each piece works well at exploring outer zones. The duo with (unknown) cellist Craig Hultgren is one of the highlights and works just right -in & out, ultra-melodic & weird sound sections. A most impressive effort by all! $14.

14.EMMANUELLE SOMER-The Apple Tree (Lyrae 98016) w/ two quartets featuring Peter McCann on guitar, Chris Potter on bass clarinet & Jim Black on drums. I have been a big oboe fan, since hearing what Lindsay Cooper (Henry Cow, Art Bears…), Karl Jenkins (in Soft Machine) and Paul McCandless (in Oregon) could do with this most difficult to play, hard to keep in tune instrument A short, cute, exotic, soft spoken young woman that I barely recognize from around the scene, hands me this fine cd of her playing oboe & English horn (similar difficult double reed) in two much different quartets, both great in their own way. The Helios Quartet consists of el. guitarist Peter McCann who burns it down in Bobby Previte's The Horse, Daniel Dunlap on fretless bass & Jarrod Cagwin on drums - two cats I'm unfamiliar with, who play fine. The long & event filled opening piece lets the quartet stretch out with long & winding solos from the oboe and the el. guitar, bringing the level of intensity up a notch, the rhythm team also scorching. There are moments when I swear I was listening to that first Pat Metheny Trio album w/ Jaco & Bob Moses. When Peter switches to acoustic guitar on "Lullaby for a Butterfly", the pace slows down for a haunting melody and the oboe's warm luscious tone fills the horizon with soft grace. The other quartet is the Tone Poets and they are the more acoustic and classical sounding of the two. Both the oboe/English horn & bass clarinet team blend well together, as does the unorthodox rhythm team of Jay Elfenbein's renaissance instrument - the viola da gamba and Jim Black's earthy & ever inventive percussion/drums. The music this quartet plays is a unique combination of older classical with contemporary writing. It ends with a cool fractured fusion sort of tune, that goes free & crazy in the middle - Emmanuelle's oboe & McCann's guitar often compliment each other's paths. A fine offering from this new double reed princess for $14. 

15.ANTHONY BRAXTON-Small Ensemble Music [Wesleyan] 1994 (Splasch 801) After a half dozen releases on his own Braxton House label and a few duo cds on Leo, it looked as though the flood of material was finally slowing down. Earlier this year was that cd of rare early live material called "News from the 70's" on New Tone and also finally just released is Braxton's opera 'Trillium' box set available through his website only for $100. plus shipping. This release was recorded live at Wesleyan University, where Anthony has been teaching for several years. It consists of consists of a duo & trio improv and Composition No. 107 for trio played by Braxton & his students, plus three compositions for Braxton's current unit that went on to record his "ghost trance music." The first trio improv is a sax trio with Brandon Evans, Andre Vida & Braxton himself. Brandon & Andre now live and play in NY, and are fine saxists on their own. Brandon just put out a trio cd with Sonny Simmons. Although improvisation is an integral part of the Braxton puzzle/game/piece, it does not get recorded as often as his numbered compositions, so some pure improv is a welcome choice. This trio improv how well these three saxists work together -using odd reeds like oboe, bass clarinet, shenai, baritone, contrabass clarinet… all three have that dry, fragile & focused feel. The duo improv features Braxton on sopranino and Eric Rosenthal on percussion is terse, both players flutter like telepathic birds flying through the wind. Composition No. 107 for piano, trombone - Roland Dahinden & AB on soprano & the rarely heard c melody sax and has been done with different personnel & instrumentation on three previous releases. Here it is done with delicate, minimal, contemporary classical rich & refined sound. Great momentary bursts of energy before the calm comes back. Incredible piece. "Three Compositions for Sextet" features our local heroes - Jason Hwang on violin, Ted Reichman on accordion, Mike Heffley on trombone, Kevin Norton on drums and is magical in a scientific sort of way. This piece contains two compositions (No. 44 & 43) never before recorded and is a wonderful work, highly charged, tight flame. Brilliant sounds for the new millenia. $15.

16.THE KEVIN NORTON ENSEMBLE-"For Guy DeBord" [in nine events] (Barking Hoop 001) w/ Anthony Braxton, Bob DeBellis & David Bindman on reeds, Tomas Ulrich on cello, Joe Fonda on bass and Kevin on drums & as composer. I been checking out Kevin Norton's inventive drumming for about a decade now, I recall that he was once a member of Fred Frith's Keep the Dog. He has played for & with visionary/composer Anthony Braxton, no doubt an inspiration to all around him. This release is Kevin's third as a leader & his first on his new label - Barking Hoop. This set was recorded live at Braxton's important Tri-Centric Fest in September of '98 at the Greenwich House in west Village. The piece is dedicated to French anarchist/filmmaker - Guy DeBord, the cover shows the aftermath of a violent confrontation between police & students in Paris in 1968. DeBord was involved with "The Theory of the Drift" - a transient mode of drifting through buildings in mid-demolition. The piece itself is continuous, flowing from one event to another. The ensemble of three reeds, cello, contrabass & percussion, draws from a rich pallette of ideas/colors/sounds and combinations of instruments. Kevin plays mostly vibes for the early part, with the persistent cosmic squawking of three saxes which later calm down & turn into flutes. Anthony soon whips out a scary solo on one of them odd horns, like some alien animal speaking in tongues of other worlds (was that too Sun Ra like?). Textures, times & the overall vibe changes in the mid- section - with a pumping rhythm thing of David Bindman on congas, Joe Fonda on bass & Kevin on drums and intensely chattering horns. Kevin takes a rambunctious drum solo as the events continue. The final section winds down to a relaxed, near calm slow motion sax drone and finally a 'ghost trance' like repeating line ending with Braxton's distinctive squall. You need this! $12. 

17.DAVEY WILLIAMS & ABBEY RADER-The Ballistics of Yin and Yang (Abray 0055) Davey is a spectacular, daredevil, improv guitar giant, who I have been checking out for about two decades, since the early days of the downtown scene, where he can be heard on Zorn & Chadbourne's earliest lps. He has had a wacky longtime duo with LaDonna Smith called TransMusiq and has also been in one of the finest and most longlasting of downtown units - Curlew. Originally based in and still living in Birmingham, he comes to town all too rarely, but when he does, he always wows audiences and is full of surprises. Abbey is also a fabulous jazz drummer from Florida who I don't know very well, but do recall his recording(s) with another unknown tenor sax master - George Bishop once of NY Gong & early Microscopics. I did see/hear Abbey's powerful drumming at the Vision Fest this year with Billy Bang & Frank Lowe's Jazz Doctors. Davey's explorations & influences seem to come from everywhere - avant, jazz, rock, blues, country - the entire history of el. guitar, while Abbey has a strong jazz background, he continually explores all improv domains, he is a much different partner than usual for Davey. Abbey has a lighter touch, all flows from a more restrained, but ever moving scenery, this is certainly the quietest I've ever heard Davey play. The excitement & craziness finally sets in on "Bitsy", where Davey sounds as if he is using a toy ray gun played through his pick-up. Although this is quite a departure for both of these players, it works well because they listen closely and react on a more subtle level. Davey plays some deranged & explosive slide on the final piece "Live at the Fillmore East" - how well I remember those grand old gigs, just around the corner from where DMG is located, now sadly a bank & condos. Great stuff from an under-recognized duo for $14. 

18.ANTHONY COLEMAN/B'NAI JESHURUN-The Music of Shabbat…with every breath (KFW 258) w/ Marc Ribot, Erik Friedlander, Omar Faruk Tekbilek, Brad Shepik, Doug Wieselman, Basya Schecter, Josh Roseman, Jim Pugliese & two Rabbis on vocals. A touching collection of twelve sacred songs that span time and place, produced and arranged by Anthony Coleman and released close to holiest of all Jewish holidays - Yom Kippur. These are the music and songs of the congregation of the synagogue - B'Nai Jeshurun, one of the oldest temples in North America. My old temple in Linden, New Jersey where I grew up &was Bar Mitzvahed at age 13, closed a few years back and I have yet to join another congregation. I do miss going to synagogue on the high holy days to pray and see fellow Jews from my old hometown. Anthony Coleman has done an excellent of arranging these heart-warming sacred songs, keeping their reverent spirit intact, modernizing them only minimally. Basya Schecter from Pharoah's Daughter does some fine back-up vocals here, it is always a delight to hear her warm voice. There are those that question why the Knitting Factory should have an offshoot label called 'Jewish Alternative Movement' or why would they call an upcoming festival 'Jewsapaloosa', but I feel that all of the releases so far from the J.A.M. have been praiseworthy, and their hearts seem to be in the right place. This is a wonderful cd that I might just send my parents for Hanukah, they too would probably enjoy it. $13. 

19.DOMINIC DUVAL-The Equinox Trio (Leo 267) w/ Tomas Ulrich on cello and Michael Jefrey Stevens on piano. Although local sensation contrabassist Dominic Duval has been a longtime member of many downtown ensembles, in recent years his great work with Cecil Taylor, Herb Robertson, Ivo Perelman and Joe McPhee - has brought him some of the recognition he has long deserved. This year Dominic made his way up to the Victo Fest and appeared with two very different but excellent groups - a quartet with John Oswald & David Prentice and with the awesome C.T. String Quartet backing Ivo Perelman! Cellist Tomas Ulrich also seems to keep pretty busy with the Walter Thompson Orchestra and is currently a member of the new Sirius String Quartet who are collaborating with Dr. Nerve for their next release. Michael J. Stevens is also a great pianist who I once heard with Thomas Chapin and seems to have some dozen or so recordings with Joe Fonda & Mark Whitecage in recent years. This 'Equinox' release seems to be a magical all improv affair, where all three members work close, listen hard and combine forces to weave their talents into a rather classical sounding type of exhibition. Each piece explores a different idea or area of sound, things often unfold or build in layers, a common place for their spirits to connect. There is serious and contemplative aura that surrounds much of the proceedings, like a soundtrack for an apocalyptic film. This is a close knit trio exploring the infinite world of improv. $14. 

20..PAUL MOTIAN ELECTRIC BEBOP BAND-Play Monk and Powell (W&W 045) w/ Kurt Rosenwinkel & Steve Cardenas on el. guitars, Chris Potter & Chris Cheek on tenor saxes and Steve Swallow on el. bass. The return of elder statesman drummer & leader Paul Motian's double band of mostly younger downtown cats, doing tunes only from Monk & Bud Powell songbook - certainly a challenge for these younger jazz players. New guitarist in town - Steve Cardenas is also a part of Joey Baron's new two guitar qt. and was recently hired (w/ E. Sharp) by trumpeter Mark Isham for his role in Mark's Miles tribute set on the Studio 54 tv series. The Monk tunes have that twisted time thing that often keeps these musicians on their toes, while Bud Powell tunes often provide both tenor players with some lovely melodies to dig into. Distinctive drummer - Paul Motian - seems to really enjoy playing little games with the timing & tempos. Although I am unfamiliar with Chris Cheek, Chris Potter seems to be one of the busiest tenor sax greats of the present. Inspired solos from all parties, as well as the mighty fine rhythm team with el. bass hero Steve Swallow. Another striking W&W cover to hold onto. $14. 

For prog (ressive) heads like many of you & myself, the last decade has seen a remarkable upsurge in interest for both the original progressive bands of the 70's, as well as a deluge of new prog bands from just about everywhere. Seminal prog units from the 70's have been reforming and even playing live here in the US - European giants like Faust, Art Zoyd, Univers Zero, Magma & various members formerly of Soft Machine and Henry Cow have come to our shores in recent years. Word is that the Muffins (Washington DC) recently played a wonderful reunion set! The extraordinary Cuneiform label continues to release amazing cds by progressive bands old and new and reissues prog gems, rescued from eternal limbo!

21.UNIVERS ZERO-The Hard Quest (Cuneiform 120) Belgian prog masters Univers Zero were a part of Henry Cow's Rock-in-Opposition network of musically challenging Euro units and recorded five superb chamber-rock epics during the late 70's and released their last work in 1986. They reformed a few years back and played at the Victoriaville New Music Fest in Quebec, doing a powerful set which was a bit too bombastic for me. They stayed together and have done yet another progressive chamber rock epic called 'The Hard Quest', which is much closer to their earlier classical sound than their live set would make one think. Univers Zero are still led by Daniel Denis as their main composer on drums, keyboards and include bassist Reginald Trigaux from Present. Classical and exotic instrumentation includes harpsichord, harmonium, bassoon, oboe, English horn, clarinets & violin. This music is mostly acoustic and has a dark, somber yet enchanting beauty. These pieces rarely rock, they have more of a chamber ensemble sound, rather Henry Cow-like. For those of you that have a hard time with prog/rock vocals, none are found here except a short, spooky spoken word section by Daniel Denis. This wondrous release is about evoking smoldering spirits, entrancing us with majestic restraint. A most gracious welcome back. $13. 

22.VON ZAMLA-1983 (Cuneiform 121) Swedish prog sensation Von Zamla altered their personnel and name on each of their half dozen releases during their reign in the 70's & 80's. So, their reunion studio cd which came out a few months back, was from an earlier era of the band, hence the personnel on this release is much different. This cd compiles two live gigs from Germany in March of '83 and consists of a six piece version of Zamla, with two keyboard players (Lars Hollmer & Hans Loelv) plus Michel Berckmans on bassoon & oboe, who can also be found on the above reviewed Univers Zero reunion cd. I must admit that I have a fondness for oboe & bassoon, ever since Lindsay Cooper joined Henry Cow & Karl Jenkins joined Soft Machine, these difficult to play classical instruments have a warm sound I really dig. Mr. Berckmans also adds his fine double reeds to this gallant often keyboard dominated ensemble. Although this a live cd, the sound is beautifully recorded, half of which was done for German radio. Von Zamla were not one of the more dark Euro prog bands, their sound is a delightfully uplifting mix of Swedish folk melodies and somber yet provocative chamberworks/rock pieces. Vocals are once again kept to a minimum, but do include some appropriate chanting mixed with a few of the darker passages. El. guitarist - Eino Haapala has a fine sustained tone, rarely solos but does add short bursts inspired/nimble notes. On "Doppler" they burst into a mesmerizing repeating phrase that shows a much different side to this unit. Both the composing and playing throughout this release is splendid and engaging. Could this be their one & only live release?!? A welcome addition to anyone's progressive collection. $13.

23.BLAST-A Sophisticated Face (Cuneiform 125) Blast are an amazing Dutch progressive quintet and this is their third & best release for Cuneiform. Blast are fronted by two soprano saxists who double on other reeds, guitars, el. bass & drums, with five more guests on trumpets, violin, cello/cymbalom, marimba & percussion. The composing and playing often remind me of that wonderful Henry Cow-like swirling, ever- changing finesse with chamber group type of instrumentation. They often sound as if they are just about to break into "Ruins" from 'Unrest' - a prog milestone if there ever was one. The difference is that on this release, Blast never rock out, rather there is mainly breath-taking avant classical playing, well thought out and quirky, spacious, but never too dense. This entire work sounds as if it was composed by one great (Dutch) new music/contemporary classical composer, rather than an entire quintet of composers, this is how successful it is overall. Once again, there is little soloing happening here, since the composing is interesting enough on it's own, the flow of ideas is constantly in motion. Both electric & acoustic instruments are well balanced, even the brooding fuzz-bass and sustained guitar are used most minimally for a change. Well done. $13.

24.THE HOSEMOBILE-what can & can't go on (Cuneiform 122) This is the second release from this powerful young quartet from Tennessee and they opened the DMG Progressive Fest last night (Sept. 8th) with their dark, probing, almost post-punk wallop! Although they use rather normal rock instrumentation of two el. guitars, el. bass & drums and minimal ghostly vocals, their sound is their own, progressive in a different way - not European sounding and no extended solos by the guitars. What they do is layer both guitars, slowly building their foggy temple riff upon riff, guitars growling & humming, the rhythm team throbbing a dense stew beneath angular interlocking guitar riffs. These tunes are long & winding (almost 70 minutes), often building the riffs into a hypnotic haze of mini-epics. Part of the magic of the Hosemobile is the way one guitar is always locked into the rhythm scheme, while the other changes textures, adding varying sonic spices to the stew. The great Steve Albini produced three of these tracks and has done a fine job of helping focus & capture their dark spirits even further. A most impressive offering from these dedicated younguns from down south who have played the Knit before and will no doubt be back to knock us out once more. $13.

25.DAEVID ALLEN'S UNIVERSITY OF ERRORS-money doesn't make it (inner SPACE 7707) Daevid is the ever-prolific former & forever leader of GONG - Canterbury space/psych/rock/jazz giants who continue to reinvent themselves 30 years after their original formation. After the demise of the original Gong in the mid 70's, Daevid came to our shores for his first appearance in November of '78 at the Zu Mainfestival and formed New York Gong who included future members of Material, Kramer & Gary Windo. Daevid has continued to collaborate with select domestic musicians who can comprehend his kaleidoscopic vision. Just a few months back KFW released a space/rockin' gem by prog/psych supergroup Brainville (w/ Kramer, Hugh Hopper & Pip Pyle), and now here is Daevid backed by members of Bay area space/rock unit Mushroom, whose revolving door membership often changes gig to gig. 
On this cool release, they are called University of Errors, perhaps referring to the pataphysical philosphy of throwing in the banana to make fun of those who take themselves too serious. The UoE consist of a trio with Josh Pollock on lewd guitar & Michael Clare on bass (both of whom have been employed at the great Amoeba Records in Berkeley) and drummer Pat Thomas (once of obscure rock wonder Absolute Grey). They played last week at the Knit's Old Office and we all had a blast! All the magic ingredients are in place for this timeless psychedelic journey - Daevid's cosmic drone glissando guitar playing learned from his Atlantis ancestors in an acid dream and his calm, grinning, all-knowing - singing & storytelling, ancient to modern philosophy and jokes. Josh's great atmospheric, slow burn lead/lewd guitar balances Daevid's mesmerizing presence and my pal Michael Clare pulls off that Hugh Hopper-like hypnotic and churning el. bass throb. Michael's production is also well done- with shimmering el. guitars and Daevid's infinite voices. On "Mullumbimby Mother" Daevid does a raga-rock groove and tongue-twisting Indian-like vocals, another highlight. Some of the more mutant guitar recalls Chrome on qualudes, another San Francisco treat of yesteryear. The title track "Money Doesn't Make It" is a rather Marxist rocker that is sadly true, but ironic considering that this spirited quartet wailed in the packed but ultra small Old Office space for the (money fueled) CMJ convention. Daevid asks you all to "Burn Your Money" over & over & over, like a broken record, but before you do that, to get this great orgasmic delight - send us only $12. 

26.MUSHROOM-analog hi-fi surprise (innerSPACE 7708) Second mildly mind blowing instrumental space/rock journey from this fine Bay area unit with ever-changing personnel led by drummer Pat Thomas. The only other member of this version - a sextet, that I know is great keyboard player Graham Connah who has three excellent modern jazz cds out (w/ Ben Goldberg). The moody music on this release is a cool space/jazz/rock hybrid in which the groove is of the utmost importance. Some say they are disappointed because not enough is going on, but all of this has a nice calm space groove, laid back but still enchanting throughout it's long ongoing jams. Much of this has that late 60's/early 70's type of sound with mellotron, el. piano, organ, two post-surf snake guitars, flute, sax & sailing el. rhythm section. Sort of like the good old early days of early fusion - before it got too quick & funky. Nice to hear someone playing some fine wah-wah, whether its guitar or keyboard - it is hard to tell. In some ways this seems an extension of an earlier Frisco jamming two guitar thing like Quicksilver or even the Dead, but more jazzy. Soothing & somber mood music for spaceheads who still dig that late night toke before drowning in dreamland. $12. 

27.SMOKIN' GRANNY-sirius matter (Metaphonic 9909) I know, I know - a rather silly name and even a funky intro that don't do it, but they remind me a bit of Passport - a cool German fusion band from the 70's that got too funky & slick after showing promise. Though their instrumentation is Crimson like (el. guitar, saxes, basses & drums), I could swear I hear keyboards or synth, perhaps it is that wind controller?!? And just when you think you've heard enough goofy toons, they explode into a short noise blasting section, then back to that quirky Passport like groove. These dudes are more into finger snapping grooves, memorable tunes and not much soloing. Interesting, but not overwhelming. $14.

28.KRAKATOA-plan ahead (self produced) All I can tell you about this group is that they are opening for Thinking Plague in Philly tonight (Sept. 9th), so they must be from that general area, geographically speaking. This quartet play some dozen instruments plus lots of miscellaneous percussion. They are playful & tight, their sound or style seems to be ever in flux. There are many surprises in store, since one never knows what direction they will take, a much needed dose of humor is also apparent with unexpectedly silly bits thrown in to keep us all snickering. When one would least expect it, all hell breaks loose on "Vampires" and an almost free section breaks down the obvious structure before it comes back together. No synth, no horns, but earthy violin & piano dominate. What I find most interesting is that Krakatoa do not sound like any one group, they sound like they are having fun, and that they are not overly serious. Krakatoa love to write/play these nifty pieces where the guitar & piano are intricately weaving their lines together, sometimes with the violin, often building to a well placed frenzy. All the pieces on this here cd flow together like one long suite and it all works. Nicely done, lads and lass(es). $14. 

29.LEIMGRUBER/CRISPELL/LEANDRE/HAUSER-Quartet Noir (Victo 067) An outstanding quartet of four masters at the heights of their powers and perhaps the most memorable set of the 1998 Victoriaville New Music Festival! Marilyn Crispell is certainly one our finest pianists of avant music, after spending a decade with the amazing Anthony Braxton Qt., she continues to play powerfully in a variety of solos & groups, but comes to NYC all too rarely nowadays. Joelle Leandre is also one of the finest contrabassists on this planet, doing both improv and contemporary classical in her own way. Her recent quartets with William Parker & Mark Dresser (on different nights) at the Old Office were astounding. Swiss tenor & soprano saxist Urs Leimgruber and percussionist Fritz Hauser have played solos, duos & trios (on Hat Art) for many years and are also superb improvisers. What makes this quartet session so special is how beautifully it was recorded - the saxes & bass are on opposite sides, the piano and drums are panned across the entire stage - I can actually see the quartet clearly in my mind's eye. As I listen to this superb set at home, I can see a storm brewing outside, this music is an excellent soundtrack to Mother Nature's swirling elements. Everything builds so naturally, everyone is listening & reacting so closely to one another. On each piece a different soloist or duo, will push the flow in their direction, before the other members join in and combine forces to make this a well balanced quartet. There are many quiet moments of mysterious sounds and even occasional eruptions, when things explode. More brilliance from Victo! $14. 

30.ARMY OF GHOSTS-The Horror (Parallelism 004) This demanding tenor sax & drums duo from NY(?) have played here at DMG under their former name - Ayler's Angels and even sat in with Gerard Cosloy's Air Traffic Controllers noise duo,and their cd is also on Gerard's label. They play their own version of free/jazz, dress in mod type clothes, dedicate their cd to an American soldier from 1970 and include pix & words about the army's "melody of death". Hmmmmm. Their three long tortured pieces begin with the sad reality of war spoken word intros before the Albert Ayler influenced painful but proud squall of heavy echoed ritualistic drums and sax mess/mass. The sand-blasting duo sections go on forever, building in density and intensity! Considering these two are merely young white cats, they go for that Charles Gayle Trio (w/out bass) organic extreme/scream/hurricane force. No small feat! With pleasant song titles like "I am the Horror..," "Make Them Die…" and "The Souls of Dead Ghosts…Doves" - who could ask for anything more? My brain is starting to hurt, I am overwhelmed with the existential bleakness of a century with too much blood on its hands, too many wars - finally coming to an end - this wretched century, never the wars. The Army of Ghosts wants you! $12.

31.MINGUS BIG BAND-Blues & Politics (Dreyfus Jazz 36603) Charles Mingus was one of the jazz giants of the 20th century! I caught Mingus' extraordinary quintet about a half dozen times throughout the 70's - the unit with George Adams, Don Pullen, Jack Walrath & Danny Richmond, usually at the Village Vanguard. They just kept getting hotter & better with each gig! Mingus' incredible composing, bass playing and band leading - were in a league with his inspiration Duke Ellington. Although Charles passed away almost 20 years back, leaving us with a legacy of outstanding recordings, his widow Sue Mingus keeps his spirit and songs alive by working closely with The Mingus Big Band who have been playing Thursdays at the Fez seemingly forever. She also produced this fabulous release of Charles' most political pieces. Opening with an actual narration from Charles accompanied by his quintet of '65 - spliced over the current big band doing the same piece - very nicely done. Mingus' words are still a powerful reminder that freedom must by fought for. This awe-inspiring 18 piece big band continually grows and changes personnel. The current name players include Randy Brecker, John Stubberfield, Alex Foster, Bobby Watson, Vincent Herring, Andy McKee & Gene Jackson. This includes a double rhythm section of two pianos, basses & drums and six saxes. It sounds as if this large ensemble plays this music on a regular basis, since they play it with such total conviction. They capture the anger, the pride, the strength, the powerful arrangements and orchestral colors of the large horn section. There are too many outstanding solos to mention, but I will mention a few - Alex Foster's soprano sax on "Freedom", Bobby Watson's burnin' alto sax on "Pussy Cat Dues" a bluesy stomper, and a blues drenched quote filled tenor solo by John Stubberfield on "Oh Lord, Don't Let Them Drop that Atom Bomb on Me." This cd ends with a rare Mingus opus called "Little Royal Suite" for Roy Eldridge and it is truly an event! This long and winding piece goes through a variety of enduring sections and solos. Outstanding performances all around! $14.

32.THE NECKS-Aquatic (Carpet Bomb 005) The Necks are an ambient/space/groove/jazz piano/organ trio from Australia that feature keyboard wiz - Chris Abrahams (once played with Ed Kuepper), Lloyd Swanton on basses and Tony Buck (Peril, Kletka Red) on drums. Their guest is the delightful Stevie Wishart (Machines for Making Sense, Chris Burn Ensemble) on hurdy gurdy. These ultra long slow moving groove pieces are sort of like "In a Silent Way" by Miles Davis - it is all mood & groove, not really solos but floating vibes. Chris' organ & piano glow & hum adding colors while the el. bass & high-hat provide a quicker aquatic funk groove that goes on & on. Perfect for late night, dim light, smoky, sailin' contemplation. I dig this, bit I can see/hear how some might complain that there isn't enough going on. It seems to me that it is often our own impatience or desire for (complex) change that keeps us from enjoying subtle journeys like this. Then again, I still have a hard time with much Morton Feldman, Philip Glass and Steve Reich. Forget I mentioned it, but this Necks cd is a nice balm of peaceful grooviness for a mere $10. 

It seems as if we have finally worked out our e-mail problem – yeah – special thanks to Phil Zampino, Raymon Elozua & Dean Roberts for their assistance. Our DMG 8th Anniversary Show at the Knit was a complete blast, everyone played incredibly well – The Hosemobile, Dr. Nerve and Thinking Plague!!! Coming up are important gigs by the ICP Orchestra & Willem Breuker Kollectiev at Tonic, check out our monthly recommended calender on our website – DownTownMusicGallery.com. peace & love, Bruce Lee… 

Reviews By Dean -

M.I.M.E.O – (Perdition Plastics009) AMM Guitarist Keith Rowe assembled this extraordinary group of electronic improvisers for a series of performances in Europe in 1997. This CD documents excerpts culled from these performances. While this process in itself may seem inconsistent with the AMM's pragmatic philosophy, the group is stepping into territory of sound manipulation and processing, while still footed in improvisational theory –in the grand tradition of Musica Electronica Viva, David Tudor and Nouvo Consonanza .MIMEO's make-up is an ensemble working with computer aided processing tools, many of which have been developed in the past 5 years. The artist on board are masters of these programs and show adeptness to twisting a sound inside out. While this not entirely a Laptop Orchestra, Piano, Violin, Synth, Guitar (that's Keith's guitar of course- if you can still call it that) and that trusty old staple, the radio are listed as instruments. 
   
The prospect of a large ensemble like this may suggest a chaotic indulgence in density and noise, it is in fact subtle and sparse in it's exchange – serious consideration to the group sound is given by all – and most often the ensemble is pared down into smaller groupings. 
This album, Like some of Otomo Yoshahide's groups, is example of the vibrant progressions that have been made in the wake of the liberation of digital audio processing – in that compatibility with speed has turned the computer into viable improvising instrument –MIMEO never loses touch with the tactile. With it's evolving membership having involved Phil Durrant, Jerome Noetenger, Peter Rheberg, Thomas Lehn, Cor Fuhler, (among others) who could expect anything less than brilliant ? $14

GIUSTINO D.GREGORIO –Sprut (Tzadik 7050) This Italian sampling/plunderphonics artist has created an extraordinary album entirely out of lifted material. With a credit list of source material that takes up the entire inside sleeve, this eclectic collector puts together a collage of a fragments which includes Jazz, Classical, rock and electronica soundsbytes including blatant appropriation of the guitar intro to "Gimme Danger" no less(!!??). An obvious point of reference here would be the work of John Oswald and Negativeland, done with a humor that subsides into introspection as the works peaks are when the familiar echoes become poly-morphed into an interior dialect – where the ghost of the sound most listeners are well accustomed to adopts a new value in it's own self invented world – one where stylistic collision, genre specificity are luridly perverted by their marriage to one and other – the perfect metaphor for modern society one could say, this record will surprise if not for the masterful techniques by which it is composed – at least for the sheer audacity by which Gregorio picks his ingredients. $14

HAUNTED HOUSE –Up in Flames(Erstwhile 002) Anticipated Debut from Loren Mazzacane Connors, Suzanne Langile and Counterparts from Atlanta's San Augustin – this group threaten to be the mythical rock combo where Loren'' guitar has been displaced. While the guitarist's technique has drawn from the dripping psychedelic groups, his playing has never before been documented writhing about above the pounding mantra of a blues rock rhythm section as his style often hints at. Though this is hardly a conventional rock band- not by any stretch of the imagination, but the pulse and atmosphere is as close to a conventional band as Suzanne and Loren's collaboration has since "Come Night". This recording steps further beyond – and as seen here in the DMG Sunday Live Music series last month – the group shifted up a gear into full –swing at times adhering to a lateral pulse, where Loren's guitar is most grounded, -his tangential drift is always called home to the beat…. When the beat here is provided by a single Persian Daf drum, the atmosphere is a shattered and skeletal corps – where the carriage is the great ship of song form – the framework held together here by the barest of adhesion. Suzanne's voice is resonant throughout, guiding the quartet into picnoleptic delirium like she knows the way too well. When they reach that point where nothing means more than anything, then they spin and howl in a storm of screaming notes- and when they do reach that territory - which is, paradoxically, a zone where the difference between dense interplay and musical taxiing is a mere surge in syncopated energy – well then that's when the group is really switched on. $13

GROUND ZERO - Gig - Last Concert. (Amoebic) Otomo Yoshahide's closure of the ground Zero project was hardly an end. Sine this final concert recorded live in Tokyo in 98 he launched the ISO project, and has proven to be more hyperactive than usual - with collaboration CDs, a new solo CD imminent on Tzadik, which like this album, assembles a large group. Here GZ consists of 13 instrumentalists, and the heat generated by being the last ever performance is apparent throughout, from lamenting meditations to examples of rigorous chaos and heavy storms of group interplay. Ground Zero, while embodying a huge spectrum of influence, never sound like a collage of other music - Yoshahide has developed a complexity in the language - which is a self-referential dialog relative to the ensemble and the world created within. Here the piece develops into a call + response mantra between 4 saxophones as an abridging passage (which is vaguely renders "consume red")- which becomes evidently the centrifuge of the entire performance, beneath which surging siren tones create a bed of suspension - and while time apparently stands still - the listener is lured into a zone where bells swing at their own accord - calling in the rain that follows - an eruption of percussion and electronics which exudes pure worship of beautiful noise. Clearly ground Zero were not going out without driving out the ghost in their machine - (sadly) this CD documents them at their very best - a hypermodern big-band with a communication so tight it verges on the means of telepathy, with an end that is creating a sound never heard before. $18

VHF-Extracts (Erstwhile001) This trio album takes the first catalog number for the label with much promise, Erstwhile is staged to be a prime doccumentor of new-imrov and abstract electronics (based here in NYC). The trio of Graham Halliwell(sax,Perc) Simon H Fell (Dbl. Bass-of Hession/Wilkinson/Fell fame) and Simon Vincent(Drms/Tone generator)make up the VHF abbreviation. These protagonists of the quiet noise wave (see Wire Sept editorial) work with a delicacy and detail which explores the time line like skeptics of the fact of linearity - collectively drawing shapes on the micro plane between space and duration.
Where Feldman's compositions aspired to putting time on hold, this improvising unit approaches texture as lyric in a similar fashion to the sleepy compositions of the 50's - though as a free-form exercise the dialogs are reductionist to the degree that if someone in the trio felt that striking a match in the corner was contributing to the group sound, the other players would empathize by playing miniscule clusters that would surely spiral around the ascending smoke. Like the Viennese Durian Label's artist, this group has developed soundings out of extended techniques, where a texture will be explored in detail and transformed into an exquisite tone that bares a relationship only to silence (the dominant material in this recording) or the parallel events going on. For those waiting for the day that minimalism would play a more prominent role in improv (as blueprinted by AMM), may see that puritan improv ethos is being inverted in astounding ways. This album is definitely one of the better documents of recent times– and the spirit of inquiry and genuine experimentation make this a thrilling listen. $13 

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