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NEWS FROM THE WORLD OF JOHN ZORN - January 29th was the return of one great duos of downtown scene - Fred Frith & John Zorn at Tonic for one set only and it was amazing! This was be followed by two sets of the Young Philadelphians who were comprised of Zorn, Marc Ribot, Jamaaladeen Tacuma & Calvin Weston! Zorn also invited Israeli saxist Danny Zamir to sit in, Danny will have his Tzadik debut cd out in March with Zorn as his guest. Upcoming Zorn releases for the year 2000 will include a new series of game pieces including a west coast version of "Xu Feng" & new version of "Cobra"; 'Music for Romance'-Volume Three-'The Gift'; 'Chamber Works-Volume Two' which includes "Sonata for Violin & Piano" (which performed at Castle Clinton last summer), a solo cello work for Erik Friedlander and a 'Trio for Violin, Cello & Piano' and a tribute to Hieronymus Bosch and Joseph Boyce sometime next year. The eagerly anticipated 'Arcana' book, edited by Mr. Zorn and containing writing of thirty composers will be out this week. We just received this informative 375 page book today, the cost is $20. and we'll review it for the next newsletter. Zorn and your truly are working on another tribute to Tom Cora for the Knit label, this one will include pieces from seven gigs of Tom's in different groups recorded at the old & new Knit by myself, with the proceeds going to Tom's family. This cd will replace Zorn's "Cobra" compilation on the Knit label, which will be going out of print. A list of upcoming releases from LASWELL-LAND will be coming your way sometime soon. We just got in the reissue of Bill's 'Hear No Evil' this week on Meta, which includes a second cd remix of two of the pieces, cost is $18. I am also working on a check-list of all Laswell-related projects from 1999 and to those who are interested, a short list of Bill Laswell rarities now available through DMG will be transmitted to those who are on our separate Laswell e-mail list. If you wish to be on this list, let us know by e-mail. NEW RELEASES FOR JANUARY 2000!! NEW RELEASES FOR JANUARY 2000: 1.JOHN ZORN-Lacrosse (Tzadik 7316) Featuring Eugene Chadbourne, Davey Williams & Henry Kaiser on guitars, Polly Bradfield & LaDonna Smith on strings, Mark Abbott on elecronics and Bruce Ackley & Zorn on saxes. When Zorn released his massive 'Parachute Years' retrospective seven cd box set a few years back, I knew at $85. (our price) it would be difficult to sell and we do only sell about a half dozen per year through DMG. The fact that John put an amazing amount of work into the lavish packaging and unearthed much unreleased material does help, but the music of his earliest games pieces is some of the most challenging of his twenty year musical journey. As most Zorn fans who have witnessed 'Cobra' (his most popular game piece & still being performed) would agree, seeing these pieces in concert - they seem to make more sense in person. None of these early game pieces have been performed live since the 'Month of Zorn' retrospective at the old Knit in September of '93. To rectify this situation, John has decided to reissue all of the 'Parachute Years' box in separate single or double cds, one game piece at a time before the end of the year. No more extra material has been added, so if you own the box, you're cool! 'Lacrosse' is the first of this series and it is a two cd set with two versions of the piece - a west coast 'Twins' version recorded in San Francisco in June of '77 (previously unreleased) and an east coast version recorded at WKCR in June of '78. What does help in understanding this music is the lengthy liner notes from Zorn, Chadbourne and Rova saxist Bruce Ackley, explaining the difficulties of bringing Zorn's music to fruition. I met Zorn around 1980 thanks to my hero Fred Frith's moving to NYC and recall checking out many of these game pieces often to very small audiences at places like Studio Henry. At first, I was quite confused by this music, but soon became fascinated by working at it and asking questions. This music does require patience and work and with all game pieces it is based on directed improvisation, each piece uncovering problems to be solved. What is apparent is that Zorn has found just the right players to pull this off. For me, two decades later - listening to this music makes more sense, the glue-magic-direction is in there if you search for it. The west coast 'Twins' version features Chadbourne, Kaiser, Ackley & Zorn and is one 30 minute take. The musicians play quite minimally, yet seem completely focused, each sound appears loaded with intent, building ideas in different combinations. The east coast version features Chadbourne, Williams, Bradfield, Smith, Abbott & Zorn. Both Polly Bradfield & Mark Abbott have long since left the downtown community. Polly was certainly one of the oddest of all the early downtown players, often using a comb & toothbrush on her violin & viola. Eyvind Kang claims that her completely unique approach changes his outlook to string manipulation. When I first heard/saw Zorn in 1979 he too had a completely unique approach - playing only dozens of mouthpieces (often into a cup of water) occasionally putting his sax together, as well as playing bird calls! Once again, the mystery unfolds slowly as the directed improv challenges both the player & listener. This sextet version, recorded a year later, seems even more focused, yet more dense in spots as the players reach deeper into themselves and seem to make the inner magic/glue more real. As John Zorn's international following continues to grow, what better place to develop an understanding of the beginning of his long recorded journey than these early pieces of his vast puzzle. A two cd set for $20. 2.GEORGE LEWIS-Endless Shout (Tzadik 7054) With the recent passing of Lester Bowie and Fred Hopkins in the past year, two important members of the AACM, we are all at a great loss. The AACM has been a breeding ground for visionaries not bound by any one genre or style of music, since its inception in the mid- sixties in Chicago. Thank the lord for the survivors like Muhal Richard Abrams, the Art Ensemble (now just a trio), Anthony Braxton, Henry Threadgill and George Lewis. Each one - a constant fountain of exploration, ideas and different musical rivers. I have long admired and occasionally spoken with George Lewis for just these very reasons - he is constantly searching as a composer, as well as being an outstanding trombone player and computer wiz. He also teaches at UC in San Diego, last time we spoke. He records infrequently in recent years, so this wonderful cd is a welcome gift of four very different excursions. 'Endless Shout' features a piece for percussion & voice through computer, a solo piano suite, George conducting the great Now Orchestra from Vancouver and his ongoing work for trombone & computer. "North Star Boogaloo" is for percussion and the sampled voice & text of the great poet Quincy Troupe. It blends jazz rhythms and images with repeated words, sports samples and has that jazz vibe on classical percussion. The title piece for solo piano pays homage to a number of Harlem stride pianists, but it is really more minimal, bluesy and filled with suspense. "Shadowgraph 4" for the Now Orchestra combines improvisation with compositional strategies, the conductor directing the improv. Well known soloists include my old pal Paul Plimley on piano, Vinny Golia on baritone & Peggy Lee on cello. It is nothing short of amazing - explosive sections turn into eerie ones, the orchestra is superb throughout. "Voyager" for George's trombone and interactive computer is a continuing journey of exploration that George has been refining for a decade & a half. In the past, the two performances of it that I have witnessed weren't very successful for me and my friends, but on this release it is a grand achievement! While critics are often too quick to judge a computer that improvises and interacts, George has found a way to get the computer to sound like a more natural partner. Thanks to Tzadik once again, for making this all possible. $14. 3.PETER GARLAND-the days run away (Tzadik 7053) Peter Garland is an American composer who is also known for editing SOUNDINGS Press, a new music journal of articles and compositions. He has also put together collections of Conlon Nancarrow and Paul Bowles music. Garland has also spent considerable time as an ethnomusicologist, studying the music of the Indians of Northern California and Mexico. The music on this cd, the days run away, ranges from the stately 20th Century tonalism Bright Angel Hermetic Bird - a recent work (1996) - to the minimalism of The Day Runs Away (1971), a riff that repeats but changes. During the composition A Song (1971), modules repeat, it really sounds like a collection of miniatures and even a bit like Harold Budd without all the electronics. A look at the liner notes reveals that Garland did in fact study with Budd in the early '70s at CalArts. Which came first? The chicken or the egg? Budd certainly changed his style during that period, was Peter Garland an influence? The cd finishes up with four more early works (1971-76) in this style. Post-early minimalism without the techno Phillip Glass feel, pianist Aki Takahashi performs with a relaxed sense of rhythm and a warm touch. The piano is placed a few feet away so it's not in your face but not so far away that it's drenched in reverb like a cloudy rainy day in a foreign film. $14 The above review was also written by David Beardsley
The first side of 'Third' was called "Facelift" and it began with a truly bizarre fuzz-organ freakout from Ratledge and was recorded at two live gigs in January of 1970. Finally, some thirty years later 'Noisette' is released and it consist of the rest of that monumental gig at Fairfield Hall in Croydon - all 73 plus minutes worth! What's interesting about this gig/cd is that it features the short-lived quintet version of the band with Ratledge, Dean, Hopper, Wyatt and a most elusive member of the British jazz scene - Mr. Lyn Dobson on soprano sax & flute. What's also cool is that the first third of this cd are pieces that were never recorded by the Softs in the studio, only found on a couple of legit live releases. It opens with "Eamonn Andrews" and features some blistering fuzz bass from the man who invented that sound - Hugh Hopper! This music is often about hypnotic repeating & interlocking riffs in odd time signatures that build in waves to cosmic conclusions, concerts were continuous - one section flowing into the next one. The Softs had just purchased a new PA and were playing pretty loud, both saxists had contact mikes attached to their horns, giving them a weird, distorted tone that adds a strange/alien quality to their sound. Nice to hear Lyn's Rahsaan-like flute brightening up "Backwards." The Softs are incredibly tight & spirited throughout this wonderful concert/recording. It is also great to check out "Hibou, Anemone & Bear" and "Esther's Nose Job" from 'Vol. Two' updated intensely for this quintet version of the Softs! My only minor complaints would be that we get a shortened instrumental version of Wyatt's epic "Moon in June" (it is more of a studio piece, anyway) and not enough of Robert's delightful voice. And what Soft Machine gig wouldn't be complete without Kevin Ayers' throbbing "We Did it Again" as a closer, it was still done as the conclusion to the Knit's 'Tribute to Robert Wyatt' gig last year! There have been about six legit live Soft Machine releases since their demise, with the three on Cuneiform being the only ones still in print, so let us give a very special thanks to Steve Feigenbaum for putting so much hard work into this wonderful release! $13. 5.[FRED FRITH-MIYA MASAOKA-LARRY OCHS] MAYBE MONDAY-Saturn's Finger (Buzz 76007) Now that Fred Frith and his family have moved to the Bay area to accommodate his three year teaching gig at Mills College, he will most likely be working with numerous members of the west coast avant scene. This cosmic offering looks to be the first of many great things to come. Actually, this release was recorded live at the Unity Temple in Chicago in July of 1998, a year before Fred moved to the left coast. Maybe Monday are an improvising trio with Miya Masaoka on koto with sampling, Larry Ochs from the Rova Sax Quartet on tenor & sopranino saxes and Fred on electric guitar. Although I haven't dug everything that koto virtuoso & electronic manipulator Miya has done, she has blown me away on numerous occasions and seems to always pick great players to improvise with - Henry Kaiser, Ikue Mori, Mark Dresser, G.E. Stinson & Gregg Bendian to name but a few. Her orchestra concept work on Victo is also outstanding. I have nothing but praise for each & all members of Rova, who seem to be doing more off-shoot projects each year. Larry Ochs' What We Live trio being among the best of the lot. This release presents three quite lengthy pieces, clocking in at 65 plus minutes. I recognize many of the strange sounds that Fred makes while manipulating his guitar in a wide variety of ways - after seeing play live in NYC many dozens of times during the decade he lived here, as well as the bowing & rubbing of the strings on Miya's koto. There are still moments when it is hard to tell who is doing what. There are many quiet yet sinister moments to evoke the cosmic spirits, as well as well selects points of dark, rich, dense tapestries. You can tell that there are three masters of improv at work with the way they constantly connect on many levels. Larry's sopranino often does a fine, subtle job of snake-charming, slithering coolness. Even the weird cover art, seems to capture just the right amount of attention. Fred Frith's debut release on Winter & Winter with the wonderful Ensemble Modern is due out in the US in April. Can't wait!! in the meanwhile, you too can grab this for $14. 6.HENRY KAISER & ROBERTO ZORZI-Through (Materiali Sonori 90112) Guitarist Roberto Zorzi is from the great Italian progressive unit LA 1919, who have two fine cds out & wowed us up at the Victo Fest a few years back (with Chris Cutler on drums). Our friend & guitar god Henry Kaiser needs no intro and just told me of an upcoming recording session planned with the amazing Tisziji Munoz, backed by Marilyn Crispell, Mark Dresser & Lukas Ligeti - sounds scary!! According to Henry's website, he has some half dozen completed projects in the can with no label to put them out, so if you are a big Kaiser fan & win the lottery, let's start a label & get them out. Henry seems to work well in the guitar duo situation, as last year's duo releases with Chadbourne & Frith (reissue w/ new material) can attest to. Both Roberto & Henry play a variety of acoustic & electric guitars & basses. The duo improvised and/or composed all but three of the 18 pieces, with two tunes by Henry's pal Bob Adams and an exquisite cover of Nick Drake's "Time of No Reply" as a closer. Six solo pieces are also part of this fine package. Much of the music was done on acoustic guitars and both of these pickers have a more melodic side to their sound, but continually explore the further edges of improv. They even poke fun at themselves & other acoustic pluckers, while talking their way through one of their duo excursions. Henry plays a delightful solo variation on Skip James "I'm So Glad", which he once covered with a power trio (inspired by Cream?). It is hard to tell who is doing what at times since one piece ("Antichi Maestri") was composed by Roberto, but does sound like that weird but distinctive rack mounted delay sound that Henry often uses. To balance out the more melodic bits, there are points where them strange guitar sounds take over, but not for too long. Many of the duo pieces are particularly powerful as each player pushes the other to interconnected flights of fancy. There is a relaxed, contemplative vibe that runs through much of this, that also adds to its successful balance. An excellent Italian import for $17. 7.NEW YORK ART QUARTET-35th Reunion (DIW 936) Featuring Milford Graves, Roswell Rudd, John Tchicai, Reggie Workman & Amiri Baraka!! It seemed almost too good to be true - that this trail-blazing free-jazz quartet plus poet would reunite some 35 years later to play at the Knit's jazz fest last summer with Sonic Youth! Granted, the sound at the seaport atrium was not the best, but it was an historic event nonetheless. The great news is this fabulous studio recording was made that same week. The NY Art Quartet with revolutionary poet Leroy Jones recorded just one full length release for the ESP label in 1965 and it helped define what free-jazz was all about. Much has changed since the explosive history of the 60's, but the struggle for freedom in life and in music continues to burn from within. In recent years - Milford, Roswell, John & Amiri have returned to the concert stage and we all can rejoice because we need these inspirational and multi-dimensional characters to help guide us through these times of greedy corporations controlling the masses. Each set from the cosmic percussionist, wacky vocalist & healer Milford Graves has been an event unto itself - he is a man possessed by special spirits who brings each audience with him to a magical place. No one will forget his sets at the Vision Fest or his solo set at Tonic anytime soon! And who else but Milford could open this transcendent release with his distinctive, throttling vocals & percussion! This is a world music that combines cultures from everywhere - African, American, Danish, from dixieland into Monk's influence. The triumphant warriors have come back to haunt us once more as the rest of the unit erupts together - all is one force to be reckoned with. Amiri's poetry does a colossal job of illuminating the inner spirit that holds this together and making us ponder the essense of this living music - "Of what use is poetry?" he asks - a good question that is answered in each poem he recites. This is not merely a free/jazz blowfest either, it involves the history of jazz. On Tchicia's "Llanto del India" we get a somber bluesy theme that can touch us in more restrained way. Each piece explores a different vibe, a fine balance of four winds blowing naturally...It sounds like ghosts rustling among the ruins on Reggie's "Visiting Ogun" - the African deity, while that free-jazz vibe begins to slowly erupt on "Perceiving Passersby's". Amiri speaks of both the innocence & harsh realities of the 60's life & music on "Seek Light at Once" and we can wonder whether this is a good thing or not?!? It winds down to a peaceful ending, a good way to bring this adventure to a close. Japanese import for $18. 8.NEAL KIRKWOOD'S CHROMATIC PERSUADERS-Extrospection (Timescraper 9619) In the past year or so pianist Neal Kirkwood has put out two fine modern jazz cds - the first Chromatic Persuaders cd and his superb octet release. Now we have another gem from his all-star quartet - 'Extrospection' ( not a real word?) featuring our favorite violinist Mark Feldman (Masada String Trio), bassist Lindsey Horner (Myra Melford trio) and wonder-drummer Tom Rainey (Tim Berne'e Paraphrase). We can never get enough of that ever-dazzling violinist - Mark Feldman and in early January he knocked us out with Yuko Fujiyama's swell trio with Susie Ibarra. Each of the ten cuts here explore the varied world(s) of modern jazz in many incarnations. Neal penned all but two of these pieces, with one by Mark and a Kurt Weill cover. Tom Rainey really knows how to work the groove and does just that on the jumping title tune, with its bluesy vibe & an infectious melody. Feldman's "Father Demo Square" is quite haunting sad & lovely with Mark's wonderful violin touching our hearts, Neal's piano also savoring the tasty vibe. The superb rhythm team are constantly tight and flowing, pushing and pulling the current through the quick and difficult sections, as well as the more lyrical parts. Although Mark often provides the fireworks which push this entire endeavor over the top, everyone here is equally in top form to make it so successful throughout. Neal's compositions are completely charming, involving the many elements of greatness - grace, fire, passion, warmth and beauty. They are played at Roulette on January 14th and were wonderful! $14. 9.ROBERT MUSSO-Innermedium (DIW 416) Featuring Dave Liebman & Byard Lancaster on saxes, Bernie Worrell & Karl Berger on keys, Charles Burnham on violin, Bill Laswell on bass, Ayib Dieng on percussion, Lance Carter on drums & Bob Musso on guitars & bass. Most of you probably know Bob Musso's name from his long career as Bill Laswell's main in-house recording engineer. He is also a formidable guitarist, band leader (Machine Gun), label founder (MuWorks) and solo artist in his own right with some six releases under his belt (two on Mu, three on Fax & a dub duo on WordSound). This is his first date as a leader in a while, with an impressive cast of characters. Over the past year, he has been playing live with an altered version of this fine crew (w/ Elliott Levin on sax/flute & David C. Gross on bass) and the gigs have been hot! On 'Innermedium' Bob plays sly e-bow drone guitar lines with Burnham's hypnotic violin a' sailing along. So nice to hear Charles Burnham back with us in Blood Ulmer's Odyssey reunion and currently with Susie Ibarra's superb trio. Bob has written some fine jazz/funk tunes this time, more groove-infectious than his usual burnin' guitar sonic cds. Bernie Worrell's organ sounds great on the greasy "Luminous" and Liebman pulls off an inspired soprano solo as well. Bill Laswell's funky and throbbing bass is at the center of many of these tunes, but never overdoes it. This release is filled with more refreshing and mesmerizing melodies than anything Bob has attempted before, making it ripe for the radio, while live there is a bit more edge. On a few of these tunes, Bob does let a some short guitar solos rip! Still, it is the groove that shines throughout the entire affair. You be snapping your fingers to this groovy delight! DIW cds sell for $18. 10.JOE MORRIS QUARTET-Underthru (Omnitone 11904) On the first Friday of this year, we were all blessed with an incredible mini-Vision festival at the Mercury Lounge (a rock club) in NYC - almost five hours long, 14 sets of avant-jazz's finest local heroes in many combinations! Two of those great musicians are from Boston - Joe Morris & Mat Maneri (who now lives in Brooklyn) and both front this amazing avant-jazz quartet. Both el. guitarist Joe & violinist Mat have matured into distinctive and demanding players who must be dealt with on their own terms, since they sound like no one else. The rhythm section consists of Chris Lightcap (from Test) on bass & Gerald Cleaver (from Detroit area) on drums. Joe Morris leads a number of ensembles currently and each one has its own sound - he always seems to be fine tuning his ever-challenging approach for each unit. Each of the five pieces on 'Underthru' is long and gnarly and takes much work from the listener to penetrate its dense magic. The closer we listen, the more the underlying currents are revealed. What continually amazing me is how Joe & Mat seem to anticipate each other's move into a new dimension, both play in between the cracks of the obvious. The rhythm team also provide the much need glue/flow that helps hold it all together as one unit, they often play in some sort of slow motion while Joe & Mat spin waves somewhat quicker...yet it all fits. The head on the title piece reminds me of the Attila Zoller-Don Friedman Qt. doing some difficult Carla Bley tune from the '60's, no easy feat! I find some these pieces less dense than Joe's usual web of activity, making things a bit easier to fathom. Are you ready to be challenged?!? It could be yours for $14. 11.TOM VARNER-Swimming (Omnitone 11903) w/ Mark Feldman, Tony Malaby & Steve Wilson on saxes, Dave Ballou on trumpet, Peter McCann on guitar, Cameron Brown on bass & Tom Rainey on drums. French horn player and composer Tom Varner continually organizes wonderful ensembles that play his diverse & demanding music, as each one of his half dozen plus cds illustrate! He has had a great double sax quintet for a while, which he expands with other players - here adding violin, trumpet & guitar. What keeps both the players & listeners on their toes is the eclectic world of inspiration that Tom draws from - biblical themes, science fiction, folklore, kitsch, funk and modern classical music. At 73 minutes, they do cover a great deal of territory. The title track presents an endearing melody & groove, the rhythm team digging in, spinning so fine with a string of an inspired solos from Tom & both fine saxists. Masada fans often credit Joey Baron with inventing or at least making popular his hands on drums technique, but I recall Tom Rainey doing this also for a long time and on "Pantoum" Rainey works his earthy magic at the center of this cool counterpoint tune. One of Varner's strong points is the way he composes for the horns - "Maybe Yes" shows his rich harmonies & interlocking horn parts done most successfully, with fine short solos interspersed to add spice. "Samuel Gets the Call" is a hushed lament with luscious tenor sax lyricism by Tony Malaby and lovely horn parts softly glowing around the gracious theme. One of the highlights of this great cd is the "Seven Miniatures for Mark Feldman", which pushes Mark's wondrous violin through a diverse array of styles/genres - inside & outside, modern jazz & classical, somber & explosive, Mark is magnificent when given the chance to push the limits. "Omnitone Blues" is just that & just right, written for this fine new label started by an old friend & this cd's co-producer - Frank Tafuri who used to help run Black Saint/Soul Note here in NY. Varner goes for the jugular on "Strident" - a rambunctious, uptempo theme that builds in waves with impassioned, spiraling alto sax by Steve Wilson. The closer is the somber and thoughtful "Chicago Interlude" - a great way to bring the intensity down to a calm ending. Another excellent offering from Tom Varner and company. $14. 12.[STEVE BERNSTEIN'S] SEX MOB-Solid Sender (KFW 244) He's at it again! Slide-trumpet hero - Steve Bernstein has been in a number of fine units (Spanish Fly, Lounge Lizards, Kamikaze Ground Crew), each one completely different from the next. His superb & spirited Tzadik debut 'Diaspora Soul' cd remains one of the most popular of the 30 plus releases Tzadik put out last year. Still, none of these can compare to the hilarious hijinks of Sex Mob! Sex Mob is Briggan Krauss on saxes, Tony Scherr on basses, Kenny Wollesen on drums & Steve on his unique slide-trumpet bravado! No one but Sex Mob could possibly cover tunes as ridiculous as those by Nirvana, Abba, Duke Ellington, the Grateful Dead, Buffalo Springfield, the Stones & James Brown!! Guests include DJ Logic, a string section & children's choir. Steve has written the other half of these tunes, including the six part "Human Bidet." A bidet is a special toilet that spirts up water to soothe one's aching bottom. 'Solid Sender' is about having fun, cool grooves and throwing pies in the faces of those of us who take music a bit too seriously. Nobody but Sex Mob could do Nirvana's "About a Girl" in a finger-snapping Kansas City style or find beauty in Abba's "Fernando." The string section is used on "Human Bidet - Part 1", which reminds me of sexy music for strippers. Even Duke's "The Mooch" gets a cool funky circus type of groove. Tony Scherr's fat acoustic bass & Kenny's splashing drums keep the vibe happening while the horns explode outside on "Rear View." The Dead's "Ripple" gets a nice, soft, laid back rendition, as also does that bluesy hippie anthem "For What It's Worth," as well as the already solemn & quaint "Ruby Tuesday." What stands out most here is the spirited swagger of entire quartet, especially the oft burnin' horns of Briggan & Steve. A solid blast of fun is guaranteed for all! $13. 13.GRAHAM CONNAH/JETTISON SLINKY-dank side of the morn (Evander Music 008) Bay area keyboard wiz - Graham Connah - maybe difficult to figure out, but he is demanding of our respect. He is both a fine pianist for the ever-evolving bay area modern jazz community, as well as a member of the great progressive psych jamband - Mushroom, who have backed both Kevin Ayers & Daevid Allen! This is the fourth release by Graham's unique (nine-piece) ensemble plus vocalists, once known as the Sour Note Ensemble. The members come a wide variety of backgrounds & include clarinetist Ben Goldberg (New Klezmer Trio), Rob Sudduth on saxes, middle-aged flutist Noel Jewkes (who played w/ Jerry Hahn in the 60's), Marty Wehner on trombone, Alex Candelaria on el. guitar, Trevor Dunn (Mr. Bungle) & Lee Alexander on basses and Smith Dobson, Jr. on drums. The two vocalists are Jewlia Eisenberg (from the fine Charming Hostess) & Nancy Clarke. What is amazing about this release, is how it well blends progressive, jazz & rock elements into a great tapestry or journey that would be difficult to define by one term. Graham has obviously spent a good deal of work composing these long & winding pieces. "Door Ajar" combines powerful fusion tinged guitar, with a majestic horn charts & vocal parts and pumping trombone. While vocals can often ruin some of the great progressive records of the past, they are an integral part of the sound here and work well with all the other challenging players & compositions. Daredevil el. guitarist Alex Candelaria constantly whips up a frenzy throughout many of these pieces, but never overwhelms the proceedings. Graham plays occasional spooky & often tasty synth & inspired organ throughout, as well. The futuristic/utopian sci-fi lyrics may seem a bit hokey at first, but somehow fit the vibe. Unlike much jazz, solos are kept to a minimum, so that the intricate passages of well written parts stand out the most, horn parts especially work well, even when the guitar & synth blister through. If I didn't know better, I'd think this was some long lost classic prog treasure from the 70's! A perfect candidate for the Wayside catalogue and only $10! 14.FRED HERSCH/MICHAEL MOORE/GERRY HEMINGWAY-Thirteen Ways/focus (Palmetto 2055) Pianist Fred Hersch is occasionally too mainstream for my tastes, but rises above this when playing other adventurous musicians. This trio in particular is outstanding and feature two other players who consistently knock me out - alto sax & clarinetist - Michael Moore and drummer/percussionist Gerry Hemingway. I recently caught Amsterdam-based Moore with the ICP Orchestra and what a fine musician he is! He can swing hard with the wild antics of the ICP and also play with ultra-sensitive finesse, which is what we find on this delightfully subtle gem. Gerry also is a master of extremes and this trio brings out his best. All three musicians have contributed tunes to this release, with the last two pieces covering two other distinctive pianists - Jaki Byard ( who passed last year) and Misha Mengelberg (also of the ICP). This release is filled with elegance and grace, lush and hushed, warmth and reflection. Fred's "Janeology" has that Monk-like fractured whimsy, Gerry adding just the right amount of quirky punctuation, the trio slowly building to a slyer tension. "Out Someplace" is filled with suspense & spaciousness, we must all connect the dots to find right balance. Michael's "Autumn Eves" is disarmingly beautiful, lyrical waves playful and refreshing from the calamity of modern life. The spirit of Monk seems to also inhabit Gerry's "En Tee" with its fragmented rhythmic scheme and slightly twisted clarineting. "Tango Bittersweet" has a perfect vibe, sounding just like its title. The only somewhat more aggressive tune of the bunch is Michael's "Bug Music" that balances its firey opening theme with moments of ghost-like suspense. "Fim de Inverno" hearkens back to an older, more swinging style of tune, showing how the trio knows their jazz history. Misha's "Habanera" has that oft-kilter charm that Misha is known for, a perfect way to close this gracious treat. $14. 15.CHARLES GAYLE QT.-Ancient of Days (KFW 263) As shown on the animated cover of this cd, heavy duty sax blaster - Charles Gayle - has been doing the occasional gig in clown-face make-up & costume for the past few years. This is his "Streets" character, a rather sad figure who mimes and alludes to an anti-abortion stance. An odd choice for one of greats of free-jazz tenor sax, alienating some of his long-time supporters. His gigs and recordings have become more infrequent, so this new release is a welcome return to form. On this date he uses quartet, rather than his usual trio, which consists of Hank Johnson (who?) on piano, Juini Booth (McCoy Tyner sideman from the 70's) on bass, long-time drummer Michael Wimberly and Charles on tenor & piano. Charles used to preach during gigs and obviously has spiritual concerns, as all of the song titles on this cd can atone to, including a gospel standard "Draw Me Nearer." The quartet opens with "Betrayal" - bluesy & more laid back than usual, Charles taking his time to build his temple of restrained squawking, no screaming just yet, even pianist Hank Johnson plays a rather somber solo. With "Risen Eternal" the energy starts to expand, Charles' tenor begins burning, the qt. is in fine form, erupting with intensity, tight & inspired, strong solos all around, hurling us unto the heavens! Even when the band slows down the tempo on "Holy Servant", Charles continues to bristle & scream in a more reflective way, making each note count. When Juini solos on bass, he brings it all down to almost nothingness, the opposite end of the freer explosions, yet just the right balance. The gospel tune "Draw Me Nearer" sounds not much different from the other five originals, but is very focused, the unit flowing together as one unified mass, sailing & wailing together as one. This is quite possibly the most balanced of all Charles' offerings so far, so dig in... $13. 16.CHRIS JONAS-The Sun Spits Cherries (Hopscotch 4) with Chris on soprano sax, Joe Fiedler on tenor trombone (for Cecil Taylor & Anthony Braxton), Chris Washburne on bass trombone & Andrew Barker (from Gold Sparkle) on drums. Soprano sax is a difficult instrument to play and anyone who specializes in just playing that one high-pitched sax, should win my/our respect. Chris Jonas is one of the few and has been impressing us with his fine work with Anthony Braxton, William Parker's LHCM Orchestra & Assif Tsahar's Brass Reeds Ensemble. This is his second date as a leader - it features a unique line-up of instrumentation - two trombones, drums & Chris' soprano and was recorded live in Williamsburg in September of '99. Chris' composing sounds rather Braxtonian in the way he has his musicians switching roles, shifting densities, mixing & matching duos & trios. His spiraling & sputtering soprano is often shadowed by crisp percussion, the trombones often on the verge of exploding, yet always in line with soprano or the drums or both. There are also quite a few moments when silence is peppered with short kernels of sound, well selected patterns emerge like modern classical compositions. Ultra-subtly and the clarity of ideas is often what shines through. There is even a section that 'Ghost Trance' like repeating phrase thing, but it quite short. It feels great when things finally soar on "Bing" towards the end of this continuous suite. This release is a must for Braxton fans and other lovers of adventurous sounds. $14. 17.SATOKO FUJII ORCHESTRA-Jo (Buzz 76008) Featuring Chris Speed, Briggan Krauss, Oscar Noriega, David Castiglione & Mike Sims on reeds, Jack Walrath, Dave Ballou, Natsuki Tamura & John Carlson on trumpets, Joe Fiedler & Curtis Hasselbring on trombones, Satoko on piano, Stomu Takeishi on bass & Aaron Alexander on drums. Although pianist/composer Satoko Fujii has some half dozen cds out in her native land of Japan, this is only her second domestic release, the first was a fine trio/duo cd on Tzadik. I have long been a fan of creative/jazz orchestra music, but so little of it seems to be noticed. Who else besides Muhal Richard Abrams & William Parker are able to keep their orchestras playing and recording with any consistency in these parts?!? Satoko's orchestra is based also in NY and has played some fine sets at Tonic twice in the past year. Recorded over 1 1/2 years ago, we finally have the fruit of her hard working large ensemble entitled 'Jo'. She composed all but two of the pieces, the other two are by her friend & trumpeter Natsuki Tamura. The title piece has the all-powerful dozen horns playing rich, dark, majestic harmonies while the rhythm team of Stomu (from Threadgill's Make a Move) & Aaron (Hasidic New Wave) whip up a storm beneath and Satoko adds her soft piano sprinkles towards the end. Satoko has selected many of downtown's finest musicians and challenged them with demanding charts that place fierce soloists sputtering & erupting on top or in the middle of the rest of the orchestral colors the large ensemble rises up to. On Natsuki's "Okesa-Yansao" all the horns have been bathed in echo-laden reverb adding depth & distance and sounding even more vast than before. Natsuki piles the extremes together by having the soprano & baritone sax solo simultaneously on "Wakerasuka". "Jasper" is a quirky piece for quick spiraling soprano & bass clarinet lines interweaving and repeating like 'Ghost Trance' music on top of hand drums. Satoko explores the inside of the piano with eerie sounds mixed with warm horns a' fluttering on "Around the Corner." This wonderful release concludes with "Sola" which seems to cover a bit too many styles - slightly twisted horn parts, somber & bluesy beauty, growling muted trombones, a marching section, overlapping & overflowing horns that eventually explode. A winner from top to bottom. $14. 18.GEORG GRAEWE-MARCIO MATTOS-MICHAEL VATCHER-impressions of monk (nuscope 1006) After speaking with Misha Mengelberg at length about Monk at Tonic recently, I get the feeling that Monk's skewered way of playing, composing & looking at life is an inspiration to many a European jazz musician. Distinguished pianist Georg Graewe has only played his own music on recordings so far - solo, duo and trio improvisations mainly, so a Monk tribute is quite a departure. This is the second release for his superb trio (also on nuscope) with British based contrabassist Marcio Mattos and Belgium based American expat drummer Michael Vatcher. Georg mentions his 'strategies of fragmentation' in the liner notes and this is the way the trio approaches these nutty/knotty Monk tunes. George will often take the melody and turn it inside out, I hear a fragment of a certain tune but soon it is diced & spiced in a flurry of activity. The rhythm team do an impressive job of finding the essence or flow and connecting the skeletal swing to Monk's ghost dancing above. There is a consistent balance between the freer and more charted episodes of each piece, a thread of interconnectedness from deep listening. On "Trinkle Tinkle" the trio really the tune into hyper-drive, an amazingly intense excursion with the head only appearing on top of the massive waves near the end of the piece. They take the complete opposite tactic on "Light Blue" by playing a minimum of notes over bowed cymbals at the beginning of the tune, but this doesn't last long. I couldn't locate the aptly titled "Introspection" on any of the 25 Monk lps that I own, so it must be a rare one and Georg treats it with quiet grace. This is a grand trio in which each piece takes us on a journey through the dense landscapes as well as lyrical scenery and even spooky sections. Superb. $14. 19.HOWARD RILEY & ELTON DEAN-One to One (Slam 234) I'm close to finishing reading John Wickes' essential & mostly outstanding book 'Innovations in British Jazz - 1960-1980' and it has really stirred my interest in avant-jazz from the UK to a fever pitch. Incredible British units like Soft Machine, Music Improv Company, Spontaneous Music Ensemble, AMM, LJCO, as well as dynamic musicians and composers like Keith Tippett, John Surman, Mike Westbrook & Neil Ardley have long been my favorites. In recent years, there has been a resurgence in interest of these wonderful musicians and a slew of important reissues from Joe Harriott, Westbrook, Surman, Tony Oxley, Ray Russell, Evan Parker, Derek Bailey, Soft Machine and the superb pianist Howard Riley. Two gems of Howard's great trio with Barry Guy from the late 60's/early 70's have been reissued by British CBS this past year - great news! Howard has also been the pianist for the astounding London Jazz Composers Orchestra, who also formed around the same time. Elton Dean was once a member of Soft Machine (Third-Fifth) and a long-time cohort of Keith Tippett. He plays alto sax & saxello & is my favorite British saxist ( along with John Surman)! This is Elton's third release with Howard Riley (all on Slam) and it is a gripping duo of just sax and piano! It was recorded live in May of '93 and in January of '99, some six years apart. Most of this cd is improvised magic, but the duo do cover three standards from Coltrane, Bill Evans & even "Darn That Dream." Elton's saxello is a rare sax that is a bit longer than a soprano - similar in tone, it helps to give him his unique tone. Bill Evans' "Turn Out the Stars" is a real beaut, Elton's pinched tone fits just right with Howard's warm & lyrical piano. Elton has long had those cascading saxello lines down and together with Howard's waves of notes, they soar together into the ozone on the improv pieces. "Darn that Dream" seems to flow in between the spiraling notes and touching old-school melody. Elton switches to alto on John Coltrane's "Crescent" which is a good choice to cover since it captures that dark spiritual energy that only Trane could inspire and then lightens up to provide hope. The last two pieces from January of 1999 are one long cosmic suite of alto sax & piano that flow through hills & valleys, erupting in spots and finally gliding down to peaceful terrain at the end. Two well seasoned veterans entering nirvana for $17. 20.PACHORA-ast (KFW 268) This is the third delightful release from Pachora, as they continue to refine their highly melodic middle-eastern-European groove. They've whittled down their instrumentation even further to just the exotic - Chris Speed on clarinet, Brad Shepik on tamboura & electric saz, Skuli Sverrisson on fretless (?) el. bass and Jim Black on minimal percussion & dumbek. I find Pachora to be an uplifting blend of quirky yet endearing spirits, spinning beautiful webs of snake charming grooviness. Folks always seem to smile when I play their cds in the store, swearing that they must be from some exotic locale in eastern Europe or the middle east. Their tunes often move by at a quick pace, keeping them & us on our toes. Chris & Brad contribute most of the material here, while Skuli & Jim also add one tune each. A cover by an eastern European pair might seem appropriate, but what is most surprising is Pachora covering an early David Bowie hard rock tune - "The Man Who Sold the World" - they savor it's charming melody and make it just the right choice, anyway. Chris, Brad & Skuli constantly pull off quick, short, firey solos, but more than that, it is the infectious melodies that really bring one to an ecstatic state. The few slower paced pieces like "Rebetiki" or the peaceful intro to "Maria Changed" are also intoxicating in their own sweet way. A food delivery man from the middle east was in our store recently when he heard this cd and he couldn't believe that Pachora were downtowners & not from his neck of the woods! Quite a beautiful treat throughout, I hope many more folks get to hear this fine release. $13. 21.GEORGE CARTWRIGHT-The Memphis Years/Terminal Moraine (Cuneiform 127) Saxophonist & composer George Cartwright is a friend & someone I've long admired. He was an early member of the downtown scene, playing & recording with Michael Lytle, David Moss, Tom Cora, Charlie Noyes, Frith & Laswell. Most people know him as the leader of the great & longest running downtown unit - Curlew, who turn twenty this coming year! Originally from the south, he spent a decade & 1/2 in NY, before moving back down to Memphis, where he still resides. He is the only original member of Curlew, who continue release fine cds every few years. In the meantime, he has a fine trio release out on CIMP with Kevin Norton as the leader, as well as his first solo effort on Cuneiform. This cd is his first featuring a fine cast of Memphis musicians plus special guests Davey Williams on guitar (still in Curlew) & Amy Denio on vocals singing the words of Paul Haines. Paul is a wonderful poet from Canada who has provided text for Carla Bley projects, an entire cd worth of writing for Curlew (w/ Amy also on vocals). Amy Denio is a delightful vocalist-bassist-sax player who you might recall from the Tonedogs, has a solo cd on KFW and was once a member of the Billy Tipton Memorial Sax Qt. In recent years, she was with the (EC) Nudes & has a new cd with Cutler & Frith called the Science Group. Enough history. George utilizes the talents of eight great musicians from Memphis(?), none of whom I know, but all play swell! What I dig the most about this cd is that it is an odd hybrid of genres - jazz/soul/blues/pop, difficult to pinpoint. Sly/minimal words that leave much to the imagination - coy & sexy, a voice that rings true. George's music writing does a fine job of surrounding Amy's voice with sympathetic/supportive themes - sad & lyrical muted flugelhorn, laid back serpent-like soprano sax sounds, three saxes weaving odd yet evocative harmonies, minimal Monkish piano sprinkling & delicate percussion. Nice use of that bari sax all over the place. This is late night bluesy mood music, with an almost drunken tilt. Towards the later part of this cd on "Made Idea" both Davey's guitar & Chris Parker's piano get a chance to go wild a bit. This entire affair is certainly much different than anything George has attempted before, but there is also something warm & quaint about it that feels just right. $13. 22.CHRIS DAHLGREN QT.-Best Intentions (Koch 7877) I met Chris this past year when he played at our store and was impressed with his big sound on bass. Now that he has his first release out as a leader, I am even more impressed with his compositions, as well. He has put together a strong & probing quartet with a double sax frontline featuring local hero & alto sax great Rob Brown (from various William Parker projects), Peter Epstein on alto & soprano saxes (fine cd on MA from last year) and world music percussion wonder Satoshi Takeishi (brother & occasional rhythm team partner to bassist Stomu). This is indeed an original sounding quartet, often because Satoshi doesn't play a traditional trap set, but a variety of eastern hand percussion and together with Chris' propulsive bass playing they set up strong grooves for both saxes to weave their fine wares. Chris has written some haunting melodies throughout this entire affair and both Rob & Peter work perfectly together combining the more relaxed side of their tones into a precious web. Even the soloing by both saxists has that older school thicker toned grace, that we have come to expect from much older jazz sax players. Overall, this has that late night mood music relaxed ambiance, so snuggle up with someone you dig, sip down some cognac and savor this luscious cd. $14. 23.JON RASKIN QUARTET-The Bass & the Bird Pond (New World 80574) Featuring Tim Berne & Jon Raskin on saxes, Michael Formanek on contrabass & Elliot Kavee on drums & cello. In the past few years, each of the Rova Sax Quartet's players have been doing various solo projects. This is Jon Raskin's debut as a leader and he plays sopranino, alto & baritone saxes. This is an unique bi-coastal quartet, since both Jon & Elliot are both from the bay area (Elliot has since moved here) and Tim & Michael (both from Tim's Bloodcount) are based in Brooklyn. On this release, we find four long and challenging works, each one moves through different terrain. The first piece is Tim's "Bloodcount" and it is quite like Tim's main quartet of the same name, in that it unfolds slowly - the rhythm section providing the scenery while both alto saxes take long story-like solos apart & at times together in between sections of more cautious written sax parts. The other three pieces were written by Jon, including the long & winding "The Third Path to No Where" which opens with a strong bass solo and erupts into double sax burning storm, once more both altos push each other higher & higher into an ecstatic state. Things quiet down nicely on "Chapter 269, Death" where Jon's baritone & Tim's alto entwine mournful shades of spooky spaciousness. The title piece is filled some fascinating writing, which keeps Jon's sopranino & Tim's alto constantly moving through dense, fragmented landscapes and the rhythm team busy navigating through shifting soundscapes. This piece seems more steeped in avant-classical complexities than avant-jazz structures. Difficult and intriguing music for those who love to be challenged. $14. 24.KAMIKAZE GROUND CREW-Covers (Koch 7882) Featuring Doug Wieselman, Gina Leishman, Steve Bernstein, Peter Apfelbaum, Art Baron, Marcus Rojas & Kenny Wollesen. Kamikaze Ground Crew have been around for about a decade and are led by multi-instrumentalists Doug Wieselman (Lounge Lizards, the President) and Gina Leishman. Their personnel has changed through the years and they are now a downtown all-star ensemble of mostly horns & percussion. This release is called 'Covers' because that is what it all about and KGC do cover a strange assortment of pieces by Stockhausen, Jimi Hendrix, Satie, Eisler & Brecht, Los Lobos & Huey "Piano" Smith!?! They open with "Morning in Bhutan" by an unknown pop singer from the eastern Himalayas and it is a pure & enticing delight, soft & lovely & touching the heartstrings. The two pieces by Stockhausen are from his "Zodiac" suite for six music boxes and six percussionists and here have an eerie and engagingly sly quality about them. Jimi Hendrix' "Electric Ladyland" is given a wonderful intoxicating arrangement with layers of horns swirling around its cosmic melody. "Redite" is a short piece from Erik Satie's "Three Pieces in the Form of a Pear" and it is delicate & quaint with Kenny adding his special spice on percussion. It time to get back to New Orleans with a medley of Huey "Piano" Smith's "Blow Wind Blow" & "Rockin' Pneumonia", here done completely fun-loving with that groovy second-line beat that gotta make you smile. Gina states in the notes that Hanns Eisler & Bertolt Brecht's "Easter Sunday 1935" is one of her favorite songs of all time and I can hear why, as I was also deeply moved by its sad beauty & evocative lyrics. The final piece was written by David Hidalgo (of Los Lobos) for a Brecht production but never used. Once again, we get an elegant treatment, filled with blustery passion to soothe our hearts and souls. $14. 25.GEBHARD ULLMANN QT.-Kreuzberg Park East (Soul Note 121 371) Featuring Ellery Eskelin & Gebhard on reeds, Drew Gress on bass & Phil Haynes on drums. Gebhard is a Berlin-based tenor & soprano saxist & bass clarinet player who has been coming to Brooklyn for periodic stays since the early 90's, putting together two different quartets with other local heroes. Besides these two local units, Gebhard is also a part of at least four other quite different ensembles in Europe. This is his second release (both on Soul Note) for this particular quartet of downtown heavies, I recall being knocked out by the first one from 1995. Both Ellery &Gebhard's tenor saxes have got that thick older tone down when "Blaues Lied" opens, but soon Gebhard's bass clarinet is intertwining with Ellery's tenor in focused Braxtonian territory. There is a section of "Meltemia" where both saxes & the bowed bass glow soft embers while Phil's drums tell a quirky tale. Gebhard's compositions are rich in colors, timbres & textures, pushing both saxes through a variety of intersections and also keeping the rhythm team on their ever-inventive toes. There is also fine balance between the more reflective sections and the nuttier twisted sections when things often erupt unexpectedly. Searching through my boxes on Euro avant-jazz cds, it turns out I own a few fine duo cds by Gebhard & guitarist Andreas Willers - surprise, surprise! This is a great cd, I wonder if Gebhard Ullmann ever plays in town when he hangs in Brooklyn - perhaps we'll ask Ellery. $14. 26.SCOTT FIELDS-FRANCOIS HOULE-JASON ROEBKE-hornets collage (nuscope 1005) I was intrigued by guitarist Scott Fields (from Wisconsin) when I saw him perform at Roulette a few years back and started collecting his cds. We've become e-mail friends ever since. I have also been overwhelmed by clarinetist Francois Houle (Vancouver) after seeing/hearing him play in ensembles both large (Now Orchestra) and small at the Victoriaville Fest on several occasions, plus his tribute to John Carter cd with Dave Douglas & Mark Dresser was among my favorites of last year. So, when Scott asked if this splendid trio could play at DMG last year, I was honored. Both their set in the store and this release are completely acoustic and this is a real treasure. Jason Roebke played double bass and I'm sure we'll be hearing more from him. I am also a fan of the Jimmy Giuffre Trio from the 60's with the very same instrumentation and it's good to hear how this combination of sounds has developed over thirty plus years. What's interesting about 'hornets collage' is that all but one of the 18 pieces are under 7 1/2 minutes, so most of them are relatively short and concise. Like all cds on the nuscope label, this one is extremely well recorded, so one can rapt attention to the smallest or quietest detail. From ultra sparse sections to busy portions, there is an absorbing thread that holds this all together. "When She Speaks..." recalls that quirky Giuffre type of excursion with tight little flashes of notes that quickly erupt. Five of these pieces are collective improvs and each is an adventure unto itself, open ended, boisterous and mysterious, yet somehow connected through deep listening and reacting. The majority of these pieces are (well) written and involve a variety of strategies and textures. Concentrated, thoughtful and provocative sounds to ponder. $14. 27.ESCAPADE-duetoafaultypremonition (Mother West 11299) There are a number of different music scenes that exist in NY simultaneously, some get too much hype & gigs and some go on often unnoticed by many. There has always been a number of interesting 'progressive' bands in the NY area, ever since the late 60's/early 70's when it all began. Bizarre electronic pioneers Silver Apples just played at the Knit last week, some 32 years after their first lp!?! The term 'progressive' means different things to different people, so one never knows what to expect from those who use it. There are great local prog bands like Dr. Nerve who have been at it for 15 years, mostly doing tight, written material, although they have moved into doing more improv in recent years. And then there has been a few prog units like Alien Planetscapes or Escapade who also have been at it for quite a while, doing their brand of cosmic jamming/improv, but have a difficult time getting gigs on their own turf. Escapade has some five cds released over the past decade, garner good reviews in prog mags around the world and continue to struggle against an indifferent local audience. Navigated & produced by my old pal Hadley Kahn, one of the best drummers to emerge from NY, who once drummed for Drunken Boat when they were amazing. Escapade are a sextet with two synth/keyboard players, two guitarists, el. bass & drums. Their music continues to be spontaneously created and it seems obvious that they have been at it for quite a while, since their flow seems quite natural. 'dueto...' opens & brings to mind early Pink Floyd or maybe Amon Duul II, when psychedelia was still innocent and innovative and not too dark and depressing. Escapade start out quiet and build, odd sounds escape & float by, slowly the groove grows and the electronic sounds mutate into new worlds of sound. Things get a bit darker, a bit scarier, a bit weirder, but then get calmer once more. Could this be a soundtrack for a journey into outer space or inner space? I guess that depends on what you see in your mind's eye, when your eyelids are closed. These men know when to lay back, so that "I see things" is actually quite relaxing, mellow space music. Please, do not ignore Escapade any longer, they a quite worthy of your/our time and attention. Thanks. Probably $14. 28.WU MAN-Chinese Traditional & Contemporary Music for Pipa & Ensemble (Nimbus 7043/4) Two cd set. We are blessed with two pipa virtuosos currently in our local mist. There is Min Xiao-Fen who has recorded solos and duos with Derek Bailey for John Zorn's label. Even before I heard Min, there was Wu Man who I saw perform with Henry Threadgill and at the Asia Society. Both of these women play both traditional Chinese music and contemporary music for the pipa. Both are amazing! The pipa is pear-shaped lute with four strings. Wu Man has also collaborated with the Kronos Quartet, but I believe this is her first solo release. The present pipa goes back to the 7th century AD, its repertoires traced back to 18th century, so its tradition is long and varied. The first cd is mostly for solo pipa and five of the seven pieces are traditional. The lengthy, informative liner notes tell the story of each piece, but listening to Wu Man spin her tales on the pipa is an incredible experience, difficult to describe in mere words. There are moments of elegant grace, sometimes sad and always deeply moving. There are also moments when her super quick plucking become a blur, utterly astounding me. Frustration & loneliness are universal themes we can relate to and are evoked perfectly on "Wulin yiyun". "Bawang xie jia" is meant to depict an ancient battle - the horrors of war and it does a powerful job of evoking both the heroism and tragedy of war. "Dian" or "The Points" was composed by Chen Yi in 1991 and it is phenomenal, covering a wide range of emotions and complex structures & techniques. The second cd contains more traditional pieces plus works for contemporary chamber ensembles by Chinese composers like Bun-Ching Lam (Tzadik cd) and the great Tan Dun. Bun-Ching's "Run" is another difficult piece for extended technique which balances its ultra quiet sections with its rather explosive intersections. Tan Dun's "C-A-G-E IV" for ensemble is actually an improvisation based on the notes of the scale and is delicate and lovely, yet still a bit weird and wonderful. This is an outstanding two cd set with over two hours of music for $20.! 29. The Chord Catalog - Tom Johnson (Experimental Intermedia XI 123) In the past few years there's been a short list of new music composers whos early minimalist works originally released in limited edition or not at all - Charlemange Palestine, Tony Conrad, Elaine Radigue, Folke Rabe, Arnold Dreyblatt, Jon Gibson, Phill Niblock...the list goes on, those early archive recordings of the not obscure Terry Riley for example. Here's another one to toss in that growing pile:composer & former Village Voice critic Tom Johnsons The Chord Catalog. Subtitled "all the 8178 chords possible in one octave", this cd is is just that. Johnson plays the chords in a systematic manner, starting with two note chords, he works his way out to twelve and thirteen note chords. Yep, they get denser and denser as the piece progresses. He isn't pounding the chords in, just laying them out so you can check them out. This is post-early minimalism folks - fans of small ensemble Steve Reich and pre-CBS Philip Glass would probably like this. $14 The above review was also written by David Beardsley Spamming The Globe, Downtown Music Gallery
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