1.JOHN ZORN'S MASADA-Live in Sevilla (Tzadik 7327) When Masada first appeared during the 'Month of Zorn' in September of '93 at the old Knit, little did we know how important, influential and exciting they would become. Zorn challenged himself to compose 205 songs in the first two years of Masada's reign and the quartet has recorded about half of these tunes on their ten studio releases, with no plans to for future studio recordings. A number of the remaining songs were recorded by the Masada String Trio or the Bar Kokhba Chamber Sextet, with more hopefully to come. Zorn chose each member of this amazing quartet with great care, each is a leader, soloist and composer in their own right - their reputation and recognition continue to soar further each year. This month Masada's other front-person Dave Douglas graces the cover of Downbeat as the triple-crown winner of jazz artist, jazz album and trumpeter of the year!!! Mazel-tov to a wonderful spirit that is well-earned, leading over a half dozen different & diverse bands - each great in their own way. Dave's sextet play a perfect set at the Knit jazz fest in June and he debuted his superb new 'Witness' ensemble at Tonic last week. And perhaps his most popular & lovely unit 'Charms of the Night Sky' will have their second cd out in the fall. Drummer extraordinaire Joey Baron also leads three distinctive bands - each great in their own way - Killer Joey (currently with Steve Cardenas, Brad Shepik & Brad Jones), a trio with Marc Ribot & John Medeski and Down Home (w/ Bill Frisell, Arthur Blythe & Ron Carter) whose second cd comes out in August. Now how about a new project from anchorman contrabassist (of all three Masada units) Greg Cohen?!? Which brings us to the latest installment of the live Masada series - the fourth live release - from Sevilla, Spain from earlier this year and it doesn't get any better than this! A 79 minute explosive live journey, beautifully recorded and capturing this incredible quartet at their finest!! Everything about this release is just right - from the ancient keys to the city on the cover, the song selection which captures all each of the varied strengths that this quartet revels in and the perfect and the well-balanced recording in which each member can be heard equally as a part of the unified Masada magic! From the very first tune "Ne'Eman", the stage is set and the journey begins to unfold, Joey carressing the drums with hands only, building the tension from the bottom up, that middle-eastern groove swaying the crowd to an infectious grip. Zorn's solo erupts, slowly his soulful tone embracing the hearts of all his smiling fans, he hits his stride with his multi-phonic, tongue-slapping, shrieks & frenzied attack - watch out! Dave also follows with a blazing solo which builds to a joyous & uplifting conclusion! "Katzatz" is one of those difficult and incredible Masada tunes, which are ultra-tight - stopping & starting on a dime, the drums holding it all together, while the horns explode in short bursts of cartoon-like craziness! The pace/pulse slows down on "Hadasha" - Greg's bass buzzing, Joey's mallads brewing, the groove calm and yet gripping, both horns weaving ancient lyric beauty into a mesmerizing grace. "Beeroth" is a real crowd-pleaser from Masada '5' with its pumping beat which features the astounding drum work (both sticks & hands) of Joey at his best - Greg also provides a solid, propulsive and hypnotic pulse throughout. I dig the way "Yoreh" seems to have a life of its own - the structure skeletal with brief moments of written parts, in between long stretches of solos which slowly unfurl into inter-connected branches. "Nashon" is one of those tunes with a finger-snapping jazz groove, with that Ornette-like head and astounding Zorn solo which continually soars higher and higher up to the heavens! This also pushes Dave to stretch even further and play an exciting and equally explosive solo, which concludes with both horns swirling their fireworks together!! This outstanding performance also includes two encore pieces, both "Lakom" which is filled with more riveting stop & start hi-jinks, as well as a hard-bop section and "Bith Aneth" which is another one of those somber desert pieces with a beautiful, transcendent solos from both John and Dave - filled with soul and uplifting spirits! As I mentioned, this is certainly as great as it gets from our favorite local heroes! I am off to witness their special livemagic-spirit tonight at Tonic, so you know I am completely psyched!! You too can check out this treasure for $14.

2.EUGENE CHADBOURNE-JOE MORRIS-MARK DRESSER-SUSIE IBARRA-Pain Pen (Avant 044) This is both avant-jazz guitar explorers Eugene & Joe's debuts as co- leaders for Zorn's (Avant) label - both guitarists had played their first duo together at Eugene's guitar fest at Tonic last summer and this all-star quartet got together in the studio for this cd also for their first time. Actually, Dr. Chad has been playing more banjo in recent years, an interesting choice since I can't recall anyone else playing free-jazz banjo. When Eugene does play electric guitar on this endeavor, both he and Joe do a fine job on swirling layers of lines & notes into a dense web of activity - moving through slower sections of cascading waves into thick sections of quick, spiraling mountains of notes. The Mark & Susie rhythm team is also a first, but makes perfect sense, since they both love to explore extended sounds - with Mark bowing & rubbing the strings into submission and Susie's gongs & cymbals providing a fresh response. On the second piece - all hell breaks loose - Eugene sounds like he is harshly rubbing the guitar strings with some metal object and even utilizing occasional feedback, while Joe also spins off a mass of quick & frenzied notes, the entire quartet takes off for the stratosphere! There are also a number of duo & trio sections which emerge from denser sections. Sometimes Joe will lead the rhythm team through a somber jazz oasis and Eugene sometimes takes detours through blues and bluegrass areas. At times, it sounds as if there are two different duos playing at the same time, one must work hard at hearing the connections, which seem to run underneath the dense din. This makes for an extremely challenging listening experience, which I rewarded when it often comes together in a focused storm. All Avant cds still cost $18.

3.JAMIE SAFT-Sovlanut (Tzadik 7142) Featuring Chris Speed on clarinet, Jonathon Maron (from Groove Collective) on el. bass, Jim Black & Chris Kelly on drums and percussion and Jamie Saft on various keyboards, saz, guitars & bass. Jamie is a local keyboard wiz who co-leads Saft/Vu with trumpet ace Cuong Vu on their Avant release from a few years back and also adds his distinctive distorted 70's sounding keyboard spice to Cuong's recent debut on Omnitone. He has also worked with John Zorn in game pieces and on Zorn's Filmworks series. This cd is part of Tzadik's 'Radical Jewish Culture' series and the title 'Sovalnut' means tolerance and refers to "Semitic intonations filtered through almost six thousand years of culture clash." Although the cover looks like a box of Manischewitz matzos, the culture clash is more cosmic dub mixed with Jewish and Arab worlds of sounds. Even the occasional vocals of Rick Quinones are right out of dub-land - spaced-out echoplex coolness. The long title track is actually a great drum n' bass jam with most effective cheesy keyboards, fat bass grooves, slippery funky drums and more dub echoes! It sounds as if Hebrew chants are sampled at the beginning and ending of "Mach/Hey" which is another longer and slower funky journey with Jamie's groovy fuzzed-out electric piano and synth strings or maybe even a mellotron sample?!? If I didn't know better I would think that some of this cosmic dub came from a long lost On U Sounds session - a higher compliment I can't think of. Jamie layers heavily treated noise samples on "Midwood Cowboy" which is brooding and intense and just short enough not to overdue its harshness. "Tefachim" is another long slow journey with thick funky bass featuring more Jamie's acidic el. piano distortions. The final piece is "Fresser Dub" and it is a fine, short, groovy, almost normal dub thing. Each release from Tzadik's Rad Jew Culture series is quite different, but Jamie's recent addition to this catalogue may be the most radical or different yet. $14.

4.COLLECTIVE IDENTITY-The Mass (Palmetto 2062) Collective Identity are a superb sax quartet from Brooklyn who feature Aaron Stewart (Muhal Richard Abrams Qt. and Rich Woodson's Ellipsis), Alex Harding (Julius Hemphill Sax Sextet w/ Aaron & Hamiet Bluitt's Baritone Sax Nation), Jorge Sylvester and Sam Newsome. Originally inspired the World Sax Quartet, Collective Identity wrote all but one of the tunes found here, the one cover is Wayne Shorter's "Nefertiti" which a title tune for a Miles lp when Wayne was in Miles' famous quintet of the 60's. Each piece on this fine cd cover a wealth of influences and styles. The opener is "The World According to Shaquana Lee-Maria Goldstein" and it is meant to confuse anyone wishing to place a racial identity on Shaquana. It is a low-key work with austere walking baritone on the bottom, spirited solos by each member on top and nice harmonies by the other saxes in the middle. The title track was written by Alex and features sections of firey sax solos interspersed with sections of layered horn punctuation. Jorge's "Remembranza" is a real beaut - warm and well-written with orchestral shades for the saxes to bathe in. "Nefertiti" is quite haunting with the soprano sax shimmering through the luscious arrangements. Aaron is a friend who often visits DMG and recently toured Europe a member of Muhal Richard Abrams Quartet. His piece here is "Young Lions in the Meat Market" and it is the longest, covering the most territory, from its somber first section with rich & bent harmonies, spinning soprano and chattering baritone - eventually the saxes weave lines thicker and thornier. I like the way there are a few continuing stories being told at the same time which seem to navigate through slowly ever-changing scenery. The closing tune is Alex's "Spirit Take My Hand" and it is a pure gospel-ish delight, soulful and uplifting, directly from the heart. A highly recommended treat from Collective Identity for $14.

5.MARK WHITECAGE & ECLECTIC ELECTRIC-Moon Blue Boogie (Acoustics 408) Featuring Sabir Mateen on reeds, Tomas Ulrich on cello, Chris Dahlgren on bass, Jay Rosen on drums & Mark Whitecage on electronically treated alto & soprano saxes & clarinet. I have known of & always dug the alto sax & clarinet work of Mark Whitecage since seeing/hearing him the Gunter Hampel Galaxie Dream Ensemble in the mid-seventies. I have been knocked out by Gunter's groups on many occasion and can recall a particularly fine gig at the Knit for four reeds (w/ Perry Robinson) & voice. I have also checked out a number of Mark's groups through the years and am always blown away. In recent years Mark has recorded on a number of CIMP cds and is always in good company. Mark & his partner Rozanne Levine have recently re-started their own label and have released fine cds at the same time. The last time they put out a cd by Mark, it featured a young Dave Douglas on trumpet! Which brings us to this one- 'Moon Blue Boogie' was recorded live at the Knit & at the Cornelia St. Café with a trio & quartet sharing the same drummer - Jay Rosen who is on more CIMP cds than any other drummer. There are only four long pieces to be found, each is suite-like with different connected sections. The title track is subtitled "Prayer for Peter (LeMaitre)" and is a trio with Tomas Ulrich on mystical cello & Jay's skeletal percussion. Mark spins a web of sailing soprano streams while Tomas & Jay quietly hold things down to mother earth. The "Cityscapes Suite" is quartet with Sabir Mateen, Chris Dahlgren, Mark and Jay. Both Sabir's tenor & Mark's alto saxes begin burning, slowly erupting into screams, this is energy music, born in the sixties, yet still able to set us free! It is a thirty minute excursion which weaves through both freer portions and more laid-back sections as well, both sax players pushing each other to soaring heights and more restrained moments as well. The "Veggieburger Waltz" in another suite for the two horn quartet and starts softly with the flute & alto sax actually doing a sort-of waltz, slowly building in intensity, the saxes working themselves into a frenzied conclusion once more! The final two-part piece begins with a cover of (bebop composer) Tad Dameron's "Good Bait" - a modern tune 50 years ago, but still an appropriate choice since Mark can bop with the best of them, both he & Jay sail through that tune at a super-human, ultra-quick pace, with Tomas' cello eventually erupting into the fast lane! Strong medicine from both of Mark Whitecage's demanding 

ensembles. $13.

6.MOTOR TOTEMIST GUILD-All America City (Independent 1552) MTG have been around for more than a decade as one of LA's best kept secrets - a progressive band led by James Grigsby, who share members with 5UU's in U Totem with two fine cds on Cuneiform. This version of MTG includes Rod Poole (bizarre solo guitar cd), Dave Kerman - prog drummer supreme (Present, Thinking Plague, great new solo cd), Hannes Giger on contrabass, Bridget Convey on piano & James Grigsby on sampler and main composer. Their guests include sax hero Lynn Johnston (whose solo cd I reviewed a few months back). 'All America City' is the soundtrack to a film by Yu Gakusei. Oddly enough, except for James' sampler & computer, this is mostly an acoustic unit. The music does have that classic progressive sound we all know and love. Quirky, ever-changing, often keyboard based, completely focused as each piece seems to accompany a specific scene, telling many little stories. Not unlike a Bob Drake solo effort, minus the vocals. All but two of the 23 pieces are shorter than 3:40, yet flow together so well as a continuous story or set of stories. There are no solos found here, but James' computer or sampler if most often the focal point of most of the pieces. The contrabassist sounds like he had the same teacher as Mark Dresser, with his large variety of extended acoustic bass sounds. Although most pieces are so short, the music and stories are continuous and engaging throughout. $14.

7.JAH WOBBLE & DEEP SPACE-Beach Fervour Spare (30 Hertz 11) Although I dig about half of releases I have heard from Jah Wobble, I always give him the benefit of the doubt, since the two times I have seen/heard him live (w/ Public Image and Nicky Skopelitis) his incredibly thick & throttling bass playing, blew me away each time!30 Hertz is Jah's own label, each release is limited and both of the cds we just received are very different and both are great! 'Beach Fervour Spare' features Jah's cosmic British dub band with Mark Sanders (fave of Evan Parker & Derek Bailey) on drums, Alex Maguire on organ, Clive Bell & Jean-Pierre Rasle on various world music blowables, Chris Cookson on guitars, Paul Schutze on atmospherics and Jah's superb el. bass! The cosmic groove is the essence of this music, each cut buzzes with a vibrating center - the rhythm team pounding out tribal-sounding mesmerizing/repeating riffs, while the crumhorn or khene or cornemuse casts snake-charming spells and Schutze's spaced-out atmospherics add a thick haze to the proceedings. The most charming piece is "As Night Falls, Part 1" which has a killer funk bass riff and ripping/ringing sustain lead guitar. On most of the long tunes, it is the constantly shifting textures which add sly sonic spice to the swirling, dubwise, adventure. A completely marvelous disc! $14. 

8.MARK WHITECAGE TRIO-Fractured Standards & Fairy Tales (Acoustics 409) Featuring Mark on alto sax, clarinet & electronics, Dominic Duval on contrabass with electronics and Jay Rosen on drums. This was recorded live in France in October of '99 with the CIMP all-star rhythm team who I just saw/heard with the Joe McPhee Trio this past weekend - consistently splendid improvisers! The title track begins with soft somber drone - melancholy clarinet drifting into view, Mark most selectively chooses an echo device to add little layers of clarinet fragments, Dominic also works wonderful electronic devices to his contrabass. Soon, they are off on a chase - spinning quick lines, the pulse getting faster, as Mark's alto sax sputters and kicks into gear, go ahead!! Things slow down & mellow out a bit as Mark also begins processing his alto sax, just adding the right amount of shades & shadows. The trio eventually moves through a finger-snapping swinging section and then back to more minimal parts, occasionally quoting standards here & there. There are only 5 pieces on this release, each being over the 9 minute mark, giving the trio a chance to breathe and explore each work at length. "Morbet Main Beck" shows the ultra-subtle side of this trio, an almost dream-like haze of ghosts floating through mist. The "French Medley" has Dominic buzzing & burning on his bass, the trio flies into hyper-drive, the alto soaring to the stratosphere, but still quoting a few familiar (French?) tunes - there is a certain sly humor to some of the tunes referred to, balancing the scale from the more serious side. The "Encore" is a fine flowing & melodic drum solo by Jay which tells a nice tale and is a perfect way to conclude this fine gift from a strong trio. $13.

9.BURKHARD STANGL/CHRISTOF KURZMANN-schnee (erstwhile 008) Burkhard plays acoustic & electric guitars (on table) & percussion and is a member of electro-acoustic super-group Polwechsel and Christof plays g3 computer and has guested with Polwechsel as well. Both were involved in a splendid midnite set at Tonic in May with Werner Dafeldecker & Dean Roberts. All but Dean are Austrians and are a part of a renaissance of electro-acoustic improvisers featured in a recent NY Times article by Ben Ratliff (special thanks) and well captured by the ever-evolving erstwhile label. This was recorded live in studio with no editing. Rumble buzz hum static quivers- electric strings shimmer - acoustic harmonics glisten - look into the microscope and watch the inner-life slowly change. There is much space in between the sounds as the static repeats like a mantra for modern (technological) life. Is there something wrong with my cd player, is it stuck?!? Probably not. On occasion I hear other sounds and voices creep in through my kitchen window and mix nicely with this cd - which is which? Does it matter? Is that my refrigerator humming or the cd? Adrift in a universe of somber sounds - whirring - distant drones. I must try to turn off my inner clock, my desire for more things to happen and just listen without expectation (s). I recall listening to German synth bands in the early 70's and rarely having the patience to really enjoy what they doing. Have my listening habits changed? Certainly. Have yours? No doubt. Each of these four long pieces creates a somewhat different environment or sound-scape. The tension starts to bristle on "Passion" - there is an air of uncertainly, a spooky feeling is created, tapping those electric guitar strings splinters the gradually thickening morass. Late night alien transmissions perhaps? The rain and the fan fit in perfectly with this sonic brew as the texture calmly trembles. The final piece has long periods of silence and is rather Morton Feldman-like in the way the sounds just appear out of thin air. Disconcerting a bit. "Impressive!" as Mr. Tuvok states. Yours for $13. 

10.BETH CUSTER-Dona Luz 30 Besos (City of Tribes 026) Yes, there was another new Beth Custer cd just last month, but this one is quite another horse of a different color. This release is not one Beth's more avant and restrained affairs. On this one she has a rather rockin' quartet of Bay Area's best - Will Bernard on guitar (from that triple guitar group w/ Charlie Hunter), James Christian on bass, Jan Jackson on drums and Beth on her usual - vocals, accordion, piano & clarinets. There is also three guest vocalists whose names I don't recognize and this said to be a Latin tribute -dedicated to great Cuban singer Gloria "Yoya" Bravo. The first track is "In the Broken Fields Where I Lie" which is also the title track from a previous solo effort of Beth's. Beth sings in lovely hushed elegance and Will's slide guitar caresses her voice in a Ry Cooder sort-of way. I dig the way band rocks hard at a softer volume on the cute stomper "O, Fredonia." The only tune not written by Beth or the band is "Lagrimas de Oro" (by Dr. Manu Chao) and it is also a sly subtle Latin rocker - Will continues to let those strings swell and add mysterious spices to the mix. "Gato Feo" is a slow-burn instrumental with Beth's clarinet snaking around the trio's tasty groovin'. It all come together on "Long Time Now" - a steamy, suspense laden delight with a marching beat, enchanting guitar and Beth's wonderful evocative voice. Half of these pieces are elegant instrumentals, lovely and laid back. If I didn't know any better, I would think that this is some long lost Ry Cooder session for another of those unknown soundtracks. "Rich Blanket of Love" reminds me of Robin Holcomb's wholesome melancholy Americana grooviness and Will dazzles us with another funky slide solo and Beth also plays a charming clarinet refrain. The last instrumental is short and spooky and called "Cloud Proof". An exquisite and completely charming nugget for middle-aged hippies like myself. $14.

11.WITCHES & DEVILS-At the Empty Bottle in Chicago (KFW 282) Featuring Ken Vandermark & Mars Williams on reeds, Fred Longberg-Holm on cello, Jim Baker on keyboards, Kent Kessler on bass and Steve Hunt on drums. Most of these cats were members of (Hal Russell's) NRG Ensemble and all are the cream of Chicago's current bustling out-jazz scene. The is a concert recording from August of '97 and it is a tribute to one of the kings of 60's free-jazz sax exploration - Albert Ayler. Albert & his brother Donald on tenor sax & trumpet would take a spiritual or marching tune and turn it inside-out! Albert's untimely and mysterious death in the East River in 1970 put an end to his short career (about six years), yet his influence continues to grow as new generations of young listeners discover his powerful sax & sound. Witches and Devils - the group's name - is also the title of one of Albert's classic tunes. Ayler often used odd instrumentation like harpsichord or cello, so it no surprise to hear Fred's great cello throughout. "Truth is Marching In" is an Albert title for sure and both Ken and Mars erupt like titans on fire playing amazing and passionate out-jazz double tenor squealing insanity. Fred's cello grinds an ongoing buzz underneath the spiraling horns and an intense, propulsive rhythm section. Both saxes finally explode into a fog-horn-blasting contest and build to an intense frenzy! This is fire music and it doesn't get any more intense and riveting in parts! It does quiet down on "Bells" where the cello and bass play long droning duo sections until the two horns begin erupting together again! Witches & Devils do a fine job of capturing the Ayler Bros. intense and uplifting vibrations. DMG is almost out of $10. copies of Ayler's "NY Eye & Ear Control" and "Live at Slug's", so you can pick this mind-blowing tribute for $13.!

12.JAY ROSEN QUARTET-Canticles for the New Millenium (CIMP 211) Featuring Vinny Golia & Mark Whitecage on multi-reeds, Paul Smoker on trumpet and Jay Rosen on drums & percussion. This is local drum great Jay Rosen's first release as a leader, after his immensely busy flurry of recordings & gigs for Joe McPhee, Mark Whitecage and Ivo Perelman over the past few years. Label head - Bob Rusch claims that Jay is not the CIMP house drummer, although Jay is on some 22 CIMP releases so far, probably more than any other drummer. There is a good reason for this as Jay is a fine percussionist - always listening, reacting and is not afraid to be ultra-subtle playing a wide variety of small hand percussion & toys. Two of these tracks are Jay's solos - "Blue Suede Moon" showing the more restrained side and "Drum Hands" showing the dancing, jubilant rhythms. The first piece is appropriately called "Intro Please" and it also begins with an uplifting solo drum thing. Both Vinny and Mark play numerous clarinets - Vinny on five different clarinets only and Mark on two plus alto & soprano sax. Jay keeps the groove going while the trumpet and clarinet(s) swirl above encircling each other, pushing the spirits upwards and outwards. Eventually the three horns slow down and grumble together like some complicated bird-squawk. Jay commences "Ah Stenato!" with a funky rather second-line groove, the horns digging in and boppin' in a sort-of avant-dixieland type of way. It's Paul's smoking trumpet, Mark's burning alto sax and Vinny's stream of notes on clarinets - soaring together free yet focused and very intense! This piece moves in long waves, the drums always providing the pulse and push of our journey. The trumpet quietly unfurls a flurry of feather-weight notes on "Pia Misses Moe" which breathes easily with long stretches of silence or near-silence, quite minimal yet enchanting. "Good Morning" also begins in a slow-paced and somber fashion, the horns creating an intricate tapestry, both busy and calm simultaneously. The last track is "Smokin' Valves" and it also has the horns buzzing at a controlled volume, the drums also keeping the pulse steady and ready to erupt without screaming too free. A great blending of four strong musicians coming together as one solid force of nature. $14.

13.EYVIND KANG/MICHAEL BISIO-MBEKtm Duos (Meniscus 005) Eyvind is of course a monster violinist who knows no boundaries as his three completely different Tzadik discs, power trio on Avant, work with Bill Frisell and the Sun City Girls will attest to! Michael Bisio is also an outstanding contrabassist who has worked with Joe McPhee, Wayne Horvitz and no doubt many other name players. Both Eyvind and Michael come from the Pacific northwest and both can be found doing a variety of sessions together. All these tracks were recorded live in the studio and all but one were written or improvised by the duo. The first piece is Coltrane's "Seraphic Light" - a title which doesn't sound familiar to me, yet the droning melody is haunting, lovely and vaguely familiar and like many of the Indian-inspired modal works that Trane love to play. Eyvind does have that Indian violin style down with its weeping grace and the bowed bass also buzzing beautifully from the bottom upwards. Both Eyvind and Michael really do amazing job of improvising an array of extended acoustic string manipulations - plucking, bowing, torturing those the strings like there's no tomorrow. Sometimes the bowing is thick and mysterious, with Michael forcing a bow or stick between the strings. Eyvind's song "The Biszer" is a quirky tune somewhere in between country and jazz, sort-of goofy & fun. The one extra long track is "Cardinal Waters" and it is a long, evolving dialogue between both strings, consistently hurling ideas back & forth, daredevil hairpin turns executed with finesse and building to crescendos. Both players love to match wits, always keeping each other on their toes! "Very entertaining!' as Los Cubanos might say. $13.

14.AKI ONDA-beautiful contradiction (All Access 006) Aki is a fascinating sampler wiz who recently sets with Steve Bernstein & Ben Perowsky at the Knit & Tonic. Aki dropped off his two most recent cds here to DMG for review & to help sell. I am most impressed with his diverse world of sounds/music well blended. On this fine release his guests include a fine cast of international characters like Blixa Bargeld, Simon Fisher Turner, Noel Akchote, Kazutoki Umezu, Linda Sharrock, Saadet Turkoz plus the two aforementioned downtowners. It was recorded in Tokyo, London, Paris and New York, produced and sewn together by the young-looking Aki Onda himself. The title is quite appropriate since this work does such a wonderful job of mixing diverse cultures into a seamless ongoing story. "chrysanthemum" opens and glows in a somber Eno-esque haze. On "red light' Aki utilizes a noisy drum sampler with el. trumpet babbling and Noel's cool fractured el. guitar punctuation. "in windungen" features the sexy, brooding voice of Blixa Bargeld who is playing tonight (8/2) at Irving Plaza with Einsturzende Neubauten. It is Aki's sly groove percussion samples which really add mystery and a subtle finger-snapping beat to this fine track. Aki's electric percussion is often the centering device which provides the magical glue that hold this all together. The fretless el. bass by Mecken on "cattleya" also grabs the attention. Saadet Turkoz is a Turkish-Swiss experimental vocalist who also played at Tonic a few months ago during a Swiss-New York fest. "kumur" is a solo voice piece with features Saadet's ancient world-weary vocal in a short refrain. Aki uses two glassharp players on "rosemary" which also glows in a chilling ambient haze, with most effective marching snare drum action. One would think that a trio with clarinets, flutes and hand percussion would break the cosmic flow but not so - on "petal" this trio with Umezu plays a rather happy-go-luck almost classical type of tune that fits quietly in the grand scheme. Former screamer and former wife of Sonny, Linda Sharrock is featured on "do you remember?" with local hero Steve Bernstein. Linda does a fine job with a simmering spell-casting spoken word, partially sung piece while Steve peppers the piece with well-placed trumpet seasoning. Blixa reappears for a second turn on "beauty" which is dark and spooky once again, short and to the point. This cd concludes with "it's gone" - a melancholy work with sad ethnic voice samples floating around the mist/mix. Quite cinematic really, like an existential French flick that lingers in the back of our minds, hard to remember, yet difficult to forget entirely. Let's see what Dave Beardsley had to say about the other Aki Onda cd. A Japanese import for a mere $14.

15.MARK WHITECAGE-Turning Point (Acoustics 410) It is certainly a brave move to release a solo sax cd, but that is what Mark Whitecage is all about - 30 plus years of exploring his reeds - alto sax & clarinets - for many years with Gunter Hampel and more recently with Joe McPhee, Karen Borca and numerous solo & group projects as a leader. The AACM helped instigate solo sets & recordings from the mid-sixties onwards and when Anthony Braxton unleashed his first recording - a two lp set of solo alto sax in 1969, many were stunned by his audacity. Obviously, the climate has changed since then, Braxton's 'For Alto' has finally just been reissued and we will probably sell a dozen copies this week. A number of saxists have since taken the challenge to do solo sax records & gigs like Evan Parker, Roscoe Mitchell, Ned Rothenberg, Lol Coxhill, Joe McPhee and even more mainstream players like Lee Konitz & tenor titan Sonny Rollins! Local reed specialist - Mark Whitecage takes his turn on solo alto sax, clarinet and electronics on his third cd this month - 'Turning Point'. Mark puts his reeds through electronic devices, but in a most selective and ultra-subtle way - often adding just a hint of spice to change the tone or add a bit of echo. On "Bopalong Way" certain clarinet lines are softly echoed, giving a cushion for other lines to float on top. There is an unnerving eerie quality to "Something Cool" as the lines slowly fade and out of view. Sometimes Mark will layer one electronic reed line on the bottom and add more curling lines on top. What's odd is how the sound of the echoed reeds dates the overall sound here, back to the 70's when electronic reed & horn devices were more popular with musicians like Miles, Don Ellis and Eddie Harris, than they were with critics & jazz snobs. The aptly titles "Loop'en" is just that - lots of looped sax lines - sped up at points(?), rather quaint like Les Paul's first guitar overdubs in the 50's. Mark takes us a long journey throughout "Concerto for One" which has more of that eerie haze of echoes and occasional hypnotic repeating phases. Eventually Mark adds somber, impressionistic lines, which slowly evolve getting weirder as the note flicker in the wind, getting more dense this piece grows and then calming down again and commencing with fire-breathing super-fast lines of electric clarinet. The overall vibe here is one of a slow-motion fog softly rolling in. This is certainly a much more restrained and reflective effort from local sax hero Mark Whitecage than anyone would have imagined, considering how well he can always wail with the cream of current free-jazz blowers present and past! $13.

16.EUGENE CHADBOURNE & THE ZU BAND-The Zu Side of Chadbourne (Chadula No #) Of the recent spew/wealth of recordings that Dr. Chad & numerous labels like Leo, Intakt, Grob, Victo & Rectangle have brought upon us - this offering might just be the best (at least for this week)! Grand-pappy of all downtown guitar heroes - Eugene Chadbourne meets his match with this fabulous, wacky, progressive, avant-jazz trio from Italy - Ray Pagi on trumpet, Massino Papillo on bass & Jacopo Batttaglia on drums, their saxist couldn't make it. Most of these pieces were improvised with the exception of two extraordinary covers - Coltrane's "Cosmos" and Ayler's "Spirits". The Trane piece opens this long & riveting 15 track odyssey and the Ayler tune finishes off those who remain standing. Eugene goes for the jugular on "Cosmos" ripping jazz/rock/noise guitar insanity while the trio dig in and play the tune with conviction - Ray's trumpet nailing the tune ferociously! Each other piece in between the cosmic covers is inspired and focused improv. Totally free in one section - the battle to come up with new sounds from your axes continues. There are also quick punk/prog rhythm section antics to marvel at, inspiring both Eugene & Ray to unleash an avalanche of notes. El. bassist Papillo also challenges our hero with ever-inventive bass tactics/ideas. On each piece the quartet shift genres and textures, jamming and taking chances, both always arriving together at a new place. Yes and occasionally they go overboard, exploding, erupting into a focused mess - yeah! Dr. Chad continues to lay down lines from rock-jazz-country-noise tunes and the Zu Band react instantly - too marvelous for words - maybe? Well then - quit reading this you fool and plop down your hard earned moolah to the sum of $14.

17.Stian Carstensen-FARMERS MARKET (W&W 056) There is nothing better than crazy, mixed up world-music release that shifts and combines three different worlds at once!?! Farmers Market are from Norway, their guests on this cd are from Bulgaria and India, as well as a Bulgarian choir! Schizoid? Actually their diversity works and is filled with surprises. An odd hybrid that works. Stian plays mostly accordion and leads Farmers Market, but it is Trifon Trifonov's (from Bulgaria) sax & clarinet that also define their sound. The four woman Bulgarian choir also show off their delightful wares with enchanting, layered voices. "Graovo Dance" has that frenzied Bulgarian wedding band groove, yet it is fueled by tablas and an exotic drum machine - the (bowed?) gadulka and kaval (reed thing?) both play strong solos, but it that happening groove that will really get you off. "Monkey's Dance" also explodes at a frantic pace, yet it is lead by Stian on banjo (?!?) that soars with the various eastern European reeds. Stian switches to electric guitar on "Les Paul, More John" and the band rocks out Les Paul style with quick, complicated double guitar lines and even a bit of Hendrix trickery thrown in. Any of you who heard Ivo Papasav & his Bulgarian Wedding Band - knew how amazing (super fast) they could be, well its been a while but Farmers Market cover similar territory - it is a marvel to behold! The band do a goofy ragtime piece with an oriental refrain, tack piano and some wacky eastern Euro reed soloing. Farmers Market also cover four traditional tunes, but that doesn't stop them from adding tablas and acid-funk el. guitar to the menu. It is often Trifon's clarinet that plays many of the outstanding solos here, Jai Shankar's (India/Norway) tabla also adds occasional magic to this strange brew. A completely fun, wacky, grand - mix of different cultures into a most successful blend - and of course that swell Winter & Winter packaging to spice up the deal for $14.

18.ACHIM KAUFMANN QUARTET-Double Exposure (Leo 289) With Michael Moore on clarinets & alto sax, John Schroder on bass guitar & guitar, John Hollenbeck on drums and Achim on piano. Although I am unfamiliar with Achim Kaufmann and John Schroder, I am a longtime fan of that wonderful reeds player Michael Moore - ex-pat American musician living in Amsterdam for many years and a member of the ICP orchestra. Percussionist John Hollenbeck is a local hero whose name continues to pop up on many downtown cds. We must give special credit to Leo & Leo Lab for consistently coming up with exciting releases from (often) European musicians known & unknown! Achim wrote all but one of these tunes and is a marvelous pianist. Both Achim and Michael do a fine job of chasing each other through a variety of stylistic hoops. I hear that Monk-like quirkiness and sly humor at the center of "Carnies" - the drums also play a solo that fits perfectly into the scheme of things. On the aptly titles "Dream Logic" the piano, clarinet, el. bass & drums show off their elegant grace with a minimum of notes - hushed, sad and lyrical. Often the quartet will break down into duos and then build to a trio or quartet once again - on "Marchebrisee" first the piano & percussion outline the mood - soon tricky muted el. guitar punctuation is added and then Michael's quaint clarinet musings are sprinkled on top. "Gavia" has an extremely understated and delicate vibe - the clarinet like a timid ghost comes floating in when least noticed. I really like the way the el. bass & drums work so well in a quirky jazz context, always pushing the rhythm with determined resourcefulness, but never over-doing it. Michael Moore's "Sphericals" closes this elegant gem - with more of his ultra-tasty clarinet playing and a beautiful melancholy melody to be savored for future moments of quiet reflection. $14.

19.EUGENE CHADBOURNE & THOMAS LEHN-inside (Grob 205) This is the third incredible (mostly) instrumental release from Dr. Chad this month - the gods must be smiling on us adventurous listeners. Thomas Lehn plays analogue synth only and keeps busy with a bunch of different international improv units. In the past year he has been featured with Gerry Hemingway on their duo cd, in an amazing trio with Tim Hodgkinson & Roger Turner called Konk Pack and is also on the recently released Mimeo double cd. This cd was recorded live in June of 1999 in Cologne, Germany and contains more hilarious liner notes from the clown-prince of improv - Dr. Chadbourne. Eugene plays a great deal of banjo here - an odd combination - banjo & synth?!? Not really, since both players like to stretch the boundaries with their respective axes, creating weird worlds of both natural and alien sounds. The strange thing is that this combination really works well - both explorers work with similar textures, densities, colors and evocative sounds. The short bits of bluegrass frenzy are matched with well placed noise. When they head for the deep end, they dive into vat sludge head-first. But this is rarely the case, often these two take their time let things evolve slowly. The one vocal tune is a touching version of Gram Parson's "Hickory Wind" - a sort of oasis in the ocean of improv wackiness. When Eugene reaches for his electric guitar, the sounds get closer and it is hard to tell who is doing what?!? All-in-all, a completely concentrated effort from two adventurous players well worth investigation. $14.

20.DOLMEN ORCHESTRA-[Some Gregorian Reflections] (Leo 291) Featuring John Surman on baritone & soprano saxes, Michel Godard on tuba and conducted by Nicola Pisani. I have long been a fan of the Italian avant-jazz scene - from Enrico Rava and Giorgio Gaslini in the 70's, through Carlo Actis Dato and Pino Minafra since then. Each time I try a cd on the Splasch label, I am amazed that there is a never-ending avalanche of colossal avant-jazz players from Italy. The Dolmen Orchestra have been around since the mid 90's and come from southern Italy. On this release they feature my favorite baritone saxist of all time - British-born John Surman and Michel Godard - who I recall from his work with Mark Nauseef & Rabih Abou-Khalil. The long work is based on the notes from a famous Gregorian melody. The writing and playing is quite captivating, the pungent layers of percussion hold it down while the horns swirl together on top. Surman's soprano & Godard's tuba emerge in a duo which slowly builds until the swirling horns take over once more. Linda Bsiri's ghost-like vocals hover during certain quiet moments. The second part is "Wodoyotha" and it is filled with suspense - effective clapping, modern classical instrumentation and richness of detail. Michel's mighty tuba is featured on "Contemplation for a Sacral Sequence" playing an amazing solo with warmth, followed by a classic stunning Surman soprano sax solo - reaching up for the heavens - the writing here is extraordinary - between categories - Linda's distant operatic voice is just another (strong) part of this 15 piece orchestra, instead of the lead singer who takes over the entire ensemble. The sax and tuba are the two main characters here, the two featured soloists - each one with a much different temperament and individual voice. The other player who really stand out here is Marco Sannini - his trumpet solo "Ferma L'ali" is outstanding! The final piece "Sequenza Armonica" is where it all comes together - the chilling voices, the backwards sounding classical episodes, the enchanting long stretches of haunting minimal starkness and of course - a resounding baritone sax solo from the incredible John Surman! Somewhere in between Carla Bley's smart and fancy writing and Michael Manter's grandoise and depressing writing - there is a common ground where we get the best of both (many?) worlds. Most of music for the Dolmen Orchestra is right there, you can reach out and grab it, if you choose to do so. $14.

21.HARRY MILLER-The Collection 1941-1983 (Ogun 1/2/3) In December of 1975 - I interviewed Hugh Hopper & Gary Boyle who were both in Isotope at that point, at some record company office in London. At the end of the interview Hugh asks if I would like to go visit Robert Wyatt and Alfreda that night? Having not got the permission to speak with Robert from Virgin due to his illness, I was flabberghasted! Spent a long evening chatting and listening to music with Robert, Alfie, Hugh & Sean Murphy (Soft Machine engineer). The first record Robert played was an acoustic bass solo effort by Harry Miller - South African expatriate and member of the legendary Blue Notes - forced out of their troubled homeland for being a mixed (race) jazz quintet! They moved to London in the early 60's and changed the modern jazz scene there in many ways! Each member of the Blue Notes was a force to be reckoned with - leader & pianist Chris MacGregor, Dudu Pukwana on alto sax, Mongezi Fesa on trumpets, Johnny Dyani on bass and Louis Moholo on drums!! Harry played with many of the British heavyweight out-jazz heroes- Mike Westbrook, John Surman, Mike Osbourne?! At the end of the sixties, he ended up again the former Blue Notes' cohorts in the astonishing Brotherhood of Breath who also included the cream of the UK avant-jazz - Evan Parker, Gary Windo, Harry Beckett, Marc Charig, Nick Evans & Radu Malfatti. Inexplicably and tragically - all members of the Blue Notes have since passed away except for Louis Moholo. Only two of the four regular Brotherhood of Breath releases ('s/t' & 'Live at Willisau') remain in print, with a third (live) cd to be released by Cuneiform later this year. The Blue Notes & BoB have a devoted & ever-growing following thanks to renewed interest (I have long championed this scene) and books like 'Innovations in British Jazz' for helping keep the flame burning! Which brings us to this marvelous & important box set - a memorial to Harry Miller by his wife Hazel who helped him run the fabulous Ogun label!The Collection' is an extraordinary three cd set and beautiful booklet filled with the kind and instructive words by fellow musicians and journalists. The three cds contain three lps with Harry as the leader (of Isipingo), an astounding duo record with Radu Malfatti on trombone and that one legendary solo bass release - 'Children at Play' from 1974! Harry also plays some hand percussion and flute on this jewel - but it is the soulful, glowing, passionate and resonant contrabass playing which continues to make us feel good now and in days to come! This offering goes from gentle to fierce to extended bass explorations to a child-like folk tune. Still, there is a certain folky/funky/earthy quality to this and other South African jazz - even if the location has changed completely. A quarter century since I last reckoned with this and it still rings true. The duo lp with trombonist Radu Malfatti is something else entirely! It was recorded live & first released in 1978. This is British/Euro free/improv at its finest - captured marvelously so that each sound can be held and fathomed without distraction. Beginning with many small sounds very slowly naturally occurring assembling babbling bubbling softly from the start and building the dialogue into conversation. Still fresh and timeless. The first group lp is Isipingo's 'Family Affair' from '77 and featuring a stellar sextet with Mike Osbourne on alto sax, Malcolm Griffiths on trombone, Mark Charig on trumpet, Keith Tippett (the master!) on piano & Louis Moholo on drums! What a line-up of giants! This music starts the heart a' fluttering with that wonderful South African gospelish funky jive groove saute-ing our souls! Moholo reminds me of Ed Blackwell with his distinctive second-line/out-jazz swing! This is happy music and each musician comes up with joyous solos inspired by the swell, hypnotic songs. When Mike Osborne finally explodes, everyone reaches for the stars, the break-neck pace pushes all into the stream. Keith Tippett is a marvel throughout - forever astonishing us with his cosmic harp-like flurries! The rhythm team do an impossible and ridiculous job of spinning in hyper-drive lightning flashes surprising us all! From only one year later we get a much different sextet with only the rhythm team in tact. 'In Conference' features Willem Breuker (leader of The Kollektief) and Trevor Watts (SME & Amalgam) on saxes plus special treat Julie Tippett on vocals! It continues down a similar path of robust freedom and intense energy - soaring from the first note, both sax players spin long note-bending webs of notes - the (Tippett fronted) rhythm team often burn - pushing hard on both saxes! "Orange Grove" has that infectious jive/groove once more with Harry's bass buzzing like mad at the center! Both saxists go for broke - playing powerful solos that swing with lyrical abandon at first, but later head for the stratosphere. Julie doesn't even appear until the second side of this lp - but does fit so well with this explosive sextet. The fifth and final lp is called 'down south' from the last year of Harry's life - 1983 - featuring a part Dutch unit with Sean Bergin on saxes, Mark Charig on cornet, Walter Weirbos on trombone and the wackiest drummer of them all - Han Bennink! Even with a whole new selection of players, the spirit is still there! The three horns remain inspired and ever-spinning throughout. Han put his silly schtick aside and plays truly inspired for the entire cd!?! The Harry Miller 'Collection' is a true blessing, since all five of these lps have long been out-of-print and each is an incredible work in its own right! Three cd set and most impressive booklet for $38.! That's all from Bruce Lee.

22.Morgan Powell – Orphans On The Road (Einstein 013) Crazy jazz meets mid-20^th Century serious new music vibe. The Tone Ramblers are John Fonville (flute), Eric Mandat (clarinet), Ray Sasaki (trp.), Morgan Powell (composer & trombone), Jim Staley (trombone), and Steve Butters (perc.) with Phobie Legere (vocals and accordian), Dorthy Martirano (violin), Dan Anderson (tuba). There's a lot of extreme sliding around and also a pointillist Webern quality with even an occasional bit of the blues. Wa-wa mutes on the horns, bowed cymbals, crazy lyrics, even conversations going on in the background during instrumental solos. One of the pieces from the four movement composition Texas O Texas, Texas Talk is all text: stories about Texas, every one talking at once – less like a conversation and more like a party. One very cool new music listen. $10

23.Aki Onda – Un Petit Tour (All Access AACD-007) Help! I've lost my press release! Bravely the lone music critic solders on with no notes, on battery power, by candle light in the middle of a thunder storm… The incredibly odd production is the first thing I noticed about this cd, each instrument inhabits it's own space. On the first track, for example, Un Petit Tour, the percussion might be samples but live in a different acoustical room than the soloists. There's a lot of cool crazy drum and sample programming with soloists Philippe Deschepper (gtr), Bernard Vitet (trp. and many other instruments) and others weaving short hip solos over the mayhem. Other people are credited with playing toys and other instruments, it is kind if hard to guess at who is playing what – the whole cd has a collage quality, the mood could change any moment. All through the disc is a narrative or conversation in French, kind of lost on me since I don't speak the language, but I dig it. $14

24.Jah Wobble and The Invaders Of The Heart – Molam Dub (30 Hertz Records HZCD12) Jah Wobble dubberizes one of few remaining areas on the planet left untouched by Bill Laswell: Southern Laos and a style of music known as Molam. Having a fascination with non-western musics, I've heard Molam before. A lead singer leads a cheering chorus in a call and response while a khene player holds down the time. An instrument central to the style is the khene, a reed mouth organ. Looking like a bundle of bamboo, it has a very distinctive tone, puffing along in a joyful rhythmic manner. This is no cut and paste operation of field recordings but an authentic in the studio collaboration with living musicans. Wobble sprinkes the dubby echo and his solid bass all over this event and there's even some droning ambient moments towards the end of the cd. I'll even go so far as to call this disc a masterpiece. $14

The above 3 reviews were done by DMG webmaster/microtonal GOD - David Beardsley.

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