New! Fred Frith! Musso/Bjorkenheim! Thomas Heberer! Machine Gun DVDs! Matthew Shipp! Steve Swell! Sonny Simmons! Stuart Liebig! Ian Carr's 'Music Outside' book! And much, much more!




**************



Two new Tzadik releases for July!

TREVOR DUNN - Four Films [sndtck s] (Tzadik 7518; USA) One of the busiest and most accomplished bass players in New York, a talented composer and band leader, Trevor Dunn has been the lynchpin of several astounding groups including Mr. Bungle, Fantomas, Moonchild, Asmodeus, Electric Masada, Junk Genius, New Mellow Edwards and many, many more. His own units include Trio Convulsant, MadLove and Schemes of Omission. The soundtrack music here covers a wide range of moods, from electronic noise to jazz and orchestral music, and not surprisingly shows a marked Morricone influence. This is a dynamic CD of music from one of the best musicians in the new generation of downtown composer/performers. TZADIK FILM MUSIC SERIES
Personnel: Shelley Burgon, Marika Hughes, Chris Speed, Tim Keiper, Rob Burger, Olivier Conan, Kenny Wollesen, Trevor Dunn.
CD $14

FRED FRITH - To Sail, To Sail (Tzadik 7625; USA) One of the most profound solo statements to date from a musical master who has been crossing musical borders for over three decades! Concentrating exclusively on the acoustic guitar, Fred Frith stretches himself and the instrument like never before, performing with the eloquence and grace of a master in peak form. With a prodigious technique and elegant sense of maturity he draws upon a lifetime of study and experience to bring together influences as diverse as classical, blues, folk, gypsy and free improvisation, creating a fascinating new world of sound and feeling. Beautiful and absolutely essential. TZADIK KEY SERIES
CD $14


Schulte, Heberer, and Raulf's label Poise!

FRED FRITH + SONARGEMEINSCHAFT [SONAR COMMUNITY: DIRK RAULF/FRANK SCHULTE] - Drift (Poise 15; Germany) This fine disc was recorded live at The Loft in Cologne in December of 2007 and it features Dirk Raulf on saxes, Frank Schulte on electronics and Fred Frith on electric guitar. I wasn't familiar with saxist, Dirk Raulf, before this, but it turns out that he co-runs the Poise label. Keyboard wiz, Frank Schulte, we know from his work with David Moss & Thomas Heberer. Guitar great, Fred Frith, certainly need no introduction to anyone who regularly reads this newsletter and I/we always look forward to any disc that Fred is involved with.
'Drift' is an appropriate title as some/much of this does drift. This disc features two long pieces and each one develops in a rich-hued, organic way. The first piece, "Elsewhere", features just the duo of Dirk on sax and Frank on electronics. Dirk sounds like he is playing tenor and slowly, the sax and eerie electronic sounds build and blend so well. Frank creates the occasional skeletal beat, which slowly mutates while strange electronic sounds hover and Dirk's sax floats on top. The second, longer piece is titled "All Aboard" and features the trio. Dirk is playing bari sax here and he takes his time while the odd electronic sounds whirl around him. When the duo soon get into a slightly funky groove, Fred starts to add his own subtle picking. I dig the way the trio work together, blending diverse sounds into a swirling stream that keeps shifting as it flows. Although Raulf most often uses a more restrained jazzi-like tone, Fred and Frank go further out at creating some more cosmic tones. There is an intense section on "All Abroad" where the guitar and sax toss those scary ideas back and forth at a quick rate, while Frank creates eerie sounds in the distance that soon get weirder and even more intense. This a most focused improv date that flows together and works just right. - BLG
CD $16

FRANK SCHULTE/PHIL MINTON/DAVID MOSS - Nosferatu [ltd sgnd & #'d ed] (Poise ODD 06; Germany) Poise ODD (= On DemanD CD-R) are handmade limited editions, signed by the artists, in this case Frank Schulte. This was recorded in 1998 live in Paris, at the concert hall of the IRCAM Academy, inspired by the reconstructed original version of the F.W. Murnau movie from 1922. The trio features Phil Minton: voice; David Moss: drums, voice & electroncs and Frank Schulte: electronics & piano. Former downtown percussionist and vocalist extraordinare, David Moss, has been living and working in Berlin for nearly two decades and has worked with both Phil Minton in the Vocal Village Project & 'Five Men Singing' and with keyboard wiz, Frank Schulte, for a rare trio disc on No Man's Land from way back when.
A number of other progressive musicians like Art Zoyd and Gary Lucas have also been inspired by or done their own soundtracks to F.W. Murnau's silent, science fiction film, 'Nosferatu'. This version may just be the strangest and most effective one yet. Although there are some 21 pieces here, all but one are under 5-minutes and they flow into one another just right. While Frank plays subtle, spacious piano, David plays occasional percussion selectively weaving cymbals and other metallic sounds in a dark and dreamy way. Both David and Phil take their time, sampling, repeating and altering their voices, using their distinctive voices most selectively. What works so well is the way they evoke so many feelings and images with a minimal amount sound. This wonderful disc is more than 66-minutes long and it is one fascinating, shape-shifting journey throughout its entire length. - BLG
CD $18

THOMAS HEBERER - Kill Yr Darlins (Poise 05; Germany) "Kill Yr Darlins" is Heberer's second Solo-CD release after his debut, "The Heroic Millepede" (ITM, 1989). "Electronic instrumental music that illustrates my background as a jazz musician but also does justice to my affinity for pop music," says Thomas. It turns out that ICP trumpet hero, Thomas Heberer, has had an extensive solo career doing various solo, duo & trio projects, each different and unique. Thomas co-runs the Poise label with Dirk Raulf and Frank Schulte and has a number of fine solo offerings on this swell limited edition series. 'Kill Yr Darlins' is a strange and twisted work. Over layers of weird beats, Thomas twists and tweaks, funky synth material into a most festive groove. Immensely fun and perfect for a party of dancing fools. Thomas adds some majestic trumpet lines to the tune in the second half, making it even better still. Who would've thought that Thomas has a future in creating infectious beats?!? Certainly not me. Each piece features a different carefully crafted groove and each is a blast. On the opening of few of these tunes, Thomas samples Louis Armstrong's voice, Art Blakey and some cartoon characters, thus adding some unexpected fun to the proceedings. Although Thomas only plays a handful of solos here, he is a wizard of creating enchanting beats and synth-derived sounds. - BLG
CD $16

T.O.M. [THOMAS HEBERER] - Stella (Poise 08; Germany) Featuring Thomas Heberer on trumpet and loops, from 2000. On each of the ten pieces here, Thomas has selected different loops or grooves and adds his distinctive trumpet playing to the top. The title track is first and you got to dig the sly, funky groove that Thomas has provided. Thomas adds bits of Miles-like long tones to the cool groove, hold certain notes for a long time so that we can actually observe their texture as they shift slightly. On "German Measles," Thomas takes a great groove and slowly alters it by adding bits of echoes here and changing the beat, a little at a time. The trumpet doesn't even come in for a long while since the groove is so mesmerizing. Thomas adds just one cool muted note at a time so that, so that he makes every note count. Sometimes that one note is muted or altered in some way, yet each note is part of an ongoing story, setting up a certain scene or vibe. Every time Thomas sets up another groove, he knows enough to always alter things to keep it always interesting. Sometimes it more fun to dance around to this than listen to closely, but it does remain pretty interesting throughout. - BLG
CD $16

T.O.M. [THOMAS HEBERER] - Mouth (Poise 09; Germany) "Mouth" extends the concept Heberer developed for "Stella" of getting the most out of a minimum of musical material. The aim was a symbiosis between the musical idea on the one hand and the commanding knowledge of the technical aspects on the other.
CD $16



Three new releases from Evan Parker's Psi label!

FREE ZONE APPLEBY [PAOLO ANGELI/EVAN PARKER/NED ROTHENBURGER] - Free Zone Appleby 2007 (Psi 08.04; UK) PAOLO ANGELI (Sardinian guitar & electronics), EVAN PARKER (soprano & tenor saxophones), NED ROTHENBERG (alto saxophone, clarinet, bass clarinet), The Freezone in 2007 was played by just three. The smaller than usual line up allowed for a more intense investigation of the relationships between the players. For the first time an entire set was played by all three musicians and this set was so successful that it is presented unedited, along with two duos. There will be no Appleby Festival in 2008, and therefore for the moment the sequence comes to an end with what many people considered the most successful Freezone ever.
CD $20

LONDON IMPROVISERS ORCHESTRA - Improvisations for George Riste (Psi 08.06; UK) Founded in 1998, the LIO has been a focal point for the community of improvising musicians in London. This CD features four total improvisations (from 2003 & 2007) selected from the archive of concert recordings made at their monthly appearances at the Red Rose.
CD $20

JOHN ECKHARDT - Xylobiont (Psi 08.05; UK) John Eckhardt brings the technique and sensibility required by the music of Xenakis, Feldman and Ligeti to this debut recording of double bass improvisations recorded in 2007. Some of the sounds on this CD might suggest electronic manipulation or overdubbing (which have nowhere been used) - one of Eckhardt's principal musical strategies is to explore the polyphonic potential of a given playing situation, and another is to concentrate to a seemingly obsessive degree on a seemingly restricted area of instrumental technique until it yields up its inner variety and complexity. 67 minutes.
CD $20



Four new ones from Poland's 'Not Two' label!

MATTHEW SHIPP QUARTET With DANIEL CARTER/JOE MORRIS/WHIT DICKEY - Cosmic Suite (Not Two 798; EEC) Featuring Matt Shipp on piano, Daniel Carter on reeds & trumpet, Joe Morris on double bass and Whit Dickey on drums. As the amazing pianist and composer, Matt Shipp, closes in on his 100th disc as a leader or sideman, it is good thing that he didn't honor his promise to retire from recording like he said a few years back. I believe that this particular quartet has not recorded before this, although all of the members have played together in other combinations. Matt, Joe & Whit have been playing as a trio for the past few years and Daniel can be heard on a variety of previous Matt Shipp dates. Starting with "Cosmic Suite - Part One," Daniel is playing some lovely, laid-back, muted trumpet while the rest of the quartet swirls calmly around him. This has to be some of the most calm and enchanting music we've heard from Matt and his cohorts in recent memory. When Daniel switches to tenor sax, the quartet starts swirling more intensely, the waves building higher and higher. The recording and balance are especially well done, so the quartet sounds mighty fine. On each piece, Matt provides a different yet somehow connected theme, often reflective yet also quite intense. "Cosmic Suite - Part Four" reminds me of a Monk songs, it is somewhat lopsided and it is interesting to hear Daniel Carter playing in such a more inside way. On "Part Five," Matt plays these shimmering, dark chords that sound as if we are swimming at the bottom of the ocean in slow motion. As we rise closer to the surface, there is a peaceful calm that washes over us until things get a bit bumpy once more. Each part of the "Cosmic Suite" seems to evoke a slightly different spirit or image. It sounds as if Matt has selected just the right musicians for this suite since each one fits so perfectly into the cosmic flow. This might just be Matt Shipp's finest disc, it certainly feel that way as I sit back in my chair sipping on some coconut coffee in front of my computer on a hot summer's night. - BLG
CD $17

STEVE SWELL RIVERS OF SOUND ENSEMBLE With ROY CAMPBELL JR/SABIR MATEEN et al - News From The Mystic Oracle (Not Two 797; EEC) Featuring Steve Swell on trombone, Roy Campbell on trumpet & flugelhorn, Sabir Mateen on tenor & alto sax, flute & clarinet, Hill Greene on bass and Klaus Kugel on drums. Both Klaus and Sabir have been in Steve's longtme group Slammin' The Infinite; however Rivers Of Sound is currently considered a one-time affair. This disc is dedicated to the great Sam Rivers after WKCR had a marathon for him in May of 2007 and played some 177 hours of Rivers' music. For the past decade ace trombonist and composer, Steve Swell, has has 2 or 3 discs released each year as a leader. Each has been a reason to rejoice as every one is great in different ways with their varying lineups.
This righteous disc consists of three long tracks and was well-recorded in a studio in February of 2007. "Journey to Omphalos" begins with the band playing calmly, the opening theme is most haunting. The ever-incredible Sabir Mateen takes the first powerful solo on tenor sax with that extraordinary rhythm team swirling powerfully around him. Both Hill's acoustic bass and Klaus' drums are amazing, tight and truly spirited. As Sabir's solo reaches for the stars, Steve's trombone and Roy's trumpet spin around him marvelously. Next it is Steve's turn to take an explosive solo and that he does ever so well. When Roy steps up the plate next, the rhythm team sails back down to the earth while Roy slowly builds the excitement back up to new levels. Hill also takes a fine solo and I dig the way the quintet holds back and plays quieter cosmic sounds in the last section, especially Sabir on clarinet and Klaus' sly cymbal work. "Healix" picks up where the last piece left off with a fine, restrained freer vibe. There is strong duo with Hill on bowed bass and Klaus on drums the opens this piece. Roy takes one his righteous and lovely flugel solos, bending and twisting his notes inside out. Sabir's crafty clarinet solo seems to pick up right from where Roy left off, continuing the flow perfectly, setting up Steve for a final solo that burns bright and rides gloriously on Klaus' masterful drums and Hill's massive bass. The epic-length title track is last the quintet shines throughout, from the suspense-filled opening through some fine flute from Sabir, all stretching out and building to a grand conclusion. This is one of those magical improv sessions that works so well as each member of the quintet supplies that cosmic glue that keeps the creative flame burning from the beginning right down to the end. Right on, brothers, right on! - BLG
CD $17

RETURN OF THE NEW THING [DAN WARBURTON/JEAN-LUC GUIONNET/FRANCOIS FUCHS/EDWARD PERRAUD] - Alchemy (Not Two 796; EEC) Featuring Dan Warburton on violin & piano, Jean-Luc Guionnet on soprano & alto saxes, Francois Fuchs on bass and Edward Perraud on drums. Dan Warburton runs the Paris Transatlantic on-line web-zine as well as reviewing discs for the Wire. He is one of my favorite journalists and is more open and informed than most. Dan has worked with Arthur Doyle, Frederic Blondy and Frederick Goodwin. Jean-Luc Guionnet and Edward Perraud both play in the great French improv quintet, Hubbub. This is the fourth disc from Return of the New Thing, after CDs on Leo, Ayler, and a previous one on Not Two.
This disc was recorded at Alchemy in Poland in June of 2007 and has superb sound. This music has a magical quality, the sounds spin a sublime web around one another. While Dan plays dreamy, harp-like piano, the rest of the quartet swirl sublimely around him. Right away, we are transported into a most mesmerizing terrain. Although this sounds like free/jazz, there is a certain calm at the center of the storm. Jean-Luc starts to blast on his alto and sounds most powerful and uplifting. Dan sounds like a somewhat more reserved Keith Tippett and is nearly as amazing at times. Percussionist, Edward Perraud, who can be heard on that fantastic duo CD with Paul Rogers last year on FMR is also in splendid form. This band soon erupt and blast forth together tightly. Even when they slow down to a spacious section, they remain a tight-knit quartet. Dan's twisted violin improv works well with Edward's quick-spinning free percussion, Jean-Luc out-there sax and Francois' great bowed bass. Although this great quartet probably don't get together that often, they don't sound that way. They have an incredible, well-worn, tight-knit group sound, that remains interconnected no matter how far they go out. Once again we find another European unit that sounds as wonderful as any of their American brethren. Extra-ordinary, yes indeed! - BLG
CD $17

ENSEMBLE 56 - 1st Meeting: Towards Sky Flight Of Dragon (Not Two 799; EEC) Ensemble 56 feature Attila Dora on alto & tenor sax & G-clarinet, Rafal Mazur on acoustic bass guitar and Miecyzslaw Gorka on drums & percussion. I can't say that I've heard of any of the members of this fine Polish/Hungarian trio before this disc, but I was quite pleased to hear this disc. Acoustic bass guitars are still pretty rare, but there are a few out there like Jerome Harris, who use those instruments just right. The first track features a finely balanced sax/bass/drums trio playing freely yet extremely focused. Attila squeals and squawks and even sounds like John Zorn when he reaches for the outer regions. Track 2 starts with just solo muted sax, perhaps played into his leg like Louie Belogenis likes to do. It sounds as if the saxist is playing outside with birds chirping away and subtle percussion added as a bit of spice. Much of this involves solo sections which are always fascinating and superbly recorded. The trio does a swell job and knowing when to come in and turn solos into duos or trios. There is a great section on track 3 where Attila plays cautious bass clarinet while Rafal buzzes underneath with some sublime bass drones and Gorka plays skeletal drums around them. All the pieces flow seamlessly into one another and the entire 50+ minute set is an intense joyride throughout. - BLG
CD $17



Our old friend & sax legend, Sonny Simmons, has just left us with 6 copies each of two of these limited-edition gems. He claims that he will try to get us more copies to sell, if at all possible. In the meantime, these are first come, first serve only. We will not hold up any orders when we run out, but will contact you if & when we get any more.

SONNY SIMMONS/BOBBY FEW - True Wind [2 set] (Hello World 12/13; EEC) Recorded live in at L'Atelier Tampon-Ramier in Paris in November of 2007. Featuring Sonny Simmons on alto sax & cor anglais (English horn) and Bobby Few on piano. Delghtful duo session featuring mainly standards: "Night in Tunisia," " 'Round Midnight," "Body & Soul," "All the Things You Are" plus a few originals
2 CD Set for $25

SONNY SIMMONS - Introducing Black Jack Pleasanton [4 CD set; ltd ed] (Hello World 08/11; EEC) I will review this set only if we get more copies to sell, since these will probably be gone by the end of today - July 17th, 2008.
4 CD Set for $70


STEUART LIEBIG TEE-TOT QUARTET - Always Outnumbered (pfMentum 053; USA) Featuring Steuart Liebig on contrabass guitar & compositions, Dan Clucas on cornet, Scot Ray on dobro and Joseph Bernardi on drums & percussion. This is LA area bass great, Steuart Liebig's 13th disc as a leader and again he has expanded his vision with another unique ensemble. Steuart has had a variety of ensembles like Quartetto Stig, Minim and The Mentones, as well as working with Nels Cline, Vinny Golia and Scot Ray. The Tee-Tot Quartet features members from different ensembles with the unique instrumentation of cornet, dobro, contrabass guitar & drums. Scot Ray, who also plays trombone and leads a band on Cryptogramophone, also has solo and duo dobro discs out. "07-04-00" has a sort of blues, shuffle groove with some great, greasy dobro up front. Steuart's bass is firmly in the center of each piece. "Serenade" has a a fine, laid back and bluesy theme which is well-played by the dobro and muted cornet with Steuart's sublime bass playing the poignant melody underneath. On "Wrong How Long" the dobro and bass solo superbly together and around one another ever so intricately. Throughout this fine disc, Steuart has written a series of earthy and memorable melodies that give the dobro and cornet a chance to play lots of inspired solos. This is one of those discs that almost anyone can enjoy since it is not that "out there" and has enough earthy tunes and inspired solos to make everyone smile. - BLG
CD $12


FULMINATE TRIO [ANDERS NILSSON/KEN FILIANO/MICHAEL EVANS] - Fulminate (Generate 12; USA) Fulminate Trio feature Anders Nilsson electric guitar, Ken Filiano on double bass and Michael Evans on drums, with everyone doubling on electronics. Swedish-born guitarist, Anders Nilsson, has been a part of the downtown scene for the past decade and is one of unsung local heroes of jazz/rock guitar. His Swedish quartet, Aorta, has two of the finest jazz/rock discs out that we've heard in many a year. He has also collaborated with Ras Moshe, Tom Bruno and Raoul Bjorkenheim. The Fulminate Trio is Anders' new project with the great East/West bassist Ken Filiano and another unsung hero, MIchael Evans on drums. This fine disc was dropped off nearly a month ago when I wasn't at the store, so I didn't get a chance to listen to it closely until now. All I can say is - wow! All of the five songs are originals, except for the opening track, which is Carla Bley's "Floater." "Floater" is a dark, spooky tune with ominous bass and sly, skeletal guitar. It is difficult to be delicate and dark at the same time, but this piece does do that so well. Michael Evans' "Road Runner/Coyote" is a somber, freer piece with some strong bowed bass, old-fashioned slow-burning jazz/rock guitar and quick-spinning drums. "The Red One" starts off with some eerie static before the trio slowly builds freely and ominously. Soon the trio hits its stride when Ken introduces this great, hypnotic repeating bass line. Anders takes a long, story-telling guitar solo that is most inspiring, tasteful and imaginative. Fusion lovers-watch out, you have a new saviour! I am kidding actually, since Anders' solo is relatively short, to-the-point and doesn't overstay its welcome. One of the things that I dig about this trio is the way they use acoustic bass with electric guitar in a most natural way. There is a long spacy section in this piece that features eerie, minimal guitar, buzzing contrabass and free & fractured drums. "Tiger Variations" has an odd jazz/rock/psych sort of theme, reminding me of the good old early free/fusion days, before pigeonholing forced some to prejudge what they might actually dig if they heard something in a blindfold test. This is a most impressive trio offering that appears to defy categorization and remain engaging throughout. - BLG
CD $14



Five New limited editions MuWorks CDs and DVDs EXCLUSIVELY from DMG!

BOB & FRIENDS [ROBERT MUSSO With RAOUL BJORKENHEIM/ELLIOTT LEVIN/DAVE DREIWITZ/JOHN 'LUNAR' RICHEY/ERIC SLICK] - DMG 16th Anniversary At The Bowery Poetry Club - September 22 2007 (MuWorks CR; USA) Ltd Ed CDR at full CD sampling rate as opposed to lesser quality downloads! Wow! Despite the fact that yours truly did the on-stage intro to this set, listening back to it now, it sounds truly f**king amazing! This not just jam session, this band has obviously rehearsed and is playing mostly original material by Machine Gun head, Bob Musso, as well as a couple of well-chosen covers, like that great Sonny Sharrock song at the end of the set. - BLG
CD $12

BOB'S JAM BAND [ROBERT MUSSO With RAOUL BJORKENHEIM/JOE RUSSO/DAVE DREIWITZ] - Orange Music Sound Studios - January 15 2007 (MuWorks 28 CR; USA) Ltd Ed CDR at full CD sampling rate as opposed to lesser quality downloads. More cosmic double guitar jamming from Machine Gun's ace leader Bob Musso and Scorch Trio's dynamic lead guitarist, Raoul Bjorkenheim! Yowsah, yowsah, yowsah!! - BLG
CD $12

MACHINE GUN [ROBERT MUSSO/THOMAS CHAPIN et al] - Live From The Court Tavern - February 24th 1990 + Decmber 8th, 1990 [DVD] (MuWorks DR 03; USA) Ltd Ed DVD-R exclusively sold ONLY by Downtown Music Gallery by arrangement with Robert Musso, the recording's copyright holder.
DVD $16

MACHINE GUN [ROBERT MUSSO/THOMAS CHAPIN et al] - Live From The Webo Art Space - September 22nd 1991 [DVD] (MuWorks DR 01; USA) Ltd Ed DVD-R exclusively sold ONLY by Downtown Music Gallery by arrangement with Robert Musso, the recording's copyright holder.
DVD $16

MACHINE GUN [ROBERT MUSSO/THOMAS CHAPIN et al] + ELLIOTT SHARP - Live From The Court Tavern - September 7th 1991 ..plus Knitting Factory with Elliott Sharp - November 30th, 1988[DVD] (MuWorks DR 02; USA) Ltd Ed DVD-R exclusively sold ONLY by Downtown Music Gallery by arrangement with Robert Musso, the recording's copyright holder.
DVD $16

A few remaining copies of previous ltd ed MuWorks titles - some only two copies!
[please note: some earlier copies did not have track indexing - all our stocks now are fully indexed, both new and old titles]

MACHINE GUN [ROBERT MUSSO/THOMAS CHAPIN et al] With SONNY SHARROCK - Live At The Gas Station - December 3rd 1988 (MuWorks 46 CR; USA) Ltd Ed CDR at full CD sampling rate as opposed to lesser quality downloads! Machine Gun: Robert Musso, the late Thomas Chapin, Bil Bryant, Jair-Rohm Parker Wells, John Richey; with special guest Sonny Sharrock!
CD $12

MACHINE GUN [ROBERT MUSSO/THOMAS CHAPIN et al] With SONNY SHARROCK/KARL BERGER - Live At CBGB's Vol 1 - June 2 1987 (MuWorks 37 CR; USA) Ltd Ed CDR at full CD sampling rate as opposed to lesser quality downloads! Machine Gun: Robert Musso, the late Thomas Chapin, Bil Bryant, Jair-Rohm Parker Wells, John Richey; with special guests Sonny Sharrock and Karl Berger!
CD $12

ROBERT MUSSO/BILL LASWELL/LANCE CARTER - Live At The Bowery Poetry Club - November 11th 2004 [DVD] (MuWorks 31 DR; USA) Ltd Ed DVD-R exclusively sold ONLY by Downtown Music Gallery by arrangement with Robert Musso, the recording's copyright holder. One-time trio improv performance by the stellar lineup of Bob Musso guitar, Bill Laswell bass, and Lance Carter drums! This was one of Lance's last performances before his untimely passing. For Fans of Machine Gun, Last Exit, Robert Fripp/King Crimson and other high-energy avant-rock!
DVD $16

ROBERT MUSSO/BILL LASWELL/LANCE CARTER - Live At The Bowery Poetry Club - November 11th 2004 (MuWorks 31 CR; USA) Ltd Ed CDR [of the above DVD] at full CD sampling rate as opposed to lesser quality downloads!
CD $12

ROBERT MUSSO/DAVE DREIWITZ/LANCE CARTER - Live At The Bowery Poetry Club - July 9th 2003 (MuWorks 33 CR; USA) Ltd Ed CDR at full CD sampling rate as opposed to lesser quality downloads!
CD $12

TRANSONIC [ROBERT MUSSO] With BILL LASWELL - Re-Evolution (MuWorks 22 CR; USA) Ltd Ed CDR at full CD sampling rate as opposed to lesser quality downloads!
CD $12

TRANSONIC BAND [ROBERT MUSSO With BYARD LANCASTER/CHARLES BURNHAM/ELLIOTT LEVIN/LANCE CARTER et al] - Live At The Cooler - July 12th 1999 (MuWorks 30 CR; USA) Ltd Ed CDR at full CD sampling rate as opposed to lesser quality downloads!
CD $12


MUSICWORKS - Explorations In Sound [Deluxe 'Magazine + CD' edition] (Issue 101/Summer 2008; Canada) Featuring a cover articles on Louis Dufort ("Music is Movement"), plus articles on Maggie Nichols, Kyle Gann, Ann Southam, Chris Bryan, commentary on Mississauga, the sonic geography of Mulhouse, France. Plus some of the illuminating reviews of recorded music, sounds known & unknown and book reviews of George Lewis' AACM masterwork and Gabriel Solis' "Monk's Music" book. The CD features fascinating music by Louis Dufort, Kyle Gann, Ann Southam, Chris Bryan, Maggis Nichols & Marla Hlady. Definitely the best serious music zine around. - BLG
'Magazine + CD' edition for $17


IAN CARR - Music Outside: Contemporary Jazz In Britain [Revised Edition] (Northway; UK) Second edition of this classic book with a new postscript and a fresh selection of photos; originally published in 1973 and out of print for 35 years! This hardback book captures the spirit, optimism and creativity of contemporary jazz in Britain in the late 1960s and early 1970s. Carr, at the time having recently founded the jazz-rock group Nucleus, previously having co-led a group for many years during the '60s with Don Rendell, was an important part of the action as well as a sharp observer of it and he wrote about his friends and colleagues, his jazz contemporaries, the people who made the jazz world come alive at one of the most exciting times in its recent history. Carr's profiles and in-depth interviews with leading musicians and composers document the range of their ideas, their influences, their enthusiasms and their often heroic efforts to continue working in jazz. The musicians interviewed include Mike Westbrook, Jon Hiseman, John Stevens, Trevor Watts, Evan Parker, Mike Gibbs, and Chris McGregor with the Brotherhood of Breath. Ian Carr is well-known as an imaginative and ground-breaking jazz trumpeter and bandleader, the author of acclaimed biographies of Miles Davis and Keith Jarrett and co-author of The Rough Guide to Jazz.
"Absolute highest recommendation!" -BLG
BOOK $38

JOE HARRIOTT//ALAN ROBERTSON, author - Joe Harriott: Fire In His Soul (Northway; UK) Joe Harriott arrived in England from his native Jamaica in the same month that author Alan Robertson was born. In his twenties Robertson had become a jazz fan, and with the reading of Ian Carr's influential book, "Music Outside", he became hooked on the idea that eventually led him to research and write this biography.
Reading this book has awakened numerous memories, memories that confirm the importance of Joe Harriott in our then developing musical taste. Although a figure somewhat unknown in the international chronicles of our music, it is readily apparent that his contributions brought to British jazz a sense of worth - not always appreciated - and by the mid-sixties, his Indo-Jazz Fusion experiments with violinist John Mayer, were unwittingly introducing early concepts of what would become known as "world music". It was only in 1998 that his masterworks, Freeform, Abstract and, with John Mayer, Indo-Jazz Fusions, Indo-Jazz Suite, and Fusions were made available on CD [sadly only two of the three Indo-Jazz albums and Freeform are currently available]. In an era when the "legacy" departments of jazz labels regularly unearth an inordinate amount of classic material for repackaging, this is nothing less than ridiculous. paperback, 220 pgs.
BOOK $23

And last copies of...

JOHN ZORN/SONORA - Sonora Special Edition: John Zorn [Book + CD] (Materiali Sonori; Italy) An incredible 200+ page tome that IS A MUST for all people interested in the work of John Zorn, as well as early Eugene Chadbourne. Text is side-by-side in both English and Italian..

The softcover book starts with an 8 page Tribute to John Zorn written in 1997 by Dr. Chadbourne in which he introduces each of his five rare recordings - not found elsewhere - on the CD which all feature Zorn in rare recordings of Chadbourne's compositions, including the duet pieces "The Viaduct" and "The Double AA", a trio with Polly Bradfield "Welcome West", a new mix of 2000 Statues' "The English Channel", and a newly done version of "W VA Spec" done by The Chadbournes with Zorn! Then follow reprints in their entirety of rare articles and interviews with Zorn. This in turn is followed by 16 pages on high gloss stock of rare photographs, then three essays written BY Zorn: "Jack Smith And The Flaming Creatures", "L'Atalante", and "Sound Directions In Fuller's Shock Corridor" Next is a stunning section of photographic reproductions, again on high gloss stock, of Zorn's hand-drawn scores for 12 of his compositions mostly of early game pieces, but including a couple of Naked City tunes as well. Finally comes a comprehensive discography/videography/bibliography [of known articles/writings pertaining to Zorn] up through early 1998. Whew!
Did I say MUST HAVE?
BOOK + CD for $25

HUGH DAVIES - Sounds Heard: A Potpourri of Environmental Projects and Documentation, Projects with Children, Simple Musical Instruments, Sound Installations Verbal Scores, and Historical Perspectives [BOOK & CD] (Soundworld; UK) Not only a collection of writings intended for people who are interested or involved in contemporary music, especially those performers - including children- who lack a formal musical training. It also charts a wide cross-section of the activities of an intriguing musical personality. During Hugh Davies' nearly 40 year career (including charter membership in Music Improvisation Company with Derek Bailey, Evan Parker, and Jamie Muir) he has been called "the world's leading electromusicologist" and "one of the most interesting instrument inventors of recent decades".This book focuses on many of Davies' insights about working as an artist, a musician, a composer, a performer, an instrument inventor, an educator and a researcher. Many of the different areas of experimental music since the 1960s are touched on, including electronic music, live electronics, invented instruments, sound sculpture, sound installations and free improvisation, in all of which he was one of the British pioneers. The CD includes otherwise unreleased solo performances and recordings; no conventional instruments were used on the entire album, with the exception of one short piece in which existing music has been manipulated with tape techniques.
IF we can even re-order this book [doubtful] it will be at a higher price - Grab it now!
BOOK + CD for $30


HUGH DAVIES - Performances 1969 - 1977 [Limited Edition CD-R] (Another Timbre Archive Series 01; UK) Hugh Davies was one of the true pioneers of "free improvisation," hailing from the UK and beginning in the mid-sixties. He worked with Derek Bailey, Evan Parker & Jamie Muir in Music Improvisation Company, as well as fellow explorers like Phil Minton, Paul Lytton, David Toop, Max Eastley, Philipp Wachsmann and others. Considering that he had a forty year career, he was woefully under-recorded and can be heard on just a handful of in-print recordings. This limited edition disc features some 79-minutes of Hugh Davies rare solo and one duo recording from 1969 - 1977. Hugh Davies passed away in January of 2005, so special thanks to the fine folks at Another Timbre for these wonderful archival recordings.
"Music for 2 Springs" is just that, although it is also so much more when you listen to it. The springs sound like tribal drums being pounded on and altered. Mr. Davies appears to have a pick-up on his springs, as he rub them with another piece of metal, the sounds pan back and forth in stereo. Quite daxophone-like in sound. There is something rather primitive and fascinating about these sounds. "Music for 3 Springs" triples the sound of the springs, but it takes time to do this right. The springs sound stranger and more brittle, occasionally erupting intensely. Perhaps the springs appear to be smaller, they certainly sound that way and each one is in a different place in the sound spectrum. "Solo at Ronnie Scott's" is from about 1975 and it seems like a strange place for this as this was/is a more mainstream jazz club by this time. Davies seems to have a selection of hand-made oddities (egg slicers?), getting a variety of strange sounds. Many of these sounds are quite fascinating to listen to: melodic, probably not but nonetheless engaging and often difficult to describe. Near violent at times and restrained at other times. "Music for Bowed Diaphragms" (1973) sounds like we are inside a large metal skeleton and someone is bowing the bones with long, thin metal rods. "Salad (for egg & vegetable slicers)" is again filled with odd metallic sounds, scraped metal and some strange scary moments. The final piece is a shoszg duo work for Mr. Davies and Richard Orton. The shozyg is an early instrument that Davies invented, which was housed in the cover of a large encyclopedia that covered the letters SHO to ZYG. Again, the sounds are strange, eerie and fascinating. For forty plus years, Hugh Davies created his own distinctly unique worlds of sound. Listen closely to this disc and be transported to a unique, alien place well worth visiting. - BLG
CD $17

HUGH DAVIES//ADAM BOHMAN/LEE PATERSON/MARK WASTELL - For Hugh Davies (Another Timbre 11; UK) "Featuring the late Hugh Davies on invented instruments plus Adam Bohman on prepared balalaika & amplified objects, Lee Patterson on amplified objects and Mark Wastell on cello. A unique celebration of the work of Hugh Davies, one of the great pioneers of improvised music who died three years ago. Solo recordings of Hugh from three decades ago are played back to a trio of musicians whose work has been influenced by Hugh, and they improvise around his music to create a living homage to his memory. Beautiful, strange and challenging music. While Hugh Davies' distinctive and alien sonic devices seem to come from another dimension, the other three players add their own unique touch and make this somewhat more human or at least more comprehensible. All three have obviously been influenced by the highly unique sounds that Davies developed over many years and work with his sounds superbly. At times it is hard to tell who is doing what and who was at the session that day. There is a Hugh Davies solo CD-R that was also just released by this same label and three of those pieces were used on this disc to improvise with. Reviewing that disc first helped me to figure out which sounds were Davies', well, most of the time. What I dig more about this is just the fascinating layers of sounds that this "quartet" performs. The sounds are often industrial, metallic, bent and rarely deal with melodies. Considering that there is a cello and a balalaika involved, we never hear anything that sounds like those instruments. This should not come as a surprise since the last time I saw/heard Mark Wastell play his cello, he was determined to use it only in the most unconventional ways. I am impressed by the way they work together, coming up with new sounds by combining their varied sounds into a recognizable unified group sound. At times I am reminded of the soundtrack for a Japanese monster movie, when the monsters are speaking or screaming. Either way I was blown away by the alien soundscapes that this phenomenal quartet has created. Hats off to Hugh Davies, whenever you are." - BLG
CD $17

MAX EASTLEY/GRAHAM HALLIWELL/EVAN PARKER/MARK WASTELL - A Life Saved By A Spider And Two Doves (Another Timbre 06; UK) Featuring Max Eastley on arc (electro-acoustic monochord), Graham Halliwell on computer & electronics, Evan Parker on soprano sax and Mark Wastell on tam-tam, metal percussion & harmonium. This was recorded at the Church of St. James the Great in north London in September of 2003 and this was the first time that this quartet played together. Like Hugh Davies, who also has discs out on this same label, Max Eastley has designed and played his own instruments for many years. Eastley has collaborated with David Toop, Steve Beresford, Mike Cooper & the 39 Americans. Graham Halliwell has worked with Simon H. Fell, Bernhard Gunter and Rhodri Davies. Mark Wastell runs the most adenturous record store in north London and has also worked with a wide variety of lower & upper-case improvisers like Chris Burn, Derek Bailey, Philipp Wachsmann & IST. Evan Parker is the most well known musician here and he certainly needs no intro.
The first time I listened to this disc in the store, I couldn't really hear too much, but that is the often the problem with listening to quiet and/or minimal music here at DMG. It sounds much different here in my quiet kitchen sitting in front of the computer. Subtle drones, fragile soprano sax squeaks and other cautious sounds slowly drift by. Evan's soprano is up-front but he is still taking his time and playing just a few notes or sounds at a time while more distant drones hum in the background. A harmonium or monochord, perhaps? There are sounds here like distant hums the one can barely hear still fell the presence of. The overall sound is like slowly observing an environment that is glowing and humming and it sounds alive with small, fractured life-like sounds. On "Human Fireflies" the sounds rustle a bit more quickly, the soprano plays more fractured as the cymbals are eerily scraped. Evan starts to circular breathe, but consistently as other drones poke through the holes in the stream. This music is more about magnifying small textures and slight changes. Again, it takes some patience to let this music breathe and happen, since it often moves slowly yet evolves in interesting ways. One of the best lower-case improv discs I've heard in a while not on Erstwhile or another similar label. - BLG
CD $17

ESTEBAN ALGORA/ALESSANDRA ROMBOLA/INGAR ZACH - ..de las piedras (Another Timbre 09; UK) Featuring Esteban Algora on accordion, Alessandra Rombola on flutes & tile installation (?) and Ingar Zach on bass drum & percussion. I can't say that I've heard of Esteban or Alessandra before this disc, but I do know Ingar Zach from his work with Derek Bailey, Jaap Blonk, Rhodri Davies, Michel Doneda and Huntsville, who played a superb set up at Victo a couple of years ago. This disc is mostly acoustic and superbly recorded. In some ways this music is similar to the Erstwhile aesthetic: minimal, carefully crafted sounds, unfolding slowly. Ingar does a fine job of coaxing sounds by bowing cymbals and other objects so that certain sounds shimmer or resonate magically. Sometimes it is quite eerie and each sound is filled with suspense. The combination of accordion, flute and bowed percussion create drones that are most mesmerizing. At other times all three instruments are played more percussively and work together in a different textural way that is more riveting. What I dig about this is that each sound feels carefully placed, nothing seems random or free. Hence, it sounds like we are moving through a landscape or story that is unfolding as we drift from scene to scene. Everything seems to have its place in this environment, every sound is special. We just need the time and patience to let things happen and observe them clearly as they do. The rewards are readily at hand. - BLG
CD $17

ANGHARAD DAVIES/TISHA MUKARJI - Endspace (Another Timbre 05; UK) This is a duo of violin and inside piano. With its fairly calm surface of slow, sparse, soft, long notes without arches or climaxes there's a good chance this will appeal to listeners who enjoy Morton Feldman's middle and late period piano/violin works. As far as the differences, the music here is much more textural and instead of lucid pitch logic it revels in indeterminate microtones. It's somewhere in between the extreme extended technique abstractions of the current era and the more conventional timbres of earlier eras. As can be expected from direct percussive access to piano strings, sometimes there is a Harry Partch flavor when the sounds are resonant pitches, but still feel unfamiliar. At other times, the texture is squarely in the current realm of rub/scrape frictionalism. There are lots of bow strokes that seem to fall off track, but not in a disconcerting way; it's more like sounds that are already thin, delicate and edgy suddenly slipping into other sounds that also share those qualities. I enjoy the feeling of sounds never being fully heard because they never fully reveal themselves. While this music has the economy and intentionality of gesture that has been common in the past decade, the gestures themselves feel less controlled, either because the musicians lack precision or they savor indeterminate gestures. The album works as a single flowing suite and can work either as gentle ambient music made up of ugly, queasy acoustic sounds (a common aesthetic these days but rarely with purely acoustic instruments), or as a tense, micro-detailed sound world rewarding strenuous attention. I think it's excellent both ways. - Michael Anton Parker
CD $17

RHODRI DAVIES/MATT DAVIS/SAMANTHA REBELLO/BECHIR SAADE - Hum (Another Timbre 04; UK) This is a complex quartet sound of extended techniques on mostly acoustic instruments. Even though the acoustic instruments sometimes create an illusion of electronics, real electronic timbres are a pretty small part of the mix and only supplied by Matt Davis, who also uses trumpet. Rhodri Davies plays harp with various objects and preparations; he seems responsible for most of the mechanical percussive textures but never of the typical plucked variety. Bechir Saade plays bass clarinet. Samantha Rebello plays flute. I personally love the special thin, strident, elliptical sound of some extended techniques on flute compared to other wind instruments like trumpet, clarinet, and saxophone, and flute hasn't been used in this way very often compared to those instruments either. This music has multiple, distinctive simultaneous layers of texture, like ratcheting/clicking alongside wavering drones alongside air circulation sounds, or high whistling alongside mouth crackle alongside buzzing. This parallel texture structure is much different than common call-and-response or blended texture structures, which don't appear very often on this disc. So even though the music is mostly slow, crawling and serious/solemn/ominous, it feels spatially complex with separate parts moving in different directions. The density is generally in the low to medium range, nothing extreme, although the fourth piece is so thin and light it almost feels like a gorgeous ballad. Overall, this is an excellent example of detailed, fresh, powerful music that works through the visceral excitement of timbrally and architecturally crafted sound detached from emotion and narrative. - Michael Anton Parker
CD $17

JOELLE LEANDRE - Concerto Grosso: Live At Gasthof Heidelberg Loppem [2 CD Set] (Locusloppem/Jazzhalo 21/22; EEC) Recorded live during the Locus Loppem-event at Gasthof Heidelberg Loppem (B) on January 29, 2005 (Disc Two) and on January 29, 2005 (Disc One) by Jean-Marc Foussat
French bassist Joelle Leandre has devoted much of her career to solo performance and Concerto Grosso is the latest in a line of unaccompanied releases. Like Derek Bailey (with whom she's recorded) or Cecil Taylor, Leandre has developed a language on her instrument that is dense and easily recognizable as her own. Her long bowing and percussive approach, coupled with her expressive vocalizing, are distinctive and deeply evocative. The Gasthof Loppem recording - released by the Belgian Jazz Halo label - captures two January 2005 sets across two discs (totaling 87 minutes). As with Bailey or Taylor, it's difficult to take her playing apart or to rank her performances against each other. She tends - here and in general - toward shorter improvisations; the fourteen pieces here never break the ten-minute mark. The recording is close and personal and the performance beautiful. Leandre is an artist who can't be known without being heard solo, and Concerto Grosso is an excellent place to start. - Kurt Gottschalk, AAJ "I haven't had the fortune of hearing the handful of other solo albums this titan of contemporary music has released going back to the early 80s, which are mostly out-of-print, but at age 54 I have a feeling she was at the height of her powers during the two consecutive nights in January 2005 captured here. Although there's a wide range of techniques that get aired in this 2-disc 87-minute program, and a lot of multiple layers of attack within phrases, the more exotic techniques play, er, second fiddle to the unabashed, bold sound of a bass viol as it's conventionally heard, with her characteristic emphasis on bowing with virtuosic timbral shading. Sometimes her tone is so strong and sharp it's as unnerving as a roomful of giant power saws. Despite her unfaltering precision, very little of this music could be called delicate, and perhaps none of it clinical. She plays with pulsing, sweaty, cathartic, primal energy. Sometimes I imagine I'm hearing a rare ethnomusicological document of a shaman or witch doctor from some isolated jungle tribe performing a warrior or healing ritual. Her snippets of growling and panting in "Dans Le Sol" and "Spirale" multiply the imagery. Whether it's the heart-pounding bowed passages, the heart-stoppingly thin spectral carvings, or even some of the comparatively tame plucked passages, in most of this music I feel the quavering, festering intensity of Scelsi's solo works for cello and bass viol, reflecting Leandre's close decade-long association with the late Italian sound prophet. 2 CDs packaged in a DVD case." - Michael Anton Parker
[limited time price, normally $28]
2 CD set for $25

PAPAJO [PAUL HUBWEBER/JOHN EDWARDS/PAUL LOVENS] - Simple Game (Cadence 1209; USA) Papajo features Paul Hubweber on trombone, John Edwards on double bass and Paul Lovens on drums. Although this is the second disc from this fine European trio (the first was on Emanem), I can't say that I had heard of Paul Hubweber before this disc. John Edwards remains one of the finest and most in-demand of all British double bassists, working with Evan Parker, John Butcher, Paul Dunmall, Sunny Murray, etc. Paul Lovens is also one of the most creative of all European percussionists, playing with a diverse cast of giants: Cecil Taylor, Derek Bailey, Globe Unity, Eugene Chadbourne, Toshinori Kondo, Alex Von Schlippenbach and lots more.
I was expecting some impressive Euro style free improv and that is what we find here. This fine session was recorded at the Loft in Cologne, Germany in October of 2006. "Papablue" is often cautious and filled with space, eventually erupting intensely in the last section. I am always impressed by Paul Lovens who has his own approach on percussion, often centering on one cymbal, drum, wood or piece of metal at a time, making each note/sound like some selective well-seasoned spice. John Edwards is also immensely crafty, as he has shown with his duo disc with drummer Mark Sanders. On "Orleans Tribute," the bass and drums create an infectious funky downhome groove while the trombone hums in the distance, eventually heading back into freer space. At more than 70 minutes, this is quite a bit to take in at one sitting, but I have to admit that I was often knocked out by most of this session. There were a number of quiet sections that I had to calm down to enjoy, but there were enough fireworks and creative activity to make it all worthwhile in the end. - BLG CD $15


TODD MARCUS JAZZ ORCHESTRA With RUSSEL KIRK/JOEL HOLMES et al - In Pursuit Of The 9th Man (Hipnotic; USA) Bass clarinetist and composer Todd Marcus is one of the few artists worldwide to focus exclusively on the use of the bass clarinet in jazz. Jazz Times contributing writer David Adler writes, "Marcus brings a saxophonic rigor to the bass clarinet while also generating enough sonic power to front a nine-piece ensemble. With his melodic imagination and technical aptitude on an unorthodox horn, Marcus has something truly new and personal to offer."
The Todd Marcus Jazz Orchestra utilizes a 6-horn front line of bass clarinet, alto sax/flute, alto sax, tenor sax, trumpet, and trombone, plus piano, bass, and drums. Comprised of many of the area's up-and-coming musicians, the band combines the broad sounds of a large ensemble with the extended soloing typical of a quartet.
The debut recording In Pursuit of the 9th Man (Hipnotic Records) features original music which Marcus arranges to highlight the rich sounds and textures of the ensemble. The music often incorporates jazz with other influences from classical to middle-eastern themes but always swings hard and features strong solos from of each member in the ensemble. The result is music with great passion and sincerity - something which speaks to the essence of jazz.
"I caught Todd's quartet set at The Stone on Tuesday - he has an incredible tone and out-front presence on the bass clarinet - and great playing too! Check this out" - MannyLunch
CD $13.


PRURIENT - Arrowhead (Editions Mego 091; Austria) Brooklyn noise herald and Hospital Productions label-head, Dominick Fernow presents his first release for the Editions Mego label. Fernow has been an active instigator in the power electronics and noise genre for well over a decade, with 100+ releases issued so far, usually limited and covering all known formats. Known in particular for his harrowing live performances where he uses his voice, amps, microphones, coins, tools, suitcases etc., to create a brain-bashing journey through mangled, negative sound. In this spirit, Arrowhead is comprised of three ear-splitting tracks of high-end quality feedback, disturbed vocals and twisted percussion. While previewing this work for release on a flight from Milan to Vienna, it came to the attention of the listener that an irritated passenger two rows in front complained of high-pitched whistling in the air conditioning. Such is the power of Arrowhead. Recorded in the winter of 2004 in Providence, RI. Finalized in the winter of 2005 in New York City. Guest musician: Kris Lapke.
CD $16


MARS [SUMMER CRANE/CHINA BURG/MARK CUNNINGHAM/NANCY ARLEN] - Mars LP: The Complete Studio Recordings NYC 1977-1978 (No More Records 14; USA) [Note: Mars LP is the title, but this is a CD-only release] Mars were one those four legendary No Wave bands from that infamous 'No New York' album produced by Eno. Mars featured Sumner Crane and China Burg (Lucy Hamilton?) both on guitars & voice, Mark Cunningham on bass & voice and Nancy Arlen on drums. Mars existed for two years from 1977 to 1979 and played about 30 gigs. Mars have an oddly charming, bent sound somewhere between Pere Ubu and Television. Fractured guitars, warped vocals, throbbing/melting bass and minimal drums. A primal, punk/noise/rock gem! This is the definitive collection of the 32 minutes of the eleven studio recordings released on vinyl between 1977 and 1979 by the most influential no wave band from the era, Mars. Supervised by the surviving members, remastered from original sources without any added effects, and packaged with detailed notes and lyrics, the 'Mars LP' is an effort to showcase the group's legacy and make up for the unavailability of these tracks in their original sound. Includes their first single on Rebel/Ze, the No New York tracks, and the Mars EP on Lust/Unlust Music -- the complete discography. This CD should be considered as an alternative to the still-valid 78+ CD on Atavistic -- this one features all the original recordings as intended, with all the Thirlwell sound reprocessing of the Atavistic CD eliminated.
"Static transmissions from a distant dark star. Taking up and tripping out further than The Velvet Underground's 'Black Angel Death Song,' Mars punished not with blunt force, but with a propulsive agitation which signaled a neurological insanity. A crippled tension swathed in nervous friction. A cavernous musical universe riddled with eerie sound storms whose poisoned atmosphere seduced and threatened. Obtuse and unforgiving. Sickly sexy. Red noise redefining bass urges, forcing the listener to question their own sanity by drilling into ear holes using electroshock guitars as saw blades trepanning into grey matter. Mars unleashed a choking cacophony illustrating the body as machine in disrepair fuelled by the impending repulsion and disintegration of a perverse romance with one's own demons. Demons who once wrenched free, made mimicry of the jangling nerve centers, and given voice as song, turned schizophrenic and howled these testimonials to the unbearable." - Lydia Lunch
CD $15


********************


as we continue to dig .. More rare out-of-print DIW/Avant titles found!
[order immediately for best fill]

DNA [ARTO LINDSAY/IKUE MORI/TIM WRIGHT] - Live At CBGBs (Avant 006; Japan) "No Wave" pioneers DNA (1978-82) attained "legendary" status from just one 7" single, one EP, and appearances on two compilations (Fruit Of The Original Sin and the Brian Eno produced No New York). Though the group's complete discography clocked in well under an hour, their work was highly influential on the music of John Zorn and Sonic Youth. The wild and spastic energy of Arto Lindsay (Ambitious Lovers), Ikue Mori (Death Ambient) and (Pere Ubu founder) Tim Wright is heard here in the group's final performance, captured on tape on June 25, 1982 at CBGB's in New York. 9 of these 15 songs were never previously released. An essential document of a revolutionary band.
CD $20

DUCK BAKER//HERBIE NICHOLS - Spinning Song: Plays The Music Of Herbie Nichols (Avant 040; Japan) Duck Baker, a crackerjack on the finger-picked acoustic guitar, has recorded numerous solo albums on the Kicking Mule and Shanachie labels, showcasing his mastery of a diversity of traditional folk, blues, ragtime and jazz styles. This wizard has played with artists ranging from Jim Kweskin to J.J. Cale, from Stefan Grossman to John Zorn. Baker's subtle and sensitive renditions transform Nichols' oblique masterpieces -- those hearing Nichols' music for the first time may find it hard to imagine these tunes in any other context than folk guitar. Spinning Song is an absolute treasure.
CD $20

DAVID S WARE QUARTET With MATTHEW SHIPP/WILLIAM PARKER/MARC EDWARDS - Flight Of i (DIW 856; Japan) David S. Ware (ts), Matthew Shipp (p), William Parker (b), Marc Edwards (ds).Recorded at Power Station, NYC on December 10 & 11, 1991.
David S.Ware is one of the most acclaimed of all the new saxophonists, known for his well-received records for Sony and work with Cecil Taylor. Here is his very first record for DIW, made back in 1991. He's accompanied by stellar new musicians and they play two of Ware's colorful originals plus the standards Sad Eyes, There Will Never Be Another You and Yesterdays.
CD $20.

DAVID MURRAY With JOHN HICKS/RAY DRUMMOND/IDRIS MUHAMMAD - Ballads For Bass Clarinet (DIW 880; Japan) David Murray (bcl), John Hicks (p), Ray Drummond (b), Idris Muhammad (ds) Recorded at Power Station, NYC on October 14 & 15, 1991.
Since Eric Dolphy brought bass-clarinet into jazz, this musical instrument came to be a touchstone, and playing this instrument means treading on a tablet Christ for many jazz saxophone players. Murray must be still only person who is free from spell of Dolphy when playing bass-clarinet. Centering great original songs on, all this work is made only by bass-clarinet. And his emotional play by John Hicks (p), whose support is gentle and shines, is so impressive.
CD $20

DISCO BHANGRA: WEDDING BANDS FROM RAJASTHAN [V.A.] - Disco Bhangra (Avant 031; Japan) One of the most bizarre releases in years and the first in a new series of AVANT World Music recordings, Disco Banghra is an absolute must: brass band wedding music recorded live in the field in Ragasthan, Northern India. Clarinet and brass with drums, organ and highly reverbed scat vocals perform some of Indian film music's greatest hits in a loose and endearing fashion that makes Guatamala's legendary San Lucas Band sound like seasoned professionals (Prakash Band's spirited version of Tequila will make your teeth crack!) Detailed liner notes and location photographs give historical background to a sound that for all intents and purposes shouldn't have one.
Every one at DMG - Mikey IQ, Chuck B, MannyLunch, and Bruce Lee - ALL THUMBS UP!
CD $20


********************


Our CD release of Curlew's 1st album has generated SO MANY requests about what else can be had, we're just gonna answer everybody all at once [and spare our typing finger!]

CURLEW [GEORGE CARTWRIGHT/TOM CORA/FRED FRITH/MARK HOWELL/RICK BROWN et al] - North America: Expanded Edition (Cuneiform 167; USA) This new Cuneiform edition has 6 bonus live cuts!]
Few avant/electric jazz bands have maintained as high a quality of work over as long a career (over two decades thus far) as Curlew. This is a reissue of their obscure SECOND ALBUM, which was recorded in 1984-85 and originally released only in Germany. It features the band in transition from it's original line-up into the band that helped to define the "Knitting Factory Sound" in the mid/late 1980's, and who the New York Times, called, 'the best of the unsigned, genre-busting downtown groups'. North America is an unusual album in the band's oeuvre, as it's their one album that is the most obviously a product of the studio, and it's also their most overtly 'avant-progressive' release. Like all the band's work, it is a unique synthesis of gritty Southern r 'n' b, harmolodics, finger-popping grooves and the avant-garde. The band who perform on North America is pretty much an all-star ensemble of the emerging 'downtown' scene: Appearing as always are saxist/leader George Cartwright and cellist Tom Cora. Fred Frith appears in the role of bassist (& 2nd guitarist), which might seem a little surprising until one remembers that [later] for many years he held down the bass chair in Naked City. Curlew was actually the first band in which he played bass. The guitarist is Mark Howell. Drum duties are split between Rick Brown and Pippin Barnett. Pippin would become Curlew's drummer for the next six years. In addition to the personnel on the original album, there is 30' of never-heard bonus live material included which was recorded a year before the recording of the album, and which features Cartwright, Cora, guitarist Nicky Skopelitis, drummer Anton Fier and bassist Otto Williams. We remastered it for better sound than the original issue, and repackaged it as well, with great liner notes by Michael Decapite.
CD $15

CURLEW [GEORGE CARTWRIGHT/TOM CORA/DAVEY WILLIAMS/WAYNE HORVITZ/J PIPPIN BARNETT] - Live in Berlin (Cuneiform 12; USA) Their THIRD ALBUM is a superb early live effort from this great "downtown" all-star unit w/ George Cartwright, Tom Cora, Davey Williams, Wayne Horvitz [playing bass parts on keyboards] & J Pippin Barnett!'' What was originally a full length LP has been expanded here to a full-length CD with several extra cuts!
"Curlew may not have been the earliest of the hybrid jazz fusion bands, but from the evidence of this CD, they might be one of the best. They recorded this live date primarily at the Quasimodo Club in Berlin; this was one loose, confident ensemble. At times, when the group is really cooking, there is perhaps a slight resemblance to the Mahavishnu Orchestra, but the emphasis is less on chops and more on textures, and Curlew draws much more heavily than Mahavishnu on both funk and avant-garde jazz sources. Swaggering bar-band riffs mutate into esoteric twitterings and scrapings; rock-solid rhythms disintegrate right before your ears -- and then everything comes back together again, miraculously reassembled and refreshed. It's an affectionate but powerful deconstruction and extension of down-home funk, without the self-conscious cuteness that highbrow intellectuals often bring to popular art forms. Curlew manages to be in the pocket and outside at the same time, which is a pretty darn good trick, and even though the applause is not miked on this CD until the end of the last piece, the excitement of the live performance comes through loud and clear." - William Tilland, AMG "One of the best of New York's downtown bands.. this recording captures the group at its most intense, roadhouse best.''-The New York Times.
"A Great place to start your Curlew listening - well recorded, AMAZING playing, and of course, Googleplex THUMBS UP!" - MannyLunch CD $15

CURLEW [GEORGE CARTWRIGHT/TOM CORA/DAVEY WILLIAMS/ANN RUPEL/J PIPPIN BARNETT] - Bee (Cuneiform 27; USA) FOURTH ALBUM. This was the first by the classic lineup of Tom Cora, Davey Williams, Ann Rupel & Pippin Barnett. "Tom Cora's scrabbling, acidic cello is challenging and unconventional as always, and leader and saxophonist Cartwright cuts loose with squealing runs and mighty blasts of sound. In particular, guitarist Davey Williams comes into his own on this CD, not only showing off a prodigious technique but also a real musical imagination and a command of various instrumental styles, from gutbucket blues to noise jazz." - William Tilland, AMG
CD $15

[Unfortunately, A Beautiful Western Saddle, the fifth album featuring the classic line-up from Bee and added guest Amy Denio on vocals, is out-of-print. IN fact, most of the Cuneiform titles in this list are almost OOP, so hop to it!]

CURLEW [GEORGE CARTWRIGHT/TOM CORA/DAVEY WILLIAMS/ANN RUPEL/J PIPPIN BARNETT] - The Hardwood: Live At The Knitting Factory NYC 1991 [VHS] (Cuneiform 47; USA) 80' VHS/NTSC VIDEO TAPE. Someday, when there is a retrospective appreciation for the great music that came out of the early punk/jazz cauldron of NYC in the late 70's/early 80's, this video will be rediscovered, cherished and appreciated. Shot by a four camera crew on March 13th, 1991 (with the sound recorded digitally), this is about as good looking of a program as was possible to get in the sweaty, crowded old Knitting Factory. This concert video features electric-jazz masters Curlew performing some of their key gems: "Saint Dog," "Rudders," "Moonlake," "Gary Brown," "Jim," "St. Croix," "Gimme", "To The Summer In Our Hearts", "It Must Be A Sign", and "The Hardwood." Led by saxist George Cartwright, Curlew are noted for their sense of fun, great riffing, spirited interplay & absolutely superb musicianship. This is by the classic lineup of George, Tom Cora, Davey Williams, Ann Rupel, & Pippin Barnett. Oh, They were great!
VHS $10

CURLEW [GEORGE CARTWRIGHT/DAVEY WILLIAMS/CHRIS COCHRANE/ANN RUPEL/SAMM BENNETT] - Paradise (Cuneiform 80; USA) SIXTH ALBUM.This features somewhat changed instrumentation & a new edge & maturity.
"Over the years, Cartwright himself has become a formidable saxophonist, invoking Cannonball Adderley's soulful bop lyricism one moment, and Albert Ayler's wide, impassioned vibrato the next. He is also economical and typically leaves the listener wanting more, rather than spilling his guts on every solo. This incarnation of the band is anchored by Ann Rupel's fine bass work and Samm Bennett's drums, and supplemented by second guitarist Chris Cochrane and some additional ensemble contributions by baritone and tenor saxophonist Jim Spake . Paradise has the manic energy of the earlier Live in Berlin, and the discipline of the previous studio recording Bee. It's a delight from start to finish." William Tilland, AMG
''Curlew's new twin-guitar lineup has resulted in, perhaps, the most satisfying yet of recordings by this criminally unrecognized band.'' - Henry Kaiser.
CD $15

CURLEW [GEORGE CARTWRIGHT/DAVEY WILLIAMS/CHRIS COCHRANE/ANN RUPEL/KENNY WOLLESEN] - Fabulous Drop (Cuneiform 105; USA) SEVENTH ALBUM. This is certainly not music for "smooth jazz" radio, bebop purists or listeners who lack a sense of humor. Titles such as "Not Innocent," "Crazy Feet, Sensible Shoes," "Funny Fun" and "Dog House on the Moon" give one the correct impression that the performances are not overly sober, and Micheal DeCapite's liner notes seriously state that he goofed by mastering the music backwards; fortunately not true. Curlew's musicianship is impressive, the nine group originals are concise (only one exceeds 5:35) and the players are not afraid of using melodies, rhythms or conventional harmonies although they often joyfully dispense with the expected in favor of constant chancetaking. A stimulating set! - Scott Yanow, AMG
CD $15

GEORGE CARTWRIGHT With PAUL HAINES/AMY DENIO - The Memphis Years: Terminal Moraine (Cuneiform 127; USA) [this CD Sale copy has either a notch cut or a drilled pinhole in jewel case]
This is the second solo release by composer/saxophonist George Cartwright [the first, Dot on Cuneiform, is out of print], best known as the leader of Curlew. The Memphis Years pays tribute to Cartwright's five-year involvement in Memphis' well known music scene, and features some of that city's best musicians. Cartwright collaborates with noted lyricist Paul Haines (Tropic Appetites, Escalator Over The Hill) and vocalist Amy Denio. Curlew guitarist Davey Williams also appears. The result is a blending of strictly composed songs sung by Denio and composed and semi-improvisational jazz-oriented instrumentals. 'Cartwright continues to astound...altogether foot-stomping and gregariously festive...but then again, we wouldn't expect anything less (5/5 stars)!'-All About Jazz.
CD $8.00 7 for 6 SALE.

CURLEW [GEORGE CARTWRIGHT/DAVEY WILLIAMS/CHRIS PARKER/FRED CHALENOR/BRUCE GOLDEN] - Meet The Curlews (Cuneiform 157; USA) EIGHTH ALBUM. Few avant/electric jazz bands have maintained as high a quality of work over as long a career - over two decades thus far - as Curlew. Saxist/leader/main composer George Cartwright's compositions for Curlew are at once direct and mysterious, possessing a clarity and focus that show both Ellington and Ornette assimilated in the most unique way. They provide room for the band's individual members - ace players all - to stretch out, improvise and leave their imprint. Curlew's sound has therefore evolved with each new lineup. "Meet the Curlews" features long-time members Cartwright and guitarist Davey Williams as well as new members bassist Fred Chalenor (Wayne Horvitz's Pigpen, Hughscore), drummer Bruce Golden and pianist Chris Parker, whose contributions swing the genre-busting band more firmly into the realm of jazz. The eighth brilliant album by the band that The Wire called "...one hell of a group", and who Option referred to as "...the best and most obstinately commited band to emerge from New York's Knitting Factory based alternative music scene..."
CD $15

CURLEW [GEORGE CARTWRIGHT/DEAN GRANOS/CHRIS PARKER/FRED CHALENOR/BRUCE GOLDEN] - Mercury (Cuneiform 177; USA) NINTH ALBUM. Holy shit! Former downtown legendary jazz/rock/prog quintet Curlew have relocated (Minneapolis) and re-invented themselves once again and come up with one the year's best discs! Considering they have been around for over 25 years with the great saxist/composer George Cartwright at their helm, their personnel has included Tom Cora, Bill Laswell, Fred Frith in the early days and Davey Williams, Ann Rupel & Pippin Barnett in their mid period, the only original member is Mr. Cartwright. 'Mercury' features a fantastic new line-up with Dean Granos on guitar, Chris Parker on piano & keys, Fred Chalenor (formerly of Tone Dogs, Zony Mash & Hughscore) on el. bass and Bruce Golden on drums. Right from the first tune, "Still", Curlew erupts with some blazing guitar, piano/organ and tenor sax riding on a killer riff. A most impressive opener! "Funny Money" is twisted sorta funk/jazz tune with a great bass line and some more great, rambunctious el. guitar soloing and feisty tenor sax squawking. Through most of this spirited release, although all the tunes were written by everyone but the guitarist, they feature Dean's inventive electric guitar playing throughout. Dean seems to use a variety of devices to give guitar a distinctive sound and often layers his guitar(s) with intricate parts. Chris plays some fine greasy organ from time to time, giving this a bluesy, earthy quality. This is Curlew's ninth great release and they are sounding better than ever! -BLG
CD $15

and, of course [once again] our own recent first-time-on-CD release of the first album..

CURLEW [GEORGE CARTWRIGHT/TOM CORA/NICKY SKOPELITIS/BILL LASWELL/BILL BACON or DENARDO COLEMAN] - Curlew (1st Album) + Live at CBGB 1980 [2 CD set] (DMG ARC 704; USA) [upc 808713070422]
Disc One: The legendary first [self-titled] album by Curlew, initally released by Landslide on LP in 1981 and out-of-print ever since, with the original lineup of saxophonist/composer/leader George Cartwright, Tom Cora on cello and devices, Nicky Skopelitis on guitar, Bill Laswell on bass, and Bill Bacon on drums. This incredible record, originally released by Landslide in the U.S. and U.K., has never before been released on CD anywhere! Bonus material on this disc includes six more cuts from one of their earliest live gigs at CBGB on February 6th 1980, previously unreleased in any format! [two other tracks from this gig are included as part ot the original album sequence]
Disc Two: Previously unreleased in any format! A complete 64 minute set from CBGB on October 1st 1980, with almost the same lineup, except Denardo Coleman [from Ornette's Prime Time, and Jayne Cortez' Firespitters] is on drums!
2 CD set for $20 right now, after Aug 1st $22


********************


CAPTAIN BEEFHEART & THE MAGIC BAND - It Comes To You In A Plain Brown Wrapper: The Complete Buddha CD Bonus Cuts [2 LP set] (Sundazed; USA) OK, this is complicated - see if you can follow it:
Sundazed got the description for this product WRONG! They say "Recorded in part as the follow-up to 'Safe As Milk', Beefheart's debut from earlier that year, the world-shattering material on 'It Comes to You in a Plain Brown Wrapper' was re-recorded, truncated, and issued -- without the Captain's approval -- as Strictly Personal in 1968."
Not true. After the Captain's first album for Buddha, Safe As Milk, he did further sessions for newer material paid for by Buddha. However, he then left Buddha, went to Blue Thumb/Liberty, and did re-recordings of some of these songs, some with added reverb and other effects which Beefheart approved at the time, but post-release was unhappy with. It is these newer recordings for Blue Thumb that were originally to be titled 'It Comes To You In A Plain Brown Wrapper' [not the Mirror Man album!] - eventually the release title became 'Strictly Personal'. Buddha reacted by putting out an album called Mirror Man (four long, cosmic psych/blues jammin' tracks from a great one-night-live-in-the-studio '67 L.A. session) - this second Buddha release was the unsanctioned album! [This info has been verified by Beefheart-ologist Henry Kaiser]
What we actually have here on this double-LP are as follows: the 5 bonus cuts not found on the Mirror Man LP but found on the MM Sessions CD: "Trust Us (take 6)", "Safe As Milk (take 12)", "Beatle Bones And Smokin' Stones", "Moody Liz (take 8)", and "Gimme Dat Harp Boy". And we have also have the bonus cuts from the 'Safe As Milk' CD: "Safe As Milk (take 5)", "On Tomorrow", "Big Black Baby Shoes", "Flower Pot", "Dirty Blue Gene", "Trust Us (take 9)", "Korn Ring Finger"; and finally the previously unreleased [to my knowledge] "Moody Liz (take 16)". Some of these are previous takes of songs that wound up on the 'Strictly Personal [aka Brown Wrapper]' album.
Anyway, you can now understand why DMG has added the subtitle "Complete Buddha CD Bonus Cuts" for this double-LP to our listing. Don't get me wrong though - this stuff is GREAT! - anal-retentive MannyLunch
OK, now the Sundazed description:
"One of the most exciting aspects of reintroducing so much rare and incredible music to the world is being able to finally make available material that's been in label-vault limbo since the day it was recorded, vital sounds locked away from the deserving ears of the legions of devoted music fans we at Sundazed count ourselves among. But when we're able to present previously shelved material by one of the most visionary and influential artists of all time, in exceptional fidelity, with the look and feel of the packaging that the artist originally meant it to have? Well, then, that just takes everything to another level completely -- a level that's certainly been reached with the exclusive vinyl-only issue of Captain Beefheart and His Magic Band's mind-blowing lost 1967 sessions. Recorded in part as the follow-up to Safe as Milk, Beefheart's debut from earlier that year, the world-shattering material on It Comes to You in a Plain Brown Wrapper was re-recorded, truncated, and issued -- without the Captain's approval -- as Strictly Personal in 1968. Mastered directly from the original analog tapes and featuring a wealth of unedited takes never before on vinyl, Sundazed's stunning gatefold double-LP release of this infamously enigmatic opus comes to you wrapped in a sharp outer sleeve bearing specially commissioned artwork by Frank Zappa/Straight Records illustrator Cal Schenkel replicating the album's planned '67 design (deliberately not shown here. It's a surprise!); inside are rare photos and fascinating, exhaustive liner notes by Magic Band drummer John 'Drumbo' French. So here, then, is Captain Beefheart and His Magic Band's second album of gloriously disjointed avant-rock/blues and free-jazz skronk, presented just as nature -- and the Captain -- intended. Even after more than 40 years, this music is still hopelessly ahead of its time -- or, as one-time Magic Band member Ry Cooder once described it, 'right on time.'"
2 LP set for $34


SUN RA - Of Mythic Worlds (Philly Jazz 1007; USA) "Sun Ra's music is equational. It is based on a system and philosophy as old as the most ancient of civilizations, and it points the way of the future as well. Music is not seen as merely entertainment. Ra has oftentimes mentioned the potentials of music to change the social order. In fact, the highlight of many of his performances is his self-conceived cosmodrama which is essentially a dramatic monologue by Sun Ra in which he outlines the paths toward omniversal perfection. The Arkestra itself becomes the musical foil for Pharonic wisdom and cosmic insight." --Spencer R. Weston
LP $14


ZBIGNIEW KARKOWSKI & TETSUO FURUDATE - World As Will III (Sub Rosa 282; Belgium) "Mergence," "Below The Demarcation" and "Mix White" concludes the World As Will project, started ten years ago, the result of a collaboration between Polish acoustic and electroacoustic sound artist/composer Zbigniew Karkowski and Japanese noise progenitor Tetsuo Furudate. Named after the philosophy coined by Arthur Schopenhauer, the first two parts in the World As Will series have been dramatic explorations of majestic dissonance, orchestration, and looped deconstruction that are powerful challenges to any modern orchestra. Part three is commissioned and performed by the Berlin-based ensemble Zeitkratzer, who proved the impossible possible with their capable rendering of Lou Reed's Metal Machine Music for a 2002 Berlin Opera House performance. The first piece in World As Will III arises from an infrabass ocean to crudely develop through a series of distant explosions, percussive energy, and short open cuts. As a whole, the structure is reminiscent of a slow, crawling process. Tremors follow (with Karkowski, something always ends up shaking). The second piece is both the imprint and the development of the first one. Furudate's contribution to this joint venture is also easier to grasp. A menace passes by, and the listener should be more than happy to remain hidden in their hole, letting the musical beast move along in short, rusty, metallic, torn, scorched bursts. This third piece provides a cathartic and tragic conclusion to the release and to the series, achieving what could be called a sketch of absolute chaos. Zeitkratzer: Reinhold Friedl (piano/artistic director), Burkhard Schlothauer (violin), Anton Lukoszevieze (cello), Uli Phillipp (bass), Frank Gratkowski (clarinet), Franz Hautzinger (trumpet), Melvyn Poore (tuba), Marc Weiser (electronics), Maurice de Martin (percussion), Ralf Meinz (sound).
CD $15

DR. BOOGIE [V.A.] - Vol 2: Shim Sham Shimmy (Sub Rosa 279; Belgium) This is the third volume in Sub Rosa's collection devoted to rare and lost recordings from the '20s to the '60s, following Dr. Boogie Presents Rarities from the Bob Hite Vaults and Oh, Run Into Me, But Don't Hurt Me! Female Blues Singers -- Rarities 1923-1930. Shim Sham Shimmy has been assembled by Belgian radio personality, musicologist, and Canned Heat devotee, Walter De Paduwa aka Dr. Boogie. Is it really possible to imagine what modern music would sound like if a few pioneering geniuses had not had the idea of electrifying their instruments, especially guitar and harmonica, between 1945 and 1950? Some purists pan this evolution, but, in the '50s, the new sound was heard and embraced at all the studios and night clubs in the United States; it would become a staple on the radio, and in pop culture in general, radically transforming the blues, boogie and country into acts of rebellion. This collection pays tribute to about thirty artists, some of whom later became known, like "Master of the Telecaster" Albert Collins, boogie-woogie and blues pianist Champion Jack Dupree, slide guitar innovator Homesick James, harmonica and blues singer, Sammy Myers, "The Boogie Disease" author Doctor Ross, and one-man band wild-man, Joe Hill Louis. However, the real treat is having an opportunity to hear fabulous unknowns who all, one day, had the chance to be recorded, either in a studio, on the street, or on a back porch, before returning to anonymity shortly after. Almost all of the artists presented here hailed from the Southern states; some of them stayed there their whole life, others emigrated up North, moving up the Mississippi, or toward the West to settle in California. The music included here is part of the foundations of all the modern music that would take the world by storm up to our present time. Other artists include: Charles Sheffield, Ramblin Hi Harris, Bobo Jenkins, Clarence Lockley, B. Brown & McVouts, Wright Holmes, Gunter Lee Carr (aka Cecil Gant), Moses Williams, Haskel Sadler, Larry Dale, Baby Boy Warren, Eddie Snow, Guitar Slim Green, Slim Gaillard, Blue Charlie Morris, Willie Egan, W. Harris, Jake Jackson, Morris Pejoe, Papa George Lightfoot, Pat Hare, Big John & The Dallas Playboys, Lonnie Johnson, and Bob Kelly.
CD $16


COLOURS - Love Heals - The Complete Recordings: Colours/Atmosphere (Now Sounds 03; UK) "Colours launched onto the scene in 1968 with a stunningly glorious psychedelic masterpiece of L.A studio wizardry. A super group before the name was coined, Colours was the brainchild of Gary Montgomery & Jack Dalton, two hard-working, former Motown songwriters who also penned songs for The Turtles, Nino & April and The Moon. This magical mystery tour-de-force of psychedelic Beatlesque pop also features the talents of Derek & The Dominos bassist Carl Radle. This first-ever CD issue of their long-out-of-print albums (Colours and Atmosphere) is supplemented by long-lost 67 Dalton & Montgomery recordings cut just months before they formed Colours. 1969's Atmosphere features former Beach Boy David Marks around the same time he was a member of The Moon, another band with many connections to Colours. The 16-page color booklet also includes rare, unpublished photos and comprehensive liner notes that feature the participation of original band members."
CD $18


HERMETO PASCOAL - Cerebro Magnetico (Victor; Japan) This is a hard-to-find album from 1980 that is only in print in this format in Japan and which goes for $47.99 on Amazon (check it out if you don't believe us!). Another fantastic work. " What a great blessing it is to finally have this album (along with another of Hermeto Pascoal's albums of the same period, Zabumbe-bum-a) in print once again! The compositions and playing are fantastic, and the arrangements are as creative as one would expect from this great musician. Fans of other Hermeto Pascoal albums will not be disappointed with this one. "-R. Roe [Victor]
CD $20


EARL RODNEY - Friends & Countrymen (EM 1078; Japan) As part of EM Records' ongoing Steel Pan series, here is Friends & Countrymen by Earl Rodney -- the first-ever solo album from a Trinidadian steel pan player. This reissue of the original 1973 LP, recorded in New York City by Rodney and fellow expatriate Trinidadians, is a rootsy stew of Caribbean, Afro-Yoruba and funk influences. Heavy, propulsive and deep, driven by island percussion and funky bass, peppered by the imaginative phrasing of steel pan veteran Rodney, with slatherings of horns and wicked wah-wah guitar, this is a revolutionary release -- fusion in the best sense of the word. Earl Rodney has been involved with the steel pans almost since the inception of the instrument, playing since he was 4 years old. An important voice in Trinidadian music, he arranged and played in award-winning performances at Trinidad's Panorama festival in 1968, 1971 and 1972, and served as musical director for Lord Kitchener and Mighty Sparrow. However, seeking artistic growth and freedom, he emigrated to the United States; on Friends & Countrymen you can hear and enjoy the results. Joining Rodney on this release are a number of powerhouse veterans from Trinidad including Fortunia Louis Ruiz on trumpet, trombonist Oxley Caballero, and master bassist Johnny Cayenne. Rodney and his countrymen have created a party for you, but fair warning: stretch and limber up before listening to this CD; EM Records will not be held responsible for any injuries incurred while busting a move to these supple grooves.
CD $21


GIVE ME LOVE [V.A.] - Songs of the Brokenhearted: Baghdad, 1925-1929 (Honest Jon's 035; UK) This is the second in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. In the mid-1920s, The Gramophone Company -- soon before it became EMI -- employed two or three Europeans to criss-cross Iraq. They logged regional demographics, assessed the German competition, and checked out the scores of record shops and hundreds of musical venues. In Kerbala, its man fearfully disguised himself as an Arab. This was the groundwork for three sessions, conducted in Baghdad in the second half of the decade, which produced nearly 1,000 recordings. Business was good -- the first group of records, though deemed aesthetically unsuccessful by the Company, immediately produced 12,000 sales to just two outlets in the city. Drawing on the full range of these Baghdad recordings, it is a wondrous, deeply poignant glimpse of social living since obliterated, in which ethnicities, faiths and traditions appear woven richly and meltingly together, however precariously. There is dance music featuring Arab folk singers from the countryside, backed by professional Jewish musicians in Iraqi styles popularly termed "Egyptian," and perfected in nightclubs where the first duty of the secular women singers on this album was prostitution. Also including some Arabic word-play, in a nod to the musical form of the Arabic mawwal, a Hebrew hymn is kick-started with a cry of "Allah!," most likely from one of the Jewish performers. There are pieces from Bahrain and Kuwait; sometimes mixed together in one performance -- the different dialects are far-flung. There are beautiful, high and lonesome Kurdish violin improvisations; and some unaccompanied circular breathing on a zourna so unearthly it seems to cross late Coltrane with Sun Ra. All the songs are characterized by searing emotion and crises of feeling, many by erotic urgency. As with the other titles in the series, the recordings have been startlingly restored at Abbey Road; and they are presented with full translations, rare photographs (in this case, several performers), and notes -- including an extensive interview with a citizen of Baghdad throughout this period, who knew many of the musicians here personally.
LP $22


JOHN BERBERIAN & THE ROCK EAST ENSEMBLE - Middle Eastern Rock (Cherry Red/Rev-Ola 254; UK) "Yep, it's John Berberian, Master of the oud! Long before there was any such thing as 'world music,' John was experimenting in his native New York City, both within the traditional Armenian music community, and with folk, rock and jazz musicians who admired his oud artistry. And so this unknown gem, Middle Eastern Rock! Unsympathetically packaged as almost some kind of oldschool belly-dance meets raga rock record, it is in fact a masterpiece of the highest order. Full of multi-percussive grooves on drums and dumbeg, searing solos from fuzz guitars and of course, John on the oud. Not a duff moment on the entire album. I cannot urge you more to experience this record! Wonderfully re-mastered at Studio 3 by Norman Blake (yes, that one)! Lovely repackaging by Pepperbox!"
CD $17

I CANTORI MODERNI DI ALESSANDRONI - The Modern Singers (Cherry Red/Bella Casa 06; UK) "Though Ennio Morricone revolutionized the art of movie soundtracks during the golden age of Italian cinema, for most people his trademark sound is the combination of haunting whistling, wordless choirs and plangent, Duane Eddy-style guitar that formed part of the aural landscape of Sergio Leone's so-called spaghetti westerns. And it is impossible to imagine these works existing in all their atmospheric, multi-textured splendor without the extraordinary talents of Alessandro Alessandroni and his remarkable choir I Cantori Moderni. During the sixties, Cantori established a reputation for almost infinite versatility, regardless of the demands made by some of Italy's most prestigious film composers and this set showcases their fantastic ability."
CD $17

PIERO PICCIONI - The Seduction of Piero Piccioni [sndtck s] (Cherry Red/El 40; UK) "Piero Piccioni was a genuine original, one of Italy's finest film composers in a golden age. Born in Turin in 1921, the son of Attilo Piccioni, who during the 1950s was Italy's foreign minister, Piero Piccioni's work is characterized by playful arrangements and sumptuous melodies. From a jazzy musical upbringing came the scores to almost 100 often memorable Italian film scores; from a fantasy atmosphere for the fairytale romance More Than A Miracle (Cinderella, Italian style) starring Omar Sharif and a delicious Sophia Loren (a box office smash in 1967 in America where the soundtrack album actually charted), to the balmy, refined bossa nova of Escacco Alla Regina ('checkmate to the queen') which features the sensational voice of Edda Dell'oro, to vivacious music from a quartet of spaghetti westerns, to three of the films made with his friend and long-time collaborator, the comedian Alberto Sordi, An Italian in America, 'Il Medico Della Mutua' (be sick, it's free!), a humorous and controversial social satire about Italy's disastrous health system, and the renowned Fumo Di Londra ('Smoke Over London') which alone combines shake, lush ballads and small-group Mediterranean psychedelia to dizzying effect. Fumo Di Londra is the epitomy of Italian pop-art. An aspiring John Steed style patrician, Mr. Dante Fontana arrives in mid sixties London to indulge in the world of the English gentleman only to find everyone swinging and so embarks on any number of far-out adventures including a discotheque party, a Carnaby Street shopping spree and a scene in Richmond park. Of all Italian film music composers, Piero Piccioni is second only to Ennio Morricone in terms of popularity and with his own superb style and remarkable versatility is regarded by his many disciples as equally important. Inventive, futuristic jazz for science-fiction, moody orchestration and funk for gangster movies and political thrillers and sunny organ and wah-wah groovers for oddball sexcapades; no genre was beyond Piccioni's range and this compilation, drawn from the vaults of the important Italian labels GDM and Cinevox, invites you to immerse yourself in his genius."
CD $17

LAURIE JOHNSON - ...You're Needed! [sndtck s] (Cherry Red/El 112; UK) "Laurie Johnson will forever be associated with that magical, but all too brief, period in British cultural history when everything seemed possible and one cannot imagine The Avengers without its memorable music! The center-piece of our collection is the extraordinarily powerful, original stereo recording of the 'Avengers Theme,' a '60s melody that ranks with 'Strawberry Fields Forever' and 'Good Vibrations' for timeless period class and ensuring popularity. The emphasis of our compilation is on Johnson's music that, Steed and Mrs. Peel might personally have enjoyed whilst off duty. There is a real Saville Row, Man About Town quality to the programme of suave orchestral themes and cool jazz. Johnson's themes for Stanley Kubrick's Dr. Strangelove and for Whicker's World are also included."
CD $17


JORGE BEN - Jorge Ben (1969) (Dusty Groove 3014; USA) "A samba soul classic from Jorge Ben -- quite possibly his greatest album ever, and a true treasure through and through! The tunes explode with an amazing sense of energy -- driven by Jorge's great guitar and vocals, plus key percussive efforts from the Tamba Trio -- whose sounds here are simply amazing, and create a unique undercurrent of funk. This is the album that set a whole generation on fire, and it's probably still one of the most-copied moments of Ben's long career. In contrast to the cerebral output of the Tropicalia camp in 1969, this album's much more visceral and personal -- yet no less revolutionary! First time on CD in the US -- and first time on CD in the world in over 15 years. Includes the classics 'Take It Easy My Brother Charles,' 'Pais Tropical,' and 'Que Pena.'"
CD $14

Still available..

JORGE BEN - Forca Bruta (Dusty Groove 3005; USA) "First time on CD in the U.S. and first time in the world in over 15 years! A groundbreaking album from the young Jorge Ben -- one of Brazil's most soulful singers ever -- heard here at a pivotal point in his career. Forca Bruta is a record that forever transformed Brazilian music with its unique blend of samba and soul -- and it features some tremendous rhythm work from Trio Mocoto -- who bring in a wide variety of percussion techniques to make the whole thing groove. There's an earthy, laid-back feel to the whole set -- one that makes the album feel like a spontaneous expression of genius, even at the few points when larger orchestrations slide into the mix. The album is easily one of Jorge Ben's greatest -- and it's a much heralded Brazilian treasure that's finally getting reissued!"
CD $14


*****************


IF YOU'RE ALREADY SUBSCRIBED TO OUR NEWSLETTER, BUT SOMEHOW YOU'RE NOT RECEIVING THEM IN YOUR INBOX..

Many of your incoming emails are being blocked and you don't know it! Many emails like our newsletter are frequently blocked by aggressive spam filters being used by nearly all email services.

To help avoid this problem and get our newsletter:

Hotmail Users: Place the domain " downtownmusicgallery.com " on your Safe List, so that you can receive our emails. The safe list can be accessed via the "Options" link next to the main menu tabs. Also place the email address dmg@downtownmusicgallery.com in your address book.

AOL: Place the domain " downtownmusicgallery.com " in your Address Book. Also add the email address dmg@downtownmusicgallery.com to your address book.

Yahoo! Mail: If one of our e-newsletters is filtered to your 'bulk' folder, open the message and click on the "this is not Spam" link next to the "From" field. The same goes for any other e-mail you receive that doesn't belong there. Add the address dmg@downtownmusicgallery.com to your address book.

Other email services [Earthlink, GMail et al]: Place the domain " downtownmusicgallery.com " on your email filter's whitelist. You may need to search your email help menu for details on how to do this. Depending on software/version, they may call it a "whitelist," a "good list" or similar name. Adding the address dmg@downtownmusicgallery.com to your address book will help too.