Last two weeks of Incredible Discs - to start the Countdown to the Holidays!


Robert Wyatt/Gilad Atzmon/Ros Stephens! King Crimson Court Deluxe 6-Disc Box! Mario Pavone Double Tenor Sextet! Harry Beckett meets On-U Sound!

Lou Grassi's Po Band with Marshall Allen! Two from Skuli Sverrisson! Pierre Favre Ensemble! Luis Lopes/Rodrigo Amado QT! Philip Greenlief Solo! Supersilent 10! Zev! Raymond Scott DVD!

Floored by Four (Nels Cline/Yuka Honda/Mike Watt/Dougie Bowne)! Brian Eno! Lucian Ban & John Hebert's Enesco Tribute! Doug Ewart/Spencer Barefield/Tani Tabbal Trio!

Robert Dick & Thomas Buckner! Mari Kimura! If, Bwana! Philip Glass! Erik Satie! Moebius & Sun City Girls LP's! Ravi Shankar DVD! Art of the Koto! Huun Huur Tu! TR Mahalingam! Mulatu Astake! Amsara All Stars ..and Even More!




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Downtown Music Gallery FREE In-Store Performance Schedule Continues with:


Sunday, November 7th Double-Header:
6pm: JESSE DULMAN - Tuba & JASON CANDLER - alto sax & electronics!
7pm: PATRICK BRENNAN - Rare Alto sax Solo!


Sunday, November 14th at 6pm:
KIRK KNUFFKE & KENNY WOLLESEN! Great New Trumpet & Drums Duo!


Sunday, November 21st - Double Header:
6pm: ANNETTE GUH Featuring: EVAN GALLAGHER on Keyboards & ANDERS NILSSON on Guitar!
7pm: DAVID BOYKIN EXPANSE - Chicago's finest!


Sunday, December 5th - Double-header:
6pm: PRESTER JOHN featuring SHAWN PERSINGER!
7pm: LORIN BENEDICT / JEN SHYU / CHES SMITH!


Sunday, December 12th at 6pm:
BEN GERSTEIN & GARTH STEVENSON! Smokin' Trombone & Bass Duo!


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Several 2010 Top Ten Releases!



LUCIAN BAN & JOHN HEBERT With TONY MALABY/RALPH ALESSI/MAT MANERI/ALBRECHT MAURER/GERALD CLEAVER/BADAL ROY - Enesco Re-Imagined (Sunnyside 281259; USA) Featuring Lucian Ban on piano & re-orchestrations, John Hebert on acoustic bass & re-orchestrations; with Tony Malaby on tenor sax, Mat Maneri on viola, Albrecht Maurer on violin, Ralph Alessi on trumpet, Badal Roy on tablas and Gerald Cleaver on drums.
Romanian-born George Enesco was one of the greatest musicians of the 20th century - a violin virtuoso as well as a gifted and prolific composer (though history's memory reveres him as a player first). Enesco was a prodigy who graduated the Vienna Conservatory at 13, met Brahms, moved to Paris and studied with Gabriel Faure and was friends with Maurice Ravel. This disc contains a lengthy biography as a bonus feature as well as a live video version of one of his pieces played by this ensemble from a concert earlier this year, playable on computer.
Since I am not familiar with any of Enesco's music, which is odd since I have upwards of a thousand discs by hundreds of 20th century composers, I can't compare this with anything I know previously. "Aria et Scherzino" was composed in 1909 and is now more a hundred years old. It is a lovely, melancholy piece for delicate strings, calm piano and simmering horns. "Octet for Strings" starts with a tabla-led groove, Miles-like trumpet and superb Tony Williams-like drums, with strong solos from the trumpet & strings. This complex and compelling passionate music fits the superb skills of this ensemble so well. Lucian's final solo here is outstanding, as is Mat Maneri's dreamy solo near the end. Bravo! "Sonata No. 3 for Violin & Piano" has an endearing melody that reminds of those soundtracks that Morricone wrote for those Italian westerns of the sixties. Both Alessi on trumpet and Malaby on tenor sax take incredible solos here. The other thing that makes this band so special is the consistently spirited and inventive playing of the Ban/Hebert/Cleaver rhythm team. Other highlights include Badal Roy's tabla and vocal percussion, which are used most selectively to enhance certain sections of the appropriate pieces.
As November approaches, we find ourselves considering the most engaging, best discs of 2010 - this disc is ABSOLUTELY a serious contender! - Bruce Lee Gallanter, Downtown Music Gallery
CD $16



ROBERT WYATT/GILAD ATZMON/ROS STEPHEN - '..For The Ghosts Within' (Domino 263; USA) Featuring Robert Wyatt on vocals, trumpet, whistling & percussion, Gilad Atzmon on alto & soprano sax, clarinets, flute & accordion, the Sigamos String Quartet, Frank Harrison on keyboards and Richard Pryce on double bass. Robert Wyatt's wonderful, well-worn and distinctive voice has been touching us for more than forty years since the first Soft Machine record came out in 1968. Like many of you who read our weekly newsletter we live to hear Mr. Wyatt's voice, although it sometimes takes several years in between releases. Thanks to Robert's two new collaborators, Israeli reeds wiz Gilad Atzmon and violin/viola player Ros Stephen of the Sigamos String Quartet, it has been less than two years since Mr. Wyatt's last release. '....for the ghosts within' consists of six jazz standards (by Ellington, Strayhorn, Monk & Mercer) as well as three originals by Wyatt, a collaboration with Mr. Atzmon & Alfreda Benge (Wyatt's wife of many years) and a new version of "At Last I am Free" by the band Chic which Wyatt first covered nearly thirty years ago.
The standards include: "Laura", "Round Midnight", "Lush Life", "What's New?", "In a Sentimental Mood" and "What a Wonderful World". Wyatt is a longtime fan of Mingus, Monk and American jazz of the fifties and sixties. In the past he has covered "Strange Fruit" and an earlier version of "Round Midnight". What I find most enchanting is the sound of Robert's voice surrounded by a string quartet, Mr. Atzmon's tasty alto sax & clarinet and Mr. Pryce's sublime & supportive double bass. Whether singing, whistling (on "Round Midnight") or playing trumpet (on "Lush Life"), Mr. Wyatt inhabits these songs in a way that is both poignant and quietly powerful. The original songs are more contemporary lyrically yet they still evoke a similar touching vibe. The title track features the sumptuous voice of Tali Atzmon, perhaps it is Gilad's wife? The words were written by Alfreda Benge and they deal with mistreatment of Palestinians. This leads right into "Where Are They Now? which has a hip hop section with words in an Arabic dialect with voices by Stormtrap & Shadia Mansour. This piece fits well within the scope and vibe of the entire disc. As the last former member of Soft Machine from their most creative and influential period to still be creating important, relevant music, Robert Wyatt remains in a class of his own. His voice is a treasure, filled with many ghosts, wandering through the ruins of contemporary life. Soothe yourself once again while considering the words. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15

PLEASE be aware that there is also an import Ltd 2-Disc edition of the new Wyatt release that we do NOT have in stock at the moment, and cannot guarantee that we will be able to get more of..

ROBERT WYATT/GILAD ATZMON/ROS STEPHEN - '..For The Ghosts Within' [Ltd CD + 'The Muses Within' DVD Ed] (Domino; UK) PAL DVD playable in most computers.
CD + DVD $24
[you may put yourself on the list for any copies of this we do manage to get, but email us NOW with reservation, even if you're a local instore customer!]



BRIAN ENO With LEO ABRAMS/JON HOPKINS - Small Craft On A Milk Sea (Warp 10207; USA) 2010 release, Eno's first solo album since 2005's Another Day On Earth. Released on the Warp label, it is technically a collaboration -- improvisations altered by significant editing work -- with Leo Abrahams and Jon Hopkins. It marks a return to the approach of Eno's evocative ambient albums, which Eno himself refers to as "sound-only movies."
"Few artists can claim to have had as much impact on popular music as Brian Eno. His solo pieces and work as a record producer have influenced the way pop, punk, rock and dance music are made and listened to. Eno's newest album, "Small Craft on a Milk Sea," does not disappoint.
From the ambient opening track, "Emerald and Lime," the album quickly begins to explore darker territory, adding crisp production to the results of the artist's improvisations with electronic artists Jon Hopkins and Leo Abrahams. From start to finish, the rapport the trio have built up through years of playing together is clear. The album is a rare commodity in an MP3-dominated market - a work with no standout tracks, one that needs to be listened to as a whole. Distinct moods permeate throughout and the initial tracks are as ambient as earlier Eno records. By "Flint March" it feels like the trio is drilling the music into your head - difficult listening as keyboards and gentle drumming are swapped for electric guitars against a backdrop of beats that would feel at home on an Aphex Twin recording. Expect "Small Craft on a Milk Sea" to exert huge influence (and be heavily sampled). - Richard Smart, Japan Times
"I was bummed by Eno's last [song] release in 2006, but this one [an instrumental] is back to the forward-looking standard-setting heights I've enjoyed from him for decades!" Got THUMBS?!! - MannyLunch
CD $15

and speaking of Deluxe Limited packages..

BRIAN ENO With LEO ABRAMS/JON HOPKINS - Small Craft On A Milk Sea [Ltd Ed 2 CD + 2 LP box set] (Warp 10207 BX; USA) "Limited edition vinyl box set version of Small Craft on a Milk Sea presents the album as an 180 gram double LP along with a double CD version with 4 ADDITIONAL TRACKS (available only in this box set). It is packaged with high quality 12" sq. lithographic print of the artwork and contains a code for audiophile quality downloads -- all presented in a rigid, full-color box."
2 LP + 2 CD + Lithograph +.. Box Set for $125



..and finally..

OK, GRAB this now, because they ain't gonna repress it a third time
A few were made at the end of last year, and they've been selling for $200+ online!

KING CRIMSON [MICHAEL GILES/ROBERT FRIPP/IAN McDONALD/GREG LAKE/PETER SINFIELD] - In The Court Of The Crimson King [Ltd Ed 5 CD + DVD/DVD-A set] (DGM/Inner Knot KCCBX 1 (KCSP); USA) King Crimson's classic 1969 debut album as it should be heard. This deluxe 6 disc box features a lengthy 12x12" book, two buttons, two 1969 promotional 8x10" stills; and the disc contents are:
CD 1: The new 2009 stereo edition of the complete album, with an edited Moonchild, from the original pre mix multi track tapes mixed by Steven Wilson and Robert Fripp; tracks 6-10: the unedited Moonchild, I Talk To The Wind guitar/flute duet instrumental, I Talk To The Wind unused but finished alternate take, Epitaph backing track, and Wind Session pipe organ tapes from which intro to Schizoid Man came.
CD 2: Features the 2004 master edition; tracks 6-10: bonus tracks including the Morgan studios instrumental recording of 21st Century Schizoid Man, the John Peel Top Gear recording of I Talk to the Wind (not previously released on CD), A BBC trancription disc of a Schizoid Man live broadcast, and a transfer of the original UK single a/b side of The Court of the Crimson King.
CD 3: An alternate version of the album made up alternate takes and run-throughs including an instrumental Schizoid Man; tracks 6-10: de-clicked vinyl transfer of the original UK Island pressing of the album.
CD 4: Tracks 1-7: the complete Hyde Park show from 1969; tracks 8-11: a 1969 Fillmore East show taken from the best sources for each of the 4 songs from both nights.
CD 5: Tracks 1-6: A transfer of the original promotional US Atlantic MONO LP (sent to radio stations only). This was not folded-down (compressed) from the stereo mix, but a separate mixing/mastering session in 1969! Track 6: US mono promo single mix of the 'Court' track.
Disc 6: DVD-A: Features the original album in 5.1 Surround Sound. The 2004 master edition & the 2009 new mix also appear in Hi-Res Stereo, along with several bonus tracks from the original recording sessions. The material is in several formats: MLP Lossless 5.1 and DTS 5.1; PCM stereo (24/48) and MLP Lossless Stereo (24/96)
Video Footage: Newly re-sequenced archive footage of 21st Century Schizoid Man from the legendary Hyde Park concert
"The very first album from 1969 and one of the absolute classics of Rock/Art Rock/Symphonic Rock music! The initial line-up of Robert Fripp guitar and mellotron; Ian McDonald sax, flute, and mellotron; Greg Lake bass and vocal; Michael Giles drums and lyricist Pete Sinfield lasted nine months, but they blew all preconceptions away when they created a new language for themselves using a meld (not a pastiche!) of Classical, Heavy Metal, Free Jazz and Improv in a single new form. For all adventurous listeners, no matter your taste - it still sounds stunning today, 4 decades later! Started me on the road to EVERYTHING I listen to now, 35 years later: Free/avant jazz, contemporary classical, noise, thrash, 'downtown' et al. My first choice on the list of a compact space travel library ..but bet y'all knew that already! Googleplex3 Thumbs Up!" - MannyLunch


5 CD + DVD/DVD-A + geegaws [poster, buttons], etc, Box Set for $70


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MARIO PAVONE ORANGE DOUBLE TENOR With TONY MALABY/JIMMY GREENE/DAVE BALLOU/PETER MADSEN/GERALD CLEAVER et al - Arc Suite t/pi t/po (Playscape 61010; USA) Mario Pavone on contrabass & compositions, with Tony Malaby & Jimmy Greene on tenor & soprano saxes, Dave Ballou & Steve Bernstein (1 track) on trumpets, Peter Madsen on piano and Gerald Cleaver on drums. This is master- bassist and composer Mario Pavone's 15th CD as a leader and he has continued organize powerful bands and keep them tight and inspired with his dynamic composing and focused band-leading abilities.
Even with just a sextet at his disposal, Mario's music is orchestral in sound and construction. On "Continuing" the two saxes and trumpet play a series of interlocking riffs while the rhythm team spins tightly underneath, the tempo increasing and decreasing as the piece unfolds. The ever incredible Gerald Cleaver keeps his eye on the ball both supporting the soloist and connecting with the piano and bass simultaneously. Each of the dozen pieces are a marvel of construction as well as being filled with tight layers and a series of inspired solos. The major highlights of this and every other disc by Mr. Pavone are Mario's propulsive bass playing at the center of the storm and Peter Madsen's marvelous piano whether it is supporting or soloing. Tenor men Tony Malaby and Jimmy Greene sound especially great together as they trade lines and solo as if their lives depended on it. Just under one hour in length and consistently astonishing! No doubt another contender for this year's best discs. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15


FLOORED BY FOUR [NELS CLINE/YUKA HONDA/MIKE WATT/DOUGIE BOWNE] - Floored By Four (Chimera 4; USA) Floored by Four features Nels Cline on electric guitar & effects, Yuka Honda on keyboards & vibes, Mike Watt on bass, voice & songs and Dougie Bowne on drums. This is an odd and rather incestuous line-up of four famed folks from varied backgrounds. Monster guitarist Nels Cline tours & records with both Wilco (worthy stadium contenders) and his own Nels Cline Singers (diverse jazz/rock power trio). Yuka Honda was once one half of Cibo Matto (US/Japanese twisted pop duo), was married to Dougie Bowne, involved with Sean Lennon and is currently engaged to Nels. Incredible electric bassist, Mike Watt was a founding member of the legendary Minutemen, Firehouse, is currently in the reunited Stooges and has worked with Nels in previous solo efforts. Dougie Bowne was one of the most in-demand drummers to move to NY in the eighties, working with John Cale, Iggy Pop, the Lounge Lizards, Arto Lindsay & many more. He was off the scene for a while and returned to concentrate on production, composing, guitar, sampler and now is finally back on the drums. I wasn't certain what to make of this but here goes...
This disc consists of four chapters, each one named after a member of the quartet. "Nels" is swell, sort of funky thang with some fine atmospheric guitar over a great groove. Yuka contributes swirling synth-like samples with nifty guitar effects from our main man. The overall vibe is similar to one of those Funkadelic jams that used to make us all smile. "Miss Yuka" starts with hypnotic synth sounds from Yuka but soon switches into a Mike Watt sung throbbin' rock tune. Mike sings like a pirate and the song has a certain bent charm that is hard to describe. Yuka sounds as if she is playing organ which fits this song just right. An even better organ sound is used on "Watt" which has a swell Booker T & the MG's like sound & vibe and classic stinging solo from Nels. Get down! The final song is called "Dougie" and it begins with some impressive drums from Mr. Bowne. This piece is slow and mysterious, with drifting synth and guitar effects. Dougie's calm, hypnotic drums are central to this quietly disorienting work. Nels creates sounds like ghosts floating in the distance. Nels pulls off a great eerie, softly psychedelic guitar solo towards the last part of this long piece. Only 43 minutes long but still well worthy of your time and consideration. This is the second disc featuring Nels Cline in the past week so those who need even more of Nels' great guitar, please grab his ambitious new double disc set on Cryptogramophone called 'Dirty Baby'. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15

and, in case you blinked last week..

NELS CLINE - Dirty Baby [2 CD + Books Box Set] (Cryptogramophone 144; USA) It is easy to see why guitarist Nels Cline calls the works he composed for Dirty Baby the most challenging of his career to date. He was called upon by producer and poet David Breskin to compose two separate works to sonically accompany two collections of Los Angeles artist Ed Ruscha's images from the '80s and '90s. One, for the artist's "censor strip" images (wherein the title of the painting is on the canvas yet concealed by strips of color); one for images from his Silhouette series of paintings. All 66 images are included in either a handsome double-disc package containing three booklets with a liner essay by Cline.
2 CD + Books Box Set for $24


Two New ones an Ayler!

LUIS LOPES HUMANIZATION 4TET With RODRIGO AMADO/AARON GONZALEZ/STEFAN GONZALEZ - Electricity (Ayler 113; EEC) Featuring Luis Lopes on electric guitar, Rodrigo Amado on tenor sax, Aaron Gonzalez on double bass and Stefan Gonzalez on drums. All four members of this fine cross-continental quartet have previous releases on the Clean Feed label. Portuguese guitarist Luis Lopes has two CF discs, including the previous one by Humanization 4Tet. Portuguese saxist Rodrido Amado has upwards of six on Clean Feed as well as another half dozen on his own European Echoes label & Not Two. The great Dallas rhythm team of brothers Aaron & Stefan Gonzalez have recorded some half dozen swell discs with their father Dennis and more recently have been working with Curtis Clark and the Humanization 4Tet. This great quartet played here at DMG earlier this year and were superb!
All four members of this great quartet contributed to the composing. "Dehumization Blues" is not really a blues but it does a powerful, pumping blues-rockin' groove. This killin' rhythm team is most impressive, tight and burning with Rodrigo blasting an incredible sax solo while Luis spews out fractured notes behind him. "Jungle Gymnastics" has an Ornette-ish theme and is super tight with intricate sax and guitar lines played together while the bass & drums provide a whirlwind underneath. Aaron & Stefan are pretty young yet they sound like older veterans of the free & modern jazz worlds, wise beyond they years. When they get a chance to stretch out, both are inspired & crafty soloists as well. Rodrigo's piece "Two Girls" does have a great funky groove with some greasy sax on top. "Effigy" is an appropriate titled solemn piece, stark, sad and simmering like a soft prayer. Each song involves a different structure or strategy and each one is strong. I dig how on "Infidelities" the quartet plays the theme up front and them proceeds to get freer in the midsection before they move into a final somber, spare conclusion. The final piece, "Eavesdropper/Ruas Sentimentais" begins freely and eventually evolves through different sections. Parts remind me of when King Crimson move into their own improv segments. The Humanization 4Tet is/are a particularly impressive quartet that are no doubt be a force to be reckoned with. - Bruce Lee Gallanter, Downtown Music Gallery
CD $18

ZED TRIO [HEDDY BOUBAKER/DAVID LATAILADE/FREDERIC VAUDAUX] - Lost Transitions (Ayler 102; EEC) The Zed Trio features Heddy Boubaker on alto & bass saxes, David Lataillade on electric guitar and Frederic Vaudaux on drums & percussion. This freaky French improv trio features saxist Heddy Boubaker who appears on a few discs from the Creative Sources label. If you've never seen a bass sax you should realize how big it is and how hard it is to play. The few saxists I've seen/heard play it include Anthony Braxton, JD Parran, Tony Bevan & Colin Stetson.
'Lost Transitions' is a throttling, power trio of intense improv madness. Over-the -top yet still tight and focused. Much of this reminds of 'Topography of the Lungs', with Evan Parker, Derek Bailey & Han Bennink. Brutal, intense, scary and quite impressive with energy to spare. Even when they turn the volume down, they remain intense and tightly wound. Fans of the Thing, Zu and/or Last Exit should mostly likely enjoy this although they do lay back a bit at times. But not for very long. Their whirlwind force can be devastating. - Bruce Lee Gallanter, Downtown Music Gallery
CD $18


Two from Porter!

LOU GRASSI'S PO BAND [POBAND] With MARSHALL ALLEN/PAUL SMOKER/STEVE SWELL/PERRY ROBINSON/WILBER MORRIS - Live At The Knitting Factory Vol 1 (Porter 4051; USA) A stunning live recording from 2000 with Lou Grassi (drums), Marshall Allen (alto sax, flute), Paul Smoker (trumpet), Steve Swell (trombone), Perry Robinson (clarinet) & Wilber Morris (bass). Wild tribal drums call forth the musicians to take the music to the boiling point and in that heat; suddenly the bottom falls out and you are left with the beautiful swaying sound of a lone bass whispering softly through the air. There are many inspirational moments like this to be found on "Live at the Knitting Factory, Volume 1". These musicians know how to show off the true range of their instruments with quite growls and murmuring notes that create a strange and alien langue between them that suddenly shifts to loud and boisterous shouts. This is a recording from some of the top musicians in the avant-garde jazz scene and should not be overlooked.
CD $14

EERO KOIVISTOINEN & CO. With JUKKA TOLONEN/HEIKKI SARMANTO et al - 3rd Version (Porter 1511; USA) "3rd Version" is Eero Koivistoinen's 7th album and finds him in the company of other excellent Finnish musicians: pianist Heikki Sarmanto, guitarist Jukka Tolonen, bassist Pekka Sarmanto and drummer Reino Laine, plus American drummer Craig Herndon. Except for Tolonen, who is mostly associated with jazz-rock Fusion due to his membership in the legendary Finnish bands Tasavallan Presidentti and Wigwam, the rest of the players are all pillars of the Finnish modern Jazz scene and all are virtuosi on their respective instruments. The music could be generally categorized as Fusion, but this is the European strain of Fusion, which is more focused, with every moment contributing a new vista to the music. At long last this cornerstone of the 70s Finnish jazz scene is once again made available.
CD $14


FRED LYENN [JACQUES] With MARC RIBOT/SHAHZAD ISMAILY/CHES SMITH - The Jollity of My Boon Companion (Munch 309; EEC) Featuring Lyenn on vocals, guitars, bouzouki & waterphone, Marc Ribot on guitars, banjo & cuattro, Shahzad Ismaily on basses, guitar & production, Ches Smith on drums, tympani & vibes plus other musicians on fiddle, synth & bass clarinets. Both Marc Ribot and Shelley Hirsch have spoken highly of this Belgium-based singer & songwriter, so we were pleased for Lyenn to stop down here and leave us with his new disc. Lyenn sings in English and has a strong, compelling and somewhat familiar voice. Although Lyenn's voice is not very Tom Waits-like, the arrangements are at times and even a bit like Nick Cave as well. I dig the way the songs are stripped down yet filled with suspense and layers of acoustic & electric guitars. Shahzad has become a strong producer, knowing when to add & balance certain elements so that the songs breathe and the arrangements work best to enhance the overall vibe of the song. At times Lyenn uses his voice to stretch out notes most effectively with the sympathetic backing of another (female) voice & acoustic guitars or bouzouki. Each song evokes a feeling of solemn desolation or other dark spirits. A fiddle player named Sam Amidou plays creeky violin on a number of these pieces adding a fine earthy ambience the way that Warren Ellis adds that same element to Nick Cave records. The more I listen to this disc, the more it grows on me and the better it gets. Lyenn recently played here at the Bitter End during the CMJ marathon was not treated so well. Sad but expected. Next time he comes to town, let's hope he plays in a more sympathetic environment. We would welcome him here at DMG. - Bruce Lee Gallanter, Downtown Music Gallery
CD $17



A new label Geodesic, dedicated to

DOUGLAS EWART/A SPENCER BAREFIELD/TANI TABBAL - Beneath Detroit - The Creative Arts Collective Concert At The Detroit Institute Of Arts, April 18 1981 [2 CD set] (Geodesic 01; USA) Rejoice! This is a most auspicious beginning to a new label and a new series documenting an important era of avant/jazz performances in Detroit during the seventies, eighties and nineties. The first three in the series are done and feature the guiding lights of the Detroit scene: this trio, another similar trio with Anthony Holland on reeds and Leroy Jenkins with the New Chamber Quintet which includes the legendary Faruq Z. Bey. Future releases will include music from Roscoe Mitchell, Anthony Braxton, Hugh Ragin and more from Faruq Z. Bey & Griot Galaxy. I've already heard the first three and they all are amazing! This great trio features Douglas Ewart on flutes, bass clarinet, alto sax, bassoon and percussion, A. Spencer Barefield on classical, bowed & slide guitars, African harp, piano & percussion and Tani Tabbal on drums, percussion, gongs & balafon. All three of these musicians are masters with extensive resumes and collaborations with other important musicians like Roscoe Mitchell, Oliver Lake and David Murray. Mr. Barefield is one the most creative guitarists I've heard, an unsung hero of the Detroit scene since the seventies. This disc consists of two sets from April of 1981. Both Mr. Ewart & Mr. Barefield contribute pieces, as well as a couple of trio improvisations. The music is well-recorded, a superb blend of acoustic and electric instrumentation. On "Mirror World Suite" there is splendid ongoing dialogue between the restrained yet crafty electric guitar and hand percussion. Eventually Douglas enters on bass clarinet, sometimes soloing, sometimes just adding colors. Midway, the piece slows down to desert-like section for somber alto sax, dreamy guitar or piano and minimal percussion and then builds up again. A story is unfolding and we are being taken along for the ride. Each one of the six pieces on these discs shows a different side to their playing and writing or approach. Mr. Ewart plays some feisty alto on "Red Hills" while the guitar and drums lock into this great repeating line, adding & subtracting notes as they go until they hit that intense focused free section later. "Trio for Bassoon, Guitar & Percussion" starts with a surprising gong splash then rubbed guitar strings and haunting bassoon flourishes. Although the bassoon and guitar have a much different timbre (low & high tones), they work especially well together here with Tani's percussion balancing both perfectly. The second set/disc features of two long trio improvs, both are thoughtfully constructed, evolve organically and are consistently mesmerizing. Geodesic Discs intends on releasing new CD's every 3 or 4 months so the future does look bright for those of us who need special music like this to help make through these difficult times. - Bruce Lee Gallanter, Downtown Music Gallery
2 CD set for $20


HARRY BECKETT - The Modern Sound Of Harry Beckett (On-U 1002; UK) "Plans were already in place to announce the re-release of this 2008 album when the sad news broke of Harry Beckett's death. The Barbados-born trumpeter Harry Beckett was one of the great treasures of British culture. Charlie Mingus was a fan, and his old LP's such as Flare Up have become sought-after rarities. Even in his early 70s he was still on great form, creating a magnificent sonic treat in the shape of The Modern Sound Of Harry Beckett, on which he teamed up with a variety of dub-reggae and electro-jazz collaborators, confidently stirred into a steaming sonic bouillabaisse by On-U Sound producer Adrian Sherwood. Beckett and Sherwood worked together many times over the years, but this album is the sole full length from the unusual pairing, created by the simple but effective method of Beckett improvising over new and revised On-U rhythm tracks."
CD $17


Two from Intakt

PIERRE FAVRE ENSEMBLE - Le Voyage (Intakt 186; Switzerland) Pierre Favre on drums, percussion & compositions; with Claudio Puntin on clarinets, Beat Hofstetter, Sascha Armbruster, Andrea Formenti & Beat Kappeler on saxes, Samuel Blaser on trombone, Philipp Schaufelberger on guitar, Banz Oester bass, and Wolfgang Zwiauer on bass guitar. Swiss percussionist Pierre Favre has some 15+ discs out on various labels like ECM, FMR, Unit, Hat Hut and Intakt. Favre performs in solos, duos, trios and with a sax quartet and with chamber ensembles. I recently listened to another Favre Ensemble disc on ECM from 1977 which shares only two of the members from this current disc, Schaufelberger and Oester. It was also great!
I know a few of these musicians from previous discs like Claudio Puntin, Samuel Blaser & Philipp Schaufelberger, the last two have duo discs Favre also on Intakt. This ten piece ensemble sounds wonderful due to the thoughtful, engaging music that Mr. Favre has written. The music is more orchestral sounding with warm, well conceived harmonies and songs with different sections. "Vreneli ab em Guggisberg" has the five saxists stretching their notes out at the beginning but later has the horns playing somber, lovely chords together. Even when Favre plays solo as on "One for Makaya", his playing has a nice melodic tinge. Guitarist Schaufelberger often plays tasty licks along with the rhythm team while the horns swirl superbly around him. Different horn players get a chance to stretch out and solo here and there, most notably Samuel Blaser's ever- enchanting trombone. Every piece shows off a different aspect of Pierre Favre's composing abilities. "As Far as That Goes..." reminds me of British folk-rock with elegant melodies at the center. Favre provides kaleidoscopic harmonies for the horns on "Anapana" while he plays exquisite brushes sewing the entire piece together subtly. Considering that Mr. Favre is most well known as a drummer or percussionist, his playing is rarely featured here. It is his splendid, mature writing that makes this disc so charming. The last piece, "Wrong Name" recalls some of the better arranging by Graham Collier with layers of swirling and interlocking reeds and brass. For those of you who dig inventive music without ever going too far out, we have another winner. - Bruce Lee Gallanter, DMG
CD $20

URS WIDMER & MICHAEL RIESSLER - Das Buch Der Albtraume (Intakt 180; Switzerland) Featuring Urs Widmer on text and voice and Michael Riessler on bass clarinet & mandolin. I can't say that I was familiar with Urs Widmer before this but I do know if Michael Riessler from a couple of discs he did with Tomas Stanko on the New Edition & one on Label Bleu. Considering that I don't understand Swiss from the German or French sides of the country, I still find this duo quite appealing. Mr. Riessler is one of the best bass clarinet players I've heard, spinning intense lines like a magician casting spells. Mr. Widmer has written his own texts and speaks them (from the German side) passionately as if telling a story or making astute observations on life. There is a strong, solid ongoing dialogue going on between the two men. Although there are 22 mostly short pieces, all of the parts are continuous and evoke the vibe of being on a journey. The one thing I noticed most is that the sound of Riessler's bass clarinet is close to that of the human voice, equally expressive and a perfect match for Widmer's equally dynamic voice. Reissler also plays some mandolin here and there, banging on it as well as plucking a few notes. This adds a more minimal yet no less necessary part of the dialogue. It is too bad that I don't own a universal translator like they have on Star Trek, then I would have a better idea of what Mr. Widmer is saying. Either way this duo is still pretty great. - Bruce Lee Gallanter, Downtown Music Gallery
CD $20


PHILLIP GREENLIEF - Lines Combined (Evander 056; USA) Featuring Phillip Greenlief on saxes. Inspired by the works of Eva Hesse and Robert Rauschenberg, saxophonist Phillip Greenlief has created a series of sound improvisations that capture the austere beauty of Hesse's drawings and the willy-nilly improvised charm of Rauschenberg's combine works. this recording was originally conceived as a work of sound installation. the combined pieces (for Rauschenberg) use the over-dubbing process and the line pieces (for Hesse) are single-pass recordings. All the music on this recording was improvised.
"Mr. Greenlief played a solo tenor set here at DMG last Sunday (October 31st, 2010). His solo explored a variety of ideas and approaches and was successful at showing the history of solo sax playing. In less than a half hour he dug deep and showed off a variety of pearls and other sonic gems." - Bruce Lee Gallanter, DMG
CD $15


MISHA FEIGIN - The Dew Drop Blues: Music And Poetry (DPR 12; USA) A solo project featuring Misha Feigen on classical & steel string guitars, dobro, balalaika & voice. I've known Russian-born guitarist & writer Misha Feigen since the time he was living in NY during the nineties. Misha is a gifted improviser who has collaborated with LaDonna Smith, Elliott Sharp, Eugene Chadbourne, Davey Williams & Dave Liebman. Misha is also a fine poet and writer, with interesting observations of modern life both in Russia and here where he has lived for for about two decades. Half of these pieces are poems (the shorter ones) and the other half are instrumentals (the longer pieces) based on the sentiments behind the poems. Misha's words are thoughtful and filled with many things to consider. Although the poetry sections are short, they are filled many provocative ideas to ponder at length. All of Misha's poems are printed in the booklet so we get a chance to consider his words. "Booms, Dooms, Kabooms" is a hilarious parody of Wall Street baboons. His playing is also superb, complex, melodic in part, intense, stripped of excess and completely focused. No matter which acoustic stringed instrument Misha plays, he is a daredevil player, spinning layers of notes furiously at times but never over doing it. There is one instrumental track that stands out called "Trapped", which moves from John Fahey-like licks to further out excursions and is one of Misha's finest moments. Often brilliant on more than one level simultaneously. - Bruce Lee Gallanter, Downtown Music Gallery
CD $10


BRAD HENKEL/DAVID GROLLMAN With LAURIE AMAT - Swirm [Ltd #d Ed of 100] (self released; USA) Brad Henkel on trumpet & David Grollman on percussion with Laurie Amat on vocals for two tracks. I know Dave Grollman since he has been attending the DMG Sundays sets for a number of years and we've become friends ever since. Over the past few years he has left us with a couple of other duo discs. The first track is a good example of lower case imrov with breath-like sounds on trumpet and hushed rubbed sounds on the drums plus short snips of vocal sounds or whispers. Spooky sounds, haunting and strange, it is hard to tell the difference between the voice and trumpet. I dig the way the duo pay close attention to detail, each sound is carefully chosen. There are a few new names out there of trumpet players who are stretching the boundaries with new sounds. Jacob Wick, who played a superb duo with Nate Wooley last Sunday (10/31/10) here at DMG is one and now you can add Brad Henkel to the up & coming class. Although there is more going on than the usual lower-case excursions, the cautious explorations are still well-defined here. Ms. Amat sounds as if she has studied some opera on her second appearance here but doesn't get too carried away. If this was on Erstwhile or Another Timbre or even Potlatch, this disc might get a bit more visibility. For those who appreciate the subtle spin of effective yet minimal sounds, this is indeed a little known gem. - Bruce Lee Gallanter, Downtown Music Gallery
CD $10


GIOVANNNI DI DOMENICO/ARVE HENRIKSEN/TATSUHISA YAMAMOTO - Clinamen (Off-Rat 2; EEC) The Off-Rat label presents a special collaborative release from Arve Henriksen (trumpet, voice) of Supersilent, Giovanni Di Domenico (piano, Fender Rhodes, electronics), and Tatsuhisa Yamamoto (drums, percussion) frquently heard with Otom Yoshihide. Pianist/composer Giovanni Di Domenico formed this trio because of the extremely special quality of the sound he wanted to achieve within a musical group, and the choice of the musicians involved related to that special quality. "Clinamen," in ancient Roman philosopher Lucretius' De Rerum Natura, is the magic force that makes an atom change direction during its fall and thus be able to hit other atoms and "create" energy and life. This new exploratory musical unit takes inspiration from Lucretius' theory to create melodies and soundscapes, to play with the inner and most special matter of the "sound" of each and all of the three members. Di Domenico's open compositions are integrated by Henriksen's and Yamamoto's extreme transparent approach to their instruments, making them breathe and have an extra-special quality.
CD $17


Three New Ones from Mutable!

ROBERT DICK & THOMAS BUCKNER - Flutes And Voices (Mutable 17541; USA) Flutes & Voices is utterly brilliant improvisation, finding two longtime musicians in top form. Thomas Buckner and Robert Dick have somewhat parallel musical histories. For well over three decades, both Buckner and Dick have redefined what is acoustically possible on their instruments. Both have a profound interest in the development of a highly individual sound language and in free improvisation. Their activities have helped shape the downtown scene in New York, and affected the course of new music worldwide. About four years ago, they began to very occasionally meet to start and continue a musical dialog. In June 2009, they recorded together. Flutes & Voices, a collection of dynamic improvisations, is the result.
CD $14

MARI KIMURA - The World Below G And Beyond: Works For Violin Subharmonics And Interactive Computer (Mutable 17542; USA) "Mari Kimura is a creative violinist carrying on the tradition of renovation and transformation of her instrument by composing for herself, using the media that is available in her lifetime. This album includes two kinds of works: solo violin works using 'subharmonics,' an extended bowing technique she developed, and works for violin and interactive computer. In April 1994, at a solo recital in New York City, Kimura introduced subharmonics as a musical element to extend the range of the violin by a full octave below the open G string without changing the tuning. Playing subharmonics takes precise control of bow pressure and speed, reliably and repeatedly on demand, which is extremely hard, especially in real time performance situations. Her introduction of subharmonics was widely praised by Edward Rothstein, the chief critic of The New York Times who described it as a 'revolutionary technique' for the violin. Kimura took these obscure sounds and developed them further. She created compositions using subharmonics not for the sake of novelty but to use them as a new element for the musical language for the violin. This album contains many of her early works using subharmonics controlling different subharmonic intervals, such as subharmonic octave, third and second. Since the early 1990's, Kimura has also been a violinist/composer specializing in interactive computer music composition and performance. She created many works for the violin using an interactive computer music program MaxMSP. On this album she includes some of her older works for violin and MaxMSP, as well as more recent compositions."
CD $14

IF, BWANA [AL MARGOLIS] - Assemble. Age! (Mutable 17540; USA) "Modern classical music meets industrial meets musique concrete. The music of If, Bwana (Al Margolis) represents a vigorous, original and informed continuation of the experimental traditions of American music, responding as it does to the sounds and materials of late 20th and early 21st century American life with a keenly sensitive ear and a marvelous feeling for form, balance, and texture in music. The five works on this recording all utilize and reprocess the performances (both studio and live) of the musicians and vocalists. Their work has been processed, edited, selected and assembled into strange and mutated pieces, which in many cases are quite some way removed from the realms of the familiar."
CD $14


VEGETUS (TEPPEI TOGASHI) - Animism [Ltd Ed] (MW; Japan) Vegetus is a latin word meaning lively or vigorous, a name which Teppei Togashi wears well. Here he presents us with a seemingly bi-polar experimental musical landscape; one that begins with a respectful nod to Merzbow's bone crunching electronics and then surprisingly transcends into a more brooding Brian Eno with his skillful use of delays and stretched sustained tones (as it remains for the rest of the disc). "Animism" is the closest thing I can think of as a fitting soundtrack to the big bang. If his musical moniker doesn't tip you off of his agenda, then perhaps the title of his this very limited cd will. A young shaman on a old planet. HIGHLY RECOMMENDED!!! -Chuck Bettis/DMG
CD $15


RAYMOND SCOTT//STAN WARNOW, dir - Deconstructing Dad: The Music, Machines And Mystery Of Raymond Scott [DVD] (Waterfall; USA) [Ltd Ed DVD-R with full packaging] [Ltd Ed DVD-R with full packaging] For many of us our first introduction to Raymond Scott's music came via Warner Brother's cartoons. Growing up with his propulsive, complex, yet easily recognizable music is on par with Carl Stalling's compositions (Stalling actually got him the gig using his music for the cartoons, which was coincidentally was not written for cartoons!). Here is a person who learned to play the piano by watching a player piano and following the keys; an enigmatic event that launched this creative personality into a path of being an extremely dedicated musician/composer. His later, perhaps lesser known electronic work spawned by his obsession with technology lead him to do "soothing" music for babies (do I even need to mention how much I really dig his electronic music?) and pioneering electronic instruments as well as the aforementioned compositions. Deconstructing Dad is exactly what the title suggests, a very personal and inquisitive look into a son's search for his father's love, which in the end he realized he had all the time. This journey leads us through the many ups and downs of Raymond Scott's life, all pertaining to his music, never getting sappy. For example; how many of us knew Raymond Scott was born Harold Warnow and changed his name and got a nose job to hide his Jewish identity? This is one of the exact reasons I love this doc, the good and the bad are all dealt with here with equal temperament. Here he is post mortem getting props by film composer John Williams, your favorite Devo dude Mark Mothersbaugh, audio collagist DJ Spooky, and the infamous Moog synth co-inventor Herb Deutsch as well as some other names you are familiar with such as Hal Willner and Don Byron (plus many more). One of the few documentaries that truly gives a full spectrum of the musician, leaving you excited about the music and wanting more! One of my favorite musical documentaries in quite some time! A true pioneer embracing all kinds of music and pouring into his personalized cauldron. He is referred to the Frank Zappa of his time by a handful of people in this film and after viewing this, I would have to agree. Constant inventiveness and enthusiasm practically jumps off the screen. Don't worry, there is much more in this film than what I have blabbed about here. Very touching and extremely intriguing! HIGHLY RECOMMENDED!!! -Chuck Bettis
DVD $24


KIMONO - Easy Music For Difficult People (Kimi 15; EEC) This is the third studio album from Icelandic progressive guitar/math rock band, Kimono. Easy Music For Difficult People marks a significant change in style for the band, returning as a trio with their first album since 2007. The band, which was formerly a quartet, has been active for eight years and has released two studio albums, one EP and one dub album based on their 2003 debut. At just over 30 minutes and featuring nine songs, the album represents a shift from the "calm before the storm" soundscape (with which the band has been associated on their previous records) to a full-on post-punk album where urgency, darkness and immediacy hold sway. This time around, Kimono took their time polishing their sound with the songs that comprise Easy Music For Difficult People. After experimenting with live multi-track recordings in their studio in downtown Reykjavik, the band recruited Arctic Death Ship engineer Aron Arnarsson and recorded the entire album live over a long weekend in the summer of 2009. Lead singer and guitarist Alex MacNeil manned the post of producer. All instruments, amplification and drums were set up in one space with no dividers to isolate the roaring interplay of guitars from the relentless sonic attack of the drums. The result is an electrifying studio album where the band has attempted and succeeded in bringing its notable live experience right to your stereo
CD $16


SUPERSILENT [ARVE HENRIKSEN/HELGE STEN/STALE STORLOKKEN] - 10 (Rune Grammofon 2102; EEC) tenth release in the Supersilent series. Since the very beginning, Supersilent have always moved forward with the greatest integrity. Supersilent's music is collective work, total group improvising, with not a whit of individual grandstanding. They never rehearse as a group and don't discuss the music with each other, meeting only to play concerts or to record. Every recording and every concert is a unique occasion, not to be repeated, and their music lives in a no-man's-land between the genres, somewhere between rock, electronica, jazz and modern composition. It can sometimes appear to be written or at least arranged, again making it clear that these musicians communicate on a high, almost telepathic level. Supersilent 10 brings further evidence to the above. Known as being heavy on the electronics, they have moved slightly towards a more acoustic landscape with Stole Storlokken, treating the splendid Steinway piano at Rainbow with some great playing. Supersilent 10 features some of the band and Arve Henriksen's most beautiful and lyrical moments side-by-side with some of their most eerie soundscapes. Most of the recordings on this album were done by Jan Erik Kongshaug at Rainbow with some recordings from the Supersilent 8 sessions from 2005 added. Mixed by Helge Sten. Members include: Helge Sten (audio virus, electric guitar), Stale Storlokken (grand piano, keyboards), Arve Henriksen (trumpet, electronics).
CD $17


New and recent from Skuli Sverisson!

SKULI SVERRISSON With EYVIND KANG/ANTHONY BURR/HILDUR GUONADOTTIR et al - Seria II (Seria; EEC) This is the second 'Seria' disc from Pachora bassist Skuli Sverrsisson and it was recorded in Iceland in October of 2009. The personnel includes: Skuli on bass, guitar, keyboards, autoharp, percussion, compositions & production; Amedeo on guitar & voice; Davio Por on keyboard; Eyvind Kang on viola; Anthony Burr on clarinets; Olof Arnalds on vocals & charango; Hildur Guonadottir on cello and Oskar Guojonsson on tenor sax.
This music has a most enchanting shimmering effect, heavenly and dream-like. It has more to do with a certain ethereal vibe and has no real soloing. Skuli has found a way to blend layers of strings, bowed & plucked, with drifting keyboards & occasional soft wordless vocals so that the overall effect is a most hypnotic haze, often melancholy and completely soothing. A number of the instruments here are acoustic like the guitar, strings & reeds thus giving this a sort of folky quality as well. Even at just about forty minutes in length, I found that this was just enough to create a wonderful vibe to sail away upon this rainy late fall day. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15

SKULI SVERRISSON With EYVIND KANG/LAURIE ANDERSON/HILMAR JENSSON/PETER SCHERER/TED REICHMAN - Seria (12 Tonar 34; EEC) Skuli Sverrisson on bass, guitar, dobro & composing, Eyvind Kang, Hildur Guonadottir & Olof Arnalds on strings & other things, Hilmar Jensson & Amedeo Pace on guitars, Anthony Burr on clarinets & organ and Ted Reichman, Peter Scherer & Johan Johannsson on keyboards plus Laurie Anderson on vocals (1 track). This is Pachora bassist, Skuli Sverrisson first new disc in many years and he has left us with not one but two new CD's. The music is an enchanting swirl of dreamy strings and keyboards. Often the guitar, bass and keyboards will play a swirling, repeating theme while the strings hover in clouds above providing angelic harmonies. At times I am reminded of the dream-like quality of "Tubular Bells" or the magical haze of Eyvind Kang's gem, 'Virginal Coordinates'. Ms. Olof Arnalds sad, fragile voice is featured on "Geislar Hennar" as well as a few other tracks. I assume she is singing in Icelandic, either way I find her voice to be quite soothing. The cosmic, somber, buzzing strings have a hurdy-gurdy effect on "Binding Garden" which sounds like a soundtrack to an ever- graceful fairy tale. 'Seria' is one of the most elegant and quietly mesmerizing discs I've heard in a long while. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15

also available..

SKULI SVERRISSON - Seremonie (Extreme 039; Australia) Icelandic electric bass icon, Skuli Sverrisson, has had an unusual career that has stretched some true extremes. He went from playing in that ambient/space music group Mo Boma (4 cd's for the Extreme label) to playing with fusion guitar ace Allan Holdsworth. He then moved to NY during the mid-nineties and formed Pachora, a middle-eastern/Euro sounding quartet with Chris Speed, Brad Shepik and Jim Black. Besides Pachora, who remain as one of downtown's most successful bands, Skuli keeps busy a variety of other bands or projects. He has a few solo/duo releases out on Scandinavian labels from recent years, which seem to have no US distribution at present, which is sad since we would love to both own and sell such discs. 'Seremonie' was Skuli's first (and only?) solo electric bass guitars (w/ samples) offering from 1996 for the Extreme label and has been long out-of-print and nearly impossible to track down. It is filled with shimmering, layers of fretless electric basses floating in a hypnotic dream world. Strangely beautiful, quietly intense and somewhat alien in nature.
CD $16

MO BOMA [SKULI SVERRISSON/CARSTEN TIEDEMANN/JAMSHIED SHARIFI] - Part 3: Myths of the Near Future (Extreme 035; Australia) Third in a trilogy of releases that meld world music with elements of jazz and experimental rock, ambient jungles with space age funk, first impressions with hairsplitting recomposition - coherent, holistic, mature and passionate. Since the release of "Jijimuge", their critically acclaimed debut, Carsten Tiedemann has spent many months in Africa, continuing to explore the music and culture of the vibrant and diverse countries there. Tiedemann, in this time, has also produced and played on the "Big Waves" album with Robert Rutman, an album offering spectacular sound and transparency, where bow chimes cascade between orchestral sounds.
MO BOMA's continuing instrumental work and development has broadened the orchestrations and added new textures and voices while retaining the intimacy and group sound which made ""Jijimuge"" a landmark in contemporary lucid dreaming. In addition to this, "Myths of the Near Future" seeks to bring respect and awareness to the music and people that are a catalyst for the eclectic, worldly vision of MO BOMA.
Skuli Sverrisson, originally from Iceland and now living in New York, has been touring the world with the Allan Holdsworth Band and is a founding member of MO BOMA. Sverrisson's mastery of six string, fretless and baritone basses, with carefully applied electronics, often shapes the lead voice and treble registers, while his low end provides warmth, punch and creative musicianship, further emphasised by his cathedral-like chord work. Synthesist Jamshied Sharifi, also currently based in New York, has continued his contribution to the group as master player and sound designer with subtle and astute additions to the soundscape.
There is a seamless quality to the music of MO BOMA, trancelike but earthen and at times irresistibly funky.
CD $16

MO BOMA [SKULI SVERRISSON/CARSTEN TIEDEMANN/JAMSHIED SHARIFI] - Part 2: Myths of the Near Future (Extreme 030; Australia) With music dedicated to "the memory of the plants, animals, and indigenous peoples whose extinction is caused by man," Mo Boma mixes elements of ambient and world music combined with the same sort of ambient classicism that drove much of Tangerine Dream's best work. But what sets the trio apart from more self-indulgent groups of the instrumental music genre is the incorporation of live instruments. Skuli Sverrisson's subtle, unobtrusive bass work recalls the bottom-end gurglings of Bill Laswell, while Carsten Tiedemann (who also contributes vocals, percussion, and African lute to the mix) plays guitar like a young Robert Fripp. But it's the synth work of Jamshied Sharifi that provokes Tangerine Dream comparisons, as his mature phrasing and textural layering sound like the product of a classical music background. The group uses source recordings from Central Africa as one element of its sound, but rather than the shallow gimmickry of groups like Deep Forest, such assimilations seem natural in the context of Mo Boma's exotic musical environments. A welcome addition to the ethno-ambient canon."- Bret Love, AMG
CD $16

MO BOMA [SKULI SVERRISSON/CARSTEN TIEDEMANN/JAMSHIED SHARIFI] - Part 1: Myths of the Near Future (Extreme 025; Australia) MO BOMA return with a startling musical statement. "Myths of the Near Future", part one, which was vaguely inspired by the works of J.G. Ballard, was recorded in Africa, Germany and New York, and shows the unique voice of a group developing beyond "Jijimuge" without departing their musical identity. Trans-cultural and trans-technological, instinctively improvised archetypes beyond known forms, MO BOMA creates music that is both futuristic and organic.
This recording was produced using RSP Technologies' Circle Surround system. MO BOMA is the first group in the world to use the Circle Surround system in a recording. Circle Surround, previously known as Circle Sound, is the first system designed specifically for the production and reproduction of music in surround, in that it allows for full bandwidth of the rear speakers, in stereo, and provides dramatic channel separation within a multi-speaker surround environment. Circle Surround, drawing dimensional information through its unique steering technology alone, without changing the original sound, is used as a textural tool, a matrix through which ambience and processed sounds are able to function and breathe in ways previously impossible within conventional recording mediums. Circle Surround creates a dramatically expanded and enhanced soundscape, and in doing so welcomes the listener to a new audio world, as does the music of MO BOMA.
CD $16



MUSIKFABRIK - Kronung (Coronation) (Wergo 6855; Germany) "Wergo's focus with this new CD entitled Coronation is not on blue blood or kingly power, but in organic processes -- the music on this CD sends up its shoots and produces blossoms like crowns. '(co)ro(na),' by Vykintas Baltakas, springs from a cascade of motivic branchings, its roots in a cycle of works named after the alchemical Ouroboros, a snake that swallows its own tail. Its dragon's blood, so the legends say, is cinnabar red, like the hue that shines in 'Cinnabar' by Rebecca Saunders. Magnus Lindberg's 'Joy' expresses itself through its profligacy with spectral harmonies and the resonant snapping of the strings of a demolished piano. 'Thallein' by Iannis Xenakis creates sieves that proliferate until they transform into archaic dances, refulgent with the brass tones."
CD $24

SAED HADDAD//ENSEMBLE MODERN - Deux Visages (Wergo 6578; Germany) Performed by Ensemble Modern. Featured works: Le Contredesir, Les Deux Visages de l'Orient, Etudes mysterieuses, The Sublime, On Love I, On Love II. "Saed Haddad views good music as needing, in addition to many intangible elements, a balance of physical and metaphysical traits. In the former category, he includes beauty, energy, magic, tension and virtuosity. In the latter category rest elusive concepts: the existential, the intellectual, the transcendental. The compositions presented on this CD belong to two periods of compositional practices. In the first period (2004-06), Haddad aimed to achieve a synthesis of Arabic and Western music, without the usual Western gimmicks, i.e. tourism, exoticism or even 'abstraction.' His goal was true existential and transcendental integration, not a juxtaposition or imposition of one tradition on the other. In the latter period (2007-), the ever-questioning composer has been distancing himself from a direct, existential contact with Arabic culture."
CD $24


HAYVANLAR ALEMI - Guarana Superpower (Sublime Freq 062; USA) Hailing from the Turkish capital of Ankara, Hayvanlar Alemi is a group of contemporary players steeped in the art of psychedelics, surf, and expansive rock instrumental grandeur. Formed in 1999, the band is led by Ozum Itez (electric guitar) and Isik Sarihan (percussion) and they've released a variety of CDs and mp3 tracks in Turkey and beyond leading up to this, Guarana Superpower, their first-ever vinyl LP. The tracks drift from majestic beauty to blazing delirium with Itez etching his manifesto for electric guitar every step of the way backed by Sarihan's wide variety of percussion styles. Although the group is rooted in classical and modern Turkish psych-rock in spirit, they draw on a large range of sounds and influences, and traces of Turkish styles are hard to pin down. Two of the tracks, "MEGA Lambada" and "Guarana Superpower," are more reminiscent of late '80s post-punk experimental mind-melting, referencing Torch Of The Mystics-era Sun City Girls in grand fashion. Other cuts expand on a diversity of areas including tripped-out surf, retro Cambodian rock, electrified Thai Mor Lam and Saharan guitar music. Every single track is memorable and the incredible variety helps confirm the fact that Hayvanlar Alemi is one of today's great rock instrumental combos. This extremely limited one-time LP pressing comes in a full color heavy-duty tip-on jacket.
LP $22


ISOBEL CLOUTER & ROB MULLENDER - Myths Of Origin: Sonic Ephemera From East Asia (And/Oar 32; USA) "and/OAR is extremely happy to finally present a full length release featuring 'singing sand' and 'booming sand' recorded in Japan and Mongolia by British sound artists Isobel Clouter and Rob Mullender. 'Singing sand', 'booming sand', 'whistling sand' or 'barking sand' is sand that produces sounds of either high or low frequency under pressure. The sound emission is usually triggered by wind passing over dunes or by walking on the sand. Also featured are field recordings of a traditional Japanese Sawara Matsuri festival, a Suikinkutsu (underground water zither), Uguisubari (or Nightengale floor), Chion-in temple and Saiho-ji temple. The recordings came about as a result of a project instigated in late 1999, which bears witness to a long held fascination with how the environment generates and shapes culture, memory and myth. There was no desire to conduct any scientific or anthropological field work, but to collect a set of recordings which would serve to illustrate how precious the sonic environment can be, and to act as founding materials for a soundscape collection at the British Library Sound Archive. The audio CD also features a PDF of extra photos pertaining to the recordings that can be accessed on a computer, and comes packaged in a four color digipak and a 12-page booklet."
CD $12

MICHAELANGELO ANTONIONI [V.A.] - Trilogy And Epilogue [2 CD Set] (And/Oar 36; USA) Featuring Tyler Wilcox & Corey Fuller, Olivia Block & Adam Sonderberg, Marc Behrens, Roel Meelkop, J. Winston Phillips, Antti Rannisto, Ben Owen, Lawrence English, Asher, Pali Meursault (with Ici Meme), EKG, Dale Lloyd, Juan Jose Calarco, Richard Garet, Alan Courtis, Luigi Turra, i8u, Steinbruchel, Gabriel Paiuk, Jason Kahn, Fhievel, Tomas Phillips and Marihiko Hara. "The third (and perhaps final) project in the film director series which began with Andrei Tarkovsky - Another Kind Of Language and Yasujiro Ozu - Hitokomakura. Michelangelo Antonioni - Trilogy And Epilogue focuses upon the Italian auteur's landmark 'tetralogy' of films L'Avventura (1960), La Notte (1961), L'Eclisse (1962) and IlDeserto Rosso (1963). Antonioni was known for not being very keen to use music in his films, partially because he wanted the films to tell their stories free from 'additional gloss'. Therefore music was sparsely used - if at all. Antonioni considered the natural sounds or 'background noises' of a film to be of enormous importance, and considered them to be the 'true music' of a film. Obviously Antonioni's view resonates with and/OAR since environmental sound has always been its main focus, and is one of the reasons why he was chosen for this project over other film directors. Composer Giovanni Fusco, whose music is (more or less) featured in most of Antonioni's films from the late 1950s to the early '60s said, 'the first rule for any musician who intends to collaborate with Antonioni, is to forget that he is a musician!' Yet, there is another composer who Antonioni worked with, that this project seeks to acknowledge and pay subtle homage to in addition to the director himself; because if it were not for his inspirational and pioneering minimal electronic music featured in Deserto Rosso, this project might not have come together at all: Vittorio Gelmetti. Gelmetti's electronic work consistently came to mind during the planning stages of this project, and his influence can indeed be heard throughout this release."
2 CD set for $16

ERNST KAREL - Heard Laboratories (And/Oar 35; USA) "Heard Laboratories is a sonic ethnography of scientific research environments at Harvard University. The sounds of equipment, devices, and activities draw attention to the physical processes underlying scientific research, the work underway which provides a ground for our highly technologized society. In the name of human progress, enormous resources are devoted to and consumed by such activities, which are both hidden and taken for granted. Heard Laboratories brings this background to the fore. Heard Laboratories is a largely abstract soundscape, consisting of edited sequences of unprocessed location recordings. The liner notes list edit points, along with descriptions of the research each laboratory is engaged in, so that the listener may follow along and know what kind of laboratory they are hearing at any given moment. The work does not take a position with respect to what is documented, and neither endorses nor criticizes the research programs of the laboratories which granted access."
CD $12


BRUNO LETORT - Lignes (Sub Rosa 295; Belgium) Bruno Letort is a French composer born in 1963 in Vichy. This guitarist published a series of albums on the border of jazz and rock in the early '80s with Manu Katche, Noel Akchote, and Didier Malherbe. His discography from the '90s contains more "scored" music for orchestra (Pieces pour les pays baltes, 1992; Le Continent obscur, commissioned by the Orchestre Philharmonique de Radio France, 1998-1999), his Fables Electroniques (2001) blended concrete/electronic sounds with a symphony orchestra. In 2004, Bruno Letort recorded a new album called E(a)st, the fruit of many trips to East-European countries. That same year, he became "composer in residence" at the National Orchestra of Belarus. Bruno Letort's approach has always referred to multidisciplinarity. Witness the number of works he has composed for dance, theater, cinema, video and scenography. Closely related to Benoit Peeters and Francois Schuiten (emblematic figures of the Belgian comic strip), he co-composed L'Affaire Desombres. In 2000, he founded the Radio France label Signature which has recorded artists as diverse as Pierre Henry, Fred Frith, Hector Zazou, Elliott Sharp, Jean-Luc Godard, Luc Ferrari, Christian Fennesz, Mika Vainio, and Christian Zanesi. Lignes is a complex piece composed by Bruno Letort, based on the eponymous novel by Murakami Ryu. Performed by the chamber ensemble Musiques Nouvelles, conducted by Jean-Paul Dessy with the voice of the legendary Klaus Blasquiz (historical voice of Magma) and Japanese pop singer Kumi Okamoto. This last opus is a synthesis of the scored orchestral music, electronic composition and voices.
CD $16

Z'EV - as/if/when (Sub Rosa 275; Belgium) Sub Rosa presents works by industrial music pioneer, Z'EV. The physical vibrations of the objects in his works with both text and sound has been influenced by the Middle Eastern mystical system best known as Kabbalah, as well as -- but not limited to -- African, Afro-Caribbean and Indonesian rhythms, musics and cultures. He has studied Ewe music, Balinese gamelan, and Indian tala. From 1959-1965 he studied drumming with Arnie Frank, then Chuck Flores and then Art Anton at Drum City in Van Nuys, CA. In 1963, he abandoned Judaism and began his life-long relationship with World religions and esoteric systems. 1964 saw the beginning of his initial attempts at writing poetry and explorations of both two and three-dimensional artforms. After studying at CalArts from 1969-1970 with poets Emmett Williams and Michael S. Bell and writer/critic Sue-Ellen Case, he began producing works using the name S. Weisser, primarily concentrating on visual and sound poetries. In 1975, he was included in the "Second Generation" show at the Museum of Conceptual Art in San Francisco. In 1976 he moved from Los Angeles to the Bay Area, ending up with a storefront studio on MacArthur Boulevard in Oakland, pretty much midway between the headquarters of the Black Panther Party, (who dissolved that year), and the Hells Angels (still extant). A primary reason for this move was his association with the San Francisco Alternative exhibition space La Mamelle (run by Carl Loeffler and Nancy Evans). In 1977 he presented his first solo percussion performance under the project title "Sound of Wind and Limb." In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Critic John Buckley described his performances in this era: "the instruments are collections of objects ... strung together with ropes and swung at varying speeds and directions to produce a fairly astonishing range of pitches and timbres. And the moves the guy goes through to manipulate these instruments are, for grace and athleticism, strong stuff. Z'EV is also interesting for the close correlation of visual and musical aspects, since the physical vibrations of the objects you see are the same as those picked up by the ears as sound. Also, since the rhythms of the work are dictated by the performer's every and any movement, an inevitable integrity unifies the act." Here are two pieces from the artist's early sound experiments: "As," recorded in 1978 at the KPFK radio station in Los Angeles, and "If," recorded at Savoy Tivoli in San Francisco.
CD $16

DR. BOOGIE [V.A. Curated By WALTER DE PADUWA] - Vol 7: Dr. Boogie Presents Wasa Wasa: Fabulous Rhythm'n'Blues Shakers On The Dancefloor! 1952-1968 (Sub Rosa 307; Belgium) This is volume seven in Sub Rosa's series of rare and lost recordings from the '20s to the '60s, following Dr. Boogie Presents Rarities from the Bob Hite Vaults (SR 271CD/LP), Oh, Run Into Me, But Don't Hurt Me! Female Blues Singers -- Rarities 1923-1930 (SR 268CD/LP), Shim Sham Shimmy (SR 279CD/LP), Dr. Boogie Presents 26 Deranged And Smokin' Cool Cats (SR 286CD/LP), I'm Going Where The Water Drinks Like Wine (SR 287CD/LP) and Dr. Boogie Presents Heavy Jelly: Essential Instrumentals (SR 292CD/LP) -- assembled by Belgian radio personality, musicologist, and Canned Heat devotee, Walter De Paduwa aka Dr. Boogie. "Wasa Wasa" means "what's up?" and invites you to put on your dancing shoes. A fine opportunity to remind everyone that what was called rhythm and blues in the late '50s and came from "race music" was the marriage of the word "rhythm," which designated a fast tempo, and the word "blues," which brought to mind the unmovable 12-bar rule. Rhythm'n'blues would become the vector that would let black music infiltrate white popular music and pave the way for the emergence of rock'n'roll. All tracks are taken from the original, authentic 45 rpms.
CD $16


PHILIP GLASS//ROBERT McDUFFIE - Violin Concerto No 2: The American Four Seasons (Orange Mountain 72; USA) "Orange Mountain Music presents Philip Glass' second violin concerto, subtitled The American Four Seasons, performed by violinist Robert McDuffie accompanied by the London Philharmonic Orchestra under the direction of Marin Alsop. This live performance was captured on the occasion of the UK premiere of the work in the spring of 2010. The concerto is in four movements, with each movement preceded by a piece for solo violin comprised of a prologue and three songs. The strings-only orchestra is complemented by a synthesizer producing a sound palette that harkens back to the Philip Glass of the 1970s. The American Four Seasons was commissioned by McDuffie to act as a companion piece to Vivaldi's Four Seasons concertos, which are among the most performed and recorded works in the history of music."
CD $17

ERIK SATIE//ALDO CICCOLINI - Piano Works (EMI 631809; USA) Performed by Aldo Ciccolini. "No more committed or convincing champion of this music could be found than Ciccolini, who equally well conveys, for example, the tenderness of the fifth 'Gnossienne,' the pre-Poulenc pert humor and the charm of the 'Morceaux en forme de poire' and the frenetic gaiety of the 'Grande ritournelle' of 'La Belle excentrique.'" --Gramophone
CD $15



RANDY WESTON And HIS AFRICAN RHYTHMS SEXTET With BENNY POWELL/ALEX BLAKE/LEWIS NASH et al - Live At Dizzy's Club Coca-Cola (Motema 51; USA) 'The Storyteller' stands out in Weston's wide discography as the premier recording of new arrangements of Weston classics; as Weston's first performance with jazz lion Lewis Nash on drums; and, sadly, as the last recording of Weston's long time collaborator, trombone legend Benny Powell (1930-2010.)
CD $15


GEORGE ADAMS/DON PULLEN QUINTET - Live At Montmartre (Timeless 74501; EEC) Featuring George Adams on tenor sax and Don Pullen on piano, with John Scofield on guitar, Cameron Brown on bass and Dannie Richmond on drums. "This matchup looks really good on paper -- a guest shot by fluid, flexible guitarist John Scofield in the full flush of his first inventive phase with the quartet whose inside/outside mastery should have defined mainstream jazz in the '80s (if there was any justice, which we all now know there isn't). But Live at Montmarte really doesn't live up to expectations, in part because the first two tracks hit tempos that go beyond breakneck to become frenetic and one big technical gaffe. The culprit there is Cameron Brown's bass, which is miked so high it sounds like he's playing bass guitar on the first three tracks. It distorts the instrumental balance, rastily bombing out on the octave drops driving the near "Compared to What"-groove opening "Flame Games" and pulling attention from Don Pullen's strong solo on "Well, I Guess We'll Never Know" because of the loud, fat bass tone. "I.J." is too rushed to effectively lock in as George Adams strews about tenor sax notes and "Flame Games" breaks into an energetic, near-fusion theme that sometimes works and sometimes doesn't, with equally sporadic moments in the solos. Things improve tempo-wise with "Well, I Guess We'll Never Know," enabling the group to finally achieve some cohesion and give a pretty muted Dannie Richmond his only (and brief) bit of solo space. With Brown's technical troubles resolved, the ballad-based final tracks are fine, with Adams and Scofield doubling on the pretty gorgeous, vaguely Arabic-tinged melody to "Forever Lovers." Adams goes for a Trane-like tone and flurries in his solo but still crams in a few too many notes, Scofield smoothly picks up the solo thread, and Pullen goes off with cluster swirls before bringing it back home. "Song Everlasting" features a mellifluous tenor melody before Pullen takes over, followed by Adams and Scofield, both sounding far better playing at these more relaxed tempos. Live at Montmarte isn't all it could have been, but sometimes things just don't happen. It sounds like Scofield and the group never found a truly comfortable common ground. They don't clash, but it never feels like they're totally in synch, either, at least not enough to reach the greater-than-the-sum-of-the-quartet-with-guest-soloist-parts level. The live albums by the George Adams-Don Pullen Quartet, itself, are better choices -- as are most of the other strong discs that the group released on Timeless during the '80s when the U.S. jazz industry didn't want to know. - Don Snowden, AMG
CD $11


More classic Jazz treasures unearthed by Why Not:

DON PULLEN//THELONIOUS MONK - Don Pullen Plays Monk (Candid/Why Not 79418; USA) Pianist Don Pullen first got noticed in the mid-sixties when he made the acquaintance of Muhal Richard Abrams and other musicians involved in the avant garde scene. Word about his talents got around and in 1973 Charles Mingus invited him to join the band. Pullen stayed with Mingus for several years the he and saxophonist George Adams formed a new band which lasted from 1979 to 1988 cementing Don's increasing reputation around the world. His style was described as "Zipping and unzipping the piano." Not an exaggeration on this brilliant solo recital!
CD $12

CHICO FREEMAN With VON FREEMAN/GEORGE CABLES/CECIL McBEE/BILLY HART - Lord Riff And Me (Candid/Why Not 79421; USA) Lord Riff and Me, recorded in New York in 1987, is the companion album to Morning Prayer, Chico's 1976 debut for Masahiko Yuh's Why Not label. Chico is from Chicago and was active in the AACM School of Music in the 70's. Since then Freeman has toured the world and recorded frequently - collaborating with the likes of Wynton Marsalis, Chaka Khan, Celia Cruz, Hilton Ruiz and Tito Puente. He is the son of Von Freeman - also a tenor saxophonist. Father and son are reunited here on this rousing session accompanied by a wonderful rhythm section comprising pianist George Cables, bassist Cecil McBee and Billy Hart on drums.
CD $12

SONNY FORTUNE With RENEE ROSNES/KENNY DAVIS/RONNIE BURRAGE - Invitation (Candid/Why Not 79420; USA) Philadelphia born reedman Sonny Fortune moved to New York in 1967 after playing with R & B bands in his home town. He appeared live and recorded with drummer Elvin Jones and subsequently Mongo Santamaria and pianist McCoy Turner. In 1974 he replaced David Liebman in Miles Davis' band, recording 4 albums with Miles in 1974/1975. Since then Fortune has had albums on Blue Note, A & M and Atlantic. This 1987 date featuring Renee Rosnes, Kenny Davis and Ronnie Burrage, was one of producer Masahiko Yuh's last dates for the Why Not label.
CD $12.00

KENNY BARRON With BUSTER WILLIAMS/BEN RILEY - Live (Tokyo 1982) (Candid/Why Not 79417; USA) Pianist Kenny Barron came into prominence when he joined the 1960s Dizzy Gillespie Quartet. Subsequently he has worked with legions of well-known musicians including Charlie Haden, Michael Brecker, Roy Haynes, Joe Henderson, Freddie Hubbard, Buddy Rich, Ron Carter, Chet Baker, Stan Getz and Ornette Coleman. In February 1982 he became co-leader of Sphere a quartet featuring tenor saxophonist Charlie Rouse, bassist Buster Williams and drummer Ben Riley which began as a tribute to Thelonious Monk. Shortly afterwards in June 82, producer Masahiko took advantage of their appearance at the Imo House in Tokyo to record this spirited live session.
CD $12


WOLFGANG DAUNER - One Night In '88/Pas De Trois [2 CD set] (Mood/InAkustik 4606; Germany) "The boundaries in jazz have now become smoother, the horizon is expanding. Dauner, Mariano and Saluzzi anticipated these developments back in the eighties. You can hear it immediately: three world class musicians get together. Wolfgang Dauner is one of the pioneers of German jazz and is one of the first avant-garde players; he also explores classical territory on the piano. Charlie Mariano showed for decades that he had an open ear for world music influences. And the virtuoso on the bandoneon, Dino Saluzzi brings his expressive playing into jazz sessions. Together they create enchantingly beautiful and timeless music, in the sumptuous melodies, unexpected jumps in rhythm and the elegantly flowing solos. Jazz meets tango -- in a daring, as well as emotionally moving, performance."
2 CD set for $18


ROGER & WENDY [BECKET] - Love Rog & Wem (Lion Prod. 618; Canada) "Formerly of 1960s U.S. psych-folk band Euphoria (MGM/Heritage), not to mention veterans of the late 1960s Greenwich Village coffee-house scene that spawned many a career, Roger & Wendy made this private press album for family and friends in 1971, in an edition of 50 copies. They later renamed themselves Bermuda Triangle; their recently reissued 1977 album under that name has garnered terrific reviews throughout the years. 'It started in New York City with the guy across the hall, who was missing two fingers, saying he earned money playing flamenco guitar in a Greenwich Village coffeehouse. Roger and Wendy (we two, the two of us) exchanged glances. Could it be that easy to get paid for making music? We put together some songs which featured our vocals and Roger's autoharp, and headed from our 5th floor walk-up slum tenement, where the holes through the ancient brick wall were big enough for snow to blow in, across town to the BASEMENT coffeehouse on MacDougal St. (in the Village) to audition. Hired after one song, we played our first sets that night and every night thereafter 'til 4 A.M., seven nights a week, 365 days a year. At the time, the coffeehouses were called basket houses, since the only pay you got was what was collected in a straw basket passed around at the end of each twenty minute set. Stephen Stills said, 'I love your guys' music,' and dropped $20 in, which more than half covered our $35 a month rent.' So begins the tale. With strong roots in folk music, Roger & Wendy have electric and often unconventional arrangements. The lyrics are complex and symbolic, the instrumentation very unusual. Roger is also the inventor of much of the technology required to create multiple effects that achieve a multidimensional quality: passages that listeners mistake for electric guitar are actually autoharp. Roger redesigned the autoharp's chord structure to facilitate switching between keys; now all major autoharp manufacturers worldwide make autoharps using his design. And as for Wendy, women bass players were a rarity in the '60s, and still are today. Consequently, their groups (then and now) have always been far out there beyond the leading edge. The Roger & Wendy Love Rog & Wem album is an alluring collection of shimmering psych-folk gems, and is the rarest of the duo's records (fetching $900+) amidst releases from their previous group Euphoria, and their later group Bermuda Triangle. A superb artifact from the early 1970s underground psych-folk scene, taken from the original master tapes, and using the original sleeve artwork for this deluxe mini-LP sleeve reissue. Booklet has photos, great stories, and five bonus tracks, too!"
CD $16


DIETER MOEBIUS - Blue Moon [sndtck] (Bureau B 59; Germany) 180 gram LP version. By 1969 at the latest, Dieter Moebius was synonymous with the avant-garde electronic music scene in Germany. He and Hans-Joachim Roedelius formed Cluster, a seminal electronic/ambient duo, while Moebius was also a member of the so-called Krautrock supergroup Harmonia (with Michael Rother and Roedelius), as well as collaborating on various other projects with the likes of Brian Eno and Mani Neumeier from Guru Guru. This was the last solo album that Moebius delivered to Sky Records, originally released in 1986. Blue Moon was released at a time when electronically-created pop music was no longer perceived as exotic. It was new music, free of the ballast of the 1970s, minimalist and uncluttered. Moebius, a constant simplifier in the Cluster/Harmonia family, made a particular virtue of this simplicity on Blue Moon, resulting in 11 wonderfully measured miniatures, rhythmic, harmonic textures of exceptional aural transparency. Clarity, calm and an impression of unthreatening irreality run through all 11 pieces, which, to capture their full sense of musical and atmospheric development, would all need to be twice as long. Instead of which, regrettably, they break off abruptly, all too soon, all too often. Short isn't always sweet. What an epochal flight of fancy Blue Moon could have been, had it extended to a double album format. But Moebius, his wings clipped in the service of film music, needed, of course, to match his compositions to the length of each scene -- sometimes a blessing, other times a curse. Due to their soundtrack function, the 11 compositions on the album fell short of the glittering diamonds they could so easily have become, precious though they undoubtedly were. As previously on Tonspuren (BB 040CD/LP), Moebius structures his music with well defined, sharp contours, modestly elegant, simple yet rich in detail, thus never running the risk of lapsing into monotony. This is forceful electronic pop music and it works perfectly well without pictures. It has survived throughout the decades because Moebius -- much like his Harmonia colleagues, Hans-Joachim Roedelius and Michael Rother -- had formulated a musical language which, today, can be understood better than ever. Innersleeve with full-color photos and notes by Asmus Tietchens.
LP $18


SUN CITY GIRLS - Dante's Disneyland Inferno [3 LP set] (Get Back 719; Italy) If you thought our little feverish bout with foolishness would stop with the triple vinyl album reissue of '300,003 Crossdressers', you're horribly mistaken. What could we do in our sickly state but quite naturally retread the retired 'Dante's Disneyland Inferno' and give it a new engorged life as yet another triple vinyl expedition through the terrors and horrors of the verbal brain toast of Charlie Gocher in a Burroughs/Esquecum/Firesign Theatre mixture of absurdity backed by a variety of instrumental moods: bongo bohemia, noise, lounge, swing-swong, ooga booga rock, children's melodies and all things in between. Its been 7 years since its first digital transmission and the cloud of confusion only thickens. Dark and twisted storytelling by Charles Gocher backed by a variety of instrumental moods: bongo bohemia, C&W, lounge swing-swong, ooga-booga rock, children's melodies and all things in between. Includes two 'Uncle Jim' pieces, his first appearance since the debut LP in 1984. Also, 'Hector and Chino' features guest vocals by 9-year-old Crystal Gallegos. Much of the material on this release was originally recorded during the Torch of the Mystics sessions, remixed by Scott Colburn and the band.
LP $60


THE SOFT BOYS [ROBYN HITCHCOCK/KIMBERLEY REW/MATTHEW SELIGMAN/MORRIS WINDSOR] - Underwater Moonlight (Yep Roc 2628; USA) After recording the material that would later comprise the bulk of Invisible Hits, the Soft Boys recorded their masterpiece, the shimmering neo-psychedelic Underwater Moonlight. Essentially, the band didn't change their style for the record -- they merely perfected it. The Soft Boys don't hide their influences -- whether its the ringing guitars of the Beatles and Byrds or the surreal humor of John Lennon and Syd Barrett -- but they assimilate them, resulting in a fresh, edgy take on '60s guitar pop. Robyn Hitchcock's subject matter tends to be more explicitly weird and absurdist than his influences, as titles like "I Wanna Destroy You," "Old Pervert," and "Queen of Eyes" indicate -- even "Kingdom of Love" equates romance to bugs crawling under your skin. But the lyrics aren't the only thing that are edgy -- the music is too. The Soft Boys play pop hooks as if they were punk rock. "I Wanna Destroy You" isn't overtly threatening like their post-punk contemporaries, but with its layered guitar hooks and dissonant harmonies, it is equally menacing. Furthermore, the group can twist its songs inside out and then revert them to their original form, as evidenced by "Insanely Jealous." Although the neo-psychedelic flourishes are fascinating, the key to record's success is how each song is constructed around rock-solid hooks and melodies that instantly work their way into the subconscious. In fact, that's the most notable thing about Underwater Moonlight -- it updates jangling, melodic guitar pop for the post-punk world, which made it a touchstone for much of the underground pop of the mid-'80s, particularly R.E.M. ~ Stephen Thomas Erlewine, AMG
CD $14

THE SOFT BOYS [ROBYN HITCHCOCK/KIMBERLEY REW/ANDY METCALFE/MORRIS WINDSOR] - A Can Of Bees (Yep Roc 2627; USA) Swarming hymns of second generation psychedelic pop mastery, The Soft Boys' two most influential and groundbreaking albums are finally back in print via Yep Roc Records. Main man Robyn Hitchcock, along with demon guitarist Kimberley Rew, bassist Matthew Seligman and drummer Morris Windsor manage to bottle '60s guitar pop, shake it up with caged teenage fury and cut it all with a healthy dose of lyrical levity. A Can of Bees and Underwater Moonlight -- seen as fatally un-hip when originally released -- would go on to be seen as seminal albums and become catalysts for '80s jangle pop and college rock, directly inspiring band's like R.E.M. and The Flaming Lips.
"The Soft Boys, like so many other underground miscreants in the '70s, spent their formative years (unbeknownst to them) generating enough critical capital to earn much sought-after biographical adjectives like influential and underrated. The Robyn Hitchcock-led, Cambridge, England-born, pseudo-psych rock outfit's shared love for all things Byrds, Beatles, Dylan, and Syd Barrett was both venerated and blown to smithereens on their 1979 debut long-player, A Can of Bees. More angular and jarring than the band s beloved 1980 follow-up, Underwater Moonlight, Hitchcock, Kimberly Rew, Morris Windsor, and Andy Metcalfe sounded positively possessed, channeling both '60s progressive rock and late-'70s punk into an unholy guitar-driven onslaught fueled by Hitchcock's surreal lyrics: opening a record with a line like feel like asking a tree for an autograph is one thing, but backing up those words with an atonal, apocalyptic blues riff is another. It s an often brutish affair that works more often than it should, with highlights arriving by way of the pounding and addictive Leppo and the Jooves, the incendiary Do the Chisel, and the impossibly dumb but nearly perfect pop gem Sandra s Having Her Brain Out. A Can of Bees has seen its fair share of iterations over the years, often boasting multiple bonus cuts and conflicting track listings (the impossibly prolific Hitchcock would eventually become notorious for this with his solo releases), but they re all more or less complete, and the material continues to inspire, even if it s only a handful of ears at a time." ~ James Christopher Monger, AMG
CD $14


SHIRLEY COLLINS - Sweet England (Fledg'ling 3080; UK) Sweet England, along with its sister album False True Lovers (FLED 3029CD), was recorded in the spring of 1958 when I was twenty-two years old. I had been living for the previous two years in London with Alan Lomax, the American folklorist, working for him as editorial assistant on his book The Folk Songs of North America and on his field recordings from America, Great Britain, Italy and Spain. The tracks that make up these two albums were recorded by Peter Kennedy and Alan in two days at Peter's home 'studio' in Belsize Park. English traditional music, at its best, expresses and provides everything in song that I need and feel, both musically and emotionally. Sweet England represents the first shaky steps of a journey that I have been on all my life, and that, happily, I still am." --Shirley Collins from the new sleeve-notes.
Fledg'ling Records are very proud to present a remastered edition of this classic recording from the infancy of the mid-20th century folk revival. Guest musicians are Guy Carawan, Ralph Rinzler and John Hasted. Sweet England is a stunning collection of British and American traditional song, capturing a turning moment in the English folk song revival of the 1950s. Including a stunning, new digipak design with new sleevenotes from Shirley Collins.
CD $17


HASSAN ERRAJI - Awal Mara (World Village 450007; Germany) Moroccan master musician "Hassan Erraji's stunning World Village album Awal Mara is a comeback disc of pure excellence. It is sure to re-ignite his army of dedicated admirers around the world as well as recruit new legions of music aficionados about to experience the aural delights and charm of his creations for the first time. The album is packed full of compelling new songs fashioned from Erraji's immense classical musical knowledge, absorbed into a contemporary music sensibility which has most certainly been given a veritable Yorkshire twist by the highly esteemed personnel involved with the project. Meticulously recorded by the widely respected producer Dave Creffield whose exhaustive list of credits include Kaiser Chiefs and Embrace, the album was actually recorded at the Leeds studio owned by one of the Kaiser Chiefs themselves. The recordings then remained in Yorkshire to be mixed and mastered in Leeds by another highly regarded producer, Carl Rosamond, who has worked with many seminal Leeds bands such as Cud and The Wedding Present. Add to the Erraji recipe an exciting new dynamic young band including the extravagantly gifted rhythm team of Kenny Higgins and Ben Stevens and all the ingredients are there to once again establish Hassan as one of the most important, charismatic, fascinating and influential artists on the world music stage today."
CD $20


TATSUMI HIJIKATA - Summer Storm [DVD] (Microcinema 1160; EEC) "Ankoku Butoh (Dance of Darkness) is the avant-garde dance form born out of the devastation of post WWII Japan but also influenced by Dadaism, Surrealism and Antonin Artaud's Theatre of Cruelty. Its legendary founder, Hijikata Tatsumi, is the supreme figure in the last half-century of Japan's experimental culture, a seminal and inspirational presence there for artists, choreographers, filmmakers, musicians and writers. His final performance with his dancers, Summer Storm, took place in 1973 at the Westside Auditorium of Kyoto University. Three cameramen with small 8mm cameras filmed the entire performance in color, one close-up to the dancers' faces and bodies, the second from the middle of the auditorium, and the third from the back of the hall. As with the other performances, the ghostly images of Hijikata and his dancers were outlined against a deep, engulfing darkness. The following year, Hijikata would choose to live in seclusion until his death in 1986. The celluloid images were restored in 2003 and are presented on this DVD -- a first for American audiences. Performances by Hijikata Tatsumi, Yoko Ashikawa, Kobayashi Saga and Waguri Yukio. Music by YAS-KAZ. Directed by Misao Arai. Bonus Features: Video interview with film scholar Donald Richie, Still gallery. 71 mins, Color, Japanese w/ English subtitles. DVD, NTSC, Region 0 (All)."
DVD $18


RAVI SHANKAR - Raga: A Film Journey Into The Soul Of India [DVD] (East Meets West 102 DVD; EEC) "Originally released in 1971, Raga: A Film Journey Into The Soul Of India documents the life of sitar master Ravi Shankar in the late 1960s and early 1970s, following him on his return to India to revisit his guru, Bengali multi-instrumentalist and composer, Baba Ustad Allauddin Khan. It further explores Shankar's life as a musician and teacher in the United States and Europe, initiating those in the West to the exceptional world that is Indian classical music and culture. Through rare and candid footage shot in both India and the United States, Raga sheds light on Shankar's influences and collaborations, from Allauddin Khan to his famed dancer brother Uday Shankar, to his associations with Western musicians Yehudi Menuhin and George Harrison. Fully narrated by Shankar himself, the film reveals music as the soul of India and of Shankar's life. The premiere DVD release of Raga was taken from a digitally-remastered 35mm print optimized to modern color range resolution and standard and a fully remastered audio soundtrack." All region format; 97 minutes; stereo.
DVD $26


MULATU ASTATKE - Timeless [CD + DVD] (Mochilla 16; USA) "Ethiopian Mulatu Astatke is a giant in African music. He is the inventor of Ethio-jazz. His work has inspired many imitations, many admirers and a whole new generation of fans. His music veers from the sublime tezetas to the most foot-stomping funk. The award-winning and invaluable Ethiopiques series has shed a light into a vital and amazing music scene that existed in the Addis Ababa in the '60s. The composer/arranger of that era was Mulatu Astatke. On February 1st he blessed the sold-ut Luckmann Theatre with an amazing show. He shared the stage with veterans of the Los Angeles jazz scene Bennie Maupin, Azar Lawrence and Phil Ranelin. The performance is beautiful, showcasing many classics as well as some new material. Nas, Damien Marley, Cut Chemist, Quantic, Madlib and K'naan all have felt the influence of Ethio-jazz. This special edition honors Mulatu and his music. Part one of a three-part series. CD includes live concert (mastered) and the 'Yekermo Sew (Te'amir Remix).' DVD contains full live concert, slideshows and special features." NTSC region 0 format DVD; run time: 73 minutes; black & white; stereo; aspect ratio: 1:33:1. Housed in a hardbound package with a 20-page booklet.
CD + DVD for $20


T R MAHALINGAM - Mali: Essential Recordings of Carnatic Bamboo Flute, 1969-70 [2 CD set] (EM 1089; Japan) EM Records and Meditations, from Kyoto, are pleased to announce the reissue, on double vinyl and double CD, of two classic 1969 and 1970 LP releases from Indian bamboo flute legend T.R. Mahalingam, known as "Mali" to his fans. Born in Tamil Nadu in 1925, Mali was a true original whose musicality revolutionized Indian flute playing, elevating the instrument from its folk origins to the heights of art music imbued with spirituality, without losing vitality or succumbing to the blandishments of fame. Mali was a beguiling combination of virtuosity, spirituality and rebelliousness, and his music reflects this, and much more. He was a legend and a master. Mali's virtuosity was innate; he picked up the flute, against his father's wishes, at the age of five, and gave his first performance at seven, to great acclaim, eventually playing with other legendary musicians including the revered violinist Palghat Mani Iyer. Mahalingam developed tremendous control of the instrument, able to sustain single notes for over 40 seconds, able to play any music after hearing it only once, but he used his virtuosity to serve the music, pursuing the Carnatic ideal of the voice as the purest form of music. He sang with the flute. In contrast with the mechanically-keyed Western flute, the Indian bamboo flute allows the player to directly touch the finger holes, allowing access to a wider range of tones and contributing to this vocal quality. Mali added an extra hole to his flutes, increasing his expressivity, and performed other modifications to bring him closer to the ideal of the human voice. Mali's technical innovations also included the development of new fingering techniques and the introduction of a the flute, for the first time, to be elevated to the highest ranks of Carnatic music. Mali was spiritually driven. He had a life-changing religious experience at the age of sixteen, lending a sense of depth and introversion to his music. He claimed to have seen god many times while playing, and was known to cut concert appearances short in such instances. He was also said to have been able to communicate with birds through his music. Legendary in India, Mahalingam was very influential in Europe and North America also, especially among composers including La Monte Young and Terry Riley. Olivier Messiaen, another bird lover, was keenly interested in Mali's music, and one may hear this influence in a number of Messiaen's pieces. So, a legend. A master. And beyond words. Please listen to Mali.
2 CD set for $26


ART OF THE KOTO: NANAE YOSHIMURA/PRO MUSICA NIPPONIA - Vol 4: Works By Miki And Yoshimatsu (Celestial Harmonies 13189; Germany) "This disk completes the four-volume The Art of the Koto, which features the musical artistry of Nanae Yoshimura. As a companion especially to Vol. 3: Works for Nijugen, it contains three more compositions for the nijugen-koto, a modern version of the koto with twenty strings (instead of the thirteen strings of the traditional koto). This time, however, the focus is on works for nijugen-koto and an ensemble of Japanese traditional instruments, played by members of Pro Musica Nipponia (Nihon Ongaku Shudan). On this disk, two compositions by Minoru Miki can be heard: Tatsuta-no-kyoku written in 1971 is one of his earliest solo compositions for the new instrument nijugen-koto, which was 'invented' in 1969 (track seven). The other is his Concerto Requiem for nijugen-koto solo and an ensemble of Japanese instruments (track one), one of Miki's most important works written in 1981. Tracks two through six include a piece in five movements by the versatile composer Takashi Yoshimatsu (*1953). Originally written in 1998 for nijugen-koto solo and a trio of European instruments, it was newly arranged in 1999 for an ensemble of Japanese instruments to be performed during 'Pro Musica Nipponia the 156th regular concert' on August 8, 2000, in Tokyo."
CD $15

BRIAN KEANE & OMAR FARUK TEKBILEK - Kelebek/The Butterfly [sndtck] (Celestial Harmonies 13287; Germany) "With the Kelebek/The Butterfly soundtrack, film producer Mahmut Bengi has brought Omar Faruk Tekbilek and Brian Keane together once again to create the music to this mystical and tragic story. The result is remarkable and moving. The score to Kelebek/The Butterfly effortlessly flows from East to West, from orchestral score to Turkish music, and into electronic sound design. The music moves just as effortlessly between moods, from mystical to tragic to suspense to folkloric or romantic. Whether it's the fusion of jazz and the red-hot Middle Eastern musicianship of 'On The Move,' the beautiful melodic and harmonic East-West mixtures of 'Yusuf's Theme' and 'Zeynep's Romance,' the Turkish-folk-meets-American-roots music of 'Teacher,' the simple and honest oud and guitar collaboration on 'Brother To Brother,' the new age orchestra and ney of 'Butterfly,' the moving and tragic 'Yusuf Prays/Lost Souls' that features Omar's older brother Haci Ahmet Tekbilek on duduk with an orchestral adagio, Omar's haunting vocals over a multi-layered harmonium and sampled glass harmonica in 'Losing Hope,' the bizarre and wonderful combination of Richard Hunter's harmonica playing with traditional Middle Eastern folk music in 'Street Fair' (based on the Azeri folk song 'Menim Canimsan'), or the Dervish updated to hip-hop/electronic trance in 'Deep Blue,' Brian and Omar continue to push the boundaries of musical tradition while simultaneously demonstrating a respect and affection for those traditions and their spiritual origins. Now in their mid-fifties, Omar and Brian have continued growing in their own worlds as prominent master musicians; this soundtrack for Kelebek/The Butterfly is testimony that their friendship and musical collaboration are truly enduring."
CD $15


HUUN-HUUR-TU - Ancestors Call (World Village 468017; Germany) Redefining the folk traditions of their native Tuva, the four brilliant singers/multi-instrumentalists of Huun Huur Tu transform ancient and modern musical forms into a rich sonic tapestry. The band's members come from the former Soviet Republic of Tuva, a sparsely settled region that lies at the center of Asia, northof Mongolia, and 2,500 miles east of Moscow. Since its formation in 1992, the group has featured indigenous music played on rare instruments and has preserved and popularized khoomei (throat-singing) -- arguably one of the world's oldest form of music-making. Closely linked to traditional shamanistic practices, Tuvan folk music, with its combination of instrumental and throat-singing sounds, has been used for communication with spirits of the human, animal and natural worlds for centuries. Singled out for its incredible sound, Huun Huur Tu has performed in venues around the world. Their past collaborations include projects with Frank Zappa, Ry Cooder, The Kronos Quartet, and (most recently) electronica wiz and record producer Carmen Rizzo."
CD $20


AMSARA ALL STARS - Eritrea's Got Soul (Out There 16; Germany) Eritrea is back. After 30 years of war with Ethiopia and a decade of seclusion, the Asmara All Stars now introduce some of the best musicians and vocalists from Eritrea on Eritrea's Got Soul. Eritrea has been almost cut-off from most outside influences since the early '70s. Recording an album is not an easy task in a country where many aspects of life are dominated by political concerns, and where every working musician gets a salary from the state. The Asmara All Star project is all about leaving politics behind and focusing on making exciting music. At first, French producer Bruno Blum had a hard time getting the ball rolling, but eventually more and more musicians got excited by his unusual approach and talent began flocking to the studio. In the end, ideas were flowing freely in Asmara, with albeit a few obstacles along the way. The fruits of this long but ultimately rewarding process are now released on this very special album. In a way, Eritrea has vanished from the world's radar. Music lovers around the world have been showing a huge interest in Ethiopian reissues from the '70s. A closer look reveals that many of the musicians on "vintage Ethiopian" recordings were really Eritrean. Today, the Asmara All Stars continue to play in a style reminiscent of the golden age of the big band sound, charged with Eri-jazz, soul and roots reggae. The decades of isolation have somehow kept this music alive. The album was recorded in Asmara, Eritrea's capital city, in 2008 with a heavy, analog live band sound featuring electric krar, a full horn section, a funky organ and haunting vocals by some of the country's most famous singers. Young singer Temasgen Yared came up with the soulful "Ykre Belni," seemingly straight out of the heyday of Abyssinian soul jazz. Another highlight is Faytinga's "Amajo," which fuses Kunama rhythms with a roots reggae beat, and Mahmoud Ahmed Omer delivering the uptempo dancefloor smash "Adunia," featuring a rare sample of local hip-hop. Eritrea's Got Soul explores the vast variety of this country's genuine music: Tigre legends Ibrahim Goret and Brkti Weldeslassie stand alongside the raw "blues" "Inedir" by Adam Hamid and the beautiful talent of young Sara Teklesenbet. The album brings together different musical styles and rarely heard languages by eight ethnic groups, including Kunama, Nara, Bilen, Afar, Saho, Hedaareb, Tigre and Tigrigna. A rebirth of urban Eritrean music from the depths of the country's rich history.
CD $16


TOUBAB ALL STARS - Mekfoul District (Iris 3002014; EEC) "A world away from Paris tourist traps, Barbes is one of the city's less visited but most fascinating corners. It is an Arab and African enclave that provides a unique and rich color to Paris' cultural landscape. Both Chant du Monde artists Orchestre National de Barbes and the Toubab All Stars are based here, but their stylistic approaches could not be more different. Orchestre National de Barbes focuses on the music of North Africa for their source material, while the Toubab All Stars have blended the music of Jamaica and sub-Saharan Africa, brilliantly absorbing ska, dancehall and soukous styles in a thrilling, hard-to-resist formula."
CD $20

GILBERTO GIL - Banda Um (Iris 3001994; EEC) Gilberto Gil is a legend of Brazilian music and a cultural icon in his country. From 2003 to 2008, he has served as his country's Minister of Culture in the administration of President Luiz Inacio Lula da Silva. He started out as a bossa nova musician, eventually writing songs that reflected a new focus on political awareness and social activism. He was a key figure in the Musica Popular Brasileira and Tropicalismo movements of the 1960s, alongside artists such as long-time collaborator Caetano Veloso. The Brazilian military regime that took power in 1964 saw both Gil and Veloso as a threat, and the two were held for nine months in 1969 before they were told to leave the country. Gil moved to London, but returned to the Brazilian state of Bahia in 1972 and continued his musical career, as well as working as a politician and environmental advocate. Gil's musical style incorporates an eclectic range of influences, including rock, Brazilian genres including samba and forro, African music, and reggae. This Iris 'best-of ' collection includes some of Gil's most popular songs, most of which were recorded in the '80s.
CD $15


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