Start out July with FIREWORKS from..

Marc Ducret + LIM! Erik Friedlander! Anthony Brown's Asian-American Orchestra! Fripp/Jakszyk/Collins/Levin/Mastelotto King Crimson ProjeKct! Kenny Wheeler/John Taylor/Steve Swallow! Buell Neidlinger/Steve Lacy Quintet!

Mike Baggetta! Paul Van Kemenade & The Dutch All-Stars! 7K Oaks! Denny Zeitlin! Jeff Arnal 7"! The Scene is Now! Charlemagne Palestine!

Archival Recordings from Sandy Denny, Colosseum, the Edgar Broughton Band, the Far East Family Band and Einsturzende Neubauten!

Plus Even More Great Things!




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PLEASE NOTE - In-Store Holiday

DMG will be closed this coming Monday for the July 4th "holiday" [celebrating the irreversibility of Orwell's totalitarian wonderland of illusory indenpendence].

"But never mind that": We are having three in-store performances this weekend, one set on Saturday & two sets on Sunday. See the below listing.

We will be back open for business on Tuesday's regular hours (noon til 6pm).


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The DMG Free Weekly In-Store Performance Series Continues With:


Saturday, July 2nd at 6pm: Rare Saturday Duo Set The Wolves!
Featuring: DANIEL LEVIN on cello & Mystery Guest on Contrabass!


Sunday, July 3rd Double-Header:
6pm: BEN STAPP - Solo Tuba with Devices!
7pm: ERIKA DAGNINO - poetry/JEAN CARLA RODEA - voice/SARAH BERNSTEIN - violin!


Sunday, July 10th Double-Header -
6pm: Crepuscular Activity - YUKARI- Flutes & CARLO COSTA - Drums!
7pm: KYOKO KITAMURA & JEN BAKER - Voice & Trombone!


Sunday, July 17th at 6pm:
SIMON JERMYN / CHRISTOF KNOCHE / JOE HERTENSTEIN !
Electric Bass / Alto & Soprano Sax / Drums - New Collective Trio!


Sunday, July 24th at Double-Header:
6pm: RAS MOSHE & THE MUSIC NOW ENSEMBLE!
7pm: MICHAEL LYTLE & HANS BURGENER - Rare Bass Clarinet & Violin Duo!


Sunday, July 31st at 6pm:
JAMES FALZONE - Solo Clarinet!


Sunday, August 7th at 7pm (please note new time):
GL DIANA/BEN GERSTEIN/MIKE PRIDE! - New Laptop/Trombone/Drums Trio!


Sunday, August 14th at 6pm:
DAVID AARON - Solo Sax & World Premier of New Work!


Sunday, August 21st at 6pm:
THOMAS HEBERER - Solo Trumpet & 1/4 Tone Trumpet!


Sunday, August 28th at 6pm:
ANDREA PENSADO & ADRIANA DE LOS SANTOS - Argentinian Duo Performing:
Solos & Duos of Voice, Laptop, Amplified Ethnic Violin & Electronics!


Rare Tuesday Gig - Tuesday, August 30th:
6pm: MURAL with KIM MYHR / JIM DENLEY / INGAR ZACH!
Norwegian/Australian Tabletop Guitar/Extended Sax/Unusual Percussion Trio!


Sunday, September 4th at 6pm:
Music on the Edge (UK Duo with CD's on FMR) Featuring:
SUSIE HODDER-WILLIAMSS - Flute/Alto Flute/Bass Flute & CHRIS CALDWELL - Soprano Sax/C Clarinet/Bass Clarinet


Sunday, September 18th at 6pm:
BONNIE KANE & CHRIS WELCOME - Great Sax & Guitar Duo!


Sunday, September 25th at 6pm:
LOREN MAZZACANE CONNORS & Guests!


Sunday, October 2nd at 6pm:
MAX JOHNSON & KIRK KNUFFKE - New Acoustic Bass & Cornet Duo!


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CLEAN FEED FESTIVAL STARTS TONIGHT!!!

In just ten years, the Portuguese-based Clean Feed label has released more than 200 CD's! Chosen as label of the year in numerous polls in 2010, Clean Feed continues to release amazing CD's again & again! It is rare for labels to have such a high batting average but Clean Feed rules!

Starting tonight, July 1st through July 16th, Clean Feed will hold their annual festival in NYC at The Stone with 2 sets per night for six days a week, two weeks in a row! The line-up is just incredible, see the schedule below! Come on down & support live music - it's now or never!


The Stone is Located on the NW corner of Ave. C & 2nd St. on the Lower East Side


JULY 1-16
CLEAN FEED FESTIVAL CURATED BY PEDRO COSTA
Clean Feed was founded in 2001 to release Portuguese and foreign musicians in separate and cooperative projects. Clean Feed aims at recording innovative contemporary jazz projects that can make a difference, building a catalogue that will be internationally recognized by its quality and coherence.


7/1 Friday
8 pm - Soulstorm - Ivo Perelman (tenor sax) Daniel Levin (cello) #1 (double bass)
10 pm - Micha‘l Attias's Clinamen Orchestra: Eleven Aprils - Ralph Alessi (trumpet) Chris Dingman (vibraphone) Sean Conly (double bass) Tom Rainey (drums) Joachim Badenhorst (bass clarinet) Mark Taylor (french horn) Ben Gerstein (trombone) Russ Lossing (piano) John Hˇbert (bass) Satoshi Takeishi- drums


7/2 Saturday
8 pm - Joe McPhee, Ken Filiano and Lou Grassi - Joe McPhee (alto and soprano sax) Ken Filiano (bass) Lou Grassi (drums)
10 pm - John Hebert's Sounds of Love-The Music of Charles Mingus - Tim Berne (alto sax) Taylor Ho Bynum (trumpet) Fred Hersch (piano) John Hebert (bass) Ches Smith (drums) The legendary Fred Hersch joins this all star ensemble for an evening paying tribute to one of Jazz's greatest composers!


7/3 Sunday
8 pm - Luis Lopes Humanization Quartet - Luis Lopes (guitar) Rodrigo Amado (tenor sax) Aaron Gonzalez (double bass) Stefan Gonzalez (drums)
10 pm - Kirk Knuffke / Stephen Gauci / #1 / Kenny Wollesen - Kirk Knuffke (trumpet) Stephen Gauci (tenor sax) #1 (bass) Kenny Wollesen (drums)


CLOSED FOR THE FOURTH OF JULY - HAPPY INDEPENDENCE DAY!


7/5 Tuesday
8 pm - Lossing / Belogenis / Wollesen - Russ Lossing (piano) Louie Belogenis (tenor and soprano sax) Kenny Wollesen (drums)
10 pm - Angelica Sanchez/Wadada Leo Smith Duo - Angelica Sanchez (piano) Wadada Leo Smith (trumpet)


7/6 Wednesday
8 pm - Billy Fox's Blackbirds and Bullets - Billy Fox (director, composer, percussion) Gary Pickard (alto and soprano sax) Miki Hirose (trumpet) Matt Parker (tenor sax) Julianne Carney (violin) Evan Mazunik (keyboard) James Ilgenfritz (bass) Arei Sekiguchi (drums)
10 pm - Harris Eisenstadt and September Trio - Harris Eisenstadt (drums) Ellery Eskelin (tenor sax) Angelica Sanchez (piano)


7/7 Thursday
8 pm - Brandon Ross Solo (guitar)
10 pm - Elliott Sharp (guitar) & Mary Halvorson (guitar)


7/8 Friday
8 pm - Red Rain Trio - Joe Hertenstein (drums) Masabumi Kikuchi (piano) Pascal Niggenkemper (bass)
10 pm - Ken Vandermark, Steve Swell, Sean Conly and Chad Taylor - Ken Vandermark (sax) Steve Swell (trombone) Sean Conly (bass) Chad Taylor (drums)


7/9 Saturday
8 pm - Fight the Big Bull - Bob Miller (trumpet) Reggie Pace, Bryan Hooten (trombone) Jason Scott (clarinet, sax) John Lilley (sax) Matthew White (guitar) Cameron Ralston (bass) Pinson Chanselle (drums)
10 pm - Ken Vandermark & Chad Taylor Duo - Ken Vandermark (sax) Chad Taylor (drums)


7/10 Sunday
8 pm- Lawnmower- Jim Hobbs (alto sax) Steve Fell (guitar) Pete Fitzpatrick (guitar) Luther Gray (drums)
10 pm - Cylinder - Darren Johnston (trumpet) Aram Shelton (alto sax) Lisa Mezzacappa (double bass) Kjell Nordeson (drums)


Admission for each set is $10, Unless otherwise indicated
Performances take place at 8 & 10 PM [separate admission for each set] From Tuesday - Sunday nights.
There are no advance tickets, first come, first served, there is no phone
There is no food or beverage served or allowed, just a serious listening environment. Check out the website for The Stone at thestonenyc.com


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Light your string of firecrackers with..


LIM [HENRIK FRISK/DAVID CARLSSON/PETER NILSSON] + MARC DUCRET - With Marc Ducret (Kopasetic 034; EEC) Lim is Henrik Frisk on saxes, David Carlsson on electric bass and Peter Nilsson on drums; for this record they are a quartet with special guest Marc Ducret on guitar. The Lim trio are from southern Sweden and have been together for more than a decade. They worked with French guitar great Marc Ducret at a festival in 2006, some of which was released on a Kopasetic label festival v.a. This is their second collaboration on record, and first full album. Although Marc Ducret is one of the most creative guitarists in Europe, his recordings are few and far between. Perhaps one a year or so and most of them sadly go out of print pretty quickly.
Saxist Henrik Frisk wrote all six of the songs here and has done a swell job of providing challenging changes to work with. "How Yellow Can This Be?" is a deceptively laid back piece with the sax and guitar playing long written lines which unfold organically while the rhythm team sways tightly underneath. Mr. Ducret takes the first of numerous sly and crafty guitar solos, each well worthy of thoughtful consideration. Mr. Frisk has a distinctive way of writing slightly skewered harmonies for the sax & guitar to play together complementing each other in their own bent way. In some ways, this is inspired jazz/rock at its best but not really fusion since it never deals with speed or any of the usual fusion cliches. Henrik Frisk is also a fine tenor saxist as each of his solos proves, a perfect foil for Mr. Ducret. The rhythm team is also consistently creative and supportive. You should recognize the name of their great drummer, Peter Nilsson, brother to Anders Nilsson, since both have worked together in the past. A truly great disc that never hits you over the head but slides into your consciousness in mysterious ways. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16


ERIK FRIEDLANDER - Bonebridge (Skipstone 10; USA) Featuring Erik Friedlander on cello, Doug Wamble on guitar, Trveor Dunn on bass and Mike Sarin on drums. Wonder-cellist Erik Friedlander continues to surprise us with yet another new project. You should recall that Erik has worked with bass great Trevor Dunn (Mr. Bungle, etc.) in Zorn bands like Bar Kokhba and that drum wiz Mike Sarin (Thomas Chapin Trio, etc.) worked with Erik in Dave Douglas' String Group. But Doug Wamble? Guitarist/singer/songwriter Mr. Wamble is successful jazz musician and singer who has collaborated with Wynton & Branford Marsalis, Cassandra Wilson and Steve Bernstein's MTO. An odd line-up?!?
What is interesting is this - Erik Friedlander continues that earthy/roots vibe that he started on 'Block Ice & Propane' which was a solo cello disc with a theme about the summer vacations that Erik's family used to take across the US. The music is laid-back and consistently charming. Mr. Wamble bluesy slide and semi-acoustic guitar enhance Erik's equally eloquent cello plucking. Each song features a savory melody that is guaranteed to make you feel better and smile. Mr. Wamble takes a number of superb, sublime guitar solos as does Friedlander whose pizzicato playing is most distinctive and often stunning. I am not so sure what the title 'Bonebridge' refers to but I am sure that this disc is one of the most enchanting discs of the year. Fans of Bill Frisell's later Americana offerings should find this to be a similar treasure. - Bruce Lee Gallanter, Downtown Music Gallery
CD $12


ANTHONY BROWN'S ASIAN AMERICAN ORCHESTRA - India & Africa: A Tribute To John Coltrane - Live @ Yoshi's (WaterBaby 1110; USA) This disc was recorded live at Yoshi's in San Francisco (9/23/09) and at Yoshi's in Oakland (4/21/10) and it features a sixteen piece Asian/African/American Orchestra. This is Bay Area drummer, bandleader and composer Anthony Brown's sixth disc as a leader of the Asian American Orchestra. This is a 16-piece orchestra with both jazz and exotic instrumentation like sheng (Chinese mouth organ), shakuhachi, tambura, sarod and tablas. The only musician besides Mr. Brown with whom I am previously familiar is Kenneth Nash on assorted percussion. This disc is broken into two suites, "India: Diaspora" and "Suite: Africa". The main themes were written by John Coltrane (like "India", "Ole" & "Dahomey Dance", but have been adapted and elongated. Starting with "Living Space", a later Coltrane piece released posthumously, which features sarod, shakuhachi and tablas at the center. Mr. Brown always finds a way to bridge the gap between cultures and time frames, hence the music evolves organically. Coltrane's classic song, "India" has always been a favorite if mine so when they move into it early in the first suite, the vibe is most majestic and exotic. The sarod of Steve Oda and the soprano sax of Masaru Koga both truly stand out. Each piece segways perfectly into the next section. There is an amazing sarod (North India lute) and tabla duet which continues the spirit that id flowing throughout the suite. The second suite, "Africa", begins with a great percussion & vocal solo from Ken Nash which is a righteous intro to this ambitious work. Pianist Glen Pearson sounds marvelous on "Liberia" without resorting to playing like Trane's trusty pianist McCoy Tyner. John Coltrane was always searching for something within his music and the spiritual quality of what he sought seems to be the inspiration for what Anthony Brown evokes here. The second suite and this disc concludes with a festive version of Latin-percussionist Mongo Santamaria's "Afro Blue", another example of combining cultures into a superb blend. Anthony Brown mentioned that he is working on bringing this exciting project to New York. Let's hope he does. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15

ANTHONY BROWN'S ASIAN AMERICAN ORCHESTRA + STEVE LACY/DAVID MURRAY - Ten (WaterBaby 1110; USA) Ten celebrates the culmination of a decade of music making by the Asian American Orchestra and showcases the musical breadth of the Orchestra's repertoire, from original works by Anthony Brown to the Orchestra's internationally acclaimed reinterpretations of classics by Duke Ellington, Billy Strayhorn, Thelonious Monk, George Gershwin and Charles Mingus. This is an excellent introduction to the wonderful world of Anthony Brown and the Asian American Orchestra. This contains fifteen fabulous selections from their first five releases and each of which is a precious audio jewel. Also included is newly recorded material from Brown's original theatrical score for ACT/Philip Gotanda's play "After the War.
CD $15


7K OAKS [MASSIMO PUPILLO/ALFRED 23 HARTH/FABRIZIO SPERA/LUCA VENITUCCI] - Entelechy (Die Schachtel ZEIT13; Italy) This is the second full-length album by the experimental/free-jazz quartet 7k Oaks, live-recorded in concert at the InterAct Festival in Hasselt. This new release is at the same time a confirmation of their musical background as well as an exploration of new territories: about an hour of full-blast energy, with a variety of directions ranging from walls of electro-acoustic noise to free-jazz bursts, hypnotic rhythmic patterns and lyrical melodic themes. It is the entelechy of an acorn to be an oak tree: the music flows naturally through the tracks of the disc, thanks to the mastery of these outstanding performers, able to drive the listener amongst the unexpected twists of their music in order to appreciate every pleat of their timbre. In short, Entelechy has it all: Alfred 23 Harth's (Cassiber, Otomo Yoshihide New Jazz Quintet) blistering tenor squall, Fabrizio Spera's (Ossatura, Blast) limitless percussion, Luca Venitucci's (Zeitkratzer, Ossatura) ceaselessly inventive keys and Massimo Pupillo's (Zu, Original Silence) masterful bass creates, unquestionably, a masterpiece.
CD $17


JAKKO JAKSZYK/MEL COLLINS/ROBERT FRIPP With TONY LEVIN/GAVIN HARRISON [A KING CRIMSON PROJEKCT] - A Scarcity Of Miracles [CD + DVD/DVD-A] (DGM/Inner Knot KCSP 21; USA) When Robert Fripp & Jakko Jakszyk got together in February 2009 neither expected that their initial sessions of guitar-only improvisations would result in a full-blown album, or that it would ultimately be deemed to be a King Crimson projeKct. As the material from those first sessions developed it was obviously becoming much wider in scope and scale. The arrival of sax player & former King Crimson member, Mel Collins, added further colour & texture to the emerging songs. The line-up was completed with the addition of bassist Tony Levin and Porcupine Tree's drummer, Gavin Harrison (both members of the 2008 incarnation of King Crimson) adding their parts to the material in their respective studios. What had begun as an exchange of ideas had now grown into an album of heartfelt songs, an album that is immediately accessible on first hearing but reveals fresh detail & depth with each subsequent play, as one might expect from musicians of this calibre.
Packaged in a double digipack in slipcase - Exclusive DVD-A material: Full Album DVD-A in both Lossless Surround Sound and DTS 5.1 Surround Sound with 24/96 Hi-Resolution Stereo
Bonus Material: Alternate mixes of 5 album tracks in Hi-Resolution Stereo; Video of album title track; 2 Jakszyk/Fripp improvs
"In some ways, a Crimson foray for those who'd like to return to the earliest period - the first four albums 69-71 - Jakko reminds one of Boz or Haskell in places (but better!); almost like an Islands or Lizard record for 2011, even though it's a completely different, contemporary work. But HIGHLY RECOMMENDED to all, and not just ALL [era] Crimson fans! Planetary THUMBS UP!" - MannyLunch
CD + DVD-A set for $23

"A Scarcity Of Miracles" is also available - right now - from us as
a single CD for $16, or an LP for $30



CIMPfest [V.A. With MICHAEL BISIO/WILLIAM GAGLIARDI/STEPHEN GAUCI/JIMMY HALPERIN-DOMINIC DUVAL/JOHN O'GALLAGHER/AVRAM FEFER et al] - Live In Villach 2009 [5 CD set] (CIMP OL 5020-24; USA) Completely live and featuring Avram Fefer (alto + tenor saxophones), Bill Gagliardi (tenor saxophone), David Hofstra (bass), Dominic Duval (bass), Jay Rosen (drums), John Carlson (trumpet), John O'Gallagher (alto saxophone), Ken Filiano (bass), Ken Wessel (guitar), Lou Grassi (drums), Michael Bisio (bass), Stephen Gauci (tenor + alto saxophone) participating in the following lineups:
DISC 1: Michael Bisio Quartet
DISC 2: William Gagliardi Quintet
DISC 3: Stephen Gauci Quartet
DISC 4: Jimmy Halperin & Dominic Duval Duo / John O'Gallagher Trio
DISC 5: Avram Fefer Quartet / CIMP Orchestra
5 CD set for $55



It is extremely rare to see a review in Downbeat Magazine (longtime jazz bible) receive 5 stars. Even rarer when the disc in question is by a musician who few of in the US have actually heard of. This is the case with Dutch altosaxist Paul Van Kemenade, whose recordings stretch back to 1979 and whose quintet was formed in 1982. We've just received three fabulous discs from Mr. Kemenade and we are eager to check out his entire catalogue. Special thanks to our pal Eric Superfry for putting us in contact with Mr. Kemenade. More to come! - BLG

RAY ANDERSON/HAN BENNINK/FRANK MOBUS/ERNST GLERUM/PAUL VAN KEMENADE - Who Is In Charge? (Kemo 10; EEC) [studio album] This multinational quintet clearly love each other's musicial company; the smiles on their faces said it all - Anderson couldn't help grinning all the way through, Glerum beamed as the band settled in, and Bennink's irrepressible laughter and whoops were just part of his rich repertoire.
The accomplished Dutch alto and rhythm section, with Anderson, a Chicagoan via New York, and Berliner Mobus have been touring twice yearly, airing their compositions since 2007. This ensemble has a natural ability to vary the pace, and swing from one gear to another in the blink of an eye. Anderson's understated masterclass on slide trombone was an exposition of its full range and tonal richness - acknowledging, in this context, JJ Johnson's and Mangelsldorff's small groups - counterpoised perfectly by Van Kemenade's alto, batting licks mixed with precise duets, and pushing out growls straight from the Mingus canon. Bennink, wicked as ever, cooked up a rich stew of light clatterings, all manner of brushwork and sharp attacks - astonishingly, on a single snare drum - as well as assaults on the structural column holding up the Vortex performance space! Glerum's practiced bass often set the tone, blending with Mobus's carefully placed chordwork.
They wheeled off at a tight, high-spirited pace with 'Who is in charge?', written two weeks previously. A Mobus composition, 'Petshop', followed, which started wistfully but, before you knew it, Bennink's foot was on his snare to modulate the crisp sound and the brass offered a looser, free approach, with Anderson then picking up his mute to find more internal and subdued pitches. At one point the bass was set against mellow guitar samples sounding like a record being played backwards and Bennink scraped his snare with the brushes to grind out a raw backdrop. Glerum's 'Silver Nickel', a homage to pianists Horace and Herbie, was introduced with banter about nickels, quarters and dimes, and kicked off with a bluesy bass line which then turned on a funky backbeat. The brass welled up with real force to convincingly suggest that a full big band had taken to the stage.. - concert review, LondonJazz
CD $17

NETHERLANDS METROPOLE ORCHESTRA With PAUL VAN KEMENADE - Freeze! (TMD; EEC) 2001 recording, Metropole conducted by Vince Mendoza; all compositions by Van Kemenade.
[just in - review next week]
CD $17

PAUL VAN KEMENADE With RAY ANDERSON/HAN BENNINK/FRANK MOBUS/ERNST GLERUM/ERNST REIJSEGER et al - Close Enough (Kemo 09; EEC) Ever heard a jazz CD open with Gregorian chant? A composition involving a Renaissance vocal ensemble, flamenco guitar, Senegalese percussion and jazz quartet also has to be a first.
Further listening reveals rich variety and surprising homogeneity, driven with deep conviction from the leader, already confirming this as one of my albums of the year. Dutch saxophonist Paul van Kemenade's expressive alto and bluesy feel betray a likely debt to David Sanborn and Maceo Parker but might also have been distilled from Bunky Green, Johnny Hodges or Amsterdam-based saxophonist Michael Moore.
Clawing for precedents ends there, since this is a unique record. Contexts are ingenious, from three horns plus bass, to duo with cello, to big-shot quintet with Ray Anderson, Ernst Glerum and Han Bennink. The latter plays snare with brushes, contributing to an overall chamber-like vibe. Collaborations with Angelo Verploegen and Louk Boudesteijn suggest a regular band given the perfect tonal overlay, bassist Wiro Mahieu as a fine counterweight. The leader's Close Enough and It Is Never Too Late whiff of rhapsodic ballads and detour into peculiar polyphonic places, the former fragmenting into spacious abstraction. His alto darts and dives luxuriously, a rainbow feathered bird of paradise riding to the stratosphere. Speaking of birds, Cuckoo with Ernst Reijseger plucking and strumming cello and guffawing like a tipsy woodchopper, is brilliant and hilarious. Despite the alto's distinct pump in the mix, there is a great sensitivity to dynamics and a lovely hover betwixt classical, composition and improv. - FIVE STARS! Michael Jackson, Downbeat
CD $17



Four new releases from Hat!

RAY ANDERSON/HAN BENNINK/CHRISTY DORAN - Open House: Tracks from Azurety and Cheer Up (Hat ology 695; Switzerland) [abridged compilation of Hat Art #s 6155 & 6175] Listening to Anderson's four compositions, Doran's piece, four free improvisations, and an Ellington tune, from the two sessions strike me as collages of a sort, bringing together very different aesthetics, directions, and mate- rials, for a direct confrontation. Not a confrontational confrontation, mind you. A very amenable comparing, con- trasting, and combining of sensibilities, the very thing that makes creative music tick. - John Corbett
CD $19

ELLERY ESKELIN/ANDREA PARKINS/JIM BLACK - One Great Day... (Hat ology 691; Switzerland) [reissue of hat ology 502] In some ways I think that a recording is the best medium for this music. I can think of a lot of music that speaks better on a recording than it does in a club where the environment and the audience's expectations exert an effect on the music. With this recording we've found a mix between the two. Writing music for this band has been a real breakthrough for me. Andrea and Jim have ears for anything I put in front of them. It's a great feeling to have a band that can realize your ideas and offer its own surprises along the way. - Ellery Eskelin
CD $19

MORTON FELDMAN/SAMUEL BECKETT - Neither (Hat [now] 180; Switzerland) [reissue of Hat Now 101] Neither has been identified by some as an opera (it was commissioned by the Rome Opera) but it makes use of none of the conventions of traditional opera. There is no story, no mise-en-scene. The intensity results from emotional/aesthetic tension, not plot manipulation or character confrontation. The music does not attempt to accompany or depict the text in the usual fashion; instead Feldman has created a kind of musical equivalent to the environment that Beckett's words suggest, invoking the same atmosphere and sharing a similar vision. - Art Lange
CD $19

ARNOLD SCHOENBERG/PI-HSIEN CHEN - Works for Piano For Two Hands (Hat [now] 184; Switzerland) [reissue of Hat now 125] It may seem daring to compare Schonberg's piano works in their significance with Beethoven's. Compared with the immense number of 32 piano sonatas there are just six opera of Schonberg's which what is more, often are hardly longer than a few minutes. And still the compositional evolution of this great innovator of the music of our century is mirrored within these little piano pieces which, within the oeuvre of Schonberg, play a similarly important role as Beethoven's great sonatas ... - Reinhard Kager
CD $19


KENNY WHEELER With JOHN TAYLOR/STEVE SWALLOW - One Of Many (CAM 5042; USA) Featuring Kenny Wheeler on flugelhorn, John Taylor on piano and Steve Swallow on electric bass. As they showed last month at London's Pizza Express Jazz Club, London, in the company of the excellent young American saxist Jon Irabagon, the long-standing partnership of composer and flugelhornist Kenny Wheeler and pianist John Taylor still flourishes, despite the brassman's 81 years. This is a 2006 session for Wheeler and Taylor, plus that most elegantly musical of bass guitarists, Steve Swallow, playing 10 fresh Wheeler originals that display his familiar yet constantly retempered mix of casually-cantering swingers, camouflaged Latin dances and phlegmatic bruised ballads. Wheeler's lower-range long notes are tremulous but expressive, and his shapely double-time playing, afterthought-like resolving notes and trademark plaintive squeal still add up to an inimitable improvising style that explores an equally unique compositional vision. Wheeler sounds serenely poised amid Swallow's bouncy bass-walk and Taylor's copious and beautifully struck variations on Any How, pianist and bassist make a captivating duo exchange out of the lively Ever After, and the typically sighing slow themes of Now and Now Again and Old Ballad feature plangent Wheeler variations bathed in the brighter light of his clean upper-range phrasing. Its lyrical, low-key jazz chamber music, but much more evocative than its casual delivery might suggest. - John Fordham, The Guardian
CD $15


MIKE BAGGETTA With JASON RIGBY/EIVIND OPSVIK/GEORGE SCHULLER - Source Material (Fresh Sound NT 388; EEC) 2nd Baggetta quartet album on FS, featuring Mike Baggetta on guitar & compositions, Jason Rigby on saxes, Eivind Opsvik on bass and George Schuller on drums. Like most of the other Downtown & post-modern guitarists, Mike Baggetta never seems bound by the usual formulas that define the different projects he is involved in. Each of Mike's previous discs are radically different, whether playing solo guitar, guitar/trumpet duo (Tin/Bag) or this, his second quartet disc. Each of the other three members of his current quartet should be familiar to you, since each can be found on a variety of discs and all three have discs out as a leader.
The first song is called "Tonic" and it has a slow, simmering laid-back vibe. Both solos from Mike on guitar and Jason on tenor are exquisite. There is an overall dreamy quality to this disc which reminds me of "In a Silent Way" by Miles Davis for the first few songs. By the time the quartet get to "Momentum", they take off for some great, slow-burning fusion-like explorations. Mike switches to solo acoustic guitar on "The Winter Moon", which is a most haunting piece with elegant guitar-work. The writing and playing is consistently strong and inspired throughout. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15


TIN/BAG [KRIS TINER/MIKE BAGGETTA] - Bridges (Mabnotes 02; USA) Tin/Bag features Kris Tiner on trumpet and Mike Baggetta on guitar. This is the third disc from Tin/Bag and I must admit that it sounds a bit like Mike Baggetta's other new disc with his jazz quartet on Fresh Sound. One similarity is that this disc starts off with mellow, introspective playing from the duo. Kris' tone on trumpet is most sublime and somber. All of the songs but one were written by Kris or Mike with just one cover, "Just Like a Woman" by Bob Dylan. Their version of the old Dylan song is done with taste and elegance. It sounds much like the rest of the songs on this disc except that we can recognize the melody. The entire disc is quite sad and lovely and mellow. All ballads? Pretty close. - BLG
CD $12


DENNY ZEITLIN - Labyrinth: Live Solo Piano (Sunnyside 1283; USA) "While I've enjoyed the excitement involved in walking out on a stage to a huge audience, I have also cherished the unique intimacy created in smaller settings, such as a room in someone's home, filled with less than 100 people. And if those people are willing to reach out and meet the music half way, then boundaries between player, instrument, room, and audience can easily dissolve, and some very deep, rich music may occur. Ernie Shelton's House Concerts provided this atmosphere, and I believe something special emerged. Solo piano performance takes me back to my earliest roots, and allows for perhaps the most intensely personal musical statement. I hope to be fully present, open, and able to ""stay out of the way"" of the music as it draws on the worlds of jazz, classical and avant-garde." - Denny Zeitlin
CD $16


SILVER ASH [JEFF ARNAL/AARON DUGAN/CASEY BLOCK] - Silver Ash [7" single] (Generate 17; USA) Featuring Aaron Dugan on guitar, Casey Block on electronics and Jeff Arnal on drums. We haven't heard much from Downtown drummer Jeff Arnal recently so when he dropped off this single, I was pleased to hear what he is up to. Both Aaron Dugan and Casey Block's names sound vaguely familiar to me but I couldn't say from where. It turns out that Aaron does have a duo disc out with Mr. Arnal. On "Deathless" Jeff plays brushes while the electric guitar and electronics throb around him. The guitar (?) sounds like a siren wailing in the distance which works well with the eerie electronic fragments. The flipside is called "Life-Boat" and it is difficult to tell the guitar and electronics apart as both are creating ominous sounds simultaneously. Jeff again nails down a groove while the other two members let loose odd fractured sounds. It sounds rather ritualistic or like some of those strange British no wave bands from the late seventies. Occasionally disturbing and/or mesmerizing. Silver Ash will be playing here at DMG sometime in the near future as soon as we get the date straight. - Bruce Lee Gallanter, Downtown Music Gallery
7" vinyl single for $7


THE SCENE IS NOW - Magpie Alarm (Tongue Master 08; UK) Admirers of Red Krayola, The Residents or Pere Ubu and anything to do with avant-garde rock will be happy to see the legendary New York band The Scene Is Now releasing another album. Formed in the early 1980s and caught between the fascinating New York City scenes of no wave and new wave, The Scene Is Now have retained an interesting but secretive aura by releasing few but excellent albums since that period. Originally from Minneapolis, the band nucleus Phil Dray and Chris Nelson were submerged in this New York scene as Dadaist Marxist art-terrorists The Information together with co-founder drummer Jim Sclavunos (Teenage Jesus & The Jerks, Nick Cave & The Bad Seeds and Grinderman). By the mid-'80s, the Minneapolis gang had evolved into a NYC boho outfit called The Scene Is Now. Phil Dray & Chris Nelson always remained as the core with the band having a fluid membership of excellent and sharp musicians in their past such as Tony Maimone (Pere Ubu), Will Rigby (The Db's), Elliot Sharp and Sue Garner, to name a few. The Scene Is Now breeze through difficult genres and create diligent music which is in stark contrast to the commercial new wave and underground bands of their day. Phil Dray is an accomplished author in his own right on the side and together with fellow wordsmith Chris Nelson they create a beautiful awkwardness -- knotty tunes dressed with sharp intellect. Chris Nelson's booming and crackly voice is the perfect topping to their exotic slices. Australian label Lexicon Devil reissued the legendary BarNone albums from the past Burn All Your Records ((LEXDEV 024CD), Total Jive (LEXDEV 025CD) and Tonight We Ride (LEXDEV 026CD) and it is the perfect time to continue with new release Magpie Alarm. The four members that currently comprise the rest of the band are: Greg Peterson (guitar and vocals), Steve Levi (cornet), Ryan Walsh (bass) and Chery Kingan (baritone sax). Tight arrangements and wordy meanderings are still in abundance, making Magpie Alarm another gem from New York's original downtown artists.
CD $15


WOZZECK [ILYA BELORUKOV/MIKHAIL ERSHOV] - Act III: Comics (Intonema 01; Russia) "This Russian ensemble creates music with large selections sounding like early downtown New York (if you dig Zorn's early game pieces such as Pool or Hockey, then you will be happy with this cd as well). With a line up of Ilia Belgrukov on alto and baritone saxophones, Mikhail Ershov on bass with guests; Dmitriy Vedyashkin on electric guitar, Dmitriy Krotevich on trombone, Mikhail Tsypin on voice, Maria Grigoreyeva on violin, Arturus Bumsteinas on violin, synths, looper, laptop, Piotr Kurek on clarinet, synth, electric organ, laptop; there is a possibility to get messy with all those instruments. Yet, Wozzeck balances a fine line between chaos and composition. Perhaps unknowingly expanding upon Skin Graft's early seven-inch releases combining comic books and music (of which my favorite was the UFO Or Die release, but that is another story), Intonema continues this juxtaposition, which has me reading the comics as a graphic score. A very interesting recording from a group I hope to hear more from. Thirty three minutes of sonic pleasure. Recommended!" - Chuck Bettis/DMG
CD $12


BRIAN SETTLES CENTRAL UNION - Secret Handshake (Engine 39; USA) Featuring Brian Settles on tenor & soprano sax & compositions, Neil Podgurski on piano, Corcoran Holt on bass, Jean Marie Collatin-Faye on percussion and Jeremy Carlstedt on drums. Brian Settles is a DC-based saxist who has recorded with Tom Abbs (for CIMP & ESP) and Tomas Fujiwara (482 Music). I caught Mr. Fujiwara's band the Hook Up at the recent Vision Fest (June of 2011) and was especially knocked out by the tenor sax of Mr. Settles. This is Brian's debut disc as a leader and he remains a most talented saxist & composer. Starting with "Bison", the repeating rhythmic theme on cowbell (?) is odd yet most effective. Settles has a swell, dark Trane-like tone with elegant, engaging piano bubbling underneath. Considering that the only other musician that I was previously familiar is drummer Jeremy Carlstedt, I am equally impressed with their great pianist - Neil Podgurski. I like the way Brian writes mostly simple patterns for the rhythm team to play while the sax and piano takes off, criss-cross and take a number of spirited solos. It sounds as if Brian & Neil have been playing together for a long while since they seem to anticipate each other's moves and interactions. Settles does a bit of screaming sax on "Zui Quan" yet never overdoes it. The title track features a powerful tenor and drum duo that bristles with intensity. Brian switches to soprano for "Anti War March" which has some of that great "Catfood"-like all-over-the-place piano (Keith Tippett sitting in with King Crimson) and quirky march rhythm. Each piece provides a different challenge or scheme for the band-members so we are in for a number of surprises. It should be no secret that 'Secret Handshake' is one of the best debuts discs I've heard in a long while. Both Brian Settles and Neil Podgurski are master musicians that we will hopefully be hearing from again sometime soon. - Bruce Lee Gallanter, Downtown Music Gallery
CD $13


STEFAN ZENIUK'S GATO LOCO With CLIFTON HYDE et al - Gato Loco (W&W 175; Germany) 2nd album. Stefan Zeniuk [saxophone, composer, leader], Jesse Selengut, Jackie Coleman [trumpet], Kevin Moehringer, Ric Becker [trombone], Joe Exley [tuba], Clifton Hyde [guitar, french horn], Ari Folman-Cohen [bass], Kevin Garcia [drums, vibraphone], Greg Stare [congas],Rich Stein [percussion, timpani]
When I heard that this local mid-sized ensemble has signed to the the often serious & successful Winter & Winter label, I was quite surprised. Out of the hundreds of bands that emerge from the vast Downtown network, I wouldn't have picked them first. Gato Loco did play here at DMG a few years back and I did find them charming, much better that I expected. I did know a few of their members previously: Clifton Hyde is a fine guitarist & singer who played one of the most memorable & ridiculous solos sets here ever. Their leader saxist Stefan Zeniuk used to manage & book gigs at Bowery Poetry Club down the block from our old store on the Bowery. This disc was recorded at two locations in France in July of 2010. This sounds like a live gig recorded outdoors with a festive audience in attendance. The instrumentation features 6 horns, guitar, bass and three percussionists. The music has an infectious vibe and a great groove with tasty, layered horn parts. Don't be fooled. Although it sounds like a party record at times, the arrangements and horn solos are consistently inspired. The line between fun and craftiness is blurred here. Every time that Clifton Hyde played at DMG he surprised me with an assortment different projects. He is a gifted guitarist, amongst his other talents. He pulls off a number of short yet exciting slide solos throughout this disc. The audience certainly sounds like they are enjoying themselves here and no doubt you will as well since their positive spirit is quite infectious. - Bruce Lee Gallanter, Downtown Music Gallery
CD $17


ADOLF WOLFLI//BAUDOUIN DE JAER - The Heavenly Ladder: Analysis Of The Musical Cryptograms [CD + Book] (Sub Rosa 312; Belgium) Belgian composer Baudouin de Jaer was completely moved by the artistic and human dimensions of the mystery surrounding the gigantic and universal body of work created by Adolf Wolfli within the Waldau hospital in the early 20th century. He managed what none other had accomplished before: to decode Wolfli's hermetic and emblematic scores. Adolf Wolfli (Bern, February 29, 1864 - Waldau, November 6, 1930) was a Swiss artist who was one of the first artists to be associated with the Art Brut or outsider art label. Wolfli was abused both physically and sexually as a child, and was orphaned at the age of 10. Institutionalized in 1895 at Waldau psychiatric asylum near Bern (Switzerland) where he spent the rest of his adult life, he suffered from psychosis, which led to intense hallucinations. Wolfli started drawing in 1899, but no work prior to 1904 has been preserved. In 1908, Wolfli started developing what would become a potentially endless narrative stretched across 25,000 pages interrupted only by Wolfli's death in 1930. His images also incorporated an idiosyncratic musical notation. This notation seemed to start as a purely decorative affair but later developed into real composition which Wolfli would play on a paper trumpet. After his death, the Adolf Wolfli Foundation was formed to preserve his art for future generations. Today its collection is on display at the Museum of Fine Arts in Bern and can be seen in many museums in the world. Baudouin de Jaer's approach gives a new dimension to this unique artist. Interpretation/composition from Wolfli's works and violin: Baudouin de Jaer. Contains only previously-unreleased material. All tracks exclusively recorded for this project. Includes a full-color 52-page book in French and English. Book size: 136 x 187 x 10 mm (5.35 x 7.36 x 0.40 inches).
CD + Book for $30

CHARLEMAGNE PALESTINE & JOACHIM MONTESSUIS - Voxorgachitectronumputer (Sub Rosa 326; Belgium) Charlemagne Palestine: (voice/organs), X Joachim Montessuis: (voice/computer). After two massive works, From Etudes To Cataclysms (SR 272CD) - for the Doppio Borgato and Strumming Music (SR 297CD) for piano, harpsichord and strings ensemble, Charlemagne's work is now rooted in Sub Rosa for good. But next to his solo records, the label wants to continue to publish collaborative works: they started with An Aural Symbiotic Mystery (SR 204CD) featuring Tony Conrad. This time, Joachim Montessuis is the special guest on another magical night with Mr. Palestine. Charlemagne Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as a soloist, but he enjoys new experiences, too. His earliest works were compositions for carillon and electronic drones, and he is best-known for his intensely-performed piano works. Since his birth in 1972, Joachim Montessuis has lived in 15 different cities, including Bordeaux, Strasbourg, Marrakech, Abidjan, Besancon, Rotterdam and Cologne. He is currently based in Paris. He is interested in the links between art, sound, science and spirituality. Since 1993, he has been developing a transversal sonic poetry praxis focused on experimental voice processing and immersive concert installations. His noise and video events are devised as panic-poetic spaces in which sensorial disturbance and blurring occur, starting from silence to a wall of sound. His current work is oriented towards a reflection process on the observation and perception of reality through a non-dual approach. This collaborative live performance occurred at Eglise Du Gesu, Toulouse, France June 29, 2007.
CD $16

DUB TAYLOR - Lumiere (Sub Rosa 327; Belgium) This real masterpiece of concrete and synthesized music hasn't been available since its original manufacture in 1973, originally released by Varese International Records. Dub Taylor is a U.S. composer, producer, engineer and designer born June 22, 1948 in Burbank, California. He has many creative facets: recording and mastering engineer, record producer as well as composer, graphic designer and visual artist. He has studied with pianist Richard Bunger and composer Karlheinz Stockhausen. Not long after the release of Lumiere, Taylor established Vargod Studios for electronic music and recorded sound, where in 1974 he created his second work, Variations On The "Dudley Do-Right" Theme for sampled and processed sound (never released before, this exclusive track is included on the CD version). Taylor has bounced between the music world and the visual arts for most of his life and continues to pursue diverse creative projects. "Lumiere evolved over a period of three years from 1969 to 1972. I started by recording random sounds: jets taking off at LAX, my girlfriend laughing and screaming, my cat Bartok biting a microphone, conversations, etc. I also sampled music, film soundtracks and TV and radio broadcasts. During this period I acquired the first self-contained portable synthesizer, the newly-designed ARP 2600. I began to envision an electronic and musique concrete piece combining various natural and processed sound recordings with synthesized sound into a suite of noise. In June of 1972, I did a preliminary version of elements of the piece. By October I was ready to put it all together. I set up all these reel-to-reel machines with tapes I had pre-recorded and plugged them into a mixing board, feeding stereo to a two-track master 15 IPS Revox A77 tape deck. My idea was to create a sound collage with form but without losing spontaneity and an element of randomness. So I rehearsed my fade-ins and fade-outs and the starting and stopping of the various playback decks and when I was ready I went for it, "playing" all these machines like a musical instrument in this mad moment of creation. In effect, Lumiere was a "live" performance. The only later additions were the silence gaps inserted near the end of the piece using pieces of blank leader tape." --Dub Taylor
CD $16


OLIVIA WYATT - Staring Into The Sun [DVD + BOOK + CD] (Sublime Freq 065; USA) Staring Into The Sun is the latest ethno-folk cinema classic from Sublime Frequencies. Ethiopia is known to be one of the oldest areas inhabited by humans and presently has over 80 diverse ethnic groups. In 2009, photographer/filmmaker Olivia Wyatt explored 13 different tribes throughout Ethiopia in this visually stunning film on DVD with accompanying 136-page book of Polaroid photographs and audio CD of field recordings. Traveling from the northern highlands to the lower Omo Valley via bush taxi, Isuzu cargo trucks, and by any means possible, Wyatt brings together the worlds of Zar spirit possession, Hamer tribal wedding ceremonies, Borena water well polyphonic singing, wild hyena feedings and bizarre Ethiopian TV segments, presenting an enchanting look at these otherworldly images, stark landscapes and captivating sounds from the horn of Africa. The featured tribes are captured with an unflinching sense of realism and poetic admiration resulting in a visual and aural feast of the senses. 136-page hardcover photography book with one music CD and one film on DVD. 5 1/2 x 5 1/4 inches, landscape format. 117 color photographs and liner notes by Olivia Wyatt. Sublime Frequencies' most elaborate package yet. One-time limited edition pressing of 1,000 copies. DVD is NTSC format, All Region; length of film: 60 minutes, Color, Stereo.
DVD + Book + CD set for $28


BIOSPHERE [GEIR JENSSEN] - N-Plants (Touch 84; UK) The Touch label releases an album by Norway's Geir Jenssen aka Biosphere. "Early February 2011: Decided to make an album inspired by the Japanese post-war economic miracle. While searching for more information I found an old photo of the Mihama nuclear plant. The fact that this futuristic-looking plant was situated in such a beautiful spot so close to the sea made me curious. Are they safe when it comes to earthquakes and tsunamis? Further reading revealed that many of these plants are situated in earthquake-prone areas, some of them are even located next to shores that had been hit in the past by tsunamis. A photo of Mihama made me narrow down my focus only to Japanese nuclear plants. I wanted to make a soundtrack to some of them, concentrating on the architecture, design and localizations, but also questioning the potential radiation danger (a cooling system being destroyed by a landslide or earthquake, etc). As the head of the Nuclear and Industrial Safety Agency said: 'the plants were so well-designed' that 'such a situation is practically impossible.' The album was finished on February 13th. On March 17th, I received the following message from a FB friend: 'Geir, some time ago you asked people for a photo of a Japanese nuclear power plant. Is this going to be the sleeve of your new coming album? But more importantly: how did you actually predict the future?'"
CD $15


KHYAM ALLAMI - Resonance/Dissonance [CD + DVD] (Nawa 01; UK) It's not often that you stumble on a musician at the start of his career whose biography is as intriguing as Khyam Allami's. Since taking up the oud (Middle Eastern lute) in 2004, he has already generated a "palpable buzz" about him and "left a trail of unforgettable live performances in his wake" according to the UK's fRoots Magazine who recently put him on their cover. Whether at small independent venues, Birmingham's alternative/experimental Supersonic festival, WOMAD or the BBC Proms in London's Royal Albert Hall, Khyam always enchants with the lucid beauty of his music. His debut solo oud album, Resonance/Dissonance (released on his own label Nawa Recordings), is a rare and ambitious effort. It is a double-disc featuring a solo studio recording on the CD and a live performance of the entire album on the DVD. Musically, it is based on the concept of maqam (the modal system of Middle Eastern music), seemingly stark and simple yet overtly complex. Unusual approaches to the maqams combine with original, highly structured and detailed "composed-improvisations." Recurring themes and melodic shapes render a cohesive narrative, accented by sensitive dynamics and rhythmic outbursts using unusual rhythmic cycles, all of which intertwine around complete compositions and a dark rendition of the traditional Iraqi maqam nawa. Mystical in its lucidity and abstract in its poetry, Resonance/Dissonance is unique, soulful, beautiful, dark, heavy and hopeful all at once. A truly boundary-crossing musical work for fans of Middle Eastern, classical, progressive, jazz, improvised, world and avant-garde. DVD: PAL format; Region free; 52 minutes; Stereo; DVD tracklisting -- same as the CD; Color.
CD + DVD set for $22



Marty Krystall and Buell Neidlinger's K2B2 Jazz Label!

BUELL NEIDLINGER QUARTET + STEVE LACY - Live At Ravena Jazz '87 (K2B2 3969; USA) Marty Krystall on tenor sax, Brenton Banks on piano, Buelle Neidlinger on bass, Billy Osborne on drums, plus special guest Steve Lacy on soprano sax. This disc was recorded live at the Ravenna Jazz Festival in Italy in July of 1987. Legendary West Coast bassist, Buelle Neidlinger has worked with an array of challenging composers & musicians like Frank Zappa, Cecil Taylor, Archie Shepp and Anthony Braxton. Mr. Neidlinger has also worked with legendary jazz pianist and composer Herbie Nichols, whose songs he has recorded as well. The is the second time that Neidlinger has recorded an all Monk program, no small feat & done quite well.
The quintet play five Monk songs and do a splendid job. Starting with "Skippy", they take off and swing hard with a superb solo from Steve Lacy up front. The quintet has that tight/loose feel with solid two sax harmonies and inspired solos from both saxes and their pianist as well. Although the recording could be a bit better, the performance is consistently spirited throughout. What is great is getting a chance to hear the late, great Steve Lacy in a more straight ahead setting. Mr. Lacy shines as does Mr. Krystall and Mr. Banks. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

BUELLGRASS [BUELL NEIDLINGER/ANDY STATMAN/RICHARD GREENE et al] - Across The Tracks [aka Big Day At Ojai] (K2B2 6923; USA) One of the most unusual groups of the early '80s was a band accurately titled Buellgrass. On this live CD, bassist Buell Neidlinger heads a unique sextet also including the late Peter Ivers on harmonica, Andy Statman on mandolin and clarinet, violinist Richard Greene, Marty Krystall on reeds (tenor, soprano and various clarinets) and drummer Peter Erskine. The group mixes the sounds of jazz, blues and bluegrass and can be heard on this valuable album playing songs associated with Duke Ellington plus Thelonious Monk's "Epistrophy," "Billie's Bounce," "Stardust" and "Tennessee Waltz." This is well worth acquiring, if only to hear the blend between harmonica, mandolin, violin and tenor. - Scott Yanow, AMG
CD $16

BUELLGRASS [BUELL NEIDLINGER/MARTY KRYSTALL/PETER ERSKINE et al] - All Strung Out: Adventures In Buellgrass (K2B2 3569; USA)
CD $16

KRYSTAL KLEAR AND THE BUELLS [MARTY KRYSTALL/BUELL NEIDLINGER] With CECIL TAYLOR/BILLY HIGGINS/PETER ERSKINE et al] - This Way Is West (K2B2 3369; USA) The K2B2 label, which was co-run by tenor saxophonist Marty Krystall and bassist Buell Neidlinger, released several notable LPs during the late '70s/early '80s. The single-CD This Way Is West reissues all of Ready for the 90s and six of the seven numbers from Our Night Together. The music originally on Ready for the 90s, which was issued under the fictional group name of Krystall Klear & the Buells, features Neidlinger and Krystall (who doubles on bass clarinet) in a quartet with trumpeter Warren Gale and drummer Billy Higgins. Krystall, whose tenor tone is influenced by Ben Webster while his improvising style is very open and touched a bit by Eric Dolphy, is the main solo star, although Gale also has his spots. The four originals are adventurous, hinting at times at Monk, Mingus, and Ornette Coleman while having their own flavor. Also reissued from this album is "P.O.," a 1961 blues by Neidlinger who performs in a trio with an uncredited Denis Charles on drums and pianist Cecil Taylor. Taylor keeps the music from ever becoming too comfortable. The Our Night Together set features Krystall and Neidlinger with drummer Peter Erskine, occasional odd playing from organist Jerry Peters on three songs, and one appearance by Gene Cipriano on bass oboe. While the music is again primarily originals, Krystall's honking on the melody statement of Thelonious Monk's "Little Rootie Tootie" is particularly memorable. Otherwise, the music ranges from free bop to swinging avant-garde jazz. Suffice it to say that the improvising is on a high level, that some of Marty Krystall's most vital playing is included on this CD, and that This Way Is West is an excellent example of superior jazz that, even with the passing of decades, still sounds fresh and timeless - Scott Yanow, AMG
CD $16

MARTY KRYSTALL//HERBIE NICHOLS - Plays Herbie Nichols (K2B2 3469; USA)
CD $16

MOJAVE [MARTY KRYSTALL/SINCLAIR LOTT/J P MARAMBA] - Gunsmoke (K2B2 4069; USA)
CD $16

BUELL NEIDLINGER QUARTET With MARTY KRYSTALL/VINNIE COLAIUTA/HUGH SCHICK - Big Drum (K2B2 3069; USA) Veteran bassist Buell Neidlinger teams up with three other topnotch players (tenor-saxophonist Marty Krystall, trumpeter Hugh Schick and drummer Vinnie Colaiuta) for a set of colorful, explorative and generally swinging music. The quartet performs songs either written by Neidlinger or ones he co-wrote with Krystall; the only exception is a reworking of Thelonious Monk's "Brilliant Corners." Neidlinger dedicated the set to Herbie Nichols (who he talks about in the liner notes) and in some ways this recording is a predecessor to the bassist's brilliant Nichols tribute set Blue Chopsticks. Whether it be "Big Drum," "Ming's Visit" (a bit reminiscent of Charles Mingus"), a remake of "O.P." (which Neidlinger had recorded with Cecil Taylor in 1960) or "Tienanmen Bop," this is a satisfying and consistently exciting set of advanced music - Scott Yanow, AMG
CD $16

BUELL NEIDLINGER QUINTET//HERBIE NICHOLS - Blue Chopsticks: A Portrait Of Herbie Nichols (K2B2 3169; USA) Herbie Nichols, a highly original pianist and composer, had a short life shrouded in obscurity, yet he did make a strong impression on his occasional bassist Buell Neidlinger. While Nichols only had the opportunity to record some of his pieces in piano-bass-drums trios, Neidlinger's memorable tribute does not utilize any of those three instruments. With Marty Krystall on reeds, Hugh Schick on trumpet, violinist Richard Greene, Jimbo Ross on viola and Neidlinger sticking to cello, 11 of Nichols' originals are given colorful, often humorous and spirited interpretations. One of the finest releases of 1995, this CD is full of surprises and unusual tone colors. Highlights include "Blue Chopsticks," "The Gig," "Love, Gloom, Cash, Love" and 'The Lady Sings the Blues," but each selection is well worth hearing. A gem that belongs in every jazz recording collection. - Scott Yanow, AMG
CD $16

BUELL NEIDLINGER QUARTET & QUINTET With MARTY KRYSTALL//THELONIUOS MONK - Thelonious Atmosphere (K2B2 3269; USA) Bassist Buell Neidlinger (who played with everyone from Rex Stewart to Cecil Taylor and Stravinsky) and tenor saxophonist Marty Krystall have always been real sticklers when it comes to interpreting Thelonious Monk's music. They believe in playing Monk's songs with the correct melody and original chords, and not discarding the theme once the solos start. In the 1980s, they co-led the group Thelonious, which exclusively performed Monk's compositions, emphasizing the lesser-known songs. This CD has two previously unreleased performances from that era. Neidlinger and Krystall (who doubles on bass clarinet) are joined by pianist Brenton Banks and drummer Billy Osborne for six songs performed live on KCRW-FM. Krystall is the main solo star, putting plenty of emotion into his improvisations, while Neidlinger keeps the momentum flowing. The quartet digs into such numbers as "Four in One," "Monk's Mood," "Trinkle, Tinkle," and "Bye-Ya." Also on this CD are five selections (including "Thelonious," "Little Rootie Tootie," and "Skippy") from a live concert. For that engagement, Thelonious was a quintet with the co-leaders joined by trumpeter Hugh Schick, Jerry Peters on electric piano, and drummer William Jefferey. Throughout the CD, one is continually impressed by how well these musicians know the music, sounding comfortable playing over the tricky and difficult chord changes while always keeping the themes close by. All lovers of Thelonious Monk's music are advised to pick up this stimulating effort. - Scott Yanow, AMG
CD $16

BUELL NEIDLINGER With MARTY KRYSTALL/RICHARD GREENE/ANDY STATMAN/BILLY HIGGINS/PETER ERSKINE et al] - Rear View Mirror (K2B2 2969; USA) This CD has selections taken from four prior releases on bassist Buell Neidlinger's K2B2 label: three numbers apiece from Ready for the '90s, Thelonious, Big Day at Ojai and four from Our Night Together. In each case, the bassist is teamed with the underrated tenor saxophonist Marty Krystall. Most of the tunes features a quartet or trio and such fine players as trumpeter Warren Gale, organist Jerry Peters, pianist John Beasley and drummers Peter Erskine, Billy Higgins and Billy Osborne make strong contributions. The final three numbers are the most unusual, featuring versions of "Stardust," "Jumpin Punkins" and "Happy Go Lucky Local" played by Buellgrass, a group consisting of mandolin, harmonica, violin, tenor, bass and drums. Other highlights include "Igor's Blues" and a memorable version of Thelonious Monk's "Little Rootie Tootie." Although one regrets the missing selections from the four original LPs, this CD gives one a well-rounded picture of bassist Neidlinger's activities during a seven-year period. - Scott Yanow, AMG
CD $16

IVO PERELMAN With DON PRESTON/JOHN PATTITUCCI/BUELL NEIDLINGER/PETER ERSKINE/AIRTO MOREIRA/FLORA PURIM - Ivo (K2B2 2769; USA) [previously released on ITM] For his recording debut, Ivo Perelman performs seven folk melodies, five of which are traditional Brazilian children's songs. A powerful tenor player whose style and sound at times recalls Albert Ayler (without the vibrato), Gato Barbieri, and Clifford Jordan, Perelman uses the simple melodies as points of departure and places to land after his intense and fairly free but melodic improvisations. The first three songs co-feature vocalist Flora Purim, who is at the top of her game on the haunting "Nesta Rua" and the lighthearted but explorative "O Cravo e a Rosa." Two of the other pieces have Perelman dueting with pianist Eliane Elias. The two bassists, John Patitucci and Buell Neidlinger, work together quite well. Don Preston takes a wild synthesizer solo on "O Cravo e a Rosa," and both drummer Peter Erskine and percussionist Airto are colorful in support. But the main star throughout the CD is Ivo Perelman, whose distinctive sound, relative ease in the falsetto register, and creative spirit were already quite impressive at this early point in his career.
CD $16

HUGH SCHICK QUINTET With BUELL NEIDLINGER/MARTY KRYSTALL - Release (K2B2 3669; USA)
CD $16

PETER IVERS With MARTY KRYSTALL et al - The Untold Stories (K2B2 3769; USA) Some background on this singer/songwriter/perfomance artist:
A cult waiting to happen, musician and performance artist Peter Ivers was born in Boston in 1946. During the mid-1960s, while studying political science at Harvard University, he launched his performing career playing harmonica in the local band Beacon Street Union, one of a number of Boston-area psychedelic bands influenced by San Francisco's Haight-Ashbury scene. Signing to MGM, Beacon Street Union issued the little-noticed LP The Clown Died In Mervin Gardens before dissolving; Ivers then surfaced as a member of the Street Choir before mounting a solo career. He signed to Epic in 1969 to issue Knight Of The Blue Communion, certainly one of the strangest major label releases of its time--combining rock with classical instrumentation (oboe, contrabass and bassoon) and electronics (an intermodulator), the disc also featured opera singer Yolande Bevan, profoundly spiritual lyrical themes and, to top it all off, Ivers own piercingly nasal vocals. Suffice to say it was not a hit, and a second Epic LP, Take It Out On Me, was completed but shelved by the label; only a single, "Ain't That Peculiar," ever saw commercial release.
He then signed to Warner Brothers in 1974, where Ivers and his co-producer, free-jazz bassist Buell Neidlinger, delivered Terminal Love, which at times suggests the work of Captain Beefheart--indeed, Magic Band/Frank Zappa collaborator Eliot Ingber appears on several tracks. A self-titled album for Warners followed in 1976, and a year later Ivers earned arguably his most enduring fame, writing and recording "In Heaven (The Lady in the Radiator Song)" for David Lynch's classic film Eraserhead. (The song was later covered by another Boston act of some note, the Pixies.) During the early 1980s, Ivers hosted New Wave Theatre, broadcast on the fledgling USA cable - the series provided the first (and in some cases only) national TV exposure for Los Angeles area bands like the Blasters, Dead Kennedys and dozens of others. With his outrageous wardrobe, philosophical interview questions and rapid-fire social commentaries, Ivers was a most unconventional host, and many of the artists featured on the show made their distaste for him painfully clear. Sadly, Ivers was bludgeoned to death in his L.A. apartment in 1983 (a punk antagonist was suspected; never solved)
This CD is a previously unreleased album with Peter Ivers (vocals, harmonica, keyboards, Doncamatic); Marty Krystall (tenor sax, reeds); Buell Neidlinger (bass, cello); Harold Mason (drums); Paul Lenart (guitar); Kathy Appleby (violin); Van Dyke Parks (piano)
CD $16


Budget reissues of Classics from the Timeless label!

[please note - our initial quantities of these are just about sold-out instore, and will be back in-stock in a week; some current orders may ship without these]

GEORGE ADAMS/DON PULLEN QUINTET - Live At Montmartre (Timeless 74501; EEC) Featuring George Adams on tenor sax, Don Pullen on piano, 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

ART BLAKEY & THE JAZZ MESSENGERS With WYNTON MARSALIS/TERENCE BLANCHARD/DONALD HARISON et al - Album Of The Year (1981) (Timeless 74503; EEC) The 1981 edition of The Jazz Messengers featured more than its share of young greats (teenage trumpeter Wynton Marsalis, altoist Bobby Watson, tenor saxophonist Billy Pierce, pianist James Williams and bassist Charles Fambrough), reinforcing drummer Art Blakey's recognition as jazz's greatest talent scout. This high-quality set, recorded in Paris, includes new material (highlighted by James Williams's "Soulful Mister Timmons"), Wayne Shorter's "Witch Hunt" and the Charlie Parker blues "Cheryl. - Scott Yanow, AMG
CD $11

CHARLIE BYRD TRIO - I've Got The World On A String (Timeless 74504; EEC) This Timeless CD is a bit unusual in that guitarist Charlie Byrd sings the first six numbers; it is only the second time in his career he has taken vocals on record. His singing is simple and generally effective if not too memorable. The final 11 numbers are instrumentals (odd programming) and also surprising in that the emphasis is on standards, often from the swing era; there is only one Brazilian song (Antonio Carlos Jobim's "So Danca Samba"). Byrd (in a trio with bassist Joe Byrd and drummer Chuck Redd) is in generally fine form overall.. - Scott Yanow, AMG
CD $11

AL COHN QUARTET - Riftide (Timeless 74505; EEC) Although this recording of standards was made late in his career, tenor saxophonist Al Cohn was in peak form and clearly inspired by an excellent Dutch rhythm section. Cohn's very broad tone is much in evidence, as he runs through changes on tunes that he played innumerable times in his career. A distinct stylist, Cohn was never an innovator, but his lush, relaxed, carefully honed sound was perfect for the late nightclub atmosphere. Every solo was deliberately constructed, mixing just the right amounts of emotion and technique. You can hear Coleman Hawkins in his playing, but Cohn incorporated broad influences from the early history of bop. Pianist Rein de Graff is stunning throughout, and drummer Eric Ineke and bassist Koos Serierse add solid support. - Steve Loewy, AMG
CD $11

GEORGE COLEMAN QUARTET With HILTON RUIZ/SAM JONES/BILLY HIGGINS - Amsterdam After Dark (Timeless 74509; EEC) Legendary tenor saxophonist blows up a storm with the Hilton Ruiz Trio in a 1977 date!
CD $11

LOU DONALDSON QUARTET With HERMAN FOSTER - Forgotten Man (Timeless 74506; EEC) Altoist Lou Donaldson was never exactly a "forgotten man," but his boppish style had been largely overlooked since his commercial electric funk sessions for Blue Note in the early to mid-'70s. This is a straightahead acoustic quartet date with pianist Herman Foster (whose block chord solos on a couple of numbers are quite exciting), bassist Geoff Fuller and drummer Victor Jones. Donaldson romps through some bop standards, Tadd Dameron's lesser-known "This Is Happiness" and his own "Tracy" and takes a humorous vocal on "Whiskey Drinkin' Woman." .. this album should easily please Lou Donaldson's fans, for it finds him in exuberant form. - Scott Yanow, AMG
CD $11

BILL EVANS TRIO With MARC JOHNSON/JOE LaBARBERA [La BARBERA] - The Brilliant (Timeless 74507; EEC) The music on this live CD is much better played than expected, for pianist Bill Evans would pass away on the following September 15. Recorded at San Francisco's Keystone Korner during his last engagement, Evans (along with bassist Marc Johnson and drummer Joe LaBarbera) still seems in surprisingly prime form on four originals (including "Letter to Evan" and "Bill's Hit Tune"), three obscurities, and the "Theme from M.A.S.H." Hopefully, the music from this well-documented gig will eventually be released completely and in chronological order, for the highly influential pianist shows no obvious sign of decline during the highly intuitive post-bop performance. - Scott Yanow, AMG
CD $11

TOMMY FLANAGAN TRIO With GEORGE MRAZ/KENNY WASHINGTON - Jazz Poet (Timeless 74508; EEC) By the time of this recording, pianist Tommy Flanagan had been performing for decades -- mostly as a sideman -- for a who's who of jazz: players such as Miles Davis, J.J. Johnson, and Sonny Rollins, to name a few. His perfect, yet unassuming style made him the pianist of choice for dozens of musicians. While he has recorded as a leader from time to time, this album may be the best representation of his work available. He performs a set of great tunes ("Caravan," "Willow Weep for Me," "St. Louis Blues," "Lament," and others) in a topflight trio, with George Mraz on bass and Kenny Washington on drums. Flanagan is at the peak of his powers. Never flashy, never showy, this is just outstanding music performed by a true master who is one of the great bop pianists of the 20th century. - Steve Loewy, AMG
CD $11

BENNY GOLSON With PHAROAH SANDERS/CEDAR WALTON/RON CARTER/JACK DeJOHNETTE - This Is For You John (Timeless 74510; EEC) 2010 remaster. Dedicated to John Coltrane, with whom Golson jammed in Philadelphia as a teenager, this recording features a two-tenor lineup of Golson and Pharoah Sanders with a stellar rhythm section of pianist Cedar Walton, bassist Ron Carter, and drummer Jack DeJohnette. While Sanders might seem a strange stylistic choice due to his scorching, free-style performances with Coltrane, he is, in fact, the only one of this group who recorded regularly with Coltrane and he performs here totally within the hard bop context of the recording. Golson carefully chooses the tunes, including the lovely and "Greensleeves," as well as four by Golson and one by Sanders. Most relate to Trane in some way, although Golson wisely eschews any kind of retrospective. Thankfully, too, the saxophonists never engage in any cutting, so the results are uniformly delightful, if somewhat conservative. - Steven Loewy, All Music Guide
CD $11


J.A. CAESAR - Jashumon [sndtck] (Phoenix 3048; UK) "This mighty soundtrack for Shuji Terayama's nihilistic movie of the same name contains all the elements necessary to reach J.A. Caesar's intended pleasure-centers. Here, turmoil, mind-numbing repetition, abject misery and grisly partriarchs abound, and all orchestrated by Caesar's damaged proto-metal and choral-led psychedelic sound. Mind-infesting in the truest sense, this soundtrack played in the dark is as certified a Gateway to the Underworld as any acknowledged classic by Faust, Magma, the Cosmic Jokers, Ash Ra Tempel or early Amon Duul." --Julian Cope, Japrocksampler; Digitally remastered. Numbered, limited collector's edition housed in a gatefold sleeve.
CD $17

FAR EAST FAMILY BAND - Tenkujin (Phoenix 3046; UK) The fifth and final release by Far East Family Band (if you include 1973's Nihonjin, released under the Far Out banner), 1977's Tenkujin was the first of the band's albums to be released in the U.S. on the small and short-lived California-based All Ears label. Without Kitaro, who by this time had departed to pursue a solo career, the band reverted to its earlier ballad-based sound, this time supported on drums by former Samurai alumnus, Yujin Harada. The expected Pink Floyd influences appear in abundance, although this time the songs are sung partly in English and in Japanese. Another solid album from what many consider to be Japan's finest new age/psychedelic group. Digitally remastered. Numbered, limited collector's edition.
CD $17


HENDRICKSON ROAD HOUSE - Hendrickson Road House (Wooden Hill 33; UK) "Recorded to showcase the prodigious talents of teenage singer/songwriter Sue Eakins, the Hendrickson Road House album was issued in 1970 as a limited edition pressing by the Two:Dot studio/label. Widely regarded these days as one of the rarest vinyl artifacts to emerge from the late '60s Californian counterculture, the LP now sells for around $1000 on the rare occasions that copies surface. Now available for the first time in more than forty years, this authorized reissue adds half-a-dozen fascinating bonus tracks, including alternative mixes of two of the album's finest songs, only briefly available at the time as a 7" that was credited to group alias Nibbus. With a lavish booklet featuring rare photos, interview quotes and the full Hendrickson Road House story, this is the definitive edition of a lost classic of the West Coast psychedelic folk genre."
CD $20


COMUS - East Of Sweden: Live At The Melloboat Festival 2008 (Gnostic Dirt/Dirter 85; UK) The seminal British progressive rock/folk band Comus is back. Their classic debut album, First Utterance, release in 1971, is on just about anybody who's anybody's list of "Desert Island" records. East Of Sweden is a live CD recorded at the Melloboat Festival in 2008, which was the first time the band had played live in 34 years. They were met with a tumultuous reception and this fantastic CD is a great document from that show. It is also the first release on the Dirter subsidiary imprint Gnostic Dirt, launched by Steve Pittis and David Tibet.
CD $17


SANDY DENNY - Live At The BBC [3 CD + DVD set] (Island 4893; UK) Import four disc (three CDs + NTSC/Region 0 DVD) collection. One of the finest singers England has ever produced, Sandy Denny was a linchpin of the original Fairport Convention. Delivering, alongside Richard Thompson and Ian Matthews, a radical mixture of Dylan covers and Renaissance music, she helped make Fairport leaders of Britain's '60s Olde Musik revival. These BBC performances were recorded 1971-73 and feature Sandy promoting her solo material with great performances that are often better than the slightly over-produced studio versions. "Sandy Denny performed on the BBC as a solo artist quite a bit between the years of 1966 and 1973, a span that saw her evolve from an obscure folk singer to Britain's finest folk-rock vocalist. Twenty tracks from the early '70s were briefly available on the 1997 release The BBC Sessions 1971-1973, but unfortunately that CD went out of print after its limited edition immediately sold out. A decade later, the four-disc box set Live at the BBC rectified that wrong and then some. It includes not only all of the material from The BBC Sessions 1971-1973, but 23 additional cuts as well, along with a DVD disc containing footage of the only three surviving songs she performed on BBC television. There's also an interesting seven-minute interview from 1972, and Denny also provides insightful comments on her songs between the tracks taken from her 1973 session for the Sounds on Sunday program. Unlike many other BBC collections, this particular one is essential for fans of the artist, even those who already own a lot of Sandy Denny. First and most importantly, the performances are uniformly fine and often superb, particularly in the vocal department. Second, it includes some songs that she did not put on her official releases, among them some traditional folk songs from 1966-1968 sessions done in her pre-Fairport Convention days; covers of Tom Paxton's "Hold on to Me Babe" and Jackson C. Frank's "Blues Run the Game," and the traditional song "Sweet Nightingale," done as a duet with Mick Groves of the Spinners on a 1971 television show. Also, and very significantly, the arrangements are usually stark, emphasizing her singing backed only by piano or guitar. These are quite different from many of the arrangements she elected to use for the same tunes on her studio releases, and those who feel her solo albums suffered from over-production will likely judge these BBC versions superior. Of course, as with almost any such ambitious box set, there are minor criticisms, or at least aspects of which some non-completists might be wary. The sound, though often very good, is variable, as some of the tracks are obviously not first-generation (and, to their credit, the compilers have separated "off-air" recordings onto disc four and labeled it as such, though the fidelity on those really isn't so bad). Many of the songs are presented in multiple versions, which might frustrate less indulging fans, though these have been intelligently spaced out within the set to enhance listenability. The DVD, though it has all of the BBC television solo footage there is of Denny (in good-quality color, all from 1971), nevertheless doesn't have that much material overall. It does also offer excerpts of song lyrics and drawings from her diaries that will interest serious fans (though these will need to be viewed on a computer screen rather than a television screen to be comfortably read), as well as a photo gallery. But considering that the DVD (on disc three) has just three songs and that disc four only contains a little more than a half-hour of music, perhaps the list price could have adjusted downward a bit -- as it is, it's a pretty expensive set. And, finally, this doesn't contain Denny's BBC performances as part of bands, and though the ones she did as part of Fairport Convention are on Island's BBC box for that group, the ones she did as part of Fotheringay haven't been assembled for proper official release. There are also a couple of solo tracks (one each from 1972 and 1973) that couldn't be found, though the annotation readily acknowledges this. All this really is nitpicking, though, and only stated so that the hardcore fans likely to pick up this box are fully aware of its contents. On its own terms, it's a superb production that assembles everything possible from her BBC radio and television performances, packages it well, and makes an important part of her recorded legacy available that more fully rounds out our appreciation of this magnificent singer."
[in stock Tuesday]
3 CD + 1 DVD set for $60


EDGAR BROUGHTON BAND - The Harvest Years 1969-1973: Wasa Wasa/Sing Brother Sing/Edgar Broughton Band/In Side Out/Oora/Live At Hyde Park 1970 [4 CD set] (EMI 90032; UK) 2011 four CD set from the British Prog Rockers spanning the years 1969-73. The Harvest Years contains remastered complete versions of their first five studio albums (Wasa Wasa, Sing Brother Sing, Edgar Broughton Band, Inside Out and Oora) PLUS A PREVIOUSLY UNRELEASED 45 MINUTE CONCERT: Live At Hyde Park, London, 18th July 1970. It was the band's third appearance at the park, on a bill featuring fellow Harvest luminaries Roy Harper, Kevin Ayers, and headlined by Pink Floyd. This previously unreleased recording appears here for the first time, mastered at Abbey Road under the supervision of the band themselves. Their 45 minute set is faithfully reproduced in all its raw and raucous glory. "This four-disc collection from EMI in the United Kingdom collects the five albums the Edgar Broughton Band recorded for Harvest, as well as a handful of bonus singles and a previously unissued live performance from Hyde Park in London in 1970. Disc one features the band's 1969 debut album, Wasa Wasa, and the single "Up Yours!"/"Freedom," as well as side one of 1970's Sing Brother Sing. Disc two continues with the second side of that offering, the A-side of the "Apache Drop Out" single, and the complete 1971 self-titled album. Disc three begins with 1972's Inside Out, rounded off by the B-sides "Someone" and "Mr. Crosby." It concludes with side one of 1973's Oora. The final disc begins with the second side of Oora and finishes with the aforementioned 45-minute live gig. The albums are all taken from the 2004 24-bit remasters, and the sound is basically up to par. The packaging here is a bit of a problem in that it splits albums up on each of the four CDs, though it does so in complete sides. For the hardcore fans who've already purchased the individual albums, this box presents a bit of a conundrum. The reason is the Hyde Park show -- it's utterly stellar in both sound and performance and necessary for fans. Versions of "Love in the Rain," "Drop Out Boogie" (which is a proto heavy metal tune if there ever were one), and the 16-minute closing jam on "Out Demons Out" are nearly reason enough in themselves for purchasing the entire package. Broughton's knife-edge guitar playing isn't the only highlight; Arthur Grant's bass is on pure throbbing stun and Steve Broughton's drumming, basic as it is, provides enough bottom end on the tom-toms in constant shuffle to provide an anchor for Edgar to take off, letting all those knots in his solos take him into unknown territory. The gig also hosts the added ballast of percussionist/backing vocalist Laurie Allen. The liner booklet features an extended interview with Edgar and Steve conducted by Hugh Gilmour in early 2011, making this one righteous -- and definitive -- compilation." ~ Thom Jurek, AMG
[in stock Tuesday]
4 CD set for $44


COLOSSEUM [JON HISEMAN/CHRIS FARLOWE/CLEM CLEMPSON/DICK HECKSTALL-SMITH/DAVE GREENSLADE et al] - Morituri Te Salutant: Colosseum 1968-2003 - On Stage And In The Studio [4 CD set] (Castle/Sanctuary 2709352; USA) 2009 four CD antology from the British Jazz/Prog/Art Rock band. Pieced together with the active assistance of band leader Jon Hiseman, Morituri Te Salutant features extended highlights from Colosseum's original albums as well as numerous previously-unissued studio and live outtakes, including BBC session material, the aborted late '60s single 'Tell Me Now' and a host of alternative recordings from the tour that was immortalised on what many admirers believe to be the band's definitive work, Colosseum Live. Lavishly packaged with hitherto unpublished photos and a 10,000 word essay, Morituri Te Salutant is the final word on one of the most individual and iconoclastic British bands to emerge from the musical and cultural revolution of the '60s.
[in stock Tuesday]
4 CD set for $44


EINSTURZENDE NEUBAUTEN - Silence Is Sexy (Potomak 957052; Germany) Reissue of Einsturzende Neubauten's Silence Is Sexy, originally released in 2000 from singer Blixa Bargeld and his band partners (N.U. Unruh, Alexander Hacke, Jochen Arbeit and Rudolf Moser). A concept of "conceptlessness" was created at that time from a spontaneous idea (many thought it was an April Fool's joke when Einsturzende Neubauten first stood on the stage at Berlin's "Moon" on April 1, 1980; now over 30 years ago), from which the "brilliant dilettantes" developed their own strategy against social and musical architecture using metal pipes, feathers and machines. Blixa Bargeld constructed metaphor-laden poetry around which unique worlds of sound were built up from objects of the most varied origins. The band discovered sounds beyond the pain barrier, the beauty of dissonance and the aesthetics of the scrapyard. They are regarded as the most important engines in the development of new musical strategies. Hardly another German band has characterized the musical landscape as lastingly as Einsturzende Neubauten. Their influence on the music world was and is as great as their timeless character. Silence Is Sexy finally receives a long-awaited reissue on the band's own label Potomak. The element of surprise was and continues to be routine for Einsturzende Neubauten. On Silence Is Sexy they masterfully celebrate the unexpected in the exploration of silence. It is a wonderful album in the classical Neubauten sense; lyrical and melancholy. It's a musical coming-of-age from metal-defying scrap iron sound to constructed melodiousness, with a familiar rhythmic undertow -- playful, arrogant, poetic, subversive, dandified and mature. From its first release in 2000 (marking the 20-year existence of the band) to date, it has doubtlessly remained the group's most complex work and the most fascinating in its evolution. It shows the Neubauten universe from both a known, emotionally moving side, as well as one that is deliberately constructive. It clearly breathes the inimitably rough Neubauten handwriting, while Blixa's voice cuts through intellectual and cryptic texts. It is carried by metal sounds, from which individual instruments can almost no longer be extracted -- and by silence. Ultimately, nearly inaudible tones or laughter in the right place can seem more destructive than the most enduring rage. This is an album that won't be ignored; a unique appearance in the history of German rock music.
CD $17

LA HABANA ERA UNA FIESTA [V.A.] - 1940's - 1960's [2 CD set] (VampiSoul 134; EEC) Vampisoul presents a double CD of recordings from the '40s to the '60s by Cuban artists performing Spanish songs and by Spanish musicians that visited Cuba and were influenced by the island's music. When Havana was a party, many Spaniards joined the dance. In this process of transculturation, music and musicians played an essential part. Having arrived from Spain, artists of song and theater contributed to the diverse DNA of Cuban popular music. At the same time, other musicians brought in essential aspects of Afro-Cuban folklore to Spanish song. Music has always played an intrinsic role between Cuba and Spain: after the Spanish disaster of 1898, emigrants and soldiers, wine-producers and sailors arrived or stayed in Cuba, and with them their customs and habits. With the children of the metropolis, companies of popular singers, zarzuela groups, and costumbrista theater arrived. In addition, the music from Andalusia, traditional dancing, and genuine flamenco soon disembarked in the port of San Cristobal de la Habana. On their way back, when they left Cuba, the ships with gold from America also carried new melodies and rhythmical cells, harmonic gyrations, and choreographed elements of Afro-American inspiration. On firm ground, the native Spanish colony in Cuba kept growing in numbers and importance. Half a century later, there were five million residents in Cuba. At the beginning of the '50s, one million of them resided in Havana. And there were 120,000 people who were associated with one of the many emigrant clubs founded in the city. It was there, in the halls of the societies of emigrants from Galicia, Asturias, Andalusia and the Canary Islands, where the music from both shores embraced. In decimas and folk songs, the poetic expression of Cubans and Spaniards took root on the singers' island. The landing of Spanish music in Cuba stood out in Havana with musical theater of which operas and zarzuelas were always played as if in the old country. The visits from Carmen Amaya, Conchita Piquer, Juanita Reina, and Imperio Argentina were lauded. From the mid-'30s until approximately 1960, leading Cuban radio stations such as CMQ and Radio Progreso hired the most famous Spanish artists (and also many hustlers who came to America looking for riches) to broadcast performances and variety shows with live music from Los Chavales de Espana, Los Bocheros or Los Churumbeles. The extensive reach of radio and cinema, together with the growing popularization of vinyl, enabled the quick commercial expansion of Cuban music with arrangements of danzon orchestras, sextets of son cubano, and jazz bands, Cuban-style. From Rita Montaner and Bola De Nieve to Miguelito Valdes, Antonio Machin, Julio Cuevas, Bebo Valdes and Armando Orefiche, Havana was now a party, half a century before the Buena Vista Social Club. The tracks by Spanish artists were recorded at radio stations in Havana and are released here for the first time.
2 CD set for $22

THE SOUND OF SIAM [V.A.] - Leftfield Luk Thung, Jazz & Molam In Thailand 1964-1975 (Soundway 27; UK) Thailand means different things to different people. Beyond the beaches and tourist spots lies a world of music still waiting to be discovered. Be it spaced-out jazz, raw funk or the meditative sounds of the North East, Soundway has dug deep into the country's vinyl archives to present a broad range of vintage sounds that underlines Thailand's status as one of South East Asia's musical hot spots. As Soundway's entry point into the Asian music world, The Sound of Siam offers a unique vantage point to the most experimental period in Thai musical history. The 19 tracks reflect the outcome of a 20th century journey from Thai classical to Luk Krung and Luk Thung -- music that incorporated Western influences such as jazz, surf guitar, ballroom and even Latin and African. The music maps changing social demographics, the movement of people, culture and language from countryside to city and all during a period when the record labels were at their most experimental. Housed in a CD digipack including a 24-page booklet with rare artist photos and stories behind the music.
CD $16


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