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DMG Newsletter for October 17th, 2014

Short but Sweet and Good Enough to Eat, Great Discs from These Fine Folks:

Pre-orders for Fripp & Eno's Live in Paris Triple CD Set! Horace Tapscott/Black Arthur Blythe Quintet Rarity! Bobby Bradford/Frode Gjerstad Quartet! Tyshawn Sorey New Trio: Corey Smythe & Chris Tordini! Ingrid Laubrock & Liam Noble! Everybody Digs Michel Doneda Solo!

5 from Emanem: Spontaneous Music Ensemble: John Stevens/Trevor Watts/Derek Bailey/Kenny Wheeler/Johnny Dyani..! Steve Lacy Solo & School Days reissue! Paul Rutherford Trio! Three from Peter Herbert! Six Sale CDs from Jacob Anderskov! 4 from Dave PEK & Leap of Faith!

Plus Plenty of Great Vinyl Reissues from: Don Cherry, Mothers of Invention, Sun Ra Arkestra, Archie Shepp, Gil Scott-Heron, Son House, Skip James, John Lee Hooker and Even More!


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The DMG Free In-Store Music Schedule Continues with:

Sunday, October 19th:
6pm: CHERYL PYLE & MARK ALBAN LOTZ - International Flute Duo!
7pm: KEIR NEURINGER - Solo Sax!

Sunday, October 26th Double-Header:
6pm: THOLLEM McDONAS & AVA MENDOZA - Electric Keyboard & Electric Guitar!
7pm: MOPPA ELLIOTT - Solo Contrabass!

A RARE SATURDAY, November 1st Performance:
6pm: KIM MYHR - Experimental Solo Acoustic Guitar! (From MURAL!)

Sunday, November 9th:
6pm: THOMAS HEBERER/JAMES ILGENFRITZ/FLIN VAN HEMMEN - Cornet/Bass/Drums!

Sundays, November 16th & November 23rd - No in-store concerts while Bruce Lee Gallanter attends the Henry Cow Reunion concert in London!


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Stand with artists as they stand up for their rights:
A Weekend of NYC Concert Events
Presented by the Content Creators Coalition

This Saturday October 18th 2014, 8-10PM at Roulette:

A Benefit Concert for the Content Creators Coalition!

Featuring John Zorn, Eric Slick (Dr Dog), Steve Coleman, Marc Ribot, Henry Grimes, Trevor Dunn, Brandon Seabrook, Satomi Matsuzaki (Deerhoof), Amir Elsaffar, Matana Roberts and more. The event will also feature a short screening of highlights from Michael Count Eldridge's upcoming documentary film Unsound. A one hour meet and greet prior to the show will include Marc Ribot and other artists, Chris Ruen (author of Freeloading: How Our Insatiable Appetite for Free Content Starves Creativity), and Jeffrey Boxer, Executive Director of c3.
General admission: $20 advance $25 day of show

This Sunday October 19th 2014, 2-4PM @ Le Poisson Rouge: Free Concert / Rally / Call to Action

Featuring Rosanne Cash, Miho Hatori and Yuka C. Honda (of Cibo Matto), Wesley Stace, Tessa Lena, Marcus Rojas Brass Ensemble, Marc Ribot and other special guests. This event will feature speakers and music, then culminating in a call to action.
Support Artists' Rights in the Digital Domain!
Roulette is located at 509 Atlantic Avenue in Brooklyn
Le Poisson Rouge is located at 159 Bleecker St in Manhattan



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And Now for This Weeks' Important Discs:

Double Whammy! Besides the massive King Crimson 'Starless' box which will be released on October 28th in the US, Crimson fans now have another reason to rejoice! Fripp & Eno's legendary 'Live in Paris, 1975' triple disc set will be released the same day!!! (See description below). Wow!!! Will wonders never cease?!?

ROBERT FRIPP & BRIAN ENO - Live in Paris May 25, 1975 [3 CD Set] (DGM; UK) These show notes are written by long-standing Frippertronics expert and unofficial archivist, Allan Okada, whose help in the restoration of this concert has been invaluable. This historic recording documents an extremely rare and classic performance of a mysterious collaborative tour from two of the most creative and fascinating figures in rock. It is one of the most rewarding live recordings this writer has ever heard. For any fan of 'No Pussyfooting' or 'Evening Star', this live recording is of epic significance and thanks to the efforts of Alex Mundy, is now also comparable in audio quality, by synchronizing the most complete and best (by a mile) available live bootleg recording with Eno's stage tapes recently discovered. This tour also represents a turning point for both artists, about to enter new frontiers professionally and personally: Eno as an ambient music pioneer and Fripp's re-emergence as a small, mobile, intelligent unit. Here is the lead up to this 5th of a 7-show European mini-tour. Fripp just recently disbanded King Crimson at a point which many would describe as their artistic pinnacle. Eno also recently parted ways with Roxy Music at a similar juncture and then aborted his first and only extensive solo tour after only a handful of shows, due to a collapsed lung. Fripp & Eno live in concert? What would they do? All the shows in Spain and France were, not surprisingly, accompanied with unrealistic fan expectations, hoping for a presentation of '21st Century Schizoid Man' combined with 'Baby's on Fire' perhaps? What this audience got was something entirely different. The programme was largely improvised and totally instrumental. Adding to the event's unorthodoxy was the absence of all conventional stage lighting. The sole illumination was provided by Malcolm LeGrice's colour saturated and looped short film 'Berlin Horse' projected behind the two shadowy figures on stage, visually mimicking the music. The result was an unprecedented live performance format, years ahead of its time. It was also mind-boggling to most of the unsuspecting 1975 audience, yielding wildly different reactions. Reportedly about half the shows on this tour were also plagued with some sort of major technical hazard, stemming from the venue, the PA or the duo's stage equipment. In Saint-Etienne, the audience went as far as booing the duo off the stage! Fortunately for us here, this Paris Olympia performance was technically flawless and from a musical standpoint, incredibly inspired. Starting with the pre-recorded primordial drone 'Water on Water', the duo eventually walks on stage. Fripp begins playing through the Enotronic system (since Eno, not Fripp operated the tape machines on this tour). It's important to note that at this time, the mechanics of the Revox tape delay system was a mystery to the guitarist. This must have surely added a heavy dose of Eno's "idiot glee" to the entire proceedings. Fripp moves this piece into uncharted territories with short volume pedal sweeps of lunacy before detaching from the delay system and beautifully soloing over the familiar backing loop of 'Swastika Girls'. Very astute listeners will detect the unrealized main theme from King Crimson's 'Blue' off the top. An intermission has the audience treated to Eno's seminal 'Discreet Music' before the duo return to the stage with another improvised loop morphing into the now familiar 'Wind On Water' landscape. The sublimely serene 'A Near Find in Rip Pop' follows with Fripp soloing over a beautiful, strummed guitar piece (from the 'Evening Star' sessions) enhanced with synthetic animal screeches utilized months later on Eno's 'Zawinul/Lava' track. Then just as you feel relaxed, Eno's loop changes to something akin to a gigantic, looming dark cloud as Fripp hits the distortion pedal and fires off some solos of truly monstrous intensity. Eno gently takes the proceedings back down to Earth again by introducing the now infamous 'Evening Star' backing loop over which Fripp treats us to yet another wonderful solo before leaving the stage again, while 'An Iron Frappe' continues to envelop the crowd. The duo reappears for the final 'Softy Gun Poison' complete with tapes of sinister laughter and mysterious chatter (foreshadowing moments of Fripp's upcoming 'Exposure'), before leaving the stage for the last time, while (the then unknown) 'An Index of Metals' terrorizes the bewildered audience as they exit the venue. All in all, this lucky Paris audience was treated with the entirety of both classic albums as well as enough new material to constitute a third. As a bonus, we are also presented with Eno's stage tapes in pure format including Test Loops from the sound check. What more could you ask from a live recording? Absolutely essential listening."
3 CD Set $25 (Pre-order price until street date 10/28/14 is $21 - so order now!)


Pre-Orders Now being accepted for the next Big KING CRIMSON BOX SET!

Due Date is October 28th, 2014. We have already pre-sold a dozen of these amazing CRIMSON box sets out of the twenty that we intially ordered. Our pre-sale price is 25 bucks cheaper than those knuckleheads at Amazon so PLEASE buy them from us and not them!

KING CRIMSON [ROBERT FRIPP/DAVID CROSS/JOHN WETTON/BILL BRUFORD] - Starless [Limited Edition 27 CD/DVD/BluRay Box Set] (DGM 671974; UK) Few bands of the era offered as much variety in material from night to night. King Crimson's propensity for improvisation & fondness for playing its newest material often unreleased on record at the time of the concerts is legendary. Fewer bands still, whether by accident or design, recorded so many of their live shows. Starless offers an in depth overview of one of the era's most significant bands in its most celebrated live line-up. "OK, you can expect me to bang the drum for a KC box set once again - But have I been wrong in the past? This fills in yet a third of several different live periods from the Fripp/Wetton/Bruford/Cross core group: The Larks' Tongues box collected all known live recordings of the initial pre-LTIA lineup as a quintet with free-thinker Jamie Muir, which placed heavy emphasis on improvisation [hell, much of the LTIA album's repertoire was being birthed onstage in front of the very ears of those audiences!], and the Road To Red box last year did a clean sweep of the last two months of archived shows leading to the last gig ever - also a cornucopia of amazement and powerful musical exploration! Now we have the fall '73 European tour, from which Fripp hoped to record enough pristine material - in concert - to be released as a studio album, with the audience stripped out, He did succeed, mostly - 3/4s of Starless And Bible Black IS actually live in concert, but there is nothing to indicate, or directly state such, on the album or it's credit text! (shades of Zappa manipulation!) Ask any dyed-in-the-wool Crimso fan what are the favorite boots from the F/W/B/C era, and tough call though it is, most of the list will be shows from this European fall '73 tour. The spooky stuff they were doing here is perhaps the ONLY music you will hear from the 70s - off a 'rock stage' - that would presage the outsider experimentation of the 'Downtown' music Eighties. Have I convinced you that you need this, KC fan or not?" WATCHA WAITIN' FO'?" - MannyLunch
27 CD/DVD/BluRay Box Set for only $200 Pre-Order Price [after October 28th will be $225]


HORACE TAPSCOTT QUINTET [With BLACK ARTHUR BLYTHE/DAVID BRYANT/WALTER SAVAGE /EVERETT BROWN] - The Giant is Awakened [LTD Ed of 1,000 - CD only) (International Phonograph /Flying Dutchman 107; USA) Featuring Horace Tapscott on piano & compositions, Black Arthur Blythe on alto sax, David Bryant & Walter Savage on basses and Everett Brown on drums. This was recorded in April of 1969 is one of legendary avant/jazz sessions of the late sixties. Vinyl copies of this gem are incredibly rare and go for big bucks on E-bay if you can find one. The only copy I've ever seen and heard was a scratchy one so now I can finally hear it in all of its glory. 1969 was a heavy year! The sixties had come to an end with both positive and negative vibrations exploding together. The spirit of free jazz and psychedelic music erupted into new blends of varied streams, hence progressive music and jazz/rock would soon take over. On the other side of freedom is responsibility to try and make things better. Horace Tapscott was an influential pianist, multi-bandleader and composer from L.A. This was his first album as a leader and it captures something special, powerful and captivating. This was also the debut for Black Arthur Blythe, as he was known then, an immensely amazing alto saxist who would move to New York a decade later and become a prominent member of the emerging Loft Scene. This album is not free/jazz but passionate, spirit jazz, uplifting and inspiring. Tapscott uses two contrabassists for good reason, a precedent set by John Coltrane in the early sixties and often used by Pharoah Sanders around the time this album was recorded. Often one bassist will play the rhythm team part while the other bows, plucks or solos around him/them. The title track is long (17 & 1/2 minutes) and it is extraordinary. The main theme has a sort of Spanish sounding melody that I find completely gripping. There is one short piece here "For Fats" which was written by Mr. Blythe. The repeating melody is one you won't forget too quickly. Side Two starts with "Dark Tree" which is also the title of an amazing two CD set (by another Tapscott unit) that would be released by Hat Art many years later. each of Mr. Tapscott's piano solos here are magnificent, filled with ideas and telling stories that can't be denied. The band moves in tight waves around him, rising and falling and erupting together. Special thanks to the righteous folks at International Phonograph Records for the Giant is Truly Awakened and will set us all free." - Bruce Lee Gallanter, DMG
CD $20

Speaking of Horace Tapscott and other important figures from the L.A. avant jazz scene from the fifties and beyond, there are/were John Carter (clarinet) and Bobby Bradford (cornet). Both of these men collaborated with Ornette Coleman and/or for Mr. Tapscott. John Carter passed in 1991 but Bobby Bradford is still with us and making great records..!

BOBBY BRADFORD/FRODE GJERSTAD QUARTET - Silver Cornet (Nessa 36; USA) Featuring a stellar line-up: Bobby Bradford on cornet, Frode Gjerstad on alto sax & clarinet, Ingebrigt Haker Flaten on contrabass and Frank Rosaly on drums. L.A cornet legend Bobby Bradford turns 80 this year and has continued to record and perform amazing music for many years. Over the past decade he has risen from a long period of inactivity and can be heard on more than a dozen discs over the past few years. Mr. Bradford and Norwegian reeds great Frode Gjerstad both worked with the legendary British free/jazz drummer John Stevens in a group called Detail during the seventies. There are three recordings of Detail with Bradford, Gjerstad and Stevens and each is superb. Over the past decade and a half, Mr. Bradford and Gjerstad have recorded some eight discs as leaders or co-leaders and each of those are special as well. 'Silver Cornet' was recorded in Baltimore in March of this year (2014) with Bradford and Gjerstad as co-leaders and with an excellent rhythm team: Ingebrigt Haker Flaten (Scandinavian bassist from the Thing & Scorch Trio currently living in Texas) and Frank Rosaly (from Chicago). Both rhythm team mates have worked with Ken Vandermark and other important members of the current Chicago scene. I brought up the histories of both Mr. Bradford and Mr. Gjerstad, since both of these men have crossed the boundaries of American and European free/jazz and worked together for four decades. Their combined efforts and explorations make for some truly inspired collaborations, especially when you keep in mind that this is an international rhythm section as well. This disc consists of just three pieces, two are very long (nearly 20 minutes each). The inventive playing of all four members of this quartet is extraordinary. Although this music often sounds free from the outside, I hear a great deal of focused interaction and shifting strategies. This sounds like a unified effort which moves in waves and unfolds in a most organic way. I love when the quartet winds down to some calm, spacious sections, keeping the balance just right between the extremes. This is one of the best examples of free music which crosses so many borders and is consistently engaging. - Bruce Lee Gallanter, DMG
CD $16


TIPPLE [FRODE GJERSTAD/DAVID WATSON/KEVIN NORTON] - No Sugar on Anything (Circulasione 15; Norway) Featuring Frode Gjerstad on alto sax & clarinet, David Watson on guitar & bagpipes (?) and Kevin Norton on drums, vibes & percussion. This is the third disc from Norwegian sax legend Frode Gjerstad's amazing trio called Tipple. I haven't heard it yet but I know that the first two discs from this often intense trio were both great! Frode is doing a secret gig sometime soon and dropping off copies this Saturday. Can't wait to get my grubby little hands on this!
(Special Sale price until we sell out of initial batch!) CD $10


TYSHAWN SOREY TRIO [With COREY SMYTHE/CHRIS TORDINI] - Alloy (Pi Recordings ; USA) Alloy is the highly anticipated new release from drummer/composer Tyshawn Sorey, his first as a leader since his Oblique-I topped multiple critics' polls as one of the best releases of 2011. Named one of Five Drummers Whose Time Is Now by The New York Times, Sorey has spent a career confounding those expectations. In addition to being one of the most in-demand drummers on the scene, playing with the likes of Vijay Iyer, Steve Coleman, Steve Lehman and Myra Melford, he also holds a masters from Wesleyan University and is currently in the doctoral program at Columbia University studying with esteemed composers Fred Lerdahl and George Lewis. As a sideman, Sorey is known for his impossibly virtuosic technique, mixing rapid-fire playing with power and tumultuous eruptions. He is also well-known among musicians for his mind-boggling ability to effortlessly master even the most difficult written scores. One might expect Sorey's compositions to mirror the vigor of his drum playing, but instead, they more often evince a pensive beauty, with the feeling of wading into deep waters in search of a mystery below the surface. On Alloy, Sorey takes on the jazz piano trio tradition - as exemplified by Bill Evans, Paul Bley and Andrew Hill, in addition to contemporary artists such as Craig Taborn, Jason Moran and Vijay Iyer - and extends the continuum to include compositional influences from classical music such as Morton Feldman, Claude Debussy and Frederic Chopin. He is joined by pianist Cory Smythe and bassist Chris Tordini, who play an egalitarian role in shaping the music. Both have long histories performing Sorey's music, with Smythe appearing on That / Not (2007), Sorey's acclaimed debut as a leader, and Tordini on Oblique-I. Smythe is the rare musician who comfortably straddles the new, classical and improvised music worlds. He is perhaps best known in the classical world for his duo performances with the acclaimed violinist Hilary Hahn - a Seattle Times review of the duo's performance extolled his playing as technically brilliant, artful without excess, supportive without overwhelming. He is a core member of the International Contemporary Ensemble, having given numerous premier performances of works from composers such as John Zorn, Philippe Hurel, George Lewis and Alvin Lucier. As an improviser, Smythe performs with artists such as Peter Evans, Vijay Iyer, Steve Lehman, and Anthony Braxton. Bassist Tordini is best known for his solid and effortless work in Andy Milne's Dapp Theory, the Claudia Quintet, and with the singer Becca Stevens, and has also played and recorded with the likes of Greg Osby and Jeremy Pelt.
CD $15


JOSEPH DALEY [With JASON HWANG/CHARLES BURNHAM/AKUA DIXON/KEN FILIANO /WARREN SMITH/ et al] - Portraits: Wind, Thunder and Love (Joda Music 002; USA) For more than 40 years, Joseph Daley has maintained a sterling reputation as a consummate sideman, bringing his exceptional low-brass talents to the music of a stellar array of heavyweight artists, including Sam Rivers, Gil Evans, Charlie Haden, Carla Bley and Taj Mahal. Three years ago Joseph celebrated his 60th birthday by taking an entirely different direction, revealing his extraordinary abilities as composer/arranger. Like Virtues, the new album is on JoDa Music and features a full string orchestra - eight violins, four violas, four celli, two basses, piano and percussion - on the five movement suite that comprises more than half the album, WISPercussion/Five Portraits of Warren Smith, with a handful of special guests added for the three remaining pieces. The focus of this major work, percussion master Warren Smith is the featured soloist throughout the suite, and also contributes mightily on the rest of the album. Smith, who recently celebrated his 80th birthday - and maintains a teaching and performing schedule that would be challenging for a person half his age - has built a reputation as one of the most creative, versatile and sensitive percussionists in his 60+ years of activity with a staggering range of artists including Miles Davis, Aretha Franklin, Janis Joplin, Lena Horne, Van Morrison, Harry Partch, Leonard Bernstein and scores of others. Here, Joseph has composed a stunning homage, featuring Warren's remarkable musicality on vibraphone, marimba, tympani, gongs and trap drums sequentially on each movement. There's really no point in trying to describe the music by focusing on this melodic line or that solo. The music is a seamless whole - fiery, uplifting, exciting, stimulating, both vehemently rhythmic and evocatively atmospheric; startling at times, soothing at others, but always powerful, transcendent and breathtakingly beautiful. The music draws from an extended palette of influences and styles - 12-tone, Brazilian, African, Classical romanticism, impressionism, jazz from swing to avant-garde (and closes with a foray into Gypsy music that would bring both Django and Bartok to their knees). Despite the array of sources, the music is always cohesive and confluent, perfectly constructed and visualized into the singular focus of its creator. This suite is as vast and powerful as an ocean, with Warren's solos coloring, punctuating and highlighting; sometimes thrusting ahead like a relentless swimmer, and emerging at others like a dolphin soaring above the waves in joyous celebration of its life and essence. His statements are captivating in their lyricism, not only on melodic instruments like the vibes and marimba, but also on tympani, gongs and traps - partly due to the tuning, but even more so by the depths of Warren's impeccable musicianship. The blending is seamless, whether Smith is playing parts within the orchestral context or improvising - essentially creating an astonishing duet between the two men on their respective instruments - Warren with his percussion and Joseph with his orchestral vision. The remaining three pieces are fully realized orchestral compositions, brilliantly conceived and - like all of the music on this marvelous album - flawlessly executed by the ensemble. For these three pieces, the string orchestra is augmented by three diversely disciplined percussionists - Jerry Gonzalez, Satoshi Takeishi and Richard Huntley - while Onaje Allan Gumbs joins the album's pianist Lafayette Harris, with both men adding electric piano to Harris' acoustic. Two of the pieces are, like Wispercussion, forged in the portrait mode that Joseph began on his Virtues album. Shadrack/Portrait of Bill Cole is a dedication to the remarkable multi-instrumentalist in whose ensemble Joseph has been performing for some 40 years. Bill is featured here on the Indian double-reed nagaswaram, whose sinuously penetrating sound swirls vividly throughout the exotic piece, providing the core element in its incandescent radiance. Akua Dixon's cello adds a sarangi-like flavor, providing a delicious dissonance and highly compelling emotional impact to a piece that manages to be both explosive in its intensity, but exquisite in its beauty. Doretha and the Blues/Portrait of Wanda Daley is a paean of love to Joseph's beautiful wife of 43 years. Its winsomely gentle, melodic line flows lovingly in its development, strings atmospherically shadowing the center, before melding into a down home blues mode with Charles Burnham's violin singing somewhere between Stuff Smith and Sugarcane Harris. Joseph's orchestration is both densely sumptuous as Mingus and as lean and mean as Lightnin' Hopkins. The album closes with Industria, a variation on Diligence from The Seven Heavenly Virtues. Taken at a slower, strikingly deliberate pace, Smith's tympani blends with Elektra Kurtis' plaintive violin leading the organically evolving strings into a force of relentless motion. It moves like a spectacular lava flow - irresistible, mesmerizing, blazing, but oh, so incredibly beautiful. The twin basses of Ken Filiano and Ben Brown add viscerally to the darkly luminous texture. A scintillating finale to a magnificent album. While Joseph Daley is truly a composer in the grandest Jazz tradition, his music could - and should - be gracing the concert stages of the world's great orchestras. His music is utterly innovative, yet never abandons the composer's quest for beauty. This is the third of a ten album series that Joseph plans to issue by his 70th birthday. With his first three, he has already forged a permanent place in the splendid orchestral legacy of Jazz.
CD $15


INGRID LAUBROCK & LIAM NOBLE - Let's Call This... (Babel 2661; UK) Featuring Ingrid Laubrock on soprano sax and Liam Noble on piano plus Sebastian Rochford on genetic modifications. German-born saxist Ingrid Laubrock (now living in NY) and British pianist Liam Noble have worked together in Ms. Laubrock's trio Sleepthief as well as in her current octet. This duo disc was released in 2006 but due to the lack of US distribution, we have not offered it until now. This disc is quite a departure for both of these players, first Ms. Laubrock plays exclusively soprano sax rather than her usual tenor plus half of these songs are standards from Thelonius Monk, Charles Mingus, Duke Ellington and Lee Konitz. Since moving to New York a half dozen years ago, Ms. Laubrock has been and remains one of the most important new musicians and composers to watch as she evolves from project to project. Hearing her play standards is something else entirely. Starting with Monk's "We See", both players have a sublime, playful touch and some elegant, quiet touches to this piece. Mr. Rochford adds some eerie echo effects to the four of the improvised (partially written?) duo pieces. On "Alone Together", a popular old chestnut, both musicians plays with exquisite grace and a subtle magic. The pendulum swings back to the more adventurous side for the "The Electric Ant", with some quick spinning piano waves emerging from the calm. Ms. Laubrock sounds a bit like Steve Lacy on a few of these standards which is certainly not a bad thing, especially on the two Monk pieces. Each standard is well selected and superbly played. I especially like this duo's version of Lee Konitz' "Subconscious-Lee", not an easy one to play yet the duo do a splendid, spirited job. A treasure through and through. - Bruce Lee Gallanter, DMG
CD $16 (This label still has no US distribution so thanks to Ingrid for providing us with a half dozen copies. That will mostly be all we will get)


MICHEL DONEDA - Everybody Digs Michel Doneda (Relative Pitch 1027; USA) Featuring Michel Doneda on solo soprano sax. When the album (his second), 'Everybody Digs Bill Evans' was first released in 1959, Bill Evans had just recorded for Miles Davis' 'Kind of Blue' album and was not very well known as of yet. Hence the title was rather ironic. The title and cover of this disc by Michel Doneda is equally similar and rather tongue-in-cheek. While Mr. Doneda is well regarded by his peers on the soprano sax (Evan Parker, John Butcher & Dave Liebman), he is not really well known outside of a small circle of music freaks or afficianados who volunteer at The Stone and sit in the front row as often as is possible. I, myself, am a big fan of Michael Doneda, who I have had the opportunity to hear live on several occasions (Victoriaville & the Vision Fest). Very few reeds players work with the soprano sax only, except for Steve Lacy, Lol Coxhill and San Newsome, and even fewer play solo soprano sax sets. I recall watching Mr Doneda play his soprano with the bell down to the floor as a mute and getting unique sounds from it. The sounds he gets here are equally odd and distinctive. This disc has a focused, rather Erstwhile sound, as each sound is minutely crafted. The air passing through the sax, bits of acoustic feedback, notes stretched out and manipulated only slightly show how much care was put into this recording. This is music that breathes and expands in a most natural way. Is that the tea kettle whistling in the distance? Is this music or just sounds on display? The terminology doesn't really matter since the outcome is so strong and evocative. Like watching another world under the lens of a microscope. Marvelous. - Bruce Lee Gallanter, DMG
CD $14


Five Fine New (and Old) Discs from the Emanem Label:

SPONTANEOUS MUSIC ENSEMBLE [JOHN STEVENS/TREVOR WATTS/DEREK BAILEY/KENNY WHEELER/BRIAN SMITH/JOHNNY DYANI/PETER LEMER/MAGGIE NICOLS/CAROLANN NICOLS] - Oliv & Familie (Emanem 5033; UK) A long overdue reappearance of the third Spontaneous Music Ensemble LP. One version of OLIV features Kenny Wheeler and Derek Bailey soloing over a four-person voice and saxophone drone which is eventually joined by a piano/bass/drums rhythm section. The second version is an improvisation by the quartet of John Stevens, Maggie Nicols, Trevor Watts and Johnny Dyani one of the great early examples of the free improvisation era, and the recording debut of Nicols. Also included are one and a half takes of FAMILIE by an eleven piece group, the earliest recorded example of a large group SME performance. Strongly influenced by Gagaku (Japanese court music), this ensemble comprises two voices, three winds, three strings, piano, guitar, and percussion. 67 minutes - reissue of Marmalade LP 608008 (2384009) plus 31 minutes previously unissued. This is the early days of British free/jazz/improv recorded in 1968 and 1969, all studio recordings. Spontaneous Music Ensemble (SME) formed in 1965/1966 and were always in flux as far as personnel which changed from gig to gig, session to session. You can tell that these musician were working hard on establishing their own way of creating music, free of American influence to a certain extent. This disc consists of two studio sessions with varying personnel. Listening to this music now is leave opening a Pandora's Box of mysterious items which make sense in their own way. Each every disc from SME adds another piece to the jigsaw puzzle history of British free/improv. - BLG
CD $18

STEVE LACY - Cycles Hedges Sands Shots [2 CD Set] (Emanem 5205; UK) Mostly Steve Lacy on solo soprano sax plus duo with a dancer named Pierre Droulers. This double disc set compiles solo soprano sax plus one set with a dancer from fours dates: Novembers 1976 & 1977, Decembers 1977 & 1980.
2 CD Set for $26

STEVE LACY/ROSWELL RUDD/HENRY GRIMES/DENNIS CHARLES + THELONIUS MONK /STEVE LACY/CHARLIE ROUSE/JOHN ORE/ROY HAYNES - School Days - Improvisations on Compositions by Thelonious Monk (Emanem 5016; UK) Soprano saxophonist Steve Lacy's School Days has had a long and checkered release history. Recorded live in New York in March 1963, it was first issued on vinyl by Emanem in 1975 and later reissued on QED, an Emanem pseudonym. It first appeared on CD on Hat Art in 1994, and again on Hatology in 2003. Now, its CD release on Emanem is cause for celebration for several reasons. Most importantly, it puts this wonderful album back in circulation again, where it should be a permanent fixture. School Days consists entirely of Thelonious Monk compositions. Throughout Lacy's recording career, Monk was central to his music. He repeatedly returned to Monk pieces in many different contexts-Lacy's huge discography is dotted with album titles referring to Monk or his song titles. Aside from Monk himself, Lacy was the finest interpreter of Monk's music, and Lacy's own compositions often reveal Monk's influence on him. By the time School Days was recorded, Lacy already had plenty of experience of playing and recording Monk. The crucial element that School Days captured for the first time was the combination of Lacy and trombonist Roswell Rudd a partnership that would endure for decades. Lacy and Rudd both sound rich and full-toned, as their lines weave around each other, seemingly effortlessly. In similar fashion, Henry Grimes on bass and Dennis Charles on drums make the quartet swing. The four together played the compositions straight and had the knack of making them sound flowing and natural-not always the case with others' interpretations of Monk. Compared to past issues of School Days, this one makes some important changes. The sound quality is at least as good as any other issue, often better. For the first time, the pieces are presented in the order they were performed. And, as a bonus to the original album, two live tracks-"Evidence" and "Straight No Chaser"-have been added, on which Lacy is heard performing as a member of Monk's own quintet at a jazz festival in Philadelphia in August 1960. The quintet includes Charlie Rouse on tenor saxophone; while he and Monk get the lion's share of solo space, to hear Lacy playing with Monk puts the original School Days into an interesting context. Yes, School Days has come home, and it is very welcome. - John Eyles, AllAboutJazz
CD $18

PAUL RUTHERFORD TRIO [With PAUL ROGERS/NIGEL MORRIS] - Gheim Live at Bracknell 1983 - Expanded Edition (Emanem 5034; UK) Featuring Paul Rutherford on trombone & euphonium, Paul Rogers on double bass and Nigel Morris on drums. Excerpts from sleeve notes: Caution is a word that Paul Rutherford does not seem to know. His free playing is projected naturally, it is arhythmically designed and it traces a melodically logical root despite being athematic in the traditional sense. Rutherford can be a natural master of extemporisation and he can join horn with vocal tube to create a unique vocabulary of voice and trombone accents. In so doing, he offers a bucolic and unaffected look at free playing. All of this overlooks his sense of humor. His often copied style embraces the flippant as easily as the profound. He shuns musical niceties, invites belly laughs and regards the trombone's natural flatulence as a purgation of pomposity. This recording shows his reliance on tradition as well as his amazingly empirical aspirations. He plays with the alacrity of a George Brunis and delivers his glissandi with the near alcoholic slur of an Honore Dutrey. Yet, he is one of the outstanding modernists of his day. He is backed here by Paul Rogers' naggingly inventive bass and by Nigel Morris' urgent and verbose drum figures. Rogers offers new alternatives throughout this excellent concert work, while Morris moves out from the background to create tense, aggressively conceived patterns that lend shape to the whole performance. The whole is an exercise that does not pander to the hands-together-recognize-the-tune audience, but rather to a listener willing to enter into Rutherford's world of voracious exploration. - BARRY McRAE (1986)
CD $18

STEVE BERESFORD/NIGEL COOMBES - White String's Attached - Improvised Violin and Piano Duets and a Violin Solo (Emanem 5032; UK) These 1979 duo concert performances were generally considered, by a handful of people, to be the most significant advance in violin & piano music for around 200 years. Eugene Chadbourne considers the music to be demented, so you know it must be very special. He went on to say: 'These duets are, above all, truly enjoyable to listen to. The timing is uncanny, as is the sense of drama.' Reissue of Bead LP 16 with 6 more duo minutes plus a 12 minute violin solo. 75 minutes. This disc was actually released earlier this year but there was a problem with the original discs that we got (8% slower than they were supposed to be). This version is the corrected version. Anyone who purchased the earlier version from us, we have the corrected version for you if you want it. Let us know and we will include in a future order.
CD $18


Three from Contrabass Master Peter Herbert:

MAX NAGL/HERWIG GRADISCHNIG/PETER HERBERT/MICHAEL VATCHER - A Day in My Life (Cracked an Egg 0050; EEC) Featuring Max Nagl on alto sax, Herwig Gradischnig on tenor sax, Peter Herbert on bass and Michael Vatcher on drums. This is Peter Herbert's most recent effort having been released this year (2014). I know of Austrian saxist Max Nagl through his many discs on the Rude Noises and Hatology labels. American-born drummer Michael Vatcher has been living in Amsterdam for many years and has worked with many of the best Dutch (& Dutch-based) players like Maarten Altena, Michael Moore and Michel Braam. Three of the four members of this quartet (not the drummer) each contributed two pieces along with one group improv and one cover of a Beatles song ("A Day in the Life"), of all things. All but one song was recorded in a studio in Vienna. The music here is all consistently free and very varied. "Dragged a Comb Across My Head" has one of those Tristano like double sax themes with the bass at the center. Very familiar sounding and pretty cool. On the next piece, "Unterwegs", the two saxes sound quite like Lee Konitz and Warne Marsh, both of whom worked with Lennie Tristano. Both Mr Gradischnig (on tenor) and Mr.Nagl (on alto) takes some fine, laid-back, slow-burning solos. I dig the way this quartet take the Beatles classic closer for 'Sgt Pepper's' and turn it inside-out. The song always a quirky structure and it fits the way this band plays just right. What this disc interesting is theway these tunes are arranged with somber yet unexpected twists and turns. The sax solos are consistently strong without ever having to scream or erupt. Most impressive in its own way. - Bruce Lee Gallanter, DMG
CD $10

PETER HERBERT - Naked Bass (Buzo 508356; EEC) This is Austrian bassist Peter Herbert's rare solo contrabass offering. Mr. Herbert asked a few other bassist to write pieces for him so there are works here by fellow bassists Mark Helias, Joelle Leandre and Mark Dresser. Each of the fifteen pieces here show Mr. Herbert's wide range of sounds and approaches to playing the contrabass, each piece a different part of a puzzle. What becomes more apparent on each piece is/are the many ways to play an acoustic bass. Plucking, bowing, soft, loud, intense, funky, melodic, free, rhythmic (banging on the bass or strings), lovely, sad or crazy: each approach evokes a different vibe or scene. Some sounds or melodies sound familiar, some alien or odd. This disc is much more diverse and captivating that you might think and the price is right at..
CD $10


PETER HERBERT With WOLFGANG MITTERER/ENA/KOEHNE QUARTETT - Joni - 12 Songs by Joni Mitchell (Col Legno 30005; EEC) Featuring Peter Herbert on double bass, Ena on vocals, Wolgang Mitterer on electronics and the Koehne (string) Quartett. As a longtime fan of singer/songwriter Joni Mitchell, since the very beginning in 1968, I wasn't sure what to make of this disc when it was released in 2011. I dug every album Ms Mitchell made from he folks days through her jazz period and beyond. It wasn't until her 11th album, 'Wild Things Run Fast' in 1982, that I felt she had lost me. For this disc, Mr Herbert chose songs from across Ms. Mitchell's long career. The unique instrumentation of acoustic bass, voice, string quartet and electronics is certain an odd combination. I hadn't heard of singer Ena before this disc but she does a fine job. Besides Ms. Mitchell's distinctive voice, it is also her unique and oddly tuned guitar playing that is featured on the majority of her songs. Instead, Mr. Herbert uses his own bass playing to accompany the voice on all the songs here. What is interesting is that Mr. Herbert has chosen a few songs from Ms. Mitchell's lost (or under-appreciated) albums that I mentioned earlier. Ms. Mitchell evolved into a jazz phase for here records like 'Mingus' and 'Hejira', her voice changing but still retaining her unique sound. Ena sounds quite a bit like Ms. Mitchell during this period. It is Mr. Herbert's inventive arrangements as well as playing that really bring the best out of each of these songs without losing their original spirit. The electronics of Wolfgang Mitterer are often used minimally but still do a fine job of enhancing certain parts of these songs just right. Quite impressive nonetheless. - Bruce Lee Gallanter, DMG
CD $10


Six Swell Sale CDs from Danish pianist Jacob Anderskov:

ANDERSKOV ACCIDENT [JACOB ANDERSKOV et al] - Full Circle (Ilk 178; EEC) The album Full Circle documents an unforgettable concert in Copenhagen, February 2011, at the end of a European tour. Expect Anderskov Accident at its best - visionary, spiritual, and enchanted by some incredible musicians. Featuring: Kasper Tranberg on trumpet & flugelhorn, Laura Toxvaerd on alto sax, Mads Hyhne on trombone, Jacob Anderskov on Wurlitzer electric piano, Nils Davidsen on bass and Tom Rainey on drums. "For those who still didn't know, there is by now no way around realizing that Jacob Anderskov belongs to the most extra-ordinary artists of contemporary music... A high point in improvised Music..." - Hans-Jurgen von Osterhausen, Jazz Podium, Germany.
CD $10.00 7 for 6 SALE.

JACOB ANDERSKOV AGNOSTIC REVELATIONS With CHRIS SPEED/MICHAEL FORMANEK/GERALD CLEAVER - Agnostic Revelations (Ilk 163 ; EEC) The quartet here features Chris Speed on tenor sax & clarinet, Jacob Anderskov on piano & compositions, Michael Formanek on acoustic bass and Gerald Cleaver on drums. The first piece, "Warren Street Setup" is a short, spacious group improv and the only piece not composed by Anderskov. The suspense and subtly here are quite breathtaking. "Be Flat & Stay Flat" is also laid back and dreamy, with eerie bowed bass in the distance and skeletal piano playing those sparse melodic fragments, the cymbals softly sizzling. Gerald Cleaver's sublime mallet-work is featured on "Pintxos for Varese" with the suspense and spaciousness slowly building throughout the piece. This music is quietly intense, vibrant and often filled with drama. The pieces seem to drift into a fog-filled world of ultra-subtle shifts. It sounds as if Jacob has chosen just the right musicians to bring life and creativity to this thoughtful music. I felt as if I were relaxing in someone else's dream, lazily waiting for time to softly unfold... - Bruce Lee Gallanter, Downtown Music Gallery
CD $10.00 7 for 6 SALE.

JACOB ANDERSKOV AGNOSTIC REVELATIONS With CHRIS SPEED/MICHAEL FORMANEK /GERALD CLEAVER - Granular Alchemy (Ilk 195; EEC) "Jacob Anderskov on piano & compositions, Chris Speed on tenor sax & clarinet, Michael Formanek on bass and Gerald Cleaver on drums. Over the past decade, pianist Jacob Anderskov has been one of the most prolific musicians to emerge from Denmark with more than 20 discs as a leader and collaborator. For this disc Mr. Anderskov has chosen an all-star American quartet with three musicians who have worked with Tim Berne at one time or another. This is their second disc together. Each of the pieces on this disc is named after basic elements in nature, "Sediments", "Sand", "Metal" and "Suite: Wind/Skin". The first piece is a sublime, hypnotic work featuring Speed's playful yet expressive clarinet with the piano-led rhythm team playing crashing waves underneath. Anderskov's piano solo is a pure, exquisite delight. 'Granular Alchemy' sounds quite a bit like the recent disc by Michael Formanek on ECM, which also features a quartet with the same instrumentation (except for tenor sax instead of alto). Still, this quartet does work extremely well together and sounds as if they have been playing for many years working as one solid creative force. When Mr. Anderskov gets his chance to stretch out, he shows how much of expressive and creative pianist he really is." - Bruce Lee Gallanter, Downtown Music Gallery
CD $10.00 7 for 6 SALE.

JACOB ANDERSKOV With CHRISTINE PRYN/ANETTE SLAATTO/IDA NORHOLM/PETER BRUUN - Strings, Percussion & Piano (Ilk 206 ; EEC) Featuring Jacob Anderskov on piano & compositions, Christine Pryn on violin, Anette Slaato on viola, Ida Nordholm on cello and Peter Bruun on drums. This is mainly a studio date recorded in Oslo in May of 2012 with one live piece from recorded in Copenhagen a few months later. To say that Danish pianist Jacon Anderskov is prolific would be putting it mildly, as he can be found on more than twenty discs in solos, duos, trios situations. For this disc he uses a string trio plus a drummer, something different than usual. I am not familiar with the string players here but do know of drummer Bruun from his work with Mold, the Trees, Django Bates and Marc Ducret. "Soil" is a stark (at first), haunting piece for contemplative strings, melancholy piano and skeletal drums. Today (July 11. 2013) is an overcast, grey day without that simmering heat or humidity that has plagued the rest of the week. The music here seems perfect for the break in our current heat-wave, sad yet touching and just a bit eerie. "Impermanence I" has a freer, more playful sound and is the one live piece, fits nicely within the rest of the written pieces. This entire disc has a more moody, laid back vibe, showing off Anderskov's writing abilities with few if any solos involved. Time to take a walk and search for some sunlight. - Bruce Lee Gallanter, DMG
CD $10.00 7 for 6 SALE.

JACOB ANDERSKOV/JAKOB RIIS - An Auf (Ilk 132 ; EEC) ) Featuring Jacob Anderskov on piano and Jakob Riis on computer. If a sole android in an urban desert is recalling its early hallucinogenic experiences, will there be a sound? And if there were, what would it sound like? Piano improvisations are fed into the computer in real time, processed into an unrecognizable cast back at the piano to interact live with more improvisation, which in turn again enters the computer, where it collides with the stuff that's already there, changes form again, comes out once more, interacts, generally accelerating the exchange rate of the material, until feed back becomes a way of living or at least a way of listening. Is this Aleatronica? Every track was recorded in real time. Actions and reactions were taking place in the order and phrasing in which you hear them.
CD $10.00 7 for 6 SALE.

FRANK GRATKOWSKI/JACOB ANDERSKOV - Ardent Grass (Red Toucan 9340 ; Canada) Recorded at The Loft in Koln in 2009 [+ one cut from 2008]. Featuring Frank Gratkowski on alto sax, clarinet & bass clarinet and Jacob Anderskov on piano. Both of these musicians are veterans of many previous sessions and groups. Our database lists Mr. Gratkowski on some 50+ discs from duos (with Hamid Drake, Misha Mengelberg or Georg Graewe) to trios and quartets. Mr. Anderskov is Danish and records mostly for ILK label also performs solo, as well as in duos, trios and larger groups.
CD $10.00 7 for 6 SALE.


NURSE WITH WOUND - Terms and Conditions Apply [2 CD Set] (Dirter Promotions 105; UK) A release that collates Nurse With Wound material from the period 2008-2011. Including for the first time digitally The Bacteria Magnet and Rushkoff Coercion EPs, previously-unreleased remixes and exclusive tracks. Comes in a deluxe 6-panel digipak with art from Babs Santini.
2 CD Set $22


Reissue, Archival, Historic Vinyl Section:

DON CHERRY - Eternal Rhythm (MPS 53161; USA) Gatefold exact repro reissue of Don Cherry's classic Eternal Rhythm Group, recorded at the Berlin Jazz Festival, 1968. An amazing line up of: Cherry (cornet, gender and saron [gamelan], flutes), Albert Mangelsdorff (trombone), Eje Thelin (trombone), Bernt Rosengren (tenor sax, oboe, clarinet, flute), Sonny Sharrock (guitar), Karl Berger (vibes, piano, gender), Joachim Kuhn (piano, prepared piano), Arild Andersen (bass), & Jacques Thollot (drums, saron, gong, bells, voice). Two "side-long" pieces with gamelan underlining for the perfect gush of cosmic interlude.
LP $14


THE MOTHERS OF INVENTION - Wollman Rink, Central Park, NY, August 3rd 1968 (Keyhole 9020; UK) Double LP version, pressed on 180 gram vinyl. This superb set documents The Mothers Of Invention's appearance at the 1968 Schaefer Music Festival, sponsored by the Schaefer Brewing Company and held at the Wollman Skating Rink in New York City's Central Park. In exchange for $4,000 and what the contract described as "100% star billing," Zappa and his cohorts played two exhilarating 40-minute sets (at 8:00pm and 10:30pm), taking in early material, pieces that had yet to be recorded, and some that never would be. Remastered sound. Background notes and photos included.
2 LP Set $32


GIL SCOTT-HERON & BRIAN JACKSON - 1980 (Arista 9514; USA) "Loaded with perceptive and poignant observations on the state of America as it advanced into a new and uncertain decade, 1980 is a powerful final album of the 1970s for Scott-Heron and his partner Brian Jackson. Amazingly, Scott-Heron's focus at the close of the decade is strikingly similar to his focus on his 1970 debut, Small Talk at 125th and Lennox; namely that social and political change has yet to come to many Americans, despite the advancements in technology and other seemingly less significant realms. The enemies are the same: nuclear power and big business ('Shut Um Down'), oppressive governments ('Shah Mot'), and racism ('Willing'). On the title track, Scott-Heron's gaze is set on the future with an eye on the past as well." --All Music Guide
LP $14


GIL SCOTT-HERON - Moving Target (Arista 9606; USA) Reissue of Gil Scott Heron's Moving Target, originally released in 1982. "Gil Scott-Heron's last proper album for more than a decade, Moving Target was recorded after a period of intense touring (hence the title) and, perhaps understandably, finds the Midnight Band playing a larger role than usual. It also may reflect the group's travels, as the typical, tastefully jazzy R&B and funk grooves -- like set-opener 'Fast Lane' and 'Explanations' -- are supplemented with more exotic sounds." --All Music Guide
LP $14


SON HOUSE - The Real Delta Blues: 14 Songs From the Man Who Taught Robert Johnson (Blue Goose 2016; USA) 1974 collection of Delta blues legend Son House. "...a cross-section of the most effective House material his co-discoverer Nick Perls privately taped in the early sixties... On this set of recordings (some made in private homes, others at a now-defunct Washington, DC coffeehouse where House, John Hurt, and Skip James all once held court) House often sang as if there were no audience, other than himself."
LP $14


SON HOUSE/J.D. SHORT - Delta Blues (Folkways FTS 31028; USA) Reissue of this 1963 collection of recordings from Son House and J.D. Short, including House's recordings for Alan Lomax. "Unknown to him at the time, House's recordings for Alan Lomax represented his musical farewell to the delta as his home... and preserved for all time the anguish, the frustrations, the bitterness and tormented melancholy of the Delta."
LP $14


SKIP JAMES - Devil Got My Woman (Stardust 3666; USA) "Born in 1902 to a preacher near the small town of Bentonia Mississippi, Nehemiah Curtis Skip James became synonymous with the unique tunings and finger-picking style of Delta blues, later dubbed the Bentonia School. With fire and brimstone in his heart, and the Mississippi blues in his soul, James toiled in relative obscurity for most of his life but his dark, brooding songs were rediscovered in the 60s by rabid blues enthusiasts from across the pond, including one Eric Clapton who recorded James's 'I'm So Glad' for the first Cream album. This vinyl compilation contains not only that track but several of James's best known compositions, from the melancholic 'Devil Got My Woman' to the gospel 'Jesus Is A Mighty Good Leader' and a whole lot more."
LP $14


JOHN HOOKER - On the Waterfront (Wand Records WDS 689; USA) John Lee Hooker recorded several covers of the song "I Cover the Waterfront," one of which appears here. Exact repro, originally released in 1970.
LP $14


STICKS McGHEE/JOHN LEE HOOKER - Highway of Blues (King/Audio Lab 1520; USA) Collection from King Records' Audio Lab subsidiary, originally released in the early '60s. The first side is Tennessee blues guitarist Stick McGhee (whose Folkways album On the Road with Sonny Terry and J.C. Burris was released in 1959).
LP $14


SUN RA & HIS MYTH SCIENCE ARKESTRA - Interstellar Low Ways (Saturn 203; USA) Originally titled Rocket Number Nine. Tracklisting: Onward, Somewhere in Space, Interplanetary Music, Interstellar Low Ways, Space Loneliness, Space Aura, Rocket Number Nine Take off for the Planet Venus. Recorded at various locations, Chicago, late 1960.
LP $14


ARCHIE SHEPP - A Touch of the Blues (Fluid Records 102; USA) Featuring Archie Shepp with Joe Lee Wilson (vocal), Siegfried Kessler (piano), Cameron Brown (bass) and Clifford Jarvis (drums).
LP $14


EXTENDED VERSIONS - Same (Cien Fuegos 005; Austria) The Extended Versions were one of THE bands in the early '90s in Austria, combining avant-garde, politics, electronics and rock. After two regular albums, they worked as The More Extended Versions with Robert Wyatt for two more albums. Christof Kurzmann later founded the label Charhizma, is active today in the groups Made To Break (with Ken Vandermark), El Infierno Musical, Magic I.D., and others. Christof Kurzmann (bass, vocals, saxophone, sampler); Helmut Heiland (guitar, bass, drum computer). Remastering 2014 by Martin Siewert.
LP $27


About six months ago, one of DMG favorite customers David Peck (a/k/a PEK) left us with a dozen discs from his old ensemble Leap of Faith, a Boston-area improv ensemble that he was/is a part of for more than a decade. I reviewed about 10 of these discs and sold a number of them as well to DMG's demanding audience. Mr. Peck just sent us another four discs from his archives which are listed below. Here's the list, I will review each of them in weeks to come - BLG

PEK/THE POINTY-TOES ENSEMBLE - Expansions by PEK [DVD] (Evil Clown 9005; USA) Music for ten instrumentalists and four engineers. 90 minute performance from September of 1994 (MP3 file); scores, photos and a 40 minute video. DVD $15

LEAP OF FAITH [GLYNIS LOMON/PEK/CRAIG SCHILDHAUER] - Elliptical Eccentricity (Evil Clown 9000; USA) Featuring Glynis Lomon on cello & voice, Pek on saxes, clarinets, bassoon & voice and Craig Schilhauer on bass.
CD-R $10

LEAP OF FAITH [GLYNIS LOMON/PEK/CRAIG SCHILDHAUER] - Computations (Evil Clown 9001; USA) Featuring Glynis Lomon on cello & voice, Pek on saxes, clarinets, bassoon & voice and Craig Schilhauer on bass. Recorded at New Directions Cello Festival at Berkelee College of Music in August of 1996. CD-R $10

EQUILIBRIUM [With PEK/JAMES COLEMAN/TATSUYA NAKATANI + CHARLIE KOHLHASE/MATT LANGLEY] - Fitness Landscapes (Evil Clown; USA) Featuring Pek on saxes, clarinet & bassoon, James Coleman on theremin, Tatsuya Nakatani on percussion plus added on one long track: Charlie Kohlhase & Matt Langley on saxes. Recorded live at Mass Art In Boston in September of 1999.
CD-R $10




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