A Small but Engaging Stack of Discs from

Anthony Braxton & The Italian Instabile Orchestra, Ken Vandermark's Resonance Ensemble LP only Disc, The Revolutionary Ensemble Final Live CD, Amiri Baraka + Dinamitri Jazz Folklore, Guitto Gargle and even more treasures...



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It is the New Year and there are certainly reasons to be hopeful. I know that many of us are waiting for a new era to happen and it will if we all try and make this world a better place. On a sad note, we've lost a number of great musicians over the past few weeks, Freddie Hubbard, Davey Graham, Lars Hollmer and earlier this week Ron Asheton..

FREDDIE HUBBARD was one of the greatest of all modern jazz trumpeters. He played faster, sharper and with more intensity than most of his peers. He is on dozens of amazing records during the sixties, as well as being a leader and recording for Blue Note, Atlantic and CTI. Here's a list of my favorites:
1.ERIC DOLPHY - Out to Lunch (Blue Note)
2.ANDREW HILL - Compulsion (Blue Note)
3.HERBIE HANCOCK - Empyrean Islands (Blue Note)
5.WAYNE SHORTER - The All Seeing Eye (Blue Note)
6.FREDDIE HUBBARD/ILHAN MIMAROGLU - Sing a Song of Songmy (Atlantic)
7.FREDDIE HUBBARD - Blue Spirits (Blue Note)
8.FREDDIE HUBBARD - Red Clay (CTI)

British acoustic guitar hero DAVY GRAHAM was perhaps the most influential of acoustic guitar virtuosos who emerged in the sixties. Davy was the first darevdevil guitarist to combine folk, jazz and ethnic influences in the early sixties. He was a profound influence on John Renbourn, Bert Jansch, Paul Simon (who covered his song "Anji"), Richard Thompson and Jimmy Page. Over the last decade, a couple of British labels have finally reissued most of his back catalogue. Davey Graham was 68 when he passed. Here's a short list of recommendations:
1.DAVEY GRAHAM - Folk, Blues & Beyond (Fledg/ling)
2.SHIRLEY COLLINS & DAVEY GRAHAM - Folk Roots, New Routes (Fledg'ling)
3.DAVEY GRAHAM - After Hours (President)
4.DAVEY GRAHAM - Large as Life and Twice as Natural (Fledg'ling)

LARS HOLLMER was the leader of the wonderful name-changing, shapeshifting Swedish progressive band Samla Mannas Mamma or Von Zamla. Lars was a fine multi-keyboard player, as well as an accordionist. Samla started out around 1970 and recorded some ten albums throughout their long career. They broke up in the early eighties and reformed in the last decade. I helped to get them a gig at the Knitting Factory with Dr. Nerve and they were amazing. Lars was also a member of Accordion Tribe (3 great discs on Intuition) with four other accordion players, each from a different background. Besides that, Lars recorded about eight fine solo discs and collaborated with Fred Frith (on 'Gravity'), Tatsuya Yoshida and Fanfare Pourpour. What I dug most about Lar Hollmer and Samla was that their music always had a sense of humor and an earthy charm, rare for a progressive artist or band.

RON ASHETON played lead guitar for The Stooges, Detroit power/punk quartet who made two seminal albums in 1969 & 1970. When I first heard them in 1969 and saw them play on a TV show called 'Mid-Summer's Night Rock Festival' with Alice Cooper, Mountain & Traffic, I thought they were a joke. Their crazy lead singer, Iggy Pop, leaped into the audience, road on top of the crowd and smeared his chest with peanut butter!?! It wasn't until the late seventies. after going through my prog-head and jazz-snob stages, that I was able to appreciate the raw power of the Stooges. Thanks to Television, Talking Heads, Elvis Costello, the Clash and Iggy Pop, I could de-evolve and dig their primal force. I was asked by a friend of Ron Asheton's to book his band Dark Carnival, so I did get them a couple of gigs at the old Knit and at Maxwells. They totally rock the house and it did me proud. I spoke with Ron at length at those gigs and got to meet their sexy singer, Niagara, which was a blast. It turns out that Ron was an especially nice guy, totally unpretentious. Many of us were elated when the Stooges finally reformed with Mike Watt on bass, Ron on lead guitar, his brother Scott Asheton on drums and Iggy on vocals. I caught them at Jones Beach with Sonic Youth, which was a weird place to see them. Even better was seeing them last year all the way uptown at the Palace. The Stooges was f**king incredible! Loud, rockin' hard and Iggy was as crazy as ever, contorting his body, constantly moving and even inviting the audience on stage. Ron Asheton's guitar was breath-taking that night, the dangerous spirit of rock 'n roll was there and it kicked out collective asses! A toast to Ron Asheton from those who appreciate what he did. He will not be soon forgotten.

- Bruce Lee Gallanter, Downtown Music Gallery


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ANTHONY BRAXTON & ITALIAN INSTABILE ORCHESTRA - Creative Orchestra (Bolzano) 2007 (Rai Trade 13; Italy) Superbly recorded live at Alto Adige Jazz Festival in Bolzano, Italy in June of 2007 and featuring Anthony Braxton on alto sax, sopranino sax & conduction, Gianluigi Trovesi, Daniele Cavallanti, Carlo Actis Dato & Eugenio Colombo on reeds; Pino Minafra, Alberto Mandarini & Guido Mazzon on trumpets, Giancarlo Schiaffini, Sebi Tramontana & Lauro Rossi on trombones; Martin Mayes on French horn, Emanuele Parrini & Paolo Damiani on strings, Umberto Petrin on piano, Giovanni Maier on bass and Vincenzo Mazzone & Tiziano Tononi on drums. Wow, what a line-up!?! Considering that we just listed (last week) some dozen discs (including five box sets) from Mr. Braxton that were released in the past year, I shouldn't have been surprised to find yet another treasure in the mail this week from the fine folks at Rai Trade. Many of the musicians in this fine orchestra are leaders on their own, as well as master instrumentalists. No doubt you should recognize the mighty names like Pino Minafra (CD's on Victo & Leo), Gianluigi Trovesi & Umberto Petrin (ECM, Soul Note & Splasch), Daniele Cavallanti & Tiziano Tononi (Splasch & Long Song) and Carlo Actis Dato (Leo & Splasch). The Italian Instabile Orchestra are the premiere composers and players orchestra of Italy and feature a most impressive line-up of Italy's finest musicians. Each of their half dozen discs is a marvel of creative playing, impressive composing and constant ingenuity.
Their last disc featured the great Cecil Taylor on piano and directing, while this one has the equally engaging Anthony Braxton playing saxes and directing four of his challenging compositions. Mr. Braxton chose pieces from the earlier part of his long career like Compositions "No. 59 & 63", as well as from the midpoint like Compositions "No. 92 & 164". Listening to these pieces, all appear to challenging in different ways. "Comp. No. 63" opens with dense layers that float around one another gracefully. Braxton is master of constantly shifting sonorities and this orchestra is the perfect vehicle for his various lines to intersect. A number of short yet inspired solos emerge (bari sax, acoustic bass, violin) from the different waves that Braxton conducts. Mr. Braxton's compositions often seem to balanced between written and freer passages, interconnected solos and layers of connected themes. "Composition No. 92" actually swings in a most twisted sort of way and in an unexpected delight complete with strong solos from the trombone and flourishes of other instruments rising and falling into the currents. Umberto Petrin starts "Composition No. 164" with some intense piano, while the other players swirl around him. Different combinations of musicians blend, connect and move around one another cautiously while different harmonies emerge. No matter how chaotic any one section becomes, there is a constant underlying thread that holds this together. Mr. Braxton makes demands of his musicians and his listeners, both of us must work to hear all of the many wonders that are hidden within this music. Considering that it is only the first week of January, 2009, should we be surprised that we already have a contender for disc of the year!?! [though no doubt not the only one] - BLG
CD $17

DINAMITRI JAZZ FOLKLORE & AMIRI BARAKA [LEROI JONES] - Akendengue Suite (Rai Trade 12; Italy) Featuring Amiri Baraka's poetry recitation, Dimitri Grechi Espinoza on alto sax, Beppe Scardino on bari sax, Emanuele Parrini on violin, "Pee Wee" Paolo Durante on Hammond organ & Fender Rhodes el. piano, Gabrio Baldacci on guitar, Simone Padovani on percussion and Andrea Melani on drums. Considering that I hadn't heard any of these young Italian players before this disc, I was again pleasantly surprised by this fine offering. The violinist-Mr. Parrini, it turns out, is also a member of the Italian Instabile Orchestra, whose new disc with Anthony Braxton, we also just received. My first question when I saw this disc was, what does the controversial poet, Amiri Braka, have in common with this young Italian septet? It turns out that their leader and composer, Dimitri Espinoza, has studied at length and been influenced by African culture, referencing quotes in the liner notes. Dimitri has done a most impressive job of composing the diverse music throughout this dynamic disc and backing Amiri's words with constant care and creativity. "Kongo Bells" features just percussion and violin along with Baraka's poem "Speech #38" which deals with the black slang that started in the bebop era and evolved through the spiritual/free jazz era. A most effective opening. Beppe's sly bari sax opens "Ming Blue", a swell, bluesy piece with some fine sax and violin harmonies. The band is both tight and laid back at the same time with a most haunting melody that they repeat until we feel satisfied. The title track, "Akendengue" features another righteous poem from Amiri about ghosts and slaves. The music has a most hypnotic marching groove, matching Amiri's strong words just right. The second half of this great piece features some sumptuous, slow-burning rockin' electric guitar and earthy organ. "When Tony Was in Africa" refers to American reeds hero, Tony Scott, whom this disc is dedicated to and it features some strong but restrained bari sax. Throughout this fine disc, both percussionists do a fabulous job of creating textures and varied ethnic rhythms. Amiri Baraka is featured on about half of these pieces, his voice and wordswell selected and so well-matched by the music that accompanies him. Dimitri's music is a constant source of wonder - extremely memorable and spirited from the beginning to the end. This gem is prettyf**king great, especially since most of the names are new to us. - BLG
CD $17


GUITTO GARGLE - Guitto Gargle (NuBop 06; Italy) Featuring Piero Bittolo Bon on sax, flute & clarinet, Simone Schirru on guitar, Alberto Fiori on piano, Silvia Bolognesi on contrabass and Simone Sfameli on drums. Last month, one of the members of this Italian quintet left me with a copy of this disc and again I was knocked by yet another fine Italian modern jazz unit. Although I wasn't familiar with any of the members, it turns out their bassist Ms. Silvia Bolognesi, has studied with William Parker and has worked with Sabir Mateen. All of the songs on this disc are originals written by members of the quintet. Piero's "Gallus Dixit" opens with a slightly bent Monkish melody. I dig the way the piano, guitar and sax play around with the theme, completing each other's lines. On "Gris Collera," the group play the quirky theme quickly while both the guitar, sax & piano all take inspired, somewhat twisted solos. Silvia's "L'alieno" has a free yet dreamy vibe with Alberto on haunting electric piano. The beginning of "Luxia" has an punk/funk groove and it is hard-hitting and exciting with some burning sax and guitar over a super tight rhythm team. Every song on this disc draws from a different inspiration and you never know what direction will pop up next - jazz, rock, soundtrack music, Satie, dreamy silk and even some spikes...
Guitarist Simone Schirru likes to alter the sound of his guitar on each song to give the band a different vibe on each piece. The rhythm section is equally impressive, flexible and elastic, constantly changing and reinventing themselves throughout, sometimes laying out to let the other three frontline players do their thing. "Histerica Sed" sounds like Pachora playing one of those difficult start & stop Masada-like songs with a great wailing guitar solo thrown in. "Tigregorilla" even sounds like acoustic Masada when Joey Baron plays with his hands. The final tune has an odd robotic groove with strange bari sax and guitar lines played against a feisty piano solo. It almost sounds as if two songs are being played simultaneously, yet it comes together and then burns furiously. This is certainly one of the best debut discs I've heard in a longer while and it is filled with many delightful surprises. - BLG
CD $17



KEN VANDERMARK RESONANCE ENSEMBLE With DAVE REMPIS/STEVE SWELL/MAGNUS BROO et al - Resonance Ensemble: Live At Maria Zankovietska Theatre, Ukraine [Lte Ed of 500 + poster] (Not Two 800; EEC) [Limited Edition of 500/Numbered] Featuring Ken Vandermark, Dave Rempis, Mikolaj Trzaska & Yuriy Yaremchuk on saxes & clarinets, Magnus Broo on trumpet, Steve Swell on trombone, Per-Ake Holmlander on tuba, Mark Tokar on bass and Tim Daisy & Michael Zerang on drums & percussion. Recorded at the Maria Zankovietska Theatre in the Ukraine on November 17th, 2007.
When composing for a group, Ken Vandermark as a rule takes into account factors such as each musician's approach to improvisation, personal tastes and individual sound. So when he chose to compose for a tentet that included musicians who were virtually an unknown quantity to him - musicians such as Polish saxophonist & clarinetist, Mikolaj Trzaska and the Ukrainian duo, Yuriy Yaremczuk on reeds and Mark Tokar on bass - it could have been seen as a foray into relatively unknown territory. And it was to an extent, although the leader had already forged an intimate understanding with some of the musicians who were involved - percussionist Tim Daisy and saxophonist Dave Rempis are after all fully-fledged members of the Vandermark 5 and Ken has worked with Swedish trumpeter Magnus Broo in the Four Corners project. He is also familiar with the work of tuba player Per-Xke Holmlander and percussionist Michael Zerang as they play together in Peter BrXtzmann's Chicago Tentet. But nobody in the tentet - extraordinarily, given his reputation and work ethic - had previously performed with New York-based trombonist, Steve Swell.
Vandermark completed the majority of the arrangements over the six day period before the group arrived. Some of the compositions had been sketched out previously and others were inspired by the atmosphere and people Ken associated with Krakow, the historic old city that has become his second home. When the musicians arrived, they found themselves immersed in a punishing schedule that started with daily rehearsals that started at 10am X sharp. Although always open to musically justified new ideas, Vandermark called for extraordinary precision in these rehearsals. So it was unsurprising that many of the musicians really let off steam in the freely improvised evening sets that followed the rehearsals. But it didn't stop there. Many of the musicians espoused sleep after the evening sets in favour of bison-grass-vodka-fuelled discussions about music that lasted well into the night.
At the end of the week, music fans from all over the region flocked to the concerts in Lviv and Krakow that the musicians had been rehearsing for over the preceding five days, one group even chartering a jet from Georgia. At the end of the week, when it was time to say goodbye, the bonds formed between some of the musicians were so strong that some couldn't contain their tears. But for many of these artists it was adieu rather than farewell as many intend to build on their Resonance experience by collaborating with each again in the future. - Philip Palmer, Jazzwise
LP $30


A new - and last - Revolutionary Ensemble recording!

REVOLUTIONARY ENSEMBLE [LEROY JENKINS/SIRONE [NORRIS JONES]/JEROME COOPER] - Beyond the Boundary of Time (Mutable 17532; USA) Featuring LEROY JENKINS (violin), SIRONE (bass) and JEROME COOPER (drums, balaphone, chiramia, Yamaha PSR 1500). 'Beyond the Boundary of Time' documents the last live performance of the legendary Revolutionary Ensemble before Leroy Jenkins's death in 2007. This recording was made of a performance on May 25, 2005 in Warsaw, Poland.
In the 1970's, the Revolutionary Ensemble introduced New York to decided musical advances, many pioneered by Chicago's A.A.C.M. musicians. Former Chicagoan Leroy Jenkins, who played violin, of all unheard-of modern jazz instruments, had formed his concept from classical, swing, blues, and modern elements and had been one of the radicals who discovered new concepts of sound, space, and musical relationships in the late 1960s. Jerome Cooper had been a somewhat later Chicago explorer, while Sirone's freedom of motion had grown out of work with the most visionary New Yorkers. Extensive rehearsal led this cooperative trio to a shared, free sense of dynamics, momentum, and form, and a wholly unique sound: their instrumental recombinations yielded a surprising variety of textures and colors. Most of all, these highly sophisticated personalities played together to create an ensemble music even larger than the sum of its parts.
CD $14

still available..

REVOLUTIONARY ENSEMBLE [LEROY JENKINS/SIRONE [NORRIS JONES]/JEROME COOPER] - And Now... (Pi 13; USA) Will wonders never cease!?! "and now" is the incredible new studio offering from one of guiding lights of the sixties avant-jazz legends, The Revolutionary Ensemble. Their distinguished personnel was and still is Leroy Jenkins on violin, Sirone on acoustic bass and Jerome Cooper on multi-dimensional drums, percussion and other assorted oddities. The Revolutionary Ensemble recorded 5 rare records in the late sixties/early seventies, only one of which is in print on CD, 'The Psyche' on Mutable. After some twenty years, they returned for a triumphant reunion set at this year's Vision fest in May and are now back to stay. What's fascinating about this music is that although it is mainly improvised, a great deal of rehearsal and skeletal charts give this music its magical focus. It blends many extreme elements: fragile, gnarly, outside, inside, intense and sublime into a unified group sound. The overall sound and production is also marvelous, balanced just right. It is quite rare for an avant-jazz unit from over two decades ago, to get back together and sound as if they never left, but this is indeed the case here. Their nearly 21 minute epic, "911-544" has Jerome playing some strange keyboard, piano and double reed, while Leroy bends notes on a harmonica, as well as some mysterious doubling bowing both strings. This piece is completely mind-blowing and reminds me of the way Sun Ra often prepares us for space travel with his omni-dimensional sounds. - BLG
CD $15

REVOLUTIONARY ENSEMBLE [LEROY JENKINS/SIRONE [NORRIS JONES]/JEROME COOPER] - Revolutionary Ensemble: Live At Moosham Castle (Enja 2148; Germany) Featuring Leroy Jenkins on violin, flute & kalimba, Sirone on bass & flute and Jerome Cooper on drums, flute, balaphon, piano & chiramiya. Straddling contemporary composition and free-jazz, the Revolutionary Ensemble recorded five great albums in the seventies - each for a different label - only one of which has been previously reissued on CD, 'The Psyche' (now on Mutable).
This CD is a reissue of their 1978 album, originally an LP on the Inner City, recorded live on August 18th, 1977 at Moosham Castle in Austria. This live set was their last recording before going their separate ways until they reformed for a Vision Fest set - and new studio album - in 2005, more than a quarter century later. This disc is comprised of four pieces, each in splendid in different ways. "Clear Spring" features a rather poignant central bass line with Leroy's distinctive violin crying sublimely on top. This piece is quite bluesy with Leroy's haunting violin playing most lyrically above the stark rhythm team. "March 4-1" opens with a ritualistic balaphon groove. This piece builds slowly and gets more intense as it with some powerful free violin from the late, great Leroy Jenkins. The rhythm team is also in fine form as they reach for the heavens. "Chicago" has a sort of "ghost trance" like intro with Jerome on piano. This piece is free yet focused with some intricate interplay between the violin, bowed bass and piano. Eventually the trio hits their stride when they get into a cosmic groove midway through this piece. The final piece is titled "Revolutionary Ensemble" and begins with three flutes, circling around one another. This piece has that superb, organic flow that feels just right. Each player soon picks up their main instrument, one at a time until we find our way into some minimal charted territory with some fine mallet work from Jerome. This entire disc is a particularly strong date that I wish never ended. Soothing salve for troubled spirits indeed. - BLG
CD $16

REVOLUTIONARY ENSEMBLE [LEROY JENKINS/SIRONE [NORRIS JONES]/JEROME COOPER] - The Psyche (Mutable 17514; USA) Featuring Leroy Jenkins on violin & viola, Sirone [Norris Jones] on double bass and Jerome Cooper on drums & piano. The legendary Revolutionary Ensemble were one of the most influential and distinctive units to emerge from the late sixties avant jazz scene here in lower Manhattan. Their six albums (in seven years) are nearly impossible to find, often sell for big bucks and have never been reissued unitl now!?! Leroy Jenkins, who moved here from Chicago and was a member of the AACM, was one of the first avant jazz string soloists. 'The Psyche' captures the adventurous spirit of free jazz as it evolved during the late sixties/early seventies and was recorded & released in 1975. 'The Psyche' consists of three pieces, the side long "invasion" which evolves organically, swinging in the first part with some great bent violin playing and later followed by a long, turbulent and free-flowing piano solo from their drummer Jerome Cooper with Sirone's inventive bass weaving wonderfully underneath and commencing with another strong, cerebral solo from Leroy's powerful violin and Jerome's equally inventive mallets swirling around him. 'The Psyche' captures the turbulence of the times, the angry, frustrating vibes of the US after the end of unjust war in Viet Nam. All three members of the Revolutionary Ensemble went on to play with other pioneers of jazz - Leroy with Muhal, Sirone with Blood Ulmer and Jerome with Cecil Taylor. "One of the key albums in my LP collection...finally on CD! I'm in heaven (again)!!" - Mannylunch
CD $14



Budget ECM reissue triple-sets! [in stock Monday]

CODONA [COLLIN WALCOTT/DON CHERRY/NANA VASCONCELOS] - Codona Trilogy: Vols 1-3 [3 CD set] (ECM 2033-35; USA) All 3 CoDoNa albums in one 3CD set! Collin Walcott sitar, tabla, hammered dulcimer, sanza, voice; Don Cherry trumpet, flutes, doussn' gouni, voice; Nana Vasconcelos berimbau, cuica, percussion, voice
"Pure wizardry. The art of the improvisers beyond all borders. Preaching equality for all the idioms, anticipating the gathering wave of 'world music', drawing on traditions from all the continents, Codona was like no other band. Its sound: simultaneously poetic and powerfully evocative and stamped, in every second, with character. Summoned into being by Collin Walcott in 1978, the trio provided an utterly original context for Don Cherry's starkly melodic trumpet and for the multi-instrumentalism of all three players. This 3-CD box features the albums Codona (recorded 1978), Codona 2 (1980) and Codona 3 (1982)."
3 CD set for $32

STEVE KUHN - Life's Backward Glances: Motility/Playground/Ecstasy [3 CD set] (ECM 2090-92; USA) This collection brings together three much sought-after recordings by Steve Kuhn: the solo piano album Ecstasy (recorded 1974), and two quartet albums. Motility (1977) features the band of the same name with saxophonist Steve Slagle in the front line, while Playground (1979) is the album that introduced the Steve Kuhn-Sheila Jordan Quartet. Singer Jordan is of course one of the great jazz vocalists, and this was an inspired teaming. Kuhn himself is a superlative pianist of vast gifts; each of these recordings illuminates another aspect of his work. Of these three discs only Ecstasy was previously available on compact disc, and then only in Japan. Motility and Playground here receive their first CD releases here!
3 CD set for $32



DENDOSHI - Dendoshi 2 (Planam ESM; Italy) "Dendoshi is Keith Connolly (No Neck Blues Band), Raymond Dijkstra (Asra), Dave Nuss (No Neck Blues Band) and Timo Van Luyk (Af Ursin, In Camera). Dendoshi: 'he who comes to propagate the ceremony' or 'missionary' (Japanese). There had actually been a previous incarnation of Dendoshi (hence Dendoshi 2), which was a large group performance in New York which concentrated on elucidating the memories of a dead tree which had been re-contextualized as a sculptural exhibit. Some thematic reference: The name 'Dendoshi' originates from the work of Japanese filmmaker Kiyoshi Kurosawa, whose films also inspired the content of the first performance. When the opportunity presented itself for Connolly, Dijkstra, Nuss and Van Luyk to come together to make a session, it was the perfect opportunity to realize Dendoshi not as a one-off performance on a theme, but as a recurring ritual in development. The resulting music widened the conceptual reflection of the band, bringing to mind the history and ideas of Franz Mesmer. Mesmer, the 18th century Austrian spiritualist healer, was among the first to put forth the theory of what he termed 'animal magnetism,' regarding a universal fluid which permeates all matter and can be influenced by the will, not dissimilar to some of Eliphas Levi's concepts. What seemed to set Mesmer apart was an attention to mood and atmosphere, an aesthetic component to what were scientifically quite dubious theories, which lent his work an aura of portent -- thus the parallel with the music captured as Dendoshi 2. Reflecting the qualities that all four musical sensibilities had in common, the album is a statement upon the ephemeral nature of atmosphere and will, and the relation of reverie to oblivion as opposed to ecstasy. The symbol, or mark on the front cover created by Connolly came intuitively and without revision. Its applied function is that of distinction rather than that of protection or as a seal. It was first applied to the photograph by Clarence H. White form 1904, where the first resonant depiction or personification of reverie and oblivion as applied to Dendoshi was found. By applying the mark, Connolly is ceremonializing the image, thus rendering it distinct from its original form, not as an appropriation, but as a recognition. The other images followed, and each of them were recognized instantly without having to search. The last was Vermeer's image from Van Luyk's basement, and upon receiving this, the series of 4 inserts was complete. There is a trace of fear and a sensation of suspended time in these images which suits the music very well. Edition limited to 300 copies with a gold cover."
LP $30

GOL/ANA-MARIA AVRAM/IANCU DUMITRESCU - Musique Directe (Planam GOLDA; Italy) "Entering their 20th year of existence, the GOL orchestra, together with the label Planam, celebrates and starts a new program of collaborations: the Gollaboration series. Musique Directe shows the band facing the leaders of Rumanian spectralism, Ana-Maria Avram and Iancu Dumitrescu. Electric and intense spontaneous experiments, on the edge of electroacoustic music and primitive avant-garde. Live recordings in Marseille and Paris with the participation of Ansamblul Hyperion members Petru and Matei Teodorescu on one track. GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frederic Rebotier, Ravi Sharda and Samon Takahashi. The quartet embodies, within a post-Dada spirit, a lost rural tradition. GOL plays flute, horns, guitar, violin, toys, self-manufactured instruments, tapes, turntables, voices, various percussion instruments and electronics, an appropriateness of both traditional string instrument and handmade low fi equipment. GOL's first LP, issued in 1993, compiles their first items ('88-'92) based on vinyl-record scratching, tape cut-ups and acoustic instruments. The issuing of this LP was followed by a 9-year hibernation. Since 2002, the band is back together to pursue its common research and play together with instinct and invention. Their music, electroacoustic-oriented, is partially improvised and partly tense. At the time of a collaboration with Rumanian composer Iancu Dumitrescu, GOL developed a score system renowned as 'layer's leaf .' Through this system, they could elaborate a hybrid music between orchestral conduct and free interpretation of movements. Edition limited to 300 copies, also including the improvisation sketch for 'Musique Directe V' (not on the record)."
LP $30

GOL & CHARLEMAGNE PALESTINE - Pandamoniahbleeummm!!!! (Planam GOLPAL; Italy) "Entering their 20th year of existence, the GOL orchestra, together with the label Planam, celebrates and starts a new program of collaborations: the Gollaboration series. Volume 2, Pandamoniahbleeummm!!!! marks the encounter with Charlemagne Palestine, pioneer of strumming music and piano maximalism, in the St. Eustache Church in Paris, known for its world famous church organ. The following battle, in the form of a long incantatory improvisation, Charlemagne Palestine playing the church organ and GOL doing the electronics, bass, guitar, and the flutes part, combines many attributes of a pagan ritual. Edition limited to 300 copies, also including a large insert with liner notes and great graphics by Jean-Marcel Busson who also designed the front and back cover.
LP $30


MALCOLM GOLDSTEIN - Early Electronic/Tape Collage Music (Alga Marghen 025; Italy) "Alga Marghen proudly presents an LP edition including some of the seminal electronic/tape collage pieces by Malcolm Goldstein, created in close connection to the sulphuric New York pre-Fluxus environment of the early 1960s. The 1960s downtown New York City, rich with activities, doors opening upon a world fertile with possibilities: the delightful unknown. Malcolm Goldstein first worked at the Columbia-Princeton Electronic Music Center, then joined the Judson Dance Theater with dancers, musicians, poets, and visual artists all interacting in the common ground of improvisation/exploration. Most of the music on this recording was created for the Judson Dance Theater, 'Sheep Meadow' (1966), a collage of two musics, folk & court music, was realized on a very cheap single tape recorder that offered its own electronic distortion embellishments. It was created for an anti-war demonstration to be held in that meadow of Central Park, with a dancer on top of a flat-bed truck and with loudspeakers. 'Images Of Cheng Hsieh' (1967) was for a dance by Carol Marcy at Judson Church, simultaneously with an instrumental ensemble performing from the calligraphic graphic score, with the name of Cheng Hsieh. 'It Seemed To Me' (1963) was composed for a dance by Arlene Rothlein; a collage of traditional musics chosen by her to be incorporated with electronic sounds. 'Judson #6 Piece' (1963) was for Ruth Emerson, using only electronic sounds. Finally 'Illuminations From Fantastic Gardens' (1964), the only composition for a vocal ensemble on this recording, was composed for Elaine Summers' 'An Evening of Fantastic Gardens,' a multi-media event of dance, music, film and visual projections, as part of the Judson Dance Theater concerts. It is the first music notated by Malcolm Goldstein with graphic renditions of the words of Rimbaud and without traditional music notation. Two performers were trained singers, while the others were a visual artist and an actor; two women & two men, all in the spirit of the times, sources coming together, as art & life blended in an overflowing of exploration. Edition limited to 350 copies, also including a 12-page large booklet with the reproduction of the complete 'Illuminations From Fantastic Gardens' graphic score."
LP $30


LARRY POLANSKY - The Theory of Impossible Melody (New World 80684; USA) Among the lineages of knowledge that Larry Polansky (b. 1954) has woven together in his creative work, as both a composer and theorist, have been mathematics, intonation theory, cybernetics, systems theory, artificial intelligence, musicology (both Western and non-Western), American Sign Language, and Jewish mysticism. He has combined these and many other fields of study together into some of the most important music written by anyone of his generation while retaining status as the composer who is most worthy of being called a true theorist. In many ways his compositions are themselves injunctive demonstrations of his theoretical insights that stand as critiques of the theoreticism that is now endemic to the art world. This intellectual integrity and facility has also been responsible for one of the most interesting characteristics of Polansky's compositional output. His music is one of the most successful, and rare, examples of a confluence between two, generally conflicting, twentieth-century musical streams. Like his mentor, James Tenney - and many other late twentieth-century century experimental masters who were inspired by the aesthetic innovations of Cage - Polansky creates musical expositions of phenomenal reality. Sometimes these are based in psychoacoustic science and sometimes they are grounded in mathematical formalisms. Sometimes they explore both at once. What he also manages to do - and this is where he succeeds at the above mentioned confluence - is so often reveal these concepts within an expressive musical frame that is strongly linked to more traditional musical values.
CD $15


DANIELE CAVALLANTI/TIZIANO TONONI With JENNY SCHEINMAN et al - Rings Of Fire (Long Song 110; Italy) "Featuring Jenny Scheinman & Emmanuele Parrini on strings, Danielle Cavallanti on tenor & bari saxes & Achille Succi on bass clarinet & alto sax, Massimo Mariani on electric guitar, Giovanni Maier on double & electric bass, Pacho on percussion, gongs & congas and Tiziano Tononi on drums & percussion. Both saxist Daniele Cavallanti and drummer, Tiziano Tononi have worked together in different projects for quite a while and can be heard on discs on Splasch and Black Saint. This amazing disc came in in November and I've played more than a dozen times since it is just incredible and it is 80 minutes long!
'Rings of Fire' is broken into two suites, "Faces" by Cavallanti and "Phases" by Tononi. Each section of 'Faces' is named after a film director, "Cassavetes", "Bertolucci", "Jarmusch," "Wenders" and "Eastwood". Right from the opening splash of sound, we know we are in for something special. Like the best film directors, we can feel often explosive dramatic tension, the balance of beauty and fear, intensity and subtly. This music is quite cinematic without the visual stimulation necessary. I love the spooky percussion and dynamic composing/playing on "Cassavetes". This extraordinary ensemble in an octet with two saxes, two strings, two percussionists, el. guitar and bass. Hence, this is a sort of double band in which the same instruments often shadow or accentuate one another. The two turbulent saxes on this piece swirl around another magnificently as do the percussionists and strings. "Bertolucci" has one of those sly, spy movie themes with sublime harmonies for the strings and saxes. Each piece features both inspired solos and challenging writing. Achille's probing alto sax rides high above the swell strings on "Wenders" with an effective and unexpected noise guitar solo tossed in, that just keeps getting better as both drummers swirl powerfully around him. Giovanni Maier's hypnotic electric bass stands out on "Eastwood" , as do the mesmerizing arrangements for the entire octet, with a perfect Trane-like solo from Cavallanti.
'Phases' is the second suite and it is in three parts. It is beautifully composed and played with strong solos from all. I love the churning harmonies for the saxes and strings on ""Before the Storm". When the bass and drums lay out, we find a strong communal spirit for the strings and saxes only together. There are a series of trios and duos on the this piece, all of which are splendid, focused and always inspired. There are way too many great solos, inspired ensemble writing and playing throughout this entire epic-length disc to note here. Each time I listen to this gem, I hear so much more. 80 minutes is the most one can fit on an entire disc and considering that this disc is wonderful from the beginning to the end makes it even better. Bravo, bravo!" - BLG
CD $16


So sorry, we ran these without the reviews last week..

GIANNI MIMMO - One Way Ticket (Amirani 01; Italy) Gianni Mimmo plays soprano sax and runs this fine new label, Amirani. 'One Way Ticket' is his solo soprano sax effort and it is a delight. Gianni wrote a third of the songs here with a number of select covers by Thelonius Monk (Ask Me Now" & "Introspection"), Steve Lacy , Charles Mingus, Duke Ellington's "Paris Blues" (or Billy Strayhorn?), Roscoe Mitchell and Anton Webern. This disc starts with a recitation of a poem by T.S. Eliot called "Marina" by Gianni, which sets the tone for this disc with a certain elegant grace. Although one might think that Mr. Mimmo is influenced by another great soprano saxist who like to play solo and play Monk tunes, Gianni doesn't really sound like Lacy. His tone is lighter, smoother and more playful. He rounds out some of the edges of Monk's "Ask Me Now" and it sounds even more sublime. Gianni overdubs two soprano parts and while covering Webern's "Die Sonne" and shows how this 12-tone gem still fits within the range or style of Gianni's unique vision. I like the way Gianni bends his notes on "Collateral", giving a most distinctive touch. Each of Gianni's original pieces are unique and thoughtfully constructed, each one seems to say something else. Gianni also overdubs a couple of soprano lines on Cumar's "Furniture" with some odd overlapping yet engaging harmonies. Steve Lacy's "The Bath" is given a fine treatment, letting many of the notes hang in the air and just drift away. "Interlude #36" is made from just a few high-pitched squeaks yet it still works so well. I love the reverent, lyrical versions that Gianni does with Mingus' "Reincarnation of a Lovebird" and Duke Ellington's "Paris Blues". For fans of the late, great Steve Lacy, I would hope that there is till some room in your heart for another fine soprano sax hero, Gianni Mimmo. - BLG
CD $15

NOVOTONO [ADALBERTO FERRARI/ANDREA FERRARI] - Wanderung (Amirani 08; Italy) Featuring Adalberto Ferrari on clarinets & soprano sax and Andrea Ferrari on clarinets & bari sax with Federic Cumar on trombone and Luca Serrapiglio on soprano sax one just one piece. I can't think of the last time I heard a clarinet duo, although there once was a clarinet quartet with David Murray, John Carter, Jimmy Hamilton & Alvin Batiste. Adalberto Ferrari wrote all but one piece here and many of these pieces have that modern classical flavor and are quite well written. The blend of bass clarinet and bari sax on "The Walking Thought" is quite striking and well written. A few of these pieces, like "Cloudy Waltz" are ultra-subtle pieces for minimal squeaks and skeletal percussive sounds. The sound of two tentative bass clarinets on "Ship's Log #1" is also a unique blend. What I like most about this duo is that most of their music is restrained yet still is quietly fascinating if can take the time and be patience enough to reap its humble rewards. - BLG
CD $15

BESPOKEN [LORENZO DAL RI/GIANNI MIMMO] - Bespoken (Amirani 03; Italy) "I received your CD 'BESPOKEN' on Saturday and ... believe it or not, I listened to it at least 10 times over the weekend! Fabulous. A splendid job! The music takes the attentive listener into another world filled with reflection and emotions... I personally can definitely "hear" some of Steve's [Lacy] notions expressed in the early 70s, (traffic noise, ambient sound, electronic phrases, etc). A journey full of poetic colors, that I can relate to easily! After that..., I wanted to hear more!" - Gilles Laheurte
CD $15

GIANNI MIMMO/ANDREA SERRAPIGLIO/FRANCESCO CUSA - A Watched Pot (Never Boils) (Amirani 06; Italy) Admirer of the late American soprano saxophonist Steve Lacy - whose approach can be heard in Mimmo's keening tone - and through Lacy to the music of Lacy's mentor pianist Thelonious Monk - a textural influence which pops up in several of his pieces here - Mimmo has come up with an unmistakable sound for this CD. Limning 15 tracks in less than 41 minutes, the trio on the disc use extended and expected instrumental techniques to finesse the instant compositions into a unique style.
For example a tune like "Climber" mixes a Laceyesque toot from Mimmo with jagged friction from Serrapiglio's strings and bass drum resonation from Cusa. Subsequently when the cellist plays sul ponticello and the saxophone's altissimo screech ascends to dog-whistle territory, it's the drummer's singular and unforced strokes that cement the performance.
Cusa, who leads his own bands and is featured in groups with French tubaist Michel Godard and Sicilian saxophonist Gianni Gebbia, skillfully uses traps patterns to keep things rolling throughout, without every raising his clatter above moderato. At different times his percussion explorations resemble garbage can lids being rhythmically scraped or an eggbeater clattering on the ground - that is when they're not identifiable as pressure exerted against widely stretched drum heads; gossamer-light, but reverberating cymbal taps; or a collection of timed flams and ruffs that expose sections of the kit - including rims and sides.
Elsewhere Serrapiglio's cello evokes squirmy double stopped passages, sul ponticello scraping or arpeggio frailing. Then on a tune like "Cartoon Shouter", the vibrating, contrapuntal string set accelerates into waves of overtones that smoothly sail above percussion rebounds that could come from marbles being rolled on a solid surface. Alternately, when so-called "lo-fi electronics" are brought into play, they're often used to set up expanded cello timbres as on the back-half of "Unanswered", or earlier in that same piece when the trigged wave forms underline lyrical saxophone flights.
Mimmo's skill lies in his ability to switch from abstract to tonal without missing a beat, even in altissimo territory. As finely etched as some of his legato phrasing may be, however, it doesn't mean that he won't whistle and vibrate the reed to its limit as on "Possible Endings #2" - to match harsh tremolo bowing from Serrapiglio and Cusa's busy strokes. - Ken Waxman
CD $15

ESTHER LAMNECK/CLAUDIO LUGO - Genoa Sound Cards (Amirani 07; Italy) Featuring Esther Lamneck on taragato and Claudio Lugo on curved soprano sax. Claudio Lugo runs a new label from Italy called Amirani Records. His son recently stopped by our store and left us with a half dozen discs to check. Claudio also plays a soprano sax, has a solo CD out on Amirani and is also a professor, like Esther. This disc was recorded in the port city of Genoa in Italy. Most of the pieces were recorded in different locations, different rooms or on the docks of Port. Each place they play is described historically and visually so one gets a feeling for the type of structure the reeds players are in. The taragato and curved soprano sound somewhat different in each setting, the natural echo or resonance adds a unique vibe to each piece. Both reeds bend their sound into a blend, sometimes bird-like in the way that they chatter together. We can hear people talking in between each piece, giving us time to reflect as we move to another location. On "Loggia della Mercanzia," both reeds provide rich, complex layers of tones, as they move in waves together higher and higher. At times, these reeds sound like bagpipes as they swirl their notes around one another. What I like most about this duo is that they sound as if they are speaking with each other, playing with similar sounds and answering each other much of the time. When both reeds play their together, they create magical organ-like harmonies that are often quite stunning. - BLG
CD $15

ESTHER LAMNECK/EUGENIO SANNA - Intentions: An Improvised Cycle (Amirani 09; Italy) Featuring Esther Lamneck on clarinet & taragato and Eugenio Sanna on amplified guitar & objects. Ms. Lamneck is an established virtuoso on clarinet and taragato, as well as an advocate of contemporary music and a specialist in working with electronics and tapes. Eugenio Sanna was co-founder of CRIM (Center for Research & Improvvisazione Musicale) and active improviser who has played throughout Europe and collaborated with Ellen Christie. "Intentions" is an improvised cycle of 30 short pieces that create a narrative journey..so says the liner notes and that is a good description. While Esther plays a variety of odd and unique sounds on her taragato or clarinet, Eugenio plays an equally diverse set of strange sounds on his amplified or electric (sounding) guitar. Eugenio seems to have a variety of devices to manipulate his sound, creating different distortions and bent sounds on his guitar. Esther does a fine job of matching wits and bending her notes along with his. In a blindfold test, the informed listener might guess Frith and Braxton (or Coxhill) while checking out some of these pieces. Esther is a formidable improviser, often aggressive and seems to push her partner into equally barbed areas of daredevil improvisations. 'Intentions" is, without a doubt, one of the exciting and creative improv sessions I've heard in recent memory. You've been warned, it is that good! - BLG
CD $15


Back in stock from Rai Trade and NuBop:

ALBERTO BRAIDA/LISLE ELLIS/FABRIZIO SPERA - Di Terra (NuBop 02; Italy) Contrabassist Lisle Ellis, has long been one of my favorite bassists, since seeing him with piano wiz Paul Plimley in the early days of the Victo festivals. He moved to the bay area during the nineties and founded the wonderful What We Live trio with Larry Ochs and Donald Robinson. Each of their half dozen discs, with and without guest trumpeters Leo Smith & Dave Douglas, was/is superb. In recent years, Lisle moved to San Diego to teach and runs a few different projects, including a trio with Marco Eneidi & Peter Valsamis called Sound on Survival and this trio with some fine Italian musicians. Just a few months ago, Lisle and his partner, Bonnie Wright, moved here to NYC, so we will be seeing him more often than ever. Hooray! This trio features Alberto Braida on piano, Lisle on contrabass and Fabrizio Spera on drums. This is a particularly strong improvised piano trio date. Navigating through free and focused terrain, always moving together. The trio explode on a few of these pieces, especially "super contact", which has that wonderful turbulent energy, as they all soar together as one ball of eruptions. What I like most about this is the way they work together and think in focused, song-form. There is an amazing intuitive thread that holds things together magically. They sound as if they are completing each others lines or ideas. This is a studio date with superb, well-balanced sound, as great and as adventurous as any piano trio I've reckoned with. A truly colossal effort. Lisle Ellis will hopefully be playing here with saxist Patrick Brennan in the near future, you don't want to miss that one. - BLG
CD $17

SABIR MATEEN QUARTET - Other Places Other Spaces (NuBop 05; Italy) Featuring Sabir Mateen on tenor & alto saxes, flute & clarinets, Raymond A. King on piano, Jane Wang on bass & cello and Ravish Momin on drums. One of the highlights of my day here at DMG is when our friend Sabir Mateen comes to visit us. Sabir is a gifted reeds wizard and a gracious spirit. Originally from Philly, Sabir moved to LA and worked with the late Horace Tapscott, influential multi-bandleader, composer and center of an avant/jazz scene in southern California. Since moving to NY, Sabir keeps busy in a variety of bands, especially Test plus working with William Parker, Hamid Drake, Steve Swell and the Earth People. Sabir also has a few duo discs with Daniel Carter & William Hooker, plus a couple of solo offerings. This disc is only his second with his own group, which used to be a quintet before Raphe Malik passed.
The title track opens with some uplifting percussion from the great Ravish Momin and inspired alto clarinet from Sabir. When Sabir switches to tenor, the acoustic bass and piano get into a strong groove. Both Sabir's burning tenor and Raymond's intense piano spin around one another powerfully. "For the Unborn One" begins with a fine flute and cello intro, which soon blends in some subtle percussion and piano. Sabir's superb, probing Trane-like tone on tenor is featured on "You Reap What You Sew," another strong, free yet focused piece. Raymond King's explosive, Dave Burrell-like piano erupts intensely on this piece pushing the great rhythm team higher as Sabir blasts on top. Sabir is again featured on tenor for a piece called "Alan Shorter," named after the late musician and often troubled brother of Wayne Shorter. Both Sabir and Raymond again take scary solos with the rhythm team weaving layers on lines below them. There is a certain earthiness and natural vibe at the center of all of the pieces here, a perfect between all four musicians. When Sabir plays that Dolphy-like wooden-toned alto clarinet on "Shades of Khusenaton," Jane's cello swirls around him and answers his notes just right. Meanwhile the piano and drums also weave around one another in inter-connected waves. This entire long (77+ minute) disc is quite exciting and consistently inspired throughout. Right on to Sabir Mateen and his extraordinary quartet! - BLG
CD $15

SABIR MATEEN/DANIEL CARTER - Sound On A Sunday (Rai Trade 05; Italy) Featuring Sabir Mateen on clarinet, alto & tenor saxes, flute, piano, drums & voice and Daniel Carter on trumpet, piano, alto & tenor saxes, flute, drums & voice. This disc was recorded live at the New York is Now! Festival in Rome in April of 2004. Sabir and Daniel have continued to front the legendary downtown free/jazz quartet Test for more than a decade and stay busy playing with a wide variety downtown's best musicians. Both of these fine fellows love to play and live to play live. I caught a great set by Test last month and they never cease to blow me away. Both men refer to each other as "brothers" in the liner notes and we can hear their special connection throughout this fine disc. Staring with some insane-sounding vocal gibberish, the duo slowly takes off for parts unknown and known. The duo soon switches to alto clarinet and piano and play some fine restrained, contemplative sounds that build to a joyous section of wailing tenor sax and swell free piano. Since both of these spirited players like to switch off on a half dozen instruments each, it is hard to tell who is playing what at times, but it really doesn't matter since they remain inspired throughout. You can tell that they have been playing together for a long while, since there is a great balance, a push and pull, that brings them together and helps to escalate our spirits. This is tasty medicine for those who need to have their spirits uplifted. - BLG
CD $17

LAWRENCE 'BUTCH' MORRIS - Conduction/Induction [2 CD set] (Rai Trade 09; Italy) After a few years with minimal releases, Butch Morris is back with two fabulous 2-disc sets and both are on Italian labels. Both are extraordinary and, of course, both were worth the wait and the cost of these pricey imports. The first disc here features Butch's downtown all-star cast: J A Deane (live sampling), Jason Hwang (violin), Okkyung Lee (cello), Cooper-Moore (tese), Brandon Ross (guitar), Thomas Chess (oud), Shahzad Ismally (keyboard, Matt Moran (vibes), Tyshawn Sorey (drums) and others. This is "Conduction No. 135, Sheng Skyscraper" and was recorded at the Biennale Musica di Venezia in Italy in September of 2003. Right from the first note of those twisted strings (Okkyung Lee probably), we know we are in store for something special. Soon others strings and samples start swirling around one another in an incredible focused blend of extremes. Whoa! If you've been fortunate to watch Mr. Morris conduct in his own striking way, you know how he can bring the best out his assorted ensembles. Even just listening to the results, we can hear threads of interconnections going on. Tyshawn's incredible drums spin below and whip up a storm of percussive lines as Butch adds layers of what sounds like flutes, as well as exotic instruments like erhu, kora, balafon, oud and guzheng. Butch has a unique and distinctive way of controlling the chaos. Even when combining instruments from different cultures, he is able to find a common ground that turns this unwieldy ensemble into a marvelous and tasty concoction. This disc just might be (one of) Butch's finest moments! Disc 2 is titles "Induction #2/1, Emyoueseyesee.it" and was recorded live at Angelica Festival on May 14th of 2006. It has 18-member all Italian cast, the only names I recognize are Gianni Gebbia (alto sax) and Fabrizio Spera (drums). This ensemble features different instrumentation like saxes, flute, oboe, 3 guitras, 2 basses, synth, computer, vibes & two drummers. It sounds even tighter, more focused and somewhat Zappa-like in more ways than one. If I didn't know better, I would think that much of this is completely scored. After a near-violent sounding intro, it begins to quiet down and turn into some suspenseful, spacious weaving of cosmic strands. I am most often reminded of the best of modern classical composition in overall sound and attention to details. The balance between acoustic and electric or electronic instruments is consistently well integrated and the production is just perfect. It breathes and flows organically. Although this disc sounds quite different from the first disc, it is again one Butch Morris' best ever. An extraordinary double disc set.
2 CD set for $30

MATTHEW SHIPP/GUILLERMO E BROWN - Telephone Popcorn (NuBop 04; Italy) Featuring Matt Shipp on piano and Guillermo E. Brown on Zendrum, electronics and laptop. Matt Shipp and Guillermo Brown have worked together in the David S. Ware Quartet for the past decade, until that group broke up last year. They have also worked together on a few projects on the Thirsty Ear label, some organized by Matt. This is their first duo disc and what is interesting is that Guillermo plays no regular drums, as he has done for years with David S. Ware. This combination of piano and electronics is quite different from anything we've heard from either musician, as well as being quite unique in its own way. Commencing with "Between Here and Everywhere," Matt plays some stark, quaint piano while Guillermo adds layers of strange alien sounds. Guillermo takes his time and is careful to slowly manipulate those electronic sounds, creating calm yet alien landscapes. The title track is somewhat dark, while Guillermo adds layers of slightly mutated drum samples, Matt repeats a phrase and slowly alters his dense low-end chords. The overall vibe is one of rather scary yet somehow hypnotic dream-like images. On "Escape from Tomorrowland" Matt plays some lovely, melancholy chords while Guillermo adds some more twisted beats or percussion samples to the brew. For "The Everlasting Sun," Guillermo takes Matt's piano and manipulates its sound in a variety of weird ways, bending notes inside-out and often sounding like a jewelry box melody breaking down. This piece is somewhat disturbing at times, yet most effective at creating a new alien world were Sun Ra would feel at home. "Until We Meet Again" consists of Matt playing a series of somber, haunting sounds while Guillermo quietly manipulates those sounds and adds some subtle grooves. "Melt to Dream" brings things to grand conclusion by adding a layer of sly static to Matt's hypnotic repeating lines. Quite a strong combination of talents for something called "Telephone Popcorn". - BLG
CD $15


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


Found while shifting our boxes around for the move...

Last copies of INCUS CD releases
[most of these are only 1 or 2 copies]

AND [DEREK BAILEY/STEVE NOBLE/PAT THOMAS] - Barbarian [ltd CD-R] (Incus Sideline Store 3; UK) Derek Bailey guitar - Steve Noble turntables - Pat Thomas electronics. Released 2003
CD $20

DEREK BAILEY With INGAR ZACH/ANTOINE BERTHIAUME/WILL GAINES et al - Visitors Book [ltd CD-R] (Incus Sideline Store; UK) Domestic recordings. Derek Bailey, guitar with [variously] Antoine Berthiaume, guitar; Ingar Zach, percussion; Tony Bevan, bass sax; Will Gaines, tap dance; Oren Marshall, tuba & John Butcher, tenor sax; Sonic Pleasure, bricks, THF Drenching, dictaphone and Alex Ward, clarinet.
CD $20

DEREK BAILEY - In Church: Solo Guitar Series No 3 [ltd CD-R] (Incus Sideline Store; UK) Derek Bailey, solo guitar recorded at Oostrumchurch, Holland in 1994 and in 2001 at St Michael & All Angels, London. Released 2002
CD $20

DEREK BAILEY - South: Solo Guitar Series No 4 [ltd CD-R] (Incus Sideline Store; UK) Derek Bailey, solo guitar recorded in Miami and Orlando, 1999. Released 2002
CD $20

DEREK BAILEY - Filmed: Solo Guitar Series No 6 ? [ltd CD-R] (Incus Sideline Store; UK) Audio tracks for Anthony Howell's video magazine, GREY SUIT. Recorded Setember 1993; released 2003
CD $20

DEREK BAILEY - Different Guitars: Solo Guitar Series No 5 [ltd CD-R] (Incus Sideline Store; UK) 5 cuts on 19 string from the early '70s; 1 cut recorded at Plan B with Min Tanaka dancing December 8th 1987; and 2 cuts using a Gibson Super 400 recorded in Berkeley CA by Greg Goodman April 1992. Released 2002
CD $20

DEREK BAILEY - The Appleyard File: Solo Guitar Series No 1 ? [ltd CD-R] (Incus Sideline Store; UK) Confidential: Things you might like to know about Charlie Appleyard. Five cuts including "The Good, The Bad, & The Gruesome"
CD $20

DEREK BAILEY - Chats: Solo Guitar Series No 2 ? [ltd CD-R] (Incus Sideline Store; UK) A collection of talking / playing pieces by Derek Bailey from different times and of varied provenance. 13 cuts, only 1 or 2 that have ever appeared before but are long out-of-print.
CD $20

DEREK BAILEY - At The Sidecar - Live At G's Club: Solo Guitar Series No 7 ? [ltd CD-R] (Incus Sideline Store; UK) D Bailey solo elec gtr. Recorded at G's Club, Sidecar, Placa Reial, Barcelona, 10th February 2004
CD $20

DEREK BAILEY With ROBIN SCHULKOWSKY - In Concert And Studio [ltd CD-R] (Incus Sideline Store 4; UK) with Robyn Shulkowsky in concert & studio. Derek Bailey electric guitar; Robyn Shulkowsky percussion Recorded in concert London 8th November 1998 & Moat Studios 9th November 1998
CD $20

DEREK BAILEY/JOHN STEVENS - Playing (Incus 14; UK) '92 studio duo.
CD $20

DEREK BAILEY - Takes Fakes & Dead She Dances (Incus 31; UK) Solo guitar album, with both acoustic & electric cuts. Features 2 live tracks from 9/97, and 8 studio recordings from 5/97, produced by Steve Beresford. "A number of Derek Bailey solo records have appeared in recent times, all either reissues or previously unreleased recordings made in the 1970s or 1980s. Takes Fakes... is his first solo record in seven years."
CD $20

DEREK BAILEY/ALEX WARD - LOCationAL (Incus 37; UK) "Derek Bailey (guitar), Alex Ward (clarinet)." Five studio tracks, recorded in 1998-99. Plus one live track from 10/98
CD $20

DEREK BAILEY/JULIAN KYTASTY/ROGER TURNER/ALAN WILKINSON - Duos, London 2001 (Incus 51; UK) "Derek Bailey with: Julian Kytasty (bandura/flute), Roger Turner (percussion), Alan Wilkinson (baritone sax, voice)."
CD $20

DEREK BAILEY/TRISTAN HONSINGER - Tristan [aka Duo] (Incus 53; UK) Derek Bailey (guitar, 19-string guitar); Tristan Honsinger (cello). Recorded live in Massy, France 1975 & London 1976. The London recordings previously issued on Incus LP 20 DUO .
CD $20

DEREK BAILEY/INGAR ZACH - Seven (Incus 54; UK) Derek Bailey: acoustic guitar; Ingar Zach: percussion. Recorded February 2002. Zach co-runs the Norwegian label SOFA and is a member of Tri-Dim (recently remixed by Jim O'Rourke).
CD $20

DEREK BAILEY - Solo Guitar Vol 1 (Incus 10; UK) 'Derek Bailey plays electric guitar plus VCS3 synthesiser on Where is the police? ; on Christiani Eddy he plays electric guitar unamplified and on The squirrel and the ricketty-racketty bridge he plays two acoustic guitars at the same time (not double-tracked). The improvisations are on electric guitar.' Recorded February 1971; equipment and recording Hugh Davies and Bob Woolford.
CD $20

DEREK BAILEY - Solo Guitar Vol 2 (Incus 11; UK) Derek Bailey, solo guitar.
Ten 10 (17.08), Ten 28 (06.33), Two 50 (06.28), Two 57 (03.25), Three (04.04), Three 05 (02.44), Three 08 (01.21). Recorded on 22 June 1991 at approximately the times indicated.
CD $20

HAN BENNINK/DEREK BAILEY - Post improvisation 1: when we're smiling (Incus 34; UK) "On the phone: 'What you doing, Han?' 'I'm practicing. Of course.' 'Me too. Of course. Listen, Han, why don't you record something, post it, and I'll play with it; and I'll record something, post it, and you play with that; and let's see what we've got?' "Yes! Great.'"
CD $20

STEVE BERESFORD/DENNIS PALMER/BOB STAGNER/ROGER TURNER - Short In The UK (Incus 27; UK) Ten improvisations by the TN duo known as the Shaking Ray Levis: Palmer (synthesizers, voice) & Stagner (drums, perc.) in collaboration with veteran UK improvisers Beresford (keyboards, small trumpet) & Turner (perc.). Recorded in London, 1994. Crazed improv. at least partially influenced by their shared interests in "TV cartoons, Baptist preaching, mushy peas, the world of the painter and preacher The Reverend Howard Finster," etc
CD $20

JOHN BUTCHER/VENESSA MACKNESS - Respiritus (Incus 21; UK) "...test the ears and patience of yr so called 'friends' -- the trained (operatic) vocalizings of ms. mackness dance and squeak around the flutter-scronk of mr. butcher (he of long-standing brit-free improv fame). Pure frontal-excursion, quiet and slippery..." -- Sonic Death
CD $20

COMPANY [DEREK BAILEY With BARRE PHILLIPS/TRISTAN HONSINGER/STEVE NOBLE/RICHARD TEITELBAUM et al] - Once (Incus 04; UK) Live '87, Barre Phillips, Tristan Honsinger, Richard Teitelbaum, Steve Noble, Bailey etc.
CD $20

COMPANY [DEREK BAILEY With JOHN ZORN/BUCKETHEAD/PAUL LOVENS/ALEXANDER BALENENSCU et al] - '91: Vol 3 (Incus 18; UK) Company Week is one of those annual events (now defunct) that boggles the imagination of the free-improv world, as organized by Derek Bailey. In 1991, John Zorn (alto sax), Alexander Balanescu (violin), Vanessa Mackness (voice), Yves Robert (trombone), Buckethead (guitar), Paul Lovens (percussion), Bailey (guitar), Paul Rogers (bass), and Pat Thomas (electronics/keyboards) met up for 5 days of improvising. All musicians appear on all 3 discs (in various combinations). Of special note is a 12-minute feedback duel between Mr. Bailey & Mr. Buckethead at the end of this volume.
CD $20

COMPANY [DEREK BAILEY With RHODRI DAVIES/SIMON H FELL/MARK WASTELL/WILL GAINES] - In Marseille [2 CD set] (Incus 44/45; UK) "Derek Bailey (guitar), Rhodri Davies (harp), Simon H. Fell (bass), Will Gaines (danse claquettes), Mark Wastell (cello). A double CD recorded in Marseille 1999."
2 CD set for $28

WILL GAINES With DEREK BAILEY - Rappin & Tappin (Incus 55; UK) Will Gaines: tap; Derek Bailey: guitar. Recorded at the Oostrum Church, Holland, 1994.
CD $20

PAUL HESSION/ALAN WILKINSON/SIMON FELL/JOE MORRIS - Registered Firm (Incus 33; UK) "1996 grouping of saxophonist Alan Wilkinson, bassist Simon Fell, and tubsman Paul Hession (known collectively for their body of work for the Bruce's Fingers and Shock recording organizations, individually for records on Leo and Incus) and guitarist Joe Morris (leader of many fine sessions released on the Aum Fidelity, Knitting Factory, Soul Note, Leo, Hat Art, etc... labels)
CD $20

JOSEPH HOLBROOKE TRIO [DEREK BAILEY/GAVIN BRYARS/TONY OXLEY] - '65 (Rehearsal Extract) [CD ep] (Incus S01; UK) "CD single (10 & 1/2 minutes) of the Joseph Holbrooke group, recorded in 1965. With Derek Bailey (guitar), Gavin Bryars (bass) and Tony Oxley (drums) -- a legendary ensemble, and a key to the whole dawn of the European free music arena.. The first and only issued recording by this trio (named after an obscure turn-of-the-century UK composer, Joseph Holbrooke).
CD $12

HENRY KAISER/JOHN OSWALD - Improvised (Vancouver) (Incus 26; UK) Guitar/sax duets. Includes one half of the legendary Music Gallery Editions LP, recorded in Vancouver, 1978. And then 4 new recordings from the same space in Vancouver, recorded 18 years later in 1996. "Old and new, the selections heard here are excerpts from a conversation that has been going on for more than 20 years." --Alex Varty.
CD $20

SHAKING RAY LEVIS [DENNIS PALMER/BOB STAGNER] With DEREK BAILEY - Live At Lamar's [ltd CD-R] (Incus Sideline Store; UK) Derek Bailey, guitar - Dennis Palmer, synthesisers - Bob Stagner, percussion. Recorded at Lamar's Chattanooga 1999. Released 2003.
CD $20

ROGER SMITH & NEIL METCALFE - S&M (Incus 24; UK) Smith (guitar) & Metcalfe (flute). "A sequence of recordings made over a 15 month period between 1994-1995. Again, this is the first released recording by a long established duo."
CD $20


and, Last copies of MOERS CD releases
[most of these are only 1 or 2 copies]

RHYS CHATHAM - Factor X (Moers 2008; Germany) Rhys Chatham - eg Olu Dara, Sinclair Acey, Ron Todley, Frank Gordon - tp George Lewis, Jim Staley - tb Steve Freeman - b-tb Bob Stewart - tuba Karen Haaglof, Craig R. Krafton, Susan Springfield, Tim Schellenbaum - eg Anton Fier, James Lo - dr
CD $20

MUSIC REVELATION ENSEMBLE [JAMES BLOOD ULMER/DAVID MURRAY/AMIN ALI/RONALD SHANNON JACKSON] - No Wave (Moers 1072; Germany)
CD $20

PERFECT TROUBLE [SIBYLLE POMORIN/TOM CORA/CHRIS CUTLER/MAGGIE NICHOLS/KLAUS WILMANNS] - Perfect Trouble (Moers 2070; Germany) Chris Cutler - dr,electr Maggie Nichols - voc Tom Cora - cello Sibylle Pomorin - as,ts,fl Klaus Wilmanns - b
CD $20

PHALANX [GEORGE ADAMS/JAMES BLOOD ULMER/AMIN ALI/CALVIN WESTON] - Got Something Good For You (Moers 2046; Germany) James Blood Ulmer - e-g, voc George Adams - ts, voc Amin Ali - e-b Calvin Weston - dr
CD $20

CORNELL ROCHESTER & THE N.P. BOYS With URI CAINE et al - I said your motherâ Aos on the pipe (Moers 3004; Germany) Cornell Rochester - dr, voc Willie Williams - ss, ts Uri Caine - keyboards, voc Terry "Butter" Tyler - e-b, voc Andre "Black Snow" Harris - voc, rap
CD $20

SHIBUSA-SHIRAZU With FUWA DAISUKE/KAZUHISA UCHIHASHI et al - Lost Direction (Moers 3016; Germany) Featuring Fuwa Daisuke on bass & most compositions, Uchihashi Kazuhisa on guitar, Katayama Hiroaki, Kawaguchi Yoshiyuki & Komori Keko on reeds, Murodate Aya on flute, Kita Yoichiro on trumpet, Takaoka Daisuke on tuba, Shibuya Takeishi & Sasaki Ayako on keyboards and Uemura Masahiro & Sekine Mari on drums & percussion.
CD $20

RICHARD TEITELBAUM With TOM CORA/FRED FRITH/OTOMO YOSHIHIDE/GEORGE E LEWIS/CARLOS ZINGARO - Cyberband (Moers 3000; Germany)
CD $20

WORLD SAXOPHONE QUARTET [DAVID MURRAY/JULIUS HEMPHILL/HAMIET BLUIETT/OLIVER LAKE] - Point Of No Return (Moers 1034; Germany) Recorded at the 6th New Jazz Festival Moers, june 1977
CD $20


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Of all the late-20th century excavation projects inspired by our voracious musical culture, none is more fascinating than Pat Conte's SECRET MUSEUM series for Yazoo. Till now, a Western listener's familiarity with ethnic music from the distant past has depended on unsexy field recordings of relatively recent vintage, produced in a spirit of near-scientific inquiry by anthropologically minded musicologists. When the commercial record business really began to expand in the late '20s however, just about every national style of music was sought out and captured for a growing marketplace. This was true "world music," dressed in its Sunday best perhaps as performed by ambitious locals, but still more vital than the academic, folklorist approach that followed.Just as Harry Smith compiled early commercial blues and country records for his monumentally influential ANTHOLOGY OF AMERICAN FOLK MUSIC, so Conte has gathered even rarer 78s from all over the globe. Thanks to excellent remastering, we can hear vividly how an ensemble sounded in India or Japan more than a half-century ago or a klezmer orchestra right before the Nazis destroyed that bit of local culture. It's like owning your own time machine..

SECRET MUSEUM OF MANKIND [V.A.] - Vol 1 Ethnic Music Classics 1925-48 (Yazoo 7004; USA) "Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery." "One of the most consistently rewarding world music compilations in years, the cuts range from Macedonian fiddle jaunts to Puerto Rican Christmas tunes, from Abyssinian religious chants to ominous Japanese court music. The instruments include Ukrainian sleigh bells, Sardinian triple pipes, Vietnamese moon lutes and Ethiopian one- string violins...a profound artistry lurks beneath the alien vernaculars." --Village Voice; Vol. 1 contains music from Nigeria, Sardinia, Russia, Ceylon, Rajahstan, Cuba, Rumania, Vietnam, Macedonia, Morocco, and more. Includes a 15-page booklet with liner notes on each track and photos.
CD $16

SECRET MUSEUM OF MANKIND [V.A.] - Vol 2 Ethnic Music Classics 1925-48 (Yazoo 7005; USA) Early 20th century recordings from Bulgaria, Puerto Rico, India, Mozambique, Ukraine, Trinidad, Kazakhstan, Ceylon, Tibet and elsewhere, compiled by archivist Pat Conte. "Contains some of the most simply beautiful performances you'll ever hear ... the material here is almost entirely unself-conscious, culturally uncompromised and solely concerned with being the best version of itself that it can be ... this album is designed to dazzle and delight." --Vibes; Includes a 15-page booklet with liner notes on each track and photos.
CD $16

SECRET MUSEUM OF MANKIND [V.A.] - Vol 3 Ethnic Music Classics 1925-48 (Yazoo 7006; USA) "No world music fan should be without these packages which are full of unadulterated, pre-Westernized exotic delights." --Jazz Times; "A punch-drunk medley of everything from Chinese zither to Spanish bagpipes to Indian seven-string violin to Laotian mouth organ." --Commercial Appeal. Includes a 15-page booklet with liner notes on each track and photos.
CD $16

SECRET MUSEUM OF MANKIND [V.A.] - Vol 4 Ethnic Music Classics 1925-48 (Yazoo 7010; USA) Music from Sweden, Bolivia, Crete, Italy, Madagascar, Pakistan, Kuwait, Albania, Serbia, Hungary and more. "Some of the most intense musical experiences available come from outside the Western musical sphere, and from a time of our ancestors ... one of the most fascinating world music series ... something akin to a revelation." --Jazz Times; Includes a 15-page booklet with liner notes on each track and photos.
CD $16

SECRET MUSEUM OF MANKIND [V.A.] - Vol 5 Ethnic Music Classics 1925-48 (Yazoo 7014; USA) Music from Peru, Rhodesia, Martinique, Sardinia, Armenia, Syria, Finland, Mississippi and more. "The most captivating repository of exotica ... this compilation is a window into a distant past, resuscitating vintage forgotten recordings... like an overwhelming musical atlas." --Toronto Now; Includes a 15-page booklet with notes on each track and photos.
CD $16


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