Thaw yrself out with Wondrous Discs from:

Elliott Sharp & Bernard Lang! Loren Connors & Jim O'Rourke! Univers Zero! Fast N' Bulbous! Forgas Band! Cheer-Accident! Gutbucket! Gratkowski/Brown/Winant!

Leandre & Sirjacq! Ensemble SuperMusique & Cote/Ceccarelli! String Trio of NY! Dennis Gonzalez Qt! Azar Lawrence Qt! 2 from Giorgio Gaslini! Daniel Lentz! Chas Smith! Christopher Roberts! and MUCH more...




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A JOHN ZORN WEEKEND!


John Zorn: New Masada Sextet
Friday, February 6th at 8 pm

John Zorn returns to the Abrons with the US premiere of his hot new Masada ensemble. The classic quartet of Zorn, Dave Douglas, Greg Cohen, and Joey Baron are augmented by the spectacular pianist Uri Caine and percussionist extraordinaire Cyro Baptista. The evening features two sets of Masada material old and new by this dynamic super band.


John Zorn: The Dreamers/O'o
Saturday, February 7th at 8 pm

Featuring: Marc Ribot, Jamie Saft, Kenny Wollesen, Trevor Dunn, Joey Baron, Cyro Baptista, John Zorn.

Two sets of music presenting The Dreamers and the World Premiere of The Dreamers Volume 2 (O'o) in one exciting concert! Named for an extinct Hawaiian bird whose delightful song will never be sung again, O'o is the exotic and charming follow up to The Dreamers, one of Zorn's most appealing projects. Featuring the same dynamic band of masters from Zorn's inner circle, O'o presents more lyrical and adventurous instrumentals exploring World Music, Surf, Exotica, Minimalism, Film Soundtracks and more.

Tickets have just gone on sale. To purchase go to:
www.ovationtix.com/trs/pr/635675
Tha Abrons Arts Center at Henry Street Settlement
466 Grand Street, NY, NY, 10002
212-598-0400 / www.henrystreet.org/arts


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IN THE SPIRIT OF DON CHERRY
Featuring: THE KARL BERGER ALL-STAR OCTET
Tonight, Friday, January 16th at 7:30
At Symphony Space - 2537 Broadway at 95th St.

Karl Berger's All-Star Octet "In the Spirit of Don Cherry" will be performing at the Thalia Theatre / Symphony Space on Friday, January 16. The octet features Graham Haynes, cornet, Peter Apfelbaum, tenor sax and flute, Bob Stewart, tuba, Kenny Wessel, guitar, Mark Helias, bass, Tani Tabbal, drums, Ingrid Sertso, vocals and Karl Berger, piano, vibes, arrangements. The program will consist of improvisations on themes by Don Cherry, including Art Deco, Manhattan Cry, Remembrance, for which Ingrid Sertso wrote the lyrics. It also includes two originals by Karl Berger, "Dakar Dance" and "Nameless Child".
Most of the players worked with Don Cherry in various formations and time periods and are thoroughly familiar with his uplifting approach. Karl Berger's "In the Spirit of Don Cherry" carries the exuberant quality of Cherry's music and Berger's congenial themes into the New Year, after several high-powered appearances at European Festivals

Tel: 212.864.5400 / www.symphonyspace.org


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Five New Hot Ones from Cuneiform!

UNIVERS ZERO [DANIEL DENIS/DIRK DESCHEEMAEKER et al] - Relaps: Archives 1984-1986 (Cuneiform 280; USA) Founding members of the Rock In Opposition movement, Univers Zero have continued to change and grow and develop over their entire career, while still keeping a ensemble sound and spirit that is easily recognizable. Relaps presents something that Univers Zero's fans have been hoping for for decades; a peek into the recorded archives of one of the greatest avant-rock ensembles since mid 1970s! This CD documents the final 1980s line-ups of Univers Zero before the band's long sabbatical from recording and touring. The live sound is excellent throughout and the CD features a 16 page booklet with a informative history of the band during this time period as well as rare, never-seen photos. The line-ups featured on Relaps are the quintet who recorded UZED and the septet who recorded Heatwave. The material is drawn from those two albums, with the live setting providing some different arrangements and even greater fire to the pieces; I found the pieces taken from Heatwave to be particularly inspiring and outrageous. There is also a short, otherwise unheard composition included here. While UZ continue to play truely awesome gigs and develop the material that will be found on their next studio album, Relaps provides a chance for the listener to catch up with some never-released and exciting recordings from a truly classic band!
CD $15

FAST 'N' BULBOUS: THE CAPTAIN BEEFHEART PROJECT With GARY LUCAS/PHILLIP JOHNSTON et al - Waxed Oop (Cuneiform 277; USA) Captain Beefheart's music is the quintessential 'outsider art music' of the second half of the 20th century. Despite the fact that he retired from music over 25 years ago, his music resonates more strongly than ever as an influence on contemporary music. Fast 'n' Bulbous offer a unique slant on the songbook of one of contemporary music's most idiosyncratic musical figures. The band features seven great, well-regarded musicians drawn from the rock and the jazz worlds: co-leaders guitarist Gary Lucas (who was in the final incarnation of Beefheart's Magic Band) and saxist/arranger Phillip Johnston (of the Microscopic Septet) as well as drummer Richard Dworkin, and baritone saxist Dave Sewelson (both also of the Micros), trombonist Joe Fieldler (Ed Palermo Big Band and Satoko Fujii's big band), bassist Jesse Krakow (of Time of Orchids and Doctor Nerve) and trumpeter Rob Heinke (also of Doctor Nerve). With a strong, creative line-up like this, you know that you will be getting something more than just a 'cover band' and you indeed are. Heartfelt, exciting and it both rocks and swings!
"Remarkably, these instrumentals hold onto Beefheart's obsessive strangeness, whch is really the best tribute that Lucas, Johnston and the rest of the Fast 'n' Bulbous crew could have given him." - All Music Guide
"[They] recast Captain Beefeart's tunes and make the case for him as a composer the equal of Thelonious Monk." - Nashville Scene
CD $15

CHEER-ACCIDENT - Fear Draws Misfortune (Cuneiform 276; USA) For over 20 years, Cheer-Accident have been a creative, interesting force in rock music. They constantly strive to surprise their audience and themselves with constant reinvention. Fear Draws Misfortune is their 16th release and arguably their best and also the album which strives the furthest towards a powerful balance between personalized and unique studio techniques and the excitment of a visceral, live, well-honed rock band. Which is saying something. It is a strongly compelling and high-reaching album that uses a wide variety of ideas, styles and studio techniques, resulting in a cohesive and ambitious album of art-rock. The basic band is a trio who between them perform on vocals, keyboards, trumpets guitars, bass and drums, but they are augmented by 15 additional musicians who, each in their own way, bring their own musical gifts to the album. Fear Draws Misfortune reveals a fortuitous intersection of between Cuneiform and Cheer-Accident, both of whom have long admired the other and both of whom finally decided to do something about it! This long overdue marriage, which neatly coincides with a timely (and quite lengthy) cover-feature article in December 2008's Signal To Noise magazine, promises to hurl Cheer-Accident into into wider recognition.
CD $15

FORGAS BAND PHENOMENA [PATRICK FORGAS et al] - Axis Of Madness (L'Axe Du Fou) (Cuneiform 282; USA) Drummer and composer Patrick Forgas has been releasing jazz-rock gems that showcase his compositional and and arranging skills for over 30 years. Axis of Madness (L'Axe du Fou) is the fourth album by his current band; a 7-piece instrumental ensemble of skillful young musicians, performing on saxes/flute, trumpet/flugelhorn, violin, guitar, keyboards, bass and drums. The group perform music that combines the most attractive aspects of jazz and rock composition with inspired solos. The quality of the music and performances is obvious from the first note and we're pleased that it isn't only us who noticed; press has been unbelievably enthusiastic towards this group's music!
"...tight, urgent, almost suite-like arrangements, vaguely recallilng Frank Zappa and Carla Bley, which nonetheless give each player chances to strut their formidable stuff. There's restraint, ebb and flow at work here." - jazzreview.com
"...blurs idiomatic considerations so extensively they render stylistic definitions irrelevant. No one can accuse bandleader and principal composer Patrick Forgas of being tame or conservative in his writing and arrangements.... He's been leading various editions of the Forgas Band since the mid-'90s, and this version has a...frontline ably suited for works whose opening melodies quickly give way to furious exchanges, spirited solos and passages bouncing back and forth between avant-garde jazz and shorter, rock-tinged statements." - JazzTimes "Its combination of singable themes and rock rhythms will appeal to Canterbury devotees specifically - and, indeed, all fans of improvisation within a richly composed context"." - All About Jazz
CD $15

GUTBUCKET - A Modest Proposal (Cuneiform 281; USA) Destroying walls between art-rock, avant-squonk, jazz-core and beyond, the decade-old New York quartet Gutbucket is not only equally comfortable playing in front of 900 sweatily pogo-ing teenage skate-punks, a crowd of cosmic indie-psych freaks, on an anarchist German art collective's house-boat or even teaching master classes in the music departments of schools around the country, but most importantly, their music fits right in. A Modest Proposal solidifies Gutbucket's place at the forefront of a revitalized avant-garde music scene in New York, where sparkling new venues pack in 20-somethings at Steve Reich gigs and Bang on a Can's all-night music marathons draw crowds for Stockhausen at Sunrise. The band has spent the past 10 years injecting a shot of exuberance into the minimalist cool of the New York downtown scene. The group attacks their music with the ferocity usually reserved for punk, and the humorous abstraction of art-rock, despite having earned their jazz bona fides. Founded by bassist Eric Rockwin, saxophonist Ken Thomson, guitarist Ty Citerman, and drummer Paul Chuffo, Gutbucket built their all-important live reputation in New York clubs before spreading across east coast college towns. Trips to Europe soon followed, with over a dozen tours in 19 countries taken to date. Joined in 2007 by longtime friend Adam D Gold on drums following Chuffo's departure, Gold's musical voice was quickly deemed a necessity. A close friend, he's also good for van conversation. Which is good. Because there are miles to go before Gutbucket sleeps!
"Gutbucket continues to play with the frantic intensity of a punk band while exhibiting dazzling turn-on-dime chops." - JazzWeek "Like any self-respecting jazz-thrash-rock-latin-noise band from the dark underbelly of New York, Gutbucket have a peerless way.... There is something smart, sleek and assured about Gutbucket, and when they begin firing on all cylinders it makes for an exhilarating, intelligently performed racket." - The Guardian (UK)
CD $15


ELLIOTT SHARP/BERNARD LANG With PHILIP JECK/HANS KOCH/FREDY STUDER et al - War Zones: Donaueschinger Musiktage 2007 [H-SACD] (Neos Jazz 40808; Germany) [this is a Hybrid SACD, which means it will play on any ordinary CD player! Special limited time price] Recorded live at the 2007 Donaueschingen Music Days, this CD captures the pairing of composers E# and Lang sharing an ensemble including vocalists Latasha Natasha Diggs and Mixmaster Todd, turntablist Philip Jeck, drummer Fredy Studer, reedman Hans Koch. Lang plays keyboard & electronics and E# plays his 8-string guitarbass and electronics. The group plays two pieces commissioned for the festival: Sharp's "Ripples From The Bang" and Lang's "Paranoia." Both mix extreme grooves drawing on funk and hip-hop and noise textures with poetic rapping and open improvisation.
CD $18


LOREN MAZZACANE CONNORS [aka GUITAR ROBERTS]/JIM O'ROURKE - Two Nice Catholic Boys (Family Vineyard 59; USA) Featuring Loren Connors and Jim O'Rourke on electric guitars, recorded on tour in Europe in 1997. After a decade of mucho activity, both of the maverick guitarists have slowed down quite a bit for the last few years. While Jim O'Rourke moved to Japan to study film directing, Loren has had health problems. Unfortunately both record infrequently nowadays. Hence, it is a good thing to hear these unreleased live sets. Loren's distinctive heavy feedback drone is at the center as he plays those thick, devilish chords. Jim provides a perfect foil by playing those ringing, stinging, but less dense and dark notes. Notes drip like molasses until the sun finally enters, the sounds lighten up and turn into some fragile ghost-like scrapes and somber bent notes, eventually wandering into more folky refrains, then drifting away. Ominous chords cloud things on "Or Possibly Koln" with both guitars shaking, building and soon erupting into a powerful, gut-wrenching menace. The last piece, "Most Definitely Not Koln" starts with distant, haunting, shimmering, chords. Power chords like sunspots exploding with the occasional screaming, note-bending cries. The distortion is so thick that it nearly blinds us if we get too close. There is a sigh of relief when it finally calms down to a more peaceful conclusion. Notes drifting delicately like a lost lullaby at the end of an apocalyptic battle. Good vs. evil? Loud vs. soft? The dark vs. the light? You decide. Me? I'm still weighing the odds. - BLG
CD $14


FRANK GRATKOWSKI/CHRIS BROWN/WILLIAM WINANT - Wake (Red Toucan 9336; Canada) Featuring Frank Gratkowski on clarinet, bass clarinet & alto sax, Chris Brown on piano & live electronics and William Winant on vibes & percussion. Over the past decade Frank Gratkowski has played with a number of the better European and American improvisers, with more than a dozen discs as a leader and nearly twice as many as a collaborator. This is the first time that Frank has worked with these formidable players, both of whom teach at Mills College in Oakland, CA. Chris Brown has worked with The Hub (electronic ensemble), as well as with Larry Ochs in Room. William Winant is an amazing percussionist, playing in both the modern classical and improv worlds, working with a diverse cast like Thurston Moore & Sonic Youth, Fred Frith, Alvin Curran and Larry Polansky.
I must admit that this disc is quite extraordinary. I've played nearly every day for the past few weeks at the store and it has that magical quality that is rare amongst improv dates. What works so well is that the inside-the-piano & live electronic sounds with William's varied percussion (rubbed cymbals, vibes drones) and Frank's eerie clarinet playing, all work together in perfect tandem, often using similar textures. The superb recording and meticulous balance also add to the mystery. No matter how delicate or intense the sounds get, the blend is consistent and fascinating. The interaction is especially exciting and often has us at the edge of our seats. This music is often unpredictable and it is nearly impossible to tell who is doing what at certain times, thus adding yet another layer to the mysterious and captivating sounds. - BLG
CD $15


DENNIS GONZALEZ QUINTET With DON MOYE - Renegade Spirits (Furthermore 1; USA) Featuring Dennis Gonzalez on cornet, Tim Greene on tenor sax, Aaron Gonzalez on basses and Stefan Gonzalez & Don Moye on drums.
CD $16

AZAR LAWRENCE QUARTET - Prayer for My Ancestors (Furthermore 2; USA) Featuring Azar Lawrence on tenor & soprano saxes, Nate Morgan on piano, Henry Franklin on bass and Alphonse Mouzon on drums. Great to hear from from former McCoy Tyner sax legend.
CD $16



GENE PERLA With ELVIN JONES/DON ALIAS/NDR BIG BAND - Bill's Waltz (PM 30; USA) Gene Perla played bass in the Elvin Jones Group for a number of years and in 1986 began a project with Elvin. Originally they recorded as a duo with Gene playing electric piano and Elvin on drums. Twenty years later Gene decided to orchestrate music around Elvin's drums and got the NDR Big Band to play the charts around Elvin's drums. The results turned out to be often sparkling and superbly handled. "Bill's Waltz" is dedicated to Bill Evans and features some fine soprano sax by Christof Lauer and piano by Vladyslav Sendecki. What I find interesting is that the music is often lush, the harmonies for the orchestra rich and sublime. That swirling, thunderous, intense drum sound that Elvin is known for is not to be found here. Elvin plays with brushes and often with restraint. He does fit perfectly with the music nonetheless. Elvin's drums are featured on a few tracks and do sound swell. On "Bogota Morning Bird," Elvin laid back yet swirling drums shine through while Fiete Felsch and Peter Bolte both weave their solos together while the rest of the orchestra soars around them. Mr. Perla's writing and arranging is strong and filled with many layers of rich, harmonic waves. This amazing large jazz ensemble plays the challenging charts flawlessly and with strong spirit. If you are buying this to hear the mighty Elvin Jones play with the steam-rolling power, this is probably not the disc you want. However, I found this disc to be an enchanting gem with some of the richest and warmest music I've heard in a long while. - BLG
CD $15



MICHEL F COTE/ISAIAH CECCARELLI - Vulgarites (AM 180; Canada) Featuring Michel F Cote & Isaiah Ceccarelli on percussion, piano, electronics, lap steel, trumpet and feedback. Drum wiz Michel Cote has been an integral member of the Ambiances Magentiques scene since the early days, playing with Bruire, Klaxon Gueule, later Francois Carrier and a few offerings as leader. Young drummer Isaiah Ceccarelli is one of the most recent members AM network, only appearing on a few discs as of now. For this duo disc, both drummers also switch off on other instruments like lap steel, piano and trumpet. The sound is more like selective silences and spacious sonic fragments. I dig the blend of quiet mallets, bowed cymbals, minimal eerie electronics, stark piano and other evocative suspense-filled sounds. Although the drums are often at the center of many of these pieces, they are just one ingredient in the swirling, shape-shifting world of exotic sounds found here. There is also little or no repeating rhythms or pulses involved. I did find the entire CD to be most engaging , thought provoking and consistently fascinating. - BLG
CD $15

ENSEMBLE SUPERMUSIQUE [JEAN DEROME/JOANE HETU/DIANE LABROSSE] - Y'a du bruit dans ma cabane (AM 182; Canada) Y'a du bruit dans ma cabane (AM 182; Quebec) Featuring Jean Derome on soprano sax, objects & voice, Joan Hetu on alto sax & voice, Diane Labrosse sampler, Martin Tetreault on turntables, Danielle Palardy Roger on percussion & voice and Pierre Tanguay on drums. This is an all-star Ambiances Magnetiques ensemble, hence the name, recorded live in concert in September of 2007 in Montreal. Four of the members, Hetu, Roger, Labrosse and Derome, each conducted or directed the improvisations and each used a different approach. Joan Hetu's "8 Moments Brefs" is a game that deals with the perception of time, based on 1 minute segments in which the material is switched around. This keeps the flow of ideas compact, as textures and combinations of players shift during every (imagined) minute. There is a leaky faucet in my kitchen where I work at my computer and I couldn't tell if the dripping was a part of this disc until I made sure. With a sampler, a turntable (often without records), manipulated objects and strange voices, it is hard to tell who is doing what. There are brief and often poetic explanations of the composers' intent which give us some idea of what's what. Danielle Roger's four part "Y'a du Bruit Ma Cabane" creates a "customized universe of the rooms of a house" and sounds like well-constructed electronic music and selective samples. Intense and evocative of the complexity of modern civilization. Diane Labrosse's "Une Annee Dans la Vie de..." deals with the twelve months of the year and the layers of voices are ghost-like and quite haunting. Jean Derome's "Canot-Camping..." deals with numerous body signals which steer the music. There seems to be a great deal of directed fragments involved: strange voices, quick changes, toys and a good dose of humor. What I find so remarkable is that after so many years of music together, this ensemble still sound fresh, exciting and filled surprises. Some things do get better as they evolve. - BLG
CD $15

PHILIPPE LAUZIER/PIERRE-YVES MARTEL/KIM MYHR/MARTIN TETREAULT - Disparition De L'usine Ephemere (AM 181; Canada) Four improvisers from Quebec and Norway playing prepared reeds, strings, and a broken turntable, an ea-improv release evoking the sonic and industrial world of sound.
CD $15

JOELLE LEANDRE/QUENTIN SIRJACQ - Out Of Nowhere (AM 184; Canada) Featuring Joelle Leandre on contrabass and Quentin Sirjacq on piano & voice, prepared piano & gong. Contrabassist supreme, Joelle Leandre always excels in the duo situation. Check out any of her many duo excursions with Derek Bailey, Steve Lacy, Irene Schweizer, India Cooke, Kevin Norton, Barre Phillips or William Parker, and you will find each to be wonderful in its own way. Once again we find Joelle in another extraordinary duo. I recall Montreal-based pianist Quentin Sirjacq from a trio he is in with Antoine Berthiaume & Norman Teale that played a the Victo Fest a few years back and were great, as is their CD on AM.
This is a studio date that was recorded in Paris by Jean Marc Foussat, who always does a fabulous job with each disc that he has recorded and mixed for Joelle. Right from the first note, we know we are in for some superb, magical sounds. Most of the pieces are relatively short so that they focus in on certain areas of sound. "Fragment 1" sounds like the bass is breathing slowly in and out, organically unfolding. "Fragment 2" is more explosive with cautious inside-the-piano sounds balancing more hyper-tense moments. Quentin plays a dreamy gentle, melodic fragment on "Presence" while Joelle brings in some darker sounds banging softly on her her bass with her bow. The suspense grows deeper on "The Call" while Quentin holds down the sustain pedal while playing minimal skeletal notes as Joelle also plays hushed bowed ghost-like notes. "Ruin" seems to be appropriately titled since Joelle's spooky voice and the dark piano rumble through the ruins of our collective minds. Each piece feels like a scene from a story or a soundtrack to film noir type of movie. Once again a duo exchange brings out the best from Joelle Leandre and her current collaborator Quentin Sirjacq. - BLG
CD $15


STRING TRIO OF NEW YORK [JAMES EMERY/JOHN LINDBERG/ROB THOMAS] - Rivers of Orion: 30 Years Running (BlackSaint 120178; Italy) Featuring Rob Thomas on violin, James Emery on guitar and John Lindberg on contrabass. One of downtown's finest, most creative and longest-running string ensembles.
CD $16

GIORGIO GASLINI - L'Integrale Vols 7 & 8 [2 CD set] (SoulNote 121356/7; Italy) Featuing Giorgio Gaslini on piano with Steve Lacy on soprano sax, Paul Rutherford on trombone, Enrico Rava & Harry Beckett on trumpets.
2 CD set for $32

GIORGIO GASLINI - Fonte Funda / LaNotte (SoulNote 121520; Italy) Featuring Giorgio Gaslini on piano, Riccardo Luppi on tenor sax, Roberto Bonati on bass and Roberto Dani on drums.
CD $16


GIANLUIGI TROVESI ALL'OPERA - Profumo Di Violetta (ECM 2068; USA) Italy's great musical archaeologist and one of the outstanding improvisers of his country, Gianluigi Trovesi with Profumo di Violetta indulges in his love for the emotional drama and musical beauty of Italian opera. (The title simultaneously alludes to the protagonist of Verdi's famous opera La Traviata and to the flower's sweet perfume.) Accompanied by the characteristic North-Italian provincial 'banda', a large wind orchestra with percussion as we find it in the on-stage-music of most Verdi operas, Trovesi takes us on a humorous journey through the history of the genre. It starts with Monteverdi's Orfeo, includes many highlights from La Traviata before briefly visiting Mascagni and Puccini. The popular and the sublime, irony and unrestrained pathos meet with an improvisational spirit that conveys the pure joy of music making. One of the most unorthodox albums in this year's release schedule, Trovesi's opera project is likely to win many enthusiastic listeners among opera lovers and open-minded jazz enthusiasts.
CD $17


GROUP BOMBINO: GUITARS FROM AGADEZ - Vol 2: Guitars From Agadez (Music of Niger) (Sublime Freq 046; USA) Group Bombino is the latest salvo from the Agadez music scene. Led by the guitar virtuoso Omara Mochtar (Bombino), the group's debut LP -- volume two in the Guitars From Agadez series, represents the latest chapter in the modern sound of the Tuareg revolution. As of 2008, the Tuareg rebellion is in full force again, and Bombino is in exile to parts unknown. Agadez has been cut off from the rest of the country. The only road that connects this legendary city with the rest of the country is littered with land mines and the only escorts are the military. This music and its messages of hope, justice, and desire for validation of the Kel Tamachek way of life ring louder than ever. Group Bombino are gaining mythic status in and around the Tuareg community for their incendiary live performances. Coming from the same scene as Group Inerane and sharing some of the same musicians, Group Bombino showcase both sides of the Tuareg guitar style. Side one features the "dry guitar" sound, an unplugged selection of songs sung among the dunes, camels and stars of the Tenere desert. Side two showcases the electric fury of the full band, a melding of heavy, psychedelic guitar heroics with a raw, garage sound, back beat percussion, all swirling in extended trance rock moves. Recorded live and unfiltered in Agadez and the surrounding desert in early 2007, with the band's equipment powered by generators and an unflinching dedication to the rebellion, Group Bombino's music transcends any influence and ignites the raw passion of its message to the outside world. This is a one-time pressing of 1,500 copies. Pressed on 180 gram vinyl and housed in a gatefold full-color jacket stocked with great photos of the musicians and liner notes by Hisham Mayet.
LP $23


KAWABATA MAKOTO - Rainbow Of Love (Blackest Rainbow 90; UK) "Blackest Rainbow Records is extremely pleased to announce this one. Brand new solo record from one of the most prolific Japanese recording artists around right now. Most people will know Kawabata Makoto as the guitar-wielding shredder from Acid Mothers Temple. This brand new solo recording is a two piece epic of some of the most beautiful tones I've heard in a while. Side A's 'You Are From The Rainbow Over The Sea' is a piece of bowed beauty, taking you to a higher plain of consciousness. The B-side's 'Waiting For You Till The End Of The Rainbow' is just as cosmic as its predecessor, with cascading waterfalls of tones washing over you again and again. Kinda reminds me of some of the Inui series, which is probably some of my favorite material from Makoto. Edition of only 300 copies."
LP $18


STEVE REICH/KRAFTWERK//POWERPLANT/ELYSIAN QUARTET - Electric Counterpoint (Signum 143; UK) Featured works: "Electric Counterpoint" (Steve Reich); "Tour De France" (Kraftwerk); "Radioactivity" (Kraftwerk); "Pocket Calculator" (Kraftwerk); "Carbon Copy"; "Temazcal"; "Audiotectonics III", "Temazcal" (video). Performed by Powerplant (Joby Burgess, percussion; Matthew Fairclough, sound design; Kathy Hinde, visual artist) and The Elysian Quartet. "Powerplant encompasses the work of some of the most dynamic young British artists, bringing together the virtuoso percussionist Joby Burgess and live sound engineer Matthew Fairclouch. The musical duo are joined by visual artist Kathy Hinde, creating experimental and challenging repertoire, which includes a video of their combined imaginations. The repertoire also includes a new take on Steve Reich's "Electric Counterpoint," first commissioned in 1987 for guitarist Pat Metheny, placing the percussionist against a pre-recorded tape of himself. The pieces by Kraftwerk, widely acknowledged as the pioneers of modern dance music, also feature highly on this disc with arrangements for string quartet and a variety of percussive and electronic instruments. This disc is an enhanced CD for PC/Mac, and features a short video performance that can be viewed when using the disc in a computer (requires Quicktime 7 or later version)."
CD $20


ANTHONY PATERAS & ROBIN FOX - End Of Daze (Editions Mego DE 06; Austria) Melbourne-based electroacoustic improv duo Anthony Pateras & Robin Fox return with their second release for the Editions Mego label. This is a shredding album filled with Antipodean-blasted bliss that will get even the darkest of doomlords crawling out of their abyss of hatred and dancing like lunatics. End of Daze is a bulletproof testament to the duo's eight year history in the trenches of live electroacoustic music -- their messy, over-the top contact-miked beginnings now formed into a powerful and futuristic meta-language borrowing from the early electronic masters, with bizarre sound poetry, vintage synth festishism, the eternal patch tweak and good old fashioned Melbourne experimentalist brutality fueled by a poisonous love affair with sonic invention. A combination of materials forged live on stage alongside carefully considered studio mayhem, the audio contained on this disc is their finest vein-popping blend of chaos and order to date. Recorded beautifully by longtime engineer James "Wilkinsound" Wilkinson in Melbourne, combined with some sessions from WORM in Rotterdam, End of Daze promises a sonic range as wide as its genesis, complete with angry-boy artwork courtesy of Clare Cooper. Limited to 500 copies. Robin Fox: computer, controllers, ARP 2500, and programming. Anthony Pateras: computer, Doepfer A-100, voice, and Revox B-77.
CD $16

KTL - IV (Editions Mego 089; Austria) This is the long-awaited fourth album by KTL -- the ongoing duo of Stephen O'Malley (SunnO))), Khanate, etc.) and Peter Rehberg (Pita, etc.). KTL's first full-length release that is not commissioned work for theatre or film showcases their approach to composition and structure as a highly active live band. Whereas the Kindertotenlieder trilogy of KTL (Editions Mego, 2006), 2 (Editions Mego, 2007) and KTL3 (Or, 2007) were blurred washes of fog and noise polished by ambient shine, IV is a more direct and demanding beast, referencing such diverse projects as: volume-era Swans, Red Mecca period Cabaret Voltaire, phase one Wire, Fushitsusha and This Heat. Developed and composed over the spring and summer of 2008, KTL brought the material to Tokyo the following September and worked with Jim O'Rourke at the desk and controls. IV is a stunning new direction and a great addition to both artists' already impressive canon. The opening and shortest track, "Paraug" is a dark shadow of previous KTL sounds, with its blowtorch riffs and sub-bass rumbles. This leads the way for the album's monster "Paratrooper." Over 21-minutes of driving bass pulse interwoven with razor sharp guitar from O'Malley and synth and organ blasts from Rehberg. Atsuo, from Japanese top-rockers Boris, glues it together with his arrhythmic and punishing drumming. "Wicked Way" is a breezy, upbeat number, which, if the band were that way inclined, would be the album's single. "Benbbet," on the other hand, is a whole different ball game: a distant guitar loop is joined by slamming, no step beats, making way for a guitar riff to straddle all valleys and computer bass rattles. Possibly KTL's most detailed recording. "Eternal Winter" is an exercise in black, frozen, resonant harmonics, whereas "Natural Trouble" is a slowly-evolving twister of a track which is both spontaneous and focused. IV was produced by Jim O'Rourke. Stephen O'Malley (guitar); Peter Rehberg (computer & synthesizer); Atsuo (drums on track 2 and gong on track 6).
CD $16


ZEITKRATZER - Volksmusik (Zeitkratzer 02; Germany) The Zeitkratzer international soloists ensemble does their own take on Volksmusik: literally, the "people's music" of the Alpine regions of Germany, Austria, Switzerland, etc. However, Zeitkratzer comes up with their own sound, and their own interpretation, immersing themselves into folk music as still existing today, not some leftover phantom of older days and older traditions. To prepare for this material, they focused their research on the music of the Danube abutters and used every kind of found material that proposed itself for further use: waltz-reminiscences were inescapable, zither and dulcimer were tested for their capability to produce pure noise, and the trumpet sings the pure and naive overtones of mountain solitude. Influences from the lower Danube valley are felt within the pieces' rhythmical eruptions, with everything leading to a wonderful, free uprooting. Listen, be wild, enjoy! Der Standard newspaper in Vienna has high praise for the first performance at the Donaufestival: "It tested folk music from the Danube region by means of classical modernity and for its capacity for moments of humor." All music by Reinhold Friedl and Maurice De Martin.
CD $17

REINHOLD FRIEDL - Schonberg Pierrot Lunaire -- Cheap Imitation (Zeitkratzer 01; Germany) Berlin's Reinhold Friedl is a practitioner of the inside-piano technique and founder and director of the Zeitkratzer and Piano-Inside-Out ensembles. His piece, Schonberg Pierrot Lunaire -- Cheap Imitation is exactly what the title says: an endless funny parody of Schonberg's Pierrot Lunaire, a composition often taken far too seriously. At the same time, it is a compositional condensation of Schonberg's techniques, conducted in a genius way by trumpet player Franz Hautzinger from Vienna, a longtime-member of Zeitkratzer; sung by the soprano Marcus Weiser, who has succeeded already in Berlin as a singer under the name of Mark Markowitsch. Just fun, short and concentrated, as it should be connected to the second Vienna school. Commissioned by Wiener Festwochen, premiered at Konzerthaus Vienna. Recorded live at Donaufestival Krems, Austria, April 24, 2006.
CD $13


New from Cold Blue:

DANIEL LENTZ - Point Conception (Cold Blue 0028; USA) Point Conception is Lentz's wild nine-piano tribute to the octave. It amasses and bubbles over with incessant streams of octaves (harmonic and melodic) that run the length of the keyboard. Through a 'cascading echo system,' long-time Lentz Ensemble pianist Arlene Dunlap performs all of its parts. Presented with 'Point Conception' is Lentz's previously unrecorded 'NightBreaker,' a kaleidoscopic and explosive tour de force for four pianos. An exciting roller-coaster of a work, it ambles, jumps, careens, pauses, and flings itself forward. Through overdubbing, noted Los Angeles pianist Bryon Pezzone performs all of 'NightBreaker''s parts. Both pieces revel in and comment on the conventions of late-19th-century harmony and harmonic motion.
"I've been a fan of LA-area based composer Daniel Lentz for many years since hearing his works on labels New Albion, Angel and now Cold Blue. "Point Conception" (1979) was originally released on an album in 1984 and is scored for nine pianos, all played by Arlene Dunlap. This piece is nearly 37 minutes long and builds through different shifting sections. It begins with a majestic, slowly rocking fanfare which is most elegant and graceful. I love the way the different layers of lines inter-connect, rising and falling with certain notes gleefully gliding on top. The many layers of cascading notes recall a giant acoustic harp being plucked with many circling, strumming hands. It is both dazzling and meditative at the same time. "NightBreaker" (1990) is scored for four pianos played by Bryan Pezzone. The playing on this piece is quicker and develops more rapidly with shimmering layers of lines bouncing, stopping and then starting again. It often sounds as if there is a few different themes being explored as the piece shift abruptly between sections. It is still a marvel at just under 10 minutes." - BLG
CD $14

CHRISTOPHER ROBERTS - Trios For Deep Voices (Cold Blue 0030; USA) Performed by Christopher Roberts (double bass), Mark Morton (double bass), James Bergman (double bass)"The five trios that comprise this work evoke -- sometimes directly, sometimes indirectly -- the composer's experiences of the life and sounds he found in the mountain jungles of Papua, New Guinea. Some of this music came to Roberts in his dreams while living there. The third movement, 'Kon Burunemo' ('trembling leaf') was written in memory of the extraordinary bassist and teacher, David Walter. The composer writes about Trios For Deep Voices: 'In 1981, I ran off to the jungles of Papua, New Guinea to study the natural prosody of music. I lived with the people of the Star Mountains and introduced them to my double bass, while they introduced me to their songs. I took part in drumbeat initiations and listened to the sound of hornbills in flight. I was overwhelmed. I had a dream in which I moved my bow across the strings of the bass in an entirely new way that recreated the drums, and the hornbills' wings, and the voices of the people whose every song tells a story. The sounds in New Guinea and their constant shaping and recurrence hit me right away as a deep signature of a place, the way the water moved through its gorges, the tone of the insects, the way people there would sing, and the particular choruses of the birds. In fact, I cannot imagine the vocal music without the environment surrounding, as my house was as open as a woven basket, and the sounds of the rivers and insects followed the cycle of day and night, drought or deluge. To remember songs, I stand near streams. The Trios describe being in New Guinea, as the strings of a bass would tell it. Hearing the hornbills in a mist-shrouded forest moving across the unseen world just above you -- the atmosphere of being outside at dusk with the insects screaming and the water rushing -- initiation ceremony music, when men as "hornbills" beating only taro enter the ritual house to become "birds of paradise" and emerge beating actual drums. In the composition of music, I work with the medium of a written score, and the natural idiomatic way of a given instrument, following the technical inclinations of resonant strings . Over time, over years, the impressions, the motifs most resilient in improvisation and memory unfold their stories to me in a developing variation proportionately whorled like some sort of topography across the score paper. The first trio describes the initiation, and what it was like to be there in it. The harmonic lyric contours describe the echo of the initiates singing as they approached the ritual house at a dead run straight up the mountain. [In the booklet] my photos of the houses up in the Star Mountains evoke every sensation of being there, where you would be if you were singing in the way of the slow movements. Some trios begin as lone preambles, and all are gathered into contemporary chamber music forms that I could relate to my friends.'"
CD $14

CHAS SMITH - Nakadai (Cold Blue 0029; USA) "Nakadai, which KPFA Folio/Other Minds Radio called 'one of the most explosive LPs of the '80s,' is a set of five works that offer a catalog of musical 'waves' -- from ripples to tsunamis. It features Smith playing pedal steel guitar solo, overdubbed, and with a mallet percussion quartet made up of Bob Fernandez, John Fitzgerald, M.B. Gordy, and Theresa Knight. This first CD reissue of Nakadai allows today's listeners to hear prototypical Smith -- music composed when his present style was in its nascent state. In addition to the original Nakadai tracks, this release includes two 'bonus' tracks: 2008's evocative 'Ghosts on the Windows' and 1991's 'Joaquin Murphey,' a tribute to the legendary pedal steel guitarist of the same name."
CD $14


TETUZI AKIYAMA/KEVIN CORCORAN/CHRISTIAN KIEFER - Low Cloud Means Death (Digitalis 011; USA) "For years I've counted Tetuzi Akiyama as one of my absolute favorite guitarists. He's been cranking out great records for ages, honing his style and skill in every possible way. Add in Christian Kiefer, who has also put out a string of magnificent releases, and a talented drummer/percussionist in Kevin Corcoran (who has appeared on releases on Weird Forest and played in Antennas Erupt!) and you've got a recipe for something magical. Low Cloud Means Death is a series of sea-inspired improvisations that are fighting a continual battle with the silence between each note. This is sparse music at its finest. Minimal notes float in the air as Corcoran lays a web of various percussion beneath the organic layer Akiyama and Kiefer weave. The instrumentation is varied -- Akiyama sticks to acoustic guitar while Kiefer splits time on accordion, piano, and other vices. What the trio produces ends up coming off like an all-improvised Morton Feldman or something of the like. This is a journey on salt-encrusted waves, traipsing through empty spaces in search of whatever aural mystery can be found. It goes something like this: Thump. Quiet again. Twang, thump. Quiet. Quiet. Still quiet. Distant blap. And let me tell you, it is one fantastic voyage. Limited to 500 copies. Artwork by Eden Hemming Rose."
CD $11



Back in stock:

SUN RA & HIS OMNIVERSE JET-SET ARKESTRA - Complete Detroit Jazz Center Residency: December 26 1980 - January 1 1981 [28 CD Set] (Transparency 307; USA) When I heard about this box-set, I thought it was cosmic joke, played upon us crazed Sun Ra fans, but lo and behold, it is here and is another holy grail for those of us who worship at the temple or Outer Spaceways Incorporated! Yes, you did read right! This handsome box-set was originally 28 CD-R's [this second edition is actual pressed CDs], eleven complete concerts, 26+ hours of music, from the Detroit Jazz Center Residency from December 26th, 1980 to January 1st, 1981. The personnel features Sun Ra on organ, synth, piano & vocals, Marshall Allen and John Gilmore on saxes, Michael Ray on & Walter Miller on trumpets, June Tyson on vocals & dance, Tony Bethel on trombone, Vincent Chancey on French horn, Danny Thompson on bass & flute, James Jacson on bassoon & Infinity drum, Skeeter McFarland & Taylor Richardson on electric guitars, Richard Williams on bass and Luqman Ali on drums.
So far, I've listened to six of these discs and it will take me a while to check them all out. Besides the 28 discs, inside the box we also find two large pages that list all of the song titles from each disc. A large portion of these sets featured dozens of Sun Ra's original compositions, chanting, inspired soloing as well as a variety of standards from Fletcher Henderson, Monk, Coleman Hawkins, Duke Ellington and classics like "Over the Rainbow" and "Big John's Special." Although these are all record from the soundboard, the sound quality is relatively good but certainly not great. Some tweaking from you home stereo will help, but the sound is far from perfect. I was fortunate to have experienced the Sun Ra Arkestra some 25+ times throughout the 70's, 80's and early 90's and the late 70's was my favorite period. These sets remind me most of this period and cover a lot of the same songs, themes, chants, frenetic solos and everything else that made these gigs like a trip to another alien world. I'm reaching for that 7th disc now, as my long journey continues to Saturn and beyond. - BLG
28[!] CD set for $85

JAMES FEI With CHRIS JONAS/JACKSON MOORE/ANTHONY BRAXTON et al - Alto Quartets (Organized Sound 04; USA) Featuring Chris Jonas, Jackson Moore & James Fei on alto saxes on all tracks plus guests Anthony Braxton, Jeff Hudgins (once of Prelapse), Randy McKean and Seth Misterka on alto saxes on different tracks. James Fei plays sax and does electronics, having studied and recorded with Anthony Braxton. James has released 3" Cds of his electronic music and has recent duo CD with Kato Hideki out on IMJ. The seven tracks here were recorded at four different sessions in 1998, 1999 and 2001. Each piece deals with different ideas, approaches and the unique sounds that modern musicians get from their varied explorations on their (alto) saxes. "Study II [Scream]" is a collection of screams, blasts and squawks, tightly woven together. Nice to hear someone other than Zorn bending and twisting their notes inside-out and still making coherent music. "Study IV [Flutter]" deals with the tongue fluttering technique that saxists often employ and has a dry, minimal, spacious and more classical touch. I dig the way "for four alto saxophones" uses a staggered pulse of timing, so that there are overlapping harmonies which move in and out of synchronous orbits. Very Braxtonian. It get even better when the saxes bend their notes in a seesawing way, throwing us off balance and a making us a bit seasick. "Horizontal-Vertical" reminds me of a section of the Mothers' 'Uncle Meat', in which layers of saxes chatter tightly together breaking their lines into interconnected spastic fits. "Work for crippled reeds" is the longest piece and it explores the unpredictable sounds of sax reeds which have been cut differently. Hushed textures slowly mutate as notes are stretched out with breath-like sounds. "for four alto saxophones part II" erupts with some intense blasts, harsh squawks and squeaks, most effectively well placed. "Study III" focuses on those bent notes produced by manipulating the sax reed with saliva and is a collection of angular shifting drones, craftily put together. Braxton and Zorn fans, as well as anyone interested in fascinating sax and reed manipulations and explorations, should really enjoy this gem. - BLG
CD $14

IRA COHEN, dir./ANGUS MACLISE, music - The Invasion of the Thunderbolt Pagoda [DVD] (Arthur 01; USA) "The first-ever, fully authorized commercial release of Ira Cohen's legendary 1968 film, The Invasion of Thunderbolt Pagoda. Celebrated internationally for more than 30 years, and recently screened as part of the 'Day for Night' program at the 2006 Whitney Biennial, Invasion will be released as a fully restored and mastered director's cut DVD. High-quality transfer from the original 16mm film, with color correction supervised by the director. The legendary soundtrack, newly remastered by Tim Barnes, featuring The Universal Mutant Repertory Company (Loren Standlee, Ziska Baum, Angus MacLise, Raja Samayana, Tony Conrad, Henry Flynt and Jackson MacLow) Two new, never-before-released alternative soundtracks to Invasion by Sunburned Hand of the Man and Acid Mothers Temple SWR (Tsuyama Altsushi, Yoshida Tatsuya and Kawabata Makoto). 16-page commemorative booklet featuring mylar photography and poetry by Ira Cohen and Angus MacLise, and critical texts by Ian Macfadyen and Allan Graubard. Brain Damage, a new film directed by Ira Cohen, created from never-before-seen original 16mm outtakes, featuring a new soundtrack composed by Will Swofford with the Expanded Instrument System. 'From The Mylar Chamber,' an original slideshow of 60 mylar photographs with soundtrack by Angus MacLise and original poetry by Ira Cohen. Director's Commentary track by Ira Cohen. J. Hoberman in the Mar. 16, 2006 Village Voice: 'Part Dr. Strange, part Inauguration of the Pleasure Dome, [The Invasion of Thunderbolt Pagoda is] so High '60s that you emerge from its 20-minute vision perched full-lotus on a cloud of incense, chatting with a white rabbit and smoking a banana... Invasion is a languidly opiated costume ball in which an assortment of masked and painted bohos, some sporting outsize elf ears, loll about a candlelit, mylar-lined set, blowing soap bubbles and nibbling majoon ... In lieu of action, Cohen uses all manner of superimposition and prismatic image-splitting; his big effect, however, is the deliquescent mylar reflection. What saves Invasion from preciosity is the vague menace of Angus MacLise's improvised pan-piping, tabla-tapping, creature-yipping score. Although this masterpiece of Tibetan-Moroccan-Druidic trance music was reissued on CD several years ago, it truly blossoms in conjunction with the exotic smorgasbord served at Cohen's psychedelicatessen.'" DVD special features: From The Mylar Chamber slide show; Brain Damage (2006), directed by Ira Cohen; Played For Real: Ira Cohen, a short film by Raphael Aladdin Cohen & Will Swofford; Paradise Now: The Living Theatre in Amerika, excerpt from the forthcoming DVD. NTSC format, region free.
DVD $28



Restocks from The Netherlands:

APA INI [TOBIAS DELIUS/HILARY JEFFERY/WILBERT De JOODE/SERIGNE C M GUEYE] - Apa Ini (Data 33 SBT; Netherlands) Featuring Tobias on tenor sax & clarinet, Hilary Jeffery on trombone, Wilbert De Joode on bass and Serigne C.M. Gueye on assorted African percussion. Although Tobias Delius is the newest member of the ICP Orchestra, he is longtime member of the creative scene based in Amsterdam and centered around the Bimhuis. His three previous quartet releases featured ICP's Tristan Honsinger on cello and Han Bennink on drums, while his live trio cd from (Spool) last year included Wilbert de Joode on bass and Vancouver's Dylan van der Schyff on drums. Tobias' new quartet features the same bassist with the upcoming British trombone wiz Hilary Jeffery, who can be heard on a few cds from Paul Dunmall, as well as solo offering on FMR. I am unfamiliar with African percussionist Serigne Gueye, yet his playing here is often subtle and quite enchanting. Often it is bassist Wilbert who at the rhythm center of the skeletal structure here with the sax or clarinet, trombone and percussion weaving their lines sublimely around him. Both Tobias and Hilary are well matched and consistently spinning their webs of creative spirits in a wide variety of ways. Considering half of these pieces are improv based, they do sound like they were partially planned in advance, as some musical telepathy adds a constant thread throughout. Another superb and often sublime treasure from this great quartet.
CD $19

AB BAARS TRIO + KEN VANDERMARK - Goofy June Bug (Wig 15 SBT; EEC) Featuring Ab Baars on clarinet & tenor sax, Wilbert De Joode on double bass and Martin Van Duynhoven on drums and making it a fourth: Ken Vandermark! Do you actually need to wait for a review?!?! [one will be forthcoming]
CD $20

JOHN BUTCHER - Thirteen Friendly Numbers: Solos, Quartets, and Sextet (Unsounds 07 SBT; EEC) The rerelease of John Butcher's classic debut solo CD. Solo and multitracked saxophones, and allsorts. "this is a masterful record which should be investigated by anyone interested in free playing." (Penguin Guide to Jazz)
CD $15

CORKESTRA [COR FUHLER NONET With AB BAARS/TONY BUCK/TOBIAS DELIUS/WILBERT DE JOODE et al] - Corkestra (Data 44 SBT; Netherlands) Pianist Cor Fuhler studied with Misha Mengelberg and has worked with assorted ICPers in the past, and a few of them are featured on this release - namely reedsmen Ab Baars & Tobias Delius and bassist Wilbert de Joode. The rest of the band includes Michael Vatcher on percussion/singing saw/hammer dulcimer, Tony Buck on percussion, Ex bassist Andy Moor on electric guitar, Anne La Berge on flutes, and Nora Mulder on cymbalom. Those of you who follow the Dutch/ICP/Breuker axis of eurojazz/improv probably have at least an inkling of what you're in for with this record. With that said, prepare for a pleasant surprise. A heavily percussive record, the more broadened sound palette on display here takes many of the more tried-and-true post-fluxus insanities of dutch improv and gives them a new wardrobe - lots of organ, wow-and-flutter guitarwork, contact mics, that sort of thing. The result is almost like that of an "Electric ICP Orchestra," if one can fathom such a thing! One of the year's best thus far! -Mikey "IQ" Jones.
CD $19

THE CORTET [COR FUHLER/THOMAS LEHN/RHODRI DAVIES/JOHN BUTCHER] - H H H H (Unsounds 10 SBT; EEC) Cor Fuhler and Rhodri Davies use extreme preparations and processes to reinvent the large arrays on strings on piano and harp respectively while Thomas Lehn removes a vintage analog synth from its comfort zone and John Butcher draws strict geometric patterns with the blood of a saxophone. There is a sinister precision and unrelenting anti-expressiveness to each of these four virtuoso's style and to have them playing together is nearly oppressive in its density of intrigue. At the core of the monumental compatibility between these musicians is their desire to sustain a narrow range of thematic focus for extended passages instead of rapidly shifting themes in the manner of older improv paradigms. At the same time, they often resist the cliches of stasis and continuity established for electroacoustic improvisation in recent years, preferring instead to install complicated, abrasive events on their musical surfaces. Allow me to christen this music as Textures With Twitters, and call attention to the fantastic recent Rives/Matthews/Zach/Dubost release (Dining Room Music) that I feel is similar in concept and quality. These works signal a new chapter in free improvisation in which the acoustic-instrument-as-electronics illusion is no longer an end in itself, but rather a means to suppressing the parts in terrifying or otherworldly sonic sums that creep across a detemporalized canvas. This is passive aggression with fierce new timbres, raised to the fourth power. - Michael Anton Parker
CD $15

WILBERT DE JOODE - Olo (Wig 6 SBT; EEC) Wilbert De Joode solo doublebass
CD $20

WALTER WIERBOS - Wierbos: Solo Trombone (Data 824 SBT; Netherlands)
CD $19

WALTER WIERBOS - 3 Trombone Solos (Dolfijn 01; Netherlands) This is ICP trombonist, Wolter Weirbos' first solo disc in 12 years and listening to it, it was well worth the long wait. Solo trombone efforts are relatively rare and no doubt difficult to pull off. You can probably list solo trombone discs on one hand: Paul Rutherford, George Lewis, Conny Bauer and Albert Mangelsdorff. This disc features three pieces from three different cities: Chicago, Portland (Oregon), and Amsterdam, where Wolter resides. Wolter has a warm and most expressive sound on his trombone, one can hear the entire history of (jazz) trombone in his sound. Sometimes swinging, sometimes blustery, sometimes funky. I love the way Wolter slowly stretches notes out and adds harmonies by humming through his horn. When he finally cuts loose towards the end of the Chicago piece, it is indeed a glorious moment that ends with some percussive heavy breathing sounds and ends with a great funky section. You might think that there are not enough sounds to produce to keep this effort interesting, but you would be wrong as Wolter consistently comes up a variety of sounds and approaches. Each piece develops organically and each feels like a complete work. "Portland" involves multiphonics by humming or growling into the horn while making other sounds simultaneously. Different melodies or tunes coincide and overlap. The sound of the room where these pieces take place add their own unique ambiance, thus making certain notes reverberate in different ways. There are moments during "Portland" when Wolter sounds as if he is quoting fragments of recognizable melodies that add an enchanting lyrical side to things. This disc captures a startling 3-piece tour-de-force for solo trombone. The one question I have is this: why is Wolter Weirbos wearing some seaweed on his head and face on the cover? Perhaps we can guess... - BLG
CD $18



WICKED WITCH - Chaos: 1978-86 (EM 1080; Japan) First-time ever reissue of rare evil psycho machine-funk from '80s Washington, D.C., including previously-unreleased mixes. Now is not the time to doubt your senses -- the Wicked Witch does exist. Born and raised in the musical magical cauldron of Washington D.C., Wicked Witch combines elements from alchemical mentors Parliament Funkadelic, Sun Ra, ESG, Run DMC, James Brown and Jimi Hendrix to cast a crazed spell on the innocent listener. An evil mass of machine-funk with lashings of rhythm and blues and fusion delivered direct from the heart of the Witch, a misunderstood psycho-genius weaving his solo web deep within the dark studio walls. Trained by masters at the Duke Ellington School of the Arts, Wicked Witch is in full control; he plays all, knows all, tells all. His message will not be denied. Believe your ears, believe your eyes: the Wicked Witch does indeed exist. First-time ever re-issue, remastered from the original master tapes, including rare photos.
CD $18


GEDO - Gedo (Erebus 02; UK) "Superb limited edition card digipak containing 4-page booklet with band info and photos. Gedo's first and self-titled album from 1974 was recorded live and is mostly hard rock with some psychedelic touches. A good mix of old-style rock'n'roll and heavier high-energy guitar rock with the occasional lighter, almost morose moment. A furious 'Born To Be Wild' rush of proto-Ramones. Gedo is a trio led by the charismatically androgynous guitarist/vocalist Hideto Kanoh, ex-The M, Masayuki Aoki ex-Too Much (bass) and Ryoichi Nakano (drums). Gedo had a big biker following and were a very popular act at the festivals that were a major feature of 1970s Japan rock culture. This album features at number 30 in Julian Cope's Japrocksampler Top 50."
CD $19

HAPPY END - Happy End (Erebus 27; UK) "Presented here is Happy End's eponymous first album that was originally released in 1970 on URC. Happy End was a Japanese folk rock band which existed between 1970 and 1973. The band's pioneering avant-garde sound is highly revered, and they are considered to be one of the most influential bands in Japanese music. In fact, Happy End is listed at number 4 in HMV Japan's list of the top 100 Japanese popular artists of all time! Happy End was formed by ex-Apryl Fool's Haruomi Hosono and Takashi Matsumoto and after its demise, Hosono went on to form the Yellow Magic Orchestra. Unlike most contemporary Japanese bands of the time, Happy End also refused to sweeten their albums with scatterings of Western rock covers, even presenting their songs in the Japanese language. Happy End's music is most reminiscent of soft rock such as Wheatfield Soul-period Guess Who, a slightly heavier CSN&Y and Badfinger."
CD $17

THE KAPLAN BROTHERS - Nightbird (Erebus 41; UK) "The ultimate lounge-rock extravaganza. A self-proclaimed 'electric symphony' that mixes Ennio Morricone with King Crimson as recorded by a Holiday Inn/bar mitzvah band from outer space. Crooner vocals soar on top of overly-elaborate keyboard arrangements as the music abruptly throws you from one intense mood into another in true psychedelic fashion. No ideas are discarded as the meaning of life unfolds in glitzy Z-grade fashion -- if there's a bad, cheesy move to be made, they'll go for it. These guys probably thought they'd made the greatest LP of all time, and in a way, I guess it is -- even regular folks with no interest in this scene are blown away by the Kaplans' unsurpassed pretense and lack of reality-checks. Must be heard to be believed, preferably on acid." --Acid Archives
CD $17

KUNI KAWACHI & FRIENDS - Kirikyogen (Erebus 21; UK) "After the release of the Challenge album in 1969 by the proto Flower Travellin' Band, Yuya Uchida brought in Kuni Kawachi, organist and leader of The Happenings Four. They spent the early part of 1970 putting together a series of recordings which were very melodic, but psychedelic and strung-out. This project surfaced as Kirikyogen by Kuni Kawachi & Friends, after the demise of The Flower Travellin' Band. Julian Cope rates Kirikyogen at number 25 in his top 50 Jap rock albums of all time: 'An entire album of classic songs, featuring the aforementioned Flower Gods in pole positions throughout. (Akira 'Joe' Yamanaka on lead vocal and Hideki Ishima on guitar). Moreover an early version of Flower's non-LP single 'Map' lurks within, hiding behind the title 'Music Composed Mainly By Humans.' While dry, spaced-out and highly original hard rocking ballads occupy side one, side two is possessed of a hitherto unseen acoustic side of Hideki Ishima's playing in the highly catchy 'Graveyard Of Love,' 'Classroom For Women' and the late Velvets-styled 'Scientific Investigation.' And while Joe's tonsils never get the same rigorous overhauling that his Flower cohorts demand, even his most gentle contributions herein showcase 'that' voice to perfection.'"
CD $17

YONIN BAYASHI - Ishoku-Sokuhatsu (Erebus 25; UK) "Yonin Bayashi made its studio album debut with Ishoku-Sokuhatsu in 1974, when all of the members were 20. Their virtuoso performances and experimentation in the studio were exceptional and impressive at the dawn of the Japanese rock business. The sound was a mixture of Pink Floyd, Yes, Deep Purple or Frank Zappa with Hendrix-esque guitar and Procol Harum-like drumming. Yonin Bayashi broke up in 1979. Julian Cope rated Ishoku-Sokuhatsu at number 49 in his top 50 Jap rock albums of all time: 'From mock Italian harmonies and bossanova rhythms, they'll thrust straight into pure Van der Graaf Generator as played by the first Alice Cooper band, then off into some American guitar epic treks, perhaps with a 13/8 moment thrown in for good measure. This album is progressive pop music in a similar manner to that of solo Todd Rundgren or even the Zombies' experimental LP Odyssey & Oracle.'"
CD $17



ROY HARPER With CHRIS SPEDDING/BILL BRUFORD et al - HQ [aka When An Old Cricketer Leaves The Crease] (Science Friction 19; UK) [1975] HQ is to date my most integral 'rock' record. There are less acoustically oriented tracks on this record than on any of my other records. However this is not to say that any of the songs couldn't have been recorded playing just an acoustic guitar. The combination of Chris Spedding, Bill Bruford, Dave Cochrane and myself was a band I should have kept together, but hindsight is a wonderful thing. Dave Gilmour, John Paul Jones and Steve Broughton were the band that played together at a Hyde Park Free Concert and then recorded the backing track for 'The Game'. The highlights of the record are one, Chris Spedding's guitar solo on 'The Game,' which was a first take and is a wonderful piece of spontaneous Rock and Roll. He played it on a tiny amp in the middle of the empty aircraft hanger sized Studio 1, at Abbey Road, a studio built for 100 piece orchestra and opera cast. He was dressed in a white suit with a red carnation and was in and out of the studio within 20 minutes!
And two, the great lift that the Grimethorpe Colliery Band gave to 'When an Old Cricketer Leaves the Crease.' It was recorded in the same studio and there were about 50 musicians in the studio that day.
My childhood memories of the heroic stature of the footballers and cricketers of the day invoke the sounds that went along with them. Paramount among these was the traditional Northern English brass band, which was a functional social component through all four seasons, being seen and heard in many different contexts. My use of that style of music on 'Old Cricketer' is a tribute to those distant memories.
Finally, not least among the highlights is the third verse of the lyric of 'The Spirit Lives.' A poem of mine that I really enjoy. In my opinion, HQ is probably the best record that I have made to date, and stands up to close scrutiny.
CD $19

ROY HARPER - Bullinamingvase [aka One Of Those Days In England] (Science Friction 21; UK) [1977] The major event on the record, One of 'Those Days In England', is a collection of reminiscences. The legend of Excalibur in the first line. The last of the willow leaves at the top of the tree hanging on into January. 'Alfred had me made', the words written in anglo-saxon around the Alfred Jewel. More precisely 'Alfred mec heht gewyrcan' Alfred ordered me to be made. The Alfred Jewel is housed in the Ashmolean Museum at Oxford (England) and I visit it regularly when I can for sustenance.
In the light of the events of his lifetime, Alfred must not only be considered as the founder of the British Navy, but more importantly as the founder of the English language. Had it not been for Alfred's victory over the Danes in the late ninth century, it would perhaps be conceivable that one fifth of the world's population would now be speaking some kind of Danish dialect
CD $19

ROY HARPER With IAN ANDERSON et al - The Dream Society (Science Friction 30; UK) Personnel: Roy Harper, Ian Anderson, Rick Sanders, Steve Bernard, Noel Barrett, John Fitzgerald, Felix Howard, Misumi Kosaka, Colm O`Sullivan, Bonnie Shaljean, Jeff Ward. The limited edition first pressing includes a bonus interview CD and a 52 page booklet. Thirty years and probably about as many albums since Roy Harper`s debut, 1997`s THE DREAM SOCIETY is a thoughtful, irreverent blast of folk-rock from one of the most idiosyncratic artists of his generation. Wisely avoiding any attempt to update the basic aspects of Harper`s sound--12-string acoustic guitar, raspy voice, folk-rock arrangements with hints of jazz and blues--THE DREAM SOCIETY has all of the power and directness of `70s classics like STORMCOCK and HQ. Sarcastic lyrics like `Drugs for Everybody` and `Come the Revolution` show that age has not mellowed Harper, but the tender `I Want to Be in Love` and `These Fifty Years` view life from a decidedly more mature and reflective standpoint. Fine, substantial stuff.
CD $19

ROY HARPER - The Unknown Soldier (Science Friction 31; UK) "While duets are not commonplace on Roy Harper albums, Kate Bush accompanies Harper on the song 'You (The Game Part II)' to great effect. The song 'Short And Sweet' features Pink Floyd's David Gilmour on guitar. (The song is also found on Gilmour's first solo album). Originally released in 1980, The Unknown Soldier had Harper providing the lyrics and Gilmour the music and co-writing five of the album ten songs." Includes a 16-page booklet.
CD $19


RONNIE McNEIR - Ronnie McNeir (Dusty Groove 3020; USA) "The first album from Detroit soul genius Ronnie McNeir -- a '70s mellow masterpiece all the way through! The record's an incredible blend of electric piano, soulful vocals, and flowing rhythms -- an amazing accomplishment for the young Ronnie, and a record that we'd rank right up there with '70s classics by Stevie Wonder, Leroy Hutson, and Donny Hathaway. Bits of dialogue are interspersed with some of the tracks, making the set a really unified full-length effort -- not just a batch of groovers and ballads, but a well-conceived album that's quite unique. McNeir's vocals are wonderful -- powerful, yet very personal, too -- and his keyboard work really supports the album's righteous vibe. Hardly a hit in 1972, the record's ripe for rediscovery these many decades later -- years ahead of its time, and finally getting its due! First time on CD -- and never reissued on vinyl."
CD $12


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