Heavy Stuff This Week..

Nels Cline! Alex Cline! Jon Hassell! Matt Shipp/Mark O'Leary! Gunter Hampel! Dresser/Maroney! Joelle Leandre 2CD set!

Nicole Mitchell's Indigo Trio! Dunmall/Gibbs/Chang/Taylor! Five new Blue Note RVG remasters! .. Out-Of-Print Brit-Jazz on Voiceprint - on SALE!

..and much, much more [natch']



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LIMITED ENGAGEMENT FOR THIS FOREMAN-ZORN THEATRICAL EVENT!

Richard Foreman is one of the most important theatre directors in the world, and has been a personal hero of John Zorn's for over 30 years. This theatre/music piece is the historic first-time collaboration for two masters of the bizarre (both MacArthur geniuses) who individually have challenged, enlightened and entertained adventurous audiences for decades.

ASTRONOME: A NIGHT AT THE OPERA is a work dominated by ecstatic groans, grunts and babbling, and explores the initiation of a group of people into a world where ambiguous behavior alone leads to freedom--perhaps under the tutelage of the necessary "false messiah." This is one of those events that can only happen downtown - culminating from a chance meeting in the street - independent of any special grants, funding, institution or administration.

Based on ASTRONOME, the intense second CD of a series featuring Mike Patton, Trevor Dunn and Joey Baron, Richard Foreman's staging of it is absolutely stunning!

Please make a special effort to see this once in a lifetime event, opening FEBRUARY 5th and RUNNING FOR ONLY TWO MONTHS through APRIL 5th at the ONOTOLOGICAL-HYSTERIC THEATRE
@ St Marks Church in the East Village, 131 East 10th St on Second Ave!


to purchase tickets, go to:

https://www.ovationtix.com/trs/pr/633735


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JON HASSELL performs in NYC for the first time in 20 years!!!
ZANKEL HALL (Carnegie Hall 7th Ave. at W 57th St, Manhattan)
This Tuesday, February 10, 2009 at 8:30 PM

Featuring:
Jon HASSELL: Trumpet / Keyboard
Peter FREEMAN: Bass / Laptop
Jan BANG: Sampler / Live Sampling
Dino J.A. DEANE: Sampler / Live Sampling
Kheir-Eddine M'KACHICHE: Violin

This is The CD Release Celebration Concert of "Last Night the Moon Came Dropping its Clothes in the Street" - released on the same day through ECM Records
This is Jon Hassell's first ECM disc since 1984's 'Powerspot'
Be There or Be Square!
DON'T MISS THIS!! Get tickets at

http://www.carnegiehall.org/article/box_office/events/evt_11461.html?selecteddate=02102009

See below for his new CD on ECM - Just IN!


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RICHARD FOREMAN - Sophia - The Cliffs: 35+ Year Retrospective Compilation (Tzadik 3008; USA) NTSC Region 0. [All Regions] Since the late 1960's Richard Foreman has been writing, designing and directing one of the most important and innovative theater experiences in the world. Documenting dozens of productions, and replete with commentary and interviews, this first release in a series of DVDs from the Ontological Archives is an inner view into the mind of one of the world's greatest and most acclaimed theatrical geniuses. This special edition contains a retrospective of three decades of work, and a document of one of Richard's earliest plays complete from beginning to end. TZADIK DVD SERIES
DVD $23


NELS CLINE - Coward (Cryptogramophone 141; USA) Featuring daredevil guitar god Nels Cline on acoustic & electric guitars, effects, autoharp & zither-things and assorted devices too numerous to mention. Although ace guitar wizard, Nels Cline's career stretches back some thirty years (first recording, 1979), this is Nels' first full-length solo guitar effort. There have been a number of duo efforts (E. Sharp, Thurston Moore, Vinny Golia & Carla Bozulich), as well as lots of trio discs (his original trio, Nels Cline Singers and such)., but here Nels gets to stretch out and layer a number of different guitars with a variety of effects. And for some 72 & 1/2 minutes, the mighty Nels Cline reaches deep into his bag of licks and tricks and pulls off an extraordinary achievement. Not only is his virtuosity apparent, but the crafty way he blends genres, sonic effluvia with his own mysterious musical mayhem, is just plain astounding!
On each of the fifteen pieces, Nels creates a different sonic landscape. Starting with "Epiphyllum" , it sounds like the ominous tone of a an organ, with the distant crackles of some sort of static. One of the wonderful things about this disc is hearing Nels play his acoustic (12-string) guitar, something we hear so rarely from him. "Prayer Wheel" is an exquisite acoustic delight which reminds of Bruce Cockburn mixed with the prowess of one of our fave British heroes from the sixties. Nels has a unique way of utilizing his effects boxes and is often manipulating his sound to come up an odd variety of strange colors and odd sounds. A few of these pieces were inspired by different collaborators from Nels' previous recordings. "Thurston County" features a great Sonic Youth-like riff at its core, while "Rod Poole's Gradual Ascent to Heaven" features a long mesmerizing microtonal escapade for the Mr. Poole, who was killed in a street violence attack a few year ago. I dig the way Nels blends acoustic and electric guitars on "The Divine Homegirl", into a fascinating, seamless dream-like fairy tale and then continues the magic on "X Change (s)" with some mystical acoustic harp-like permutations. Just incredible! The last section of this disc features the epic-length 5-part "Onan (Suite)", another tour-de-force that covers different approaches to Nels' diverse guitar playing in different sections. Over the last few years Nels' has garnered some well-deserved recognition since joining the popular American roots-rock band Wilco. It would seem the time is right for him to put out this amazing guitar(s) epic, which transcends categories and will impress adventurous listeners and guitar freaks world-wide, as well as many new listeners to this music. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

ALEX CLINE With JEFF GAUTHIER/PEGGY LEE/MYRA MELFORD/SCOTT WALTON - Continuation (Cryptogramophone 140; USA) Featuring Jeff Gauthier on violin, Peggy Lee on cello, Myra Melford on piano & harmonium, Scott Walton on bass and Alex Cline on percussion, kantele and all compositions. This is master-percussionist and composer, Alex Cline's eighth disc as a leader, and as hard as it may seem, his discs continue to get better as his musical palette expands. For 'Continuation", Alex has organized a wonderful new quintet which features a stellar cast. He has chosen two strong string players, Jeff Gauthier, who runs the Crypto label and who has long been a close collaborator with Alex and for the first time Vancouver-based cellist, Peggy Lee, who continues to put out strong discs of her own as a leader and a side-person. Former downtown keyboard sorceress, Myra Melford, now teaches at Mills College in Oakland, CA, and is another excellent choice as she also draws from a wide variety of sources. Bassist Scott Walton has worked with Vinny Golia, Leo Smith and Cosmologic and is another righteous choice.
At 77-minutes in length, 'Continuation' is filled with a number of lengthy cinematic scenes and stories, something that Alex Cline has long excelled at. If you look at the picture of Alex's complex drum and percussion set-up, you can see why it is difficult for him to travel with his entire kit. "Nourishing Our Roots" opens our journey with an elegant, ECM-like aura of precious and lovely sounds. The strings and piano are quite touching a dreamy with a splendid cushion of acoustic bass and flowing drums underneath. Bassist Scott Walton starts off "Clearing Our Streams" and is at the center of many of these pieces. His playing consistently shines and he is often at the heart of this session, Alex has picked the perfect partner for this entire disc. "Clearing Our Streams" also features some stunning harmonium from Myra as well as a haunting melody that is impossible to forget. Alex's mysterious percussion is featured on "Fade to Green" with some exquisite piano and cello. The way it is recorded and the sound of the percussion is stunning. "Steadfast" begins with more of Alex's powerful drums with a most memorable hypnotic theme. Both Jeff on violin and Myra on piano take superb, inspired solos on this great song. The two long pieces here are 18 & 1/2 minutes each and they evolve slowly with fascinating results. "SubMerge" features some a superb blend of bowed strings, violin, cello and bass, with harmonium and haunting percussion producing a trance-like state. Truly cinematic, like observing an ancient world. "On the Bones of the Homegoing Thunder" continues the mesmerizing vibes with some smoking, swinging jazz sections. While Myra takes an outstanding piano solo, the strings swirl around her adding other waves while the piano erupts. Alex Cline's 'Continuation" is without a doubt one of great discs of this or any year, why not purchase it today and do yourself and us a favor?!? - Bruce Lee Gallanter, Downtown Music Gallery
CD $16


MARK DRESSER/DENMAN MARONEY - Live In Concert (Kadima 18; Israel) Featuring Mark Dresser on contrabass and Denman Maroney on hyper-piano, recorded live at last year's (2008) Vision Fest. The final show of the first night featured the longtime duo of Denman Maroney on prepared piano and Mark Dresser on contrabass. This duo has worked together in different combinations for more than a decade, and you could tell by the way they explore sounds in similar ways. Denman works inside the piano with metal bowls and uses other objects to mute and manipulate the strings. Mark as well is a master of exploring odd and unique sounds on his acoustic bass. They both bend their strings in ways that make it hard to tell who is doing what without looking closely. Their set unfolded in an organic way with a variety of eerie sounds that were not always melodic, yet remained effective and fascinating nonetheless. Their set had a dream-like quality with odd twisted sounds floating in a hypnotic haze. - BLG
CD $16

JOELLE LEANDRE With ASSIF TSAHAR/ARIEL SHIBOLET/DANEL SARID et al - Live In Israel: Solos, Duo, Trios, And Sextet [2 CD set] (Kadima 17; Israel) CD 1: 7 Solos
CD 2: featuring Assif Tsahar bass clarinet , Ariel Shibolet soprano saxophone, Albert Beger tenor saxophone, Haggai Fershtman drums, Daniel Sarid piano trio with Steve Horenstein barytone,soprano saxophones and flute, J-C Jones bass,Sameer Makhoul oud.
When French contrabass legend, Joelle Leandre, visited Israel in November of 2007, she played live and recorded a number of fine solo, duo and group sessions for the Kadima label. Her fine duo with Barre Phillips, has already been released and now we have a great double disc of her solo concert plus a disc of improvisations wit a number of Israel's greatest players like Assif Tsahar, Albert Beger, and Steve Horenstein on saxes and Daniel Sarid on piano. The solo set is indeed superb and nicely-recorded. Ms. Leandre is a master improviser and always excels in the solo situation. I found this set to be quite intense and spirited. While listening to this, I was amazed by the dense, throttling low-end sounds that Joelle was making. The overall sound of her bass and various bowed, plucked and bang-on-the-strings sounds that she employs are nothing less then astonishing. Joelle Leandre is a free spirit and her contrabass playing captures the true spirit of freedom in its many flowered forms. It doesn't get any better than this!
The second disc features Joelle improvising with a sextet, a trio and a duo of Israeli musicians. The sextet is first and it consists of three reeds players, piano, bass and drums. We know Assif Tsahar from his many years as a downtown tenor titan & bass clarinetist, Albert Beger from discs he has sent us in the past with William Parker & Hamid Drake and pianist Daniel Sarid from discs that Assif or Ori Kaplan once left us. Joelle's feisty bass fits just right with these other strong improvisers. The sextet sounds swell since no one overplays, we often hear sub-groups mix in different combinations with occasional somber sections. One track starts with two great acoustic bassists and piano and it is outstanding, especially when both bassists are bowing. Saxist Steve Horenstein has played with Bill Dixon in the past and here plays bari & soprano sax & flute. He plays strong simmering bari sax with the two bassists, Joelle and JC Jones. Jean Claude Jones is fine musician who helped organize these sessions and runs the Kadima label. JC and Joelle work very well together, their basses always compliment each other. It is difficult to tell them apart at times. The final two pieces feature Sameer Makhoul on oud and Joelle on bass, with both doing some effective vocal sounds. These pieces are more laid back, moody and prayer-like and provide a perfect ending for this wonderful disc. - Bruce Lee Gallanter, Downtown Music Gallery
2 CD set for $20



New on RogueArt!

INDIGO TRIO [NICOLE MARGARET MITCHELL/HARRISON BANKHEAD/HAMID DRAKE] - Anaya (RogueArt 18; EEC) "Creative music making is a matter of energy, heart, and trust, and when all three are present the music flies. A meeting of three old Chicago friends and collaborators, flutist Nicole Mitchell, drummer Hamid Drake, and bassist Harrison Bankhead, the Indigo Trio soars with the kind of spiritual energy that has inspired Great Black Music from its inception...
Building a bridge between composition and improvisation, Bankhead, Drake, and Mitchell have created an inspiring second CD. With their spirit of openness and generosity, the Indigo Trio model the poet Rumi's insight that 'only from the heart can you touch the sky.'"
CD $16

ALEXANDRE PIERREPONT/MIKE LADD With ROSCOE MITCHELL/DAVID MURRRAY/EVAN PARKER/WILLIAM PARKER/HAMID DRAKE et al - Maison Hauntee [Haunted House] (RogueArt 17; EEC) Alexandre Pierrepont, Mike Ladd, Stephane Gombert, Gymkhana, William Parker, Hamid Drake, Roscoe Mitchell, Rob Mazurek, Craig Taborn, Warren Ellis, David Murray, Thurston Moore, Gene Moore, Bill Nace, John Moloney, Joe Morris, Jeff Parker, Matana Roberts, Evan Parker, Joshua Abrams , Oscar Pierrepont, Alex Deze, Marguerite Ladd "On one level, both music and poetry are very much the same, that being sound - at least the spoken word would be. Here in Haunted House is a sound design or shape being put forth with multiple meanings psychoacoustically, linguistically, musically that I can only say very little about in terms of meaning, since ultimately it's meaning will be with each individual who experiences this work.
This rhythmic engagement between these two art forms create a third reality of sound gestures and events that collide and integrate. Yet knowing these facts it still does not allow me to analyze or describe exactly what Haunted House is. Hopefully this experience will be a catalyst at some level for good." - Henry Threadgill, excerpt from the liner notes
CD $16

MICHELE EDELIN TRIO + STEVE LEHMAN - Kuntu (RogueArt 19; EEC) "Although originator to many groups with multiple orientations and designs, Michel Edelin does not pretend to be an "orchestra conductor" in the traditional sense, even if, in "Kuntu", he is the author to all the compositions (besides Ruby My Dear, obviously, of which he renders a gentle and stripped version through an absolute solo on the bass flute). Hence, the trio he forms with Jean-Jacques Avenel and John Betsch incites more the idea of a perfectly equilateral triangle than that of a soloist "accompanied" (sic) by a rhythm section, as incomparable as it may be: supple, reactive, velvety, elastic. Hence a trio of soloists, a flute-bass-drums trio with no harmonic support, a configuration rarely used in jazz....
This album of a complete openness, breathing onto the melody, is collectively constructed in real time around pretext-themes with great rigor and a radiant imagination" - Gerard Rouy, excerpt from the liner notes
CD $16


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JON HASSELL & MAARIFA STREET With RICK COX/EIVIND AARSET et al - Last Night The Moon Came Dropping Its Clothes In The Street (ECM; USA) "While he's rarely been out of action, the past couple years have seen a significant increase in the public exposure of trumpeter Jon Hassell, especially in Europe. Hassell may not be as well-known, say, as Miles Davis, but amongst a broadening group of musicians and listeners, it's become clear that his influence may well be no less pervasive - just, perhaps, more understated and subversive. While Hassell has continued to release albums periodically over the past decade - notably the sublime, uncharacteristically acoustic Fascinoma (Waterlily Acoustics, 1999) and sultry Maarifa Street: Magic Realism, Vol. 2 (Nyen, 2005). "Last Night The Moon Came Dropping Its Clothes In The Street" is the trumpeter's first album for ECM since 1985's Power Spot and, with the label's greater international reach and a major North American tour on the horizon, it may well be the album that introduces the innovative artist to a larger listening public and clarifies just how significant he has been and continues to be.
It's no hyperbole to suggest that without Jon Hassell there'd be no annual Punkt Festival, nor would artists like Arve Henriksen, Nils Petter Molvaer and David Sylvian (amongst others) be quite the same. Hassell's innovations in the areas of live sampling, real-time soundscaping and a musical confluence that he refers to as "The North and South of You" - meaning the cerebral/intellectual versus the physical/sensual - have inspired so many artists since his early collaborations with legendary producer/ambient music forefather Brian Eno that, while his name may not be as well-known as it should, it's an undeniable truth that the entire musical world would be a very different place without him.
While Hassell has made some detours along the course of his career, what's perhaps most remarkable is that his vision was so well-formed from the beginning, that it's indeed possible to draw a straight line from early, seminal albums including Fourth World Vol. 1: Possible Musics (E.G. 1980) and Power Spot, through to "Last night the moon came.." The technology has improved, better allowing him to translate what he hears into reality, but so many of the markers from the beginning remain. Hassell's lush, inescapable tone - part embouchure, part electronics - combines spare, thoughtful melodies with an unadorned and pure sensuality. The soundscape he creates is equal parts musical conception and improvisational acumen - in this case, with the participation of a large group of players including long-time bassist Peter Freeman, North African virtuoso violinist Kheir Eddine M'Kacich, and Norwegian newcomers Jan Bang (live sampling) and Eivind Aarset (guitar). At the core of the album are its two longest tracks, easily summarizing Hassell's electronics-drenched multidisciplinary, multidimensional and multicultural approach to creating a sound world unlike any other, where the mix is as important as the music being played. "Abu Gil" takes shape gradually - Freeman's viscerally key yet somehow unobtrusive bass only beginning to push the groove half way through its 13 minutes, with Hassell's harmonized trumpet referencing Duke Ellington's "Caravan" throughout. Aarset's guitar creates subtle sonic shifts while M'Kachiche's rarified melodies bring a hint of the Middle East, even as Bang samples bits and pieces of all these elements, processes them and feeds them back to the group in real time.
The 11-minute title track, which closed Hassell's performance at Punkt '08, is based on a simple, repetitively trance-inducing string figure, but the combination of Hassell's measured phrases, M'Kachiche's soft lines and the near-imperceptible introduction of Freeman and drummer Jamie Muhoberac's pulse creates a compelling landscape, even as its development is gently nuanced and its ambience soft and subliminal.
There are plenty of artists moving music forward in various ways; few, however, have created as complete a sound world, as integrated a musical conception so instantly recognizable - regardless of its participants- as Hassell. Still, while music would indisputably be a very different place without Hassell's fearless innovation, the profoundly moving Last night the moon came would equally be a very different experience without the contributions of, in particular, Freeman, Aarset, Bang and M'Kachiche. Otherworldly while, at the same time, affecting on a near-Jungian level of collective unconsciousness, Last night the moon came dropping its clothes in the street is an album that, along with ECM's recent Touchstone Series reissue of Power Spot, clarifies and justifies Hassell's unequivocal importance in the history of contemporary music. - John Kelman, AMG
"Almost all of the musicians I meet at the moment seem to regard Jon Hassell as one of the God-like geniuses of contemporary music. It's difficult to think what contemporary music would sound like without his influence.' -The Wire CD $17


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Five on FMR!

MARK O'LEARY/MATTHEW SHIPP - Labyrinth (FMR 265; UK) Featuring Mark O'Leary on guitar and Matt Shipp on piano. In the past half dozen years, Irish guitar great, Mark O'Leary has recorded some sixteen discs with different trios and a couple of duos with selective musicians from around the world. This is the second time that Mark has worked with Matt Shipp, although this is their first duo effort. Except for Joe Morris (who plays bass in Matt's current trio), Matt rarely works with a guitarist. Still, this is a strong duo that works quite well together. Matt sounds as if he is playing more classically than jazz-like and this makes for a thoughtful, often exquisite excursion. What is most intriguing about this duo is how restrained and elegant it is. O'Leary uses those volume swells with delicate cautiousness and a quietly melodic sense while Matt plays the most minimally I've heard from him. Eventually the duo picks up speed yet still does it in a restrained way. I dig the way they weave their lines around one another in an interconnected web of cosmic tapestry. Sometimes Mark O'Leary's round tone reminds me of Pat Martino after Pat came back form the other side. On "The Flock", Mark goes back to that ancient fusion sustained tone with some high speed picking as well, this should keep some of those old fusion fans happy for a bit. What I love about Mark O'Leary is that no matter who he chooses to play with, he finds away to connect and perform a magical dialogue with just about each and every musician. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

PAUL DUNMALL/EVELYN CHANG/PHILIP GIBBS/TREVOR TAYLOR - Atmospheres Without Oxygen (FMR 258; UK) Featuring Paul Dunmall on tenor & saxes, Evelyn Chang on piano, Philip Gibbs on guitar and Trevor Taylor on drums & electronics. Although this is Ms. Chang's second date with Mr. Dunmall and Mr. Taylor, Trevor Taylor has collaborated with Dunmall on four previous discs while Philip Gibbs can be heard on some 45 discs with Dunmall in various combinations. Philip Gibbs remains one of the finest under-recognized guitarists from England and begins "Atmos" with his distinctive approach. This is a perfectly balanced and well-recorded studio date that sounds marvelous right from the first note. Trevor plays subtle electronics which sound just right with Philip's intricate interplay, Paul's slow-burning tenor sax and Evelyn's classical-sounding piano flourishes. The occasionally minimal and spacious improvising add a level of somber yet cosmic magic to the proceedings. What I find most amazing here is the constant communication between all four musicians. Often while one player will start a phrase or sentence another will finish or answer the ongoing line or flow of notes. Dunmall is often more restrained than on his free/jazz blasts, yet when he does erupt he knows exactly where to add some excitement. Another highlight is when certain duos combine forces and bring the level of magic up another notch. Sometimes the guitar and piano softly spin a layer of lines around one another, while Trevor adds eerie electronic fragments and Paul swirls his own curlicue lines on top. Philip Gibbs opens a few of these pieces with his unique approach and it sounds as if he is playing backwards or at least twisting his notes into unexpected shapes. He is a marvelous guitarist and improviser and is always filled with surprises. Ms. Chang plays some especially lovely piano at the beginning of "Out" with Philip adding his exquisite lines to her haunting melodies while Trevor inserts some spooky electronic effects here and there. It is as if we are entering a melancholy yet alien dreamworld. When Dunmall comes in he also adds some warm, soothing tenor sax lines to the floating world. FMR continues to provide hope and wonder in a world of frustration and mediocrity. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

THE ARTICLES [PAT THOMAS/MATS GUSTAFSSON/ROGER TURNER] - Goodbye Silence (FMR 260; UK) The Articles are Pat Thomas on keyboards, Mats Gustafsson on bari sax & electronics and Roger Turner percussion. This intense trio offering was recorded live in Derby, UK in March of 1998. All three of these fine players have extensive resumes so let's be brief: Pat Thomas has worked with Derek Bailey, Eugene Chadbourne and Lol Coxhill, while Mats Gustafsson plays in The Thing, Brotzmann's Chicago Tentet and with Barry Guy. Roger Turner has a longtime duo with Phil Minton and also plays with Konk Pack and Steve Beresford.
With both Pat Thomas playing odd keyboards and Mats playing electronics and twisting his sax into weird shapes, it is often difficult to tell who is doing what except for the drums. "Silent" opens and strangely enough, it is quite minimal. Although this music sounds freely improvised, there is a certain focused tightness to this as if someone is conducting the improv. Pat Thomas does actually sound like Sun Ra at times, utilizing some similar keyboard sounds. This music is exciting, engaging and consistently intense. It also has an animated quality and never erupts into just plain free-for-all noise. I dig the way this sounds like the trio is having fun and twisting their sounds into interesting shapes that fit together so well. Not just another improv date but a magical excursion throughout. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

VANISHING PICTURES [DIRK WACHTELAER et al] - Emerge (FMR 261; UK) Dirk Wachtelaer (percussion), plus guests The Center for World Cultures Zuiderpershuis is the temple of world music in Belgium and enthusiastically dedicated to their mission : artistic communication between western and non-western cultures. It is that location and ethic that Wachtelaer and a vast array of musicians from around the globe converge.
This is the fourth disc from Vanishing Pictures, a collective of musicians from around the world led by percussionist Dirk Wachtelaer. Although I am unfamiliar with most of the 14 musicians found here (Andre Goudbeek & DJ Grazzhoppa), the results are fascinating nonetheless. Dirk and Andre are both from Belgium, while the others players are from around the globe: Mexico, Ghana, China, Taiwan, Bali, Morocco, and Sudan. The blend of the exotic instruments and electronics is also quite unique ans works quite well. The first piece, "ZPH 4A" blends bandoneon, soprano & alto sax, knee violin, double bass, electronics, oud and gamelan percussion. At first, this music is mostly acoustic and it feels like a seamless blend of ethnic influences, with some effective electronic detours utilized midway. Often these ethnic collaborations don't work, but this is not the case here. Dirk Wachtelaer has done a wonderful job of selecting the right musicians from vastly different backgrounds and giving them some breathing room and solo space to come up with superb results. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

JANNE TUOMI - Resonance (FMR 266; UK) Since I knew nothing of Mr. Tuomi when I first received this disc, I figured some background info would be in order: Janne Tuomi was born in 1973 in Tampere, Finland. Coming from a family of musicians and music educators, it was only natural that this first-born began playing the piano at the age of six. But the infatuation was not to last as percussion soon lured him away from the ebonies and ivories.Tuomi commenced studying at the Conservatory of Tampere in 1995 and further honed his skills at the Carl Nielsen Academy of Music in Odense, Denmark. After undertaking a study trip to New York City, Tuomi graduated from the Conservatory in 2000 with honors.
In recent times Tuomi has taken part in productions by the Balanescu Quartet and John Zorn's Finnish 'Cobra' . Jazz and classical aside, the percussionist works with groups like Slobo Horo and Vilddas that specialize in world music. He is also the percussionist of choice for the new duo project of Mika Ratto and Jussi Lehtisalo, the masterminds behind renowned trance rock group Circle.
"'Resonance' features Janne Tuomi on solo percussion, recorded at the Church of Kuhmalahti, with all pieces composed by Tuomi. This is all acoustic percussion music and it is superbly recorded. This music is closer to classical percussion music in its sound and it is consistently thoughtful and engaging. On "Kunlun I", Janne concentrates on just a gong and comes up with some impressive and mysterious results. A most impressive offering from a young master-percussionist that we ill be hearing more from in the near future." - Bruce Lee Gallanter, Downtown Music Gallery
CD $16


GUNTER HAMPEL - Vibes Vibes: Vibrafon Solos 2008 (Birth 080422; Germany) Featuring Gunter Hampel on solo vibes. This year (2009) marks the 40th anniversary of Gunter Hampel's Birth Records label, the first independent musician only run label. Since its first record in 1969, Birth has released some 30+ albums and some 30+ CD's. There has been only one other full-length solo effort on Birth, making this one a rare offering. There is no overdubbing found here, just a one time recording. The title track is first and Gunter does a marvelous job of sustaining notes and letting them shimmer in the air, giving this piece a dream-like haze. One of the things that I dig about Gunter Hampel's music is that all of his songs develop in a way that one can hear a theme and then follow the inner logic or thread that runs through each piece. A great deal of thought and preparation goes into each piece so that by listening closely we can follow the story within the song. On "Godzilla", he presents one theme and then dances around the melody with shimmering shades swirling around it. "Stretching" is an exquisite, haunting ballad-like work that is slow and quietly mesmerizing. Mr. Hampel's vibes playing embodies the long history of the vibes in jazz from earliest vibes players like Lionel Hampton and Teddy Charles to the the more recent vibes explorers. Gunter will perform a rare solo concert at Bowery Poetry Club on Tuesday, February 17th at 10pm as part of an ESP label night. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16


VICTORIAVILLE MATIERE SONORE With FRANCISCO LOPEZ/CHANTAL DUMAS et al - Victoriaville Matiere Sonore (Victo 113; Canada) "In the spring of 2006, Spanish sound artist Francisco Lopez led a composition workshop in Montreal. A master of the field recording and its use in acousmatic composition, Lopez asked the participants to share their urban field recordings. From their work came a compact disc, Montreal Sound Matter on Pogus, and an exhibition presented at the Fonderie Darling in Montreal. The Victoriaville Matiere Sonore project continues the work started in the metropolis. For this occasion, the original seven participants have agreed to get together again, under Lopez's direction, and create a new collective work from scratch. First, they came to Victoriaville to make field recordings in various public and private spaces, recordings that have been once again shared with the group. Then, they each produced a new piece using this common soundbank. However, this time around Lopez did add one extra rule: a sequential order has been set, so that composers had to use, as the starting point for their own composition, the piece of the composer coming before them. As a result, we have a long acousmatic work in eight sections, each section picking up where the previous one has left." Artists include a_dontigny, Chantal Dumas, Steve Heimbecker, Louis Dufort, Mathieu Levesque, Helene Prevost, Tomas Phillips and Francisco Lopez.
CD $15


JEN SHYU - Jade Tongue (Chiuyen 2008; USA) Featuring Jen Shyu on vocals, lyrics & music, David Binney on alto sax, Shane Endsley on trumpet, David Bryant on acoustic & electric piano, Miles Okazaki on guitars, Thomas Morgan on bass and Dan Weiss on drums. Experimental jazz vocalist, Jen Shyu, has worked with Steve Coleman in the recent past. For her debut disc, Jen has assembled a stellar cast of downtown's best musicians. Jen has a strong, unique voice that she uses in a variety of ways throughout this fine endeavor. Starting with "Mother Cow's Companion" which is a Taiwanese folk song she sings unaccompanied, bending new notes in an odd eastern way. "Chapter 33" is sung both in Chinese and English, the lyrics are printed in English and remind me of fortunes being told. I dig the sound of Jen's voice since she doesn't stretch too much or scream. "Li Bai" is a long piece with Jen slowly bending her voice majestically while the musicians quietly weave their sounds around her voice. Shane Endsley from Kneebody takes a long thoughtful trumpet solo as does Dave Binney on alto sax, somber yet spirited. "The Chinese-Cuban Question" comes in three parts and is done partially as a spoken word piece. Jen discusses the sad story of Chinese ill-treatment in Cuba. I like the way Jen weaves the music around her voice so that both work together as one inseparable force. At first I wasn't sure how Jen's unique voice and Chinese dialect would fit with the jazz elements on this disc but they do. The way jazz singers stretch out and bend their notes seems related to the way Jen also bends her voice to fit the words and music whether they're in Chinese or English. It does a bit of getting used to do, but the rewards are consistently great. - Bruce Lee Gallanter, Downtown Music Gallery
CD $15


MAURICIO KAGEL//FRANZ SCHUBERT - Ein Kagel-Schubert-Projekt (Farao 108038; Germany) Featured works: "Der Mundliche Verrat (The Oral Treason)" (Suite For Saxophone Trio) by Mauricio Kagel (1931-2008). "String Trio In B Flat Major No. 1 D 471; String Trio In B Flat Major No. 2b D 581" by Franz Schubert (1797-1828). Performed by Sax Allemande (Frank Schussler, soprano saxophone; Arend Hastedt, alto saxophone; Markus Maier, baritone saxophone). "'... yet I have an idea which might be helpful to you: Among my compositions is 'Der Mundliche Verrat' (The Oral Treason) a stage work, for which I at first wrote a piano score. It's made up entirely of relatively short character pieces, and I'm sure something good could be selected from these. For 'Trahison Orale' I haven't prescribed any particular orchestration, but have made a sort of piano score, because this seemed to me to be the most suitable form in which to put my intentions into effect. One of the most important lessons we can learn from romanticism is the primacy of the musical substance over a specific tone color: if your power of imagination is impressive enough, then with interchangeable instruments a means of expression can be found which will do it justice.' - Mauricio Kagel, from a letter to Sax Allemande. Founded in 1996, Sax Allemande is now one of the most successful saxophone ensembles of the day. Impressive virtuosity, chamber musical precision and a passionate commitment to the nobility of the classical saxophone are the trademarks of this trio. Since the year 2000, a most productive and friendly cooperation has united Sax Allemande and the Munich based label FARAO classics; an affiliation which has resulted in the production of CDs which enjoy international success. Thus, in 2005 with the recording of J. S. Bach's 'Goldberg Variations,' the ensemble could make a long held dream come true. With the CD Ein Kagel-Schubert-Projekt Sax Allemande provide impressive documentation of their understanding of chamber music and the incomparable sound of the classical saxophone. Thus the trio remain true to their approach, which is obligated to thejoy of experimentation as well as a coherent conception of the music."
CD $18


SONNY ROLLINS - Road Shows Vol 1 (Doxy/Emarcy; USA) Road Shows, Vol. 1 is the exciting inaugural release in a planned series of outstanding live Sonny Rollins recordings from the last 30-plus years. The seven tracks on the new CD, culled from the Carl Smith collection and Sonny Rollins s own personal soundboard recordings, were recorded in the U.S., Japan, France, and Sweden. Featuring the saxophonist with a variety of sidemen, including Al Foster, Mark Soskin, Clifton Anderson, Bob Cranshaw, and Stephen Scott, Road Shows captures the Saxophone Colossus in full flight, dazzling audiences around the world.
CD $15


DANNY ZEITLIN TRIO With BUSTER WILLIAMS/MATT WILSON - In Concert (Sunnyside 1206; USA) Featuring Denny Zeitlin on piano, Buster williams on bass and Matt Wilson on drums. The piano trio has been the primary vehicle for legendary pianist Denny Zeitlin's musical career. In Concert documents two recent performances by Zeitlin and his latest collaborators, bassist Buster Williams and drummer Matt Wilson. The trio explores four standards and a handful of originals with the dexterity and ease of Zeitlin's classic trios.
CD $16


PHILIP JECK - Stoke (Touch 56; UK) [Repressed] Jeck's third release for Touch, after Loopholes and Surf. Stoke was made using Bush, Fidelity and Philips record players, a Casio keyboard and an Alba portable CD player. This record mainly consists of edits of live performances from England, Japan and Vienna. The notion of turntablism may be associated with flashy, deck-hopping scratch gymnastics, but the use of the record player as an instrument harks back to a less ostentatious tradition of music making. John Cage, Karlheinz Stockhausen, Pierre Schaeffer, and James Tenney recognized records and turntable mechanisms as malleable sound sources. In essence, sampling began with the real-time deployment of gramophones in performance by these artists and academics. Philip Jeck, like peers Christian Marclay, Otomo Yoshihide, and Martin Tetreault, legitimizes the turntable as a musical instrument.
CD $16

PHILIP JECK - Suite: Live In Liverpool (Autofact 011; USA) [Repressed] Suite: Live In Liverpool follows Philip Jeck's acclaimed collaboration with Gavin Bryars and Alter Ego on a new version of The Sinking of the Titanic. It is the companion release to his latest solo album, Sand; a set of five new compositions that highlight Jeck's mastery of vinyl manipulation, personal and collective memories. During the past year, Jeck has refined and consolidated his unique sound, playing superb sets at the Faster Than Sound festival and at York Minster for Spire. Suite... is at once elegiac, celebratory, mournful and uplifting. Those who have followed Jeck's development since his first release (Loopholes, 1995) will observe his return to the industrial textures that colored that collection, though here they are fused with his symphonic grace and continued development as a composer and live performer . Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early '80s and has made soundtracks and toured with many dance and theatre companies in addition to his solo concert work. Over the last few years, he has returned to visual art -- making installations using from six to eighty record players including Off The Record for Sonic Boom at The Hayward Gallery, London (2000). Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Jeck makes genuinely moving and transfixing music, where we hear the art, not the gimmick. This is Philip Jeck's sixth solo album for Touch after Loopholes, Surf (1998), Stoke (2002), 7 (2004) and Sand (2008). Boomkat said of his performance with Gavin Bryars in Rome: "The most noticeable addition is Jeck, whose expertise and unique style seems to fit like the final piece of the puzzle as his crackles and motifs melt into the architecture of the recording as if they had always been there. This additional layer of nostalgia brought forth by these found sounds adds a significant sense of history, forcing the mind back into hazy film footage and decomposed photos, a perfect match for the subject matter." First 150 copies on blue vinyl.
LP $16


MILES DAVIS ALL-STARS With JOHN COLTRANE et al - Broadcast Sessions 1958-59 (Acrobat; UK) Broadcast Sessions 1958-1959 is a major find for fans of the legendary Milestones LP. These recordings, some of them made only 6 weeks after completing those studio sessions, feature the complete or near complete Milestones Sextet on live renditions of such key Milestones cuts as Sid s Ahead, Straight No Chaser and Two Bass Hit.
The tracks on this collection were recorded at 4 separate live performances at venues in and around New York in 1958-59. Three were for the Bandstand programme on the Mutual Radio Network at Birdland, The Spotlight and Cafe Bohemia, and one for Art Ford s Jazz Party TV show in Newark. This essential collector s item includes announcer intros and extended tracks with Davis' stellar re-formed quintet/sextet: John Coltrane (tenor sax), Cannonball Adderley (alto sax), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums). Bill Evans was on piano for the May gig, and Jimmy Cobb on drums for the November and January dates. The TV show had a staggering expanded line-up including Gerry Mulligan (baritone sax) and Nat Adderley (cornet).
CD $15



Five new Blue Note RVG remasters for 2009!

JACKIE McLEAN With GRACHAN MONCUR III/BOBBY HUTCHERSON/EDDIE KHAN/TONY WILLIAMS - One Step Beyond (Blue Note RVG; USA) [2009 RVG remaster] In 1963, alto saxophonist Jackie McLean was well aware of John Coltrane and Ornette Coleman. He assembled a band with vibist Bobby Hutcherson, who had already played with Eric Dolphy, drummer Tony Williams, bassist Eddie Khan, and trombonist/composer Grachan Moncur III. While still adhering to the hard bop principle, One Step Beyond's title is literal. The introduction of space as an element in the twin-horn front line is consistent with what would come later that year on Destination Out! McLean is clearly hearing the Eastern modalism and intervallic invention in Coltrane's sound at this point, but still moves in his own direction, sticking very close to the blues and the hard, even relentless, swing provided by Williams on the kit. The CD version of the album contains two takes of McLean's "Saturday and Sunday," which make use of the insistent blues line and Williams' driving and dancing drumming style. But the true visionary compositions here are Moncur's "Frankenstein" and "Ghost Town." Their unconventional solo horn melodic statements followed by two horn choruses and their irrepressible urge to use Hutcherson's vibes as a contrapuntal element, while spreading out his chords so wide that he comes off as a pair of pianos playing complementary harmonic strategies, are revolutionary. Add to this Moncur's insistence on soloing inside the changes as McLean moves through the register and becomes increasingly dissonant, and you have a true doppelganger effect -- but one that swings like mad. One Step Beyond may have been the first volley McLean fired in the direction of the new jazz, and played it safe enough to ride out the hard bop he helped to create, but he cannot be faulted as a bandleader, as this music still sounds fresh, vital, and full of grainy mystery. - Thom Jurek, AMG
CD $12

PAUL CHAMBERS QUINTET With DONALD BYRD/CLIFFORD JORDAN/TOMMY FLANAGAN/ELVIN JONES - Paul Chambers Quintet (Blue Note RVG; USA) [2009 RVG remaster] This Blue Note CD reissues one of bassist Paul Chambers' rare outings as a leader. Chambers heads a group of up-and-coming all-stars (including trumpeter Donald Byrd, tenor saxophonist Clifford Jordan, pianist Tommy Flanagan and drummer Elvin Jones) on a program consisting of four originals by either the leader or Benny Golson plus a pair of standards; an alternate version of "Four Strings" was previously unissued. Chambers (who has "Softly as in a Morning Sunrise" as his feature) and Byrd are the most impressive soloists while Jordan (who here mostly recalls Sonny Rollins with touches of John Coltrane) consistently swings although he had not yet found his own sound. The uncomplicated straightahead music falls securely into the modern mainstream of the period.
CD $12

GRANT GREEN With BABY FACE WILLETTE/BEN DIXON - Grant's First Stand (Blue Note RVG; USA) [2009 RVG remaster] Grant Green's debut album, Grant's First Stand, still ranks as one of his greatest pure soul-jazz outings, a set of killer grooves laid down by a hard-swinging organ trio. For having such a small lineup -- just organist Baby Face Willette and drummer Ben Dixon -- the group cooks up quite a bit of power, really sinking its teeth into the storming up-tempo numbers, and swinging loose and easy on the ballads. The influence of the blues on both Green and Willette is strong and, while that's far and away the dominant flavor of the session, Green also displays his unique bop phrasing (learned by studying horn players' lines, rather than other guitarists) to fine effect on his high-octane opener, "Miss Ann's Tempo," and Willette's "Baby's Minor Lope." Green's original blues "A Wee Bit O'Green" and "Blues for Willarene" are both memorable, particularly the former, and the two standards -- "Lullaby of the Leaves" and "'Tain't Nobody's Bizness If I Do" -- are given smoky treatments soaked in bluesy, late-night atmosphere. Willette and Dixon both supply a tremendous rhythmic drive, and Willette's solos burn with gospel fervor. This same trio performed together on Willette's Stop and Listen album, with equally heated results. None of Green's contemporaries used the single-note style (Green rarely played chords, leaving that to the organ or piano) to quite the same degree, making him a unique voice on his instrument. And his terrific debut pegged him as an up-and-comer to watch closely. - Steve Huey, AMG
CD $12

LEO PARKER With DAVE BURNS et al - Rollin' With Leo (Blue Note RVG; USA) [2009 RVG remaster] Baritonist Leo Parker was in the early stages of a comeback when he recorded this, his second Blue Note album of 1961. Tragically, he died just four months later at the age of 36. Performing with a fairly obscure cast (trumpeter Dave Burns is the best known of his sidemen), the full-toned baritonist (who was most influenced by Illinois Jacquet and Charlie Parker) is in excellent form on these basic blues, ballads, and jump tunes.
CD $12

STANLEY TURRENTINE With BLUE MITCHELL/SHIRLEY SCOTT et al - A Chip Off The Old Block (Blue Note RVG; USA) [2009 RVG remaster] On Blue Note with Turrentine, Blue Mitchell (tp), Shirley Scott (organ), Earl May (b), and Al Harewood (d). This is a studio recording by Van Gelder. Bluesy with tunes like "Midnight Blue" and "Blues in Hoss' Flat."
CD $12



Out-Of-Print Rarities on Voiceprint and Gottdiscs - at Sale Prices!

JOE HARRIOTT QUINTET - Free Form (GottDiscs; UK) Joe Harriott was another of those outstanding unknown/legends of early British out/jazz. When Ornette Coleman's quartet moved to NY in 1960, they changed everyone's perception of what modern jazz could become. Many critics were furious with this change, referring to it as "anti-jazz" along with John Coltrane & Eric Dolphy. At the very same time in 1960, another amazing young alto sax hero from the West Indies but living in London - Joe Harriott put together his legendary quintet - with the same fire, freeing of boundaries and brilliant new approach called "free form" or "abstract!" Harriott's incredible quintet included two other West Indians - Shake Keane on trumpet & flugel and Coleridge Goode on contrabass, plus Pat Smythe on piano and Phil Seamen (one of UK's greatest jazz drummers of all time & teacher to Ginger Baker). It is hard to believe that 'Free Form' is from 1960 - almost forty years ago! This music is a complete blast, so tight, so quick, so joyous, overwhelming spirits soaring. Both Joe's alto and Shake's trumpet consistently match wits burnin' together, in the tradition of Diz & Bird updated to Ornette & Don Cherry! Many of Harriott's challenging compositions have that Monkish zig-zagging of lines with Ornette's quartet's brain-frying level of intensity! Word is that Joe Harriott had developed his thing independent of Ornette's influence - making this all the more amazing on many levels! - BLG
CD $15.00 7 for 6 SALE.

OVARY LODGE [KEITH TIPPETT/ROY BABBINGTON/FRANK PERRY] - Ovary Lodge (Whatdisc 4 VPT; UK) Along with Keith Tippett's "Blueprint" album which preceded it (think of that as Ovary Lodge "0") this is one of the spectacular all-time classics [1973] of aleatoric music [i.e. spontaneous improv]. The tracks tend to be either full-on improvisations with everyone pulling out all the stops, or much quieter explorations of sound & texture. The level of telepathy here between pianist Keith, bassist Roy Babbington (later Soft Machine) , and ultra-sensitive vibrationist [percussionist is the wrong word for] Frank Perry is stunning: you really can't believe that these are not written pieces...and you can't believe that it's purely acoustic either, so incredible and beautiful is the array of tapestry and texture on display here! And yet these disclaimers: "All music on this album is improvised" - Keith Tippett; "The sounds are acoustic - no electronics are involved " - producer Robert Fripp. Don't miss this!
And from the peanut gallery.."Highest Recommendation! One of those records that gets on the rocketship with me - All THUMBS UP!" MannyLunch
CD $12.00 7 for 6 SALE.

KEITH TIPPETT - Friday The 13th (La Cooka Ratcha 137 VPT; UK) More recently released on Voiceprint's La Cooka Racha label [CD 137], this is a stunning solo live performance from the early '90s. Tippett's approach to piano is as though the instrument were an entire orchestra (as opposed to, say, Cecil Taylor's piano representing 88 drums); he wrings out huge clusters of dense sound, that, should you get lost in the spell of it, you might forget what combination of instruments, and how many or what of them are electronic (one instrument live, and neither!) "As many of you may know, Keith Tippett is and has been my favorite pianist since seeing & hearing him live when I lived in England in late '75-early'76 and hearing his two astounding early records 'Dedicated to You...' and 'Ovary Lodge'. Contrary to what some may think, he was never an actual member of King Crimson, but did play on "Catfood" and Soft Machine did borrow (and even keep Elton Dean) his phenomenal horn section for their 'Third' & 'Fourth' releases. Unfortunately for us Americans, he has only toured the US once - almost a decade ago at the old Knit. Some of us have been lucky enough to see/hear Mr. Tippett play an amazing solo set at the Victoriaville Fest a while back, but it was this year's outstanding concert at Victo by Keith's amazing Mujician quartet that few of will ever forget. Besides the superb Victo solo release, FMP has also released three earlier solo piano records, each one a (sometimes dark) treasure. This release is yet another rare solo piano recital from Japan, recorded on Friday the 13th of June in 1997 and the gods are smiling on us once more! Keith begins at the low end of the piano, filling the air with rumbling, suspense filed, resonant, mysterious, pedal down dark clouds of notes. The ominous rumbling builds slowly as the middle part of the piano is also explored, the fog becomes more & more dense. As the rumbling dies down, Keith begins to punctuate with minimal percussion and a small block of wood inside the piano to mute and make the notes tingle. There is light at the end of the tunnel, a little ray of hope as the fog clears. The second half Keith intersperses quieter sections with occasional lightning flash lines, quite a grand mix of different vibrations. Although this was recorded on Friday the 13th and begins in utter darkness, by the end we've all been transported to a better and more hopeful place. Once more Keith Tippett has taken us on a miraculous journey. Transport yourself with this" - BLG
CD $12.00 7 for 6 SALE.

ROBERT WYATT//ANNIE WHITEHEAD/JULIE TIPPETTS [TIPPETT,DRISCOLL] et al - Soupsongs: The Music Of Robert Wyatt [2CD Set] (Jazzprint 101 VPT; UK) Featuring Julie Tippett, Annie Whitehead, Phil Manzanera, Didier Malherbe, Harry Beckett, George Khan, Ian Maidman, Steve Lamb, Janette Mason, and Liam Genockey. A briliantly conceived (by Ms Whitehead, who also arranged) two-night tribute to the arguably [hands down!] leading vocal and lyric genius of the entire Canterbury movement! Songs (most of the vocals are by Julie Tippetts!) are taken from throughout his nearly three decade solo album career, though mainly from the classics 'Rockbottom' and 'Ruth Is Stranger Than Richard' . Mr Wyatt was present at these concerts and was visibly moved: an entire 2 sets (the whole show) of bravura performances are captured here in exquisite audio. Highly Recommended!!!
2 CD set $15.00 7 for 6 SALE.

MICHAEL GIBBS With HARRY BECKETT/CHRIS SPEDDING/JOHN TAYLOR/ROY BABINGTON/DAVE MacRAE et al - Just Ahead [2 CD set] (BGO 679; UK) First time on CD for this 1972 album from British Jazz maestro Mike Gibbs. After having released the classic 'Michael Gibbs' and 'Tanglewood 63' on the Deram label in the 3 years preceeding, Gibbs went to Polydor to releases this 2 LP set, which again featured a who's who of British Jazz musicians as well. Featured musicians include Kenny Wheeler, Harry Beckett & Henry Lowther on trumpets; Alan Skidmore, Ray Warleigh & Stan Sulzmann on reeds; Malcolm Griffiths, Chris Pyne & Geoff Perkins on brass; Chris Spedding on guitar (a bit of electric sitar), Dave MacRae or John Taylor on Fender Rhodes electric piano, Roy Babbington on electric bass, Frank Ricotti on vibes and John Marshall on drums. Recorded live at Ronnie Scott's over four nights from May 31st - June 3rd, 1972. Considering that this is a live recording, the sound is quite perfect and well balanced. I don't recall ever seeing an album version of this treasure, so we are most fortunate to have this fine double disc back in print.
While it begins with Keith Jarrett's "Grow Your Own", a relatively straight, but catchy jazz/rock piece with some tasty, somewhat bluesy guitar from Chris Spedding, it just gets better and more adventurous as it goes. The writing and arranging are consistently engaging and are never bound by any one or even more styles or genres. Gibbs' "Three" is just plain lovely with some stunning alto sax by Ray Warleigh and mysterious electric sitar sounds by Spedding. Gary Burton & Steve Swallow's "Country Roads" has an earthy, country/blues like theme that features Spedding on some especially heartfelt slide guitar. Oh yeah, I hear you Chris! Carla Bley's "Mother of the Dead Man" is a hypnotic, haunting work with some superb trumpet work from Henry Lowther and Kenny Wheeler. "Just Ahead" is one of Gibbs' best pieces with imaginative arrangements, majestic horn harmonies and a grand tenor solo from Alan Skidmore, the band swinging furiously and super tight. "Nowhere" was originally written for Bob Moses, but here it is a feature for Nucleus/Soft Machine master drummer John Marshall. More lush harmonies and mysterious sounds abound for the long intro with some spectacular drums from Marshall. Carla Bley's righteous "Sing Me Softly of the Blues" features a long, spirited alto solo from Stan Sulzmann, tasty guitar from Spedding, as well as a dreamy vibes solo from Ricotti. The last and longest piece is Gibbs' "So Long Gone" and it is another spacious, bluesy epic with a marvelous, soulful trombone solo from Chris Pyne and spirited electric piano from Matching Mole's Dave MacRae. Of the twenty or so British jazz reissues from the sixties and seventies to come our way in the past few years, this one is one of the best. If you haven't taken the plunge yet, please start here. You couldn't do much better than this. - BLG
CD $15.00 7 for 6 SALE.

MIKE WESTBROOK & COMPANY - Platterback (Jazzprint 117 VPT; UK) This is the Westbrook project (originally only a mail-order release) that started life as a Blackheath Concert Halls commission in 1998. It takes a contemporary Brecht/Weillian look at a group of travellers heading by train from an imaginary countryside to an imaginary city at the time of an imaginary impending war. Mike and Kate Westbrook have been creatively using the traditions of jazz, poetry, cabaret and music-theatre for years, and this project represents one of the high points of their work. The ensemble consists of accordion, cello, tuba, voices and piano - the sonorities of the first two replacing Westbrook's more usual horns. It draws some vivid impressions of careering trains, receding happiness, hope, nostalgia and doubt from Kate Westbrook's story and lyrics. Karen Street's accordion is a constantly evocative ensemble colour, as is John Winfield's voice - with its capacity to veer from former Westbrook singer Phil Minton's anguished free-fall to a soulful purr. The love song My Sum and Substance has something of the ringing simplicity of the Westbrooks' Blake material, while the hoe-down cello figures (eventually finding their way to a classical elegance) and thumping accordion beat give Stiltsville Yodel a leaping eagerness. The lyrical countermelodies between cello and accordion in Streams of Lovely Lucienne are among the set's most striking episodes. This is perhaps not quite as characterful, musically explosive or capable of absorbing you in the fortunes of the cast as some Westbrook ventures, but it is still typically quirky and unformulaic." - John Fordham/Guardian
CD $12.00 7 for 6 SALE.

MIKE WESTBROOK MUSIC THEATRE - Good Friday 1663 [sndtck] (Jazzprint 120 VPT; UK) TV opera commissioned by Channel 4 TV, for a film directed by Frank Cvitanovich, with libretto by Helen Simpson, based on her short story. Music by Kate Westbrook and Mike Westbrook.. Scored for the multi-tracked voice of Kate Westbrook, classical bass Simon Grant, synthesisers, saxophones /piccolo / flute, percussion. Sound track recording produced by Jon Hiseman.
CD $12.00 7 for 6 SALE.

MIKE WESTBROOK MUSIC THEATRE - The Ass (Jazzprint 118 VPT; UK) Music-Theatre Entertainment, by Kate and Mike Westbrook, commissioned by the D.H. Lawrence Centenary Festival, Nottingham, based on Lawrence's poem. Set in Taormina, Sicily, it includes a traditional Sicilian song about a donkey 'Lu Me Sceccu'. Produced by Foco Novo Theatre Company, with a company of six actor-musicians, including Stephen Boxer in the role of D.H. Lawrence. The Ass toured a dozen British theatres and arts centres in the autumn of 1985.
CD $12.00 7 for 6 SALE.

MIKE WESTBROOK MUSIC THEATRE With BRIAN GODDING - The Dance Band: Pierides (Jazzprint 119 VPT; UK) Mike Westbrook piano, tuba; Kate Westbrook vocals, tenor horn, piccolo; Peter Whyman saxophones, clarinet; Brian Godding guitar, guitar synthesiser.
Dance / Music Theatre piece based on the theme of the Greek muses, commissioned by Extemporary Dance Theatre and performed by a company of eight dancers and four musicians - Brian Godding, Peter Whyman. Kate Westbrook and Mike Westbrook - The Dance Band. Lyrics and original concept by Kate Westbrook, choreography by Emilyn Claid, designed by Jacqueline Gunn. Pierides toured thirteen English theatres in over sixty performances in the spring and summer of 1986. "A rich, challenging album from the Westbrooks, a dense, detailed canvas with all the colours one expects from their palette."-The Wire
CD $12.00 7 for 6 SALE.



JADE - Fly On Strangewings (Lightning Tree 14; USA) "Due to popular demand, we are reissuing the fantastic Jade album with another extra track in improved packaging. Jade was one of the most popular UK folk/rock bands of the early 1970s evolving from folk duo Marianne Segal and Dave Waite (see their Paper Flowers album Light Flash CD 002) Under the guidance of producer Jon Miller the duo became Jade, with the addition of keyboardist/bassist and arranger Rod Edwards. In 1970 they recorded their sole album and singles with a the help of a glittering array of talent including Pete Sears (Les Fleur De Lys, Sam Gopal's Dream, Jefferson Starship) John Wetton (King Crimson, Family) Terry Cox (Pentangle) Jimmy Litherland (Colosseum) Michael Rosen (Eclection, Fotheringay) Clem Cattini (Rumplestiltskin, The Ivy League) Pete York (Spencer Davis Group, Hardin and York) and Mick Waller (Rod Stewart). Fly On Strangewings was released in 1970 and it received rave reviews and comparisons to Sandy Denny and Fairport Convention. Now over 30 years later, Jade's sole album is regarded as one of the best albums of the '70's UK folk rock movement. and it ranks along with The Tree's On The Shore and Mellow Candle's Swaddling Songs as one of the great underground albums of the era. MOJO magazine voted it as one of the top ten UK folk rock albums of the '70s along with Fairport Convention's Leige and Leaf. Now at last it is widely available to be afforded the classic status it deserves. Lightning Tree Records are proud to announce the deluxe edition of Jade's Fly On Strangewings with the addition of three previously unreleased bonus tracks and U.S. radio adverts."
CD $15.00 7 for 6 SALE.


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