An Avalanche of Incredible Gems from:

Marc Ducret's 11-Piece, PSI - Evan Parker Sax Solos, Fernandez/Edwards/Sanders, New from Not Two: Michael Bisio Qt, Perelman & Duval, Dave Rempis Percussion Qt, Ullmann's Basement Research

Tony Malaby All-Star Quintet, Phillip Johnston Qt, Nate Wooley/Lonberg-Holm/Roebke, JD Parran Duo, The Nu Band, Refuge Trio (w/ Bleckmann, Versace & Hollenbeck),

Barney McAll Quintet, Dave Fiuczynski's KiF plus Historic Discs from: Jimi Hendrix Limited Rarities, Archie Shepp, Air's 'Air Song', Chico Freeman, Colosseum Reunion, Ghedalia Tazartes and tons of vinyl from Henry Flynt, Luc Ferrari and way more...




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


Downtown Music Gallery growing list of future FREE In-Store Treats!
B dare or B trapezoidal!


Friday, May 22nd at 6pm:
WADADA LEO SMITH / JACK DeJOHNETTE'S 'AMERICA' CD RELEASE SIGNING!
Wadada Leo Smith will talk about the making of this historic disc and will sign copies of this upcoming disc on Tzadik.
So please, come on down & greet the great Wadada Leo Smith!

Sunday, May 31st at 7pm:
JD PARRAN & ANGELO BRANFORD!
Legendary St Louis BAG member Parran meets angular guitarist Branford

Sunday, June 7th at 7pm for free:
HUMANIZATION QUARTET are Clean Feed Recording artists featuring Rodrigo Amado on tenor sax, Luis Lopes on guitar, Aaron Gonzalez on basses & Stefan Gonzalez on (quiet) drums!


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


Last week's new release of Sun Ra - Complete Judson Hall blew 50 copies in less than an hour! .. and when we went to pick up more from ESP, we were told the factory had only pressed a THIRD of their requested run.

So, many of you who have ordered this after we & ESP ran out will have to wait a couple of weeks to receive it - orders that are substantial will ship now [or have shipped] without it.


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




And now, with further none-ado..


MARC DUCRET With BRUNO CHEVILLON/ERIC ECHAMPARD et al - Le Sens De La Marche [Ltd Ed of 2500] (Illusions 313004; EEC) Featuring Marc Ducret on guitars & compositions, Bruno Chevilllon on contra & electric basses, Eric Echampard on drums plus Antonin Rayon & Paul Brousseau on keyboards & sampler, Tom Gareil on vibes & marimba, Matthieu Metzger, Hugues Mayot & Yann Lecollaire on reeds, Pascal Gachet on trumpets and Jean Lucas on trombone. As a longtime fan of French guitar hero Marc Ducret, I/we have been waiting for this treasure for a quite a while. Illusions is a new French label and the high quality digipak cover looks as if it was designed by the same person who designed the covers for the Sketch label, another French label that Ducret recorded for which is sadly now defunkt. This amazing disc was also recorded live and has superb sound.
This is most likely the largest ensemble (11 piece) that Marc Ducret has led, certainly on record it is. It would seem that Marc has taken some time to compose this adventurous music and whip this ensemble into shape. No easy feat since the music is complex and the group is super-tight and obviously inspired. The main rhythm team is of course Marc's long-running companions from his trio: Bruno Chevillon & Eric Echampard. Everyone else sounds like some of the best young (?) jazz/rock players around. "Total Machine" starts with Ducret's distinctive sleek guitar tone with some twisted yet funky horns in counterpoint (great bari in there). When that marimba soon enters and the horns play those intricate arrangements it feels we have entered Zappa-land via The Grand Wazoo. I dig the way the band is broken into a few different layered and inter-connected parts simultaneously, another great trick that us Zappa fans savor. The first smokin' sax solo comes from Hugues Mayot, with the rest of the band in splendid form around him cheering him on. This piece ends with a suspense-filled minimalist dreamscape that is surprising but works perfectly to let us down slowly back to the planet earth. "Tapage" is another Grand Wazoo-like piece with an ominous marching beat, layers of horns, superb vibes solo and some incredibly tight and complex rhythm team work. The interplay between the guitar and clavinet is especially snazzy. Although "Le Menteur Dans L'Annexe" starts with a calm, thoughtful intro we soon find our way into an intense, crazed el. guitar and Fender Rhodes duo, then back to some 'Waka Jawaka'-like wackiness with layers of goofy spoken word vocals in the background. At nearly 73 minutes, this treasure has to be one of the best and most ample progressive/jazz-rock discs of this year or any other year in recent memory. - Bruce Lee Gallanter, Downtown Music Gallery
CD $18



New on Evan Parkers 'Psi' label!

EVAN PARKER - Saxophone Solos (Psi 09.01; UK) All of Evan Parker's first (soprano saxophone) concert recorded in London's Unity Theatre by Martin Davidson in 1975. Plus some slightly later studio solos recorded by Jost Gebers Reissue of Chronoscope CPE 2002-2. Originally issued on Incus LP 19 and a limited edition cassette. 79 minutes
CD $20

AGUSTI FERNANDEZ With JOHN EDWARDS/MARK SANDERS - Un llamp que no s'acaba mai (Psi 09.04; UK) AGUSTI FERNANDEZ (piano), JOHN EDWARDS (double bass) & MARK SANDERS (drums). Agusti Fernandez's connection with the London scene grows stronger by the year. His trio with John Edwards and Mark Sanders brings him to the heart of things. Their set played at the Jazz Siguenza 2007 festival in Spain comprised this free improvisation, which was captured by the fabulous ears of ace engineer Checa R Puertolas & mixer Feran Conangla.
CD $20

PER ANDERS NILSSON/STEN SANDELL/RAYMOND STRID - Beam Stone (Psi 09.02; UK) PER ANDERS NILSSON (computer and synthesizer), STEN SANDELL (piano, prepared piano, electronics and voice) & RAYMOND STRID (percussion). Beam Stone was founded a year before this October 2007 recording. The trio consists of three free improvisers, each with a distinctive personal sound. Their aim with Beam Stone is to explore sonic territories with the guidance of different pre-defined concepts. Listening and sonic exploration are considered the essential points of departure. 57 minutes.
CD $20

LAWRENCE CASSERLEY & ADAM LINSON - Integument (Psi 09.03; UK) LAWRENCE CASSERLEY (signal processing instrument and voice) & ADAM LINSON (double bass, live processing and sampling) met first when Adam joined the Evan Parker Electro-Acoustic Ensemble for the Free RadiCCAls festival at the CCA, Glasgow in November, 2004. They formed an almost instant rapport, which has continued ever since. During Lawrence's European tour in May, 2007 they met again and performed with the Ensemble in Cologne, after which Lawrence spent several days in Berlin. For two of those days they recorded together in Adam's studio. On the first day they stuck to their basic instruments - Adam on bass while Lawrence was processing. On the second day they experimented with adding Adam's own processing and Lawrence's voice to the mix. Most of the tracks on this CD come from the first day. The enthusiasm, excitement and energy of those sessions will be abundantly clear from this CD. 56 minutes.
CD $20


NU BAND [MARK WHITECAGE/ROY CAMPBELL Jr/JOE FONDA/LOU GRASSI] - Lower East Side Blues (Porter 4025; USA) The Nu Band is Roy Campbell on trumpets, Mark Whitecage on alto sax, Joe Fonda on bass and Lou Grassi on drums. Drawing from a long line of jazz tradition and new thought about what jazz can be, The Nu Band explore the full range of jazz as they seamlessly blend straight ahead and experimental jazz. A rewarding listen from start to finish that reveals the true talents of these experienced musicians.
CD $14

NATE WOOLEY/FRED LONBERG-HOLM/JASON ROEBKE - Throw Down Your Hammer And Sing (Porter 4022; USA) With Throw Down Your Hammer and Sing Nate Wooley (trumpet) Fred Lonberg-Holm (cello and electronics) and Jason Roebke (bass) create an alien landscape of strange sounds that ebb and flow between sparse instrumentation and dense layers of sound. The trumpet is pushed to its limits and cello and bass creak and moan as electronics interweave between the acoustic sounds. Improvisational, experimental, electronic, acoustic music at it's best!
CD $15


INGEBRIGT HAKER FLAKEN/HAKON KORNSTAD - Elise (Compunctio 02; EEC) (Mostly) traditional music from Oppdal in Norway. Performed by Ingbrigt Haker Flaken double bass and Hakon Kornstad saxophone and flutonette.
CD $18



New from Poland on NOT TWO!

MICHAEL BISIO QUARTET With STEPHEN GAUCI/AVRAM FEFER/JAY ROSEN - Live At Vision Fest XII (Not Two 810; EEC) For years, free improvisers have explored the tactile aspect of performance, in which the nature of the encounter between the player and the instrument becomes the subject of the music itself. Bisio is one of the few musicians that has managed to meld this high-concept sense of physicality with the soulful charge of jazz. His fiddle-high, scraped overtones create a tangled choir that is impossible to resist; his expressiveness with the bow is unmatched. Having whirled the listener into a transportive state, he gently shows the way out..." - Paul DeBarros, Signal to Noise
CD $18

MUSICONSPIRACY [JACEK KOCHAN/JOE FONDA/FRANZ HAUTZINGER/TELLEF OGRIM] - Do I The In? (Not Two 801; EEC) Featuring Franz Hautzinger: quartertone trumpet, Tellef Ogrim: fretless guitar, Joe Fonda: bass and Jacek Kochan: drums & laptop. This was recorded live at Alchemia in Cracow in September of 2007 and has excellent sound. I had not heard of Polish drum wiz, Jacek Kochan, before we got a half dozen discs of his from Not Two & Gowi. After reviewing a few of them I was impressed with his playing, arranging and the varied personnel on each disc. This new disc also has an inspired line-up of musicians from Austria (FH), Norway (TO), Poland (JK) and the US (JF). Each player has contributed two pieces as well as three great groups improvisations. Starting with Joe Fonda's "Song for My Mother", the rhythm team hits their stride quickly with some twisted fretless guitar and Miles-like electric trumpet up front. What is great here is how well the guitar and electric trumpet play together and sound similar. On "Golden Angel", the bowed bass, el. guitar and mutant trumpet seem to complete each other's line as they swerve around one another and bend their notes close. The band swings hard on "Feed the Hamster" with Franz taking that great Electric Miles-like tone and squeezing it higher. The ever-incredible Joe Fonda sounds splendid throughout as his bass buzzes underneath all of the action, creating a tight connection with Jacek's uplifting drums. All four of these musicians are play wonderfully throughout, exchanging ideas, tossing riffs back and forth and consistently surprising us with their tight, interconnected tapestry. Another outstanding disc from the folks at Not Two. - Bruce Lee Gallanter, Downtown Music Gallery
CD $18

DAVE REMPIS PERCUSSION QUARTET - The Disappointment Of Parsley (Not Two 811; EEC) Dave Rempis - alto and tenor saxophones; Anton Hatwich - bass; Tim Daisy - percussion; Frank Rosaly - percussionThe first piece is somewhat of a swinger. For those of you who don;t like their free improvisation too jazzy, head for the bar. (And for those jazz writers who can't seem to tell one instrument from another, despite the fact that you review dozens of records in public forums each year, I play tenor here, and alto on the other two tracks. They sound different. Dexter Gordon played tenor. Lee Konitz plays alto. Figure it out.) The second piece is a ballad of sorts, dedicated to my grandmother, Stamata Rempis, who passed away at the age of 102 three weeks before this recording was made. She was one of the strongest and kindest people I've ever known. As we stood onstage at the end of the first set, before starting this piece, thoughts of her flooded over me. I had been at Alchemia a few weeks earlier, on tour with Ingebrigt Haker Flaten's Quintet, just after learning that she was about to pass. Zoni is the name of the small village in which she was born, just outside of Megalopoli, Greece.
The last piece develops through several different sections, as many of this group's improvisations do, but perhaps most interesting to me is the juxtaposition of the two drum/saxophone duets during the first half of the piece. It highlights the different conceptions that Tim and Frank bring to the band, and perhaps why it might be worthwhile to have two drummers in the first place. We normally don't play 'tunes' with this band, opting instead for a more open approach. But one-third of the way through this improvisation, I had a strong urge to bring in 'C' by Julius Hemphill, off the great record Raw Materials and Residuals. Not sure if the other band members knew what I was playing, although I've played it with Tim before. One last note is that I don't play baritone saxophone on this record. The instrument has become an important part of the band's sound, but the difficulties of touring, and particularly airline travel, make it impossible to carry to Europe. (Not that getting on a train with an alto, tenor, baritone, and a fifty-pound suitcase full of CDs would be easy) Just another example of how the logistical aspects of traveling can unfortunately have profound effects on the music. Finally, many thanks to Dmitriy Krasnov for the name of the record, adapted from one of his short poems. - Dave Rempis
CD $18

BASEMENT RESEARCH [GEBHARD ULLMANN/JULIAN ARGUELLES/STEVE SWELL/JOHN HEBERT/GERALD CLEAVER] - Don't Touch My Music Vol 2 (Not Two 804; EEC) Gebhard Ullmann - bass clarinet & tenor saxophone; Julian Arguelles - soprano & baritone saxophones; Steve Swell - trombone; John Hebert - bass; Gerald Cleaver - drums.
Part two of the concert recorded live at Alchemia, Krakow on October 22, 2007.[Part one was released on Not Two #803] "Every track is tantalizing. No matter which way the ear is cocked, the music has vitality, panache, and verve." - Jerry D'Souza, All About Jazz CD $18


TONY MALABY With BEN MONDER/EIVIND OPSVIK NASHEET WAITS - Paloma Reccio (New World 80688; USA) Tony Malaby (b. 1964) is a highly respected figure in the downtown New York contemporary jazz scene. He is well known for his versatility, having worked with such groups as Charlie Haden's Liberation Orchestra and the Paul Motian Electric Bebop Band. One of the many groups led by this powerful tenor saxophonist, Paloma Recio can be described as a progressive ensemble with a Spanish tinge. Malaby describes Paloma Recio as "new music dedicated to an angel flying over the Iberian Peninsula by a new quartet of omni-directionally improvising masters of ecstatic lyrical elasticity." The nexus of composition and improvisation has been the subject of much conjecture in recent history, regardless of musical genre. In its broad-ranging sonic expression and flowing improvisational nature, this recording is one response to that discussion. Malaby's vivid compositions artfully blend improvisation and composition and Paloma Recio is further affirmation of his growing stature as a composer.
CD $15


PHILLIP JOHNSTON TRANSPARENT QUARTET With JOE RUDDICK/MARK JOSEFSBERG/DAVID HOFSTRA - Page Of Madness (Kurutta Ippeiji) [sndtck] (Asynchronous 01; USA) n 1998 Sayre Maxfield of the Film Society of Lincoln Center approached me about creating an original score for Teinosuke Kinugasa's Japanese 1926 silent film masterpiece, Kurutta Ippeiji, (A Page of Madness). Our relationship had begun when they took over sponsorship of my George Melies Project and premiered it at the Walter Reade Theatre in 1997. I was not familiar with the film, but at the first screening I was blown away by the power and originality of the film. Page of Madness is a truly unique film. Rather than try and synopsize the film myself, let me quote Jasper Sharp, from his online journal on Japanese film, The Midnight Eye, in what is the best writing I've read about the film.
"Based on a treatment by the later 1968 Nobel Prize winning novelist Yasunari Kawabata (1899-1972), writer of such classics of modern Japanese literature as The Izu Dancer and Snow Country, Kinugasa's self-financed landmark production Kurutta Ippeiji, hereafter referred to as A Page of Madness (though some sources refer to it by the titles A Crazy Page, or A Page Out of Order) seems a far cry from the bog-standard theatrically derived Kabuki adaptations and jidai-geki period swashbucklers being produced at the time en masse. The story of a retired sailor who has taken a job as a janitor in a lunatic asylum to look after his insane wife, locked away after attempting to drown their child, a synopsis of the plot can't begin to explain the power of the film, nor the audacity of its vision."
For Page of Madness I decided to try a different approach. I used a combination of traditionally noted music and improvisation that was carefully linked to the images of the film. We kept in synch through the use of simultaneously-started stop watches, and followed a score which described a the action, with timings, and called for specific instrument combinations and improvisations linked to those images. For the ensemble, I chose The Transparent Quartet (Joe Ruddick on piano, Mark Josefsberg on vibraphone, and David Hofstra on bass, and myself on soprano and alto saxophones), the group I had been working with for several years, and with which I had done the Melies Project. These brilliant musicians were perfect for a piece of this nature, being some of the most versatile and imaginative improvisers I had ever worked with. In a way, I had felt that I was wasting them in the previous years, with my music being so heavily notated (although they did a great job of performing it), and their being such great improvisers. - Phillip Johnston
CD $14


MICHAEL CASTRO & J D PARRAN - Kokopilau (Freedonia 29; USA) Kokopilau collects works resulting from my friendship of more than thirty years with wind magician J.D. Parran, whose work I've always found inspirational & poetic. We met through the interwoven network of artists associated with BAG and the Human Arts Ensemble, with whom we each performed, living in St. Louis in the 1970's. Separated now by 1000 miles of space, we've continued to engage in creative collaborations whenever the opportunity has arisen. The Kokopilau Cycle is based on Native American myths associated with the Hopi & other Pueblo tribes. Its central figure, popularly known as the humped back flute player, Kokopelli, elaborates the album's seed motif, as he scatters them from his humped back to revive the earth and create a new world. We first performed the piece at the Ear Inn in New York in 1982 - Michael Castro [poetry]
With Kokopilau, Michael provided me with the inspiration to do performances using all instruments of non-tempered tuning, handmade with no pads and keywork. This was a breakthrough for me, conceptually.I collected many such instruments starting in the BAG-AACM era that were referred to and listed on programs and recordings as 'little instruments'. Made up mostly by wooden flutes, various whistles and noise percussion they expanded the sound pallet of individuals and groups giving the music that 'vibe' ..pushing it toward celebration and ceremony but away from dry formality.Eventually, Douglas Ewart provided me with an arsenal of bamboo flutes and percussion providing an open-throated, non-tempered, multi-instrumental voice appropriate to the earthy spirituality of Kokopilau. I use a few of them here along with a Rich O'Donnell creation that I call 'metallic sprinkles'. - J.D. Parrran [all instruments]
CD $14


BARNEY McALL With KURT ROSENWINKEL/DREW GRESS/JOSH ROSEMAN et al - Flashbacks (Scrootable Labs; USA) This new album "Flashbacks," is more live with the layering happening on the fly in the studio... I did add some textural stuff to it but its more about playing in the moment with the whole band. There are some rhythmic layers I may have enhanced after the fact as well but not to the extent I did on MODAS. This new CD is a different animal but I really like what it appears to be. As far as playing the material live, its going to be a lot of fun and will translate well... hopefully it will have the same effect that the MODAS stuff did which is that people relate to the rhythmic foundation and want to tap their feet as... well as their brains... - Barney McCall
Featuring Barney McAll on keyboards & compositions, Kurt Rosenwinkel on guitar, Jay Rodriguez & Tiger Rex on saxes, Josh Roseman on trombone, Drew Gress & Jonathan Maron on basses, Obed Calvaire or George Schuller on drums. A couple of years back, one of out distributors got in a half dozen CD's by Australian pianist, Barney McAll all at one time. I hadn't heard of McAll before and was intrigued since the personnel on each disc included many of jazz well known jazz stars like Billy Harper, Joey Baron, Badal Roy, Gary Bartz and Ben Monder. I ordered copies of each, reviewed and sold some copies, but they seemed to have disappeared ever since. I contacted Barney since he lives in Brooklyn and even he can't get copies at present. Oh well. I was glad to hear from him again last week and get copies of his new gem. Barney's writing is fine throughout, diverse and inventive. On the title track, the quintet have to jump through some hoops as the piece keeps shifting through different tempos and parts. The music is sunny yet challenging which is not so easy to do. Both Barney and Kurt Rosenwinkel (on guitar) take strong solos but it the way the way the song consistently shifts gears that is the most impressive. Each piece is in a different style, which keeps things fresh. "End of Things, Start of Things" has a sort of laid back, middle-eastern vibe with exotic percussion and some exquisite piano and guitar solos. I like that this music is both a bit slick yet crafty and well played at the same time, perfect for a station like WBGO. There a number of unexpected moments like the heavy guitar at the beginning of "Red and Black Shifts" which then slows down and Barney takes an amazing two handed piano solo. Then the piece becomes more cinematic with Barney on selective synth sounds and another uncharacteristically twisted guitar solo from Mr. Rosenwinkel. This is one of those discs where you think you know what you'll get and then something unexpected happens. A great deal of time and work went into this so I hope that some folks get a chance to hear this modest gem". - Bruce Lee Gallanter, Downtown Music Gallery
CD $14



NOW you have a choice - CD or DVD - same price!

GUNTER HAMPEL - Lifer: Solo Live At The Bowery Poetry Club (Birth 90217; Germany) Featuring Gunter Hampel on vibes, bass clarinet and flute. This set was just a few weeks ago and Mr. Hampel was playing on the same bill with another ESP: Guiseppi Logan, who had disappeared for nearly 40 years from the music scene. Bowery Poetry Club was packed and Gunter blew everyone away. Like Guiseppi Logan, Gunter also had a great disc on ESP from 1968, more than 40 years ago and which was recently reissued. It sounds as fresh and exciting today as it did when it first came out. Back then Gunter Hampel started his own label (Birth) and has released more than forty discs of his own unique music.In all of that time Gunter has only released 3 solo discs on Birth, the first almost 40 years ago, the second one came out just last month.. Considering that Gunter played alone, his set was well balanced and dynamic. He would develop a theme on one instrument (the vibes) and them continue to evolve and stretch out on another instrument (bass clarinet or flute). It was completely magical and told a full story. This captures Gunter Hampel telling that wonderful story so be prepared to be stunned. - BLG
CD $16 DVD $16


DAVID FIUCZYNSKI - KiF Express (Fuzelicious Morsels 8908; USA) Featuring David Fiuczynski on fretted, fretless & quartertone guitars, Steve Jenkins on bass and Skoota Warner on drums, plus a few guests on keyboards, alto sax & percussion. It has been a while since heard from double-neck geetar monster Dave "The Fuze" Fiuczynski, but it has been well worth the wait. KiF Express is one smokin' power trio with ethnic influences from around the world. "Shiraz" rips opens with two alternating beats, one funky and the other rather techno-like. Dave's slinky guitar is up front and nasty as hell with some jazz-tone injections. The Fuze bends them notes in a most Hendrix-like way, then takes a swell short blistering solo. Yowsah! Dave has programmed some fine, funky beats that sound just right. On "Moonring Cacchanal", Dave sounds as if he has taken some ideas/sounds from Les Paul (overdubs?) and updated them and turned 'em inside out. "Yakura" starts with a sly Hendrix riff and layers of slow, slimy guitars, each one fitting perfectly into the mix. "Cumin" is an amazing, Middle-Eastern boogie with numerous nifty guitar parts that constantly shift into other dimensions as they mutate with a couple of astonishing guitars solos from the MF Fuze! This has to be Fiuczynski's best disc ever as everything works on it, no excess, no showboating, just incredible, crafty and creative music. Fretless bassist Steve Jenkins takes a couple of superb solos on "Habibi Bounce", as well as elsewhere and will have them fusionaires grinning from ear to ear. What makes this disc so special is that many of the tunes are slow burning wonders with an ethnic feel and inspired solos that are just right. Electric jazz/rock guitar fans and fusion-lovers, this disc was made for you so don't miss out or you might have to wait another decade for a righteous gift from KiF! - Bruce Lee Gallanter, Downtown Music Gallery
CD $16

DAVID FIUCZYNSKI/RUFUS CAPPADOCIA - Kif: Eastern Exotica Western Exstatica (Fuzelicious Morsels 8903; USA) After the slightly disappointing Black Cherry Acid Lab (if only because it was too short), David Fiuczynski quickly came back with this impressive collaboration with electric cellist Rufus Cappadocia. The album also features contributions from percussionist and drummers Daniel Sadownick, Gene Lake and Ralph Tobias, plus clarinetist Matt Darriau and singer Lian Amber. You'd think that the mean, twangy guitar riffs and solos of "The Fuze" would eat a cello alive, but please understand that Cappadocia's playing usually comes much closer to fretless bass than anything close to an acoustic cello -- he's more Tony Levin than Yo-Yo Ma! The set kicks off with "Mektoub": after an introduction featuring the cellist playing arco (one of the rare moments on Kif where one can identify the instrument for what it truly is), the piece builds up to one of Fiuczynski's trademark slow-tempo funk moods. The guitar lines hint at North-African scales, while Sadownick's percussion work enhances the Moroccan feel. Each track provides a setting for the duo to explore exotic sonorities -- titles likes "Phrygianade," "Chinese GoGo" and "Purple Vishnu" are self-explanatory. At times it almost feels like a recipe, but Fiuczynski's creative soloing -- and the fact that he has been using twangy Middle-Eastern and Far-Eastern-like melodies long before this album -- makes it work. And you never know when an innocent-sounding Klezmer melody will turn into a monster hard rock riff. "Prayer for My Father," slow and emotional, provides a highlight. "Gaida," co-penned with Matt Darriau, who also plays clarinet in it, is another stand-out. ~ Francois Couture, AMG
CD $16

ON KA'A DAVIS & FAMOUS ORIGINAL DJUKE PLAYERS - Seeds of Djuke (LiveWired 1004; USA) An incessant pulse runs through the African diaspora; it's the beat that tears the roof off the cerebral avant garde. Classically trained experimental guitarist On Ka'a Davis discovered it while squatting in the once derelict tenements of the Lower East Side. Davis and his Famous Original Djuke Music Players take this pulse on Seeds of Djuke (LiveWired Music; released April 21, 2009) and retrace the long-lost taproot of a future music.
"The very first time I saw Sun Ra and his Arkestra was in Central Park," Davis recalls. "They walked through the crowds, passing right by me. They were all wearing Egyptian make-up on their faces and I thought, 'This is the Blackest band I have ever seen in my life. This is Deep Nubian music.'" Two years after this revelation, Davis was playing in the Arkestra himself, living in the communal setting in Philadelphia that was the social basis for Sun Ra's group.
Davis traveled far to reach deep: from the R&B and prog rock grooves of his childhood home in Cleveland to the rigorous classical guitar training at Vienna's Hochschule fur Darstellende Kunst, to the rollicking Roma riffs of the Austrian streets. There, he saw the ripple effect of jazz in a whole new light, discovering the bebop solos of Charlie Parker, the European classical gestures of Keith Jarrett, the worldly improvisation of John McLaughlin. Busking alongside Roma musicians for pocket money, Davis experienced the 'subset culture' of gypsy life, a world that caused him to reflect on his own complex African American heritage.
Davis eventually wound up on New York's Lower East Side, where he played for punks in the squatter revolution that transformed the neighborhood in the 1980s. The squatters' battle to reclaim the derelict shells of Lower Manhattan had its sonic side, with a groundbreaking (and regulation-defining) micro-broadcasting radio station and infamous shows in myriad basements. It was in the squat that the outlines of what Davis calls djuke emerged, a music that draws on everything from Afrobeat sensibilities to Spanish classical guitar to space culture. "This is one of the coolest and most unique discs I've heard in a long while. It blends jazz, rock & funk with space-music and progressive sounds. Each time I play it in the store folks are knocked out and grab a copy for themselves!" - BLG
CD $14

M. NAHADR - EclecticIsM (LiveWired 1003; USA) It's midnight in the studio. Flip on the electricity and just be moved, says the siren in honey-colored dreads. Hear the harmony of difference.
Even as an African-American albino, New York-based performance artist M. Nahadr has sidestepped the pitfalls of identity politics and cut straight to the soul: Everyone is unique and different. Once you see this fact not as a problem, but as real as the air we breathe, the entire world changes. You speak a different language. You hear sound differently. And you create music directly from intuition. That forces the listener to respond in soulful, instinctive kind. EclecticIsM is the embodiment of this transformation, the result of a decade of spontaneous expression, the product of feverish moments of musical creativity that emerged between M.'s work on large-scale conceptual performance pieces. It is a "string of jewels that reflect my musical being," in her words, a set of songs that range from spare improvisations to lush jazz ballads to funky pop anthems, all graced by the many visions and voices of M. and her startling multi-octave range.
CD $14


MILES OKAZAKI With DAVE BINNEY/CHRIS POTTER et al - Mirror (self released; USA) Featuring Miles Okazaki on guitar, computer, kanjira & compositions, David Binney, Miguel Zenon, Chris Potter & Christof Knoche on saxes & bass clarinet, Jon Flaugher on electric & acoustic bass and Dan Weiss on drums, tabla & frame drums. This fine disc was actually released first through an Italian jazz magazine called Jazzit in 2006. Earlier this year, Marco Valente, from the Auand label in Italy left us with a dozen discs on the Jazz Engine label to check out. I slowly listened to all of them and the two I like the best both featured a New York-based guitarist named Miles Okazaki. One was a trio with Miles, Gaetano Partipilo & Dan Weiss and the other one was this one. Since the Jazz Engine discs were limited, Miles decided to reissue this one himself. This first thing I noticed about this disc was that Miles utilized the talents of four fine reed players, each one a leader in his own right. On "Spiral" he has a few interlocking guitar parts going on simultaneously, some acoustic and some electric. The piece is both complex yet it also includes an uplifting melody. It leads right into "Mirror I" which again has a number of intricate parts going on at the same time. While plays these cool repeating patterns on his acoustic guitar, Miguel Zenon plays these quick, M-Base like runs on his alto sax. Ace drummer and wiz percussionist, Dan Weiss, is also right on the money playing those super quick flashes, underscoring the death-defying rhythmic schemes that Miles has written for the ensemble. On "Howl," the groove is funky yet it keeps shifting through difficult changes keeping saxist David Binney on his toes. Miles' great guitar solo near the end changes tone a few times yet no doubt it will keep some of those fusion doctors smiling. Miles' composing is often deceptive, you think that some section is easy or laid back and then he throws in unexpected twists and turns and surprises. In the middle of "Invention," Dan Weiss plays a most inventive tabla solo before the song goes back to a sort of funky groove. "Theme I, II & III" are short, backwards M-Base-like segways that bridge the space between different pieces. Miles' acoustic playing is refreshing, often melodic, yet intricate and often used to outline the skeletal structure of many of these pieces. I dig the way Christof Knoche's bass clarinet is used, whether playing a part or soloing, he has that Paul McCandless-like elegance. Miles Okazaki's music works on various levels at the same time, providing layers of rhythmic and shifting harmonies throughout. This fabulous debut disc has some 15 tracks and is more than an hour long and remains one of this year's best under-recognized treasures. Don't miss out out! - BLG
CD $15


BLOSSOM TOES [BRIAN GODDING/JIM CREGAN/BRIAN BELSHAW/KEVIN WESTLAKE] - Love Bomb: Live 1967-69 [2 CD set] (Sunbeam 5049; UK) Blossom Toes are well established as one of the UK's best-loved '60s psych bands, and this double CD set captures them at the height of their powers. CD1 was recorded live in Stockholm's Filip Club on August 26th 1967, just after they'd completed their classic debut, We Are Ever So Clean. It finds the band poised between that album's cheery pop-psych and the dense progressive psychedelia of its follow-up, 1969's If Only For A Moment. Previously available only as an incomplete bootleg, it is mastered from original tapes supplied by the engineer who recorded it, Anders Lind. CD2 kicks off with two rare tracks from 1967 radio sessions, then continues with two cuts apiece from the band's appearances at 1969's Amougies and Bilzen festivals -- the latter boasting a guest appearance from none other than FRANK ZAPPA! The set comes complete with a full booklet including rare photos and an introduction from the band's leader, Brian Godding, making it essential for all fans of British psychedelia.
2 CD set for $24

also available

BLOSSOM TOES [BRIAN GODDING/JIM CREGAN/BRIAN BELSHAW/KEVIN WESTLAKE] - If Only For A Moment (Sunbeam 5036; UK) Two years after their brilliant pop-psych debut, 1967's We Are Ever So Clean, Blossom Toes unleashed this extraordinary fusion of acid rock and prog, emphasizing how far they'd come since the summer of love. Characterized by complex song structures and memorable guitar solos, and featuring a guest appearance on sitar from U.S. folkie Shawn Philips, the album has gone on to become a major cult favorite. Heavily bootlegged over the years, this is its first official reissue. Produced with the band's full involvement, it comes with seven bonus tracks, encompassing non-LP singles, demos, out-takes and live performances, as well as a full-color 12-page booklet incorporating many rare photographs and a comprehensive band history, as well as an introduction from the band's leader, Brian Godding.
"The precise axis between British Psychedelia and Art Rock-Pop. You MUST hear this!" MannyLunch and BLG
CD $17

BLOSSOM TOES [BRIAN GODDING/JIM CREGAN/BRIAN BELSHAW/KEVIN WESTLAKE] - We Are Ever So Clean (Sunbeam 5035; UK) Released at the height of flower power in 1967, We Are Ever So Clean is the first record by the UK's Blossom Toes, widely considered to be the finest pop-psych album ever recorded. Produced by Giorgio Gomelsky (discoverer of The Rolling Stones and The Yardbirds), it's a fascinating amalgam of whimsical pop, music hall humor and acid rock. Much-bootlegged over the years, this is its first official reissue, timed to coincide with its 40th anniversary. Produced with the band's full involvement, it's presented with no fewer than ten bonus tracks, encompassing non-LP singles, demos, out-takes and live performances, and comes complete with a full-color 12-page booklet incorporating many rare photographs and a comprehensive band history, as well as an introduction from the band's leader, Brian Godding.
CD $17



SUN CITY GIRLS - Napoleon & Josephine: Singles Vol 2 (Abduction 043; USA) This is the second volume in a series featuring rare singles and unreleased tracks from Sun City Girls. In the summer of 1988, Sun City Girls began working on two records simultaneously: Torch Of The Mystics and Dante's Disneyland Inferno. The former was finished and released in December of 1989 but the latter wasn't released until April of 1996. Over those eight years, Dante's morphed into an entirely different record due to several songs originally targeted for inclusion being hijacked by other projects. Two tracks ("X+Y" and "Frankenstein") were siphoned-off to the Kaliflower LP in 1993 and 4 tracks (1, 11, 12, 13) included here were released on 7" singles in the early '90s. The two most notable of the singles tracks dominate this record. "Napoleon & Josephine," a 13-minute episodic conversation between a vagrant and a shop owner, was originally released as a single in 1991 on Scratch Records. The full track was split into sides (parts 1 & 2) running over 6 minutes long. An alternative mix which had been shelved for 15 years is featured here. "Reflection Of A Young Boy Eating From A Can Of Dog Food On A Shiny Red X-Mas Ball" was originally released as side 4 on the double single 3 Fake Female Orgasms (Majora, 1991) and was 8 minutes in length. This extended version is the original complete recording, running 22 minutes. Legendary Phoenix electronic musician and SCG associate David Oliphant mixed and processed the entire piece live to tape in his studio. The remainder of this set is composed of like-minded and literary SCG singles and compilation tracks, including the previously unreleased "The Weatherman" which was originally recorded as an introduction for "Napoleon & Josephine." This is the second of a multi-volume set of rare & long out-of-print singles, compilation, and unreleased tracks to be assembled and sequenced to play as full-length records. Vinyl editions may also appear in time.
CD $15

1970's ALGERIAN PROTO-RAI MOVEMENT [V.A.] - Seventies Rai Music (Sublime Freq 045; USA) This is a CD reissue of the limited LP pressing which sold out almost immediately upon release in 2008.
This is Rai music from Algeria as you've not heard it before. In the early 1970s, a new group of singers and musicians were operating on the northwest coast, and what they pioneered was a sound that eventually reached worldwide status by the end of the decade; however, their names are relatively unknown to this day outside Algeria. This crucial and defining period of the development of Rai is criminally ignored and overlooked by Algerian music historians and Rai fans. Due to censorship and government-controlled music diffusion, this scene and lyrical style was forced underground and banned from broadcasts, yet slowly built a small following around the seaside cabarets of Wahran (Oran). This period witnessed the rise of artists such as Groupe El Azhar ("The Flowers" group) and Messaoud Bellemou, who can comfortably be considered the godfather of the modern Rai sound. His group, L'Orchestre Bellemou, rewrote a heritage of centuries by using modern instruments and especially the trumpet, which became, during the 1970s, the backbone of the Wahrani genre. Reinterpreting the gasba melodies on trumpet, Bellemou backed singers such as Boutaiba Sghir and Sheikh Benfissa who carried on the lyrical tradition of their forefathers singing about daily preoccupations and problems as well as love affairs, alcohol, or simply owning an automobile! Toward the late 1970s, Cheb Zergui brought a newer ingredient: an electric guitar with a wah-wah pedal. Thankfully, the late 1960s saw the development of vinyl pressing in Algeria. This new industry allowed many small artists including the Wahrani "scene" to record and release singles documenting their repertoire. This compilation is a selection of this proto-Rai scene's vinyl 45s. This LP is limited to a one-time pressing of 1500 copies on 180 gram vinyl and comes in a full-color deluxe gatefold jacket with photos of the musicians and informative liner notes by the man who compiled it, Hicham Chadly.
CD $15


PROJEKT TRANSMIT [TONY BUCK et al] - Projekt Transmit (Staubgold 93; Germany) This is the debut full-length release by Projekt Transmit, a group formed by Anthony Buck. Most people would know Anthony Buck as Tony Buck, drummer and percussionist from sublime Australian improvisational trio The Necks. With Projekt Transmit, we see another side of this artist's multi-faceted musical personality: giving a firm nod to bands like Shellac and My Bloody Valentine, Projekt Transmit is the result of Buck's hardcore, post-rock side. Retaining the experimental edge that encompasses much of his music, each song on this record is rich with texture and momentum. Buck starts with a basic, minimalist idea -- be it a driving riff, a syncopated melody or rolling rhythm -- and builds upon it with layers of sounds and harmonies. He drums, sings and plays guitar on an album that challenges as much as his history would suggest it should. From the opening "What You Want," an unrelenting post-rock alternate-James Bond-theme, to the closing, ten-minute "Time," an exploration of sound and texture that melts into a gentle lullaby, building like waves on the shore, then dissipating back to where it came from -- this album keeps you on your toes, leaves your nerves on edge, never able to settle, despite its strongly minimalistic, rhythmic nature. Buck's post-apocalyptic version of Bob Dylan's "Masters Of War" could not be more apt. He has set out to reach a "sound and momentum" and has achieved that and more. To truly appreciate Anthony Buck's musical language, it's important to catch the tiny, but significant details on this album. The jangly guitar edges, the well-placed harmonic sounds, the subtle edges, even the humming vocals: listen closely -- otherwise, you might just miss something.
CD $17

YASUAKI SHIMIZU & DAVID CUNNINGHAM - One Hundred (Staubgold 91; Germany) Legendary UK producer David Cunningham's (The Flying Lizards, Michael Nyman, This Heat) first album in almost ten years. David Cunningham is a record producer and musician who makes installation works based on real-time exploration of acoustics. His first significant commercial success came with The Flying Lizards' single "Money," an international hit in 1979. Over the years he has worked with an eclectic range of people and music, from pop groups (This Heat, Martin Creed) to improvisation (David Toop, Steve Beresford) to Michael Nyman's music for Peter Greenaway's films and work with Ute Lemper and others. His installation works have inhabited the 11th Biennale of Sydney, Tate Britain, ICC Tokyo, Ikon Birmingham and most recently, Carter Presents, London. "I'm interested in what happens when time, sound and space are explored together. Inseparable elements, but formal European thought does not really seem to acknowledge this ... I was fascinated by the sonic vocabulary enabled by the reel-to-reel tape recorder and its successor technology -- tools that could manipulate and shape sound like nothing else. Most records I intuitively love involve this sort of treatment -- from Elvis Presley's Heartbreak Hotel to The Ronettes to Terry Riley to Donna Summer's 'I Feel Love' and so many more." Yasuaki Shimizu, Japanese composer, arranger and renowned jazz saxophonist (who has worked with Ryuichi Sakamoto, Bill Laswell and The Orb) has been pushing the saxophone to the limit since the 1970s. Whether as a solo performer, with his group Saxophonettes or as a composer for film and video soundtracks (e.g. Peter Greenaway's The Pillow Book) he has consistently explored new avenues in an unparalleled musical career. David Cunningham: guitar, footpedals, delays and kalimba. Yasuaki Shimizu: tenor saxophone, piano, delays.
CD $17


MIKKEL PLOUG/SISSEL VERA PETTERSEN/JOACHIM BADENHORST - Equilibrium [H-SACD] (Songlines 1578; USA) [this is a Hybrid SACD (H-SACD) which means it is playable on ordinary CD players as well] Featuring Mikkel Ploug on electric & acoustic guitars, Sissel Vera Pettersen on voice, soprano sax & live electronics and Joachim Badenhorst on clarinet, bass clarinet & tenor sax. This young European chamber collective, inspired in part by Nordic folk traditions and the guitar/vocal atmospherics of Ben Monder and Theo Bleckmann, creates a stark yet delicate and sensuous music of great originality and elegance.
"I was surprised to see this disc compared to the work of Theo Bleckmann & Ben Monder, but after listening to it a few times, I thought the same thing. This is why I placed this disc after my review of Bleckmann's new Refuge Trio CD on W&W in the current newsletter. I didn't recall any of the folks in this trio (Ploug, Pettersen & Badenhorst) before this disc but decided to give them a chance since I dig almost anything that the Songlines label releases. It turns out that Joachim Badenhorst has worked with Simon Jermyn on two discs that I reviewed previously. Again like the work of Theo and Ben Monder, this trio has a more restrained, elegant sound. Ms. Pettersen's delightful voice does sound a bit like Theo's and Mikkel's exquisite guitar also sounds like Monder's more elegant side. On "November", the guitar and clarinet play a layer of intricate, dreamy lines together while Sissel's enchanting voice sails superbly on top. I dig the way the acoustic guitar and two reeds (soprano sax & bass clarinet) spin together on "Soft Spoken", an immensely lovely, haunting piece. Every piece on the this is rich in detail, subtle in substance and very well crafted. It reminds me of series of fairy tales for our mind's eye. It never ceases to amaze me how many delightful surprises are in store for those who wish to check out something new and unknown." - Bruce Lee Gallanter, Downtown Music Gallery
CD $17


REFUGE TRIO [THEO BLECKMANN/GARY VERSACE/JOHN HOLLENBECK] - Refuge Trio (W&W 149; Germany) Featuring Theo Bleckmann on voice & electronic processing, Gary Versace on piano, accordion & keyboards and composer/percussionist John Hollenbeck on drums, percussion & vibes. The Refuge Trio are/is a unique and magical outfit that doesn't quite sound like anyone else under the sun. Although the trio wrote most of the pieces on this disc, they do rearrange a handful of select covers by Joni Mitchell, Ornette Coleman, Thelonius Monk and Allan Holdsworth (?). Opening with Joni Mitchell's "Refuge of the Roads", which is stripped down and pure, we enter into a lovely, calm world of enchantment with just voice, piano and glockenspiel. Like Robert Wyatt, Theo Bleckmann knows when to loop his voice and turn it into a charming haze. What I love about this trio is that they are able to create so much wonderful sounds with just often minimal voice, keyboards and percussion. On "Pinwheel" Gary hints a theme with just a few notes on the piano while John spins a thin web of percussion and Theo's slightly echoed voice is weaved around the other sounds ever so elegantly. One of the things that most interesting about this disc is that it is completely enchanting and not very "out" or too "downtown". It is in between any established categories and could be enjoyed by any folks who like odd music that is not too far out. Ornette's "Peace" is performed in a way that allows the melody to shine and simmer, yet sounds unlike any other version of this piece done before. Monk's classic song, "Mysterioso" gets a particularly strange rendition with weird vocals, piano and glockenspiel spinning around the melody in a most unusual way. Each piece reveals another magical pearl that is often delicate yet quietly engaging. Super, sublime and somewhat sly. - Bruce Lee Gallanter, Downtown Music Gallery
CD $17

MAURICIO KAGEL//NIEUW ENSEMBLE ED SPANJAARD - Kantrimiusik (W&W 150; Germany) Argentinean-born new music composer, Mauricio Kagel, passed away last year (2008), but not before leaving with with dozens of extraordinary compositions of his distinctive work. This is Kagel's ninth disc for Winter & Winter and again it is triumphant. "Kantrimiusik" is a Pastorale for three vocalists and an eight-piece chamber group, known as Nieuw Ensemble from the Netherlands, where this was recorded. "Kantrimuisik" is based on "fake" or ambiguous folklore ensembles. The singers voices are only heard over loudspeakers and there are noise montage interludes blended in during the performance. Although this music is not authentically "folkloric", it does indeed have a strong blend of modern, traditional and quirky strands. It reminds me of modern opera without any of the bombast or melodrama. The combination of banjo, acoustic guitar, piano, violin, two trumpets, clarinet and tube, gives this ensemble a unique sound that is in between serious and silly. I dig the way Kagel uses tapes of animals, birds and radio in the interludes, which adds a bit of unexpected mystery to the sound. Overall this music seems to be in between any regular categories of music, but works in blending numerous incongruent elements into a seamless, festive indescribable yet fascinating work. - Bruce Lee Gallanter, Downtown Music
CD $17


RESPECT SEXTET//SUN RA/KARLHEINZ STOCKHAUSEN - Sirius Respect: The Respect Sextet Play The Music Of Sun Ra & Stockhausen (Mode AVANT06; USA) Eli Asher: trumpet, slide trumpet, melodica, percussion; James Hirschfeld: trombone, tambourine; Josh Rutner: tenor saxophone, bass clarinet, melodica, radio, percussion, trombone; Red Wierenga: piano, keyboards, redspectronics, percussion; Malcolm Kirby, Matt Clohesy: bass; Ted Poor: drums, percussion.
This CD allows the music of two of the 20th century's musical giants to be heard as they've never quite been heard before. Sun Ra and Stockhausen have a lot in common: mysticism, astrology, a self-constructed cosmology and (intertwining) compositional language, the idea of "advanced" musical and intellectual work, and an early, involved adoption of synthesizers. In choosing the repertoire, Respect wanted to draw comparisons and contrasts between the two composers and address the question of how "space" influenced their work.
A truly unique "crossover" release that is bound to appeal to new music, jazz and improvisation audiences. The Respect Sextet is an up and coming young jazz group based in New York and garnering a lot of positive press. Each of the band's six members are individuals with their own projects, writing their own compositions and playing in other bands, from new music groups Argento Ensemble and Alarm Will Sound to the gospel group The Campbell Brothers to Bjorkestra and Cuong Vu's Trio - a broad spectrum of music. Their previous CDs have included covers of tunes by Art Ensemble Of Chicago, Lee Konitz, Herbie Nichols, Albert Ayler, and Misha Mengelberg.
CD $15


JOHN CAGE/MORTON FELDMAN//MAURIZIO BARBETTI/ROSELLA SPINOZA - In A Silent Way (Stradivarius 33819; Italy) Featuring Maurizio Babetti on viola and Rossella Spinosa on piano. A very carefully balanced program of music for viola and/or piano by John Cage and Morton Feldman. A portrait of two composers, whose poetics are much linked to each other and to contemporary visual arts. Barbetti has one of the most beautiful tones and timbres among living viola players. There are just a few discs that mix the works of John Cage and his friend Morton Feldman in one CD, but this one seems to work the best. Although the ten pieces selected start as early as 1946 and are as recent as 1981, there sounds like an aesthetic connection between them all. Most of the pieces are delicate, elegant and/or minimal to varying degrees. There are a few exceptions like "Ophelia" (1946, which is stark yet intense and somewhat more nightmarish than we usually hear from Mr. Cage. Morton Feldman's "For Aaron Copland" is a hypnotic work for solo violin with one note played at a time and suspended gently in space. Cage's "Dream" has a similar delicate, melancholy vibe and sounds perfect following the Feldman piece. Feldman's "Piano Piece (to Philip Guston)" is also a marvelous piece where each note is suspended in silence, we must calm down in order to best appreciate its divine radiance. I found much of this music to be the most peaceful sounds I've heard in a while, especially compared to the neurotic hustle and bustle of New York town. This disc is an oasis from the usual insanity. - Bruce Lee Gallanter, Downtown Music Gallery
CD $16


MORTON FELDMAN//ARNE DEFORCE/YUTAKA OYA - Patterns In A Chromatic Field [2 CD set] (Aeon 977; EEC) "Patterns in a Chromatic Field", dedicated to the cello work of Morton Feldman, allows us to discover one of the most original and enigmatic musicians of the repertoire. Composed the same year as the well-known Triadic memories (1981) and 10 years after the famous Rothko Chapel (1971), Patterns is one of the masterpieces of the cello & piano repertoire from the second half of the 20th century.
2 CD set for $24


CRISTOBAL HALFFTER - Lazaro [DVD] (Neos 50802; Germany) An opera in one act, based on texts by Juan Carlos Marset. "The guards of the Sanhedrin are hunting for Lazarus, after Jesus of Nazareth's arrest in the Garden of Gethsemane. Lazarus flees to his home, where he lives with his sisters Martha and Mary, before finally taking refuge in his tomb. There, in dreams, he relives his own past death and encounters Jesus' four most trusted disciples (Simon, Andrew, John and Jacob) and Judas. On waking from his sleep, Lazarus returns to his home. A meeting is taking place between the four disciples, his sisters and Judas, who attempts to excuse his treachery and convince the others to follow his plans. Judas fails in his endeavor, and Lazarus decides to give himself up to the guards and die once more, only this time in a fully aware state. The opera house Theater Kiel recently garnered much praise in German-speaking territories for its performances of Halffter's opera Don Quijote (following the Madrid premiere in 2003). Cristobal Halffter entrusted his new opera Lazaro to the same house, which mounted the first performance in May 2008, using much the same cast. The entire production was filmed and edited by NEOS. Reviews of the opera Lazaro: 'On Sunday May 4, we were among the eager public at the Kiel Opera watching the premiere of Cristobal Halffter's magnificent opera Lazaro. At the age of 78, the great Spanish composer is in every word, every sound and every gesture, the grand seigneur of the old school, the humanist insightful of human emotions, the aesthete of harmonious proportions, richly inspired.' -- (Peter Krause Die Welt, 06.05.2008) 'The piece opens space after space of subtle, iridescent orchestral structures that unfold symphonically in four major interludes. In the action scenes, the music follows the reading of the Spanish text, to which the orchestra lends a gentle rhythmic impetus. What impresses us here is the composer's utter dominance of the whole ensemble, the way the personal tone Halffter uses in his music conveys to us his own religious convictions. With Lazaro he has created an opera worthy to take its place beside the great spiritual works.' -- (Christian Wildhagen, Frankfurter Allgemeine Zeitung, 06.05.2008)" NTSC All Region; Dolby Digital 5.1; 6:9; Approx. 111 mins. Includes 136-page libretto.
DVD $45

LUDWIG VAN BEETHOVEN//ISANG YUN - Pathetique [H-SACD] (Neos 20803; Germany) [This is a stereo & 5.1 multichannel Hybrid SACD release that can be played on any ordinary CD player.] Featured works: "Shao Yang Yin" (1968, piano version 1996), "Five Pieces for Piano" (1958) and "Interludium A" (1982) by Isang Yun (1917-1995); "Sonata No. 8 in C minor, Op. 13, Grande Sonate pathEtique" (1798/99) by Ludwig Van Beethoven (1770-1827). Performed by Kara Han (piano). "Freedom, equality and brotherhood -- Beethoven represented the ideals of the French Revolution, whereas Yun fought for the liberation of his country from military dictatorship and despotism. He longed for the reunification of his homeland, one that had been divided by foreign powers as a result of the Second World War; he suffered under the division of Korea and had to endure imprisonment and torture. Certain similarities may also be made out in the music, despite the cultural and historical distance of roughly two centuries. Melodic intensity, suspense and drama; character of speech and speech-like syntax; a dramaturgy -- pugnacious up to now -- that aims at a concrete turning point and which evinces at least in Yun's late works the imagery of advancement, all these things can be distinguished in his music. Beethoven, like Yun, searched for a balance between expression and structural thinking, between apparent inordinateness and a continually lotic sound continuum."
CD $21

ANDERS ELIASSON - Desert Point/Ostacoli/Sinfonia Per Archi (Neos 10813; Germany) Performed by Acros Chamber Orchestra, conducted by John-Edward Kelly. Stereo/5.1 multichannel hybrid CD/SACD release that can be played on any CD player. "'Music was the only way I could survive in this world.'Even as a young boy, Anders Eliasson used to arrange his toy soldiers into an orchestra, sit in front of them and sing, imitating the sounds of the instruments. The earliest music he can remember is 'my own singing.' At the age of nine he was given a trumpet, received some lessons from experienced jazzmen, and soon became the leader of his own combo (two clarinets, trombone, drums, guitar and trumpet). Listening to the three works on this CD, it becomes obvious that Eliasson's style has changed over the years. It is a long way from the vehemence and timbral extremes of 'Desert Point' to 'Ostacoli,' which has become a sort of classic for string orchestras, or the broadly reverberant introspection of 'Sinfonia Per Archi,' circumscribing a huge, delicately gossamer arc of tension. Yet no one can foresee what will come next, for each piece is a self-sufficient entity that poses its own demands."
CD $21

FRANZ LISZT//YOUNGHI PAGH-PAAN - Via Crucis [H-SACD] (Neos 20902; Germany) [This is a stereo & 5.1 multichannel Hybrid SACD release that can be played on any ordinary CD player.] Featured works: "Via Crucis: Les 14 stations de la croix for choir, solo voices and piano four hands" (1878) (composed by Franz Liszt (1811-1886); performed by GrauSchumacher Piano Duo, Harald Martini, baritone [Jesus]; Franz Gerihsen, bass [Pilatus]; Andrea Weigt, soprano; Marietta Schwittay-Niedzwicki, mezzo-soprano; Beata Borchert, alto; Boris Pohlmann, tenor; Hee-Kwang Lee, bass; WDR Rundfunkchor Koln/Rupert Huber). "Vide Domine, vide afflictionem nostram for mixed choir a cappella" on texts from the letters of the Korean priest Yang-Eop Choe (1821-1861) and from the Responsory for Good Friday (2007)" (composed by Younghi Pagh-Paan (1945); performed by Benita Borbonus, soprano; Andrea Weigt, soprano; Markus Francke, tenor; Hee-Kwang Lee, bass, WDR Rundfunkchor Koln/Rupert Huber.
"Two highly intense works on the events of Good Friday: Franz Liszt desired a new way forward for the music of the Catholic Church, and was ready to draw too on the Protestant tradition left by Johann Sebastian Bach. Liszt understood Bach's legacy however as a kind of musical landscape that pushed tonality to its limits. Although the music of Via Crucis presents a folk-like character, this is by no means a superficial score, one relying merely on stale conventions. The composer creates a dramatic Way of the Cross that remains humble in intention. The present recording -- in the version for choir, soli, and piano four hands -- is one authorized by Liszt himself. During the 19th Century, the priest Yang-Eop Choe acted as pastor to a Catholic community that had become widely dispersed following suppression by government of Korea. His letters, written in Latin, demonstrate a devotion to God as well as a readiness to die for his faith. In her new work for choir a cappella, the Korean composer Younghi Pagh-Paan uses excerpts from the Good Friday responsorium to point up these poignant missives. (For Christians, the Way of the Cross is the path taken by Jesus -- marked by various stations -- on his way to being condemned by Pontius Pilate and the subsequent crucifixion. This is in preparation for Easter, the festival marking the resurrection of Jesus from the dead.)"
CD $21


IVO MALEC - Epistola/Arc-En-Cello (Timpani 1153; EEC) Featured works: "Epistola, Cantata For Soli, Choir And Orchestra" and "Arc-En-Cello, Concerto For Cello And Orchestra." Performed by: Claudia Barainski, soprano; Marjana Lipovsek, mezzo-soprano; Robin Leggate, tenor; Ralf Lukas, bass; Ilia Laporev, cello Choeur Philharmonique Tcheque, Brno/Petr Fiala Orchestre Philharmonique du Luxembourg/Emmanuel Krivine. "This new recording, with Emmanuel Krivine conducting the Luxembourg Philharmonic, brings together two major works, Ivo Malec's most recent, written in 2003 and 2006 for large ensembles. Although the title of the concerto Arc-En-Cello refers to a world of unlimited colors, it also pays tribute to that 'mysterious' instrument the cello -- whose amazing spectrum corresponds perfectly to that of the human voice, male and female combined, its body penetrated by the bow, which tills it, making it cry out or swirl, if not live and sing, and inviting us to reflect. The sound that emerges from it would than seek neither 'dialogue' nor 'partnership' but fusion! Epistola, whose musical language is quite similar to that of Arc-En-Cello, is, however, far removed from it in terms of source and dimensions, ambitions and form. The composer wrote as follows: 'Ten years ago, I was able to read the Latin text (in French translation) of a deeply moving letter sent in 1522 to Pope Adrian VI by the eminent Croatian poet and humanist Marko Marulic. In it, he implored the pontiff's help in holding out against the invasion of the Turks, who had arrived at the gates of his native city. The veritable shock that the reading of this text provoked in me stemmed from the obvious parallel between Marulic's description of the horrors of this invasion and the one that my country of origin had undergone during the war in the 1990s. Even though the spiritual content and literary form of this Epistola did not necessarily suggest setting it to music, the musician in me heard the 'sound' straightaway.' Affected from the moment he read it, the composer nonetheless let the idea mature for ten years before deciding to write, starting from this text whose topicality was still just as burning, a vast score. To give a necessary dramaturgy to this 45-minute work, its various parts, sometimes of torrential violence, are counterbalanced by frequent moments of calm or sudden transparencies. Maintaining the Latin, the whole is composed like a succession of varied presences ranging from solo to quartet, from a cappella, or even accompanied, chorus, to large tutti with orchestra. The latter, quite active moreover, provides the musical discourse with a constant envelope and is at times the sole actor. The work ends with the words 'pacis amor,' the real source of inspiration for Ivo Malec's Espistola."
CD $23.

IVO MALEC - Oeuvres Pour Orchestre (Timpani 1086; EEC) 2004 release. Featured works: "Sonoris Causa For Orchestra" (1997), "Ottava Alta For Violin And Orchestra" (1995), "Exempla For Orchestra" (1994); performed by Raphael Oleg, (violin) and Orchestre Philharmonique du Luxembourg/Arturo Tamayo
CD $23



LUC FERRARI - Labyrinthe De Violence/Dance [Ltd Ed LP] (Alga Marghen 027; Italy) One-sided release. "'Dance' was part of a sound/visual installation called 'Labyrinthe De Violence.' Previously unpublished, this radical experimental work has now been released on LP record in collaboration with the New Media Dept of Centre Pompidou (National Museum of Modern Art) in Paris for 'Oeuvres sonores 2,' a 2-day-event organized by Emanuele Carcano at Beaubourg on April 5th & 6th, 2009. 'Labyrinthe De Violence' was an installation for tape sounds and 2 slide projectors conceived in 1975 by Luc Ferrari. The installation was a visual and sound metaphor of violence within contemporary civilized society. Four different rooms with a central space created the spatial context of this work. The specific environmental sonority (1. 'Violence;' 2. 'Pollution;' 3. 'Profit;' 4. 'Mechanism' / 'Paysage' / 'Danse') created for each of the four rooms naturally superposed themselves in the central space. 'Dance' was one of those sonorities, minimally constructed using 2 different sounds: a very low electronic drone deeply resonating for the whole duration with, in the end, the accumulation of deconstructed sequences played by Luc Ferrari on an electric organ. Documenting one of Luc Ferrari's most beautiful and mysterious sonic works, this LP edition will be the first in a series of Alga Marghen projects presenting a still undiscovered side of the poetical universe of this fundamental composer. This 1-sided LP, issued in an edition limited to 500 copies only."
LP $32

GHERASIM LUCA - Two Poems [Ltd Ed LP] (Alga Marghen 065; Italy) "Alga Marghen proudly presents an LP edition including two experimental sound works by Gherasim Luca, created in close connection to Sten Hanson who invited the Rumenian artist at Fylkingen in the very beginning of the 1970s and made him discover the possibilities of the advanced EMS electronic music studio of Stockholm. The two recordings presented here are quite unique as they are the only poems by Gherasim Luca created through the use of electronic manipulations. As Henri Chopin wrote some years later in his legendary Poesie Sonore Internationale book, Gherasim Luca made a big impression at the Third Stockholm Festival in 1970. Luca was born in Bucarest in 1913. Before leaving to Israel, he had a leading role among the Roumanian Surrealist group. He eventually moved to Paris where he lived until the end of his life in 1992. Gherasim Luca's work is very personal, giving his poems a very uncommon and ironic character. Again Henri Chopin underlines that 'in his recordings, which are not many, he superimposes his very warm voice, marked by his Roumanian accent; it's a sound wonder. In fact Luca is not a sound poet. He is more a speaker who managed, without complex, to enter into the Fylkingen studio vortex. On 4 tracks and with 32 loudspeakers, thanks to his superb voice and his instinctive knowledge of the electronic studio which amplifies words, he gives great pleasure to the listener, even if the latter can not understand French.' 'Autres Secrets Du Vide Et Du Plein' (April 1971) and 'Crimes Sens Initiales' (April 1972) were both recorded one track at the time on a 4 track tape and afterwards subjected to electronic treatments. They were recorded in Sweden at EMS and first performed at the 1971 and 1972 Text-Sound Festivals of Stockholm. Edition limited to 385 copies, also including the reproduction of a wonderful drawing by Gherasim Luca on the front cover, a photo portrait of the author by Gilles Ehrmann from 1959 and an essay by Henri Chopin."
LP $28

Repressed!

GHEDALIA TAZARTES - Les Danseurs de la Pluie/Tazartes' Transports/Une Eclipse Total De Soleil/Diasporas-Tazartes [4 CD set] (Alga Marghen BOX1; Italy) "This omnibus edition includes the complete Ghedalia Tazartes recordings previously issued on CD by Alga Marghen, plus a new mini-CD titled Les Danseurs de la Pluie. Diasporas-Tazartes is the CD edition of Tazartes' first and fourth LPs. Transports is the CD edition of Tazartes' second LP with four bonus tracks. Une Eclipse Total de Soleil is the CD edition of Tazartes' third LP with a long bonus track. Les Danseurs de la Pluie, which gives title to the complete anthology, is a 12-minute mini-CD, presented on creative disc, including four previously unavailable tracks. Two 1977 killer recordings from the 'Eclipse Totale' sessions of a very wild and residential nature; and two colossal new pieces recorded in 2005."
4 CD Box Set for $60

also available separately:

GHEDALIA TAZARTES - Diasporas/Tazartes (Alga Marghen 053; Italy) "More than 5 years after the CD edition of Eclipse totale de soleil and Transportes, Alga Marghen finally decided to also reissue the first and the forth LP by Ghedalia Tazartes including both on one CD. Ghedalia Tazartes is a nomad. He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Don't become a black, an arab, a Tibetan monk, a jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalia's intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition, it escapes control, refuses classification. To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death. Off limits!"
CD $19

GHEDALIA TAZARTES - Les Danseurs de la Pluie [3" CD] (Alga Marghen 063; Italy) Either available separately as a 3" CD, or as a bonus disk within the new Tazartes boxset. "Les Danseurs de la Pluie", which gives title to the complete anthology, is a 12-minute mini-CD, presented on creative disc, including four previously unavailable tracks. Two 1977 killer recordings from the 'Eclipse Totale' sessions of a very wild and residential nature; and two colossal new pieces recorded in 2005."
CD $15

GHEDALIA TAZARTES - Tazartes' Transports (Alga Marghen 011; Italy) "Probably represents the most original example of the artist's poetical and personal approach to sound organisation. The material of the first track, which gives also the title to this CD, was recorded in 1977 at the artist's own studio in Paris; the CD reprint of this mixed atmospheres masterpiece is followed by 'Transports 1' and 'Transports 2', both composed in 1997 for a theatre piece. We are here in front of a different kind of transport, where the more complex and powerful sound material contributes to create the dense, monolithic structure of these previously unreleased tracks. 'Elie', a piano piece performed in duo with the composer's young daughter, brings a poetic and more relaxing magic to end the program."
CD $19

GHEDALIA TAZARTES - Une Eclipse Totale de Soleil (Alga Marghen 005; Italy) "The first record released by Ghedalia Tazartes in 1979. Far away from contemporary music intellectualisms or from synthetical noise purists, this was certainly one of the most original and creative records of the 70s featuring a new form of musical expression...the value of this work was underestimated and only a few people had a chance to listen to its beautiful music. Now, due to the new growing interest, Alga Marghen has taken the decision to reprint all Tazartes records, starting with his first work. Originally conceived in two parts, Une Eclipse... has been remastered and is now integrated by a 25 minute new piece ('Part III'), composed expressly for this CD." A unique record, utilizing collage, strange vocals by Tazartes, trance-ethno backing splices, droning organ and childish naivete, in a spirit all of its own.
CD $19


TERRY RILEY - In C: The First Recording (Sony Masterworks; USA) [2009 remaster] The original, definitive issue of this album, as initially issued by CBS Masterworks in 1968. "California composer Terry Riley launched what is now known as the Minimalist movement with his revolutionary classic "In C" in 1964. This seminal work provided the conception for a form comprised of interlocking repetitive patterns that was to change the course of 20th century music. In C is notated on a single sheet of paper as 53 short cells, to be repeated at will but played consecutively. It ends when all the players have reached and abandoned cell 53. The synchronizing element is 'the pulse,' the two top C's of the piano repeated in eighth notes for the entire duration of the event: 'the pulse,' Riley says in his instructions, 'is traditionally played by a beautiful girl.' In C can work, then, in all manner of venues and with all sorts of personnel, amateur or professional. But it is most convincing when offered by musicians highly skilled at improvisation and able to hear and respond to textures or counterpoints that coalesce as the performance is unfolding. The overall effect is at once unique to the circumstances of the moment and mightily evocative of the kinds of musical structures one often perceives in Indonesian gamelan music and African tribal drumming. It is fair to say that In C is the kind of compositional idea we call seminal: in some ways it established the principles of minimalist composition, and continues to stand as an artifact of the convergence of popular culture and high art that took place in the 1960s. This particular recording, with (in addition to the piano pulse) flute, oboe, clarinet, bassoon, saxophone (played by Riley, who also leads), trumpet, trombone, viola, vibraphone, and marimbaphone, comes from the composer's residency at SUNY Buffalo in 1968."
CD $14
[We have a few copies for $12 that have a slight mark over the barcode - yeah, uh huh - that we will send out to the first people who order unless we're told that an an unmarred copy is only desired.]


LP editions from Locust:

O.W.L. [OWL: OF WONDROUS LEGENDS] - Of Wondrous Legends [Ltd Ed] (Locust 110; USA) Limited edition 180 gram vinyl version. "'Proof that there's still excellent albums out there to discover. Drawing mainly on art rock and early light-prog aesthetics, O.W.L deliver an ambitious song cycle which at its best transforms into dazzling psychedelia. A pro-level recording and elaborate arrangements that utilize keyboards, flute, vibes and multi-tracked male vocals make for an appealing surface, and unlike the typical Moody Blues derivates, there's lots of personality and depth. The mood is cerebral and refined, but the commitment and songwriting should impress even those with no immediate love for the genre (like me). The dominating style is dreamy melodic prog-rock like the British album Spring, but the vocal style and ghostly soundscape may at times recall Freeborne and Time on Shadoks, while the chamber music intimacy reflects a possible Pearls Before Swine influence. There's more keyboard than guitar, which is typical for the style. Impressive on many levels, with hypnotic Eastern lysergia on 'Midnight Carnival,' the album's epic center-piece. The artist was formerly with the pre-LP Mountain Bus, and recorded this as the first in a projected series of albums.' --Patrick Lundborg, author of The Acid Archives. Of Wondrous Legends is a Chicago baroque psych classic recovered from the dustbins of history. To the few who have heard it, it has earned comparisons to Tim Buckley, Pearls Before Swine, and '60s British prog-folk. O.W.L was founded in 1968 on Chicago's north side by Stephen Titra. A founding member of the beloved Midwestern hippie jam band Mountain Bus, Titra left that band just as their Dead-inspired, bluesy jams gained serious regional traction in order to fully devote himself to the inward-looking, singular vision of O.W.L. Of Wondrous Legends was recorded at Chicago's Universal Studios over a six month stretch in 1971 and a handful of test pressings were produced and circulated, but despite serious interest from a number of major labels, this gem went unreleased. The passage of time only further helped ensure the album's place in near total obscurity until a copy of one of the test pressings was unearthed in a Chicago junk shop in 2004. Following several years of collaborative efforts on this lost epic, Of Wondrous Legends now sees its first public release after some 35 years of obscurity. Mastered from the original source tapes. Features copious liner notes and vintage photos."
LP $20

HENRY FLYNT - Raga Electric (Locust 06; USA) [180 gram vinyl.] In the early '60s, fresh from his clean behind the ears years at Harvard, Henry was undergoing rapid ideological shifts: cavorting with Maciunas and the whole Fluxus bit, doing performances at Yoko Ono's loft and recording with La Monte Young; having it out with his Stalinist cohorts over the relative merits of a good blues run and searching for a new musical language outside of the various generic artistic restrictions before him at the time. What he arrived at was an expressive practice he dubbed audact (auditory acognitive cultural activity) and that is what you will hear on this collection. Collecting key material from 1963 to 1971, Raga Electric is a 7 piece distillation of some of Henry's most adventurous, audactatious, outsider musical endeavors. The record begins with, of all things, a hybrid, off the wall treatment of the traditional supranationalist anthem The Marine's Hymn sung in a thick tongued, fully untudored Hindustani vocalese to brilliantly sun drenched, lightly strummed acoustic guitar accompaniment. The title cut, 'Raga Electric', is a twisted, howling fake hindustani rag with staccato untuned guitar and bleating screams recorded at his home just a few short hours after catching Pandit Pran Nath at a downtown morning concert. The howling orgasmic yodel of a visionary's self-posession and certain surrender on this 1966 cut puts Henry somewhere at the epicenter of the folk isolationist world of Jandek and the ethnodislocation of the Sun City Girls, to name but a few. The side long closer, 'Free Alto', is a monstrous exploration of the ins and outs of the tenor saxophone which, upon hearing it, Terry Riley referred to as 'a very articulated musical program'. Though it remains Henry's single meeting with the instrument, over the course of some 13 odd minutes, he finds out everything he needs to know about the horn and gets into some pretty hairy free squelch and squeal territory in the process. 'I was just pulling sounds out of a hat and just stringing them together,' he recently told me. As hats go, this one should fit the heads of today's listeners just fine." -- Dawson Prater
LP $18

HENRY FLYNT - Vol 1: Back Porch Hillbilly Blues (Locust 16; USA) [180 gram vinyl.] Like a hidden relic from the far side of the Harry Smith catalog, these early 1960s recordings are a splendid collection of High lonesome hillbilly fiddle and ukulele instrumentals that are surely Henry Flynt's most articulated statements to date of his honest to god, true to life affinity and love for that dry earth choogaloo upper mountain lower boogaloo foot stomping folk music. Standouts include the acid fried 13th Floor Elevators-ish 'Sky Turned Red' and the 15 plus minute lazy zen epic hum and strum album closer, 'Blue Sky, Highway and Tyme'. No doubt, this is Appalachian bruit driving music bar none
LP $18

HENRY FLYNT - Vol 2: Back Porch Hillbilly Blues (Locust 14; USA) [180 gram vinyl.] Here we find ourselves hot on the skidmarks of Henry's brawl with sonic self invention documented on last summer's splendid Raga Electric with two complementary volumes emerging from the same physical time but a very different head space continuum indeed. On BPHB Volume 2, avant-hillbilly master fiddler Henry Flynt scuffles through a most peculiar set of electrified and acoustic bumpkin fiddle howls and screeches circa early to mid 1960s. From the enviable opening 'echo rock', in which Flynt does his best to compete with the electro-echo buzz of a Jorgen Ingmann or Link Wray to the beauteous instrumental glow of the extended modal country jam of 'Jamboree', Flynt proves once again that his is not a music simply rooted in the taut belt of New York isms, schisms and jisms. This is music that howls from a unique voice whose love for the folk songbook (known and imagined) is as resonant as a cowbell and as deep as a freshwater well
LP $18

HENRY FLYNT & THE INSURRECTIONS - I Don't Wanna (Locust 39; USA) [180 gram vinyl.] Our man Flynt shatters the categories once again with this surprise collection of his short lived basement rock protest band, The Insurrections, from 1966. Let there be no doubt in anyone's mind: Flynt's version of protest music isn't your cultural-commissar school of folk posturing. It's agro and Flynt is an unhinged showman on helium induced vocals and the electric guitar (his teacher was none other than Lou Reed). Imagine a mix of Sky Saxon (of Seeds fame) with a dash of Roky Erickson thrown in on vocals, a little bit of the Cramps' scary monster dramatics thrown in for good measure and the swamp chugalug laziness of vintage Pussy Galore and you get an idea what Flynt was up to at this phase in his non-career. Features legendary sculptor Walter De Maria on drums, confirming our hidden suspicion that in every great artist there's a desire to rock and beneath every fine gallery, there is a basement. Photos by George Maciunas.
LP $18


PAUL METZGER - Anamnestic Tincture (Roaratorio 15; USA) "Anamnestic Tincture is a live album by virtuosic musical carpenter Paul Metzger, culled from many hours of concert recordings. Side one comprises Metzger's public debut on his modified banjo, recorded in 2002 at a former church-turned-underground art space in Minneapolis. One of his most memorable compositions, 'After Milo' later turned up as an untitled improvisation on his CD for the Chairkickers label. Jumping ahead six years (and several more banjo alterations later) to side two, the glittering 'Orans' gets a workout at a memorial show for the artist Matt Zaun. As an acknowledgment of the occasion, Metzger also gave a one-time-only performance -- 'Dark Green Water' -- on another of his mutant instruments: an acoustic guitar with the body drilled out to accommodate a cymbal set into its face, and ten assorted strings of varying lengths laid over the top, giving it a particularly metallic and dissonant sound. Anamnestic Tincture is released in an edition of 425 copies, with an original vintage snapshot mounted on each cover."
LP $18



Limited edition LPs direct from ESP's master tapes!

PEARLS BEFORE SWINE [TOM RAPP et al] - One Nation Underground [Ltd #d Ed] (ESP Disk 1054; USA) Their debut album. Fronted by the lisping leader of the lower east side, Tom Rapp, these guys defined a distinctly psychedelic East Coast folk aesthetic. Contains two bona fide classics ("Another Time" & "Drop Out") and many other sweet brain burners. Featured instrumentation included guitar, autoharp, banjo, mandolin, vibraphone, audio oscillator, bass, swinehorn, sarangi, celeste, finger cymbals, organ, drums, etc.
Limited Edition Hand-Numbered 180-gram LP [0nly 1000 copies!] includes a code for a FREE MP3 download of the album.
LP $18

ALBERT AYLER With GARY PEACOCK/SUNNY MURRAY - Spiritual Unity [Ltd Ed] (ESP Disk 1002; USA) Albert Ayler - saxophone; Gary Peacock - bass; Sunny Murray - percussion. "The first recording issued by the iconoclastic ESP-Disk, and considered by many to be Ayler's finest studio work, Spiritual Unity is a giant of free jazz. In the 40 years since its release, Spiritual Unity has become a 'classic' and Ayler has become a legend." Remastered from the original tapes for the first time! Manufactured in the USA by the original label.
Limited Edition Hand-Numbered 180-gram LP [0nly 1000 copies!] includes a code for a FREE MP3 download of the album.
LP $18


Classic Why Not treasures reissued on Candid!

AIR [HENRY THREADGILL/FRED HOPKINS/STEVE McCALL] - Air Song (Candid/Why Not 79403; USA) The Air trio functioned with all three members contributing musically on an equal footing. Although in theory there was no leader, Henry Threadgill comes across as the dominant voice. The advanced interplay, allied with supreme musicianship and unfailingly creative solos make the ebb and flow achieved on this record supremely satisfying. Of the four extended pieces presented here, the most intriguing is surely the wonderfully titled Great Body of the Riddle or Where Were The Dodge Boys When My Clay Started to Slide? Titles aside, this set from 1975 is an impressive document from a revolutionary period in the evolution of jazz music.
"First album by Air, recorded 9/10/75 and originally released on LP by PAusa in the U.S. and Why Not in Japan. The improvisational collective of Henry Threadgill on tenor, baritone & alto saxophones and flute, and lots of other stuff, bassist Fred Hopkins, and drummer/percussionist Steve McCall, was the first major group after the Art Ensemble to come out of Chicago.
The feel of Air's sound is one where the collective improvises and creates without an individual soloist or group leader anchoring the proceedings. On the first two recordings, this debut outing in particular, this concept worked well. There are four long pieces here, all of them based on minimal themes with variations entering into the fray simultaneously and opening the door to a free for all that pays attention to both dynamics and texture. The interplay between the three members is almost always inventive, engaging, and full of warmth and humor. There is little excessive indulgence to be found on these improvisations, and the degree of musicianship with these men is off the chart. Communication in the new jazz often amounted to little more than cats trying to make one another louder. Air proved that the signal of development is in the listening and expressing oneself based on what has been played as a soloist and as part of the whole. A lovely and auspicious debut." ~ Thom Jurek, AMG
CD $12

CHICO FREEMAN With HENRY THREADGILL/MUHAL RICHARD ABRAMS/DOUGLAS EWART/CECIL McBEE/STEVE McCALL/BEN MONTGOMERY - Morning Prayer (Candid/Why Not 79412; USA) Chico wrote all the originals and arranged it for the septet. The music is an excellent documentation of what was going on in Chicago during the avant garde period. The tunes and performances make challenging and rewarding listening. It is now thirty three years since this important, pioneering recording was made and it a testament to its value that the music has matured so well and to this day remains vital, challenging and fresh. Chico Freeman - tenor & soprano saxophone, flute, pan pipe and percussion, Henry Threadgill - alto & baritone saxophone, flute, Muhal Richard Abrams - piano, Cecil McBee - bass & cello, Steve McCall - percussion, Ben Montgomery - drums & percussion, Douglas Ewart - bass & bamboo flute, percussion.
CD $12

GEORGE CABLES - Why Not? (Candid/Why Not 79402; USA) In 1975 the perceptive Masahiko Yuh, sensing that George was an artist drastically under exposed as a leader, went to Los Angeles and recorded him with bassist Tony Dumas and drummer Carl Burnett. The session recorded at the well known Record Plant Studios gave George the freedom to fully display the adventurous side of his compositional talents. The longish pieces Ebony Rhapsody and Rita I and II show Cables at his most inventive in developing the modern jazz sounds of the seventies. Cables' style defines the art of the modern jazz piano trio in a manner which is always contemporary, always fresh, even decades after it was recorded.
CD $12


ARCHIE SHEPP With CAMERON BROWN/BEAVER HARRIS - Steam (Enja 2114; Germany) [24 bit remaster] This colorful live album features Archie Shepp on tenor, and a bit of his more basic piano, playing three lengthy compositions (Duke Ellington's "Solitude," Cal Massey's "A Message from Trane" and Shepp's own "Steam") in a sparse trio with bassist Cameron Brown and drummer Beaver Harris. The avant-garde innovator Shepp still sounds pretty strong at what was for him a fairly late period, displaying his distinctive raspy tone and what were for him some typically emotional ideas. - Scott Yanow, AMG
CD $16


ARTHUR RUSSELL - The World of Arthur Russell (Soul Jazz 83; UK) Soul Jazz Records have re-released their seminal retrospective on Arthur Russell (currently fetching over $300 on e-bay!). Since the initial groundbreaking release of The World of Arthur Russell five years ago, Russell has become the subject of intense media interest. With the recent release of a film about his life (A Portrait of Arthur Russell), as well as a new album of unreleased recordings, (Love Is Overtaking Me), Arthur Russell's stature as a great artist has grown to is current height. ('One of the great songwriters of the 20th century' --The Wire).
The late composer/cellist/producer Arthur Russell holds a unique place in the history in the meeting of dance music and contemporary classical . As an artist he had the admiration of everyone from Philip Glass to Todd Terry. As well as his solo work he also formed the seminal groups Dinosaur L and Loose Joints in the 1980s. Russell redefined Dance music in the 1980s as both an intelligent and subversive form. At the centre of the New York Dance scene in the 1980s, Russell was co-founder of Sleeping Bag Records along with Will Socolov. As well as releasing Russell's own material, Sleeping Bag would release seminal music from Mantronix, Larry Levan, Patrick Adams, EPMD, Joyce Sims and Todd Terry amongst others. As a regular visitor at David Mancuso's 'Loft', and Nicky Siano's 'Gallery' nightclubs and even Studio 54, Russell immersed himself in the New York Dance scene whilst continuing to create avant-garde experimental music. These two elements in his life and music make him truly unique. Larry Levan, Walter Gibbons and Francois Kervorkian all played pivotal roles as remixers of Russell's work and feature on many of the tracks featured here. Arthur Russell died in 1992 from AIDS leaving behind an enormous body of work. This release features both the classic tracks of Arthur Russell such as 'Go Bang', 'Is It All Over My Face', 'Wax The Van' etc alongside impossible-to-find collectors tracks such as 'In The Light Of The Miracle' and the private-pressing only 'Pop Your Funk'. This is the first collected work of Arthur Russell who has been for many years one of the most respected iconic artists in the history of dance music.This release focuses on the 'dance music' work of classic tracks such as 'Go Bang', 'Is It All Over My Face', 'Wax The Van' etc alongside impossible-to-find collectors tracks such as 'In The Light Of The Miracle' and the private-pressing only 'Pop Your Funk'.
"In the early 1980's Russell brought the avante-garde to the dance floor with futuristic music that inspired people like Philip Glass, David Byrne, Francois Kervorkian and many more. He blurred the links between Disco, Classical, Jazz and Dub!" - Fact
"One of the great songwriters of the twentieth century, Arthur Russell was the Sun Ra of Disco!" - Straight No Chaser. Nothing more we can add - it's all true!
CD $20
also available again as 3LP set for $27

MARCUS BELGRAVE - Gemini (Universal Sound 24; UK) Marcus Belgrave is featured on the recent Carl Craig album The Detroit Experiment, which includes a new version of the classic track 'Space Odyssey' which features here. Originally released in 1974 on the independent Tribe Records, this album features many of the Detroit heavyweight artists such as Wendell Harrison and Phil Ranelin who have both had releases on Chicago's Hefty Records where they have worked with and been re-mixed by current artists such as Telefon Tel Aviv, Morgan Geist, Prefuse 73 and Kirk Degiorgio amongst others.
Marcus Belgrave's musical career stretches over four decades. He has worked with everyone from Sun Ra to Charles Mingus, from McCoy Tyner to Clifford Brown. He worked as part of the Tribe collective in Detroit, working with the same ideology as their musical neighbors, The Art Ensemble of Chicago. He has consistently broken down musical barriers, from playing with Was (Not Was) in the 1970s to his current work with Carl Craig in The Detroit Experiment. There were only 1000 copies of this record pressed when it was originally released in 1974 and it has been a collectors' album ever since.
CD $17
also available as limited edition LP for $22

STEVE REID With THE LEGENDARY MASTER BROTHERHOOD [AHMED ABDULLAH/JOE RIGBY et al] - Nova (Universal Sound 15; UK) Soul Jazz Records are repressed this classic release of deep spiritual jazz by Steve Reid and The Master Brotherhood, entitled Nova available for the first-time at mid-price. There is also a one-off limited-edition vinyl repress of 1000 copies worldwide. Steve Reid is now known worldwide for his radical collaborations with Kieren Hebden on Domino Records.
"This classic album of deep jazz was originally released in 1976. Steve Reid is one of the featured artists on Soul Jazz Records Universal Sounds of America alongside The Art Ensemble of Chicago, Sun Ra and Pharoah Sanders. Steve Reid has played with, amongst others, Freddie Hubbard, Jackie McLean, Dionne Warwicke, Archie Shepp, Chief Bey, Olatunji, Arthur Blythe, Lester Bowie, Dextor Gordon, Gary Bartz, James Brown, Dee Dee Bridgewater, Sam Rivers, Leon Thomas, Fela Kuti, Fats Domino, Miles Davis, Sun Ra, Lonnie Smith, Horace Silver! He has played in the house band at Harlem's Apollo Theatre, accompanying artists such as James Brown, as well as playing in Sun Ra's Arkestra! At the start of the 1970s Steve Reid started his own label, Mustevic Sound, on which he released four LPs of which this is one. Self-produced, self-distributed, these records are classic examples of radical thought, both musical and ethical. The concepts of self-determination, spiritual conciousness and musical questioning had become central themes to Jazz musicians ever since the arrival of, on the one hand, John Coltrane and Ornette Coleman, and on the other, Martin Luther King and Malcolm X. As a conscientious objector to Vietnam, Steve Reid spent two years in jail at the end of the sixties. Self-determination became, both politically and musically, became a key factor for many radical Jazz musicians. Artists such as Albert Ayler, Archie Shepp, Sun Ra, Pharoah Sanders all had similar inspiration. Musical collectives such as The Art Ensemble Of Chicago, Tribe (in Detroit), BAG(Black Artists Group) in St Louis all arrived as a means of making music with a different agenda. At the same time independent labels began to release this music; Nessa, Tribe, ESP, Strata-East. As a whole these labels tried to reflect the radical ideas connected with the music in the way the labels were run with many being self-distributed on a small scale. Steve Reid's label, Mustevic sound was one such label. Steve's musical life has taken many turns since this record was originally released at the beginning of the1970s. This record is a snapshot of that period. Steve Reid is a living example of an artist who has kept true to their musical spirit. He has lived a life within music for over forty years and is still playing. Asked if his son plays an instrument, he replied that, yes, he sometimes drums for some Hip-Hop group called NWA."
CD $17
also available as limited edition LP for $22

STEVE REID AND THE MASTER BROTHERHOOD - Rhythmatism (Universal Sound 23; UK) Soul Jazz Records are repressed this classic release of deep spiritual jazz by Steve Reid and The Master Brotherhood, entitled Rhythmatism available for the first-time at mid-price. There is also a one-off limited-edition vinyl repress of 1000 copies worldwide. Steve Reid is now known worldwide for his radical collaborations with Kieren Hebden on Domino Records.
Steve Reid is a true pioneer of US left-field deep jazz. This release, originally released in 1976, is one of four albums Steve Reid recorded on his own tiny Mustevic record label in the 1970s and has a defining sound. This release follows on from the earlier Steve Reid album, 'Nova', also released on Soul Jazz Records. Steve Reid is steeped in musical history. He played in Sun Ra's Arkestra, was a Motown session drummer and backed James Brown at the Apollo! He was imprisoned during the Vietnam War as a conscientious objector and lived in Africa in the early 1970s. Steve Reid has also worked with Freddie Hubbard, Gary Bartz, Ornette Coleman, Lester Bowie, Fela Kuti, Leon Thomas, Miles Davis and many more. There were only 1000 copies of this record pressed when it was originally released in 1974 and it has been a collectors' album ever since.
CD $17
also available as limited edition LP for $22



HARAPPIAN NIGHT RECORDINGS - The Glorious Gongs Of Hainuwele (Bo Weavil 37; UK) Upon hearing UK-based Harappian Night Recordings' The Glorious Gongs Of Hainuwele, it is common for people to assume that it is a collage of field-recordings from a varied cast of inhabitants from the non-industrialized parts of the world. Such is the rich depth, vitality and authenticity of the recordings. The music and sounds, however, are created entirely by one man, Dr. Syed Kamran Ali. He has such an instinctive feel for putting seemingly incongruous sounds together and such audacious irreverence in utilizing any instrument or object from around the globe he can lay his hands on, that what he creates is unique. The real miracle, however, is that his attention-deficit, scatter-gun, one-take approach so often works. It's an anarchic buzz of ideas constantly usurping each other. Duelling ouds, whirling mizmars, screeching jouhikkos, tapping finger harps, rumbling monosynths, groaning harmoniums, a fist full of khene, talking gamelan lila derderba popping, giving a bent-backed Dante's ring hell or like an Egyptian civilian army shitting on Eden's skull, or a Cuban guerilla force stepping on Eisenhower's throat, emptying their glorious bladders on his face. And you can dance to it, Tuareg-style. References to Gnawa possession ceremonies, William Morris' early fantasy novels, goddesses sprung from coconuts, anarchist Ukrainian armies, evil eyes, etc., abound.
CD $17

DREDD FOOLE [DAN IRETON] & ED YAZIJIAN - The Whys of Fire (Bo Weavil 36; UK) Dredd Foole (Dan Ireton) and Ed Yazijian met while wandering the shadowy corners of the Boston '80s post-punk scene. Ed was playing in such avant-rock combos as High Risk Group and 7 or 8 Wormhearts (and the original pre-LP Cul de Sac). Dan had just dissolved Dredd Foole & The Din, tired of rock as a form and the extraordinary loudness of the group. He wanted a chance to do some real singing. Ed was feeling a need for something more subtle and embraced the idea of actually being able to hear what he played. They set out to turn the world onto the largely acoustic folk and free-improv stew they had cooked up. Boston rock audiences were not impressed. Indifference and downright hostility were the norm. There was talk of an LP, and some tentative recordings were done. But before anything could materialize, frustration took over and Dan decided to retire from performing music altogether. Ed went back to rock music with Kustomized. And eventually, Dan bought a four-track and recorded the LP In Quest of Tense (which some consider the opening salvo of the free-folk movement) with Ed appearing on one track. But by the time it was released, they had gone their separate ways. Years later, by a series of coincidences, they reconnected, and they found that when they played together again, it seemed nothing had been lost. They did a short tour with comrades and friends Damon & Naomi and eventually played the now-legendary Brattleboro Free Folk Festival. They found that audiences were now more open to their efforts. A couple of years passed during which Dan released three solo records and a record with a new improvisational Din (which included Chris Corsano, Thurston Moore and the members of Pelt). Ed recorded and released his brilliant solo record, Six Ways To Avoid The Evil Eye and was even caught playing live with folks like Richard Bishop and Sunburned Hand Of The Man. Then, against all odds, February 2008 found Ed & Dan recording, with Ed at the helm in Foole's Ashram in Brattleboro for the better part of a week. That Lonesome Road Between Hurt And Soul is the result of those sessions. Some improvisations are built on Dan's songs played in a totally unfettered manner. One is based on a tune by J. Mascis, and some were recorded as they were created. Long talked about, long awaited, years in the making -- the Dredd Foole & Ed Yazijian recordings are finally here.
CD $17


A BROKEN CONSORT - Box Of Birch (Tompkins Square 2110; USA) "Richard Skelton is an artist from Lancashire in the UK. He started his Sustain-Release Private Press in 2005 as a commemorative tribute to his late wife Louise, with the intention of publishing her artwork alongside his own musical offerings. Since its inception, he has released a slew of raw, beautiful recordings presented in lovingly-assembled, individualized editions. Operating under a variety of guises, including Heidika, Carousell, Harlassen and Clouwbeck, Skelton creates powerful, instrumental music out of densely-layered acoustic guitar, bowed strings, piano, mandolin and accordion, often laced with delicate, shimmering percussion. The result is something utterly unique -- a music which is both life-affirming and yet etched with memory and loss, evoking equal parts Arvo Part and Ry Cooder, Nick Drake and Henryk Gorecki. It is with A Broken Consort, perhaps, that Skelton most-assuredly draws these elements together, creating an ever-changing drift of rich textures and interleaved melody that effortlessly evokes the landscapes which inspired it. Box Of Birch, his second album in this guise, was originally published in a boxed edition that contained, among other things, birch twigs collected from the West Pennine Moors. For Skelton these things act as a synecdoche for the landscape itself, a physical connection to the places in which much of his music is recorded. In this new edition for Tompkins Square, Skelton has created an exclusive series of artworks which draw on the hidden histories of the English landscape, and their narratives of displacement and loss. The result is something which perfectly complements the music whilst adding another dimension, providing a fuller picture of the artist's vision."
LP $17


COLOSSEUM [JON HISEMAN/CHRIS FARLOWE/CLEM CLEMPSON/DICK HECKSTALL-SMITH/DAVE GREENSLADE et al] - Theme For A Reunion: 1994 Germany [2 CD set] (Rokarola 250236; EEC) Featuring Jon Hiseman on drums, Dick Heckstall-Smith on tenor & soprano saxes, Clem Clempson on electric & acoustic guitars, Dave Greenslade on Hammond organ, vibes & synths, Mark Clarke on bass guitar & vocals and Chris Farlowe on lead vocals. Considering the original Colosseum will celebrate their 30th anniversary next year, they still sound pretty f**king amazing and vital. Colosseum were one of the first and best British jazz/rock progressive bands, led by drum great Jon Hiseman. They recorded five albums from 1969 to the early seventies and each one was great. They reunited in 1994 and tour Europe, where this double disc was recorded, in Cologne, Germany. Listening to this music, the band sounds inspired and consistently crafty. Many of the their songs are 10+ minutes long, so they get a chance to stretch out and take intense solos. Nice to hear the inspired playing of Dave 'Clem' Clempson, once of Humble Pie, reeds wiz Dick Heckstall-Smith, who has since passed away and keyboard ace, Dave Greenslade. Even Chris Farlowe sounds great singing these old classics like Rope Ladder to the Moon, Theme For An Imaginary Western and Walking In The Park. The reunited band went on to make a couple of strong studio discs of new material. This is one of the few sixties reunions that doesn't disappoint - if fact, if memory serves, it sounds even better than their earlier live double album! - BLG
2 CD set for $20


ANDWELLAS DREAM - Love And Poetry (Sunbeam 5063; UK) Sunbeam is delighted to announce the definitive reissue of this quintessential British psychedelic classic. Recorded by the youthful trio Andwellas Dream in the summer of 1969, it's packed with strong songs and powerful acid guitar, as well as contemporary production flourishes and a guest appearance from cult jazzman Bob Downes. Produced with the full involvement of the band's leader David Lewis (who also contributes detailed sleevenotes), the album is presented here with all their non-album 45s, alternate mixes, as well as other bonus tracks and a full booklet featuring rare photographs, making it the most comprehensive edition of this legendary album ever assembled.
CD $17



Act Quick: Everytime we get rare Hendrix releases, they are never available for re-order - they just disappear!

JIMI HENDRIX - Rainbow Bridge [2 CD set] (Rock Of Ages 1001; UK) This remastered Rainbow Bridge is the most comprehensive edition to be officially released, combining the concert introduction and additional songs played but not included on previous releases -- over 20 minutes of extra concert material. 2 CD gatefold wallet card sleeve. Designed from original film poster. Officially licensed from the Michael Jeffery Estate. Both sets of the famous concerts performed by Jimi Hendrix and Cry Of Love, [the 2nd - post Band Of Gypsies - Experience with Billy Cox and Mitch Mitchell] on 7/30/70 in the Haleakala Crater on Maui, Hawaii, just 2 month's before Jimi's death. Very little of this is shown [and NONE heard in the movie as the audio portion of the performance iis from a different concert!] of the same name, or in its official sndtck LP release 30 years ago which shared space with studio recordings of Dolly Dagger (there's a killer live version here!) and Roomful Of Mirrors. This stuff has been floating around in bad sounding incomplete bootleg versions for years, now it's complete with as good sound as is possible. CD1: Concert Introduction by Chuck Wein, Jimi's Introduction and Tune-Up, Spanish Castle Magic, Lover Man, Hey Baby (New Rising Sun), In From the Storm, Message to Love, Hear My Train A'Comin, Voodoo Chile (Slight Return), Fire, Purple Haze/Star Spangled Banner CD2: Dolly Dagger, Villanova Junction, Ezy Rider, Red House, Freedom, Jam Back at the House, Straight Ahead, Hey Baby (New Rising Sun), Stone Free/Hey Joe/Stone Free."
2 CD set for $22

JIMI HENDRIX EXPERIENCE - Moonbeams & Fairytales: Revised & Expanded Jimi Saga 66/67 [22 CD set] (Rock Of Ages 102; UK) "22 CDs, all in unique cardboard sleeves. Presented for the first time here in a clamshell box. 32 page booklet with extensive photos and full track details. 372 tracks -- over 23 hours of music. 1000 copies worldwide only. Officially licensed from the estate of Hendrix's former manager, Michael Jeffery. This set/compilation of Hendrix recordings surfaced somewhere around 2002 from indistinct origins, as Jimi Saga 66/67. It was a collection of available Hendrix material, (sessions, takes, mixing), live performances, and interviews, at the time of Saga's assembly, for the period of September 1966 through December 1967 inclusive. We do know two versions of Saga were produced at the time and with the greatest respect to whoever put this set together originally, the original Jimi Saga APE sets was/is a logistical nightmare in its original form; a mess, in fact. (It popped up in APE format on 11 CD-R) So a tiny group of Hendro-Heads decided that this needed sorting out, big-time! All eleven discs were decoded into audio format. Then all the tracks were re-named (where necessary) and re-located in order of date, so that we have added approximately 140 minutes of extra Hendrix material, (in the best quality we could locate), and the set now runs into 22 CDs. It needed a new name, to differentiate, but NOT dissociate it from the original; hence, Moonbeams & Fairytales. So there you have it Moonbeams & Fairytales -- Jimi Saga (2) 1966/67. 22CDs, comprising 372 tracks totaling 23:06:24. As accurate and fastidious as we have tried to be, mistakes will have been made; probably repeated some that were inherited. Where there are any, apologies. Hopefully the original Saga knot we have unraveled has brought some clarity to the situation; adding some listening pleasure? Huge thanks to the Dude(s) who put this together originally!"
22 CD set for $198.00

JIMI HENDRIX EXPERIENCE - Hendrix Live And Unleashed: L.A. Forum 26th April 1969/L'Olympia Paris 1968/Blues at Midnight - Cafe Au Go Go March 17th 1968/Copenhagen January 1969/Berkeley 1970 First Set [5 CD set] (Rock Of Ages 101; UK) "The five live recordings featured here showcase Jimi Hendrix in a number of locations and at various times over a three-year period. The material might vary, the musical support might change, but Jimi Hendrix's sublime talent remains consistent throughout. 5 CD set of live recordings presented together for the first time. Officially licensed from the estate of Hendrix's former manager, Michael Jeffery. Numbered, limited edition - only 2000 copies world-wide."
CD1 Live At The LA Forum: 1. Intro, 2. Tax Free, 3. Foxy Lady, 4. Red House, 5. Spanish Castle Magic, 6. Star Spangled Banner, 7. Purple Haze, 8. I Don't Live Today, 9. Voodoo Chile, 10. Sunshine Of Your Love, 11. Voodoo Chile (reprise).
CD2 Live At L'Olympia1. Killing Floor; 2. Experience The Blues; 3. Foxy Lady; 4. Red House; 5. Driving South; 6. The Wind Cries Mary; 7. Fire; 8. Little Wing; 9. Purple Haze.
CD3 Blues At Midnight: 1. Everything's Gonna Be Alright; 2. Stormy Monday Blues; 3. Three Little Bears; 4. Instrumental Jam 1 in D; 5. Instrumental Jam 2 in A; 6. Little Wing; 7. Blues Jam 1.
CD4 Live In Copenhagen: 1. Catfish Blues; 2. Tax Free; 3. Fire; 4. Voodoo Child; 5. Foxy Lady; 6. Spanish Castle Magic; 7. Freedom.
CD5 Live At Berkeley: 1. Fire; 2. Johnny B Goode; 3. Hear My Train A Comin'; 4. Foxy Lady; 5. Machine Gun; 6. Freedom; 7. Red House; 8. Message to Love; 9. Ezy Rider; 10. Voodoo Chile (Slight Return).
5 CD set for $65

[the contents of this 'Live And Unleashed' box set above are available separately below, but it's much cheaper to buy the box!]

JIMI HENDRIX EXPERIENCE - L.A. Forum Concert: 26th April 1969 (Rock Of Ages 1002; UK) "During his short but frenetic career, when not immersed in the studio Jimi Hendrix took every available opportunity to perform live. Although his studio output was superb by any standard, it was his scintillating live performances that for many defined the guitarist's true creative genius. It is for these that Jimi will be long remembered by those privileged to see him live, as well as by the legions of fans for whom every captured note and nuance is a rich source of analysis as well as pleasure. Limited edition gatefold card wallet. Officially licensed from the estate of Hendrix's former manager, Michael Jeffery."
Tracklisting: 1. Intro, 2. Tax Free, 3. Foxy Lady, 4. Red House, 5. Spanish Castle Magic, 6. Star Spangled Banner, 7. Purple Haze, 8. I Don't Live Today, 9. Voodoo Chile, 10. Sunshine Of Your Love, 11. Voodoo Chile (reprise).
CD $17

JIMI HENDRIX EXPERIENCE - Live At L'Olympia Paris 1968 (Rock Of Ages 1003; UK) "When Jimi Hendrix and The Experience headlined at L'Olympia, Paris in January 1968, it was only fifteen months since the band, then completely unknown outside England, had played the same venue as support to the 'French Elvis,' Johnny Halliday. In the intervening period, the Experience had become an international headlining act as well as successfully cracking the lucrative American market following an explosive performance at the Monterey festival in the summer of 1967." January 29th, 1968 recording.
Track listing: 1. Killing Floor; 2. Experience The Blues; 3. Foxy Lady; 4. Red House; 5. Driving South; 6. The Wind Cries Mary; 7. Fire; 8. Little Wing; 9. Purple Haze.
CD $17

JIMI HENDRIX - Blues at Midnight: Cafe Au Go Go March 17th 1968 (Rock Of Ages; UK) "Jimi played the music he enjoyed: blues' standards, cover versions and sometimes debuting his own musical ideas and works in progress so that he could spark off other musicians and further develop his songs. Beautiful music did sometimes come from the spontaneity of these jams and Jimi liked to record these on his own reel-to-reel tape recorder either from the club sound board mixer or by placing the recording microphones directly onto the stage floor. Both gigs on this CD were recorded by Jimi himself and what we have here is Jimi jamming with friends and strangers and clearly enjoying himself." Recorded at Cafe Au Go Go, March 17th, 1968. Track 7 recorded at Generation Club April 15th, 1968.
1. Everything's Gonna Be Alright; 2. Stormy Monday Blues; 3. Three Little Bears; 4. Instrumental Jam I in D; 5. Instrumental Jam II in A; 6. Little Wing; 7. Blues Jam 1.
CD $17

JIMI HENDRIX EXPERIENCE - Live in Copenhagen: January 1969 (Rock Of Ages 1005; UK) "The seven tracks included in here are taken from the gigs that Jimi Hendrix and The Experience performed in Copenhagen between 1968 and 1970. Never officially released until now, these rare audience recordings are made up of the whole of The Experience's 2nd show at Copenhagen's Falkoner Centret in 1969, as well as Tax Free from the band's earlier show on the same day, Catfish Blues from the band's 1968 gig at the Tivolis Koncertsal and Freedom, recorded at the the K.B.Hallen in September 1970, only two weeks before the guitarist's tragic death."
CD $17

JIMI HENDRIX - Live At Berkeley 1970: First Set (Rock Of Ages 1006; UK) "It took 33 years for the complete second show Live At Berkeley to be officially issued. Finally, with this release, we are now able to present the first of those historic concerts... Officially licensed from the estate of Hendrix's former manager, Michael Jeffery." Gatefold card wallet. Recorded live at the Community Theatre, Berkeley, California; May 30th, 1970 (7:30 show).
Tracklisting: 1. Fire; 2. Johnny B Goode; 3. Hear My Train A Comin'; 4. Foxy Lady; 5. Machine Gun; 6. Freedom; 7. Red House; 8. Message to Love; 9. Ezy Rider; 10. Voodoo Chile (Slight Return).
CD $17



THOMAS MAPFUMO & THE BLACKS UNLIMITED - Gwindingwi Rine Shumba (Water 237; USA) Recorded in the late '70s, Gwindingwi Rine Shumba is Zimbabwean artist Thomas Mapfumo's second full length album. Featuring Mapfumo's incendiary guitar playing and lyrics of struggle, sung in his native Shona language, this is political dance music that rivals the work of another African legend, Nigerian Fela Kuti. Available on CD in the U.S. for the first time ever."
CD $15

THOMAS MAPFUMO & THE ACID BAND - Hokoyo! (Water 236; USA) "Zimbabwean legend Thomas Mapfumo's first full length album Hokoyo! was released at the height of the Rhodesian War in 1976. Hokoyo! is his only LP to feature the Acid Band and is the first full length release of the Mapfumo coined musical genre, chimurenga, a Shona word meaning 'struggle.' Chimurenga is exemplified by lyrics of struggle and revolution and a guitar style based on transcribing the sounds of the traditional Shona instrument, the mbira, to the electric guitar. Crucial and historical and revolutionary, and you can dance to it. Available on CD in the U.S. for the first time ever."
CD $15


We quoted an incorrect price for this item last week. Here it is again:

ELDER UTAH SMITH - I Got Two Wings [Book + CD] (CaseQuarter 104; USA) "The electric riff was still a recent miracle when Elder Utah Smith, a superstar evangelist and guitarist from northwest Louisiana, first recorded his signature ascension song, "I Got Two Wings," in 1944. He meant what he sang: Smith typically presided at services in giant homemade seraphim wings. But his musical gifts were very much of this earth: a pitted roar as big and deep as Howlin' Wolf's; an agile clawing attack on guitar, a rough mix of runaway Robert Johnson and sanctified Charlie Christian. Smith cut multiple versions of his hymn for different labels, each a proto-rock & roll train to glory, and they are all on the CD that comes with Lynn Abbott's energetic biography." -David Fricke, ROLLING STONE
CD + Book for $18


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


HENRY COW [FRED FRITH/TIM HODGKINSON/CHRIS CUTLER/GEORGIE BORN or JOHN GREAVES/LINDSAY COOPER/DAGMAR KRAUSE et al] - 40th Anniversary Boxes #1 & 2 - The Road Complete Edition Vols 1-10: 1971-1978 [9 CD + DVD Box Sets + Books] (ReR HC7-16BOXx2; UK) Disc 1 - Beginnings; Disc 2 - 1974-5; Disc 3 - Hamburg; Disc 4 & 5 - Trondheim; Disc 6 - Stockholm & Goteburg; Disc 7 - Later And Post-Virgin; Disc 8 - Bremen; Disc 9 - Late; Disc 10 [DVD] - Vevey 1976

"My introduction to Henry Cow: 1972 was the year when it all came together for me. I entered college (Glassboro State) in September and finally found a new family of friends who were as enthusiastic as I was about music. My two favorite bands were the Mothers of Invention and Soft Machine plus I listened to as much interesting and weird music as possible. I took a "History of Jazz" course freshman year with Manny Albam as one of my two professors. It started with Herbie Hancock ('Sextant' LP) and Miles Davis ('Bitches Brew') and then worked its way backwards through jazz's long history. I soon became a jazz fan, absorbing everything I could get my hands on. I recall hitching home for a weekend to visit my girlfriend Mindy and hanging out with an older friend named Bob Grohl [yep, Dave's brother]. Bob had the largest collection of British import albums and singles that I've ever seen and turned me on to hundreds of obscure British rock bands through our long friendship. He played me the first Patto album, which blew my mind and said he had a present. He handed me an album and said that it was way too weird for him but that I would most likely dig it. It was Henry Cow's first album, 'Leg End' and he was right since it became one of my favorite records of all time. The first time I listened to it, I was mystified. It didn't sound like anything I had ever heard, yet I thought I heard the influence of The Mothers (circa 'Uncle Meat') and Soft Machine ('Third' & 'Four'). I played it over and over for my friends from college and home and turned many folks on to this unique gem. 1972-1974 were my favorite years for music with a number of my (still) favorite records produced then: Robert Wyatt's 'Rock Bottom' & 'Ruth is Stranger Richard', the first two Henry Cow albums & the first two Hatfield & the North albums.

It took me a long time to figure out how this music was made and what exactly I dug about those two Henry Cow records. They still remain mysterious in certain ways even today. I wrote to members of Henry Cow during the summer of 1974 and when I got back to college in September, lo & behold, I received response from Fred Frith, Chris Cutler & Tim Hodgkinson, with a letter from each. I had asked about their influences and the music they liked and received lengthy notes from Chris & Fred and concise response from Tim. My three roommates & myself read these letters over and over to learn more about these mysterious folks. Since then, I have become friends with all three and continue to look forward to all of the discs they have been involved with through the years. I asked Fred, Tim and Chris to play together for a DMG curated month at The Stone in December of 2006 for the first time since the Henry Cow days (1968-1979) and they did! We recorded all four trio sets, which will eventually be released on the DMG/ARC label, so please remain patient.

In the meantime, the Holy Grail of Henry Cow recordings has finally been released and all we can say is, "Hallelujah!". During their recorded lifespan, Henry Cow released just six albums, five studio and one live double albums ('Concerts'). It has been a couple of years since Chris Cutler mentioned that he was worked on a large Henry Cow live box-set, so there has been a great deal of anticipation involved. The great news is this: this massive box-set with 9 CD's and 1 DVD is even better than anyone could've imagined. As with Soft Machine, whose personnel and sound changed/evolved on every record, Henry Cow's distinctive sound was constantly in flux. This colossal box-set, fills in the space between each of the six albums with incredible live performances from various venues in Europe throughout their history. As with any important document (box-set), it will take a while to absorb this entire 10-disc set, there is a great deal listen to and to think about. A friend of mine took an entire weekend to listen carefully to this 10-disc set and it still reeling from the immense amount of historic music involved. I am slowly listening to each disc, one at a time, one per night so that I can consider and savor each one. One of the great things about this box is that it includes two lengthy (60 page) booklets which discuss the way these pieces develop. All members of Henry Cow get a chance to discuss their time with and ideas about the band. This helps to unravel the mystery quite a bit. There a number of both fascinating and occasionally hilarious stories told throughout. Prog(ressive) heads worldwide are now rejoicing with the release of this fabulous box-set. Without any doubt these are the finest historic recordings of the year.

Volume 1 is called 'Beginnings' and it was recorded mostly before the first album. Until now, there have only been a few dismal sounding bootlegs of just some of this material, so listening to these rehearsal tapes is a revelation.On "Pre-Teenbeat 1 & 2" we get to hear an introduction to one of the classic pieces on 'Leg End'. Fred Frith sings two of his own pieces next, something he rarely did in Henry Cow. Fred claims to be influenced by Robert Wyatt and I found these pieces to be charming and unlike anything HC had ever released. I can certainly hear some Mothers influence in the complex arrangements and quick shifting pieces. Some of the pieces which appear on the first album, like "Amygdala" and "Teenbeat", are quite different, somewhat more raw and show how things became more focused for their final recording. What is interesting is this: each piece, although all or partially composed evolves as it is rehearsed and played live. The second half of "Teenbeat" sounds nothing like the version that appears on the first album, yet it is just as worthy as the "finished" version. Tim's album-closing gem, "Citizen King" is not that much different than the recorded version, yet remains equally haunting. Listening to an earlier version of "Nirvana for Mice" and reading Fred's explanation of using chance methods to generate sections of the piece, give this classic song a certain logic that I would've never considered. For this disc, "With the Yellow Half Moon and Blue Star" is in seven parts, some which made it into the recorded version, some not, yet all are interesting in their own way. This disc ends with an intense and quirky piece called "Guider Tells of Silent Airborne Machine" which rocks in section and has a great free double sax passage. What makes much of this disc special is that much of the improvised sections are spirited, focused, elastic and rarely sound completely improvised. If this disc is only the "beginning" then there is a great deal to savor throughout the other nine discs.

Volume 2 is from 1974-1975, when Henry Cow's second, third and fourth albums were released, 'Unrest', 'Desperate Straights' (a collaboration with Slapp Happy) and 'In Praise of Learning'. When 'Unrest' was released, my college roommates & myself didn't really think the Henry Cow could possibly top their first album, it just couldn't get any better. We were wrong and quite astonished as well. Side 1 of of 'Unrest' is for us the greatest side of music that any so-called progressive band could ever produce. It was just brilliant and immensely well recorded. I got a chance to hear it on an expensive stereo at Professor Allan's house a few months after it was released and realized just how incredible it was. The first part of Volume 2 contains two live versions of "Ruins", Fred Frith's epic side one closing piece. Saxist Geoff Leigh left the band after their first album and was soon replaced by Ms. Lindsay Cooper who played oboe and bassoon. Lindsay's playing adds an entirely different sound and direction to Henry Cow and makes the band even more amazing.

In the notes, Fred mentions being influenced by Messiaen, Bartok and Mingus and after reading his letter (in response to questions from me in 1974), this made sense to me. I went out and bought copies of two Messiaen works after this, "Turangalila Symphony" and "Quartet for the End of Time", both of which I still cherish. Fred also mentions how "Ruins" was rearranged differently each time it was played, keeping this music always fresh and exciting. Listening to these two versions, I am still riveted by this piece. The sound of Fred's guitar is actually scary and unlike anything I've heard from a guitarist before or since. Chris' unique cyclic drumming is also a marvel to hear. It is a magical moment when the band sails seamlessly into John Greaves' "Half Asleep, Half Awake" in the middle of another section of "Ruins" which is spliced but no less wonderful. The opening song on 'Unrest' is called 'Bittern Storm Over Ulm" and was based on a riff from the flipside of a Yardbirds' single called "Got to Hurry". I could never really hear the connection until now, hearing a somewhat bluesier version called "Heron Shower Over Hamburg". The next section is a series of smaller pieces for a quartet version of Henry Cow without Lindsay Cooper. They are recorded live and contain some of the music which would eventually become "Living in the Heart of the Beast" from the 'Praise...' album. With both written and improvised sections flowing into one another, we get to hear another side of Henry Cow that is illuminating and filled with surprising twists and turns. Although some of the sections are chaotic, they still sound focused or directed. The final part of this disc features the epic piece, "Living in the Heart of the Beast" with Dagmar Krause (who would soon become their extraordinary lead singer) and special guest Robert Wyatt on vocals. This piece for is another high point for Henry Cow although some folks didn't warm up the Dagmar's voice. I found her to be perfect for this piece, giving Henry Cow a different more human and passionate quality. This piece still sounds strong and relevant nearly 35 years after it was originally written and recorded.

Volume 3 ("Hamburg') was mostly recorded for an NDR Jazz Workshop concert in Hamburg, Germany in March of 1979, with two earlier pieces with Robert Wyatt recorded in Rome and in Paris in May & June of 1975. Henry Cow's only previously released live set, 'Concerts', was recorded also in 1975 with Robert Wyatt as their special guest. 'Hamburg' takes place nearly a year later and Dagmar has gotten even better. There is something quite magical about listening to another version of "Fair as the Moon", "Nirvana for Mice", "Ottawa Song" and "Gloria Gloom". The band sounds particularly inspired and each song is transformed into something even more delightful. It is a treat is to hear Dagmar singing on "Nirvana for Mice (Rabbits?)", previously an instrumental piece. The picture of Dagmar and Robert singing together in Paris in the booklet also makes me smile, two of my favorite vocalists together. Dagmar does some extraordinary "free" singing on "Hamburg 1" while the rest of the plays haunting, mournful sounds that drift around her voice. Both Chris and Fred discuss the importance and development of their improvising abilities in the notes. Listening to sections of "Hamburg 1-5", we hear the way the band molds and turns their improvisations into engaging music that makes sense and often has us at the edge of our seats. When the band finally breaks into the song "Terrible as an Army with Banners", it just feels right, like the ending of some sort of righteous ritual. Robert Wyatt joins them for powerful versions of "Little Red Riding Hood Hit the Road" (from 'Rock Bottom') and "We Did It Again" (from Soft Machine's 'Volume 1'). With Robert Wyatt being my favorite singer of all time and "Little Red Riding Hood..." being one of my favorite songs ever, you could say that I've just died and gone to heaven hearing this version for the first time! "We Did It Again" is bloody hilarious with some twisted vocals by Robert and Dagmar. Too much!

'Volumes 4 & 5' were recorded live in Trondheim, Norway on May 26th of 1976. With Dagmar being ill & absent and John Greaves having just left the band, their tour already booked, Henry Cow played as a quartet. With Fred Frith (guitar, violin, bass, xylophone & tubular bells), Lindsay Cooper (oboe, bassoon, flute, recorder, piano & voice), Tim Hodgkinson (organ, clarinet, voice) and Chris Cutler (drums, percussion & telephone mouth-pieces). The group played in the dark for these gigs and concentrated on coming up with something new that went beyond the usual (expectations of) improvisation. For 'Trondheim', they played and recorded two hour-long sets. Fred, Tim and Lindsay each prepared two hour tapes that ran throughout their sets but could only be heard by the audience very sparsely. The playing is especially inspired and one would be hard-pressed to figure out the instrumentation since everyone is altering their instruments in also sorts of weird way. The music is in turn dark, strange, free yet very focused, bold, weird with weird (often spoken word & sampled) vocals inserted in odd places. The music is often quite haunting, cautious, spacious and occasionally cosmic. The music unfolds slowly and if often riveting and unlike anything we've heard previously from the band. Fred and Chris both mention in the notes about not being taken being serious as improvisers or at least not being thought as part of the European tradition of free improvisation. The music here is still extraordinary, the band exploring at length and coming up with surprising results. For the second set it is often difficult to tell who is doing what. I recognize certain signature sounds and voices, but odd sounds (tapes?) also flow through the often mesmerizing blend. The sound is in stereo and certain sounds are effectively panned back and forth. Often it sounds like the soundtrack to a strange but compelling movie for our minds. At one point we hear excerpts Dagmar singing with Henry Cow floating in the distance, so at least she is till there in spirit. The second box begins with Volume 6 or 'Stockholm & Goteborg'. Ten of these tracks were recorded in Stockholm in May of 1977 with three tracks recorded May of 1976 in Goteborg, also in Sweden. By this time John Greaves was replaced by Ms. Georgie Born on bass & cello while Dagmar had rejoined on vocals. A couple of these pieces like "Stockholm 1 & 2" and "Goteburg 1" are once again an intense and focused free-fall. The high point of this disc in Tim Hodgkinson's "Erk Gah", a challenging 12-tone piece written by Tim which was never recorded by Henry Cow in their heyday, but was recorded for a Hodgkinson solo LP released in 1994. For me, this piece sounds like one of the long lost gems of the entire Henry Cow catalogue. Tim's organ playing is often at the center and gives this a more serious and contemplative sound. Dagmar's voice comes from a more classical side and is especially well utilized. The piece is often very subtle and restrained so it takes some time to appreciate its quiet brilliance. Tim also plays some fine, eerie organ on "A Bridge to Ruins". Fred & Chris' "Ottawa Song" gets another strong rendition with Dagmar & John Greaves singing cool harmonies. There is also some more extraordinary improv called "Goteburg 1-3" that sounds quite different from any of the previous improv we've heard so far. It is more laid back yet filled with bizarre, yet mesmerizing sounds. Another unexpected delight is Henry Cow's cover of "No More Songs" by Phil Ochs, American protest singer. I recall Chris Cutler quoting some of Och's lyrics in his early letter to me, which inspired me to search out and give a closer listen to many of Phil Ochs' great records. This disc was the only one to be released before the box-sets, so I've gotten to hear a number of times and it just keeps getting better.

Volume 7 is called 'Later and post-Virgin' and was recorded in France in November of 1976, in London in February of 1977 and in the Netherlands in May & December of 1977. The personnel is again the final sextet of three men (Fred, Tim & Chris) and three woman (Lindsay, Dagmar & Georgie) plus the return of Geoff Leigh on tenor sax and Anne-Marie Roelofs on trombone. Until this box-set, there were no live recordings of the final years of Henry Cow (1976-1978). We are lucky to now find ourselves with four discs and a DVD from this period. The band continued to evolve and change as each of these discs illustrate. Chris and Fred had developed a new songwriting relationship with Chris giving texts to Fred to put to music. This evolved even moreso with their next band, The Art Bears. "Joan" opens this disc and it is one of those pieces that was played only a few times and quickly taken out of their repertoire. Chris did rewrite it for a future Art Bears record. This version is still compelling and Dagmar does a swell job of passionately singing the words, as the rest of the band churns around her with restrained power. The band plays two versions of "Teenbeat" from their first album and this piece sounds quite different. It seems to bridge progressive writing with punk-like tension or speed during the first half. It still ends with that great Zappa-like quick-changing agility and some sly humor is found within. There is a song called "Would You Prefer Us to Lie?" by John Greaves and Chris that I've never heard which contains one of those incredible Fred Frith fuzztone guitar solos that tells an entire story and must be heard to be believed. Dagmar's singing is also splendid here, so much so that I didn't want the piece to end. One of the highlights of this disc is "Untitled Piece" by Lindsay Cooper, another previously unrecorded gem. It doesn't sound like anything else by Henry Cow and is filled with shrewd changes and complex arrangements, sounding more like modern classical music with some art rock twists. On "Chaumont 1 & 2" the band improvises and sounds rejuvenated as they take chances with surprising shifts and odd tape material inserted to add more mystery. Fred's song "March" is charming, lyrical and has Dagmar singing just lovely "la la la's" to the melody. I dig the way the band turns "Bittern Storm Over Ulm" inside-out and almost funky. Odd and unexpected. This engaging disc ends with a fine version of Brecht & Eisler's "On Suicide" which Dagmar sings as if she was meant to sing such a song. Dagmar did go on to record two records of the songs of German composers Brecht, Weil and Eisler a few years later.

Volume 8 was recorded for Radio Bremen in March of 1978. This was the final quintet version of Henry Cow with Fred, Tim, Lindsay, Georgie and Chris. Dagmar is gone so this is a mostly instrumental unit. This is a studio recording so the sound is superb. Much of this music is improvised yet it feels thematic. Fred, Lindsay and Chris all play piano on different pieces, occasionally giving this a more modern classical sound. There is something magical about the combination of Fred's sustained guitar, Tim's eerie organ, Lindsay's oboe or bassoon and Chris' distinctive percussion that makes their sound so special. "New Suite" features that enchanting Henry Cow twisted prog/rocking sound: tight, complex and well-played. Fred and Tim composed different sections of this suite and it is indeed a revelation to realize that there is so much unreleased Henry Cow music still to be savored, written and/or improvised. Although all members of this fine quintet are integral to the sound, I found that Chris' drumming is especially incredible. He doesn't sound like any other drummer and has his own way of navigating rhythms and dynamics. There is a long (34+ minutes) piece called "Die Kunst Der Orgel/Bremen" which has some intense and spirited free improv that still sounds fresh today. There is a section in the first part of "Bremen" where it sounds as if there are two (or more) bands playing at the same time, slowly get in synch with each other and then heading off in other directions. 'Volume 8' ends with (an excerpt from) another version of Tim's long lost gem, "Erk Gah". And again it is fascinating to hear the way this piece has evolved. When the piece ended, I wanted to stand up and cheer and yell, "Bravo! Bravo!" So I did and forgot about the neighbors.

'Volume 9' is also called 'Late' since it is the final version of Henry Cow. This is the version of Henry Cow that recorded their final album, 'Western Culture'. This version features Fred on guitar, violin & xylophone, Tim on organ, alto sax & clarinet, Lindsay on bassoon, oboe, recorder & sopranino sax, Georgie Born on bass & cello and Chris Cutler on drums plus guest trombonist, Anne-Marie Roelofs on trombone. This disc was recorded live in March, June or July of 1978. The band do a Monk cover of "Jackie-ing" which seems like an odd choice but still well within their sound. One of the highlights here is a song by Fred called, "The Herring People". This song has a joyous, quirky and most memorable melody and structure. It was later recorded by downtown band Curlew who Fred played with and produced when he moved to NY a few years later. Another gem is the long improv called "RIO" which is quite intense, noisy and occasionally over the top. The band actually sounds like they've become another band entirely. Tim reminds me of Sun Ra when he plays his organ here, pushing hard at the boundaries of free-form organ insanity. Towards the final years of Henry Cow, Lindsay did more composing so her songs were a part of the their sets. Lindsay's wonderful "Half the Sky" shows what could've been had the band continued. Georgie's fuzz-bass provides a dense bottom/drone while the rest of the band plays thick but intricate layers around her. Tim's rare song "Viva Pa Ubu" for Alfred Jarry is another quirky tune that is surprising yet almost indescribable. This disc was the only one that felt as if there was something missing: part of the set? An ending? It does show another side or aspect of the Henry Cow legend.

Being an American Henry Cow fan-addict has always been frustrating since I would've given anything to see them play live. I came close when I was living in England at the end of 1975. They were supposed to tour & I nearly took a train to see them but it was a tour that never happened. So now, more than three decades later, we all get a chance to watch Henry Cow on the screen up close. Watching this DVD from August of 1976 in Switzerland, I get goosebumps! It was filmed outdoors with multiple cameras so that we get to see the band from various perspectives. This is the version of Cow with Dagmar, Fred, Tim, Georgie and Chris. They are doing songs from "In Praise of Learning", as well as a cover of Phil Ochs' "No More Songs" with Dagmar singing in English. Their epic, "Living in the Heart of the Beast" is a revelation. Just watching Dagmar sing this piece is well worth the price of admission. The lyrics take on even more meaning being fleshed out by Dagmar's powerful voice. Everyone is playing their best and sound most distinctive, Fred on guitar, Tim on organ, Georgie on bass and Chris' extraordinary drumming! The improvised sections are also breathtaking, especially Dagmar's bird-like vocals. This incredible set ends with Tim's rare classic, "Erk Gah", another piece that was only attempted a few times and then abandoned. A most difficult work that again sounds splendid live. One of the highlights is getting to hear/see Fred playing xylophone on different parts of this set. It is a astonishing to hear & see how great Henry Cow were live, but as they say, the proof is in the pudding and this is the finest pudding I've ever tasted.

It has taken me nearly a month to listen to, think about and review this entire 10 disc set. There is so much to hear and consider that it will take a long while to fully absorb. The two sixty page booklets are filled with endless fascinating observations about the band and their history, their trials and tribulations. You get an honest view of their finances or lack of and the difficulties of trying to maintain their unique spirit and sound in a harsh commercial environment. Henry Cow were once and still remain an inspiration to many of us who thrive on music that challenges us and who can take the time to fully appreciate all of the work they put into their music. This massive box set is most impressive on many levels. It sits on my kitchen counter on top of a DVD box called 'Treasure of American Avant-Garde Film', looking imposing. I am just about to reach out and start listening to each disc once more. ReR subscribers who pre-ordered the entire box-set, also received a bonus disc of rarities, as well as a third empty box to put your other five Henry Cow studio jewel case CD's inside. There is an open space in the first box set where you can conveniently put your copy of the original 'Concerts' 2 CD set. Another thing to look forward to on ReR is the Art Bears Songbook live at the Victo Fest from last year. We can hardly wait, but at least we have this, the most important box-set of this decade, certainly ..maybe even quarter century?!" - Bruce Lee Gallanter, Downtown Music Gallery

9 CD + 1 DVD Double Box Set for $180

also available as separate 5-Disc box sets [Box #1 or Box #2, each with its own bklt] for $90 each


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


IF YOU'RE ALREADY SUBSCRIBED TO OUR NEWSLETTER, BUT SOMEHOW YOU'RE NOT RECEIVING THEM IN YOUR INBOX..

Many of your incoming emails are being blocked and you don't know it! Many emails like our newsletter are frequently blocked by aggressive spam filters being used by nearly all email services.

To help avoid this problem and get our newsletter:

Hotmail Users: Place the domain " downtownmusicgallery.com " on your Safe List, so that you can receive our emails. The safe list can be accessed via the "Options" link next to the main menu tabs. Also place the email address dmg@downtownmusicgallery.com in your address book.

AOL: Place the domain " downtownmusicgallery.com " in your Address Book. Also add the email address dmg@downtownmusicgallery.com to your address book.

Yahoo! Mail: If one of our e-newsletters is filtered to your 'bulk' folder, open the message and click on the "this is not Spam" link next to the "From" field. The same goes for any other e-mail you receive that doesn't belong there. Add the address dmg@downtownmusicgallery.com to your address book.

Other email services [Earthlink, GMail et al]: Place the domain " downtownmusicgallery.com " on your email filter's whitelist. You may need to search your email help menu for details on how to do this. Depending on software/version, they may call it a "whitelist," a "good list" or similar name. Adding the address dmg@downtownmusicgallery.com to your address book will help too.