NEW THANGS FROM OTOMO/LASWELL/YOSHIDA, HENRY KAISER'S "DEREK BAILEY - SENSEI", LA MONTE YOUNG'S VERY LIMITED DVD

CARNIVAL SKIN (BRUCE EISENBEIL, PERRY ROBINSON, PETER EVANS, HILL GREENE & KLAUS KUGEL), CHRISTIAN MARCLAY & OKKYUNG LEE VERY LIMITED LP

CHARLES LLOYD, ANOUAR BRAHEM, 3 from STEFANO MALTESE, EINSTURZENDE NEUBAUTEN DVD, GUTBUCKET, FE-MAIL, JACOB GARCHIK, ROBBIE LEE, LILY MAASE, KATSURA YAMAUCHI/MICHEL DONEDA

PLUS HISTORIC RECORDINGS from FELA RANSOME-KUTI, CONRAD SCHNITZLER, JOHN CAGE, BOBBY BEAUSOLEIL, THE FREE DESIGN, CAROLINE NOW! AVE MARINA, MARY-ANNE PATERSON, ROGER RODIER

A TREASURE CHEST OF RARE TITLES: OUT-OF-PRINT ELLIOT SHARP and HENRY KAISER 'SST' ISSUES, AND CLASSIC NON-U.S. ECM CDs!



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



HENRY KAISER With DEREK BAILEY/TOSHINORI KONDO/JOHN OSWALD/DAMON SMITH - Domo Arigato Derek-Sensei! (Balance Point Acoustics 202)
[PLEAASE NOTE - in our newsletter from a day ago, we had the price of this item as $14, and initial orders were charged that. However, Henry has lowered the price of this item to us, and all those who were charged the higher price will be recompensed]
This is stunning heartfelt tribute to Derek Bailey, the grand-daddy of freely improvised guitar music who passed away on Christmas day of last year. Henry Kaiser, who was greatly influenced, as well as a friend and collaborator with Mr. Bailey, performs solos, duets and trios with the following: Derek Bailey, Toshinori Kondo (trumpet), Sang-Won Park (chango), Davey Williams (guitar), Motoharu Yoshizawa (contrabass), Larry Ochs (soprano sax), Greg Goodman (piano), Andrea Centazzo (percussion), Damon Smith (bass), Mototeru Takagi (tenor sax), Henry Kuntz (tenor sax), Kiku Day (shakahachi), and Charles K Noyes (percussion)! Henry fills this long disc with some 15 tracks challenging improvisations. Henry also speaks about Derek as he performs on a few tracks, something that Derek often did instead of writing letters to friends. Henry also explains and demonstrates some of the techniques to Derek helped invent. What I dig most about this extraordinary disc is that the spirit and influence of Derek Bailey flows through this entire, wonderfully organized collection of music from folks who owe a debt to this marvelous and sorely missed innovator. - BLG
CD $10

Also see the three Out-Of-Print Henry Kaiser CDs we've uncovered further down this list...


OTOMO YOSHIHIDE/BILL LASWELL/TATSUYA YOSHIDA - Episome (Tzadik 7263) Otomo Yoshihide is one of the most versatile and creative musicians in Japan today. Known for his eclectic arrangements, noise drones and turntable magic, he is never so alive and filled with fire as when he plays his original instrument: the electric guitar. Here he is joined by Bill Laswell and the master drummer from the Ruins, Yoshida Tatsuya and there is no stopping him. Sparks abound in this burning studio recording by one of the world's great improvised rock units. TZADIK NEW JAPAN SERIES
"An awesome power trio studio date recorded last December during Zorn's Japanese Invitational Festival at The Stone. Well-produced by Bill Laswell and recorded by Bob Musso, this is one mind-blowing trio date!" [somebody get a bucket under Manny!] - BLG
"WOW! It's rare to find the heady jamming standards set by the Fripp/Wetton/Bruford Crimson of the '70s. This Does IT! [As do the two Soup CDs found at the end of this Newsletter]. Raise ALL your THUMBS UP!- MannyLunch
CD for $14


BRUCE EISENBEIL/KLAUS KUGEL/PERRY ROBINSON/PETER EVANS/HILL GREENE - Carnival Skin (Nemu 03; Germany) This extraordinary downtown all-star quintet features the mighty Bruce Eisenbeil on guitar, Perry Robinson on clarinet, Peter Evans on trumpets, Hill Greene on double bass and Klaus Kugel on drums. Bruce Eisenbeil is one of the unsung local heroes of modern jazz guitar, having already worked with Cecil Taylor and Milford Graves, two giants of avant/jazz who rarely work with guitarists. Speaking of legends, it is always wonderful to here the phenomenal clarinetist, Perry Robinson, who has been recording for over forty years and continues to dazzle those lucky enough to hear him live or on record. I keep hearing great things about trumpeter, Peter Evans, although this is my first time hearing him on record. Hill Greene is another of those in-demand local bass greats and Klaus Kugel, is yet another drum wiz who has a fine quartet disc on this same label, Nemu, from last year, as well as being heard on that burning sextet disc by Theo Jorgensmann from last year on Hatology.
Each member of this fine quintet gets a chance to contribute one piece, as well as one group effort. Perry's "Journey to Strange" is strong opening piece with a twisted Herb Robertson-like solo from Peter Evans, an angular early McLaughlinesque solo from Bruce and a quirky ancient-to-modern solo from Perry on clarinet, as the rhythm team spins profusely below. Peter's "Monster" is a slightly-bent ballad that is both haunting and dream-like. Hill's "Iono" has some great, dark harmonies for the horns with the guitar swirling around them as Hill takes a fine bowed bass solo, free and tightly focused at the same time. Klaus' "Bobosong" begins freely yet there are layers on connections and interplay going on, it is brittle yet focused and moves organically together, like walking cautiously through the jungle. All in a splendid disc from a swell quintet.- BLG
CD $14

BRANDON ROSS - Costume (Intoxicate 1004; Japan) An especially-low price, courtesy of Mr. Ross himself! Released only in Japan in 2004, we finally have just five copies and have been trying to get these for more than a year.
CD $20

CHARLES LLOYD/ZAKIR HUSSAIN/ERIC HARLAND - Sangram (ECM 1976/0006160) Featuring Charles Lloyd on tenor & alto saxes, tarogato, flutes, piano & percussion. Zakir Hussian on tabla & percussion and Eric Harland on drums, percussion and piano. This first time trio was recorded live at the Lobero Theatre in Santa Barbara, CA in May of 2004. The concert was a tribute to the late, great drummer Billy Higgins, who had recorded a fine duo disc with Charles Lloyd a few years before this date. This is one beautiful trio, both percussionists sound wonderful together, quietly playing diverse inter-locking rhythms and grooves together. They work with the legendary saxist, Charles Lloyd, just right. As Lloyd plays a taragato (a large clarinet) on the opening piece, both percussionists play sublime, tight lines around him. Eric Harland is Lloyd's longtime drummer and is a fine melodic and ever-creative drummer. Like that splendid duo disc that Charles Lloyd and Billy Higgins recorded for ECM a few years back, is another enchanting treasure of inner dreams and journeys revealed. - BLG
CD for $17

ANOUAR BRAHEM - Le Voyage De Sahar (ECM 1915/0006159) Featuring Anouar Brahem on oud, Francois Couturier on piano and Jean-Louis Matinier on accordion. This is oud master, Anouar's 7th disc for ECM and again he delivers a sublime gem, this time with two fine French musicians on piano and accordion. Haunting, lovely and filled with suspense, this superb trio sounds perfect together. Lushly recorded, warm, sly and completely enticing. This trio does a splendid job of blending middle-eastern and French folk influences seamlessly into one elegant, quietly dynamic sound. Some of the most tasty and melancholy music I've heard in eons. - BLG
CD for $17

BEANS With WILLIAM PARKER & HAMID DRAKE - Only (Blue Series/Thirsty Ear 57167; USA) Beans (aka Mr. Ballbeam) is out to shatter your silly notions of next level hip hop. his new album Only is a forward reaching effort to bring forth the concept of intelligent hip hop which is certainly a rarity. Bumping in your ride, burning up your iPod or rattling windows in with your home system, beans makes some of the most creative hip hop you'll ever hear, and this fly rhyme sayer drops some of the catchiest left field tongue/mind/body twisters you've ever heard.
Paired with the phenomenal talents of percussionist Hamid Drake and bassist William Parker, this recording taps into the jazz metality, and then pumps it full with esoteric rhythms and lyricism. if you like cerebral rap and beats that could be called anything but garden variety, then this album should not be missed
CD $15

KATSURA YAMAUCHI/MICHEL DONEDA - La Drache (IMJ 528; Japan) "Alto sax player Katsura Yamauchi was born in Oita, Kyushu, in 1954. In 2002 he quit his company job to become a full-time musician, and each year since '03 has traveled to Europe and strengthened his ties with musicians in France, Germany, The Netherlands, Switzerland, and so on. In the process he met and found a kindred spirit in one of France's leading improvisers, soprano, sopranino, saxophonist Michel Doneda (who happens to be the same age as Yamauchi). They've played together many times since. Both musicians have performance styles characterized by a total absence of melodious phrases and a constant exploration of the nature of sound. Continuing in this direction, La Drache is permeated throughout with fresh yet tension-filled sound structures. All five tracks were recorded in France in 2004."
CD $18


ARTHUR RUSSELL - First Thought Best Thought [2 CD set] (Audika 1005; USA) "FIRST THOUGHT BEST THOUGHT" is an essential collection of the lost instrumental treasures from Arthur's vast archive and brings the genius of Arthur Russell's legacy closer into focus. Packaged with a 16 page color booklet + O-card of archival images and essays by former Modern Lover Ernie Brooks and Audika's Steve Knutson.
"A long-overdue 2CD collection of downtown cellist/composer Arthur Russell's more orchestral-based compositions. Included in the set are complete remastered reissues of the long out of print "Instrumentals" Volume 2 (originally released on Les Disques Du Crepuscule) and the Chatham Square LP "Tower Of Meaning" (conducted by Julius Eastman and originally a private release of less than 400 copies). This set also includes over 45 minutes of previously unreleased material, including the shelved "Instrumentals" Volume 1, a stunning piece for two Fender Rhodes entitled "Reach One," and the full 10-minute "Sketch for the Face of Helen" piece for electronic tone generator, keyboard, and tugboat (yes, you read correctly - tugboat) which is a completely different recording than that included on the 1981 Crepuscule "Fruit of the Original Sin" compilation. Also, it's worth noting that the original side 2 of the "Instrumentals" Volume 2 LP was mastered incorrectly at 1/2 speed- this has finally been corrected.
Sounding like a Phil Spector production of a Morricone sunset over the Midwestern USA countryside, this music gently ebbs, swells, and drifts with beautiful lyricism and weightless density. Elements of Motown soul, country & western balladry, post-minimalist drone, and rich Eno-friendly ambience combine in a collection that adds further proof of Russell's importance and individuality in a scene already filled with enigmatic, influential figures. These recordings - made in the late 70's at the Kitchen and Walker Arts Center - feature many downtown heavyweights, among them Ernie Brooks, Rhys Chatham, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Dave Van Tiegham, and Peter Zummo. Includes a lovely booklet of photos & liner notes by Ernie Brooks, Steve Knutson, and Russell himself. As with any other Russell release, this gets my HIGHEST RECOMMENDATION and is an absolute must-buy for anyone with the guff to consider themselves a connoiseur of the downtown scene. Buy it already!!" - Mikey IQ Jones.
2 CD set for $22

[a 3 LP version of the above will be available in a few weeks...]


GUTBUCKET - Sludge Test (Canteloupe 21033) This is the third fab offering from downtown prog/post-rock quartet Gutbucket, featuring Ken Thomson on sax, Ty Citerman on guitar, Eric Rockwin on bass and Paul Chuffo on drums. These guys rule and they don't quite sound like anyone else. Tight, tortured noise/rock at its finest. They bridge the gap between progressive and punk influences. I hear bits of British jazz/tock from the seventies, as well as joyous punk/rock attitude. I dig the way they write these intricate figures where the guitar/bass/drums or sax/el. bass/drums play against one another, constantly switching roles. Although there are some short inspired and often noisy guitar and sax solos, it is the writing that really stands out. What's interesting is that they do not sound like classically trained musicians, yet their composing seems to come from more modern classical structures. The rhythm team gets a chance to stretch out on "Throsp%", which recalls the Beatles epic, "I Want You, She's So Heavy". It unfolds and builds in a most hypnotic way. I like the way the sax and guitar sound as if they are making wave-like string(s) sounds on "Disciplining the Fugitive", which later sounds like they are transmuting "Take Five". They even get into some Crimson-like areas on "Underbidder", certainly no small feat. What I find most amazing is that they end this fine disc with a version of Messiaen's "Danse de la fureur, pour les sept trompettes", which might seem like an odd choice, but they do a splendid job, showing off their clever, progressive influences and still remaking the piece in their own way. I'll bet that Steve Feigenbaum at Wayside would do well with this gem.- BLG
CD for $15

ROBBIE LEE - Sleep, Memory (I & Ear 06) Robbie is a new friend of ours, someone I hung out with up at the Victo Fest last year and one of nicest folks I know. I was surprised when he laid this disc on me since I didn't know he was a songwriter, just a label-head and someone big ears for lots of quirky music. Even more surprising is how much I dig this disc. He plays all of the instruments, sings and writes most of the songs, with a few select covers by Bob Mould, Nadia Aymone Berenstein and one traditional song. His music is a charming mixture of folk, psych and other quaint influences. Elegant layers of acoustic & electric guitars, charming slightly twisted voices, animal sounds, strings(?) and other sundry instruments. During "Anatomy of Melancholia", he mentions "On the road to Victo", I just had to smile because it is a road that me and my crew look forward to taking each and every year and next month, here we go again. I hear bits of Incredible String Band, Syd Barrett, Emmitt Rhodes and other folk/psych influences that Forced Exposure loves to dish out to describe unknown (alleged) gems of yesteryear and today. Even moreso, I hear a fresh new spirit with some charming sounds to behold. - BLG
CD for $13

JACOB GARCHIK - ../abstracts (Yestereve Records 01) Featuring Jacob Garchik on trombone, Jacob Sacks on piano and Dan Weiss on drums. I caught this new trombonist, Jacob Garchik in a fine quartet up at the Guelph Fest a couple of years ago, as well as with John Hollenbeck's Big Band very recently. This is an interesting trio with no bassist used or needed. The music has a thoughtful, spacious quality, in which each note counts. It reminds me somewhat of Jimmy Guiffre's wonderful trio with Paul Bley and Steve Swallow. Each piece is called "abstract #'s 1-8", and each employs a different strategy, idea or structure. Dan Weiss has become one of the most in-demand local drummers in the last few years and here, we can see why. On "abstract #2", he shifts the rhythm, moving through different styles throughout, creating one dialogue with the pianist as Garchik also inserts another set of ideas. There are pieces that start out one way, say charted and tight-knit, yet they move through sections where the layers of connections are not so apparent, but end up tight towards the final section. I love music that keeps one guessing where it will end up or how exactly it works and this music if a fine example of this. - BLG
CD for $14

THE LILY MAASE QUINTET/LM5 - Aftermath (self-produced) Featuring Lily Maase on guitar & electronics, Mike Maher on trumpet, Nick Groesch or Jangeun Bae on keyboards, Brian Mulholland on bass and Curt Garey on drums. I can't tell you much about Ms. Maase or the other members of her fine quintet, except that this charming red-haired woman let us with her equally charming disc. "the aftermath series" is a four part suite, beginning with "my five wives" which features some fine trumpet from Mr. Maher as well as some sly electric piano from Mr. Groesch. It has a rather funky, 70's sort-of Miles-like vibe, 'In a Silent Way' meets 'Jack Johnson'. "even ash will linger" is a fine, laid back bluesy number with Lily playing some slinky, jazz/blues guitar sublimely. On "...in threes", simmering, spacy electronics opens, then it is back to that sly groove with Lily's fine el. guitar at the center building to near boiling point, followed by more hypnotic electric piano. What Lily does best is let these tunes simmer nicely, creating sumptuous moods, letting things build and inserting occasional solos to keep things interesting. The second suite is called "lullabye for the electric shepherd" and again, it is more about the overall groove/vibe. Electric bassist, Brian Mulholland, takes a swell fretless bass solo, as does Lily taking an inspired slow-burning guitar solo over that great funky groove. You could say that this is similar to jazz/fusion music with any of the bombast, speed or chops-meister indulgences. Fans of "In a Silent Way" should really dig this, so don't let it go unnoticed. - BLG
CD for $12




FIVE LIMITED EDITION LP-ONLY EDITIONS

CHRISTIAN MARCLAY & OKKYUNG LEE//MY CAT IS AN ALIEN - From the Earth to the Spheres: Split LP Series Vol 7 [ltd ed LP; 100 signed copies] (Opax 007; Italy) SIDE A: Featuring Okkyung Lee on cello, Christian Marclay on turntables and electronics. Recorded live at Tonic NYC by Michelle Casillas; December 14, 2003. SIDE B: My Cat is an Alien recorded July 2002 at MCIAA's Space Room in Torino, Italy.
This is a special limited edition of only 100 copies. "This last release in the From the Earth To the Spheres split series set up by Maurizio and Roberto Opalio aka My Cat Is An Alien on their own Opax Records imprint, sees the Italian cosmic duo splitting the vinyl with well-known audio visual artist, performer and turntable-art innovator Christian Marclay together with cello improviser Okkyung Lee, ubiquitous figure of downtown NY avant-garde scene. Their track 'Rubbings' on side A is the result of a live performance recorded at Tonic NYC in December 2003. Christian Marclay's trademarked technique of mixing several ranges of LPs on his multiple turntables, manipulating, fragmenting and altering the phonograph records' sonic nature in accordance with his 'theater of found sound' aesthetics meets the uncompromising and passionate playing of Korean-born performer Lee, whose powerful cello's stabs interact with Marclay's waves of screaming sounds creating a unique, stunning scenario.
On B side, My Cat Is An Alien's piece 'Beyond the limits of the stars/Beyond the limits of the grooves' was recorded in 2003 at their Space Room studio in Torino, and has been kept safely in their archive 'till September 2005, when it's been completely remixed and edited appositely for this release. One of their heaviest conceptions to date, the piece is built on electric guitars' strings moaning onto walls of space drones and electronics like ectoplasmic presences emerging from the brilliance of the Void. Special Space Art only-vinyl edition limited to 100 copies; each record comes alongside an original acrylic painting by Roberto Opalio on a 31x31cm wooden support, individually signed by the artist."
LP $76

MY CAT IS AN ALIEN - Black Shadows From Jupiter [ltd ed LP; 120 copies] (Opax 014; Italy) "Two new previously unreleased long tracks of psych-blues from the outer space, featuring Roberto's wordless vocals, right from the darkest side of the Italian Western Alps; recorded in January 2005, in astral 'Monalien Fidelity' splendour. Made available especially for their recent UK tour, it comes in a special limited edition of only 120 copies private press LP, with handmade Sun Ra's Saturn-style jackets in similar leather."
LP $56

BOBBY BEAUSOLEIL - Kenneth Anger's Lucifer Rising: The Sessions [picture disc LP] (Qbico 042; Italy) "Early sessions for the soundtrack of Kenneth Anger cult movie of the same name. On side A we'd hear the only available rec. of The Magick Powerhouse of Oz live at San Francisco's Straight Theater in late 1967 (BeauSoleil, earlier in the same year, also played at the Invisible Circus, a 72-hour environmental community happening which was sponsored by Emmett Grogan & the Diggers...). on side B, we'd hear a completely different version, thanks to The Freedom Orchestra, rec. 10 years later live at Tracy State Prison (using the box ring as stage). An alumnus of the Manson circle serving time at Tracy, the talented guitarist Steve Grogan played on this session (also all other musicians of the Orchestra were inmates). Legendary recordings, available for the first time ever on vinyl."
LP $23

MATT VALENTINE/ERIKA ELDER/ALEX NEILSON/MOSES JIGGS - Valentine/Elder/Neilson/Jiggs [picture disc LP] (Qbico 40; Italy) "An eye opener: some of the most powerful, deep and cosmic ragas ever recorded! Mine ears have heard the glory in full spectra sound."
LP $23

CONRAD SCHNITZLER - Zug [aka Red Cassette] (Qbico 41; Italy) "First time ever on vinyl of the Red cassette, which was originally released privately by Con in the early '70s in few hundred copies. Classic Con-electronic waves... endless..."
LP $23



JOHN CAGE//AMADINDA PERCUSSION GROUP - Works for Percussion, Vol. 1 (1935-1941) (Hungaroton 31844; EEC) 'Quartet' (1935); 'Trio' (1936); 'Imaginary Landscape No. 1' (1939); 'First Construction (in Metal)' (1939); 'Second Construction' (1940); 'Living Room Music' (1940); John Cage/Lou Harrison: 'Double Music' (1941). Amadinda Percussion Group. Zoltan Kocsis, piano; Zoltan Racz, piano.
CD $17

[ALSO, recently offered by us were vols 2, 3, and 4 of this John Cage series by Amadinda - $17 each - for those of you who blinked]




LA MONTE YOUNG'S VERY LIMITED 'JUST DREAMS' LABEL...

LA MONTE YOUNG/MARIAN ZAZEELA - The Well-Tuned Piano in The Magenta Lights: 87 V 10 6:43:00 PM - 87 V 11 01:07:45 AM NYC [ltd ed DVD; 240 copies] (Just Dreams 02; USA) "The 6-hour 24-minute continuous performance of the Young and Zazeela collaborative masterwork videotaped on May 10, 1987 during the La Monte Young 30-Year Retrospective presented by MELA Foundation in New York City. Encoded to a single 401 minute DVD for non-stop play. Following the sale of the Advanced Preview Limited Edition (now out of print) Just Dreams has made available this First Limited Edition of 240 copies, in a 'super jewel box' style DVD case with a magazine-size booklet."
DVD $125

USTAD HAFIZULLAH KHAN - Khalifa Kirana Gharana (Just Dreams 05; USA) "Just Dreams' reissue of the out-of-print CD-R originally on the Kirana West label. First recording released by the late Sarangi Master, Khalifa and son of Ustad Abdul Wahid Khan of the Kirana Gharana. Exquisite intonation, pure tone, graceful command of the bow, effortless speed over the complete range of three octaves. 'Tradition, love and devotion -- a beacon of the Kirana Gharana in our time.' --La Monte Young."
CD $17

PANDIT PRAN NATH - Midnight/Raga Malkauns [2 CD set] (Just Dreams 03; USA) "Two full-CD recordings of 'Raga Malkauns' by Pandit Pran Nath, accompanied by full texts of the vocal compositions presented in Devanagri script, phonetic English, word-by-word translation, and poetic interpretation by Sri Karunamayee, a longtime senior disciple of the Master."
CD $36




EINSTURZENDE NEUBAUTEN - On Tour With Neubauten.org [DVD] (Monitor Pop 20; Germany) The legendary German band Einsturzende Neubauten, known since the '80s for their uncompromising approach to music has come up with yet another groundbreaking project far ahead of its times, enabling them to work on their endeavors without needing to bow to the music industry's rules and regulations. What impact this cheeky use of modern technology has had on the band, their fans and the music industry is portrayed in this documentary Einsturzende Neubauten - On Tour With Neubauten.Org by Danielle De Picciotto. Danielle De Picciotto, an American artist living in Berlin since the fall of the wall, has influenced Berlin's cultural scene since 1985 in many ways as the co-innovator of the Love Parade, the Ocean Club with Gudrun Gut and Kunst oder Konig, the club-cultural exhibition series presenting Berlin's creative cross-culture internationally. Also an active member of Berlin's music scene (former singer of the Space Cowboys) she has known Einsturzende Neubauten personally for almost twenty years, following their development with interest. After becoming a member of their new project Neubauten.org, in 2003 she was asked to document the ensuing tour in 2004 by Blixa Bargeld, singer of the band, to provide material for future concert documentaries. Besides filming every show, she interviewed countless "supporters" worldwide, ending up with this documentary -- a courageous example of how following an individual, courageous path can change people's lives worldwide. Includes fascinating bonus material such as: "Die Intonatore," a short film from the supporter "Dihcar and Ste van Holm," a "Making Of" interview with Alexander Hacke, a Blixa Bargeld live track, as well as two slideshows. NTSC format DVD, 4:3, DVD 9, stereo, digipack. Running time: 90 mins.
DVD $22


FE-MAIL - Blixter Toad [2 CD set] (Asphodel 2033; USA) "Fe-mail, Maja Ratkje and Hild Sofie Tafjord, have crafted a site-specific survey of the chaparrals of noise music. As half of the Scandinavian female improv quartet, Spunk, they began to adapt their mediums of French horn and voice to multiple formats for musical arrangements. In working for film, installation, studio, and performance they began to evolve their musical process to a compulsive physical act, opposing their classically trained standards. Exposure to distorted live sampling and field recordings allowed Maja and Hild to grab the limit and make it their instrument. Through synched communication and developed improvisation, their project further evolved into their newest release for Asphodel, Blixter Toad. This two disc set is best described as the taxonomic designation of feminine conviction through gadgetry and acoustic archaeology. Two embryonic visual studies (videos) by Masako Tinaka are included, featuring shot surveillance from the live sessions for the recording of Blixter Toad. The chromatic genus of the species call is best known by its vocal sac that blows up like a balloon and bellows 'scheweeeeeeeee' riffs. Their cut up crescendos of piercing frequencies appear like rattle snakes you find under the rocks, as you search for a jewel-encrusted music box, unsure if they'll poison you or cure you. A voice screams like an effected guitar in the distance, reminding you to come home from the thicket before the animals become more aggressive. Blixter Toad's final track coalesces into the Sunday morning dew collecting on the surface of Fe-mail's electro-acoustic lily-pads."
CD $16




IMPORTANT ARCHIVAL REISSUES AND RESTOCKS:

FELA RANSOME-KUTI AND HIS KOOLA LOBITOS - Highlife-Jazz and Afro-Soul (1963-1969) [3 CD set] (P-Vine 18511/3; Japan) Long awaited 3CD collection (39 tracks) of Fela's earliest material to be released. Nice 48 page booklet of photos and notes (Japanese/English). A bit of overlap with the '69 Los Angeles Sessions CD, but mostly previously unreleased and super rare tracks. "The release of this collection of Fela Ransome-Kuti's pre-Afrobeat music is a major event for fans of both Fela's music and African popular music in general. Many of these recordings(originally issued on European-based labels such as Decca, EMI, Phillips, and Parlophone, as well as Fela's own FRK label) were thought to be lost forever and certainly, were unknown to all but the most fervent Fela enthusiasts. And even these enthusiasts had to endure low fidelity tapes which had been copied over innumerable generations, from original recordings that were not themselves of the highest quality. What little has been known of Fela's highlife period has been largely due to the efforts of Mr. Benson Idonije, Fela's early manager and a long-time proponent of Fela's highlife music. These recordings now re-enter public circulation in much-improved sound quality, via the thankful efforts of the dedicated record collectors who have assembled this compilation. As an overview of a period when one of Africa's greatest musicians was attempting to find his own style, this comprehensive collection finally makes a crucial and fascinating chapter of Fela's career available to African music enthusiasts around the world. "An absolute ass-kicker of a collection by Fela's pre-Afrika 70 highlife band Koola Lobitos, covering the years 1963-1968. Disc One comprises the earliest releases (1963-65) by Koola Lobitos, namely 7" 45 RPM singles originally released on the RK, Phillips, and Parlophone labels - none of which have previously been released on CD to my knowledge. Disc 2 is a full reissue of the 1st Koola Lobitos EMI Nigeria LP, which was partially reissued on Barclay France with 4 cuts missing. This is the entire LP in all of its glory in a worthy transfer - finally! Disc 3 is the real killer for me, though - a reissue of the 1966 Phillips/Polydor 10" live LP "Afro Beat Onstage - Live at the Afro Spot" with 8 additional Phillips West Africa 7" cuts also previously unreleased on CD - meaning there's NO overlap with Barclay's "1969 LA Sessions" disc AT ALL. Also included is a nice thick booklet with discographical info and plenty of photos, as well as liner notes in both English and Japanese. Must I even say the words "recommended"? An absolute must-buy for Fela & highlife fans!! HIGHEST RECOMMENDATION!!" - Mikey IQ Jones.
"If you don't find your body shakin' to this, your doctor takes your pulse with a calendar! - MannyLunch
3 CD set for $50


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


A HANDFUL OF RARE OUT-OF-PRINT ELLIOTT SHARP, BLIND IDIOT GOD, and HENRY KAISER CDs ON 'SST' FOUND!!!

ELLIOTT SHARP/CARBON - Larynx (SST 194; USA) A 41 minute composition, compelling in its reach, for ab enlarged version of Carbon with E#, Samm Bennett, Lesli Dalaba, David Fulton, Ken Heer, David Linton, Charles K Noyes, Bobby Previte, Jim Staley and including The Soldier String Quartet: David Soldier, Ron Lawrence, Laura Seaton, Mary Wooten.
LARYNX is an analogy; the orchestra as a throat. It follows as corollary to the throat as orchestra: throat singing as practised by the Inuit of the Canadian arctic and the hoomii singing of Mongolia, as well as by related jawharp techniques found throughout the world. The natural overtone series is the melodic core of much of these musics and of much of LARYNX. Ratios derived from the Fibonacci Series are use to generate tunings and melodic/harmonic material for the strings, brass, slabs, pantars, and doubleneck guitarbass, as well as rhythmic material for the ensemble. This is a continuation of systems used in such pieces as MARCO POLO'S ARGALI, SELF-SQUARED DRAGON and TESSALATION ROW. Within a given section, some musicians will be strictly utilizing these systems while others will play using their own idiosyncratic processes. Using guided improvisations layered and intertwined with the predetermined materials, the musicians may expand upon and comment tangentially on the given material.
LARYNX is constructed in six major sections with five interludes. The opening and closing use all four drummers; the remaining sections each feature one, with the others playing slabs or samples. Starting with the second section, the order of the featured drummers is: Noyes, Previte, Bennett and Linton. Each has developed a unique vocabulary; I enjoy the contrast between them as well as theit understanding of my compositional syntax. This applies to all of the musicians in CARBON, who are given instructions of varying degrees of specificity in the different sections (ranging from exact rhythms or playing techniques to general notions of density or textures). The same processing algorithms are mapped onto each section, cross-referencing them while yielding radically different sonic textures. One is transported (via interlude) into each new section - the terrain is different, yet one recognizes that the functional identity of the new place is the same (an analogy from topology applies: a torus is a torus is a torus). The interludes form a cycle of their own while connecting the main sections; the same processes are applied to groups of instruments - explicity different but self-similar in both internal and structural workings. The order of interludes is brass, pantars, string quartet, slabs, guitarbass.
On instrumentation: string parts were played by the Soldier String Quartet, whose rhythmic astuteness and enthusiasm for the extended techniques called for in LARYNX made them a pleasure to work with. Their instruments were tuned entirely to the Just intoned ratios of 1/1, 3/2, 8/5 and 5/3 (translating as C, G, Ab, A), generated from adjacent Fibonacci numbers. These tunings were also applied to the slabs, pantars and guitarbass. To maintain the intonation system in the bulk of the piece, all of these instruments were played using only open strings and their overtones. In a like manner, the brass instruments played open pedal tones of those same notes and their overtones. There are, however, a number of places in LARYNX where players are free to use a variety of sound-production techniques well outside any system. Slabs are horizontal basses with a movable bridge in the center of the string span and pickups on either side. They are played with lightweight metal mallets with rubber tips combined with hand-muting to bring out specific overtones. In this way, one slab may be played by two people. They may also be bowed or played with slides. The pantars are the metal tops to sweeping-compound cans fitted with four tunable strings, a contact pickup and a bridge/resonator made of a domed cymbal. They may be plucked, hammered, struck or excited by an E-bow.
When LARYNX was performed at Brooklyn Academy of Music (November 13-14, 1987), it manifested its own musical life, fueled by the inspired contributions of all the musicians. The music dances upon the ever-changing boundary between a geometry derived from the Fibonacci Series and a fractal geometry of turbulence, chaos and disorder. The explicitly-ordered materials are embedded in a dense field of manifold processes. In any section, many micromelodies may operate simultanously; they interact and combine, pop out and reveal themselves. As elements shift, new landscapes emerge (along with new sets of processes). I was not interested in mechanistically assigning musical functions to tables of fractals or in using mathematical functions as artifacts. The eesence of my use of fractal geometry is as a conceptual flamethrower, burning away conventional ideas of structure and development and allowing LARYNX to be heard as a multiplexing of other-than-musical processes. Like a sonic hologram, one may listen from many angles; both the components parts and the whole are simultanously revealed even as they are transfigured in form and function. "Possibly E#'s greatest recording/composition of the Eighties! Extreme THUMBS UP!!! - MannyLunch
CD $14

HENRY KAISER With BILL FRISELL/GLENN PHILLIPS et al - Re-Marrying For Money (SST 222) Originally released on vinyl under the title 'Marrying for Money' (on Minor Music) and re-released on disc with several extra tracks, this album represents avant guitarist Henry Kaiser's more rockish side. Kaiser -- known for collaborations with Derek Bailey, Eugene Chadbourne, the ROVA saxophone quartet, and musicians from traditions of every corner of the globe -- here settles into some relatively basic rock forms, though retaining a certain gnarly-ness derived from his love of Captain Beefheart. The unusual thing is that all the pieces are freely improvised. But contrary to the practices evolved from free jazz or contemporary aleatoric music, here the rhythm siblings Hilary and John Hanes generally establish a straightforward groove over which Kaiser and several guest guitarists improvise. The results are thus more similar to Grateful Dead-style jams (albeit for far shorter durations) than anything produced by, say, Iskra 1903. Though uncredited with such, Kaiser appears to utilize the synclavier he was fond of at the time, and it supplies a somewhat dated, mid-'80s gloss to the proceedings. Still, the recording offers a reasonably enjoyable session and shows a facet of Kaiser's personality of which those who only know him from either his avant-garde or world tendencies may be unaware. ~ Brian Olewnick, AMG
CD $14

HENRY KAISER - Those Who Know History Are Doomed To Repeat It: Expanded CD Edition (SST 198) Guitarist Henry Kaiser manifests at least three distinct personas: the free improvising musician coming out of Derek Bailey, the indefatigable ethnomusicologist discovering obscure musics and demonstrating their relationships to the blues and other forms, and the imaginative cover artist. This last is one of his most successful guises and is on fine display here. Kaiser ...exercises a superb ear in his choice of covers and a creative and buoyant sense of fun in his interpretations. He seems to often favor versions of songs from bands native to his own California, especially those from the Grateful Dead and Captain Beefheart. This disc begins with a rousing version of the Dead's "Mason's Children" and includes a half-hour plus exploration of "Dark Star/The Other One" that will surely satisfy the most die-hard Deadhead. Four shorter Beefheart gems are also beautifully performed. But the oddball highlights are a handful of pieces rarely associated with any kind of avant-garde, including Burt Bacharach's "The Man Who Shot Liberty Valence," given a heartfelt reading by vocalist Cary Sheldon, who also warbles enjoyably on the theme from The Andy Griffith Show [!] and, of all things, "Ode to Billy Joe." The best is saved for last, an instrumental rendition of the Country Joe number "Colors for Susan," with a delicate, John Fahey-ish accumulated strumming that shimmers transcendently. Knowing and repeating history, Henry Kaiser produced one of his finer albums. ~ Brian Olewnick, AMG
CD $16

HENRY KAISER - Devil In The Drain (SST 118) Like Frank Zappa, guitarist Henry Kaiser spent a good portion of the mid-'80s fascinated by the sonic wonders offered by the synclavier keyboard. Devil in the Drain, essentially a solo recording, documents some of his early experiments with it and suffers a bit from the dated quality it confers. He often uses it to generate percussive patterns - his tendency is toward jagged and irregular rhythms derived in part from his love of the work of John French ("Drumbo" in the Captain Beefheart band. The music centers around a niche Kaiser found comfortable, straddling free improvisation and rock, but doesn't reach the free improv heights of some of his best work (the duo Wireforks with Derek Bailey, for example) or the deliciously impassioned cover songs he would do in the next few years. The title track uses text from a children's book by Daniel Pinkwater and has a dark undercurrent not unlike some of Edward Gorey's work, but musically it drags on for too long. Not a bad album, but one that Kaiser completists will enjoy more than the casual listener. ~ Brian Olewnick, AMG
CD $14

BLIND IDIOT GOD - Blind Idiot God (SST 104; USA) Amazing post/punk power metal-like trio of Andy Hawkins (Azonic), Gabe Katz and Ted Epstein. Concocting a unique blend of thrash, math rock, and dub, the instrumental power trio Blind Idiot God burst onto the scene in the late '80s, recorded three fine albums, and evaporated by 1993. Apparently only just out of their teens, the three musicians exhibited startling originality and impressive technique both on their instruments and in the depth and style of their compositions. Their faster, louder pieces are intensely churning, though essentially melodic in nature. Often they begin with anthemic lines, precisely and forcefully etched by Andy Hawkins' guitar, backed by the supple, powerful drumming of Ted Epstein. But, midway through, the melodies tend to be twisted and pulled like taffy, elongating into mutant forms only hinted at previously. This creates a marvelous tension, as one is never certain how a given song will resolve. The listener feels buffeted about, as if inside a roaring engine at 30,000 feet. In a complete and utter about-face, the album ends with three pieces that could hardly be further removed from the divine cacophony of the initial songs. Suddenly, the listener is in a spare, ethereal dub landscape, with Gabe Katz's muted bass throbbing beneath light, floating shards of guitar sound, echoing into the distance. One is all the more impressed by the range of this band, capable of so expertly handling such disparate song forms. This is an extraordinary debut album by a group that proved all too short-lived. ~ Brian Olewnick , AMG
CD $14


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


EXTREMELY LIMITED QUANTITIES OF THESE CLASSIC ECM TITLES, CURRENTLY ONLY AVAILABLE FROM GERMANY... [in stock next Tuesday]


GEORGE ADAMS With DAVE HOLLAND/KENNY WHEELER/JACK DeJOHNETTE et al - Sound Suggestions (ECM 1141; Germany) Tenor saxophonist George Adams' third recording as a leader (following two obscure releases for the Italian Horo label) is a little unusual in that the extroverted soloist is heard on the usually introverted ECM label. Adams is teamed with fellow tenor Heinz Sauer (who has a cooler sound), trumpeter Kenny Wheeler, pianist Richard Beirach, bassist Dave Holland and drummer Jack DeJohnette for five group originals. The playing is advanced though perhaps not as fiery as most of Adams' later sets -STILL SCORES HIGH! ~ Scott Yanow, AMG
CD $23

BENGT BERGER With DON CHERRY et al - Bitter Funeral Beer (ECM 1179; Germany) Bengt Berger ko-gyil (Lo Birifor funeral xylophone), Don Cherry pocket trumpet, Jorgen Adolfsson violin and sopranino soprano and alto saxophones, Tord Bengtsson violin, electric guitar , Anita Livstrand voice, bells, axatse (rattle) Recorded January 1981
The term "cultural imperialism" is often used, justly, when Western musicians appropriate aspects of third world music for their own, watering it down to listener-friendly levels and giving scant acknowledgement to its original creators. Whereas this sort of approach has been the unfortunate rule, from Paul Simon to David Byrne, every once in a while a glorious exception emerges. Such an exception is Swedish percussionist Bengt Berger's Bitter Funeral Beer band.
Berger, who devoted lengthy periods of study to West African music, particularly that of Ghana, assembled a large contingent of fellow Swedes, trained them in various aspects of West African traditions and, most importantly, chose Ghanaian folk themes with utterly beautiful and irresistible melodic lines from which to improvise. Add the illustrious trumpeter (and like-minded world traveler) Don Cherry to the mix, and you have the makings of a stellar album. In fact, it's the bittersweet, off-center lines of Cherry's trumpet work that go a long way toward keeping the pieces pointed and sharp. The members of Berger's band all double on African percussion very effectively, with the leader concentrating on an African xylophone called the ko-gyil, which appears to utilize gourd resonators containing spider webs, producing an enticingly fuzzy rattle beneath the metallic, hammered tones.
At its best, as on pieces like "Chetu" and "Tongsi," the combination of stunningly gorgeous repeating themes and inspired improvising make one wish the music would never stop. This recording, though little known, is one of the very finest items ever released by ECM. While wonderful in and of itself, it might also serve as a fine introduction to West African music, albeit via a circuitous route through Stockholm. - Brian Olewnick, AMG
CD $23

PAUL BLEY WITH GARY PEACOCK/PAUL MOTIAN/BILLY ELGART - With Gary Peacock (ECM 1003; Germany) The very first ECM label release! Paul Bley piano; Gary Peacock bass; Paul Motian drums; Billy Elgart drums. Recorded 1964 and 1968 Gary Peacock shares front-cover billing with Paul Bley on this 1970 session, but drummer Paul Motian is also present on the first five tracks. (Billy Elgart replaces Motian on the remaining three.) There's a curiously straight-ahead, tempo-driven feel to this short and sweet disc, quite unlike the free aesthetic that Bley, Peacock, and Motian put forward when they returned to ECM as a trio on 1999's Not Two, Not One. That's not to say the music is conventional: there are two tunes apiece by Bley, Ornette Coleman, and Annette Peacock and one by Gary Peacock, in addition to the lone standard, Jerome Kern's "Long Ago and Far Away." (The finale, "Albert's Love Theme" by Annette Peacock, stands out as the most abstract of the bunch.) The brittle, lo-fi sound doesn't detract from the album's historical value. ~ David R. Adler, AMG
CD $23

MARION BROWN With ANTHONY BRAXTON/CHICK COREA/JEANNE LEE/ANDREW CYRILLE - Afternoon Of A Georgia Faun (ECM 1004; Germany) Marion Brown alto saxophone, zomari, percussion; Anthony Braxton alto and soprano saxophones, clarinet, contrabass clarinet, chinese musette, flute, percussion; Bennie Maupin tenor saxophone, alto flute, bass clarinet, acorn, bells, wooden flute, percussion; Chick Corea piano, bells, gong, percussion; Andrew Cyrille percussion; Jeanne Lee voice, percussion; Jack Gregg bass, percussion; Gayle Palmore voice, piano, percussion; William Green top o'lin, percussion; Billy Malone african drum; Larry Curtis percussion Difficult as it may be for younger listeners to believe, there was a time when ECM released adventurous, improvised music. Back near its inception in the early 70's, the label issued a wide variety and decent number of challenging, avant-garde recordings that represented some of the most forward-looking musical thinkers of the time. One of these was Marion Brown who, at the time of this session, was about midway between his extreme post- Coltrane explorations and the luscious, down-home evocations of Georgia that he would create for Impulse over the next few years. He gathered eleven musicians including a couple from the then-current Miles Davis Bitches Brew band (Chick Corea and Bennie Maupin), the then little-known Anthony Braxton, Andrew Cyrille and the late, great vocalist Jeanne Lee for two sidelong, wide-ranging pieces. The first, the title track is a wonderful, percussive evocation of pastoral Georgia, something along the lines of what the Art Ensemble of Chicago was doing around the same time but without the satire and with a greater sense of serenity. As the flutes, reeds, voice and piano enter, there is no idea of "soloing"; instead, each contributes to the ongoing, evolving texture of the piece creating a fabric that's as cohesive as it is unplanned. The remaining cut, "Djinji's Corner", is a bit more fleshed out, a little more "traditional" in one way, though still quite unusual for the time. Again, a reference point might be Art Ensemble works from around the same time, here a melange of free horns and intense percussion, with Jeanne Lee soaring over the top, mixing words and glossolalia, similar to her stellar work on Carla Bley's Escalator Over the Hill. The effect is more eerie and spiritually infused than the preceding piece, with keening, bowed cymbals and deep pulses from the lower clarinet family. It gradually builds to something of a frenzy, but in an unforced manner that shows it to be merely another approach to the territory explored earlier. Afternoon of a Georgia Faun is a lovely, inspired album, a key work in Marion Brown's oeuvre and a recording that belongs in any collection of contemporary jazz. ~ Brian Olewnick, AMG
CD $23

GARY BURTON QUINTET [PAT METHENY/MICK GOODRICK/STEVE SWALLOW/BOB MOSES] With EBERHARD WEBER - Ring (ECM 1051; Germany)
CD $23

MICHAEL MANTLER/CECIL TAYLOR/JAZZ COMPOSER'S ORCHESTRA With DON CHERRY/PHAROAH SANDERS/STEVE LACY/ROSWELL RUDD/GATO BARBIERI et al - The Jazz Composer's Orchestra (ECM/Watt 1801; Germany) Cecil Tayor piano; Don Cherry cornet; Roswell Rudd trombone; Pharoah Sanders tenor saxophone; Larry Coryell guitar; Gato Barbieri tenor saxophone; Carla Bley piano; Steve Lacy soprano saxophone; Michael Mantler soprano saxophone; Lew Tabackin tenor saxophone; Randy Brecker fluegelhorn; Jimmy Knepper trombone; Howard Johnson tuba; Charlie Haden bass; Steve Swallow bass; Andrew Cyrille drums; Beaver Harris drums Recorded March 1976
CD $23

MICHAEL MANTLER With ROBERT WYATT/CARLA BLEY/TERJE RYPDAL/STEVE SWALLOW/JACK DeJOHNETTE et al - The Hapless Child (ECM/Watt 4; Germany) Compositions by Michael Mantler and lyrics from "Amphigorey" by the fur-swathed Edward Gorey, who writes and draws the "miseries of childhood", comprise "the most bizarre album of Gorey Stories" as the Washington Post wrote. "The Hapless Child" unites Carla Bley on keyboards with Jack de Johnette on drums and Steve Swallow on electric bass with Robert Wyatt's lisping vocals and Terje Rypdal's soaring guitar. "The Hapless Child emerges as an extremely impressive album"- Melody Maker. Robert Wyatt vocals; Carla Bley piano, clavinet, string synthesizer; Steve Swallow bass guitar; Jack DeJohnette drums, percussion; Terje Rypdal guitar; Alfreda Benge speaker; Albert Caulder additional speaker; Nick Mason additional speaker
CD $23

PAUL MOTIAN TRIO With BILL FRISELL/JOE LOVANO - It Should've Happened A Long Time Ago (ECM 1283; Germany) Paul Motian drums; Bill Frisell guitar; Joe Lovano tenor saxophone. Recorded July 1984 This trio, the root of the Paul Motian Quintet that also included the late Jim Pepper and bass player Ed Schuller, was one of the most musical and "songish" that ECM had ever recorded. All three men are masters of understatement and heartbreakingly beautiful melodic invention, and also possess a collective well of deep lyricism in their improvisations. They had another thing in common, all having been sidemen for many years before becoming bandleaders in their own right. In fact, Lovano was only then, in 1984, beginning to consider himself a bandleader. There isn't a display of ego anywhere on this recording or the quintet's wonderful The Story of Maryam (Soul Note 1074). Motian is credited with all the compositions here, but it's obvious they come from the collective. While the title track that opens the record is full of the lilting melodic invention Frisell is well known for, it is actually the short sonorous lines that Lovano feeds to Motian that illumine the cut and give it its sense of open space and interval. "Fiasco" is a study in three part counterpoint: From Frisell to Motian to Lovano, the fury of the improvisation is tempered only by dynamic restraint and the intention on the part of the trio to hear the harmonics they are creating as microtones. Elsewhere, such as on "India" and the closer "Two Women of Padua," the tonal registers of the guitars and saxophone become the voices in "songs" offered up in different emotional and musical circumstances, but in the manner of singing nonetheless. Intervallic invention here becomes its own m.o. and, given the depth of melodic interplay, a fluid musicality is ensured. This is one of the finest recordings that came from ECM in the '80s. Paul Bley led another, which featured Motian and Frisell -- as well as John Surman. This set is made of the kind of music that made Manfred Eicher's ECM such a force to be reckoned with. It placed three musicians in a context that was comfortable enough to make them want to sing to one another. ~ Thom Jurek, AMG
CD $23

PAUL MOTIAN TRIO With CHARLES BRACKEEN/J F JENNY-CLARK - Le Voyage (ECM 1138; Germany) Paul Motian drums, percussion; J.F.Jenny-Clark bass; Charles Brackeen tenor and soprano saxophones. Recorded March 1979. Paul Motian's second late-'70s trio excursion with Charles Brackeen on saxophones substitutes Jean-Francois Jenny Clark for David Izenson on bass with no drop-off in quality, but definitely one in mood. Tadayuka Naitoh's cover photo -- three blurry figures in black against an amorphous color backdrop (could be bundled-up women waiting at a crossroads) -- is a pretty good visual representation of the introspective, abstract flavor of Le Voyage. "Folk Song for Rosie" opens muted with Brackeen's moody, bluesy soprano and a notably spare, melancholy bass solo from Jenny-Clark before "Abacus" embarks on an angular, obtuse melody. "Cabala/Drum Music" starts mournfully with an arco bass solo before launching into a drum solo, but Motian is actually less a drummer than a percussionist on "Le Voyage." Throughout the disc, he works mostly from the cymbals and clicking percussion effects -- the drums themselves are more commonly used in flurries of rhythmic commentary, implying the beat more than laying down a swinging foundation. "The Sunflower" opens with another bass-drum dialogue before Brackeen's melody launches into serious interval leaps and spiraling, vaguely Albert Ayler-esque lines that suggest where he'd end up on his string of exceptional Silkheart albums ten years later. The closing title track finds him back on soprano, in ethereal float mode over the interplay of Clark's twisting lines and Motian's bursts that launch more intense improvisations. Le Voyage is a very reflective, ruminative disc bordering on chamber jazz and marked by that distinctive ECM sound, clean but very distant. It's top-quality music, but look to Dance for more liveliness and ebullience in this phase of Paul Motian's career. ~ Don Snowden, AMG
CD $23

PAUL MOTIAN TRIO With CHARLES BRACKEEN/DAVID IZENZON - Dance (ECM 1108; Germany) Paul Motian drums, percussion; David Izenzon bass; Charles Brackeen soprano and tenor saxophones.Recorded September 1977 Although drummer Paul Motian is the leader of this trio set with the brilliant bassist David Izenzon, it is Charles Brackeen, heard on tenor and soprano, who is generally the solo star. Motian's six originals (which include "Waltz Song," "Kalypso," "Asia" and "Lullaby") contain plenty of variety and generally live up to their titles. ~ Scott Yanow, AMG
CD $23

EVAN PARKER ELECTRO-ACOUSTIC ENSEMBLE - Drawn Inward (ECM 1693; Germany) This is the second spectacular recording from Evan Parker's amazing acoustic/electronic all-star quartet with three extra sound processors who also add live electronics. This is also Evan's long-standing trio/quartet that includes Philipp Wachsmann on strings & electronics, master double-bassist Barry Guy and percussionist Paul Lytton on even more selective electronics. The sound processors/live electronics are by Lawrence Casserley, Walter Prati & Marco Vecchi and each one approaches his task differently. Although each member of the acoustic quartet's individual sound is so utterly distinctive, the sound processing and live electronics often blur the lines of distinction. Evan's mesmerizing circular (breathed) sax lines are usually at the center of the focused haze, weaving waves of liquid notes. There are pieces like "Travel in the Homeland" where there are electronics only and their carefully crafted sounds are as intricate, hushed and rich as the acoustic quartet's sounds. The cosmic fabric that holds all of these sounds together is made from one special thread that runs through the entire ensemble. This music is never too dense and always flows in a natural stream - which comes from the long journey & exploration of (European) improvised music done with over thirty years of searching. This is the ultimate challenge - fucking brilliant! - BLG
CD $23

BARRE PHILLIPS With JOHN SURMAN - Journal Violone II (ECM 1149; Germany) Barre Phillips bass; John Surman soprano and baritone saxophones, bass clarinet, synthesizer; Aina Kemanis voice. Recorded June 1979
CD $23

TERJE RYPDAL With BARRE PHILLIPS/CHRISTENSEN - What Comes After (ECM 1031; Germany) Terje Rypdal guitars, flute; Barre Phillips basses; Jon Christensen percussion, organ; Erik Niord Larsen oboe, English horn; Sveinung Hovensjo electric bass. Recorded August 1973
CD $23

KENNY WHEELER With EVAN PARKER - Around 6 (ECM 1156; Germany) Kenny Wheeler trumpet, flugelhorn; Evan Parker soprano and tenor saxophones; Eje Thelin trombone; Tom van der Geld vibraharp; J. F. Jenny-Clark double-bass; Edward Vesala drums. Recorded August 1979
Kenny Wheeler's third ECM album as a leader is most notable for teaming his trumpet with the innovative tenor and soprano of Evan Parker, a brilliant British avant-garde player who is often overlooked in the U.S. With fine playing from trombonist Eje Thelin, vibraphonist Tom Van Der Geld, bassist J.F. Jenny-Clark and drummer Edward Vesala, the sextet performs six Wheeler originals that combine together advanced swinging with fairly free explorations. Stimulating music. ~ Scott Yanow, AMG
CD $23


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


FRICTION - '79 Live [CD + DVD] (P-Vine SSAP 001/002; Japan) New series of reissues and archive vault material from Pass Records, licensed to P-vine. Pass was the quintessential Japanese no-wave label of the late 70s, although they only released a handful of items (best know for Friction and Phew). This Friction CD/DVD is a new archival release, issued for the first time. The CD is live material from 1979, recorded live at Taku-Taku, 12/16/79. 10 tracks, 3 of which are not from their first LP. The DVD features Friction filmed live, from 1979, but a 8mm movie by Reck and Mogi Emiko, simply called 1979-80 8mm Film. Dedicated to Sam Fuller
CD & DVD set for $32

FRICTION - Friction (P-Vine SSAP 003; Japan) Deluxe reissue, packaged in mini-LP jacket sleeve. This is the second Japanese-only reissue of the debut self-titled Friction album, originally issued by Pass in 1980. Friction was the trio of: Reck, Tsunematsu Masatoshi & Chico Hige. Bassist Reck had resided in NYC in the late '70s and played with James Chance and the Contortions as well as Lydia Lunch in the No Wave heyday. Friction was the band he formed upon returning to Japan in 1978. The band continued to exist for the better part of two decades and eventually issued a domestic album on Tzadik in 1999 (Zone Tripper), but this heavily charged debut (aggressive rock/punk, informed by No Wave and Japanese noir aesthetics) was their defining moment. Considered the most legendary underground Japanese group of the time (their albums were at least barely available in the US, unlike the earliest efforts from Keiji Haino or the Alchemy label), now reissued for the second time in equally definitive fashion.
CD $23

PASS NO PAST [V.A.] - EPs & Singles [2 CD set] (P-Vine SSAP 004/005; Japan) Artists: Friction, Tsunematsu Masatoshi, Phew, Boys Boys, Totsuzen Danball, Gunjogacrayon, E.D.P.S. (aka Tsunematsu). Pretty impressive double CD from Pass records vaults, including all of their original 7" 1& 12" EP material, plus a previously unreleased track by Tsunematsu Masatoshi (who was the guitarist/leader of Friction along w/ Reck). The first two Friction singles are featured, including non-LP b-sides -- never seen records from the collector scum pantheon. The Phew material is her famous duo work with Ryuichi Sakamoto, from 1980. Totsuzen Danball later, somewhat famously, recorded an album with Lol Coxhill. All material here from 1979-82. With two booklets which feature large repros of all covers and other related flyers, etc.
2 CD set for $32


OTOMO YOSHIHIDE/BILL LASWELL/YOSHIGAKI YASUHIRO - Soup (P-Vine 5856; Japan) OK, fans of Painkiller, Massacre and even Last Exit - this one's for you! Damn, I've been waiting more than two years for something this hard hitting involving bass-supremo Laz, this time in a power trio with Otomo [guitars and occasionally turntables] and, from Otomo's New Jazz Quintet, Yoshigaki Yasuhiro [drums]. Four long pieces: "Mushroom", "Seaweed", "Crab", and of course "Duck" [Soup]. We had to get these from Japan ourselves, so stock is ltd.
CD $24

OTOMO YOSHIHIDE/BILL LASWELL/YOSHIGAKI YASUHIRO - Soup Live [2 CD set] (P-Vine 18509; Japan) The power trio of Laswell [bass and effects], Otomo [guitars and effects] and, from Otomo's New Jazz Quintet, Yoshigaki Yasuhiro [acoustic and electric drums, trumpet], returns on this 2nd recording, showing that live performances [December 14 & 15, 2003] blow away their arguably fantastic studio recording! Guests on the live performances include Akira Sakata [alto saxaphone], Yuji Katsui [violin], Naruyoshi Kikuchi [tenor saxaphone and organ]. The titles of the cuts are again various foodstuffs found in 'soup: Chikin, Corn, Onion, Eel, Pea, Clam, Truffe
2 CD set for $36


ACHIM REICHEL & MACHINES - Echo/A.R. IV [2 CD SET] (New Amos 02; Germany) Two-fer reissue of Achim Reichel's 2nd and 4th albums: Echo (1972), A.R. IV. (1973). Both originally issued by Polydor, Germany and never on CD (at least complete) before. During the early 70s Reichel recorded a series of 6 albums (for Polydor, his own Zebra imprint, and finally, Brain), first as A.R. & Machines, later as just AR. Heavily influenced by the infinite possibilities of trance expansion via the power of echo, this is beautifully cycled psychedelic guitar music, in a league with Manuel Gottsching/Ash Ra Temple's most transcendent works. "Beyond Rock 'n' Roll, improvisation and experimental freedom were tempting me. I discovered that you can do more things with an Akai X-3300 than simple tape recordings. I used it as an echomachine, and the guitars gave the impulse. The oscillating cascades of echoes gave the time. Like the meditative relaxation produced by mantra repetitions, it is the echoes of manually played melodies in the machine rhythm...I had to get used to an echomachine working like a 'self-fulfilling prophecy'; it mercilessly repeats everything that has been fed in - also the mistakes. The interary of the songs was similar to the one in jazz or Indian raga. We had a suitcase full of melodic themes that were used according to 'the situation of the wind and the position of the runway.'" -A. Reichel. "Regarding Echo: Mighty, mighty space-kraut monster-piece from 1972. This band led by Achim Reichel (now an actor) were masters of echoplex guitar and phased-out drums. Layers of phased, echoed guitar and ghostly mellotron choirs. A full orchestra is used at times (though in a minimal manner as Schulze did on his early LPs) and Reichel sings about various mystical things like 'truth-seers' and '6,000,000,000' years ago or something. It's the music that impresses most though - the mellotron and real choral work is great." - David Abe
2 CD set for $28


MARY-ANNE PATERSON - Me (Sunbeam 5010; UK) Firmly established as one of the rarest records of its time, and never reissued until now, Mary-Anne Paterson's sole album is a beautiful combination of traditional and original material whose echoing production perfectly captures her haunting voice. Originally released in 1970 on President Records, Sunbeam's reissue of Me is sure to appeal to all folk lovers, and will surely elevate Mary-Anne to where she belongs -- alongside Vashti Bunyan and Anne Briggs in the pantheon of Britain's leading female folk singers. This release is licensed and re-mastered from the original tapes.
CD $16

ROGER RODIER - Upon Velveatur (Sunbeam 5012; UK) Often compared to the work of Nick Drake, Upon Velveatur is a dense and mysterious French-Canadian folk-psych suite, featuring beautiful melodies, lush orchestration and scorching electric guitar. Barely circulated on its original release in 1972, it has gathered a major cult following and is now making its first appearance on CD, complete with five bonus tracks, rare photographs and sleeve-notes by the enigmatic Mssr. Rodier himself.
CD $16


AVE MARINA [V.A.] - Ten Years of Marina Records [2 CD set] (Marina 060; Germany) Marina celebrates its 10th anniversary with the release of a special double CD and a special limited triple vinyl edition. Marina Records is well known for albums like Caroline Now! The Songs Of Brian Wilson And The Beach Boys and Shack's classic masterpiece Waterpistol. The label also released celebrated anthologies by two of the most influential British bands, Josef K and The Pale Fountains, a compilation of the essential works by German film music legend Peter Thomas and the acclaimed comeback album by legendary '60s group The Free Design. Other well-known acts from the Marina stable include The Pearlfishers (one of Marina's bestselling acts in the course of four albums) and the solo debut by Orange Juice founding member James Kirk. All Marina acts are featured on Ave Marina, plus a number of friends and special guests like Edwyn Collins, Tahiti 80, Van Dyke Parks and Kim Fowley. Among the 38-tracks are selected nuggets from the Marina back catalogue as well as many exclusive contributions recorded especially for this set. The compilation comes in a beautiful 2CD digipak (with a fat multi-coloured booklet) and as a limited triple vinyl edition. Both sets feature many many photographs and info on the label history.
2 CD set for $18.

THE FREE DESIGN - Cosmic Peekaboo (Marina 052; Germany) Originally released in 2001, this release saw the return of one of the most idiosyncratic and original groups from the sixties: The Free Design -- cited as a main influence by artists like Stereolab (who named an entire EP after the group), The High Llamas, Saint Etienne and Cornelius (who reissued their sixties recordings on his own Trattoria label). The group recorded seven albums between 1967 and 1973, and originals of these albums are now extremely sought-after. Free Design main man Chris Dedrick agreed to a one-off reformation in 2000 to contribute to the Marina compilation of Caroline Now! The Music of Brian Wilson and the Beach Boys. This led directly to a full-scale reunion, and Cosmic Peekaboo presented the first new material by The Free Design in almost 30 years. Performed by the original line up that recorded their 1967 debut album Kites Are Fun, Cosmic Peekaboo is a complex masterpiece of unique beauty, abstract vocal harmonies and truly unusual arrangements of all new original songs. Over 30 years, The Free Design remain separate from the pack with a completely unique artistic vision. Cosmic Peekaboo is as heavenly and artful as pop can be.
CD $16

[V.A. Tribute To BRIAN WILSON] CAROLINA NOW - The Songs of Brian Wilson and the Beach Boys (Marina 050; Germany) Originally released by Marina in 2000, Caroline Now! celebrates the songs of Brian Wilson and The Beach Boys with a main focus on their lesser known gems including previously unissued compositions. It features exclusive contributions by such eminent Wilson-o-philes as Alex Chilton, Teenage Fanclub's Norman Blake, Kim Fowley and Belle & Sebastian's Stevie Jackson. Most of the tracks appear in quite different sounding reworks. Highlights include The High Llamas' electronic version of "Anna Lee The Healer" and Saint Etienne's sparse "Stevie." The legendary '60s group The Free Design specially reformed for this occasion with their first recording in 30 years. The 24-page booklet features extensive liner notes, an exclusive Brian Wilson interview and many rare photographs. Get ready for some good, good vibrations!
CD $16


XTC/ANDY PARTRIDGE - Explode Together - The Dub Experiments 78-80: XTC 'Go +'/Andy Partridge 'Takeaway - The Lure Of Salvage' (Virgin; UK) Dub versions of tracks from Go 2 [the 'Go +' ep, originally packaged with UK LP copies of Go 2] and later XTC albums [the Andy Partridge mini-LP ['Takeaway/The Lure Of Salvage']. Part One (Go +): Dance With Me, Germany; Beat The Bible; A Dictionary Of Modern Marriage; Clap, Clap, Clap; We Kill The Beast;
Part Two (Take Away): Commerciality; The Day They Pulled The North Pole Down; The Forgotten Language Of Light; Steam Fist Futurist; Shore Leave Ornithology (Another 1950); Cairo; Part Three (The Lure of Salvage): The Rotary; Madhattan; I Sit In The Snow; Work Away Tokyo Day; New Broom.
"Some of the most playful, creative 'instrumental versions' you're ever likely to hear..but look who it came from! All THUMBS UP!" - MannyLunch
CD $16



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


DMG RECOMMENDED NYC GIGS [very short this time around due to lack of staff time]




DMG's Free Weekly In-Store Music Series Continues Every Sunday at 6pm With:


Sunday, April 2nd at 6pm:
ANDREW BARKER/WELF DOOR/HARRIS EISENSTADT!
New cello/sax/drums trio makes its DMG debut!


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


GET YOUR TICKETS NOW!!!...

The Tzadik Label New Music Series
Presents "New Voices from Japan"
Curated by John Zorn and featuring

HAINO KEIJI, MAKIGAMI KOICHI, YAMATAKA EYE, MIKE PATTON, JIM O'ROURKE, IKUE MORI & JOHN ZORN

Friday & Saturday, May 12th & 13th, at 7:30pm
at The Japan Society - 333 East 47th St. in NY, NY
Box Office: 212-715-1258 (M-F, 10am - 4:45pm)
Website: www.japansociety.org


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


THE STONE is located at the NW corner of Avenue C & 2nd Street
Performances take place at 8 & 10pm from Tuesday - Sunday nights
There are no advance tickets, first come, first served, there is no phone
There is no food or beverage served, just a serious listening environment
Admission for each set is $10, unless otherwise indicated
Check out the website for The Stone at thestonenyc.com

April 2006 at The Stone is curated by Eyvind Kang and Jessika Kenney

4/1 Saturday
8 pm - William Parker (bass, etc.) Federico Ughi (drums) Daniel Carter (piano, alto and tenor saxophones, flute, trumpet, clarinet)
10 pm - Eri Yamamoto (piano) William Parker (bass) Anders Nilsson (electric guitar) Federico Ughi (drums) Daniel Carter (alto and tenor saxophones, flute, trumpet, clarinet)

4/2 Sunday
8 pm - Brent Arnold (cello) Noriaki Watanabe (software synthesizers)
10 pm - Kato Hideki (bass, electronics) James Fei (electronics)


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


Sound Infusion Spring Mini-Festival, April 6/7/8
curated by James Ilgenfritz - www.jamesilgenfritz.com
At the Elixir Juice Bar - 95 West Broadway
123 A, C or E train to Chambers


April 6th, Thursday
8PM James Ilgenfritz / Jon Moniaci / Chris Peck
8:45 Anthony Burr solo
9:30 Christmas Decorations
10:15 John O'Brien / Evan Mazunik / Christian Pincock

April 7th, Friday
8PM Aaron Siegel / Sam Amidon Duo
8:45 Jonathan Goldberger
9:30 James Ilgenfritz / Harris Eisenstadt / Michael Attias
10:15 Kresten Osgood / Michael Gregory Jackson


April 8th, Saturday 8PM Shayna Dulberger / Chris Welcome / John McLellan
8:40 Adam Lane Duo
9:20 Ty Cumbie Trio
10PM James Ilgenfritz Solo
10:40 Anders Nilsson / Ken Filiano Duo


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


World Music Played by Neighbors

Hell's Kitchen Cultural Center, Inc.
A Tax-Exempt Not-For-Profit Community Group

A new Manhattan music festival is giving a new meaning to roots music.

The 'Rhythm in the Kitchen' line-up:

Friday March 31st
8 p.m. Neal Kirkwood (pianist/band-leader, lives on 9th Avenue)
9 p.m. Ellery Eskelin (saxophonist/composer, lives on W. 43rd)/Sylvie Courvousier
10 p.m. Jack Walrath (trumpeter and 43rd Street resident)/Boris Kozluv
11 p.m. Brian Smith (Hell's Kitchen resident)/Kali. Z. Fasteau/Abdoulaye Alhassane


Saturday April 1st
8 p.m. Tom Hamilton (electric sound artist/synth player, lives on 8th Avenue)/Lisle Ellis
9 p.m. Sonny Simmons (saxophonist and Hell's Kitchen resident) duo
10 p.m. The Gift: William Hooker (drummer and W. 52nd Street resident)/Roy Campbell/Jason Hwang
11 p.m. Scott Wilson (oud player who lives on 8th
Avenue) & group


'Rhythm in the Kitchen,' an unusually eclectic and avant garde festival that will run from March 30 to April 1 at Metro Baptist Church at 410 W. 40th Street, features 11 combos led by musicians who live in the Hell's Kitchen neighborhood. 'Rhythm in the Kitchen, the product of an unlikely collaboration between a jazz musician and a housing organizer, is the city's first music festival devoted entirely to musicians who live in a single neighborhood.

"While most of the city's music spots highlight music and musicians from all over the globe, our festival is going local," said William Hooker, a free-jazz drummer and one of the founding members of the Hell's Kitchen Cultural Center, which has organized 'Rhythm in the Kitchen.'

Hell's Kitchen, on the west side between 34th Street and 59th Street, had a long history as the city's tenderloin district, a place where criminals ruled the roost. In recent years, though, the neighborhood was one of the last bastions of reasonable rents in Midtown, and a wide variety of creative artists were lured by its affordable apartments and unpretentious atmosphere.
Now, as the neighborhood is becoming prohibitively expensive, Bob Kalin, a tenant organizer in Hell's Kitchen for 27 years and co-founder of Hell's Kitchen Cultural Center, says it is important to highlight the importance of affordable rents to New York's arts and music scene. Said Kalin, "The fact that Hell's Kitchen was affordable attracted innovative people to the neighborhood. We want to celebrate the incredible artistic diversity of the community."
'Rhythm in the Kitchen' is the opening act for the Hell's Kitchen Cultural Council. The group also plans an ambitious ongoing series of events featuring Hells Kitchen residents who are working in the visual arts, dance, literature, spoken word, and other art fields.

For information contact: Bob Kalin - 212 765-8446 - bobkalin@yahoo.com


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


Here's some gigs with Lukas Ligeti

Saturday, APRIL 1, 10 pm, FREEZONE Series at CAFE GRUMPY (193 Meserole Ave. @ Diamond St., Greenpoint, Brooklyn, subway: G to Greenpoint or Nassau):

DOMENICO SCIAJNO (electronics)/LUKAS LIGETI (drums) DUO

Domenico is a rare guest from Italy who works with Alvin Curran and many other excellent musicians and has developed a very individual language with Max/MSP.

The evening starts at 8 pm with Kurt Heyl & Ravi Padmanabha; at 9 pm is a Sachimay Interventions showcase with Chris Welcome and Shayna Dulberger; Domeinco and I are on at 10. But come early and listen to more music!
http://www.freezoneny.org
http://www.cafegrumpy.com


Thursday, APRIL 6, 8 pm, FREESTYLE JAZZ Series at JIMMY'S RESTAURANT (43 East 7th St. between 2nd&3rd Aves., East Village, NYC, subway: F to 2nd Ave. or L to 3rd Ave.):

DANIEL KELLY TRIO: DANIEL KELLY (piano), BRIGGAN KRAUSS (sax), LUKAS LIGETI (drums)
This should be a great group - great musicians & great fun.

Also on the bill: James Finn Ensemble @ 10, Eastern Seaboard @ 11
http://www.freestylejazz.com ---------------------------------------------------------------------------- Sunday, APRIL 9, SHARE at MUNDIAL (505 East 12th St. between Aves. A&B, East Village, NYC, subway: L to 1st Ave.): MARTIN PHILADELPHY'S PAINT Philadelphy (his real name!) is a very cool and entertaining guitarist from Austria with whom I occasionally tour. The lineup for his group Paint changes, but this time may (or may not) include Christian Martinek (turntables), Marty McCavitt (keys/electronics), and Tom Abbs (bass). The group will also perform in Washington, D.C. (see below). Share events usually start at about 7 pm and go on until 1 pm. I think (maybe double-check the website to make sure) that Paint will play at 10:30 pm. Before and after, there will be various electronic music. http://www.share.dj - http://www.philadelphy.at *********************** Neues Kabarett Music Series presents JOE MCPHEE - APRIL RESIDENCY Friday, April 14 and Saturday, April 15, 2006 at The Brecht Forum - 451 West Street between Bank and Bethune and at Inwood Hill Park/Indian Caves www.brechtforum.org - 212-242-4201 TRIO X WITH JOE MCPHEE, DOMINIC DUVALL AND JAY ROSEN! Friday, April 14 - 9 pm at The Brecht Forum Saturday, April 15 (RAIN DATE: April 16) - 1:30 pm Free / donations accepted Co-sponsor "April is the Coolest Month" at Inwood Hill Park


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


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.