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ATAVISTIC REISSUE SALE!

HAN BENNINK - Nerve Beats - 1973 (Atavistic UMS 206; USA) Han Bennink is one of the founding figures of European improvised music; longtime musical partner of Misha Mengelberg and co-founder of the Instant Composer Pool (ICP). Recorded for Germany's Radio Bremen in 1973, in the period when Bennink was storming Europe in a trio with Peter Brotzmann and Fred Van Hove, Nerve Beats comes from a time when Bennink deployed a gigantic setup: metal percussion, tons of extra drums, tablas, an early drum-machine, as well as non-percussive instruments like trombone, clarinet & various impossible-to-describe objects. A 3 track live concert, Nerve Beats is also the only live document available of Han performing solo at this time. Nerve Beats has been mastered from the radio session original tapes and sports new hand-done cover art by Bennink (also an accomplished visual artist).
CD $15

BOXHEAD ENSEMBLE with MICHAEL KRASSNER / FRED LONBERG-HOLM / GLENN KOTCHE /et al - Quartets {soundtracks](Atavistic ALP 136; USA) America's only possible answer to God Speed You Black Emperor has delivered their fourth proper album and a billowing cloud of phantom sensations it is, indeed. On this voyage, the Ensemble consists of leader Michael Krassner (Lofty Pillars), Jessica Billey (SMOG), Michael Colligan (Pillow), Ryan Hembrey (Edith Frost, ex-Pinetop Seven), Glenn Kotche (Wilco, Jim O'Rourke, Loose Fur), Fred Lonberg-Holm (Terminal 4, Brotzmann Tentet), and Scott Tuma. An ethereal, drifting work in the spirit of the wonderful 'Dutch Harbor' soundtrack, 'The Last Place to Go' and 'Two Brothers', 'Quartets' also features music from the Ensemble's contributions to the HBO Film "The Smashing Machine". Superb, sublime and quite haunting, once again.”
CD $15

BOXHEAD ENSEMBLE with DAVID GRUBBS / JIM O’ROURKE / WILL OLDHAM / KEN VANDERMARK / et al - The Last Place To Go...(Dutch Harbor European Tour)(Atavistic ALP 96; USA) Dutch Harbor: Where The Sea Breaks Its Back Is A Lyrical, Black-And-White, Feature-Length Documentary Film Chronicling The Life And Landscape Of One Of America's Last Frontiers: The Industrial Fishing Port Of Dutch Harbor On The Island Of Unalaska, Halfway Along The Aleutian Chain Between The Bering Sea And The Pacific Ocean.
   The Film Soundtrack, Directed By Michael Krassner And Released By Atavistic In Spring '97, Featured Largely Improvised Ensemble Performances By Joseph Ferguson, David Grubbs (Gastr Del Sol/Red Krayola), Charles Kim (Pinetop Seven), Douglas Mccombs (Tortoise), Will Oldham (Palace), Jim O'Rourke (Brise Glace/Gastr/Et. Al.), David Pavkovic (T.O.E. Inc.), Rick Rizzo (11Th Dream Day) And Ken Vandermark (V5, Nrg, Dkv). The Film And Soundtrack Met With A Degree Of Favor In Europe, And In November '97, We Embarked Upon A Five-Country, 16-City Film Screening And Live Performance Tour. The Lineup Changed Slightly By The Time Of Departure, And Continued To Evolve Throughout The Trip As Scheduling Conflicts And Other Entanglements Prohibited Most From Committing To The Entire Itinerary. This Insured That Each Night Was Entirely Different, Creating A New Montage As The Images Continued To Grow And Change With The Different Accompaniments. Performers On The Euroepan Screening Tour Included Grubbs, Kim, Krassner, Oldham, Rizzo, Vandermark, Who Were Joined By Edith Frost, Ryan Hembrey (Pinetop Seven), Julie Pommerleau (Bobby Conn Experience), Scott Tuma (Souled American), And Mick Turner & Jim White (The Dirty Three).
   These Once-In-A-Lifetime Combinations Of Musical Talent, Venues, Circumstances, And Certainly The Visual Stimulation Generated By The Backdrop Of The Projected Film Have Resulted In A Truly Sublime Recorded Work, Totally Unique And Perhaps Even More Captivating Than The Film Soundtrack.”
CD $15

BOXHEAD ENSEMBLE with MICHAEL KRASSNER / JEFF PARKER / FRED LONBERG-HOLM / GUILLERMO GREGORIO / GLENN KOTCHE / JIM WHITE / MICK TURNER / et al] - Two Brothers (Atavistic 126; USA) “The Boxhead Ensemble makes a glorious return after nearly a two-year hiatus, under the direction of Michael Krassner (Lofty Pillars); Two Brothers is their most distinctive & compelling album yet. Superbly recorded by Krassner & Joe Ferguson at Truckstop Chicago,Two Brothers is a modern day meditation on 19th century American musics, circa the Civil War era. Highly detailed acoustic instrumentation dominates the aural landscape, propelled by the bountiful talents of Mick Turner & Jim White (The Dirty Three), Ryan Hembrey (Pinetop Seven), Glenn Kotche (Pinetop Seven/Jim O'Rourke), Fred Lonberg-Holm (Terminal 4), Jeff Parker (Tortoise/Isotope/Tricolor), Scott Tuma (Souled American), Jeff Tweedy (Wilco) Jessica Billey (Smog/ Sally Timms/ Lofty Pillars) & Guillermo Gregorio (Unheard Music Series) An extremely inviting haze emanates quietly fromTwo Brothers, drawing you further & further into its sonic web. You'll not find another record remotely like it this year-- or in any other, for that matter. Despite an ever-changing cast of musical talent, The Boxhead Ensemble has evolved into something much greater than it's low key origin as a soundtrack generator for Braden King's Alaskan landscape documentary, Dutch Harbor. After three great releases, a very successful European tour and film screenings around the world, Two Brothers knits another rich, otherworldly tapestry documenting the evolution of The Boxhead Ensemble.”
CD $15

GLENN BRANCA / THE STATIC & THEORETICAL GIRLS - Songs ’77 - ’79 (Atavistic ALP 43; USA) The Release Of The Recordings Of Glenn's Late '70's No Wave Bands Is Finally A Reality... And More Comprehensive Than Expected. These Tracks Are The Earliest Emanations Of Rock Publicly Delivered By The Man Called Branca, Thoroughly Foreshadowing The Vast domain Of Post-Modern Rock In More Ways Than You'D Expect. All The Proper Studio Recordings From Both Singles By The Static & Theoretical Girls Are Here, Plus Outrageous & Inspired Home Cassette Recordings. Songs '77-'79 Is A Must For Any Branca Zealot, Many Sonic Youth Fans, And For Those Curious About The Missing Links Between The Halcyon No Wave Era & The Dawn Of The '80's "Downtown" NYC Scene.
CD-EP $12

GLENN BRANCA with THURSTON MOORE / LEE RANALDO / BARBARA ESS / DAVID ROSENBLOOM / NED SUBLETTE / et al - Indeterminate Activity Of Resultant Masses (Atavistic 46; USA) Long Rumored, Long Awaited And Essentially First-Time Issue Of This Incendiary Branca Masterwork, Recorded In 1981 At Nyc's Radio City Studios- During The Peaked Out Early Era Of Glenn's "Guitar Army" Ensembles- And Shortly After The Release Of The Ascension Ep On 99 Records.
   Featuring Contributions From Soon-To-Be Sonic Thurston Moore & Lee Ranaldo, As Well As Branca Mainstays Craig Bromberg, Barbara Ess, Jeffrey Glenn, Sue Hanel, David Rosenbloom And Ned Sublette, Indeterminate Also Contains Two Other Pieces: John Cage's Infamous Anti-Branca Interview With Wimmertins, Captured At Chicago's Navy Pier Back In 1982; And A Gorgeous, Previously Unreleased Composition "Harmonic Series Chords", Performed By The New York Chamber Sinfonia In 1989. This Potent, Apocryphal Missing Link In The Master's Discography Has Finally Been Made Available For Public Consumption!
CD $15

GLENN BRANCA with THURSTON MOORE / LEE RANALDO / MICHAEL GIRA / et al - Symphony No. 3 (GLORIA)(Atavistic ALP 08; USA) One of Branca's earlier "Guitar Army" pieces, a Crystalline Beauty from 1983 featuring Barbara Ess, Thurston Moore, Lee Ranaldo & Michael Gira as ensemble members. Sonic Youth & SWANS we really just getting their respectively brilliant careers underway at this point, so dig the post-NO WAVE sound of NYC right here, right now.
CD $15

GLENN BRANCA - Symphony No. 5 - Describing Planes of an Expanding Hypersphere (Atavistic ALP 15; USA) Though he once again includes a subtitle that is imbued with matters arcane ("Describing Planes of an Expanding Hypersphere"), Symphony No. 5 actually harkens back more to Branca's earlier rock-based compositions than to more diffuse works like Symphony No. 3. Stefan Wischerth's steady drumming, which might sound leaden in other contexts, is featured prominently here and propels the 11-piece ensemble dramatically through each movement. The final section -- filled with dense, industrial thrashings and a fractured rhythm -- breaks character somewhat, bringing the piece to an unsettling close. As with several prior works, the "guitars" in question appear to be homemade models consisting of guitar strings and pickups attached to wooden planks, laid in tiers horizontally and played with mallets or sticks. By using several different tunings (all, knowing Branca's methodology, presumably related in some obscure mathematical fashion), the chords created are both complex and ambiguous, and virtually always fascinating. If there's a complaint to be lodged with this composition, perhaps it is that it comes across more as a series of individual movements and less as a whole, organic form. But those movements offer more than enough pleasures to highly recommend the album both to Branca fans and to newcomers seeking to learn about his music. - Brian Olewnick, AMG
CD $15

GLENN BRANCA - Symphony Nos. 8 & 10: The Mysteries (Atavistic 12; USA) Stunning, heavy requiem for ten electric guitars acclaimed by village voice, N.Y. Times, A/P, Chi. Tribune & many more; two symphonies on CD! Some classic Branca, now back in print. Originally recorded and released in 1994. Minimal and massive, for fans of Sonic Youth, Black Lips, etc. "Subtitled "The Mystery" and "The Mystery Pt. 2," these two symphonies concern themselves with the two big questions: Life and Death. They are both scored for eight guitars, two basses, keyboard, drums, vocal and two conductors. Symphony No. 8 has two movements: "The Passion" and "Spiritual Anarchy" that both build upon sustained tones that create a counterpoint by means of delays in scale and other patterns and micro tunings. There are also two movements in Symphony No. 10: "The Final Problem" and "The Horror." These are built in a similar manner to the techniques in No. 8 but the tuning and scales employed are different, creating another sensation yet still as intense and continuous in rhythm as No. 8." - "Blue" Gene Tyranny, All Music Guide
CD $15

GLENN BRANCA - Symphony No. 13: (Hallucination City) For 100 Guitars (Atavistic 12; USA) Glenn Branca's work as a composer spans music for experimental rock bands, large ensemble instrumentals for electric guitars, 16 symphonies, chamber ensemble pieces, an opera, a ballet, choral works and music for film, dance, theater &installation art. Now considered by many to be one of the most influential living composers (both in the fields of alternative and experimental rock, as well as contemporary classical music), Branca's work has inspired and influenced two generations of composers and musicians, major rock stars, Academy Award winners, and Pulitzer prize composers. His animated style of conducting has recently begun to change perceptions about the role of the conductor in serious music performance. Branca is the inventor of The Harmonics Guitar and a theory of music based on the Harmonic Series as well as various tuning systems. He has designed and/or built many of the instruments used in a number of his pieces. He is also a founder of The No Wave Movement that started in downtown NYC during the late 70's that has now become, after many decades, an international movement in the underground music scene. His works for orchestra have been performed by 14 orchestras worldwide, notably: The London Sinfonietta conducted by Paul Daniel, The Orchestra Of St. Lukes conducted by David Alan Miller and The St. Louis Symphony Orchestra conducted by David Robertson. Hundreds of extensive articles and interviews about Glenn's work have been published in major publications, books and music dictionaries worldwide. He has worked with some of the most important artists of our time: Twyla Tharp, David Bowie, Peter Greenaway, Eiko and Koma, Eric Bogosian, Robert Longo, Laura Dean, Dan Graham, The Wooster Group, The Joffrey Ballet, The Alvin Ailey Company, Sonic Youth, The Kronos String Quartet, The Bang On A Can All-Stars, Crash Ensemble and many others.
CD $15

PETER BROTZMANN with DEREK BAILEY / FRED VAN HOVE / EVAN PARKER / WILLEM BREUKER / SVEN AKE JOHANSSON / HAN BENNINK / et al - F*ck De Boere (1968-70)(Atavistic ALP 211; USA) Two Concert Recordings- Never Before Released, Mastered From Original Radio Master Tapes- By Larger Groups Led By The German Saxophone Legend Peter Brotzmann. Both Recorded By The Esteemed Hessischer Rundfunk Organization At The Frankfurt Jazz Festival, In 1968 And 1970. Two Of The Most Explosive, Rivetting Pieces Of Music Ever To Come Out Of The European Vaults.
   First: An Unheard Alternate Version Of Brotzmann's Groundbreaking "Machine Gun," This Time With A Nine Piece Group (Same As The Lp, Adding Tenor Saxophonist Gerd Dudek), Recorded Three Months Before The Bro/Fmp Record Was Made! A Beautiful Recording, Revealing Some Heretofore Obscure Aspects Of The Composition, It's Sure To Be A Favorite For Free Jazz Fans Of Any Stripe.
   Second: A 40-Minute Masterpiece From '70, With A Large Group Featuring Three Tenors, Three Trombones, No Bassist, Fred Van Hove On Organ (!), Derek Bailey On Guitar And Han Bennink And Sven-Ake Johansson On Drums. It's A Monumental Piece, Featuring Some Of The Most Extreme Bailey On Record (Sounding At Times Like Masayumi Takayanaki From Five Years Later), And Tremendous Interplay Between Brotz, Evan Parker And Willem Breuker. Dedicated At The Time To South African Bassist Johnny Dyani, It's A Moving Poem On Forces Of Oppression And The Idea Of Resistance.
   This Deluxe Package Includes A12-Panel Foldout Booklet Designed By Brotzmann, Including Very Personal Liner Notes By Him; Two Beautiful Period Photographs (The Waft Of Late '60's Freedom Off These Is Utterly Exhilarating And Undeniable), And The Cover Photo Sports A Large Joseph Beuys-Like Sculpture Peter Created During The Same Period. Fuck De Boere: Don't Miss It.
CD $15


PETER BROTZMANN TRIO with PETER KOWALD / SVEN AKE JOHANSSON - For Adolphe Sax (Atavistic ALP 230; USA) At last, the reissue of German saxophonist Peter Brotzmann's long out-of-print first record, one of the most auspicious debuts of free music, and a trenchant tribute to the inventor of the saxophone. FOR ADOLPHE SAX is a roundhouse punch of European free jazz, delivered in 1967 by the saxophonist's first classic trio featuring drummer Sven-Ake Johansson and bassist Peter Kowald. Initially issued in a tiny private run on Brotzmann's own BRO label - silkscreened cover designed by Brotzmann, with hand-stamped inner record labels - it was later reissued on FMP as one of the earliest in the Berlin-based label's extensive, essential catalogue. Unheard Music Series has lovingly remastered FOR ADOLPHE SAX from the original tapes, and the package includes a plump gallery of period photos from Brotzmann's personal collection. In addition to the original music, the CD is augmented by a never-released nine-minute track, recorded in the studios of Radio Bremen, which adds Belgian pianist Fred van Hove to the trio; in a way, this group give a hint of the transition from Brotzmann's initial threesome with Johansson and Kowald to the next working trio with Van Hove and drummer Han Bennink.
CD $15

PETER BROTZMANN with FRANK WRIGHT / WILLEM BREUKER / TOSHINORI KONDO / HANNES BAUER / ALEN TOMLINSON / ALEX VON SCHLIPPENBACH / HARRY MILLER / LOUIS MOHOLO - Alarm (1981)(Atavistic  ALP 257; USA) Intense Fmp Archive Reissue On Atavistic's Unheard Music Series, Featuring An Incredible, International Line-Up Led by Brotzmann, Esp Records Reed-God Frank Wright & Icp Mainstay Willem Breuker (Saxes), The Inimitable Alex Von Schlippenbach (Piano), South African Legend Louis Moholo (Drums), Harry Miller (Bass), Toshinori Kondo (Trumpet), And Hannes Bauer & Alan Tomlinson (Trombones).
   (Excerpted From Peter's Liner Notes): 'the Story Is Simple. We Were Touring With This Band, And The Reason I Could Put The Band Together In The First Place Was A Radio Gig In Hamburg. Michael Naura, Chief Of The Jazz Dept There, Was Setting Up A Series Of On-Air Concerts In A 200-Seat Studio, So We Performed The First Piece, Which I Called "Alarm." I Used The Graphic Instructions For A Reaction To A Nuclear Emergency, A Series Of Waves And Straight Tones, Repeated In A Certain Way.
   We Had Planned Two More Pieces, One By Willem Breuker And One By Frank Wright. My Piece Took About 40 Minutes, The First Half Of The Concert. At The End Of The Performance, Naura Came To Me ' While We Were Still On The Air ' And Whispered That The House Got A Bomb Threat And Had To Be Evacuated. So I Had To Bring The Piece Quickly To An End, And The Audience Was Asked To Leave The Hall. We Also Had To Pack And Leave. Police And Special Forces Showed Up With All Kinds Of Equipment, Gear, Dogs ' We Know All That Better Now Than Then."
CD $15


PETER BROTZMANN & PEETER UUSKYLA - Born Broke (Atavistic ALP 185; USA) "Peter & Peeter have once again joined spirits and forces, picking up where their trio with Peter Friis-Nielsen left off -- this time as a reeds-n'-drums duo delivering a blowout double-CD -- whose only remote competition in the field understandably comes from Messrs. Vandermark & Nilssen-Love's two-man implosion unit, Dual Pleasure. A fresh double-dose of soul-purge from free men, presented in a Brotz art-brute package. From Uuskyla's liner notes: 'The liferoad of the one life you have. Been fighting all the time for playing untouchable sounds of simple music. My definition of beauty. Untouchable, therefore powerful, simple, therefore universal, for everyone. But you are notable to keep it only yourself, that's the strength. No amplification, not even monitor speakers or headphones needed for this duo. The punch and the scream -- the foundation of natural music-making!'"
2 CD Set $18

PETER BROTZMANN / FRED LONBERG-HOLM - The Brain Of The Dog In Section (Atavistic 186; USA) "Peaked-out duo recordings from one of the founders of the form and his ever adventurous, cello-torque-ing protege. Recorded live in November 2007 at Chicago's famed Hideout destination, Peter Brotzmann and Fred Lonberg-Holm combine for the first time ever in this penultimately intimate configuration. Although 'The Brain Of The Dog' was recorded in an ultra-industrial urban warehouse district, the resulting music is uber-organic, almost onomatopoeic at points. Certainly, fans of 'Schwarzwaldfahrt', Brotzmann and Han Bennink's now classic free-jazz camping trip deep into Germany's Black Forest, are strongly urged to check into this seminal blast!
CD $15 [last 5 copies - 10/2/20]

NELS CLINE / ANDREA PARKINS / TOM RAINEY - Out Trios Vol. 3 (Atavistic ALP 148; USA) Featuring our main man Nels Cline on el. guitar & devices, Andrea Parkins on accordion, keyboard & sampler and Tom Rainey on drums. This is an improvised studio recording, although the inside pix are taken from their set at Tonic, probably later that same day. Although this is improvised, there is a great deal of focused interaction and intricate dialogue going on throughout. All three players are masters of improv, creating structure and connecting layers of detailed sonic spice. Tom Rainey, who can most often be found working with Tim Berne, Mark Helias and Angelica Sanchez, has his own very special rhythmic magic going on, he spins his web while connecting the trio to an inner thread. Although Andrea and Nels play mostly keyboards and guitar, they create evocative moods and textures, by manipulating their instruments in different ways, making it difficult to tell who is doing what. There are actually a number of quieter and more suspense filled sections then one might imagine, but mainly, everything remains pretty mesmerizing throughout our journey. - BLG at DMG
CD $15

EIGHT EYED SPY with LYDIA LUNCH / PAT IRWIN / JIM SCLAVUNOS / GEORGE SCOTT III / MICHAEL PAUMGARDHEN - Collection (Atavistic ALP 75; USA) Personnel: Lydia Lunch, Pat Irwin, Michael Paumgardhen, Jim Sclavunos, George Scott III.Lydia Lunch, member of defunct late-70s punk/no wave band Teenage Jesus and the Jerks, was known for an extreme, often confrontational style. In between Teenage Jesus and the beginning of her solo career, she formed 8-Eyed Spy, a band that took the cacophony of her first band and made it more palatable with elements of post-punk and funk. Skronking saxophone and pounding basslines define this collection, with 15 tracks of Lunch's off-the-wall sing/speak style, one that would mature into the erotic/atonal bent that defined her solo career. On songs such as "Run Through the Jungle," it's clear where post-feminist bands such as Huggybear and Heavens to Betsy culled their inspiration. A chilling voice punctuates a background of circular bass notes and jangly guitar amidst subtle cymbal-driven rhythms. Seminal stuff.
CD $15

FAUZ’t / ZEV - From the Frozen South (Atavistic ALP 192; USA) Faust were the certainly among the leaders of Germany's "Krautrock" movement back in the early 70s. Ensconced in "The Pantheon" forever as truly visionary artists, their early records still sound light-years ahead of their time 30 years later. FROM THE FROZEN SOUTH features original Faust mainman Hans Joachim Irmler joining forces with the iconic 'scape artist/percussionist Z'EV at FAUST Studios. The topologically-charged results range from spacious and soothing through full-on digital brutality; each piece is subtly tinged with both artist's distinct & respective take on the out-rock they helped create. FROZEN SOUTH offers a glacial essence of the sounds these two legends have created & incorporated over the last 30 years, plus new ideas & experiments- each distilled through a once-in-a-lifetime collaboration. An incredible sonic journey made by two of the genre's pioneers to be sure; a monument to the avant-garde, perhaps... but steadfastly, as always: of and for the People!
CD $15

FLESH EATERS - No Questions Asked (Atavistic ALP 143; USA) A deluxe reissue of the seminal, long out-of-print debut release by '70s L.A. punk icons, The FLESH EATERS- featuring 10 bonus tracks & deluxe artwork! From BYRON COLEY'S Liner Notes: "Of all the great bands that the L.A. underground produced in the 70s, none were more corrosively poetic, more explosively visionary than the Germs and The Flesh Eaters. The major early recordings of the Flesh Eaters have been unavailable for many years; a cultural wrong finally being righted by this excellent package. The lyrics are bleeding collages of B-movie dementia, Mexican Catholicism & Dionysian punk-spurt poetics. The vocals are powerful cat-scratched patterns of night-ripping fear, huge bursts of raunch-vomit, and cascades of pure and toxic love. Just as The Birthday Party took basic punk dynamics into new corridors of rhythmic/dynamic gloom, so do the Flesh Eaters. This is the meat that lies at the beginning of the Flesh Eaters' trail. Lap at its essence. Revel in its power. And rejoice!
CD $15

GLOBE UNITY ORCHESTRA with ALEXANDER VON SCHLIPPENBACH / PETER BROTZMANN / EVAN PARKER / WILLEM BREUKER / GRED DUDEK / MANFRED SCHOOF / ALBERT MANGELSDORFF / PETER KOWALD / DEREK BAILEY / JACKI LIEBZEIT / MANI NEUMEIER / et al - Globe Unity ’67-’70 (Atavistic 223; USA) Since The Beginning Of The "Free Jazz Era" In 1960 At That Time, We Played Almost Exclusively In Small Groups - I Was Fascinated By The Idea Of Playing Our "New" Music With A Large Ensemble.
   A Compositional Commission From Rias-Berlin For The Berliner Jazztage 1966 Made It Possible For Me To Pursue This, And I Was Able To Put Together A Big Band Of Some Suitable Musicians I Knew, In Which Two Already-Existing Groups (The Manfred Schoof Quintet And The Peter Br'tzmann Trio) Provided As It Were A Double Nucleus Of "Globe Unity" (As My Piece Was Titled).
   The Premiere Performance, In November 1966 In The Berliner Philharmonie, Was A Sensational Success, Because The Press Outdid Themselves Equally In Extravagant Praise And Hysterical Vituperation. With This, The Globe Unity Orchestra Was Founded And Began Its Career, Which Lasted More Than Twenty Years. The Compositions Presented On This Cd Originated In Radio Commissions For The Donaueschinger Tage F'r Neue Musik ("Globe Unity 67") And For The Berliner Jazztage ("Globe Unity 70"). The 67 Piece Is Based On The Systematic Application And Expansion Of The Procedures Already Used In Globe Unity 66. In This Respect, "Globe Unity 70" Is Determined More By Aleatorics And By Semantic Information For The Players.”
CD $15

GUSH with MATS GUSTAFSSON / STEN SANDELL / RAYMOND STRID - Norrkoping (Atavistic ALP 161; USA) Norrkoping album for sale by Gush was released May 10, 2005 on the ATAVISTIC label. Recording information: Crescendo, Norrkoping, Sweden (05/05/2003). Norrkoping songs Gush: Mats Gustafsson (reeds); Sten Sandell, Raymond Strid. Norrkoping album for sale Personnel: Mats Gustafsson (flageolet, soprano saxophone, tenor saxophone, baritone saxophone); Sten Sandell (piano); Raymond Strid (drums). Norrkoping CD music The Wire (p. 74) - This is probably the most even and well-paced of the group's recordings to date.... Mats Gustafsson howls like a young silverback..
CD $15

KEES HAZEVOET & HAN BENNINK - Calling Down The Flevo Spirit (Atavistic ALP 259; USA) Seminal, Orgone Free-Jazz Freakout finally released on the Unheard Music Series! Kees Hazevoet & Han Bennink - Calling Down The Flevo Spirit. The UMS is proud to (finally) reissue 1978's refreshingly unique duo recordings from Kees Hazevoet (c.f., the UNLAWFUL MUSIC & PLEASURE reissues on UMS), and legendary Dutch percussionist/DaDa enthusiast Han Bennink (c.f., NERVE BEATS, BALLS, FMP144 & much more on the UMS).
CD $15

STEVE LACY QUINTET with STEVE POTTS / IRENE AEBI / KENT CARTER / KENNETH TYLER - Esteem - 1975 (Atavistic 260; USA) This rarity was recorded live in Paris in February of 1975 and features Steve Lacy on soprano sax & compositions, Steve Potts on alto & soprano saxes, Irene Aebi on cello & violin, Kent Carter on bass and Kenneth Tyler on drums. This band was in residence at La Cour des Miracles, a club in Paris throughout most of February and December of 1975. This amazing 78 minute disc features six mostly long pieces, some pieces heard on other discs in much different form and a few never heard anywhere else. This bands burns from the first note of "The Crust", with an incredible, smokin' sax solo from Steve Potts. The rhythm team here is also in fine form, both Kent Carter on contrabass and Ken Tyler on drums, who played with Cecil Taylor in 1978. The under-recognized Steve Potts, who played with Lacy for many years, is a perfect partner and plays powerfully throughout, often sounds as if he is about to explode. "The Uh Uh Uh" is dedicated to Jimi Hendrix and features some bent harmonies for the saxes and Irene's cello, as well as an odd rhythmic scheme. Although the playing is inspired throughout, these are taken from cassette recordings and the sound not that great. The title track begins with some intense high-pitched, double sax squealing, bent bowed strings underneath and selective percussive punctuation. Both completely focused and totally far out, this remains one of the finest offerings we've heard from the late and much-missed Steve Lacy. The saxes and strings almost sound like bagpipes as they drone strange harmonies together. "Flakes" features some extraordinary cello from Irene, proving that she should be regarded amongst the best of those out/jazz string players like Abdul Wadud. "The Duck" is another twisted gem with both saxes doing some duck-like squawking at the beginning. The piece builds in waves as strings are plucked quietly beneath the saxes which keep erupting over and over. Too much! One of the most challenging Steve Lacy discs ever, are you ready for it?!? - Bruce Lee Gallanter, DMG
CD $15

FRED LONBERG-HOLM TRIO With JASON ROEBKE/FRANK ROSALY - Other Valentines (Atavistic 165; USA) The FLH Trio is Fred Longberg-Holm on cello, Jason Roebke on bass and Frank Rosaly on drums. They return with their second album for Atavistic: a beautifully conceived, bittersweet follow-up volume-and companion piece to their first effort, 'A Valentine For Fred Katz'. Just three originals and the rest covers from an odd assortment of songwriters: Sun Ra, Syd Barrett, Gil Scott-Heron, Catpower, Wilco and Fred Katz. Sun Ra's "east of uz" opens and has a cool, slightly bent melody and strong cello solo from Fred. I don't Catpower's "fool", but it does have a rather sad, yet charming melody. "Arnold Layne" is from the very first Pink Floyd album and might seem like an odd choice, yet Fred turns the song inside-out by bowing the strings and bending the melody as he twists it into a new shape. Fred's own "almost mid-day" is a touching ballad, sad and lovely. Gil Scott-Heron's "Winter in America" might also seem like a strange choice, but again Fred shows that melody is a most enchanting one and plays it in a touching, solemn way. Each piece here has thoughtful, charming melody and does a fine job of touching out hearts. Bassist Jason Roebke takes a sublime solo on his own tune "I got nothing". The trio brings things to a righteous conclusion on Fred Katz's "to my buddy, buddy", another long, melancholy piece that is both is delicately sad and beautiful. - BLG
CD $15

FRED LONBERG-HOLM TRIO With JASON ROEBKE/GLENN KOTCHE - Terminal Valentine (Atavistic ALP 180; USA) "Chicago's Renaissance man Non-Pareil, Fred Lonberg-Holm and his Trio return with Terminal Valentine, their third proper studio album for Atavistic. With the sympathetically beatific rhythm section of Jason Roebke (bass) & Frank Rosaly (drums), FLH pushes the Trio into a more experimental direction - yet somehow their signature creation of warmth and intimacy still commands the proceedings. Trump l'oeil treats, an homage to Gainsbourg & props to the real old school complete the atmosphere. We may not have made the Valentine's Day release date, but a dose of Terminal Valentine is certainly good for the restless heart - any day of the year."
CD $15

JOE MANERI / PETER DOLGER - Peace Concert [1964](Atavistic ALP 267; USA) A long-lost '60s treasure from the east coast rescued and produced by Ken Vandermark's father, Stu! The "Peace Concert", as performed in 1964 by living legend Joe Maneri (alto) and Peter Dolger (drums) has finally been exhumed and properly buffed for public consumption. This never-before released recording has been mastered from the original tapes, and includes an in-depth interview with Boston's elder statesman of improv, conducted by Stu Vandermark. For those caught unawares, Mr. Maneri is the father of violinist Mat Maneri, and is highly regarded as one of the true pioneers of the "language" of the alto saxophone (in fact- Joe has also created a surreal, intense spoken dialect all his own as well that often accompanies his musical performances). Mr. Vandermark is a long-time co-conspirator, contributor and fixture on Boston's jazz & improvised music scene; he possesses a formidable "lifetime of listening" knowledge base on these matters. Check into this outer-orbiting destination in the Unheard Music Series galaxy (and find out why these two men's sons turned out so well)!
CD $15 [5 left - 10/2/20]

MARS - 78 (Atavistic ALP 48; USA) As is our ongoing mission at Atavistic, we're absolutely thrilled beyond repair to bring you music that sounds as FRESH & EXCITING now as it did 40s year ago: a reissue of the work of seminal NO NEW YORKERS, Mars! Shamelessly artistic and equally as talented, Mars made their name and staked their claim on the late 70s NYC circuit by playing spectacular dives such as MAX'S, IRVING PLAZA & CBGB's. Deemed "A language on the threshold of comprehensibility", and loathed by many back in the day due to their absurdly ahead-of-their-time brilliance, we hereby bear witness & offer these legendary testimonies: "Sounds Like tortured children singing in seven different tongues"-LYDIA LUNCH.; “Now THAT'S entertainment" -RICHARD HELL. "Primitive Art of the highest order" -JIMMY JOHNSON. "Mars' obvious antecedents are The VELVET UNDERGROUND" -SOHO WEEKLY NEWS, 1978. They remain, for us, the eternal standard for skull-drilling, mixed doubles guitar rock...
CD $15

JOE McPHEE - Nation Time (Atavistic 201; USA) Excerpted from KEN VANDERMARK's Liner Notes: "Joe McPhee mapped out a stylistically expansive set, one that embraced methods as diverse as those developed by Archie Shepp, Sun Ra, the Art Ensemble Of Chicago, Grant Green, Cecil Taylor & Sonny Rollins on the three tracks encompassing NATION TIME. Joe & his band, through vision and work, made these various approaches their own. NATION TIME represents real "FREE JAZZ": the freedom to pursue sounds & rhythms that inspire players to improvise with individual vitality & passion - no matter what different kinds of music are represented. McPhee knew this four decades ago, as did many of the other musicians whose ideas can be felt in the vibrations on this album. It's about time we all caught up to Joe McPhee's inclusionary tactics. He called for them almost 40 years ago when these tracks were recorded, and yet many people still haven't figured out that music IS free when the ears become free to listen without preconceptions & prejudice.
CD $15

JOE McPHEE - Trinity (1971) (Atavistic ALP 214; USA) Intense Fmp Archive Reissue On Atavistic's Unheard Music Series, Featuring An Incredible, International Line-Up Led by Brotzmann, Esp Records Reed-God Frank Wright & Icp Mainstay Willem Breuker (Saxes), The Inimitable Alex Von Schlippenbach (Piano), South African Legend Louis Moholo (Drums), Harry Miller (Bass), Toshinori Kondo (Trumpet), And Hannes Bauer & Alan Tomlinson (Trombones).
   (Excerpted From Peter's Liner Notes): 'the Story Is Simple. We Were Touring With This Band, And The Reason I Could Put The Band Together In The First Place Was A Radio Gig In Hamburg. Michael Naura, Chief Of The Jazz Dept There, Was Setting Up A Series Of On-Air Concerts In A 200-Seat Studio, So We Performed The First Piece, Which I Called "Alarm." I Used The Graphic Instructions For A Reaction To A Nuclear Emergency, A Series Of Waves And Straight Tones, Repeated In A Certain Way.
   We Had Planned Two More Pieces, One By Willem Breuker And One By Frank Wright. My Piece Took About 40 Minutes, The First Half Of The Concert. At The End Of The Performance, Naura Came To Me ' While We Were Still On The Air ' And Whispered That The House Got A Bomb Threat And Had To Be Evacuated. So I Had To Bring The Piece Quickly To An End, And The Audience Was Asked To Leave The Hall. We Also Had To Pack And Leave. Police And Special Forces Showed Up With All Kinds Of Equipment, Gear, Dogs ' We Know All That Better Now Than Then."  
CD $15

MY CAT IS AN ALIEN ENORE ZAFFIRI - Through The Magnifying Glass Of Tomorrow (Atavistic ALP 189; USA) “Clandestine Auteurs The Opalio Brothers (Aka My Cat Is An Alien) Have Deftly Sprinkled Our Solar System With Their Beautifully Fragile, Arcane Soundscape/Tracks Via Their Own Opax Label, As Well As Multimedia Collaborations With Vanguards Such As Sonic Youth, Christian Marclay, Keiji Haino, Thurston Moore, Lee Ranaldo, Text Of Light, Jim O'Rourke, Mats Gustafsson, Loren Mazzacane Connors, Christina Carter Of Charalambides, Jackie-O Motherfucker & Black Magic Disco- And Even Have Been Commissioned To Design A T-Shirt For The Wire.
   Atavistic Is Most Definitely Thrilled To Have The Pleasure Of Releasing Through The Magnifying Glass Of Tomorrow, A Freshly-Minted Collaboration With One Of The Pioneers Of Radical Italian Electronic Music, Enore Zaffiri.
   Mr. Zaffiri, Composer And Founder Of The Legendary Smet (Studio Di Musica Elettronica Di Torino) In 1964, Is 80 Years Old And Has Been A "Reclused" Artist For Decades. After Meeting Maurizio And Roberto, He Decided To Set Up A Collaborative Project With Them. Their Recordings From The Western Alps Of Bella Italia, Through The Magnifying Glass, A Cd Dvd Release Running Over Two Hours, Is The Haunting Result From The Gathering Of These Fellow Musical Cosmonauts.”
CD $15

MANI NEUMEIER with OREN AMBARCHI - Smoking the Contracts (Atavistic ALP 198; USA) Drummer legend Mani Neumeier meets up with guitar extraordinaire Oren Ambarchi and others. "Smoking the Contracts" consists of two extended tracks recorded live in Melbourne in 2007 and 2009. One a duet between Mani and Oren and the other a quartet where the two are joined by Brandan Walls (guitar) and Edmondo Ammendola (bass). Only musicians of this caliber could conjure up a performance as powerful and interwoven as these recordings.
CD $15

(((POWERHOUSE SOUND))) with KEN VANDERMARK / JEFF PARKER / JOHN HERNDON / INGEBRIGT HAKER FLATEN / NATE McBRIDE / LASSE MARHAUG - Oslo/Chicago: Breaks (Atavistic ALP 177; USA) (((POWERHOUSE SOUND))) was formed in 2005, originally with KEN VANDERMARK on tenor sax, INGEBRIGT HAKER FLATEN & NATE McBRIDE on basses, LASSE MARHAUG on electronics and on drums. For (((PHS)))'s double-cd debut OSLO/CHICAGO: BREAKS, Vandermark composed tracks with the idea of building the music from the perspective of the bass- instead of the more conventional "top down" approach of composition construction, as he puts it. "The three major influences I considered when putting the music together were the rhythmic ideas of James Brown, the dub ideas of Lee Perry, and the collage ideas of Public Enemy." The Chicago-based touring line up, featuring VANDERMARK, McBRIDE, JEFF PARKER & JOHN HERNDON (both of TORTOISE) continue to work from these original concepts developed at the band's inception... Yet (((POWERHOUSE SOUND))) is undoubtedly here to test any and all genre "qualifiers" used within the independent music industry today!
2 CD Set 20

ROVA ORKESTRA with NELS CLINE / FRED FRITH / IKUE MORI / OTOMO YOSHIHIDE / et al - Electric Ascension (Atavistic 159; USA) Massive interpretation of John Coltrane's ASCENSION, performed by an all-star ensemble featuring The Rova Saxophone Quartet, Nels Cline (Wilco), guitar legend Fred Frith, Ikue Mori (formerly of DNA), turntable wizard Otomo Yoshihide, plus other stellar guests. "Coltrane's Ascension belongs right up there in the pantheon of multi-recorded masterworks. We had a very heavy line-up of "free-jazz" players who we thought could handle the large ensemble improvisations, but somewhere in the middle of the performance, as I was standing onstage in a state of reverie listening - I looked up at the sky and thanked my lucky stars for the experience that I was then taking part in. The respect everyone has for the composer, for the other musicians involved, and for the form called "structured improvisation" makes the music what it is. We are indebted to John Coltrane (and other great artists) for inspiring us to engage uncompromisingly in the risky business of creativity." -Larry Ochs/Rova, 2003
CD $15

TRICOLOR with JEFF PARKER / TATSU AOKI / DAVID PATROVIC - Nonparticipant Milk    (Atavistic ALP 131; USA) “One of Chicago's great young jazz trios, Tricolor's music exists in a constant state of organic duality. Somehow simultaneously playful yet sophisticated, traditional but free, avant while poppy- Tricolor seem to spontaneously infuse all they do with an undeniable freshness & vigor. Comprised of Tatsu Aoki (Fred Anderson Trio) on bass, Jeff Parker (Tortoise/Isotope/Boxhead) on guitar, and David Pavkovic (T.O.E./Boxhead) on drums, Tricolor has delivered a great second full-length album entitled Nonparticipant Milk. Recorded live at Chicago's Hothouse, N M finds them at their elemental best- the telekinetic vibes are flowing more freely than ever. Less composed and much more adventurous than their debut, Mirth Feckless (which was recorded over a period of two years) , N M superbly documents Tricolor's uncanny improvisational sense as well as their uniquely tuneful nature.”
CD $15 [3 left - 10/2/20]

KEN VANDERMARK SECTION:

BRIDGE 61 with KEN VANDERMARK / JASON STEIN / NATE McBRIDE / TIM DAISY - Journal (Atavistic ALP 172; USA) Given The Logistical Hiatus That Spaceways Inc. Has Found Itself Occupying, Ken Vandermark Was Seeking To Create Another Mode Of Expression For Those Groove-Centric Hunks Of Sound. Ergo: The Birth Of Bridge61, Featuring Kv, Spaceways Inc. Bassist Nate Mcbride, V5/Sia Trapman Tim Daisy, And Newcomer Jason Stein On Bass Clarinet.
   Bridge61 Was Formed In Chicago During December, 2004; All Four Members Contribute To The Ensemble By Submitting Compositions, Considering Arrangements, Working Through Material Equally. Utilizing Its Existing Histories As A Source For New Potential In Musical Exploration, The Combination Of Instruments At Bridge61's Disposal Allows Them To Utilize A Startling Range Of Sound And Tactics With The Material, Easily Moving From The Character Of An Austere Chamber Ensemble To That Of Radical Electric Noise- Or To A Kinetic Energy Hymn In Any Given Set During A Performance. Most Importantly, The Band Makes The Connection Between These Varied Aesthetics, Giving Them A Formal Sense & Structure.”
CD $15

[FIREROOM with] KEN VANDERMARK / LASSE MARHAUG / PAAL NILSSEN-LOVE (Atavistic ALP 183; USA) A Tempest Of E-Jazz-Noise Erupts On The Atavistic Debut From Fireroom, A New Project Between Longtime Collaborators Ken Vandermark, Lasse Marhaug & Paal Nilssen-Love. As Core Members Of The Initial Lineup Of (((Powerhouse Sound)))- As Well As An Array Of Other Adventurous Small & Large Groups- These Cats Know Each Other Well. The Telepathic Vibe Necessary To Make Free Music Really Work Is Tested & Expanded Upon Throughout Broken Music - Amplified Literally And Figuratively By Marhaug's Penchant For Darker -Yet Still Explosive- Forays On An Gamut Of Of Electronic Gear. Users Are Currently Invited To Investigate The Outer Reaches Of Both Jazz & Electronic Frontiers Simultaneously With Fireroom.
CD $15

[SOUND IN ACTION TRIO with] KEN VANDERMARK / ROBERT BARRY / TIM DAISY - Gate (Atavistic ALP 160; USA) Robert Barry (Legendary Core Member Of Sun Ra's Arkestra Circa 1950S/60S), Ken Vandermark (V5/ Spaceways Inc. / B61/ (((Powerhouse Sound))), And Tim Daisy (V5/ Rempis Percussion Trio/ Triage) Dig Deep And Find The Spirit Willing- And No Resistance While Conjuring Their Second Studio Effort As Sia.
   Superb Homages And Collages To And By Albert Ayler, John Coltrane, Eric Dolphy, Dotson/Ra, Ed Blackwell- And Herbie Nichols' Sublime "House Party Starting" Complete & Compliment Five Sia Originals On Gate... So Dig The Double-Drum Vs. Reed Groove Now.”
CD $15

VANDERMARK 5 with KEN VANDERMARK / DAVE REMPIS / JEB BISHOP / KENT KESSLER / TIM MULVENNA] - Burn the Incline (Atavistic ALP 121; USA) The Vandermark 5 has returned to deliver their "annual statement": the fourth, and undeniably best album yet. The Chicago-based avant-jazz unit Vandermark 5 is led by reedist Ken Vandermark, who founded the group in 1996, now with saxophonist Dave Rempis, trombonist Jeb Bishop, bassist Kent Kessler and drummer Tim Mulvenna. "The year of Ken Vandermark, as well as the ever-evolving Chicago scene, continues to blossom and bear many gifts. Besides winning the ultra-prestigious and well-earned McArthur award, Ken tours and records with a number of diverse and challenging bands - in just the past year we have seen cds from DKV & Joe Morris, Ken's duo Paul Lytton, his Tripleplay trio, his recent trio tribute covering Sun Ra and P.Funk, Peter Brotzmann's Chicago Tentet, a Chicago all-star collaboration with Misha Mengelberg and now - the 4th release from his hard working quintet of Chicago's finest - the Vandermark 5! An amazing amount of hard work is finally paying off! 'Burn the Incline' arrives in two versions - a limited edition two-cd set with a second live cd included in which the Vandermark 5 cover seven "free jazz classics" from the giants of modern jazz! DMG has sold 25 copies so far and we don't know how many more we can get before they disappear into want-list land. Even the single cd version is worthy of (y)our attention. What makes this quintet so unique is their front-line of two saxists and a trombonist (Jeb Bishop) who switches off on electric guitar. Ken likes to dedicate each piece he composes to a different musician or group that has inspired him in some way. The first piece is "Distance" for Joe Morris and it starts slowly with a somber bass intro which builds with sailing saxes and noisy guitar solo from Munoz-land! "The Cooler" starts with the trombone soloing intensely while the band swings quickly, but breaks down into a short fragmented section and then there's an inspired Eric Dolphy-like bass clarinet solo from Ken. Things mellow down for the somber, drifting and aptly titled "Late Night Wait Around" with a hushed, old-school tenor solo slowly making its way through a haze of smoke. "Roulette" kinda reminds me of "Fuzzy Dice & Bongos" by the Mothers with its great & goofy melody and complex structure. Although "Accident Happening" is for William Parker, the intro has an angular tenor sax tone right out of Evan Parker - it is an amazing work that sounds like it could be found on a Tony Oxley LP from the early 70's - no small feat!! Unexpectedly "In Focus" has a west coast cool school sound, the guitar plays oblique and laid back counterpoint while the tenor plays an powerful, passionate solo. Even more restrained is "TheTrouble Is" for Misha, a sort-of bluesy ballad with sad & lovely solos from the horns. Closing this wonderful cd is "Ground" for the Belgian post-punk band - The Ex, with great soloing from all and an inner section where the horns & el. guitar erupt and burn it down!" - BLG
CD $15

VANDERMARK 5 with KEN VANDERMARK / DAVE REMPIS / FRED LONBERG-HOLM / KENT KESSLER / TIM DAISY - A Discontinuous Line (Atavistic ALP 173; USA) The Vandermark 5 deliver on the epic promise of 2005's "The Color Of Memory", with what may well be their most ambitious compositional effort thus far. "A Discontinuous Line" presents a remarkable range of dynamic musical ideas and influences processed; Vandermark fully leverages the vast experience & deep well of talent in The V5's third lineup in their 10-year history. Call it what you will... Post-Bop, Avant-Garde, Neu Chamber Music, Free Jazz- it just doesn't matter any more. What does matter is the monolithic edifice that has been so meticulously assembled by America's finest working jazz ensemble: an authenticity of materials, an integrity of concepts, the will to get "better"- and the courage to change. A piledriving decade of musical endeavor has resulted in perhaps The V5's most complex and engaging studio album yet.
CD $15

VANDERMARK 5 [KEN VANDERMARK / DAVE REMPIS / JEB BISHOP / KENT KESSLER / TIM MULVENNA] - Acoustic Machine (Atavistic ALP 128; USA) The Tesla coil that the Vandermark 5 has become seems beyond built to last; the creative whole constantly outweighs the sum of the parts in this quintet. To see the V5 live, on top of their game is like watching a perfectly-calibrated NBA championship team deliver with the fluidity & vocabulary of skills required for greatness. At their best, each player knows their strengths & respective place, and manages to put aside ego for the advancement the group's collective goals. Each album in the V5's discography has been captivating, tuneful, muscular & focused; but Acoustic Machine, their annual installment for 2001, is likely their most distilled effort yet. The Chicago-based avant-jazz unit led by reedist Ken Vandermark, who founded the group in 1996, now with saxophonist Dave Rempis, trombonist Jeb Bishop, bassist Kent Kessler and drummer Tim Mulvenna, continue to grow as a quintet and as individuals, by somehow simultaneously honing and widening their purview. Beyond the previously acquired levels of technical mastery on display in Acoustic Machine, the telekinetic factors at play in the V5 are simply multiplying on an exponential level now- enabling group pursuit of greater compositional nuances & interplay that previously might have been more daunting. As the tradition goes, Ken has chosen to dedicate each tune on Acoustic Machine to a particularly influential artist in his own development; the "HBF Series"- the first short pieces ever released by the group- are an homage to visionary minimalist composer Morton Feldman; Archie Shepp, Elvin Jones, Julius Hemphill, Stan Getz & Lester Young also "get theirs".
CD $15

WREKMEISTER HARMONIES -  Recordings Made In Public Spaces Volume One (Atavistic ALP 188; USA) Chicago-Based Sound Artist J.R.Robinson Has Been Creating Live, Ambient Tonefields In Museums Around The Us And Europe Over The Past Two Years- Including The Andy Warhol Museum In Pittsburgh, The Guggenheim Museum In New York, The Getty Museum In Los Angeles, The Pompidou Center In Paris And The Art Center Berlin.
   Robinson Has Injected These Recordings Into Collaborations With Some Like-Minded Heavy Hitters In The Noise, Post-Rock And Jazz Worlds Such As David Yow (Jesus Lizard/Scratch Acid), Mark Shippy & Pat Samson (Us Maple), Azita Youssefi, John Herndon & Jeff Parker (Tortoise), Keefe Jackson, Fred Lonberg-Holm And Ken Vandermark. The End Result (Dubbed Wrekmeister Harmonies), Is A Distinctive Hybrid Of Sound Art And Avant-Garde Musics, Evoking The Essences & Influences Of Masterworks Like Joe Mcphee's Nation Time, Lou Reed's Metal Machine Music And The Sound Collages Of Stockhausen. Recordings Made In Public Spaces Volume One Is The Debut Collection Of These Recordings and Is Presented As A Cd Dvd Double-Disc Release.”
CD/DVD $16

ZU VS. MATS GUSTASSON - How to Raise an Ox (Atavistic ALP 168; USA) “It's surprising that it took this long for Zu to release an album with Mats Gustafsson! It's such an obvious and failsafe combination. And since this is (by my count) the 8th Zu album, coming on the heels of three releases featuring Gustafsson associates Ken Vandermark and/or Fred Lonberg-Holm, it's as though they've been beating around the bush! This group has a lot in common with Gustafsson's current flagship unit The Thing; he mostly sticks to baritone sax power blasting and doesn't delve into overtly sentimental or quiet territory (for that be sure to get his monumental solo album Catapult from earlier this year, but also check out the mysterious and slow irregularities of "Beasts Only Die to be Born" on this program). At the same time, Zu have a knack for creating brooding tension with soft and sparse passages, and this disc is not just a constant assault, besides the basic fact that Gustafsson's power blasting typically has a sense of space and rhythmic clarity even at its most aggressive. With Gustafsson's baritone in harsh blowing tandem with Luca Mai's baritone, Zu's dirgy side emerges more than their funky side, but what really makes Zu so special is the way they deconstruct power funk grooves into slow, bleeding studies in the timbral underbelly of electric bass guitar, drumkit, and saxophone. They are the Melvins of funk. Massimo Pupillo has no peers when it comes to making an electric bass guitar sound like a wild hairy beast from the Paleolithic era; his genius is frightening. Pupillo is in astonishing form as usual here, and on "Palace of Reptiles" the group even achieves something close to the sublime rhythmic tension and nuance of his mind-blowing trio disc with Lukas Ligeti and Gianni Gebbia released earlier this year. Despite its surface of aggression and Last Exit styled bravado, this music is not about simple visceral thrills, not even the ones Zu have often provided in the past; Zu and Gustafsson have discovered a profound realm of phrasal abstraction and timbral nuance by slowing the music down to an abject crawl where the ugliest sound can become an oasis of motion. Listen to this like a Scelsi album and not a free jazz album and you'll be deeply rewarded. -Michael Anton Parker
CD $15