Lost and forgotten, a cassette of this music -- made at Evergreen Cemetery -- was found by chance in Recorded between Connors'. Connors, singing in a trance like moan, reforms the Mississippi Delta blues on acoustic guitar with flashes of melodic hooks and a percussive guitar style that erupts into boogie-woogie riffs and other world spirituals. Connors always wished this album was available on LP but at the time he never issued it on his Daggett imprint -- now it is.
Pressed in a edition, the LP's packaging mirrors the Daggett-style with paste on cover art by Connors, back liner notes and hand stamped labels. Each LP is hand numbered. Shall Never Fade". The new 16 track release of pagan rites. This one woman project gives you pure pagan melancholy. And since its meant to appear in vinyl this move has two opposite spiral tracks.
Flip it, screengazer. Tuning secrets and mesmerist magic. Country soul on a carrousel. Magnetic front porch symphonies with a drone. The Apalachian meets Raga meets Vienna classic meets Hawaiian slack.
Ding music that makes you concern, consider, regard, and bear in mind, also waltz sleepy in serpentines with your augur self. The sources and the stylistic devices of the three artists are quite different and descending from three different cultural regions, but there is just one intention and one deep mythological spirit, that unites the musicians to build up an axis through the mediterranean sunlit landscapes. Limited edition of copies. So far we were lead to believe that the Monks, after their LP failed to Chart tuned it down and tried a couple more pop tunes before vanishing in oblivion.
The truth is far from that: Bound by their contract with Polydor, the Monks were unable to develope their music the way they really wanted to. It doesnt get more Punk than that in my book!!! Sure enough they got in trouble for it and this killer Version remained unreleased to this day. First ever Legit Re-issue in full Cooperation with the Monks. Mastered from the Original Only Known!! No more CPC's..
Regular 10"Comes in ultra deluxe Gatefold Sleeve!! From his earliest incarnation in the record industry as a Xmas twister, the enigmatic Milan has changed his name and re-invented himself several times: a teen idol with a cute hairdo and a preppy look, a garage gonzo savage, an all dressed-in-black biker stud, a psychedelic screamer in love with satellite sounds and other characters known or waiting to be discovered. One thing is for sure, few people can claim so many identities in less than a decade.
This anthology would like to pay homage to the man. The A side is dedicated to the singer and performer, and the B side to the producer and arranger. Unfortunately, Milan's fame was due to be short and by the end of the 60's he was diagnosed with a brain tumour and disappeared from the music business.
Come along with him. Somewhere he survived, archangel on the highway following the sun. Garage R'n'B Action on the Go! If I told you they sound like a mix between the Boston Chinks, Lover! Lps and The True Sons of Thunder, just for some name checking. Comes in ultra deluxe Gatefold Sleeve!! Yellow vinyl. Monsterous, ear splitting riffs built around a brooding, thunderous back bone and sealed by the boastly, lecherous snarl of their charasmatic front man Jerry Lee Queen.
Sounds like these dont come from just any band and god damn, if they dont play this shit well. Ya I can definately agree with that. Rock N Roll definately isnt alive, but with records like the Guitarmageddon, I can safely say its at least got a fuckin pulse. People who talk about country or anything for that matter in terms of Kitsch Value, Sensationalism and imperialistic patronization make me sick to my stomach although I raise a polite smile.
One of the greatest comeback albums in rock history, a brilliant update of the Little Richard sound! If you thought that was a full schedule check out Agostino Soldati. Not only does he bash his vintage drumkit with Roulettes he has also been doing the same for the Go Set around Australia and on their recent European tour promoting their most recent offering on Frances Cortex records. In his spare time he knocks out 45s with Deep Street Soul on the uber-hip Jaycees and Freestyle record labels and once upon a time killed it on drums with Legends of Motorsport playing on their debut long player out through Reverberation.
Tim Wold on bass and vocals fronts Kids of Zoo in his spare time; that is after he finished his stint playing smokin lead guitar licks with The Specimens. Here is a review of their demo from MRR : "This demo is fucking great! They just have that element somewhere in the sound.
Shark Teeth Sharp, Razorblade funny and yes, punk. Does Humor belong into Punk? Punk Generation Gap?? This is a genuine classic, a blend of fast early 80s hardcore and speedmetal. This is a lot faster and more raw than their LP on Pusmort that came out in Very essential and influential for later generations of hardcore and metal bands. Tracks: Dead Serious Bombs Kristallnacht Grey World Electric Shock American Paranoia In the Center DSFA Incredible End. DYS were part of the early 80s Boston straight edge hardcore scene and played stomping brutal in your face hardcore.
Packaged in the original artwork. This was originally released in on X-Claim from Boston. An unrelenting, sustained guitar growls and whines, as crushing vocals lunge out notes of gnashing abrasive melodies. A contagious masterpiece. LP edition. Pioneers of the hardcore, straight edge movement. The Peel Sessions are considered one of their best recordings. Extreme Noise Terror are considered to be one of the pioneers of extreme hardcore, metal and grind with their mix of crusty hardcore, punk and metal.
An absolute classic. Use Your Mind System Shit Another Nail in The Coffin Work For Never Show Us Your Care Take The Strain Subliminal Music Mind Control No Threat Carry on Screaming Conned Through Life-1 Shock Treatment Deceived Fact Or Fiction False Profit Only in It For The Music 3 Human Error Bullshit Propaganda I'm a Bloody Fool Only in It For The Music In It For Life Murder 1.
Both were only sold in those years at shows and include eight unreleased songs. Comes with awesome artwork. Napalm Death are considered the godfathers of grindcore and extreme metal. Working with Chris Barrows closely in order to precisely match his wishes.
Limited edition, including 3 bonus tracks. First in the series of reissues of this classic punk rock band's catalog. More of the same great melodic mod influenced punk found on their last album THE MUSIC full of ultra catchy, anthemic songs with raw tuneful vocals and teeth clenching riffs. Their last single was hailed as one of the best disc of the decade in MRR. Their blitzkrieg, energetic live show has made its way across the country over twenty times since the band formed in Coming with a coupon for an mp3 download of the album.
This beautifull vinyl issue is strictly limited to only copies and pressed on grams black vinyl and housed in outer plastic sleeve. Atmospheric masters Isis have been together for 10 years, and to celebrate, Ipecac Records has released a maxi-single, 'Holy Tears,' off of their last album, In the Absence of Truth.
Pairing the album version of the song with a live version and a video, the single displays every aspect of the song's power aand grandeur. Picking up where the band left off, they introduced their newest member, guitarist Brian "Damage" Forsythe of KIX fame. Any attempt to rationalize his extensive catalogue is simply an exercise in dissonance. This music is agony, not entertainment. Add to the sonic brew perfectly executed forays into vintage psych and progressive rock, along with the apocalyptic lyrical ravings about war, the occult, and general alienation, and you've got an accurate picture of what the band is all about.
Prepare to be crushed by the weight of the Black Pyramid. Never Trust a Gemini is Cable's fifth release and totally surpasses their previous material in both craftsmanship and performance. The production and songwriting on this newest has gone above and beyond the call of duty. Get this one if you have liked the Cable releases in the past.
It's definitely rooted in classic rock and blues, but there is a lot more newer hard edged stuff going on. Good hard rock not for the timid. A punchier, growly take on the Thin Lizzy formula shows how tight this three piece can be. Compared to their previous albums, La Bruja's the best one yet. The production isn't as dry and the band's energy really comes through. Drop-B tuning adds a layer of heaviness that most bands cant match, added to a surprising ability to bring melody to their brand of mathematical chaos.
Explosive off-time rhythms, dynamic syncopation, and the most guttural dual vocals youll ever encounter put the Nain Rouge in a class of heaviness all their own.
Of History In The Making ". Different but typically Cornershop, which is why it is already getting many watts of support from UK and foreign radio.
Potential liars. The first release is a 7" mini album; 6 songs at 33rpm - 99p in exchange for your ears and the space in between.
Get you hooked on the cheap stuff then jack up the price. It's back-alley capitalism at its very worst - get over it. I didn't invent the music industry, so blame someone else. All I can do is assure you is that none of the profits from this record will go towards making any more goddamn Coldplay records. Fuck you Parlophone, you had your chance. Red vinyl. You get electric takes on the cuts "Sink, Florida, Sink" and "Unsubstantiated Rumors"-the album features acoustic versions.
Melodic, yet aggressive. B Side "Can't keep my hands of you" was mastered by someone from the DEVO circles and has all kindsa weird effects in it! The four songs on this 12" include a ballad written about that non-existant other half - this is how it would feel to rendezvous for a romantic trip to Coney Island, a politico-socio commentary about the current economic slump.
Philip K. Dick was correct. Lush, intricately arranged keyboard sounds create a backdrop for the ladies' beautiful vocal harmonies in a soundscape ranging from the intimately delicate to the powerfully psychedelic. Each record sounding more unique and far out than the last, this brand new inch EP on Sacred Bones shows the Blank Dogs evolving into a full-on goth-gone wrong killing machine, yet they don't need to get nasty.
The effects the vocals reverberate through will cause instant nausea when exposed to the elderly and the weak, yet underneath lie those keenly disguised pop hooks that stick with you long after the record stops. If 'Death Pop' was ever really a term, the Blank Dogs now own it, yet their wrong wave wanderings can entertain fringe psych-heads just the same, hence their growing appeal across genre boundaries.
Unlike "War Elephant," the album features the 3 new members that principle songwriter John J. Some say Shawns best.. Shawns best is whatever I have on my Record Player at the moment!! He is the King os synthpunk neo retro fucky fucky music Honest, sometimes sentimental songwriting paired with an inviting sound.
This is 2 Lps loaded with all the rare 7"ers plus more! Hits like ,Crystalize my penis" , ,Dick about it" or ,I cant Stop it" are true classics! More M. With an expanded musical pallette, Never Gonna Touch The Ground shows the loose Still Flyin' collective moving beyond their punky reggae party into penetrating Slo-jams, high energy thunder jams and insanely catchy world-pop. Includes a poster and free album download.
Thought he didn't like jazz The Thing created Bag It! The debut album Newborn soon arrived, characterized by dead-of-night recording sessions, lush string arrangements, thunderous synths, and yearning vocals. Originallt from ad Fans will recall that this album was slated for release back in in fact, we advertised it in our catalog-but it was pulled due to legal issues. Well, this was truly a case of a cloud having a silver lining, because now the album is coming out on our very own Collectors Choice Music label!
Plus, you get four bonus piano-only rehearsal takes and a Judy phone interview with Jack Wagner from a promo LP! Its what every Judy and Liza fan has been waiting for! Now, with access to the original multi track masters, Barry has restored the album as it was originally conceived. The missing vocals from Muscle Shoals are here seeing the light for the very first time.
Now, against all odds, that elusive second chance has come. You can hear it as it actually was meant to be heard; you dont have to use your imagination anymore.
No regrets. In between all those milestones, he also fronted his own band during the early 80s, who recorded a couple of albums for EMI which have never been reissued on CD in the States and have been high atop collector wish lists ever since that song Crazy Keep on Falling is a particular fave. Innovators for their mix of brown-eyed soul with the British Invasion sound, Thee Midniters catalog existed of four lp's which continue to be highly valued collectors items today.
Given the growing popular interest in Latino music and the ongoing loyalty of the Latino community to their "oldies", this collection will continue to keep Thee Midniters music alive today as they still remain among the greatest groups in the history of Chicano rock 'n roll. Use "Thee Complete Midniters" box set as your introduction to the group that asked you to take a trip down "Whittier Blvd. This was the first time the New Riders were teamed up with the Dead for a gig in the Bay Area since the summer of , and while emotions ran high, the music rises even higher.
The original 2-track master reels were recorded at 7. Recorded in with a host of additonal musicians. The CD version also contains a 30 minute long impro suite entitled "Beef brisket-for Ruby's". For fans of Mark Kozelek. And when the collection itself is rare, and covers the beginnings of San Francisco rock, well, fuggedaboutit! At least, that was our reaction when we got a letter from a customer about this obscure compilation from the little-known Vault label.
We researched it, and you know what? It happens to be probably the best single-disc retrospective on the legendary Autumn label ever released how that material ended up on a Vault retrospective is a contractual thicket we will not venture down!
Bay Area rock sage Richie Unterberger contributes notes. Two giants of music, men who demonstrably influenced pop music, died in January. The remarkably long career of Pete Seeger began when the Spanish Civil War was raging and ended as the US government fought their battles by remote-controlled rocket bombs. For all her accomplishments, music history might remember Anna Gordy best for being something of a novelty: the ex-wife whose divorce settlement required Marvin Gaye to write his bitter and quite brilliant Here, My Dear , royalties of which went to her.
Their marriage was turbulent and collapsed in For fans of acid jazz in the early s, English guitarist Ronny Jordan , who has died at the young age of 51, was an instant legend, at least to those jazz fans who were not inclined to jerk their elitist knees at well-produced stuff.
I spent a lot of time with his album The Antidote. The original video is worth checking out too, in HQ. When a jazz musician dies at 95, he might have a wealth of stories from another era to tell. The headline death in December was that of Ray Price , whose passing was announced prematurely by a day or so, lending the occasion a sense of drama.
His hospitalisation in March brought down the curtain on a performing career that spanned 65 years. The same year it provided the soundtrack to the Notting Hill Carnival riots in London that, kids, was before Notting Hill was toryfied and gentrified. Earlier in we lost George Duke; on December 23 his frequent drummer, Ricky Lawson , passed away at Nominally a jazz tenor saxophonist and flautist, Yusef Lateef known before his conversion to Islam in as Bill Evans Read more…. Regular readers will know that this blog has a monthly round-up of recent music deaths; I think it might be the most comprehensive such list on the Internet.
The list for December will run next week. As last year, here are the most notable deaths in the past year, in my subjective opinion, sorted by category in leagues of five or ten. Here is hoping nobody worthy of inclusion dies before the year is out two names that will appear next week are already included here.
Before the last installment of In Memoriam even came out, Bobby Parker died at Indeed, the future Fab Four played that song on stage before they hit the big time. Ringo got the gig instead. I sat in on instrument classes taught by Akinmusire and Ballard. Both started their students five drummers for Ballard; three trumpeters, a trombonist and a singer for Akinmusire with foundational first concepts for music and life. The group sounded better on its second run-through.
The weekend showcased some young up-andcomers sprinkled amongst older baton-passing veterans. Similar to their musical counterparts, Newport has served as a fertile stomping ground for audience members, introducing both jazz aficionados and introductory listeners to top-notch talent. From any perspective, the emotive revelry is enough to sate even the most sophisticated of palates.
The group has a tangible and deeply introspective connection that borders on telepathy, not so much following one another through their music as they are collectively capturing emotional snapshots of time. Whether the saxophonist summoned the sun himself is open for debate. A series of stratospheric screeches and stampeding eruptions carried titanic authority. Dynamically, the group occupied the entire spectrum of human emotion upon which Shorter layered freewheeling exposition.
The set carried on for an hour with no stops, Shorter occasionally leaning against the piano and in one instance jumping in surprise when Blade struck a particularly heavy cymbal. Finally, the group took a breather. Shorter stopped and, from beneath his mouthpiece, directed an approving smile. CenterCharge jalc. Heath established himself as major mover in the jazz world long before Iverson and Street were born. The younger duo shows a great and well-deserved reverence for their percussive leader in this new recording of old standards.
Heath gives it a second-line pop as Iverson bounces the familiar chestnut with both hands. Despite the throwback aspect, cross-generational collaborations are invaluable both to preserving and progressing jazz and this trio has done a terrific job of making it fun. For more information, visit sunnysiderecords. This group is at Village Vanguard through Sep. This program of highquality improv was worth the wait but one wishes they had done so sooner. Teenage conservatory roommates and jobbers, Heberer and Kaufmann subsequently established themselves elsewhere.
With all nine tracks credited to Kaufmann, Heberer or both, the selections are concerned with tryouts and tropes, not story-telling, the players uncovering novel ways to meld or contrast textures and timbres. This is facilitated with extensions available from quarter-tone trumpet and prepared piano. In reaction, Heberer turns from open-horn note sprays to baby whines and dog yelping simulations without altering the midtempo melody.
By mid-session both men put aside their more measured and hesitant byplay for erudite humor. Evans or his own more mainstream self. Because of the ever-changing nature of the tracks and instrumental approaches, the album is a constant, surprising delight for the openminded and open-eared listener.
For more information, visit sciensonic. Robinson is at Jazz Standard Sep. Kimbrough is at Jazz Standard Sep. For more information, visit www3.
Heberer is at Downtown Music Gallery Sep. Scott Robinson plays a wide spectrum of saxophones, from sopranino down to contrabass, tenor most favored, as well as alto clarinet, flugelhorn, theremin and tremoloa a zither-like stringed instrument with slide.
The approach of the musicians can be called avant garde but ranges stylistically from the lyric austerity of ECM improvised Euro-music to AACM free form. The duo explores not just the farther reaches of melody and harmony, but also the sonic boundaries of their instruments in improvised creations. If feeling persists, do not discontinue use. This minute improvisation shows two stylists of the soprano sax jousting, jabbing, dovetailing and slithering around each other.
This limitededition, one-sided vinyl is truly an unearthed gem. Dawn of Midi released their pristine debut album First, Accretions in , without having heard their Aussie forebears. A more recent appearance by former Kronos Quartet cellist Jeffrey Ziegler with pianist Hauschka and drummer Samuli Kosminen was with only a slight variation in form the third instance that makes for a trend. And if this qualifies as a trend, the three men of Dawn of Midi have set a new standard for the form with their second record.
While the aforementioned efforts relied on a deep level of intuition in crafting an improvised music that lands somewhere between Miles Davis and Steve Reich, drummer Qasim Naqvi, bassist Aakaash Israni and pianist Amino Belyamani have scored that style on their new album Dysnomia. While still working in a long-form, slowly evolving approach, the nine-part suite which plays without a break on the CD is strictly composed by Belyamani and Israni and runs like clockwork for 47 tightly constructed minutes.
And while composed by the melody instrumentalists, the program is about rhythm. With little sustain coming from piano or bass, the record reads very much like synchronized percussion, an exploration of tonality and counterpoint.
For more information, visit thirstyear. This group is at Le Poisson Rouge Sep. Even though McPhee began on trumpet, the saxophone is the instrument with which most people associate him. He primarily plays tenor but has increasingly made his mark on alto. Sonic Elements is a live set from the Ljubljana Festival, half played on pocket trumpet and dedicated to Don Cherry and the other on alto, celebrating Ornette Coleman.
He employs subtle valve pops, siren-like squeaks and vocalization within a wide dynamic range. Bill Dixon is a prime influence but the spectre of Cherry can also be heard in his bright and feathery upper register lines. On alto, McPhee employs the rich, full sound he brings to his tenor. McPhee is a consummate collaborator. When McPhee switches to pocket trumpet, their intertwining is even more pronounced. Bassist Per Zanussi and drummer Raymond Strid both veterans of the Swedish improvising scene give the music a wide rhythmic berth and colorful backdrop.
The title track has some exceptional four-way interaction, as if McPhee had always been a member of the group. McPhee has had close ties with contemporary music titan Pauline Oliveros. Their concept of what an improvising group can do seems to be in synch. He has participated in several of her Deep Listening Band projects and Looking Back stems from recently rediscovered recordings made in Kingston, NY in Here McPhee totally subsumes himself into the group ethos.
No one instrument is in the foreground and all work to achieve a contemplative and successful whole. He remained in Europe until his untimely death at the age of 37 following a car crash in Copenhagen. Lost Tapes captures Pettiford in this extremely fruitful period, in which he was combining his by-now mature bebop style with hints of cool jazz and Third Stream sounds.
The 16 tracks, mostly standards, are taken from a pair of and recording sessions in Baden-Baden, Germany, as well as a live date from December Tenor saxophonist Hans Koller brings a gorgeous Stan Getz-like tone to several tunes, including a pair of his own compositions. For more information, visit jazzhaus-label. Three such individual voices are described below. Elsewhere he uses various implements mallets?
The sixth and seventh tracks are particularly passionate while the finale is contrastingly gentle. For more information, visit produccionscontrabaix.
Here he finds a kind of free-jazz middle ground in a trio with pianist Kris Davis and drummer Andrew Cyrille, playing together for the first time in a recording studio. Seven of the ten pieces played here are completely improvised complemented by a Revis original and tunes by Monk and Keith Jarrett , but they are done so with a special ear for pattern and intuitive structure.
Working largely without composed structures reveals how fluent an improviser Davis is, playing with an exuberant virtuosity that invites comparison with Don Pullen and Marilyn Crispell.
Cyrille, still the consummate free jazz drummer at 73, can generate sufficient force and form to suggest that the band itself is a kind of drum kit, a key to the empathy here in which every instrument sounds like the center of the band. For more information, visit cleanfeed-records. Revis is at Jazz Standard Sep. Perhaps the jazz group Tarbaby felt a kind of empathy for this fighter. At times the band uses a Revis plucked ostinato as an organizing principle, with other bandmembers soloing furiously around it.
Tarbaby has always been a jazz band unafraid to take chances. However, considering the level of talent the members bring to the table any risk is minimal. Maybe nobody today has heard of Sam Langford, but everybody should know about Tarbaby. For more information, visit hipnotic. This group is at Jazz Standard Sep. He was denied a shot at the heavyweight title because of his fear-inspiring skills Jack Johnson refused to fight him and generous servings of apple pie-flavored racism.
Eskelin takes plaudits as MVP. Rugged and bluesy, he instills the program with a gritty latenight ardor both impassioned and opinionated. Eisenstadt covers the bases, from delivering a master class in maintaining momentum without settling into a steady tempo to savvy tonal shading and probing commentary, all with an easy grace.
Nothing can be gainsaid about the charts as Eisenstadt keeps everyone guessing. Here and throughout, they keep you coming back only to discover more on each listen. Eisenstadt is at The Stone Sep. This session was produced by pianist Orrin Evans another Philly jazzman and bassist Eric Revis, who comprise twothirds, along with drummer Nasheet Waits, of the trio Tarbaby, who back up Walter here along with guitarist Marc Ducret.
The accompaniment is as free-spirited as the leader on an album that mostly falls into the postbop category but sometimes detours into the avant garde realm.
Cabaret singing this is not: Walter and his colleagues turn the melodies inside out and take liberties with the lyrics as well. Walter brings a strong Mark Murphy influence to the table, whether he is scatting or performing lyrics but one can hear Bob Dorough, Jon Hendricks and Betty Carter as well. But Walter is his own person and his willingness to take chances yields consistently absorbing results on One Step Away.
For more information, visit tzadik. Coleman is at Issue Project Room Sep. For more information, visit jdwalter. This project is at Jazz Standard Sep. Since he started teaching at New England Conservatory, his compositional focus has shifted from small group improvisation to classically influenced works.
His rotating cast of student musicians and different instrumentation has provided the opportunity to experiment with sonic combinations.
Coleman writes high pitches for the strings, horns and voice, which blend to create a tense, discomforting line like the hum of insects, relieved only by his deft use of space. The title composition makes expert use of the large ensemble with a swelling call-and-response cycle between instrumental groupings. It intensifies to a concluding section boasting a funereal trumpet theme bolstered by raking percussion accents. Dickens, 9th C. The difficulty with such projects is avoiding unpromising works and arranging the tunes in novel ways, which is never an issue for Dave Liebman.
He is constantly envisioning new recording projects and avoids falling into the trap of predictable repertoire, instrumentation or approaches.
Two of his recent releases take a fresh look at familiar rock songs. The superb finale has Liebman on tenor and Avey playing ominous accompaniment on piano. For more information, visit whalingcitysound. Liebman is at Birdland Sep. Both have developed fascinating levels of hybridization - in Oakland, this is steeped from the multi-disciplinary environment bred at Mills College.
Stratic is one of his more recent collaborations, formed in with drummer Alex Vittum and keyboardist Michael Coleman. Both Coleman and Shelton employ electronics and live processing across a suite of nine untitled pieces on their self-titled and self-released debut. In the first movement, his fluttering curlicues are met by clicks and digital glitches, aggressively piling and contrasted by lilting whines before the trio arrives at incisive, stuttering motion.
On the third piece, he switches to singing gongs, their resonance altered to make a bent and quiet meditation, in concert with fuzzy, cool alto and Rhodes accents. For more information, visit straticmusic. Initially assembled to create two recordings inspired by the writings of William S.
Burroughs, the quartet appears on two new recordings, augmented by other noteworthy Zorn associates. The material is based on the mystical writings of William Blake, placing this recording firmly amongst a legion of Zorn creations that directly reference literary works from the mystical tradition see also Aleister Crowley, Austin Osman Spare, Marquis De Sade.
Masada String Trio members Mark Feldman violin and Erik Friedlander cello bring both fireworks and atmosphere to the proceedings. In a recent performance at the Museum of Modern Art, works from this trio were performed sans Frisell, with the harp and vibraphone providing an amazing atmosphere amidst the paintings of Claude Monet Monet makes a great sub for Frisell, actually.
The sound of these three musicians working together is truly an unmatched beauty, not to be missed. Music and Its Double is the sole recording of concert works in this bundle, though it has many connections to the other three discs included here.
One notable connection is the presence of Wollesen now on drums. These four movements are filled with fragmented gestures, unexpected twists and blazing virtuosity.
This wordless opera is based on drawings by yet another maverick literary figure: Antonin Artaud. This work is a fascinating companion to the violin piece, equally virtuosic but presented on a mammoth scale with the Lahti Symphony Orchestra, conducted by Sakari Oramo.
This recording holds all the mystery and intrigue the work offered in performance and benefits greatly from the opportunity to hear it as an intimate listening experience. With limited possible combinations of hand positions to sound notes and generate contrapuntal ideas, the guitar is a challenging instrument to perform solo. Three recent releases show three unique and creative solutions to these inherent difficulties. On About Birds and Bees, he performs standards, three Zoller tunes, a bit of Bach and a lesser-known Pat Martino piece with verve and taste, handling melody, chordal accompaniment, basslines and percussive effects in a manner reminiscent of Joe Pass, seamlessly shifting between these various textures and techniques to create the illusion of a small group session.
The results are not easy to describe, but the artistry is palpable. But these are only approximations of what you might hear for yourself. American Grace is the final volume of a trilogy Eric Hofbauer began a decade ago with American Vanity , followed by American Fear And Hofbauer is also a down-toEarth outerspaceman who launches his most far-flung sonic rockets from the most basic of materials: hymns, blues and functional harmony.
For more information, visit acoustic-music. Hofbauer plays solo at Ibeam Brooklyn Sep. WORKS has also developed its own repertoire over the years, highlighting the compositional gifts of its members.
The debut CD gathers these original pieces and shines some overdue light on Gentile, Kelly and Garcia as players and co-thinkers. Their union of flute, piano and drums is a wonderful thing: softly textured, harmonically expansive, percussively engaged and intense, all in the right proportion. But Kelly is also prominent as a melody voice, doubling many flute parts while keeping chordal ideas flowing.
The former is angular and jazzy, free of tempo, but detouring into chamber-like passages and ending on an ominous straight-eighth vamp. The latter generates maddening spirals of counterpoint - melodic and rhythmic - between flute and piano, framed by hip and understated groove accents. For more information, visit connectionworks. Far from disparagement, this is high praise. Parker has developed such a unique language on his instrument s and honed it through so many improvisational regimens that he has joined the pantheon of the Instantly Recognizable.
The sprawling improvisatory concept was there at the beginning, Parker having already amassed the letters and words of his language and needing only to start putting them into phrases, sentences and dense, cerebral paragraphs. But here he was only beginning the process and Vaincu. Parker applied these and other improvisatory approaches to a new trio with fellow Brits Barry Guy bass and Paul Lytton percussion.
This group began in and has become his longest-running project aside from the Alexander von Schlippenbach trio with Paul Lovens. Across four long tracks, there are no dead spots, those dithering moments that infect low-grade improvisational music. The closing eight-minute track is emblematic of this concept.
These four men had worked together in so many contexts that one feels voyeuristic eavesdropping on their musical conversation. It is almost futile to extricate a single voice from any of the pieces so why try? Parker has worked with pretty much every English improvising musician at some point. And as befits a city known for its high-tech manufacturing, Cinema has an industrial air about it, building up slowly with shards and filigree, coalescing with seeming unwillingness before breaking apart into discrete strands.
A more recent Teutonic partner is pianist Georg Graewe and their Dortmund Variations was recorded in that German city in October the pair have an earlier duo disc from Graewe skitters around the keyboard and Parker is downright sprightly in his attack, short blasts and trills aplenty.
Despite the density of the playing, the tonality is airy and spacious - balladic in spots, in others the musical equivalent of an argument between Oberon and Titania.
From the first moments of the opening improvisation, the pair is locked in that incomprehensible abstraction that is spontaneous communication. This might, in other hands, break up the momentum but here the unaccompanied expositions serve to strengthen the conversation, an opportunity to listen and recharge. The third simply soars. Even the five-minute encore, usually the bane of improvised performances, presents a previously unheard, sparse side of the duo.
The two worked together on the album Abbey Road Duos, an outgrowth of the aforementioned Spring Heel Jack sessions. While the live portion is an uninterrupted minute improvisation, the studio session is 48 minutes broken into eight discrete tracks six duos and a pair of solos. There is, dare we say, a bluesy quality, or at least roundness where both men typically offer up sharper edges, as well as a curious restraint.
Of the two discs, the studio session goes for less and achieves more. This is a partnership with potential as yet unfulfilled. Perhaps this inspired Parker to initiate his ElectroAcoustic Ensemble. Parker only appears on the final track so Hasselt is more a feature for his concept.
The music has a suite-like quality across the first three tracks, the acoustic instruments seizing greater control against the tasteful electronics. The fourth piece, nearly as long as all that preceded it, is necessarily denser and episodic as musicians float or stab their way in or out, with the electronic and acoustic elements in more balance.
For more information, visit front. Parker is at The Stone Sep. No matter - you can call her compositions jazz or you can call them something else. Indeed, why not mayhem? You might be tempted to think that Scheinman and her band were advocating anarchy when they push their instruments beyond our expectations and into these strange new patterns. You might think that, except that the sounds they produce are so beautiful, so of a piece, that they transcend all of the commotion.
You could say that they even move beyond it. Post-jazz fiddling, anyone? For more information, visit jennyscheinman. This project is at Le Poisson Rouge Sep. Among the small pantheon of stellar self-accompanying jazz vocalists masters that includes Shirley Horn, Carmen McRae and Sarah Vaughan, Bey solidly holds his own place.
Possessed of a four-octave bass baritone range and capable of effortlessly soaring into falsetto stratosphere, he is also a master improviser. Suddenly the philosophical and contemplative fade away and Bey swings into stride piano. Eagle Pennell was politely called a regional filmmaker by those unaccustomed to his kind, and like many in his native Texas, he had an outsized impression of his own identity that ultimately destroyed him. They were Eagle in a nutshell. Like we used to say about him, the man belonged in the Alcohol of Fame; he put pop alcoholics like us to shame.
This woozy testament to the comically disenfranchised, made for twenty grand in borrowed money, was also historically significant in that it was the film that Robert Redford was famously watching at the inauguration of the U. Film Festival in Park City, Utah when he had the epiphany that it was strays like this who could best benefit from such a festival, or something like his soon-established Sundance Institute. So fuck this, dig the bands that were kicking my ROCK ass in the summer of We had Pauvros play once before with us in Paris as a solo artist where he came out and laid flat the room with howling amp buzz.
It was not so much noise-violence but a more in-tune and curious new-birth wonder. Pauvros, a tall long-haired something cat has an illustrious history. In the 70s, with formidable avant-garde legend Jac Berrocal, he was a member of Catalogue. Through the intervening years he has recorded with such disparate freaks as Blurt, Arto Lindsay and Keiji Haino.
Marteau Rouge is his newest new-thing. Gone are the spiked edges of youthful blunder. What has evolved is the fascinating sounds of players moving into high-adult dimensions. This evokes a focused creative enterprise sweet to the collective soul of the listening audience. But HatHut is mum on this news.
Musical annoyance is one of the finer attitudes in rock, but it either takes a needlepoint intellect Steve Albini or a battering ram cementhead GG Allin to pull it off with any true swing. The songs are OK here and there, but here in the Berkshire foothills is as good as there in the Williamsburg high-res rubble. But, fuck, everyone knows that anyway and the only reason to live and rock in NYC is for kicks—that much has not and will not, I suspect, ever change.
LIARS are from California, Nebraska and Australia and maybe some other geogs, but the generally impressive reek they give off is of a fantastic spiced-earth stew. Sexy boy romp without the schmoe-pose even when the 10 foot tall Oz dream singer pelves the aghast UK sickheads into blankminded judgement lapse. All atonal skid mark flail and then the whomp and buttock kick of some weirdo Turbo-Rat setting. Cute as hell and, thankfully, the real deal. Which is a shame because MCIAA let loose a chance bafflement of free-rock ideas always set on upsetting conscious rock-realization.
The first time I heard them was when they sent us CDRs entangled in wired cages. We saw they were from Italy, we were heading there soon enough, we loaded the CDR in and were caught off-guard by the voidoid cosmo pleasures in emittance. So we asked them to play. They rocked in the most non-rock way: guitars tuned to God-knows-what pubic tensity, drums possibly interacting with crashed electronic skittle and vocals calling all alien pets to keep watching the skies. Next time around the lads knelt with guitars raised to the electric maximus and delivered a mass of heatball fuzz.
This evening they soundchecked for two hours in front of the incoming audience outdoor gig , pissing off the already uptight promoters and crew with super-indeterminant blasts of synthi-shards and drum smacks to awaken the behemoth god Prometheus.X Beating Lyme Disease, Constance A. Bean, Sam T. Donta Spiked, dowsoundcullaterni.meabsyluderbochanhillchrisamictrichul.con Gilbert The Reading Environment - How Adults Help Children Enjoy Books, Aidan Chambers Bennett's Angel, Lowell Kammer .