Third Ear Band - Alchemy & Elements (1969 & 70)

Third Ear Band - Alchemy & Elements (1969 & 70)

avantgarde | 2cd | eac-flac-cue-log-cover | 590MB

EMI-GOTT GOTTCD010

Allmusic:
Alchemy: Started in 1968 by percussionist Glen Sweeney and reedist Paul Minns, Third Ear Band was formed from the ashes of a previous Sweeney project, the psych band Hydrogen Juke Box. While generally overlooked in the history of British and improvised music, Third Ear Band developed a distinctive and aesthetically important sound -- equal parts Indian, psychedelic, and minimalist -- dubbed "electric-acid-raga" by Sweeney. Alchemy, their first release, is a wonderful record. With shorter tracks than found on later albums, Third Ear Band here makes excursions into improvised chamber music. In the opener, "Mosaic," which is at seven minutes one of the longest cuts, guitar meets recorder and violin in a disharmonic free jazz summit that fades away before building into a trancy mini-crescendo. On "Stone Circle," recorder lines interweave over an unadorned drum's repetitive rhythm. At times the recorder lines are so fluid and unnatural they sound like they're being played backwards -- which indeed they just might be. Generally the remainder of the tracks run the course between half-structured improv and droning chaos. Comparisons could be drawn to Soft Machine or the Dream Syndicate, but neither quite has the sense of "collective first" nor the repetitive insistence of Third Ear Band. The songs, to quote Sweeney again, are "alike or unlike as trees." For those even vaguely interested in the history of innovative music, Alchemy is worth hunting down.
Elements (aka Third Ear Band ): Their self-titled, second album is probably their definitive statement, consisting of four lengthy tracks devoted to the primary elements ("Air," "Earth, " "Fire, " "Water"). The feeling is one of improvised (though well-conceived) pieces that build up from initial drones to multi-layered ragas built around the same initial patterns. Their strong debts to both Indian music and contemporary experimental/minimalist compositions are evident. It's not accessible enough for the average rock (or even average progressive rock) listener. But it's certainly more geared toward the adventurous rock listener than the most challenging and/or difficult contemporary avant-garde music.

Tracks
cd1:
-1. Mosaic – 6:31
-2. Ghetto Raga – 10:32
-3. Druid One – 3:49
-4. Stone Circle – 3:28
-5. Egyptian Book of the Dead – 8:55
-6. Area Three – 8:33
-7. Dragon Lines – 5:33
-8. Lark Rise – 2:46
cd2:
-1. Air – 10:30
-2. Earth – 9:53
-3. Fire – 9:19
-4. Water – 7:04

Personnel
* Paul Minns – oboe, recorder
* Mel Davis – cello, pipe
* Glen Sweeney – chimes, drums, tabla, wind chimes, hand drums
* Richard Coff – violin, viola
* Dave Tomlin – violin
* John Peel – harmonica, jaw harp
---
* Paul Minns – oboe
* Glen Sweeney – percussion
* Ursula Smith – cello
* Richard Coff – violin and viola

 sample & buy: Alchemy/Elements 

 

Iannis Xenakis - Electronic Music (1997)

Iannis Xenakis - Electronic Music (1997)

 contemorary, avangarde | 1cd | eac-flac-cue-log-cover | 420MB

EMF CD 003

Allmusic:
This is a collection of compositions from electronic music pioneer and 20th century legend Iannis Xenakis, deceased in the early half of 2001 after a lifetime creating one of the most significant bodies of European art. The great Greek-born Frenchman's extraordinary work covered early electronic music and post-serialist composition, architecture, and mathematics, and his mastery of diverse mediums informed his work in music composition, securing his place as one of the most important composers of avant-garde classical music. Those familiar with Xenakis the architect will know him for his pavilion at the Brussels World's Fair (1970), while instrumental classical musicians will know of his complex and abstract percussion and string works. In electronic music he is known not as the inventor but as the composer who shaped the medium into one of the most progressive and complex mediums of the late 20th century. Hence, New York's Electronic Music Foundation released this compilation of his works dating from the late '50s, when at a Paris studio he produced these artifacts that take the primitive electronics of the time into stunningly sophisticated realms. On hearing this CD in the new millennium, it is hard to believe that these abstractions were not made in the late '90s, judging from their futuristic use of electronic effects. Xenakis' work was always considerably more abrasive than that of his contemporaries, and is comparable only to the work of Karlheinz Stockhausen, who was similarly interested in noise and sonic phenomena during the '60s. The works on this CD such as "Polytopes" and "Concrete PH" are concerned with "clouds of sound" where the density is extreme, giving these tape works complex textures that can be examined for hours and at different volumes, presenting effects from curious ambience to engaging and rigorous sound worlds. This archival collection comes highly recommended. It is more than a footnote in the history of electronic music, as many reissues can be; rather, this is a vital document in the shaping of late-20th century music.

Tracks:
-1. Diamorphoses (1957)
-2. Concret PH (1958)
-3. Orient-Occident (1960)
-4. Bohor (1962)
-5. Hibiki-Hana-Ma (1970)
-6. S.709 (1992)

Performer
* I Xenakis

 sample & buy: Electronic Music 

 

Morton Feldman - For John Cage (1997)

Morton Feldman - For John Cage (1997)

avantgarde, contemporary | 1cd | eac-flac-cue-log-cover | 275MB

hat[now]ART 124

Allmusic:
Morton Feldman's For John Cage, written in the final phase of his career, is, typically for this period, a long work, almost 70 minutes. It is atypical, however, when one considers on how few occasions he actually wrote for this particular pairing of instruments: In 1951 there were "Extensions 1" and "Projections IV"; in 1963, he produced "Vertical Thoughts"; and again in 1978 he composed "Spring of Chosroes." The reasons are varied, but the one constant that runs through these works is how Feldman's palette of sonances, timbres, and textures could be achieved more forcefully by using these two instruments in his quest for "stasis." This term refers in Feldman's vocabulary to the effect achieved by the visual art of Mark Rothko and Philip Guston. In For John Cage, Feldman sets the piece in three movements where a minimum of notes are written in patters, played in varying time signatures, over and again, in slightly altered combinations of chords and tones. They are consistently modified to vary textural, polytonal, and even perceptual degrees, but never to the point of any linear modulation or scheme. For John Cage may repeat each sequence of notes -- in limited range -- and repeat them asymmetrically or symmetrically, this distinction doesn't matter to Feldman, who felt that if he could just achieve "stasis" within his music, the question would forever be in his words "held in abeyance." These patterned sections proceed from one another without reorganization or discernable system. But then, this work, as in all of Feldman's middle and late pieces, was about the relationships between note and silence and instruments and tones. For John Cage, meant to be played by both performers and listened to at barely audible volume, established enough displacement to achieve a kind of stasis in sound and in its relationship to the greater stasis: silence. Despite the seemingly endless academic theorizing he involved in his work, Feldman's music, and it's concern with gentleness, stillness, is music of great, if subtly expressed, emotion. Inspired by one of his longest personal and professional relationships, For John Cage is perhaps his most haunting and beautifully wrought for all of its alien construction and perceptual ambiguity. Indeed, it appears as if Feldman were, at the end of his life, attempting to free music from the only thing that weighted it to earth: itself.

Tracks
1. I. - 25:17
2. II. - 20:37
3. III. - 23:18

Personnel
* Josje Ter Haar - violin
* John Snijders - piano

 sample & buy: For John Cage 

 

Biota - Tumble (1989)

Biota - Tumble (1989)

rock, electronic, avangarde | 1cd | eac-flac-cue-log-cover | 495MB

RéR

Allmusic:
This album contains two distinct projects from Biota recorded between the fall of 1988 and the spring of 1989. Tumble, the longer of the two, has recurring hints of various flavors of American pop music, and in particular the music of the American West. Fingerstyle guitar is at the center of "Things Seem Like Just Happen," and the first half of "Wire Talker" is a twisted jig with bagpipes, kazoos, and concertina. Other pop influences include a jazzy saxophone line at the beginning of "House of Suitcase" and early rock on "Operator for Cataract" and a greater interest in melody than any previous work. But enumerating the various influences and elements barely scratches the surface of this album, as with all of their work. While there may be a recognizable instrument or two in the foreground, the listener is hard-pressed to pull specifics out of the murk that backgrounds the entire album. Biota's working methods almost always start with more or less traditional instruments, but electronic processing starts early and continues throughout the recording process. The slow concertina waltz that constitutes "Finder," for example, is accompanied by acoustic guitar and a simple percussion, but there is a big unspecified cloud out of which this material emerges. It is this cloud that gives Biota its instantly recognizable aura. Throughout Tumble, episodes succeed each other, presenting more different pieces than the track listing would suggest. "Ghost Shirt" is more abstract but still episodic, with clattering noise and percussion sections alternating with quiet melodies, reverb guitar, and demented blues riffs, and uses the same source material as "Operator for Cataract" and "Shadows Appear to Do."

Tracks
-01. "New Lookout" - 2:58
-02. "One Eye Open" - 3:17
-03. "Things Seem Like Just Happen" - 5:16
-04. "Wire Talker" - 6:32
-05. "Shadows Appear To Do" - 7:05
-06. "Picture By Accident" - 7:21
-07. "House Of Suitcase" - 4:58
-08. "Finder" - 1:22
-09. "...Buffalo Come Back" - 5:44
-10. "Operator For Cataract" - 6:39
-11. "When They Know" - 5:55
-12. "The Less Said" - 7:14
-13. "(silence)" - 0:14
-14. "Ghost Shirt" - 9:15

Personnel
* Guitar, Banjo, Harmonica, Flute – Tom Katsimpalis
* Guitar, Psaltery, Banjo, Ukulele, Recorder, Trumpet, Percussion [Balafon], Tape – Mark Piersel
* Saxophone [Alto], Clarinet [Bass], Clarinet [Bass], Flute, Guitar, Autoharp, Bells – Steve Scholbe
* Tapes - William Sharp
* Piano, Accordion, Guitar – Gordon Whitlow
* Kit drums, bongos, bodhran, side drum - Larry Wilson
* Concertina - Randy Yeates
* Violin - Deborah Fuller

 sample & buy: Tumble

 

Biota - Invisible Map (2001)

Biota - Invisible Map (2001)

rock, electronic, avangarde | 1cd | eac-flac-cue-log-cover | 500MB

RéR

Allmusic:
The fifth album by the collective Biota (if one doesn't count the LPs under the name Mnemonists), Invisible Map carries on with the change of direction instigated on Object Holder. This time, instead of having about 20 minutes of pop songs in the middle of the group's usual dreamy landscapes, the pop material is thoroughly integrated to the music. The singer is Montrealer Geneviève Heistek (of Godspeed You Black Emperor's entourage). Her half-alternative, half-trip-hop voice appears on every third or fourth track, starting with "The Rapid Color." In 76 minutes, Biota takes the listener on a beautiful, if tormented, journey through 37 short pieces. Gordon Whitlow's David Thomas-like accordion riffs meet with Tom Katsimpalis' balalaika, William Sharp's hurdy-gurdy, and Chuck W. Vrtacek's delicate piano lines, all wrapped up with audio art fabric. With its wide range covering delicate post-folkish pop songs to ambient soundscapes, Invisible Map may be the collective's most accomplished and accessible release to date. All music styles (folk, jazz, blues, rock, musique concrète, free improv, etc.) coalesce to be filtered through the dreamer's ears: background vocals are slightly treated, soloing instruments are heard from a distance, rhythm tracks are deliberately just a bit out of sync. This way, the simple tunes never really come into focus, giving the whole album an aura of mystery. The 12-page booklet contains beautiful artwork by the Mnemonists collective. Strongly recommended to both fans and curious newcomers.

Tracks
-01 . "Moment" - Biota, Heistek - 0:44
-02 . "The Rapid Color" - Biota - 3:46
-03 . "Port" - Biota - 2:59
-04 . "Call" - Biota - 2:36
-05 . "Landless" - Biota, Heistek, Katsimpalis - 2:39
-06 . "Air on Water" - Biota - 0:29
-07 . "Mineral" - Biota - 3:19
-08 . "Common Broom" - Biota - 2:12
-09 . "Birthday" - Biota, Heistek - 3:29
-10 . "Dustman" - Biota - 0:52
-11 . "Sleeping Car" - Biota - 2:25
-12 . "Snake Out" - Biota - 3:21
-13 . "Occurrence" - Biota - 1:36
-14 . "Top Ray Done" - Biota - 1:58
-15 . "Glass Lizard" - Biota" - 2:08
-16 . "Telegraph Plant" - Biota - 0:56
-17 . "Spoonbender's Visit" - Biota - 0:54
-18 . "Remodel a Whisper" - Biota - 0:32
-19 . "Measured Not Found" - Biota - 3:22
-20 . "The Slow Forest" - Biota - 4:30
-21 . "Canopy" - Biota - 0:46
-22 . "Red's Big Day" - Biota - 1:32
-23 . "Lampblack" - Biota - 1:33
-24 . "There Is Probably Something" - Biota - 0:37
-25 . "Worry Hill" - Biota - 1:28
-26 . "Olive Drab Morionette" - Biota - 1:15
-27 . "Invisible Gap" - Biota - 1:19
-28 . "Yarn" - Biota - 3:18
-29 . "Words Disappear" - Biota, Heistek, Katsimpalis - 1:22
-30 . "Ballad Of" - Biota - 2:05
-31 . "Soil and Token" - Biota - 1:37
-32 . "Glazed Paper" - Biota, Katsimpalis - 3:21
-33 . "Paste" - Biota - 3:08
-34 . "Truth Table" - Biota - 0:56
-35 . "Dual" - Biota, Katsimpalis - 3:23
-36 . "Flicker" - Biota - 2:38
-37 . "Presto the Human" - Biota - 1:03

Personnel
Genevieve Heistek; lead vocals, violin: Steve Scholbe; slide guitars: Tom Katsimpalis; guitars, Clavioline, balalaika: Gordon Whitlow; accordion, pump organ: William Sharp; electronics, hurdy gurdy: Larry Wilson drums: James Gardner; Rhodes, noe, trumpet: C.W. Vrtacek; piano: Randy Yeates; Biomellodrone keyboard: Mark Piersel; acoustic & lap steel guitars: Andy Kredt; electric guitars

 sample & buy: Biota: Invisible Map

Biota - Object Holder (1995)

Biota - Object Holder (1995)

rock, electronic, avangarde | 1cd | eac-flac-cue-log-cover | 470MB

RéR

Allaboutjazz:
“Object Holder” is Biota’s 12th release and as we celebrate the origins of Biota with the re-release of the Mnemonists “Horde” (see AAJ April 99’ review) it seems appropriate to shed some light on Biota’s latest release. Analogous to the music and era depicted on “Horde” which was recorded 20 years ago, “Object Holder” is a fascinating endeavor that illustrates the impetus and cutting edge strides this band has made since the early 1980’s.
Released in 1995 and recorded between 1992 and 1994, “Object Holder” contains 23 tracks that interweave, ultimately representing a series of dreamlike pieces as the musicians incorporate a vast array of acoustic, electronic and exotic instruments. Forever Einstein’s C.W. Vrtacek lends a helping hand on piano along with percussionist-composer Chris Cutler who handles percussion and electronics duties.
The press kit alludes to the music being that of “a half remembered dream”. Prior to reviewing this CD and reading the press release, this writer immediately conjured thoughts or impressions that parallel that notion. Vocalist Susanne Lewis of the fine band “Thinking Plague” makes her debut with Biota on this release and supplies an angelic and multi-colored balance that rides on top of the textured yet highly abstract thematic developments and unusual rhythmic patterns. Unusual instrumentation such as Steve Scholbe’s use of a marxophone and rubab compliment the guitars, electronics, horns, accordion’s and pump organs. A hodgepodge of diverse instrumentation all add to the uniqueness of these pieces yet the blending, coloration and skillful implementation is what makes it all work. The music is dense yet prone to delve into ephemeral passages that catch the listener off guard.
Biota explore different diatonic and chromatic regions by fusing or meshing sounds of instruments that emit unorthodox voicings as the outcomes are frequently compelling and quite interesting. Overall, Biota provides enchanting dreamscapes supplanted by odd thematic developments that contain elements of elasticity and musical shaping which adhere to a formula that is unique to this band. Comparisons are tough. Biota has created a deeply personalized style that has evolved over many years and needless to say; the music is enticing and picturesque which coincides with the colorful CD artwork by the Mnemonists.

 Tracks
-01. "Bumpreader - 7:52
-02. "Spillway - 4:15
-03. "Eavesdrop - 1:46
-04. "Blind Corner - 2:21
-05. "Under the Hat - 1:33
-06. "Flatwheel - 2:08
-07. "Reckoning Falls - 2:40
-08. "Swallow - 0:39
-09. "Move - 1:14
-10. "Steam Trader - 2:49
-11. "Understander - 2:43
-12. "Private Wire - 3:03
-13. "Cinder - 1:25
-14. "Distraction - 5:41
-15. "Signal - 3:33
-16. "This Ridge - 0:44
-17. "Idea for a Wagon - 3:21
-18. "More Silence - 4:02
-19. "Coat - 1:58
-20. "Gate Climbing - 5:31
-21. "Protector - 3:03
-22. "Visible Gap - 1:38
-23. "The Trunk - 4:03
-24. "[Untitled Track] - 2:08

Personnel
Susanne Lewis (vocals); Steve Scholbe (guitar, hurdy-gurdy, clarinet, reeds, saxophone); Gordon Whitlow (guitar, mandolin, whistle, accordion, Fender Rhodes piano, organ, xylophone); Tom Katsimpalis (guitar, keyboards); Andy Kredt (guitar); James Gardner (flugelhorn, piano); C.W. Vrtacek (piano); Randy Yeates (keyboards, kalimba); Larry Wilson (drums, congas, bongos, percussion); Chris Cutler (percussion, electronics); William Sharpe (tapes).

 sample & buy: Object Holder

 

Assif Tsahar - Jam (2003)

Assif Tsahar - Jam (2003)

jazz | 1cd | eac-flac-cue-log-cover | 235MB

Hopscotch 21

allmusic:
There used to be an unwritten edict in the out jazz world: that music as much fun as this is to listen to had no business in the avant-garde catalog. Jam is the result of the combined talent of sax great Assif Tsahar, drum ace Jim Black, and violin maestro Mat Maneri. Over nine sections and 52 minutes, rhythmic invention meets knotty harmonic elocution and microtonal interplay in a kind of South Park-meets-Art Ensemble zeitgeist. Humor, as well as innovation in musical communication, all become part of some weave that touches upon the past, burrows out from the present, and flies into the future. Deep listening and well-articulated sonic speech are all hallmarks of the union of three very different yet complementary personages who explore together the spaces of dynamic and rhythm as they let loose the questions surrounding the textural possibilities of their instruments, together and separately. This is a jam in that it feels loose and free and unencumbered by anything other than speaking directly and warmly, and as the result of wonderfully innovative discourse whose meaning will no doubt be revealed to the listener in the decades to come. But that doesn't mean there is anything concrete or difficult to listen to in this music. Its' grace and elegance move it around so often, and with so much wit and savvy, it almost feels composed. Wondrous stuff from a great label.

Tracks
-1. "Jam, Pt. 1" - Black, Maneri, Tsahar - 6:39
-2. "Jam, Pt. 2" - Black, Maneri, Tsahar - 4:56
-3. "Jam, Pt. 3" - Black, Maneri, Tsahar - 7:02
-4. "Jam, Pt. 4" - Black, Maneri, Tsahar - 6:06
-5. "Jam, Pt. 5" - Black, Maneri, Tsahar - 4:24
-6. "Jam, Pt. 6" - Black, Maneri, Tsahar - 5:41
-7. "Jam, Pt. 7" - Black, Maneri, Tsahar - 3:33
-8. "Jam, Pt. 8" - Black, Maneri, Tsahar - 5:10
-9. "Jam, Pt. 9" - Black, Maneri, Tsahar - 8:10

Personnel
* Assif Tsahar - tenor sax, bass clarinet
* Mat Maneri - electtric 5 string violin
* Jim Black - percussion

 sample & buy: Jam

 

David Krakauer - Klezmer Madness! (1995)

David Krakauer - Klezmer Madness! (1995)

klezmer | 1cd | eac-flac-cue-log-cover | 295MB

Tzadik

Allmusic:
David Krakauer's Klezmer Madness sits on the edge of the Klezmer tradition and is always jabbing at its boundaries. The music is always a little bit more unbridled, a bit more passionate, and a tad more discordant than your bubbe's klezmer records, which is not to say that it falls into the same camp as other punk, pop, or jazz-oriented groups that treat klezmer like a quaint novelty. Krakauer, with his virtuoso clarinet playing and incredibly tight and talented backing band, always shows respect for the heart of klezmer music -- these songs orbit around a pure core. The only tune which truly journeys out into left field is "Living With the H," which deconstructs and reassembles the ubiquitous classic "Hava Nagila," a song which almost begs to be messed with. The effect is not unlike a jazz band who can tip their hats to tradition without having to hash out another tired version of "My Foolish Heart." Krakauer has accepted that klezmer has never been a static form of music and has no problem imbuing his own sense of creativity into Klezmer Madness within the constraints of this classic style.

Tracks
-01. "Africa Bulgar" - Traditional - 3:43
-02. "Bogota Bulgar" - Traditional - 4:06
-03. "A Few Bowls Terkish" - Traditional - 4:37
-04. "At the Rabbit's Table" - Traditional - 5:14
-05. "Doina/Death March Suite" - Traditional - 10:32
-06. "Funky Dave" - Traditional - 5:53
-07. "The Ballad of Chernobyl" - Traditional - 5:19
-08. "Gong Doina" - Traditional - 2:19
-09. "Living With the H Tune" - Traditional - 6:03
-10. "Rachab" - Zorn - 1:27

Personnel
* David Krakauer (clarinet, bass clarinet)
* Michael Alpert (vocals, accordion)
* David Licht (percussion)
* & guests

 sample & buy: Klezmer Madness

 

Fred Frith - Prints (1987–2001)

Fred Frith - Prints: Snapshots, Postcards, Messages and Miniatures (1987–2001)

rock, avantgarde | 1cd | eac-flac-cue-log-cover | 230MB

Fred Records 2002

Allmusic:
The short story: Prints is Fred Frith's first album of songs in 20 years. The long story: it is actually a collection of compilation tracks and unreleased studio sessions recorded between 1987 and 2001. No matter if you already own a few of these, a pop album by this man is a rarity -- and that is truly a shame. Of course, as a respected improviser, serious composer, and educator, anything lighter from this pillar of modern music will meet with severe criticism from people who take themselves too seriously. Lighten up! Cheap at Half the Price was the best tongue-in-cheek take at the New Wave. If Prints lacks its thematic focus, it still makes a very fine album, much friendlier to the listener, and truly enjoyable. The known material includes two cover songs for Tzadik tribute CDs to Burt Bacharach and Serge Gainsbourg, "Life of a Detective" recorded with 5uu's in 1990, and "True Love" released in 1987 on a Shimmydisc comp (and later included as a bonus track on RecRec's reissue of Cheap at Half the Price). The new material consists of seven pieces recorded for the WDR (German radio) in 1997. These multi-tracked songs were written and recorded spontaneously. Frith derives his lyrics from the newspapers of the day, uses samples to provide rhythm tracks, and pulls off a couple of excellent songs ("I Want It To Be Over," quoting Bill Clinton in an interview related to the Monica Lewinsky scandal, is a highlight) and instrumental pieces. "Reduce Me" was recorded in 2001 using the same method. The album has been carefully constructed to tone down its "collection" nature and it works well, thanks of course to Frith's humor and pop sensibility. Come on, surely you can live with that! Highly recommended.

Tracks
-01. "Trains & Boats & Planes" (Bacharach, David) – 5:07
---From Great Jewish Music: Burt Bacharach (1997, Tzadik)
---Recorded at Jankowski Studio, Esslingen, Germany, 1996
-02. "Stones" (Frith) – 2:02
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
---Text: International Herald Tribune, 27/01/97, "Palestinian independence celebrations in Hebron"
---Sample: "Ligueyou Ndeye" by Doudou N'Diaye Rose
-03. "Fingerprints" (Frith) – 3:50
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
-04. "Life of a Detective" (Frith, Brookings) – 3:13
---From Place of General Happiness (1993, Modern Variety Music)
---Recorded at Triple Helix, Denver, Colorado, 1990 (engineer: Bob Drake)
-05. "The Ballad of Melody Nelson" (Gainsbourg) – 2:01
---From Great Jewish Music: Serge Gainsbourg (1997, Tzadik)
---Recorded at Jankowski Studio, Esslingen, Germany, 1997
-06. "Trocosi" (Frith) – 4:36
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
---Text: International Herald Tribune, 28/01/97, "Enslavement of women in Ghana"
---Sample: "Where Do You Want to Go" by Kahil El'Zabar
-07. "Reduce Me" (Frith) – 5:48
---Recorded at Jankowski Studio, Esslingen, Germany, 2001
---Text: The Guardian, July 2001, "Afghan woman returns home after ten years of exile"
-08. "Levity" (Frith) – 2:36
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
---Sample: "Kattajait" from Inuit Games and Songs (UNESCO Collection)
---Sample: applause for Helmut Kohl speech, Brandenburg Gate, Berlin
-09. "True Love" (Frith) – 2:56
---From The 20th Anniversary of the Summer of Love (1987, Shimmy Disc)
---Recorded at Noise, New York City, 1987 (engineer: Mark Kramer)
-10. "I Want it to be Over" (Frith) – 3:01
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
--- Text: International Herald Tribune, 27/01/97, "Bill Clinton interviewed about Monica Lewinsky"
---Samples: Escher-loop, broken glass
-11. "Spot" (Frith) – 4:38
---Recorded at Jankowski Studio, Esslingen, Germany, July 2001
-12. "In the Winter of '64" (Frith) – 1:48
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997

Personnel
* Fred Frith – all instruments (except those listed below), voice
* Bernd "Lönsch" Lehmann (2,3) – clarinet, tenor saxophone
* Mike Johnson (4) – principal voice
* Dave Kerman (4) – backup voice
* Sebastian Gramms (6) – acoustic bass
* Alexandra Schulz (7) – additional voice
* Sheena Dupuis (9) – backing vocal

sample & buy: Prints

London, Sklamberg, Caine - Nigunim (1998)

London, Sklamberg, Caine - Nigunim (1998)

jazz, avantgarde, klezmer | 1cd | eac-flac-cue-log-cover | 285MB

Savoy

Allmusic:
An excellent album of nigunim -- Hasidic melodies traditionally composed by Jewish spiritual leaders for Sabbath and holidays -- from the Gerer, Lubavitch, and Belzer (all European) traditions. The musicians here are not only klezmer revivalists, but also accomplished jazz and classical musicians. The trio consists of trumpeter Frank London, pianist Uri Caine, and the classic Hasidic stylings of vocalist Lorin Sklamberg, with a guest appearance by organist Brian Mitchell, and all present add keyboard work at some point on harmonium, Fender Rhodes, etc. Nigunim opens with "Eyli Ato," a nostalgic, classically sung rendition of a melody composed by an Alter Lubavitcher Rebbe (a Lubavitch Elder Rabbi) for singing Psalms 118:28. Other tunes from the Lubavitch tradition: the longing-filled, nearly melancholic "Esn Est Zikh," during which Uri Caine's piano at times brings to mind Beethoven's "Moonlight Sonata"; and "Tsomo Lekho Nafshi," which opens with a warm trumpet solo filled with promise for the song that's about to unfold, after which the piano and accordion come in with a simple looping melody as London uses his mute, the piano solos over the top, then Sklamberg belts out in Middle Eastern-like bending moans. The "Gerer Medley" is a festive and upbeat tune composed for the meal following the Havdalah, or night service marking the end of Sabbath. Nigunim have long drawn from secular, as well as religious, sources, incorporating them into the Jewish tradition by giving them distinctly Jewish musical traits. Thus, the soul gospel stylings of the closing track, "Tayere Brider," during which Mitchell adds the anointed handclaps of his Hammond B-3. Nigunim is an excellent album for those who already know and own nigunim recordings, and for those who don't yet, but are open to enjoying incredible Jewish music from inspired musicians.

Tracks
-01. "Eyli Ato" - 3:59
-02. "Belzer Medley" - 6:14
-03. "Mipney Ma / Peysakh Nign" - 6:24
-04. "Gerer Medley" - 5:19
-05. "Esn Est Zikh" - 3:38
-06. "Nign Leshabes Veyontev" - 9:23
-07. "Tsomo Lekho Nafshi" - 7:09
-08. "Zkhor Dovor" - 3:04
-09. "Avrom Ben Shmuel" - 4:40
-10. "Tayere Brider" - 4:14

Personnel
* Frank London - Trumpet, Harmonium, Organ, Electric Piano [Fender Rhodes]
* Uri Caine - Piano, Harmonium, Organ [Hammond B3], Electric Piano [Fender Rhodes]
* Lorin Sklamberg - vocals, accordion, harmonium

sample & buy: Nigunim

Bill Frisell - Sign Of Life: Music For 858 Quartet (2011)

Bill Frisell - Sign Of Life: Music For 858 Quartet (2011)

jazz, avantgarde | 1cd | eac-flac-cue-log-cover | 285MB

Savoy

Allmusic:
After a five-year hiatus, Bill Frisell's 858 Quartet recorded their second offering. Their elliptical debut, Richter 858, was produced by poet David Breskin (who also helmed the sessions for Nels Cline's Dirty Baby), and accompanied an exhibition by German artist Gerhard Richter. The music on Sign of Life: Music for 858 Quartet was loosely composed by Frisell, and took shape in group rehearsals. 858's other members include violinist Jenny Scheinman, violist Eyvind Kang, and cellist Hank Roberts. Recorded at Fantasy Studios in San Francisco and produced by Lee Townsend, the 17 selections on this set feel very organic. The album opens with Americana-tinged themes in the two-part "It's a Long Story" that nod to country, folk, and even Curtis Mayfield's "People Get Ready" in its melody. "Old Times" hints at bluegrass, blues, and ragtime, but because of the complex interplay between the four players, reaches far past them into a music that is 858's own. "Friend of Mine" is another two-part tune; that said, where a pastoral theme is suggested in part one, a more mischievous one responds in the second some eight tracks later. Elsewhere, improvised classical motifs, jazz modes, and folk and other roots musics shimmer through these compositions, sometimes simultaneously and often spontaneously. The haunted yet restrained "Painter," which clocks in at under two minutes, is a modal sketch immediately followed by an equally brief, slightly dissonant pointillistic exercise in counterpoint called "Teacher." "All the People, All the Time" returns to more accessible and resonant territory but, as gentle as it is, it's full of quiet surprises and unexpected twists. For all of its space and economical phrasing, "Village" is downright cartoon spooky, and "Suitcase in My Hand," which jaunts along in a striding, near reel, is transformed by Scheinman playing country-style fiddle, though the rhythmic signature never changes. "Sixty Four," with its pulsing time and repetitive, slightly shifting harmonic line, feels -- but not quite sounds -- like something Philip Glass might have written if he had a sense of humor, and is the only place on the record where Frisell lets somewhat ragged sonic edges into his playing. Sign of Life is a curious, quirky, and deceptively low-key affair that is musically labyrinthine and ambitious; it's full of gorgeous spaces, textures, utterly instinctive interplay, and unexpected delight.

Tracks
-01. "I'ts a Long Story, Pt. 1" - 2:40
-02. "Old Times" - 4:59
-03. "Sign of Life" - 2:49
-04. "Friend of Mine, Pt. 1" - 5:48
-05. "Wonderland" - 3:18
-06. "It's a Long Story, Pt. 2" - 6:32
-07. "Mother Daughter" - 2:20
-08. "Youngster" - 3:01
-09. "Recollection" - 2:54
-10. "Suitcase in My Hand" - 2:22
-11. "Sixty Four" - 3:52
-12. "Friend of Mine, Pt. 2" - 1:49
-13. "Painter" - 1:14
-14. "Teacher" - 1:28
-15. "All the People, All the Time" - 2:05
-16. "Village" - 4:20
-17. "As It Should Be" - 1:52
all compositions by Bill Frisell

Personnel
Bill Frisell: - guitar
Jenny Scheinman - violin
Eyvind Kang -  viola
Hank Roberts - cello

sample & buy: Sign Of Life, Music For 858 Quartet

Cracow Klezmer Band (John Zorn) - Sanatorium Under the Sign of the Hourglass: A Tribute to Bruno Schulz (2005)

Cracow Klezmer Band (John Zorn) - Sanatorium Under the Sign of the Hourglass: A Tribute to Bruno Schulz (2005)

avantgarde, klezmer, jazz | 1cd | eac-flac-cue-log-cover | 395MB

Tzadik

Allaboutjazz:
John Zorn's Masada songbooks have surrendered themselves to many modern genres and styles—free jazz with the original Masada Quartet, contemporary improvised music with the Masada String Trio and the duo of Mark Feldman and Sylvie Courvoisier, 1970s electric fusion meets today's electronica with Electric Masada, power rock with Rashanim, and a dozen others in the various tributes to the first Masada songbook (Masada Guitars; Voices in the Wilderness; and The Unknown Masada, all Tzadik, 2003). But only now, with the release of the Polish Cracow Klezmer Band's fourth disc on Tzadik, are they interpreted in the Old World Eastern European klezmer form. Many Masada interpretations have referenced, abstracted, or suggested new readings of this genre which is so identified with Jewish music.
The four members of the Cracow Klezmer Band—leader, arranger, and bayan (accordion) player Jaroslaw Bester; violinist Jaroslaw Tyrala; bayan player, clarinetist, and percussionist Oleg Dyyak; and violinist Jaroslaw Tyrala—are augmented by singer Grazyna Auguscik, who has collaborated with them before, not only to tackle John Zorn's Masada Songbooks One and Two, but also to use these tunes to paint a heartfelt tribute to the Polish-Jewish writer and artist Bruno Schultz (1892-1942), whose character still inspires contemporary writers like the Israeli author David Grossman (See Under: Love) and Americans Cynthia Ozick (The Messiah of Stockholm) and Phillip Roth (The Prague Orgy). This release is named after Schultz's second collection of short stories, published in 1936, and its official title is The Cracow Klezmer Band plays the music of John Zorn—Sanatorium Under Sign of the Hourglass: A Tribute to Bruno Schultz.
The Cracow Klezmer Band's beautiful arrangements are faithful to the original versions. In the opening track, "Meshakh," and on "Regalim," these four musicians even manage to capture the same dynamic telepathic coordination that is so identified with the original Masada quartet. But soon as Tyrala begins his magnificent solo on "Galgalim," you realize that their music is more faithful to the klezmer tradition than any other Masada incarnations or interpretations: klezmer music as a high art concert music that must be performed with subtlety, finesse, and great passion.
"Tirzah," with Auguscik's dreamy wordless vocals, and "Hamadah" both succeed in capturing the sensual atmosphere of Schulz's fantastical stories. Tyrala introduces "Adithaim" with a virtuosic, lyrical violin solo, slowly turning the piece into a gentle dance tune. "Pagiel" is the only tune from Zorn's second Masada songbook, Book of Angels, and is performed as a passionate Astor Piazzolla tune. "Meholalot" is interpreted slightly differently than the version the Cracow Klezmer Band did on Voices in the Wilderness, this time stressing its driving rhythms, as its Hebrew title suggests, and highlighting the captivating vocals of Grazyna Auguscik.
A brilliant release that blends Old World with New World, an almost vanished culture with a vital resurrecting one, by one of the world's most extraordinary new klezmer outfits.

Tracks
-01. "Meshakh" - 4:55
-02. "Galgalim" - 5:14
-03. "Tirzah" - 10:40
-04. "Yesod" - 4:45
-05. "Pagiel" - 7:34
-06. "Adithaim" - 6:45
-07. "Hamadah" - 6:17
-08. "Regalim" - 4:45
-09. "Demai" - 9:08
-10. "Meholalot" - 5:39
All compositions by John Zorn.

Personnel
* Jaroslaw Bester – bayan
* Oleg Dyyak – bayan, clarinet, percussion
* Wojciech Front – double bass
* Jaroslaw Tyrala – violin
* Grazyna Auguscik – vocals

sample & buy: Sanatorium Under the Sign of the Hourglass: A Tribute to Bruno Schulz

Fred Frith - Quartets (1994)

Fred Frith - Quartets (1994)

contemporary, avantgarde | 1cd | eac-flac-cue-log-cover | 230MB

RecRec 44

wikipedia:
Quartets is a 1994 studio album by English guitarist, composer and improvisor Fred Frith. It consists of two compositions by Frith, "Lelekovice, String Quartet #1", performed by the Violet Wires String Quartet, and "The As Usual Dance Towards the Other Flight to What is Not", performed by an electric guitar quartet. Frith performs with the guitar quartet, but not with the string quartet.
---
"Lelekovice, String Quartet #1" was composed by Frith in 1990 and was dedicated to Iva Bittová, Lelekovice being the name of the village near Brno in the Czech Republic where Bittová lives. It was first performed in July 1991 by the Edison Quartet at the Nieuwe Musiek Festival, in Middelburg, the Netherlands, and was used by the United States choreographer Amanda Miller in her dance piece, My Father's Vertigo in 1991. The recording on this album was made in December 1992 by the Violet Wires String Quartet at Angel Studios, London. "Lelekovice" was recorded again in June 2003 by the Arditti Quartet and appeared on Frith's 2005 album, Eleventh Hour.
"The As Usual Dance Towards the Other Flight to What is Not" was commissioned by Roulette, New York City and composed by Frith in 1989. It was first performed in February 1989 by Les 4 Guitaristes de l'Apocalypso-Bar at The Kitchen, New York City, and recorded by the same group in February 1989 at Studio Victor, Montreal. An album of this piece and other recordings by the group were released on Fin de Siecle (1989). Only sections A and C of this composition appear on the album.
Frith did not play on "The As Usual Dance Towards the Other Flight to What is Not" with Les 4 Guitaristes de l'Apocalypso-Bar, and when he wanted to perform this piece himself, he assembled an electric guitar quartet in 1992, comprising René Lussier, Nick Didkovsky, Mark Howell and himself. The quartet recorded the complete piece in April 1992 at Sorcerer Sound, New York, releasing it on Quartets. Later Mark Stewart replaced Howell and the new quartet became known as the Fred Frith Guitar Quartet, touring internationally and recording two albums, Ayaya Moses (1997) and Upbeat (1999).
Parts of "The As Usual Dance Towards the Other Flight to What is Not" also appear in the documentary film, Step Across the Border (1990), and its soundtrack, Step Across the Border (1990), performed by an electric guitar quartet which Frith conducts.

Tracks
-1. "Lelekovice, String Quartet #1 (for Iva Bittová)" (Frith) – 24:12
-2. "The As Usual Dance Towards the Other Flight to What is Not" (Frith) – 28:35

Personnel
"Lelekovice, String Quartet #1" performed by Violet Wires String Quartet:
* Ann Morfee – violin
* Abigail Brown – violin
* Phil D'Arcy – viola
* Liz Parker – cello
"The As Usual Dance Towards the Other Flight to What is Not" performed by Electric Guitar Quartet:
* Fred Frith – guitar
* René Lussier – guitar
* Nick Didkovsky – guitar
* Mark Howell – guitar

sample & buy: Quartets

 

Captain Beefheart - London 1974

Captain Beefheart - London 1974
rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 220MB

MPG 74025

Allmusic:
This live recording of Captain Beefheart & the Magic Band was taken from a London date during one of the more fierce peaks of the band's existence, the same period that produced the overlooked classic masterpiece Clear Spot. Though the session was intended to produce a live album for Virgin, the release never materialized, though the versions of "Mirror Man" and "Upon the Me Oh My" came out of the 1975 Virgin sampler V. Thanks to the obscure Portuguese imprint Movie Play Gold, highlights from the concert made it onto CD at a concise 40 minutes. The disc features nine tracks of full-tilt Magic Band mayhem on "Full Moon Hot Sun," "Sugar Bowl," "Crazy Little Thing," "This Is the Day," "New Electric Ride," as well as older '60s classics like "Abba Zabba" and "Peaches." The CD has exceptional sound quality, while some other live Captain Beefheart from the same period fares a little rough in recording quality. This comes highly recommended as an opportunity to hear the Magic Band at an all-time high.

Tracks
-1. "Mirror Man" - Van Vliet - 4:48
-2. "Upon the Me Oh My" - Di Martino, Van Vliet, Van Vliet - 4:07
-3. "Full Moon Hot Sun" - Di Martino, Van Vliet, Van Vliet - 3:29
-4. "Sugar Bowl" - Di Martino, Van Vliet, Van Vliet - 2:55
-5. "Crazy Little Thing" - Van Vliet - 3:45
-6. "This is the Day" - Di Martino, Van Vliet, Van Vliet - 7:48
-7. "New Electric Ride" - Di Martino, Van Vliet, Van Vliet - 3:20
-8. "Abba Zabba" - Van Vliet - 3:16
-9. "Peaches" - Di Martino, Van Vliet, Van Vliet - 6:03

Personnel
* Captain Beefheart (Don Van Vliet) / harmonica, vocals
* Del Simmons / Tenor saxophone, flute
* Dean Smith / guitar
* Fuzzy Fuscaldo / guitar
* Michael Smotherman / keyboards
* Paul Uhrig / bass
* Ty Grimes / drums

sample & buy: London 1974

Anthony Braxton - Eugene (1989)

Anthony Braxton - Eugene (1989)
jazz | 1cd | eac-flac-cue-log-cover | 410MB

Black Saint

Allmusic:
The innovative alto-saxophonist and composer Anthony Braxton leads the Northwest Creative Orchestra (a 16-piece big band) through eight of his compositions on this CD. Few of the sidemen have yet gained more than a local reputation (trumpeter Rob Blakeslee is the biggest "name"), but they perform the complex music quite well, although it would have been nice if the liner notes had identified the soloists and listed what reeds the saxophonists play. A stimulating set of avant-garde music.

Tracks
-1. "Composition No. 112" - 10:03
-2. "Composition No. 91" - 9:53
-3. "Composition No. 134" - 10:49
-4. "Composition No. 100" - 8:48
-5. "Composition No. 93" - 8:26
-6. "Composition No. 45" - 12:55
-7. "Composition No. 71" - 10:32
-8. "Composition No. 59" - 8:01
All compositions by Anthony Braxton
Recorded at Beall Hall at the University of Oregon in Eugene, Oregon on January 31, l989

Personnel
* Anthony Braxton - alto saxophone, conductor
The Northwest Creative Orchestra:
* Rob Blakeslee, John Jensen, Ernie Carbajal - trumpet
* Ed Kammerer, Tom Hill, Mike Heffley - trombone
* Thom Bergeron, Jeff Homan, Carl Woideck, Mike Curtis - reeds
* Mike Vannice - reeds, piano
* Todd Barton -synthesizer
* Joe Robinson - guitar
* Forrest Moyer - bass
* Tom Kelly -percussion
* Charles Down - percussion, vibrophone

sample & buy: A Braxton - Eugene

Fred Frith - Speechless (1981)

Fred Frith - Speechless (1981)

rock, avantgarde | 1cd | eac-flac-cue-log-cover | 350MB

ESD 80542

Allmusic:
This is one of the most important experimental guitar-based titles from avant guitarist and founding Henry Cow member Fred Frith. Frith's second solo album, Speechless, includes appearances by Etron Fou Leloublan, Massacre, and Bill Laswell. This is a studio Frankenstein of live clips and found sounds. While Frith attests to the occurrence of many "happy accidents," the album comes across confidently and more often more coherent than merely challenging. Six bonus tracks appear on this CD version. This is often cited as Frith's best solo record, and its inspired manipulations hold up under repeated scrutiny. There is a bit of European folk influence here, too, but not as obvious as on Gravity.

Tracks
-01. "Kick the Can (part 1)" – 2:19
-02. "Carnival on Wall Street" – 2:51
-03. "Ahead in the Sand" – 3:16
-04. "Laughing Matter" / "Esperanza" – 7:47
-05. "Women Speak to Men; Men Speak to Women" (Frith, Curran) – 5:39
-06. "A Spit in the Ocean" – 2:17
-07. "Navajo" – 3:05
-08. "Balance" – 5:04
-09. "Saving Grace" – 1:57
-10. "Speechless" – 3:05
-11. "Conversations With White Arc" (Frith, Laswell) – 1:14
-12. "Domaine de Planousset" – 2:59
-13. "Kick the Can (part 2)" – 2:14
---bonus tracks
-14. "The Entire Works of Henry Cow" – 1:00
-15. "So Schnell Ich" (Frith, Laswell, Maher) – 3:25
-16. "I'm Still Here and I Know What Time It Is" (Frith, Curran) – 1:06
-17. "No More War" (Frith, Gore) – 4:46
-18. "Typical American Family" – 1:01
-19. "Dig" – 3:07
All tracks composed by Fred Frith except where noted.

Personnel
tracks 1-5:
* Fred Frith – guitar, violin, mellotron, organ and bass guitar (track 1), voice (track 3)
* Etron Fou Leloublan:
--Guigou Chenevier – drums, tenor saxophone and voice
--Bernard Mathieu[15] – soprano and tenor saxophones, voice
--Ferdinand Richard – bass, guimbarde, voice
--Jo Thirion – organ, harmonium
* Guests
--Tina Curran – recorders, unusual edits
--Roger Kent Parsons – bagpipes)
--Bob Ostertag – field tape recordings
Recorded at Studio Freeson, Pujaut, France and at Sunrise Studios, Kirchberg, Switzerland in July and August 1980.
tracks 6-13:
* Fred Frith – guitar, violin, keyboards, bass guitar, drums, voice
* Massacre:
--Bill Laswell – bass guitar
--Fred Maher – drums
* Guests
--Steve Buchanan – snake saxophone
--George Cartwright – alto saxophone
--Mars Williams – baritone saxophone
--Tina Curran – recorders, bass guitar

sample & buy: Speechless

Captain Beefheart - Ice Cream For Crow (1982)

Captain Beefheart - Ice Cream For Crow (1982)

rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 270MB

EMI 2006 remaster

Allmusic:
With yet one final Magic Band lineup in place, featuring Richard Snyder on bass and Cliff Martinez on drums alongside returning vets Jeff Moris Tepper and Gary Lucas, Beefheart put the final touch on his recording career to date with Ice Cream for Crow. It's a last entertaining blast of wigginess from one of the few truly independent artists in late 20th century pop music, with humor, skill, and style all still intact (as even the song titles like "Semi-Multicoloured Caucasian" and "Cardboard Cutout Sundown" show). With the Magic Band turning out more choppy rhythms, unexpected guitar lines, and outré arrangements, Captain Beefheart lets everything run wild as always, with successful results. Sometimes he sounds less like the blues shouter of lore and more of a spoken word artist with an attitude, thus the stuttering flow of "The Host the Ghost the Most Holy." "Hey Garland, I Dig Your Tweed Coat" is even more entertainingly outrageous, Beefheart's addictive if near impenetrable ramble about tobacco juice and straw hats and more backed by an insanely great arrangement. Magic Band members each get chances to shine one way or another -- "Evening Bell" in particular demonstrates why Lucas went on to later solo renown, a complex, suddenly shifting solo instrumental that sits somewhere between background music and head-scratching "how did he do that?" intrigue.

Tracks
-01."Ice Cream for Crow" – 4:35
-02. "The Host the Ghost the Most Holy-O" – 2:25
-03. "Semi-Multicoloured Caucasian" – 4:20
-04. "Hey Garland, I Dig Your Tweed Coat" – 3:13
-05. "Evening Bell" – 2:00
-05. "Cardboard Cutout Sundown" – 2:38
-06. "The Past Sure Is Tense" – 3:21
-07. "Ink Mathematics" – 1:40
-08. "The Witch Doctor Life" – 2:38
-09. "'81' Poop Hatch" – 2:39
-10. "The Thousandth and Tenth Day of the Human Totem Pole" – 5:42
-11. "Skeleton Makes Good" – 2:18
-12. "Light Reflected Off The Oceans Of The Moon" - 4:47 [Bonus Track]
All tracks written and composed by Don Van Vliet.

Personnel
* Don Van Vliet (Captain Beefheart) – vocals, harmonica, soprano sax, Chinese gongs, prop horn
* Jeff Moris Tepper – steel appendage guitar, slide guitar, acoustic guitar
* Gary Lucas – glass–finger guitar, slide guitar, guitar, National steel duolian
* Richard "Midnight Hatsize" Snyder – bass guitar, marimba, viola
* Cliff R. Martinez – drums, shake bouquet, glass washboard, metal drums
* Eric Drew Feldman – Rhodes piano, synthesized bass

sample & buy: Ice Cream for Crow

Iva Bittova - Cikori (2001)

Iva Bittova - Cikori (2001)

avantgarde, contemporary | 1cd | eac-flac-cue-log-cover | 305MB

Indies

Allmusic:
Iva Bittová does not release albums very often, making each one something to treasure. Cikori is her first major project since her critically acclaimed duet with Vladimír Václavek, the 1997 Bilé Inferno, and her first group effort since she left Dunaj. Cikori is actually both the title of the album and the name of this quintet, which is also comprised of Václavek (acoustic guitar), Frantisek Kucera (trumpet), Jaromír Honzák (double bass), and Milos Dvorácek (drums and percussion). The three new players already appeared as guests on selected tracks from Bilé Inferno. Basically, this opus develops more elaborate arrangements around the sound of the previous album. Václavek remains an essential part of the atmosphere, but the added instruments provide a wider palette for the singer. Songs like "Krídla" and "Zapísej" show the same attention to melodies, sparse arrangements, delicate build-ups, and charm. In "Jungle" and "První," the group adopts a quasi-Latin mood, which gives Bittová's very personal scats a new color. And who could resist her mischievous child tone when she meows in "Kocha"? Cikori may not be as gripping as Bilé Inferno, but it still represents a strong effort. It's full of beautiful, light, playful pop with an avant-garde twist. Recommended.

Tracks
-1. "Kocka" - Bittova, David - 6:10
-2. "Mravencí Síla" - Bittova, David - 5:02
-3. "Krídla" - Bittova, David - 9:28
-4. "Jungle" - Bittova - 2:42
-5. "Prání" - Bittova, David - 5:11
-6. "První" - Bittova - 5:36
-7. "Polykacka Nozu" - Bittova, Kalisová - 6:55
-8. "Zapískej" - Bittova, Vaclavek - 8:07
-9. "Kazu" - Bittova - 2:13

Personnel
* Iva Bittová - voice, violin
* Vladimír Václavek - guitar
* František Kučera - trumpet
* Jaromír Honzák - double bass
* Miloš Dvořáček - drums, percussion

sample & buy: Cikori

Captain Beefheart - Shiny Beast (Bat Chain Puller) (1978)

Captain Beefheart - Shiny Beast (Bat Chain Puller) (1978)

rock, avantgarde | 1cd | eac-flac-cue-log-cover | 320MB

Virgin

Allmusic:
So titled because the original album, simply titled Bat Chain Puller, had to be ditched and rerecorded after a legal tuzzle involving Frank Zappa's manager, Shiny Beast turned out to be manna from heaven for those feeling Beefheart had lost his way on his two Mercury albums. Then again, what else could be assumed with a song titled "Tropical Hot Dog Night" that sounds like what happened when Beefheart encountered Miami disco and decided to make something of it? When it comes to singing, though, he's still the atypical growler, snarler and more of lore, conjuring up more wonderfully odd lyrical stories than can easily be measured, while the album as a whole gets steadily more and more bent. "You Know You're a Man" is at once straightforward and incredibly weird when it comes to love and gender, while other standouts include "Bat Chain Puller," a steady chugger that feels like a goofy death march, and the nervy freak of "Owed T'Alex." As for the Magic Band in general, keyboardist Eric Drew Feldman, guitarists Jeff Tepper and Richard Redus and drummer Robert Williams lay down the business with appropriately gone aplomb, as a listen to "Suction Prints" will demonstrate.

Tracks
-01. "The Floppy Boot Stomp" – 3:51
-02. "Tropical Hot Dog Night" – 4:48
-03. "Ice Rose" – 3:37
-04. "Harry Irene" – 3:42
-05. "You Know You're a Man" – 3:14
-06. "Bat Chain Puller" – 5:27
-07. "When I See Mommy I Feel Like a Mummy" – 5:03
-08. "Owed t'Alex" – 4:06
-09. "Candle Mambo" – 3:24
-10. "Love Lies" – 5:03
-11. "Suction Prints" – 4:25
-12. "Apes-Ma" – 0:40
All lyrics and music by Don Van Vliet.

Personnel
* Don Van Vliet (Captain Beefheart) - vocals, harmonica, soprano sax, whistling
* Jeff Moris Tepper - slide guitar, guitar, spell guitar
* Bruce Lambourne Fowler - trombone, air bass
* Eric Drew Feldman - synthesizer, Rhodes piano, grand piano, bass
* Richard Redus - slide guitar, bottleneck guitar, guitar, accordion, fretless bass
* Robert Arthur Williams - drums, percussion
* Art Tripp III - marimba, additional percussion

sample & buy: Shiny Beast (Bat Chain Puller)

John Zorn, Wayne Horvitz, Elliott Sharp, Bobby Previte - Downtown Lullaby (1998)

John Zorn, Wayne Horvitz, Elliott Sharp, Bobby Previte - Downtown Lullaby (1998)

jazz, avantgarde | 1cd | eac-flac-cue-log-cover | 285MB

Depth Of Field

Allmusic:
By the time this was recorded, in 1998, the participants were virtual éminence grises of the downtown New York City scene, but this was the first occasion for the four of them to play together as a quartet (although all but Zorn had been members of Horvitz's band the President). The pieces derive their titles from the addresses of erstwhile performing spaces largely in the East Village and Soho, most of which had their heydays in the loft jazz explosion of the late '70s. All of the cuts are improvised by the group, and the perhaps surprising aspect is how much of the vibe is closer to late Miles Davis than to the free improv aesthetic practiced in the titles' points of reference. Horvitz's keyboard work, with its echoes of '70s ring modulators, sets the mood for many of the tracks, Sharp and Previte acting as the Pete Cosey and Al Foster of the band. Previte, in fact, would shortly begin his own overtly Miles-influenced jamming group. Zorn is in a bit of a square-peg situation here, as his trademark squeals and murmurs don't quite mesh with the tenor of the date, although one could argue that they also keep things from getting too comfortable. However, free improvisation has never been the real forte of any of these musicians; all seem more comfortable in structured surroundings, even if those structures are highly arcane and idiosyncratic. When they get into a groove, as on "Bleeker & Bowery," the listener gladly hops on board for an enjoyable ride, but several of the remaining pieces seem uncertain as to which side of the funk/free improv divide is most desirable and, unfortunately, there's no Miles Davis to show how well they could combine. Downtown Lullaby isn't a bad record but, given the personnel, one would have hoped for more.

Tracks
-1 "484 Broome" - 5:42
-2 "500 West 52nd" - 6:15
-3 "Eighth Between B & C" - 6:11
-4 "77 White" - 3:57
-5 "228 West Broadway" - 9:07
-6 "Bleecker & Bowery" - 7:16
-7 "1 Morton St (Downtown Lullaby)" - 9:00
All compositions by Horovitz/Previte/Sharp/Zorn
Recorded at Avatar Recording Studios, New York on January 15, 1998

Personnel
Elliott Sharp – electric guitars
Wayne Horvitz – keyboards, Hammond organ, piano
Bobby Previte – drums
John Zorn – alto

sample & buy: Downtown Lullaby