"Mind bending slice of drone improv from these three post-WWII heavyweights. Very reminiscent of Taj Mahal Travelers with layers of heavily reverbed ring-mod piano, percussion, and voices (in fact, just about everything in the mix seems ring-modded). Overall sheen resembles prime-era Nurse With Wound (although predating such by a few seasons). Toshi Ichiyanagi is one of the most well known Japanese composers of any era, a student of John Cage, Julliard graduate who returned to Japan in 1961 to spread Cage's Indeterminacy principles, Yoko Ono's former husband Fluxus artist. Michael Ranta is a well regarded contemporary repertoire percussionist, a familiar name to those in the know (close collaborator of Harry Partch, performed everything from Lachenmann pieces to tape music accompaniments), member of Wired (whose LP was included in the Deutsch Gramophone Free Improvisation boxset). And of course Takehisa Kosugi is the Group Ongaku founder who merged into the New York Fluxus artists before forming Taj Mahal Travellers, has since been composer-in-residence for the Merce Cunningham Dance Company. (Review from Eclipse Records)
Very Rare & highly collectable LP. Essential for anyone into Avant Improv or Fluxus Artists, Ripped form Vinyl @ 256kbps.
http://rapidshare.com/files/26517472/Improv_75.rar
boromir said' I've upped the Vandermark 5 concert:- http://rapidshare.com/files/26284734/VDMLive.rar.html From a BBC Radio 3 broadcast in 2002 (London I think). 70 mins split into 7 tracksRipped at 192 Kbps.
A bit of radio crackle here and there otherwise good sound quality.
Personnel:Ken Vandermark: reedsDave Rempis: reedsJeb Bishop: tromboneTim Mulvenna: drumsKent Kessler: bass Really punchy stuff. Kind of hard bop, with tunes you can hum.
a lot of free, jazz fans dont appear to like vandermark very much,theres a tendency to see him as a populist, or is it the old canard that white boys simply dont swing.
something layed down as law by some of the hardliners in the second wave of sixties freejazzers and ascociated poets and critics.
archie shepp and if my memory serves me well even the great marion brown, were known to deplore the incursions of whitey on their turf.
sun ra never (with the sole ecseption of alan silva)used white folk in his bands ,not to mention some of the,( these days )unspeakable things he said about them.
all of this at the time reflected the fact no doubt that stan getz , gerry mulligan ,chet baker and bill evans ,as talented as they were ,were still getting most of the accolades and making most of the money.
they were posterboys,and from the mid fifties to the mid sixties probably the faces most associated with jazz in the majority white conciousness.
retrospectively we can see that in the avant guard on the fringes there had been great white mavericks,and eccentrics that also deserve to be celebrated ,contemporary jazz and improvised music would be very different had the likes of
mel powell, gil melle, george russell, jimmy guiffre(what a giant)steve lacy, carla bley, paul bley, roswell rudd, paul motian etc etc...,never appeared.
vandermarks a bit of a maverick and individualist as much as one can be in this era, but none of my jazz loving friends admire him or respect his work much, or even that of say mats gustafsson
whom he often plays with.
anyone whos a free jazz purist may disdain the vandermark 5, but heres no gainsaying vandermark's integrity or or the authority of his own dialect and idiom.
he even plays free jazz in its classic form ,really well when he feels like it.
CHECK OUT HIS RECORDS LIVE AT THE GLENN MILLER CAFE, AND THE ONE BY THE SAME GROUP(HIS TRIO+GUSTAFSSON) ON WOBBLY RAIL FOR EXAMPLE.
i personaly like a lot of his various projects
and yep im not kidding that attitude does still exist at least in my part of the world.
this will be my last post for a long while(at least of stuff ive got) my disc drive and also programs like audacity are out of action due to a fuck up by microsoft microshits' software department, any one having a windows xp operating system will know what im talking about.
i accidently turned on windows security updates and it screwed me, for what could be a long time .
hi all
heres an album ,thats been out of print a long time. Brain (Austria) 500.018 (lp) 1976)
those who know the ecentric austrian pianist only for his renown performances of the european classical repertoire,notably mozart and haydyn, will be surprised to know he was an innovative envelope pushing,master improvisor with a wry sense of humour,who delighted in challening his audiences, by playing in ever more outrageous contexts his collaboration in 1972 with the improvising trio of 'non musicians'ANIMA
was particularly enraging to 'classical purists" .
gulda seemed to want to find the commonality in all streams of music.
heres a short bio from wikipedia (although it doesnt mention his freer projects)
and not surprisingly few of those are in print.
one gets the impression that those who maintain his legacy would prefer to ignore
his more experimental side.
Friedrich Gulda (16 May 1930 - 27 January 2000) was an Austrian pianist who performed in both the classical and jazz fields.
Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the age of 7; in 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx. After winning first prize at the International Competition in Geneva four years later, in 1946, he began going on concert tours throughout the world. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the "Viennese troika".
Although most famous for his Beethoven interpretations, Gulda also performed the music of J. S. Bach, Mozart, Schubert, Chopin, Debussy and Ravel.
From the 1950s on he cultivated an interest in jazz, writing several songs and instrumental pieces himself and combining jazz and classical music in his concerts at times. Gulda wrote a Prelude and Fugue with a theme suggesting swing. Keith Emerson performed it on Emerson, Lake & Palmer's The Return of the Manticore. In addition, Gulda composed "Variations on The Doors' 'Light My Fire'". Another version can be found on As You Like It (1970), an album with standards such as "'Round Midnight" and "What Is This Thing Called Love?"
In 1982, Gulda teamed up with jazz pianist Chick Corea, who found himself in between the breakup of Return to Forever and the formation of his Elektric Band. Issued on The Meeting (Philips, 1984), Gulda and Corea communicate in lengthy improvisations mixing jazz ("Someday My Prince Will Come" and the lesser known Miles Davis song "Put Your Foot Out") and classical music (Brahms' "Wiegenlied" ["Cradle song"]).
It was this unorthodox practice that, among other things, earned him the nickname "terrorist pianist"; Gulda had a strong dislike of authorities like the Vienna Academy, the Beethoven Ring of which he was offered in recognition of his performances but which he refused, and even faked his own death in the late 1990s, cementing his status as the 'enfant terrible' among pianists. Nevertheless, Gulda is widely regarded as one of the most outstanding piano players of the 20th century.
Friedrich Gulda died on January 27, 2000 at the age of 69, following a heart failure.
Two of his three sons, Paul (with first wife Paola Loew, born October 25, 1961) and Rico (with his second wife Yuko Wakiyama, born April 9, 1968) Gulda, are also accomplished pianists.
tacklist
Einsamkeiten 17:58
Begegnung auf Moosham 5:10
Wechselnde Begegnungen auf Moosham 26:58
Mooshamer Begegnungen (Fortsetzung): "Das Gewitter" 19:18
Mooshamer Begegnungen (Schlus): "Nach dem Gewitter" 7:16
Nachklange - Ruckkehr - Zweisamkeit 13:30
this double album , features a killer line up
personnel
friedrich gulda-piano and percussion
ursula anders-percussion,objectsw
cecil taylor-piano on tracks 2,3,4
john surman-saxes, synth on 3,4,5
barre phillips -double bass on 1,3,4,5,
stu martin-drums on 3,4,5, albert manglesdorff-trombone on 3,4
Moosham Castle, Langau (Austria), August 20-22, 1976
note cecil taylor recorded his classic solo outin on enja air above mountains, earlier the sameyear at moosham castle
all the tracks seem pretty much improvised
ive split the double lp into two zipped files
(note the lp ,was really rather crackly)
part 1- http://rapidshare.com/files/25888093/nahricht_1.zip
part 2- trolled HOW Senseless
MASAHIKO TOGASHI – CPU - 1975
C. P. U. (Cosmic Pulsation Unity)
Recorded at Nippon Columbia Studio, Tokyo
Masahiko Satoh - Piano, Percussion.
Keiki Midorikawa - Cello, Bass.
Masahiko Togashi - Drums, Percussion.
Side A: Siki Ran (21.15)
Side B: A-Un (20.00)
Masahiko Togashi made his professional debut at the age of 14.
In 1969, he became wheelchair-bound, but his music continued to thrive with increased vigor. In 1978, he was awarded the Minister of Education's Newcomer Award for Artistic Excellence, and has continued to release a number of award-winning albums.
Vinyl rip @ 192 kbps
Download Here.
http://rapidshare.com/files/25341598/MTCPU.rar
yes here it is
arista a3l 8900 ,the singular unique genius of anthony braxton, at its most grandiose
this is possibly anthony braxtons most ambitious
recorded work.
some at the time criticised this as a pastiche of shoenberg on a wagnerian scale.
theres no denying, its passion and energy.
its a wonder this has not been picked up by an enterprising lable,that specializes in contemporary orchestral music.
the lack of a cd release has been most dissapointing to braxophiles.
braxton himself does not play on this and rather ,conducts one of the four orchestras.
its surprising just how luminous and delicate the piece is texturaly given the mammoth number of musicians involved.
im not qualified to judge whether this piece is sucsessful.
but it has its own kind of transcendant sprawling beauty.
BE WARNED THIS IS NOT JAZZ, AND MAY NOT BE TO EVERYONES TASTE!!
heres some info from the braxton discog
Anthony BraxtonFor Four Orchestras
Arista A3L 8900 (3-LP, 1978)
1.
{Comp. 82} (dedicated to the historian-writer-educator Eileen Southern)
(Braxton)
[114:30]
1978 – May 18 & 19Hall Auditorium, Oberlin CollegeOberlin, OH (USA)
Anthony Braxton - conductorKenneth Moore, Gene Young, Robert Baustian, Murray Gross - conductors (?? who conducted which orchesta ??)
ORCHESTRA I
ORCHESTRA II
ORCHESTRA III
ORCHESTRA IV
violin I
Francine SwartzentruberShelley FowleLilyn GravesLorraine AdelRobert Scarrow
Barry SargentZabeth OechlinEdward ShlaskoSteven SchuchAudrey Hale
Karin von GierkeStanislav BranovickiSusan DemetrisMonique ReidJudith Bixler
Peter JaffeDiane CooperDavid WilsonPamela StuckeyMary Bolling
violin II
Marriane SmithMarcus WooAmorie RobinsonJennifer SteinerKathy Blackwell
Lori FayAndra MarxAlison FeuerwerkerEllen ZiontzLauri Gutman
Sally BeckerElizabeth WelchSusan BrenneisJulie BadgerJane Moon
Shannon SimonsonLynda MapesMargaret MorganJohnathan DunnJennifer Doctor
viola
Naomi BarlowJames ThomasSarah BloomRachel Yurman
Amy LeventhalJeffery DurachtaKathleen ElliottHelen McDermott
Nanci SeverenceDavid RogersDee OrtelBeth Thorne
Norin SaxeTheodore ChemeyAlex GuroffIgor Polisitsky
cello
Steven HarrisonElizabeth WarrenSuzanne WijsmanElizabeth Knowles
Tom RosenbergSteven DrakeDawn WilderSarah Binford
Carol ElliottAaron HendersonMattew WexlerMichele McTeague
Kathy KellyDaniel KazezCarole StiplemanSteven Wise
bass
Mark ShapireSuzanne TarshisLeon Dorsey
Michael TalbertRobert AdairMikkel Jordahl
Jeffrey HillMatthew McCauleyJeffrey Soule
Arthur KellDavid SeckingerDaniel Savage
flute
Celeste Johnson (+pic)Joel Karr (afl)
Leonard Garrison (+pic)Wendy Tarnoff (afl)
Betsy Adler (+pic)Adam Kuenzel (afl)
Virginia Elliott (+pic)Carol Goodwillow (afl)
clarinet
Michael ZakimJohn Guest (+Eb-cl)Mark Gallagher (bcl)
David HostetlerMarty Rossip (+Eb-cl)Cynthia Douglass (bcl)
Bela SchwartzDavid Bell (+Eb-cl)David Ballon (bcl)
James ColbertMarta Schworm (+Eb-cl)Carol Robinson (bcl)
oboe
Pamela HillCameron McClusky (enhn)
Carolyn HoveGiselle Lautenbach (?enhn)
James HoisBernard Gabis (enhn)
Michael HarrisonClaudia Patton (enhn)
bassoon
Allen Smith
Ann Kosanovic
Deanna Kory
Mark Gross
trumpet
John BourqueDavid Driesen
Alan CampbellThomas Gotwals
Dave RinaldiChris Kerrebrock
James KirchenbauerWilliam Camp
trombone
Robert AsmussenRichard RuotoloMark Kaiser
David FoggAnn MondragonDavid Stocklosa
Bradley CornellKadie NicholsMark Adams
Brian CampbellEileen JonesErik Johnson
tuba
Barry Jenson
Brian Bailey
Steven Box
John Lomonaco
harp
Cynthia Mowery
Naomi Markus
Nancy Lendrim
Susan Kelly
percussion
John GardnerAndrew CollierStephen Pascher
David WilesJohn KennedyPhilip Seeman
Galen WorkGregg LindeVictor Thomas
Andre WhatleyCharles WoodDerek Davidson
from Braxton's notes in the booklet: "Composition {82} is the first completed work in a series of ten compositions that will involve the use of multiple-orchestralism and the dynamics of spacial activity. This work is scored for 160 musicians and has been designed to utilize both individual and collective sound-direction (in live performance). Each orchestra is positioned near the corners of the performing space, and the audience is seated in both the center and sides of the space (around and in between each orchestra). The resulting activity has been constructed to fully utilize every area of the room--which is to say, each section of the performing space will give the listener a very different aspect of the music. The science related to how this multiple use of space is utilized, will also open another chapter in multi-orchestra activity, and hopefully this work will be viewed as a positive contribution to transitional multi-orchestralism--as we move to the next cycle.The nature of how {Comp. 82} extends the dynamic possibilities of multi-orchestra activity has to do with its use of spaciality--involving both the nature of how information is transferred from orchestra to orchestra (where the listener of this record can hear the actual movement of activity change speakers) with the addition of 'trajectoral-activity' (where, in a live performance, the listener can experience the route of a given transfer). More so, this composition has also been constructed to include the actual change of performance direction as well. In other words 'information' in {Comp. 82} would also involve how the rotation of a given ensemble (as that ensemble is playing) changes the actual direction of the group making the music. This has been accomplished by having all of the performers (with the exception of the percussionist and the harpist) in rotating chairs--where even the direction of the music is calculated. Thus, the nature of spaciality in this composition would encompass an additional dynamic inclusion, for the spacial implications of environment would thus take on added dimensions. Because, in fact, to experience the realness of this composition is to experience a living and breathing universe. ***The actual composing of {Comp. 82} took place in July of 1977, lasting until the middle of May, 1978 (with sequence corrections up until August). The piece is scored for 160 musicians and each orchestra is made up with the same individual components. The make-up of each orchestra is as follows: two flues (one doubling on piccolo), oboe, English horn, two clarinets (one doubling on soprano clarinet), bass clarinet, bassoon, two trumpets, two trombones, bass trombone, tuba, harp, five first violins, five second violins, five violas, four cellos, three basses, and three percussion. The original floor plan of the composition was not able to be used for this recording as the space requirement it necessitated exceeded what was possible for us, so an alternate seating arrangement was utilized. The actual recording of {Comp. 82} took place in May, '78, on the campus of Oberlin College and involved four intensive sessions in two days. For this reason, the composition was recorded in sequence-patches, rather than in sectional areas. The total material would also exceed two hours and a half and as such, I have taken out about thirty minutes of the music in order to preserve the sound quality of this record. There have also been other adjustments as well, for the problem of time and economics in a project like this has to be taken into account--but what is documented here is an excellent version of the 'essence' of the piece. The placement of activity in this project has been designed to totally utilize the spacial dynamics of the quadraphonic technology--each orchestra will be heard coming from a separate speaker, and the mixture of events in a given section should give the sense of sound movement through space--and this will also be apparent (though to a somewhat lesser extent) to stereo record players as well."
go here if you want the precise minutae
http://www.restructures.net/BraxDisco/BraxDisco.htm
PLEASE BRAXOPHILES BE AWARE THAT A SIGNIFICANT NUMBER OF BRAXTONS OOP
ARISTA RECORDINGS HAVE BEEN POSTED ,IN THE COMMENTS SECTION OF CHURCH#9'S BRAXTON(BERLIN ,MONTREUX CONCERTS)POST
THOSE INCLUDING A GREAT BRAX/ABRAHMS DUET ARE ESSENTIAL
BUY ANTHONY BRAXTON RECORDS, THEY ARE VARIED AND WONDERFUL
here are the files ripped to two seperate folders ,though you dont need both to open them
ALSO NOTE ,THE VINYL THIS WAS RIPPED FROM WAS NOT IN GREAT CONDITION
IF ANYONE HAS A BETTER COPY PLEASE UPLOAD EITHER HERE OR ELSEWHERE ID LOVE TO HAVE IT!!
LINKS
part 1 http://rapidshare.com/files/25640146/brax_4_orch_disc_1.zip
part 2 http://rapidshare.com/files/25656078/brax_4_orch_disc_2.zip
well worth hearing
enjoy
cheers
dipmong
hello again
heres one by another, master bassist, john lindberg,as far as i know, its out of circulation
along with most other fantastic, free/post free
releases on this lable.
john lindberg seems to have been a prodigy from quite a young age.
pretty sure i red somewhere that he studied with david izenzion(of the famed mid 60's ornette coleman trio)and roscoe mitchell,at a less formal level.
he made his illustrious debut, playing with the likes of sunny murray, jimmy lyons and kershavan maslak.
then around 1978-9 formed the string trio of new york with billy bang and james emmery.
heres a bit of a bio from his website
http://www.johnlindberg.com/
In 1979 he formed his first ensemble dedicated to the performance of his compositions, and since has made more than two dozen recordings that feature his works, under his name. In all there are over eighty original pieces that have been recorded to date, some repeatedly in various versions. His ensembles and duo collaborations have performed throughout Europe, North and South America, East Asia and the Middle East. As a bassist he has appeared on over sixty discs, including landmark recordings with Anthony Braxton, Jimmy Lyons, Steve Lacy, and Tony Coe, among others. Currently he is active composing for, performing and recording with his various ensemble projects, as a solo bassist, and with the String Trio of New York, while being actively involved in teaching through the giving of workshops and lecture/demonstrations on composition, improvisation, and bass and ensemble performance in diverse educational settings. His course Words and Sounds (connecting literature and music) has been widely taught at colleges and universities. Additionally, with the String Trio of New York, he has created the innovative Human Residency, linking musical creation with a variety of the humanities.
this great trio session features
marty ehrlich-reeds
lindberg-db, and the great acm drummer-thurman barker (who also plays marimba on this)
track titles
1)sparkle from half-pint
2)tones of mourning
3)common goal
4)one for jerome
5)cisse
6)flight
7)arenas
8)multiple reasons all tracks are composed by lindberg exept 4 and 5 which are by ehrlich
ripped@256 mp3
link- http://rapidshare.com/files/23015647/rela.rar
BUY LOTS OF JOHN LINDBERG CDS,THERE ARE MANY AVAILABLE
some time soon ill post hes duet on anima with billy bang on anima from 1980 or there about's
cheers
Vibracathedral Orchestra - Hot Booty! Live 1999
Early CDR release on VHF
Excellent dense drones from one of the best UK underground acts.
1, Thirteenth Note
2, Adelphi
3, Woodhouse Community
4, Trinity St David
5, Chillingham
Music By;
Bridget Hayden
Adam Davenport
Julian Bradley
Neil Campbell
Michael Flower
Recorded in Glasgow, Leeds and Newcastle; during 1999.
Complete with pipe organ, recorded in a squatted church on
Woodhouse Lane, Leeds.
Cover scans are in the rar file, riped @ 256kbps.
More Info Here. http://sweetweb-5302-001.dsvr.co.uk/mike/news.htm
Download Here. http://rapidshare.com/files/25493337/VOHBL.rar
Mauricio Kagel – Exotica - DG 2530251 (Germany, 1970)
Any serious collector of Avant Garde music should have a copy of this album
Born in Buenos Aires, Argentina, Kagel proved to be one of the most versatile, creative, and witty composers to come of age in the second half of the twentieth century. He studied piano, theory, violoncello, organ, singing, and conducting, and was self-taught as a composer. Kagel also studied philosophy and literature extensively during his college years, and his career eventually included film and drama. Fittingly, then, one can find in Kagel's output elements ranging from surrealism to expressionism to musique concrète to Dada to aleatoria. Even his earliest works exhibit this experimental attitude. However it is Exotica that remains his most accessible and collectable work.
Cover scan are in the rar file, riped @ 256kbps.
Download Here; http://rapidshare.com/files/24770366/MKE.rar
hi all ,
firstly a warm welcome to a new,(semi regular,we hope!)
team member, flux'us, who also helps out at the great blog church#9.
on to some music
heres another wonderful, live concert i got in a trade with friends .
don cherry live in copenhagen in 1970, one of many cherry bootlegs floating around from what was a very prolific if under documented period(officialy at least)for him.
im sure most of you are familiar with his pioneering work with the original ornette coleman quartet .
most will no doubt also be familiar with his ethno free fusion albums,' mu 1 and 2' and 'orient' on byg as well as the classic saba/mps 1968 release 'eternal rythym.
this very well recorded'soundboard' has many elements in common with those.
the track titles are unknown, though references are made to some cherry compositions such as blue lake if only fleetingly, as well as ayler's ghosts.
my own impression is that his is for the most part though, largely free improvised.
on a couple of tracks ,there is also notable evidence of cherry's interest in electronic and concrete music, track one might even be mistaken for an electro acoustic improv with its shimmering textures, an effect partly produced by the subtle amplified arco bass drones.
the same year (1970) cherry was to make the album 'human music' with electronic composer jon appleton, for bob thiels flying dutchman operation.
here is a great web resource compiling don cherrys unorthorised recordings here----
http://web.comhem.se/kassman/doncherry.htm
enough to tantalize, some of those listed feature incredible ad hock groupings, alot of them have appeared sporadicaly and most expensively as bootlegs.
most of these are now circulated on torrent bays, and tape trading networks.
the above link describes a concert with exactly the sameline up from the same year as being live in sheffield.
i know of another 2 concerts by the same band which feature almost identical pieces.
personnel on this is
don cherry-pkt trpt, vox, perc etc
johnny dyani-double bass
makaya ntshoko-drums
dan nedergaard-trpt
mogens bollerup-sax and flute
ripped @256ksmp3 in 2 parts
part 1)
http://rapidshare.com/files/24919987/cherry_cop_1.rar
part 2)
http://rapidshare.com/files/24933392/cherry_cop_2.rar
we here at I S are not in competition with any other blog and infact are greatful for the proliferation of blogs sharing great music.
anyone in turn who wishes to share here on this forum,please leave a comment.
anyone interested in finding other blogs that have put up great music , check the links ,there is a
hell of a lot of great rare and oop music around at the moment.
PLEASE DONT INSULT US BY LEAVING FACETIOUS COMMENTS OR MAKING BOGUS THREATS TO TROLL OUR FILES.
in the last few months i have recieved many emails(my hotmail adress is listed on this blog)
from some one calling themselves flashgordonsape.
these do not quite have an authentic tone or coherent unified style.
flashgordonsape has also left , stupid and harrasing comments which i do not deem worthy of a reply.
make yourself known , do what youve got to do, i refuse to erase your comments, but i will not answer them.
do something constructive and start your own music blog, you are even welcome to make genuine posts here .
for gods sake stop your incessent whining and carping and please desist from threatening us in such a laboured peurile way.
cheers
dipmong
hi all
continuing on with boromir's tape collection of broadcasts ,here are a couple of good ones
Henry Grimes Quartet
live in new york Recorded Tuesday 14th June 2005New York Vision Festival
personnel
Henry Grimes - bass ,Hamid Drake - drums , Andrew Lamb - tenor sax
Marshall Allen - alto sax, EWI (Electronic Wind Instrument)
henry grimes has some recordings out on ayler records, and of course he's played with a lot of the major jazz legends of the last 50 years, sonny rollins, lee konitz, albert ayler, archie shepp
and dozens of others.
the upload also contains
Fred Anderson Quartet Recorded Thursday 16th June 2005New York Vision Festival
fred anderson has records out on, okka disc and atavistic
personnel
Fred Anderson - tenor, Kidd Jordan - tenor William Parker - bass, Hamid Drake - drums
Link: - http://rapidshare.com/files/23167653/NYVision.rar.html
BUY RECORDINGS BY HENRY GRIMES AND FRED ANDERSON!!
many thanks to boromir
enjoy cheers
flux'us and tom 7865
.jpg)
