25 June 2007

ICP OO6- "group composing" 1970

heres another, upload by 'boromir' by request
this album has also appeared on the mutant sounds
blog,but many people including myself were unable to open one of the files.
so here it is again, unlikely that this will ever be reissued, the master tapes of this and other I.C.P,releases have apparently been lost.
heres a review by none other than eugene chadbourne.

The name Instant Composers Pool has become synonymous with the extended ensemble of Misha Mengelberg, closely identified with both his compositions and his amusing outlook on life. These associations mean the use of the name in conjunction with this early-'70s recording may wind up hiding a crucial and astonishing document of group improvisation. The German, Dutch, and British scenes come together for this extended piece of music, spilling over two sides and titled simply "Groupcomposing." The players featured are some of the most famous and well respected from these countries, interacting in a hustle bustle of energetic attacks and contrasting moods that is bound to make fans of the European free improvisation scene jump up and down, and why not since the people downstairs are probably already horrified. Some of these listeners, again, think Instant Composers Pool and imagine written charts, somewhat similar to what Willem Breuker cooks up. This album is much more like the acclaimed Topography of the Lungs release from roughly the same era, and in fact that album's three participants are all on hand here: Derek Bailey playing electric guitar with a tone that will make listeners want to raid the fridge, Evan Parker demonstrating how to play frantically and subtly at the same time, and Han Bennink approximating a windstorm on percussion, all fairly well recorded for this period. Mengelberg is also more on the case than he often is in these types of settings — he uses space, but does more than just sit back smoking and watching the others freaking out. Paul Rutherford is great on trombone, and so is the drummer's underrated brother Peter Bennink on both dangerously addled alto saxophone and preposterous bagpipe. Followers of this admittedly very challenging music all have their favorite events where the music just seemed totally inspired, one startling scenario developing after another on-stage. That, boy howdy, is just what this record is like.

.

boromir said"Here's Brotzmann et al in Group Composing ICP006 Peter Brotzmann: tenor saxPaul Rutherford: trombone Han Bennink: percussionMisha Mengelberg: pianoEvan Parker: tenor and soprano saxPeter Bennink: alto sax, bagpipesDerek Bailey: guitarRecorded: 15/5/1970 Rotterdamhttp://rapidshare.com/files/39294123/ICP006.rar.html

Vinyl ripped at 224 kbps Scans attached, though cover's rather bland.
i couldn't agree less, i really rather like this cover,i assume its designed by bennink
buy other icp albums here
http://ssl.adhost.com/jazzloft/baskets/pos.cfm?CD=1548

I.C.P WEBSITE- HERE http://www.icporchestra.com/

24 June 2007

Whit Dickey Quartet live at Vision Festival X on June 17 2005

heres another upload by 'boromir' ,

heres a spiel, from the all music guide
Free jazz drummer Whit Dickey first stepped into the spotlight as a leader with the release of his Transonic album from Aum Fidelity in 1998. Two years later, Wobbly Rail issued his Big Top release. Previously, he was best known for his solid work with Matthew Shipp and David S. Ware, with whom Dickey split in 1996. Early the following year, the drummer began composing the works that would be included on Transonic. Dickey penned all but two songs, "Kinesis" and "Second Skin," on the collection, and he even had a hand in those with the help of his fellow musicians on the album. The original compositions give a nod to the influence of "Criss Cross" and "Off Minor" from the legendary Thelonious Monk. Dickey recorded the album with the aid of Rob Brown on flute and alto saxophone, and Chris Lightcap on bass. In 2001, Dickey recorded half a dozen of his compositions with Mat Maneri, Shipp, and Brown under the name Nommonsemble, and put out Life Cycle through Aum Fidelity. ~ Linda Seida, All Music Guide
Whit Dickey Quartet live at Vision Festival X on June 17 2005
Line-up:
Whit Dickey - drumsRoy Campbell - trumpetRob Brown - alto saxJoe Morris - bass
buy whit dickey albums here-http://www.aumfidelity.com/aum005.html

Hamid Drake's Bindu recorded at Vision Festival XI on June 16 2006


boromir, said
"We had our first new potatoes last night, variety Vanessa, which is pink-skinned. . One of the lettuces I've grown this year is called Australian Yellow Loose Leaf, and it's done very well. I have 2 main crop potatoes growing (Desiree and Picasso), which I will harvest in September (if the slugs leave them alone)"
b. 3 August 1955, Monroe, Louisiana, USA. Hamid Drake studied drums extensively, including eastern and Caribbean styles. In 1974 he began what was to be a long-term musical relationship with Fred Anderson. In the late 70s, Anderson introduced him to George Lewis and Douglas Ewart. His most significant percussion influences, Ed Blackwell and Adam Rudolph, date from this period. The latter, who was a childhood friend, became another continuing collaborator and they appeared together in numerous contexts, including Anderson's 1979 The Missing Link. Don Cherry, who Drake first met in 1978, was another continuing collaborator. Also in the late 70s, Hamid Drake became a member of the Mandingo Griot Society, appearing on the group's first album.
Hamid Drake's Bindu recorded at Vision Festival XI on June 16 2006
Line-up: Hamid Drake - drums, tabla, frame drumsDaniel Carter, Sabir Mateen: tenor and alto saxophoneErnest Dawkins - tenor and alto saxophones, wooden fluteGreg Ward: alto saxophone, clarinet
Set list: Meeting and Parting,
Improvised Piece
photo of hamid drake by frank rublino, from "drummer world"

14 June 2007

PAUL BLEY -SOLEMN MEDITATION 1958 (GNP)RECS

a generous friend , wishing to contribute some , very rare unreissued vinyl, brings you....

paul bley-solemn meditation
(1958) GNP
this legendary record, was cut shortly before ,bleys legendary hillcrest club residency, which alerted (so some assert) the broader californian public to the existence of ornette coleman and don cherry.every one knows the story of how pike was sacked to make room for don and ornette.

this is the recorded debut of both dave pike and charlie haden.

a lovely record that i have known about but, never seen.
its firmly ,rooted in postbop language.
the playing's as wonderful as you'd expect but the real revelation here for me is lenny mcbrowne's drumming, which is subtly inventive throughout,other than this ive only previously heard mcbrowne on acouple of fairly drab ,organ funk dates from the mid sixties

theres so much dave pike being reissued especially on heavy 180 gram vinyl, its a wonder it hasnt been reissued for commercial reasons alone.
let alone because bley and haden are such pervasive contemporary influences.

my friend ,aint no trophy hunter
so be warned this and the record which follows have been well loved, and are probably going on 40years old

personnel
paul bley-piano
dave pike- vibraphone
charlie haden- db, lenny mcbrowne-drums
tracklist included+cover scan

ripped @256
http://rapidshare.com/files/37134380/SOL_M.zip

thanks "friend"

next up carla bley, michael mantler, steve lacy-"jazz realities" phillips 1966, !!!

13 June 2007

MARION BROWN- JUBALEE 1966, REUP BY REQUEST ,FLAC





hi, Marion Brown's jubalee has been one of the most downloaded items here, some one mentioned that the file ho link from feburary is no longer active it appears the earlier file ho links have been trolled.
i dont know why, the records are all OOP, and have been for years.
with little prospect of being reissued.

for archival purposes ive reuploaded this in FLAC, 3 files ,you need all three to unzip.

personnel
brown, grachan moncur, dave burrell, reggie johnson
alan shorter, bennie maupin, beaver harris
SEE COMMENTS

11 June 2007

GEORGE LEWIS, JOHN CARTER AND BOBBY BRADFORD-LIVE ON THE 5TH OF NOV 1978( RADIO BROADCAST)





heres a great little concert, featuring unrecorded compositions by the great african american trombonist composer- george lewis, what a terrific line up, TOO this is an american radio broadcast from 5th of november 1978

george lewis-trombone john carter-clarinet bobby bradford -tpt
just two tracks 1) shadowgraph 5
2) player.

ive ripped it to both FLAC and mp3-192
(FLAC VERSION IN A SPLIT FILE,YOU NEED BOTH!) for those who want quality ! both files= 180 meg





heres the mp3 at 192 for those who dont mind the slightly flat sound and or have slow connections.

the above photo of lewis ,is by oscar henn,hope he doesnt mind,it was one of the few shots of george in action.
also heres george lewis' site at the columbia university music faculty ,for those unfamiliar with
mr lewis work
buy george lewis discs, there are many on black saint, sackville, andmusic and arts.


thanks to flux'us for his last couple of posts and some much needed help.


i woke up this morning to an email from mr lucky of border music and cineville, sadly his extraordinary blog is no more, lucky is calling it quits , lucky taught me the rudiments of blogging, how to open accounts, use a file host ,etc

i shall miss him.

3 June 2007

JACK WRIGHT AGAIN & AGAIN!!!




I thought it better to make a post of this,
rather than link it in the comments!

For anybody who liked this album,
here is a link to Pine Ear Music.
Where you will find 6 free; album length downloads!
Including 2 by Jack Wright

From the Web Site:
“Pine Ear will release a new album-length project
every month in 2007 via free download.
Check and refresh this page monthly to download the latest updates.”

!!!GO GET E'M!!!

2 June 2007

JACK WRIGHT LARGE ENSEMBLE-( 8 X 9) ,2000





hi all heres an ornery disc of uncompromising free improv, from californias limited sedition lable.

this item has sold out and its this small cottage operations policy, never to reprint titles once they're gone.

guitarist john shiurba runs the lable, hes best known for having performed and recorded with the likes of anthony braxton and gino robair.

of the players here ,fans of this sort of thing will have heard of jack wright,whom i first became aware of through a couple of duets with italian percussionist andreas centazzo,those performances were from 1978-9.

bhob rhainey is also reasonably well known to people as i recall, his first major appearence was on the 1971 america record 'emergency' i may be mistaken about this ,i no longer have that lp, hes been playing a lot of improvised music in the last few years.

as have most of the people on this disc.

mathew sperry is ,possibly unfortunately best known for having played on a few tom waits albumsNOT THAT THEY ARE NO GOOD, it's simply obscured some of his fine achievments as an improvisor, these include a couple of fine discs of double bass solos, WHICH ARE STILL AVAILABLE FROM LIMITED SEDITION!. sadly sperry passed away a few years ago.

i confess that i know even less about the other performers ,though percussionist karen stackpole appears on quite a few other limited sed, discs that i posess.

JACK WRIGHT LARGE ENSEMBLE (8 x 9) PERSONNEL

jack wright- saxes , matt ingalls- clarinet, bhob rhainey-soprano sax, mathew sperry- contrabass, morgan guberman- contrabass, tom djill- tpt, ron heglin- tuba ,voice , john shiurba- guitar, karen stackpole- percussion

recorded by shiurba on the 3rd of the 7th 2000

visit limited sedition here - http://www.limitedsedition.com/LS.html

BUY THE CDR'S ,AT $10 ITS A STEAL AND WILL ENABLE THEM TO PUT OUT MORE GREAT STUFF

ripped at 256kbs mp3, in 2 parts including scans

part 1- http://rapidshare.com/files/34751190/JWR_LE_1.zip

part 2- http://rapidshare.com/files/34755329/JWR_LE_2.zip

once you grab this righteous slab, youre sure to aquire a taste for more, its an affordable habit.

enjoy

27 May 2007

LLOYD McNEILL – WASHINGTON SUITE



Lloyd McNeill - Washington Suite - Asha Three (1970)

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

Between 69 & 79 McNeill self produced and released 6 lp’s,
(3 on Asha & 3 on Baobab) all of which are worth owning!
However it is the Asha releases that are the most sort after,
Whilst his first album includes the brilliantly; dark & brooding
22 min Opening track “Asha”,
“Washington Suite” for me is his magnum opus.
A 5 star lp from start to finish!
But please do let me know what you think?

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

Lloyd McNeill Quartet: A1/A2/A3/B2.

Lloyd McNeill - Flute
Eugene Rush - Electric Piano
Marshall Hawkins - Bass
Eric Gravatt – Drums

Woodwind Quintet: B1

Lloyd McNeill - Flute
Andrew White - Oboe
Orrin Olson - French Horn
William Huntington - Clarinet
Kenith Pasmanick – Basson

Duo: B3

Lloyd McNeill - Flute
Eugene Rush - Piano

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

A1 - Home Rule
A2 - Just 71% Moor
A3 - 2504 Cliffbourne Place
B1 - Fountain In The Circle
B2 - City Tryptich; Sandra Is The City, The Black Mayor, Imani (Faith)
B3 - Fountain In The Circle


Vinyl rip @ 256kbps

http://rapidshare.com/files/33524107/LMWS.rar
**********************************************

18 May 2007

N. Q LIVE AT RENNES -20 MAY 2OOO,


n:q live at rennes 20 may 2000
heres a great improv album, in the tradition of earlier amm, in fact it features keith rowe
if you like drifting ,improvised soundscapes,in and out of which drift sonic squalls of noise, and at times quite high pitched and semi industrial ,then perhaps youll like this.

this is as far removed from african american jazz roots, as free improvised music gets.


personnel
jean chevalier-live electronics, bass clarinet christophe havard- diverse objects, saxophones julian ottavi- electro acoustic devices, percussion, voice keith rowe- prepared guitar



fibbrr cd released 2001 OOP
for more info on fibrr , AND SOME GREAT FREE DOWNLOADS -GO HERE http://www.apo33.org/records/doku.php?id=cd_records&DokuWiki=c45ad876d


RIPPED AT 220KBS link
http://anonym.to/?http%3A%2F%2Frapidshare.com%2Ffiles%2F30377708%2Fnqlrnnes.zip

DON CHERRY TRIO-LIVE IN COPENHAGEN OCTOBER 3, 1970

hi
heres the next installment of don cherry in copenhagen 1970
this ones from the 3rd of october,the very next day
see our previous post of the concert from october the 2nd
here http://inconstantsol.blogspot.com/2007/04/don-cherry-trio-guests-live-in.html


this ones just the trio
cherry- cornet,perc, flute etc
johnny dyani-db
mikaya ntshoko- percussion

ripped at 256 kbs (i think)
part1) 95 mega bytes
http://rapidshare.com/files/31465123/cc_1970_1.rar
\
part 2) http://rapidshare.com/files/31572760/cc_1970_2.rar

part 2= 31 mega bytes.

please note there is some crossover in terms of material, with our previous post from october the 2nd, this ones possibly slightly scrapier too ,as far as sound quality.
enjoy

15 May 2007

JOHN SURMAN 'MORNING GLORY' 1974

HI heres another slab, of intense 'incense fueled free jazz/rock fusion.
this was reissued by f.m.r records a few years ago.
but now seems to have slipped out of the catalog
there may be a few copies of the cd floating 'round the aether,


boromir'said '''Here's John Surman's "Morning Glory" from 1973

John Surman: soprano sax, bass clarinetJohn Taylor: keyboardsTerje Rypdal: guitarJohn Marshall: drumsChris Laurence: bassMalcolm Griffiths: trombone
Tracklist Cloudless Sky2 Iron ManSide 21 Norwegian Steel - Septimus2 Hinc Illae Lacrimae - For Us All (Hence Thes Tears) Viny ripped at 192 kbps

The group, which was short-lived (this their only recording together) went under the name of Morning Glory (which I think is a yellow flower that is short-lived and sheds it's petals by mid-day, but it does grow more flower the next day). So this is perhaps why they called themselves Morning Glory. I digress, but many, many years ago, before my time even, there was a music hall performer called Nosmo King, who apparently got the inspiration for his stage name from the No Smoking notices around the theatre.

Anyway, back to the record. We are all probably familiar with Surman, Taylor and Rypdal, all of whom are still enjoying illustrious careers, making records for ECM. John Marshall I believe is still drumming with a Soft Machine legacy band, and occasionally with John Surman. Sadly I have not heard of Malcolm Griffiths for many years. During the 70s, it seemed to be a case in British jazz, if you want a trombone - send for Malcolm. Chris Laurence is also still playing and recently released his first recording as leader at the age of 60.

just a brief coda to boromir's message- morning glory seeds ,have the reputation of being a hallucinogen.

heres the list of available f.m.r releases
http://www.efi.group.shef.ac.uk:80/labels/fmr/cfmr.html

BUY JOHN SURMANS RECORDINGS.
ALSO find the earlier classic surman,phillips and stu martins the trio here in the recesses of the archive with some refreshed links in the comments
http://inconstantsol.blogspot.com/2007/03/surman-phillipsmartin-trio-1970.html


14 May 2007

charles lloyd- live in the ussr 1969


HI heres another of boromirs rips, a great one by charles lloyd, with perhaps more than a whiff of incense about it, this may well be disdained, by free jazz fans, true its not strictly free jazz, but its a hard swinging record flavored by near eastern, and indian influences.
a great band, with keith jarrett, on fire ,playing
as ive never heard him before, lots of cluster chording, and passages that evoke early cecil taylor.
the line up is
charles lloyd -tenor sax, flute
keith jarrett- piano
and the fantastically inventive ron mclure-db and jack dejohnette -drums
this has also been posted in the comments of the wonderful' huppes et hyalites' blog
which has a kick ass lloyd concert of more recent vintage.
enough to convince any but the most egotistical free jazz snob.
link (ripped at 220kbs )
be sure to grab the live concert put up by H AND H here
give it a go, its great stuff

GIANCARLO SCHIAFFINI-AS A BIRD 1994


HI heres one of the great charlie parker tributes , by one of the pioneers of the italian avant guard, a founding member of the pioneering quartetto 'free jazz ' di roma , and one of the great interpreters of, berio, nono, and scelsi's music for solo tuba, and trombone.
this was released on penta flowers in 1994 and according to various scources including their current catalog, is out of print.
for me this is up there with george lewises hommage to charles parker on black saint.
thoughtful,and palpably joyous freebop, though also very ecclectic
passages of non idiomatic free improv
and italian folk influenced bop tunes.
heres a bio from all music ,followed by a review of the album( a bland one by steven loewry)
Biography by Francesco Martinelli
Born in Rome, where he still lives, trombonist Giancarlo Schiaffini graduated with a degree in Physics, but left scientific research for music. He's been a key figure in both Italian new music and the European improvised music scenes, playing with Evan Parker, Maarten Altena, Barry Guy, and recording with Andrea Centazzo and Lol Coxhill (Situations, New Tone, 2000), among others. Self-taught on the instrument, Schiaffini studied and earned degrees at Darmstadt, operating in the academic avant-garde realm with the improvising group Nuova Consonanza, and playing solo compositions by Berio and Scelsi. He's also the designated soloist for Luigi Nono's Prometheus, and is a conservatory teacher. On the more experimental side of his work, Schiaffini makes creative use of electronics, as documented on Edula (Pentaphon) and The Missing Chainring (Imprint, 2001), as well as in his textbook on contemporary trombone techniques. Yet Schiaffini does not renounce his jazz roots, which is equally evident in his improvisations, in his teaching activities for the Siena Jazz Courses, as well as in his original tributes to the music of Charlie Parker and Thelonious Monk, As a Bird and About Monk (Pentaflowers). The SIC Trio, with percussionist Iannaccone and saxophonist Eugenio Colombo, recorded several LPs in the '70s and a live CD at the 1994 Controindicazioni Festival in Rome (Passemmezzo, Splasc(h), 1996). With Dubs (ART-PURecords), Schiaffini introduced strings, Silvia Schiavoni's voice, and the traditional Iranian percussion of Mohsen Kasirossafar; while a meeting with the Peter Fraize Trio led to the invigorating free bop of Deconstruction! recorded live in Washington (Pentaflowers, 2001) with tunes by Monk and Ellington, and originals inspired by the music of Cuba, where he taught. Co-founder of the Instabile Orchestra, Schiaffini writes articulate, witty suites for the band, like Litania Sibilante (Enja, 2001).
Review by Steve Loewy
A classic of avant-garde Italian jazz, As a Bird uses the life and work of Charlie Parker as inspiration and diving board to produce a splendid set of eleven tracks. Trombonist Schiaffini, one of the seminal figures of the Italian free scene, wrote all the compositions, and is joined by an all-star crew. His work on trombone is characteristically rough and wild, incorporating a range of influences from Dixie to hardcore bop to 1960s freedom. Alto saxophonist Sandro Satta splendidly takes off where Bird left us, with some adventurous skydiving, and Alberto Mandarini reaches into his Don Cherry derby for some amazing gymnastics. Schiaffini's humor abounds; the Spanish titles result from the leader's recent visit to Cuba. The CD successfully captures the spirit of Bird without copying him or fawning his style.
VISIT SCHIAFFINI'S WEBSITE HERE
AND BY HIS RECORDS, THERE ARE SOME AVAILABLE ON SPLASCH, A ND GOOD ONES UNDER MARIO SCHIANOS NAME ON ATAVISTIC, AND SPLASCH
ALSO CHECK OUT THE ITALIAN INSTABILE ORCHESTRA RECORDS ON ENJA, AND LEO
enjoy!!
for some reason im having trouble paragraphing this post, sometimes it works some times not
a bug in bloggers programing?

12 May 2007

ARTHUR DOYLE, TAKASHI MIZUTANI, SABU TOYOZUMI - LIVE IN JAPAN 1997



It had to be a special album, too follow the recent posts by Dipmong / Boromir.
I have been deliberating for days; before finally deciding on this seminal release from
Qbico Records, Italy
(a label with an exceptional catalogue of outstanding music).


Arthur Doyle - Tenor Sax, Flute, Voice
Takashi Mizutani - Electric Guitar
Sabu Toyozumi - Drums

Rec. live November 14, 1997 @ Manda-la2, Tokyo, Japan
Released in 2003 (Qbico 9-10).

Side A:
November 8th or 9th, I Can't Remember When

Side B:
Alabama and Mississippi Reunited

Side C:
I Pass, Then Resist
I'd Live In Her World, Then Without Her In Mine

Side D:
Love Heal
Joy


"As his revelatory performance at this year's Le Weekend festival in Stirling made clear, saxophonist, singer and pianist Arthur Doyle is at his most emotionally devastating when he's on his own and the pure flow of his spirit is unencumbered by any bullshit notions of musicianship. So the idea of hooking him up with a guitarist and drummer -- even if they are two of the most liberated players to come out of the ever-fertile Japanese underground -- is bound to raise pulses in well-stocked record rooms across Scotland. But the news is good. Although the three players rarely operate as an actual trio across the space of these two beautifully presented slabs of vinyl, the exchange of ideas is rapid and advanced and both Takashi Mizutani and Sabu Toyozumi peel back enough to give Doyle the kind of space he needs to really cut rug. A legendary recording, Live In Japan 1997, has been circulating as a cassette on the collector's scene for many moons. Doyle's visit to Japan that year brought many of his acolytes out of the woodwork and as well as the gig with Mizutani and Toyozumi, the saxophonist hooked up with both Japanese underground guitar god Keiji Haino and Boredoms guitarist Seiichi Yamamoto while he was there. Mizutani is a fantastic guitarist, although here he isn't quite as extended as he is with his own group, mythic psychedelic rockers Les Rallizes Denudes. Drummer Toyozumi puts in a particularly muscular performance, trading in the kind of spatial acrobatics and air-curdling techniques he used to temporally dislocate recordings by Peter Brotzmann and Masayuki Takayanagi in favour of a more stumpy, rock-based approach, a working method that more than compliments Doyle's spare folk melodies. As usual, Doyle weaves motifs from his major works throughout the set but it's that voice, so completely unguarded emotionally and so beautifully bent, that'll set your heart on end."
David Keenan, (Sunday Herald, Edinburgh, 01 June 2003)

Vinyl rip @ 192kbps.

If the mention of “Noah’s Black Ark, Alabama Feeling or Babi Music”
sets you off into drool mode.
THIS IS FOR YOU!!!!!

http://rapidshare.com/files/30893483/ADTMST.rar


///////////////

8 May 2007

SONNY SIMMONS, ANCIENT RITUAL 1992 ( RELEASED 94)

hi all, heres a great one, by one of the chronically under appraised masters
of jazz saxaphone.

released on the warners sub lable quest in 1994, 2 years after its release, this alerted people (a younger generation) to the power of sonnys art.

sonny simmons first came to prominence in the mid 60's with great records for the contemporary lable, and 2 esp discs under his own name.

one of my personal favourites (,ive never heard a simmons disc which was in any way mediocre ,or less than inspired).
this disc has now been out of print for some years, and knowing the absolute lack of understanding of this music ,by major lables is likely to stay so ,probably for some time to come.

heres a review of this
for those interested.
though ,be aware its luke warm and considerably understates the case.

Review
by Scott Yanow
When this CD was released in 1994, it should have resulted in altoist Sonny Simmons getting a comeback of the year award. Playing in a sparse trio with bassist Charnett Moffett and his son Zarak Simmons on drums, the veteran saxophonist proved to not only be in prime form after many years off the scene, but just as fiery and adventurous as he had been in the 1960s. Simmons' eight originals (which include "Reincarnation," "Country Parson" and "Sundown In Egypt") have plenty of variety, but it is the frequently telepathic interplay between the three musicians during improvisations that makes this CD essential for open-minded listeners.

visit and buy sonny simmons records directly through him, at his home page, where you'll also find an extensive bio
http://www.sonnysimmons.org/index.html

you cant go wrong with sonny, all his records are good, he has a couple of cdr's for sale which are limited i have one and its good,the esp discs are back in print. fire birds and the cry are in print,
two of the best can be found at cadence, on the cimp lable.

anyone having 'ramasuma, it is revealed ,or other and there are many(see his website's discog)
please dont hesitate to share them, either here or elsewhere.

this is ripped to 256kbs mp3 , in 2 parts
part 1) http://rapidshare.com/files/30098406/anrit1.zip
part 2) http://rapidshare.com/files/30106644/anrit2.zip

enjoy
cheers


7 May 2007

STEVE LACY THREADS (1977,HORO HZ 05)


hi , heres the next in our hopefuly ongoing series of sadly unavailable lacy recordings
this comes from the 'horo' single lp hz series.
some of which are now commanding exorbitant prices ,when indeed they come up, it seems criminaly negligent that some enterprising lable has not picked up the catalog in its entirety.
great albums by(apart from lacy)sam rivers ,lester bowie, sun ra, mischa mengleberg, lee konitz, roswell rudd, archie shepp,mev,gunter hampel,and many others.
to see the contents of the catalog go to the saturn web jazz discogs, then click on- horo records checklist
this is a great one though it may have limited appeal to the unconverted.
lacy was always a poly stylist allowing himself to be influenced as much by visual art , and poetry, avant guard music in the european art tradition,folk traditions,japanese culture ,as by jazz tradition.
this one features mev stalwarts and long time friends alvin curran and frederic rezewski.
'threads' tracklist
side one(track 1 in the file)
1)skirts- 11'47'
2)threads -10'40'
side 2(tracks 3to 5in the file)
3) rabbit -4'55''
4) broils -7'27''
5) shambles -6'55''
most of the disc is solo more or less, alvin curran plays flugelhorn, synthesizer, and small percussion on tracks 3-5 , fredic rzewski plays piano on track 3
this was recorded at mama dog studio in rome , may 19, 1977
ripped to 256kbs mp3
\
enjoy
'swami solus' this goes out to you thanks for your wonderful shares, you want more horo well c'mmon people lets bring it on,
ive got a lee konitz quartet and also the very 'free' konitz and solal double album 'duplicity' candidates for future posts.
anyone wanting more great lacy
go to jizz relics, and huppes et hyalites. as well as trawling the recesses of this archive if you havent already done so.
cheers

5 May 2007

MY NAME IS ALBERT AYLER (REC 1963 (FONTANA 1966)


BOROMIR 'said.......''I've uploaded Albert Ayler - My Name is AA. This was his second recording I think. I've looked round on the net and I don't think it's available. It's probably not particularly rare, but there's bound to be be people who've never heard it. It's one of my favourite Ayler recordings, perhaps because it features familiar tunes. Anyhow, if you agree it's OOP, would you please post it sometime.
Link: http://rapidshare.com/files/29478807/Ayler.rar.html Scans attached. Vinyl ripped at 192 kbps.
this album, though briefly reissued on black lion in 1996,is out of print ,i havent seen a copy of this since selling mine years ago, i had a french semi bootleg 'musi disc'(aka america)
never a particular favourite ,of mine compared to later recordings (spirituals for example)of albert doing, more conventionaly harmonic material, still having been prompted to listen to this by 'boromirs email, i whipped out my tape ,and the thought occured that i foolishly sold it on an unfounded whim, a fascinating listen, better perhaps than the so called 1st recording.
for one thing ,the other players here seem far more upto the task,even if they dont understand quite where alberts coming from.
albert was to return to traditional ,more familiar changes based playing often,from this juncture.
its no surprised that a big toned tenor,like don byas with his own gospelly ecstatic sound expressed admiration,as did numerous earlier players.
im a big fan of sidney bechet, and the distance between them as evidenced here ,seems narrower than ever.
one wonders what arnette cob ,might have thought of this.

heres a review from jazz monthly of 1966
(From Jazz Monthly March, 1966.) - UK
MY NAME IS ALBERT AYLER:Albert Ayler (ten, sop-1); Niels Brønsted (p); Niels-Henning Orsted Pedersen (bs); Ronnie Gardiner (d) Copenhagen—January 14, 1963Bye, bye blackbird-1 : : Billie’s bounce : : Summertime : : On Green Dolphin Street : : C. T. -2-2 Brønsted not present on this track Fontana 688 603 ZL (33/1d.)(The above LP is an import and can only be obtained from specialist jazz dealers)
AYLER’S OWN YOUTHFUL voice introduces this album, a soft voice that contrasts with the rich pained tones of his tenor playing. It is not a typical nor I suppose a great album. But it is one that I have frequently enjoyed sampling over the last twelve months or so since it first penetrated to Charing Cross Road as an import. Despite the rather incongruous choice of material and worse, the inclusion of a rigidly academic post-bop pianist and a woefully immature drummer, the value of the session was by no means purely historical. Ayler had by this time almost reached maturity and the breadth of his talent is clearly apparent. Already a completely individual musician whose influences are almost beyond detection, he was evolving a style with implications leading out beyond the Coleman barrier. Ayler’s style has been described in some detail with regard to his more recent ESP albums and despite the conservative material most of its elements are here. A unique feature of the record though is his playing of the soprano—quite surprisingly individual with hardly a note from Coltrane’s formulation for the instrument. He creates basically the same grotesque and sinuous tension as on tenor, though the higher pitch and thinner timbre alters the climate a little. Bye bye proves an adequate vehicle but one hopes to hear more of the soprano in more current context. Two musical details that catch the ear are his use of a continuous (as far as it is possible) rather than a particulate (scalar) pitch, and the attempt to suggest numerous melodic lines by rapid alternation of extremes of pitch or intensity. Also worth noting is the fact that despite the apparently arhythmic atmospheric style, careful attention reveals a complex division of the beat and some of his cadences are as subtle as any yet played in jazz. Needless to say he reveals tremendous confidence and authority—where were the critics while such a player was forming his style? What I have said of the opening track applies elsewhere. Billie’s theme gets a rather brusque dismissal and the accompaniment who seems to think it knows how the piece should be played is at its worst. Ayler makes one step towards appeasement—he blows a High society quote (after Bird)—then continues with some catching blues fragments though never really evolving a unified structure. Green dolphin is similarly compromised by the clash of personality, but the contrast between the tenor’s distant but suggestive references to the progression and the pianist’s grim orthodoxy is illuminating. There’s an entirely acceptable arco bass contribution and Albert throws in an Ornette Coleman quote to round things off. One or two Coleman passages also crop up on C. T., an Ayler original, and the only nominally free performance included (one wonders if the pianist refused to play). The item is full of interest even though the drummer is completely out of his depth and makes a lot of noise drowning. Pedersen, who is a sensitive bassist and who acts throughout as if he is at least not openly against the main soloist, is understandably less than perfect here, drawing too heavily on flamenco cliche. Despite (perhaps because of) the ineptitude of the rhythm section which does all the hackneyed things, Summertime approaches the classic heights of ballad playing. Ayler’s completely and painfully sensitive lines move back and forth through dynamic space (revealing incidentally his phenomenal control of timbre and intensity) suggesting a continual emotional flux from anger to defeat. After falling to a mundane piano solo then gathering a little with Pedersen, Ayler caps the performance with a beautiful second solo, the finest individual passage on my review records this month. Few jazzmen have conveyed such a breadth of emotional expression on a ballad. Having said this I sincerely hope that I have deterred no one from hearing this last track for it is very easy to give the impression of overstating one’s case. For a number of reasons the album is more approachable than later more typical and doubtless better records, but the performance of Summertime for the tenor at least is as good as any I know. In summary all followers of the new jazz should consider this album despite its imperfections, and doubters could at least try a taste of one of the most original talents on the contemporary scene.
TERRY MARTIN

enjoy
and thanks to boromir ,once again for the great rip
cheers

4 May 2007

PAUL BLEY,TOUCHING -(1965 fontana)


hi all
heres one of my very favourites,if youve never heard bley ,this is a great place to start.
this is boromirs rip of the original vinyl, i have the freedom double album reissue which also includes live 'blood' in amsterdam from the following year.
but this single disc version ,(now pretty rare) is absolutely essential.
at the time this was recorded ,the conventional pno.,db and drum
format ,had largely fallen out of favour with the avant guard.
weve searched hard to assertain its availability,without luck the reissue on black lion from 10 years or so ago is pretty much out of print.
i like this better than closer and barrage from the same period.
i cant find a review of this (even in the all music guide) no doubt about it though this is one of his BEST, from the period.
visit paul bley 's home page here http://www.improvart.com/bley/
boromir' said 'Here's the link for Touching:- http://rapidshare.com/files/29219501/PBley.rar.html
Vinyl ripped at
192 kbps.
Cover scans attached.
Cheers
we'll have more blet thats out of print to post, down the road, including live 'blood ,if it's not available , as well as the rare'mr joy' from 1968.
BUY PAUL BLEY'S RECORDS, THERE ARE CLOSE TO ONE HUNDRED TO CHOOSE FROM.
at the improvart webpage youcan get, both his and other artists records
including great ones by,j.guiffre, lester bowie, lee konitz , sam rivers ,sun ra and so on.
paul bley also appears on 2 rare previous posts
and here
both being incidently from the same period as 'touching'
cheers

2 May 2007

DAVID.S.WARE- FLIGHT OF I ,1992

hi all,
heres one that a lot of people remember fondly ,as one of the milestones of the 1990's free jazz,revival.
one of the great tenor players of recent decades ,this one is a classic.

it has dissapeared from the catalog,first issued by columbia in 1992, it was (as has been the unfortunate fate of great ,free jazz records on major labels)promptly discarded after a short run.
picked up by d.i.w in 2002, several jazz references list this as being out of print.
the disc union web catalog,does not have this on its books at present, there are no copies on ebay.

it appears that the only place you can buy a secondhand copy is on amazon.
hopefully this will see reissue soon.
most of you will already have this, but those that dont will certainly want to hear it,a masterpiece, as is godspellized also sadly oop

i first heard ware on andrew cyrille's magnificent black saint records from the late 70's and early eighties, which are available and highly recommended.

go to david s wares website here http://www.davidsware.com/html/biography.htm

here is a review of this album by thom jurek
This is the final recording of the David S. Ware Quartet with drummer Marc Edwards, who would be replaced by Whit Dickey, who would be replaced later by Susie Ibarra. What is most notable about Flight of I is how Ware, completely oblivious to his critics, turned in his straightest ever recording, though no one could remotely call it "inside." The disc opens with one of Ware's compositions, "Aquarian Sound," which showcases the stunning complexity and beauty of Matthew Shipp's pianism. Opening with a series of vamps and augmented minor chords, he lays an opening ground for Ware to join the band. As bassist William Parker comes along the bottom floor of the beat, Ware enters with his five part ostinato before moving off into one of his high-wire broad-toned solos. The break is brief and ushers in Shipp's solo, which is the body and soul of the tune. Here Shipp builds one harmonic bridge after another, knotting them together with blocks of arpeggios that move along the perimeter of the empty intervals and stamps out territory within them. One of the other wonders of this album is Ware's employment of standards, here in the shape of the lovely "Yesterdays" by Jerome Kern and Harry Warren's "There Will Never Be Another You." Again, with Shipp as a foundation point and Parker's willingness to restructure the meter, Ware can take the melody to its highest point and split it like lightning down the middle without losing its vulnerability or tenderness. The title track is a model study in the vein of mid-period Coltrane with McCoy Tyner. A series of chords are placed along a line, an intervallic series sketched and the construction of harmonic and contrapuntal statements begins. Once the seams are reached, the entire universe blows apart in ribbons of sound. There is plenty of magic here, and more mystery (check out the riveting arabesques on the closer "Infi-Rythms #1"), to be discovered by anyone willing to take a chance on one of the most original tenor players in free jazz.

ripped at 256
part1 http://rapidshare.com/files/29060577/floi.zip
part2 http://rapidshare.com/files/29070238/flioi2.rar

ENJOY
BUY DAVID S WARE RECORDS

HENRI TEXIER-STRADA SEXTET,LIVE AT THE GATESHEAD FESTIVAL -2005


boromir said ' I've been away for a couple of weeks so just getting back to my computer. I see from your blog you're having problems with your computer - sorry to hear about that. They're OK when they're working, but a bugger when they go wrong. I've upped the other Henri Texier recording I have

, the Strada sextet live at the Gateshead festival 2005 (that's in the north east of England, near Newcastle).

Live Recording at the Gateshead Festival 2005, personnel is

Henri Texier - bass Francois Corneloup - soprano & baritone saxophone Sebastien Texier - alto sax, clarinets Guergui Karnazov - trombone Manu Codjia - guitar Christophe Marguet - drums Sadly it's only ripped at 128, but the sound quality is very good I think. There was some interest in this concert shown when you posted the trio concert. Link is:


yep you cant go wrong with this, for more info on texier go here ,to our previous post

the above image is from jazzmagazine.com
cheers and thanks 'boromir

BRAM DANTE(fidel brambila senior)sings and plays guitar,featuring the ,uni trio


hi heres an unusual,little slice of history courtesy of bobby N.
BOBBY SAID
-'I would like to contribute something to your site. It's an unfindable 45rpm single from 1968 or 69 "BramDante sings and plays guitar" featuring THE UNI TRIOwith Perry Robinson/clarinet, David Izenzon/bass, andRandy Kaye/drums.
One side is about JFK and the otherabout RFK. The problem is It's a corny record but very 60's NYCand presents the very rare UNI TRIO.''
its hard to imagine ole bram dante ,having had much of a career,he sounds somewhat more like an outsider /streetsinger,this is a self release.
perry robinson comes through loud and clear, though david izenzion ,is almost inaudible.
download it
cheers
many thaks to bobby for this
bobby plays vibraphone, visit his site its in the links

1 May 2007

CARLA BLEY-LIVE IN HAMBURG JAN 28TH 1972

Carla bley- live in hamburg jan 28 th 1972

Hi all,
heres one that’s been around ,for those that don’t have it depending on whether or not you like the deeply ironic brechtian cabaret, references,and sardonic black humour this could be essential.


Tracklist-
1)walking woman/ida lupino
2)nagaswaram/walking woman/water music
3)rawalpindi blues


personnel-
carla bley-vox,pno,organ,composer
karen krog-vox
Michael mantler-trpt,flg h
John tchicai-reeds
Peter warren-db
Pierre favre-drums
Possibly also –irene Schweitzer-pno


Great to hear tchicai, favre and warren, in this context.
visit carla bleys website
http://www.wattxtrawatt.com/


buy carla bleys records

Note, this is an old german broadcast, fidelity is good though at times a bit tinny
Ripped at 320kbs


Part 1) http://rapidshare.com/files/28818915/cbham1.zip

Part 2) http://rapidshare.com/files/28824863/cbham2.zip

Enjoy
cheers

27 April 2007

andrew hill-live in london 2000


heres a broadcast of andrew hill, playing solo at london's gateway
studios in 2000.
i got this in a swap sometime back, somebody designed a nice sepia cover for it (i dont know who)
tracklist is
1) fourth and fiths
2 ) jose can you see?
3 )on
4 )smooth
the sound though a little recessed at times ,is pretty good so ive ripped this at 320kbs mp3
cheers
dipmong

25 April 2007

SUNBURNED HAND OF THE MAN – JAYBIRD



Sunburned Hand of the Man is a band in the loose sense of the word; it's better described as a banner under which a collective of musical freaks have gathered. Based in Boston, Sunburned Hand of the Man grew out of trio which called itself Shit Spangled Banner and featured John Molony and Rob Thomas who would later become anchors of the Sunburned coterie. According to Molony, Shit Spangled Banner was conceived as "a cross between the Melvins and Sonic Youth," but the group was fast picking up a host of like-minded dropouts and musical wanderers who would show up at their loft, and their sound soon began to incorporate everything from early American folk music to drone, free jazz, space rock, and funk. After one release, 1996's No Dolby No DBX (released as part of Ecstatic Yod's Ass Run series), the group changed it name to Sunburned Hand of the Man. A string of self-released CD-Rs followed, including Mind of a Brother (1997) and Piff's Clicks (1998). With 2001's Jaybird, Sunburned reached a new pinnacle, forging their disparate elements into a distinct (if not complete) sounding collection. By this time like-minded groups such as Jackie-O Motherfucker, Tower Recordings, and the No-Neck Blues Band (who are somewhat of a sister group to Sunburned) were also coming into their own and gaining critical applause. The term "free folk" started popping up in an attempt to describe these bands and Sunburned were seen as leaders (or at least co-leaders) in a musical movement of sorts, a movement which had its antecedents in Harry Smith's Anthology of American Folk Music as much as in avant-jazz and noise groups. Sunburned Hand of the Man continued to refine and expand their sound on CD-R and vinyl-only releases such as 2001's Wild Animal, 2002's Headdress, and 2003's Trickle Down Theory of Lord Knows What. Each release was a rough but often brilliant indicator of where the band was headed, rather than finished statements of where they had been. In August of 2003 the profile of the band raised considerably when they were featured on the cover of the respected British music magazine Wire, appearing above the headline "New Weird America." AMG.


Originally a self released; hand numbered CDR, issued on vinyl (250 copies only) a year later on the excellent QBICO records from Italy. Ripped from the original CDR @ 256kbps


http://rapidshare.com/files/26288791/SHOTM_pt1.rar

http://rapidshare.com/files/26294628/SHOTM_pt_2.rar

TOSHI ICHIYANAGI, MICHAEL RANTA, TAKEHISA KOSUGI - IMPROVISATION SEP 1975






"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

22 April 2007

sad news, andrew hill 1931-2007 has died
















i was lucky enough to see hill back in 97 when he came out to australia.
there must have been no more than 4o people in the audience, the venue was a small pub, that has since gone the way of most small jazz venues which occasionaly presented more adventurous stuff.
poker machines!!
hill was driven back to his hotel after the show in a delapidated morris minor or some such thing, they did'nt(the organising body for contemporary jazz and improvised music,here)even pay his cab fare,and the pubs pa had broken down ,and was only intermittently functional cutting out midway through the first set.
to top it all off ,there was a large group of yuppie suits at one of the back tables talking through almost the whole show, not aware that they were witnessing the concert of a lifetime .
at one point hill so palpably frustrated ,gesticulated to the members of the group to wind down, then promptly announced a new number,saying this one had lyrics and its about how money cant buy you class.
the band which was a good aussie pick up group(john pochee,loyd swanton,and sandy evans)then on cue launched into something at quite ferocious tempo, after which one could have heard a pin drop. at least thats my memory of it, a great gig under adverse conditions.
and the tickets were cheap for the time 15 bucks.
so few people one wondered what made it worth it to hill.
who was so obviously a layed back kind of guy radiating bonhommie, some appreciative fans went and shook hands after the show, saying they felt priveleged to see someone of that calibre
he took that persons hand and smiling wrily said oh i dont know about that.
heres the link to a great interview from all about jazz, with hill from which the colour photo

21 April 2007

the Vandermark 5-live in london 2002

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 .

16 April 2007

friedrich gulda 'nachricht vom lande"1976, with cecil taylor, john surman, barre phillips, albert mangelsdorff, stu martin and ursula anders



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

14 April 2007

steve lacy-sortie (gta records italy 1966)




hi all

heres the next item in our ongoing lacy series

a long out of print,very free 1966 session recorded in milan.

very similar conceptualy to lacy's classic ESP disc 'forrest and the zoo' of the same year.

same front line different rythm section.

enrico rava sounding like a mutant cross of chet baker with don cherry.

fabulous stuff

hardly any of lacys stuff from this period seems to be available with the sole parenial exeptions being,forrest and the zoo and ,moon.

perhaps lacy's just a little to dry and eccentric, why dig up these old jems to reissue when you can repackage yet more live coltrane and milk it to the last drop.

SORTIE:

1/ Sortie (Lacy) 12:00 2/ Black Elk (Lacy) 10:00 3/ Helmy (Lacy) 2:20 4/ Fork New York (Lacy) 14:00 5/ Living T. Blues (Lacy) 3:40 6/ 2-Fou (Lacy) 0:03

Recorded in Milan, Italy on February 7, 1966

Steve Lacy: soprano; Enrico Rava (except on (3)): trumpet; Kent Carter: bass; Aldo Romano: drums.

1966 - GTA Records, GT LP 1002 (LP) 1966 - Polydor, 623 223 (LP) 1967 (?) - Globe (Japan), SMJ-7429 (LP)



NB/this is a great sounding album for its day and the vinyl was clean, so ive ripped this@256kbs mp3

cheers enjoy


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