30 March 2007

sunny murray trio live in london 2003,/evan parker trio live in seattle 14th may 2003

hello again,

another upload from 'boromir's tape collection a broadcast,though its not clear from where.

bbc most probably, its good as youd expect.

personnel is- sunny murray- drums , john edwards-db and tony bevan-tenor and bass saxes

its ripped to190kbs mp3(by boromir)

please note- this is only 39 minutes of music

the above photo (black and white) is apparently from murrays 2003,british tour.

next up also upploaded and ripped by 'boromir'

the evan parker trio- live at the Seattle Asian Arts museum 14 May 2003

evan parker-saxophones

alexander schlippenbach-piano

paul lytton-percussion

2 long tracks,all up 67 minutes worth of music.(ripped@190)



29 March 2007

marilyn crispell-labyrinths (solo piano)1987


heres marilyn crispell's, classic solo concert on victo
recorded on the 2nd of october 1987 at victoriaville in canada.
this was the victo lables 6th release and it's one of her many stunning solo recitals .
i dont understand why this is out of print , her recent very different quiescent modal albums on ecm have sold in reasonably large(for this music)
why wont victo cash in to even a small extent ?
here she plays 2 coltrane tunes and a couple of standards as well as some free improvs and tunes of her own.
the standards are treated very differently than you might expect if you're only familiar with her more recent work.
its torrential by comparison,
well worth your'e time and effort,
and this cd'd will require effort, once youve made it youre hooked
for life!!
find out more at m's own website here http://www.marilyncrispell.com/
suggestion \buy any of marilyn's albums on the music and arts lable, because a lot of it is either deleted or being fazed out.
ripped from cd @220kbs mp3

brotzmann/mcphee quartet live in london 2001

hi all
here we have an item from 'boromirs tape collection of bbc broadcasts
, brotzmann's not exactly subtle on this, but the noteworthy textural interaction of the rythmn section magically offsets ,the ferocious constant intensity of the horns.
this may not be the best place to start with mcphee (it doesn't really display the wide range of his enormous gifts, but its an exiting if visceral listen.
peter brotzmann-alto, tenor saxes
joe mcphee-tenor sax
we are not sure who the drummer and bassist are , my guess is kent kessler-db
and michael zerang-drums
no track titles(sounds like one long improvisation of 50 minutes + a short track which starts with a mcphee tenor solo then cuts out after 10 minutes or so)
if you like this you'll probably love 'tales out of time' the 2002 brotz/mcphee collaboration on hatology .
i dont know whether thats in circulation ,if not i may just put it up if any one's interested.
ripped by boromir to 160kbs mp3,thanks boromir

26 March 2007

evan parker's going to kick your slovenly arses


heres a little something,
evan parker, noel akchote,paul rogers mark sanders-'somewhere bi lingual'(limited ed cd)1997 siesta records
i could'nt find a review, anywhere of this incredibly highly charged free improv disc.
line up is evan parker-saxes noel akchote-guitar paul rogers -double bass mark sanders -drums
i)activ 2to the power of 3, 2)silent 2 to the power of 3 3)m.p.n 4)e.p.n-1and2 5)m-1 6)e 7)pe 8)m-n 9)pn 10)e-

note this cd was a very limited release-500 copies .

christ knows why it'S one of the most intense parker's of the period,this is a group that worked together often with the exeption of akchote who was standing in for john russell the english improv guitarist. this is an altogether,different affair with akchote sounding almost belligerant at times. the whole thing almost has the flavour of an e.s.p blowout with hints of (or more an erasure )of early fusion, akchote almost sounding like mclaughlin-circa 1968 ,69 around the time of extrapolation. big slashing dissonant cluster chords...etc etc i dont have either the cover or liner notes im afraid i burnt this some years ago having borrowed it from a friend do yourselves a favor and grab it, it'l probably never be reissued!! think its 190 kbs,

the above description is just a whimsical spontaneous personal response, you may well feel differently. however one feels this is a very vivid session.
the above image is from www.jazzitalia.com

saxophone, bass and drums from san francisco

robert.o said...
great new blog!i really like the visual art--very cool.the following is a link to a live recording of myself (bass) with sheldon brown (tenor) and vijay anderson (drums) from 1.17.07 at the makeout room in san francisco... it's about 45 minutes of improvised music -- feel free to share this link with anyone http://rapidshare.com/files/16530778/1.24.7.mp3

this link was posted in the comments last month
sorry robert i'd completely forgotten about this thanks for sharing your music with us.

hey robert, this really is righteous stuff!, ( if you feel youd like to post more gigs i for one
would be pleased! and why not leave a po box adress in the comments if youve got discs for sale?

thats correct people grab this its good, its not hard core non idiomatic free improv, but rather imaginative lyrical free jazz.

'the budding of a rose'album cover and session photo

bobby naughton has kindly ,provided images of both the cover of the' budding of a rose.'a leo smith album on moers posted weeks ago
and this(see above)wonderful photo of the ensemble,taken in paris at the recording session,from his own archive!! for those few who dont know bobby played vibrophone on the above and many other leo smith abums as well as some by roscoe mitchell nd anthony braxton.
thanks very much for your participation bobby!

24 March 2007


continuing on with the series of out of print
steve lacy recordings, here's one that has not been reissued in the hatology series.
this is a set of scrabbly free improvs, by 2 master composers.
its stark even by lacys standard from this vintage (1978)
lacy here deploys his full range of extensions of the soprano's register.
some of the upper partials are dog whistle pitched, that combined with altena's frantic bowing may make for quite uncomfortable listening.
that said there are extraordinarily lyrical passages, and there's plenty of dry humour too.

HIGH, LOW AND ORDER: Maarten Altena, Steve Lacy 1/ High (Lacy, Altena) 2:34 2/ Off-Hand (Lacy, Altena) 4:29 3/ Post (Lacy, Altena) 5:44 4/ Low (Lacy, Altena) 4:08 5/ Blush (Lacy, Altena) 2:24 6/ Inconsistent-Shuffle (Lacy, Altena) 6:57 7/ Notice (Lacy, Altena) 3:33 8/ Order (Lacy, Altena) 2:02 9/ Hop (Lacy, Altena) 3:13 10/ Breeze (Lacy, Altena) 3:50 11/ Kiss (Lacy, Altena) 2:19 Recorded at the Shaffy Theater, Amsterdam, December 9 and 10, 1978 Maarten Altena: bass; Steve Lacy: soprano. 1979 - Claxon (Holland), 79.3 (LP) 1990 - Hat Hut Records (Switzerland), hat ART CD 6069 (CD)

more soon

les rallizes denudes bootlegs vol1 'heavier than a death in the family

heres the first in a series of posts of the music of 'les rallizes denudes'the great japanese free rock band ,that appear to be all things to all people
theyve been described as proto punk meets freejazz,space rock ,outsider rock and the big inspiration to the late 80's japanese psi /freerock revival.
heres a bit of info from a fan site

Although the ultra-mysterious and rumour-cloaked Les Rallizes Denudes/Hadaka no Rallizes existed in various forms from November 1967 to their last gig in October 1996 they are practically unknown in - let alone out of - Japan. Their recorded output is incredibly rare and highly priced and interviews or articles in the music press virtually non-existent. Tie that in with links to radical left-wing politics, extreme sensory assault at live shows and a general revolutionary aura and you have what must be the ultimate cult group.
This heavy guitar-based psychedelic band had their beginnings at Kyoto University in late 1967 with their first gig in 1968 - a song from which is featured on the 67-69 Studio et Live CD. While their recordings from this early period are still relatively controlled their live shows reputedly featured massive volume and the use of strobe lights and mirror balls to extreme levels, something that can be seen on the Les Rallizes Denudes video and heard on the 77 Live CD. Obviously this brings to mind comparisons with the Velvet Underground and their Plastic Exploding Inevitable. The ESP label and the San Francisco bands of that era have also been referenced here. It seems the volume was too much for some - a relationship with an avant-garde theatre group between 1968-69 fell apart due to the excess of Rallizes' sound.
April 1969 sees the band playing at the front lines of the Japanese student demonstrations, the Barricades A Go-Go concert at Kyoto University, organised by students occupying the university. This support for revolutionary causes ran deep with original member Wakabayashi involved in the 1970 Yodo-Go incident where members of the Japanese Red Army (Sekigun) hijacked a Japanese airliner to North Korea. Rumour has it that guitarist/group leader Mizutani Takashi was involved on some level with Sekigun and was asked to take part in the hijacking. Some years later the band are reported as putting on a concert on the grounds of a junior high school, playing through 30 metre high speaker stacks and passing out copies of texts by Hegel, Lenin, Che Guevara, Cervantes, Nietzsche and Ed Sanders to those present.
While they were active live not much was happening in the studio. Some sessions were recorded in the 1970s but were never released. Other than one side of the legendary Oz Days Live double LP document from 1973 the band only existed as a live experience. August 1991 and suddenly three CDs were released simultaneously by the band, though in limited numbers. These disappeared pretty much at once and like anything else associated with the band are highly-priced on the collector's market. Shortly afterwards the live video was released and then in 1996 the Japanese music magazine etcetera released an issue devoted to Rallizes with a 7" featuring music by Mizutani/Rallizes including a recording from February 1993. Apparently it sold out almost instantaneously. Late 1999 the half of Oz Days Live featuring Rallizes was bootlegged and made available briefly, meanwhile articles in The Wire (August 1999) and the Japanese magazine Studio Voice (March 2000) seem to have sparked lots of interest in the group especially in the Internet auction world.
Most of the interest seems to stem from the 77 Live double CD, along with early Fushitsusha recordings one of the ultimate Japanese guitar-psychedelic documents. This is a massive affair featuring long pieces of intense feedback and guitar distortion over simple repetitive rhythms cut through by Mizutani's cold vocal delivery...it's dark and extreme, influenced by surrealism and avante-garde/radical texts as well as other musics. A few tracks from the 67-69 Live and Mizutani/Rallizes CDs presage this and point to Rallizes as an influence on later Japanese bands but the 77 Live CD is the ultimate Rallizes and arguably the ultimate Japanese psychedelic document. While various attempts have been made to reissue the three official CDs the band have yet to give permission. Meanwhile bootlegs of live shows and studio recordings surface and disappear abruptly, with a 2002 LP boot of 77 Live the latest. The last documented sighting of Mizutani, the key to the whole Rallizes experience, was in Tokyo, November 1997 playing guitar with US free jazz player Arthur Doyle. Various other members have shown up all over the Japanese underground but the band itself seems to be no more.
'heavier than a death in the family
1. Strong Out Deeper Than the Night (15.32) 2. The Night Collectors (8.30) 3. Night of the Assassins (12.04) 4. Enter the Mirror (11.30) 5. People Can Choose (10.32) 6. Ice Fire (16.12)

it is uncertain when this was recorded, certain sources suggest 1973 , others 1977-78
note this album has appeared in different forms , with varying content the last release
of this material was in 2002 but its probably been bootlegged since.
apparently the band are reluctant to give consent ,to any future releases.

this version does not include the track which i believe to be ice fire though im not sure
heres the link http://rapidshare.com/files/20623898/heavier.rar

post script Hi Dipmong,
We defiantly need more Rallizes posted!I thought that I had brought this in 2001 but you maybe correct with 2002? I downloaded it too see if you had a different version than I did, but is appears to be the same, however this release should have all 6 tracks on it? This cd was reissuing/bootlegging (what they considered to be the best tracks from) Le 12 Mars 77 with an unreleased? Track (People Can Choose) from 73. Which probably explains the uncertainty over the date?Something has got a bit mixed up here though! I have cross referenced this with my copy and the Le 12 Mars 77 double cd and have come too this conclusion!!!The track missing is Enter The Moon.The file you have titled as Enter The Moon is actually People Can Choose, and the file listed as People Can Choose is actually Ice Fire.The other 3 tracks are titled correctly. The running order in your description is correct,But as too why you have a track missing from your copy I have no idea!
thanks to flux'us for the above

i cant offer any explanation other than my copy being a bootleg of the bootleg,infact my copy did not have the above cover either.
flux'us if youd like to share the missing track by all means do,simply leave it as another comment and ill incorporate it into this post.

Hi Dipmong,
I ripped the track from my copy but there was quite a difference in the volume levels with yours, so for the sake of consistency I have ripped and uploaded the complete album. Have a listen yourself and decide how you want too proceed? http://tinyurl.com/343zcsI have quite a few other Rallizes & Japanese underground albums, so if there are any specific items that you’re after; let me know? If I have them I will (as time allows) upload them for you.

please do flux'us ny time you want to upload , contact me at dipmong@hotmail.com
as long as the items are not at present commercialy available ,go for it
and thanks for your contribution!!

archie shepp -'one for train' live at donaueschingen new music festival nov 1967

hi all heres another great upload by our friend 'boromir' this was first issued on the german saba lable in 1968 as 'life at donaueschingen' i myself have that record,pretty sure its the same album.
heres some info and an interview taken from all about jazz.

If Trane is the father, Pharoah: the sun, and Ayler: the holy ghost, Archie Shepp is the uncle that no one mentions. Shepp, an outspoken critic of jazz and an advocate of social revolution, has endured significant industry persecution for his awareness. And while the acerbic edge to his music has muted in recent years, his civic opinions have certainly not.
All About Jazz: What happened to the black audience for jazz?
Archie Shepp: I can understand why African-American audiences are not in tune with so-called jazz music. First of all, up until the '40s and '50s - let's say up until Coltrane - much of this music still had roots in the African-American community. Coleman Hawkins lived in Harlem. Dexter Gordon, all these people, they came from the African-American community. Today more and more of the so-called jazz musicians are fleeing into suburbia like all the other black middle class people. And so how can they expect we can relate to people whom we no longer associate with? There are no longer any references.
I'm not surprised at all that young black kids are listening to rap music. When I was a boy, to buy a saxophone, I could go to the pawn shop and maybe get a saxophone for a hundred dollars. Or as my grandmother did, she helped me buy a saxophone for five hundred. But today a saxophone costs five thousand dollars. What youngster in the ghetto is going to be able to buy a saxophone? Of course, they buy records and turntables and they created new instruments. They're making something out of nothing. I'm all for these young people. In fact, I think we have to come over to their side. We should begin to make connections with their lifestyle, their culture and their music. I would love to have heard Coltrane play with Digable Planets or James Brown. Those things just never happened because our people never saw the connection.
AAJ: What factors have contributed over the years to the low attendance?
AS: As I mentioned, in the '20s and '30s, many of those clubs were located right in the community. Connie's Inn was in Harlem. White people went to the Negro neighborhoods to hear this music. Now blacks have to go to Lincoln Center to hear this music, to hear players like Wynton Marsalis, who have now become the black bourgeoisie. This used to be a people's music. It is no longer.
AAJ: In Los Angeles, black people have to drive to the westside or Hollywood to hear the music.
AS: Absolutely. The music has actually been taken out of our community and awarded to middle class white communities, where now poor blacks are expected to go on buses and trains to hear their own music. And actually the music they're expected to hear is music that they never hear on the radio. The music they hear on the radio is popular music. They're not hearing Coltrane and Ellington on most of the popular stations. You have to tune in to so-called jazz stations for that. And really to listen to this music requires special training.
African American art music is serious music. It's just like classical music. You can't just come on in the middle of Coltrane playing “Impressions” or “Transition” and expect you're going to pat your feet. This is a very special music that has been created. It has evolved over a century or so into a rather complex music - a complex art music. Though Negroes are hard pressed to understand that for some reason.
AAJ: And the evolution of jazz music?
AS: I don't think it's evolved. I think it's become more and more controlled by white producers. There is not a single major nightclub in the United States owned by an African American. African Americans don't make saxophones. We don't produce trombones. We play them. We're not producers. We're basically consumers. We don't own anything and we don't control anything. And so it's no accident that Ella Fitzgerald is being replaced by some young white singer. Coltrane has become a white man.
AAJ: What do you mean?
“I think our millionaires lack imagination. It is they who must come back to start a new entrepreneurism in the Negro community as regards culture.”
AS: I mean that the media - don't you see it? At all the big, so-called jazz concerts, there are fewer and fewer African Americans performing - more and more white players who are being put in the place of those African Americans. I just did a documentary film in France. The young man was talking about great saxophone players. And I mentioned George Coleman. Of course, he was talking about Joe Lovano and the fact that Joe is now playing two instruments at once. Joe Lovano used to come to my gigs and sit in at Sweet Basil years ago. Now he's a big superstar. I love Joe. Nice guy. I happened to mention, “Well, haven't you guys ever heard of George Coleman or Gary Bartz?” And you know what they said? “Who are they?”
And so what I'm saying is that this is black art music. This is not black dance music, so called jazz music. Normally, this is music people listen to and not dance to. So we do have a black art music. We have not bothered to treasure that music. As a university teacher, I frequently spoke to my students and said, “Why don't you hold a national conference of black students to discuss African American music?” You don't have to accept the term “jazz.” Jazz used to mean fucking, pussy. Sidney Bechet and people like that told you that very clearly.
Why are we still supporting names that degrade our music, except for the fact that white people like those names? And they associate it with slavery. So at this point if we have no control over our music, fewer African Americans listening to it doesn't surprise me. Many of the young players today certainly don't come from the roots of the community. They come from Juilliard, conservatories. What relation do they have to the black community?
AAJ: But there aren't many places in the black community where jazz artists can perform.
AS: That's not the point. There aren't any places that are owned by black people. We take it for granted largely because it's called jazz. What does jazz mean? Can you define it? It has no real technical meaning.
AAJ: So you prefer the term “black art music?”
AS: That's what it is. It is a black art music. It's not a dance music. It's not a popular music. Furthermore, jazz was a term applied to this music shortly after the Spanish-American War, when for the first time the Marine band put many instruments on pawn in Louisiana and around the United States. For the first time poor black people, who had previously been playing in juke band on harps and wash tubs, could for the first time buy a contrabass or a trombone. And they bought them at cheap prices because the Army put them on sale at cheap prices. This is the beginning of so-called jazz music around the turn of the century. When blacks began to put their spirituals and blues and their folk melodies on Western instruments. The white man called it jazz. In fact, you didn't call it jazz, you called j-a-s-s. And it referred to the activities that took place in the places where this music was played. Not the music. In the original jass emporiums, the music was played on piano. And it was played behind a screen by people like Jelly Roll Morton and Tony Jackson, while light-skinned black women danced for white men. And when the white men wanted to see these women, they said they were looking for jass. And today we treasure that word jazz as though we created it. It's absurd.
AAJ: Has the music died?
AS: The music isn't dead. We've allowed it to die. When I taught school at the University of Massachusetts, Amherst, frequently I would mention the name Sidney Bechet and not a single black student even knew who he was. We've lost our tradition. How can we expect to find it again overnight?
AAJ: Why was it lost?
AS: Maybe twenty percent of our young people are in jails. That's one of the reasons we've lost it. There's been a whole socio-economic decline - the breakup of the black family, the fact that the black middle class has fled in droves, including black musicians, to New Jersey and comfortable places outside the area of the scene of the action. I hear Bill Cosby and these people talking that nonsense about black kids reveling in their oppression, not really taking advantage of going to school, that the opportunities are there. But they never did. The same problems that exist today existed then.
I went to school with Bill. There were curfews frequently in Philadelphia because of gang violence and so on. The fact that we expect more of our children today than we expected before - we should expect more of ourselves, we adults who have arrived at the middle class. What are we giving back to the community?
No wonder they don't listen to that music. They have no reason to respect it. The music they hear is the music created by themselves. And I respect them for that. In fact, the Negro middle class has been aloof of its responsibility and now it comes to criticize the very people who have had to survive on their own. And so they don't listen to so-called jazz music. I don't blame them. I listen more and more to blues and folk music myself today, too. This music is becoming more and more a middle class white phenomena with very special handpicked blacks, usually young musicians under 40 or so who are being used to front this music as though it's still a black phenomenon. But it is no longer. It is a white middle class phenomena.
AAJ: How do we fix it?
AS: Well, ask not for whom the bell tolls, the bell tolls for thee. What can we do? For example, I'm trying to start my own record label. How can we come together? Look at people like Quincy Jones and Oprah Winfrey, all these wealthy Negroes. Why don't they start recording companies? They could make a billion dollars off it. You don't have to just produce jazz. If I had money I would be producing everything from rap to rock n' roll to George Coleman. I think our millionaires lack imagination. It is they who must come back to start a new entrepreneurism in the Negro community as regards culture.
Visit Archie Shepp on the web.
published jan 2005
yep this is a killer concert,
personnel is
archie shepp-tenor sax,whoops
roswell rudd and !!!grachan moncur-trombones
jimmy garrison-db and ,beaver harris-drums
thanks again to boromir

this [was] a vinyl rip to 190kbsmp3

23 March 2007

corolla rivera-untitled collaged monotype etching

stephen dernoclure-visionary artist(bus and train ticket drawrings


how are you/
thanks for all the effort you put into the inconstsnt sol blog/
you know the guy out the back that rants has a thing about people who annoy parrots (parrot swear answer)/
i'm so tired ~
~4:44 AM
cats crab scaling slats up to the roof & down all night/
cracked soul crumble thought
/perfect understanding/down by the riverhere
with you now in your hear


18 March 2007


hi all, here's another brilliant live recording on the zero in label (sadly defunct) by brazilian saxophonist ivo perelman playing with one of the greatest rythm sections in this era or any other.
rashied ali and william parker need no introduction.
for those not familiar with his name, here's a bio from his website.

The natural affinity of music and visual art has rarely ever been expressed as vividly as in the visual imagery created by noted jazz saxophonist, Ivo Perelman. Born 12/01/1961 in Sao Paulo, Brazil, he came to the United States in 1981 to pursue a musical career. He has performed to great acclaim in jazz festivals and concerts around the world and has recorded 26 CDs. His music, a unique form of free jazz, translates itself into the striking Abstract Expressionism of his painted imagery. Just as his music evolves out of his liberation from musical convention, his imagery dispenses with traditional artistic conventions and expresses the raw energy which creates each painting. The intense flows and abrupt breaks of sound which emerge from his saxophone are reborn as zigzagging lines of color, splashed on canvas. Some of his paintings are full of agitated energy, while others are more lyrical, creating a visual moment of near silence. Instead of working from a preconceived artistic idea, Perelman lets the flowing, skittering, dancing paint lead him on. Each painting is like a performance, a set of actions in time which can happen in that particular way only once, embodying the sound of his music through the stroke of the paint brush. The notes become vibrant colors and the rhythm transcends into shape. He passionately unravels the most vivid emotions, whether playing the saxophone or approaching the canvas. There are no limits or restraints as his method of expression relies not on planning but solely on the flow of feelings. His desire for painting stems from the depths of his soul with the ardent yearnings.
Although largely known for his playing of the tenor saxophone, Perelman also plays piano, clarinet, cello and recorder and is a trained classical guitar player. Perelman made an immediate impression with his 1989 debut Ivo, and his subsequent work has continued to justify his critical status as one of the most important and distinctive tenor saxophone voices of recent years. His vigorous performing style has brought comparisons with John Coltrane, Albert Ayler, David Murray and, perhaps inevitably, Gato Barbieri. An air of invigorating fun surrounds some of Perelman's music, especially when working with Latin-tinged material. Elsewhere, his enthusiasm seems at times to overwhelm his surroundings and it takes equally dominant musicians to contain him and, as a result, raise the standards of performances to sometimes breathtaking heights. Perelman has worked with players including, Paul Bley, Don Pullen, Joanne Brackeen, Geri Allen, Matthew Shipp, Eliane Elias, Rashied Ali, Billy Hart, Andrew Cyrille, Jay Rosen, Ramon Lopez, Peter Erskine, Airto Moreira, Mino Cinelu, Flora Purim, Nana Vasconcelos, Reggie Workman, Dominic Duval, Paul Rodgers, John Patitucci, William Parker, Louis Sclavis and Elton Dean.
From articles by Eleanor Heartney, New York City based art critic and contributing editor to Art in America, and from www. theiceberg.com
perelman is also an abstract expressionist painter and graphic artists
check out his work here- http://www.ivoperelman.com/indexA.html
this great trio made an album on leo in 1997 called 'sad life' a stunning piece of work that deserves to be heard, also check out the stunning empathy of ali and parker on charles gayles
magnificent 'touchin on trane' on f.m.p

17 March 2007

surman, phillips,martin 'the trio' 1970

hi all heres a marvelous 2 lp set by famed and revered early 70's freejazz legends the trio. in the late sixties master american bassist barre phillips relocated to europe settling on britain initially(he now lives in france) phillips had made a name in free jazz circles playing with the likes of archie shepp(he appears on the shepp double lp, further fire music),and the maverick composer,clarinetist jimmy guiffre's 1965-66 trio .
phillips was the 1st bassist to record an entirely solo album in 1968,at around that time he also
played and recorded with the spontaneous music ensemble, barry guy's jazz composers orchestra and many others he continues to record sporadicaly.
john surman the best known of these 3 has an extensive catalog of recordings to his credit including many on the ecm lable.
stu martin was a friend (and american compatriot)of phillips who died quite young.
to my knowledge he played with paul bley, and appears on other recordings by barre phillips.
he'd grown up in the bronx and been a close friend of barry altschul's, another fine drummer.
to my knowledge this masterpiece has only been sporadically available.
there was a reissue on cd in the early 90's , but thats gone.
thanks for this rip boromir.
heres a postscript in the form of an email exerpt
I've uploaded the two Surman discs. Here are the links:- Disk 1 - http://rapidshare.com/files/21480178/Trio1.rar.html-Scans are attached. Rapidshare ground to a halt when I was trying to upload the second disk. If you think they ought both to be on the same host, let me know and I'll try again. The records have no inter-track gaps, one tune runs into another so I've not attempted to split them, so it's one mp3 file per album side.I'm happy for you you to post them to your blog. I am not particularly looking for credit, you can mention my moniker or not, as you wish. I'm just happy that someone else has the opportunity to enjoy otherwise forgotten music.
Incidentally, we lost the cricket (to NZ) and lost at rugby to Wales today ! Not a good day.

15 March 2007

mongoose 'at penguin house' 1999

heres a nice example of japanese minimal improv before its philosophical and process orientations forced a reductive tabularasa.

this is an organic soundmass comprised of tiny gestures held together by long silences and only dimmly perceptible washes that could almost be ambient noise from outside the musical environment.

this cd is out of print,im not even sure the slub lable still exists.

heres some info taken from the japanese improvised music pages.

Improvised Music from Japan / Mongoose
Mongoose was formed by Tetuzi Akiyama (guitar, electronics), Utah Kawasaki (analog synthesizer) and Taku Sugimoto (guitar) in 1998. Their music is "minimal noise music": free improvisation constructed from extremely quiet sound fragments generated by the three members. Thus, at the small venues where they usually have gigs, it often seems as if other sound elements--a telephone ringing, a door slamming, a chair squeaking, etc.--are part of their music (whether or not this is their intention).
Mongoose's first CD, At Penguin House, recorded live in February 1999, was released in September of that year. In October 2000, the group toured France and Belgium. This was the first time they played outside Japan.

heres the link, 320kbsmp3 http://rapidshare.com/files/21105357/mngoo.zip



12 March 2007

evan parker-live at the finger palace 1978

hi all
heres a link to evan parkers great solo recital from 1978 'live at the finger palace' on the now defunct beak doctor lable.
this record is from a concert in sanfrancisco 1978
this file is in FLAC format .
and has kindly been provided by Pierre c. a future collaborator (we hope).
thanks pierre!!

also for those wantin to inform themselves of e.p's projects both past and present click on the link to the european free improv pages.


hi all
heres an ultra rare marion brown soundtrack(To marcel camus, un ete sauvage") on french poydor.
this is the only other marion brown rarity in my possesion at the moment.
its sadly unlikely that this will ever see the light of day again ,as a cd reissue.
one can only hope.
this is much more varied in scope than many jazz soundtracks,it encompasses everything from modal extensions of a simple folk song, afro cosmic groove , slightly modish rock flavoured pieces, to all out free improv.
its a stunning line up too.
Marion Brown (as, bells)Gunter Hampel (vibes, bass cl, tree bells)Ambrose Jackson (tp, cow bells, tambour)Barre Phillips (b, castanetes, whistle)Steve McCall (dr, triangle, tambour)Alain Corneau (claves, cow bells).the film about which i know

very little came out in 1970,and was apparently released on video in the early 90's
if any one has any of marion browns unsissued

enjoy cheers

10 March 2007

anthony braxton townhall 1972

hi all
heres one that goes out, to maclintic sphere, see
church#9 blospot ,for a fine thread of anthony braxton's as yet unavailable arista recordings

this one too has been unavailable for some time
this is taken from the japanese tokuma lables early 90's reissue.
a great concert, featuring 3 long tracks ,2 of which are the usual medleys of braxton tunes the other being all the thins you are.

collective personnel for this concert though not for every track is braxton, jeanne lee, dave holland, phillip wilson,john stubblefield and barry altschul.

enjoy this stunning live concert.
you'll find braxtons discog (a link to it)at the saturn web jazz discogs site check the links section on this blog.


NB/ it has
been pointed out to me by centrifuge (refer to comments)that i mislabled the tracks during the ripping process.
track 1,is in fact track 3 and 3 ,1 sorry about that,mild dislexia kicks in again!

william parker 'testimony' 1995 (solo bass)

hi all heres,william parkers now long gone 'testimony'

a solo double bass record to rival peter kowald,and barre phillips magnificent efforts.

heres a bagatellen review.

Pressed on the tiny and now extinct Zero In imprint out of Austin, TX (an apartment address on the tray card is always a telltale sign of shoe-string finances), Parker’s second solo recording represents the good, the bad and the ugly of his monologue style on bull fiddle. I first caught him in person in just such a setting, summer of 97’ while doing an internship at Smithsonian/Folkways. His was the second concert presented by the then fledgling Transparent Productions -- a cadre of volunteer "promoters" who would go on to curate over a hundred performances under the aegis of awarding players one hundred percent of each event’s proceeds. Against the odds, they’re still going strong. The recital took place at Kaffa House, a tiny corner pub (much like the Knit where Testimony was taped) and WP pulled out all the stops, at one point cantilevering a separate bow against each of his four strings to create a floating grid of tentacled harmonics. Similar tactics deploy on disc. The five tracks represent full two sets, tugging at the maximum capacity of the medium. Parker punishes and massages his bass in equal measure, falling prey to his tendency to cleave and burrow away mercilessly at his strings to the point of near tedium. The fidelity, rendered by a single stage side engineer, is coarse-grained and muddy. These are the major minuses, but the music still ends up transcending them. Parker’s massive technique, his canny ability to coax, in his own parlance, tonal rainbows is frequently in full, sweeping effect. Streaks and splatters lift from his fingerboard like arcs of paint flung from an action painter’s brush. There’s so much incandescent and percussive bowing, that a place of prominence for his mighty pizzicato capabilities is hardly missed. Parker has recorded at least one more solo album since this one, ‘97’s Lifting the Sanctions, but my preference goes to its predecessor as the more engrossing and electrifying excursion. Today marks his fifty-third birthday; hopefully his celebrated fecundity will continue for many years to come.
~ Derek Taylor

unfortunately william parkers website seems to be either experiencing major difficulties or be defunct all together a pity as it contains his massive discog.

parker is by now one of the most influential,free jazz musicians in as braxton might say this present time continuum.

hes played with many people including to my knowledge- cecil taylor,roscoe mitchell,joe morris

butch morris,roy campbell, charles gayle, ivo perelman -the list goes on and on

this is quite a tough listen ,lots of wild arco,comparable perhaps in its gritty abstraction with his duet with joe morris on the no more records lable.

im planning more uploads of zero in albums since unfortunately they no longer exist,

this is truly greatand intense improv at its best. do yourself a favour and grab it.


i will post a link to wp's website when its back on track.

heres a link to AUM ,a great freejazz lable where you can buy lots of w.parkers discs



9 March 2007

mike cooper with-' micro megas '(aka galapagus fuck)

hi all
heres a private tape of the legendary british improvising/folk blues guitarist- mike cooper, playing with the almost unknown shortlived australian improv/drone rock collective 'micro megas' (aka galapagous fuck ,in honour of their formative influence).
this is a privately pressed cdr 10 copies or so only. recorded in the blue mountains n.s.w in 2004
all the tracks are untitled.
mike cooper-hawaian steel guitar, radio ,voice,track 1
only(its the longest track 40 minutes)
martin kirkwood- electric guitar,tapes,objects chris lines-double bass
john prendergast-cello,synth, perc. and queen mongo (slve to the slrc)- wind instruments ,objects, implements ,larynx.
for those who prefer their improv raw and unrefined,this very noisy session is for you.
it will surprise those who thought they knew mike's elegant national steel guitar style.
yes this is the mike cooper- of recedents fame
why he should have chosen to play with such a bunch of ecstato/primitive unknowns nobody knows.
nb )this recording is very grainy, and a little low- fi
heres a link to mike coopers homepage http://www.cooparia.org.uk/
(i highly recommend live at cineclub detour an improv trio with richard nunns,and the italian instrument maker/improviser-elio martusciello)

collage,untitled mixed media by dipshitkingmongoloid

8 March 2007

MUTANT SOUNDS: Colette Magny-Transit(Free Jazz Workshop),LP,1975,France,NWW list

those interested in free jazz, or simply the melting pot that was the french music scene from the late 60's on for about 10 years. should check this album out over at mutant sounds see the links section , this will reward anyone whos interested on the influence of free jazz on french pop, rock and musical culture generaly.
the mutant has many interesting obscurities ,that are surely of interest to lovers of free jazz,improv, and avant rock.
do yourself a favour down this a.s.a.p MUTANT SOUNDS: Colette Magny-Transit(Free Jazz Workshop),LP,1975,France,NWW list

7 March 2007

art ensemble of chicao-live in holland 7 august 1974

hi all
heres a fantastic dutch radio broadcast of the aec with muhal richard abrahms ,recorded on the 7th august 1974,this purports to have been recorded in utrecht.

there are many broadcasts as well as bootleg lp's from this period which was a great one though not too heavily documented officially until now .in fact this is from the same tour as the official release 'kabalaba' on aec records,which can be bought here http://www.artensembleofchicago.com/recordings.html
PLEASE BUY AEC CD'S the above photo is from the aec homepage.

in the meantime stamp out bootlegging by sharing live material that is not officially available ,FOR FREE.
enjoy this very decent sounding concert ,ripped to 190kbsmp3
link- http://rapidshare.com/files/19797092/art_ens74.rar


Mal Waldron & Steve Lacy - Journey Without End
This is rare Mal Waldron & Steve Lacy Japan only LP, recorded in Studios Europa Sonor, Paris , November 30, 1971.
With Steve Lacy (ss) Mal Waldron (p) Kent Carter (b) Noel McGhie (d).
Victor SMJX 10134 , original 1st press in 1972.

hi all
here is another in our continuing series of severely neglected steve lacy lp's and free jazz generally.

this record's the perfect companion to
mal waldron with the steve lacy quintet on america which has been reissued unfortunately in a limited edition digipak on verves cynicalLy titled 'free america' series.
this is perhaps even better ,certainly better recorded when one compares the original lps.
1)the fire now
2)journey without end
3)i feel a draft


leo smith the budding of a rose(live at the moers festival 1979)

Leo Smith: Budding of a Rose {}Moers Music MoMu 02026 (LP) 1979 WGERJune 5, 1979 / Palm Studio, Paris, France
Harmonium (Smith) [17:04]
Mutumishi (Smith) [05:35]
Budding of a Rose (Smith) [21:17] Roscoe Mitchell, Wallace McMillan (alto sax)Anthony Braxton (alto sax, contrabass clarinet, flute, clarinet)Douglas Ewart (clarinet, alto clarinet, flute)Dwight Andrews (clarinet, tenor sax, flute)Marty Ehrlich (clarinet, bass clarinet, baritone sax)Leo Smith, Kenny Wheeler, Hugh Ragin, Rob Howard, Mike Mossmann (trumpet) ["Michael Philip Mossman" on MoMu 02026]George Lewis, Ray Anderson, Alfred Patterson (trombone)Pinguin Moschner (tuba)Marilyn Crispell (piano)Bobby Naughton (vibes)Wes Brown (bass)Pheeroan ak Laff (drums, percussion)

hi all
here's an album thats been unavailable for many years.
surprising really that smiths only large scale big band record should remain unreleased.
this album was recorded the same day and with identical line up as roscoe mitchell's sketches from bamboo.
both were recorded at the moers festival 1979,unfortunately i couldnt find an image of the cover
for more information on leo smith please go to his home page at-http://music.calarts.edu/~wls/index.html
if anyone has the cover or any other out of print leo smith albums theyd like to upload please contact me at-dipmong@hotmail.com

this is a vinyl rip to 190kbsmp3 or there abouts(note side 1 =1 track,side 2 = track 2

link- http://rapidshare.com/files/19677276/budd.rar

Bobby Naughton said.....
I play vibraphone on this record. It was not recorded at '79 Moers Festival but rather a few days later at Palm Studio, Paris/France. The Leo Smith Creative Orchestra and The Roscoe Mitchell Creative Orchestra were indeed recorded at the Moers Festival by WDR but never released.(I have a private tape)I used my vibraphone at Moers but when we tuned up in the Paris studio I gave my A as pianist Marilyn Crispell sounded her A. Ouch! The tuning in Paris was A442 versus my vibes A440. The session was delayed about an hour until an A442 vibraphone was borrowed or leased.

see comments to this entry

6 March 2007

dial-'infraction' released 1996 (no wave, avant rock)

heres a mysterious cd ive had for a while,a friend claimed he once read a review,that suggested this was an all female trio with some connections to the
little recorded late 70's newyork nowave band ut.
i have no idea if theres any connection. i cant find a
single referance to this anywhere that provides any more info than is on the cover.
all i can say is its a stunningly powerful album of very free rock with tunes that are minimaly composed a couple of the tracks are free improvs.
truly one of the best things in this vein ive ever heard.its ecstatic allright in its own numbed out way.sounds like it could even have been recorded in the late 70's or at any time between then and now.
if any body knows anything about the people on this disc please leave a comment. anyone liking classic mars, teenage jesus,early sonic youth
harry pussy,or even the nz free rock scene a la corpus hermeticum won't be disapointed.
BUY OTHER MUSIC BY DIAL,(AND IF YOU FIND ANY LEAVE A COMMENT WITH FULL DETAILS,I WANT MORE)the info which is included in the file lists these people as
j.ham-guitar,vocals r.smith-guitar,drum machine, d.weeks-bass
ripped to 192 vbr mp3

William Hooker-is eternal life 1977 (Incomplete)

This New York-based drummer has played a large part in forging a bond between the city's free-jazz and downtown rock scenes while — and this is the tricky part — refusing to compromise the purity of essence that's pervaded his music for nearly two decades. Hooker plays with enough power to steer combos suffused with post-punk guitar scree, while maintaining a terpsichorean grace (reminiscent of Rashied Ali, a John Coltrane sideman who has had ephemeral involvement with the avant-rock scene as well) that effortlessly demonstrates the limits of most "rock" percussion.Hooker's work is steeped in new age philosophy —
...Is Eternal Life resounds with intricate patterns that bring to mind aural recreations of Druid stone circles — but the burning intensity of something like the side-long duet with reedman David Murray would no doubt provoke convulsions among Windham Hill devotees who claimed the term as accepted nomenclature for their brand of holiday inn jazz.
the above is a trouser press review-by david sprague.

this album was first issued by reality unit concepts in 1977 ,though the material was recorded
in 1974-6 as far as i know(i may be wrong, does anyone know?) this is a very fine album,a must for hooker fans especially those whoprefer hooker in a setting approximating a classic free jazz situation.
whatever the context hooker's pulsating percussive waves seem irrevocably timeless ,another great drummerwho seems to me to have been influenced by Cecil Taylors pulsating , incandescent

this album features david murray,david s ware, mark miller(borbetomagus?),and two players i dont readily recognise les goodson,and hassan dawkins.
artwork and tracklist included.



5 March 2007

jazz composers orchestra -communications 1964-65

hi all here's the classic communications from,1964 on fontana.its been unavailable for many years and only available on cd in japan in the early 90's

it is now out of print.

last year i saw a copy on ebay(the cd,that is )going for the ridiculous price of us $100.

unfortunately i cant find a review, but its a fine compliment to,the 1968 record on jcoa which is available on watt(distributed by ecm).

personnel- paul bley-pno, steve lacy-soprano, jimmy lyons-alto, roswell rudd-trb mike mantler-trpt ,composer(tracks ,2 3)archie shepp-tenor, john tchicai-alto, fred pirtle-winds, willie ruff -french horn, ken mcintyre-reeds, robyn kenyatta-reeds, bob carducci-reeds,fl, kent carter and steve swallow-db, milford graves and barry altschul-drums, carla bley-composer track#1

this was ripped to 192kbsmp3 (rapidshare)

link= http://rs8.rapidshare.com/files/19524059/jazz_composers_orch.rar


4 March 2007

steve lacy the wire 1975

068 - THE WIRE: Steve Lacy Sextet 1/ The Twain (Lacy) 6:31 2/ Esteem (Lacy) 8:40 3/ The Owl (Lacy) 4:17 4/ The Wire (Lacy) 4:58 5/ Cloudy (Lacy) 6:12 6/ Dead Line (Lacy) 8:06 Recorded at Nippon Columbia's 1st Studio, Tokyo, June 18, 1975 Steve Lacy: soprano; Masahiko Satoh: piano; Masahiko Togashi: percussion; Keiki Midorikawa: cello, bass; Yoshio Ikeda: bass; Motoharu Yoshizawa: bass. 1977 - Denon Jazz (Japan), YX 7553 (LP) Note: (3) is a duo with Steve Lacy and Masahiko Togashi.

heres another ultra rare unreissued steve lacy album from 1975,on nippon columbia this ,is one of my favorites from this period ,and may well be one of the most challenging records he ever made.for those who like their lacy fairly free and exploratory. i will in the next month or so be upping,stalks,threads, follies,and many more.

check the links section for lacy's discog.
heres the link-http://rapidshare.com/files/19280414/wir.rar