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

25 April 2007


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




"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.


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.
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.

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

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.


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

13 April 2007


C. P. U. (Cosmic Pulsation Unity)
Recorded at Nippon Columbia Studio, Tokyo

Masahiko Satoh - Piano, Percussion.
Keiki Midorikawa - Cello, Bass.
Masahiko Togashi - Drums, Percussion.

Side A: Siki Ran (21.15)
Side B: A-Un (20.00)

Masahiko Togashi made his professional debut at the age of 14.
In 1969, he became wheelchair-bound, but his music continued to thrive with increased vigor. In 1978, he was awarded the Minister of Education's Newcomer Award for Artistic Excellence, and has continued to release a number of award-winning albums.

Vinyl rip @ 192 kbps

Download Here.

anthony braxton-music for four orchestras!!1978, arista ( composition 82 ,dedicated to the historian writer -educator eileen southern)

yes here it is
arista a3l 8900 ,the singular unique genius of anthony braxton, at its most grandiose

this is possibly anthony braxtons most ambitious
recorded work.
some at the time criticised this as a pastiche of shoenberg on a wagnerian scale.
theres no denying, its passion and energy.

its a wonder this has not been picked up by an enterprising lable,that specializes in contemporary orchestral music.

the lack of a cd release has been most dissapointing to braxophiles.
braxton himself does not play on this and rather ,conducts one of the four orchestras.
its surprising just how luminous and delicate the piece is texturaly given the mammoth number of musicians involved.
im not qualified to judge whether this piece is sucsessful.
but it has its own kind of transcendant sprawling beauty.


heres some info from the braxton discog

Anthony BraxtonFor Four Orchestras
Arista A3L 8900 (3-LP, 1978)
{Comp. 82} (dedicated to the historian-writer-educator Eileen Southern)
1978 – May 18 & 19Hall Auditorium, Oberlin CollegeOberlin, OH (USA)
Anthony Braxton - conductorKenneth Moore, Gene Young, Robert Baustian, Murray Gross - conductors (?? who conducted which orchesta ??)

violin I
Francine SwartzentruberShelley FowleLilyn GravesLorraine AdelRobert Scarrow
Barry SargentZabeth OechlinEdward ShlaskoSteven SchuchAudrey Hale
Karin von GierkeStanislav BranovickiSusan DemetrisMonique ReidJudith Bixler
Peter JaffeDiane CooperDavid WilsonPamela StuckeyMary Bolling
violin II
Marriane SmithMarcus WooAmorie RobinsonJennifer SteinerKathy Blackwell
Lori FayAndra MarxAlison FeuerwerkerEllen ZiontzLauri Gutman
Sally BeckerElizabeth WelchSusan BrenneisJulie BadgerJane Moon
Shannon SimonsonLynda MapesMargaret MorganJohnathan DunnJennifer Doctor
Naomi BarlowJames ThomasSarah BloomRachel Yurman
Amy LeventhalJeffery DurachtaKathleen ElliottHelen McDermott
Nanci SeverenceDavid RogersDee OrtelBeth Thorne
Norin SaxeTheodore ChemeyAlex GuroffIgor Polisitsky
Steven HarrisonElizabeth WarrenSuzanne WijsmanElizabeth Knowles
Tom RosenbergSteven DrakeDawn WilderSarah Binford
Carol ElliottAaron HendersonMattew WexlerMichele McTeague
Kathy KellyDaniel KazezCarole StiplemanSteven Wise
Mark ShapireSuzanne TarshisLeon Dorsey
Michael TalbertRobert AdairMikkel Jordahl
Jeffrey HillMatthew McCauleyJeffrey Soule
Arthur KellDavid SeckingerDaniel Savage
Celeste Johnson (+pic)Joel Karr (afl)
Leonard Garrison (+pic)Wendy Tarnoff (afl)
Betsy Adler (+pic)Adam Kuenzel (afl)
Virginia Elliott (+pic)Carol Goodwillow (afl)
Michael ZakimJohn Guest (+Eb-cl)Mark Gallagher (bcl)
David HostetlerMarty Rossip (+Eb-cl)Cynthia Douglass (bcl)
Bela SchwartzDavid Bell (+Eb-cl)David Ballon (bcl)
James ColbertMarta Schworm (+Eb-cl)Carol Robinson (bcl)
Pamela HillCameron McClusky (enhn)
Carolyn HoveGiselle Lautenbach (?enhn)
James HoisBernard Gabis (enhn)
Michael HarrisonClaudia Patton (enhn)
Allen Smith
Ann Kosanovic
Deanna Kory
Mark Gross
John BourqueDavid Driesen
Alan CampbellThomas Gotwals
Dave RinaldiChris Kerrebrock
James KirchenbauerWilliam Camp
Robert AsmussenRichard RuotoloMark Kaiser
David FoggAnn MondragonDavid Stocklosa
Bradley CornellKadie NicholsMark Adams
Brian CampbellEileen JonesErik Johnson
Barry Jenson
Brian Bailey
Steven Box
John Lomonaco
Cynthia Mowery
Naomi Markus
Nancy Lendrim
Susan Kelly
John GardnerAndrew CollierStephen Pascher
David WilesJohn KennedyPhilip Seeman
Galen WorkGregg LindeVictor Thomas
Andre WhatleyCharles WoodDerek Davidson
from Braxton's notes in the booklet: "Composition {82} is the first completed work in a series of ten compositions that will involve the use of multiple-orchestralism and the dynamics of spacial activity. This work is scored for 160 musicians and has been designed to utilize both individual and collective sound-direction (in live performance). Each orchestra is positioned near the corners of the performing space, and the audience is seated in both the center and sides of the space (around and in between each orchestra). The resulting activity has been constructed to fully utilize every area of the room--which is to say, each section of the performing space will give the listener a very different aspect of the music. The science related to how this multiple use of space is utilized, will also open another chapter in multi-orchestra activity, and hopefully this work will be viewed as a positive contribution to transitional multi-orchestralism--as we move to the next cycle.The nature of how {Comp. 82} extends the dynamic possibilities of multi-orchestra activity has to do with its use of spaciality--involving both the nature of how information is transferred from orchestra to orchestra (where the listener of this record can hear the actual movement of activity change speakers) with the addition of 'trajectoral-activity' (where, in a live performance, the listener can experience the route of a given transfer). More so, this composition has also been constructed to include the actual change of performance direction as well. In other words 'information' in {Comp. 82} would also involve how the rotation of a given ensemble (as that ensemble is playing) changes the actual direction of the group making the music. This has been accomplished by having all of the performers (with the exception of the percussionist and the harpist) in rotating chairs--where even the direction of the music is calculated. Thus, the nature of spaciality in this composition would encompass an additional dynamic inclusion, for the spacial implications of environment would thus take on added dimensions. Because, in fact, to experience the realness of this composition is to experience a living and breathing universe. ***The actual composing of {Comp. 82} took place in July of 1977, lasting until the middle of May, 1978 (with sequence corrections up until August). The piece is scored for 160 musicians and each orchestra is made up with the same individual components. The make-up of each orchestra is as follows: two flues (one doubling on piccolo), oboe, English horn, two clarinets (one doubling on soprano clarinet), bass clarinet, bassoon, two trumpets, two trombones, bass trombone, tuba, harp, five first violins, five second violins, five violas, four cellos, three basses, and three percussion. The original floor plan of the composition was not able to be used for this recording as the space requirement it necessitated exceeded what was possible for us, so an alternate seating arrangement was utilized. The actual recording of {Comp. 82} took place in May, '78, on the campus of Oberlin College and involved four intensive sessions in two days. For this reason, the composition was recorded in sequence-patches, rather than in sectional areas. The total material would also exceed two hours and a half and as such, I have taken out about thirty minutes of the music in order to preserve the sound quality of this record. There have also been other adjustments as well, for the problem of time and economics in a project like this has to be taken into account--but what is documented here is an excellent version of the 'essence' of the piece. The placement of activity in this project has been designed to totally utilize the spacial dynamics of the quadraphonic technology--each orchestra will be heard coming from a separate speaker, and the mixture of events in a given section should give the sense of sound movement through space--and this will also be apparent (though to a somewhat lesser extent) to stereo record players as well."

go here if you want the precise minutae


here are the files ripped to two seperate folders ,though you dont need both to open them


part 1 http://rapidshare.com/files/25640146/brax_4_orch_disc_1.zip

part 2 http://rapidshare.com/files/25656078/brax_4_orch_disc_2.zip

well worth hearing

12 April 2007

john lindberg,revolving ensemble-relative reliability 1988

hello again
heres one by another, master bassist, john lindberg,as far as i know, its out of circulation
along with most other fantastic, free/post free
releases on this lable.
john lindberg seems to have been a prodigy from quite a young age.
pretty sure i red somewhere that he studied with david izenzion(of the famed mid 60's ornette coleman trio)and roscoe mitchell,at a less formal level.

he made his illustrious debut, playing with the likes of sunny murray, jimmy lyons and kershavan maslak.
then around 1978-9 formed the string trio of new york with billy bang and james emmery.

heres a bit of a bio from his website
In 1979 he formed his first ensemble dedicated to the performance of his compositions, and since has made more than two dozen recordings that feature his works, under his name. In all there are over eighty original pieces that have been recorded to date, some repeatedly in various versions. His ensembles and duo collaborations have performed throughout Europe, North and South America, East Asia and the Middle East. As a bassist he has appeared on over sixty discs, including landmark recordings with Anthony Braxton, Jimmy Lyons, Steve Lacy, and Tony Coe, among others. Currently he is active composing for, performing and recording with his various ensemble projects, as a solo bassist, and with the String Trio of New York, while being actively involved in teaching through the giving of workshops and lecture/demonstrations on composition, improvisation, and bass and ensemble performance in diverse educational settings. His course Words and Sounds (connecting literature and music) has been widely taught at colleges and universities. Additionally, with the String Trio of New York, he has created the innovative Human Residency, linking musical creation with a variety of the humanities.

this great trio session features
marty ehrlich-reeds
lindberg-db, and the great acm drummer-thurman barker (who also plays marimba on this)

track titles
1)sparkle from half-pint
2)tones of mourning
3)common goal
4)one for jerome
8)multiple reasons all tracks are composed by lindberg exept 4 and 5 which are by ehrlich

ripped@256 mp3
link- http://rapidshare.com/files/23015647/rela.rar


some time soon ill post hes duet on anima with billy bang on anima from 1980 or there about's

reggie workman,andrew cyrille, Juhani Aaltonen ,live at St Peter's Church, New York, on 10th December 2006

another one from boromirs ,collection of recent broadcasts.
reggie workman and andrew cyrille are among the most important musicians to emerge in the 1960's
theyve both played with practicaly everyone of any note, in both mainstream jazz and improv contexts...
workman was for a time a member of john coltranes early sixties quartet, also from that period playing on very important albums by wayne shorter, lee morgan(search for a new land, one of morgans most exploratory records)joe henderson and so forth
in the early eighties workman seems to have done the opposite of what most players of his generation chose to do, in finding ever more challenging contexts , making an extraordinary run of albums under his own name for leo records and also the ny based postcards lable, culminating in one of the great free jazz albums of the late 20th century
summit meeting, with sam rivers, andrew hill, julian priester and pheeroan aklaff.
apart from those workman has on an off played with marilyn crispell, and contributed to a fine string of her records , on leo and music and arts...
master drummer andrew cyrille, started his recording career, with coleman hawkins ,and
walt dickerson, before playing on cecil taylors pioneering blue note lps,conquistador and unit structures and then going on to play and record with taylor for a further dozen years.
cyrille made 2 stunning albums on black saint with jimmy lyons in the late seventies as well as the essential album 'nuba'with both lyons and jeanne lee.
since then hes worked with david murray, oliver lake, irene schweitzer, peter brotzmann, anthony braxton and john tchicai among others.
juhani aaltonen i know very little about,exept that ive heard him on edward vesalas record's
so heres a little something from his website here
JUHANI AALTONEN, who started his musical career in the late 1950s, has been a big idol and role model for about every younger Finnish saxophone player. In the 1960s he played with the modernists of the time, ao. with Edward Vesala, Otto Donner, Heikki Sarmanto and Seppo "Baron" Paakkunainen. In 1968 he received the Georgie Award from The Finnish Jazz Federation.
In early 1970s Aaltonen joined Tasavallan Presidentti (The President of the Republic), a legendary (jazz)rock group led by the guitarist Jukka Tolonen. In 1974 he was one of the musicians founding UMO Jazz Orchestra. Internationally he played ao. with Graham Collier Big Band and, most noteworthy, with the Norwegian Arild Andersen Quartet which made two albums for ECM in the late 1970s.
Though Aaltonen appears on a great number of albums, the albums of his own have been rare, especially after Prana (w. Reggie Workman and Edward Vesala on Vesala’s Leo Records, 1981). The debut, Etiquette, came out in 1974. Strings, a collaboration with Otto Donner, was The Album of the Year 1976 chosen by the Finnish Broadcasting Company. A follower to that, Strings Revisited, was released in 2003 on TUM Records, the comparatively new leading Finnish jazz label. There’s also another TUM recording by him from year 2004, with Reggie..
the info
Part 1:- Reggie Workman, Andrew Cyrille and Juhani Aaltonen recorded live at St Peter's Church, New York, on 10th December 2006Setlist:
The Navigator (Cyrille)Variation of III (Workman)Hymn (Aaltonen)
Parts 2 and 3:- Trio 3 (Reggie Workman, Andrew Cyrille and Oliver Lake) recorded live at St Peter's Church, New York, on 10th December 2006Setlist:Shell (Cyrille)Willow Song (Workman)Lope (Lake)Aubade (Lake)Nov. 1 (Workman)What's Nine (Workman)
grab these great sets here...
Mp3 Ripped at 192 Kbps 66 mins of music
It was broadcast on BBC Radio 3 on March 23rd..
the photo of workman was taken by davor hrvj
and is from barikada.com

11 April 2007


Vibracathedral Orchestra - Hot Booty! Live 1999

Early CDR release on VHF
Excellent dense drones from one of the best UK underground acts.

1, Thirteenth Note
2, Adelphi
3, Woodhouse Community
4, Trinity St David
5, Chillingham

Music By;
Bridget Hayden
Adam Davenport
Julian Bradley
Neil Campbell
Michael Flower

Recorded in Glasgow, Leeds and Newcastle; during 1999.
Complete with pipe organ, recorded in a squatted church on
Woodhouse Lane, Leeds.

Cover scans are in the rar file, riped @ 256kbps.

More Info Here.

Download Here.

Mauricio Kagel – Exotica - DG 2530251 (Germany, 1970)

Any serious collector of Avant Garde music should have a copy of this album

Born in Buenos Aires, Argentina, Kagel proved to be one of the most versatile, creative, and witty composers to come of age in the second half of the twentieth century. He studied piano, theory, violoncello, organ, singing, and conducting, and was self-taught as a composer. Kagel also studied philosophy and literature extensively during his college years, and his career eventually included film and drama. Fittingly, then, one can find in Kagel's output elements ranging from surrealism to expressionism to musique concrète to Dada to aleatoria. Even his earliest works exhibit this experimental attitude. However it is Exotica that remains his most accessible and collectable work.

Cover scan are in the rar file, riped @ 256kbps.

Download Here;

9 April 2007


hi all another great one ,from boromir's collection

toverbal sweet, by living legend and , a man who should be one of britains national treasures, as great a saxophonist as ever was,yep in my view that is, the equal of coltrane, parker, lester young,ayler, marion brown ,lacy you name it.

if this sounds like offensive hype, i suggest checking out his extensive ouevre for yourselves(,not that ive heard everything he's ever done).
coxhill remains (despite greater exposure in more recent years)just a name to most jazz fans.

heres a bit of a bio from the euro free improv pages
organised club sessions comprising live contemporary jazz plus recordings of modern jazz musicians such as Charlie Parker, Dizzy Gillespie, Lennie Tristano, Miles Davis and Stan Kenton. From 1950 to 1951 he was 'temporarily inconvenienced by national service in the Royal Air Force' but for the rest of that decade he was a member of: Denzil Bailey's Afro-Cubists (Dizzy Gillespie, Machito compositions/ arrangements); the Graham Fleming Combo touring US air bases in England (Gerry Mulligan/Chet Baker compositions); and Sonny G and the G Men (R&B, standards). He also guested with established British contemporary jazz players, including Joe Harriott, Tubby Hayes, Oxford University Jazz Band as well as playing solo jazz and improvisations on the saxophone. Much of the early to mid 1960s was taken up with touring and accompanying/supporting visiting US artists such as Rufus Thomas (with the television and video release of Walking the dog), Martha & the Vandellas, Screamin' Jay Hawkins and Mose Allison, and to some extent this continued into the 70s with tours by Otis Spann, Champion Jack Dupree, Lowell Fulson and Alexis Korner. However, between 1968 and 1972 Coxhill formed 'Delivery' with Steve Miller, Jack Monck, Pip Pyle and Phil Miller, was a member of the 'Whole World' with Kevin Ayers, David Bedford, Mike Oldfield and numerous drummers, as well as performing in the Coxhill/Bedford duo and the Coxhill/Steve Miller duo. The twelve years from 1973 saw Lol Coxhill become more well known as an improvising musician and solo player, with appearances thoughout Great Britain, Europe, the US, Japan and Canada. At the same time he undertook numerous collaborations with improvisors (as a member of Company), jazz musicians (as a member of the Brotherhood of Breath), rock and blues musicians (The Damned), as well as appearing with experimental theatre groups such as Welfare State. Other collaborations included Trevor Watts 'Moire Music', The Spontaneous Music Ensemble, and AMM. The Recedents (with Roger Turner and Mike Cooper) was formed in this period to perform electro-acoustic improvisations and has been a long-standing interest along with the Melody Four (with Steve Beresford and Tony Coe) - performing original and standard songs, film music, theatre music, jazz and improvisations - a duo with Pat Thomas, a duo with Adam Bohman (both electo-acoustic improvisations though of a rather different hue) and membership of the Dedication Orchestra. Lol Coxhill has also worked occasionally in television and films with a part in Sally Potter's London story, Ken Campbell and Nigel Evans' The madness museum and Derek Jarman's Caravaggio.
national steel guitarist mike cooper, once told me he thought lol's relative obscurity was a consequence of his lack of, self salesmanship combined with the fact that he was always too busy just living and breathing music, and raising his children as a single father. if talent and boundless imagination determined a musicians financial status ,lol coxhill would be a multi millionaire celebrated throughout the world as one of the most singular jazz giants of the last 50 years. i say jazz ,because no matter what the setting,wether with free improvisers a rock band, or playing hawaian music,coxhill always sounds jazzy and joyously so this album may not be his best and it was pretty poorly recorded ,no doubt on a shoe string budget, but coxhill is riveting from first to last. at times his accompanists seem to provide a 3rd rate canterbury style fusion, most of the nuance in the drumming and the electric piano parts are blotted out my the one dimensional sound . this is a rip by boromir from his old mushroom, vinyl. this album was briefly it seems reissued with extra material in 1997, but is not listed on their websites catalog, and references to it are pretty few and far between. we are assuming therefore with a high level of certainty that its OOP. if the cd ever comes back in print snap it up,the sound quality's sure to be better than this. (the above are my opinions, and not necessarily boromir's who ripped this for us)
Lol Coxhill, soprano saxophone; Jasper Van't Hof, electric and acoustic piano; Pierre Courbois, drums and percussion. Five to four (06.43) Clompen stomp (00.25) Spirit of Maasluis (00.04) Association (02.59) Or alternatively nine (03.18) One to three (01.38) P.C. One (00.21) Toverbal (02.22) Toverbal sweet (12.04) Jasper and out (04.58) The un-tempered klavier and heavy friends (05.54) Recorded at De Toverbal, Maasluis, Holland on 4 May 1971, . First released on Mushroom Records LP, 1972


8 April 2007

don cherry trio+ guests ,live in copenhagen 2/10/1970

hi all ,
firstly a warm welcome to a new,(semi regular,we hope!)
team member, flux'us, who also helps out at the great blog church#9.

on to some music
heres another wonderful, live concert i got in a trade with friends .

don cherry live in copenhagen in 1970, one of many cherry bootlegs floating around from what was a very prolific if under documented period(officialy at least)for him.

im sure most of you are familiar with his pioneering work with the original ornette coleman quartet .

most will no doubt also be familiar with his ethno free fusion albums,' mu 1 and 2' and 'orient' on byg as well as the classic saba/mps 1968 release 'eternal rythym.

this very well recorded'soundboard' has many elements in common with those.
the track titles are unknown, though references are made to some cherry compositions such as blue lake if only fleetingly, as well as ayler's ghosts.

my own impression is that his is for the most part though, largely free improvised.

on a couple of tracks ,there is also notable evidence of cherry's interest in electronic and concrete music, track one might even be mistaken for an electro acoustic improv with its shimmering textures, an effect partly produced by the subtle amplified arco bass drones.

the same year (1970) cherry was to make the album 'human music' with electronic composer jon appleton, for bob thiels flying dutchman operation.

here is a great web resource compiling don cherrys unorthorised recordings here----


enough to tantalize, some of those listed feature incredible ad hock groupings, alot of them have appeared sporadicaly and most expensively as bootlegs.

most of these are now circulated on torrent bays, and tape trading networks.
the above link describes a concert with exactly the sameline up from the same year as being live in sheffield.
i know of another 2 concerts by the same band which feature almost identical pieces.
personnel on this is

don cherry-pkt trpt, vox, perc etc
johnny dyani-double bass
makaya ntshoko-drums
dan nedergaard-trpt
mogens bollerup-sax and flute

ripped @256ksmp3 in 2 parts
part 1)
part 2)

we here at I S are not in competition with any other blog and infact are greatful for the proliferation of blogs sharing great music.
anyone in turn who wishes to share here on this forum,please leave a comment.
anyone interested in finding other blogs that have put up great music , check the links ,there is a
hell of a lot of great rare and oop music around at the moment.


in the last few months i have recieved many emails(my hotmail adress is listed on this blog)
from some one calling themselves flashgordonsape.
these do not quite have an authentic tone or coherent unified style.
flashgordonsape has also left , stupid and harrasing comments which i do not deem worthy of a reply.
make yourself known , do what youve got to do, i refuse to erase your comments, but i will not answer them.
do something constructive and start your own music blog, you are even welcome to make genuine posts here .
for gods sake stop your incessent whining and carping and please desist from threatening us in such a laboured peurile way.

6 April 2007

paul bley septet-live in hamburg 29/10/65

hello again
this time a vintage concert by the paul bley septet,comprised it appears of an ad hock grouping of members ,of the jazz composers orchestra while the orchestra was on a european tour.
this one goes out to boromir
most of the material is by either carla bley or michael mantler.
this was either a radio broadcast or a good audience recording, no info at all on the net, at least not that i can find.
only about half the tracks feature the extended ensemble.
the track list is/ 1)touching, 2)cartoon, 3)both 4)walking batterie woman, 5)communication 6)slow dance 7)closer (fades out)
heres the incredible line-up
steve lacy-soprano sax, mike mantler-tpt, prince lasha-tenor ,flute and bs cl !! paul bley-pno
heinz koller-tenor sax, kent carter-db, barry altschul-dr
some fantastic treatments of staples from bleys regular set list at the time, in pretty decent sound, from the same vintage as the classic esp sessions and probably one of the greatest free jazz albums in piano trio format'touching' from the same year.
the sound is of course not up to par with those albums, but well worth having and well, its not often you get to hear prince lasha in the same band as bley and lacy! never in fact.
ripped @220
we are looking into the availability of 'touching' from 1965 which seems pretty scarse,though it has had at least 1 cd re release.
if anyone can shed light on the availability of touching any info would be much appreciated
that truly magnificent defining moment deserves to be heard.
in the meantime grab, live in hamburg here.

henri texier trio-live in (london?)2002

Each new step proves it : Henri TEXIER always succeeded in the impossible; the impossible melting of jazz (as roots) and of the specific features of music in Europe. Without doubt, he owes that to the fact that he started to play double bass at the beginning of his career with prestigious partners: Dexter GORDON, Lee KONITZ, Don CHERRY... He owes it also (and mostly) to his gift to invent the "unheard of" while he allows the alchemy of the meetings: recognizable among thousands of composers, he has his own style...
"Henri TEXIER always succeeded in gathering the newest sounds to the most popular ones. Henri TEXIER does not follow fashions of his time : he belongs to the people who create them." Francis Marmande - Le Monde
(this is a googllized translation from the french)
and another from boromir, and quite marvelous too this may not be free jazz but its inventive enough and ecclectic enough to defy easy categorisation, and yeah it is quite free too in its own way one especially senses the influence of ornette coleman and jimmy guiffre .
henri texier has many records out primarily for lable bleu,
personnel on this is Henri on bass, his son Sebastien on alto and clarinet, and Tony Rabeson on drums.

henry grimes quartet-live in new york 14/6/2005 fred anderson quartet live in new york 16/6/2005

hi all

continuing on with boromir's tape collection of broadcasts ,here are a couple of good ones

Henry Grimes Quartet
live in new york Recorded Tuesday 14th June 2005New York Vision Festival

Henry Grimes - bass ,Hamid Drake - drums , Andrew Lamb - tenor sax
Marshall Allen - alto sax, EWI (Electronic Wind Instrument)

henry grimes has some recordings out on ayler records, and of course he's played with a lot of the major jazz legends of the last 50 years, sonny rollins, lee konitz, albert ayler, archie shepp
and dozens of others.

the upload also contains

Fred Anderson Quartet Recorded Thursday 16th June 2005New York Vision Festival
fred anderson has records out on, okka disc and atavistic
Fred Anderson - tenor, Kidd Jordan - tenor William Parker - bass, Hamid Drake - drums

Link: - http://rapidshare.com/files/23167653/NYVision.rar.html
many thanks to boromir
enjoy cheers

5 April 2007

Brooklyn Big Cats.

Dipmong has graciously asked me too contribute to Inconstant Sol, as a team member.

So for my first official post I have decided to go with; one of my favourite live bands in recent years. Brooklyn’s Double Leopards, this is a cdr release on Polyamory (which if memory serves me right; was run by Aaron Dilloway & Tovah Olsen of Wolf Eyes fame), now a defunct label!!
Like most Polyamory releases this was issued in very limited numbers, and pretty much sold out before the majority knew of its existence. These recordings feature an early incantation of the group without Mike Bernstein or Maya Miller.

As previous posts here range from Free Jazz to Japanese underground rock, there is plenty of scope for diversity.

What I would like now from the visitors to this blog, is an indication as to which direction you would like any future uploads too take? Genres? Artists / Groups? Initially; rather than requests for specific albums, you can leave a comment by clicking on the title of this post then scroll down & click “Post a Comment” it’s that easy!

Credits: Photo by Bill T Miller. (Used without permission. Sorry)

Cover scans included in the rar file.
Ripped @ 256kbps

Double Leopards – Circa 1999-2001 – Polyamory (2004)


4 April 2007

ddaa 'nouveaux bouinages sonores, dans la periode '1992 illusion productions

this one goes out to
mutant sounds
its a good one from 1992, by mysterious french experimental ,outsider ,stalwarts ddaa, there is very little info about this amazing music on the web.
and they seem to me at least often innacurately identified as an industrial band.
as a group they started playing music in
different guises in various combinations around 1975
the main members seem to be jean luc andre, guitar,piano,harmonica,percussion, textes, voice and electronics
and sylvie fee-violin ,piano, bass, percussion ,guitar ,voice, etcetera
stylistically, they are hard to pin down , mysterious cultic ramblings , texts that are as likely to draw on the russian anarchist revolutionary mackno as on french medievil litterature,
their website suggests an interest in ancient tribal cultures, and the music at times seems to comprise a radical inspired visionary primitivism.
musically there are many paralells with contemporaries such as nurse with wound in other words this is uncategorizable, and every album is inevitably quite different.
this release 'noveaux bouinages sonore ' (dans la periode) is one long hypnotic collaged piece, with many interelated subsections or parts that seem to melt together and coalesce into a vivid disturbing whole.
i confess i know nothing at all about this band, but have enjoyed whatever i could glean over the past few years.
any one who likes experimental, and avant guard rock ,that is visionary in scope and diverse in its employ of soundsources, will probably enjoy discovering this
the subconcious plays a large part .
most of their releases have been limited to 500 or a thousand pressings and their early cassettes and lps , seem (judging by the prices on amazon and ebay to be highly collectible).
a pity because this music deserves much wider exposure.
some of their early music
action et demonstation japonaise 1981, and 'live in accapulco ' 1980 can be found at the great mutant sounds blog (see links)
their generally non informative, and deliberately obfuscatory webpage can be found here

2 April 2007

diuih uhkk cacalimbo ukkh-by dipshitkingmongoloidrrr

les rallizes denudes-bootlegs continued

flux'us and tom 7865

have kindly contributed more rips of rallizes boots for your delectation

flux'us said
The Blind baby was copied for me by a friend; from his original cd, but I >never got a cover with it.>All the others have covers in the rar file. the LSD March came in an >oversized package, too big to print,>so I have copied the sections with any info on!>Green Milk, this is their first self released cdr from 2001 released in an >edition of 100 copies max (may have only been 50)>LSD March was also quite limited, not sure how many, but I belive this was >sold out on pre order.

1.) Blind Baby Has Its Mothers Eyes (18.00) 2. An Aweful Eterntitie (Cruel Love) (18.26) 3. The Last One (17.00)

ripped and uploaded by flux'us

2)LSD March Live about which i have very little info ,and have never heard

ripped and uploaded by flux'us

3) Green Milk From The Planet Orange - The Shape of Rock To Come

ripped and uploaded by fluxus

4) heres a live compilation of material from 1970-73

MIZUTANI - Les Rallizes Denudes - (SIXE-0203) / CD 1991 1. 記憶は遠い(Mizutani) 5'54" (babel=As for memory optical) 2. 朝の光L'AUBE (Mizutani / Kubota) 1'37" (morning) 3. 断章1(Konno Masanori / Mizutani) 3'45" (stopping/deciding chapter 1) 4. 断章2(Unknown / Mizutani) 1'45" (stopping/deciding chapter 2) 5. 亀裂(Mizutani) 4'35" (cracks of distant ) 6. THE LAST ONE (Mizutani) Live Version 22'14" 7. 黒い悲しみのロマンセotherwise Fallin' Love With (Mizutani) 8'05" 1 - 6 All Tracks Recorded in Kyoto '70 Studio & Live (Monoral), Arrangements by Mizutani / Kubota / Makino 7 Track Recorded in Tokyo '73 Live (Stereo), Arrangements by Les Rallizes Denudes In Kyoto '70 Mizutani Takashi: vocal / fuzz & side guitar Makino Tadanaka: all purcussions Kubota Makoto: backing lead guitar also lead guitarof the first half in the6th track / bass guitar / purcussions(Later he formed the band "Sandii &Sunzets") In Tokyo '73 Les Rallizes Denudes : Mizutani Takashi: vocal / lead guitar Nakamura Takeshi: rythym guitar Shoda Shunichiro: drums http://rapidshare.com/files/22528197/Les_Rallizes_Denudes_-mizutani.rar

uploaded by tom7865

5) STUDIO & SOUNDBOARD 1969-1975(38:34)
D1-1-01 1.夜より深く 黒い悲しみのロマンセ 197510 : SB 1973 明治学院大学("Mizutani"に収録) 2.夜、暗殺者の夜 197305 : ST 3.お前を知った(THE LAST ONE) 197508 : SB 1975/08/24 獅子吼高原・夕焼2 4.造花の原野 197407 : ST 5.IMPROVISATION 196912 : ST 6.断章 1970 win : ST 7.黒い悲しみのロマンセ 197509 : ST 1980/09 国立 Mars Studio http://rapidshare.com/files/22672498/les_rallizes_denudes_-_studio___s
uploaded by tom7865
6)Live & Studio 75-78.
ripped and uploaded by flux'us
plenty to chew on, enjoy(thanks tom and flux'us)