30 September 2013


As I recall, after a phenomenal Elton Dean Qt gig at the Duke of Wellington in 1989, Vanessa Mackness and her friend Andree asked if I'd send a copy of my cassette recording.  In return, Andree sent me this recording of Vanessa in duet with Barry Guy.  I hope nobody objects to me posting this music by an incredibly well-matched, fast-listening duo. After making recordings with John Butcher, Derek Bailey and Company, it appears Vanessa left the scene to concentrate on her painting.


1. 25:44
2. 5:00
3. 11:15
4. 24:53 (possibly from a different date)

Vortex, London.  12 October 1989


A1. Blues
A2. Monody
A3. Mono

B1. Sonic Landscape No.1
B2. Extro-Intro
B3. Chaser

James MacDonald, French horn, electronics
Monica Gaylord, piano
Russell Hartenburger, percussion
Barry Truax, tape

Music Gallery Editions ‎– MGE 21

Vinyl Rip

28 September 2013


A1. Big Alice
A2. The Wanderer
A3. Limbo

B1. Utviklingssang
B2. In Dew Time
B3. Five/As Long As There's Music

Scott Alexander, bass (A2-B3)
Claude Ranger, drums (A2-B3)
Jane Bunnett, flute, soprano saxophone
Vincent Chancey, french horn (A2-B1, B3)
Brian Dickenson, piano (B1, B3)
Don Pullen, piano (A1-A3)
Dewey Redman, tenor saxophone (A2, A3, B2, B3)
Larry Cramer, trumpet (A2-B3)

Recorded at Manta Sound Recording Studio, Toronto, on February 25-6, 1988.

Dark Light Music Ltd. ‎– DL-9001

Vinyl Rip

26 September 2013


A short but pretty heavy set. Phew!

ELTON DEAN, alto sax
PAUL DUNMALL, tenor sax

1. 26:59

Vortex, London.  7th June 1997


Günter Christmann, trombone, cello
Alexander Frangenheim, bass
Paul Dutton, vocals

1. unknown title 19:31
2. unknown title 15:27

Recorded at "chez Yan et Riske", Mhère, France during Festival 'Fruits de Mhère' on August 2, 2003.

24 September 2013


MICHAEL MOORE, alto saxophone, clarinets

1. Unknown title 22:17
2. Little suite 20:36
3. N.T. 6:57
4. Back again sometime 10:22

Adrian Boult Hall, Birmingham.  March 1995

BBC Radio 3 b'cast

22 September 2013


Another recording with Masami Tada, a year after East Bionic Symphonia.

A. 1977年11月30日

B. 1976年12月3日

Kiyohiko Sano, Masami Tada, Masaru Soga

Side A recorded on 11.30.77 at Chuo University, Room 203.

Side B recorded on 12.3.76 at Ars Nova Studio.

Alm Records ‎– ALM-3005

Vinyl Rip

21 September 2013


MAX ROACH, drums

1. 47:43

Barbican Centre, London.
24th January 1999

BBC Radio 3 'Jazz on 3' b'cast

20 September 2013

PAUL DUNMALL QUARTET. Manchester, 1987

PAUL DUNMALL, tenor sax

1. 49:36
2. 39:39
3. 10:28

Band on the Wall,  Manchester.  27th February 1987

THE LEADERS. Bracknell 1984

DON CHERRY, trumpet, harmonica
CHICO FREEMAN, tenor and soprano sax, bass clarinet
DON MOYE, drums

1. New arrival  8:32 (missing beginning)
2. Blues on the bottom  22:20
3. The search  15:28
4. Miss Nancy  16:05

Bracknell Jazz Festival.  1984.

BBC Radio 3 'Jazz In Concert'  b'cast


Heinz Sauer, tenor saxophone
Bob Degen, piano
Günter Lenz, bass
Ronnie Stephenson, drums

01. DJ intro                     00:10
02. In Case Of Chase Don't Race  10:35
03. DJ announcement              01:13
04. Lush Life                    07:29
05. Stylish                      04:09
06. 'Round MidnightT             07:53
07. Blowin' The Clouds Away      10:48
08. DJ announcement              01:24
09. unknown title                07:55
10. DJ outro                     00:13

Recorded at the 4th New Jazz Festival, Fabrik, Hamburg on October 19, 1979.

(picture by Hans Kumpf)


1. Confirmation
2. In A Sentimental Mood
3. Oleo
4. Stella By Starlight
5. I Remember Clifford
6. A Night In Tunisia - Monk's Hat Blues

Kosuke Mine, soprano and tenor sax
Masahiko Sato, piano
Nobuyoshi Ino, bass
Masahiko Togashi, drums

Recorded at Sedic Studio, Tokyo, on 5-7 June 1991.

Verve - POCJ-1076

CD Rip


A slightly less than perfect recording off the radio - I just found this cassette which used to get a lot of play in my Walkman at work.  With no info on the cassette, I had to google to try and find some details.  I found a review of the concert which said the music didn't hang together, was under rehearsed and too long.  Well you could have fooled me! Bobby Watson composes some of the most attractive music in jazz and this concert was really fantastic (in my opinion).  Enjoy.



1. 13:51
2. 5:11
3. 26:04
4. 5:28
5. 9:18
6. 14:50
7. 10:07
8. 4:28
9. outro Brian Morton 0:50

TT 89:37

Glasgow International Jazz Festival.
Old Fruit Market.  Glasgow. July 1994

BBC Radio 3 'Impressions'.

ps. If anyone has a more pristine copy of this, please speak up.  Thanks.

18 September 2013


1. Klang Funk
2. The Mask

   Suite In Seven Movements

3. I
4. II
5. III
6. IV
7. V
8. VI
9. VII


10. Bells Of Siliconesia
11. Reeds Of Change
12. Glass Mind
13. Understanding Media

John Puchiele, Richard Sacks, V. Eric Cadesky, Paul Hodge, glass instruments

Recorded at the Music Gallery, Toronto, Canada, in December 1988.

Gomuse ‎– SiO2

CD Rip


Günter Kronberg, alto & baritone saxophone
Heinz Sauer, tenor saxophone
Bob Degen, piano
Jürgen Wuchner, bass
Ralf Hübner , drums

1. Spontaneous Edition      03:55
2. Poem For Peter T.        07:24
3. Trouble With Mutation    05:58
4. Fantango > Art's Tango   13:08
5. The Cup                  08:01
6. Coming Home              08:08

Recorded at the 2nd New Jazz Festival, Onkel Pö, Hamburg on May 21, 1976.

16 September 2013

Burton Greene Quartet - Lady Bug Dance (Cat Jazz 1980)

A1 - Renephanie     10:57   
A2 - Sunny Monk     5:00   
A3 - Embryonic Change     10:50   
B1 - Sphyrinx     7:18   
B2 - Biedronka Tanz (Lady Bug Dance)     10:57   
B3 - Na-Calm (After The Strom)     5:32   

Burton Greene - Piano, Percussion
Fred Leeflang - Saxophone, Flute
Mark Miller - Bass
Max Bolleman - Drums, Percussion

recorded at
Hilversun, Holland april 2, 1980  (1,5,6)
Zurich, september 23, 1980        (3)
Haarlem, Holland, october 13, 1980  (2,4)

all compositions by Burton Greene
vinyl rip

15 September 2013


Tony Oxley, drums, percussion
Andreas Schreiber, violin
Dieter Glawischnig, piano

1. unknown title 31:15 (first set?)
2. unknown title 07:48
2. unknown title 02:35
4. unknown title 05:30 (incomplete?)

(audience recording with a Sony tape-recorder than transferred to cd-r via pc/magix)

Recorded probably in 1994 most probably in New York at an unknown location.
Or - as Matt W pointed out - maybe at the Knitting Factory, New York in January 16, 1998.

...I got this recording together with several others from a former costumer who became an acquaintance.
All his tapes had all necessary information included except this one.
As the recording year was 1994 for all tapes (almost always at the Village Vanguard or at the Knitting Factory) I assume the 1994 (Knitting Factory?) is a likely assumption.

Note: There are now links from four different file-hosters: Rapidshare, Rapidgator, Gamefront and ZippyShare - hope this will do it. Go to comments for the links - feedback appreciated.

14 September 2013


Joachim Kühn, piano, alto saxophone
Eje Thelin, trombone
Adelhard Roidinger, bass
Jacques Thollot,  drums

1. Announcement              (03:30)    
2. Arrondissement 2 & 8(?)   (38:55)

Recorded at WDR Studio 2 in Köln on February 4, 1971.

M U J I C I A N - Liverpool 1989

Whooooooa!  I thought this tape was a write-off but no - here is an absolute gem from the truly marvellous Mujician that was.  The most musical of free improvising groups - time, no time, exquisite beauty, intensity, incredible interaction - it's all here.  Check out Tippett's flight at about 12 minutes in with bass and drums and wish, like me, that they had worked as a trio too.  Dunmall leaves his tenor in the case and wows on baritone and soprano.  Listening to this has reminded me just how fantastic this group was.  Take thirty seven minutes and have a listen and let me know what you think.

PAUL DUNMALL, baritone and soprano sax

1. Hearts beat me.   37:03

Bluecoat Arts Centre, Liverpool.  13th November 1989

NB.  Rapidshare, Game Front and Zippyshare (further down) links in the comments.

New Movements in Jazz-(Altena-Octet, Contraband,New Klookabilities,ICP)Netherlands Transcription service-4 Lp 87078/076, 1987

A repost of sorts,years ago , i started sharing this set here in installments, but for some reason , never got around to finishing it..
Mostly because my original rip wasn't up to scratch , the records were dirty and so forth.....

I've had a few Email requests over the years , asking for the un posted volume...
Here they all are together in one huge split archive!
Anyhow its a much more meticulous rip ,Executed using superior equipment, stylus, turntable etc

I dedicate this to our friends here past and present, Nick , Onxi, Andy, Kinabalu .. Riccardo , Boromir and all  who have ever shared here.
Program 1: ICP Orchestra & Guest soloists
1/ Gig (Nichols, Mengelberg) 9:50
2/ Houseparty starting (Nichols, Mengelberg) 5:35
3/ Blue chopsticks (Nichols, Mengelberg)
4/ Change of seas on (Nichols, Mengelberg) 5:44
5/ Happenings (Nichols, Mengelberg) 5:26
6/ Hangover triangle (Nichols, Mengelberg) 9:13
7/ Step tempest (Nichols, Mengelberg) 4:38
8/ 12 bars (Nichols, Mengelberg) 6:45
all arrangements Misha Mengelberg,Compositions by Monk and Herbie Nichols
Recorded at Meervaart, Amsterdam on August 13, 1983
Program 2 - Contra Band 86
- Toon de Bouw-tpt
 Louis Lanzing-tpt
 Mark Charig-tpt
 Willem van Manen-tpt
 Hanss Sparla-trb
 Nash Visser-trb
 Theo Joregensmann-Reeds
Paul Van Kemenade-Alto Sax
Rutger Van Oterloo-Alto, Bari Saxes
Marten Van Norden-Tenor Sax
Eckhard Koltermann-Bass Clarinet-Tenor Sax
Ron Van Rossum-Pno
Hein Offermans-DB
Martin Van Duynhoven-dr
2-Der Ryuter Suyte, Part 1
1-Der Ryuter Suyte, Part 2
All compositions Willem Van Manen
 recorded 1986 at Meervaart in Amsterdam

Program 3-Ernst Glerum's New Klookabilities
Michael Moore Clarinet/altosaxaphone
Sean Bergin altosaxaphone
Frank Nielander alto-/tenorsaxaphone
Horst Grabosch trumpet
Walter Wierbos trombone
Larry Fishkind tuba
Michiel Braam piano/celesta
Jorg Lehnardt guitar
Ernst Glerum bass/philicorda/leader/composer
Han Bennink drums/percussion
Peter Prommel percussion

Side A-Girofonetica 28’14”
- Swolch 17’35”
- Fly-over 10’38”
Side B-Gyrodrome 7’05”
Do the Pip/
Mob the Mob 6’10”
Gyroscope 5’33”
all compositions Ernst Glerum
Program 4
Maarten Altena Octet
Special guest Dagmar Krause (vocals)
George Lewis trombone
Wolter Wierbos trombone
Paul Termos altosaxophone
Peter van Bergen tenorsaxophone
Maartje ten Hoom violin
Guus Janssen piano
Maarten Altena double-bass/leader/composer
Michael Vatcher drums

Side A 23’02”
Schor (Husky) 8’22
Improvisation 7’45
Goody two-shoes 6’03

Side B 26’51
Improvisation and
Points Congealing 8’22
Haai (shark) 4’05
The Feathers and
Klaroen (Clarion) 9’13
Uncle Jimmy’s 4’05

All compositions by Maarten Altena
Recorded on September 27th 1985 at the Meervaart
In Amsterdam

13 September 2013

CERCLE. 1997


TONY OXLEY, drums, perc

1. 2:38
2. 5:01
3. 3:05
4. 5:46
5. Tony Oxley interview  8:25
6. Tony Oxley solo  4:28

BBC Radio 3 'Impressions'.  Broadcast May 1997

Short but potent.

Steve Lacy-Raps 1977, Adelphi 5004 LP

A great Steve Lacy Lp that's unlikely to be reissued anytime soon, this one has never achieved the cult status
of much of Lacy's contemporaneous output , not at all obscure or rare it can still be purchased for under 20 bucks..

Recorded in New York , Little Known bassist Ron Miller,(Same Guy who's on Dave Burrell's After Love, presumably)subs for J.J.Avenel,an intriguing player who sounds right at home...
Terrific versions of The Throes, Blinks, and No Baby..

I Know this has been around before as Mp3's... worth a listen!

Info from Discogs
Steve Lacy ‎– Raps
Adelphi Records Inc. ‎– AD 5004

A2-No Baby
Voice – Oliver Johnson
A3-The Throes
Recorded on 29 January 1977 at Blue Rock Studios, NYC.
Steve Lacy-Soprano Sax
Steve Potts-Alto &Soprano Saxes
Ron Miller-Db
Oliver Johnson-dr


Several members of the East Bionic Symphonia went on to perform as Marginal Consort. If you like this, a live recording made at Instal in Glasgow, 2008 is due for release shortly, on the Pan label.

Masami Tada
Kei Shii
Kazuo Imai
Tomonao Koshikawa
Yasushi Ozawa

1. 2003 Part 1
2. 2003 Part 2
3. 2004 Part 1
4. 2004 Part 2

Improvised Music From Japan – IMJ-702/3/4/5

Recorded at Mikawadai Junior High School, Roppongi, Tokyo on December 7, 2003 and Kotoku Morishita Bunka Center, Tokyo on November 20, 2004.

CD Rip

12 September 2013


Rolf Kühn, clarinet
Joachim Kühn, piano
Peter Trunk, bass
Kurt Bong, drums

1. Announcement          01:16
2. Flower in the dark    07:53
3. Turning point         04:19
4. Amok                  09:47
5. Announcement          00:03

Recorded by Bayerischer Rundfunk at Studio 1, Munich, Germany on July 6, 1966 (Münchner Jazztage).

Frank Lowe-Doctor too Much 1977, PKO2 LP

For Tony Continued ... Frank Lowe really was on a Roll, at this point... every release seemingly more potent than the last , this one has a terrific line up.. .. and Lowe had worked frequently with all of them,in various combos
 .. some years ago i believe we posted a contemporaneous show recorded from the Audience at Angouleme FR. without Wadada.Leo Smith.. i'll try to reupload that soon..

As with most Recordings on Kharma , which was run on a shoe string budget, the sound is a little one dimensional, whatever its sonic shortcomings Musically this is superb!
As i may have mentioned a few thousand times ... for me Lowe was the greatest!.. and he is certainly Sorely missed.
his late work has equal gravitas , go to the cadence website and check the audio samples of 'Vision Blue', Bodies and Soul'...' Legends streets one and two'

Kharma 2 USA LP NYC 5/21/77
Frank Lowe-ts; Olu Dara-tp; Leo Smith-tp; Phillip Wilson-d; Fred Williams-b
Trombone (dedicated to George Lewis & Joseph Bowie) (Lowe) 4:30
Crush (Lester Bowie) 7:45
Parts (Lowe) 7:30
Doctor Too-Much (Lowe) 7:55
Structuralism (Lowe) 3:35
Broadway Rhumba (Lowe) 5:30
Future Memories (Lowe) 4:45


11 September 2013


Wadada Leo Smith, trumpet, fluegelhorn
Paul Rutherford, trombone, euphonium
Evan Parker, soprano & tenor saxophone
Peter Brötzmann, alto, tenor & bass saxophone, bass clarinet
Jouk Minor, sopranino, alto & baritone saxophone, clarinet, bass clarinet
Phil Wachsmann, violin, electronics
Pinguin Moschner, tuba
Peter Kowald, bass
Fred van Hove, piano, accordion
Günter "Baby" Sommer, drums, percussion, xylophone

1. Improvisation 1  (05:30)
2. Improvisation 2  (13:48)
3. Improvisation 3  (14:34)
4. Improvisation 4  (11:09)

Recorded on 22.April 1979 at the Von-der-Heydt-Museum, Wuppertal, Germany

Searching the internet I found the following: 7. Wuppertaler Free Jazz Workshop 19.- 22.4.79 (Flyer)
And also that Peter Kowald was responsible for the realisation of museum concerts at the Von der Heydt Museum Wuppertal 1972-75 and Wuppertaler Free Jazz Workshop 1973-82.

Thanks to glmlr for help concerning the date of recording.

10 September 2013


1. Drum Sky
2. North Star
3. Kotohogi
4. Elephant Walk
5. Sharmanic Bird

Drums, Toshi Tsuchitori, Chang Kwang-Hae, Ha Yeong-Su, Masaharu Yamawaki, Yoshinori Marui

Tokuma Japan Communications ‎– TKCA-71483

CD Rip

8 September 2013

PAUL ROGERS solo. 2000

PAUL ROGERS,  5 string double bass

1. Bass loops 1-3   35:08

BBC 'Jazz on 3'

Broadcast 6 May 2000

7 September 2013


1. Link 1
2. Link 2
3. Link 3
4. Link 4
5. Link 5
6. Link 6

Kang Tae Hwan, alto saxophone

Midori Takada, percussion

Masahiko Sato, piano

Recorded live at Moers International New Jazz Festival on May 19, 1991.

Ninety-One ‎– CRCJ-9110

CD Rip


JOHN BUTCHER, tenor sax

1. 4:05
2. 11:18
3. 6:09

'Earlham Street Breakout' at  Donmar Warehouse, London.

30th July 1989

I've been playing this a lot since posting the previous session by this marvellous trio.
I'm not sure why I like them so much.  I think it might have something to do with them having the same number of letters in their names.



A1. Meta
A2. Hen Tai 7
A3. There'll Be Comeback
B1. Wana Oki
B2. Miu
B3. Y's March

Yoriyuki Harada, piano, ocarina, clarinet, bass clarinet, soprano saxophone
Keiki Midorikawa, cello (A3)
Hideaki Mochizuki, double bass (A3, B2, B3)
Ryojiro Furusawa, drums (A1, B1)
Tony Koba, drums (A1, A2, B1)
Sabu Toyozumi, drums, percussion (A3, B2, B3)
Tetsu Yamauchi, electric bass (A1, A2, B1)
Hiroshi Hatsuyama, vibraphone, marimba, glockenspiel, xylophone, harmonica

Recorded and mixed at Nippon Columbia Studios 1, 3 and 4, Aug 20 - Oct 6, 1980.

Better Days ‎– YF-7040-N

Vinyl Rip

6 September 2013


Manfred Schoof, trumpet, fluegelhorn
Ed Kröger, trombone
Michel Pilz, bass clarinet
Jasper Van´t Hof, keyboards
Dieter Petereit, bass
Ralf Hübner, drums

01.   Intro Joachim Ernst Behrendt          02:54
02.   Jazz Meets The World Suite:           23:18
a.     Song Of Peace (Korea)
b.     Sing Along (Thailand)
c.     Raga Bhairava (early morning raga)
03.   Announcement JEB                      00:33
04.   Natsu Nahana (jap.Haiku)              05:40
05.   Ludus Totalis (Schoof)                04:57

06.   Studio Announcement (Achim Hebgen)    00:26
07.   Six Of A Kind (Schoof)                12:57
08.   Unanswered Questions (Hübner)         07:45
09.   STT (Some Time Trouble) (Van´t Hof)   10:53
10.   Studio Extro (AH)                     00:09

Recorded live in Konstanz, Germany on 21.June, 1975.

Two SWF - (Suedwestfunk, Germany) radio broadcasts in 1975:
(1-5) live from the event
(6-10) studio, later same year


Baden-Baden New Jazz Meeting 1977

The picture above depicts a part of the interior of the Kurfürstliches Schloss in Mainz, Germany. Some may wonder what the Schloss had to do with the annual Treffen in Baden-Baden, but as it happened, the 1977 Treffen culminated in a concert in front of an audience at the Schloss. The concert took place after rehearsals at the SWR studios in Baden-Baden, the usual locality of the Treffens over the years.

In contrast to the 1970 Treffen which we posted a little while ago, the 1977 one was a more consolidated affair with a smaller cast of characters. The core appears to be Mumps, a slightly extended version of the John Surman - Barre Phillips - Stu Martin trio with Albert Mangelsdorff making it a quartet. To this core is added vocalist Karin Krog (whose collaborations with Surman have continued apace ever since), guitarist Attila Zoller, trumpetist Tomasz Stanko, pianist Stan Tracey, tenor saxophonist Johnny Griffin and bassist Motoharu Yoshizawa. The brunt of the cast was also on the 1970 sessions, leaving Griffin, Tracey and Yoshizawa as the new ingredients to the mix.

As usual there are full group performances as well as several splits into duos and trios, though no pure solo performances on this set of tunes. Less rowdy and rambunctious than some of the predecessors, the accent is here on solidly grounded modern jazz, some anchored in reworkings of Monk standards, others venturing into ambient landscapes - with synths and abstract vocalese. Some of the rehearsal pieces reappear in the concert, also a regular feature of the Treffens.

I can't dish up seven hours this time, but there should be enough here to sink one's tastebuds into. I find myself liking this set better than some of the earlier ones, possibly because it sounds more coherent and consoliated. In any case, enjoy!

Cast of characters:

Tomasz Stanko, trumpet; 
Albert Mangelsdorff, trombone; 
Johnny Griffin, tenor saxophone; 
John Surman, soprano and baritone saxophone, synthesiser; 
Stan Tracey, piano; 
Attila Zoller, guitar; 
Barre Phillips, bass; 
Motoharu Yoshizawa, bass; 
Stu Martin, drums; 
Karin Krog, vocal

Baden-Baden Free Jazz Meeting – radio broadcast

Recorded 27-30 November 1977, Baden-Baden, Germany unissued (see folders BB77 1-3)
Recorded 1 December 1977, Kurfürstliches Schloss, Mainz, Germany unissued (see folders BB77 4-5)

Full track listings in the comments and inside the zipped folders

5 September 2013


A1. Lyra For Piano And Tape Recorder
A2. Elegy For Double Bass And Tape Recorder

B1. Evening Song For Soprano And Tape Recorder
B2. In Memoriam: Hugh LeCaine

David Keane, tape, electronics
Monica Gaylord, piano (A1)
Joel Quarrington, double bass (A2)
Karen Skidmore, soprano vocals, voice (B1)

Electronics recorded at Queen's University Electronic Music Studios. Kingston, Ontario, Canada.

A side was recorded at the First Annual Festival of Electronic Music, at the Music Gallery, Toronto, in January 1979.

B2 was premiered at the 8th International Festival of Experimental Music, Bourges, France, in June 1978.

Music Gallery Editions ‎– MGE 29

Vinyl Rip

4 September 2013

Steve Lacy-Lee Konitz,Duo Paris-March 1st 1984

Here's a beautiful recent score from Dime, many thanks to Woessner , and all Seeders traders involved 
What a joy it is to hear Konitz, playing Wickets, Deadline and No Baby..in unison with Lacy
pure delight!

Steve Lacy & Lee Konitz-Paris1 March 1984
Steve Lacy - soprano saxophone
Lee Konitz - alto saxophone

01. Introduction 1:05
02. Blues (Steve Lacy & Lee Konitz) 11:06
03. All The Things You Are (Jerome Kern & Oscar Hammerstein II) 6:04
04. Wickets (Steve Lacy) 6:02
05. It's You (Lee Konitz) 4:51 Lacy out
06. Descartes (Lee Konitz) 4:22
07. Ask Me Now (Thelonious Monk) 6:45 applause cuts out
08. Blues For Aida (Steve Lacy) 7:43
09. Evidence (Thelonious Monk) 4:13 Konitz out
10. Deadline (Steve Lacy) 6:45
11. No Baby (Steve Lacy) 6:14
12. Hot House (Tadd Dameron)/Subconscious-lee (Lee Konitz) 5:38

Total Time: 70:47

FM?SBD?>?>Trade CD>EAC>FLAC>Vuze>Dime


Twelve sets played over three successive nights on 27-29 May 1992 at the Badenscher Hof, Berlin. Still going.

Rüdiger Carl, tenor saxophone, clarinet
Alexander von Schlippenbach, piano
Jay Oliver, bass
Sven-Åke Johansson, drums

5-1. I Remember You
5-2. I Love Paris
5-3. Too Close For Comfort
5-4. Moonlight Becomes You
5-5. Love Come Back To Me
5-6. Everything Happens To Me
5-7. I've Got You Under My Skin
5-8. All Of You
5-9. Stranger In Paradise

Edition Artlier Graz, 2003

CD Rip

2 September 2013


1. Suite 1

2. Suite 2

Yoriyuki Harada, piano, bass clarinet

Recorded in Tokyo, 1985.

M's/Craft's ‎– MCCD-001

CD Rip

For J

MUJICIAN. Le Mans 2004

PAUL DUNMALL, tenor sax
PAUL ROGERS, 7 string A.L.L bass

1. 36:40
2. 12:58

Le Mans (France) Festival, 2004.


1. Pretty Girl In Ugly Clothes
2. Collector-Decorator
3. Baka Baki
4. Running Rivers And Dusty Roads
5. A Hair Of The God That Bit Him
6. Ugly Girl In Pretty Clothes

Marke Kelly, banjo, mandolin
Ron de Jong, drums, cymbal, percussion
Ian Birse, guitar, effects
Vadim Budman, guitar, trumpet, cornet, reed cornet

Recorded at the Yardbird Suite, Edmonton, Canada, on 21 September 1997.

Volatile Records ‎– VCD001

CD Rip

Vertrek's album with Derek Bailey is still available on Incus: Departures

Polly Bradfield,Peter Kuhn,Carolyn Romberg- Santa Cruz, House Concert, Mid 70's

Peter Kuhn Clarinetist extraordinaire, and friend of this blog, recently kindly offered to share some fragments featuring Polly Bradfield,himself and Carolyn Romberg , recorded at a house Concert in Santa Cruz California in the 70's

Here's Peter in his own words Reminiscing about that little known scene...one which clearly spawned some major talent!
"I was so happy to see Polly’s album posted and read your kind remarks about her on Lowe & Behold I mentioned the two small samples as a way to honor her further.
 She was a monster piano player back in the day and we were all kind of shocked when she switched to violin.
 This was Santa Cruz in the mid 70’s.
 I was doing a weekly radio show of “new music” on KUSP and a good bunch of us were hanging out, playing together in an informal collective of kindred spirits.
 Our collective community was an organic assemblage without any premeditation or formal intent.
 Some who you might know of included Wayne Horvitz, David Sewelson, Polly Bradfield, Leslie Dalaba, Carolyn Romberg (Torrente), Mark Miller, Chris Brown, Robin Holcomb, Dana Vleck, Bill Horvitz,Jay Clark and more peripherally Doug Weiselman and Paul Chilkov."
Peter Kuhn's Album "Living right"is due to be reissued sometime in the near future on No Business, records along  with previously unheard material, featuring Peter, with William Parker, Wayne Horvitz and Dennis Charles.
Check the No Buisness web site periodically for details.... in the meantime you can watch a Video of Peter
right here on his own you tube channel, of a quartet performance at Environ, from the late  70's , early 80's, featuring Kevin Bell, Dennis Charles...

Heartfelt Thanks to Peter Kuhn for sharing these fragments... we look forward to the No business Release
and wish him the best of luck with its production, release,and dissemination!
Best wishes from us to you!
Here are some excerpts published here by permission, of an interview of Peter Kuhn, by Kenny Inaoka of Tokyo Jazz Review

Kenny Inaoka Interview June 6, 2013

1. Please let us know your current musical activities.

After taking some time off I started performing again this year. This included a concert at the Berkeley Arts Festival with my dear friend Dave Sewelson and his group “The Non Profit Prophets ” (with Scott Walton, Mark Miller, Jim Ryan and Rent Romus) and a concert I organized in San Diego featuring Alex Cline, Nathan Hubbard, Hugh Ragin, Dave Sewelson, and Harley Magsino.

Dave Sewelson is a long time friend, and we’ve played and performed together since the 70’s in a variety of groupings. It was getting a surprise box on my porch from him with a bass clarinet inside that helped awaken the deep joy of playing again. Around this time I connected with the wonderful percussionist Nathan Hubbard here in San Diego. We started playing with some frequency with Louis Damien and Harley Magsino. While I’ve known Alex Cline since high school this was the first time we actually played together.


How about coming activities?

Nathan Hubbard is organizing another concert for us in the summer or Fall and Alex Cline contacted me with a date later in the year with a quartet that includes the brilliant Dan Clucas on cornet. As I am not relying on music for my livelihood I am happy to be performing a few times a year for now, I stay quite busy with a number of other activities that are equally important to me presently. This includes working with recovering addicts, meditation in the local prison and other prison Dharma work.

3 Any action for recordings?

NoBusiness Records is planning to release the original unedited radio broadcast that became “Livin’ Right” later this year along with some unreleased material f rom a quartet concert at “Top of the Park”, NYU with Denis Charles, William Parker and Wayne Horvitz; and some material from a duo concert I did with Denis Charles in Worchester, MA.

In going through my archives I found two recordings I am considering for release independently. One is a beautiful trio recording with Toshinori Kondo and Dave Sewelson. The other is a concert recording from 1985 with William Winant on percussion and Chris Brown on piano and homemade electronic instruments. Dave

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Sewelson will be visiting again in July and we plan to do some recording with Nathan while he is here.

4 What is the reason why you dropped off the scene for pretty long period?

I have been dealing with drug addiction most of my life. In Art Pepper’s autobiography, “Straight Life” he mentions meeting me in Synanon back in 1968. That was one of the first long term rehabilitation centers for drug addicts and alcoholics, I was 14 years old at the time. For many years I was able to use drugs more or less “successfully” and keep music as the number one priority in my life. Unfortunately, I could not see the detrimental effects it was having on my life and career. This is an odd scenario, while I knew how drugs were a huge obstacle in the lives and career of many great musicians I was delusively convinced that I was different. I can see today how narcotics affected my playing, opportunities and lifestyle in many ways I wasn’t aware of or was in denial about. I left NYC, back to California, in what is called a “geographic” attempt to clean up and make things different. Of course, I brought “me” with me, and ran into the same issues wherever I was. The rising cost of addiction resulted in incarceration, loss of relations with family, loss of instruments and ultimately, homelessness. When I finally cleaned up this last time (January 5, 1986) I wanted to “square up” and learn to live as productive member of society. For me it would have been too challenging to be back in old environments, living the same lifestyle without picking up old habits again. I am fortunate to have found a path to contented happiness without drugs and have spent the last 25 years learning to live “life on life’s terms” w ithout any intoxicants.

5 How did you get into drug addiction?

My oldest brother was into drugs before me and I was always fascinated by the illusion of power and control it seemed to offer in changing my relationship to the world. I started using at 10 and that was the mid 60’s. The drug culture was in full swing and it all seemed very romantic to me. Drugs were prevalent and readily available in this period.

6 What sort of drugs you took?

In the beginning I drank, smoked pot, and mainly used psycodelics. After Synanon I got more into pharmaceutical drugs and narcotics. For much of my adult life I was addicted to heroin and other narcotics.

8 Where do drugs bring you to? (How do you feel after taking drugs?)

In the beginning, when drugs were “working” well , I experienced a peace,

calm and euphoria that seemed mystical to me. I could take a little bit and feel good all day, comfortable in my own skin, didn’t particularly care what other people did or thought . I didn’t care that they were a crutch, I thought it wonderful that I could shoot some dope and practice for 6 or 8 hours without a great deal of distraction. Due to the nature of addiction, drugs are an

escalating need and ultimately stopped producing the effects they use to. I would need increasing amounts to feel their effects and did not experience the same

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euphoria. Without realizing it, I was using more and more to chase the original high.

7 Did you cause any troubles due to the addiction?

My personal troubles started quite young, getting thrown out of schools for drug use, going to Synanon, etc. Addicts live a double life. We use but must keep it secret which causes us to masters of deceit. I even had myself conned into believing that I was a victim of bad luck or bad breaks and could not see that I was causing my own problems. I was able to rationalize and justify great wrongs and harm.

Obviously, my family suffered greatly from the fallout of addiction. My oldest brother, who had been my hero growing up, wound up taking his own life due to unmanageability of the disease.    They wound up severing relations with me when it became obvious they could not effectively help me and I know this was incredibly difficult for them. They also suffered the embarrassment of having the police at their door and seeing me self destruct before their eyes.

As time progressed I resorted to more crime and started to suffer legal

consequences of that as well. Needless to say, I was a burden on the system and caused great harm to others with burglaries, theft and armed robbery.

9 What will be caused while you are out of drugs?

I remember hearing stories of John Coltrane kicking heroin on the bandstand at the Five Spot while playing there with Thelonius Monk. I have to tell you, I am no John Coltrane. I would go to Europe and get strung out in Amsterdam and wind up kicking in Austria or elsewhere. This is not fun and only detracts from the music and obviously, from building a career. This caused me embarrassment with promoters, fans and loss of work. When not on the road, running out of drugs was predominantly caused by lack of funds and this clearly led me to a life of crime. I began doing things I never would have considered without regard for anyone or anything.

10 How did you spend every day while you were caught by drugs?

For many years I considered rugs recreational and as mentioned, would shoot some heroin and practice all day long. As the disease of addiction progressed my days were filled with finding the ways and means to get more. This was all that mattered.

11 How could you free from drugs? 12 How long did it take?

13 Could you do it yourself or?

It took me many years to admit that drugs were a problem and no longer a solution. I kept thinking I could clean up for a little bit and then use them successfully the way I use to in the beginning. I found this to be a lie. Once the line was crossed for me there was no going back. I tired many ways to stop. Geographic, like moving from NYC to LA, having a girl friend, not having a girl friend, only drinking, just smoking pot, only using on the weekends, sniffing not

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shooting, smoking not sniffing, only using pills, only drinking beer, etc. I went to drug programs, detox centers, mental institutions, jails, and half way houses. None of these worked for me. This was the hardest time of mu using. I knew I could not keep going on the way I had been but had no idea how to stop. When I did stop I would turn into a time bomb - restless, irritable and discontent. In the end, 12 step programs were the only thing that worked for me. I had tried them before as well but had not really “hit a bottom”. A bottom is a point of surrender where I realized that drugs were the cause of my suffering and that whatever pain I was in, taking drugs would only make my situation worse. I finally learned to look beyond the selective memory and imagining how good it would feel and cultivated an ingrained memory of the fear, loneliness and despair that addiction had caused me. When I was absolutely convinced of this the 12 step programs showed me the way to living a life of greater freedom and happiness than I ever found in the fix, pill or drink. I was convinced I could not stay clean on my own, and became truly willing to go to any lengths to stay clean. This was revelation. Before I had considered cleaning up a punishment and doing without. When I hit a bottom the only thing I was doing without was the pain.


Does Zen help you to recover from? 15

Who is your gur?_ 16

Do you keep Zen practice? If yes, how does it go?

The practice of mindfulness meditation has enriched every area of my life. As an addict, I thought I was pursuing peace but was fundamentally at war with myself. With Zen I look to recognize and transform the seeds of war (greed, anger and ignorance) and transform them with the fruit of understanding. I consider Zen a form of mind training. Unfortunately, I thought I needed drugs to do this for many years. It is said that the root of addiction or alcoholism is selfish, self centered thinking, or what we call “self obsession”. In playing music I had to learn to quiet my mind to get out of my own way. If I was thinking about what people will think, if I sounded hip enough, if I could remember the changes, or “here comes the hard part” I would most often trip on myself. In recovery, Zen and hopefully music, there is a shift from self centeredness to transcending the small self and consideration of what I can offer. It is no longer about my solo or what I want to say, it is more deeply about listening and responding with body, speech and mind as one. In this way we are touching the miraculous, the transcendent whole that is comprised of all the parts but much greater than the parts and are free to use the whole of our self to respond in total awareness, composing instantaneously while relying on and deeply trusting our innate creative essence (Buddha nature). I am ordained in the Plum Village tradition of Vietnamese Zen Master Thich Nhat Hanh, who I consider my teacher. This is not an intellectual practice and I apologize if my explanation comes off as such. It is a simple way to touch the wonders of life with every mindful breath, cultivating freedom and stability in the here and now, recognizing conditions for happiness and the capacity to transform and heal suffering.

This is what drew me to music: the capacity to touch something transcendent, to offer the purest expression of my heart and hopefully transmit the same to others. I remember getting a letter once from someone who told me they had been

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depressed and put on my first album,   “Livin’ Right” and it cheered them up. It was a moment of awakening and I knew   my purpose as a creative artist had been fulfilled. Since ancient times music   has been a vehicle for raising spirits, at the core all artists are healers, in   my opinion.

So, I practice Zen daily, and cultivating mindfulness I develop concentration and the fruit of understanding ripens all on its own. Most of my time is spent working with recovering addicts and doing prison Dharma work. I have learned to use the skills of an improvising artist to listen deeply and spontaneously respond in ways that might be most effective in the moment, rather than clinging to dogma, or preconceptions. I see this as no different than music and it is why I am happy to perform a few times a year now. As it is not my livelihood or sole means of fulfillment I do not grasp after it with an insatiable desire for more. Music is not my identity, but is a beautiful way to express what cannot be said in other ways.

New music, both classical and jazz, altered the consciousness of the world. It taught us new ways of perception, cultivated new neural pathways in the brain. We were encouraged to released preconceptions about noise, harmony, good and bad. I believe this creates a cultural shift that has, in part, been responsible for the USA having a person of color in the White House. Zen helps me continue to grow this awakening while growing skillfulness at helping others transform suffering.


Where are you from? 18

Were you born in the musical family? 19

Could you explain the background of your family if you do not mind? 20

When did you show interest in music? And in what sort of? 21

What is your first musical instrument? 22

Where did you study music?

I was born in Los Angeles, February 25 th , 1954. I was the youngest of three

brothers. My mother is from London and my father met her there during WWII. Neither of them are the least bit musical, but it must be somewhere in the genes because my mother’s brother played Swing drums. I was encouraged (forced) to take piano lessons starting around age 6 or 7 but the teachers didn’t communicate any joy of playing so I resisted it. Mainly classical but I managed to mix in a bit of Boogie Woogie. My mother kept insisting I would thank her one day and I suppose I do. This continued for 4 or 5 years until I took up clarinet in Junior High band class. They had run out of saxophones and I came to love the woody sound of the horn. That’s when music started to be more fun . It wasn’t until I heard Albert Ayler, Eric Dolphy and Sun Ra that I felt there was music vital to my spirit that I had a call to play. When I discovered Perry Robinson I felt things crystallize in a profound manner. At that time I began to study music again at UC Santa Cruz. I was fortunate to study composition and performance with James Tenney and Gordon Mumma, and world music with David Kilpatrick.

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the software i've used to pull the text out of PDF's only alows for 5 pages as a trial version... so see comments for a link to the full interview PDF

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