Whit Dickey Quartet live at Vision Festival X on June 17 2005
heres another upload by 'boromir'
,
heres another upload by 'boromir'
,
a generous friend , wishing to contribute some , very rare unreissued vinyl, brings you....
paul bley-solemn meditation
(1958) GNP
this legendary record, was cut shortly before ,bleys legendary hillcrest club residency, which alerted (so some assert) the broader californian public to the existence of ornette coleman and don cherry.every one knows the story of how pike was sacked to make room for don and ornette.
this is the recorded debut of both dave pike and charlie haden.
a lovely record that i have known about but, never seen.
its firmly ,rooted in postbop language.
the playing's as wonderful as you'd expect but the real revelation here for me is lenny mcbrowne's drumming, which is subtly inventive throughout,other than this ive only previously heard mcbrowne on acouple of fairly drab ,organ funk dates from the mid sixties
theres so much dave pike being reissued especially on heavy 180 gram vinyl, its a wonder it hasnt been reissued for commercial reasons alone.
let alone because bley and haden are such pervasive contemporary influences.
my friend ,aint no trophy hunter
so be warned this and the record which follows have been well loved, and are probably going on 40years old
personnel
paul bley-piano
dave pike- vibraphone
charlie haden- db, lenny mcbrowne-drums
tracklist included+cover scan
ripped @256
http://rapidshare.com/files/37134380/SOL_M.zip
thanks "friend"
next up carla bley, michael mantler, steve lacy-"jazz realities" phillips 1966, !!!
hi all heres an ornery disc of uncompromising free improv, from californias limited sedition lable.
this item has sold out and its this small cottage operations policy, never to reprint titles once they're gone.
guitarist john shiurba runs the lable, hes best known for having performed and recorded with the likes of anthony braxton and gino robair.
of the players here ,fans of this sort of thing will have heard of jack wright,whom i first became aware of through a couple of duets with italian percussionist andreas centazzo,those performances were from 1978-9.
bhob rhainey is also reasonably well known to people as i recall, his first major appearence was on the 1971 america record 'emergency' i may be mistaken about this ,i no longer have that lp, hes been playing a lot of improvised music in the last few years.
as have most of the people on this disc.
mathew sperry is ,possibly unfortunately best known for having played on a few tom waits albumsNOT THAT THEY ARE NO GOOD, it's simply obscured some of his fine achievments as an improvisor, these include a couple of fine discs of double bass solos, WHICH ARE STILL AVAILABLE FROM LIMITED SEDITION!. sadly sperry passed away a few years ago.
i confess that i know even less about the other performers ,though percussionist karen stackpole appears on quite a few other limited sed, discs that i posess.
JACK WRIGHT LARGE ENSEMBLE (8 x 9) PERSONNEL
jack wright- saxes , matt ingalls- clarinet, bhob rhainey-soprano sax, mathew sperry- contrabass, morgan guberman- contrabass, tom djill- tpt, ron heglin- tuba ,voice , john shiurba- guitar, karen stackpole- percussion
recorded by shiurba on the 3rd of the 7th 2000
visit limited sedition here - http://www.limitedsedition.com/LS.html
BUY THE CDR'S ,AT $10 ITS A STEAL AND WILL ENABLE THEM TO PUT OUT MORE GREAT STUFF
ripped at 256kbs mp3, in 2 parts including scans
part 1- http://rapidshare.com/files/34751190/JWR_LE_1.zip
part 2- http://rapidshare.com/files/34755329/JWR_LE_2.zip
once you grab this righteous slab, youre sure to aquire a taste for more, its an affordable habit.
enjoy
hi
heres the next installment of don cherry in copenhagen 1970
this ones from the 3rd of october,the very next day
see our previous post of the concert from october the 2nd
here http://inconstantsol.blogspot.com/2007/04/don-cherry-trio-guests-live-in.html
this ones just the trio
cherry- cornet,perc, flute etc
johnny dyani-db
mikaya ntshoko- percussion
ripped at 256 kbs (i think)
part1) 95 mega bytes
http://rapidshare.com/files/31465123/cc_1970_1.rar
\
part 2) http://rapidshare.com/files/31572760/cc_1970_2.rar
part 2= 31 mega bytes.
please note there is some crossover in terms of material, with our previous post from october the 2nd, this ones possibly slightly scrapier too ,as far as sound quality.
enjoy
HI heres another slab, of intense 'incense fueled free jazz/rock fusion.

HI heres one of the great charlie parker tributes , by one of the pioneers of the italian avant guard, a founding member of the pioneering quartetto 'free jazz ' di roma , and one of the great interpreters of, berio, nono, and scelsi's music for solo tuba, and trombone.
hi all, heres a great one, by one of the chronically under appraised masters
of jazz saxaphone.
released on the warners sub lable quest in 1994, 2 years after its release, this alerted people (a younger generation) to the power of sonnys art.
sonny simmons first came to prominence in the mid 60's with great records for the contemporary lable, and 2 esp discs under his own name.
one of my personal favourites (,ive never heard a simmons disc which was in any way mediocre ,or less than inspired).
this disc has now been out of print for some years, and knowing the absolute lack of understanding of this music ,by major lables is likely to stay so ,probably for some time to come.
heres a review of this
for those interested.
though ,be aware its luke warm and considerably understates the case.
Review
by Scott Yanow
When this CD was released in 1994, it should have resulted in altoist Sonny Simmons getting a comeback of the year award. Playing in a sparse trio with bassist Charnett Moffett and his son Zarak Simmons on drums, the veteran saxophonist proved to not only be in prime form after many years off the scene, but just as fiery and adventurous as he had been in the 1960s. Simmons' eight originals (which include "Reincarnation," "Country Parson" and "Sundown In Egypt") have plenty of variety, but it is the frequently telepathic interplay between the three musicians during improvisations that makes this CD essential for open-minded listeners.
visit and buy sonny simmons records directly through him, at his home page, where you'll also find an extensive bio
http://www.sonnysimmons.org/index.html
you cant go wrong with sonny, all his records are good, he has a couple of cdr's for sale which are limited i have one and its good,the esp discs are back in print. fire birds and the cry are in print,
two of the best can be found at cadence, on the cimp lable.
anyone having 'ramasuma, it is revealed ,or other and there are many(see his website's discog)
please dont hesitate to share them, either here or elsewhere.
this is ripped to 256kbs mp3 , in 2 parts
part 1) http://rapidshare.com/files/30098406/anrit1.zip
part 2) http://rapidshare.com/files/30106644/anrit2.zip
enjoy
cheers
later recordings (spirituals for example)of albert doing, more conventionaly harmonic material, still having been prompted to listen to this by 'boromirs email, i whipped out my tape ,and the thought occured that i foolishly sold it on an unfounded whim, a fascinating listen, better perhaps than the so called 1st recording.
hi all,
heres one that a lot of people remember fondly ,as one of the milestones of the 1990's free jazz,revival.
one of the great tenor players of recent decades ,this one is a classic.
it has dissapeared from the catalog,first issued by columbia in 1992, it was (as has been the unfortunate fate of great ,free jazz records on major labels)promptly discarded after a short run.
picked up by d.i.w in 2002, several jazz references list this as being out of print.
the disc union web catalog,does not have this on its books at present, there are no copies on ebay.
it appears that the only place you can buy a secondhand copy is on amazon.
hopefully this will see reissue soon.
most of you will already have this, but those that dont will certainly want to hear it,a masterpiece, as is godspellized also sadly oop
i first heard ware on andrew cyrille's magnificent black saint records from the late 70's and early eighties, which are available and highly recommended.
go to david s wares website here http://www.davidsware.com/html/biography.htm
here is a review of this album by thom jurek
This is the final recording of the David S. Ware Quartet with drummer Marc Edwards, who would be replaced by Whit Dickey, who would be replaced later by Susie Ibarra. What is most notable about Flight of I is how Ware, completely oblivious to his critics, turned in his straightest ever recording, though no one could remotely call it "inside." The disc opens with one of Ware's compositions, "Aquarian Sound," which showcases the stunning complexity and beauty of Matthew Shipp's pianism. Opening with a series of vamps and augmented minor chords, he lays an opening ground for Ware to join the band. As bassist William Parker comes along the bottom floor of the beat, Ware enters with his five part ostinato before moving off into one of his high-wire broad-toned solos. The break is brief and ushers in Shipp's solo, which is the body and soul of the tune. Here Shipp builds one harmonic bridge after another, knotting them together with blocks of arpeggios that move along the perimeter of the empty intervals and stamps out territory within them. One of the other wonders of this album is Ware's employment of standards, here in the shape of the lovely "Yesterdays" by Jerome Kern and Harry Warren's "There Will Never Be Another You." Again, with Shipp as a foundation point and Parker's willingness to restructure the meter, Ware can take the melody to its highest point and split it like lightning down the middle without losing its vulnerability or tenderness. The title track is a model study in the vein of mid-period Coltrane with McCoy Tyner. A series of chords are placed along a line, an intervallic series sketched and the construction of harmonic and contrapuntal statements begins. Once the seams are reached, the entire universe blows apart in ribbons of sound. There is plenty of magic here, and more mystery (check out the riveting arabesques on the closer "Infi-Rythms #1"), to be discovered by anyone willing to take a chance on one of the most original tenor players in free jazz.
ripped at 256
part1 http://rapidshare.com/files/29060577/floi.zip
part2 http://rapidshare.com/files/29070238/flioi2.rar
ENJOY
BUY DAVID S WARE RECORDS
Carla bley- live in hamburg jan 28 th 1972
Hi all,
heres one that’s been around ,for those that don’t have it depending on whether or not you like the deeply ironic brechtian cabaret, references,and sardonic black humour this could be essential.
Tracklist-
1)walking woman/ida lupino
2)nagaswaram/walking woman/water music
3)rawalpindi blues
personnel-
carla bley-vox,pno,organ,composer
karen krog-vox
Michael mantler-trpt,flg h
John tchicai-reeds
Peter warren-db
Pierre favre-drums
Possibly also –irene Schweitzer-pno
Great to hear tchicai, favre and warren, in this context.
visit carla bleys website
http://www.wattxtrawatt.com/
buy carla bleys records
Note, this is an old german broadcast, fidelity is good though at times a bit tinny
Ripped at 320kbs
Part 1) http://rapidshare.com/files/28818915/cbham1.zip
Part 2) http://rapidshare.com/files/28824863/cbham2.zip
Enjoy
cheers

"Mind bending slice of drone improv from these three post-WWII heavyweights. Very reminiscent of Taj Mahal Travelers with layers of heavily reverbed ring-mod piano, percussion, and voices (in fact, just about everything in the mix seems ring-modded). Overall sheen resembles prime-era Nurse With Wound (although predating such by a few seasons). Toshi Ichiyanagi is one of the most well known Japanese composers of any era, a student of John Cage, Julliard graduate who returned to Japan in 1961 to spread Cage's Indeterminacy principles, Yoko Ono's former husband Fluxus artist. Michael Ranta is a well regarded contemporary repertoire percussionist, a familiar name to those in the know (close collaborator of Harry Partch, performed everything from Lachenmann pieces to tape music accompaniments), member of Wired (whose LP was included in the Deutsch Gramophone Free Improvisation boxset). And of course Takehisa Kosugi is the Group Ongaku founder who merged into the New York Fluxus artists before forming Taj Mahal Travellers, has since been composer-in-residence for the Merce Cunningham Dance Company. (Review from Eclipse Records)
Very Rare & highly collectable LP. Essential for anyone into Avant Improv or Fluxus Artists, Ripped form Vinyl @ 256kbps.
http://rapidshare.com/files/26517472/Improv_75.rar
boromir said' I've upped the Vandermark 5 concert:- http://rapidshare.com/files/26284734/VDMLive.rar.html From a BBC Radio 3 broadcast in 2002 (London I think). 70 mins split into 7 tracksRipped at 192 Kbps.
A bit of radio crackle here and there otherwise good sound quality.
Personnel:Ken Vandermark: reedsDave Rempis: reedsJeb Bishop: tromboneTim Mulvenna: drumsKent Kessler: bass Really punchy stuff. Kind of hard bop, with tunes you can hum.
a lot of free, jazz fans dont appear to like vandermark very much,theres a tendency to see him as a populist, or is it the old canard that white boys simply dont swing.
something layed down as law by some of the hardliners in the second wave of sixties freejazzers and ascociated poets and critics.
archie shepp and if my memory serves me well even the great marion brown, were known to deplore the incursions of whitey on their turf.
sun ra never (with the sole ecseption of alan silva)used white folk in his bands ,not to mention some of the,( these days )unspeakable things he said about them.
all of this at the time reflected the fact no doubt that stan getz , gerry mulligan ,chet baker and bill evans ,as talented as they were ,were still getting most of the accolades and making most of the money.
they were posterboys,and from the mid fifties to the mid sixties probably the faces most associated with jazz in the majority white conciousness.
retrospectively we can see that in the avant guard on the fringes there had been great white mavericks,and eccentrics that also deserve to be celebrated ,contemporary jazz and improvised music would be very different had the likes of
mel powell, gil melle, george russell, jimmy guiffre(what a giant)steve lacy, carla bley, paul bley, roswell rudd, paul motian etc etc...,never appeared.
vandermarks a bit of a maverick and individualist as much as one can be in this era, but none of my jazz loving friends admire him or respect his work much, or even that of say mats gustafsson
whom he often plays with.
anyone whos a free jazz purist may disdain the vandermark 5, but heres no gainsaying vandermark's integrity or or the authority of his own dialect and idiom.
he even plays free jazz in its classic form ,really well when he feels like it.
CHECK OUT HIS RECORDS LIVE AT THE GLENN MILLER CAFE, AND THE ONE BY THE SAME GROUP(HIS TRIO+GUSTAFSSON) ON WOBBLY RAIL FOR EXAMPLE.
i personaly like a lot of his various projects
and yep im not kidding that attitude does still exist at least in my part of the world.
this will be my last post for a long while(at least of stuff ive got) my disc drive and also programs like audacity are out of action due to a fuck up by microsoft microshits' software department, any one having a windows xp operating system will know what im talking about.
i accidently turned on windows security updates and it screwed me, for what could be a long time .

hi all
heres an album ,thats been out of print a long time. Brain (Austria) 500.018 (lp) 1976)
those who know the ecentric austrian pianist only for his renown performances of the european classical repertoire,notably mozart and haydyn, will be surprised to know he was an innovative envelope pushing,master improvisor with a wry sense of humour,who delighted in challening his audiences, by playing in ever more outrageous contexts his collaboration in 1972 with the improvising trio of 'non musicians'ANIMA
was particularly enraging to 'classical purists" .
gulda seemed to want to find the commonality in all streams of music.
heres a short bio from wikipedia (although it doesnt mention his freer projects)
and not surprisingly few of those are in print.
one gets the impression that those who maintain his legacy would prefer to ignore
his more experimental side.
Friedrich Gulda (16 May 1930 - 27 January 2000) was an Austrian pianist who performed in both the classical and jazz fields.
Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the age of 7; in 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx. After winning first prize at the International Competition in Geneva four years later, in 1946, he began going on concert tours throughout the world. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the "Viennese troika".
Although most famous for his Beethoven interpretations, Gulda also performed the music of J. S. Bach, Mozart, Schubert, Chopin, Debussy and Ravel.
From the 1950s on he cultivated an interest in jazz, writing several songs and instrumental pieces himself and combining jazz and classical music in his concerts at times. Gulda wrote a Prelude and Fugue with a theme suggesting swing. Keith Emerson performed it on Emerson, Lake & Palmer's The Return of the Manticore. In addition, Gulda composed "Variations on The Doors' 'Light My Fire'". Another version can be found on As You Like It (1970), an album with standards such as "'Round Midnight" and "What Is This Thing Called Love?"
In 1982, Gulda teamed up with jazz pianist Chick Corea, who found himself in between the breakup of Return to Forever and the formation of his Elektric Band. Issued on The Meeting (Philips, 1984), Gulda and Corea communicate in lengthy improvisations mixing jazz ("Someday My Prince Will Come" and the lesser known Miles Davis song "Put Your Foot Out") and classical music (Brahms' "Wiegenlied" ["Cradle song"]).
It was this unorthodox practice that, among other things, earned him the nickname "terrorist pianist"; Gulda had a strong dislike of authorities like the Vienna Academy, the Beethoven Ring of which he was offered in recognition of his performances but which he refused, and even faked his own death in the late 1990s, cementing his status as the 'enfant terrible' among pianists. Nevertheless, Gulda is widely regarded as one of the most outstanding piano players of the 20th century.
Friedrich Gulda died on January 27, 2000 at the age of 69, following a heart failure.
Two of his three sons, Paul (with first wife Paola Loew, born October 25, 1961) and Rico (with his second wife Yuko Wakiyama, born April 9, 1968) Gulda, are also accomplished pianists.
tacklist
Einsamkeiten 17:58
Begegnung auf Moosham 5:10
Wechselnde Begegnungen auf Moosham 26:58
Mooshamer Begegnungen (Fortsetzung): "Das Gewitter" 19:18
Mooshamer Begegnungen (Schlus): "Nach dem Gewitter" 7:16
Nachklange - Ruckkehr - Zweisamkeit 13:30
this double album , features a killer line up
personnel
friedrich gulda-piano and percussion
ursula anders-percussion,objectsw
cecil taylor-piano on tracks 2,3,4
john surman-saxes, synth on 3,4,5
barre phillips -double bass on 1,3,4,5,
stu martin-drums on 3,4,5, albert manglesdorff-trombone on 3,4
Moosham Castle, Langau (Austria), August 20-22, 1976
note cecil taylor recorded his classic solo outin on enja air above mountains, earlier the sameyear at moosham castle
all the tracks seem pretty much improvised
ive split the double lp into two zipped files
(note the lp ,was really rather crackly)
part 1- http://rapidshare.com/files/25888093/nahricht_1.zip
part 2- trolled HOW Senseless


MASAHIKO TOGASHI – CPU - 1975
C. P. U. (Cosmic Pulsation Unity)
Recorded at Nippon Columbia Studio, Tokyo
Masahiko Satoh - Piano, Percussion.
Keiki Midorikawa - Cello, Bass.
Masahiko Togashi - Drums, Percussion.
Side A: Siki Ran (21.15)
Side B: A-Un (20.00)
Masahiko Togashi made his professional debut at the age of 14.
In 1969, he became wheelchair-bound, but his music continued to thrive with increased vigor. In 1978, he was awarded the Minister of Education's Newcomer Award for Artistic Excellence, and has continued to release a number of award-winning albums.
Vinyl rip @ 192 kbps
Download Here.
http://rapidshare.com/files/25341598/MTCPU.rar
yes here it is
arista a3l 8900 ,the singular unique genius of anthony braxton, at its most grandiose
this is possibly anthony braxtons most ambitious
recorded work.
some at the time criticised this as a pastiche of shoenberg on a wagnerian scale.
theres no denying, its passion and energy.
its a wonder this has not been picked up by an enterprising lable,that specializes in contemporary orchestral music.
the lack of a cd release has been most dissapointing to braxophiles.
braxton himself does not play on this and rather ,conducts one of the four orchestras.
its surprising just how luminous and delicate the piece is texturaly given the mammoth number of musicians involved.
im not qualified to judge whether this piece is sucsessful.
but it has its own kind of transcendant sprawling beauty.
BE WARNED THIS IS NOT JAZZ, AND MAY NOT BE TO EVERYONES TASTE!!
heres some info from the braxton discog
Anthony BraxtonFor Four Orchestras
Arista A3L 8900 (3-LP, 1978)
1.
{Comp. 82} (dedicated to the historian-writer-educator Eileen Southern)
(Braxton)
[114:30]
1978 – May 18 & 19Hall Auditorium, Oberlin CollegeOberlin, OH (USA)
Anthony Braxton - conductorKenneth Moore, Gene Young, Robert Baustian, Murray Gross - conductors (?? who conducted which orchesta ??)
ORCHESTRA I
ORCHESTRA II
ORCHESTRA III
ORCHESTRA IV
violin I
Francine SwartzentruberShelley FowleLilyn GravesLorraine AdelRobert Scarrow
Barry SargentZabeth OechlinEdward ShlaskoSteven SchuchAudrey Hale
Karin von GierkeStanislav BranovickiSusan DemetrisMonique ReidJudith Bixler
Peter JaffeDiane CooperDavid WilsonPamela StuckeyMary Bolling
violin II
Marriane SmithMarcus WooAmorie RobinsonJennifer SteinerKathy Blackwell
Lori FayAndra MarxAlison FeuerwerkerEllen ZiontzLauri Gutman
Sally BeckerElizabeth WelchSusan BrenneisJulie BadgerJane Moon
Shannon SimonsonLynda MapesMargaret MorganJohnathan DunnJennifer Doctor
viola
Naomi BarlowJames ThomasSarah BloomRachel Yurman
Amy LeventhalJeffery DurachtaKathleen ElliottHelen McDermott
Nanci SeverenceDavid RogersDee OrtelBeth Thorne
Norin SaxeTheodore ChemeyAlex GuroffIgor Polisitsky
cello
Steven HarrisonElizabeth WarrenSuzanne WijsmanElizabeth Knowles
Tom RosenbergSteven DrakeDawn WilderSarah Binford
Carol ElliottAaron HendersonMattew WexlerMichele McTeague
Kathy KellyDaniel KazezCarole StiplemanSteven Wise
bass
Mark ShapireSuzanne TarshisLeon Dorsey
Michael TalbertRobert AdairMikkel Jordahl
Jeffrey HillMatthew McCauleyJeffrey Soule
Arthur KellDavid SeckingerDaniel Savage
flute
Celeste Johnson (+pic)Joel Karr (afl)
Leonard Garrison (+pic)Wendy Tarnoff (afl)
Betsy Adler (+pic)Adam Kuenzel (afl)
Virginia Elliott (+pic)Carol Goodwillow (afl)
clarinet
Michael ZakimJohn Guest (+Eb-cl)Mark Gallagher (bcl)
David HostetlerMarty Rossip (+Eb-cl)Cynthia Douglass (bcl)
Bela SchwartzDavid Bell (+Eb-cl)David Ballon (bcl)
James ColbertMarta Schworm (+Eb-cl)Carol Robinson (bcl)
oboe
Pamela HillCameron McClusky (enhn)
Carolyn HoveGiselle Lautenbach (?enhn)
James HoisBernard Gabis (enhn)
Michael HarrisonClaudia Patton (enhn)
bassoon
Allen Smith
Ann Kosanovic
Deanna Kory
Mark Gross
trumpet
John BourqueDavid Driesen
Alan CampbellThomas Gotwals
Dave RinaldiChris Kerrebrock
James KirchenbauerWilliam Camp
trombone
Robert AsmussenRichard RuotoloMark Kaiser
David FoggAnn MondragonDavid Stocklosa
Bradley CornellKadie NicholsMark Adams
Brian CampbellEileen JonesErik Johnson
tuba
Barry Jenson
Brian Bailey
Steven Box
John Lomonaco
harp
Cynthia Mowery
Naomi Markus
Nancy Lendrim
Susan Kelly
percussion
John GardnerAndrew CollierStephen Pascher
David WilesJohn KennedyPhilip Seeman
Galen WorkGregg LindeVictor Thomas
Andre WhatleyCharles WoodDerek Davidson
from Braxton's notes in the booklet: "Composition {82} is the first completed work in a series of ten compositions that will involve the use of multiple-orchestralism and the dynamics of spacial activity. This work is scored for 160 musicians and has been designed to utilize both individual and collective sound-direction (in live performance). Each orchestra is positioned near the corners of the performing space, and the audience is seated in both the center and sides of the space (around and in between each orchestra). The resulting activity has been constructed to fully utilize every area of the room--which is to say, each section of the performing space will give the listener a very different aspect of the music. The science related to how this multiple use of space is utilized, will also open another chapter in multi-orchestra activity, and hopefully this work will be viewed as a positive contribution to transitional multi-orchestralism--as we move to the next cycle.The nature of how {Comp. 82} extends the dynamic possibilities of multi-orchestra activity has to do with its use of spaciality--involving both the nature of how information is transferred from orchestra to orchestra (where the listener of this record can hear the actual movement of activity change speakers) with the addition of 'trajectoral-activity' (where, in a live performance, the listener can experience the route of a given transfer). More so, this composition has also been constructed to include the actual change of performance direction as well. In other words 'information' in {Comp. 82} would also involve how the rotation of a given ensemble (as that ensemble is playing) changes the actual direction of the group making the music. This has been accomplished by having all of the performers (with the exception of the percussionist and the harpist) in rotating chairs--where even the direction of the music is calculated. Thus, the nature of spaciality in this composition would encompass an additional dynamic inclusion, for the spacial implications of environment would thus take on added dimensions. Because, in fact, to experience the realness of this composition is to experience a living and breathing universe. ***The actual composing of {Comp. 82} took place in July of 1977, lasting until the middle of May, 1978 (with sequence corrections up until August). The piece is scored for 160 musicians and each orchestra is made up with the same individual components. The make-up of each orchestra is as follows: two flues (one doubling on piccolo), oboe, English horn, two clarinets (one doubling on soprano clarinet), bass clarinet, bassoon, two trumpets, two trombones, bass trombone, tuba, harp, five first violins, five second violins, five violas, four cellos, three basses, and three percussion. The original floor plan of the composition was not able to be used for this recording as the space requirement it necessitated exceeded what was possible for us, so an alternate seating arrangement was utilized. The actual recording of {Comp. 82} took place in May, '78, on the campus of Oberlin College and involved four intensive sessions in two days. For this reason, the composition was recorded in sequence-patches, rather than in sectional areas. The total material would also exceed two hours and a half and as such, I have taken out about thirty minutes of the music in order to preserve the sound quality of this record. There have also been other adjustments as well, for the problem of time and economics in a project like this has to be taken into account--but what is documented here is an excellent version of the 'essence' of the piece. The placement of activity in this project has been designed to totally utilize the spacial dynamics of the quadraphonic technology--each orchestra will be heard coming from a separate speaker, and the mixture of events in a given section should give the sense of sound movement through space--and this will also be apparent (though to a somewhat lesser extent) to stereo record players as well."
go here if you want the precise minutae
http://www.restructures.net/BraxDisco/BraxDisco.htm
PLEASE BRAXOPHILES BE AWARE THAT A SIGNIFICANT NUMBER OF BRAXTONS OOP
ARISTA RECORDINGS HAVE BEEN POSTED ,IN THE COMMENTS SECTION OF CHURCH#9'S BRAXTON(BERLIN ,MONTREUX CONCERTS)POST
THOSE INCLUDING A GREAT BRAX/ABRAHMS DUET ARE ESSENTIAL
BUY ANTHONY BRAXTON RECORDS, THEY ARE VARIED AND WONDERFUL
here are the files ripped to two seperate folders ,though you dont need both to open them
ALSO NOTE ,THE VINYL THIS WAS RIPPED FROM WAS NOT IN GREAT CONDITION
IF ANYONE HAS A BETTER COPY PLEASE UPLOAD EITHER HERE OR ELSEWHERE ID LOVE TO HAVE IT!!
LINKS
part 1 http://rapidshare.com/files/25640146/brax_4_orch_disc_1.zip
part 2 http://rapidshare.com/files/25656078/brax_4_orch_disc_2.zip
well worth hearing
enjoy
cheers
dipmong