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Articles on this Page
- 07/09/13--14:57: _Jack Lancaster - Sk...
- 07/09/13--15:00: _Krzysztof Pendereck...
- 07/10/13--15:08: _Dom Um Romao - The ...
- 07/11/13--14:41: _Power Of Zeus - The...
- 07/12/13--20:10: _Mickey Hart, Henry ...
- 07/12/13--20:11: _Sex Mob - Solid Sen...
- 07/13/13--14:15: _Oriental Sunshine -...
- 07/14/13--15:49: _Pastorius/Metheny/D...
- 07/15/13--17:00: _John Cage - Dream (...
- 07/15/13--17:01: _Ginhouse - Ginhouse...
- 07/16/13--15:31: _United Jazz & Rock ...
- 07/17/13--15:23: _Spektakel - Spektak...
- 07/18/13--15:04: _Yma Sumac - Fuego d...
- 07/18/13--15:04: _Ensemble Uncontroll...
- 07/19/13--15:03: _Oliver - Standing S...
- 07/20/13--14:55: _John Scofield - Rou...
- 07/21/13--15:04: _Toru Takemitsu - Ch...
- 07/21/13--15:06: _Strawberry Alarm Cl...
- 07/22/13--15:54: _Nina Simone - Silk ...
- 07/23/13--16:01: _Alas - Alas, 1976 (...
- 07/09/13--14:57: Jack Lancaster - Skinningrove Bay, 1980 (Art Rock)
- 07/09/13--15:00: Krzysztof Penderecki - Credo (Modern Composition)
- 07/11/13--14:41: Power Of Zeus - The Gospel According To Zeus, 1970 (Hard/Psych)
- 07/12/13--20:10: Mickey Hart, Henry Wolf & Nancy Hennings - Yamantaka, 1983 (Ambient)
- 07/12/13--20:11: Sex Mob - Solid Sender, 2000 (Jazz/Modern Creative)
- 07/13/13--14:15: Oriental Sunshine - Dedicated To The Bird We Love, 1969 (Raga Rock)
- 07/14/13--15:49: Pastorius/Metheny/Ditmas/Bley - Jaco, 1974 (Jazz Rock/Fusion)
- 07/15/13--17:00: John Cage - Dream (Modern Composition)
- 07/15/13--17:01: Ginhouse - Ginhouse, 1971 (Hard)
- 07/17/13--15:23: Spektakel - Spektakel, 1974 (Art Rock)
- 07/18/13--15:04: Yma Sumac - Fuego del Ande, 1959 (Vocal/Exotica)
- 07/19/13--15:03: Oliver - Standing Stone, 1974 (Folk/Psych)
- 07/20/13--14:55: John Scofield - Rough House, 1978 (Jazz)
- 07/21/13--15:06: Strawberry Alarm Clock - Incense & Peppermints, 1967 (Psych Pop)
- 07/22/13--15:54: Nina Simone - Silk & Soul, 1967 (Vocal Jazz)
- 07/23/13--16:01: Alas - Alas, 1976 (Prog/Fusion)
1. Save a Place for Me 5:12
2. Deep Green 5:03
3. Carlin How 6:29
4. Old Man of the Ocean 5:30
5. Skinningrove Bay Part 1 1:12
6. Skinningrove Bay Part 2 4:50
7. North Country Girl 3:21
8. Kilten Castle 5:23
9. The Abbess St. Hilda 5:21
Jack Lancaster – Lyricon, Saxophone, Flute, Synthesizer, Vocals
Phil Collins – Vocals
Bernie Frost – Vocals
Sean Burn – Vocals
Garry Moore – Guitar
Hugh Burns – Guitar
Mick Rogers – Guitar
Rick Van Der Linden – Keyboards
Robin Lumley – Keyboards
Rod Argent – Keyboards
John G. Perry – Bass, Vocals
Clive Bunker – Drums
"Jack Lancaster is a British composer, record producer and musician.
In the late 1960s, Lancaster co-founded the British rock group Blodwyn Pig with Jethro Tull guitarist Mick Abrahams. Since then he has performed live on tour, composed for television and film, performed as a session musician and has produced, written and arranged recording sessions with artists including Phil Collins, Hans Zimmer, Stephane Grappelli, Brian Eno, Vangelis, Rod Argent, and Gary Moore. Lancaster currently lives in Hollywood, California."
This was originally released as a Jack Lancaster album named "Skinningrove Bay":
1. I. Credo in Unum Deum 6:07
2. II. Qui propter nos Homines/III. Et incarnatus est 9:28
3. IV. Crucifixus 14:39
4. V. Et resurrexit tertia die 9:07
5. VI. Et in Spiritum Sanctum/VII. Et vitam venturi saeculi 11:45
Marietta Simpson - Mezzo-Soprano
Milagro Vargas - Mezzo-Soprano
Juliane Banse - Soprano
Thomas Randle - Tenor
Thomas Quasthoff - Bass
Helmuth Rilling - Conductor
Oregon Bach Festival Orchestra
Oregon Bach Festival Women's Choir
"Commissioned by the Internationale Bachakademie in Stuttgart and the Oregon Bach Festival, the text for Penderecki's Credo is based on the standard Latin version of the Nicene Creed, and is scored for five soloists (SSATB), boys' choir, mixed choir, and orchestra. It was completed and premiered in 1998.
Penderecki at first sketched ideas for the various parts of the standard Mass but the Credo section, an integral part of the Mass placed between the Gospel and the Offertory since 798, had 'gone beyond the dimensions I had planned.' Like Bach and Beethoven, Penderecki decided to set the entire Credo secton: 'The Credo is the most important text ... Every idea in the Mass is included here.'
Penderecki wrote his first large scale religious work in 1966 with the Passion According to St. Luke. That year was significant in Poland as the thousandth anniversary of Poland's acceptance of Christianity in its Roman form by King Miesko, which pointed their culture toward the West in opposition to the Eastern Orthodox influences. Penderecki continues his commitment to religious creations: 'Since I am a Christian and compose as a Christian, I must write another major religious work ... Looking at other composers of our time, there is only one-Olivier Messiaen-who has written as much music on sacred texts. This is my task!'
Penderecki divided his Credo into five sections, like Beethoven, and also included eight interpolations.
Throughout this work Penderecki calls upon compositional techniques and styles of roughly the last 250 years in quest of a universalist style that may appeal to wide audiences. Similar endeavors by Górecki, Andriessen, Pärt and others have been referred to as the New Religiosity, or the New Romanticism.
For example, in the first section 'Credo in Unum Deum' (I Believe in one God), the choir enters in unison with a Gregorian chant-style line that immediately becomes powerfully harmonized in a fully tonal Romantic manner. This continues until after the words 'et in unum Dominum Jesum Christum, Filium Dei unigenitum ... ' (I believe in one Lord Jesus Christ, only-begotten Son of God). A baritone solo then enters against chromatically modulating chords with the words 'et ex patre natum ante omnia saecula' (born of the Father before time began). The choir gradually brings the tonality back to the minor key as in the beginning.
II. 'Qui propter nos homines' (He for us people, and for our salvation, came down from heaven) is built from ascending and descending chromatic lines which perfectly describe the image.
III. 'Et incarnatus est' (And was incarnate by the Holy Spirit) continues the chromatics, but suddenly breaks into a light-hearted, spirited and joyful 'Ex Maria Virgine. Et homo factus est.' (from the Virgin Mary and was made man).
IV. The 'Crucifixus' is more somber in tone and employs more advanced harmonies than the previous sections. This section includes four interpolations: the 'Crux fidelis' (Faithful cross, above all other), the 'Pange lingua' (Sing, O tongue, the glorious battle), two Polish liturgical hymns, and the German chorale 'Aus tiefer Not schrei ich zu dir (Out of the depths, I cry to thee).
V. 'Et Resurrexit Tertia Die' is both rhythmically punctuated and mysterious.
VI. 'Et in Spiritum Sanctum' beautifully combines the previous chromatic lines and tonality in a transcendent feeling of heavenly flight. There are also brief quasi-random speech passages, like Penderecki's 60s style, and rich twelve-tone tension.
VII. 'Et Vitam Venturi Saeculi' (and the life of the world to come) approaches the final major 'Amen' chord by gradually ascending dramatic pleas."
1. Dom's Tune 8:43
2. Cinnamon Flower 5:01
3. Family Talk 5:45
4. Ponteio 6:09
5. Braun-Blek-Blu 4:42
6. Adeus Maria Fulo 8:06
7. Shake (Ginga Gingou) 3:03
8. Wait on the Corner 6:20
9. Lamento Negro 4:02
10. Highway 4:28
11. The Angels 4:05
12. The Salvation Army 4:07
13. Kitchen (Cosinha) 2:52
Lloyd McNeill - Flute
Jerry Dodgion - Flute, Sax (Alto)
Mauricio Smith - Flute, Sax (Soprano), Sax (Tenor)
William Campbell, Jr. - Trumpet
Jimmy Bossey - Trombone
Joe Beck - Guitar
Amauri Tristao - Guitar
Sivuca - Guitar, Organ, Piano
Dom Salvador - Piano
João Donato - Harpsichord, Piano
Richard Kimball - Synthesizer
Stanley Clarke - Bass
Frank Tusa - Bass
Dom Um Romão - Drums, Percussion
Eric Gravatt - Congas
Portino - Percussion
"Dom Um Romão is an original stylist of the drums, an instrument in which he is able to evoke sounds of nature, adding much-appreciated overtones by the many artists to whom he has been associated. He also has developed an expressive solo discography.
Dom Um Romão became a professional in the late '40s, playing the drums at dance orchestras, later being hired by the Rádio Tupi's orchestra. He was responsible for taking Elis Regina from TV to the Beco das Garrafas (Rio's 52nd Street), where, in 1955, he formed his Copa Trio (which also had pianist Toninho and bassist Manuel Gusmão). In the same period, he was hired by the Vogue nightclub. In 1958, he participated in the bossa nova initial milestone, Elizeth Cardoso's album Canção do Amor Demais. In 1961, Romão played with Sérgio Mendes in his Brazilian Jazz Sextet, which performed in the South American Jazz Festival (Uruguay). In 1962, with Sérgio's Bossa Rio Sextet, he participated in the Bossa Nova Festival at the Carnegie Hall. With Cannonball Aderley, he recorded Cannonball's Bossa-nova (Riverside). With the Copa Trio, he performed in the historic bossa nova show O Fino da Bossa, at the Teatro Paramount (1964). It was the first time that bossa nova was launched in the city of São Paulo. His first album, Dom Um, is from the same year. With pianist Dom Salvador and pianist Miguel Gusmão as the new formation of the Copa Trio, he accompanied several singers at the Bottle's nightclub, at the Beco das Garrafas, including the Quarteto em Cy. Joined by Jorge Ben, they became the Copa 4. Philips released his Dom Um in the same year. In 1965, he participated in Flora Purim's (then his wife) opening album, Flora É MPB (RCA). In the same year, he was invited by Norman Granz to move to the U.S. again, where he performed with Stan Getz and Astrud Gilberto, following them to Europe. A most requested sessionman, he recorded many albums, including one with Tom Jobim. Romão joined Sérgio Mendes's Brasil 66, recording the LP Fool on the Hill (A&M), and toured Brazil (1966). In the next year, he participated on the LP Francis Albert Sinatra & Antônio Carlos Jobim. Leaving Sérgio Mendes's group, he recorded with Tony Bennett (The Movie Song Album), among others. In 1971, Romão replaced Airto Moreira in the Weather Report. Dom Um Romão came in 1972.
In 1973, he released Spirit of the Times and toured with Blood, Sweat and Tears. Hotmosphere was released in 1976. Owner of Black Beans studios in New Jersey, he moved to Switzerland in the early '80s. His Dom Um Romão Quintet performed abroad and backed many important artists like Blood, Sweat and Tears and Tony Bennett. Saudades was released in 1993, and in 1998, he recorded the CD Rhythm Traveller in Brazil.
32 Jazz's The Complete Muse Recordings contains the entire contents of Dom Um Romao's two albums for Muse (Dom Um Raomo and Spirit of the Times) on one CD."
The Complete Muse Recordings
The Complete Muse Recordings
1. It Couldn't Be Me 3:53
2. In the Night 3:54
3. Green Grass & Clover 3:09
4. I Lost My Love 2:09
5. The Death Trip 7:45
6. No Time 3:28
7. Uncertain Destination 4:53
8. Realization 2:49
9. Hard Working Man 2:13
10. The Sorcerer of Isis (The Ritual of the Mole) 5:48
Joe Periano - Guitar
Dennis Weber - Keyboards
Bill Jones - Bass
Bob Michalski - Drums
"Arguably the first hard rock album released by the Motown-owned Rare Earth imprint, 1970's The Gospel According to Zeus was also the first and last recording by Detroit heavy rockers Power of Zeus. Needless to say, these two facts were inextricably linked, as the producers and engineers responsible for fueling the Motown hit factory had little or no understanding of what it took to capture the new decade's Earth-shaking hard rock sounds in their studios. Interestingly, this wound up pushing Power of Zeus' psychedelic elements - mostly evident in their vocal harmonies and use of the Hammond organ - to the fore at the expense of a meatier guitar, bass, and drums foundation. Also, unlike many of the era's incredibly bloated, jam-happy behemoths (e.g., Iron Butterfly's 'In-A-Gadda-Da-Vida,' Deep Purple's 'Child in Time'), tough, punchy songs like 'It Couldn't be Me,' 'No Time,' and 'Realization' are conspicuously short and concise - as mandated by Motown's pop architects, no doubt. And if you're expecting distortion, forget it. The uniquely forceful 'The Sorcerer of Isis (The Ritual of the Mole)' offers about the only opportunity for the band to really cut loose with some instrumental overload and actual guitar shredding (fitting that they cited it as the most representative of their live shows). More often than not, however, it was trippy acoustic guitars and harpsichords that had Baroque folk ballads like 'Green Grass and Cover' and 'Uncertain Destination' breaking up the pacing; and the ominous-sounding 'The Death Trip' is actually a rather sleepy, almost Pink Floyd-like swirl of a song. In other words, for a band professing to love the hard psych-rock of Cream and the Jimi Hendrix Experience and the proto-metal of Led Zeppelin and Black Sabbath, The Gospel According to Zeus is obviously a sonically stunted effort. And yet ironically, what at the time doomed both the band and album's chances of success has since transformed it into a true original outside any identifiable genre."
The Gospel According To Zeus
The Gospel According To Zeus
1. Yamantaka, Pts. 1-7 19:30
2. The Revolving Mask of Yamantaka 16:44
"Back in 1983, before the days of Planet Drum and Supralingua, Mickey Hart teamed with Henry Wolff and Nancy Hennings to create Yamantaka, one of the darkest and most sinister Tibetan bowl CDs ever. Hart introduced several exotic percussion instruments on this recording. (Some of them are ancient and ethnic and others are his designs.) The CD gets its name from the Tibetan 'god of the dead' and 'lord of the underworld' - hence the dark overtones. This is deep and moving music. Deep listeners will venture into the clutches of Yamantaka. The sinister textures and timbres force listeners to examine the darker sides of their psyches. This is an absolutely essential album. It will appeal to fans of Karma Moffett, Life in Balance, Xumantra, and Klaus Wiese."
1. Solid Sender 4:56
2. About a Girl 4:08
3. Fernando 7:01
4. Human Bidet, Pt. 1 0:20
5. The Mooche 4:37
6. Rear View 3:11
7. Human Bidet, Pt. 2 0:16
8. Crazy Beat/Don't Be Cruel 3:04
9. Ripple 2:56
10. The Grind 5:17
11. Human Bidet, Pt. 3 0:23
12. For What It's Worth 8:25
13. Human Bidet, Pt. 4 4:13
14. Ruby Tuesday 0:19
15. Please, Please, Please 0:34
16. Human Bidet, Pt. 5 4:16
17. Not Boweevil 4:14
18. Human Bidet, Pt. 6 0:33
19. Billy Preston 4:06
Steven Bernstein - Mellophone, Mellophonium, Slide Trumpet
Briggan Krauss - Sax (Alto), Sax (Baritone)
Charlie Burnham - Violin
Joan Wasser - Violin
Julia Kent - Cello
Michelle Kinney - Cello
Tony Scherr - Bass, Guitar
Kenny Wollesen - Bottle, Drums, Drums (Snare), Maracas, Tambourine
DJ Logic - Turntables
Jane Scarpantoni - Cello
"This gritty New Orleans-styled band led by slide trumpeter Steven Bernstein takes a humorous romp through familiar originals and revamps from Nirvana's 'About a Girl' to James Brown's 'Please, Please, Please.' Bernstein's cohorts are alto and baritone saxophonist Briggan Krauss, bassist Tony Scherr, who also doubles as acoustic guitarist, and drummer and percussionist Kenny Wollesen, with many guests, including several string musicians such as violinist Charles Burnham (of the Susie Ibarra Trio), and DJ Logic, who has worked with Medeski, Martin & Wood. With more selections, more originals, and more time together as a band, this follow-up album surpasses their debut, Din of Inequity (both on Knitting Factory). The album opens with the title track, an original composition featuring DJ Logic (who is heard later on the 'Ruby Tuesday' cover) on turntables. Next comes what Bernstein dubs a grunge-done-Kansas-City-style reconfiguring of Kurt Cobain's hit, followed by a slightly smarmy version of the standard 'Fernando,' giving it a warped-record feel with Art Ensemble-reminiscent soloing and a more open framework. Also irreverent is Sex Mob's interpretation of Duke Ellington's classic, 'The Mooch,' which is fittingly described in the liner notes as being 'in Storyville on mescaline.' Other covers that stand out include: the slowed-to-a-halting-slide of the Grateful Dead staple, 'Ripple,' which is all blues trumpet and bass for the first half, with strings (many of the tracks have at least two guests on strings) joining in the background for the second half; the alternately slowed-down and sped-up, drunken-binge treatment of the Rolling Stones' 'Ruby Tuesday'; and James Brown's 'Please, Please, Please' with three cellos and a violin filling in as the backup chorus. Occasionally, the musician's avant-jazz leanings break through, as in the short 'Human Bidet 4,' but mostly these skilled players serve it up fun and dirty, which is exactly what Sex Mob intended."
1. Across Your Life 3:31
2. Mother Nature 3:02
3. Look At Me 1:42
4. Unless 2:51
5. Land Of Wisdom 1:47
6. Let It Be My Birth 2:16
7. Can Anybody Tell 5:58
8. Visions 2:55
9. My Way To Be Hurt 3:14
10. Where You Want 3:00
11. I'm Going 1:02
Nina Johansen - vocal, guitar
Rune Walle - vocal, guitar
Helge Grosli - keyboards
Satnam Singh - sitar, flute
Sture Janson - bass
Espen Rud - drums, percussion
"Yet another mysterious and long-lost psych-folk album, Dedicated to the Bird We Love, originally released in Norway at the dawn of the '70s and then re-released by Sunbeam in 2006, is a more worthy candidate than most for its status, if not truly a unique artifact. It's a pleasant enough listen which mixes and matches its styles in an easygoing fashion. Thanks in part to the strong quality of Nina Johansen's voice, an obvious comparison point might be the Shocking Blue, but Oriental Sunshine's brief is less fierce, hook-driven hits than a more contemplative ramble. That said, this isn't a spare guitar-and-nothing-else effort either - opener 'Across Your Life' has a surprisingly thick, busy sound deep in the mix, with drums, sitar, keyboards, and more turning into a roiling bed of music at once agitated and strangely serene. This depth becomes a hallmark of the album, as Johansen and Rune Walle's singing steps to the fore with the key melodies while the music unobtrusively fills out the sound. Sometimes the mix does get calmer in overall comparison, as on songs like 'Visions,' but it provides a gentle variety to the album as a result. Flute and sitar appear often enough to be core to the sound rather than simply window dressing, though admittedly neither are used in strikingly unique fashion - as with the album as a whole, the result is an enjoyable niche rather than a lost masterpiece flat-out, and once or twice, as with the introduction to 'Unless,' the effect feels more clichéd than anything else. (The lyrics themselves veer there at points too, but never to the point of distraction)."
Dedicated To The Bird We Love
Dedicated To The Bird We Love
1. Vashkar 9:54
2. Poconos 1:03
3. Donkey 6:28
4. Vampira 7:17
5. Overtoned 1:43
6. Jaco 3:30
7. Batterie 5:05
8. King Korn 0:30
9. Blood 1:25
Pat Metheny - electric guitar
Paul Bley - electric piano
Jaco Pastorius - electric bass
Bruce Ditmas - drums
"Although one often thinks of Jaco Pastorius' first solo album as being 1976's Jaco on Epic, producer/keyboardist Paul Bley actually gave Pastorius his first chance to lead a recording two years earlier. Coincidentally titled Jaco, this spontaneous set (which has been reissued on CD) is also significant for being among guitarist Pat Metheny's first recordings; completing the quartet are Bley on electric piano and drummer Bruce Ditmas. The music consists of three songs by Bley, five from Carla Bley, and 'Blood' by Annette Peacock. Pastorius sounds quite powerful, but Metheny's tone is kind of bizarre, very distorted, and not at all distinctive at this point. The recording quality is a bit shaky throughout the electronic set, and the group does not quite live up to its potential, but Pastorius shows that he was already an innovative player, making this a CD of historic interest."
1. Concert, for piano & orchestra 15:32
2. Freeman Etude No. 1 2:44
3. Freeman Etude No. 2 2:57
4. Freeman Etude No. 3 2:22
5. Freeman Etude No. 4 3:37
6. Freeman Etude No. 5 3:18
7. Dream, for piano 10:26
8. Ryoanji, for voice, flute, oboe, trombone... 18:08
9. Radio Music, for 8 performers & 8 radios 6:36
Aldo Campagnari - Violin
Giorgio Casati - Cello
Manuel Zurria - Flute, Radio
Michael Svoboda - Radio, Trombone
Fabrizio Ottaviucci - Piano, Radio
Giovanni Damiani - Radio
Fausto Bongelli - Radio
Dario Calderone - Double Bass
Stefano Scodanibbio - Conductor, Double Bass
"John Cage did write some music for double bass, or at least pieces specific to a string instrument that can be played on double bass with authority, namely 59 1/2,' for a string player (1953) and 26'1.1499,' for a string player (1955); the latter piece being rather famously recorded for Nonesuch by Bertram Turetzky in the 1970s. In his Wergo release Dream: John Cage, double bassist Stefano Scodanibbio eschews these obvious Cage offerings for his instrument and elects to realize, or to adapt, other things in Cage's catalog with some splendid, and some mixed, results. The Concert for Piano and Orchestra (1958) is one of Cage's most widely adapted pieces; even solo parts taken from the score have been presented as separate Cage compositions. Scodanibbio's realization is like a version for solo piano and chamber orchestra that works very well; if it seems a little 'Darmstadt-y, its that the texture, when thinned out to this extent, resembles a Darmstadt-styled chamber piece in a superficial sense, whereas full piano and orchestra realizations combine Cage's wispy instrumental elements in a far denser texture. Radio Music (1956) is also nicely realized and mixed into an appealing, three-dimensional ambience, though one wonders why Scodanibbio elects to use five performers instead of the eight Cage specifies. Ryoanji (1985) is heard in a solo version with tape, and the liner notes quote Cage himself as stating Scodanibbio's realization as 'the best performance of Ryoanji I've heard'; it is impressive, though pace the composer the ideal situation for Ryoanji is the ensemble version in representing 'the contours of the fifteen stones hosted by the Ryoanji Garden (in Kyoto).'
The first five Freeman Etudes (1980) are heard in transcriptions for double bass; they start off fine, but after a time the limited range of the double bass - despite Scodanibbio's facility with it and his technique of 'arco mobile' (so-named by Luigi Nono) - begins to defeat the performance, as the ear starts to hunger for more variety of sound. The title track, Dream (1948), is a real puzzler. One would think given that the melodic line is all written in a moderately low register (the original is notated in C clef) that Scodanibbio would have played the whole piece himself, utilizing double stops to express the occasional chords in the piece. However, this is the typical piano version, played a tad too quickly by Fabrizio Ottaviucci and not taking full advantage of the numerous fermatas in the piece, with Scodanibbio contributing drones and other background elements, essentially providing harmony where there is none.
Cage's work opens up a seemingly endless universe of possibilities for performers, yet there are limits; sort of like a thinly delineated chalk circle out of which one must not try to step and Cage was well aware of this in his own lifetime. While there is a lot to praise on Stefano Scodanibbio's Wergo offering Dream: John Cage - and it is moreover beautifully recorded - the fact that Scodanibbio steps furthest out on the piece that is most clearly described and conventional in form is going to be something of a problem for diehard Cageans, and perhaps others."
1. Tyne God
2. I Cannot Understand
3. The Journey
4. Portrait Picture
5. Fair Stood The Wind
6. And I Love Her
8. The Morning After
9. The House
10. Sun In The Bottle
Geoff Sharkey - Guitar, Vocals
Stewart Burlison - Bass, Vocals
David Whitaker - Drums
The Tapestry Of Delights:
"A hard rock trio from Newcastle whose album is now rare. They had a good reputation as a live act and wrote some strong material on their album, with the continuous track The House/Sun In A Bottle the highlight, alongside a cover version of The Beatles' And I Love Her. Geoff Sharkey had earlier played in Sammy."
2. Chateau Sentimental
4. Alfred Schmack
7. Song With No Name
8. One Sin A While
2. Wendekreis des Steinbock
3. Rip Off
4. Die Wiederkehr
5. Some Time In Silence
6. Lady Bountiful
Barbara Thompson - Flute, Sax (Soprano), Sax (Tenor)
Charlie Mariano - Nagaswarm, Sax (Alto), Sax (Soprano)
Ian Carr - Trumpet
Kenny Wheeler - Trumpet, Flugelorn
Ack Van Rooyen - Flugelhorn, Trumpet
Albert Mangelsdorff - Trombone
Wolfgang Dauner - Clarinet, Piano, Synthesizer
Volker Kriegel - Guitar
Eberhard Weber - Bass
Jon Hiseman - Drums
"The United Jazz + Rock Ensemble (abbr. 'United' or 'UJRE') developed from a group of jazz musicians that was formed for a 1974 to 1975 television show of Süddeutscher Rundfunk (South German Broadcasting). Almost all future members of 'United' were present from the beginning.
The group played mostly original compositions ranging from jazz to rock. Charlie Mariano's experience with Indian music occasionally brought in ethnic elements. Because all band members extensively played in their own bands before and after UJRE was formed, the ensemble was often called the 'Band of Band Leaders'. Some of the members hold teaching positions with various musical colleges.
During the twenty seven years of its existence the band produced fourteen albums, all of them on Mood Records.
In 2002, the group went on their 'Farewell Tour 2002'. Among the reasons was Barbara Thompson's suffering from Parkinson's disease."
The Break Even Point/United Live Opus Sechs
The Break Even Point/United Live Opus Sechs
1. The eternal question 15:32
2. Big boss' eyes 8:58
3. 7 pounds Tommy 17:34
4. No no not you bonus live track 20:14
Heinz Fröhling - guitar, Mellotron, vocals
Detlef Wiedecke - Hammond Organ, Mellotron, Moog synth, vocals
Werner Protzner - bass, vocals
Eduard Schicke - drums
"Spektakel was formed as a trio in 1969. Detlef Wiedecke (guitar), Eduard Schicke (drums), and Werner Protzner (bass),were all members of Oldenburg`s underground rock scene. Their common bond was a passion for spontaneous inprovisations and the music of Deep Purple. They found an isolated rehearsal space in the countryside where they could jam. These sessions would go on for hours, sometimes even days! Gigs would always start with cover versions of Deep Purple songs and end with long improvisations. Spektakel concerts would sometimes last for five hours. All three musicians moved with their families to Steenfelde, Ostfriesland, where they built a house together (thanks to Friedel Pormann!).
In 1973, Detlef switched from guitar to keyboards (Hammond organ, Moog synthesizer, and Mellotron). Many Guitarists auditioned for the band. Ultimately they decided on Heinz Fröhling, who moved into the Spektakel-House with his wife and his daughter, Melanie. The band rehearsed constantly. Although the songs were more composed they still left space for improvisations. Spektakel`S music blended all styles from hard rock to 12-tone-music! They wrote music and lyrics together. They lived together. They worked together. Ultimately this was the reason why this version of the band only lasted one year. Spektakel`S gigs became legendary for their enormous light show and the equipment that was used. Even today people still remember their gigs. Shortly after the music on this CD was recorded the band dissolved. Heinz and Ede joined with Gerd Führs to form Schicke Führs Fröhling."
1. La Molina 3:21
2. Flor de Canela 3:21
3. Gallito Caliente 1:55
4. La Pampa y la Puna 3:05
5. Dale Que Dale 3:00
6. Llora Corazon 2:57
7. Huanchina 3:18
8. La Perla de Chira 3:42
9. Mi Palomita 3:14
10. Virgenes del Sol 2:47
11. Gallito Ciego 2:50
12. Clamor 2:53
"Even those who find Sumac unbearable would have to admit that she was nothing if not adaptable. Fuego Del Ande has her interpreting South American folk songs with characteristic panache, although it's not one of her better '50s albums."
Fuego del Ande
Fuego del Ande
1. First Calls in the Darkness 3:52
2. Reflecting Drips 4:42
3. Smell the Shadows 3:31
4. Cairne, Moss and the Living Boulders 8:14
5. Slow Life at the Pond 2:52
6. Aquarmarin Visit 6:37
7. Learn to Use the Tentacles 4:37
8. Meeting at the Clearing 4:49
9. The Tree and the Ancestors 2:21
10. Searching for the Talking Plant 7:49
11. Guided by Two Hundred Insects 5:07
12. Survival Talks 3:59
Christoph Gallio - Sax (Alto), Sax (Soprano)
Eduard Akulin - Trombone
Mart Soo - Effects, Guitar
Kalle Laar - Electronics, Guitar
Takashi Kazamaki - Percussion
"The Ensemble Uncontrolled were a big band who performed a small series of gigs together and made this recording as a part of the Free World Big Band Project sponsored by the Japanese government, the Goethe Institute in Tokyo, and Lufthansa Airlines. Given this group's name, and the reputations of its players - guitarists Martin Soo (Estonia) and Kalle Laar (Munich), percussionist Takashi Kazamaki, saxophonist Christoph Gallio from Zurich, and trombonist Eduard Akulin (also from Estonia) - one would think of an extreme free improv workout that taxes the stamina of the listener. This is totally untrue. Tales From the Forest is a highly structured form of improvisational music - no it's not a contradiction - and an organized form of musical communication for all five performers. Everything here relies on the structure of mode and interval, and the interaction, of different musicians with each other at different times. How it works is determined by how well one player listens to another. In 12 different settings, duration is determined by the length of the first phrase and its ensuing interval between one soloist and another, or between ensemble and soloist. With no time frames other than those self-imposed by individual players who state a first idea, things could go on forever, but don't. The Ensemble seem to know inherently that more force and expression can be generated in shorter lengths, allowing them more settings for improvisation - this disc was cut live in the studio and there are no overdubs or tape edits. The 12 selections here are actually one continuous work with 12 sections (making individual titles irrelevant); times are allocated on the CD booklet to give the listener an idea of where new modalities were found and new intervals created by contrasting harmonic and timbral considerations. The result is a compelling and intricate web of interactions by five excellent improvisers whose sole purpose is to play in trio settings with one another until all possibilities - or tape - run out. Hence trombones and guitars exchange sonances while saxophones and electronics and percussion move through intervallic flashes of angular acrobatics at varying tempos. The only exceptions to this rule are two full quintet pieces near the end of the album that are striking for their restraint and rich, textural microtonal improvising, and a quartet minus Soo in the middle of it. This is a close listening experience for those interested in avant garde music, free jazz, and improvisation; some of the changes in intervallic exploration are very, very subtle, but extremely well-crafted and intoned. Ultimately, Tales From the Forest is a fascinating, difficult, and subtle treasure of the genre; it's a shame this band didn't get a chance to make more recordings together because as fine as the communication is here, one can only imagine what it might be if the individuals in Ensemble Uncontrolled were given more time to become familiar with one another's idiosyncrasies and playing styles. Alas."
Tales From the Forest
Tales From the Forest
1. Of On A Trek 1:21
2. Trance 3:50
3. Flowers On A Hill 2:09
4. Freezing Cold Like An Icberg 3:49
5. Royal Flush 3:24
6. Cat And The Rat 5:32
7. Instamatic 2:08
8. Telephone 3:11
9. Getting Fruity 2:04
10. Tricycle 1:07
11. Motorway 3:18
12. Primrose 2:22
13. In Vain 2:00
14. Multiplex 1:07
15. Orbit Your Factory 4:50
16. Tok Tic 6:09
17. Whwre's My Motorbike 1:17
The Tapestry Of Delights:
"An ultra-rare and expensive privately pressed album by a certain Oliver Chaplin which is an amalgam of folk, blues, progressivism and psychedelia. All the material was written by Oliver. Its highlights include Freezing Cold Like An Iceburg, which sounds very like Captain Beefheart; In Vain, which has been likened to Pink Floyd's More Soundtrack; Flowers On A Hill, which has a sort of ragtime feel; Cat And The Rat, a length piece of guitar-driven progressivism and the folky Primrose and Orbit Your Factory. His brother Chris Chaplin had been employed as a BBC Sound Engineer and worked on the BBC's Hendrix sessions, which explains why the sound quality on the 50 minute album is so good. 250 copies of the album were issued originally in a plain blue cover with black letters. When the covers came back from the printers the shade of blue was so deep the liner notes were almost illegible and an olive green sleeve was substituted. Most copies were given to family and friends but copies were passed to Radio One deejays Brian Matthew and Alan Black. The latter was keen to feature it on his show but was reluctant to do so when it wasn't available in the shops. After refusing to sign a contract for the album to be distributed through Virgin Records because he considered the record industry corrupt Chaplin returned to his native Wales.
In the late eighties a copy of the album was purchased at a car boot sale and was transferred to the collectors' circuit. Oliver was contacted and a small number of other original copies of the album he made available circulated for increasing prices. In 1992 he authorised the Tenth Planet reissue of 500 further copies which should help satisfy the increasing demand for this album."
1. Rough House 9:14
2. Alster Fields 5:23
3. Ailleron 6:50
4. Slow Elvin 6:10
5. Triple Play 8:26
6. Air Pakistan 3:25
John Scofield – Guitar
Hal Galper – Piano
Stafford James – Bass
Adam Nussbaum – Drums
"This early outing (reissued on CD) finds guitarist John Scofield playing advanced postbop jazz with pianist Hal Galper (who here sounds strongly influenced by McCoy Tyner), bassist Stafford James and drummer Adam Nussbaum. They perform five Scofield originals and Galper's 'Triple Play.' Although this was not the usual setting for Sco, his tone is immediately recognizable and his adventurous solos will be of interest to his many fans."
2. Chiisana Sora
3. Utau dake
4. Chiisana Heya de
5. Koi no Kakuenbo
6. Mienai Kodomo
7. Ashita wa Hare kana Kumori kana
8. Shima e
9. Shinda Otoko no Nokoshita Mono wa
10. Maru to Sankaku no Uta
Shin-Yuh Kai Chorus
Shin Sekiya - Director
"Takemitsu's title for this choral arrangement from 1984 includes the figures for a circle and triangle. The original text and music were written for the 1961 film 'Bad Boys' (Furyo Shonen) for which the composer also created a guitar duet, published under the movie's title, around a modal theme with many variations. The three verses of 'A Song of Circles and Triangles' occupy little more than a minute's duration.
The lilting melody is first sung in unison to a curious text written by the composer with touches of surrealism: 'The earth is round, I tell you. The apple is red, I tell you. The desert is big, I tell you. I'm telling you, the pyramid is a triangle!' Then the tonal harmonies are added: 'The sky is blue The ocean is deep The earth is round, I'm telling you, it's a little star! The earth is round, I tell you. The apple is red, I tell you. Russia is huge, I tell you. I'm telling you, the balalaika is a triangle!'"
Choral Works, A song of Circles and Triangles
Choral Works, A song of Circles and Triangles
1. Incense and Peppermints 2:47
2. Rainy Day Mushroom Pillow 3:06
3. Birds in My Tree 1:52
4. Sit With the Guru 3:02
5. Tomorrow 2:13
6. Barefoot in Baltimore 2:22
7. Good Morning Starshine 2:21
8. Birdman of Alkatrash 2:12
9. Strawberries Mean Love 3:00
10. Starting Out the Day 2:37
Ed King - Guitar, Vocals
Lee Freeman - Harmonica, Vocals, Guitar
George Bunnell - Bass
Gary Lovetro - Bass
Randy Seol - Drums, Vocals
"Not to be confused by any means with the band's debut album (which happens to share the very same title), MCA Special Products' Incense & Peppermints collects ten highlights from the group's four albums for UNI Records. Budget-line collections are notorious for offering a random selection of songs, but Incense & Peppermints feels as if it were assembled with a bit more care, since it contains the group's five charting hits - 'Incense and Peppermints,' 'Tomorrow,' 'Sit with the Guru,' 'Barefoot in Baltimore,' and 'Good Morning Starshine' - and the remaining cuts contain such cool obscurities as 'Rainy Day Mushroom Pillow,' 'Birdman of Alkatrash,' and 'Strawberries Mean Love.' Such unpredictable inclusions make this a budget-line disc worth picking up, especially if you don't want to invest in more exhaustive compilations."
Incense & Peppermints
Incense & Peppermints
1. It Be's That Way Sometimes
2. The Look of Love
3. Go To Hell
4. Love O' Love
6. I Wish I Knew How It Would Feel To Be Free
7. Turn Me On
8. Turning Point
9. Some Say
11. Why Must Your Love Well Be So Dry
12. Save Me
Nina Simone - Vocals
Sammy Lowe – Conductor
"After moving from the blues to soul for her second RCA album, Nina Simone's extroverted, confident delivery proved a natural match with the ranks of soul shouters working the crowds during the late '60s. A plane ticket to Memphis or Muscle Shoals could've resulted in one of Simone's best works; unfortunately, this set was recorded in New York, and it shows. Simone does well taking on Dusty Springfield for 'The Look of Love,' though the sedate supper-club backing doesn't quite jive with her smooth, studied performance. Better are the less familiar tunes, like the highlight 'It Be's That Way Sometimes' (written by Simone's brother Sam Waymon), 'Go to Hell,' and 'I Wish I Knew How It Would Feel to Be Free,' a trio of songs Nina Simone has no trouble making her own."
Silk & Soul
Silk & Soul
1. Buenos Aires Solo Es Piedra 15:50
2. La Muerte Contó El Dinero 18:03
3. Rincón, Mi Viejo Rincón 3:36
4. Aire (Surgente) 6:11
Gustavo Moretto - keyboards, synthesizers, flute, trumpet, vocals
Alex Zucker - bass, guitar
Carlos Riganti - drums, percussion
Dreams, Fantasies & Nightmares:
"This group was formed by ex-Alma y Vida member Moretto, ex-Materia Gris drummer Riganti and bassist Alex Zucker. They soon became a big live attraction and their music combined symphonic rock, jazz rock and more Argentinian styles.
They went on to release two very rare albums, Buenos Aires Solo Es Piedra (1976) and Pint Tu Aldea (1983), by which time Zucker had moved to the States and had been replaced by former Madre Atomica member Pedro Aznar. Both albums were later reissued on CD only in Brazil and the first is also available again in Argentina on CD with Aire (Sungente) as a bonus cut."