5 song cycle from Georgian composer Giya Kancheli (JEE-uh Kahn-CHEL-ee). A Georgian Orthodox Christian, Kancheli left the Soviet Union after 1989, relocating to Belgium. Exile is the theme here.
Kancheli says, “When a person goes into a church, synagogue or mosque where there’s not service going on, there’s a special kind of silence. I want to turn that silence into music.”
Stillness. Sacramental reverb. Maacha Deubner sings a boylike soprano. Long tones, pre-classical ornaments. The strings, winds, and voice blur and smear in an agonizingly restrained klangfarbenmelodie. Denial of the flesh. A ceremonial tone pervades throughout.
Hemroid The Leader
19 Songs about the mysteries of death and life as revealed to a Native American who’s hat began flapping in the wind. Between 5:00 and :22 long.
Music & Lyrics by William Parker. Sung by Lisa Sokolov. Cooper-Moore at the piano.
Sokolov does a great job interpreting and straddling the line between brassy Musical singing and more delicate Jazz vocals. The lyric is very well written.
16 (Prayer) & 17 (Invocation) deliver two different looks to the album. Reminds me of Ran Blake & Jeanne Lee which is
apropos because one of the songs mentions her.
Recorded Aug 12, 2014 in East Berlin at Radialsystem. Brian Chippendale (Lightning Bolt) on drums vox & fx. Mats Gustafson (The Thing) plays a belligerent sax and live electronics. Massimo Pupillo (Zu) plays bass.
Two long tracks. For me the 2nd track between 18:30 until 30, or even 40 minutes was best. Brian tells about his first show, a Metallica concert. For Lightning Bolt fans this is a must. Chippendale is very energetic and tenacious as usual.
Shapes merge, multiply, fade, regroup, and fade again and again. Echoes and ripples. The surface of clear water makes the things inside dance and wobble, and flow around.
Meditative trio. “Continuous piano” arpeggiates and self-immolates. His hands become “Water, Air, and Stone … the three manifestations of he Continuous Technique.” Like Philip Glass.
Strings. Horror! Terror! Suspense… and Fucking!!!
Composed by Claudio Gizzi, this is the 1973 soundtrack to Andy Warhol’s Flesh For Frankenstein, directed by Paul Morrissey and produced by Andy Warhol. Re-issued with great art, vinyl, and numerous alternate takes by Florence-based Dagored.
Baron Frankenstein dreams of restoring Serbia to glory, so he builds male and female monsters whose children will become the new master race. Determined that they be fruitful, he aims to equip the male body with the brain of someone possessing a powerful libido. Thinking horny stable boy Nicholas (played by the Factory’s top hustler Joe Dallesandro) will be perfect, he mistakenly gets the head of Nicholas’ pious friend. Meanwhile, Nicholas seduces the baron’s wife. Rated X.
Orchestral music for horny sluts. Admirably trashy. Great colored vinyl.
Shamanic drone quartet gives 10 long tracks over 4 CD’s. Released in 2014 to celebrate Simmons’ 80th birthday. His English horn plays an Eastern scale, an incantation is heard, hand percussion, organ atmospherics or subtle electronics. Long reverbs. Commanding, ceremonial tone pervades throughout.
Finish duo Jorma Tapio on reeds and flutes and Janne Tuomi on percussion. “Ranging in mood from serious to wanton.”
Sometimes it’s a heated free jazz duo, other times it’s very primitive with vocalizations and hand percussion. Draws you in.
Improvisers on strings, reeds, and synth-percussion paint an abstract foreground over naturalistic sound beds. “Frog Pond” “Owls” “Stream” and “Jungle Flute” are 4 impressionistic tracks between 9 and twenty minutes.
Recalls field recordings, Lou Harrison, Loop 2.3.4, Cut Hands.
Four tunes recorded straight to tape from local quartet. Led by 16-year old drummer and Subruckus Collective label head Kevin Murray. It’s 1 of 40 copies.
Opening tune by Murray, 2 & 4 are improvisations, 3 is an Ayler tune.
The recording is straight-to-tape, very casual in feel, like a jam session or live set. Murray played with William Parker at school and it inspired him. The band feels for a way out but never gets too far gone or even particularly skronky, rhythm keeps it moving. Very enjoyable.
Dedicated to spiritual transformation at the piano, Andrew Jamieson earned his Master’s degree in music composition from Mills College. Passionate about black gospel music, he plays for faith communities in Oakland and San Leandro. Jamieson is also a free improviser with Ell3 and Nine Fingers. “Heard The Voice” is his attempt to integrate these traditions. African American church music is reconstructed with an eye towards Sun Ra, John Cage, and free improvisation. Reharmonized and improvised passages illustrate the struggle and fervor of a spiritual journey. Harmonies recall Thelonious Monk. Descending harmonies and extensive use of the pedal gives the music a wild conflict. We have other versions of many of these traditional songs in the library from artists like Mahalia Jackson and Fishbone.
Five pieces written for clarinetist Pat O’Keefe, mostly solo. On this release O’Keefe is concerned with legacy, and considers the composers as his collaborators.
Dissonant Grooves opens the album with dissonant pitches set to accessible rhythms. Dendrite soundtracks snowflake formation. Contents May Differ explores close-miking. The Broken Mirror Of Memory (6-9) adds piano and electronics to very compelling effect.
Chamber jazz septet – viola, guitar, drums, bass, clarinet, trombone. Lush arrangements. Sounds downright old-fashioned sometimes. Sesame Street, bowling alley. All composed by guitarist David James. Vocals on #4. We have more David James in the library. Features Lisa Mezzacappa on bass. Funded by the San Francisco Friends of Chamber Music.
Helsinki jazz quartet – guitar, sax, bass, and drums. The tight and funky rhythm section supports outwards-looking lead instruments. The guitar uses distortion and the saxophone plays a variety of voices and textures. Some times more mellower, sometimes all out whammy-bar.
Track 3 “Fly In The House of Love” buzzes along, blinking, water dripping, buzzing.
Track 4 “Uptown” has a commanding intro – sax and guitar trading off with bass and drums. Slide guitar. Really energized.
Track 7 “Roller Coaster” shares something cool with Ornette Coleman.
Track 8 “Zebra Dreams” muted guitar strings sound like African thumb piano, sax animal cries. Then it gets more complicated..
Freaky band meets up one day every year and makes recordings. These are from years 13, 14, & 15. There are several 7″s from other years in the library.
Sounds made up on the spot because it mostly is. Absurd, juvenile, amateurish There is a recorder. First song on each side is best, A1 has pathos, B1 has autotune. Last track on B a space transmission from Earth saying Don’t come here.
A4 FCC A5 FCC
A) German pianist Volker Bertelmann and electronic processing. Violin and bass on one track, otherwise all sounds come from the piano. Percussive rhythmic patterns.
B) Remixes with big washy effects. Remix by Devendra Banhart.
Texas Tenor Billy Harper on tour with his eponymous quintet in Taiwan. The first track is Priestess, Harper’s most famous composition. The next tune is also by Harper, and he is very energized on the horn. The first two tracks are 17 and 25 minutes, great for the bottom of the hour. He solos first on both tracks, until trumpeter Eddie Henderson takes over at about the ten- or 11-minute mark. Concert outlook anyone? The band displays impressive command of the material, fluidly changing arrangements to evoke different moods. The album was remixed and mastered by Danish jazz god and Steeplechase honcho Nils Winther, and it sounds great.
Sides A-C recorded live in Sardinia, broadcast on Italian radio. Sides D-F recorded live in Chicago in front of a hometown crowd.. Large ensemble improvising music like Sun Ra, with poet and electronics. The poet, Damon Locks is x-Trenchmouth with Fred Armisen.
A, B, & E are side-long, last track on C has a great cornet solo by Mazurek.
Lots of other Rob Mazurek and other Exploding Star Orchestra CDs in the Jazz library.
On the back of the release is a quote from the late Amiri Baraka upon hearing the Sardinian broadcast, here’s another: “A man is either free or he is not. There cannot be any apprenticeship for freedom.”
Authoritarians fear abstraction because, who knows, it might be about them. Two commissions and one long-lost recovery. Performed by the Dolce Suono Ensemble of Mimi Stillman on flute and Charles Abramovic at the piano.
Powerful meditations on upheaval and freedom, top quality performances. Stillman in particular is probably the most celebrated flutist of her generation, having received awards from Chamber Music America, Young Concert Artists, and many others.Tracks 1-5 Composed by Miecyzslaw (me-etch-eh-SLAV) Weinberg in 1947. Weinberg was a close friend of Dmitri Shostakovich, and along with Prokofiev, they were persecuted in Stalin’s 1948 Anti-Formalist purges. Recovered from the St. Petersburg library, this is the premiere recording. Tracks 6-9 commissioned from Russian-Jewish composer David Finko in 2012, reflections on narrowly escaping the Nazis, and later persecution by the Soviets. The flute is earsplitting at times. Tracks 10-12 add Yumi Kendall’s cello for Remembering Neda, commissioned from Richard Danielpour in 2009. Composed during the Iran protests, in memory of Neda Agha-Soltan, murdered protesting in Tehran.
Remixed from 8-track tapes, the first recordings of David S. Ware, with his Berklee School trio, Apogee: Cooper-Moore on piano and Marc Edwards on drums.
CD1 was originally released by hat Hut in 1979, and is long out of print. CD2 features material from the same sessions that has never before been issued. Ware had been a part of the Cecil Taylor Unit for a few years and the influence is apparent.
Different versions of “Prayer” open both CDs and both are compelling in their own ways. CD1 is a collective blowing session, while CD2 contains a more varied mix of material and arrangement. “Ashimba” (#4, CD2) features a solo recording of Cooper-Moore playing a xylophone of his own design and construction. “Solo” (#5, CD2) is David alone and very powerful, a sweet interrogation.
Solo piano improvisations in the western classical tradition. Pensive, expressive, melancholy. Recalls Debussy. Recorded in a cabin in Arizona. Glenn Stallcop plays double bass in the Phoenix Symphony Orchestra.
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