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Mostly Other People Do the Killing: Paint (Hot Cup)

The first release by the piano trio configuration of Mostly Other People Do the Killing and features bassist/composer Moppa Elliott, pianist Ron Stabinsky, and drummer Kevin Shea, with each composition named after a small town in Pennsylvania that contains a color, and the town of "Paint, PA" lent its name to the title, with one apt Duke Ellington cover. ... Click to View


Moppa Elliott : Still, Up In The Air (Hot Cup)

Solo double-bass improvisations from Mostly Other People Do the Killing bassist and leader Moppa Elliot, consisting of sequences of contrasting themes, or musical cubism in the spirit of Picasso and Braque, presenting 7 of 14 sequences where the improvisation is a series of disparate musical ideas that transition rapidly in an attempt to disrupt the linear progression of thematic development. ... Click to View


Leandre / Minton: Leandre / Minton (Fou Records)

Phil Minton started as a trumpeter and became one of free improv's most outside vocalists; Joelle Leandre is a double bassist who also performs free vocal improv; this is their first recorded collaboration, and it's an unusual and wonderful album of heavy tone improvisation, plucked and bowed, and a masterfully odd free association of vocalisation. ... Click to View


Talibam! : Endgame Of The Anthropocene [VINYL] (ESP)

Talibam!'s 1st cinematic album of through-composed ecogothic geosonics, the "soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth" from NY's duo of Matt Mottel on mini moog and synths, and Kevin Shea on drums, and midi mallet percussion. ... Click to View


Talibam! / Matt Nelson / Ron Stabinsky: Hard Vibe [VINYL] (ESP)

Talibam! with Matt Mottel on sax, Kevin Shea on drums, Matt Mottel on Fender Rhodes and synth and Ron Stabinsky on organ take inspiration from Herbie Hancock's 70's electronics, Miles Davis' "On the Corner" and Albert Ayler's New grass in compositions that transforms aspects of rhythm changes into a disciplined sequence, a new take on psychedelic jazz. ... Click to View


Crys Cole / Oren Ambarchi: Hotel Record [VINYL 2 LPs] (Black Truffle)

A double LP and the second release from the duo of Crys Cole and Oren Ambarchi, also romantic partners, as they explore their relationship through sound and voice, each side presenting a unique approach to their collaboration while maintaining a certain somnambulist feeling over rich guitar and organ work, and other unfathomable sound. ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Thinking Out Loud (Trost Records)

The third album from this international trio of powerful improvisers--Norwegian drummer/percussionist Paal Nilssen-Love, Chicago bassist Kent Kessler, and Chicago/NY saxophonist Mars William-- in four odysseys that take the listener from introspective playing to out and out blowing, using technique to serve their incredible dialog. ... Click to View


Sven-Ake Johansson / Alexander Von Schlippenbach : Schraubenlieder [VINYL] (Trost Records)

Drummer Sven-Ake Johansson is also a poet, writer and visual artist; here he joined forced with Alexander von Schlippenbach in 1988 to record these songs, never previously released, sung in German and English, for a set of 9 fascinating narrations that engage the listener independent of language, as von Schlippenbach improvises with prodigious technique. ... Click to View


Annette Peacock & Paul Bley: Dual Unity (Bamboo)

Reissuing the debut album by vocalist Annette Peacock and pianist Paul Bley recorded during their first European tour in 1970, in a quartet with compatriots Mario Pavone on bass and Laurence Cook on drums, Bley using an early Moog synthesizer; unique and original avant jazz. ... Click to View


Paul Bley Trio: Closer [VINYL] (ESP)

A vinyl reissue of Paul Bley's 2nd ESP album from 1966, a lyrical and lush trio setting with material mostly from Carla Bley, one Ornette Coleman number, and one from Annette Peacock, with Steve Swallow on bass and Barry Altschul on percussion, exploratory free jazz that uses melodic intention in assertive but not aggressive aways; a classic. ... Click to View


Pharoah Sanders : Quintet [VINYL] (ESP)

A vinyl reissue of Pharoah Sanders' 1965 debut release on ESP, in a quinet with Jane Getz on piano, William Bennett on bass, Stan Foster on trumpet and Mavin Pattillo on percussion, decidedly a jazz album from this outside player known for his association with John Coltrane in his freeist moments, here bridging lyrical and avant worlds with powerful playing. ... Click to View


Wadada Smith Leo: Najwa (Tum)

Paying tribute to musicians whose vision paved the way for modern creative players to use new approaches, language and philosophy in improvisation, trumpeter Wadada Leo Smith's band with four guitarists, electric bass, drums and percussion dedicates five incredible compositions to Ornette Coleman, John Coltrane, Ronald Shannon Jackson, and Billie Holiday. ... Click to View


Wadada Smith Leo: Solo - Reflections And Meditations On Monk (Tum)

An intimate album of solo trumpet from Wadada Leo Smith, performing compositions by Thelonious Monk, Smith professing in an essay in the accompanying booklet that he was motivated to become a composer by Monk above other contemporaries for his ideas of composition and bands; his admiration and love of Monk's work is clear in this beautifully lyrical album. ... Click to View


Aki Takase / Alexander von Schlippenbach: So Long, Eric! Homage to Eric Dolphy (Intakt)

Alexander von Schlippenbach and Aki Takase assembled an ensemble of Dolphy interpreters that includes bass clarinetist Rudi Mahall, saxophonist Tobias Delius, vibraphonist Karl Berger, trumpeter Axel Dorner, trombonist Nils Wogram, &c, for a fresh take on compositions from one of free jazz's most iconic composers, Eric Dolphy, captured live in Berlin, 2014. ... Click to View


Steve Noble / Yoni Silver: Home (Aural Terrains)

The two-headed snake on the cover of this album aptly describes the sublimely sinuous and dark interplay between London free jazz drummer Steve Noble and bass clarinetist Yoni Silver, their 4-part improvisation taking on sinister elements of exceptional cymbal techniques, unusual drum tones, and extended lower register tones and high harmonics; excellent. ... Click to View


Various Artists: Asian Meeting Recordings #1 (Doubtmusic)

Otomo Yoshihide started The Asian Meeting Festival in 2005 to foster creative interaction between Japanese and other Asian musicians, since 2014 curated by DJ Sniff, and here in the 2017 edition at GOK Sound, in Tokyo, Japan with a who's-who of players including Yoshihide, Ryoko Ono, Ko Ishikawa, Son X, KEITO, Yuji Ishihara, Yuen Chee Wai, &c. &c. ... Click to View


Jim Black Trio: The Constant (Intakt)

A beautiful example of the modern piano trio, led by in-demand drummer, Jim Black, with Elias Stemeseder the pianist and Thomas Morgan on bass, in a lyrical album that uses Black's compelling and elusive drumming on 9 original Black compositions and one unexpected standard, as all three deliver complex playing that sounds accessible and engaging, a true achievement. ... Click to View


Fred Frith / Barry Guy: Backscatter Bright Blue (Intakt)

Both bassist Barry Guy and guitarist Fred Frith are key artists of Switzerland's Intakt label catalog, but surprisingly the two have never shared a stage together; Intakt had a feeling about their pairing and brought them into the studio, this superb duo album being the result in 10 brilliant tracks intertwining acoustic double bass and electric guitar. ... Click to View


Fred Frith Trio: Another Day in Fucking Paradise (Intakt)

Proclaiming that he nothing more in mind then getting together with a couple of formidable musicians, guitarist Fred Frith and Mills College alumni Jordan Glenn on drums and Jason Hoopes on electric and double bass take their listeners through 13 connected pieces that reference rock, jazz and ea-soundscape in an impressive album from a remarkable new group. ... Click to View


Lotte Anker / Fred Frith: Edge Of The Light (Intakt)

An intimate dialog between frequent collaborators, UK guitarist Fred Frith and Copenhagen saxophonist Lotte Anker, both players listening carefully as they interact in a fragile dialog of profound technique and inventive approach, using texture and nuance to create unusual and captivating interchanges that demonstrate how compatible these two very different instruments can be. ... Click to View


Schlippenbach Trio (Schlippenbach / Evan Parker / Lovens): Features (Intakt)

The long-standing Schlippenbach Trio with Evan Parker on saxophone and Paul Lovens on drums presents 15 concise "Features", improvisations of great depth and diversity, from the beautifully stark solo piano that opens the album to intense collective interactions, avoiding excess in deference to the profound expression of an inspiring group chemistry. ... Click to View


Mark Dresser : Modicana [VINYL] (NoBusiness)

Double Bassist Mark Dresser, a mainstay of the Downtown NY scene as an improviser and composer, and also prominent on the US West Coast and as an international touring artist, releases a powerful album of distinctive solo playing, both technically and melodically, with 2 tracks caught live at the Umea Jazz Festival and others recorded at the University of California, San Diego. ... Click to View


Bobby Bradford / Hafez Modirzadeh / Ken Filiano / Royal Hartigan: Live at the Magic Triangle [VINYL] (NoBusiness)

A live concert at Amherst, Massachusetts in 2016 as part of the Magical Triangle Jazz Series from the quartet of legendary cornetist Bobby Bradford, Turkish saxophonist Hafez Modirzadeh on tenor, in-demand New York bassist Ken Filiano, and percussionist/drummer Royal Hartigan, the band performing two Bradford compositions, with one each from Filiano, Modirzadeh and Hartigan. ... Click to View


Andrew Lamb / Warren Smith / Arkadijus Gotesmanas: The Sea of Modicum [VINYL] (NoBusiness)

Captured live at the 2016 Vilnius Jazz Festival, the free jazz trio of saxophonist Andrew Lamb and percussionists Warren Smith and Arkadijus Gotesmanas provide a unique orchestration, with the percussionists building rhythmic structures over which AACM alumni Lamb's powerful saxophone work emerges; a great album of solid exploratory free jazz. ... Click to View


Yedo Gibson / Hernani Faustino / Vasco Trilla: CHAIN (NoBusiness)

A fiery and energetic album of masterful free jazz from Brazilian saxophonist Yedo Gibson, Portuguese-Brazilian drummer and percussionist Vasco Trilla, and Portuguese bass player Hernani Faustino (Red Trio, K4 Quadrado Azul), recording in the studio for 6 dynamic dialogs that uses a variety of approaches and references to free jazz and creative improv. ... Click to View


TON-KLAMI (Midori Takada / Kang Tae Hwan / Masahiko Satoh): Prophesy of Nue (NoBusiness)

Ton-Klami was an influential Japanese free improvising band active in the 90s, and leading to the solo careers of percussionist Midori Takada, pianist Masahiko Satoh, and saxophonist Kang Tae Hwan; here the band is heard in a 1995 live concert recorded at Design Plaza Hofu in Yamaguchi, Japan, recorded by Chap-Chap Records but never released. ... Click to View


Liudas Mockunas : Hydro [VINYL] (NoBusiness)

Lithuanian reedist Liudas Mockunas in an unusual record of clarinet and saxophone improvisations, from solo work of powerful technique to pieces using water prepared instruments to create a wealth of bubbling and aberrant sound on the instrument, side A presenting the 7 part "Hydration Suite", Side B the 3 part "Rehydration", and "Dehydration". ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk [VINYL] (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


Sun Ra & His Myth Science Solar Arkestra: The Lost Arkestra Series Vol 1 & 2 [2 10-INCH VINYL RECORDS] (Art Yard)

A double 10" featuring unreleased and rare Sun Ra recordings, including a live track from Paris in 1983, two unreleased cuts from the "Disco 3000" concert tapes, a quartet session with Sun Ra on the Crumar Mainman synth, and three selections from the Sub-Underground series of Saturn LPs, including a ballad and new material from "Live at Temple" and "What's New". ... Click to View


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  John Zorn 
  The Classic Guide to Strategy Volume Two  
  (Lumina (1986)) 

   review by Kurt Gottschalk
  2003-08-20
John Zorn: The Classic Guide to Strategy Volume Two (Lumina (1986))

For a man of considerable stature, well over 6 feet tall and with a deep voice that can penetrate through anything else going on in a room, my Uncle Roger has a way of quietly flying below any other activity. His jokes bounce off the floor, catching you unawares when you didn't realize he'd spoken, and on Christmas he tends to hand out unwrapped items after everyone else is done exchanging gifts.

So it was on the Christmas of 1986 when, with a low and slightly perverse laugh, he handed me a copy of an album called The Classic Guide to Strategy Volume Two. I was essentially an avant rock listener, or as avant as you could get in central Illinois, listening to the Butthole Surfers and Sonic Youth and thinking my college roommates and I more or less had the world of jazz covered with a few John Coltrane, Charles Mingus and Henry Threadgill records between us. But here was a record that, from the outset, I could figure nothing. Although the artist was clearly not Japanese, or at least he didn't use a Japanese name, the black-and-white cover was emblazoned with a large Japanese character. The seven songs seemed to be named after Japanese people, or at least the titles seemed Japanese and were accompanied by photos of Japanese people. (I still don't know who all of the people are for which the songs are named, but certainly came to know Kondo Toshinori, Togawa Jun and Mori Ikue (as they are listed) after moving to New York seven years later). The record jacket contained precious little information: it was recorded in 1985, produced by Ned Rothenberg (who, I later learned, is a brilliant saxophonist and who ran the label - recently restarted as "Animul," the previous name in reverse). The character on the front cover meant "water" and was from something called A Book of Five Rings. The performer played alto saxophone, clarinet and bird calls.

I took it home, and my roommates and I listened to it. One of them dismissed it fairlyreadily, the other shared my fascination. We took to listening to it every afternoon. We didn't know what to think, but I don't think we liked it. One thing was certain: we'd never heard anything like it.

Contained in the grooves of the LP (it was, of course, an LP, and I still have my copy) was a variety of noises with long spaces between them. Sometimes Zorn was definitely playing the game calls (we were glad to have the cover confirm that those things that sounded like ducks were supposed to sound like ducks). Other times he seemed to have his saxophone submerged in water (he did, in fact). Most of the time we didn't know what he was doing. Even seeing someone play saxophone was uncommon; the instrument was generally heard in Normal, Illinois, in only the most standard of jazz or blues settings; "extended technique" was not in the parlance, and on this record Zorn challenges even customary understandings of "outside" playing.

The two volumes of The Classic Guide to Strategy set out Zorn's vocabulary in the way that only a young visionary might. Coming 17 years after Anthony Braxton's For Alto, the first solo saxophone recording to be commercially released, it is no less a challenge to what is, and isn't, jazz, improvised music or, perhaps, music at all. The Tzadik reissue retains the two side-long pieces from Volume 1, but drops one track from Volume Two for the cd reissue - an economically reasonable decision but still a little unfortunate since, if Zorn himself isn't going to put out the whole of the work, who will?

But moreover, when will he put out the other three volumes? In the notes to the reissue, he says that five volumes were planned, but never recorded. Perhaps a little love and understanding at the time would have helped him along. Make no mistake: this is not easy listening even today. In 1985, when the first volume was released (also on Lumina), Milo Fine wrote in Cadence magazine that Zorn's work was "overconceptualized" and that his music comes off as "occasionally enjoyable, but mostly cluttered, cute, self-consciously avant and derivative." He did, however, call Volume One "Zorn's strongest document to date" and said that "there appears to be a genuine glimmer of a spirit with something to say ... on the second side there are about 4 brilliant brief sections." (The same issue asked for readers' opinions as to whether or not they should start selling compact discs.)

Certainly Zorn couldn't have realized all the directions he would go as a composer and a bandleader in the coming years, but listening to it today many of the avenues he would explore can be heard: there's quotation, cartoon, noise, fragmented melodies and fast thematic shifts. There's also the pure physicality of his playing - the overblowing, the vocalizing and the shockingly human noises wrenched from his throat. But more than that, there is (something completely lost on me at the time) the pure virtuosity of his playing. The album shows a capacity to fully play his instrument. Like Derek Bailey, Cecil Taylor or William Parker, Zorn has complete command over his instrument; he is able to produce from it whatever he wants to, whatever he needs to. With all the directions he has flown in the 13 years since it was recorded, it's often overlooked that Zorn is a masterful saxophonist. But whether it's a Sonny Clark tribute or a screaming match with Yamantaka Eye, Zorn is able to play whatever has to be played. He's a composer, an organizer and a provocateur, but he is also a hell of a player.

Three years after that fateful Christmas, I was listening to an arts segment on the National Public Radio program Morning Edition about the cutting edge of "downtown" music. They played a high-octane version of the Batman theme and said it was by the band Naked City, led by the same guy who had made that record that had long since been retiredfrom rotation without ever winning my heart. I was surprised to learn that that New York artiste actually made music that was enjoyable, even fun. I went to the record store and bought the self-titled Naked City cd, and found a vinyl copy of a record called Spillaine as well. I wondered if that was the composer pictured on the cover of Spillaine. I still had no idea what the guy looked like, but dime-store novel narratives, punk Mancini covers and solo sax freak-outs? I knew there was something going on.





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