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Greg Saunier / Mary Halvorson / Ron Miles: New American Songbooks, Volume 1 [VINYL] (Sound American/Pleasure of the Text Records)

Two essential Downtown New York improvisers--guitarist Mary Halvorson and trumpeter Ron Miles--are joined by drummer Greg Saunier of Deerhoof in response to Nate Wooley's request that the three expand the American Songbook in astouding instrumental versions of music by Fiona Apple, Elliott Smith, The Partridge Family, John Williams, James P. Johnson, &c. ... Click to View


Large Unit: Fluku (PNL)

The 3rd album from Norwegian drummer Paal Nilssen-Love's big band Large Unit, here in a 12-member configuration, adding saxophonist Kristoffer Berre Alberts (Starlite Motel, Cortex) to the band, in an album centered on Nillsen-Love's penned title track "Fluku", and the equally impressive "Playgo", large complex works that showcase the group's collective and individual voices. ... Click to View


Large Unit: Selected Tracks 2013-2017 (PNL)

An excellent introduction to Norwegian percussionist and composer Paal Nilssen-Love's big band, Large Unit, through tracks showing the breadth of the band's ability in game pieces, ballads, a collaboration with Brazilian percussionists, live recordings from their 2015 North American tour and at Moers festival in Germany, and their first concert at Molde Jazzfestival in 2013. ... Click to View


Frode Gjerstad / Paal Nilssen-Love : Nearby Faraway (PNL)

The 25 year collaboration of Norwegian free improvisers Frode Gjerstad on saxophones and clarinets and drummer/percussionist Paal Nilssen-Love, starting with Circulasione Totale Orchestra and best experienced in their duo recordings, here in an album dedicated to Frode's close friend and musical colleague, pianist and accordion player Elvin One Pedersen. ... Click to View


Konstrukt / Keiji Haino: A Philosophy Warping, Little By Little That Way Lies A Quagmire [VINYL] (KARLRECORDS)

The Konstrukt free improvising band from Turkey, known for their collaborations with master musicians of a wide spectrum of approaches, joins forces with improvising Japanese psych guitarist, vocalist and sound artist Keiji Haino for two 3-part works of swirling sax, synth, sound and guitars, startling vocals, and hallucinatory rhythms. ... Click to View


Peter Hammill: From The Trees (Fie! Records)

Peter Hammill continues his immense solo career, intricately linked to his work with Van Der Graaf Generator, but more focused in intelligent lyrics, profound vocal layering, and fluid song structures, a unique voice who for more than 35 studio albums has developed an approach to songwriting and intellectual observation of subtle sophistication and detail. ... Click to View


Thanos Chrysakis / Kurt Liedwart / Nuno Torres / Ernesto Rodrigues : Skiagraphia (Creative Sources)

Three label leaders come together for an album of free electroacoustic improvisation--Thanos Chrysakis (Aural Terrains); Kurt Liedwart (Microton); Ernesto Rodrigues (Creative Sources), with Nuno Torres on sax--for an extended dialog built of exotic and microscopic sound, string abberations, and reed abnormalities; exceptional. ... Click to View


Charlemagne Palestine : STTT THOMASSS '''''''DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''' [CASSETTE] (Blank Forms)

In memory of the late polymath avant-garde artist Tony Conrad (1940-2016), longtime friend and coconspirator Charlemagne Palestine returned to the site of their first encounter for a tribute performance on what would have been Conrad's 77th birthday, performing on the bells at St Thomas's Church, in New York City for a rich album of ritualistic ringing and tones. ... Click to View


Magda Mayas / Pierre-Yves Martel / Eric Normand: Boule-spiel (Tour de Bras)

Quebec improvisers Pierre-Yves Martel on Viola da Gamba, objects, and feedback, Eric Normand on electric bass and snare drum, are joined by Berlin pianist Magda Mayas for two extended works of free improvisation, manipulating and contorting strings with an electroacoustic edge, dark ruminations of exquisite detail, patience, and adroit interaction. ... Click to View


Albert Ayler: Bells (White Vinyl 180gm) [VINYL] (ESP-Disk)

Albert Ayler's 1965 ESP album originally released as a 1-sided clear vinyl LP, the single "Bells" song actually an amalgamation of his piece "Holy Ghost" which transitions into "Bells", here augmented with "Vibrations aka (tune Q)2", performed with brother Donald on trumpet, Charles Tyler on alto sax, Lewis Worrell on bass, and Sunny Murray on drums. ... Click to View


Irene Schweizer / Joey Baron : Live! (Intakt)

Two generations and two monumental masters of free improvisation from Europe and New York joined together at the unerhort!-Festival Rote Fabrik Zurich in 2015 to unleash this technically awesome and ebullient duo in a fantastic concert of dynamic power, lyrical insight, intense rhythmic support and counterpoint, and profound musical ideas; incredible! ... Click to View


Die Enttauschung (Axel Dorner / Michael Griener / Rudi Mahall / Jan Roder): Lavaman (Intakt)

The remarkable European Free Jazz quintet Die Enttauschung, crossing bop forms with modern creative approaches to jazz for over 20 years, take a new drummer--Michael Griener--and adds trombonist Christof Thewes, to join Rudi Mahall on clarinets, Axel Dorner on trumpet, and Jan Roder on bass, for an exciting and upbeat album of succinct tunes that both revere and abuse jazz history in wonderful ways. ... Click to View


Trio Heinz Herbert (w/ Dominic Landolt / Ramon Landolt / Mario Haenni): The Willisau Concert (Live) (Intakt)

Textural improv of improbable grooves and tones driven by intense periods of interaction balanced with spatial sonic environments; adventurous and exuberant dialog caught live at the Jazzfestival Willisau, in Switzerland, 2016 from the trio of Dominic Landolt on guitar, Ramon Landolt on Hammond organ, synthesizer & samples and Mario Haenni on drums. ... Click to View


Aruan Ortiz : Cub(an)ism (Intakt)

Cuban pianist Aruan Ortiz explores a range of musical idioms and styles, drawing on experiences from many phases of Ortiz' life in Cuba, Spain, France and the US, exploring cubist principles, faceting, and multiple perspectives with folkloric elements, as he presents 10 original compositions of passionate and playful music, performed with virtuosic skill. ... Click to View


Aki Takase / Paul Ayumi : Hotel Zauberberg (Intakt)

Pianist Aki Takase and violinist Ayumi Paul's 1st collaboration is an 18 movement suite for violin and piano blending composition and improvisation, with 11 movements from Takase and 5 written with Paul, plus Mozart's "K. 1 minuet in G major" and the Preludio movement from Bach's solo violin partita in E major; an absorbing set of recordings inspired by the writings of Thomas Mann. ... Click to View


Hans Hassler: Wie Die Zeit Hinter Mir Her (Intakt)

Swiss accordionist Hans Hassler stands above the (small) crowd of improvising accordionist in the breadth of his career, his ability to balance both lyrical, abstract, serious, and humorous aspects in his approach to the instrument, a true original in intent and ability to engage his listeners, in 15 original and diverse compositions recorded in 2017. ... Click to View


Pan-Scan Ensemble: Air And Light And Time And Space (PNL)

"Pan-Scan" refers to pan-Scandinavian, and the nine players on this thrilling and joyful recordings are all of that origin, performing live at Blow Out in Mir, Oslo, Norway in 2016, including both Lotte Anker and Ann Hogberg on sax, Thomas Johansson, Emil Stranberg and Goran Kajfes on trumpet, Sten Sandell on piano, and Paal Nilssen-Love and Stale Liavik on drums. ... Click to View


Xavier Charles / Michel F Cote / Franz Hautzinger / Philippe Lauzier / Eric Normand: Torche! (Tour de Bras)

An exceptional free improvising quintet of Montreal & Quebec improvisers--bassist Eric Normand, drummer Michel F. Cote, and bass clarinetist Philippe Lauzier--with French clarinetist Xavier Charles and German trumpeter Franz Hautzinger, performing live during the 2016 Festival de Musique de Creation, creating fascinating commontion with incredible restraint. ... Click to View


Fraufraulein: Heavy Objects [CASSETTE] (Marginal Frequency)

The duo of Brooklyn electronics, field recording, bass guitar and french horn artists Billy Gomberg and Anne Guthrie, using musical and abstract sounds to create something between the concrete textures of field recording and spontaneous composition, presenting restrained yet detailed sound that engages the listener through transition and mystery. ... Click to View


Joda Clement / Mathieu Ruhlmann: Kindred (Marginal Frequency)

A unique cover of Brian Eno's "Taking Tiger Mountain" using synthesizer, field recordings, electromagnetic feedback, treatments, objects, oscillators, shruti box, reel to reel, ukelin, guitar, piano, clarinet, cello and voice, from Joda Clement and Mathieu Ruhlmann joined by Cristian Alvear, Gregory Moskos, Alexandra Spence, Tim Clement, Judith Hamann and A.F. Jones. ... Click to View


Mars Williams presents (w/ Berman / Lonberg-Holdm / Baker / Kessler / Sandstrom / Hunt): An Ayler Xmas: The Music of Albert Ayler & Songs of Christmas (Soul What Records)

Chicago saxophonist Mars Williams directs his Albert Ayler tribute band, Witches and Devils, to merge Ayler-esque compositions with Christmas songs, performed by Josh Berman (cornet) Fred Lonberg-Holm (cello), Jim Baker (keys, viola), Kent Kessler (bass), Brian Sandstrom (bass, guitar, trumpet); an unexpected and welcome present for your free jazz festivities! ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Unusual Words (Soul What Records)

A CD intended to sell at concerts from Mars Williams' own Soul What Records label, a studio recording in 2012 from the powerhouse trio of Chicago multi-reedist Mars Williams, in-demand Norwegian drummer/percussionist Paal Nilssen-Love, and Chicago bassist Kent Kessler, running the gamut from furious blowing to introspective interaction. ... Click to View


Elliott Sharp / Mary Halvorson / Marc Ribot: ERR Guitar (Intakt)

Elliott Sharp's New York Studio zOaR was the meeting place for three New York guitarists--Sharp himself, Mary Halvorson, and Marc Ribot--who find common ground by blending a variety of approaches to the instrument in 12 excellent and generally succinct collective improvisations, stretching, bending, plucking and inexplicably effecting their guitars. ... Click to View


John Cage: Klang der Wandlungen [3 CDs] (Edition Rz)

An impressive triple-CD box with recordings of some late works by John Cage, including "Seventy-Four for Orchestra, 1992", "103 for Orchestra, 1991, part 1 & 2", In a Landscape fur Harfe", "Postcard From Heaven fur Eine Bis Zwanzig Harfen", and some of "The Harmony of Maine"; including a 32 page booklet with photos and liner notes by Jakob Ullmann. ... Click to View


Jurg Frey: L'ame Est Sans Retenue I [5 CDs] (erstwhile)

A massive work from composer Jurg Frey focused on the dynamic relationship between sound and silence, and how it can affect our perception of the silence in a frame of space and time, using environmental sounds of field recordings and silence to create a massive work over six hours, modifying pitch, rhythm, dynamics, texture, and overtone, here properly released on 5 CDs. ... Click to View


Michael Pisaro / Samuel Dunscombe / Steven Andrew Flato / Wen Liu / Celeste Oram / Johannes Regnier: Organ For The Senses (Marginal Frequency)

San Diego's Parkeology director Kate Clark and composer Samuel Dunscombe organized this concert to take advantage of the Balboa Park's Spreckels Organ, inviting local and regional experimental composers to develop works for the 5,017 pipe instrument, attracting artists like Michael Pisaro, Samuel Dunscombe, Steven Andrew Flato, Wen Liu, &c. ... Click to View


Jon Irabagon / Joe Fiedler / Todd Neufeld: In Formation Network (Nuscope)

Saxophonist Jon Irabagon, trombonist Joe Fiedler, and guitarist Todd Neufeld met in April, 2017 in Mount Vernon at the Oktaven Audio studio to record these nine varied compositions, presenting a unifying trio sound and identity that reflects Chicago's Giuffre trio, but with a unique collective attitude as the trio employs a varied set of compositional strategies. ... Click to View


Joe McPhee: The Willisau Concert (Corbett vs. Dempsey)

Recorded in 1975 at the Swiss Willisau Jazz Festival, Joe McPhee's trio with John Synder on synth and Makaya Ntshoko on drums, and McPhee on tenor and sopranox sax, was Hat Hut's 2nd release and has been out of print since; Corbett vs. Dempsey asked McPhee what unavailable album he'd like to see in print, and this suberb album was his first choice. ... Click to View


Eugene Chadbourne : The Lost Eddie Chatterbox Session [2017 REISSUE] (Corbett vs. Dempsey)

Reissuing free improvising guitarist Eugene Chadbourne's 1977, San Francisco recording of compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, plus a few standards and originals, captured on an ailing quarter-track tape deck, but saved for the force of his playing, here restored, corrected, and remastered. ... Click to View


Sun Ra: Discipline 27-II [2017 REMASTER] (Corbett vs. Dempsey)

The 2nd volume in Sun Ra's "Discipline" series was recorded during the same sessions as 1972's Impulse release "Space Is the Place", with Sun Ra on electronic keyboards and Moog, and a large band including Marshall Allen, John Gilmore, Danny Davis, Akh Tal Ebah, June Tyson, &c. ... Click to View


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  Singing at the Threshold  

Kali Fasteau's Lifetime of Listening and Playing


By James Keepnews 2003-12-15

I lived on four continents to experience many concepts of the divine in music. Sound creates reality as it moves through time. It is important for me to let the life energy create freely in the full magic of the moment without premeditating on form. Musicians study form to learn how to embody sound with grace and energy. The ultimate goal is formlessness, to manifest grace and energy in all our actions, and to offer the gift of a fresh expression of the infinite present with love and compassion. The form of the music can be seen after the fact of its creation. I choose to perform on the threshold of the unknown. - Kali Z. Fasteau


I should know better than to trust a map to find her.

In our email correspondence leading up to my visit, Fasteau offered to give me directions but Natty Bumpo insisted on a prevalent inelegance, viz. the transformation of websites into verbs, and tried to find her house by "Mapquesting" its address. My bad - turn-offs can't be found, roads meant to be turned onto after previous turns show up early, etc. Backtracking, with more hope than intuition, Brought me into the Orange County backwoods of the perfectly-named Balmville, NY and, eventually to her home.

"Her" being Kali Z. Fasteau, as she is known today. Discographers, record collectors and other lovers of fine art and its alphabetizing might still know her best, if at all, as Zusaan Kali Fasteau, as she was billed on her recordings as recently as 1997. To musicians, however, she's always been Kali Fasteau, and she laughs when I remark on the name change on her albums - it's a conscious effort on her part and, soon, she insists, "all that will be left is 'Kali.Z'!".

However she is named, Kali Fasteau is an inimitable presence is creative music. In a music whose appreciation of its female practitioners is still rare, Kali is all the more unique, but her contributions resist easy pigeonholing, much as finding her residence resisted cartography. To call her one of the most accomplished female multi-instrumentalists in free music specifically, and musics associated with "jazz" generally, still feels like putting too fine a point on her abilities. For starters, those multiple instruments aren’t your standard jazzers’ swapping of reeds, either, but a worldwide collection of reeds, keyboards, string instruments and percussion from many different cultures - a short list would read soprano saxophone, piano, cello, ney, balafon, kaval, mizmar, shakuhachi, moursin, sanza, sheng, drums and the incomparable vocal stylings she characterizes as “international vocalese.” Her global odyssey, one seemingly as spiritual as it was musical, across two decades, where she lived and studied in many different countries, including Haiti, Turkey, India, Nepal, and many European nations makes her a singular authority on musical practice across those cultures; the degree to which these cultures have helped shape her range of expression is nearly immeasurable. There's also her early embrace of musican-owned record labels with Flying Note. These distinctions are fueled by a deep appreciation of the divine in all aspects her musical process, leavened with a radical political consciousness also developed and practiced over the decades. There's no one quite like her in any music, anywhere.

Fasteau was gracious as she greeted me, and almost apologetically invited me into her marvelous home. "I'm used to sleeping on the shores of the Indian Ocean," she said with a calm smile. "This is still new for me." Laid out in an open, quasi-Japanese single level, replete with long rooms surrounded by windows which look out upon her sylvan property, the outside feels inside, and the inside out. The analogy is inevitable.

Metaphors are probably too easy to come by with an artist of Kali's accomplishment and global perspective - but they're there for anyone to see. Her music is an uncanny distillation of traditional and spontaneous, refinement and fire, inside and out. And no single map can guide you there - ragas on soprano saxophone can lead to blues on the Turkish flute (or ney) leading to feral vocalized wails that can descend, precisely, into pitch. Far from a scattered aesthetic, Fasteau has absorbed her extraordinarily far-flung experience to make a bracing, unified and emotionally sophisticated music that doesn't lack for resources, spiritual or instrumental.

Raised in Paris to an accomplished musical family, Fasteau recalled a youth filled with music and music making.

“My mother’s father was a cellist in the New Jersey Symphony, and had also played cornet in the Russian army," she said. "His oldest daughter, my mother’s sister, was an opera singer, composer and conductor, which was very rare back in those days. She did programs at Carnegie Hall. My first year and a half I lived in my grandfather's house, and so I heard and saw the cello being played, right in front me, as an infant. That was, I think, very important - I mean, the sound of the cello, and the bass and strings is very close to me.”

Her formal musical training started at a very early age on piano. By fourth grade, she was studying cello; by seventh, she began flute, while maintaining her studies on the other instruments. Multi-instrumentalism, then, played a decisive aspect early in Kali's musical development, and her facility on these and subsequent instruments, she said, isn't unusual as a result. “It's like when children grow up speaking several languages, it's normal for them to switch languages - it's like nothing. So, the same being a multi-instrumentalist as a kid. It's not a big thing to change from one to another.”

Along with the Western classical influences surrounding her from an early age, Fasteau had the opportunity to hear music closer to the sensibilities she would develop over the years. “My girlfriend when I was in second grade, she had some records of Miriam Makeba," she said. "She turned me on to Miriam Makeba when I was 7 or 8 and I just loved her music. That was my first experience with non-Western music, as far as I can consciously recall. That was a really important influence. My brother had alot of jazz records, too -- Bobby Timmons, Miles, Ahmad Jamal, he had a lot of good records. So, I feel a feeling for jazz early, too."

She also recalls an experience featuring the bedrock of her musical style today and one that strikes fear in the heart of most “formally-trained” musicians: improvisation. “When I was about fourteen, I had a dream that I was playing at a recital -- classical music, playing some Bach -- and I forgot what I was supposed to play and I just made up some music on the spot, and it worked out fine. I dreamt that I was improvising. And then, the next day, I tried it, and I started to figure out how to improvise.”

Her politics slowly began to reveal a radical edge, sharpened by her attendance at the legendary March on Washington in 1963. The following year, she attended Reed College, where she earned a degree in social anthropology while minoring in music. Certain students helped shape her understanding of jazz and r&b and spending summers in Georgia and Louisiana as part of voter drives organized by such radical student groups as CORE and SCLC helped shape her emerging revolutionary consciousness. By 1968, she had already spent time working with the Oakland branch of the Black Panthers and went from that experience to graduate school in music at Wesleyan University. The culture shock was enormous. One wonders whether any traditional Western educational system could have provided Kali with a satisfactory pedagogy with the direction her life was going but, as Fasteau described it, just being in Middletown, CT for her studies was only too redolent of her days with CORE.

“I had this really rebellious spirit," she said. "I almost didn't even go to graduate school, I was really in this revolutionary mode. So, when I got to Wesleyan...Middletown, CT was set up like a southern town, with a black part and a white part, there were hardly any women there, very few women in the grad program. It was too retro for me.”

Still, she did have a chance to study music from other cultures, as well as contemporary classical music. Moreover, Middletown's proximity to New York meant that she had a chance to take in so much of what was available there as the 60s gave way to 1970, when Kali eventually graduated and moved to the city. She left for San Francisco in late 1971 where she met Donald Rafael Garett, the multi-instrumentalist best known for his contributions to a series of West Coast recordings by John Coltrane (Om, Live in Seattle, Kulu Se Mama and Selflessness) on which he played both bass and bass clarinet.

It was, says Kali, "love at first sight – lightning struck and everything!" Speaking about him today, Kali's abiding love and respect for the late musician, composer, philosopher and polymath is palpable.

“He was very advanced,” Kali recalls, “Rafael was a genius in many areas of intellectual life. He taught me how to make bamboo flutes, shakuhachi, he taught me T'ai Chi Chuan, macrobiotic cooking, he was up on many of the latest philosophies of the time, like Gurdjieff. The way he was, he was always sharing his knowledge with whoever was around.”

They began playing together immediately, eventually recording Kali's first appearance on record, the ESP-Disk release by the Sea Ensemble, aka Rafael and Kali. By 1974, they were married and their global journey had begun, having already lived in France, Zaire, Senegal, Morocco, Haiti, as well as New York.

"When I met Rafael in 1971, feminism was enjoying a surge of development and I was certainly was encouraged by that, and Rafael definitely considered himself a feminist," she said. "When he met me, he was very supportive and had me in his band right away. He was very happy to be playing with a woman and with someone who had similar ideas about music. We could really be equals in creativity.

The music of the Sea Ensemble - occasionally expanding to a quartet with the addition of the late saxophonist Glenn Spearman and drummer Jay Oliver - is boundlessly lyrical and a template for Kali's later work. Like many small groups of the period, they were resourceful orchestrators, with the ability to create the illusion of a far larger group with their varied instrumentation. Their approach to performance also seemed to transcend Western notions of composition, pacing and even, at points, an easily discernable jazz element -- theirs was a nascent global improvisatory music where melody flowed organically from one piece and grouping of instruments into an entirely different one. Memoirs of a Dream (Flying Note, 2000), a 2-cd set of music which Fasteau carefully shepherded over years of travel (including a concert in Ankara, Turkey in 1977, during which Garrett gently encourages the listeners to "chew their food") is a revelation, a carefully preserved document of Fasteau and Garett's extrasensory interplay and pancultural ritual expression through improvisation, sounded from Holland to Turkey.

The duo played several tours opening for, and playing with, Archie Shepp, as well as a performance with Sun Ra in Amsterdam. Yet, by 1977, the two had parted, and she returned to Paris for three years, beginning a solo career and working as a bandleader. She moved to India in 1981, with a Selmer Mark VI soprano saxophone added to her arsenal, to study Hindustani vocal music with Mangala Mishra.

"I stayed at [Mangala's] father's house, and she would come over at 6 in the morning. They started playing [recorded] music there at 4 in the morning. Everyone gets up early in tropical countries - that's the coolest time of the day. It was beautiful and I learned so much." She then moved on to Chennai (Madras) in South India, where she lived in an “untouchable” fishermen’s village on the coast for six months, traveled all around the region, and earned money making film soundtracks, and performing concerts.



continued...




The Squid's Ear presents
reviews about releases
sold at Squidco.com
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Squidco

Recent Selections @ Squidco:


Thanos Chrysakis /
Kurt Liedwart /
Nuno Torres /
Ernesto Rodrigues :
Skiagraphia
(Creative Sources)



Large Unit:
Fluku
(PNL)



Peter Hammill:
From The Trees
(Fie! Records)



Konstrukt /
Keiji Haino:
A Philosophy Warping,
Little By Little
That Way Lies
A Quagmire
[VINYL]
(KARLRECORDS)



Greg Saunier /
Mary Halvorson /
Ron Miles:
New American
Songbooks,
Volume 1
[VINYL]
(Sound American/
Pleasure of the Text Records)



Trio Heinz Herbert
(w/ Dominic Landolt /
Ramon Landolt /
Mario Haenni):
The Willisau Concert
(Live)
(Intakt)



Irene Schweizer /
Joey Baron :
Live!
(Intakt)



Die Enttauschung
(Axel Dorner /
Michael Griener /
Rudi Mahall /
Jan Roder):
Lavaman
(Intakt)



Pan-Scan Ensemble:
Air And Light
And Time
And Space
(PNL)



John Cage:
Klang der Wandlungen
[3 CDs]
(Edition Rz)



Leap of Faith
Orchestra:
The Expanding Universe
(Evil Clown)



Elliott Sharp /
Mary Halvorson /
Marc Ribot:
ERR Guitar
(Intakt)



Mars Williams presents
(w/ Berman /
Lonberg-Holdm /
Baker /
Kessler /
Sandstrom /
Hunt):
An Ayler Xmas:
The Music of
Albert Ayler &
Songs of Christmas
(Soul What Records)



Tree Ear
(Strinning /
Troller /
Hemingway):
Witches Butter
(Clean Feed)



Eve Risser /
Kaja Draksler:
To Pianos
(Clean Feed)



Kullhammar,
Aalberg Zetterber &
Santos Silva:
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Vol.4
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Imaginary Numbers (McPhee /
Niggenkemper /
Solberg):
Imaginary Numbers
(Clean Feed)



Joao Camoes /
Jean-Luc Cappozzo /
Jean-Marc Foussat:
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(Clean Feed)



Steve Swell (w/ Brown /
Hwang /
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Boston /
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Music for
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Hommage a
Olivier Messiaen
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Schlippenbach Trio
(Schlippenbach /
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Lovens):
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(Intakt)







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