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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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  Ameri-chord: Johnny Cash Remembered  

Amer-chord - Johnny Cash & June Carter
By Skip Heller

In 1964, Johnny Cash recorded the Bitter Tears album, which made known his feelings about Native Americans. Its centerpiece was his hit version of Peter LaFarge's "Ballad Of Ira Hayes," a brilliant, accusatory song about the Pima Indian who was one of the five men to raise the flag at Iwo Jima, came home to less than fanfare, and died drunk in 1955 at the age of 33.

The Pima tribe inhabited a piece of Arizona not far outside Tuscon. They were a peaceful tribe who farmed well enough to sustain their food needs, until their water rights were taken from them and everything they worked for was either killed off by dry heat or was taken from them outright. But Ira Hayes felt a duty to his country, enlisted, went to fight for the good old USA, and became a decorated American hero. You can guess how glorious his life was upon returning. One night Ira Hayes fell drunk into an irrigation ditch and froze to death in cold water.

I saw that land had a gig in Tuscon in May 2002, driving southeast from Los Angeles on the way to a gig in Tuscon.

Los Angeles in spring is paradise. The sky is visible and wide, the mountains pose for postcards, freeways open and you realize how vast our country is. It is beautiful as long as you don't go too far east. That's when the oasis turns back into the desert from which it was carved. LA to Tuscon is about eight hours of driving, and the first four or five are gorgeous.

Arizona comes on the heels of a fairly ugly piece of southeastern California, and has nothing to recommend it upon entry. As you drive in a little more, the Indian reservation stores - with tax-free cigarettes - pop up. Past Phoenix towards Tuscon, you see a rest stop with wall displays that tell the story of Ira Hayes and the Pima tribe. Sort of.

The tale they tell is some "see Dick run" shit and says nothing about the kind of man Ira Hayes was - to forgive what had been done to his tribe and enlist in the Marines. And they certainly said nothing of his death and who helped that tragic process along. The Pima Indians, in recent years, are noted for diabetes (studies have shown that one out of two adults suffers from Type II) and morbid obesity. It seems that, when their right to water was stolen and they could no longer grown their own crops, they had to adopt a "western" diet, which did egregious things to their bodies.

I have a thing about Cash. Maybe it's because the only actual day he spent in jail was the very day I was born, October 4, 1965. Cash was popped at the El Paso border checkpoint. He was trying to smuggle several thousand amphetamine capsules across the border from Mexico.

If you've ever brought contraband through a Mexican border crossing, you know the drill. I got pulled out of the car once, holding a hundred 600 mg Ibuprofen capsules, sold over the counter in the local farmacia but illegal without a presciption in the USA. Fortunately, the border cops didn't look far inside a gym bag of clean clothes (although they were very thorough with the dirty clothes, the guitar case, and the glove compartment).

Mexico was wide open in '65, so Johnny - then no stranger to intense amphetamine procurement - probably thought nothing of it until they slapped the cuffs on.

June Carter - who he married and who died May 15th of post-operatory complications - got him cleaned up, helped him find religion, and helped him realize certain dreams that were not in reach for most country singers in the sixties. June was born into the Carter Family - a major American Music dynasty if there ever was one - but had enough brains and ability to keep herself from being defined by her legendary mother, Maybelle Carter. She had a viable career in country music, then chucked it and went to New York, where she joined the Actor's Studio (director Elia Kazan - who died just 16 days after Cash - sponsored her enrollment), and finally returned to the Carter Family. They became part of Johnny Cash's touring show in 1961; by '63 June was in love enough with Cash - then totally out of control on pills - to write a song, "Ring Of Fire" about it.

Johnny Cash burst onto the scene in 1955 with "Cry Cry Cry." He came not from a Nashville major but that most venerable of indie labels, Sun, the Memphis label that had at about the same time sold Elvis' contract to RCA for an unprecedented $30,000. RCA would soon enough begin trying to make sister Anita Carter into a rock'n'roll star as part of a trio called Nita, Rita, and Lita. June was at the time married to country star Carl Smith, whose "You Are The One" is a classic of the period. They would have a daughter, Carlene, who later married British pop singer Nick Lowe.

If you can find photos of country singers of the period, you notice that 1950s Nashville had nobody like Johnny Cash. Look at George Morgan, Webb Pierce, Porter Wagoner or the great Lefty Frizzell. They're colorful, extroverted. Cash was hard-looking, introverted, and dressed in black.

Similarly, listen to the typical male country singers of the period. The biggest was Eddy Arnold, a human Hallmark card. Singers like him and Marty Robbins forecasted the "countrypolitan" movement to come and paved the middle of the road for Nashville easy listening artists like Jim Reeves, Patsy Cline, and Floyd Cramer.

Honky-tonk, on the other hand, was nowhere near so repulsive. This was a harder Southern urban sound, with walking electric bass, and a cracking drumbeat that cut through the din in bars and dancehalls. All the guitars were electric, too. Webb Pierce's fantastic "Honky Tonk Song" was not hill music, although his voice stayed in close touch with the high lonesome sound. "Honky Tonk Song" was a 12-bar blues streamlined in Nashville, and it's not wussy music.

To my ear, Cash was most influenced by Ernest Tubb. Both made unpolished, minimalist records. Tubb was from Texas, and sang in a low, craggy voice. His records of the '40s are very proto-Cash, with sparse electric guitar up front. Cash covered Tubb's "Thanks A Lot" while he was still on Sun, and you can hear how close to Tubb Cash really was.

Cash was not immediately invited to join the Grand Ole Opry, but Louisiana Hayride, which was more at home than the Opry with mavericks, like Elvis Presley, Jimmy Martin, and a few others who were a little dangerous.

The more famous Cash got, the more rebellious he seemed. He left Sun because he wanted a higher royalty and to make thematic LPs. The subject of royalties is always dangerous, and LPs were then a novelty for country singers. In 1957, Cash became the first artist to have an LP on Sun. The following year, Cash had a new album out - on Columbia.

As his success elevated, Cash became a speed freak. This was common in country music back then. Lots of driving, being on the road 250+ days a year, often having to drive back from wherever you were to be back in Nashville to do the Opry or Shreveport, LA to do Hayride. Early morning broadcasts after playing 'til midnight or later 300 miles away from where you did your morning broadcast were common. It was a rough life, and the pay wasn't great. But it was the job, and benzedrine helped many get it done.

In those days, tour buses were a rarity. Bands traveled by car. If they were lucky, they had a station wagon and a little trailer. You'd strap the upright bass to the roof. Cash and his band made about $150 per week each on the 1961 package tour. June Carter fell in love with Johnny Cash under these conditions, which speaks volumes about his appeal and her intestinal fortitude. It sure wasn't about the money.

Very few artists can achieve some of their highest achievements in their art while being up to their eyeballs in chemicals. But Cash was on an artistic roll through the 1960s, before, during, and after the period of his El Paso arrest, with groundbreaking thematic LPs. He also appeared at the Newport Folk Festival, where he finally met Bob Dylan, whose "It Ain't Me Babe" Cash had been performing for some time.

In 1968, he recorded the Live In Folsom Prison album, followed shortly after by Live At San Quentin, which contained "A Boy Named Sue", his biggest hit of the decade. He was not new to playing prisons - Merle Haggard was a member of the captive audience when Cash performed at Quentin in 1959, and said afterwards that the sheer force of Cash's performance turned his life around. By 1968, largely because of June carter, Cash had turned his own life around, trading drugs for fundamentalist Christianity. Whatever works.

Around that time, Cash got his own network TV show, pretty much unheard of for country artists at that time. Unlike other music shows of the time, his show was often a showcase for cutting edge music of the time. His guests included Merle Haggard, Joni Mitchell, Judy Collins and even Bob Dylan, who at that point was largely allergic to TV cameras. But Cash was held in such high artistic regard that someone like a Dylan or a Joni would do TV if he asked.

Because of his celebrity at that point, June Carter's contributions are usually reduced to her appearances on records like "Jackson" and "If I Were Carpenter". But it was she who first told Johnny about a janitor at the Columbia recording studio who was writing songs. His name was Kristoffer Kristofferson.

People don't recognize it now, but Kristofferson was a threat to Nashville's status quo. Cash was tough enough for the local establishment to deal with, but he came from nothing, and Nashville always likes a Cinderella story.

Through the 1950s, Nashville's GNP was not music but insurance. It's nickname (self-imposed, I'm sure) was "the Athens of the South." Nashville has Vanderbilt University and a full-scale replica of the Parthenon.

Kris Kristofferson was a former Air Force pilot, Golden Gloves boxer, and a Rhodes Scholar. And he chucked it all to go starve in Nashville. I'm sure the attitude towards Kristofferson in Nashville was that local society would be better off with less songwriters and more Rhodes Scholars.

Kristofferson was a longhair from Texas, and his songs were a little raw by the standards of the time, which were getting a too loose for the locals anyway. Texans had always been a problem, ever since Bob Wills brought drums to the Opry stage and Floyd Tillman wrote unapologetically about cheating. Kristofferson lines like "the beer I had for breakfast wasn't bad so I had one more for desert" did not fit the image makeover Nashville was going for, which was typified by the string-drenched records of former honky tonk great Ray Price. But Cash was all-powerful. And June Carter was the power behind him.

"Sunday Morning Coming Down" was a remarkable song, and Cash turned in a performance that came from hard-won field research, and it was a hit. Cash started doing tunes like "Cocaine Blues."

Cash was definitely the only '50s country performer who could fit in with the 60's songwriters. June Carter, who was a very intelligent woman but who was also duty bound to country music tradition because of her family, was likely the key to his ability to expand so gracefully while never forgetting who Johnny Cash was.

The '70s were scattershot for Cash. The hits didn't dry up completely, but he was no longer a constant on the country charts. He became something of an actor, and made The Gospel Road, a documentary about him in the Holy Land. There was a Christian comic book chronicling his fight with pills. He played a great many benefits for Native Americans, especially in Arizona.

Johnny Cash and June Carter had come into that Louis Armstrong place where they were genre symbols about as much as they were musicians who still occasionally had hits. By the 80s, Cash had been dropped by Columbia, who refused to grant him the respect they gave Miles Davis. So Cash went to Mercury, and, for the first time, put out a few shitty records. He also teamed with Willie Nelson, Waylon Jennings, and Kristofferson for a group called The Highwaymen, who had a few hits but nothing all that memorable.



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