Trio X - Live In Vilnius (NoBusiness, 2008) E-mail

So I am crazy, and enthusiastic. After having bought the "Trio X - 2006 US Tour", a 7-CD box, the mailman yesterday brought me the double LP "Live In Vilnius", also recorded in 2006, and issued in 500 numbered copies only (I got number 15, so I guess there must be some more copies available). Vilnius is the capital of Lithuania, one of the Baltic states in Europe, and one of the first releases by this brand-new jazz label, that also released two Mats Gustafsson albums so far, and that's it. Quality over quantity, an excellent choice I would say, but I guess they must be a little crazy too, and probably even more enthusiastic.

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Barry Guy & Mats Gustafsson - Sinners, Rather Than Saints (NoBusiness, 2009) E-mail

British bassist Barry Guy and Swedish saxophonist Mats Gustafsson have played together numerous times and released albums ranging from duets ("Frogging"), trios (with Raymond strid), quartet (with Strid and Marilyn Crispell) and in Guy's big band. Although Guy clearly comes from a more classical oriented approach to new music and free improv, and Gustafsson has a jazz background, they meet in the common region where instrumental skills and artistic vision meet to create unheard sounds, not as just an experimental gimmick but to tell deep and true musical stories, full of agony, intimacy, distress and friendship. This wonderful vinyl LP, which covers a performance of both musicians at St. Catherine’s Church in Vilnius, Lithuania in January of this year, is a brilliant testimony of how avant-garde can open new worlds of sound that evoke real deepfelt human emotions, that go back to primeval times while being entirely modern at the same time. The album starts with a short and soft, hesitating dialogue between sax and bass, then Gustafsson blows some of the most heart-piercing wails I've heard in a long time, crying his heart out, in full agony, only to calm down again to play some beautiful sweet tones as a wonderful contrast of different emotions all folded into one. The second track is a solo piece by Guy, a nice, almost bluesy improvisation, that unleashes all the inherent beauty that is the very nature of the bass's deep wooden tones, playing gliding chords, arpeggios and single string phrases while maintaining the focus of the tune's calm and resonating melody: sensitive and powerful. We're now eleven minutes further and these two tracks are already worth the purchase of the album. The third improvisation is a duo again, full of nervous tension and distress, with little notes fluttering about, eliciting some shouts of concentrated effort, raising the interaction to an almost physical dialogue. The B side has two ten-minute improvisations, one with Guy solo on bass, one again a duet with Gustafsson. The first starts with Guy's rapid alternating of arco and pizzi, scraping and plucking, getting so many different sounds out of his bass at any given time that you wonder how he does it. But again, the technique is by itself less relevant than the quality of the music, that switches from high intensity moments to more disciplined yet very dark and nervous sequences: an inhospitable universe he creates here, but one that is musically extremely attractive at the same time: raw, engulfing, overwhelming, pure. And Gustafsson joins this universe, fitting perfectly, with piercing screams alternated by deep brooding musings when Guy plays arco, moving to a close to silent intense dialogue in the middle part of the track, and when they turn up the intensity, both move as one, tearing your heart out in the process, figuratively and literally.

Some moments of this album will please instantly, other parts may need repeated listens before you come to appreciate it. There is no beauty without harshness, there is no sensitivity without brutality, now purity without rawness, no reality without sharp edges. And that contrast, or that truthfulness makes this a great album. And sinners have a story to tell, a little more than saints.

I have hesitated to give it a five star rate because it's the second vinyl from vilnius in a row to get this high appreciation, but they repeat what AUM Fidelity did last year: produce some stellar music.

© stef

 

 
David S. Ware Quartet: Live in Vilnius E-mail

David S. Ware
Live in Vilnius
No Business
2009

The year 2009 could be a rather big year for tenor saxophonist and improvising composer David S. Ware, and that's saying a lot. After all, Ware has long been one of the most celebrated figures in free jazz, owing not only to his work with artists like pianist Cecil Taylor and percussionists Andrew Cyrille and Beaver Harris, but also his longstanding quartet, which was founded in 1989 with pianist Matthew Shipp, bassist William Parker and percussionist Marc Edwards. Through drummer and label changes, Ware's quartet did imbue the avant-garde with an almost populist sensibility, a sonic imprint that was respected through numerous festival appearances and a short-lived contract with Columbia Records, where Ware's playing and the cohesiveness of his group had impressed A&R man Branford Marsalis.

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Kluster and friends - 1969-1973 (QBICO 94) 6LP E-mail

Kluster and Friends - 1969-1973
6xLP Boxset
Qbico Records (Italy 2009)

Wow, a seriously amazing unearthed holy grail of early germany experimental proto-industrial/noise...
6 Lps of early Kluster shows pre and post Rodelius and Mobius. Conrad Schnitzler unearthed all these live recordings as a gift to Qbico Records for their supposed final release by the label. And what a gift it is!
As far as we know many online sellers have some copies still available. I seriously recommend if you love Kluster to pick this before its gone and selling on ebay for much more than the retail price.
All the Lp's in the box are in Black Sleeves with no information on the Black Labels. I've titled the Lp's by the unique name on the hub of each Lp. (ASA, Beta, CVS, DAV, EX, & Fungi!)
The audio fidelity of these live recordings is really incredible. Especially when you consider what time period these shows where recorded!
Highly Recommended!!!!
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Cooper-Moore "Outtakes 1978" | Hopscotch rec. E-mail

A welcome reissue, Outtakes 1978 finds iconic multi-instrumentalist Cooper-Moore leading a varied set of pieces in the studio. Each track is introduced with its respective title and take number by Gretchen, listed as the recordist for the session; it even sounds like an archival album. Cooper-Moore's infatuation with tribal percussion and gospel-tinged work outs certainly help lend the set an air of timeless nostalgia.

With lineups that vary from duo to full quartet, the album encompasses all of Cooper-Moore's early interests and makes for a varied and revealing listening experience. One of the more revelatory surprises is the appearance of a young David S. Ware. It is intriguing to hear how fully-formed his tone and phrasing was almost three decades ago. Despite a few Ayler-esque glisses, he hasn't changed much. Trumpeter Mark Gould has since vanished from the scene, a vibrant voice lost to academia. Future fusion drummer Kenwood Dennard, heard here to ingeniously creative effect, has since gone on to play with the heavyweights of that genre.

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Bill Dixon: Tapestries for Small Orchestra PDF Print E-mail

When this double-CD/single-DVD set hits the market in November 2009, trumpeter Bill Dixon will be 84 years old. In an ideal world—and on the basis of this release that's the world Dixon inhabits—age wouldn't be an issue. His work is that of a questing spirit not in thrall to the ageing process. Dixon's life and music were celebrated at the Vision Festival in 2007, but both are still in a state of evolution and progress.

The ensemble assembled here deserves all the plaudits it should receive. Collectively it is alert to every nuance of Dixon's writing, and whilst that ought to be taken for granted the real distinction lies in the fact that this is music in which the role of the soloist is negated to the point of irrelevance. The ensemble is the key and the very colors inherent in Dixon's writing are dependent upon the depth of the ensemble's empathy.

Last Updated on Tuesday, 29 December 2009 22:58
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Joe McPhee / Peter Brotzmann / Kent Kessler / Michael Zerang "The Damage Is Done" Not Two Records (2009) PDF Print E-mail

The reason why Joe McPhee and Peter Brötzmann form a great horn section is because their styles are linked and still quite different. McPhee can be violent and fierce, but he has that touch of sentimentality - in the good sense of the word - and spirituality that is entirely lacking with Brötzmann. The latter is a force of nature, all power and energy, but he has his poetic side too. Besides the violence, they share technical skills, musical vision and first and foremost instruments that are a direct conduit to their feelings, unaltered, without embellishment, without unnecessary ornaments or fake feelings. They deliver directly : raw, authentic, true to themselves. Ken Kessler on bass and Michael Zerang on drums feed the hurricane that is blowing in front of them, relentlessly.

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Anthony Braxton Box Set Documents March 2006 Iridium Concerts E-mail

On April 3rd, New Haven's Firehouse 12 Records will release the Anthony Braxton 12+1tet's 9 Compositions (Iridium) 2006 (FH12-04-01-002), a nine-CD (plus one-DVD) box set documenting what Time Out New York called “last Spring's epochal run" at New York's Iridium Jazz Club in March 2006. Described by Braxton as “THE point of definition in my work thus far," these concerts featured the world premieres of Compositions 350 through 358, the final works in his Ghost Trance Music series, recorded over the course of this rare four-night stand on an American stage. Included with the music is a Braxton documentary, interspersed with live concert footage, and an extensive collection of essays, commentary and biographical information. This definitive set is being released in coordination with Braxton's return engagement at Iridium March 29th-April 1st, 2007.

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