Both sets are included on this RSD Black Friday release pressed on psychedelic color vinyl in a high-gloss tip-on jacket. This album was recorded, mixed and mastered live to a vinyl master, in one take, on the evening of November 6th at Welcome To studio in Nashville.
There were no overdubs, edits, punch-ins, remixes or remastering. This type of recording is very rare due to the technical and creative difficulty associated with it. Once the recording has started it cannot stop until the end of the side. You are hearing one complete take per side of the record, which is no easy feat for all involved!
In -- some three years before his self-titled debut solidified his stature as a pre-eminent Fender bender -- Roy Buchanan signed with Polydor Records and began work on his first full-length platter. Never before on vinyl, the Prophet comes in a two album set, pressed on orange and black "fire" vinyl because you won't often encounter more fiery guitar work than what's herehoused in a gatefold jacket and limited to 2, copies worldwide.
Funky Junky 2. Black Autumn 3. Day and Age 4. There'll Always Be 5. Billy Joe Young 6. The Story of Isaac 7. Baltimore 8. Sign on the Window 9. Humbug Down on the River; Pain I Desire You; Stormy Monday Jam; Roy's Bluz Sweet Dreams. Alexander's Ragtime Band 2. What'd I Say 3. I've Had My Fun 4. Raelettes Intoduction 5. Games People Play 6.
Don't Change On Me 7. I Can't Stop Loving You 8. Marie 9. I've Got A Woman. Madlib had made an Azymuth tribute record he wanted to play for him.
On a rainy night in Rio, Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Mamaoism 2. Barumba 3. Anna de Amsterdam Interlude 4.
Brasilian Sugar 2. Sao Paulo Nights 3. Xibaba 4. Upa Neguinho feat. Thalma De Freitas. Casa Forte 2. Amazon Stroll 3. Berimbau 4. Anna de Amsterdam Reprise 5. Waiting on the Corner. Tijuca Man 2. Nao Tem Nada Nao 3. Sunset at Sujinho 4. Segura esta Onda feat. Mamao on vocals. The fourteenth solo album from Alice, originally released inand the first 45 RPM pressing. Mountain feat. Frank Bello 2. Kiss it Goodbye feat. Howard Jones 3. Everyone Dies feat. Stix Zadina 4. Rat Child. Sivad 2. Little Church 3.
What I Say 2. Nem Um Talvez Side C 1. Selim 2. Funk Tonk Side D 1. Inamorata and Narration by Conrad Roberts. The debut solo album from British singer-songwriter and ex-Catherine Wheel frontman Rob Dickinson. This first-ever vinyl release adds a bunch of extras that did not appear on the original CD, including the track "The End of the World" recently covered by Billie Eilishand a second disc with the Nude EP from the deluxe CD reissue, made up of acoustic versions of Catherine Wheel songs.
Packaged in a gatefold jacket and pressed in red and yellow "seahorse" vinyl, limited to copies worldwide.
Songs From the Deep captures our collective moment perfectly with a sense of personal nostalgia Late Night Drive, Back Porchsociopolitical resolve Forward Marchand several powerful shout-outs to recently departed civil rights icon and fellow Alabamian John Lewis Walk With the Wind, Stand. Originally released in following the birth of his daughter, Show You The World took Living Legends MC The Grouch on a new path of growth and maturation as he navigated his new world of fatherhood and the new perspectives it brought.
With topics ranging from his experience as a new father, partner and son, to drug addiction in the family, as well as his own personal struggles and triumphs, The Grouch succeeds in showing us his world. Microphone Intro feat.
Rio Amor 2. Watch Watch feat. Mike Marshall 3. Clones 4. Artsy 5. Favorite Folks 6. Yarkwork 7. Show You The World feat. Raphael Saadiq 9. The Bay To LA feat.
Murs Never Die Shero Bring It Back Hot Air Ballons feat. The Time feat. Marty James His legendary performances had him dressed in gold and leopard costumes with props including rubber snakes, a smoking skull on a stick, and his signature coffin. Over his career he didn't record many studio albums. Experience Frank Ocean through the ears and sounds of High Pulp, as the Mutual Attraction saga continues, with the final installment of the project.
The three arrangements are an homage and a thank you to Frank, who has had such a heavy impact on the band and the way they think about writing music. Along with digging into a different genre of music, and focusing on being a tribute to just one artist for this volume in the series, MA 3 also has the band performing as their largest ensemble yet: a piece band, including a 5-piece string section.
Giving no limits to these reimagined versions of Frank Ocean tunes. On election daywhen I saw that there was a good chance the state of Georgia might go blue, I came up with an idea: to record an album of Georgia- related songs as a thank you to the state and donate the money to a Georgia based non-profit organization.
I will admit my motivations were a bit selfish. The songs on this album are some of my favorite Georgia-related songs, but the tracklist is not meant to be comprehensive. I hope you enjoy listening to these recordings as much as we enjoyed making them. Keep listening to good music and fighting the good fight.
Released inTear Gas is the fourth and arguably most notable studio album from The Jacka. The album features the hit singles, "All Over Me feat. Matt Blaque," and "Glamorous Lifestyles feat. Andre Nickatina". Summer feat. Just A Celebrity feat.
Sky Balla 3. Glamorous Lifestyle feat. Andre Nickatina 4. Greatest Alive feat. They Don't Know feat. Freeway 6. Dream feat. Won't Be Right feat. Cellski 8. Keep Callin' feat. Devin The Dude 9. Girls Scared Money feat. Get It In feat. What's Your Zodiac feat. Phil Da Agony Dopest Foreal Callin' My Name feat.
Mistah F. What Happened To The World The Movement feat. Planet Asia Storm feat. Cormega Our Heroes feat. Stalin All Over Me. Madison Carnival of Losers, Pt. The Elusive Sensation of Bliss It Was Perfect A Thing for Weak Guys Honeymoon Iraq Triangle of Death Cheerleaders Huffers of 1st Platoon Another Day, Another Mission Night Tremors Unholy Retribution Date Night Acquiescence I'm Your Worst Nightmare Crossing the Line Rob Another Bank Overdose Side D Your Fate is Darkly Determined One Last Job The Comedown Album Version What I'm Trying to Say Is Bonus Track.
Contains the original tracks on the first three sides, with an original band interview on Side Four. The first time on vinyl for the album. The first vinyl release for this album. NOW became Maxwell's first album to reach 1 on the Billboardselling overunits in the U. Get To Know Ya 2. Lifetime 3. Changed 5. NoOne 6. For Lovers Only Side B 1. Temporary Nite 2. Silently 3. Symptom Unknown 4. A full livestream production was taped, and the band plans to tour the album in the US this fall.
Lean Into It shows that Mr. Daddy, Brother, Lover, Little Boy 2. Alive And Kickin' 3. Green-Tinted Sixties Mind 4. CDff-Lucky This Time 5.
Never Say Never 2. Just Take My Heart 3. My Kinda Woman 4. A Little Too Loose 5. Road To Ruin 6. To Be With You. Features songs and story from the original cast of the beloved TV show. At The Munsters 2. Herman Says, "Hello" 3.
Everyone Is Welcome 5. Meet Our Pets 6. Meet Grandpa! Grandpa's Lab 8. Herman's Favorite Story 2. Lily's Favorite Story 3. Grandpa's Favorite Recipe 4. Final Theme. They are the "Last of the Breed" -- the elder statesmen of classic country music who have inspired artists for decades. No one else sings country music with the passion and purity of Willie Nelson, Merle Haggard, and Ray Price, and, in Marchthese living legends and Country Music Hall of Famers united on stage for a once-in-a-lifetime concert event that was captured for television and recorded to give fans the ultimate concert experience.
Limited edition 10" of special versions of songs originally taken from his landmark eponymous album, Magic Oneohtrix Point Never, released near its one year anniversary. Previously unreleased historic recordings from Charlie Parker's legendary and highly eventful visits to Los Angeles. LP 1 Side A December 17, 1. Cement Mixer fragment into Intro into Blues fragment Dizzy Atmosphere fragment no Parker improvisation Fifty-Second Street Theme into closing announcement Intro dialogue with Gillespie into Dizzy Atmosphere into announcement Intro dialogue with Gillespie into A Night in Tunisia into announcement Intro dialogue between Vallee and Gibson into Salt Peanuts All the Things You Are Anthropology into announcement Intro discussion into Cherokee into announcement Dizzy Atmosphere Out of Nowhere Scrapple from the Apple incomplete Night in Tunisia Party Chatter into Embraceable You Hot House Cool Blues Scrapple from the Apple Au Privave incomplete Harry The Hipster 3.
Dizzy Atmosphere 5. Fifty-Second Street Theme 6. Groovin' High 7. Shaw 'Nuff 8. Dizzy Atmosphere 9. Salt Peanuts Billie's Bounce Ornithology All The Things You Are Blue 'N' Boogie Anthropology Cherokee Dizzy Atmosphere Out of Nowhere. Scrapple From The Apple 2. Night In Tunisia 4. Embraceable You 6. Hot House 7. Cool Blues 8. Dixie 9. Scrapple From The Apple Au Privave. Liner notes provided by Laurie Pepper, along with photographs she took at the sessions.
Pressed at Furnace Record Pressing. After releasing multiple studio albums in Oscar took his longstanding collaborators, Joe Pass, Martin Drew and Dave Young on the road to focus on original music and timeless classics during the pinnacle of the group's creative stride. Acclaimed singer-songwriter and multi-instrumentalist Grant-Lee Phillips has unwrapped a new gift for the Christmas season: an EP of Americana-crooning holiday tunes, titled Yuletide.
This is the first time any of these songs have been available on vinyl. Pressed on green vinyl. Winterglow A2. Take Me Back to Toyland A3. An Old-Fashioned Christmas A4. Auld Lang Syne A5. Have Yourself a Merry Little Christmas. Winterglow B2. Jeph Jerman is appearing in a variety of musical groups and collaborative projects across different genres for more than three decades.
From the nineties, we can see in his extensive work a great interest in the sole act of listening. Rather than a classical musician, he is more suggestive of a sound wanderer who sets off daily from his home to the surrounding Arizona desert characteristically named Sonoran desertwhere he records sound fragments or collects found objects which he uses in his improvisations and performances. As a contemplative walker without a set destination, he is interested in the pure sound without references.
To what we listen is not so important, what matters most is the time, place and the way we listen. Unlike other field recording artists, Jerman is not interested in the aesthetic richness or sonic variety, but simplicity, gentle differences, vibrations, moderation, and the primordial animalism on the quiet edge of organic and inorganic nature. The symbol of the circle and rotation and the moaning material shaped by nature elements subtly fit in the comprehensive sound diary and environment where Jerman moves and lives.
I make sound that'll hopefully be listened to. As with many inner city industrial areas in large cities all over the western world, this place is ripe for redevelopment. However, in this case, due to the zone being directly underneath the flight path to Sydney airport, as well as being flood prone due to environmental factors, unscrupulous property developers are not able to completely gut the place and erect hideous apartments.
What is interesting to me, and what this recording aims to capture, is that these factors — the aeroplanes and the puddles — act as a form of resistance to the development.
Sonic details of empty streets from close neighbourhood, subtle intervention and fragments of lonely voice comments are reminding distinctive forms of sound journalism or a diary for night adventurers.
Mappa presents the sonic evidence of this opposition; the non-human voices of resistance that the aeroplanes and water speak with in this acoustic environment. Released by mappa as MAP09 in As a project, Line Gate has been undergoing a slow, steady transformation, much like the longform drone works that have come to characterise it. The gently modulating drone of the hurdy-gurdy remains present during the first piece, along with its very characteristic almost psychedelic resonances and overtones.
However, the listener's ear is almost immediately drawn to another sound source - the human voice. The result is a mind-bending interplay between the hurdy-gurdy and the voice; one weaving around the other in seemingly indeterminable patterns.
Layers of voice, some processed, some raw, are the only building block here. A resonant layer of sampled voice, not dissimilar from the hurdy-gurdy, acts as an unstable, shifting sonic bed around which a gradually growing choir of voices orbits endlessly.
Sibilants, consonants and vowels recited in mantra-like cycles form a non-linguistic vocal tapestry, one without explicit meaning, but imbued with huge emotional gravity and a unique enchanting quality.
Field recordings, like always with me came from lot of places. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel. In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world.
Architecture and culture of these sonic environments is created in two ways. Second one is shaping the sound and the composition itself. The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this.
With this method of work I have to accept the hollow periods, failures and even the doubt. The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way. It is a timeless place, which is possible to visit again and again and explore its hidden corners and details.
The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel. Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies. In his work we can also find parallels to literary techniques and space or to forms of reading.
I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me. So, my life, my practices are not compartmentalized.
One can observe here how their musical language and range of instrumental techniques in the use of guitar and idiophones got crystallised. The classical form of a musical piece organized in time and characterized by a set of elements that create a coherent narrative is replaced here by the primacy of repetition, pitch, precise articulation and reverberation.
Sounds seem to be clearly rooted in specific acoustic spaces, which allows the space itself to be treated as a real instrument that adds another layer of meaning. Repetitive sound sequences operate in a similar way to the metronome, determining an obsessive rhythmic pattern, a kind of matrix on which all the details are inscribed.
The static structure of the pieces allows the music to function as a sound sculpture - breaking time constraints in favour of continuous duration and acting in a multi-perspective way. This material, does not promise any solution, but strictly accompanies the listener and tries to close itself in the continuous present. The title of the album is a reference to the anthems written by the British composer Z11, Z2 and the titles of the pieces refer to his sacred songs Z, Z Vinyl in your hands is a ceremonial sonification of the sacred herbarium, painted myths of the animal kingdom and voices behind the thicket.
A return to the time when the forests, tree crowns, soil, thickets and heaven were full of continuous murmur. Or, on the contrary, a vision of a future in which the chaos of natural noises will reign. Slimy earthworms and phosphorescent bugs crawl out of the holes and gaze toward the sky. Brightly colored birds pick juicy fruits and there is no silence, because it is absorbed by the buzz of a virgin ecosystem. In the caves, marshes and hollows of trees, the most important questions are decided.
A polyrhythmic rain falls from the sky and washes the prehistoric mud from mammalian hair. Somewhere to see human footprints, but those who have left them are long hidden under giant leaves.
The light, reflected from the vibrant structure of life itself, dances for all, in full color. The feast of photosynthesis. Nothing to see from the top. Plants, moss and mushrooms grow at a tremendous rate. They climb each other to break through the lush green blanket. And above all, the orange disc shines pleasantly. Huge catalogue of free improvisation from to today, with a focus on Soviet musicians.
The second part, "My brothers the wind and sun n. Total time: 59' Essential Sun Ra, avant-cosmology. Hungry East German audience flies off to travel the spaceways. The music is a subtle reminder of what each improvisation should strive for: explore a little bit further - almost even further - than the previous piece of music you played.
When it seems impossible, try to give a little bit more. The music is an intimate and fascinating conversation between six musicians. To be engaged in the conversation one has not only to speak but listen as well. Edited and mastered by Martin Pearson.
Artwork by Olga Kokcharova. Vocalist and pianist Amina Claudine Myers pays tribute to one of her biggest influences, Bessie Smith. Myers has been a member of the Association for the Advancement of Creative Musicians AACM since and has been composing for voice and instruments ever since. Gorgeous record.
Mastered by David Crawford. Front cover photography by Spencer A Richards. In artistic terms, it was a shocking statement from Phil Minton and Roger Turner which scared a lot of people. Now, years later, the recording sounds as if it has been recorded today.
It has not lost any of its artistic qualities and stood the test of time. The work of great originality and integrity. And it would take a fertile imagination for one to reconcile the duo's rendition of Monk's "'Round About Midnight with the original, for example. Armed with boyish enthusiasm, the artists pursue a wanton spirit through their surrealistic game plan. Of course, British freestyle vocalist Phil Minton is a well-known improviser since the advent of this date with his fellow countryman, percussionist Roger Turner.
But this recording still resides as an attention-grabbing document. And indeed the strongest impression of this music is its urgency.
Cliched reflections about the tormented Russian anima are almost unavoidable, but the fact is that music has great immediacy for people in times of crisis; I have seen it in such unromantic settings as an RAF base on the eve of the Falklands gambit. This urgency is what compels Vyacheslav Ganelin piano, various instrumentsVladimir Tarasov percussion and Vladimir Chekasin saxes, various to free improvisations of sustained focus and intensity at live sets recorded in Leningrad and West Berlin.
The latter appearance greatly impressed the Western critics, and the music stands up well. These men are playing for their lives, and have no time to worry about whether this or that transition might be difficult. As a result potential pitfalls vanish into thin air as they achieve a kind of mobility rare outside of Sun Ra and a freedom that must have been sweet indeed.
Part 2 recorded live in West Berlin, October 29, Tapes remastered by Alan Moseley. Special thanks to Liz Trott for smuggling out the tapes.
This record of zany duets is among Eugene Chadbourne's wildest and dearest recordings, featuring selections from over two decades. These duets with Han Bennink, Derek Bailey, the late Charles Tyler, John Zorn, and others, showcase the woolliest side of Chadbourne's woolly playing and his dodging all over the musical and historical map. The first track is an acoustic version of John Lee Hooker's "Whiskey and Women," accompanied by Bennink playing a pizza box with brushes, a giant bass autoharp played with drumsticks, and, of course, a drum kit.
Chadbourne plays the tune straight for him at the beginning, even getting all the words right, but then veers off his National Steel onto a "communist" five-string banjo, and he and Bennink run the LP, carrying the off-meter bar blues as off-world as they can go, laughing all the way.
Next up is Derek Bailey and Chadbourne on two selections. Bailey's guitar and Chadbourne's electric rake and electrified banjo trip and slip all over one another here, with respect and purpose, of course, but nonetheless sloppily. It's a rousing series of musical maneuvers at over nine minutes. When Bennink and Chadbourne reunite, it's a darker, more percussive show: feedback from rhythm and lead instruments becomes the M.
And it's quite beautiful, as Gershwin's songbook comes through as the melodic framework for the improvisation. The work with Tyler, "In Between Comme C and Come Saw," is balls-out space improv, though the master saxist uses his baritone in striking ways not usually becoming of the instrument itself.
It becomes a kind of clogged, scraped, razor-voiced bell in the tower of noise. Tyler draws microtones out of the instrument we have literally never heard before, and Chadbourne is content to lend idiomatic support to this gracious unfolding. This is more in line with Zorn's Classic Guide to Strategy than anything else, in both spirit and execution -- though there are no duck calls credited on this recording.
There is space here, sometimes long periods of it, where what is happening between the pair is not readily apparent; there is plenty of trickery and tomfoolery as well, leaving the listener guffawing in more than a few places.
Quick intuition, a broad dynamic spectrum, and dazzling tonal colors. On a canvas of metallic percussion by Steve Noble, Bevan manipulates his striated tone like a painter adjusting brush strokes- some sounds are long, wide, and spacious, others squat and impossibly dense. Designed by Steve Noble. Photography By Thomi Wroblewski. Post Production by John Hadden.
Incredible ensemble for Company Week in ' Twenty-six minute opening track sees the whole collective scrambling into full-blown ecstatic chaos,follwed by two mega duos from Anthony Braxton and Steve Lacy. Artwork by Iain Patterson.
Typography by Nicolette Amettte. First two days of Company Week where musicians came together for five days improvisation - most of them meeting for the first time. Produced by Derek Bailey. Post production by John Haddon. Photos by Martin L McGain. Made with the assistance of the British Library Sound Archive. Photos by Mark Wastell. His sonic version of perpetual motion turns up in many dimensions at once - timbral, rhythmic, gestural, melodic, rhetorical, dramatic, and much more - so that playing with Bert often becomes a matter of finding, somewhere, a sound that he isn't playing at the moment, a sound that you can grab onto as a life preserver to save you from getting smoked right out the room.
Photograph of George Lewis by Betty Freeman. In the following months we played all kinds of places, occasions which figured prominently among the many musical pleasures I enjoyed during that period. One such occasion, thanks to Bill Laswell, was this recording.
Toca Joga - 2. Quanto Tempo - 3. Polvo - 4. Rio Branco - 5. Joca Toca - 6. Que Horas - 7. Tondo - 8. Produced by Adam Skeaping and John Haddon. Design by Karen Brookman. Photos by Eleonora Alberto and Karen Brookman.
Unheard of underground alongside crucial reissues. Melbourne based artist Arek Gulbenkoglu presents his second full length album for Penultimate Press. Following on from the release Three days afterwards, A gift like a hollow vessel sees a sharper scalpel at play resulting in a more nuanced release which unfolds a curious journey of suburban psychedelia.
Sourced from voice and body sounds, recording of non-musical processes, actions and events, breath, tapes of animal sounds slowed and sped up, processed field recordings, electronics, percussion, tape delay, sample of old folkways records and Esperanto text to voice translations.
A gift like a hollow vessel is striking and intimate musique concrete. A work of confounding beauty as created by one of the most unique voices operating in orbit of psychedelic music as it presents itself today.
Artwork by Matthew Revert Tracklisting: 1. A gift like a hollow vessel - 2. A gift Album) a hollow vessel - Alcor gathers together the prime of Harwood's previous CDR micro-editions and presents the material as a seductive and puzzling new whole. Alcor is the ideal record for fans of fringe position electro-acoustic study, Delphic audio confusion, or anyone who pines for the days when Small Cruel Party still roamed the earth. Mastered by Graham Lambkin. Montenegro - II - III - Q - Trumpets - 6.
Guns - November - Matthew P. Over the last decade Hopkins has distinguished himself as master of multiple musical forms including bent song, freeform concrete, improvised electronics and techno. Under his own name he has produced a most singular take on abstracted voice, feedback, field recordings and found sounds. With Blue-Lit Half Breath Hopkins furthers his domestic enquiry into subconscious sounds with a series of vignettes that hover from hissing clunk, atmospheric creep to improvised piano refrains.
Amongst all this the voice of Hopkins appears throughout as a shadowy narrator delightfully disturbing the sonic play. Penultimate Press is proud to release their official debut LP Chiltern. Comprised of individual tracks folded into two side long suites Chiltern is an unique excursion through foreign encounters, warm surrounds and disorientating comfort. Field recordings, electronics, samples, guitars, voice and atmospherics all contribute to form a bewitching whole.
Many questions are raised: Is this a soundtrack to a mental experience or an altered take on a familiar reality? Is section 3 based around the sound of a basketball court? Does section 4 comprise a song? Where do the original soviet science fiction soundtracks fit into all this? Is this sound or music? Simultaneously ambiguous and accessible Chiltern is a ride unlike another and resides LP the consciousness tickling release of Crooked Dances is a melancholic, playful journey rooted firmly in the real.
Second in a series of two previously unreleased soundtracks Henning Christiansen made for the films made by his partner and collaborator Ursula Reuter Christiansen. It takes a certain amount of confidence for a musician to stand alone on a stage or in a recording studio and play an instrument. One of the few masters of jazz reed instruments, Joe McPhee still proceeds to make music as if for the first time.
He is a master of the instruments he plays because, like an athlete, he maintains the physical chops as well as an openness to the application of the musical vocabulary he has cultivated over time. And, for this performance, he chose to play two instruments rather than one: the alto sax and alto clarinet.
Old Eyes for Ornette Coleman - Take The V Train - Side one comprises Metzger's public debut on his modified banjo, recorded in at a former church-turned-underground art space in Minneapolis.
One of his most memorable compositions, 'After Milo' later turned up as an untitled improvisation on his CD for the Chairkickers label.
Jumping ahead six years and several more banjo alterations later to side two, the glittering 'Orans' gets a workout at a memorial show for the artist Matt Zaun. As an acknowledgment of the occasion, Metzger also gave a one-time-only performance -- 'Dark Green Water' -- on another of his mutant instruments: an acoustic guitar with the body drilled out to accommodate a cymbal set into its face, and ten assorted strings of varying lengths laid over the top, giving it a particularly metallic and dissonant sound.
After Milo - Dark Green Water - A followup to Marches Of The New WorldAntarctica is made up of two side-long excursions into monolithic drone-rock. It sounded so warm that it was like embers from a bonfire. The textures are raw, the sound hypnotic, the effect nicely time-stopping. Bianchi, Blow Up. But for this one moment back intheir paths crossed with bandmates Popkin and Munves, and the results were frighteningly intense.
As if you actually knew, Dissipated Face were a hot trio that was romping through the post-fun era of NYC rock back when they laid these sides down at CBGB on July 31st ofand their mix of everything from free jazz and late-seventies avant-prog to punk rock made for some of the wildest mergings of the form since Red Transistor.
Why was this not known of before? Bungle or whatever it was that destroyed the musical parameters previously established by your brain. Sick Pettibon cover art too.
Eat it or beat it! Punk rock, prog, free jazz, funk, modern composition and Downtown art scum were all part of the landscape and exactly what went into their melting pot. The guest appearance of alto saxophonist Daniel Carter on these four archival cuts recorded live at CBGB in adds an extra dose of fire to the proceedings.
Joining the ranks of such landmark records as Tenor, Graphics, and As Serious As Your Life, Everything Happens For A Reason is an unadorned showcase of this influential pioneer in the world of creative improvised music. Mythos - Vieux Carre - Come Sunday - Everything Happens For A Reason - J2 - Voices - At age 78, Joe McPhee shows no sign of slowing down.
Cover art by Judith Lindbloom. On 35mm, the studio debut of his newest ensemble, The Frame Quartet, Vandermark reveals his longstanding debt to cinema, not only in name, but in approach. Filmmaking is an intensely collaborative medium, and The Frame Quartet embraces this concept implicitly; Vandermark is the sole writer, yet each of the album's five compositions is LP by a different member of the quartet, except for "M.
Eschewing conventional forms, these labyrinthine structures transition suddenly between modes, emulating cinema's narrative flow with dramatic shifts in tone that parallel the sudden splice cuts found in celluloid editing. Bringing these episodic works to life are some of Chicago's most resourceful improvisers, including cellist Fred Lonberg-Holm, bassist Nate McBride, and drummer Tim Daisy—all veterans of Vandermark's numerous ensembles.
Utilizing an array of raw, electronic EFX, Longberg-Holm veers from austere acoustic cadenzas to amplified torrents of coruscating feedback.
McBride alternates between upright and electric bass, while Vandermark reserves his clarinet for introspective moments, unfurling burly, pneumatic cadences on tenor saxophone elsewhere. At Molde is a recording that could narrate all the accumulated experience and the communicative capability of this ensemble; a decade of genuine artistic effort by the Tentet from Chicago.
That's no small feat considering that its members work in lot of other combinations. Assembled in by reedman Ken Vandermark specifically for his recording project Standards Quinnahthe group forged an instant bond that mandated further investigation.
Drummer Hamid Drake never fails to provide a spark and when he and bassist Kent Kessler get on the good foot you can expect a bonfire. Where many free groups avoid funky swinging or melodic materials DKV eagerly embraces them.
The trio's open-ended, sometimes set-length improvisations unfold in sections: Drake and Kessler might set up a cyclical groove for Vandermark to dive into or soar above, then an insistent bass clarinet ostinato might free up the bassist to take one of his superb arco solos after which Drake might suddenly kick out a Max Roach high hat jam or hit the ground running with some infectious Afro-pop polyrhythms or reggae snare-centricity.
All three players are respectful listeners cresting space and letting the music breathe but challenging each other as well. Kessler benefits greatly from this simultaneous relaxation and prodding, turning in consistently original performances. And Vandermark, already well-known as a firebrand, is quickly emerging as one of the finest young balladeers to tote a tenor.
This selling allows him ample room to dip deep into both bags. Each time out DKV invents a new context where daring exploration and pure corporeal pleasure shake hands and get down to business. The rhythm section consists of perennial Vandermark bassist collaborator Kent Kessler and Steve Hunt on drums. A thorough and exciting statement about where this trio was then and is heading now. The Cuff 2. Mountains of Love 3.
Snake Horn 4. Nurecognized Reflections 5. Charged By The Pound 6. Mailbox For An Attic 7. Call Before You Dig 8. The Ravens Cry At Dawn 9. Better a Bird Than a Cow Human Fact Giuffre A Letter From the Past The Bitter The Better The Longer The Lieber Birds of the Underworld Waiting For the Dancing Bear A Dyed String Hellpig Zipper Backwards Dark Cloud Blues EZ30R block.
VVL The intake camshaft was machined with a split lobe for Album) intake valve — the centre of the lobe was the low-speed lobe, while the outer lobes were the high-speed lobes.
The lobes could be engaged in response to a signal from the ECM to an oil switching valve OSV in each cylinder head which supplied oil pressure to a switchable tappet.
The variable valve lift system only changed the lift of one of the intake valves for each cylinder since the other intake valve always provided high lift. You are expected to do a thorough research for each assignment to earn yourself a good grade even with the limited time you have. This calls upon the need to employ a professional writer. When you employ one of our expert writers, you can be sure to have all your assignments completed on time. All your assignment deadlines will be met plus you will have an original, non-plagiarized and error free paper.
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