Escaping From Color - Rapoon Recomposed & Remixed (2007)

"Again Quasi Pop Label hits the target, with one of the most interesting compilation CDs coming lately to my hands. So, this is at my eyes a kind of tribute to British ethnic ambient industrial solo project known as RAPOON, which has been developing all its talent through the years. Through “escaping from color: Rapoon recomposed & remixed” album. We swim in an experimental sea of creativity, originality and dynamism. This time Quasi Pop Label in the shape of Edward.S has gathered a selection of one of the most representative projects inside experimental/ambient scene to escape from reality and to enter in a no colors world, when Rapoon is the only tangible reality. A reality based in 15 compositions, all of them bringing the necessary essence to represent in a concrete way the nature of an act such as Rapoon.

FRANCISCO LOPEZ, with more a high quantity of releases, and having traveled the world developing electro acoustic performances, is opening this album with a minimalistic ambient composition, floating slowly from start to finish. TV POW, surprises this time with an excellent track, full of dense percussive sounds and effects surrounding the whole track. Really one of the best tracks here. The german duo of Baraka (H) and Glit(S)ch known as TROUM,one of the most representative acts nowadays comes with a tribal ethnic composition with impressive percussive elements which moulds perfectly with the structure of the track in general.

The sound & Media explorer from Portugal, PAULO RAPOSO, makes its presence in this album with an interesting track, in the hands of drone sounds mutating into dense ambient atmospheres, creating architectural spaces through such musical vortex, as only Mr. Raposo could create. AIDAN BAKER, devour us with a magnificent convergence of drone elements, mixed with dense eerie percussive sounds floating between each atmosphere, to create an hypnotic voyage to the most hidden realms of Rapoon. FAMILY UNDERGROUND is a Danish trio, adapting its track into psychedelic drone/noise invasion full of madness. Another artist to mention is Swedish RONNIE SUDIN, creating hypnologic states, covering a wide range of styles as experimental and electronics. This time he develops a provocative ambient piece with vibrating elements, abrasive atmospheres and subliminal vociferations at the core of this track.

CISFINITUM, the Russian ambient act, develops a perfect emotive live track which was recorded 29.10.2006 at “Lkra” Club in Moscow, together with RAPOON, in which the percussive elements and atmospheres are the predominant patterns marked here. Limited to 500 copies, and coming in a kind of digipack with abstract drawings and general art, which reflects in part the material included on this excellent release."

1. Francisco Lopez “Untitled #193”
2. TV Pow “Ladder Friends Remix”
3. Machinefabriek “Drijfzand”
4. Troum “Farawer”
5. Steve Roden “Colorscape Forming”
6. Jorge Castro “Depths”
7. Paulo Raposo “Tidal Winds”
8. Aidan Baker “Percussive Drone”
9. Anla Courtis “Rapooned Rapunga”
10. Gert-Jan Prins “Raponsje”
11. Heimir Bjorgulfsson “Obmam Ognom”
12. Mike Shiflet “Version Belize”
13. Family Underground “Tube”
14. Ronnie Sundin “Distant Demons”
15. Cisfinitum & Rapoon “Live in Ikra, Moscow 2006”

+limited edition of 500 copies*

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Werner Durand - The Art of Buzzing (2004)

WERNER DURAND: The Art of Buzzing (Excuse the Delay Vol. 1)

The first solo release by sound artist Werner Durand, The Art of Buzzing was released recently on Podewil's new label X-Tract. Even if this is his debut CD, Durand has a long history (going on nearly 20 years) of integrating the use of resonators and buzzers with various instruments, either solo or in an ensemble (flutes, percussion, guitars, etc.). The first five tracks on this new CD were recorded between 1998 and 2000 in Berlin. For these recordings, Durand performs on superimposed PVC-Clarinets prepared with buzzing resonators, and an Iranian ney flute.
The results are stunning: dense drones with pulsing, buzzing, dizzying movements swarm with an intoxicating cadence. Recorded in multi-track, the sounds are sometimes treated with loops and delays, although the characteristics of the sounds themselves are not altered by filters and additional effects. In the track "Honey", which contains noisier, more machine-like drones than the other pieces, flower pots were used as resonators and tin-foil plates for the buzzing effects. Durand takes the concept of the "drone" and runs with it, his track titles implying the association of drones with bees, and indeed, the incessant buzzing of these pieces suggests the relentless activity in an immense hive. The sixth and final track was recorded between 1990 and 1995, and was mixed in collaboration with Ralf Wehowsky (RLW). This is perhaps the most varied of all the pieces, with a more noticeable presence of the ney flute, and carefully arranged layers of shifting, dynamic drones and strange resonating sounds. Durand's techniques are truly fascinating, his music even more so. Highly recommended. [Richard di Santo]

Werner Durand: Superimposed PVC-Clarinets with Buzzing Resonators & Iranian Ney
All tracks composed & recorded by Durand except #6, by W. Durand & Ralf Wehowsky
Recorded in 1998-2000 in Berlin
Released by X-Tract in 2004

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Joane Hétu - Castor et Compagnie (1995)

Joane Hétu - Castor et Compagnie (1995)
Cycle de Chansons d'amour

Joane Hétu signs here a first CD of her own music and texts, Castor et compagnie, with longtime accomplices Jean Derome, Diane Labrosse and Pierre Tanguay.

Castor et compagnie is a cycle of songs for lovers of senses, sense and sounds, noise and lyricism, pleasure and erotism. The lyrics were inspired by the vocabulary of Hindu erotic books, Arabic love games and a few saucy songs. The music is daring and energetic, made of turbulent atmospheres, evocative lullabies and even love songs.
Joane Hétu is best known as a member of early AM female supergroups Justine, Wondeur Brass and Les Poules. An inventive composer, improviser and saxophonist, Hétu has always been exploring and developing a musical style of her own: a harsh, guttural voice flirting with a modern lyricism tainted with original textures, strident sounds and atonal harmonies. She is at her best with this difficult, yet sensuous expression of poetry that has the intelligence of its music.

in Hollow Ear (USA), June 1, 1997

Joane Hétu, wondeur-brasser and composer has released another jarring adventure, Castor et Compagnie. This is her first “solo” recording, although she is joined by AM regulars Diane Labrosse (keys and accordion), Jean Derome (brass, woodwinds, percussion and effects), Pierre Tanguay (percussion) and some bass tracks from Luc Bonin. The beauty of all the music Hétu makes is its refusal to be described by genre or comparison: jazz, new classical, punk-funk, experimental noise; Stockhausen, Glass, Beefheart and Zappa all seem vaguely appropriate until you really listen. Castor et Compagnie adds another element, one of erotic romance. The texts that inspire these pieces come from Hindi love recipes, Arabic sex-play games and old ribald folk songs, and the music created around them is a rich mix of lush and lustful, one moment a Brazilian cliché, the next a raw revel or a scream. Her edgy, acidic voice plays hard against all of this, and she takes the most obvious themes and makes them her own in surprising ways.

Joane Hétu: sax alto, voice
Diane Labrosse: keyboards and accordion
Jean Derome: brass, woodwinds, percussion, tape
Pierre Tanguay: percussion

1. Pourquoi s’affoler
2. Capitaine
3. Ah! Les beaux jours
4. Histoire à dormir
5. Papillons de nuit
6. Chanson de l’oreiller
7. Fleurs éclatantes
8. Les épices
9. La rouquine

An early Valentine Juju gift.
Released by Ambiances Magnétiques in 1995.

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Ellery Eskelin & Han Bennink - Dissonant Characters (1999)

**That is the game in a nutshell, judging from these 10 innings. In the course of what sounds like chasing and being chased, each dives through a wide variety of sonic, textural and dynamic choices. But is is on the level of rhythm that the dance becomes more frenzied... Maybe it helps to know that Han and Ellery are both good chess players. Bennink favors an offensive game for sure. But Eskelin is conspicuously untraumatized, knowing that with Bennink the idea is not to steer the bull but to keep from being thrown. And Han, to his audible pleasure, discovers a rare, fully equipped improviser he can't scare off, wear out, bury or give the slip. Kevin Whitehead

**Given Han Bennink's reputation and no-nonsense attitude when it comes to improvising in a duet situation, most of his performances with American musicians lacked something. It's easy to see now what that something was: the full technical and/or soulful presence of the other player. In this duet with New Yorker Ellery Eskelin, Bennink has found as formidable an opponent in an American as he did in Sonny Rollins some years back. Over the course of ten improvisations, Eskelin and Bennink dig deeply into their basic-level knowledge about jazz and bring to the cutting room, where they slip around and chase each other through rhythmic, harmonic, and timbral rabbit holes. The title track, which serves in a way as a backdrop, or hinge, for the entire proceeding is a plethora of contradictions: consonance and dissonance, inside versus outside, to swing or not to swing, to play the blues or blow as freely as possible, and how often to shift gears. Bennink's slickness as a drummer makes him a huge obstacle for some as a duet partner because he never looks to do the same thing twice, and goes far out of his way to avoid any traps that might hem him in. Eskelin grew up and learned to swing first and then improvise. He has a deft sense of timing for a saxophonist. His own playing, whether in screeching arpeggios in a free mode ("Incontrario") or shifting gears and engaging the more pastoral side of melodic improvisation that roots itself in the blues ("Alias"), is rubbery, mutable, bendable, which makes him the perfect "singing" voice for Bennink -- witness this on the Monk contributions ("Sights Unseen/Brilliant Corners" and "Let's Cool One"). This is a lighthearted disc with heavy-duty jams on it. The playing is among Eskelin's finest -- which is saying a lot -- and is easily the finest of the recorded duets between Bennink and the Americans. A necessary addition to the duet library, or the fans of either man; this is one hot, smoking, gorgeous platter. Thom Jurek, AMG

**Tenor saxophonist Ellery Eskelin has always demanded a lot from his drummers. Having worked with some of the most virtuostic drummers alive, including Joey Baron and Jim Black, Eskelin has high standards for the rhythm section—because his unpredictable, angular phrasing demands immediate attention and a lightning response. Dutch master drummer Han Bennink, of course, has long been one of the most in-demand players on the European free improvisation scene. Bennink played on a number of wildly successful duet recordings, as well as a string of five inspired Clusone Trio records. Eskelin and Bennink got together in NYC in January 1997, almost by accident, as part of a series of Bennink duets with American improvisors. They liked the results of this meeting so much that they decided to get together again. So Eskelin and Bennink went to Switzerland last December to play together in the Kulak recording studio.The resulting product, Dissonant Characters, documents the sympathetic vibrations of two master improvisors who both thrive on the excitement of the unexpected. Outside the context of his usual composition-heavy trio, Eskelin appears to freely allow his muse to dictate the changes during play. Bennink moves from sporadic free tinkles to marching band drum beats in milliseconds, pushing and prodding Eskelin;s dry tenor throughout the hour of improvisation. A welcome addition to the growing heap of Eskelin material, Dissonant Characters presents two mature voices in active conversation at the peak of their powers. Nils Jacobson

1. Flutter
2. Dissonant Characters
3. Incontrario
4. Oloraz = (Barolo)
5. Alias
6. Bud + Shake
7. Sight Unseen/Brilliant Corners
8. No Pyrrhula, Pyrrhula (= Bullfinch)
9. Let's Cool One
10. Pro Tanto

All by Eskelin & Bennink except #7 & #9, by Monk
Recorded in Dec 1998 in Benkon, Switzerland.
Released in 1999 by Hat Hut Records in a limited edition of 3000 copies.

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Muslimgauze - Silknoose (1995)

Muslimgauze was the stage name of Bryn Jones (June 17, 1961 - January 14, 1999), an extremely prolific British electronic music artist, strongly influenced by everything to do with the Middle East.

Bryn Jones was not a practicing Muslim and never went to the Middle East. His recordings as Muslimgauze, however, qualified him as one of the Western artists most explicitly slanted in his favor of the Palestinian liberation movement. Since the Manchester-native's works were instrumental, most of the political statement was inherent in the packaging: Witness titles such as Fatah Guerrilla, Return of Black September, Hebron Massacre, Vote Hezbollah, United States of Islam and The Rape of Palestine. Jones could have been a potentially controversial figure if his releases were available in anything except severely limited editions -- usually less than one thousand copies of each. Despite their lack of prominence, Jones' blend of found-sound Middle Eastern atmospheres with heavily phased drones and colliding rhythm programs were among the most startling and unique in the noise underground.

The name Muslimgauze was derived from the word "muslin," which is a type of gauze, and changed into an adjective describing the area in which he was interested. He was a staunch supporter of Hamas and the PLO, and he believed Palestine should be "freed from the Zionists." Born in Manchester, England, United Kingdom, he never visited the Middle East, explaining, "I don't think you can visit an occupied land. It's the principle. Not until it's free again."


He first began making music in 1982, under the alias of E.g Oblique Graph, to protest the Israeli invasion of Lebanon. He released three cassettes and a 7" EP as E.g Oblique Graph: Extended Play (1982), Piano Room (1982), the 7" Triptych (1982), and Inhalt (1983). After he changed his name to Muslimgauze, he released a 7" EP (Hammer & Sickle), his first full-length LP (Kabul), and another cassette (Opaques) in 1983. In 1990, the Australian record label Extreme signed him, but he left in 1994 for Dutch label Staalplaat and its sister American label Soleilmoon because his albums were not being released as promptly as he had wanted, and he was also not receiving payment. Since he had put out seven releases since he signed, money was becoming a problem. His output was always very high. In 1995, he had six releases; in 1996, fifteen; in 1997, nine; in 1998, sixteen. After his death, the many record companies he had associated with released unreleased material and re-pressed older, out-of-print material. In 1999, the year of his death, twenty-two new (and old) albums and EPs on several media were released.

Strongly opposed to the use of computers and samplers in music, Jones always recorded his music with old analog equipment, which were never from the United States or Japan. He would record himself playing various Middle Eastern instruments and record voices of Middle Eastern people from old tapes. Jones's music was heavily percussive; a review of a rare live performance notes that Jones used a "backing DAT tape with pretty harsh, rhythmic textures, his sort of patented spiralling hypnotic beat, to which he played on two or three different drums with great skill." He never looped his music; it was all recorded live, and edited/mixed afterwards. The end result was often loud and staticky, with sudden changes in volume. Jones was never concerned with how many copies of his record were sold, or even how much listeners enjoyed his music, but rather how original his music was.


On Wednesday, December 30, 1998, Bryn was rushed to the hospital in Manchester with a rare fungal infection in his bloodstream, for which he had to be heavily sedated all the time. His body eventually shut down, and he died at 22:50 GMT on Thursday, January 14, 1999.


About Silknoose:
Ambient-industrial with Arabian tribal dance influences. According to some, one of Muslimgauze's most impressing works. Fifteen tracks of extraordinary dance floor propaganda. This is one of the albums where the variety is the main driving force: interspersed between the fast paced majority are some slower, lazy paced tracks. A very enjoyable album edging towards the harsher sounds of some later albums. Silknoose was released on cd by Daft Records (D1005 CD) in 1995. In a limited edition of 800 copies.

** thank you for the review, mr sangkoyo!


1 - Moslem Satellite Channel
2 - Gandhi Tentacle Song
3 - Your Arms, Our Opium
4 - Priyanka Tumdesh Chalao
5 - Memsahib Tea Emporium
6 - Qazi Hussain
7- Qazi Hussain (Re-Prize-Al)
8 - Myth And Tyrants
9 - Dish Poison
10 - Azure Taboosh
11 - Sheesh Mahal
12 - Amber Lake
13 - Moslem Satellite Channel
14 - Kalka Male
15- Memsahib Tea Emporium


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Chico Science / Nação Zumbi - Da Lama ao Caos (1994)

Chico Science Nação Zumbi's debut album represents a seismic shift in Brazilian music from the '60s tropicalia generation headed by Gilberto Gil, Milton Nascimento, and Caetano Veloso. Da Lama Ao Caos is a revelation, an organic fusion of the forceful maracatú rhythm from the Recife region delivered by massed surdo drums with overlays of metal-tinged hard rock or James Brown-style rhythm guitar, Chico Science's convincing rap vocals, and the creative sensibility of the dub/mix generation.


The opening monologue's twanging berimbau and pounding drums set the tone before sweeping seamlessly into the power chords married to funk-riffing attack on "Banditismo por Uma Questão de Classe." "A Praieira" is centered on a staggered riff that drops down into the parade drumming perfectly and "Côco Dub (Afrociberdelia)" is a savvy maiden voyage into dubwise sound science. The artfully layered arrangements and impeccable command of dynamics enables the group to shift gears from the funky "Samba Makossa" to the title track's heavy guitar without missing a beat. Lino Maia's guitar is savagely intelligent throughout, the fierce rhythmic undertow never lets up, and Chico Science's staccato vocal bursts fit the musical framework like a glove. Rarely can you point to an album as the definitive marker of a change in musical generations, but the new Brazil started with Da Lama Ao Caos.

1 - Monólogo ao Pé do Ouvido (Vinheta)
2 - Banditismo por Uma Questão de Classe
3 - Rios, Pontes & Overdrives
4 - A Cidade / Boa Noite do Velho Faceta (Amor de Criança)
5 - A Praieira
6 - Samba Makossa
7 - Da Lama ao Caos
8 - Maracatu de Tiro Certeiro
9 - Salustiano Song (Instrumental)
10 - Antene-se
11 - Risoflora
12 - Lixo do Mangue (Instrumental)
13 - Computadores Fazem Arte
14 - Côco Dub (Afrociberdelia)

Chico Science - Vocal
Lúcio Maia - Guitarra
Alexandre Dengue - Baixo
Toca Ogan - Percussão
Gilmar Bola 8 - Alfaia
Jorge dü Peixe - Alfaia
Gira - Alfaia Canhoto - Caixa

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A Gift to Ustad Allah Rakha - 75th Birthday

Alla Rakha Quereshi, born April 29, 1919, at Ratangarh, near Jammu in India, is one of the leading accompanists and tabla soloists of Hindustani music. He is also vocalist, harmonium player and composer. He rose to fame through his work as Ravi Shankar's accompanist in the 1960s and 1970s when Shankar's music was finding a new, international audience. Since record-keeping at the time of his birth tended to be hit-and-miss affairs -- often little more than a season or in proximity to a holy day -- his birth date is approximate, borne out by the fact that he celebrated his 75th birthday in Bombay on January 15, 1994.

Quereshi's musical interests were fueled by the traveling theatrical entertainments that would pass through the Jammu region, and eventually, he ran away from home to Lahore in present-day Pakistan. There he lived with his uncle and eventually took formal tuition; fortunately, his skills were recognized early on. Unusually, he studied under Mian Kadur Bukhsh for tabla and under Ashiq Ali Khan for voice. He went to work with All India Radio (AIR) at its Delhi location in 1936 with the famous broadcaster Z.A. Bokhari. He worked in other locations for AIR before leaving the company in 1943 for the movie industry where he composed and performed music to meet the insatiable demand for cinematic entertainment. In time he moved on to classical music. He was especially known for his work with two of the subcontinent's finest sitarists, having worked with both Vilayat Khan and Ravi Shankar. Alla Rakha went on to record extensively with Ravi Shankar. He also made a mark as a world class percussionist with his early East-West collaboration with American jazz drummer Buddy Rich on Rich à la Rakha (World Pacific WPS 21453) and the solo Tabla! (WPS 21458).

He remains one of the supreme percussionists of Northern Indian music and like his sons, Zakir
Hussain and Fazal Quereshi, he has given birth to a new style of tabla playing which has elevated the role of tabla player from the relatively lowly accompanist to soloist. Many listeners expect the flamboyance and panache of their cross-rhythms and compare other players' styles unfavorably to that of Alla Rakha and his sons. It is a relatively recent trend, fast becoming the norm. Exciting musically and visually arresting, it has been carbon dated to the 1960s and the emergence of a new wave of soloists bringing new levels of stagecraft to the concert podium. -- Ken Hunt, All Music Guide

A performance celebrating the approximate 75 years of the tabla master, joining father and sons in an unique display of immaculate rhythmic techinique. Allah Rakha would expire six years later and this was one of his last recordings.

1. Matt Taal: Ustad Allah Rakha solo
Sarangi Lahra Raag Khamaj
2. Rupak Taal: Zakir Husain & Fazal Quraishi
Sarangi Lahra Raag Saraswati
3. Sawari Taal: Zakir Husain solo
Sarangi Lahra Raag Chamapakali
4. Ek Taal: Ustad Allah Rakha & Zakir Husain
Sarangi Lahra Raag Maru Bihag
5. Teen Taal: Ustad Allah Rakha, Zakir Husain & Fazal Quraishi
Sarangi Lahra Raag Dhani

Sarangi accompainment by Ustad Sultan Khan

Recorded & released in 1994 by T-Series India

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V/A - State of the Union (1992)

STATE OF THE UNION

A Collection of 68 short works curated by Elliott Sharp. Avant, Jazz, Rock, Noise, and all the Downtown space between. A good overview of what (some) Popular Music sounded like before the bloody 90s.

_______________________________________________
1992#1

1. David Weinstein - Non-Verbal News (1:00)
2. Barbara Barg - Hey Geoge (1:00)
3. Borbetomagus & Voice Crack - Westworld (1:03)
4. Soldier String Quartet - Patchwork Quilt For Those Now Gone (0:55)
5. Margot Mifflin - Backlash (1:03)
6. Krackhouse - The Whole World Turned Upside Down (0:53)
7. Ikue Mori - Frankspeach/Tonge And Groove (0:59)
8. Anthony Coleman - Patches '91 (0:56)
9. God Is My Co-Pilot - Role Model (0:55)
10. Lois V. Vierk & Ngoneni Cele - Nkosi Sikelel 'l Africa (1:07)
11. Marc Ribot - Motherless Child (1:04)
12. Vicki Stansbury - African Spit Poems (0:58)
13. Gen Ken Montgomery - Keystone Model CC-16 (1:03)
14. John Zorn & Yamatsuka Eye - Cowlick Pussyman (1:07)
15. David Fulton - Overture For The 90's (1:06)
16. Nicholas Collins - Tropical Boubou (0:52)
17. Marc Sloan - Murk (1:21)
______________________________________
1992#2

18. Syd Straw - What I Heard (0:54)
19. David Linton - Land Du Lack (1:11)
20. Pamela Z - State (1:09)
21. Grafted Media Devil - A Minute To Pray (0:57)
22. Mofungo - Down He Looked, At Her Pocketbook (0:51)
23. Henry Kaiser - Moosylvania Perestroika Guitar Solo (0:59)
24. Mad Arab - The Cold Silent Treatment (1:04)
25. David Shea - Quiet Please! (0:54)
26. Alex Noyes - Vocalize (0:59)
27. Wanda Phipps & M. Doughty & Jonathan Maron - Marching To Euphoria (1:04)
28. Michelle Kinney - An Arrival (0:58)
29. Brian Karl - Inspirational Message (0:54)
30. Lee Ann Brown & Sarah Boyd Blair - The Of A The (0:59)
31. A Thousand Tiny Fingers - Ready, Set, Shred (1:09)
32. Leslie Ross - A New World Sympathy (0:54)
33. Hal Willner - Jerry's Hymn Of The Republic (1:13)
34. Shelley Hirsch - Hallucinogen (0:55)
_______________________________________
1982 #1

35. John Lurie - Good Morning Dear (1:05)
36. Felipe Orrego - One Minute (1:04)
37. Peter Blegvad & John Greaves - Like A Baby (1:01)
38 - Diana Meckley - A Small Motion (1:02)
39. Bill Obrecht - Cornered (1:09)
40. Pulsallama - May (1:44)
41. Bartok Liebermann - As Told To Andrew Zev Weinstein (0:35)
42. Michael Boom - Misery Loop (0:44)
43. Squat Theatre - Mr. Dead & Mrs. Free (1:28)
44. A.C. Chubb - Rough Translations Will Be Provided For The Ancient Inscriptions (0:50)
45. Gerry Lindahl - What's To Come (1:00)
46. Arto Lindsay & Toni Nogueira - Due Pay To (1:05)
47. Social Climbers - Standing In The Need Of Prayer (1:00)
48. Sonorexia - F Troop (0:57)
49. Tim Wright (2) - My Town (1:00)
50. Spalding Gray - Address (1:23)
51. Thi-Linh Le (w/ Laswell, Beinhorn, Skopelitis) - No Regrets (1:18)
______________________________________
1982 #2

52. Christian Marclay - Disc Composition #23 (1:07)
53. Adele Bertei - Baal (1:17)
54. Ivan Kupala - Discoration Of Independence (1:09)
55. Charles K. Noyes - Discrepancies (0:59)
56. Chris Vine - Terminal Activity (1:02)
57. Tuli Kupferberg - A Rant (1:20)
58. Sue Hanel - Agenda (1:06)
59. Butch Morris & Jessica Hagedorn - Crayon Bondage (1:13)
60. F.A. Nettelbeck & Wayne Horvitz - Beer Notation (0:40)
61. Martin Bisi & Victoria Galvez Bisi - Bear Dance (0:54)
62. Melody Sumner - The Time Is Now (1:02)
63. Marina La Palma - World Whirl (1:15)
64. Bob Holman & Vito Ricci - Panic DJ's State Of The Union (1:10)
65. Artless Time - Cherry Blossom (1:12)
66. Fred Frith & Tina Curran - I'm Still Here And I Know What Time It Is (1:06)
67. Patrick Sumner - Precious Chemicals And Dice (1:15)
68. Hi-Sheriffs Of Blue - HMZ (1:08)


Tracks 01-34 released in 1992.
Tracks 35-68 originally released in 1982.

Collection released by Muworks in 1993.

"ALL PROFITS DONATED TO NATIONAL COALITION AGAINST CENSORSHIP"

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Bravo Clippings #40

Ted Rall, No More Mr. Nice Guy, 06.03.2004

Sam Rivers - Fuchsia Swing Song (1965)

In the autumn of 1964 tenor saxophonist Sam Rivers spent two months on tour with the Miles Davis quintet. This was the group that, with the addition of Wayne Shorter, would become known as Davis’ “Second Great Quintet.” Miles found the young tenor man to be too “out there” for his group, influenced as he was by avant-gardists such as Eric Dolphy, Ornette Coleman, Albert Ayler, and Archie Shepp. Yet Rivers successfully mixed these influences with more traditional ones. His expansive tenor sound is reminiscent of blues and R&B players like Arnett Cobb or Albert Ammons, while his melodic and rhythmic conception indicate the influence of Sonny Rollins.

Fuchia Swing Song was recorded in December of 1964, and it features two-thirds of the Davis rhythms section: bassist Ron Carter and drummer Tony Williams, both of whom provide a modern, aggressive, yet sumptuously swinging base for Rivers to work off of. Pianist Jaki Byard, who began working with Charles Mingus in 1962, offers not only the chordal framework from which Rivers works, but also distinguishes himself by playing a variety of styles with equal aplomb as well as offering some deft solo work of his own.

Fuchia Swing Song is Rivers’ debut Blue Note recording, and it is a confident and sharp debut. All the pieces here are Rivers compositions, with the most well-known being “Beatrice,” dedicated to his wife. Other musicians have recorded the piece, but there has never been a better, more sensitive reading than here, and the solo work of Byard and Carter furthers the lyricism of the piece beautifully. Other standouts include the title track, a 32-bar structure that features the propulsive cross-accents of Tony Williams, helping Rivers build an intense, turbulent swirl of notes that eases back into a rollicking swing formation, as well as “Luminous Monolith,” which employs traditional chord changes but manages to sound modal.

Byard and Rivers are perfect for each other, as both are in complete command of their instruments and are aware of the traditions that other musicians have paved on them, but at the same time can propel those traditional sounds into the future. In addition, both possess loads of technique but never use or display it as an end in itself. Add to this the potent mix of Ron Carter and Tony Williams and you’ve got an album that sounds as modern, complex, beautiful, and hard-hitting as it did in 1964. The reissue of this CD should go a long way towards restoring interest in Rivers, which would be an excellent thing. Jazztitude.com

1. Fuchsia Swing Song
2. Downstairs Blues Upstairs
3. Cyclic Episode
4. Luminous Monolith
5. Beatrice
6. Ellipsis

Sam Rivers - Tenor Sax
Jaki Byard - Piano
Ron Carter - Bass
Anthony Williams - Drums

All compositions by Sam Rivers
Recorded in New Jersey, 21-5-1965.
Originally released by Blue Note in 1965.

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Bravo Clippings #39

The Ewing Clan would like to wish all Friends of Juju a petrolfying New Gregorian Year.

Orkest De Volharding - Trajekten (1992)

This CD celebrates 20 years of the Orkest de Volharding. In Holland's forgotten streets, in harbour areas, in community centres, you still come across the word: laundries, shipyards and workers' choirs still bear the proud name DE VOLHARDING - an echo from before the War, when socialism was not just a bitter necessity, but carried within the promise of a better world, a world which could only ever be achieved through unremitting VOLHARDING - "perseverance".

Orkest de Volharding was founded by the composer Louis Andriessen who created both a piece of music and a band to play it at the same moment. Andriessen's decision to name the new work De Volharding, with all its connotations, was no accident. The changes which they were trying to introduce were not restricted to music: they had a social dimension as well. It was 1971. De Volharding's aim was to clear away the barriers between composer and performer, between high and low culture, between the music of the concert hall and the music of the street.

Together with saxophonist Willem Breuker, Andriessen assembled an orchestra made up partly of jazz musicians, and partly of classically trained players. They made it a wind band, since the ensemble was often going to perform in the open air. The composer appeared as the pianist, and there was no conductor, because authority was anathema. Maarten Altena, Bob Driessen, Jan Wolff and others also joined in.

Twenty years later, one or two things have changed. Of the original group only three members remain. The orchestra no longer plays at demonstrations in the freezing cold. The music of Protest has disappeared from their repertoire, and since 1989 the orchestra has even had a conductor. With only a few exceptions, they continue to play mostly music which has been written specially for them, through a close interaction between musicians and composer.
The eight works on this recording provide a retrospective glance at the first 15 years of the Volharding repertoire, from a total of 130 compositions.



Short notes on the compositions:
Louis Andriessen's On Jimmy Yancey is a musical transplant of themes written by the pioneer of boogie-woogie piano. Misha Mengelberg's Dressoir explores the contents of a dresser, some movements having emerged during improvisations with Han Bennink. Vasques Dias' Balada do Amor Militante (Ballad of Militant Love) is based on a poem by Manuel Alegre. Van Manen's Trajekten (1981) quotes jazz, Stravisnky and early 20th century French music. Klas Torstensson's Jarn (Iron) is composed of 3 linked sessions "striving towards velocity and violence", while Van Zeeland's Lacune refers to "the void which still exists between the music of Stockhausen, Monk, Varèse and Zappa", using Zappa's and Stockhausen's paralell chords; Varèse's holding of a given sound; and Monk's shuttering motion. Janssen's Woeha explores the use of different tempos, working toward disintegration, and is a tribute to Hergè's and Tintin's dog. Louis Andriessen's Dat Gebeurt in Vietnam (This is happenning in Vietnam) uses, according to the composer, "elements from American gangster film music".

Musicians:

Dil Engelhard - Flute; Beatrice Driver - French Horn; Marteen van Norden - Saxs; Rutger van Norden - Saxs; Bob Driessen - Saxs, Clarinets; Reijer Dorrensteijn - Trumpet; Louis Lanzing - Trumpet; Anita van Soest - Trumpet; Willem van Soest - Trumpet; Carl Daleboudt - Trumpet (except 2 & 5); Johan de Meij - Trombone; Hans Visser - Bass Trombone; Jaap Dercksen - Piano; Sjeng Schupp - Double Bass, Bass Guitar, Cover Illustration; Cees van Zeeland - Conductor; Klas Torstensson - Conductor (on #5)

1. Louis Andriessen - On Jimmy Yancey (1973)
2. Misha Mengelberg - Dressoir (1977)
3. Amílcar Vasques Dias - Balada do Amor Militante (1981)
4. Willem van Manen - Trajekten (1981)
5. Klas Torstensson - Järn (1982)
6. Cees van Zeeland - Lacune (1984)
7. Guus Janssen - Woeha (1984)
8. Louis Andriessen - Dat Gebeurt in Vietnam (1972)

Recorded in October 1991 in Amsterdam.
Released by NM Classics - Radio Nederland Transcription Service in 1992

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