Jazz /
Conflagration
A well-regarded and influential group with saxophonist John Surman and two expatriate American musicians, bassist Barre Phillips and drummer Stu Martin.
Domino Concept For Orchestra
Eichenberger directs the musicians to change what they are doing, but not what to. The result is an hour-long performance with many changes, and surprises. Marianne Schuppe & Dorothea Schürch (voices), Carlos Baumann (trumpet), Paul Hubweber (trombone), Carl Ludwig Hübsch (tuba), Markus Eichenberger (clarinets), Dirk Marwedel (extended saxophones), Helmut Bieler-Wendt (violin), Charlotte Hug (viola), Peter K Frey & Daniel Studer (double basses), Frank Rühl (electric guitar) & Ivano Torre (percus…
Trio In Concert
Amazing music by one of the French piano legend Georges Arvanitas, in the company of George's fantastic rhythm duo of Charles Saudrais on drums and Jacky Samson on bass
Portraits
Portraits is a sprawling, ambitious work composed by bassist Barry Guy that brings together musicians from across the British jazz/improv spectrum, from free music luminaries Evan Parker, Paul Rutherford, and Phil Wachsmann to somewhat more jazz-based players such as Paul Dunmall and Trevor Watts. The album contains seven main "portraits," each distinct from the next, which are tailored to spotlight the various soloists as well as the different smaller working units contained within the larger 1…
Plie
The problem that besets British jazz - from Ray Noble and Ronnie Scott to Barbara Thompson and Andy Sheppard - is light-music, 'Radio 2' gentility; in Germany it is what Michael Kator (describing the results of the Nazi ban on "hot Jewish music") called "the bane of German jazz, the dreaded 'um-papa' sound". Here, four free music veterans from East Berlin (Ernst-Ludwig Petrowsky, alto; Ulrich Gumpert, piano; Connie Bauer, trombone; Günter Sommer, percussion) have decided to ease up, let some 'da…
Presents In The Midst Of Chaos
Recorded in 1978, In The Midst Of Chaos is this western CT free-jazz group's only release. It would become improv jazz sax player Paul Flaherty's 1st record, who, as a youth, was smitten by the world, it's creator and Pharoah Sanders. Chaos is also the only release of legendary guitarist Barry Greika, who, along with bassist Bob Laramie and drummer Glen 'Hobbit' Peterson, remain the most under - recorded trio in history. A screamin', howlin', blisterin', slap of a record that defies categorizati…
Duets 1987
Braxton concentrated heavily on duo performance during this period, and this was one of the happiest of his associations. ...warmly recommended.
Live Ghosts
With this album , the return of the Third Ear Band became reality mostly though the realization of an italian producer and label owner of Materiali Sonori and longtime fan. Two of the four original members regrouped and added Mick Carter on guitar which was to remain for many years to come and Alan Samuel on Violin but the fourth member will often change for future albums . But the music has not change after a 15 year stop, and we are right away plunged through the usual and quasi dronal music T…
Heavy Days Are Here Again
Leo Cuypers, pianist and composer from southern Holland, is one of the great unsung heroes of Dutch creative music -- as a bandleader, solo pianist and member of the first incarnation of the Willem Breuker Kollektief. Heavy Days Are Here Again was a project that brought Bennink and Breuker (who made the first ICP record, New Acoustic Swing Duo together as a twosome back in the 60s) back together after a somewhat fractious split, and reunited Buypers with Breuker as well. Cuypers named the group …
Accordance
Now here's an oddity, an album of compositions for and by a pair of accordionists; and, with the exception of a forte-piano here and a bayan or melodica there, accordions are all you hear. Guy Klucevsek is the man who single-handedly brought the accordion into the jazz underground. He is also a composer of note having his works performed by many ensembles around the world, including the Kronos Quartet and the Arditti String Quartet. Alan Bern is well-known as the musical director of Brave Old Wo…
Polka Dots & Laser Beams
1992 release ** Guy Klucevsek plays music by Steve Elson, Tom Cora, Guy Klucevsek, Joseph Kasinskas, Anthony Coleman, Daniel Goode, Nicolas Collins, Guy De Bievre, Robin Holcomb, Duke Ellington, Peter Garland, William Duckworth, Bobby Previte, Carl Finch. "Accordionist Guy Klucevsek was listening to a radio interview with Charles Mingus one day in the '70s. The interviewer asked Mingus about the racial divide in jazz and whether or not whites could create great, innovative jazz music. "Let the w…
?Who Stole The Polka?
1991 release ** Guy Klucevsek plays music by William Obrecht, David Garland, John King, Fred Frith, Peter Zummo, Bill Ruyle, Lois V. Vierk, Phillip Johnston, Thomas Albert, Carl Stone, Mary Jane Leach, David Mahler, Elliott Sharp, A. Leroy. ?Who Stole the Polka? is the second volume of pieces that accordionist Guy Klucevsek commissioned from composers ranging widely over the contemporary new music scene in the mid-'80s. For pure wicked fun, it probably exceeds its companion, Polka Dots and Laser…
Composition No. 174
2024 Stock. Minor signs of wear from long-time storage. A new side of ever surprising master composer/musician Anthony Braxton. A world premier performance by the Arizona State University Percussion Ensemble directed by Dr. J. B. Smith. Recorded Feb 6, 1994 in the Music Theatre at the Arizona State University School of Music, Temple, Arizona. The CD is accompanied by an 8-page booklet to lead you throught the labyrinth of Braxton's thinking.
Knitting Factory (Piano/Quartet) 1994, Vol.1
Anthony Braxton plays piano. Two discs, 10 jazz standards, over 75 minutes each disc. (Incidentally this is the first piece by Lennie Tristano on Disc 1). Marty Ehrlich on reeds, Joe Fonda on bass, Pheeroan AkLaff on drums.
Composition N.96
Recorded in 1981 by a 37-piece orchestra & dedicated to the master composer Karlheinz Stockhausen, this album is a key work in Braxton's music's evolution both on the structural & spiritual levels; features extensive notes by Graham Lock.
3ree
2007 release ** "Tanake is unexpected music, hearth lungs sweat (even brain but kept in a hidden place), is music mentally physic, is music physically mental, is twilight at dawn, bitter honey, fresh decomposition, joy in crying. tanake is music generated by her 3ree sweethearts... In the early days [by the way: in the first album "tsu.zu.ku" (2000) tanake meant to reach structure by means of improvisation, but time left the songwriter soul all alone, and tanake's been surrounded by the never en…
Duo (Wesleyan) 1994
A double CD documenting a complete concert at Wesleyan University in front of an appreciative audience. A 100-minute dialoge between a master percussionist And an amazing saxophonist who plays hos whole arsenal of saxophones And clarinet. Sit And watch how ideas are being born developed And brought to a close just to be started all over again.
2 Compositions (Jarvenpaa) 1988
How will Anthony Braxton be regarded 50 years from now, after the polemicists of today are dead and/or no longer interested, when something like an objective and knowledgeable evaluation of his work becomes possible? For all his undeniable brilliance as a composer, Braxton's seeming indifference toward the craft of composition will undermine his reputation to a significant degree. Which might not be fair, actually. Perhaps Braxton's problem is that he suffers from a condition virtually unprecede…
9 Standards (Quartet) 1993
Anthony Braxton opens this one with a blues on alto. And does he play the blues. Not the neat, buttoned-down, arrogantly self-possessed kind of blues that epitomized jazz in the '90s, but the dirty, lowdown, heavily expressionistic blues that hearkens back to the music's beginning -- a blues that communicates something more than just an attitude. It's not slick, it's not pretty, but it's eminently real. This double-disc set, recorded live at Wesleyan University with the quite capable straightahe…
11 Compositions (Duo) 1995
Here is another example of the remarkable versatility of Anthony Braxton. For this series of nearly eighty minutes of carefully arranged duets, Braxton performs on flute; contra-alto, contrabass, Bb, and soprano clarinets; and sopranino, alto, and F saxophones. Brett Larner joins him on traditional 13-string koto and 17-string bass koto. The combinations of sounds are utterly fascinating; the duo allures with deceptive simplicity. While some of the compositions lean toward familiar abstraction, …