30 December, 2010


Nucleus - Elastic Rock & We'll Talk About It Later (1970&71)

Nucleus - Elastic Rock & We'll Talk About It Later (1970&71)
jazz-rock | 2cd | eac-flac-cue-log-cover | 560MB
BGO Records
Elastic Rock (wikipedia):
Elastic Rock is Nucleus' first album and an essential creation in the crystallization of a new musical expression: Jazz fusion. In July 1970 the group presented the innovative compositions from the LP at the Montreux Jazz Festival, won the first prize and subsequently performed both at Newport Jazz Festival and at the Village Gate jazz club, paving the way for many other Jazz fusion ensembles that would appear in the 1970s.

We'll Talk About It Later (allmusic):
Although Nucleus made an acclaimed performance at the Newport Jazz Festival in 1970, the U.K. proto-fusionists never became particularly popular in the States, with much of their recorded output only available as import releases. In fact, in certain quarters Nucleus is known primarily as a source of musicians who joined the latter-day Soft Machine, itself a group that never moved too far beyond cult status. Composer/keyboardist/reedman Karl Jenkins, drummer John Marshall, bassist Roy Babbington, and guitarist Allan Holdsworth all played with Nucleus at one time or another, and all had moved over to the Soft Machine lineup by the time the Softs (with Mike Ratledge the only original remaining member of the band) issued Bundles in 1975. Nucleus' second album, 1970's We'll Talk About It Later, might be of particular interest to fans of Bundles-era Soft Machine given the presence of "Song for the Bearded Lady," a Jenkins composition that later appeared in altered form on Bundles as "Hazard Profile," a vehicle for one of Holdsworth's most stunningly fleet-fingered solos on record. "Song for the Bearded Lady" kicks off We'll Talk About It Later with a fanfare and funky unison and counterpoint riffing that segue into a spacious groove and Ian Carr trumpet solo echoing the influence of electric Miles from the same time period. Chris Spedding was the band's guitarist here, and one shouldn't expect Holdsworth-style pyrotechnics from him; Spedding was a blues-rocker more than a jazzer and generally took a back seat to the soloing skills of Carr, Jenkins, and New Zealand saxophonist Brian Smith (whose duet with drummer Marshall at the conclusion of "Easter 1916" -- inspired by the Yeats poem about the Irish nationalist uprising in Dublin -- approaches the wildness of some of the era's most incendiary free jazz).
The band is at its best when firing on all cylinders (the title track, for example), but the album's mood changes are for the most part effective; "Lullaby for a Lonely Child" is a lovely down-tempo ballad (who would've guessed from that title?) with an understated horn/sax line from Carr and Smith and atmospheric bouzouki from Spedding imparting a Mediterranean flavor. New millennial listeners might wish for a time machine to go back and tell this band to lose the occasional vocals, however. The uncredited singing in "Ballad of Joe Pimp" might seem laughably polite during the age of gangsta rap; this Joe Pimp sounds about as streetwise as Gilbert O'Sullivan of "Alone Again (Naturally)" fame. Still, the song seems prescient -- its tempo and instrumentation are akin to Pink Floyd's "Money," which appeared on the scene several years later. Given Carr's long trumpet and flügelhorn lines, Jenkins' probing oboe and funk-filled electric keyboards, Spedding's rockish wah-wah guitar, Smith's freewheeling sax work, and the powerful rhythmic foundation of drummer Marshall and bassist Jeff Clyne, this version of Nucleus should appeal to any fan of late-'60s/early-'70s fusion -- either the Soft Machine-esque Brit variety or the stateside explorations of the Miles Davis school. But We'll Talk About It Later shouldn't be viewed merely through the prism of other artists; Nucleus was an original band that deserves considerably more attention than it got for pioneering a form of jazz-rock that has, for the most part, aged quite well, and We'll Talk About It Later is a noteworthy release from a strong Nucleus incarnation. [In 1995, BGO Records re-released We'll Talk About It Later in a two-CD package that also included Nucleus' first album, Elastic Rock.]

Elastic Rock
-01. "1916" - 1:11
-02. "Elastic Rock" - 4:05
-03. "Striation" - 2:15
-04. "Taranaki" - 1:39
-05. "Twisted Track" - 5:17
-06. "Crude Blues, Part I" - 0:54
-07. "Crude Blues, Part II" - 2:36
-08. "1916: The Battle of Boogaloo" - 3:07
-09. "Torrid Zone" - 8:41
-10. "Stonescape" - 2:39
-11. "Earth Mother" - 0:51
-12. "Speaking for Myself, Personally, in My Own Opinion, I Think..." - 0:54
-13. "Persephones Jive" - 2:15

We'll Talk About It Later
-01. "Song for the Bearded Lady" - 7:23
-02. "Sun Child" - 5:17
-03. "Lullaby for a Lonely Child" - 4:18
-04. "We'll Talk About It Later" - 6:17
-05. "Oasis" - 9:48
-06. "Ballad of Joe Pimp" - 3:46
-07. "Easter 1916" - 8:49

* Karl Jenkins – oboe, baritone saxophone, electric piano, piano
* Ian Carr – trumpet, flugelhorn
* Brian Smith – tenor saxophone, soprano saxophone, flute
* Jeff Clyne – bass, electric bass
* John Marshall – drums, percussion
* Chris Spedding – acoustic guitar, electric guitar

29 December, 2010


Clifford Brown - With Strings (1955) (eac-log-cover)

Clifford Brown - With Strings (1955)
jazz | 1cd | eac-flac-cue-log-cover | 160MB
Verve Master Edition | 20-bit remaster
There are two schools of thought regarding this Clifford Brown with strings session (which has been reissued on CD). Brownie plays quite beautifully and shows off his warm tone on such numbers as "Portrait of Jenny," "Memories of You," "Embraceable You" and "Stardust." But on the other hand the string arrangements by Neal Hefti border on muzak and Brown never really departs from the melody. So the trumpeter's tone is the only reason to acquire this disc which to this listener is a slight disappointment, not living up to its potential.

-01. "Yesterdays" (Otto Harbach, Jerome Kern) – 2:59
-02. "Laura" (Johnny Mercer, David Raksin) – 3:26
-03. "What's New?" (Johnny Burke, Bob Haggart) – 3:23
-04. "Blue Moon" (Lorenz Hart, Richard Rodgers) – 3:13
-05. "Can't Help Lovin' Dat Man" (Oscar Hammerstein II, Kern) – 3:43
-06. "Embraceable You" (George Gershwin, Ira Gershwin) – 3:00
-07. "Willow Weep for Me" (Ann Ronell) – 3:24
-08. "Memories of You" (Eubie Blake, Andy Razaf) – 3:31
-09. "Smoke Gets in Your Eyes" (Harbach, Kern) – 3:14
-10. "Portrait of Jenny" (Irving Burgie, Jessie Mae Robinson) – 3:24
-11. "Where or When" (Hart, Rodgers) – 3:26
-12. "Stardust" (Hoagy Carmichael, Mitchell Parish) – 3:23


* Clifford Brown - trumpet
* Richie Powell - piano
* Max Roach - drums
* George Morrow - double bass
* Barry Galbraith - guitar
* Neal Hefti - arranger, conductor


RCA Living Stereo: Bartok - Concerto for Orchestra, etc (1959) (SACD)

RCA Living Stereo: Bartók - Concerto for Orchestra, Music for Strings.. , Hungarian Sketches (1959)
Fritz Reiner & Chicago Symphony Orchestra
classical | 1cd | eac-flac-cue-log-cover | 400MB
RCA | SACD 2004 | rel.: 2004
The Living Stereo SACDs are here, and they sound fabulous. Here is a case in point. Careful remastering outclasses all previous releases of this music, even when played back in standard stereo. In SACD format there seems to be a minimum of gimmickry at work: the Concerto for Orchestra is two-channel, the remaining works are three (right, left, and middle), with no attempt to artificially create a surround effect. Best of all, the hideous dropout at the climax of the first movement of Music for Strings, Percussion, and Celesta, present on all previous issues, has been repaired, while elsewhere the music leaps out of the speakers as if newly minted. Sonically this was not quite the best of the Reiner Living Stereo recordings, being just a bit lacking in body and bass compared with, say, the Pictures at an Exhibition--but by any measure it's still an impressive technical achievement for its era.
I also have never warmed to Reiner's recordings of the Concerto as others have, finding it a touch cold and lacking in personality, especially in the slow movement and finale. My reference recordings remain the sadly unavailable Kubelik/Boston (DG), the Bernstein (Sony), or the thrilling new Kocsis on Hungaroton (available in SACD multichannel format). But regardless of your personal preference, the playing of the Chicago Symphony is indisputably fantastic, and the two other works receive performances as close to definitive as makes no difference. Reiner's Music for Strings, Percussion, and Celesta, in particular, never has been surpassed in terms of sheer urgency and rhythmic bite. I can recommend this release unhesitatingly both to SACD fans and to those still listening in standard stereo. Nearly 50 years after its initial recording date (1955), the pleasures of listening haven't diminished a bit. Nice packaging too.

-01-05. Concerto For Orchestra 37:19
-06-09. Music For Strings-Percussion-Celesta 27:51
-10-14 Hungarian Sketches 10:45

01-05: recorded in 1955;
06-14 recorded in 1958

28 December, 2010


Coleman Hawkins - The Hawk In Hi-Fi (1956) (eac-log-cover)

Coleman Hawkins - The Hawk In Hi-Fi (1956)
with Billy Byers and his orchestra
jazz | 1cd | eac-flac-cue-log-cover | 260MB
Bluebird | 2001 remaster
In January 1956, veteran tenor saxophonist Coleman Hawkins recorded a dozen songs, eight with a string orchestra and four accompanied by a big band, all arranged by Billy Byers. Hawkins is the main soloist throughout the CD reissue, and he was still very much in his prime 33 years after he first joined Fletcher Henderson's orchestra; in fact, the upcoming 1957 would be one of his finest years. However, Byers' arrangements are more functional than inspired, and some of these selections are more easy listening than they are swinging. Still, there are some strong moments (particularly on "The Bean Stalks Again" and "His Very Own Blues") and, although not classic, this is a pleasing release, augmented by nine previously unreleased alternate takes, all but one of which are complete.

-01 "Body and Soul" Eyton, Green, Heyman, Sour 5:00
-02 "Little Girl Blue" Hart, Rodgers 3:04
-03 "I Never Knew" Fio Rito, Kahn 3:07
-04 "Dinner for One Please, James" Carr 3:12
-05 "The Bean Stalks Again" Hawkins 3:25
-06 "His Very Own Blues" Hawkins 3:03
-07 "The Day You Came Along" Coslow, Johnston 4:10
-08 "Have You Met Miss Jones?" Hart, Rodgers 3:06
-09 "The Essence of You" Hawkins 3:30
-10 "There Will Never Be Another You" Gordon, Warren 3:01
-11 "I'm Shooting High" Koehler, McHugh 2:36
-12 "Bean and the Boys (39 "-25 "-39 ")" Hawkins 2:52
previously unreleased bonus tracks:
-13 "There Will Never Be Another You" Gordon, Warren 3:23
-14 "There Will Never Be Another You" Gordon, Warren 3:26
-15 "Little Girl Blue" Hart, Rodgers 3:09
-16 "Dinner for One Please, James" Carr 3:17
-17 "I Never Knew" Fio Rito, Kahn 3:18
-18 "Have You Met Miss Jones?" Hart, Rodgers 3:10
-19 "Have You Met Miss Jones?" Hart, Rodgers 3:20
-20 "Have You Met Miss Jones?" Hart, Rodgers 2:38
-21 "The Day You Came Along" Coslow, Johnston 3:15

27 December, 2010


Can - Delay (1968) (2007 remaster) (eac-log-cover)

Can - Delay (1968)
rock | 1cd | eac-flac-cue-log-cover | 270MB
Spoon | 2007 remaster
Although recorded in the late '60s, the material included on Can's Delay...1968 did not appear commercially until 1981. A collection of cuts featuring early vocalist Malcolm Mooney, these seven songs are among the very first Can tunes ever recorded; while nowhere near as intricate or assured as the group's later work, the visceral energy of tracks like the deranged "Uphill" and "Butterfly" is undeniable.

-1. "Butterfly" 8:20
-2. "Pnoom" 0:26
-3. "Nineteen Century Man" 4:26
-4. "Thief" 5:03
-5. "Man Named Joe" 3:54
-6. "Uphill" 6:41
-7. "Little Star of Bethlehem" 7:09
Total length: 35:48

* Holger Czukay – bass
* Michael Karoli – guitar
* Jaki Liebezeit – drums, percussion
* Irmin Schmidt – keyboards
* Malcolm Mooney – vocals

25 December, 2010


Hank Mobley - Sextet (With Donald Byrd & Lee Morgan) (1956)

Hank Mobley - Sextet (With Donald Byrd & Lee Morgan) (1956)
jazz | 1cd | eac-flac-cue-log-cover | 150MB
Toshiba TOCJ-1540 limited edition | 20-bit/88kHz remaster
This recording is a great example of Mobley's solid work for Blue Note in the 1950s. This particular session, recorded on 25 November 1956, features Mobley with Donald Byrd, Lee Morgan, Horace Silver, Paul Chambers, and Charlie Persip. That lineup alone should be reason enough for buying this CD. The playing is crisp and fluid, with the two trumpeters playing in unison frequently before breaking off into their focused, emotionally charged solos. The interplay between Morgan and Byrd on "Double Whammy" and "Mobleymania" is wonderful, as is Mobley's tenor playing throughout the entire disc. This is some really solid hard bop.

-1. "Touch and Go" - 9:17
-2. "Double Whammy" - 8:11
-3. "Barrel of Funk" - 11:20
-4. "Mobleymania" - 8:28
All compositions by Hank Mobley
* Recorded at Rudy Van Gelder Studio, Hackensack, NJ, November 25, 1956

* Hank Mobley: tenor saxophone
* Donald Byrd: trumpet
* Lee Morgan: trumpet
* Horace Silver: piano
* Paul Chambers: bass
* Charlie Persip: drums

23 December, 2010


Pharoah Sanders - Thembi (1971) (eac-log-cover)

Pharoah Sanders - Thembi (1971)
jazz | 1cd | eac-flac-cue-log-cover | 300MB
Impulse! | 20-bit SBM
Recorded with two different ensembles, Thembi was a departure from the slowly developing, side-long, mantra-like grooves Pharoah Sanders had been pursuing for most of his solo career. It's musically all over the map but, even if it lacks the same consistency of mood as many of Sanders' previous albums, it does offer an intriguingly wide range of relatively concise ideas, making it something of an anomaly in Sanders' prime period. Over the six selections, Sanders romps through a tremendous variety of instruments, including tenor, soprano, alto flute, fifes, the African bailophone, assorted small percussion, and even a cow horn. Perhaps because he's preoccupied elsewhere, there's relatively little of his trademark tenor screaming, limited mostly to the thunderous cacophony of "Red, Black & Green" and portions of "Morning Prayer." The compositions, too, try all sorts of different things. Keyboardist/pianist Lonnie Liston Smith's "Astral Traveling" is a shimmering, pastoral piece centered around his electric piano textures; "Love" is an intense, five-minute bass solo by Cecil McBee; and "Morning Prayer" and "Bailophone Dance" (which are segued together) add an expanded percussion section devoted exclusively to African instruments. If there's a unifying factor, it's the classic title track, which combines the softer lyricism of Sanders' soprano and Michael White's violin with the polyrhythmic grooves of the most Africanized material (not to mention a catchy bass riff). Some fans may gripe that Thembi isn't conceptually unified or intense enough, but it's rare to have this many different sides of Sanders coexisting in one place, and that's what makes the album such an interesting listen.

-1. Astral Travelling (5:48)
-2. Red, Black & Green (8:56)
-3. Thembi (7:02)
-4. Love (5:12)
-5. Morning Prayer (9:11)
-6. Bailophone Dance (5:43)

Personnel and Recording Details:
Tracks 1-4 recorded at The Record Plant, Los Angeles, CA, November 25, 1970. Track 4 is an unaccompanied bass solo.
* Pharoah Sanders - tenor sax, soprano sax, bells, percussion
* Michael White - violin, percussion
* Lonnie Liston Smith - piano, electric piano, claves, percussion
* Cecil McBee - bass, finger cymbal, percussion
* Clifford Jarvis - drums, maracas, bells, percussion
* James Jordan - ring cymbal -3
Tracks 5-6 recorded at the Record Plant, New York City, January 12, 1971.
* Pharoah Sanders - tenor sax, alto flute, koto, brass bells, balaphone, maracas, cow horn, fifes
* Lonnie Liston Smith - piano, ring cymbal, shouts, balaphone
* Cecil McBee - bass, bird effects
* Roy Haynes - drums
* Nat Bettis, Chief Bey, Majid Shabazz, Anthony Wiles - African percussion

22 December, 2010


Red Garland - The P.C. Blues (1957) (eac-log-cover)

Red Garland  - The P.C. Blues (1957)
jazz | 1cd | eac-flac-cue-log-cover | 210MB
This CD is a reissue of P.C. Blues, a trio album from 1957 that features pianist Red Garland with bassist Paul Chambers (the "P.C." in the title) and drummer Art Taylor. In addition to the four original titles (which are highlighted by a sensitive version of "Lost April" and the lengthy "Tweedle Dee Dee"), Garland's feature on a 1956 Miles Davis record, "Ahmad's Blues" (which features him with Chambers and drummer Philly Joe Jones), adds to the value of this thoughtful but swinging release.

1. Ahmad's Blues 7:24
2. Lost April 6:23
3. Was I Born? 5:45
4. Tweedle Dee Dee 13:16
5. The P.C. Blues 9:51

*Red Garland (piano);
*Paul Chambers (bass);
*Art Taylor, Philly Joe Jones (drums)

21 December, 2010


Tom Waits - Romeo Bleeding: Live from Austin (1978) (music video)

Tom Waits - Romeo Bleeding: Live from Austin (1978)
rock | DVD5 NTSC | DD 2.0; 5.1; DTS 5.1 | iso, cover | 3700MB
NTSC/Region 0. 2009 archive release of this 1978 live set from the eccentric and eclectic American singer/songwriter, recorded live in Austin. Includes 'On The Nickel', 'Romeo Is Bleeding' and more. Immortal.
Customer Reviews
Great performances here, especially on the Nickel. It's interesting to compare this with some earlier performances, you can see he was starting to push himself away from the drunken street poet persona of his first few records. I don't know why Tom doesn't release more of his live stuff on video (Big Time is still not available on DVD)anyway it makes these old recordings a real treasure.
"A Tom Waits dvd for under ten bucks?!!,well I've got a little fun money to waste so....sure,besides if it sucks I'm not out a fortune." is what I said and I was happily surprised.I don't know but this may be legitimate product the cover is the only thing that gave me pause(Big Time photo for the Blue Valentine tour?).Its a pro shot great sounding concert that any Waits fan will enjoy.

-1. Summertime / Burma-Shave
-2. Annie's Back In Town / I Wish I Was In New Orleans / Ain't Gonna Rain
-3. A Sweet Little Bullet From A Pretty Blue Gun
-4. On The Nickel
-5. Romeo Is Bleeding
-6. Silent Night / Christmas Card From A Hooker In Minneapolis
-7. Small Change / Hey, Big Spender / Small Change

20 December, 2010


Gong - Flying Teapot (The Radio Gnome Invisible pt 1) (1973)

Gong - Flying Teapot (The Radio Gnome Invisible pt 1) (1973)
rock | 1cd | eac-flac-cue-log-cover | 220MB
SI-WAN Records SRMC 4007
Produced by Giorgio Gomelsky, notable for his work with the Yardbirds, Brian Auger, and Magma, this relatively early Gong project is a great representation of the Daevid Allen-era Gong. Though not as intricate as its follow-up companion piece, Angel's Egg, The Flying Teapot is more of a true prog/space rock outing, where hippie-trippy lyrics and space whispering abound, as evidenced in the opening track, "Radio Gnome Invisible." The following cut, "Flying Teapot," is the sprawling highlight of the album. At times reminiscent of some early Weather Report jams, though not as jazzy, the tune features prominent bass, standout percussion/drums, and space whispering courtesy of Smyth. Improvisational groaning and percussion bring this jam to a close. "Pothead Pixies" is a fun pop (pot?) tune which probably received very little, if any, airplay due to the lyrics, followed by Blake's brief synth interlude, "The Octave Doctors and the Crystal Machine." "Zero the Hero and the Witch's Spell," another lengthy composition, features Malherbe's sax playing, which, at this early point in the Gong evolution, is credited for most of the jazz sounds heard in the music (remember, Pierre Moerlen has yet to join the band). This cut becomes quite heavy near its end before making a clever transition into the final cut, "Witch's Song/I Am Your Pussy." Here you hear Smyth's strange, sexually explicit lyrics, which she embellishes with ethereal voicings and cackling. This, combined with a jazzy sax from Malherbe and some very groovy musical lines near the closing, make for another fun tune.

-1. "Radio Gnome Invisible" (Allen) - 5:30
-2. "Flying Teapot" (Allen/Moze) - 12:30
-3. "The Pot Head Pixies" (Allen) - 3:00
-4. "The Octave Doctors & The Crystal Machine" (Blake) - 2:00
-5. "Zero The Hero & The Witch's Spell" (Allen/Blake/Tritsch) - 9:45
-6. "Witch's Song/I Am Your Pussy" (Smyth / Allen) - 5:10

The original personnel listing is as follows:
* PON voicebox - Dingo Virgin & Hi T Moonweed the favourite
* Orgone box & space whisper - the Good Witch Yoni
* VCS 3box Cynthia size A & crystal machine - Hi T Moonweed the favourite
* Split sax ie tenna & soprasax & so flooth - The Good Count Bloomdido Bad De Grass
* Gitbox - Stevie Hillside (spermguitar & slow whale), The Submarine Captain (sideral slideguitar & Dogfoot), Dingo Virgin & others (aluminium croonguitar & stumblestrum)
* VCS3 fertilised elect piano & left bank uptightright pno & Shakesperian meat bass - Francis Bacon
* Drumbox kicks and knocks - Lawrence the alien
* Congox - Rachid Whoarewe the Treeclimber
* Road crew & trux - Venux De Luxe
* Switch doctor - Wiz De Kid LIGHTS & Duke

These pseudonyms, in turn represented:
* Daevid Allen - vocals, guitar
* Gilli Smyth - vocals
* Tim Blake - keyboards, vocals
* Didier Malherbe - saxes, flute
* Steve Hillage - guitar
* Christian Tritsch - guitar
* Francis Moze - keyboards, bass
* Laurie Allan - drums
* Rachid Houari - percussion

19 December, 2010


Yusef Lateef - The Blue Yusef Lateef (1968) (eac-log-cover)

Yusef Lateef - The Blue Yusef Lateef (1968)
jazz | 1cd | eac-flac-cue-log-cover | 220MB
Atlantic Masters
Though there is some confusion about what happened to the 32 Jazz label, producer Joel Dorn's other project, his label M, is following closely in its footsteps; unique packaging and a wealth of fine material licensed from Dorn's years as a jazz producer at Atlantic Records seems its sole M.O.. On The Blue Yusef Lateef, listeners get an amazing chapter from the late '60s, an amazing period when everything in the world of jazz was changing. Lateef was big on concept recordings. He and Dorn did no less than ten during their tenure together at Atlantic. This one examines, in a painterly way, all the different ranges of emotion contained within the blues genre. With a band that included Detroit jazz gods Roy Brooks on drums and Kenny Burrell on guitar, Blue Mitchell on trumpet, Hugh Lawson on piano, Sonny Red on alto, Bob Cranshaw on electric bass, and a very young Cecil McBee on acoustic bass, you get the idea that Lateef was after something different. Lateef performs on not only his tenor and flute, but bamboo and pneumatic flutes, tamboura, koto, and others; Lateef was exploring the outer reaches of the blues as they might appear and appeal to Eastern as well as Western cultures. From the opening moments in "Juba Juba," everything comes in one package -- the slow, snaky groove only the blues can provide, with the Eastern scale modalities and polyphony attached via Lateef's flute and Brook's percussion. But before becoming too ethereal, Mitchell chimes in with a barrelhouse muted trumpet and Buddy Lucas wails a shuffle on harmonica. There is also an unidentified female gospel chorus humming in the background -- reminiscent of the Staples at their spookiest. Next up is the even-more Eastern-tinged "Like It Is," sounding like it was left off "Blues from the Orient." Lawson's minor key explorations and Brooks' spontaneous actions with a variety of percussion instruments usher in a groove that only Lateef could create. It is very slow, harmonically complex, and lush in a manner that suggests exotica sans the corniness of Les Baxter. It quietly roars with a melodic polytonality courtesy of Lateef's tenor, joined by Lawson's striking mode changes in his solo. Then comes the barrelhouse romp of "Othelia," the Japanese psychedelia of "Moon Cup," and the samba-fied bluesiana of "Back Home," citing Afro-Cuban pop Machito arrangements inside a Brazilian carnival-chant created of vocal overtones and greasy rhythms. You get the picture. The Blue Yusef Lateef is one wild album. In sound, it is the very best the '60s had to offer in terms of experimentation and accessibility. This is blues you can dance to, but also meditate to and marvel at; a pearl worthy of the price.

-01 Juba Juba 4:20
-02 Like It Is 7:32
-03 Othelia 4:31
-04Moon Cup 3:16
-05 Back Home 4:59
-06 Get Over, Get Off And Get On 3:41
-07 Six Miles Next Door 4:41
-08 Sun Dog 3:05


*Bass - Cecil McBee
*Bass [Fender] - Bob Cranshaw
*Drums - Roy Brooks
*Guitar - Kenny Burrell
*Harmonica - Buddy Lucas
*Piano - Hugh Lawson (tracks: 1-8)
*Saxophone [Alto] - Sonny Red
*Saxophone [Tenor], Flute, Flute [Pneumatic], Flute [Bamboo], Instruments [Shannie], Tambura [Tamboura], Koto [Taiwan], Percussion [Scratcher] - Yusef Lateef
*Trumpet - Blue Mitchell
Original album recorded at RCA Studios, New York, N.Y., April 23, 1968 (tracks 1-3) & April 24, 1968 (tracks 4-8).

18 December, 2010


Fred Frith - Gravity (1980) (eac-log-cover)

Fred Frith - Gravity (1980)
rock, avantgarde | 1cd | eac-flac-cue-log-cover | 410MB
ESD 80452
This one of the most important guitar-based, experimental guitar titles from the avant-guitarist and founding Henry Cow member Fred Frith. Gravity is the most lighthearted of Frith's solo output, actually. It is Frith's celebration of dance from all cultures. Perhaps it is the streak of dance-music appreciation that caused him to collaborate on the musical score to Sally Potter's The Tango Lesson. Percussion is light and largely marked with handclaps. The guitars sound twangy and bring folk instrumentation to mind. Violins and horns add a jubilant feel to the music. Many musicians help vary the sound of each track and some of these guests are from Samla Mammas Manna, the Muffins, and Henry Cow. Gravity is an entertaining and multicultural pocket folk festival.

-01. "The Boy Beats the Rams (Kluk Tluce Berany)" – 4:54
-02. "Spring Any Day Now" – 3:04
-03. "Don't Cry For Me" – 3:28
-04. "The Hands of the Juggler" – 5:31
-05. "Norrgården Nyvla" – 2:54
-06. "Year of the Monkey" – 4:11
-07. "What a Dilemma" – 3:11
-08. "Crack in the Concrete" – 1:24
-09. "Come Across" – 2:47
-10. "Dancing in the Street" (Gaye, Stevenson, Hunter) – 3:20
-10b "My Enemy is a Bad Man" – 1:22
-11. "Slap Dance" – 2:32
-12. "A Career in Real Estate" – 4:42
-13. "Dancing in Rockville Maryland" – 3:04
Bonus tracks on CD re-issue
-14. "Waking Against Sleep" – 2:08
-15. "Terrain" – 3:50
-16. "Moeris Dancing" – 5:03
-17. "Geistige Nacht" – 5:18
-18. "Life at the Top" – 1:40
-19. "Oh Wie Schon Ist Panama!" – 5:02

* Fred Frith – guitar, bass guitar, violin, extra percussion
* Samla Mammas Manna:
o Lars Hollmer – piano, organ, accordion
o Hans Bruniusson – drums
o Eino Haapala – guitar, mandolin
* Marc Hollander – alto saxophone, clarinet
* Olivia Bruynhooghe – tap dancing, clapping
* Chris Cutler – snare drum and maracas (track 3), clapping
* Tina Curran – whirling, clapping
* Catherine Jauniaux – whirling, clapping
* Frank Wuyts – recorders (track 6), whirling, clapping
* Michel Berckmans – clapping
* Etienne Conod – clapping
* Denis van Hecke – clapping
* Veronique Vincent – clapping
Recorded at Norrgården Nyvla in Uppsala, Sweden and at Sunrise Studios, Kirchberg, Switzerland in August 1979.
* Fred Frith – guitar, bass guitar, violin, keyboards, drums
* The Muffins:
o Dave Newhouse – alto saxophone, organ
o Thomas Scott – soprano saxophone
o Paul Sears – drums
o Billy Swann – bass guitar
* Marc Hollander – alto saxophone, bass clarinet
* Hans Bruniusson – drums
* Tina Curran – subliminal bass guitar
* Frank Wuyts – drums
Recorded at Catch-a-Buzz Studio, Rockville, Maryland, United States in November 1979 and at Sunrise Studios, Kirchberg, Switzerland in January 1980.
Bonus tracks on CD re-issue
* Fred Frith – bass guitar, guitar, violin, keyboards, drums, percussion
* Marc Hollander – soprano saxophone (track 18)
* Chris Cutler – drums (tracks 15-18)
* Frank Wuyts – synthesiser (track 18)
* Michel Berckmans – oboe, bassoon (track 18)
* Denis van Hecke – cello (track 18)
* Lindsay Cooper – bassoon, oboe (tracks 15,16)
* Tim Hodgkinson – alto saxophone (track 15)
* Annemarie Roelofs – trombone (track 15)
* Dagmar Krause – voice (track 17)
* Tom Cora – bass guitar, percussion (track 19)
* Track 15 recorded at Sunrise Studios, Kirchberg, Switzerland in July–August 1978
* Track 16 recorded at Kaleidophon, London in March 1978
* Track 17 recorded at Sunrise Studios, Kirchberg, Switzerland in January 1978
* Track 18 recorded at Sunrise Studios, Kirchberg, Switzerland in January 1979
* Track 19 recorded at Sunrise Studios, Kirchberg, Switzerland in January 1984
* Track 20 recorded at Noise, New York City in September 1988

17 December, 2010


Bill Evans - Affinity (1978) (eac-log.cover)

Bill Evans - Affinity (1978)
jazz | 1cd | eac-flac-cue-log-cover | 280MB
Pianist Bill Evans (who doubles on electric piano on this album for the final time in the recording studio) welcomes guest harmonica player Toots Thielemans and Larry Schneider (on tenor, soprano and alto flute) to an outing with bassist Marc Johnson (making his recording debut with Evans) and drummer Eliot Zigmund. The material contains some surprises (including Paul Simon's "I Do It for Your Love" and Michel Legrand's "The Other Side of Tonight") and only two jazz standards ("Body & Soul" and "Blue and Green") with the latter being the only Evans composition. Excellent if not essential music that Evans generally uplifts.

-1. "I Do It for Your Love" (Paul Simon) – 7:16
-2. "Sno' Peas" (Phil Markowitz) – 5:51
-3. "This Is All I Ask" (Gordon Jenkins) – 4:14
-4. "Days of Wine and Roses" (Henry Mancini, Johnny Mercer) – 6:40
-5. "Jesus' Last Ballad" – 5:52
-6. "Tomato Kiss" – 5:17
-7. "The Other Side of Midnight (Noelle's Theme)" (Michel Legrand) – 3:17
-8. "Blue in Green" (Miles Davis, Bill Evans) – 4:09
-9. "Body & Soul" (Edward Heyman, Robert Sour, Frank Eyton, Johnny Green) – 6:16
All songs by Bill Evans unless otherwise noted.

* Bill Evans – piano, keyboards
* Marc Johnson – bass
* Eliot Zigmund – drums
* Larry Schneider – flute, tenor saxophone, alto saxophone
* Toots Thielemans – harmonica

15 December, 2010


Pepper Adams - 10 to 4 at the 5 Spot (1958) (eac-log-cover)

Pepper Adams - 10 to 4 at the 5 Spot (1958)
jazz | 1cd | eac-flac-cue-log-cover | 220MB
In 1958, Pepper Adams and Donald Byrd were pivotal members of a sextet led by Chicago tenor saxophonist Johnny Griffin. They also formed their own quintet with fellow Detroiters Doug Watkins and Elvin Jones, and the then-rising star Bobby Timmons as the fifth wheel. This album, one of the first club dates recorded for the Riverside label, may have presented logistic problems with the acoustics, mic placements, and reel to reel tape technology, but there were no such issues with the extraordinary music contained on this effort. A tight, in tune and exciting ensemble, Adams and Byrd laid it all out for this single 39-minute set of modern jazz at the Five Spot Café in New York City. The symmetry between the witty and raw baritone sax of Adams and Byrd's stirring and sometimes strained trumpet is the stuff of legends, and the hallmark of the bop to hard bop era. Contained on this album are two definitive all-time great selections -- "The Long Two/Four" and especially "Hastings Street Bounce" -- the former with a march intro from Jones setting up a sharp staccato hard line melody with trumpet fills and the precise comping of Timmons, the latter a definitive groovy soul strut shuffle with one of the more hummable and memorable melodies ever, both pieces featuring rousing solos, and both tracks over ten minutes of jam power. Their theme "'Tis" penned by Thad Jones is a short, clipped unison bop which is a bit off minor, and showcases the unique instrumental voices of the frontmen. "Yourna," written by Byrd, and the standard "You're My Thrill" are the ballads tossed in for good measure and they showcase a yearning trumpet or somber pining baritone respectively. There's a palpable sense of democracy, shared values, and above all, balance in this band of expert modern jazz pioneers. It's a keeper, and one of the best recordings of any band in this era. The liner notes written by producer Orrin Keepnews suggests this was a "full night's work," perhaps for him and the band, as the "10 to 4" represents their time on the bandstand -- with breaks -- from 10 p.m. to 4 a.m. This gig reportedly lasted for nearly two months during the spring of 1958, so isn't there anything else in the can to supplement what is here?

-1 'Tis (Theme) 5:42
-2 You're My Thrill 4:55
-3 The Long Two/Four 10:27
-4 Hastings Street Bounce 11:08
-5 Yourna 7:00

*Baritone Saxophone - Pepper Adams
*Bass - Doug Watkins
*Drums - Elvin Jones
*Piano - Bobby Timmons
*Trumpet - Donald Byrd (tracks: 1, 3 to 5)

14 December, 2010


Residents - Hunters (1995) (eac-log-cover)

Residents - Hunters (1995)
rock, avantgarde, soundtrack | 1cd | eac-flac-cue-log-cover | 320MB
This is the soundtrack of music for Animal Planet created by our eyeball buddies. It's about time commercial programs besides Pee Wee's Playhouse discovers and utilizes the unlimited talent posessed by our mysterious musicians!
Listen to this album with your eyes closed and let your mind wander. Discover in your own head scenarios of Hunters-Hunted that the music evokes in you.
This surely makes for an interesting combination! I really wasn't sure what you would get when you combine an excellent avant-garde band with the Discovery Channel, but the results are pretty good. Apparently, this album was recorded by the Residents for a Discovery Channel documentary of some sort. I haven't actually seen the program, but I'm sure that this music would most definitely compliment it.
The Residents do a fantastic job incorporating tribal tones with their already established avant-garde way of doing things. The tracks all flow together very nicely, as the album itself is very thematic. This album is also the most accessible Residents' album I have heard so far. There are no out-there weird vocals (actually no vocals at all!!!) or aspects of bizarre compistion and structure. The album is altogether very tame and fits along well with "jungle" themes and ideas.
This isn't a Residents album to start out with, but every fan should look into checking this album out. The final product is actually much better than you would think. Although I like this album, I think it's for Residents' fans only, so I have to award it two stars, but like I said, anyone interested, should check this album out.

-01. Hunters Prelude (0:49)
-02. The Deadly Game (4:47)
-03. Tooth and Claw (5:12)
-04. The Dangerous Sea (4:49)
-05. Rulers of the Deap (5:06)
-06. Track of the Cat (5:16)
-07. The Giant Grizzlies (6:27)
-08. Dawn of the Dragons (5:50)
-09. Eye of the Serpent (6:49)
-10. The Crawling Kingdom (6:30)
-11. The Savage Pacl (6:28)
-12. Hunters Reprise (1:02)

13 December, 2010


Stephane Grappelli & McCoy Tyner - One On One (1990)

Stephane Grappelli & McCoy Tyner - One On One (1990)
jazz | 1cd | eac-flac-cue-log-cover | 190MB
Violinist Stephane Grappelli, although a veteran of the swing era, has always kept an open mind toward newer styles even while he has retained his own sound and veteran repertoire. This duet set with pianist McCoy Tyner might seem unlikely at first glance but it works quite well. The duo sticks to standards (including two that are associated with John Coltrane) and find plenty of common ground. The mutual respect they have for each other is obvious and they both sound a bit inspired.

-01. "How High the Moon" (Hamilton, Lewis) - 3:55
-02. "St. Louis Blues" (Handy) - 5:00
-03. "I Want to Talk About You" (Eckstine) - 3:53
-04. "Mr. P.C." (Coltrane) - 3:31
-05. "Summertime" (Gershwin, Gershwin, Heyward) - 5:39
-06. "Satin Doll" (Ellington, Mercer, Strayhorn) - 3:44
-07. "I Didn't Know What Time It Was" (Hart, Rodgers) - 5:35
-08. "You Say You Care" (Robin, Styne) - 3:04
-09. "Yours Is My Heart Alone" (Herzer, Lehár, Loehner) - 5:52
-10. "I Got Rhythm" (Gershwin, Gershwin) - 2:45
* Recorded in NYC, April 18, 1990


* McCoy Tyner: piano
* Stéphane Grappelli: violin


Captain Beefheart - Mirror Man Sessions (1967) (eac-log-covers)

Captain Beefheart - Mirror Man Sessions (1967)
rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 505MB
BMG/Buddha records | 1999 remaster
The Mirror Man Sessions features the complete remastered contents of Mirror Man, albeit in a resequenced running order, and fills out the rest of the CD with a number of bonus tracks taken from additional recordings, both finished and unfinished, made around the same time for what would have been a double album titled It Comes to You in a Plain Brown Wrapper. As a listening experience, the package will appeal more to those who value the instrumental Beefheart; the Mirror Man album is, of course, essentially a 50-plus-minute jam session, containing as it does only four songs, and the bonus tracks -- many of which appeared on the One Way label's reissue of Safe as Milk -- mostly consist of jams and instrumentals which push the boundaries of conventional blues-rock, with a Beefheart vocal tossed in here and there. Some may miss Beefheart's surreal poetry, gruff vocals, and/or free jazz influence, while others may find it fascinating to hear the Magic Band simply letting go and cutting loose.

-1. "Tarotplane" – 19:08
-2. "25th Century Quaker" – 9:50
-3. "Mirror Man" – 15:46
-4. "Kandy Korn" – 8:06
-5. "Trust Us" (Take 6) – 7:14
-6. "Safe as Milk" (Take 12) – 5:00
-7. "Beatle Bones n' Smokin' Stones" – 3:11
-8. "Moody Liz" (Take 8) – 4:32
-9. "Gimme Dat Harp Boy" – 3:32

* Captain Beefheart – vocals, harmonica, oboe
* Alex St. Clair Snouffer – guitar
* Jeff Cotton – guitar
* Mark Marcellino: keyboards
* John French – drums
* Jerry Handley – bass

11 December, 2010


John Coltrane & Don Cherry - The Avant-Garde (1960) (eac-log-cover)

John Coltrane & Don Cherry - The Avant-Garde (1960)
jazz | 1cd | eac-flac-cue-log-cover | 220MB
This album is rightfully co-credited to Don Cherry (trumpet), who ably trades blows with John Coltrane (tenor/soprano sax) throughout. The Avant-Garde also boasts the debut studio recording of Coltrane playing soprano sax -- on "The Blessing" -- in addition to his continuing advancements on tenor. Although these tracks were recorded during the summer of 1960, they remained shelved for nearly six years. Joining Coltrane and Cherry are essentially the rest of the members of the Ornette Coleman Quartet, Ed Blackwell (drums) and Charlie Haden (bass) on "Cherryco" and "The Blessing," as well as Percy Heath (bass) on the remaining three selections. This is fitting, as over half of the album consists of early Coleman compositions. Coltrane's integration into this band works with some extraordinarily fresh results. Neither Cherry nor Coltrane makes any radical departures on this album; however, it's the ability of each to complement the other both in terms of modal style and -- perhaps more importantly -- texture that lends heavily to the success of these sides. Cherry's brisk and somewhat nasal intonations on "The Blessing" mimic those of Miles Davis, albeit with shorter flourishes and heavily improvised lines. When combined with Coltrane's well-placed -- if not somewhat reserved -- solos, the mutual value of both is dramatically increased. Blackwell -- the only other musician besides Cherry and Coltrane to be featured on every track -- provides some non-conventional percussive accompaniment. His contributions to "The Blessing" and workout on the aptly titled "Focus on Sanity" are primal.

-1. "Cherryco" (Don Cherry) — 6:47
-2. "Focus On Sanity" (Ornette Coleman) — 12:15
-3. "The Blessing" (Coleman) — 7:53
-4. "The Invisible" (Coleman) — 4:15
-5. "Bemsha Swing" (Thelonious Monk) — 5:05


* John Coltrane — tenor saxophone/soprano saxophone
* Don Cherry — cornet
* Charlie Haden — bass (tracks 1,3)
* Percy Heath — bass (tracks 2,4,5)
* Ed Blackwell — drums
Recorded June 28 and July 8, 1960 in New York City.

10 December, 2010


Art Pepper - The Discovery Sessions (1952&53) (eac-log-cover)

Art Pepper - The Discovery Sessions (1952&53)
jazz | 1cd | eac-flac-cue-log-cover | 360MB
Most of Art Pepper's first three studio dates as a leader are represented in this compilation, though a few previously issued alternate takes are omitted. The first date finds the alto saxophonist in fine form, leading a quartet consisting of pianist Hampton Hawes, bassist Joe Mondragon, and drummer Larry Bunker. Pepper primarily sticks to originals, though he offers a warm rendition of the standard "These Foolish Things" as well. Pepper sounds a little more adventurous on the second date, accompanied by pianist Russ Freeman, bassist Bob Whitlock, and drummer Bobby White. Two takes of "Chili Pepper" (a Latin-flavored reworking of the venerable "Tea for Two"), two versions of the rapid-fire "Suzy the Poodle" (based upon "[Back Home Again In] Indiana"), a lush arrangement of the ballad "Everything Happens to Me," and a swinging performance of Lester Young's "Tickle Toe" (which incorporates cornetist Bix Beiderbecke's tag from the recording of Paul Whiteman's "When") make up this session. Tenor saxophonist Jack Montrose obviously stimulates Pepper on the third date; the rhythm section is made up of pianist Claude Williamson, bassist Monty Budwig, and either Paul Vallerina or Larry Bunker on drums. The two versions of "Nutmeg" (yet another variation of "I Got Rhythm") find the two reedmen playing off one another with finesse, along with brief solos by Williamson and Budwig. The saxmen also shine in a somewhat brisk take of the standard "Deep Purple" and the two takes of Bob Haggart's lovely "What's New?" The title to the frenetic "Straight Life" is a bit ironic, given Pepper's battle with narcotics abuse, but it is one of the most provocative selections of this compilation. Completists may grouse about the missing (and viable) alternate takes, but the sound restoration on this Savoy reissue is head and shoulders above earlier editions of this valuable music.

-01. Brown Gold 2:22
-02. These Foolish Things 2:38
-03. Surf Ride 2:50
-04. Holiday Flight 3:08
-05. Chili Pepper (Alternate) 3:03
-06. Chili Pepper (Original Issue) 2:56
-07. Suzy The Poodle (Original Issue) 3:10
-08. Suzy The Poodle (Alternate) 3:15
-09. Everything Happens To Me 3:04
-10. Tickle Toe 2:50
-11. Nutmeg (Original Issue) 3:11
-12. Nutmeg (Alternate) 2:59
-13. Deep Purple 3:55
-14. Cinnamon 3:07
-15. What's New (Alternate) 3:32
-16. What's New (Original Issue) 3:25
-17. Thyme Time (Original Issue) 3:26
-18. Thyme Time (Alternate) 3:26
-19. Straight Life 2:50
-20. Art's Oregano 3:07
-21. The Way You Look Tonight (Alternate) 5:30
-22. The Way You Look Tonight (Original Issue) 3:44

01-04: Hampton Hawes (p), Joe Mondragon (b), Larry Bunker (d)
05-10: Russ Freeman (p), Bob Whitlock (b), Bobby White (d)
11-22: Jack Montrose (tenor sax), Claude Williamson (p), Monte Budwig (b), Paul Ballerina (d-1), Larry Bunker (d-2)


Blue Mitchell - Boss Horn (1966) (RVG) (eac-log-cover)

Blue Mitchell - Boss Horn (1966)
jazz | 1cd | eac-flac-cue-log-cover | 260MB
Blue Note | RVG 24-bit remaster
Trumpeter Blue Mitchell delivers a solid hard bop date with his 1966 Blue Note release Boss Horn. [The Rudy Van Gelder edition of Boss Horn features remastered sound by original producer Van Gelder that does significanly improve the overall sound quality over the original release.]

-1. "Millie" (Duke Pearson) - 6:15
-2. "O Mama Enit" - 5:34
-3. "I Should Care" (Sammy Cahn, Axel Stordahl, Paul Weston) - 7:31
-4. "Rigor Mortez" (Dave Burns) - 6:21
-5. "Tones for Joan's Bones" (Chick Corea) - 6:37
-6. "Straight Up and Down" (Corea) - 6:36
All compositions by Blue Mitchell except as indicated
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey on November 17, 1966.

* Blue Mitchell - trumpet
* Jerry Dodgion - flute, alto saxophone
* Junior Cook - tenor saxophone
* Pepper Adams - baritone saxophone
* Julian Priester - trombone
* Chick Corea (tracks 5 & 6), Cedar Walton (tracks 1-4) - piano
* Gene Taylor - bass
* Mickey Roker - drums
* Duke Pearson - arrangement

09 December, 2010


Neil Young - Rock At The Beach (1989) (video)

Neil Young - Rock At The Beach (1989)
rock | DVD5 NTSC | DD 2.0 | iso cover | 4600MB
NTSC/Region 0. Recorded live at the Jones Beach Theatre, Long Island, NY 1989 during his tour for the Freedom album, including a guest appearance from Bruce Springsteen on 'Down By The River'. On Rock At The Beach, Neil performs his classics ('Heart Of Gold', 'Hey Hey, My My', 'The Needle And The Damage Done', 'After The Goldrush') alongside then-recent material ('Rockin' In The Free World', 'This Notes For You'). 20 tracks total. EMI. 2009. * Please note the video quality has been said to be quite poor but the sound is OK.

-01. My My, Hey Hey
-02. Rockin' In The Free World
-03. Comes A Time
-04. Sugar Mountain
-05. Pocahontas
-06. Helpless
-07. Crime In The City
-08. For The Turnstiles
-09. This Old House
-10. Roll Another Number
-11. Too Far Gone
-12. This Note's For You
-13. The Needle And The Damage Done
-14. No More
-15. After The Gold Rush
-16. Heart Of Gold
-17. Ohio
-18. Rockin' In The Free World
-19. Powderfinger
-20. Down By The River


08 December, 2010


Miles Davis - Olympia 11 Juillet 1973 Live (eac-log-cover)

Miles Davis - Olympia 11 Juillet 1973 Live
jazz | 1cd | eac-flac-cue-log-cover | 460MB
Of Miles Davis's numerous live releases from the 1970s, this one rates as less essential, but it does provide further insight into the fascinating chronology of Davis' music as he entered the final stages of his pre-retirement "electric period." The band heard here includes drummer Al Foster, electric bassist Michael Henderson, electric guitarists Pete Cosey and Reggie Lucas, percussionist Mtume, and saxophonist Dave Liebman. Several of these players are heard to better effect one year earlier on the more colorful and varied In Concert: Live at Philharmonic Hall recording, which featured material from On the Corner, A Tribute to Jack Johnson, and Get Up With It. By 1973, Davis' music had increasingly focused on mesmerizing static harmonies, electronics, and dense polyrhythmic layers that danced around the core of Foster's surging beats and Henderson's subterranean throb. The themes are noticeably shorter, sometimes only a few notes, and tempo/key changes are less frequent than earlier electric period models. From this cauldron often came solos of considerable potency, even anguish. Dave Liebman plays particularly well here, as does Davis with his wah pedal underfoot. Cosey was a relatively recent addition to this lineup and had yet to unleash the stunning, detuned meltdowns heard shortly hereafter. Instead, his soloing is more spacious and overtly blues-based, while Lucas counters with slices of deep funk. This recording clearly illuminates a path to the material heard -- more fully realized and better recorded -- on Dark Magus, Agharta, and Pangaea. Unfortunately, the sound quality is erratic; instruments occasionally disappear and the mono mix is inconsistent, although it does eventually settle in. The recording does not reliably capture the dense tapestry of sound and rhythm that this ensemble created. Most of the tracks are incorrectly or haphazardly titled. For instance, the "Ife" listed here bears no resemblance to the studio version heard on Big Fun. Despite these flaws, this recording is certainly recommended for completists, although the above-mentioned recordings offer better representations of this incendiary music.

-1. Medley 31:08
-2. IFE 17:02
-3. Unidentified 23:13

*Miles Davis - Trumpet, organ
*David Liebman - Tenor & Soprano Sax, flute
*Pete Cosey - Guitar
*Reggie Lucas - Guitar
*Michael Henderson - Electric Bass
*Al Foster - Drums
*James "Mtume" Foreman - Percussion

07 December, 2010


Captain Beefheart 1967 - Safe as Milk (1967) (eac-log-cover)

Captain Beefheart - Safe as Milk (1967)
rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 550MB
BMG/Buddha records
Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." [Buddha's 1999 reissue of Safe as Milk contained restored artwork and seven bonus tracks.]

-01. "Sure 'Nuff 'n Yes I Do" (Don Van Vliet, Herb Bermann) – 2:15
-02. "Zig Zag Wanderer" (Van Vliet, Bermann) – 2:40
-03. "Call On Me" (Van Vliet)[10] – 2:37
-04. "Dropout Boogie" (Van Vliet) – 2:32
-05. "I'm Glad" (Van Vliet) – 3:31
-06. "Electricity" (Van Vliet, Bermann) – 3:07
-07. "Yellow Brick Road" (Van Vliet, Bermann) – 2:28
-08. "Abba Zaba" (Van Vliet) – 2:44
-09. "Plastic Factory" (Van Vliet, Bermann, Jerry Handley) – 3:08
-10. "Where There's Woman" (Van Vliet, Bermann) – 2:09
-11. "Grown So Ugly" (Robert Pete Williams) – 2:27
-12. "Autumn's Child" (Van Vliet, Bermann) – 4:02
CD bonus tracks
-13. "Safe as Milk" (Take 5) – 4:13
-14. "On Tomorrow" – 6:56
-15. "Big Black Baby Shoes" – 4:50
-16. "Flower Pot" – 3:55
-17. "Dirty Blue Gene" – 2:43
-18. "Trust Us" (Take 9) – 7:22
-19. "Korn Ring Finger" – 7:26

* Don Van Vliet – vocals, harmonica, bass marimba, arrangements
The Magic Band
* Alex St. Clair Snouffer – guitar, bass, background vocals
* Jerry Handley – bass, background vocals
* John French – drums, background vocals
Additional musicians
* Ry Cooder – guitar, slide guitar, bass, arrangements of "Sure 'Nuff 'N Yes I Do" and "Grown So Ugly"
* Samuel Hoffman - theremin on "Electricity" and "Autumn's Child"
* Milt Holland – log drum, tambourine
* Taj Mahal – tambourine


Albert Ayler - New Grass (1968) (eac-log-cover)

Albert Ayler - New Grass (1968)
jazz | 1cd | eac-flac-cue-log-cover | 225MB
Possibly the most notorious Albert Ayler release and universally misunderstood (i.e., hated) by fans and critics alike. When New Grass was released in 1968 it received a hostile outcry of "sell-out." Listening to New Grass in hindsight; it must be taken into account that even though commercial elements are apparent -- a soul horn section, backup singers, boogaloo drumming from Bernard "Pretty" Purdie, and electric rock bass -- Ayler's vocals and tenor playing could hardly gain commercial radio exposure at any time. It's likely Impulse prodded Ayler to move into a more pronounced blues-oriented sound and he went willingly. Ayler wasn't a stranger to R&B or gutbucket blues; he had started his career playing saxophone with Chicago bluesman Little Walter in the '50s. Ayler's screeching tone remains intact on New Grass, but it's mixed with definite R&B riffs like the obvious honkin' nod to "Slippin and Sliddin" on "New Generation." Ayler's attempt to explain himself on the opening track with "Message from Albert Ayler," reveals his impending dread over controversy concerning the material. It is a problem many artists face at some point in their careers when trying to move in a different direction, no matter what the reason; they may end up losing a majority of their audience by taking a foreign approach. Interested listeners now have another chance to hear New Grass, as it was issued for the first time in America on CD in 2005 by Universal/Impulse.

-1. Message From Albert - New Grass 3:53
-2. New Generation 5:06
-3. Sun Watcher 7:29
-4. New Ghosts 4:10
-5. Heart Love 5:32
-6. Everybody's Movin' 3:43
-7. Free At Last 3:08

* Bass - Buddy Lucas
* Bass [Electric] - Bill Folwell
* Drums - Bernard Purdie
* Piano, Harpsichord [Electric], Organ - Call Cobbs
* Saxophone [Tenor], Flute - Seldon Powell
* Saxophone [Tenor], Vocals - Albert Ayler
* Trombone - Garnett Brown
* Trumpet - Burt Collins , Joe Newman
* Vocals - Soul Singers, The

06 December, 2010


Pere Ubu - Datapanik in the Year Zero (1975-82) (5cd box)

Pere Ubu  - Datapanik in the Year Zero (1975-82)
avantgarde, rock | 5cd box set | eac-flac-cue-log-cover | 2150MB
Geffen | released: 1996
Pere Ubu's troubles with record companies are legendary within certain underground rock circles. In perhaps the most bizarre turn of events, the group's collected works of 1978-1982 -- after being out of print for nearly a decade -- were reissued by Geffen as a five-disc box set, Datapanik in the Year Zero. Named after the group's 1978 EP, the set is arranged chronologically and occasionally substitutes live versions for studio tracks, but that hardly matters -- nearly every song the band recorded during the five-year time span is included. In addition to the official Pere Ubu material, the box includes a disc of rare singles from early incarnations of Ubu and other Cleveland-area punk rockers like Rocket from the Tombs, 15-60-75, and Mirrors, which were released on David Thomas' independent record label. With this much material, it's safe to say that the set is a definitive retrospective. However, if you're simply interested in Pere Ubu, consider the set carefully before investing. Pere Ubu were indeed one of the most innovative and challenging bands of their era, which means that their music is an acquired taste. However, those willing to invest in the box will find a wealth of inventive, hard-edged avant rock & roll.

The box contains:
1975 - "Datapanik In The Year Zero EP"
1978 - "The Modern Dance"
1978 - "Dub Housing"
1979 - "New Picnic Time"
1980 - "Art Of Walking"
1982 - "Song Of The Bailing Man"
 & live recordings,  rarities and unreleased pre-Ubu material

Disc 1: 1975-1977
1. "30 Seconds Over Tokyo" – 6:21
2. "Heart of Darkness" – 4:44
3. "Final Solution" – 4:58
4. "Cloud 149" – 2:37
5. "Untitled" – 3:32
6. "My Dark Ages" – 4:00
7. "Heaven" – 3:04
8. "Nonalignment Pact" – 3:18
9. "The Modern Dance" – 3:28 (album mix)
10. "Laughing" – 4:35
11. "Street Waves" – 3:04
12. "Chinese Radiation" – 3:27
13. "Life Stinks" – 1:52
14. "Real World" – 4:00
15. "Over My Head" – 3:49
16. "Sentimental Journey" – 6:06
17. "Humor Me" – 2:43
18. "The Book Is On The Table" – 4:02

Disc 2: 1978-1979
1. "Navvy" – 2:40
2. "On The Surface" – 2:35
3. "Dub Housing" – 3:40
4. "Caligari's Mirror" – 3:49
5. "Thriller!" – 4:36
6. "I, Will Wait" – 1:46
7. "Drinking Wine Spodyody" – 2:44
8. "Ubu Dance Party" – 4:46
9. "Blow Daddy O" – 3:38
10. "Codex" – 4:54
11. "The Fabulous Sequel" – 3:07
12. "49 Guitars & One Girl" – 2:51
13. "A Small Dark Cloud" – 5:49
14. "Small Was Fast" – 3:30
15. "All The Dogs Are Barking" – 3:02
16. "One Less Worry" – 3:46
17. "Make Hay" – 4:02
18. "Goodbye" – 5:17
19. "Voice of The Sand" – 1:27
20. "Kingdom Come" – 3:15

Disc 3: 1980-1982
1. "Go" – 3:35
2. "Rhapsody In Pink" – 3:34
3. "Arabia" – 4:59
4. "Young Miles In The Basement" – 4:20
5. "Misery Goats" – 2:38
6. "Loop" – 3:15
7. "Rounder" – 3:24
8. "Birdies" – 2:27
9. "Lost In Art" – 5:12
10. "Horses" – 2:35
11. "Crush This Horn" – 3:00
12. "The Long Walk Home" – 2:35
13. "Petrified" – 2:16
14. "Stormy Weather" – 3:18
15. "West Side Story" – 2:46
16. "Thoughts That Go By Steam" – 3:47
17. "Big Ed's Used Farms" – 2:24
18. "A Day Such As This" – 7:16
19. "The Vulgar Boatman Bird" – 2:49
20. "My Hat" – 1:19
21. "Horns Are A Dilemma" – 4:21

Disc 4: 390 Degrees of Simulated Stereo, Volume 2
1. "Vocal Liner Notes" 0:56
2. "Theatre 140, 5/5/78" 0:07
3. "Real World" – 4:32
4. "Laughing" – 5:19
5. "Street Waves" – 4:30
6. "Humor Me" – 3:08
7. "Over My Head" – 5:00
8. "Sentimental Journey" – 8:49
9. "Life Stinks" – 3:13
10. "My Dark Ages" – 5:30
11. "C. Teatro Medica, 3/3/81" 0:11
12. "The Modern Dance" – 3:40
13. "Codex" – 3:24
14. "Ubu Dance Party" – 3:57
15. "Big Ed's Used Farms" – 3:27
16. "Real World" – 2:46
17. "Birdies" – 2:15

Disc 5: Terminal Drive (Ubu-related rarities)
1. "Foreign Bodies : The Incredible Truth" – 2:35
2. "15-60-75 : It's In Imagination" – 4:43
3. "Syd's Dance Band : Never Again" – 2:20
4. "Carney & Thomas : Sunset In The Antipodes" – 2:26
5. "Home & Garden : (please) FIX MY HORN (my brakes don't work)" – 3:24
6. "Neptune's Car : Baking Bread" – 2:13
7. "David Thomas : Atom Mind" – 2:29
8. "Tripod Jimmie : Autumn Leaves" – 4:17
9. "Friction : Dear Richard" – 5:56
10. "Pressler-Morgan : You're Gonna Watch Me" – 1:40
11. "Rocket from the Tombs : Amphetamine" – 5:32
12. "Mirrors : She Smiled Wild" – 3:57
13. "electric eels : Jaguar Ride" – 1:46
14. "Tom Herman : Steve Canyon Blues" – 4:17
15. "Allen Ravenstine : Home Life" – 6:47
16. "Rocket From The Tombs : 30 Seconds Over Tokyo" – 7:00
17. "Proto Ubu : Heart of Darkness" – 8:47
18. "Pere Ubu : Pushin' Too Hard" – 3:54


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