Wednesday, January 11, 2017

CHARLES BOBO SHAW / HUMAN ARTS ENSEMBLE – Junk Trap (LP-1978)




Label: Black Saint – BSR 0021
Format: Vinyl, LP, Album / Country: Italy / Released: 1978
Style: Free Jazz, Fusion
Recorded in May 1978 at GRS Studios, Milano, Italy
Cover [Cover Art], Photography By – Giuseppe Pino
Design [Cover] – "Gigi" Barbieri
Engineer – "Michel" Carlo Assalini
Producer – Giacomo Pellicciotti
Producer [Assistant] – Walter Prati
Matrix / Runout (Side A Runout): BSR 0021-A-78 I △
Matrix / Runout (Side B Runout): BSR 0021-B-78 I △

A1 - Beyond The New Horizon .................................................................. 7:42
A2 - Night Dreamer .................................................................................. 10:57
A3 - Brown Rock City ................................................................................ 7:25
B1 - Skiwee ............................................................................................... 6:30
B2 - Junk Trap ........................................................................................... 9:15
B3 - Electric Two ....................................................................................... 6:25
B4 - Sequence ........................................................................................... 2:29

Luther Thomas – alto saxophone
Joseph Bowie – trombone
James Emery – guitar
John Lindberg – acoustic /electric bass
Charles Bobo Shaw – drums, percussion, bugle




A wonderfully focused record from drummer Charles Bobo Shaw -- a set that shows the new fire his music had gained in the latter part of the 70s! The lineup still strongly shows Shaw's roots -- a creative combo that features Joseph Bowie on trombone, Luther Thomas on alto sax, James Emery on guitar, and John Lindberg on bass -- and there's a nice sense of swing amidst the freedom, a rhythmic pulse that comes especially strongly from the bass and drums, and which reminds us of some of Thomas' best moments in this mode. The set's a great example of the way that 70s groups like this could work with a great sense of freedom, but still keep things grooving too.
(source: Dusty Groove America)

Enjoy!



If you find it, buy this album!

Thursday, January 5, 2017

RONALD SHANNON JACKSON and THE DECODING SOCIETY – Nasty (LP-1981)




Label: Moers Music – momu 01086
Format: Vinyl, LP, Album / Country: Germany / Released: 1981
Style: Free Funk, Contemporary Jazz
Recorded at: The Hit Factory - New York, N.Y. 23rd to 27th March 1981.
Design [Cover] – Jürgen Pankarz
Photography – Debor
Recorded By – Ted Spencerah Feingold
Mastered By – Axel Markens
Producer – Burkhard Hennen
Composed By, Arranged By – Ronald Shannon Jackson
Matrix / Runout: side A / MoMu 01086-A
Matrix / Runout: side B / MoMu 01086-B

A1 - Small World ............................................................................... 3:20
A2 - Black Widow ............................................................................ 10:18
A3 - Sweet Natalie ............................................................................ 6:01
B1 - Nasty ......................................................................................... 5:53
B2 - When We Return ..................................................................... 11:45

Line-up / Musicians
Ronald Shannon Jackson – drums, percussion
Byard Lancaster – saxophone [alto, baritone], piccolo flute
Charles Brackeen – saxophone [soprano, tenor]
Lee Rozie – saxophone [soprano, tenor]
Khan Jamal – vibraphone
Vernon Reid – electric guitar
Melvin Gibbs – electric bass
Bruce Johnson – electric bass

RONALD SHANNON JACKSON is best known as a jazz drummer of the first rank, having worked with both Ornette Coleman and Cecil Taylor. But he is becoming better known as the leader, composer and arranger for the Decoding Society, one of the most progressive and influential jazz-rock bands now performing and recording. The brand of amplified music the Decoding Society dispenses is derived from the work Mr. Coleman began doing with his own electric band, Prime Time, in the mid-70's; Mr. Jackson was Prime Time's original drummer. But while Mr. Coleman has recorded and performed infrequently, Mr. Jackson has set about the arduous task of building a reputation for his performing group and getting its music on disks.


Two albums by the Decoding Society, ''Eye on You'' (About Time Records) and ''Nasty'' (Moers Music), are fascinating examples of a new direction in electric music that will undoubtedly prove as influential during the l980's as Miles Davis's jazz-rock albums were in the 70's. The Decoding Society is not the only band working in this new area. Mr. Coleman's Prime Time led the way as early as 1975, but the only examples of Prime Time on record date from its first year and are not really representative of how the group sounds now. James (Blood) Ulmer, the electric guitarist who played with Mr. Coleman before forming his own band several years ago, will have his first album for a major label released by Columbia this month, and it will undoubtedly turn a few heads. But at the moment, the state of ''harmolodic music,'' as Mr. Coleman calls it, is best represented by the Decoding Society's two albums.



That word ''harmolodic'' gets hurled around a great deal these days, but Mr. Coleman has never offered a really succinct definition. Basically, it is music that concentrates on counterpoint, with horns,guitars, and even electric basses all playing independent melody lines, often in different keys. The rhythms are similarly dense, but they are driving dance rhythms, and each of the musicians in the band plays rhythmically, contributing to the kinetic force of the music. This is not a sound in which a soloist dominates over a rhythm section. Theoretically, at least, each instrument has an equal voice in the ensemble. And in ''harmolodic'' ensemble playing, each instrument's part remains distinct without getting in any other instrument's way.

Mr. Jackson has a real talent for writing compositions that are both melodic and rhythmically compelling, and his band is at its best when it delivers condensed, punchy performances of these compositions. ''Eye on You,'' which includes 11 of Mr. Jackson's tunes, is the great album. Each piece develops organically, with the written themes seeming to shift prismatically as the player s improvise on them.
''Nasty'' includes only five tunes, and two of them are rambling jams more than 10 minutes in length. The Moers dates (which resulted in Nasty and Street Priest) were well recorded, effectively highlighting the busy, melodic interplay of the two bassists who served less in the traditional/functional bass roles and more in melodic roles that were on par with the horns and guitar. The feel was overall more funky and the melodies more catchy than on Eye on You. Reid was given more room to stretch out, while the saxophones continued to explore the high register, and Jackson continued to embed rhythms and melodies within a polyphonic texture that exhibited Coleman's influence. Nevertheless, this music had rapidly and unquestionably become Jackson's own and the Moers recordings exhibit some of his finest work.

And both albums, establish Mr. Jackson as one of the most provocative band leaders who working on the razor's edge between free-form, fusion and funk.

Review by Brian K. Warren



If you find it, buy this album!

ORNETTE COLEMAN – Body Meta (LP-1978 / Artists House – AH 9401)




Label: Artists House – AH 9401 / Artists House – AH 1
Format: Vinyl, LP, Album, Gatefold / Country: Canada / Released: 1978
Style: Free Jazz
Recorded at Barclay Studios, Paris, Dec. 1976 / Mixed at Sound Ideas, N.Y.C.,1978
Artwork [Booklet] – Robert Rauschenberg
Artwork [Cover Backside] – Elizabeth Atnafu
Artwork [Cover Front] – Chief Z.K. Oloruntoba
Artwork [Cover Inside 1] – Barbara Hager
Artwork [Cover Inside 2] – Guy Harloff
Photography By [Artwork Booklet] – Wallace Litwin
Photography By [Artwork Cover] – Mike Hoeye
Photography By [Portrait] – James Hamilton
Engineer – Francis Maimay
Mastered By – Bob Ludwig
Mixed By – John Snyder, Kathy Dennis, Ornette Coleman
Composed By, Producer  – Ornette Coleman
Matrix / Runout: side a: AH9401-A AH-1-A
Matrix / Runout: side b: AH9401-B AH-1-B

This release can be found with least two different versions of the booklet. One with the Rauschenberg art and another (later? more commonly found) version with art by David Sharpe.

A1 - Voice Poetry ............................................................................... 8:10
A2 - Home Grown .............................................................................. 7:45
B1 - Macho Woman ........................................................................... 7:30
B2 - Fou Amour .................................................................................. 8:30
B3 - European Echoes ....................................................................... 9:25

Ornette Coleman – alto saxophone
Bern Nix – guitar
Charlie Ellerbee – guitar
Jamaaladeen Tacuma – bass
Ronald Shannon Jackson – drums, percussion

The establishment of Ornette Coleman's self-determining Artists House label and his electric double-trio Prime Time coincided with the release of Body Meta, which changed many of the business and musical contours of jazz in the mid- to late '70s.
It was an indisputable new music amalgam that Coleman could claim as his own, yet which sprang forth into the so-called M-Base music movement of New York City.


This album was the 1st ever to be released on the Artist's House label back in 1978, & that translates literally to the cover of Body Meta, a gatefold featuring 4 works by different artists, that one on the front is by a tribal leader, probably from when Ornette went to Morrocco to see the Jajouka musicians which inspired Dancing In Yr Head...




Staccato drums then guitars open the album on Voice Poetry, & it flows along brilliantly to feature this new band of guitarists Bern Nix & Charlie Ellerbee, bassist [electric that is] Jamalaadeen Tacuma & drummer Shannon Jackson for a couple of minutes before the arrival of the man himself. He is the star & his playing is as pure & soulful as it was back on the Shape of Jazz to Come, & in a way it's unfortunate that everything else gets buried underneath it after this but it works well. The comparisons to the Trout Mask Magic Band do make sense although this is not as cacaphonous & seemingly chaotic [Beefheart although being highly influenced by Coleman, like to only have himself allowed to improvise while his groups must stick strictly to what he composed & his personality is a bit more obsessive too], Body Meta is one of the rare things worthy of being played directly after that in-a-world-of-its-own masterpiece. Each track here is around 8 minutes which is enough time to explore without losing the listening audience. The next 2 tracks move along nicely in a similar vein whilst Fou Amour [i.e. Mad Love] is a ballad & the guitars are playing parts normally designed for a piano. European Echoes if I'm not mistaken was an older tune from the Golden Circle & is rather graceful but thankfully lets loose a bit on the outro, by which time I want to spin the whole platter again which I could do for hours on end. This is music of pure soul expression & deserves a lot of repeated listening, it's highly danceable/funky too. I would highly recommend it to anyone, for the body and the mind.
By Funkmeister G on April 17, 2001


Every track is different, Coleman's vision has a diffuse focus, but it's clear that things have changed. Even his personal sound is more pronounced, unleashed from shackles, and more difficult to pin down.


And of course, HAPPY NEW YEAR to everyone!



If you find it, buy this album!

MUSIC REVELATION ENSEMBLE – No Wave (LP-1980 / momu 01072 )




Label: Moers Music – momu 01072
Format: Vinyl, LP, Album / Country: Germany / Released: 1980
Style: Free Jazz, Post Bop
Recorded at: Studio 57, Düsseldorf, June 1980, Garmany.
Design [Cover] – Jürgen Pankarz
Photography By – Mario Pelizzoli
Recorded By – Hans Schlosser, Norbert Büllmeyer
Mastered By – Christoph Backhaus
Lacquer Cut By – SST
Producer – Burkhard Hennen
Composed By – James Blood Ulmer
Matrix / Runout (Side A Runout): MoMu 01072 A SST
Matrix / Runout (Side B Runout): MoMo 01072 B

Catalog number "Moers Music 01072" on sleeve, "momu 01072" on labels.

A1 - Time Table ............................................................................ 10:00
A2 - Big Tree .................................................................................. 8:45
B1 - Baby Talk ................................................................................ 9:36
B2 - Sound Check ......................................................................... 8:06

James Blood Ulmer – guitar, vocals
David Murray – tenor saxophone
Amin Ali – electric bass
Ronald Shannon Jackson – drums, percussion

James “Blood” Ulmer may well be the only constant in the Music Revelation Ensemble, or MRE. For over 20 years, the self-professed blues preacher has remained the sole permanent member of this ever-shifting group, known as much for mixing up melodics as personnel. This is not to say the pursuit is a sketchy one: Since its 1980 Moers Music release No Wave, featuring Ulmer on guitar, David Murray on tenor saxophone, Amin Ali on electric bass, and Ronald Shannon Jackson on drums, MRE has been fueling the free jazz torch lit by pioneer and Ulmer mentor Ornette Coleman so adeptly that All Music Guide’s Chris Kelsey was moved to call the group “one of the first and best free jazz/funk bands.”


One of the most innovative electric guitarists since Jimi Hendrix, Ulmer is known for pioneering “harmolodics,” defined by Richard Cook in the Penguin Guide to Jazz, as quoted in materials from Ulmer’s publicist, as “a theory which dispenses with the normal hierarchy of ‘lead’ and ‘rhythm’ instruments, allowing free harmonic interchange at all levels of a group.” Ulmer told , “It’s a unison tuning where every string is tuned to the same note, like a one string guitar… It’s total freedom.”

In 1971 Ulmer left for New York and the following year began working with the legendary Coleman, who introduced him to the concept of harmolodics.

In 1978 Ulmer began performing under his own name, often joined by future MRE members Murray and Jackson, who both share Ulmer’s Coleman influence, along with trumpeter Olu Dara and saxophonist Arthur Blythe. MRE was formed two years later.




Jackson began playing drums professionally in Texas. He moved to New York in 1966, where he worked with such jazz luminaries as bassist Charles Mingus, bop saxophonist Stanley Turrentine, and freejazz saxophonist Albert Ayler. In 1975 he joined Coleman’s group Prime Time and began playing with Ulmer in 1979.

Amin Ali brought an impressive pedigree to the group; his father Rashied, also an Ulmer collaborator, had replaced Elvin Jones as saxophonist John Coltrane’s drummer in the 1960s. The younger Ali, who appears on four MRE albums, has also performed with a host of others including Dara, drummer Samm Bennett, and British saxophonist Django Bates. He appears on three of Ulmer’s solo albums as well.

While much of Ulmer’s solo work practiced harmolodics as rooted in the blues, his work with MRE allowed him to explore different terrain. “The purpose was in creating a sound that doesn’t inhibit. A freedom to play within jazz. It was a job to do,” he told Steven Dalachinsky, who wrote the liner notes for MRE’s fourth album, In the Name of the Music Revelation Ensemble...

Group formed with Ulmer on guitar, Murray on tenor saxophone, Ali on electric bass, and Jackson on drums, released No Wave on Moers Records, 1980.
No Wave was not a universal hit with the critics, however. Graham Flashner and Ira Robbins of the Trouser Press website called it “Ulmer’s most inaccessible work and his least focused.” The band’s rotating lineup had already begun to take shape, with Cornell Rochester replacing Jackson on drums and Jamaaladeen Tacuma, another Prime Time alum, joining Ali on bass. MRE was quiet for the next eight years, until the 1988 release of Music Revelation Ensemble. Jackson returned for this album while Tacuma was the sole bassist...

Review by – Kristin Palm (Encyclopedia.com.)



If you find it, buy this album!

Thursday, December 22, 2016

PHIL WOODS And HIS EUROPEAN RHYTHM MACHINE – Live At Montreux 72 (LP-1972 / Pierre Cardin – STEC 131)




Label: Les Disques Pierre Cardin – STEC 131
Format: Vinyl, LP, Album / Country: France / Released: 1972
Style: Free Jazz, Contemporary Jazz, Free Improvisation
Recorded June 19. 1972 at the Montreux Jazz Festival.
Design [Cover, both side] By – Pierre Cardin
Photography By [Front/Back Cover] – David Redfern
Engineer – Stephen Sulke
Graphics – Hartmut Pfeiffer
Mastered By – Christian Orsini
Producer, Mixed By – Emmanuel "Pinpin" Sciot
Original French pressing with round corners
Matrix / Runout (Side A runout, etched): STEC 131 A
Matrix / Runout (Side B runout, etched): STEC 131 B

A  -  The Executive Suite .................................................................... 26:00
B1 - Falling ........................................................................................... 9:00
B2 - It Does Not Really Matter Who You Are ..................................... 15:00

All compositions by Gordon Beck

Phil Woods and his European Rhythm Machine:
Phil Woods --- alto saxophone
Gordon Beck --- piano
Ron Mattewson --- bass
Daniel Humair --- drums, percussion

This LP is a real rarity how for the record company that produced it, so also for the jazz music and the huge number of admirers an early Phil Woods. The album has never re-issued on CD. 
In the early 70s, the Italian-French fashion designer Pierre Cardin, great lover of music, founded a record company in his name, which had very short life and that was distinguished by his covers particularly elegant artwork, designed by himself.




In the short period of activity he published several LP's, not only of jazz, among which also the French edition of the Concerto Grosso by New Trolls.
Of particular interest are the recordings made during the Montreux Jazz Festival 1972 concert by Jean-Luc Ponty, the Lubat, Louis and Engel Group, in addition to this the European Rhythm Machine Phil Woods, who at the time was hailed as a masterpiece.
Briton David Waddington critic of Jazz called this album "a fluid and breathtaking improvisation titanic wise." The A-side of the vinyl with engaging twenty-five minutes of 'Executive Suite was also described by critics Brian Case and Stan Britt, in their Illustrated Encyclopedia of Jazz, "a tour de force of the alto sax, with no accompanying sequences in which Woods gives vent his extraordinary instrumental mastery acute from screaming extreme to severe extreme moaning of the instrument. "
In England, the album was released by Verve, on granting the French publisher, with a different layout.

At a distance of forty four years the record is still valid and is an extraordinary testimony to the evolutionary trend of those years jazz. Roberto Arcuri, about that experience said, "Go and hear the term European Rhythm Machine, that was not a rival of no one, Phil Woods was a wonderful musician, super, which remained like that. "


Colossal music. My favorite album for this month.



If you find it, buy this album!

Monday, December 19, 2016

ANIMA – Anima (LP-1972 / Pilz Rec. – 20 29097-2)




Label: Pilz – 20 29097-2
Format: Vinyl, LP, Album / Country: Germany / Released: 1972
Style: Free Improvisation, Experimental, Krautrock, Free Jazz
Recorded at Neues Arri, München 1972.
Design [Cover Design] – Michael Fessel
Engineer [Sound] – Dieter Dierks
Producer – Rolf-Ulrich Kaiser
Pilz it's the German progressive label  run by BASF Musikproduktion under the initial direction of Jürgen Schmeisser, subsequently directed by Rolf-Ulrich Kaiser.
Liner Notes – Friedrich Gulda, J.A. Rettenbacher, Limpe Fuchs, Paul Fuchs
Written-By – Gulda, Rettenbacher, Limpe Fuchs, Paul Fuchs
Matrix / Runout (Side A): 1P 2029097-2 A SST
Matrix / Runout (Side B): 1P 2029097-2 B II SST

A - Meeting In The Studio .............................................................. 20:35
B - Anima-Live ............................................................................... 27:25

Limpe Fuchs – vocals [stimme], zither [Fußzither], electronics, 
                         percussion [diverse percussioninstrumente]
Paul Fuchs – horn [Fuchshorn], performer [schilfzinken, klangbleche], vocals [stimme], 
                      electronics, percussion [diverse percussioninstrumente]
Friedrich Gulda – piano
J.A. Rettenbacher – bass

Note:
The music contained herein is totally improvised. Nothing has been premeditated or decided beforehand.
On the back cover composition credits are given the individual members, but on the labels it    is credited to Anima.
On the back cover is written "Anima-LP". This does not appear anywhere else (spine, label, front cover) so it does not appear to be an album title.


Limpe Fuchs (she was born 1941 in Munich) is a German composer, performance and sound artist.
At the age of 12 she received her first piano lessons. After graduating from high school she studied classical music right up to the artistic examination, later percussion with Prof. Hans Hölzl.
At the beginning of the 1970s she began to develop her own instruments of wood, metal or stone with Paul Fuchs. They founded the group Anima, who quickly made a name for himself in the German music scene. At the end of the 1980s the group dissolved. Limpe Fuchs also worked with famous musicians such as Friedrich Gulda, Hans Rettenbacher, Theo Jörg.

Paul Fuchs (born 1936, in Munich) is best known as the husband Limpe Fuchs and fusion duo Anima. With Anima he expanded his instrumental repertoire by inventing a whole range of bizarre instruments, like the notorious Fuchshorn, and increasingly a unique range of sound sculptures and percussion instruments.



The 'Anima' sound was extreme for sure: a very spontaneous music, close to extreme free jazz, but lacking the academic approach of this genre. Paul And Limpe Fuchs' (aka Anima Sound) music was more primitive in a way, full of screams, goons, weird sounds and much percussion. For this reason  their album Sturmischer Himmel isn't exactly everybody's taste! This was one of the few Ohr albums to have a standard (non fold-out) cover. Their very rare second album Musik Für Alle (LP-1971, soon on this blog) contained two further improvised cuts. The duo was later joined by Friedrich Gulda and J.A. Rettenbacher for the group Anima, to record an album for Pilz in 1972.

Enjoy!



If you find it, buy this album!

Wednesday, December 14, 2016

FREDERIC RZEWSKI – Attica / Coming Together / Les Moutons De Panurge (LP-1974 / Opus One – Number 20)




Label: Opus One – Number 20
Format: Vinyl, LP / Country: US / Released: 1974
Style: Experimental, Contemporary, Minimal
A and B1 composed in 1972 and recorded April 20, 1973 at Blue Rock Studio in NYC.
B2 composed in 1969 and recorded at the University of Northern Illinois DeKalb, Illinois, 
May 10, 1973.
Engineers – Eddie Korvin (track A), Jan Rathbun (track B1), Steven Ovitsky (track B2)
Producer – Mike Sahl
Written-by [Text] – Sam Melville (track A), Richard X. Clark (track B1)
Composed By, Liner Notes – Frederic Rzewski
Design [Cover Design] – Herman Zaage
The inks of this cover are fluorescent.
Sponsored in part by the Ford Foundation and Anthony Keashey.
Matrix / Runout (A-Side Runout Etching): OPUS #20 RE <1> CF
Matrix / Runout (B-Side Runout Etching): OPUS No. 20 Side 2 JF

A  -  Coming Together ...................................................................... 19:15
         bass – Richard Youngstein
         piano, electric piano – Frederic Rzewski
         alto saxophone – Jon Gibson
         synthesizer – Alvin Curran
         trombone – Garrett List
         vibraphone – Karl Berger
         viola – Joan Kalisch
         voice [speaker] – Steve Ben Israel
B1 - Attica ......................................................................................... 6:30
         bass – Richard Youngstein
         piano – Frederic Rzewski
         alto saxophone – Jon Gibson
         trombone – Garrett List
         piccolo trumpet – Alvin Curran
         vibraphone – Karl Berger
         viola – Joan Kalisch
         voice [Speaker] – Steve Ben Israel
B2 - Les Moutons De Panurge ........................................................ 16:15
         Blackearth Percussion Group:
         percussion [almglocken] – Garry Kvistad
         percussion [nabimba] – Richard Kvistad
         vibraphone, glockenspiel – Christopher Braun
         xylophone – Anne Otte

Note:
Cover has different typesetting for composer's name (stacked as opposed to on a single line) and lettering is in blue/violet instead of gold. This cover is fluorescent.
Labels on disc are reversed (A-label on B-side). Album has a piece of typewritten paper inserted stating the following:
"Please note: the labels on this record are reversed. We regret the inconvenience."




This brilliant early recording of Frederic Rzewski (unfortunately unavailable of 2002.) showcases the composer emerging from a period in which he was largely involved with free improvisation (with the group Musica Elettronica Viva) and beginning to investigate more structured writing.

The lineup on this recording is pretty amazing. Rzewski himself plays piano. Jon Gibson, who has worked with the big four minimalist composers (Young, Riley, Reich and Glass) as well as being an excellent composer himself, plays alto sax. Composer Alvin Curran, also of Rzewski's MEV group, plays synthesizer. Garrett List, whose beautiful LP "Your Own Self" already on this blog, plays trombone. Karl Berger play vibes, and has played on some classic ESP jazz recordings as well also working with Don Cherry. Violist Joan Kalisch has played on recordings by Don Cherry and Alice Coltrane, and Richard Youngstein has worked with Paul Bley. The reading is done by stage actor Steve Ben Israel, who was a member of New York's Living Theatre.

Here the burgeoning minimalist movement was a prime musical influence, although on two of the pieces what strikes the listener first and foremost is the political content. "Coming Together" melts a wonderfully undulating and propulsive score that just won't give up with the impassioned reading (by Steve ben Israel) of a text written by Sam Melville an inmate at Attica prison documenting both his woes and his impressive resolve not to knuckle under. The words are repeated with increasing ferocity as the music goes through several permutations, eventually matching the speaker in a roaring finish. When other prisoner Richard S. Clark was released from prison in 1972, he was asked by a reporter how it felt to leave Attica behind him. His response, "Attica is in front of me," provides the text for the powerful and haunting second work here. His words are spoken in additive fashion -- first just "Attica" then "Attica is" -- in a soft, almost ghostly fashion over a gently percolating score that combines sorrow and hope in a complex and rich fabric.

"Les Moutons de Panurge," a completely instrumental composition, uses the same basic structural idea. A 65-note melody is performed in the sequence 1, 1-2, 1-2-3, 1-2-3-4, and so on, until the entire melody has been read with the understanding of the near-impossibility of the ensemble staying in unison for the duration. Here, as performed by the Blackearth Percussion Group, it takes on the character of a wild gamelan orchestra, perhaps slightly tipsy. It's utterly invigorating, as is the entire record. Very highly recommended.
_ Review by Brian Olewnick


This LP was recorded is on the excellent Opus One records - all the covers of LPs on the label were meant to respond to black light!....... Trippy.



If you find it, buy this album!