18.12.14

VA - Electronic Panorama: Paris, Tokyo, Utrecht, Warszawa (1970)


Around 1970 Philips had its own recordlabel (as well as its own electronic studio, btw) and it released a series of records with state of the art electronic and electro-acoustic music which were all encased in a shiny silver sleeve. The series was called Prospective 21e Siecle. Currently these releases are well sought by collectors of ancient electronic music. One of these release was a box with 4 records, each presenting the latest or the best of 4 electronic music studios: Utrecht, Warsaw, Paris and Tokyo. Program notes by Maurice Fleuret. Recorded at Groupe de Recherches Musicales de l'O.R.T.F. (Paris, France), Studio voor Elektronische Muziek (Utrecht, The Netherlands), Studio of Radio NHK, (Tokyo, Japan), Studio Eksperymentalne Polskie Radio (Warszawa, Poland). (jazzearredores)



16.12.14

Adam Lane's Full Throttle Orchestra ‎- Ashcan Rantings (2010)


A little big band (sometimes no more than a large group) with variable geometry, the Full Throttle Orchestra has very wide parameters, in order to achieve the "multi-dimensional sonic qualities" intended by its leader, composer and arranger, the contrabassist Adam Lane. The references, if not imediatly recognizable, are disseminated in every turn and adopted form: Charles Mingus and Duke Ellington, of course (what else could do anyone interested in getting that particular "orchestral effect" of the swing and be bop eras?), but also Iannis Xenakis and Luigi Nono (ant that means structural complexity and harmonic sofistication), Black Sabbath, Motorhead and Melt Banana (you now know from where comes all the energy and roughness). Also the soundtrack to the movie "Forbidden Planet" (feeled in the futuristic and "exotic" atmospheres), crossing boundaries between jazz, contemporary classical, punk, metal, noise and... "music of questionable worth", as Lane puts it himself with humour. If you think everything was already done in the big band domain, prepare yourself: you're gonna be surprised. (adamlane)


14.12.14

Odetta - Sings Ballads And Blues (1957)


This is allegedly the record that inspired a young Bob Dylan to trade in his electric guitar for an acoustic model; years later, he said Odetta was "the first thing that turned me on to folk singing." He was not alone. Many folk-revival artists cited this 1956 document and the several that followed as primary catalysts.

The fierce Odetta, who was born in Birmingham, Alabama, started out wanting to be an opera singer. That was a daunting challenge in the segregated 1950s, so she pursued musical theater, and at eighteen became part of a touring production of Finian's Rainbow. When the tour got to San Francisco, she heard folk music and was hooked: She learned to play guitar and began singing the mix of work songs, spirituals, and blues that would, in a few years, make her famous.

Odetta recorded several times before she was signed to the Tradition label, but Sings Ballads and Blues is her first fully realized statement. Its songs associated with Leadbelly ("Easy Rider," "Muleskinner Blues") show how authoritative Odetta was as a guitarist; her timing is flawless. And they present her as a riveting singer, particularly in her fulminating lower register (her high notes still have a touch of operatic affectation here). Of special note are the spiritual songs, among them "Joshua" and the closing medley that includes "Oh Freedom," "Come and Go with Me," and a resolute "I'm on My Way." These have a spine-chilling directness, a sense of hard-won knowledge that the more collegiate folkies couldn't match.Sings Ballads and Blues has been reissued many different ways. The most rewarding package is the two-disc The Tradition Masters, which includes the stirring At the Gate of Horn, recorded live in a Chicago club. This time, Odetta isn't alone: She's accompanied by bassist Bill Lee, filmmaker Spike Lee's father, a steadying (and underappreciated) presence on many great folk records. (source)




Eugene Chadbourne + Thomas Lehn - C Inside (2000)


Eugene Chadbourne and Thomas Lehn performing as a duo. C: Inside was recorded live in Cologne on June 9, 1999. The CD contains three pieces : “Crossroads,” a 46-minute improv, followed by “Intersection” and “Line Out,” two short encores of two and three minutes. Eugene Chadbourne favors his “deering goodtimes banjo” (liner notes) on this recording, but he also uses his “modified guild slim Jim acoustic electric guitar” (same). At one point in “Crossroads,” he slips into a rendition of Gram Parsons' “Hickory Wind,” but his vocal prowess ends there.

This disc is excellent. The frenetic banjo fights the analog rumbles in a match of epic proportions, a match in which the listener is the winner. Both improvisers deliver an energy-packed performance, but the level of energy never reaches an exaggerated level. There is moderation on this disc, self-control (something that is not a standard with Dr. Chadbourne), punctuated by well-timed decibel-packed episodes and an engaging synergy. As a bonus, a strange and fun essay by Dr. Chadbourne trying to understand what a G7 summit actually is. (source)

Limbus 4 - Mandalas (1970)


Limbus 3 & 4 are an experimental Krautrock group from Heidelberg, Germany. Their 1969 debut "Cosmic Music Experience" featured the musicians Odysseus Artnern, Bernd Henninger and Gerd Kraus on various instruments. The experimentation with an odd array of instruments became the forte of the group, with heavy influences of ethnic world music, primarily African and Indian styles. The music was mostly acoustic and was fully improvised, integrating a fair degree of Viola, Percussive tribal rhythms on exotic instruments that Kraus acquired from friends who travelled to foreign continents. The use of tablas, sitar, bul-bul tarang, and various pipes added to the unusual sound, appealing to the hippie-commune of Heidelberg in the late 60s flower power counterculture era.


The debut was alternatively titled "New Atlantis" in reference to the one of the album tracks, that actually swallowed up an entire side of vinyl, the whole of side two. The album was followed the next year in 1970 by "Mandalas" as a quartet when the second percussionist Matthias Knieper joined. Wind instruments, droning voices and cosmic effects made the whole thing sound like some hallucinatory acid trip, as was intended and the band incorporated the use of piano, bass, cello, viola, violin, flute, recorder, oriental flute, plastic flute, totalophon, valiha faray, tsikadraha, tabras, tambourin, percussion. The band disbanded in 1971, but their music will appeal to Krautrock fans and those with an ear for psychedelic improvised experimental music. (progarchives)

13.12.14

Sun Treader - Zin-Zin (1973)


Debut LP by UK jazzy/prog trio...the band is based around the percussionist Morris Pert, Alyn Ross at bass and Peter Robinson at electric piano...Morris Pert had played with Stomu Yamashta and also Jonesy…Peter Robinson was formerly in Quatermass, Zakarrias and Three Man Army...The music on this underrated album is a nice jazzy progressive gem with the main emphasis on drums and piano...

Alyn Ross - Bass
Morris Pert - Drums
Peter Robinson - Piano
Robin Thompson - Sax (guest)


Related Posts Plugin for WordPress, Blogger...