28 August 2014


KENNY WHEELER - trumpet, flugelhorn
STAN SULZMANN - alto sax, flute

1 (01:05) Radio announcement
2 (11:30) Kind Folk
3 (12:27) Jigsaw
4 (11:15) One Two Three
5 (12:02) unknown

"Clusone Jazz", Italy, July 25, 2004. RAI 3 broadcast

Thanks to original uploader on DIME.


Carin Levine, flute, bass flute
Peter van Bergen, bass clarinet, tenor saxophone
Wolfgang Fuchs, alto clarinet, sopranino saxophone
Evan Parker, tenor saxophone
Michiel Scheen, piano, prepared piano
Maarten Altena, bass
Witwulf Malik, cello
Karri Koivukoski, viola
Phil Wachsmann, violin
Melvin Poore, tuba
Marc Charig, trumpet, fluegelhorn
Martin Mayes, french horn
Radu Malfatti, trombone

and a cricket...

1. introduction      00:54
2. unknown title     49:16
3. unknown title     07:48
4. unknown title     19:38

Recorded at Utopia, Innsbruck, Austria on December 11, 1989.



Change Of Season (Herbie Nichols) 8.49 ~ Symbeeoobop (Rudd) 4.52  ~ Almost Blue (Elvis Costello) 8.59 ~ Stokey (Rudd) 6.31 ~ God Had A Girlfriend (Rudd) 9.15 ~ Open House (Rudd) 3.44 ~ Slide Mr.Trombone (Ernie Andrews) 9.22

The Light (Rudd) 12.01 ~ Su blah blah buh sibi (Rudd) 15.38 ~ Bamako (Roswell Rudd/Verna Gillis) 9.16 ~ Bis:Ornithology (Charlie Parker) 8.12

Sheila JORDAN, Steve RIDDICK, voix
Harvey KAISER, saxophone tenor, clarinette, flute
Josh ROSEMAN, Steve SWELL, trombones
Greg GLASSMAN, trompettes
David WINOGRAD, tuba
Matthew FINCK, guitare
Ken FILLIANO, basse
Lou GRASSI, batterie
Roswell RUDD, trombone, piano, voix, direction

Enregistré a St Ouen a l’espace 1789, dans le cadre du festival “Banlieues Bleues” le samedi 03 mars 2001 par Radio France.

27 August 2014

Paul Bley- Mr Joy 1968

An Alternative to the rip kindly shared here by Chris , my rip from a scratchy 70's reissue on semi bootleg label..Trip..
A great record and one that's been surprisingly unissued on CD... something which we deplore!
Perhaps someday , the boffins who curate Mosaic records might consider issuing a deluxe Box-Set , of Bley's important  60's Trio recordings.
Enjoy , and please support Bley by buying his current cd's and fascinating book of interviews with Norman Meehan, "Time will Tell' from Bley's own site if possible.

25 August 2014

Andrew Hill Trio featuring Sunny Murray-Paris 4-Nov 1999, FM

For the Hill and Murray fans.....
A wonderful one off(?)... in excellent Sound...

Andrew Hill Trio-Unknown venue-Paris, France,November 4, 1999

Andrew Hill p
James Lewis b
Sunny Murray d

seeder/tapers Notes
Source: Radio broadcast > cassette > CD > EAC v. 1.0 beta 2 (extraction and FLAC encoding) > FLAC compression level 8

Thanks to Dimer jackmw, for this one!

23 August 2014


KENNY WHEELER - trumpet, flugelhorn

1. Kind folk  11:48
2. 3000  11:57
3. Ambleside  16:33
4. Where do we go from here?  9:09
5. Sly eyes  12:24
6. Mark time  14:33
7. A flower is a lovesome thing  9:46

TT 86:11

Bath Pavilion, Bath, 26th May 2002

BBC Radio 3 broadcast

Lennie Tristano-Descent into the Maelstrom-1976

Here's a compilation of Tristano oddities , largely consisting of home recordings, originally simultaneously released by East Wind and  Inner City labels in the mid 70's .

Tristano was an eccentric pioneer, a contemporary and friend of Bebop legends like Gillespie and Parker , he developed an alternative transition out of the swing era.
Like one of his greatest formative influences Art Tatum, he was blind, and equally prodigious.

One hear's advanced harmonies,angular block chords extensive use of dissonance, and hints of  atonality in even his earliest work..

His 1949 Capitol recordings (Digression,Intuition) with a group featuring Lee Konitz and Warne Marsh have been described as the first Free improvised jazz without predetermined thematic material, fixed Chord structures, predetermined Rhythms etc..

 whats interesting about this is that, quite apart from the more conventional group pieces, the 1953 title piece Descent into the Maelstrom (Inspired by Edgar A.Poe) is a collage of his most passionately dense free playing on record, which to my ears recalls some of Cecil Taylor's Solos of 20 years later , , circa Indent and Silent Tongues.

A raw rip,(taken from my Inner City vers) no syrup , no tracking ... click on the back cover scans for personnel (session dates range from 1952-66)
There are some great Tristano records currently available including the perennial Atlantic classics, "Lennie Tristano", 1955, "the new Tristano"1960, a proper box set of early recordings , loads of live material on Carol Tristano's Jazz records Label.

20 August 2014


Derek Bailey, electric guitar
Evan Parker, soprano saxophone
Hugh Davies, live electronics
Jamie Muir, percussion
Christine Jeffrey, voice (tr.1+5)

1. Third Stream Boogaloo (2:40)
2. Dragon Path (10:25)
3. Packaged Eel (8:43)
4. Untitled no.1 (7:06)
5. Untitled no.2 (7:33)
6. Tuck (3:09)
7. Wolfgang Van Gangbang (6:54)

Recorded on August 25th, 26th, 27th, 1970 at the Merstham Studios, London.

ECM 1005

(this rip from UCCU-9019, CD Japan)

16 August 2014


A1. パラビアソ (Par Avion)
A2. テンダリー (Tenderly)
A3. 永遠の詩 (The Song Remains The Same)

B1. ムード (Mood)
B2. ステップ・ワン (Step One)
B3. Manha De Carnaval

Itaru Oki, trumpet
Keiki Midorikawa, double bass
Hozumi Tanaka, drums
Kosuke Mine, alto saxophone (B2-3)
Takeshi Kamachi, piano (A2, B2-3)

All compositions by Itaru Oki, except A2 (Walter Gross) and B3 (Luiz Bonfá)

This is an all time favourite from Itaru Oki, from the early days of Japanese free jazz. There were a rush of tracks that they released around this time :-

Satsujin Kyoshitsu - LP on the Jazz Creaters label, recorded in Tokyo in February 1970, currently available on CD - Bridge (049) from Japan Improv

Mood, recorded live Shibuya Public Hall, on April 30, 1970 and included on "Sensational Jazz '70", which was recently re-released on CD by Columbia and available at Japan Improv (with other tracks by Mototeru Takagi, Masahiko Sato, Terumasa Hino, New Herd, etc).

Four Tracks on Trio By Trio + 1, recorded  live at Yamaha Hall, Ginza, Tokyo, May 20, 1970, also re-released on CD on Think! Records: 1 side Yosuke Yamashita Trio, 1 side Itaru Oki Trio, 1 side Yuji Ono Trio and 1 side Itaru Oki + Yuji Ono + Kimiko Kasai.

This all preceded a live recording of October Revolution, on Inspiration & Power 14 Free Jazz Festival 1, from 1973.

This LP was in a box set of 10 LPs by Japanese jazz artists. I think it was mainly sold to people buying Toshiba audio equipment.

Great, historic music and 40 years out of print.

Toshiba Records ‎– TW-6045

Vinyl Rip

14 August 2014


Already posted in 2011 - here's the  re-up....

A forgotten masterpiece of European Jazz.
'Room 1220' is a tender yet burning duo of Mangelsdorff and Surman. And the mood of 'My Kind Of Beauty' still needs a public location (club or however you want to call it) to be build for ... in general I'm not a big fan of the Hammond organ, but what Eddy Louis is able to deliver ... and please listen to John Surman and Albert Mangelsdorff - they use the clichés - yet they reach a level far above such truisms.

Sadly OOP!

John Surman, baritone saxophone
Albert Mangelsdorff, trombone
Eddy Louis, piano, hammond organ
Nils-Henning Ørsted Pedersen, bass
Daniel Humair, drums

1. Room 1220 (22:05)
2. Triplet Circle (08:33)
3. My Kind Of Beauty (12:50)

Recorded at Iino Hall, Tokyo, August 30, 1970 by Okihiko Sugano.
Produced by Joachim-Ernst Berendt and Shoichi Yui.



13 August 2014


Daunik Lazro, baritone saxophone
Jouk Minor, sarrusaphone
Thierry Madiot, trombone, homemade instruments
David Chiesa, double bass
Louis-Michel Marion, double bass

1. part I    10:44
2. part II   11:37
3. part III  06:19
4. part IV   16:16
5. part V    09:42
6. part VI   03:28
7. part VII  07:43

Recorded on May 31, 2003 at Centre Culturel André Malraux in Vandœuvre-lès-Nancy, France during Musique Action 2003.


A1. Taihen
A2. The Day After
A3. Takao Blue

B1. A Song For Buddha
B2. Oiwake
B3. Shosuke-San

Toshinori Kondo, trumpet, vocals
Cecil Monroe, drums
Rodney Drummer, electric bass, guiro
Reck, electric guitar
Taizo Sakai, electric guitar
Yoshinori Teramae, electric guitar
Kiyohiko Semba, percussion
Bill Laswell, tape
Fusako Fujimoto, Backing vocals
Rika Tanaka, backing vocals

Recorded & mixed at Sedic Studio, Tokyo 1984.

Polydor ‎– 28MX 2503

Vinyl Rip

12 August 2014


A1. A Cheer Song . . . for Mr. Napoleon
A2. Das Lied von der Unzulänglichkeit Menschlichen Strebens
A3. Grasshoppers
A4. Variations on "Fröhlicher Landmann"
A5. Letters of Palestinian Children to God

B1. Nanohana Flowers All Over
B2. I Won't Come Back Tonight--Polish Partisan Song
B3. The Pain of the Wandering Wind
B4. 43° North-- A Tango

Haruna Miyake and Yuji Takahashi, two pianos, toy piano, harmonium, rabana, chafkas, temple block

Music by Haruna Miyake (A1, A4, B1, B4), Bertolt Brecht (A2), Ryuichi Sakamoto (A3), and Yuji Takahashi (A5, B3)

Recorded by Yukio Kojima at Nova Hall, Tsukuba, August 16 and 17, 1983

Alm Records, AL-7007

Vinyl Rip

10 August 2014


SABU TOYOZUMI - drums, percussion

1. Fragrance  19:43
2. Brilliant Gawd Forbids  21:25
3. Moabit  7:22
4. Greeting Child Of New Year 7th  0:21

May/June 1998.  Sabu-01


an update of an early post

hello all,
this time, once again courtesy of 'boromir' another incredibly super rare album.
on the legendary french mouloujdi label.
francois tusques was one of he european pioneers of the genre, who made the transition from a more conventional jazz language sometime in the early 60's.
here is an article from the incredibly useful all about jazz site.
Francois Tusques et le Nouveau Jazz Francais
Published: January 10, 2006

By Clifford Allen
It is somewhat ironic that, as much as European jazz and free improvisation are nestled squarely within the canon of contemporary music—one has to look only at the worldwide recognition of figures like Germany’s Peter Brötzmann, England’s Evan Parker, or Holland’s Misha Mengelberg and their respective integral scenes—the country with the closest ties to vanguard American jazz in the ‘60s has been almost wholly left out of the picture. France has produced several world-renowned improvisers (for example, clarinetists Michel Portal and Louis Sclavis are among the instrument’s greatest proponents), but the architects of France’s ‘new thing’ have been summarily left by the wayside over the course of the music’s history. Pianist and composer François Tusques, while almost unknown outside his native France, is certainly among the rare few in European jazz, not only as a crucial figure in the development of the music in his sector of the continent, but so crucial that he was able to record the first true French free jazz record (Free Jazz, reissued by In Situ)—a claim which, Stateside, is not even Ornette Coleman’s.
Born in 1938 in Paris, Tusques migrated with his family to rural Brittany shortly thereafter, though as his father was a crucial figure in the French Resistance, François and his family moved around quite a bit during and after the War, eventually spending two years in Afghanistan and another two in Dakar before returning to France. As the potential for danger at being ‘outed’ as a member the Resistance was so high, Tusques did not attend any French schools at the time, for fear that he would accidentally divulge his father’s secret to his peers.

This secretiveness, on top of the fact that his family was so mobile, contributed to a difficult childhood, and despite the fact that his mother was an opera singer, poverty and circumstance kept Tusques from beginning musical training until he was eighteen, when he began to study the piano. “I had only one week of lessons; after that, I was on my own—you could say an ‘autodidact.’ I learned to play mostly by ear, especially from the drummers.”

Tusques quickly took to jazz—his worldliness certainly offering exposure to sounds that he would not have heard otherwise during the War—and counts among his early favorites Bud Powell and Rene Urtreger, not to mention subsequent affinities for Cecil Taylor (“but I am not a technical pianist…” says Tusques), Mal Waldron, Monk and Jaki Byard. At the start of the 60s, there was a significant scene of American expatriate improvisers in Paris—Bud, Dexter Gordon, Kenny Clarke, and traditionalists like Bechet—and a handful of young French players ready and willing to sit in, like saxophonist Barney Wilen and bassist Pierre Michelot. Certainly, as in England and elsewhere in Europe, French jazz of this nascent period was almost entirely beholden to the American post-bop model, and quite a few players who could stand alongside their American peers and run the changes.

Nevertheless, there was also a coterie of French improvisers for whom American-derived bebop was not the end, if even the means. Composer, arranger and sometime pianist Jef Gilson (who eventually began the famed Palm Records) was one of the ringleaders of the Parisian new jazz scene, mentoring young players like trumpeter Bernard Vitet, tenorman Jean-Louis Chautemps, drummer Charles Saudrais, bassist Beb Guerin and other soon-to-be leading lights. Tusques, though, was the only pianist at the time in Paris willing to extend those steps into the demanding compositional sound-world of ‘free jazz,’ and those who saw a continuous upward- and outward-mobility with this music looked to Tusques as a fulcrum.
By 1965, Vitet, Chautemps, Saudrais, and Portal (then primarily a classical clarinetist) had asked Tusques to compose a number of loose springboard-pieces to work on as a group, which led to the recording of Free Jazz for poet Marcel Moloudji’s tiny Moloudji label. In company with German vibraphonist-reedman Gunter Hampel’s Heartplants (Saba, 1965) and trumpeter Manfred Schoof’s Voices (CBS, 1966), Free Jazz is among the very earliest documents of a wholly European improvised music, one which springs more greatly from regional influences than those from across the Atlantic.

Free Jazz was followed in 1967 by Le Nouveau Jazz (Moloudji), which joined Tusques with Wilen in the saxophonist’s first recorded entrée into free playing (he would continue somewhat in this vein over the next several years), backed by Guerin and itinerant Italian drummer Aldo Romano, a fixture in Steve Lacy and Don Cherry’s ensembles of the period. Both Moloudji recordings are among the rarest documents of European jazz and were limited to a pressing of only 200 copies apiece—nevertheless, it was Tusques’ wherewithal that led to the first recorded examples of avant-garde French jazz.

By the mid- to late-60s in France, improvisation took on a political edge not dissimilar to that which it had in the States. France’s involvement in Vietnam at the start of the decade, not to mention governmental maltreatment across class lines of both workers and liberalist academics at the university level, led to the revolts of May 1968 and subsequent unrest, and the New Left found sympathetic ears among the jazz vanguard. Expatriate African-American and African artists, their struggle against racial oppression viewed by the Left with a similar lens to the proletarian struggle, led to a period of broader acceptance of free jazz in the liberal French public.

Tusques, though now looking at this period as “a reflection of the attitudes and ideas of the time,” was nevertheless one of the most notoriously political of the new French jazzmen—titles for his compositions like “L’Imperialisme est un Tigre un Papier,” “Les Forces Progressistes,” “Les Forces Reactionnaires,” and Black Panther-themed works like “Portrait of Erika Huggins,” “Right On!” and “Power to the People” belie a decidedly anti-establishment sensibility. The second volume of his Piano Dazibao series on Futura featured a cover with drawings of Mao, Lenin, and Arthur Ashe in addition to Tusques; the back of the third volume of the Intercommunal Free Dance Music Orchestra consists of drawings of the musicians interspersed with Chinese field workers.

Even if these concerns were “of the time” and not something Tusques feels a reflection of his current work, his affinity for a resurging interest in the Vienna School (Webern, Berg, Schoenberg) of composers belies a continuing political sensibility—“they were fighting fascism with their music, much as [improvisers] and artists do today.”

The first ripples of American free players began to show up on the Parisian scene in 1968, primarily due to an extreme paucity of gigs in New York and unwillingness on the part of major record companies to seriously document the music. Drummer Sunny Murray, late of the groups of Albert Ayler and Cecil Taylor, was one of the first to make his home in Paris (though saxophonists Marion Brown and Steve Lacy were making a stand as well), and that year formed his Acoustical Swing Unit with both French and visiting free players. Prophetically, its first European incarnation included Tusques, Guerin, Vitet, Portal, Jamaican tenorman Ken Terroade (previously based in London), itinerant West Indian trumpeter Ambrose Jackson, and later added expatriate Americans Alan Silva (cello), Frank Wright, Byard Lancaster, and Arthur Jones (saxophones) and Earl Freeman (bass). Tusques, with his balance of insistent left hand and pointillistic right, helped to reign in the first two official Swing Unit recording dates, two of his three with Murray. These include the eponymous 1968 ORTF concert recording released by Shandar (Sunny Murray) and its companion Big Chief (Pathé, 1969).

By 1969, as a result of offers from French labels like BYG, Musidisc-America and Pathé, a significant number of American free jazzmen had arrived in Paris for gigs and recording contracts; Tusques and his compatriots therefore had the opportunity to work with figures like Anthony Braxton, the Art Ensemble of Chicago, Don Cherry and trumpeter/trombonist Clifford Thornton. These latter two were of particular importance in Tusques’ development, for as a particularly good ear-learner he fit in perfectly with Cherry’s process-based, ongoing and ear-taught approach to learning the seemingly unending and all-encompassing “Togetherness” suite. Tusques was a frequent collaborator, even assisting Cherry with some of the piano parts on the famed Mu recordings (BYG, 1969)—a series of duets with drummer Ed Blackwell. He also joined up with Thornton, resulting in what might be the valve trombonist’s strongest recording, The Panther and the Lash (America, 1970), with Guerin and drummer Noel McGhie.

It didn’t take long, however, for a significant number of gigs to dry up as the French musicians’ unions began to frown on the large number of perpetually-visiting Americans in Paris. Some, like Murray and Silva, were able to stay on, however, and it was with those two in mind that Tusques assembled his third date as a leader, Intercommunal Music, for Shandar in 1971.

Originally planned as a quartet date for piano, cello, drums and the bass of Beb Guerin, on which a number of Tusques originals would be investigated, kismet and ‘snafu’ turned it into something quite different. “I booked several hours of studio time in advance, Beb and I waited and waited for hours and we were getting very nervous because Sunny didn’t arrive. Finally, there was less than an hour of studio time left, and here come Sunny and Alan with four friends saying ‘OK, here we are, let’s go!’ We only had 37 minutes left, and I couldn’t even teach them the tunes, so what you hear on the record is exactly what happened in the studio with that time.”

What looks like one of the heaviest line-ups of free jazzmen one could conceive of—Murray, Silva, Tusques, Guerin, trumpeter Al Shorter, alto saxophonist Steve Potts (who would later join the Steve Lacy quintet), bassist Bob Reid (of multinational improvising quintet Emergency) and percussionist Louis Armfield—was, in fact, completely unexpected. An insistent, driving and minimal theme is voiced by the ensemble, leading into one of the most memorable ‘free’ alto solos these ears have heard, Tusques alternating between rhythmic repetition, roiling bass soundmasses and anthemic Maoist folk melodies, the unrehearsed group surprisingly empathetic to Tusques’ drive and whims.

Yet Tusques increasingly began to find free improvisation a musical “dead end” and found it necessary to search for other, more integrated approaches to improvisation. In addition to playing and recording a number of solo piano expositions (released to great acclaim on the Futura and Le Chant du Monde labels), Tusques formed the Intercommunal Free Dance Music Orchestra in the early ‘70s, a meeting of French and African musicians that would yield to a “popular appeal,” something that could get both social and artistic concerns out to a number of music listeners of all stripes.

“The name comes from these things: Intercommunal, like French and Africa together; Dance, so people can feel the music; and Free, because it was a free approach to traditional music of the world.” The group included a number of African percussionists, like Sam Ateba, Cheikh Fall and Guem, as well as the great alto saxophonist from Guinea, Jo Maka; French jazzmen like trumpeter Michel Marre; German trombonist Adolf Winkler (“he could play everything—one minute J.J. Johnson, the next minute Tricky Sam Nanton!”) and Spanish orator Carlos Andreu (“he was a revolutionary poet; he would get up and pick random passages from Leftist texts, improvising upon them in concert”).

African and Latin American folk themes yield to lengthy improvisational passages filled with more ebullience than severity in this context—there are even pieces that successfully hedge dub as much as they do Breton music or kwela. The orchestra lasted throughout the rest of the decade in various guises and on into the 1980s, recording nearly ten albums for vanguard French labels including Le Temps de Cerises and Vendemiare (a subsidiary of Palm), before eventually disbanding.

Since the mid-80s, Tusques has co-led a trio with Noel McGhie and Paris bass clarinet wizard Denis Colin, in some ways an heir apparent to the altars of Portal and Sclavis, albeit with an entirely bop-based sensibility that dips into the same spring as Dolphy. This trio recorded Tusques’ Blues Suite for Transes Europeenes in 1998, and it remains his most regular working group (Tusques picks his gigs with the utmost care, so this group might not work as much as followers of his music would like).

Tusques, in collaboration with his partner, actress/vocalist Isabel Juanpera, and members of the Parisian improvisers’ community like Colin and Vitet, has previously expanded upon the “Blues Suite” in works like Blue Phédre (Axolotl, 1996) and Le Jardin des Délices (In Situ, 1992), adding an operatic (and quite possibly cinematic) scale to his already colorful small-group music.

In what might seem a departure, one of Tusques' major projects is in collaboration with architect and visual artist Jean-Max Albert, in which Monk’s compositions are investigated visually. Numbers are applied to thematic fragments, and each number has a corresponding shape—these become surreal diagrams that retain perfectly the gravity and whimsy, the yin and yang of Monk’s music, at times like a painting of Mondrian, at times like a Miró. It his hoped that a concert version of this work can be performed, with Tusques performing the pieces surrounded onstage by the visual images. Such a multifaceted view of Monk is, in many ways, a perfect analogue for the music of François Tusques: an assemblage of insular phrases yields a colorful and multi-directional oeuvre, a never-ending film of freedom, culture, and social engagement. Intercommunal, indeed.

Thanks to François, Jean Rochard and Sarah Remke of the Minnesota sur Seine Festival, and Guy Kopelowicz for making this article possible.
Related Article Minnesota Sur Seine 2005: Intercommunal Music on the Mississippi
Recommended Listening
François Tusques, Blues Suite (Transes Europeens, 1998)François Tusques, Blue Phedre (Axolotl, 1996)
François Tusques, Intercommunal Free Dance Music Orchestra (Vendemiaire, 1976-1978)François Tusques, Intercommunal Music (Shandar, 1971)Clifford Thornton, The Panther and the Lash (America, 1970)Sunny Murray, Sunny Murray (Shandar, 1968)François Tusques, Free Jazz 1965 (Moloudji/In Situ, 1965)

more info and some records can be bought from futura/marge(another legendary lable)

or Improvising Beings
here http://www.improvising-beings.com/

Nouveau Jazz (Columbia, Mouloudji, 1970) FLAC

8 August 2014

KEITH TIPPETT meets DAM. Band on the Wall. 1986

PAUL DUNMALL - tenor saxophone

Set 1
1. 32:45
2. 6:18
3. 12:29

Set 2
1. 36:29
2. 14:15 inc

Band on the Wall, Manchester.  1986


Jerome Cooper, Kalaparusha, Frank Lowe - Positions 3 6 9 (Kharma 1978)

this is from our friend paul w, who supplied music and link

Jerome Cooper - Drums, Percussion [Gong Bell], Flute, Saw, Bike HornJerome Cooper
Kalaparusha - Tenor Saxophone, Clarinet, Flute, Bells
Frank Lowe - Tenor Saxophone, Percussion [Indian Bells, Whistle]

A1 - Movement AA     10:20
A2 - Movement A     8:04
A3 - Movement B     9:36
B1 - Movement C     8:38
B2 - Movement C2    
B3 - Movement D     15:20
C1 - Movement E     18:02
C2 - Movement F     5:48
D1 - Movement F (Cont.)     9:56
D2 - Movement G     18:00

A1: Duet - two tenors
A2: Solo - J. Cooper
A3: Trio
B1: Solo - F. Lowe
B2: Trio
B3: Solo - Kalaparusha
C1: Duet - F. Lowe - J. Cooper
C2: Solo - J. Cooper
D1: Solo - J. Cooper
D2: Trio

Recorded live in concert at Environ, New York City, April 25, 1977.

Kharma ‎– PK 3/4
double vinyl, 1978


This is an excerpt of David Toop's recording from a Shamans group healing ceremony.
Recorded in November 1978 at the village Dayari-teri (not the one above) which is situated at the high Orinoco River some 600 kilometers from the Amazonas capitol of Purto Ayacucho.

Originally this recording was released on Toop's label Quartz Publications titled "Hekura - Yanomamö Shamanism From Southern Venezuela".
The excerpt stems from the now OOP CD "Ancient Light And The Blackcore" issued by Sub Rosa.

According to David Toop this is no music but techniques of the subworld. But it works as a purely sound-event nonetheless - at least for myself.

Here's the excerpt...

Update - Lucky found a rip of the LP >  http://luckylocus.blogspot.de/2014/08/yanomamo.html
I've added a scan of the linernotes of the CD from which the excerpt was taken in the comments over there......

7 August 2014


Toshinori Kondo, trumpet, electronics, voice
Tristan Honsinger, cello, voices
Sean Bergin, saxes, melodica, voices
Tiziana Simona, vocals
Michael Moore, clarinet
Jean Jacques Avenel, bass
Steve Noble, drums

01. Talk     0:35
02. La Strada     4:26
03. Cello And Kondo     0:38
04. Television / Pineapplesass     4:11
05. Morehands     0:59
06. Crazy     2:43
07. Aveva Paura     2:33
08. Kate's Back     2:29
09. Jack's Field     2:28
10. Tell Me Another Story     1:46
11. La Rapina Della Scala     11:01

Recorded in Monster, Netherlands at Studio 44, 1 & 2 April, 1987.

Originally on ITM 0021 (LP) and ITM 971421 (CD)
BASIC 50007 (CD rip)

6 August 2014



As Keith Tippett likes to call it 'spontaneous composition', and this really sounds like it.  I don't think I can think of a more musical group of doggedly determined free improvisers; making up tunes as they go along. There are moments of real beauty, real passion, real swing, real good old fun, and even reggae!  I hope you can enjoy this.

PAUL DUNMALL - baritone and soprano saxophones
TONY LEVIN - drums

1. 17:56
2. 20:19

Bartons Arms, Birmingham.  14 November 1986


Prakash Maharaj & Friends (AMF 1989)

Bass – David Friesen, Peter Sonntag
Congas, Steel Drums – Rudy Smith
Drums – Andrew Cyrille
Harmonium, Tanpura – Gunther Paust
Percussion – Dom Um Romao
Piano – Paul Schwarz
Sarod – Vikash Maharaj
Saxophone – Bernd Konrad
Saxophone, Flute – Lennart Aberg
Shanai – Dulare Hussain Khan
Sitar – Shivanath Mishra
Tabla – Prakash Maharaj
Vibraphone , Marimba – Tom Van Der Geld

A1 - Hinglaj    
A2 - Multicoloured Shades Pt. I    
A3 - Suriodaya (Sunrise)    
B1 - Multicoloured Shades Pt. II    
B2 - Megh    

Recorded live at three occasions:
A1: Recorded at "Donaueschinger Musiktage" October 19th, 1985.
A2 & B1: Recorded at MM-Studios, July 21, 1981.
A3 & B2: Recorded at "Kunstlerhaus" Munich, November 21 & 22, 1987.

AMF - Music - amf F 106, LP
vinyl rip

4 August 2014


A1. Mumyoju (Masahiko Sato)

- Hideaki Sakura, koto

A2. Shirabyoshi (Hiroshi Takami)

B1. Ikisudama (Norio Maeda)

B2. Sensyuraku (Kozaburo Yamaki)

Recorded on 12-14 August 1970

Toshiba Records, TP-9010

Vinyl Rip

2 August 2014


Back again with this.  I transferred the audio off the dvd to cdr (makes a nice rich sound).  Elton Dean had left us six months earlier, bequeathing his trusty saxello to Paul, and here there is some of Elton's sweetness.  I find this a very attractive recording.  Download away.  Enjoy.

PAUL DUNMALL, saxello, tenor saxophone
TONY ORRELL, drums, pre-recorded backing track

Etchings  46:40

Scene 1.  Itchings
Scene 2.  Rama-fications
Scene 3.  Soft
Scene 4.  El's bells
Scene 5.  Hair guitar
Scene 6.  Scratchings
Scene 7.  Sita-u-ations

Recorded UWE Bristol.  16 August 2006
Engineer: Stephen Allan
Etching by Paul Dunmall, coloured by Lynda Dunmall

1 August 2014


Peter Brötzmann, reeds
Willem Breuker, reeds
Jay Oliver, bass
Jim Meneses, drums

1. unknown title 30:19
2. unknown title 10:00

Recorded at Musikladen im Zentrum, Untertrave 97 in Lübeck, Germany on May 3, 1987.
For the series "5 Jahre Jazz im Zentrum".

Note: I got the cd-r with a sheet which claims Jim Nassis as the drummer.
But an acquaintance recalled Jim Meneses as the drummer.
Also I've never heard of Jim Nassis...

UPDATE: Went to Jim Meneses website and found that the bassist was Jay Oliver > here 
and here