Sunday, November 15, 2009

Milford Graves - Babi Music


And thus ends my spree of lazy posting.


Greg Kelly - Trumpet


Milford Graves - Percussion Ensemble

Percussion Ensemble

Milford Graves + Don Pullen - Nommo


Globe Unity Orchestra - Live in Wuppertal

Live in Wuppertal

Revolutionary Ensemble - the People's Republic

the People's Republic

Steve Lacy - Stabs Solo in Berlin

Stabs Solo in Berlin

Andrew Cyrille & Milford Graves - Dialogue of the Drums

Dialogue of the Drums

Joe McPhee - Trinity


Borbetomagus - Sauter, Detrich, Miller

Sauter, Detrich, Miller

Borbetomagus - Barbed Wire Maggots

Barbed Wire Maggots

Hell Hall - There Were Two of Us, But I Had to Kill the Other One

There Were Two of Us, But I Had to Kill the Other One

Arthur Doyle - No More Crazy Women

No More Crazy Women

Kaoru Abe - Solo 1972.7.13 (Mokuyobi No Yoru)

Solo 1972.7.13 (Mokuyobi No Yoru)

Kaoru Abe - Mata No Hi No Yume Monogatari

Mata No Hi No Yume Monogatari

Orange - In the Midst of Chaos

In the Midst of Chaos

Revolutionary Ensemble - the Psyche

the Psyche

Archie Shepp - Live At The Pan-African Festival

Live At The Pan-African Festival

Noah Howard Quartet - Self Titled

Self Titled

Masayuki Takayanagi & New Direction Unit - Mass Hysterism In Another Situation

Mass Hysterism In Another Situation

Alexander Von Schlippenbach Trio - Pakistani Pomade

Pakistani Pomade

Peter Brotzmann Group - Alarm


Borbetomagus - Snuff Jazz

Snuff Jazz

Archie Shepp - the Magic of Ju-Ju

The Magic of Ju-Ju

Peter Brotzmann, Fred Van Hove & Han Bennink - FMP 0130

FMP 0130


I have a ton of stuff uploaded. I'm gonna post a bunch of stuff without descriptions. Just images. I'm fucking lazy.

Sunday, November 8, 2009

More Musica Elettronica Viva (MEV)

As the title implies, more of their free-synth electronics improvisation wankery. 3 of them here.

Debut, the other BYG release, and a bootleg live performance. Enjoys. This is all types of win.

1. Friday

Leave the City
1. Message
2. Cosmic Communion

Live in Amsterdam, 1982
1. Improvisation I
2. Improvisation II

Wednesday, October 28, 2009

C. Spencer Yeh & Wasteland Jazz Unit

Go this in the mail pretty recently from Jon Lorenz's label Rub-Don't-Blot. Sweet new label he's running to release everything Wasteland Jazz Unit related. Got another release from him to put up later.

This disc brings together two collaborative performances the artists did together at Art Damage Lodge in Cincinnati with John Rich on clarinets, Jon Lorenz on saxophone and C. Spencer Yeh on bowed bass and electronics.

The first set is more straightforward in its noisy direction while the second piece is more drone-y with blasts of noise throughout. Total free jazz noise fuckery. Enjoy!

p.s. - Sorry about my horrible writing skills.

p.p.s. - fuck pictures.

C. Spence Yeh & Wasteland Jazz Unit - Live at Art Damage Lodge
1. 11-08-2007
2. 09-27-2008

Saturday, October 24, 2009


nmperign was one of those bands that really made me question the whole concept of genre. I was really into the idea that everything was somewhat rigid and fell into only camps like EAI, Noise, Drone, Improv or what have you. It's not that their sound was radically different on each record it was that astheically it could been a Erstwhile or a American Tapes release. So much of what i didn't [and still don't] like about EAI is the fact that a lot of the music sounds so clean, but nmperign sounded raw in a way that the rest didn't.

Much of what I'm talking about is even more prevalent in Greg Kelley's solo and collaborative work outside of nmperign.

One of the best bands. If you're into this sort of this and you haven't heard 'em then this post is SOOO for you. Start with We Devote Every Effort, which is just one of the most brilliant records I've ever heard.

This Is Nmperign's Second CD
In Which The Silent Partner-Director Can No Longer Make His Point To The Industrial Dreamer
Nmperign + Dörner, Beins
Salt Peanuts
We Devote Every Effort To Offer You The Best That You Deserve To Have For Your Enjoyment

Arthur Doyle Electro-Acoustic Ensemble - Conspiracy Nation

Conspiracy Nation

I don't feel the need to explain to you why exactly Arthur Doyle is the fucking shit. He just is.

Oper'azione Nafta - Cavuru


Not exactly Free Improv or Jazz, but the record is this natural result of what a more intense Talibam! might sound like. I love that this came out on Siltbreeze in the midst of the Times New Viking type stuff as well. Great Record.



Wednesday, September 16, 2009

Wasteland Jazz Unit - Complete Spring Tour 2009

This came out in June on DroneDisco as a 6 cassette box set limited to 50 copies. Enjoy.

A1 UFO Factory, Detroit, MI (4.03.09)
A2 The Fact House, Lexington, KY (4.12.09)
B1 Skylab, Columbus, OH (4.05.09)
B2 204 North Gilbert, Iowa City, IA (4.09.09)
C1 Art Damage Lodge, Cincinatti, OH (4.02.09)
C2 Now That's Class, Cleveland, OH (4.04.09)
D1 Big V's, St. Paul, MN (4.08.09)
D2 APOP Records, St. Louis, MO (4.11.09)
E1 WNUR 89.3 FM, Evanston, IL (4.10.09)
E3 The Mopery, Chicago, IL (4.10.09)
F1 Woodchuck's,Toledo, OH (4.06.09)
F2 Cactus Club, Milwaukee, WI (4.07.09)

Monday, August 31, 2009

Greg Kelley - Is Uncomfortable

Is Uncomfortable

I think that Greg Kelley and nmperign are kinda sorta that link between labels like Erstwhile and Hanson. Sorta a beautiful and harsh collision between those two worlds that seem somewhat diametrically oppossed.

But Kelley proved me wrong. oh wellz.

Albert Ayler - Music is the Healing Force of the Universe

Music is the Healing Force of the Universe

I love this record mostly for Masonic Inborn which is totally insane and my fav Ayler cut.

Monday, August 17, 2009

Evan Parker & John Wiese - C-Section (Second Layer Records 2009)

C-Section Part 1
C-Section Part 2

First post over here. Might as well plug my other blog (dick move). Static Collaborative. I like my things a little noisier. So here's some of what I have to offer.

Real-time improvisations to be played at maximum volume. Recorded May 2008. Mastered by Tommi Keranen.

Evan Parker: tenor/soprano saxophone
John Wiese: electronics, tape, MSP

In John's own words: "We recorded it together in a studio in London last year when I was over there. It differs from a lot of collaborations that I've done in that I went with Evan's vibe of keeping the integrity of the live take (which I don't necessarily normally do -- I love to edit). The session was two long takes, with two shorter ones of different strategies... I think if you crank it, it sounds pretty unique."

Saturday, August 1, 2009

Andy Moor, John Butcher, Thomas Lehn - Thermal (2003)

Sax,Guitar,Synthesizer. Maybe between SME and Borbetomagus aesthetic. Wonderfull Release.

Tuesday, July 28, 2009

David Murray - Sur-Real Saxophone (Horo 1978)

Sur-Real Saxophone

Solo LP from this killer tenor man on the phenomenally epic Horo label. Moves between liquid lines and sputtering reed demolition in the blink of an eye.

Black Artists Group - In Paris, Aries 1973

In Paris, Aries 1973

The sole LP of this group, nigh impossible to track down now. Sort of in the vein of AACM stuff from the time, especially Art Ensemble of Chicago. Oliver Lake, Charles "Bobo" Shaw and Joseph Bowie alongside lesser-knowns Baikida E.J. Carroll and Floyd Le Flore. Fumblingly free stuff with plenty of clatter.

Monday, July 27, 2009

The Thing - Bag It! (2009)

The new album from the trio of Mats Gustafsson, Paal Nilssen-Love, and Ingebrigt Håker Flaten. The latter two players make up probably my favorite contemporary rhythm section in this style, as they've grown so very tight together from playing in a number of groups (Ken Vandermark's excellent School Days project, the Scorch Trio with guitarist Raoul Björkenheim, etc.). I've got a lot of that stuff, so let me know if you're interested. Anyway Gustafsson goes crazy on this record, too, unleashing blasts from his sax that recall his former mentor, Peter Brotzmann. Don't know why it was released as a double CD (whole thing clocks in at 76 minutes or so) but that won't bother you, will it?

Bag It!

Wednesday, July 22, 2009

Masayuki Takayanagi & New Direction For The Art - Complete ''La Grima''

Complete ''La Grima''

I've got a lot of updates for No Not Fun Not No as well so I don't feel like typing a lot.

But honestly, I know that this kinda a bullshit hipster thing to say, but i legitimately feel that the quality of Japanese experimental music went down by 50 percent when Takayanagi died. And to me, it still hasn't fully recovered.

Don't get me wrong. I love bands like Incapacitants, but there's something special about Takayanagi that everyone else just doesn't have. I can't put my finger on it right now though.

Flaherty Corsano duo - Steel Sleet lp

Steel Sleet

Here's the other Flaherty-Corsano Duo LP. I just got ma grubby paws on Full Bottle and am anxious to spin that shit.

Handicapper Horns - Hanson cs

Handicapper Horns

Correct me if I'm but isn't this basically a early prototype for Graveyards, Cardboard Sax, Pink Chunk Jazz Band and so on and so forth?

It does feel like it coulda been a Uneven Universe tape.

Leroy Jenkins - Solo Concert

Solo Concert

I've spilled enough about Jenkins in the past, but this is sublimely beautiful record.

I seriously cannot get enough solo record. I love 'em and this is one of my favs.

Noah Howard - The Black Ark

The Black Ark

One of my top five lps ever.

There's so many things to love about this one. It's fucking intense, but never feels like everything gone off the rails and it's become just random blowing. The control that all of these guys had is just astounding.

Great fuckin' record.

MEV - The Sound Pool

The Sound Pool

Here's the thing, most free jazz or improv music at the time, while no doubt chaotic, had some sembelance of structure or at least a theme that drove it forward. This has none of that and is a VERY appropriately named record as a result.

My first and still my favorite MEV. I think I might've heard it before AMM, but that was years ago.

Tuesday, July 21, 2009

Matt Bauder - Weary Already of the Way (482 Music, 2004)

More Chicago improv/Matt Bauder/2003 with a host of other great players such as Fred Lonberg-Holm, Jason Roebke, and Rob Mazurek. This is release number four in 482 Music's excellent Document Chicago series. Although originally improvised, most of the musicians were recorded separately and it was patched together and manipulated later by Bauder, so it may be stretching some definitions of jazz/improvisation. But its a damn good album anyway and the fact that it was pieced together later is actually pretty amazing as it has a very cohesive sound.

From Matt Bauder:
In 2000 I composed the four pieces for sextet (two reeds, two strings, two brass) that more or less appear on the disc. While I was composing I was aware that I was asking the players to play as if their sounds were being electronically manipulated. While writing the music I was thinking of a recording where the before imagined electronic processes would be actually constructed electronically. The music on the disc was recorded in segments with solos and small ensembles and later edited and layered to construct my compositions. Very little was actually played live with everyone together... One of my main interests was non-interaction within a specific texture. We did this in a few different ways. One was to give instructions to each player and record them separately while not listening to what the others had recorded, and then layering. The beginning is probably the most electronic sounding part. It was made by recording all of the players separately playing long tones, and then I spent quite a long time cutting them into those blips by hand (by cursor I guess) on the computer. One distinction I should make is that there are no electronic sound sources (there is a Hammond organ bass line at the end, but I didn't want to make a big deal out of it by saying that I play organ on the record), and very little signal processing (some distortion on the cello, and plate reverb).

All 4 tracks are great. The first track is the most heavily manipulated electronically to very good results. Some of the other tracks offer sputtering squiggly splurty strings and brass, but also some very beautiful long tones, particularly track 4 which actually builds into some dramatic beautiful "fan-fare" type deal.

Label: 482 Music
Catalog#: 482-1025
Genre: Experimental Jazz/Free Improvisation
Credits: Aram Shelton - alto saxophone, clarinet
Fred Lonberg-Holm - cello
Jason Roebke- bass
Jeb Bishop - trombone
Matt Bauder - tenor saxophone, clarinet
Rob Mazurek - cornet
Todd Margasak - cornet


1. 1 (20:06)
2. 2 (8:00)
3. 3 (8:23)
4. 4 (16:08)

get it

Matt Bauder / Jason Ajemian - Object 3 (Locust, 2003)

Yo dogz, it's time for some slooooow jazz from nice label locust and the chicago jazz scene.

From AMG (who I usually don't trust but here is a pretty straight forward description):
Bassist Ajemian and tenor saxophonist Bauder set up their mikes one night on the back porch in Chicago and recorded themselves playing a half hour's worth of quiet sustained tones. Local traffic noise and the buzz of various nearby insects were also captured on the tape, imparting a refreshingly natural feel, far from the pristine claustrophobia of a studio session. The first half of the proceedings was recorded simultaneously on two mini-discs by some friends in attendance, who inserted index markers here and there and subsequently played the resulting tracks on random shuffle. "Normal" starts out then as a duo and ends as a quartet...
Seriously underrated and underheard gem of free improvisation/quiet jazz/field recording. Both Bauder and Ajemian always bring the goods, Ajemian being probably the quietest bass player you've ever heard. Highly recommended for late nights.

Label: Locust Music
Catalog#: LOCUST 38
Genre: Experimental Jazz/Free Improvisation
Credits: Bass - Jason Ajemian
Producer - Dawson Prater
Recorded By, Mixed By - Anthony Mathile
Saxophone [Tenor] - Matt Bauder


Normal (31:08)

Get it
(sorry about the megaupload, I'm having some problems with mediafire right now for some reason)

Sunday, July 19, 2009

John Coltrane + Rashied Ali "Interstellar Space" (1967)

Amazing things started happening when Coltrane starting taking LSD and hanging out with Ayler. This record is loud, fast, cosmic and super intense. Coltrane's last major recording session before his death later in 1967. This is one of the first free jazz records I ever heard and it's been a landmark in my collection ever since. 

Spontaneous Music Ensemble "Karyobin"

1st record from these pioneering british free jazz heads. This album is more quiet than most free jazz, although it has it's peaks. The amount of communication and correspondence between the musicians on this record is insane. Lots of venturing between tense sparsity and dense textural playing.
Righteous line up in this version of the band:::
Dave Holland - Bass
Kenny Wheeler - Trumpet
Evan Parker - Saxophone
John Stevens - Drums
Derek Baily - Guitar

Saturday, July 18, 2009

Revolutionary Ensemble - Manhattan Cycle

Manhattan Cycle

My obsession with Leroy Jenkins continues.

All of the Revolutionary Ensemble Records from the 70's are essential. They're rather unqiue in free jazz due to the fact that they aren't based around reeds or horns really. Cooper does play the flute, but even that's a instrument you rarely hear in free jazz.

beautiful mind expanding stuff.

Peter Kowald Quintet

Peter Kowald Quintet

I posted this on Fangs & Arrows. A lot of FMP records tend to get overlooked and this is certainly one of them.

It does have all the tropes of the early FMP records, which is not a bad thing at all.

Thursday, July 16, 2009

Nervous Cop - Nervous Cop (2003)

Review & upload originally posted on my blog.

Although this doesn't totally fit the free-jazz/improv label (it's pretty heavy on post-production editing and pretty light on actual group improv) it sounds like it should.
And there's a definite William Hooker/Han Bennink influence, so that counts for something.

Considering they have what may be the greatest band name in the history of music, it’s sort of a shame that Nervous Cop was nothing more than a one-off recording project. That fact seems even more unfortunate when you consider the participants: Hella drummer Zach Hill, Deerhoof drummer Greg Saunier, Deerhoof electronics guru John Dieterich, and a pre-Milk-Eyed Joanna Newsom. And if a drums, drums, electronics, and harp quartet sounds like an odd proposition to you, then you’re absolutely right. This album is pretty much the definition of an “acquired taste.”

The first time I heard this album, I very quickly wrote it off as pretentious garbage: musical gibberish. It was only a few years later that I was lying in bed, suffering from insomnia, and decided to turn on my iPod and listen to something to maybe help lull me to sleep. Why I chose this particular album I have no idea, but it certainly didn’t do what I was hoping it would. Instead, in the pitch black of my room, my attention wholly focused on the sounds coming from my headphones, I became enthralled by what I heard.

Nervous Cop demands your full attention. Hill and Saunier don’t make things easy. Their drumming doesn’t follow any conventional rules of rhythm. Far more concerned with sheer energy than with keeping a beat, the percussion ebbs and flows in waves and gushes of clamor and din. Occasionally, crashes of cymbals become ambient background hiss. At other times the two drummers appear to be duking it out - launching volleys of percussive gunfire in each others direction. There are moments where it sounds as if they have a hundred drum kits at their disposal, and aren’t playing them but rather throwing them down endless flights of stairs as quickly as they can manage. Often the drum sounds are electronically processed and manipulated - strange effects are applied; panning and volume are played with; the attack and decay of the individual sounds themselves are clipped off or tinkered with. Dieterich’s subtle blipping, beeping, gurgling, and chirping electronics closely resemble his electronic contributions to Deerhoof tracks such as “Dog on the Sidewalk” (the last 30 seconds of that song, in fact, sound strikingly similar to several songs on this album). Newsom doesn’t come into the picture until track 6, “Frank vs. Frank,” which also happens to be the most structured (that’s speaking very very relatively) and most “successful” track on the album. Her playing style here is markedly different from what you might expect. It has far more of a classical and avant-garde influence than usual, with more of a focus on texture, and often wanders into grim and dissonant territory. Her trademark vocals are totally absent.

I suppose it’s worth mentioning that Nervous Cop was originally born as a very different beast. Mutual admirers of each others’ playing styles, Hill and Saunier had long planned to collaborate. This album began rather simply as the recorded documentation of a ferocious jam session between the two drummers. The recording was then chopped to shreds and pasted back together by Hill or Saunier or both.* Later, Hill asked his friend Joanna - then keyboardist for The Pleased and not yet famous - to contribute some harp. There were a couple more attempts at remixing before Saunier asked fellow Deerhoof-ian Dieterich to add electronics. A few digital re-workings later and what we’re left with is Nervous Cop. I don’t know if knowing that makes it more or less surprising, then, that many moments on the album manage to capture the same feeling of inspired spontaneous group interaction that only the best free improvisers can achieve.

Nervous Cop - Nervous Cop
1. Setting the Bushes on Fire (0:34)
2. Rice Precipitation (0:36)
3. Nonrum Nonproblem (1:06)
4. Get Wolf Boy and Get in Context (0:38)
5. Ill Pearls (4:31)
6. Frank vs. Frank (7:32)
7. Colorchains of Outer Space (3:36)
8. Nuflesh, Old Thirst (7:55)
9. Pow Strikes Pow Implosion (0:54)
10. The Hawk Feeds You to Feed Itself (5:12)


* information regarding the story behind this album is very difficult to come by, and if you have any links or articles or interviews or anything, please send them.