After a successful tour supporting The Hour of the Star, the group's remarkable 2011 debut for Leo Records, Perelman decided to explore his relationship with each member of the unit in more intimate settings. Having worked with Matt Shipp and Gerald Cleaver on Family Ties (LR 630) Ivo Perelman continues to explore his relationship with each member of his quartet in a slightly different setting.
"This is more free than the previous album; yes, I agree with that. I think because Matthew is such a wonderful musician, and he has this antenna; and because Gerald can go any way the music goes...Since the piano is a harmonic instrument you would think it would limit the choices, but with Matthew it does not. And when I do venture out of tonal Western music, into noises and microtones, this doesn't scare him; he takes it as an opportunity to expand the music." - Ivo Perelman
"The Foreign Legion is Perelman's eighth record named in honor of one of Clarice Lispector's novels. Emboldened by the stellar contributions of his empathetic sidemen, the leader's cathartic performances transpose the Brazilian author's emotionally charged narratives into pure sonic expression, continuing his fertile exploration of a vibrant new tradition." All About Jazz
Ivo Perelman / tenor sax
Matt Shipp / piano
Gerald Cleaver / drums
Recorded, mixed and mastered at Park West studios, Brooklyn, NY, December 2011.
Perelman / Shipp / Cleaver - The Foreign Legion
"Taylor's aggressiveness and speed belie the incredible intricacy and precision of his compositions. Indeed, listeners of this performance might find themselves wishing to parse it out into a hundred or more sections (though doing so would be impossible) because the myriad themes throughout the piece explode like bubbles on a pot of boiling water, lingering just long enough for you to know that they were there before disappearing forever into the air."
"Cecil's is a voice in the interruption of race and nation, just as it is a voice in the interruption of the sentence and, indeed, in the interruption of the word itself. He works the anarchic irruption and interruption of grammar, enacting a phrasal improvisation through the distinction between poetry and music in the poetry of music, the programmatic manifesto that accompanies the music, that becomes music and turns music into poetry. These things occur "between regions of partial shadow and complete illumination" in the cut." - Fred Moton
Cecil Taylor / piano, poetry
Carlos Ward / reeds
William Parker / bass
Leroy Jenkins / violin
Thurman Barker / marimba, drums, voice
Recorded live in Vienna on the 7th November 1987. Tapes remastered by Alan Mosley. Design by Michael Bennion. Artwork by Lora Denis.
Cecil Taylor Unit - Live in Vienna
Taylor reads his poetry on the subject of composition, accompanied by small percussion.
"What kind of writing Is Chinampas? Cecil presents no graphic system - if Chinampas is writing, it is so in the absence of visuality. Under what conditions, then, could Chinampas be called "writing"? Perhaps within an understanding of writing more broadly conceived as nonverbal, as well as verbal, systems of graphic communication. Yet, since what we have there is nongraphic verbalcommunication, the legitimacy of its claim to writing is not self-evident. Nevertheless ideas of and about graphic systems are presented in Chinampas, sound blurrring vision in the improvisation of another writing; and image, position, and direction are so encoded- the visual-spatial so embedded -in the poem that what we have is something more complex even than some newly included Outside of writing. Rather, Chinampas is out from the outside of writing as it is conventionally defined or redefined in what have become conventional redefinitions. Writing is, in Chinampas, a visual-spatial-tactile improvisation of system that activates the aural resources of the language. The poem is an improvisation of writing not to be appropriated by, not proper to, an older and somehow more inclusive graphesis: it is not a valorization but an improvisation of the nonverbal; not an abandonment but a (re)sounding of the visual-spatial." - Fred Moton
Great essay by Moten on this piece here.
Cecil Taylor / poetry, voice, tympany, bells, small percussion
Recorded at Doodlehums Studio, London 16th & 17th November 1987 by Alan Mosley. Artwork by Lora Denis. Original painting by Malik Cisse.
Cecil Taylor - Chinampas
Cecil Taylor's poetry set to a live recording by Carlos Ward, Leroy Jenkins, William Parker, Thurman Barker and Taylor. "Taylor is leading the charge and all of these players know how to follow him, down an improvisatory highway that leads straight into a darkness beyond language. And perhaps, as he re-enters with his poetry at the very end of the work, that's what it's about anyway, going beyond language, ever beyond the place where it occurs to the place where it is conceived in spoken word and in music, which is but an extension of the human voice"."
Cecil Taylor / piano
Carlos Ward / reeds
William Parker / bass
Leroy Jenkins / violin
Thurman Barker / marimba, drums, voice
Poetry recorded by Alan Mosley 16-17th November, 1987. Music recorded live in New Morning, Paris, 13th November, 1987.
Cecil Taylor - Tzotzil / Mummers / Tzotzil
"It is as though I've known, seen, heard Steve forever with his groups, projects, and his music! It is an honour for me to see this recording released. Steve loved this duo! Improvising with Steve was always an adventure. The music was simply there, immediate, full of play and emotioins, surprises, joy, and paradoxically, full of control and freedom! "Just make music and follow it," - as Steve said so well. I would like to dedecate this to Irene Aebi, his lifelong companion and beautiful musician. Hey Steve, so long, we miss you so much!" - Joëlle Léandre
"This recording documents a live meeting of two of the strongest and most radically different improvisers in the world. The pairing of the convolutedly logical and ironic Lacy and the aggressive and passionate Leandre stands as one of the best examples of the ability of conscientious artists to meet and create great music. Check the first track where Lacys restrained yet harmonically probing architecture joins in a stately waltz with a neo-classical bowed response from Leandre. Track two features water buffalo groans and African wood trumpet sounds from a decidedly atypical Lacy, which seems to spark the musical equivalent of raised eyebrows and laughter from Leandre. Track three starts with Lacy chanting "one more time with Leandre joining in a extemporaneous rant in French before they get to their instruments in a seamless finale. Track four is the most poignant of all; its a minute long phone message from Steve Lacy in French expressing his joy at the performance and his affection for Leandre (he passed away two years later fromliver cancer). This last track, for me, makes this CD a beautiful and touching tribute to one of the icons of music, the Satie of Jazz, Steve Lacy." - Nilnan Perera
Steve Lacy / saxophone
Joëlle Léandre / double bass
Recorded live at Cafe Belga, 28th July 2002. This concert was part of Lacy's farewell tour of Europe before he went back to the USA in 2002. The concert was organised by Cedric D'hondt/ Champauditif. Recorded and mastered at Odeon Mobile Unit studio. The last track is a phone message left on Léandre's answering machine by Lacy, expressing his wish for this performance to be released.
Steve Lacy and Joëlle Léandre - One More TIme
The concept of this lays in the title - undersound being synonymous to understatement. This recording finds Dominic Duval with yet another set of musicians; however, having been on the road for quite some time, the trio have achieved a unique level of togetherness in bringing out their concept.---
Dominic Duval / bass
John Hewett / drums, kalimba, voice
Joe McPhee / soprano sax
Recorded at the Place, NYC. Engineered at LMC Sound, London by Stan Winjans.
Dominic Duval / John Heward / Joe McPhee – Undersound
A live recording by two great bass players at the "Sons d'Hiver" festival on January 9, 1998.
"Though the basses often soar and sing here, the notion of fundamentals, of the deepest pitches, remains at the core of this music, bending our ears to the subtler vibrations, training them in the messages of a profound human history. This concert is a ceremony and seminar, roots and branches, essential human song welling through and out of fundament" - Stuart Broomer
Joelle Leandre / bass, voice
William Parker / bass
Recorded at the festival "Sons d'Hiver", 9 January, 1996, at the Theatre A. Vitez, Ivry sur Seine by Jean-Marc Foussat. Illustration by LS Popova.
Joelle Leandre & William Parker - Contrabasses
This is a fascinating context for Parker, an improvisation duo with a Chopin-specialised classical pianist, Patrick Scheyder. Scheyder's background brings a powerful undercurrent to the music: though he clearly relishes the openness of the situation, he's disinclined to tiptoe around his partner's desires, and imposes strong thematic directions to the music. One of Parker's best-recorded solo-soprano investigations of recent times bursts from the track Dancing with Dr Dee, while Scheyder's shimmering, trilling unaccompanied piano piece has both eloquent energy and patient use of space and the sonics of the piano. Skrying In Mortlake - after a toe-in-the-water start - showcases the fragility of Parker's tenor- sax nuances today in a manner unthinkable in earlier stages of his uncompromising career. - John Fordham
Evan Parker / saxophones
Patrick Scheyder / piano
1. Skrying In Mortlake - 30:222. Dancing With Dr. Dee - 13:473. Piano-Forte - 5:404. Other (As It Were) Optical Science, For J.Z. - 4:245 . Polyphonics - 10:36
Recorded November 4, 2000 at Gateway Studio, London. Painting by Vladislav Makarov.
Evan Parker & Patrick Scheyder
Conceptual record based on 7 letters exchanged between Sainkho and her beloved father who died in 1992. Sainko accompanied by the Kieloor Entartet.
---Kleloor Entartet are:
Joelle Leandre / bassSten Sandell / piano, voiceMats Gustafsson / baritone saxophoneMathias Kielholz / guitarLucas N. Niggle / percussion---
Letters 1, 2, 6, 7 recorded live at Moods Jazz Club, Zurich, 12.12.92 Letters 3, 5 recorded live at the Solo Festival, Stockholm, 6-7.11.92 Letter 4 recorded live at Andra Bocker & Skivor, Stockholm, 9.11.92
Sainkho Namchylak - Letters
Rothenberg’s solo work on alto saxophone, clarinet, bass clarinet and shakuhachi has been internationally acclaimed with over a thousand performances on 4 continents since 1980. His musical voice is built on a timbral palette which integrates ‘extended’ and standard instrumental technique into a seamless whole. The Crux, in Rothenberg's own words, is "a re-assertion of solo work as a primary expression of [his] creative voice." "I've found myself gradually less concerned with 'stylistic purity' as I've gained confidence that I can play in any kind of idiom where I have enough fluency to assert my musical identity. So I indulge these omniverous interests. They, together with the input of my various co-conspiritous over the the years, are my primary source of musical energy." - Ned Rothenberg.
Ned Rothenberg - alto saxophone, bass clarinet
Recorded December 19, 1991, June 18 & August 9, 1992 at Acoustic Recording and Park Place Studios, Brooklyn. Edited and sequenced at Studio PASS. Mastered at NY Digital Recording. All pieces recorded direct to 2-track digital, no overdubbing is involved.
Ned Rothenberg - The Crux
Concert performance by Taylor with Thurman Barker, William Parker, Carlos Ward and Leroy Jenkins. Remaster of the original double LP.
William Parker / bassThurman Barker / marimba, drumsCecil Taylor / pianoCarlos Ward / reedsLeroy Jenkins / violin
Remastered by Alan Mosley.
Cecil Taylor Unit - Live in Bologna
This is some mysterious, cosmic, brooding music like nothing you've heard before. Wadada Leo Smith plays his great trumpet, Walter Quintus - computer & processing, Katya Quintus - voice, Miroslav Tadic - classical & baritone guitar, and Mark Nauseef - percussion & live electronics
Of all the avant-garde players from his generation, Wadada Leo Smith easily ranks among the most insightful collaborators with electronic musicians. His willingness to include electrified lexicon in his musical language now yields Snakish, a surprising soundscape created with a band culled from the Cal/Arts faculty, including guitarist Miroslav Tadic and electrician Walter Quintus, as well as vocliast Katya Quintus and Mark Nauseef on percussion and electronics. The guitar, trumpet, and percussion juxtapose the electronic environments to create rainbows of color and textures, leading down surprising avenues of 21st Century music. As with much of Smith's work, space and silence share in importance with sounds generated.
The fourteen concise aural haiku begin with the dreamy "Uncoiling, which features Smith muted and musing with Tadic's understated guitar in a shimmering soundscape. Quintus quietly recites (in German?) as sparks rise. Nauseef's bell awakens "Cosmoil, Tadic runs muted strings through electro mist and processed Smith flares. The short atmospheric "Disembodyism gives way to "Over the Influence, with its ghostly train sounds and Smith's pointed declarations. "Yopo also begins with a bell, and Smith plays carefully chosen notes over the frothy hum around him.
Black Bell Mother utilizes many bells and gongs; Tadic contributes muted sound from a his prepared guitar. Tadic and Smith quietly converse on "Majounish, while "Kawami Wama sounds cinematic behind the recitation. Jagged electronics scrape Smith's blunted horn then overgrow the garden. A sputtering electro raspberry introduces Tadic's guitar on "Speeds Per Coil, Smith's warm sparse phrases a safe place in roaring whoosh. Smith bites into low gritty growly notes on "Neither Liquid Nor Gaseous, Torn among singing bowls, undermixed prepared guitar, and vining cloudy sound.
Opening with sounds like a Martian gamelan, "Green Gold Melt grows spidery with slide guitar and Smith's smoky long tones curling upward. The solo electronic satellite song "Gangah Wallah leads into the moody "Rivers of Swans. Sweet small prepared guitar chords join Smith's muted playing over shifting tectonic plates. A searching trumpet and prepared guitar poke through the kilowatt wind on "Coiling.
With Quintus' ambient sounds crackling and rushing around them, Wadada Leo Smith and the Snakish band have tapped into the music of wonder.
Walter Quintus / computer, effectMiroslav Tadic / guitarMark Nauseef / percussion, electronicsWadada Leo Smith / trumpet Katya Quintus / voice
Recorded during 2003 and 2004 in Zerkall and in Los Angeles by Miriam Kolar and Walter Quintus. Mixed and mastered by Walter Quintus
Smith / Quintus / Quintus / Taduc / Nauseef - Snakish
Live in Zurich is Crispell's second trio recording, successor to the highly acclaimed Gaia, and comprises the second of three concerts which the group gave at Switzerland's Taklos Festival. Live in Zurich marks the recording debut of Crispell as a vocalist. The haunting, chant-like singing with which she opens 'Areas' is something she's been doing more and more in concert, although she confesses that she's "been (and still am) very shy to put it on a recording since it's in a very raw state. But anyway, it sets up a special feeling for the rest of the music to grow out of. It's a ritual, a beginning." - Graham Lock, 1990.
Marilyn Crispell / piano, voice
Reggie Workman / bass
Paul Motian / drums
Recorded 14 April, 1989. Remastered by Alan Mosley.
Marilyn Crispell Trio - Live in Zurich
A studio live recording of Evan Parker playing soprano and tenor saxophones, and Ned Rothenberg on bass clarinet and alto saxophone.
Evan Parker / saxophones
Ned Rothenberg / bass clarinet, saxophone
1. For Ximenes - 15:062. For Araucaria - 5:043. For Bynthorne - 7:064. For Afrit - 2:525. For Dinmut - 15:226. For Custos - 3:347. For Rufus - 4:088. For Chifonie - 6:13
Recorded May 17, 1997 at Gateway Studio by Steve Lowe.
Evan Parker & Ned Rothenberg - Monkey Puzzle
This record of zany duets is among Eugene Chadbourne's wildest and dearest recordings, featuring selections from over two decades. These duets with Han Bennink, Derek Bailey, the late Charles Tyler, John Zorn, and others, showcase the woolliest side of Chadbourne's woolly playing and his dodging all over the musical and historical map.
The first track is an acoustic version of John Lee Hooker's "Whiskey and Women," accompanied by Bennink playing a pizza box with brushes, a giant bass autoharp played with drumsticks, and, of course, a drum kit. Chadbourne plays the tune straight (for him) at the beginning, even getting all the words right, but then veers off his National Steel onto a "communist" five-string banjo, and he and Bennink run the course, carrying the off-meter 12-bar blues as off-world as they can go, laughing all the way.
Next up is Derek Bailey and Chadbourne on two selections. The first, "In Search of Carl La Fong," is filled with commentary by both men. Bailey's guitar and Chadbourne's electric rake and electrified banjo trip and slip all over one another here, with respect and purpose, of course, but nonetheless sloppily. It's a rousing series of musical maneuvers at over nine minutes.
When Bennink and Chadbourne reunite, it's a darker, more percussive show: feedback from rhythm and lead instruments becomes the M.O. by which they create something resembling a melodic idea from the wreckage. And it's quite beautiful, as Gershwin's songbook comes through as the melodic framework for the improvisation.
The work with Tyler, "In Between Comme C and Come Saw," is balls-out space improv, though the master saxist uses his baritone in striking ways not usually becoming of the instrument itself. It becomes a kind of clogged, scraped, razor-voiced bell in the tower of noise. Tyler draws microtones out of the instrument we have literally never heard before, and Chadbourne is content to lend idiomatic support to this gracious unfolding.
"Red Lightning, Pt. 1" by Chadbourne and Zorn is hilarious. This is more in line with Zorn's Classic Guide to Strategy than anything else, in both spirit and execution -- though there are no duck calls credited on this recording. There is space here, sometimes long periods of it, where what is happening between the pair is not readily apparent; there is plenty of trickery and tomfoolery as well, leaving the listener guffawing in more than a few places.
Eugene Chadbourne In Duets - Boogie in the Hook
Vocalist and pianist Amina Claudine Myers pays tribute to one of her biggest influences, Bessie Smith. Myers has been a member of the Association for the Advancement of Creative Musicians (AACM) since 1966 and has been composing for voice and instruments ever since. Gorgeous record.
Amina Claudine Myers / voice, piano, organ
Cecil McBee / bass
Jimmy Lovelace / drums, bells
Recorded and mixed by Roddy Hoi at Big Apple Studio, New York, 19 & 22 June, 1980. Mastered by David Crawford. Front cover photography by Spencer A Richards.
Amina Claudine Myers Salutes Bessie Smith