Leo Records

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 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

"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 Lacy’s 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; it’s 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

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

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