Monthly Archives: January 2013

LP5326-MagicBand-Oxford-minia little late, but here you go…in alpha order.


John Abercrombie – Within A Song (ECM)
Tim Berne – Snakeoil (ECM)
Jack Bruce – Spectrum Road (Palmetto Records)
Chick Corea, Eddie Gomez, Paul Motian – Further Explorations (Concord Jazz)
Brian Eno – LUX (Warp)
Icebreaker with BJ Cole- Apollo (Cantaloupe)
James Ilgenfritz – Compositions (Braxton) 2011 (Infrequent Seams)
Masabumi Kikuchi – Sunrise (ECM)
the Magic Band – Oxford, UK – June 6, 2005 (Sundazed)
Terry Riley – Aleph (Tzadik)
Sam Rivers – Reunion: Live in NY (Pi)
Travis & Fripp – Follow (Panegyric)

reissues, or new releases of older music:

Keith Jarrett – Sleeper (ECM)
Jimmy Lyons – Jump Up (hat)
Pat Martino and Bobby Rose – Alone Together (HighNote)
and that Mingus Mosaic I don’t own yet.

There were a bunch of reissues on CamJazz that I discovered, Cecil Taylor, World Saxophone Qt, Bill Dixon, Steve Lacy and few others. Also some grey market European collections by Bud Powell, Jim Hall, John Williams and Steve Lacy.

I’m sure there’s others I’ll think of later!

Edit: It has come to my attention that some Jim Hall archival material came out last year. I don’t own it, but it’s worthy of this list.



Jim Hall - It's Nice To Be With YouJim Hall – It’s Nice To Be With You (MPS)

This is nice discovery from 1969, guitarist Jim Hall and his trio with originals and a few standards. There’s a surprising harmonization of Up, Up and Away (in my beautiful balloon) and great guitar overdubs on the entire disc like those classic Jimmy Raney albums. Seems to be out of print, like his other early solo albums

John Sampen – the Contemporary Saxophone (Neuma)

An old favorite I haven’t heard in years, the disk opens with a duet for saxophone and piano with pianist Marilyn Shrude.

Probably the original reason for buying this disk was Images by Milton Babbitt for saxophone and tape. A synthesizer shadows the sax with timeless tones, not sounding too dated for 1979. Contemporary composers working in this area – acoustic instrument with computer and or synth don’t seem to be making much of an improvement on this music. Babbitt’s compositional logic always seemed very musical to me.

The same is true for Divertimento by Nobel winner Charles Wuorinen for saxophone and piano and Morotn Subotnick’s In Two Worlds for alto and interactive computer. It all works so well, leaving me wonder why this album is an out of print classic, I’m glad I picked it up years ago.

Keith Jarrett – Somewhere Before (Atlantic)

An Jarrett trio from 1968, giving an early peak into his MO. Did he ever admit to a Gary Burton influence? Those folksy country gospel tunes could have come from there. Stunning, sensitive playing from bassist Charlie Haden and drummer Paul Motian, I like this trio even more than his later “American” quartet with Dewey Redman.

There some magical out playing on Moving Soon, now that he has lots of money, maybe he could follow *that* muse and sell a lotta albums.

Not gonna happen, but I do think this album is really happening.

Keith Jarrett – Staircase (ECM)

Very nice solo piano album from 1976, I knew there had to be Jarrett albums out there that I totally love, I just had to find them.

Keith Jarrett – Arbour Zena (ECM)

Beautiful writing for strings and the most of the composing is sucessful. Saxophonist Jan Garbarek is hit and miss here.

Thelonious Monk Plays Duke Ellington
Thelonious Monk – 5 by 5
Thelonious Monk Orchestra at Town Hall

Town Hall must be my favorite Monk album with those tasty Hall Overton horn arrangements.

Alvin Curran – Songs and Views of the Magnetic Garden (Catalyst)

I had this on a tape of a New Sounds program that I made in the early 1980s, I didn’t know what it was for years. By the time I first heard the Magnetic Garden, it had been out for ten years (1973).

Tape loops create repetition, the soft, gentle repetition of environmental recordings, percussion and analog synths are meditative.

from Wiki:

Track listing

1. From a Room on the Piazza – Wind, high-tension wires, swallows, percussion, “molimo” (Mbuti trumpet)
2. Crystal Aires – Voice, ring modulator, glass chimes, water glugger, bees
3. Walked the Way Home – jaw harp, synthesizer, flugelhorn, dogs
4. Gli Scariolanti – Italian folksong sung by Margherita Berietti
5. On My Satin Harp – VCS3 synthesizer, kalimba, sounds of the sea
6. At Harmony Ranch – Whirling plastic tubes [or hoses], peepers (frogs), “Guido” the dog

0016d512Various things I’ve been listening to lately. 20th century stuff, some of my favorite Phillip Glass, Morton Feldman, Milton Babbitt, some jazz. No comments today, but Happy New Year!

Milton Babbitt – Piano Works (Harmonia Mundi)
American Festival of Microtonal Music – Ideas
John Cage Melodies & Harmonies (ColLegno)
David Tudor, Karlheinz Stockhausen – Klavierstuecke (hatNow)
Ortwin Strumer, Horatiu Radulescu – Lao tsu Sonatas (cpo)
Horatiu Radulescu – Piano Concerto – the Quest (cpo)
Horatiu Radulescu – Streichquartet, nr.4, opus 33 (ed. RZ)
Elliott Sharp – String Quartets, 1986-1996 (Tzadik)
Elliott Sharp – String Quartets, 2002-2007 (Tzadik)
Tristan Murail – Gondwana; Désintégrations; Time and Again (Disques Montaigne)
Morton Feldman – Clarinet and String Quartet (hatNow)
Morton Feldman – for Samuel Beckett (hatNow)
Morton Feldman – Piano and String Quartet (hatArt)
Philip Glass – Glassworks (CBS/Sony)
Philip Glass – Saxophone (Orange Mountain Music)
Philip Glass – Kronos Quartet Performs Philip Glass (Nonesuch)
Brian Eno – LUX (Warp)
Jon Hassell last night the moon came dropping its clothes in the street (ECM)
David Behrman with Ben Neil – Unforseen Events (Experimental Intermedia)
Keith Jarrett – Staircase (ECM)
Keith Jarrett – Arbour Zena (ECM)
Herbie Hancock – Maiden Voyage (Blue Note)
Herbie Hancock – Empyrean Isles (Blue Note)

Harold Budd and Jon Gibson
in NYC: April 24, 1997

Harold Budd and Jon Gibson, two principle figures of ambient music and minimalism, played at the Merkin Concert Hall in NYC on Thursday, April 24, 1997. Budd is perhaps best known as a collaborator with Brian Eno and the Cocteau Twins, and his controversial work “Madrigals of the Rose Angel” (1972), performed by a topless female chorus, harp, percussion, celeste and lights. Gibson is a saxophonist/flautist who has played with all four “major” minimalist composers: Terry Riley, La Monte Young, Steve Reich, and Philip Glass.

Set List:

Gibson- CHROME I (1996; World premiere)
Budd- NOVE ALBERI (New York premiere; poem “The Butterfly” by Michael McClure)
Budd & Gibson- CUIDADES (1996; World Premiere)
Budd- MORE THAN THIS [the Roxy Music song]/ CAROUSEL AT THE END OF THE WORLD [Francesco Landini] (New York Premiere)
Budd & Gibson- FLAGS: Parallel Eagles-Jagged-Dance of the Cubes-Stan I- Stan II-Lambda Halved-Lambda Squared-A Rose It Isn’t-Pleasure [by Steven Brown]-The Night is Remiss- Parallel Eagles (World Premiere)
Budd- FRAGMENTS FROM “1000 CHORDS” (for John Foxx) (New York Premiere)
Gibson- MUCH ADO (World Premiere)
Budd & Gibson- CONSTELLATION OF SPIRES (World Premiere)

Gibson started the set out with “CHROME I”, a piece comprised primarily of merely five notes, with long, extended, hold-your-breath-till-it-hurts trills frenetically played on saxophone. His fingers could be heard audibly tapping the valves of the instrument, almost like a telegraph. Very interesting work.
Budd then came out and delivered “NOVE ALBERI”, a very haunting piece very reminiscent of Laurie Anderson’s work, with a pre-recorded backdrop and Budd’s sparse piano drifting unnoticably in and out of the atmosphere. Budd delivered the poem deep and dark, almost as if in a trance. Really captivating stuff.

The two came out and then played “CUIDADES”, a very simple work with Budd playing two ascending riffs (improvising each time by dragging out the spacing or by omitting notes), while Gibson played a beautiful some beautiful stuff over it.

Budd’s next piece, a combination of Bryan Ferry’s “More Than This” (so transformed as to be virtually unrecognizable) and Francesco Landini’s “Carousel at the End of the World” was a highlight of the evening: spritely and energetically delivered.

“FLAGS” was the evening’s crux, with many varied sections. “Parallel Eagles” was a broad ‘n’ brooding, legato piece while “Stan” had an upbeat, jazzy feel to it.

“FRAGMENTS from 1000 CHORDS” made heavy use of the Budd trademark: the “hazy”/”languid” chords (usually sevenths, ninths, augmenteds, diminisheds) that he executes masterfully on his most beautiful pieces.

“MUCH ADO” brough Gibson back on solo, for a wild performance of heavily echoed flute cadenzas.
The duo closed with “CONSTELLATION OF SPIRES”, another hauntingly beautiful piece to enamour the audience.

I really enjoyed the performance, and hope that some of this stuff, if it isn’t already, gets recorded (I think, though I could be wrong, that “Nove Alberi” is already on Budd’s latest studio album “LUXA”). One thing you took away from the performance was Budd’s us of spacing; listening to him play live, it gives the illusion that each note he plays has travelled a few light years to get from the piano to your ears! That’s seriously what it seemed like to me: watching a starry sky at nighttime.

After the show, I talked with him for a bit- he’s really a great guy, again (like Terry Riley, who I had seen maybe a month ago), very approachable, friendly, easy to talk to. If you do talk to him, however, be warned that he prefers not to shake hands (though someone else there did and he didn’t scowl at them or anything 😉 )-apparently, I think his left hand may be slightly injured (?). I asked him about his experiences with making “THE MOON AND THE MELODIES” album (with the Cocteau Twins), to which he said that he enjoyed making the album with them, though they went into it completely in the dark, not knowing what to do or expect; although he doesn’t consider it a perfect album, he’s overall happy with it (at least we both agreed that “Memory Gongs” was a great song! 🙂 )…and what were the Cocteau Twins like, I asked? “Oh, they are absolutely wonderful people! Totally unpretentious, no egos, know…*none of that crap* !! Plus, she [Elizabeth Fraser] has an absolutely beautiful voice…” “Is Brian Eno like that, too?” “Oh yes, most definately…” (!!) 🙂

Joe McGlinchey
Sun, 27 Apr 1997

Note: I was at Harry Partch’s Oedipus across town so I missed this rare appearance by Harold Budd in NYC. Good thing Joe was there! This review originally appeared in the USENET newsgroups and appears here with the authors permission.


Originally published online at Juxtaposition Ezine.


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