Music Revelation Ensemble - No Wave(1980)

Music Revelation Ensemble - No Wave

Tracklist
A1 Time Table 10:00
A2 Big Tree 8:45
B1 Baby Talk 9:36
B2 Sound Check 8:06

Personnel:
Drums, Percussion - Ronald Shannon Jackson
Electric Bass - Amin Ali
Guitar, Vocals - James Blood Ulmer
Tenor Saxophone - David Murray

Composed By - James Blood Ulmer

Recorded at: Studio 57, Dusseldorf, June 1980

Ten years trial, since 1970, of amalgamating jazz / improvisation / funk / electricity borne this outstanding fruit.
These elements are blooming on Ornette Coleman's Hamorodics theory with exitment and buty.

http://www.multiupload.com/7E0WDV4ZXB

Jemeel Moondoc - Judy's Bounce

JEMEEL MOONDOC TRIO - Judy's Bounce (Soul Note, 1982)

Jemeel Moondoc: alto saxophone
Fred Hopkins: bass
Ed Blackwell: drums

01-Jud's Bounce
02-Echo In Blue
03-One For Ornette
04-Nimus

HERE

Charles Brackeen - Worshippers Come Nigh

CHARLES BRACKEEN QUARTET - Worshippers Come Nigh (Silkheart, 1987)

Charles Brackeen: tenor saxophone
Olu Dara: cornet
Fred Hopkins: bass
Andrew Cyrille: drums
Dennis González: pao de chuva

01-Worshippers Come Nigh
02-Bannar
03-Tinny Town
04-Ible
05-Cing Kong
06-Newsstand (Take 1)

Tenorman Charles Brackeen's third of three Silkheart CDs (recorded at the same session as Attainment) matches his powerful playing with cornetist Olu Dara, bassist Fred Hopkins, and drummer Andrew Cyrille. All of the Silkheart sets are worth picking up, but this one (due to its extra intensity and the five particularly strong Brackeen originals) gets a slight edge. Brackeen's passionate playing shows that free jazz was still very much alive (if underground) in the 1980s.(from AMG)

HERE

Charles Brackeen - Attainment

CHARLES BRACKEEN QUARTET - Attainment (Skilheart, 1987)

Charles Brackeen: tenor saxophone, voice
Olu Dara: cornet, voice, berimbau
Fred Hopkins: bass, toy drum, voice
Andrew Cyrille: drums, congas, voice 
Dennis González: pao de chuva, voice

01-Attainment
02-Prince of Night
03-New Stand
04-House of Gold
05-Yogan Love

Tenor saxophonist Charles Brackeen is in ways a throwback to the 1960s. He sometimes builds off of childlike folk themes (like Albert Ayler), and Ornette Coleman's method of constantly improvising new melodies is also an influence. However, Brackeen's intense sound has a soul of its own, and his playing on the four lengthy originals (with strong contributions by bassist Fred Hopkins, drumer Andrew Cyrille and the underrated cornetist Olu Dara) is quite original. Intense yet fulfilling music which was recorded the same day as its companion album, Worshippers Come Nigh.(from AMG)

HERE

Steve Lacy Seven - Prospectus(1983)

Steve Lacy Seven - Prospectus

Label:Hat Hut Records
Country:　Switzerland
Released:1983


Track list
A1 Stamps 6:50
A2 Wickets 11:30
A3 The Whammies 5:10
B1 Prospectus 6:00
B2 The Dumps (Take 1) 17:10
C Cliches
Percussion – Cyrille Few 22:40
D1 The Dumps (Take 2) 15:35
D2 Retreat 7:45

Personnel :
Soprano Saxophone, Composed By - Steve Lacy
Alto Saxophone, Soprano Saxophone - Steve Potts
Bass - Jean-Jacques Avenel
Cello, Violin, Voice - Irene Aebi
Drums, Percussion - Oliver Johnson
Percussion - Sherry Margolin (tracks: C, D2)
Piano - Bobby Few
Trombone - George Lewis

Producer - Pia & Werner X. Uehlinger
Recorded By - Peter Pfister

Recorded on 1 (A1, B, C, D2) & 2 (A2, A3, D1) November 1983 at IRCAM Espace De Projection, Paris.

Credit for Percussion on Side C actually says 'Cyrille Few and his friend'

This is Steve Lacy's album of Hat Hut in 1980s. This is rather big work in two vinyls. Although I do not think this is very innovative or very new work in Steve Lacy's various opus, very gay, easy to listen (even non free jazz music lover would love this), but various aspects of Steve's music are picked up and shown like“Prospectus.

And I admire excellence of George Lewis as trombone player. As a music creator and composer, I am not so fond of his abstract, well-calculated and experimental style of works, which takes similar style of Roscoe Mitchel but not as vital as him, and sounds like a certain kind of modern classic music. Difficult to imagine what is called "Jazz music". But, as trombone player, he has nice tone and bright phrases with unbelievable virtuous technical.

This file is converted from casset tape. I think sound quality is affordable for enjoying in ordinal level music player.

http://www.multiupload.com/4JFSYMZW4Q

The Fall - Grotesque (After The Gramme)

THE FALL - Grotesque (After The Gramme) [Rough Trade, 1980)

Mark E. Smith: vocals, guitar, kazoo, tapes
Marc Riley: guitar, keyboards
Craig Scanlon: guitar
Steve Hanley: bass guitar
Paul Hanley: drums
Kay Carroll: extra vocals

Kicking off with the thrilling bite of "Pay Your Rates," on Grotesque, the Fall really started hitting its stride, with Marc Riley and Craig Scanlon now a devastatingly effective combination, somehow managing to sound exactly placed between random sloppiness and perfect precision. The sharp rockabilly leads and random art rock racket thrived on both counts, with Smith as always the mad jester ripping into anything and everything while having a great time doing so. The final song of the album was especially fierce -- "The N.W.R.A.," short for "the north will rise again," Smith's own take on the long-standing "soft south/grim north" dichotomy in English society given extremely bitter life. Throughout the record, a slew of really good producers keep an eye on things -- besides the band themselves, there are Grant Showbiz, Geoff Travis, and Mayo Thompson all contributing. The end result is crisp without being polished, rough while packing its own smart punch (though "W. M. C.-Blob 59" intentionally sounds like it was recorded eight rooms over). Some nice variety starts appearing more and more in the Fall approach as well -- "C'n'C-s Mithering," a brilliant vivisection of California and its record business, and the attendant perception of the Fall themselves, relies on acoustic guitars instead of electric, creating an understated but still great groove. "Impression of J. Temperance" fits more immediately with what had come before, but the martial drums from Paul Hanley and Riley's freaky keyboards create some crazy atmospheres. Of course, Smith sends everything over the top, whether it's his rant about governments, dead neighbors, and scandals on the hilarious romp "New Face in Hell" or "In the Park." As a side note, the hilarious music scene caricatures on the front cover and wind-up liner notes add just the right level of acidic wit to the proceedings.(from AMG)

HERE

David Murray - Children

DAVID MURRAY - Children (Black Saint, 1984)

David Murray: tenor saxophone, bass clarinet
James Blood Ulmer: guitar
Don Pullen: piano
Lonnie Plaxico: bass
Marvin "Smitty" Smith: drums

1. David's Tune
2. Death
3. All The Things You Are
4. Tension

HERE
You also can check a FLAC version here

Daunik Lazro - Sweet Zee

DAUNIK LAZRO - Sweet Zee (HatArt, 1985)

Daunik Lazro: alto saxophone (1,2,3,4)
Toshinori Kondo: trumpet, voice (1,2)
Tristan Honsinger: cello, voice (1,2)
Jean-Jacques Avenel: bass (1,2)
Raymond Boni: guitar (3)
Carlos Zingaro: violin (3)
George Lewis: trombone (4)
Joëlle Léandre: bass, voice (4)

1. Sweet Zee I
2. Sweet Zee II
3. Empire
4. Enfances

Part 1
Part 2

You also can check the .flac version on inconstant sol

Yemen - Traditional Music of the North

YEMEN - Traditional Music of the North (Auvidis, 1988)

1. Chargui and Hakif dances
2. Ghazal
3. Zar
4. Rahil
5. Aghani Atifi
6. Mutawal
7. Yemenite Zafat
8. Mutawal
9. Ghina
10. Hakfat

HERE

Free Jazz Quartet - Premonitions

Paul Rutherford: trombone
Harrison Smith: soprano & tenor saxophones, bass clarinet
Tony Moore: cello
Eddie Prevost: drums

1989 PREMONITIONS (Matchless Recordings) mediafire/rapidshare

L. Subramaniam with Ustad Bismillah Khan - Live in Geneva

L. Subramaniam: violin
Bismillah Khan: shehnai

1988 LIVE IN GENEVA (CBS) mediafire

Peter Brötzmann, Günter Sommer + Barre Phillips - Réservé

Peter Brötzmann: alto, tenor & bass saxophones, bass clarinet
Günter Sommer: drums
Barre Phillips: bass (track2)

Review

by Thom Jurek

This 1998 recording by the duo of super-lunged saxophonist Peter Brötzman and percussionist Gunter Sommer with bassist supérieur Barre Phillips entering later was a reunion from the Total Music Meetings of the early '80s. None of the trio had played together for five years and -- suddenly -- here they were, together again for what proved to be a 75-minute set of spiritual and musical renewal. Phillips and Brötzman had been active in many ways during the break, but Sommers had explored a different path, one that landed him at the end of critics' barbs. This meeting was a chance to see not only if they could still play together and find the fire necessary to make sculptures of notes in midair, but to showcase how each man had grown as a musician. The first half-hour that comprises the title track has the duo coming out screaming, puncturing the air with ribbons of sound with nails attached. This is where each man establishes the ground he will speak to the others from. Phillips, not yet present, must have been astonished at what he heard from bongos and trap drums to voices. No wonder he wanted in so badly. He enters in the second half on "In Walked Beep." Phillips becomes the bridge by which true communication can happen. His bass playing filters each sound, each utterance, and mirrors it back to another player changed only by his own imagination, which clarifies -- not distorts -- the view of each soloist. This is not a cutting contest; this is a defining moment in the career of Sommers, who has more fire in his belly here that he had exhibited in the previous ten years combined. Phillips is the reason, the waterbearer who offered a safety net and a ledge to walk out on. This is what Coltrane talked about when he spoke of music that transcended music and became a cosmic language. The only difference being that, in these three men, there is no need for the cosmos when the earth is so full of passionate, unspeakable forces that need to be given utterance. By the end of the set, a short eight-minute improv named after some cigars Sommers had given Brötzman, the bridges are built, the towns erected, and the mountains moved. Communication has come from the silences of isolation and entered into the community of sound. Not a miracle, but an accomplishment to be sure.(from AMG)

1988 RESERVE

James Chance & The Contortions - White Cannibal

James Chance & The Contortions
Guest: Joseph Bowie (on the two last tracks: Money to burn & Contort yourself)

Review

by Al Campbell

Originally released as a ROIR cassette-only, these brutal, yet danceable, live tracks were recorded in New York at the Peppermint Lounge and the '80s Club in 1980 and '81. James Chance and the Contortions mixed punk, free jazz, and funk that has yet to be matched, epitomizing the seedy underbelly of the New York no wave scene of the period. Unlike certain Lydia Lunch performance art projects of the time, Chance provides a timeless attack by combining screeching alto sax and vocal rants with a relentless disco beat. Ornette Coleman and Ronald Shannon Jackson guitarist Bern Nix and trombonist Joseph Bowie (brother of Lester) bring jazz credentials to this late edition of the Contortions while the background vocals of the Discolitas provide the sleazy stage pageantry Chance championed. The sound quality is not great, but that only adds to the original highly charged haze under which it was made. Three of the seven tracks are covers, "That Old Black Magic" and two from James Brown, "I Got You" and "King Heroin."

1981 WHITE CANNIBAL

Evan Parker - Zanzou

Evan Parker: solo soprano saxophone (tracks 1, 3) and solo tenor saxophone (track 2).

1. Live in Sandai (23.20)
2. Live in Hadano (13.00)
3. Live in Yokohama (09.20)

1982 ZANZOU

Henry Cow & Robert Wyatt - The Last Nightingale

Chris Cutler: drums
Bill Gilonis: guitar, bass guitar
Lindsay Cooper: piano, electric piano, sopranino saxophone, bassoon
Tim Hodgkinson: piano, electric piano, Moog synthesizer, baritone and alto saxophone
John Greaves: bass guitar
Fred Frith: guitar
Robert Wyatt: vocals
Adrian Mitchell: spoken voice

1984 THE LAST NIGHTINGALE
Infos

Art Bears - The World as It Is Today

ART BEARS:
Fred Frith: guitar, keyboards, violin, viola, xylophone
Dagmar Krause: vocals
Chris Cutler: drums, electronic drums, percussion, noises

If you thought Henry Cow was a pretty political band to start with, you may be even more taken aback by the Art Bears, which was put together following Henry Cow's demise by former Cows Chris Cutler (percussion), Fred Frith (guitar, violin), and Dagmar Krause (voice). On The World As It Is Today and its predecessor, Winter Songs, the Art Bears move away from the long-form art rock of Henry Cow and get much, much more politically explicit: song titles like "The Song of the Dignity of Labour Under Capital" and "The Song of Investment Capital Overseas" almost sound like Monty Python gags today, but if any humor was intended it was clearly meant to be mordant. Frankly, the lyrics are so overwrought and portentous that it's hard to take them seriously. But the music is something else again. Cutler and Frith are natural collaborators; Cutler's drumming always rides a very fine line between the scattershot and the funky, while Frith bounces his horror-show guitar noise and carnival piano off of Cutler's grooves with manic abandon and fearsome inventiveness. And Krause's singing is just as inventive; she whoops, croons and screams her way through the density of Cutler's lyrics without a hesitation or misstep. Easy listening it isn't, but it's sure worth hearing. Frith fans, in particular, should consider this album a must-own.

1981 THE WORLD AS IT IS TODAY
Infos

Teenage Jesus & The Jerks - Everything

Teenage Jesus and The Jerks

Teenage Jesus & the Jerks were an influential New York City No Wave music group of 1976-79 fronted by Lydia Lunch and James Chance, who later left the band after some conflict about their direction.

Reputed to play ten-minute sets of thirty-second songs (though "The Closet" and "I Woke Up Dreaming" extended to around three minutes and performances up to twenty), they sought to take music beyond what Lunch saw as the traditionalism of punk rock ("I thought punk was lousy Chuck Berry music amped up to play triple fast", she later commented). Their frenzied playing and Lunch's shrieked vocals gained them a renown quickly matching and even surpassing that of other No Wave bands such as DNA or the older Mars.

The group left behind little more than a dozen complete recorded songs, most of the surviving titles being assembled in 1995 into an 18-minute career retrospective CD only slightly incorrectly titled Everything (though other studio versions of several songs exist alongside a few live recordings). Few bands can have achieved quite such an impact with so slim a body of work, one felt not only in the US but also via (extremely limited) radio play in Britain where their assault on convention contrasted even more powerfully with the punk music of the day. Lunch and Chance went on separately to continued success in the New York underground music scene and beyond.

The group has been cited as a significant influence on post-punk groups such as Sonic Youth.

EVERYTHING