Articles on this Page
- 08/23/13--21:33: _MAARTEN ALTENA - CI...
- 08/23/13--22:41: _ARTHUR DOYLE ELECTR...
- 08/24/13--05:25: _Baden-Baden Free Ja...
- 08/24/13--07:37: _HIVE
- 08/24/13--15:48: _STEVE GROSSMAN & JE...
- 08/24/13--23:56: _THE JAZZ EPISTLES ...
- 08/25/13--02:14: _Arthur Doyle and Ha...
- 08/25/13--14:04: _EUGENE CHADBOURNE ...
- 08/25/13--17:37: _Marian McPartland T...
- 08/25/13--19:02: _ARTHUR DOYLE / TAKA...
- 08/25/13--20:46: _EUGENE CHADBOURNE &...
- 08/26/13--00:07: _Arthur Doyle-No Mor...
- 08/26/13--02:29: _Ennio Morricone-The...
- 08/26/13--18:56: _NÉBU – MOTUS (LES ...
- 08/27/13--06:15: _Dwight Andrews - Mm...
- 09/01/13--17:12: _Polly Bradfield,Pet...
- 08/27/13--18:38: _TOSHI TSUCHITORI –...
- 08/27/13--18:39: _TOSHI TSUCHITORI –...
- 08/27/13--18:40: _TOSHI TSUCHITORI –...
- 08/30/13--15:21: _EUGENE CHADBOURNE ...
- 08/23/13--21:33: MAARTEN ALTENA - CITIES & STREETS (HAT ART, 1991)
- 08/24/13--05:25: Baden-Baden Free Jazz Meeting 1970
- 08/24/13--07:37: HIVE
- 08/24/13--23:56: THE JAZZ EPISTLES "JAZZ EPISTLE VERSE 1" (CONTINENTAL, 1960)
- 08/25/13--02:14: Arthur Doyle and Hamid Drake-Your Spirit is calling-QBICO 15, 2003
- 08/25/13--14:04: EUGENE CHADBOURNE – NOW BLUES (PARACHUTE, 1981)
- 08/25/13--17:37: Marian McPartland Trio-A Delicate Balance ,Halcyon 105 LP ,1972
- 08/26/13--00:07: Arthur Doyle-No More Crazy Women, QBICO 33
- 08/26/13--18:56: NÉBU – MOTUS (LES DISQUES CADENCE, 1980)
- 08/27/13--06:15: Dwight Andrews - Mmotia. The Little People (Otic 1979)
- 08/27/13--18:38: TOSHI TSUCHITORI – DRUMYTHM (D.Y.M. RECORDS, 1978)
- 08/27/13--18:39: TOSHI TSUCHITORI – BREATH (D.Y.M. RECORDS, 1980)
- 08/27/13--18:40: TOSHI TSUCHITORI – AJAGARA (D.Y.M. RECORDS, 1980)
- 08/30/13--15:21: EUGENE CHADBOURNE – VOLUME THREE: GUITAR TRIOS (PARACHUTE, 1977)
I know someone was looking for this, but lost their request .. anyway, it's another Maarten Altena gem.
2. Blauw Beest
6. Echoes & Shadows
Maarten Altena, double bass
Christel Postma, violin
Marc Charig, trumpet, altohorn
Michael Moore, alto saxophone, clarinet, bass clarinet
Michiel Scheen, piano
Michael Vatcher, percussion
Peter Van Bergen, bass clarinet, tenor saxophone
Wolter Wierbos, trombone
Recorded at Radio DRS, Zürich, Switzerland, on 9 and10 October 1989
Hat ART - hat ART CD 6082
A2. When The Shit Goes Down
A3. Milk Brain
A4. Butt Call
Ed Wilcox, drums
Leslie Q, guitar
Arthur Doyle, kinetic sax kaboom, village voice
Vin Paternostro, Roland 505
Dave Cross, turntables
Recorded at the No Fun Fest. March 19 2004, North Six, NYC.
Qbico – QBICO 50
This scenic picture of downtown Baden-Baden is meant to signal more vintage goodies from the annual free jazz meetings in that town in Southwest Germany. We have posted excerpts from the 1967, 1969 and 1971 meetings before and we will have the 1977 coming up in a little while. So now for the 1970 set which I think is the most complete of the ones we have posted up to now. I had a set which ran to about six hours and thirty minutes, but this set adds another hour and introductions to most of the pieces heard.
This is recorded off radio, medium wave I would think. They are all in mono, though the intros indicate they were also broadcast in stereo. The introductions are by Joachim E. Behrendt most likely, the driving force behind these annual meetings. Occasionally one hears communications bursting in on the radio frequency, but not too often, fortunately.
I've been listening to these recordings over the last few weeks. There's too much in there to be summarised in a few sentences, but suffice it to say that the line-up reads like a who's who of European-based musicians in the impro-free jazz spectrum round about 1970. Most were invited, but some actually came along out of curiosity, like John Surman's Trio, and promptly sat in on several sessions.
These recordings feature all possible combinations, from the full free jazz orchestra to small groups to duos to solo performances. All in all, a treasure trove of what was happening at that particular point in time. The set lists are found with the individual zipped files in the comments section. Seven cdr-equivalents in all, running for about seven hours and thirty minutes. Thanks to Onx and a US-based trading partner for supplying the yummies. On to you, dear folks!
Don Cherry, trumpet, flute
Manfred Schoof, Tomasz Stanko, trumpet
Paul Rutherford, Albert Mangelsdorff, trombone
Steve Lacy, soprano saxophone
John Tchicai, soprano & alto saxophone
Trevor Watts, alto saxophone
Willem Breuker, alto, tenor saxophone, clarinet
Peter Brötzmann, alto, tenor & baritone saxophone
John Surman, baritone saxophone
Derek Bailey, guitar
Gunter Hampel, vibes, bass clarinet
Joachim Kühn, piano, alto saxophone
Irène Aebi, violin, vocals
Dave Holland, bass, cello
Barre Phillips, bass
Johnny Dyani, bass, cello
Peter Warren, bass
John Stevens, drums, percussion, cornet
Han Bennink, drums, percussion, dhung
Stu Martin, drums
Pierre Favre, drums, percussion
Karin Krog, Norma Winstone, vocals
While availability of cloud storage services increases on a monthly basis there is often little to differentiate between rival products. Today though we take a look at an unlimited cloud-storage service that not only allows users to upload files from their own computers, but also to pull in media from BitTorrent swarms and share it with friends privately and at high speeds.
An 'older' rip which I have done already last year - finally...
STEVE GROSSMAN & JEAN-FRANCOIS JENNY-CLARK "NEW MOON"
Steve Grossman, piano, soprano & tenor saxophone
Jean-Francois Jenny-Clarke, bass
A1. Haressah 07:25
A2. I Do Not Know Yet 09:25
B1. New Moon 03:51
B2. King Tut 06:22
B3. A.M. 02:01
B4. Out Of Nowhere 05:17
B5. Body And Soul 02:10
Recorded January 14, 15 and 16, 1978 in Paris, at Davout Studios.
MUSICA RECORDS MUS 3027
THE JAZZ EPISTLES "THE JAZZ EPISTLE VERSE 1"
Kippie Moeketsi, alto saxophone
Hugh Masekela, trumpet
Jonas Gwangwa, trombone
Dollar Brand, piano
Johnny Gertze, bass
Makaya Ntshoko, drums
A1. Dolla's Moods (Hugh Masekela) 5:32
A2. Blues For Hughie (Kippie Moeketsi) 5:58
A3. Ukujonga Phambili (Dollar Brand) 3:49
A4. I Remember Billy (Kippie Moeketsi) 6:04
B1. Vary-Oo-Vum (Dollar Brand) 5:05
B2. Carol's Drive (Jonas Gwangwa) 5:15
B3. Gafsa (Dollar Brand) 4:22
B4. Scullery Department (Kippie Moeketsi) 7:02
Recorded at Gallo Studio, Johannesburg, South-Africa on January 22, 1960.
CONTINENTAL CON-T 14
(this rip from Gallo Record Company CDZAC 56R)
A Nov.8th Or 9th, I Can't Remember When
B Alabama And Mississippi Reunited
C1 I Pass, Then Resist
C2 I'd Live In Her World, Then Without Her In Mine
D1 Love Heat
Arthur Doyle, tenor saxophone, flute, voice
Sabu Toyozumi, drums
Takashi Mizutani, electric guitar
Qbico – QBICO 09/10
Eugene Chadbourne, dobro
Polly Bradfield, violin
Concert recorded at Logos Studio, Gent, Belgium on 2 April 1981
Parachute – P016
A single sided Lp, of Trio performances featuring Wilbur Morris, and Rashid Sinan, interspersed by looped tracks of Doyle mixed by Sonic reducer , featuring members of Doyle's Electro acoustic Ensemble, Tim Roland and David Cross.
the cover image is by Cindy Sherman.
Here's one of the great Morricone soundtracks , i taped a friends Vinyl years ago, taping over a cassette that was probably 10 years old when i recorded over what was on it....
I havent seen the Film , not a huge fan of Franco Nero(was it Franco Nero???)...but musically this is just something else!
Gruppo di Improvisatione Nuova Consonanza, are rumored to be performing on parts of this, and certainly some parts have sections which are freely improvised , though not that many.... not too much distinctive Morricone Tpt either but...lots of electric Organ drones that sound like C.Roque Alsina or Franco Evangelisti, and some evocatively scratchy atonal guitar, Scelsi-esque string sections, and so forth.
I transferred this years ago , and used some compression , being inexperienced at ripping tapes.
the results sound fine despite minor flaws...
probably not worth Flac-ing , given that certain types of Compression introduce a lossy element...especially strong leveling programs
if anyone really wants Flac's i can upload those later.
would be great if some one were willing to share a straight Vinyl rip of this
A1. Morceau En Forme De Pierre
B3. Quatre A Quatre
Claude Simard, contrabass, electric bass, electric piano, percussion
Jean Derome, alto, bass, piccolo flutes, traversiere, flute en do, flute en bois, electric piano, voice, percussion
Pierre Saint-Jacques, piano, electric piano, cymbal, percussion, voice
Mathieu Léger, drums, percussion (A2, B3)
René Lussier, electric guitar (A2, A3, B1)
Recorded at Studio TM, Montréal, Canada, 18 February to 10 March 1980
Les Disques Cadence – CAD-1008
Ther was a request for this not long ago. Now it looks totally oop.
Probably a name not well known, All Music Guide says 'Andrews is a multi-instrumentalist and composer best known for his work with pianist Anthony Davis, saxophonist Roscoe Mitchell and other members of the Chicago and New York avant-garde schools (Geri Allen, Andy Bey, Hamiett Bluiett).'
Dwight Andrews - Soprano & Alto Saxophones. Bass & Contra Bass Clarinet, Alto Flute, Indian Wood Flutes, Percussion;
Nat Adderley - Piano;
Nana Vasconcelos - Percussion, Flex-Tone, Corpo, Voice, Bottles, Beads, Atumpan
A1. Um Girrasol
A2. Nao e'?
A3. Moers 1978
B1. Danca Das Kashala e Sarhanna
B2. Mmotia-The Little People
B3. Vamos Para Casa
recorded january 11 and 12, 1979 at Blue Rock studios, New York
Otic records 1979
Here's Peter in his own words Reminiscing about that little known scene...one which clearly spawned some major talent!
"I was so happy to see Polly’s album posted and read your kind remarks about her on Lowe & Behold I mentioned the two small samples as a way to honor her further.
She was a monster piano player back in the day and we were all kind of shocked when she switched to violin.
This was Santa Cruz in the mid 70’s.
I was doing a weekly radio show of “new music” on KUSP and a good bunch of us were hanging out, playing together in an informal collective of kindred spirits.
Our collective community was an organic assemblage without any premeditation or formal intent.
Some who you might know of included Wayne Horvitz, David Sewelson, Polly Bradfield, Leslie Dalaba, Carolyn Romberg (Torrente), Mark Miller, Chris Brown, Robin Holcomb, Dana Vleck, Bill Horvitz,Jay Clark and more peripherally Doug Weiselman and Paul Chilkov."
Peter Kuhn's Album "Living right"is due to be reissued sometime in the near future on No Business, records along with previously unheard material, featuring Peter, with William Parker, Wayne Horvitz and Dennis Charles.
Check the No Buisness web site periodically for details.... in the meantime you can watch a Video of Peter
right here on his own you tube channel, of a quartet performance at Environ, from the late 70's , early 80's, featuring Kevin Bell, Dennis Charles...
Heartfelt Thanks to Peter Kuhn for sharing these fragments... we look forward to the No business Release
and wish him the best of luck with its production, release,and dissemination!
Best wishes from us to you!
Here are some excerpts published here by permission, of an interview of Peter Kuhn, by Kenny Inaoka of Tokyo Jazz Review
Kenny Inaoka Interview June 6, 2013
1. Please let us know your current musical activities.
After taking some time off I started performing again this year. This included a concert at the Berkeley Arts Festival with my dear friend Dave Sewelson and his group “The Non Profit Prophets ” (with Scott Walton, Mark Miller, Jim Ryan and Rent Romus) and a concert I organized in San Diego featuring Alex Cline, Nathan Hubbard, Hugh Ragin, Dave Sewelson, and Harley Magsino.
Dave Sewelson is a long time friend, and we’ve played and performed together since the 70’s in a variety of groupings. It was getting a surprise box on my porch from him with a bass clarinet inside that helped awaken the deep joy of playing again. Around this time I connected with the wonderful percussionist Nathan Hubbard here in San Diego. We started playing with some frequency with Louis Damien and Harley Magsino. While I’ve known Alex Cline since high school this was the first time we actually played together.
How about coming activities?
Nathan Hubbard is organizing another concert for us in the summer or Fall and Alex Cline contacted me with a date later in the year with a quartet that includes the brilliant Dan Clucas on cornet. As I am not relying on music for my livelihood I am happy to be performing a few times a year for now, I stay quite busy with a number of other activities that are equally important to me presently. This includes working with recovering addicts, meditation in the local prison and other prison Dharma work.
3 Any action for recordings?
NoBusiness Records is planning to release the original unedited radio broadcast that became “Livin’ Right” later this year along with some unreleased material f rom a quartet concert at “Top of the Park”, NYU with Denis Charles, William Parker and Wayne Horvitz; and some material from a duo concert I did with Denis Charles in Worchester, MA.
In going through my archives I found two recordings I am considering for release independently. One is a beautiful trio recording with Toshinori Kondo and Dave Sewelson. The other is a concert recording from 1985 with William Winant on percussion and Chris Brown on piano and homemade electronic instruments. Dave
Sewelson will be visiting again in July and we plan to do some recording with Nathan while he is here.
4 What is the reason why you dropped off the scene for pretty long period?
I have been dealing with drug addiction most of my life. In Art Pepper’s autobiography, “Straight Life” he mentions meeting me in Synanon back in 1968. That was one of the first long term rehabilitation centers for drug addicts and alcoholics, I was 14 years old at the time. For many years I was able to use drugs more or less “successfully” and keep music as the number one priority in my life. Unfortunately, I could not see the detrimental effects it was having on my life and career. This is an odd scenario, while I knew how drugs were a huge obstacle in the lives and career of many great musicians I was delusively convinced that I was different. I can see today how narcotics affected my playing, opportunities and lifestyle in many ways I wasn’t aware of or was in denial about. I left NYC, back to California, in what is called a “geographic” attempt to clean up and make things different. Of course, I brought “me” with me, and ran into the same issues wherever I was. The rising cost of addiction resulted in incarceration, loss of relations with family, loss of instruments and ultimately, homelessness. When I finally cleaned up this last time (January 5, 1986) I wanted to “square up” and learn to live as productive member of society. For me it would have been too challenging to be back in old environments, living the same lifestyle without picking up old habits again. I am fortunate to have found a path to contented happiness without drugs and have spent the last 25 years learning to live “life on life’s terms” w ithout any intoxicants.
5 How did you get into drug addiction?
My oldest brother was into drugs before me and I was always fascinated by the illusion of power and control it seemed to offer in changing my relationship to the world. I started using at 10 and that was the mid 60’s. The drug culture was in full swing and it all seemed very romantic to me. Drugs were prevalent and readily available in this period.
6 What sort of drugs you took?
In the beginning I drank, smoked pot, and mainly used psycodelics. After Synanon I got more into pharmaceutical drugs and narcotics. For much of my adult life I was addicted to heroin and other narcotics.
8 Where do drugs bring you to? (How do you feel after taking drugs?)
In the beginning, when drugs were “working” well , I experienced a peace,
calm and euphoria that seemed mystical to me. I could take a little bit and feel good all day, comfortable in my own skin, didn’t particularly care what other people did or thought . I didn’t care that they were a crutch, I thought it wonderful that I could shoot some dope and practice for 6 or 8 hours without a great deal of distraction. Due to the nature of addiction, drugs are an
escalating need and ultimately stopped producing the effects they use to. I would need increasing amounts to feel their effects and did not experience the same
euphoria. Without realizing it, I was using more and more to chase the original high.
7 Did you cause any troubles due to the addiction?
My personal troubles started quite young, getting thrown out of schools for drug use, going to Synanon, etc. Addicts live a double life. We use but must keep it secret which causes us to masters of deceit. I even had myself conned into believing that I was a victim of bad luck or bad breaks and could not see that I was causing my own problems. I was able to rationalize and justify great wrongs and harm.
Obviously, my family suffered greatly from the fallout of addiction. My oldest brother, who had been my hero growing up, wound up taking his own life due to unmanageability of the disease. They wound up severing relations with me when it became obvious they could not effectively help me and I know this was incredibly difficult for them. They also suffered the embarrassment of having the police at their door and seeing me self destruct before their eyes.
As time progressed I resorted to more crime and started to suffer legal
consequences of that as well. Needless to say, I was a burden on the system and caused great harm to others with burglaries, theft and armed robbery.
9 What will be caused while you are out of drugs?
I remember hearing stories of John Coltrane kicking heroin on the bandstand at the Five Spot while playing there with Thelonius Monk. I have to tell you, I am no John Coltrane. I would go to Europe and get strung out in Amsterdam and wind up kicking in Austria or elsewhere. This is not fun and only detracts from the music and obviously, from building a career. This caused me embarrassment with promoters, fans and loss of work. When not on the road, running out of drugs was predominantly caused by lack of funds and this clearly led me to a life of crime. I began doing things I never would have considered without regard for anyone or anything.
10 How did you spend every day while you were caught by drugs?
For many years I considered rugs recreational and as mentioned, would shoot some heroin and practice all day long. As the disease of addiction progressed my days were filled with finding the ways and means to get more. This was all that mattered.
11 How could you free from drugs? 12 How long did it take?
13 Could you do it yourself or?
It took me many years to admit that drugs were a problem and no longer a solution. I kept thinking I could clean up for a little bit and then use them successfully the way I use to in the beginning. I found this to be a lie. Once the line was crossed for me there was no going back. I tired many ways to stop. Geographic, like moving from NYC to LA, having a girl friend, not having a girl friend, only drinking, just smoking pot, only using on the weekends, sniffing not
shooting, smoking not sniffing, only using pills, only drinking beer, etc. I went to drug programs, detox centers, mental institutions, jails, and half way houses. None of these worked for me. This was the hardest time of mu using. I knew I could not keep going on the way I had been but had no idea how to stop. When I did stop I would turn into a time bomb - restless, irritable and discontent. In the end, 12 step programs were the only thing that worked for me. I had tried them before as well but had not really “hit a bottom”. A bottom is a point of surrender where I realized that drugs were the cause of my suffering and that whatever pain I was in, taking drugs would only make my situation worse. I finally learned to look beyond the selective memory and imagining how good it would feel and cultivated an ingrained memory of the fear, loneliness and despair that addiction had caused me. When I was absolutely convinced of this the 12 step programs showed me the way to living a life of greater freedom and happiness than I ever found in the fix, pill or drink. I was convinced I could not stay clean on my own, and became truly willing to go to any lengths to stay clean. This was revelation. Before I had considered cleaning up a punishment and doing without. When I hit a bottom the only thing I was doing without was the pain.
Does Zen help you to recover from? 15
Who is your gur?_ 16
Do you keep Zen practice? If yes, how does it go?
The practice of mindfulness meditation has enriched every area of my life. As an addict, I thought I was pursuing peace but was fundamentally at war with myself. With Zen I look to recognize and transform the seeds of war (greed, anger and ignorance) and transform them with the fruit of understanding. I consider Zen a form of mind training. Unfortunately, I thought I needed drugs to do this for many years. It is said that the root of addiction or alcoholism is selfish, self centered thinking, or what we call “self obsession”. In playing music I had to learn to quiet my mind to get out of my own way. If I was thinking about what people will think, if I sounded hip enough, if I could remember the changes, or “here comes the hard part” I would most often trip on myself. In recovery, Zen and hopefully music, there is a shift from self centeredness to transcending the small self and consideration of what I can offer. It is no longer about my solo or what I want to say, it is more deeply about listening and responding with body, speech and mind as one. In this way we are touching the miraculous, the transcendent whole that is comprised of all the parts but much greater than the parts and are free to use the whole of our self to respond in total awareness, composing instantaneously while relying on and deeply trusting our innate creative essence (Buddha nature). I am ordained in the Plum Village tradition of Vietnamese Zen Master Thich Nhat Hanh, who I consider my teacher. This is not an intellectual practice and I apologize if my explanation comes off as such. It is a simple way to touch the wonders of life with every mindful breath, cultivating freedom and stability in the here and now, recognizing conditions for happiness and the capacity to transform and heal suffering.
This is what drew me to music: the capacity to touch something transcendent, to offer the purest expression of my heart and hopefully transmit the same to others. I remember getting a letter once from someone who told me they had been
depressed and put on my first album, “Livin’ Right” and it cheered them up. It was a moment of awakening and I knew my purpose as a creative artist had been fulfilled. Since ancient times music has been a vehicle for raising spirits, at the core all artists are healers, in my opinion.
So, I practice Zen daily, and cultivating mindfulness I develop concentration and the fruit of understanding ripens all on its own. Most of my time is spent working with recovering addicts and doing prison Dharma work. I have learned to use the skills of an improvising artist to listen deeply and spontaneously respond in ways that might be most effective in the moment, rather than clinging to dogma, or preconceptions. I see this as no different than music and it is why I am happy to perform a few times a year now. As it is not my livelihood or sole means of fulfillment I do not grasp after it with an insatiable desire for more. Music is not my identity, but is a beautiful way to express what cannot be said in other ways.
New music, both classical and jazz, altered the consciousness of the world. It taught us new ways of perception, cultivated new neural pathways in the brain. We were encouraged to released preconceptions about noise, harmony, good and bad. I believe this creates a cultural shift that has, in part, been responsible for the USA having a person of color in the White House. Zen helps me continue to grow this awakening while growing skillfulness at helping others transform suffering.
Where are you from? 18
Were you born in the musical family? 19
Could you explain the background of your family if you do not mind? 20
When did you show interest in music? And in what sort of? 21
What is your first musical instrument? 22
Where did you study music?
I was born in Los Angeles, February 25 th , 1954. I was the youngest of three
brothers. My mother is from London and my father met her there during WWII. Neither of them are the least bit musical, but it must be somewhere in the genes because my mother’s brother played Swing drums. I was encouraged (forced) to take piano lessons starting around age 6 or 7 but the teachers didn’t communicate any joy of playing so I resisted it. Mainly classical but I managed to mix in a bit of Boogie Woogie. My mother kept insisting I would thank her one day and I suppose I do. This continued for 4 or 5 years until I took up clarinet in Junior High band class. They had run out of saxophones and I came to love the woody sound of the horn. That’s when music started to be more fun . It wasn’t until I heard Albert Ayler, Eric Dolphy and Sun Ra that I felt there was music vital to my spirit that I had a call to play. When I discovered Perry Robinson I felt things crystallize in a profound manner. At that time I began to study music again at UC Santa Cruz. I was fortunate to study composition and performance with James Tenney and Gordon Mumma, and world music with David Kilpatrick.
the software i've used to pull the text out of PDF's only alows for 5 pages as a trial version... so see comments for a link to the full interview PDF
Visit Henry Inaoka's Tokyo jazz review Webzine here
or his Facebook page here
A1. Voice Improvisation
A2. Voice Improvisation
A3. Drum Improvisation
A4. Drum Improvisation
B1. Voice Improvisation With Gong
B2. Drums Improvisation
B3. Drums Improvisation
Toshi Tsuchitori, drums, voice
Recorded live in Paris on June 25th, 1978.
D.Y.M. Records – DYM 001
D.Y.M. was a brief offshoot of the Bellows label, on which Toshi played percussion with Billy Bang on Changing Seasons. Although solo drums don't always sound inviting, the percussion / vocal drones in this series are very engaging.
A1. Natural Voice Vibration
A2. Natural Voice With Bamboo Flute
A3. Natural Voice With Bamboo Flute
A4. Bolivian Flute Solo
B1. Natural Voice With Harmonium And Wind
B2. Natural Voice With Cello
Toshi Tsuchitori, drums, voice
A3 performed on December 13, 1979, Theater Onze, Lausanne, Switzerland.
A4 performed on February 6, 1980, A.R.C. Musee D'art Modern, Paris.
B1 performed May 19, 1980, Tee Tree Gulley Hill, Adereida, Australia.
B2 performed December 12, 1979, Theater Onze, Lausanne, Switzerland.
D.Y.M. Records – DYM 002
A1. DRUMYTHM 1 Solo Improvisation
A2. DRUMYTHM 2 Solo Improvisation
A3. DRUMYTHM 3 Solo Improvisation
B1. DRUMYTHM 4 African Drums Ensemble
B2. DRUMYTHM 5 Solo Improvisation
Toshi Tsuchitori, drums, voice
Solo Improvisation was recorded July 4, 1980 at Soundscape, New York.
African Drums Ensemble was recorded November 18, 1978 at Ife, Nigeria
D.Y.M. Records – DYM 003
A1. Two Peafowl
A2. Tails Folded In Close
A3. Pause For A Moment In The Front Yard Dusk
B. We Are Always Chasing Phantoms
Eugene Chadbourne, acoustic 6 string and two prepared 12 string guitars, unamplified electric guitar, toys, sirens, plastic horns, radio
Randy Hutton, acoustic 6 string guitar (A1-3)
Richard Baker, nylon string guitar (A1-3)
Henry Kaiser, electric guitars, acoustic guitar, plastic horns (B)
Owen Maercks, electric guitar and toy guitar (B)
Recorded on 27 February 1977 by Wade McGregor's Fly-By-Night-Sleep-By-Day Productions, Calgary (A1-3) and on 21 April 1977 in John Jordan's Basement Studio, Upton, Masschusetts (B).
Parachute – P003