A grinding, rumbling distorto sub-bass death march with jackhammering machine beats... sounds kinda Godfleshy at first... but then, what's this? Heavy-duty blasts of saxophone, flute and bassoon?? Yes indeed, Combat Astronomy combine industrial metal with freaked out free jazz and prog, making for maybe the heaviest "jazz" record since Switzerland's under-exposed and now defunct 16-17 assaulted our ears with Gyatso back in '94. Yet there's also interludes of calm -- doomy passages of ambient moodiess with droning, multitracked reeds. And then it's back to the grind. The rhythms are punishingly mechanical, but also interestingly off-kilter. The weird timing adds to the sense of unease that's also built up by the squonky, skronky sax bleating and ominious electronics... Who's responsible for this brutal, beautiful madness? Well, Combat Astronomy's all-instrumental album The Dematerialized Passenger is a trans-Atlantic collaboration, built upon the foundation of the distorted bass, guitar and programmed beats of one Jamie Hugget from Minnesota USA, in collusion/collision with the saxes, clarinet, violin and effects of Sheffield UK's Martin Archer. Remember that Masayo Asahara cd we reviewed a while back? Saint Agnes Fountain, the supposed long-lost '70s Japanese minimalist drone-prog album that was actually the work of a current-day British musician? He's *that* guy. Two of Archer's pals join in on flute and bassoon as well. The results are likely to alienate all but the most adventureous jazz, metal, and prog fans...which is why we figured a lot of AQ customers might like it! Could certainly be a good one for fans of Godflesh, God, 16-17, Aufgehoben, Last Exit, Zdrastvootie, and other far out outfits on the extremes of industrial, prog and/or improv.
On this, the 6th album from this unique transcontinental sludge/jazz/prog/improv unit, Combat Astronomy seriously bring the noise by providing not one but two whole discs of their extreme sonics, their most ambitious onslaught yet - part John Zorn style skronk, part industrial beatdown, part ambient dronology, part Magmoid symphonics, always reminding us of a certain strain of artists in the early '90s like 16-17, Painkiller, and God, all longtime faves of ours, as Combat Astronomy are now, too!
Disc one takes advantage of the potential to sprawl out in epic fashion that a double disc set affords, offering four pieces, all of 'em long ones, starting with the 17 minute "Tenser Quadrant", that opens with a stuttering, satisfyingly-distorted bass solo, soon joined by martial drumming, horns, and keyboard pulsations. It's a good intro to Combat Astronomy's incredible sound if you haven't heard 'em before: a powerful concoction of super thick heavy bass tones, rubbery rhythms, and suspenseful coloration from the horn section. By 'horn section' we mean Sheffield, UK's Martin Archer (known also to aQ customers also for his Orchestra Of The Upper Atmosphere project), who plays all the trumpets, saxophones, and clarinets on here, along with organ, electric piano, mellotron, glockenspiel, tuning forks, "snorks" (?), and more... Also on board, of course, is the other half of the usual Combat Astronomy collaboration, Minnesota-based James Huggett (5 string fretless and fretted basses, guitar, drum programming). Additionally for this release, drummer Peter Fairclough is employed as well, along with vocalists Julie Archer and Kelli Denoyer on selected tracks - but note, they are credited not with vocals but with 'voices', suggesting a more experimental, textural, abstract role.
Ok, back to our report on the first disc: Track two, "Unity Weapon", is even longer at over 21 minutes, and sounds like a BIG ensemble in full flight, a bunch of mekanik kommandos marching into an orchestral fray, lots going on, getting mesmeric in its repetition and layering, and then entering into a dense, atmospheric dream-space once a little past the half-way mark. The many moods of Combat Astronomy!
The intense skronk, distortion, and staggered rhythms then come roaring back on the nine minute title track, while disc closer "Hypnogeous" is a 14 minute descent into dark ambient drone, haunting and heavy, winding up in more-or-less power electronics territory.
If disc one wasn't devastating enough, there's another eight tracks in store on disc two. The second track, "SuperFestival", might be the most 'pop' thing we've ever heard from CA, while a lot of the others on this disc could vie for the most intense and speed-driven. Many moods, again. But in interest of not making the review quite as epic as the album, we'll skip the detailed rundown on all of 'em and let you investigate for yourself - which we recommend you do!!
A perfect ease-you-into-the-day kind of album. Put this one on Sunday morning when you've got nothing to do but lounge around, and don't quite feel like getting out of your pjs just yet. The SF trio of Cory Combs, John Hollenbeck and Dan Willis offer up breezy mellow jazz centered around a lilting drowsy saxophone. A generous 17 tracks. Very nice!
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Tinkering effects and cartoony samples join a traditional jazz improv set which would easily be at home on Zorn's Tzadik. Features fabulous Japanese guitar player Uchihashi Kazuhisa (Altered States, Ground Zero).
New album from somber bandleader and avant jazz pianist Graham Connah, together with the talents of Trevor Dunn, Elliot Humberto Kavee, Ben Goldberg, vocalist Jewlia Eisenberg, and others.
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An impressive line-up accompanies this 'duet' between Alan Licht and Loren Mazzacane Connors with production by Jim O'Rourke and contributions from Darin Gray (ex-Dazzling Killmen), Rob Mazurak (Isotope 217), Ken Vandermark, amongst others. Slow lugubrious guitar solos with minimal jazz structures.
We're beginning to think Jazzman might just be our favorite jazz/funk reissue label. From that Spiritual Jazz comp, to Lloyd Miller's A Lifetime In Oriental Jazz, From Bobby Jackson's The Cafe Extra-Ordinaire Story to the best of Jef Gilson, from the Natural Yogurt Band's Away With Melancholy to Nathan Davis' Best of collection, and now this, an amazing compilation from band leader, drummer and Mexican jazz legend Tino Contreras, who really is mostly unknown outside of Mexico, even though he's recorded more than 40 albums and has been performing for 50+ years and continues to play today. And since this is essentially a career retrospective, it samples all the various and varied sounds Contreras has explored over the years, from hard bop to Latin jazz, to experimental free jazz and beyond, he covers Elmer Bernstein's James Bond theme, incorporates psychedelic production and percussion into his sound, offers up some wild drumming and chaotic percussion workouts, digs into some tropical jazz, explores themes of Christianity, Hinduism, there's even a sprawling 11 minute epic dedicated to the late great Ravi Shankar, which of course includes a killer drum solo, his own homage we presume.
Contreras has had an incredible career, and had such a huge impact on jazz in Mexico, and that career is explored in great detail in the liner notes, too much detail to go into here, needless to say, it's a fascinating read. Sonically though, this collection is tough to beat, waltzes and calypsos, Latin jazz, Afro jazz, far out and freaky, traditional and spiritual, and even though this collection spans decades, and dips into all sort of sounds, it holds together perfectly as a record proper, and to be honest, since this came in, we've really wanted to listen to little else.
Includes a massive booklet with extensive liner notes in both English and Spanish, with comments from Contreras himself, as well as lots of rare photos and notes on each track and the album it was from. Did we mention the groovy cover art?! So great!
Easily one of the most freaked out and fantastical outsider free jazz records EVER. And yeah, that sounds like hyperbole, but wait until you get a load of this. Start with the cover, an image of Coomans, a Belgian jazzman of some sort, with some crazy goggles on and some sort of mask strapped to his face, attached to a machine on his belt, an aerosol device he used to treat his asthma, which he SINGS THROUGH. He also sings through a harmonica, attaches vacuum cleaners to saxophones, or just mics em up to create clouds of strange hum and buzz, or submerges horns and plays underwater, in a half filled bathtub in his basement. Sound weird? It is. But it's also amazing.
The opening track is the one where he sings through his weird aerosol asthma device, the result is otherworldly, like processed Tuvan throat singing, hypnotic and alien, warm and whirry and a little monk-like, we sort of wish he made a whole aerosol/asthma record!
But then we wouldn't have heard the next track, an extended anti-jam, more space than sound, with strange bleats and burbling, the aforementioned submerged saxophones, underwater moaning, bursts of watery sploosh as the sounds break the surface, but plenty of strange vocalizing, also underwater we would assume, metallic and reverby, distant conversations, foot steps, like some freaky field recordings of some basement free jazz ritual, which it essentially is.
The flipside begins as a melancholy, long toned almost funereal dirge, warm and washed out and melodic, before slipping into something WAY more frantic, a wild bit of rapid fire phrasing, chaotic, notes tumbling over other notes, relentless and intense, but somehow still weirdly pretty, until finally the sax is joined by a hissing whirring drone, which we can only assume is the vacuum cleaner. After that there's a short voice / harmonica jam that goes from warm swirls of chordal wheeze, to mysterious harmonically enhanced vocalizing, until finally, the record finishes with a totally damaged, and mostly unrecognizable sax / piano / vacuum cleaner / tape recorder cover of "Louie Louie". A stumbling, gloriously WTF mess until the piano and female vocals finally start to sound like the original, other than the fact that the vocals and piano are matched beat for beat by bursts of glitched out, and we assume either tape recorder or vacuum cleaner derived, static crunch. Holy shit. Weirdest free jazz record ever? Most definitely a contender.
LIMITED TO 300 COPIES.
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Late great downtown NYC cellist, recorded before his recent passing (obviously) with colleagues like Dave Douglas, Samm Bennett, Don Byron, Mark Dresser, Fred Frith, Catherine Jauniaux, and many more of the usual suspects.
Another blast of modern free jazz from this dynamic duo. A drums and sax duel to the death, but what a way to go! Corsano's jazzy splatter, shuffling skitter and pummeling pound up against Flaherty's wild and wooly world of skronk and skree. They've been playing together so long, it's almost like listening to one four armed, four legged, two mouthed man single handedly (um... you know what we mean) deconstructing the history of jazz over the course of 12"s of vinyl. Highlight has to be another Corsano drum detour, a long stretch of dream like ambience that turns into a drums only jam, not so much a drum solo as an eminently listenable exploration of every part of the drum kit. Awesome.
Limited to 400 copies and we only got FIVE COPIES, and it's already out of print. DRAT! So act fast.
First off: fab colorful "spacey" cover painting on this one, an Italian cd reissue (in mini-lp style sleeve) of this 1970 early fusion session. Larry Coryell on guitar, plus the likes of John McLaughlin, Chick Corea, Billy Cobham and Miroslav Vitous! An
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When we think of Bill Cosby we usually think of amazing bold pattern sweaters, undeniably funny PG-rated humor and the dad we kind of all wish was ours. Maybe Fat Albert too. What doesn't usually come to our mind is deep hitting, groove heavy, spiritual jazz akin to early '70s Miles Davis. But damn we sure will be thinking about those things now after hearing this previously super impossible to find recording of Cosby on the keys along with a very strong yet mysteriously uncredited band by his side. Some of us had heard Cosby's vocal jazz albums which were likable in their own right, but this is an entirely different and much more potent beast. Believe us when we say this record goes way beyond the novelty of who created it. No matter who was behind this recording, these two long tracks sizzle with fiery passion and flawless execution. Inspired heavily by Bitches Brew era-Miles as well as the likes of Sonny Rollins, Charles Mingus and Herbie Hancock, Cosby was tapping into some serious mind expanding and soulful funk infused jazz.
The cd comes with Cosby's thoughtful original liner notes where he talks about the origins of these tracks, originally released in 1971. The first track "Martin's Funeral" came from his and so many other's experience with coping with the sadness and depression that followed in the wake of Martin Luther King's assassination and his personal experience attending King's funeral. The record is all instrumental, and who knew that listening to Bill Cosby and being stoned could be a perfect combination?? While he might still be known best for his TV persona and funny skits about going to the dentist office, there is no doubt after listening to this album that Cosby also has some major depth and musical talent under those amazing large sweaters. Highly recommended!
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You wouldn't expect an ensemble of 14 year old school girls playing all manner of vibraphones, marimbas, glockenspiels, xylophones and timpani drums to have a name like Cults Percussion Ensemble, but it's highly appropriate as this is not only a totally obscure record from 1979 sold only on European festival tours, but Cults also happens to be the name of the Scottish suburb of Aberdeen that the group and their bandleader, Rob Forbes, hailed from. And it makes perfect sense that it would end up getting reissued on the uber eclectic Trunk label. This is a beautifully charming new releases of hypnotically cascading mallet music that is shimmering and strange, dreamlike and diaphanous, so pretty but also at times a little cartoony, reminding us of Carl Orff's wonderful children's music, Sea World's Sparklett's Dancing Water Show (a fave attraction from our childhood, now sadly dismantled) or the incidental music on the Addam's Family. The girls' deft performances and light airy touch are delightfully enchanting, and though not as sinister or as ominous as the title would suggest, the music is nonetheless spellbinding and mysterious and comes highly recommended!!
Collected solo work from reeds playin', multi instrumentalist Beth Custer, founding member of Club Foot Orchestra and Eighty Mile Beach, and all around San Francisco institution.
Treasured local composer Beth Custer has self-released another collection of her clarinet-led music. Along with the clarinets Ms Custer also wields the piano and the keyboard sampler, and she sings. The Tin Hat Trio and the Club Foot Quintet (both groups also local gems) make appearances, as do several other folks. This is wide-open music with no attitude and plenty of originality. Silences and single-instrument passages that are evocative as much for what they don't say as for what they do. Gritty noir tangos that wouldn't be out of place in a Jim Jarmusch film. The (very occasional) vocal parts don't do much for me but I'm sure they were entirely appropriate in the context of the dance pieces these tracks were originally composed for: What the Body Knows, Take/Place, Undertaking Harry, and The Maverick Strain, all performed by the Joe Goode Performance Group. Nice.
Beth Custer can't be stopped and who'd want her to? She's one of the most prolific and most varied musicians in the Bay Area. You might recall one of her most recent projects was the scoring of the historic silent film A Trip Down Market Street (now on dvd). It's a wonderful treasure! Or how about Clarinet Thing! her clarinet collaboration with Ralph Carney? Or the electronic dance/jazz fusion duo Eighty Mile Beach? Or the inimitable Club Foot Orchestra? She's pretty much done it all, always with a meticulous eye for detail and usually with an unconventional twist.
Bernal Heights Suite finds her performing with The Left Coast Chamber Ensemble, and it's her first chamber music cd. These vocal and string arrangements are lively, colorful and have a definite theatrical feel. For non-SF savvy folks, Bernal Heights is the neighborhood directly south of the Mission District. Custer has lived there for over a decade, and this is her musical tribute to her ol' stompin' grounds. Terrific.
Wow, we've got not one, but two new releases featuring Ms Beth Custer! Not only do we have her wonderful Clarinet Thing collaboration with Sheldon Brown, Ralph Carney, Ben Goldberg and Peter Josheff, but also this politically charged cd of her latest ensemble work with Carney and Goldberg (this time handling horn duty), the amazingly dextrous keyboardist Graham Connah, and Charming Hostess' Marika Hughes on cello, among others. Custer might be based here in SF but she's a music nomad through and through, covering an astounding expanse of styles from Latin jazz to ambient to country to trip hop and beyond (both as a solo artists and in groups such as the abovementioned Clarinet Thing, Club Foot Orchestra, Eighty Mile Beach, and Trance Mission) on an equally broad array of instruments. She simply can't/won't be pinned down. Respect As A Religion is no exception. It frolicks, grooves, wrestles, and enchants.
Wow! I can barely remember the last time I heard a record as jubilantly bursting with Life and Laughter and Energy as this lost treasure of Dutch jazz. This record swings and stutters and gallops like Charlie Mingus' "Black Saint", like Rahsaan Roland Kirk's almost-rocking sets, like Otomo Yoshihide's spirited Ground Zero outfit. Imagine Vince Guaraldi's Peanuts piano taken on a roller coaster ride, and Charlie Brown's running around swearing like a sailor, and there's lots of thrills amidst the cacophony, and Lucy's stomach turns over when the roller coaster's upside down, and at some point Charlie loses his virginity. Yeah. That's how good this record is.
Recorded in 1981(!), the only existing document of pianist Leo Cuypers as leader, this recording also features the all star talents of unbelievably great percussionist Han Bennink, legendary reedist Willem Breuker, and bassist Arjen Gorter. All players had at one time or another been part of the esteemed Willem Breuker Kollektief, but here under the guidance of Cuypers, their skills are combined to produce one of the most EXUBERANT pieces of modern avant jazz I have ever heard.
An improv duo from Brooklyn, New York. D'Angelo (who has several solo recordings to his credit) plays alto sax and bass clarinet, whilst Fennelly plays double-bass. But both guys also manipulate their acoustic sounds electronically. Doubtless they could stir
This spartan new music / improvisation trio, made up of Durian founders Werner Dafeldecker and Uli Fussenegger, both on acoustic bass, and Dieter Kovacic adding curious soundtexts on slow moving turntables (much like Otomo Yoshihide's turntables at a turtle's pace) create an album that is more creaking textures and subtle tones, than musical passages.
We just love solo percussion albums. Stomu Yamash'ta, Toshiaki Ishizuka, Glen Velez, Milford Graves, Christopher Tree, Keiji Haino, Christian Vander, Janne Tuomi.... We're suckers for 'em. Something about a drummer saying, "hey, I'm more than just the timekeeper, you other guys, with your guitars and stuff, I don't need you, get lost, I'm doing this all myself my own way", is just cool, and often quite creative. So already we were interested in this debut solo album from this hitherto unknown to us (but apparently prolific) Norwegian jazz drummer, Erland Dahlen.
And then there's the title, Rolling Bomber. Sound heavy, right? We're already thinking martial drum rolls, and, uh, Motorhead's Bomber. But, the title actually comes from the name of Dahlen's drum kit, it's a vintage Slingerland "Rollingbomber" model, from the '40s, mostly made of wood 'cause of wartime metal shortages. So this isn't heavy - aside from the thump of the bass drum upon occasion - it's more of an atmospheric, textural soundscape thing. Besides the Rollingbomber kit, Dahlen makes use of multiple other percussion instruments (gongs, logdrum, timpani, maracas, kalimba, temple blocks, bells, etc.), also electronics, and some custom built gadgets, and a "monkey drummer with battery"... AND, also close to our hearts here at aQ, he plays the musical saw! That's where a lot of the (eerie) melody comes from. Not a percussion instrument per se, but cool.
So, the seven tracks here are all quite moody, dramatic, and rhythmically interesting (naturally). The grand finale, "Germany", gets kinda krautrocky, thus the title perhaps, with the beats more insistent, and the musical saw used effectively, it's an energetic culmination to this fine album.
Zach Hill (Hella, The Ladies, etc) and Nels Cline (Wilco, Geraldine Fibbers, etc) are probably two of the busiest and most prolific musicians in the 'underground' these days. They've been trying to find time for ages to make a record together, as their talents do seem to speak to a similar ecstatic aesthetic. But finding the time proved to be quite a feat. Luckily when Wilco had a day off in Chicago and Zach was also in Chicago, the two decided to have an improv jam together and Distressed is the result. Hill's trademark frantic drumming moves more towards avant jazz as Cline once again shows why he is such an in demand guitarist. What if in their prime Van Halen were cool enough to cover a Pharaoh Sanders record? Maybe it would sound something like this.
Porter Records have been unearthing some fine free musical gems lately, including killer rarities from Birigwa and Byard Lancaster, and have now unleashed this 1974 live free jazz set from Ted Daniel Quintet. Recorded and performed at Ornette Coleman's Artist House, a performance space in the Lower East Side, flugelhorn and trumpet player Daniels teamed up with a quintet featuring Khan Jamal on vibes (we're big fans of his Drumdance To The Motherland album), Tim Ingles on electric bass with wah wah pedal, brother Richard Daniel on Fender Rhodes and echoplex and Jerome Cooper on drums. Majestic and psychedelic, fans of Idris Ackamoor, Khan Jamal, and Roland P. Young will find plenty to love here. Right on!
This is the debut recording from a new eleven piece fusion outfit featuring Otomo Yoshihide on guitar (yep, he's better known for his turntable artistry, but he's been doing guitar improv for a long time too). Basically, Date Course Pentagon Royal Garden (what
We've heard tell of record for a long time, but this is the first occasion that a cd reissue has wound up in our bins. It's about time 'cause it is indeed a pretty cool little album! Multi-instrumentalist Wolfgang Dauner was an innovative German jazz musician who in the late '60s started to move into more experimental and "krautrock" territory. The Oimels, originally released in 1969, was supposedly his attempt at a "pop" album...
It starts off with the funky, quirky instrumental "Oh, Baby, I Don't Love You Anymore", wherein ivories are tickled, flutes are flaunted, and there's some silly serious stabs of fuzz guitar from Siggi Schwab (an MPS label vet that you've heard before if you're familiar with the Vampyros Lesbos soundtrack!). Reminds us a bit of that bizarre exploito-kraut "party album" by Staff Carpenborg & The Electric Corona we reviewed a couple years ago. Neat enough, should appeal to the same folks digging those "In-Kraut" and "Instro-Hipsters" compilations... but with an extra dose of something. Uh, LSD?
Sitar twang is added to the next track, the faux-Eastern hippy jam "Take Off Your Clothes To Feel The Setting Sun", the vocals blissfully, mantrically suggesting that one disrobe as per the song title. That's followed by another bright n' slinky lounge instrumental, "My Man's Gone Now", that would have Austin Powers sayin' "Groovy, baby" and whooping it up. So far, so good... a groovy jazzy album yeah, with some freaky pop leanings, but a psychedelic krautrock classic? Well then you hit the positively CRAZED track four, "Come On In On In" and you realize that The Oimels are seriously trippin'. It's a hard one to describe, totally unhinged, almost hyperactively punked-up like The Monks, with chaotic chanting vocals and infectious rhythmic glee. Wow, wild! Ok, now we're convinced. And as the album continues, the freakiness does too. It's such a weird blend of smooth jazz grooves and psychedelic spasms. Dauner and his Quintet were definitely on to something (or on something) with their sound. Some of the other surprises in store for listeners include a swingin' version of "Greensleeves", and, to end the record, a pretty amazing cover of "A Day In The Life" by the Beatles. The elegiac mood of the original is maintained, enhanced even, yet also subverted with insane atonal fuzz-jazz soloing.
We're now definitely interested in hearing Dauner's other progressive jazz and fusion albums of the era, if we can find 'em...
First of all, this album is undeniably incredible. Secondly, if you don't already own this or the expensive Complete Jack Johnson Sessions, buy it. For yourself, for friends, for your stuffed animals, whatever. Make sure you have a copy around you at all times. This album, the object of cult-like fascination for decades, is now remastered and easily available once again.
Inspired by his own deep passion for the art of boxing, Miles created this soundtrack in 1970 for the documentary about legend-in-his-own-time boxer, Jack Johnson. A time change in the very first couple of measures hints that the two twenty-five minute tracks here were captured mid-jam. Musicians involved on these sessions also worked on Bitches Brew (1969) and include John McLaughlin and his soon-to-be fellow Mahavishnu Orchestra member Billy Cobham on, respectively, guitar and drums; electric bassist Michael Henderson; soprano saxist Steve Grossman; accidental walk-in Herbie Hancock on Farfisa organ; and, on the second track, "Yesternow," an uncredited Sonny Sharrock on additional electric guitar. Jimi Hendrix was also meant to be involved but sadly shuffled off his mortal coil prior to the session. Even without the Hendrix element, Tribute is by far the closest Davis ever really came to ROCK. Not your typical white pop-song/performance-driven rock of the time (for instance, The Who and other artists who joined Davis at the legendary Isle of Wight festival in 1970), but a deep, spacious jazz funk rock fusion that one would absorb introspectively rather than conjure up an immediate energized reaction. This "music" was way ahead of its time. Rock audiences of the time couldn't fully grasp Davis' electric direction here, and on the flip side, jazz audiences/critics blasted him for his deviances from classic (acoustic) jazz. It may sound a little gratuitous, but honestly it's as totally mind-blowing today as it must of been then, perhaps and hopefully now more welcomed by a broader audience. Again, we must insist you BUY THIS NOW. You will not regret it.
Recorded from 1970-74 and shamefully, until now, only available as imports, this album, along with 4 other albums from Miles' kozmik groove electric period, has been properly issued. Limited edition format (which probably means they'll be available in 2 months, a little cheaper and in jewel cases) features the original gatefold LP graphics, digipak & booklet with new essays, rare & previously unpublished photos. Stretched out experimentation, sometimes ferocious, always enlightening. With the talents of Herbie Hancock, Chick Corea, Keith Jarrett, Jack DeJohnette, Airto Moreira, Joe Zawinul, Ron Carter, etc.
Sprawling (over two cds, and four years of recording, '69 to '72) jazz fusion classic from Miles & Co. (McLaughlin, Hancock, Shorter, Corea, Holland, Foster, Maupin, DeJohnette...), now finally reissued (in remixed and remastered to boot) as a domestic double cd release. Includes, as bonus tracks, 43 minutes of additional music otherwise only available on the "Complete Bitches Brew" 4-cd box set.
Recorded from 1970-74 and shamefully, until now, only available as imports, this album, along with 4 other albums from Miles' kozmik groove electric period, has been properly issued. Limited edition format (which probably means they'll be available in 2 months, a little cheaper and in jewel cases) features the original gatefold LP graphics, digipak & booklet with new essays, rare & previously unpublished photos. Stretched out experimentation, sometimes ferocious, always enlightening. With the talents of Herbie Hancock, Chick Corea, Keith Jarrett, Jack DeJohnette, Airto Moreira, Joe Zawinul, Ron Carter, etc.
Awesome six cd collection of over six and a half hours of sessions from 1972-1975 including 12 unreleased tracks. Includes the entire On The Corner album with related sessions, as well as tracks from Big Fun, and Get Up With It. Players from these sessions include Reggie Lucas, Michael Henderson, Chick Corea, Mtume, Herbie Hancock,
Jack DeJohnette, Lonnie Liston Smith, the mysterious (and thought to be missing) guitarist Dave Creamer and many others. 120 page full color booklet with essays and rare photos, packaged in a metal box with a raised relief version of the classic cover. Mind-Blowing!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Recorded from 1970-74 and shamefully, until now, only available as imports, this album, along with 4 other albums from Miles' kozmik groove electric period, has been properly issued. Stretched out experimentation, sometimes ferocious, always enlightening. With the talents of Herbie Hancock, Chick Corea, Keith Jarrett, Jack DeJohnette, Airto Moreira, Joe Zawinul, Ron Carter, etc.
**SALE **SALE* *SALE**
Miles last studio album before his 1975-81 "retirement", yet another stone classic in the field of '70s freak fusion jazz funk. Possibly Windy's favorite Miles album ever, with the gorgeous half hour long "He Loved Him Madly," and the talents of Herbie Hancock, Keith Jarrett, John McLaughlin Mtume, Airto, and so many more. If you get just one Davis album from this era of his career, this is the one to buy. Promise. Get up with it indeed--now's your chance as it's been remixed, remastered, and most importantly, reissued (domestically, rather than via Japan).
