Friday, September 07, 2012

Brigeen Doran's Kjol (with Fernando Saunders) Sunny Day {Germany} 1981

I don't know how people like osurec can be so knowledgeable about this rare music and can be so far ahead of me but there is certainly no doubt about that fact as just over 1 year ago I knew nothing at all about this record or these people ... Kjol is a band made up of the Doran siblings, Brigeen Doran the sax player, sister of Dave, both of whom are sibs to the guitarist Christy Doran of powerful danish fusion outfit Om (who amazingly I did know about from years back) ... recall my stupid remark in the Birdland post: 'this christy doran must be some amazing lady...' ouch. ... Well, at least I can come back today and say, 'this Brigeen Doran is some pretty amazing lady... ' "Sunny Day" is their second record from 1981, their first being easily available already from a number of sources. It is just as good as the first record, an equivalence not often the case in music wherein artists put out only 2 records. In contrast to Om this group presents a more funky fusion sound with some really hard-kicking grooves and nicely composed melodies, less in the free and atonal far-out wilderness territory that Om often strayed into in their unexplored improvisationary field trips... more down to earth and accessible, cf. the last track on the first side which is a simple, less than one minute duet between guitarist Affolter (playing a synthesizer-guitar) and Brigeen on sax. The group is rounded out by Heinz Affolter (who also is producer) on guitar, responsible for most of the composition, Dave on percussions, and Fernando Saunders guesting on bass and with lyrics on some songs. Hard to believe these 4 can engender so much energy and power in the music with only them, no one else on board in these sublime tracks, not a single throwaway for me. I know some of you out there feel this fusiony stuff can really get boring in tiresome wankery, but there is little of that here to force you to lose interest, and you can always sit back and focus on the incredibly fast limbs of Dave on those drums-- wow, what a workout he gets out of that drumkit-!

The short duet from side a, "Where are you:"


As well as the third track on side b, a particularly interesting and well-composed number ending in some pretty wild-ass arpeggios, "Midnight Frost:"



Artischock - Besorg's Dir! 1982

Remember the VA album I posted last week--? well here we go with the record from the band that did the lovely song "heile welt" called Artischock, with the beautiful Denise Grozelanny-Tullmann as singer. She appears on the back wearing fishnet stockings that are simply not for the minnows. The music is slightly-wavish pop hard rock with some nice energy and grooves, no silly synths or digital percussion, caveat that there is not much in the progressive arena of composition but altogether, for me, enjoyable songwriting. Are we getting tired of german rock and jazz yet? let's wait till after one more german post from me, coming soon, or perhaps a hundred more german posts...

A sample track: The bizarrely named "ei!"


And the one I fell in love with, Heile Welt:



Monday, September 03, 2012

Igor Bril Jazz Ensemble ‎– An Orchestra Came (1980) USSR,jazz rock ,fusion

Igor Bril Jazz Ensemble ‎– An Orchestra Came (1980) USSR,jazz rock ,fusion

Brilliant Russian jazz rock,fusion band (8 male players)....ripped from the  LP.

A1 Cuban Rhythms 4:26
A2 In High Spirits 4:37
A3 C Jam Blues 3:48
A4 Tabula Rasa 5:21

B1 An Orchestra Came 5:49
B2 A Green Tram 5:04
B3 Today And Tomorrow 6:58


RYM


A-4

Sunday, September 02, 2012

Chris Hinze, Sigi Schwab, Eberhard Weber, Lala Kovacev - Wide and Blue 1976 {Germany}

Is it possible to get tired of virtuoso flautist Chris Hinze? Not for me... here is an outing from 1976 featuring the amazing guitarist Sigi we have seen before, Eberhard Weber performing his customary ECM-style electric bass smooth melodiousness, and Lala Kovacev on percussion. Oddly enough most of the compositions are from Mladen Gunesha, with only the 5th track (sampled here below) by Hinze. The former is not a name familiar to me though I note he has a german wikipedia entry, he is clearly a european composer and arranger from former yugoslavia.





Saturday, September 01, 2012

Torsten Brandes and David Ward Maclean - Strange Fruit {Germany} [1984]

An amazing lost record that builds atop a foundation of Joni Mitchell's late-70s jazz-rock style (cf. her record Don Juan's Restless Daughter or the German Sango posted earlier) a progressive architecture with unusual instrumentation, original chord changes and odd tunings (dropped D appears in a couple of songs), occasional string quartet accompaniment, dissonances with the requisite minor seconds and tritones, all those myriad gothic embellishments that make progressive rock or any fiercely imaginative non-mainstream music. Of course, there are a few throwaway songs, some simple syncopated acoustic tracks such as the "Festival Blues" song and the generic "A Song" on side a, "Lovely Vivian" on side b (tracks that to me appear commercially oriented and which I recommend you delete and ignore), but the closing 3 songs on the record feature some pretty astonishing originality. I detected some Nick Drake influence on "Liverpool Street" and in fact the song "Spider" which I sampled below, is actually dedicated to Nick (and presumably about him) ! --surprising considering at the time he was virtually lost and unknown as an artist.

Check out on track 4, "How can a soul survive" the way the guitarist (not clear who it is) proceeds to do an almost atonal walking bass-style solo on acoustic punctuated with odd bass notes in the middle of the tracks. It's hard to play these crazy notes on the guitar when so much training involves playing 'correct' chords on this particular instrument. Again it's a 'no-brainer' that these guys had classical musical educations in universities. Or check out the lugubrious string quartet on track 9 "The Spider" which adds an eerily melancholy dimension to the song (in the booklet the tuning is described thusly "both all strings one tone below concert" [i.e. both guitarists]). Note how the slackness of the strings adds a kind of slight echoey - dungeony atmosphere to the plangent piece. On the closer, "Lost and Found", the bottom string is tuned down to a low C for both players, and surprisingly, a bass sax sounding like a bassoon provides some highlights to the chords. Again the chord progression diverges in a very unique way after the intro. The tritones here are partly between the bent blues note of F sharp and the regular classical use of tritone for mystery effect -- as if a synthesis between classical and the blues -- brilliant!


Of course the title of the album seems to be a homage to Billie Holliday's famous song based on a poem about the lynching of african-americans in the South, but there is no real reference to this in any way. Could it be just a coincidence? I doubt it considering the deep jazz knowledge of the artists.One of the most charming aspects of this record is the 12-page booklet that appears as an insert, of which I've excerpted a couple of layouts below. It records the odd tunings of the guitar of which the musicians obviously were quite proud (a hallmark of Nick's style too).
When I think of the creative composition and masterly artistry on this record, it really seems sad to me it was lost so completely, when these artists evidently put so much work into their product. It reminds me again of the quote or paraphrase from my favourite animated movie about the man who planted trees: "When I think of all this man did in his lifetime, it fills me with wonder at all we can accomplish ..."










Song Samples:
Intro, Walking Zones (about shopping pedestrians in Germany)


Torsten's Rondo (instr. for 2 guitars)


Spider (the song dedicated to Nick Drake)

Wednesday, August 29, 2012

Boline {Denmark} [1982]

This is not of course either the masterpiece or "masterpiece" to which I was referring, neither the first nor the second of these, it is an unusual hard rock - new wave danish RIO-influenced proggish lost album along the lines of Zauberfinger but with less compositional complexity or originality, I am not sure exactly what happened to the aforementioned piece, it is perhaps somewhere on this computer but the hard drive, of course, being full of thousands, or tens of thousands of songs, is not easy to search through and in fact, although it is now downloaded onto my ipod, there is no way to transfer off this ipod back on to the computer-- apple has made this very difficult for no obvious reason to me other than mere perversity, so it may be that this "masterpiece" (I dread to use those quotes today, I know not how else to describe it though, please forgive me), will no longer show up again, how ironic that it should be so rescued from oblivion only to be thrown back into the unending ocean of nothingness again much like our simple lives and existences, but then is it not fitting, and how many other such masterpieces have truly been lost (here because I am speaking in the abstract hypothetical I dispense with the quotes) just as the plays of Sophocles that were lost, as we know from contemporary accounts, so many works from ancient Greece (--considered of course masterpieces by their brethren, who would never have dared to ironically use quotation marks as we moderns are so apt to do) are lost to us, and think of Petronius' Satyricon, this record oops I mean novel copied by hand through the brutal middle ages, survived in the end only in pieces, perhaps destroyed in conflagrations, or by over-inquisitional zealous monks, despite its prurient content it was rightly regarded by those chaste monastics as a masterpiece of literature, so it may well be like this my masterpiece of progressive will never see the sound waves of the light of day or night but then I wonder, was it ever really a masterpiece (after all when I played it for my wife her response was 'can you please stop listening to music and help me with the kids, you know, those children that you're the father of,' which was not positive, at least I didn't conceive it as such although I did appreciate the honesty which made me doubt whether ever her praise can be taken at face value or is merely polite 'humouring' of my odd taste, the middle of which cerebration suddenly was shattered by a more strident urgency in my wife's voice, 'can you please tell your children to stop!! !' (running and screaming in circles that is -- a habit of which they are peculiarly enamoured)), was I merely deluding myself in this respect because perhaps many would have disagreed, the majority even, and would have denigrated it-- would it be better I not propose it as such only to get shot down as it were, perhaps better that it is lost again to the evil criticisms of jealously impervious humanity, perhaps it is better that it is merely a memory, merely the shadow of an imagining which you can translate into your own pygmalionic ideal in your own auditory or intrasensory terms as you so choose, so perhaps let us cloister it with so many quotations, let us say, that it is indeed this " " "m" or """"--masterpiece""""""(note I do not bother with any symmetric arithmetic of the quotations now, we are in free-jazz territory as it were now) so worthy of quotes that I shall multiply the quotes million-fold until they are legion, until this page is but a series of little ticks on the tops of the lines to represent what is the greatest acoustic memory that shall never be, never be represented as such in existence, an "acoustic" "memory" that is no more a """[m]-yhwh""" than the memory of the letters and lines that I punctuate my thoughts with, let us call it the ineffable, the tetragrammaton, the "that-which-shall-render-thee-deaf" the name of god which is unspeakably strange unusual and to be placed in invisible quotes now (this is why you cannot see them anymore I wrote them in invisible ink) -- but what if it is not so either, and it is truly a masterpiece, one of the greatest ever created by human minds, then truly this is a monumental tragedy worthy of another lost LP oops I mean play of Aeschylus it is a horrific event, comparable to the extinction via space-rock of the sauropods and depressing in the extreme, wherefore I am tempted to return to the iv heroin or perhaps crushed oxycontin that is the only succour for such profound suffering and pain -- oh wait a minute, I think I just found it again... It's right here. OK forget what I just said. It'll be up shortly.sample track, appopotomax [!!] :

Monday, August 27, 2012

KPM 1193 - Classical Synthesizer (Alan Hawkshaw) and Stained Glass Windows (John Leach) - 1977

This is obviously not the "masterpiece" to which I was alluding earlier that I will be posting soon, and I say that with the requisite quotation marks not in enigmatic coyness or postmodern irony but more to protect or blanket the word in an attempt at avoiding the litigiousness and controversy demonstrated in shige's czech album post which was derided on all sides for lacking the attributes of masterpictality although given the variability of musical tastes, such an opinion can surely be defended by anyone choosing to undertake the exercise, not to mention in my blog postings I don't feel I am guilty of overhyping anything discovered by myself or others, I feel I am being honest in for ex. stating such and such a record is mediocre, or contains bad tracks, or throwaway songs, etc. -- they perhaps don't stand comparison to classic Genesis but unfortunately in a lifetime of listening to music every day all day, I can no longer enjoy those classic records anymore due to boredom or habitude though I acknowledge intellectually they are good, the emotional nausea or feeling of satiation as after one eats too many onion rings and french fries sets in & repulses me, sending me off in search of newer material (fresh fruit or vegetables) such as this record, admittedly disappointing, but worth the effort to locate and listen to once, and anyways it's not for us to determine what is or is not a "quote unquote "masterpiece" quote unquote" as when the great master shige (who I perhaps was guilty of overpraising due to my honest affection and regard for his efforts, sincerity, and extreme generosity (and for those qualities I would rather suffer the embarassment of overhyping than a reduction in our relationship),), when master shige said, that it is a masterpiece if you love it-- [notice here I remove those dread-inducing quotation marks as if running naked through a field, openly exposing myself to the laughter of witnesses, but I don't care, we are dealing with the 70s here, when streaking was fashionable, in the time before aids people ended cocktail parties with random orgies or at least this is what I read about in playboy magazine when I was young and looking through their back copies in the corner store...] and let us all remember that for most people, records made by such artists as Britney Spears, Lady Gaga, or Kate Perry are considered masterpieces, and who is going to dare argue with the populace comprising 99.99 percent of humans? -- but perhaps I am boring you. On to the music.Like a lot of library LPs this is two separate albums on one record. The first side (subtitled "Favourite classics arranged for synth and elec. keyboards") consists of synthesizer-played classical pieces, which I dreaded to hear when I saw the titles, eg. "Elise" -- what else could it be but the overplayed Beethoven piece I learned at age 9 -- then the song called toccata synthesis -- could it be anything but the Bach Toccata that so recalls Doctor Kevorkian? Similarly with "Joy of Jesus," and "Sonata in the moonlight" ... it's hard to believe anyone is not sick of hearing these pieces, but then again, I hear "Stairway to heaven" played pretty often on the radio too and I'm sure all through Oesterreich you can still hear "Eine Kleine Nachtmusik."There is one non-throwaway song which is the sole composition by Alan Hawkshaw (who is by and large a fabulous composer) called "Rhapsodie Gentille." What a shame there is not more like it on side one.Side 2 is called "Stained Glass Windows" subtitled "Art and architecture" and I assumed it might contain some cathedral organ music, which I've mentioned before I adore (see the post on Estellet-Brun which was possibly the single most popular post ever on this blog, or any blog for that matter, including even the new york times news blog), why I thought it might have organ I don't know, but take a guess as to whether it does or not. Instead you get orchestrally pompous or perhaps grandiose music suited to a religious TV show perhaps. Oddly enough there is an entry called "Mosque" which seems out of place in those pre-multiculturalist, culturally relativist, days. And it seems John was pretty inspired by that one since it's almost the longest piece in his collection.I've said it before, the european cathedral is one of the greatest art forms humanity has ever created, and I never tire of visiting them wherever they may be. But I pray that someday our progressive music will also be considered one of the greatest achievements of human creativity and will be given the credit it deserves.


Jazz, Rock (VA) - Pop '80 Nachwuchs Festival

Is it even possible to get tired of deutsches jazz oder rock? Nicht fur mich aber some out there might be reaching the breaking point. This LP won't contribute to that particular straw that broke the camel's back threading its way through the eye of the needle of the kingdom of god (of prog) because it contains some quite enjoyable music from relatively unknown (at least to me) bands. Please note that notwithstanding the title most of this record is pop or rock with only a minority of jazz and of that, of course, no true swinging jazz appears but only fusion.
First up a shout out to the wonderful growing bin online record store started by famous blogger discobasso, who is absolutely a professional art gallery curator in his choice of rare and wonderful 70s-80s records. We strongly recommend all vinyl fans take a look at his catalogue, here:
http://www.growingbinrecords.com/ In this mixture we get some straight fusion (Naima), some straight rock or pop (the female-sung Artischock really impressed me), there is some really out and out progressive jazz-rock with the Jeff Beer and Jurgen Schmitt entry, which you all will sit up and take notice of when it plays for you-- guaranteed. And plenty more pop, rock, jazz, and experimental music on side 2. Make a note as well of track b2 by the Michael Thiel und Burkhard Schlathauer Duo, which reminds me eerily of David Rose's playing or Didier Lockwood (manufacture du sucre engloutie). Anyone out there know them already? I daresay it could almost be a lost ZAO track.

Fabulous long-lost gem; as I said, we must give credit to record-hunter extraordinaire discobasso here for unearthing this german treasure... It amazes me how some of these connoisseurs are so far ahead of me in their knowledge of lost vinyls.

Incidentally, notice how long this record is, side one is roughly 26 minutes, side two about the same.

As sample I put the Artischock track with the (to me) very sexy vocals. Take a look if you can at the back cover you will see what a beautiful blonde we have here too (Denise Gorzelanny) "da wünsch ich mir ich wäre wieder ein kleines kind " [--this could be my own personal theme]


And here is the "lost zao track"


Now please stay tuned to our show because I will be posting very soon an absolutely stunning progressive discovery, that is utterly unknown. How such a magnificently well-written and beautiful record can be lost to time so completely as usual is unimaginable to me and impossible to believe. You too won't believe how good this record is when you hear it-- it has everything, jazz, rock, folk, and that progressive edge that we love so dearly: we're talkin' unusual chords, strange instrumentation, weird changes, dissonances (minor seconds and tritones) everything you adore. But there is a consolation-- we have rescued it from oblivion.

Friday, August 24, 2012

Freeport - "duanelessness" (Rec. Nov. 1979, Germany)

It was quite some time ago that the mighty osurec presented us with this little euro-jazz-rock masterpiece headed by pianist Michael Berger (responsible for most of the composition). The others are Michael Sievert and Manni Naumann. At this point all these names should be quite recognizable to the fans of the genre. This was recorded in Nov. 1979 at Atelier Fur Tontechnik, Oyten 1. Still to me is a mystery what the term duanelessness is meant to signify (no indication on the back or anywhere) but in no way does this interfere with enjoyment of this masterpiece of ingenious harmonies and powerful piano originality.

Their next record, the alternating current from a year later, was far more improvised and meandering and to me is a little less interesting. Here I want to present you with perfect audio sound so we can enjoy these musicians in our own living rooms playing for us, 32 years later, as if it is today.

Now in the days to come, look forward to more rare goodies: fusion, folk, library music, straight up rock, and in no time at all our friend master shige will be back from his own August summer break with more treasures to prepare us for the cold of fall and back to prog-school.

Thursday, August 23, 2012

Hans Reffert and Sanfte Liebe (1987)

It's no secret I love Hans Reffert, who played in Flute and Voice, Zauberfinger, and Guru Guru. He also did numerous other side projects, and is active in arts (visual arts). Today he still plays electric guitar for Guru Guru. This is an EP in length, played at 45 speed, sadly too short. However, it totally brings back the craziness of Zauberfinger, with strange, odd sounds with a countryish-new wave vibe at times, well-written and always interesting.
I am back from holidays in August with many more goodies for everyone, including lots of that european jazz-rock I love so dearly, I will be re-recording the Freeport album posted about a year ago in a lossless format, so stay tuned for that gem. Getting back to work here will be slow of course, after vacations, this crazy blogging business can be pretty tedious.
And what an incredible cover, isn't it? This attracted me initially to the record.

Monday, August 06, 2012

Matao with Atilla Engin - Turkish Delight {Denmark} [1980]

Here is an album that was in my wishlist for a long time. if you like the early works of Okay Temiz and enjoy Spanish bands like Mezquita, you should definitively check this one!

the only review i found for this album comes from our friend cdreissuewishlist; "Another insane obscurity from The Alaskan Connection. As noted by the AC, Atilla Engin is a Turkish percussionist who landed in Denmark and formed a fusion group. My first thought was this is Engin's response to Oriental Wind (who were based in Sweden)! But Matao are a more fiery bunch with a strong rock component (especially in the guitar work), verse the more decidedly jazz direction of Okay Temiz's group. As if a Turkish drummer suddenly took over Secret Oyster. Not surprisingly, there's a strong slant towards Middle Eastern melodies and scales. The AC's observation about the Rock Andaluz scene in Spain is very astute as well. Another excellent discovery and well worth a CD. The AC says: "Atilla Engin is a Turkish drummer/percussionist who emigrated to Denmark in the 1970s and formed the band Matao with local Danish musicians. It seems they only stayed together long enough to record this one LP, but what an LP it is! This actually has some similarities with the Louis Banks/Sangam record I covered recently, in that it's an intense sort of ethnic jazz-rock fusion with a strong percussive drive, but obviously in this case with Turkish influences rather than Indian. But what really sets Matao apart and pushes this album over the top is the heavy dose of complex instrumental progressive rock that they throw into the mix, often achieving a sound that bears striking resemblance to some of the classic "Rock Andaluz" groups from Spain..........."

read more at:
http://cdreissuewishlist.blogspot.com/2012/01/matao-with-atilla-engin-denmark.html



Thanks goes to our faithful visitor Ron!
Enjoy!

Søren Seirup - Det går agurk {Denmark} [1981]

Perhaps Søren Seirup was better known by being co-founder of danish beat band Beefeaters & member of psychedelic band of 70s, Steppeulvene. Several years ago when i was trying to find some info about Steppeulvene, i visited this web site, and i learned, he made an album called Det går agurk at 1981. Since then i searched for this album everywhere, finally a week before i found the album from one of my friends (Thanks Mads!) and i amazed myself for a week with listening the album over and over again.. A  hidden treasure for the lovers of this type..

Album is a kind of experimental jazz fusion with blues and occidental elements.. and maybe this is the only information i found at net about; "A jazzy free form kind of hippie blues by some of the Danish pioneers of beat, blues and jazz/beat: Jesper Zeuther, Steen Claesson (the original guitarist in Burnin´ Red Ivanhoe), John Ravn (drummer in Savage Rose) and bassist of Peter Thorup´s Beefeaters."

Enjoy!

Bernard Benoit - Prelude Englouti {France}[1981, Velia]

Artist: Bernard Benoit
Album: Prelude Englouti
Year: 1981
Label: Velia
Style: Folk/Prog
Format: Flac + 3% Recovery
Size: 249MB
Lineage: VINYL Rip 16bit 44.1khz

Source: Album Collection

Studio Album Released in 1981

Track Listing

A1 Hentou 3:20
A2 Suite Flottante 3:40
A3 Ballade Pour Estelle 3:45
A4 Valse Boiteuse 2:30
A5 Les Macareux 5:00
A6 Raz-De-Marée 4:00
B1 Mandol Jig 3:20
B2 Lanmor 4:05
B3 Nozado 3:25
B4 Les Hauts De Kernabat 2:10
B5 À Fleur D'Eau 4:00
B6 Prélude Englouti 3:20

Line Up/Musicians

Drums, Percussion, Piano, Clarinet - Dominique Le Bozec
Flute, Synthesizer, Piano - Gwendal Le Goarnig
Music By, Guitar, Mandolin, Synthesizer, Vibraphone - Bernard Benoit

Friday, August 03, 2012

Andy Goldner (Ex- Exmagma) - Belleville 1981

Like a cross between Wigwam member Jim Pembroke's songs and Lou Reed if you can conceive of this concatenation, with a wonderful new wave-punk hard guitar sound reminiscent of the Zauberfinger or R. Bunka. This album was prod. by Goldner and Peter Garattoni (the drummer) for Peak records, on organ is Thomas Balluff, bass is Peter Weber.
As in Exmagma, the guitarwork is astonishingly superb, but quite notable is the high quality of the songwriting from Goldner, excepting (for me) the reggae song about Babylon with the grammatical mistake.



For a taste, first track:

Wednesday, August 01, 2012

Robert Viger et Vladimir Cosma - Protocole, Industrie et Paysage 1972 (Musique pour l'image No.40)

Look at the absolutely astonishing cover collage a la Max Ernst! It's unusual to see a library record with such a beautiful cover-- often it is merely generic. As promised here is some more Robert Viger, alternating on this record with the great french soundtrack composer Vladimir Cosma. Orchestra under the direction of Cosma. This is modern orchestral music with hints of Ravel, Strav, etc.
It's interesting how each song introduces a qualitative description after it to explain the mood of the piece.
As might be expected Side 1 features more classical or baroque, majestic pieces, while Side 2 is a little more experimental or modern. A big standout for me is the A6 track though with its funereal and atrabilious disposition.



At the Climats comments I uploaded back cover of that record.

Monday, July 30, 2012

Bernard Benoit - Lutunn Noz {France}[1975, Arion]

Artist: Bernard Benoit
Album: Lutunn Noz
Year: 1975
Label: Arion
Style: Folk/Prog
Format: Flac + 3% Recovery
Size: 191MB
Lineage: VINYL Rip 16bit 44.1khz

Source: Album Collection

Studio Album Released in 1975

Track Listing

1. Aet Kuit An Ankou (4:37)
2. Lost An Diaoul (3:19)
3. Soizig (2:20)
4. Fidandoue Kernevad (3:05)
5. Lutunn Noz (4:25)
6. Jig Igelbriz (3:40)
7. L'Heritiere De Keroulaz (3:25)
8. Ton An Aven (2:50)
9. Riviere Du Huelgoat (2:43)
10. Theme De La Folle De Toujane (5:10)

Line Up/Musicians

Bernard Benoit - Guitare
Philippe Le Balp - Bombarde, Bagpipes
Tanguis Le Dore - Bass
Didier De Calan -
Jenika Gaelle - Voice

When one thinks of Celtic music, the sounds of harp, fiddle, and pipes come to mind. So, the guitar might seem an unusual and out-of-place instrument to be featured in a Celtic album. Unusual, yes, but Bernard Benoit's skill with his instrument, his arrangements, and his familiarity with Celtic music make the guitar anything but out of place. And, although the guitar is featured, the more traditional Celtic instruments usually accompany it. Benoit gives the album cohesiveness by infusing each track with an ethereal quality. But he also manages to provide variety. There are several simple and beautiful melodies. "Theme de la Folle Toujane," with its siren-like female vocalizations, is particularly haunting; and the humming that accompanies Benoit's guitar in the title track, "Lutunn Noz," evokes images of pre-Christian Celts at their campfires. But in other tunes, Benoit achieves a cheerier atmosphere, such as in the jaunty "Jig Izelbriz" and "Fidandoue Kernevad." This is an impressive album of imaginative and enchanting arrangements by a very talented musician. Lovers of Celtic music will find it one of their more unusual albums, and it is not likely they will ever tire of it. ~ Peter Ditzel, All Music Guide

Warleigh, Taylor, Mathewson, Gibson - Reverie (recorded 1977, UK)

This is, of course, a discovery from the mighty osurec, and I don't know how he finds these huge gems. I've loved this since I first set ears on it about a year ago and was confused about the artist name which is why it took so long to find the vinyl. Finally I see that technically it's a foursome group composition, described on the record as group improvisations, and was able to locate a copy for the pristine lossless that I know so many of you are hankering for. (Great word, huh.)





  • Here's the line-up:
  • Bass – Ron Mathewson
  • Co-producer – Steve Taylor
  • Drums – Frank Gibson
  • Engineer – John Gill
  • Executive-producer – Gerd Peeckel, Manfred Schiek
  • Mixed By [Remix] – Steve Taylor
  • Photography By [Cover Photo], Design – Nino Hieman
  • Piano – John Taylor
  • Producer, Soprano, Alto, Flute, Pan Pipes – Ray Warleigh


We start appropriately enough with the dreamy title track in a dark old-growth forest with the flute of Warleigh alternately bending up to the sun tossing spots and flatting down to the c minor leaf-laid floor. Towards the end, note the striking modulations from Taylor's piano as if anxiety sets in by crepuscule as we lose our pathway out.

The next track starts with Matheson's bass thumping us into shape with a more fusionoid excursion into various unusual patterns and chords changes, imagine of course the (slightly-gay) greek god pan skipping (as he tends to do) through the same forest, I pray not in the nude.

"Storm" is appropriately enough in F minor-- a typical key for this kind of meterological effect, dark thundering chords on the piano underlie some squealing saxwork when suddenly a walking bass line capped with cymbal touches beautifully evokes rain falling gently and steadily. Not sure if it's the pregnantly-thick-with-flats aspect of this key that makes it fitting for the heavy nimbus clouds or some other dark quality intrinsic to it, perhaps the synaesthetes among us can explain. Or perhaps not since I've made this call before.

For me the long track on side b is the masterpiece, "All on a summer's afternoon" with its ingeniously original and genuine-feeling chords, its slow modulations that lightly shift from one scene to another, the estival or pastoral feel of the brilliant Warleigh's flute, the evocations of field, forest, beach, birds, clearings, dejeuners sur l'herbe, etc. Of course you will require some patience for the lengthy bass and sax solos.

It's hard for me to believe this really is through and through improvised since it plays so magnificently from beginning to end, probably some aspects of it were pre-arranged or composed, though not the very last track which definitely, as an extempore sax and drum duet, is to me a throwaway. Title (Opus 80) must be ironic.


What a perfect dream of beauty and light to find on your doorstep on this late-July summer's afternoon of hot, soft and wonderful life ...

now time for me to jump into the pool

Thursday, July 26, 2012

New Music in Quarter-Tones

This may not be the most popular album posted; I know people are not too thrilled with the modern classical chamber music that I passionately love -- especially when it gets a bit too recondite. At least I don't think I'll have too many requests for flacs, this time.
For those not familiar with it quarter tone music uses the tones between the half tones that are the established standard in the european classical scale. That 12-toned scale is itself created with the ratios of whole numbers to divide from tonic into dominant, subdominant, and so on. It's obvious to those who have studied basic harmony how you can start with one tonic (C) and with 4 and 5 progress to 12 notes (or even just by using 5ths). Because of these ratios it's debatable whether there is anything natural about quarter tones at all and for the most part they sound like instruments out of tune. Of course much is made of the fact quarter tones appear frequently in indian or any eastern music as well as in the blues scale (between 4 and 5) or as bends on the guitar. However, these are used very judiciously and not as the basis of an all-new scale.

How can you perform quarter tone music on a piano with set keys? Well, the answer is you can't -- you need 2 pianos which is why each track here features 2 pianos, one tuned a quarter tone off from the official EU standard tuning enshrined recently in the Bruxelles law of 2010 which mandated an exact tuning for A above middle C at 440 Hz on pain of death. (You will recall that Silvio Berlusconi's representative there, an ex-porn star, at that time argued for a different tuning of about 444.4 (repeating) for esthetic reasons and the germans argued this would lead to havoc in their bavarian motor industry, & she was finally voted down after a long drawn-out orgy in the general assembly.)

It must be difficult for a composer to create music like this since even their imaginations might find itself a little wanting to fill in the blanks.
You can judge for yourselves what is your opinion of this, for me the standout tracks are Charles Ives' piano composition, and the first track on side B which features the amazing ondes martenot I talked about in the past on the website. See here:
http://prognotfrog.blogspot.com/2010/04/de-londe-linfini-canada1974.html

Monday, July 23, 2012

VA - Noorte Laulud {Estonia} (1978)

A VA album from Estonia featuring as highlights well-known prog groups Psycho and Ruja. I learned about this from the sovietgrooves blog, which I recommend to all jazz, fusion, and progressive fans, it's quite a phenomenal site for learning about iron curtain music. On that site they wisely sampled only 2 tracks from this record leaving the rest unheard, but curiosity got the better of my usually sensible nature. This was when I spent a recent 2-day stint in the county jail for beating up a homeless guy with his starbucks cup when he refused to lend me a dollar.
Most of this record is easy listening or pop with orchestral backing, which I enjoy due to my late and graying age, but apologies in advance to those without dentures who have little taste or patience for this, or for straight-out disco. Or polkas. There is even a country or bluegrass song, track 4. 'Ouch' is my usual response to finding myself in this situation. But patience is rewarded, the last 3 tracks are superb progressive rock songs.

Tracklist:
01. Jaak Joala & Estraadiorkester, dirigent Rostislav Merkulov - Elavate laul
02. Voldemar Kuslap & Estraadiorkester, dirigent Peeter Saul - Igavene tuli
03. Jaak Joala & Estraadiorkester, dirigent A. Zakis - Laul verelilledest
04. Silvi Wrait & Fix - Värviline maailm
05. Ivo Linna & Apelsin - Aeg ei peatu
06. Kukerpillid - Lipsu-Peedi polka
07. Peeter Tooma - Vaikus (Sounds of Silence, Simon & Garfunkel)
08. Tõnis Mägi & Psycho - Naera, naera
09. Ruja - Laul naidendist - Protsess
10. Psycho - Nomina sunt odiosa

Here is the 8th track, from Psycho, a fantastic progressive rock song:


And the smoking hot fusion side of Psycho appears on the last track:


Pan-Ra - Music from Atlantis {Germany} (1978)

Players are Chaba Koncz on flute, recorder, bagpipes, cornemuse, Fredi Alberti on cello, violoncello, ukulele, Michel Poiteau on guitars, jews harp, darbouka, etc. Special Guest: Catherine Hourcq singing on tracks 2 and 5.
On the back liner notes there is a sort of explanation of the titles: pan of course is the greek god responsible for shepherds who was always with a flute, ra is the sun god of ancient Egypt. The only three living descendants of the submerged land of Atlantis combine music from the middle ages, modern times, asia, classicism, and jazz, to create this new music of atlantis. There are no fixed pieces but always a bit is improvised.
As if the graeco-egyptian conflation of gods isn't odd enough, note the tracks called 'shiva' (a hindu god which features slightly out of tune bagpipes) and 'lorelei.'
Album was recorded in Germany, although there is a note that tracks 2 and 5 were recorded at the Abbey de Senanque in 1977.

Stylistically this is similar to so much droney ethnic progressive folk-jazz such as Clivage or the instrumental folky passages on Ribeiro-Alpes, those who know their other record, musique d'atlantide, will be familiar.

Sunday, July 22, 2012

Bernard Benoit - Rigena {France}[1978, Polydor]

Artist: Bernard Benoit
Album: Rigena
Year: 1978
Label: Polydor
Style: Folk/Prog
Format: Flac + 3% Recovery
Size: 250MB
Lineage: VINYL Rip 16bit 44.1khz

Source: Album Collection


Folk song guitarist, Bernard BENOIT first recorded two albums of Celtic inspired folk music before combining current rock influences with those of his Celtic origins to produce two other albums on which the crystal clear notes of his acoustic guitar blend with the electric tones of a synthesizer and electric guitar. He thus creates a perfect synthesis between his Celtic origins and current rock sounds giving an extra dimension to his music which is evocative of Dan AR BRAS or Mike OLFIELD (though less commercial). Excellent progressive folk music worth discovering.
 
Studio Album Released in 1978

Track Listing

1. Anterdro (3:35)
2. Le Cheval Boiteux (3:26)
3. Morte-Eau (4:20)
4. Reelodon (3:07)
5. The Trip To Sligo (2:55)
6. Ki-Tan (2:33)
7. Rigena (20:21)

Line Up/Musicians

Bernard Benoit - Guitare
Padrig Sicard - Bombarde
Jenika Gaelle - Voice
 
A friend of mine after I suggested he listened to the 20min Rigena track described Benoit Bernard as a "Pastoral Mike Oldfield"...I strongly encourage you to listen to this beautifully unusual Celtic Folk and hopefully it will charm you as it once (and still) did me


Michel Zacha - Inutile {France}[1977, Pathe-EMI]

Artist: Michel Zacha
Album: Promesses D'Atlantide Vol.3: Inutile
Year: 1977
Label: Pathe-EMI
Style: Folk/Prog/Crossover
Format: Flac + 3% Recovery
Size: 261MB
Lineage: VINYL Rip 16bit 44.1khz
Source: Album Collection
Studio Album Released in 1977



Track Listing
A1 Viens Dans Mon esprit 4:20
A2 Goutte De Pluie 1:30
A3 Pourquoi Ne Pas Prendre Le Temps (3 Parties) 6:25
A4 Saisons (À Leslie) 2:20
A5 Inutilebingalo (Le Massacre Du Printemps) 3:10
B1 Grain De Sable 5:00
B2 Les Pêcheurs De Malange (Étude Pléonasmique Dédiée À Ma Maman) 3:45
B3 Comment Te Dire (She's Not A Girl) 4:55
B4 Loin De Tous Les Livres 5:20

Line Up/Musicians
Acoustic Guitar, Keyboards, Vocals – Michel Zacha
Backing Vocals – Anne Vassiliu, Marcel Engel, Nicole Darde, Patrick Beauvarlet
Electric Piano, Organ, Synthesizer – Georges Rodi, Georges Rabol
Violin [Electric] – Michel Ripoche
Vocals – Danièle Chadelaud
Electric Guitar - Jean Pierre Alarcen, Claude Engel
Flute - Michel Delaporte
Drums - Francois Auger, Andre Ceccarelli
Percussions - Bernard Lubat

Third and final album from Michel Zacha, once again superb musicianship in support. This album was posted here a while back but here it is again in case anyone missed it or was looking for a lossless copy.

Enjoy!

Friday, July 20, 2012

Robert Viger - Climats

This is a musique pour l'image library record. It never ceases to amaze me how much work some composers put into this genre that would destine them to anonymity.
A partial discography can be seen here on rateyourmusic:
http://rateyourmusic.com/artist/robert_viger
and here:
http://www.discogs.com/artist/Robert+Viger
Disappointingly there is no wikipedia.org page for this gentleman.
The music is typical french library soundtrack music with alternations of orchestral, easy listening, string quartet pieces (incl. the magnificent 'transcendence' which I love, with its scintillating chord changes), etc.

Here is the best track, the first one suitably called Limpidite. I could easily see it being the theme music for a gorgeous french film shot in Aix-la-Chappelle with beautiful Isabelle Adjani as a brilliant university student rebelling against false democracy, depilatory agents, and her father's old mores by sleeping with several professors incl. Jean-Louis Trintignant as the most hilarious uptight philosophy prof who does tombstone-carving as a side job, meantime her much older boyfriend, Gerard Depardieu, rides a moto, has long hair and diatribes, smokes pot constantly and of course is always quoting Sartre while complaining about having to pay alimony to his ex-wife in Gainesville, Texas. I won't be spoiling anyone's experience by stating the obvious: at the end of the movie they join a commune in Tahiti and everyone sleeps with everyone else. Interestingly the costume budget for this film was said to be the lowest on record for any major motion picture studio production due to the fact everyone was naked through most of it.
Later a Hollywood remake was made of it, with some changes: Melanie Griffiths plays a mormon churchgoer rebelling against the disposable diaper industry, who finds her one and only love (a Bible salesman moonlighting as a spy) in Hawai'i.
Ironically, when the American version was dubbed in french for the market in France, both Adjani and Depardieu were re-hired to do the language dubs. Predictably, Depardieu was drunk thoughout the process due to a long plane-ride in which he downed 216 small vodka bottles and so he kept making linguistic mistakes like translating 'fun' into the french word 'partouze' and referring to orange juice as 'jus de chatte'. It then became a huge hit in France 5 years after the original all over again.



Michel Zacha - Le Vol D'Icare {France}[1974, Pathe-EMI]

Artist: Michel Zacha
Album: Promesses D'Atlantide Vol.2: Le Vol D'Icare
Year: 1974
Label: Pathe-EMI
Style: Folk/Prog/Crossover
Format: Flac + 3% Recovery
Size: 251MB
Lineage: VINYL Rip 16bit 44.1khz
Source: Album Collection




Track Listing
A1 Esquisse D’Icare
A2 Be Here And Now
A3 L’enfant Et La Mer
A4 Zit
A5 Vivez Vos Rêves
B1 Prière Labyrinthe
B2 Le Vol D’Icare
B3 La Terre

Line Up/Musicians
Backing Vocals – Maria Popkiewicz
Bass Guitar – Olivier Bloch-Laine*
Drums – Thomas Guthrie
Flute, Saxophone – Frédéric-Ronald Dodd*
Guitar [Electric] – Jean-Pierre Alarcen
Guitar, Piano – Michel Zacha
Percussion – Marc Chantereau
Piano – Georges Rabol
Piano, Mellotron, Synthesizer – Georges Rodi

Second album and in my opinion the most adventurous musically of the three. Once again a top album featuring a fantastic line up of musicians

Thursday, July 19, 2012

Michel Zacha - La Nuit Des Cigales {France}[1972, Pathe-EMI]

Artist: Michel Zacha
Album: Promesses D'Atlantide Vol.1: La Nuit Des Cigales
Year: 1972
Label: Pathe-EMI
Style: Folk/Prog/Crossover
Format: Flac + 3% Recovery
Size: 200MB
Lineage: VINYL Rip 16bit 44.1khz
Source: Album Collection




"MICHEL ZACHA once took part to HAIR and SUPERSTAR; he signed on PATHE MARCONI and released 3 LP's ("La Nuit des cigales", "Le Vol d'Icare" and "Inutile", three albums set as a trilogy) between 1973 and 1977. He recorded with the finest French musicians in the jazz/songwriting/progressive music area, such as BERNARD LUBAT and JEAN-PIERRE ALARCEN." (quote found here on an earlier post of his third album)

Unbelievable French record by Michel Zacha(his 3rd). With a crew consisting of JP Alarcen,A. Ceccarelli,B. Lubat and CL. Engel amongst others,his music is an excellent mix of French pop/ballad folkish music combined with complex,strange, compositions.What else did you expect with such line up! Studio album released in 1972

Track Listing
A1  Accident  3:30  
A2  Mary Anna  2:40  
A3  La Dame Nue  4:40  
A4  Shanghi Wo  3:30  
A5  Temps De Pluie  4:20  
B1  Promesses D'Atlantides  2:50  
B2  End Of Beginning  3:20  
B3  Les Cigales  2:50

Line Up/Musicians
Backing Vocals – Maria Popkiewicz
Bass Guitar – Alan Jones
Drums – Thomas Guthrie
Flute, Saxophone – Ric Dodd
Guitar [Electric] – Jean-Pierre Alarcen
Percussion – Marc Chantereau
Piano – Georges Rabol
Voice – Michel Zacha, Guitar, Piano


Monday, July 16, 2012

Solos, Duos, and Trios (1974 and 1982)

Again the unusual double year copyright to this companion record to the earlier posted Solos and Duos, with mostly the same players except Catherine is out and the iak pair of Dudziak - Urbaniak are in, but we have the great Sigi who was such a standout in the last outing, Jasper and Joachim on duelling pianos, and Hinze again reprising as producer.
You can tell it's the other twin to the earlier record because of the identical layout of the sleeve. This time it's Sigi who is featured in the cutout, and the others are easily recognizable by the instruments. Kuhn is by far the best looking of the bunch, although it's difficult to tell with the iak couple because of the abundance of hair. When I think of what an incredible master of his piano Kuhn is, this is the kind of guy I would have a crush on if I was female, rather than Justin Bieber...
What about the music?
Well, Larry does not shine on this, I was expecting more from him for sure, with his virtuoso technique and formidable compositions. Did he also leave his best work hidden away for his solo albums and bring out the remnants? Two of the 3 parts of the suite are interpretations you will note. Pay attention to the ridiculous classical ending, if you can bring yourself to have the patience to listen to the bitter end-- I was forced to because I was recording the track without kids around. Sometimes you almost wish those kids were there to distract you.
Of course in his solo piece (Pablo suite), Sigi doesn't disappoint, as with the earlier record-- and this time we get almost 11 minutes of him! He plays bass notes simultaneously with the improv solo in the manner of canadian master Lenny Breau at one point, what virtuosity! Think of how difficult that is in the coordination of the brain to play walking bass along with solo, each hand both bass and treble. About a third of the way in, he plays an odd plucked harmonic sound or perhaps he plays the strings above the first fret with another melody on the normal register-- how does he do this? Perhaps a guitarist can clarify.
The children suite is remarkably beautiful, a composition by Hinze-- what an underrated performer he is today. These passages through meditative time and space are well worth the price of the record, on their own. And how delicately Schwab and van 't Hof play behind the flautist!
Menuettes is indeed a voice-violin duo, which some may love and most I imagine will detest, I daresay there are some who will want to shoot the speakers when Dudziak gets into the monosyllabic animal sounds, or maybe they are dolphin whistles and screeches, well such is musical taste. Their other duo later is a little more listenable but the screeching from both violin and voice may be a problem if there are any human beings or raccoons around.
Again, Kuhn's solo is all over the place. I would love to hear someone explain to me what he's getting at with his crazy Jarrett-like sliding phrases and constant shifting chords that don't develop into anything dramatic or climactic, but I guess it must be an extended improvisation, I just can't get past the first couple of minutes to hear it through, it bores me horribly. I know when we love someone we will forgive them anything, so I guess my love is very shallow because my crush on him is like, so over.

Friday, July 13, 2012

Patanga 1985

For those who get past the pipes of pan, a beautiful acoustic folk or ethnic folk album from a little known group of musicians from Germany. The players are Heinz Goebel on sitar, pan-flutes, banjo, keys, Frank Usarski on guitars, Hans-Wulf v. Uslar on tablas and percussions, Gerd Janus on bass.
The last track is the most progressive and for that reason I sampled it below, it has the wonderful spelling of 'pazifik'. It sure is fun to explore this great muzik!

SUBURBANO "marismas" (Spain,ethnic prog, 1980,2nd album)

SUBURBANO "marismas" (Spain, ethnic prog, 1980)

We sometimes have strange experiences.
When looking at the cover of the records,we feel sure that  it is the Masterpiece at once .
I felt that kind of feeling when looking at this album's back cover's photo.

Why is such a masterpiece sleepnig without coming out to every prog fan for many years.......?

Awesome combination among instruments ....very well balanced (more impressive listening with your headphone )
Technical and tightly-plotted tracks and complex rhythm section.

Nothing to say anymore........Listen ,mates !!! It is the great Spanish prog masterpiece ,literally.

SUBURBANO's first album is more traditional ,folk prog and ethnic feel (of course ,excellent album) although the front cover of the album is more progressive........

RYM

track 9

Monday, July 09, 2012

Free Fair 2 (1979) and 3 (1981)

In the current issue of Scientific American (July 2012) there is a wonderful article relating to the evolution of altruism in humans. For some time this has been a conflagrantly controversial issue in evolutionary biology, with the old paradigm of kin selection being fought on many levels including basic common-sense. Simply, the old theory had it that altruism could only evolve between closely genetically related individuals, thus, human society started from large families, expanded, etc. (The old theory was stationed on the observation worker bees are 75% genetically related.) The novelty of the approach is that mathematical modelling is used to analyze how cooperation can evolve purely through the action of modelled genes in a population that aggregates together, rather than through biological or in-the-field evidentiary accrual.
It turns out there are in fact 4 distinct ways this can happen, the first being the old kin selection method. A neat thought expt. asks you to consider if behind a left door there are children at imminent risk of death (from a burning house for ex.), behind a right door, there is your only child at equally imminent risk-- Is there any number of kids behind the left door that would convince you to save them first? Any parent would say, no, even if every other child on earth were behind the left, I would first save my own child on the right. Obviously there is no rational reason for this, it is purely an instinct, an understandable one at that.
The second form of altruism in groups is the old 'you scratch my back, I'll scratch yours,' which is obvious in primate groups where one will share with others that have shared in the past. If one is uncertain about a troupe member, then one shares less. Someone who has demonstrated generosity in the past, of course, gets more shared. Always there are evolved ways to punish cheaters who take advantage of others.
The third form is reputational altruism, again seen widely in primates, in groups stratified in a distinct though possibly fluid pecking order, one gains in reputation by sharing with the higher-ups. Grooming behaviour in bonobos is the perfect example of this.

And the fourth is the kind of selfless self-sacrifice that we find so typical of humans, which is pretty much absent in other primates, where one is willing to die for the group. (Soldiers in a war, or the quite frequent story of someone saving a stranger from a lake and dying in the process. Though the perfect examples are the worker ants or bees who will die in multitudes to save their colony or queen.) How does this come about? It can do so when evolution is acting on a group as opposed to the individuals. For obvious reasons a group of strongly cooperating individuals does better than a group of selfish individuals. Situations where this is favoured, over the selfish motives, are ones early hominids found themselves in: guarding against much stronger predators (e.g. lions, away from forest protection where all other primates stay), protecting a dwelling or campsite that had helpless infants and children, and cooperating in a hunt that would be very difficult to undertake alone (though chimpanzees do hunt in a group quite well). What are the strongest stimulations for such a group to cooperate? Probably the first two factors. Think of how awkward a recently exclusively bipedal hominid would have been on the savannah, unable to run faster than a dog.
What is interesting in the mathematics of the modelling is that cooperation is an unstable equilibrium, with adverse environmental conditions leading often to the predominance of selfish cheaters (think for ex. if groups were forced to break up, the cooperators would do worse, as in the worst of the communist era when religious and family ties were torn asunder). However, once an environment stabilizes, a group of cooperators that can exclude cheaters will do better after some time and once again the cooperators will predominate.


Our species has obviously done well by virtue of its altruism and intense cooperation. Many biologists now believe intelligence involved mostly to keep track of, and negotiate personal social interactions. In this light we can see that tribalism and war are the necessary (primitive) by-products of the positive virtues of gathering into groups for the benefit of one particular ensemble, and this is the flipside of such group selection. Why did true eusociality (with altruism) evolve so rarely in animals, out of millions of species, only in one primate, several insects, certain shrimp, and a naked mole rat species? Presumably because the necessary conditions (defending a nest) or prior required behaviours (willingness to aggregate in groups as opposed to having solo existence) were not there to counterbalance the 'selfish gene' tendency so powerful in evolutionary forces. Perhaps whatever DNA changes lead to eusociality are so complicated, and require so many genetic changes, that it is a highly unlikely event purely statistically. Or we can conclude simply that individuals really do much better alone in certain niches and have little advantage to be together, such as the solitary cats, and fishes, in which altruism has never evolved.

Nonetheless, a survey of humanity from a completely unbiased biological viewpoint (from the telescope of an extraterrestrial computer, for ex.) would have to conclude there is only one reason we have been successful for ourselves, and that is because of those tendencies to cooperate and aggregate selflessly. There will be always cheaters or selfish individuals who act kind of as parasites in the group at the expense of those who share or work, and there are modes of behaviour we have to punish those individuals if they are called out for this, whether through social ostracism (gossip, or disrespect for the always unemployed or beggars) or legal remedies (check-forging leads to jail), interestingly in ant colonies a similar situation arises wherein some workers occasionally attempt to become queens but are punished by the other workers usually very severely (often killed). Analogously, ants and bees have been the most successful insect species (in absolute numbers) due to their altruistic societies.

But will we channel enough cohesion to understand the problems we are now facing collectively? Unfortunately this requires seeing beyond our minute horizons on to the breadth of the whole suffering planet and understanding how our place here is dependent on biology and equilibrium, not on money and the petty status we crave within our small lives and groups, and this requires a huge effort of intellect and distance from what our instincts are asking from us or rather are forcing us towards: better reputations, more money, more comfort and each year more satisfactions. Can one hope to reduce one's reputation, one's income, one's comfortable existence for the sake of future generations? It might be too much to ask of humanity, despite our having the necessary tools within us.

In the spirit of cooperation which I have held dear as an ideal my whole life, hear some more from the wonderful fusion band Free Fair, their second and third records, the first having been posted a couple of weeks ago. The style is quite reminiscent of the 2 X Noctetts I posted before, a bit more jazzy than the usual fusion we like to feature here. And isn't the cover of Free Fair 2 magnificent? Note the wonderful line drawing on the back cover which I reproduce here below.

Music is the pre-eminent social art, a powerful crazy glue like laughter and humour which binds individuals together. I've discussed this before at length. Anthropologists report that some primitive tribes don't know numbers, some have simple grammars, some have no representational art, some no culture of costuming, some no distinction even between colors, just shades of grey, and some even have no creation myths or even religion-- but every single human group on earth enjoys music intensely and fundamentally incorporates dance, song and music-generating instruments into social events. It is truly a human universal. Neurobiologically, the connections seen in functional MRIs upon listening to music are seen to be not just between higher cortex, auditory centres and emotional centres (amygdala or other parts of the limbic system) but throughout most or all areas of the brain. And you and I know this, whenever we listen to beautiful records such as these ones.

alternative cover of the 1st Free Fair

Friday, July 06, 2012

Vince Benedetti - The Dwellers on the High Plateau (Germany, 1977)

Modal or 'spiritual jazz' as they call it in record sales. This is a german album featuring compositions by Benedetti (pianist), produced by Joe Haider, with Andy Scherrer on saxes, Eric Peter on bass, and Billy Brooks on perc. His style is definitely highly influenced by McCoy Tyner in his later, seventies period.