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Forced Exposure New Releases for the Week of 8/3/2020

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New music is due from The Residents, Old Man Gloom, and Jim O'Rourke, while old music is due from Guided By Voices, Phill Niblock, and Evan Parker.

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AU 1017LP
PRICE: $30.00
CAT #: AU 1017LP
Restocked; double LP version. "Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he's ever been. Thanks to Russell's partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell's vast archive of unreleased material, the world now hears many versions of Arthur Russell. There's the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell's dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell's utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success -- first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell's most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. 'I see, I see it all,' sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell's childhood home and family echo, too, through 'Just Regular People,' 'I Wish I Had a Brother,' 'Wonder Boy,' 'The Dogs Outside are Barking,' 'Sharper Eyes,' and 'I Felt.' Meanwhile, songs like 'I Kissed the Girl From Outer Space,' 'I Still Love You,' 'List of Boys,' and 'Barefoot in New York' fizz with pop and dance grooves, gesturing at Russell's devotion to New York's avant-garde and disco scenes. Finally, the long-awaited 'You Did it Yourself,' until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf's documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell's extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world -- and with this record, the world continues to meet a totally singular artist."
BF 015-16CD
PRICE: $19.50
CAT #: BF 015-16CD
Axis/Another Revolvable Thing is the second installment of Blank Forms' archival reissues of the music of Japan's eternal revolutionary Masayuki Takayanagi, following April Is The Cruellest Month (BF 008CD/LP), a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo's Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling "non-section music" after leaping beyond the confines of his prior descriptor "real jazz". The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi's spacious "gradually projection" and explosively virulent "mass projection" concepts across six pieces, titled "Fragments I-VI". Includes original liner notes by Japanese free jazz critic Teruto Soejima (newly translated for this edition). Originally issued in two individual LP volumes in rearranged order; the two separate LP reissues, Axis/Another Revolvable Thing 1 (BF 015LP) and Axis/Another Revolvable Thing 2 (BF 016LP), keep this rearranged order. Double-CD version presents the Another Revolvable Thing concert in chronological sequence for the first time.Masayuki "Jojo" Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's "Free Form Guitar" in 1969 and promptly turned his back on the jazz scene. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide.
BB 058LP
PRICE: $25.00
CAT #: BB 058LP
CLUSTER Cluster 71 LP
2020 restock. 140-gram LP. Cluster's self-titled debut was originally released by Philips in 1971; this edition is the first reissue to restore the track running order of the original Philips release. Includes liner notes by electronic avant-garde pioneer Asmus Tietchens. In 1998, The Wire listed Cluster's self-titled debut as one of "100 Records That Set The World On Fire (When No One Was Listening)." Very few albums from Germany can lay claim to this honor. Cluster is a monster; it contains a mere three untitled tracks and was quite an ordeal for untrained ears when it was released. Yet the album pointed the way forward like no other electronic opus. Cluster's previous incarnation was a trio called Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from the group's third member, Conrad Schnitzler, in 1970. The following year, in addition to playing live, they recorded their first album in publisher Ralf Arnie's Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until Plank's death in 1987. Early Cluster music was new. New in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duo's utter renunciation of conventional harmony and rhythm, embrace of near total aural abstraction, and confident use of noise, rigorous live electronic improvisation, and a positive mindset were all factors in Cluster's innovative trailblazing of 1971. For want of a better category, Cluster was classified rather inappropriately and incorrectly as "cosmic." Few recognized Cluster for what it was -- a synthesis of pop music, stripped of embarrassing glamor, and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster, with no beginning and no end. Cluster's music is free and open in all directions. There are sounds, noises, and structures to be heard on this album that would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future.
BB 348CD
PRICE: $17.00
CAT #: BB 348CD
Having completed his military service as a naval radio operator, Gunther Wüsthoff was in the midst of his German and fine art studies when he encountered Rudolf Sosna and Jean-Hervé Peron. It was May 1969 and each of them had a guitar so they decided to make music together. Polydor International headhunter Uwe Nettelbeck tracked them down on February 23 1971, prompting them to form the legendary krautrock band Faust with three other Hamburg musicians a few days later. Wüsthoff stayed with the band for five album and three tours through France and Great Britain before leaving in 1974. In subsequent decades, Wüsthoff had various technical jobs at Studio Hamburg and Filmhaus Hamburg and also studied technical editing so he could work as a freelancer. He continued to play music, introducing electronic instruments and computers into his work at an early stage. [to|digi]tal (pronounced "total digital"), a collection spanning the years 1979-2007, offers a clear insight into how he consciously integrated these means of production into the recording process."Motto: Due to previous but also temporary excesses of mainstream consumption and the omnipresent, repetitive emissions of the western world's music industry, devoid of contours and as slick as possible, we are faced with an indissoluble weariness. A criterion for music one can listen to today is, for me, that an element of friction is present: temporally, metrically, rhythmically, tonally or harmonically. Or that somewhere, something is somehow imperfect. Only then can music be truly alive." --Gunther Wüsthoff, 2005
BB 349CD
PRICE: $17.00
CAT #: BB 349CD
About the Con-Struct series: Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=minimal label in Berlin reissued two Conrad Schnitzler albums at the outset of the 2010s, label honcho Jens Stru?ver was granted access to this audio library. Stru?ver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album (MINIMAL 007CD/LP, 2011), he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler's unique world of sound.Frank Bretschneider on his "Con-Structions": "I read the name Conrad Schnitzler for the first time in the article about Tangerine Dream in the Rowohlt Rock Lexicon from 1973. The first time I heard his music was only in 1980, when his wave track 'Auf dem Schwarzen Kanal' was played on the radio . . . It wasn't until 1988 that I heard from Schnitzler again, a tape on Jo?rg Thomasius's East Berlin Kro?ten Kassetten label. And again almost ten years later his Plate Lunch CDs Rot and 00/106 (1997). But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer. Schnitzler's early role as cofounder of two influential bands is one reason for the ongoing reception. Another is his consequence as an artist. 'I'm not interested in having publicity or a public feedback' he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self-taught person and as someone who prefers to look forward instead of looking back: 'I don't want nostalgia.' After all it was Jens Stru?ver who inspired me to work with Conrad Schnitzer's material. I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler's world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own."
BB 350CD
PRICE: $17.00
CAT #: BB 350CD
Bureau B present a reissue of Conrad Schnitzler's Con, originally released in 1978. Conrad Schnitzler: In the electric garden by Wolfgang Seidel, May 2020: "... Whilst on shore leave in Düsseldorf, Conrad Schnitzler heard about a professor at the School of Art (Kunstschule) who also accepted students into his class without high school diplomas. Conrad Schnitzler became one of them. The spirit of a fundamental new beginning bonded this generation of artists together, with Karlheinz Stockhausen and Gottfried Michael Koenig the most radical proponents. Perhaps it was due to the fact that music had been so corrupted under National Socialist rule, from classical to the Schlager variety. Schnitzler was fascinated by the new sounds he heard on the radio in the evenings. To his ears, they connected the struggle for independence to the planning and precision he had learned as a mechanical engineer. At the same time, he understood that music like this was only possible within an institutional framework to which he had no access. So, he set about creating his own framework. Schnitzler bought his first synthesizer in the early 1970s -- a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a 'cassette organ' out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfürstendamm, West Berlin's premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers . . . Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzler's successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer, and his EMS Synthi (a portable model in an attaché case), having transported the whole lot on his delivery bicycle . . . The last record to be completed at Paragon reveals Schnitzler's lighthearted rapprochement with German New Wave (Neue Deutsche Welle) . . . The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing, and looping, came to an end when the studio was sold and Peter Baumann moved to the USA."
PRICE: $18.50
MCPHEE, JOE Black Is The Color: Live in Poughkeepsie and New Windsor, 1969-70 2CD
Never-before-issued music from three very different settings in upstate New York, all recorded in the period running up to Poughkeepsie multi-instrumentalist Joe McPhee's Nation Time (CVSD 054CD). From a year before that landmark LP, in the same hall at Vassar College, McPhee led a band with soulful vibraphonist Ernie Bostic and voluble rhythm section of Tyrone Crabb and Bruce Thompson, both of Nation Time fame, performing a John Coltrane-oriented set that included versions of Mongo Santamaria's "Afro Blue" and Coltrane's "Naima," as well as McPhee-fave "God Bless The Child." Deeply emotional and fiery playing with this unusual instrumentation -- rare to find McPhee playing with a harmonically based instrument like vibes. McPhee had organized a larger group also meant to feature Bostic and a French horn for a concert at a monastery in nearby New Windsor, but the band was pared down to a quartet with saxophonist Reggie Marks, playing a powerful combination of originals and the Patty Waters-associated traditional tune "Black Is The Color." (The concert also featured a cameo by David Nelson of the Last Poets, but technical issues in the recording scuttled that and several other tracks.) Finally, three cuts document a more rough-and-tumble gig taped outdoors in the park at Poughkeepsie's Lincoln Centre -- the only surviving recordings of this funky, bluesy, lowdown, explosive configuration, they feature vocals by one Octavius Graham, great drumming by Chico Hawkins, and Tyrone Crabb on electric bass. This two-CD set has been lovingly transferred from the original tapes out of from McPhee's personal archives, and is augmented by newly discovered photographs of the concerts. A spectacular deep dive into the pure magic of Mr. McPhee.
PRICE: $15.00
Corbett Vs. Dempsey present a reissue of Alexander von Schlippenbach Trio's Three Nails Left, originally released in 1975. One of the all-time great records of improvised music from Europe. Period. Blisteringly hot. Uncompromisingly inventive. Staggeringly beautiful. And insanely rare. Originally issued in the mid '70s on FMP, at its core Three Nails Left features the legendary Schlippenbach Trio -- British saxophonist Evan Parker, and German percussionist Paul Lovens joining the German pianist -- the triangle squared by the addition of German bassist Peter Kowald. Just the first track, an incredible 20-plus minute burner called "Range," is worth the price of admission -- as punk rock as free music gets, it shows Parker's spectacular capabilities at high-octane blowing. Kowald adds a chewy, molasses bottom to the group, offsetting Lovens' flinty metal, stick and skin and Schlippenbach's hyper-focused intensity. This flammable configuration performed and recorded together as a regular unit in the period, making another FMP LP, The Hidden Peak (1977), and a recording later released on CD by Atavistic's Unheard Music Series. One side was reissued on a limited-edition FMP box set, together with part of The Hidden Peak, but it's never been available intact on CD. Three Nails Left is a stone cold classic of creative music. Remastered from original tapes, packaged with the original cover design by Lovens.
PRICE: $15.00
GRAVES & DON PULLEN, MILFORD The Complete Yale Concert, 1966 CD
For a performance at Yale University in New Haven, Connecticut, in spring of 1966, percussionist Milford Graves invited pianist Don Pullen to play duets. The two musicians had worked together in a band fronted by saxophonist and clarinetist Giusseppi Logan, with whom they had recorded two LPs in 1965 for ESP-Disk'. Graves was already a daunting presence in free music. One step at a time, he was busy transforming the role of drumming in jazz, introducing a new way of dealing with unmetered time and accomplishing this task with technique that was almost inconceivable. His experience playing timbales in Latin bands had been formative, suggesting that the snare could be used as accent rather than beat-keeper, but by the mid '60s he'd worked up a holistic approach to sound and energy that was the most radical of his improvising percussion contemporaries. And with a simpatico accomplice like Pullen, who would go on to have an illustrious career with Charles Mingus, co-fronting a band with George Adams, and as a soloist and bandleader. This early setting finds Pullen is at his most hard-hitting, and his piano concept as heard here lays to rest dubious claims of Cecil Taylorism. Inspired by their performance, Graves and Pullen issued an LP, In Concert at Yale University, Vol. 1 on their own Self-Reliance Program imprint (1966). The vinyl is impossibly rare, especially its first copies, which sported hand-painted covers by the musicians. A second volume titled Nommo (1967) was subsequently issued, and it too is a highly prized platter. None of this music has ever been available digitally. The tapes were lost, so in putting this production together -- in the works for ten years -- virgin copies of the LPs were used. One CD includes the two complete LPs together with original cover designs, a gallery of hand-painted LPs, and a photo of Graves and Pullen selling them at a Nation of Islam convention. An insert modeled after the original one presents an interview with Graves about the production of the records. This is beyond the holy grail of free music. It is as vital and challenging today as it was more than five decades ago. Corbett Vs. Dempsey is honored to have collaborated with Milford Graves on this historic reissue. Personnel: Milford Graves - drums and percussion; Don Pullen - piano.
PRICE: $20.00
CAT #: CRS 8007CLP
BABY HUEY The Baby Huey Story: The Living Legend (Colored Vinyl) LP
2020 repress. Limited red-colored vinyl version. Gatefold exact repro reissue manufactured by Rhino. Originally released in 1971. Baby Huey was a psychedelic soul legend as well as an enormous (sorry) influence on hip hop, having been sampled by the likes of A Tribe Called Quest, Ghostface Killah and many more. Includes the classics "Hard Times" (Curtis Mayfield) and "A Change Is Gonna Come" (Sam Cooke) and the best rendition of The Mamas & The Papas' "California Dreamin'" ever made.
PRICE: $15.00
CAT #: DIS 190LP
Repressed; LP version. "Coriky is a band from Washington, D.C. Amy Farina plays drums. Joe Lally plays bass. Ian MacKaye plays guitar. All sing. Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour."
PRICE: $25.00
CAT #: LOU 070LP
VELVET UNDERGROUND, THE Loaded (Alternate Album) LP
Demos, early version, alternate mixes, and outtakes that helped shape The Velvet Underground's Loaded (1970), a great album. Giving it a wider view and complete understanding of the album. Album sessions recorded at Atlantic Recording Studios, Spring/Summer 1970 (NYC, USA). Demo tracks recorded at Atlantic Recording Studios, April 15-16, 1970 (NYC, USA). Edition of 333.
PRICE: $15.50
BIRGE, JEAN-JACQUES Perspectives for the 22nd Century CD
Commissioned by the Ethnographic Museum of Geneva (MEG), Jean-Jacques Birgé composed a work based on the MEG's International Archives of Folk Music (IAFM). Perspectives for the 22nd Century includes 31 pieces recorded between 1930 and 1952 and compiled by Constantin Br?iloiu (1893-1958), founder of the IAFM and an authoritative reference in the field of traditional music. Perspectives for the 22nd Century is written on the basis of an anticipation scenario where the survivors of the disaster of 2152 live on the ruins of the MEG and decide to rebuild themselves from the archives discovered on site. The composition mixes acoustic instruments, some of which belong to the MEG collections, virtual instruments, ambiences, and sound archives. A disturbing echo of current events, Perspectives for the 22nd Century is a sound fiction following the journey of humans who must reinvent themselves. In these times of questioning about the future of the planet and of humanity, Jean-Jacques Birgé wanted to dedicate this work to C.F. Ramuz and Vercors. This CD is the fifth title to appear in the series of recordings published by the MEG and devoted to contemporary creations composed on the basis of its sound archives. Inside-out digipack, includes 44-page booklet with preface, French/English notes, and photographs by Jean-Jacques Birgé and Madeleine Leclair.
RM 470LP
PRICE: $23.00
CAT #: RM 470LP
Warehouse find, last copies available of this 2017 LP. "Cruel Optimism is a record that considers power (present and absent). It meditates on how power consumes, augments, and ultimately shapes two subsequent human conditions: obsession and fragility. . . . This edition owes its title and its origins to the wonderful text of the same name by American theorist Lauren Berlant. . . . In Cruel Optimism, I found a number of critical readings around the issues that have fueled so much of the music I have been making recently. Beyond her keen analysis of the relations of attachment as they pertain to conditions of possibility in the everyday, it was particularly her writing around trauma I found deeply affecting. It was a jumping off point from which a plague of unsettling impressions of suffering, intolerance, and ignorance could be unpacked and utilized as fuel over and above pointless frustration. When I made Wilderness Of Mirrors (RM 460CD/LP, 2014) clouds of unease were overhead. As I have worked through Cruel Optimism, what seemed an unimaginable future just a few years prior, began to present as actual. Over the course of creating the record, we collectively bore witness to a new wave of humanitarian and refugee crisis (captured so succinctly in the photograph of Alan Kurdi's tiny body motionless on the shore), the Black Lives Matter movement, the widespread use of sonic weapons on civilians, increased drone strikes in Waziristan, Syria and elsewhere, and record low numbers of voting around Brexit and the US election cycle, suggesting a wider sense of disillusionment and powerlessness. Acutely for me and other Australians, we've faced dire intolerance concerning race and continued inequalities related to gender and sexuality. The storm has broken and feels utterly visceral. Cruel Optimism is a meditation on these challenges and an encouragement to press forward towards more profound futures. Beyond the motivations forging the record, the process by which this edition was created was unlike many of my other records. Having worked largely alone in recent years, I wanted to shift away from that approach. . . . I count myself exceptionally fortunate to have been able to call on so many fine musicians in the making of this album. . . . I couldn't be more pleased to share Cruel Optimism with you." --Lawrence English, October 2016 Contributions in various forms from: Mats Gustafsson, Mary Rapp, Tony Buck, Chris Abrahams, Werner Dafeldecker, Norman Westberg, Brodie McAllister, Australian Voices, Vanessa Tomlinson, Heinz Riegler, and Thor Harris.
TEG 74008LP
PRICE: $25.00
CAT #: TEG 74008LP
BASHO, ROBBIE Venus In Cancer LP
Restocked. "Though frequently overshadowed by his contemporary and Takoma Records labelmate John Fahey, the compositions and performances of Daniel R. Robinson Jr., best known by the stage name Robbie Basho, were integral in the development of the American primitive guitar style. Along with Fahey, and songwriter/composers such as Max Ochs, Leo Kottke, and others, Basho helped bring to the masses the distinct form of guitar finger-picking, which blended folk and country-blues with neo-classical composition techniques. Unlike his contemporaries, Basho went a step further by incorporating unorthodox open tunings on his 12-string guitar, as well as elements of Indian classical music, inspired by the sarod-playing of his mentor Ali Akbar Khan. Unfortunately Robbie Basho passed on in relative obscurity at the early age of 45 due to a fatal stroke, so he was never able to witness the extent of his influence. Nonetheless his legacy lives on in the works of American primitive guitar revivalists like James Blackshaw and Glenn Jones, as well as indie folk units like Currituck County or Six Organs of Admittance. All of Basho's signature stylistic elements are on full display on his 1969 album Venus In Cancer, which added onto his dextrous, steel-string finger-picking, additional cues from raga, flamenco, Appalachian folk, and even foresaw the arrival of new age music. A mystical and astrologically-inspired collection of guitar improvisation, one which clocks in at nearly 50 minutes, and a perfect representation of Basho's visionary American folk brilliance."
PRICE: $25.50
VA Gozalo! - Bugalú Tropical Vol. 4 2LP
2020 restock; 2LP version.This is volume 4 of Vampisoul's successful series of tropical Peruvian music of the '60s: an exciting, spicy mix of musical gems that fill in the link between the mambo era and the dawn of salsa in South America. When drawing the musical map of Latin America, the mistake is often made to identify the zone of influence of Afro-Latin music only around the Caribbean. It's true that the great creators are Cuban and Puerto Rican, but when their music spread out across Latin America, similar scenes sprung up in other parts of the continent. It was during the '50s that the genre captivated Peru. Tropical orchestras appeared everywhere with a repertoire based on mambos, guarachas and, to a lesser extent, boleros and merengues. However, over the Afro-Cuban foundation they added diverse influences and reached a new sound, different from their inspiration. Within the core of the tropical music scene, the Sonora de Lucho Macedo was the first group of its kind in the middle of an environment exclusively populated by orchestras. Beyond his irrefutable professional merits, Macedo's essential contribution was to recruit musicians that later on would start the most important boogaloo groups. The first one to leave his band and go his own way was Joe Di Roma. Bongoist Ñiko Estrada left a little later to create his Sonora Antillana. From Macedo's band also came double bass player José "Pepe" Hernández, percussionists Mario Allison and Coco Lagos, trumpet player Tito Chicoma and singer Charlie Palomares -- almost all of the main artists of the golden age of boogaloo in the mid-'60s, each of them a director of their own band. 1962 saw the arrival of Nilo Espinosa, a saxophonist with a solid academic formation and a deep knowledge of jazz. The puzzle was completed with the self-taught pianist Otto de Rojas. They all knew each other from the hotels, parties and TV sets, but especially from the studio recording sessions. The height of the tropical orchestras coincided with boogaloo. At that point, the scenario had changed. The massive migration inland towards the capital brought along a radical change in popular music, giving birth to Peruvian cumbia, which also had a tropical foundation. The Afro-Cuban influence, without disappearing at all, left room for a Colombian influence. With the new decade, the market was taken over by cumbia and salsa. An era had reached its end. This collection features liner notes in Spanish and English by expert Carlos Torres Rotondo plus photos and original artwork reproductions.
PRICE: $31.00
VA Cumbia Beat Volume 2: Tropical Sounds from Peru 1966-1983 2LP
2020 restock. "The 'resurrection' of Peruvian tropical music, of psychedelic cumbia or, as others like to call it, 'chicha,' is perhaps one of the most surprising musical phenomena in recent years . . . Elements of rock, folklore, música criolla, Andean music, Amazonian music, Colombian cumbia, salsa and even psychedelia intermingle in this 'cannibal' genre capable of devouring and assimilating every possible influence. Both Enrique Delgado and Manzanita, the two great founding guitarists of the genre, made music that absorbed all possible manner of styles. Vampisoul features not only tunes from Delgado with his group Los Destellos and from Manzanita, but also from their side projects: Delgado's Los Casmeños and Manzanita's El Monje Loco. Los Girasoles, Los Yungas, Los Beta 5 and Los Ecos continued those sonic explorations . . . Although this compilation consists mostly of instrumentals, a classic of Peruvian tropical music, 'Colegiala' by Los Ilusionistas, is included with vocals from Carlos Ramírez 'Centeno'. Los Beta 5 would never turn to the sung format . . . Another group that has in their origins instrumental beat spirit and sound are Los Ecos. The sparkling-clean guitar sound of their leader Beto Cuestas always shines in songs filled with a delicate pop sensibility and melodies that oscillate between melancholy and danceable experimentation. Los Yungas had recorded songs in which música criolla and huayno are 'cumbianized,' but the more significant point of departure happened when Los Demonios Del Mantaro released a historic single . . . [Carlos] Baquerizo was also the first to introduce an electric guitar in Peruvian cumbia in Los 5 Palomillas, a side project of Los Demonios. The influence of the 'provincial sound' would be felt by many other guitarists . . . One of the most original and surprising guitar sounds in Peruvian tropical music would be that of Maximiliano Chávez from Los Orientales De Paramonga, who created a very peculiar style of tropical music with deep basses, galloping percussion, and wah-wah guitar . . .Los Mirlos, with their guitars and hypnotic grooves, achieved the most popular and transnational of the Amazonian sounds. The other Amazonian miracle was Juaneco Y Su Combo, led by Juan Wong. Their music, full of references to Amazonian mythology and to ayahuasca (a psychoactive drink), featured the guitar of Noé Fachín." --Alfredo VillarAlso features Los Orientales, Compay Quinto, Los Pecos, Los Titanes, Los Yungas, Grupo Celeste, Los Santos, Aniceto Y Sus Fabulosos, and José Y Sus Antillanos.
PRICE: $25.50
VA Czech Up! Vol. 1: Chain of Fools 2LP
2020 restock. Double LP version. Czech Up! Vol. 1: Chain of Fools is Vampisoul's first collection of gems from the vaults of the Czech Supraphon label, which has been continuously active since the early 1950s. While it has always been highly esteemed by music connoisseurs for its excellent classical music releases, Supraphon's pop, rock, and jazz music catalog is less known internationally, although it's in fact even larger, comprising around 60,000 unique tracks. It also incorporates the complete back-catalog of Panton, another Czechoslovak label launched in 1967 that existed independently until the late 1990s. Czech Up! Vol. 1 highlights a collection of tracks that were originally released in Czechoslovakia between 1966 and 1978 on the Supraphon and Panton labels. Vampisoul's Iñigo Munster chose several psychedelic freakbeat favorites, while Lukás Machata of the Funky Czech-In website, an expert on Czechoslovak music, selected a variety of grooving soul, jazz, and pop nuggets. Many of these tracks have never been reissued before. Machata, a longtime sound engineer and graphic designer, is also responsible for the carefully processed digital remasters, the retro-style cover artwork, and the liner notes. The compilation ranges from the fuzz-soul of Komety, the lush downtempo disco of Bezinky, the Afro-influenced pop of Eva Pilarová, and Jazz Cellula's fierce funk through the Gondolán Brothers' gypsy beat introducing Jitka Zelenková, the frantic garage rock of Blue Effect, Flamengo, and George & Beatovens, to schlager music star Karel Gott's atypical R&B outing, Mahagon's hypnotic fusion jazz-funk, and a rousing "Barbarella" interpretation by incomparable idol Waldemar Matuska. Czech Up! Vol. 1 also includes a well-known classic by the Golden Kids supergroup of Václav Necká?, Marta Kubisová, and Helena Vondrá?ková, as well as accomplished vocal acrobat Karel Cernoch's rendition of Stevie Wonder's "Uptight (Everything's Alright)" and Michal Prokop's confidently soulful Framus Five combo. The collection digs out undeservedly neglected bijoux by the graceful Helena Blehárová with the Gustav Brom Orchestra, the almost avant-gardist Petr and Jan Spálený from Apollobeat, ex-Matadors shouter Viktor Sodoma, Pavel Novák and his Vox group, trumpet virtuoso Václav Týfa with Josef Vobruba's all-star jazz-rock ensemble Konstelace, Discobolos, Josef Laufer & Their Majesties, The Bluesmen, jazzman Karel R?zi?ka with the Ferdinand Havlík Orchestra, the funky Flamingo group featuring Petr N?mec with Marie "Lady Soul" Rottrová, and psychedelic pop band Atlantis, fronted by siblings Hana and Petr Ulrych. Grooves you can dance to, songs you can chill to, breaks you can rap to... 25 tracks you simply must hear.
PRICE: $31.00
VA Cumbia Beat Volume 3: 21 Peruvian Tropical Gems 2LP
2020 restock. Double LP version. "Fifty years after the release of one of the founding records of the genre known as Peruvian cumbia (by guitar players Enrique Delgado Montes and Berardo Hernández 'Manzanita'), Vampisoul presents this third volume in the series Cumbia Beat, which brings together 45 rpm rarities from acclaimed groups, short-lived bands and outstanding huaycumbias. Like the previous volumes in this series, listening to this record takes you on a journey across the geography of Peru, as the majority of the groups on this collection were from different regions of the country, or had close links to them, although all of the artists recorded in Lima. Most of the bands emerged during the period 1968-1980, a time of deep political and social change implemented by the nationalist military dictatorship. Los Demonios Del Mantaro, Los Demonios De Corocochay, and Los 5 Palomillas are the exceptions to this, as they recorded between 1965 and 1967 and produced a hybrid of cumbia and huayno called huaycumbia, a genre which achieved high sales figures during those years. Despite the characteristics of huaycumbia, the early composers of Peruvian cumbia didn't consider it a direct source of inspiration. They admit to being more influenced by Colombian cumbia, Cuban guaracha, beat, and psychedelic music from the UK and US that they had played since the end of the '60s, in their 'own style', as a part of a musical appropriation process that quickly led them to forge a singular sound. Peruvian cumbia developed, spurred by the music school erudition of the guitarist Enrique Delgado Montes on the one hand and, on the other, by the self-taught creativity of Berardo Hernández 'Manzanita'. Largely ignored by the elites, it steadily won over audiences and created its own market, establishing its own broadcast channels and distribution channels. As Enrique Delgado stated in 1973: 'We've defined a typically Peruvian cumbia which, strange as it might appear, people also like in Colombia and several other countries.' Finally, setting up their own labels, competing hard against one another and enriching their music with sounds they brought from their specific regions, these bands that gradually sprung up all over the country managed to consolidate a tradition that is still alive today." --Hugo Lévano GAlso features Silvestre Montez Y Sus Guantanameros, Los Cóndores Del Cusco, Los Gitanos, Los Orientales De Paramonga, Los Casmeños, Los Beta 5, Los Girasoles, Paco Zambrano Y Sus Ratones, Los Ecos, Los Tantos, Los Scorpios, Los Blue Kings De Ñaña, Grupo Siglo XX, Los Sander's De Ñaña, Los Quantos, Los Diablos Rojos, Marco Merry Y Sus Golfos, and Sonido Verde De Moyobamba.
MS 2123HLP
PRICE: $24.00
CAT #: MS 2123HLP
2020 repress. 180 gram exact repro reissue of Gram Parsons' first solo album, originally released in 1973. Manufactured by Rhino. "...probably the best realized expression of his musical personality. Working with a crack band of L.A. and Nashville's finest (including James Burton on guitar, Ronnie Tutt on drums, Byron Berline on fiddle, and Glen D. Hardin on piano), he drew from them a sound that merged breezy confidence with deeply felt Southern soul, and he in turn pulled off some of his most subtle and finely detailed vocal performances; 'She' and 'A Song for You,' in particular, are masterful examples of passion finding balance with understatement. Parsons also discovered that rare artist with whom he can be said to have genuinely collaborated (rather than played beside), Emmylou Harris; Gram and Harris' spot-on harmonies and exchanged verses on 'We'll Sweep out the Ashes in the Morning' and 'That's All It Took' are achingly beautiful and instantly established her as one country music's most gifted vocalists. On G.P., Parsons' ambitious vision encompassed hard-country weepers, wistful ballads, up-tempo dance tunes, and even horn-driven rhythm and blues." -- All Music Guide
PRICE: $15.50
CAT #: ZKR 025CD
Zeitkratzer keeps on being good for a surprise and finally goes jazz! Looking at the line-up of the "modern composition supergroup" (The Wire) it seems astonishing that it took so long: Saxophonists Frank Gratkowski and Hayden Chisholm both won independently the German radio SWR Jazz award, the French horn virtuoso Hild Sofie Tafjord grew up with jazz, as her father and uncle are members of Norwegian jazz group Brazz Brothers, Hilary Jeffery toured with numerous jazz musicians, as did drummer Maurice de Martin who spent his early years in the New York downtown scene. Reinhold Friedl studied piano with Alexander von Schlippenbach, and Ulrich Phillipp is a known improviser who toured with Charles Gayle -- and Zeitkratzer is joined by a second bass player: Martin Heinze, member the Berlin Philharmonic Orchestra. The idea for The Shape of Jazz to Come arose, when Zeitkratzer met the outstanding Swedish singer Mariam Wallentin at a festival in France. Wallentin is most known for her solo and duo projects Mariam the Believer and Wildbirds & Peacedrums but also as a jazz musician: she is a member of Mats Gustafsson's Fire! Orchestra and was already awarded the Swedish Jazz Prize. Zeitkratzer and Mariam Wallentin now together present a tribute to great jazz musicians from Sweet Emma Barrett to Muhal Richard Abrams. The release opens with Muhal Richard Abrams's incredible "Bird Song", one of the rare jazz compositions including live-electronics. "Bird Song" sounds like real Zeitkratzer: raw, direct, urgent, the sounds mirrored on a huge hall plate. "Struttin' With Some Barbecue" was composed by Lil Hardin Armstrong, Louis Armstrong's first wife. It was so successful that he even tried to claim the authorship but lost in court. Zeitkratzer and Mariam Wallentin here perform it in a funny contemporary Dixieland version, directly leading to the sad classic "Cry Me A River". Crying instruments support Wallentin's expressive voice. Sweet Emma Barrett's "Jelly Roll Blues" becomes as crunchy and brutal as it's words and message promote: a noise-blues, stomping, atonal, and belligerent. In "Strange Fruit", Mariam Wallentin's voice reflects the brutality and deep sadness, supported by Lisa Marie Landgraf's bitterly scratching violin solo. Geri Allen's "Drummer Song" finally is a fast-forward tribute to modern jazz: small explosions, sophisticated rhythms and licks, improvised group culminations, while "My Funny Valentine" is tactfully reduced to its famous melody and a chromatic bass line. Recorded live at Festival Sacrum Profanum in Krakow, Poland.
PRICE: $15.50
CAT #: ZKR 027CD
KRAFFT for orchestra was composed in 2016 as a commission of the French State, and was premiered in Paris and Marseille, France. The composition has a similar kind of metric structure as String Quartet No.3: all instruments play in rhythmic unison throughout. KRAFFT is an ironic-onomatopoetic wrong spelling of the German term "Kraft", meaning "power" or "force". The listener should feel exposed to a sonic undertow. The notion of huge power and force is often connected to the existence of clandestine and unknown rules controlling the world around us; something is happening, but we do not know exactly what, when or how. KRAFFT enforces textural listening as Richard Wood described it "an unwinding strip of 'texture': just listen to that; not to its various strands as such, not to one single strand, but to it as a whole, an unwinding ribbon, varying as it goes in width, in colour, in depth, in thickness, in weight, in character, but always a unity." KRAFFT is composed with the help of the computer program TTM (Textural Transformation Machine), developed by the Friedl to sculpture multiple random processes. It has been programmed by Sukandar Kartadinata.

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Last Updated on Sunday, 02 August 2020 08:57  


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