Bley - Peacock Synthesizer Show – Revenge: The Bigger The Love The Greater The Hate

Free jazz, fusion, psychedelia, prog, electronic sound experiment, soft rock, whatever. This music sits perched between many poles but refuses to be defined by any of them. Because Peacock and Bley came from a jazz and improvisational tradition, it usually gets labeled as jazz. And why not? But really — “Mr. Joy” could just as easily be categorized as some mutant antecedent for today’s freak folk movement.

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Recorded live by Annette Peacock and Paul Bley on the 6 April 1969, 2 June 1969 and 3 November 1969 at the Philharmonic Hall, Lincoln Center except "Mr. Joy" and "I Belong To A World That's Destroying Itself" which were recorded at Century Sound Studios. The live tracks were mixed by David Baker and Paul Berkowitz, the studio tracks were mixed by Brooks Arthur.

discogs

Tracklisting:

A1 A Loss Of Consciousness 6:42
A2 The Cynic 3:35
A3 I Belong To A World That's Destroying Itself 4:30
A4 Climbing Aspirations 1:40
A5 I'm The One 4:30
B1 Mr. Joy 7:07
B2 Daddy's Boat (A Baby's Lullaby) 7:28
B3 Dreams 4:11

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The mighty masterpiece "I'm the One" is now re-issued and available through Annette Peacock's site:

http://www.annettepeacock.com/shop/shop.html

Tirath Singh Nirmala - Growing Into the Wind

Streams of electronic & casio light converge like
thousands of beams of sunlight alongside massed
hand percussion shake and clatter and frenetically
fluttering flutes. A midway spot between
Moondog and the jungle ecstasies of some of the
recent Skaters’ extracurricular projects.

Melody Bar

Tracklisting:

1		Ember Dance	2:26
2		Riding Evy Guest	9:07
3		Through Damp Violence	8:19
4		Oakenin	15:54
5		Ashes Mould	2:17

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Brian Jones Presents The Pipes Of Pan At Joujouka

He only wanted to share: Brian Jones was justifiably evangelical about the shrill, gripping music that he heard in a village nestled in Morocco's Atlas Mountains. Simply recording the Pipes of Pan wasn't enough in 1969. In an effort to communicate his own kif-enhanced experience, The Rolling Stones guitarist took his four-track tapes home to England, where he deployed the full arsenal of psychedelic signal processing. The resulting album documents a millennia-old music, the sound of panic itself, as well as the fragmented mind of Jones in the months before his death. Drums throb in the foreground as the pipers are sucked figuratively into the slipstream of a jet engine via extreme phase shifting. A women's chorus, shrieking like seagulls, loops in the distance. Jones's apology for a muffled female solo is sufficient to raise gooseflesh: "It was not for our ears". Well before dub reggae and its spawn - the cult of remixing - Jajouka showcased techno-primitive terror, up where the air was very thin.

The Wire

Tracklisting:

1. "55 ("Hamsa oua Hamsine)" – 0:58
2. "War Song/Standing" + "One Half (Kaim Oua Nos") – 2:22
3. "Take Me with You Darling, Take Me with You (Dinimaak A Habibi Dinimaak)" – 8:06
4. "Your Eyes Are Like a Cup of Tea (Al Yunic Sharbouni Ate)" – 10:35
5. "I Am Calling Out (L'Afta)" – 5:55
6. "Your Eyes Are Like a Cup of Tea" (reprise with flute) – 18:04

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Choir of Vatopedi Fathers - Holy Saturday

Category: Byzantine


Chant Type: Byzantine


Language: Greek

Tracklisting:

1. The Noble Joseph
2. First stasis of the Praises
3. Second stasis of the Praises
4. Third stasis of the Praises
5. Joseph begged Thy holy body
6. First Ode of the Canon
7. Third Ode of the Canon
8. Thy tom, O Saviour
9. Fourth Ode of the Canon
10. Fifth Ode of the Canon
11. Sixth Ode of the Canon
12. Kontakion, Oikos & Synaxarion
13. Seventy Ode of the Canon
14. Eighth Ode of the Canon
15. Ninth Ode of the Canon
16. As the sun hid


As with all Vatopedi recordings, the quality and clarity of the recording is superb. This recording offers the traditional hymns of Holy Saturday, and both a contemporary and ancient setting of Behold the Bridegroom Cometh. The Musical School of the Holy Monastery of Vatopaidi is one of the cradles of Byzantine music. It has endowed the monastery with a history of cantors, a rich library of books and manuscripts, a collection of recordings, and a rich tradition of chant which is continued by the contemporary choir of Vatopedi fathers. This recording of the Holy Saturday Service, sung in the traditional Athonite fashion and recorded live in the monastery is another monument.

Review by Benjamin Williams


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