Sunday, December 30, 2012

Eyvind Kang - The Narrow Garden (2012)

Saturday, December 22, 2012

God - Anatomy of Addiction (1994)

Igorrr - Hallelujah (2012)


Friday, December 14, 2012

Robert Wyatt - The End Of An Ear (1970)!download|457p8|200832778|robert_wyatt_-_the_end_of_an_ear.rar|55825|0|0

Sunday, December 9, 2012

Motion Sickness Of Time Travel - Luminaries and Synastry

Saturday, December 1, 2012

Klaus Schulze - Dziekuje Poland (Live, 1983)

Jamie Saft vs. Merzbow - Merzdub

Friday, November 9, 2012

Necro Deathmort - Music of Bleak Origin (2011)

Wednesday, October 31, 2012

The Dreadful Eardrum Assault - Occultist For The Nullified

Tuesday, October 30, 2012

Joe's Garage magazine on Facebook


BA (Besorolás Alatt) - Live@artMUSE Festival

Otomo Yoshihide's New Jazz Orchestra Plays Eric Dolphy's Out To Lunch

Saturday, July 21, 2012

Albert Ayler - Summertime

Albert Ayler (ts) Teuvo Suojarvi (p) Herbert Katz (g) Heikki Annala (b) Martti Aijanen (d)
YLE - Yleisradio Studio 2, Helsinki, Finland, June 19, 1962

Ornette Coleman - Buddha Blues

This appears to be Coleman's only recorded use of the suona, a kind of wooden oboe with a distinctive loud and high-pitched sound. An important folk instrument in northern China, it is occasionally still used to accompany weddings and funerals, as part of wind-and-percussion ensembles known as chuida or guchui. In Taiwan, it forms an essential element of the ritual music that accompanies Daoist performances of both auspicious and inauspicious rites, i.e., those for both the living and the dead. The suona has a conical wooden body, similar to that of the European oboe, but uses a tubular brass or copper bocal to which a small double reed is affixed, and possesses a detachable metal bell at its end. The instrument is made in several sizes. Since the mid-20th century, "modernized" versions of the suona have been developed in China; such instruments have keys similar to those of the European oboe, to allow for the playing of chromatic notes and equal tempered tuning (both of which are difficult to execute on the traditional suona). 

The suona doesn't appear on any of Coleman's official releases, and thus we have to turn to a single track from a bootleg collection of live performances, recorded in Italy in 1968, initially released on LP as 'The Unprecedented Music of Ornette Coleman' (with sleeve design by Japanese free saxophonist Kaoru Abe), and subsequently on CD as 'The Love Revolution'. Given that Coleman had started to employ trumpet and violin alongside his more familiar alto sax during the mid-60s , it seems that his use of the suona came from a similar spirit: the desire to achieve a freshness in his playing, to utilise an instrument on which his fingers would not automatically go to familiar patterns and licks, and on which he could create new sounds and textures. It's interesting to note too that, around this time, Don Cherry was beginning his 'world music' explorations, and perhaps Ornette's use of a Chinese instrument was part of the same spirit . (There is a photograph of Albert Ayler playing a similar double-reed instrument during the late 60s, though he seems not to have recorded on it.)

On the bootleg, the instrument is credited as a 'shanai' (the latter due to its similarity to the Indian shehnai, another double-(in fact, quadruple-)reed instrument which had been played by Yusef Lateef, and had also made an appearance on the Rolling Stones' 'Street Fighting Man'); Coleman apparently bought it in a shop in Chinatown. He also, reportedly, gave one to Don Van Vliet (aka Captain Beefheart), and its distinctive nasal twang can be heard on Vliet's 'Mirror Man' sessions, as well as on a number of records by Coleman collaborator Dewey Redman, where it is described as a 'musette' (e.g. 

Coleman is accompanied on the 13-minute-long performance of 'Buddha Blues' by the bassists Charlie Haden (who provides a more up-front, supporting role) and David Izenzon (who takes on a more free-floating, unpredictable, colouristic function); on drums is Ed Blackwell, digging into his New Orleans heritage to provide a funky backdrop for the leader's slurring stream-of-consciousness. It's a fine performance, and an provides an intriguing glimpse of another facet to Coleman's artistry.

[Information about the suona taken from Wikipedia; Colour Photo of Ornette & Deonardo Coleman by Elliott Landy, Taken in Central Park, NYC, 1969; B&W Photos of Ornette Coleman by Roberto Polillo]

Wolfmother - Cosmic Egg

Friday, July 20, 2012

Steve Tibbets - Natural Causes

Long-awaited and arrestingly different new album from Steve Tibbetts, Zen-guitarist of Minnesota, accompanied by his musical partner of many years, percussionist Marc Anderson. It is a primarily acoustic album, but an unconventional one. Austerity was part of the original plan, "saying more with less", but, not for the first time, Tibbetts would find himself drawn to experiment in the studio. The principal instrument heard on the album is an old Martin 12 string guitar which, as Steve says, has a mellow, aged sound to it. One of the conceptual references for the sound direction was the playing of Indian sarangi (bowed lute) master Sultan Khan. Gamelan-inspired gong cycles, influenced by Tibbetts' travels through Indonesia, are also part of the music, with fine detail also supplied by kalimba and bouzouki. (Amazon)

Wednesday, May 30, 2012

George Harrison - Wonderwall (1968)

Wonderwall Music is George Harrison's first solo album and the soundtrack to the filmWonderwall. The songs are virtually all instrumental, except for some non-English vocals and a slowed-down spoken word track. The songs were recorded in December 1967 in England, and January 1968 in Bombay, India. Wonderwall Music is notable for being the first official solo album by one of the Beatles[1] as well as Apple Records' first LP release. The album is currently out of print.[2]


The recordings for the album were started in December 1967 in England. The rest was recorded in January 1968 in Bombay, India. Also recorded during the Indian sessions was the backing track to "The Inner Light", which became the B-side to "Lady Madonna", the final Beatles single on Parlophone Records.
Some of the musician's credits are pseudonyms for Harrison, Eric Clapton and Ringo Starr.[3][4] Harrison is listed merely as producer, arranger and writer for the album. Peter Tork of The Monkees also played banjo (specifically, one borrowed from Paul McCartney), but was not credited.[citation needed] Tork has stated that his brief recording features in the movie, but not on the soundtrack album.[5]
All of the tracks were composed by Harrison, and it was the first official solo album by a Beatle. It was the first album release on the newly formed Apple Records, appearing in November 1968, a few weeks before The Beatles. It would also be the first Apple record to be deleted, though it was remastered and reissued on CD in 1992.
In the CD liner notes, Harrison's description of the recording done in England is revealing: "I had a regular wind-up stopwatch and I watched the film to 'spot-in' the music with the watch. I wrote the timings down in my book, then I'd go to Abbey Road, make up a piece, record it." While the tracks recorded in England were made on multitrack recording machines and remixed, the Indian portions were recorded live to two-track stereo.

[edit]Chart history

Wonderwall Music did not chart at all in the

Cultural impact

Britpop band Oasis, well known for their love of the Beatles and their music, had a hit with a song called "Wonderwall" in the 1990s. The title may refer to the movie or to George Harrison's soundtrack album.[6]

[edit]Track listing

Side One 
All songs by George Harrison.


  1. "Microbes" – 3:42
  2. "Red Lady Too" – 1:56
  3. "Tabla and Pakavaj" – 1:05
  4. "In the Park" – 4:08
  5. "Drilling a Home" – 3:08
  6. "Guru Vandana" – 1:05
  7. "Greasy Legs" – 1:28
  8. "Ski-ing" – 1:50
  9. "Gat Kirwani" – 1:15
  10. "Dream Scene" – 5:26

[edit]Side Two

  1. "Party Seacombe" – 4:34
  2. "Love Scene" – 4:17
  3. "Crying" – 1:15
  4. "Cowboy Music" – 1:29
  5. "Fantasy Sequins" – 1:50
  6. "On the Bed" – 1:05
  7. "Glass Box" – 2:22
  8. "Wonderwall to Be Here" – 1:25
  9. "Singing Om" – 1:54
Tracks 2, 5, 8, 10, 11, 14, 17, and 18 were recorded in England, while tracks 1, 3, 4, 6, 7, 9, 12, 13, 15, 16, and 19 were recorded in India.


[edit]England (December 1967)

[edit]India (January 1968)

Thursday, May 10, 2012

Herbie Hancock - Head Hunters

with megahits: Watermelon Man, Chameleon, Sly...

Monday, April 9, 2012

Gonda Sextet - Sámánének!download|769p9|77260910|GONDA_SEXTET_Samanenek_1976_Hungary.rar|82814|R~9EA5FCDC2B81A780312FD194437193F5|0|0

This is not your usual jazz record. Janos Gonda is a leading figure since 1962 on the Hungarian jazz scene. His musical activity embraces a wide field; ranging from composing, through performing and from teaching to musical research. The GONDA SEXTET formed in 1972 and this influential album sidesteps from the special elements of european jazz to a more modern composed music, although the basic intonation of jazz remains present throughout the whole recording. "Shamanenek" (Shaman Song) is an exercise in style. Musical phrases influenced conceptually by ancient cultures flow everywhere; from ethnic elements to traditional jazz, modern composition, the blues, swing, free improvisation… all are inherent in the depths of the playing. The album's story is about the dramatic conflict of sensuality and spirituality in an ancient, cultic world. This is better symbolized in the opening track, where the choir of the Tibetan lamas dives into an oriental vocal solo, swept away by the entrance of a dialogue between fender electric piano and saxophone, slowly departing the archaic world and approaching 70ies European jazz stylings. Then come afro-cuban primeval rhythms, tribal percussive patterns from the islands of West Indies until the group reaches motives swinging upwards to suddenly fall like an avalanche and end the album in a rock influenced pulsation. In the closing section the playing ends in an upward arching eruption with sweeping dynamic. And this is the summation of the emotional and intellectual masterpiece of a record that "Samanenek" is: one of the most important east European jazz releases. (Mutant Sounds)