TAYLOR STORER 1956-1985

This catalog is dedicated in loving memory of Taylor Storer, who was not only a co-worker but a fine friend to all of us and, perhaps more importantly, to the music.

 

 

FOREWORDS

by Gregory Tate

 

Some folk probably just think of the New Music Distribution Service catalogue as this encyclopedic warehouse stocked with mostly independently recorded jazz and contemporary Euro-American classical music. The more savvy perhaps see it as a networking resource for producers, performers and composers of experimental music.

 

But for reasons that will probably perplex no one I tend to think of each year’s New Music Distribution Service catalogue as a kind of musical version of the hitchhiker’s guide to the galaxy, with every entry registering like a report from some farflung orbital station. Flipping through its pages can provoke goose pimples of the order of those brought to flesh when Carl Sagan drones on about how many billions upon billions of star systems there are out there and that no, we are not alone.

 

If you’re a music lover of eclectic and exotic listening habits you’ll find consolation in this catalogue and a kind of communion with others the Master Programmer also gave extraterrestrial ear lobes to.

 

For the most part much of the music in the NMDS catalogue defies ready categorization, tending to be defined by the genre rubrics they subvert rather than those they deploy. (It is of course for this reason that the recording of much of this music would only have been undertaken by independent labels run by guerilla-minded entrepreneurs—though the independents who rely on NMDS as an outlet actually function as some of the last spokesmen for free-enterprise late modern capitalism will see.) This is not to say that there’s not also a whole lot of sound contained within that could not be easily filed under such headings as neo-post-bop, maximal minimalism, punk-funk, post-modern opera or even that perennial favorite, classical fusion boogie. What it is to say is that since my own musical tastes run to the polymorphous, most of my choice selections from NMDS catalogues past and present run likewise. Take for example Cecil Taylor’s Garden or really any of his solo recordings where he bridges the gap between Brahms and the blues in but a few lyrical strokes and defies anyone to delimit him to a free-jazz gunslinger type. Or take a listen to Jeffrey Lohn’s “Dirge” a requiem for assassinated South African activist Steve Biko, which is not only of the most aptly horrific pieces of programmatic music ever recorded but one which parodies rock’s roots in African ritual in the same bars it lampoons heavy metals kinship with the music of fascist rallies.

 

Taking an opposing tack would be the pan-ethnic confabs of Kip Hanrahan whose directorial flair for making collaborators out of as disparate as those of Cuban Yoruba drummers and Manhattan art-rockers creates a new definition of the term ‘cosmopolitan’. By the same token you will hear in a piece like Daniel Lentz’ “Lascaux” scored for and performed on 24 wine glasses of varying liquid constituency, a playfully minimal evocation of a host of ambient musics old and new, meaning just about everything from Tibetan bells to Brian Eno.

 

Even if you never hear more than a fraction of the music available in this catalogue take it for what it is on its own merits: a trans-dimensional road map to the alternative music of the spheres. Not to mention, one of the funniest documents late post-modernism has yet produced. If not a source of sonic salvation as yet untapped by any known evangelical order. Get it while it’s heretical.

 

 

Published by the Jazz Composer’s Orchestra Association, Inc.
500 Broadway, New York, N.Y. 10012. Telephone (212) 925-2121

 

Original cover art by Keith Haring

 

INTRODUCTION TO THE NEW MUSIC DISTRIBUTION SERVICE

 

The New Music Distribution Service (NMDS) distributes all independently produced recordings of new music, regardless of commercial potential or personal taste. A wealth of new music is being created in the areas of jazz, classical, and rock, as well as outside of any clearly delineated experimental categories. Because of its generally uncommercial nature, this music has had minimal representation in the music industry. Independent record production and distribution may be the only way for musicians to maintain artistic and economic control of their work. In addition to the sale and promotion of their music, we advise musicians and producers about the recording and manufacturing phases of record-making. We deal with everyone equally, regardless how much or how little the records sell. The music in this catalog is intended to be successful on its own musical merit, rather than on strictly commercial terms.

 

The New Music Distribution Service is a division of the Jazz Composer’s Orchestra Association, Inc., a not-for-profit organization chartered in New York in 1966. The Jazz Composer’s Orchestra began producing its own JCOA recordings as early as 1968. As an increasing number of musicians and composers in all fields started to explore independent record production, the problem of inadequate distribution became acutely apparent. In order to deal with the need for a distribution outlet for its own records, as well as for all new jazz and new music, the New Music Distribution Service was established in 1972. Initially, 98 records on 17 small labels from, the United States and Europe were handled, with services being exchanged on an international basis. However, during the next few years the unprecedented growth of domestic independent record companies necessitated exclusive concentration on the problem as a national one, and ties with foreign labels were dropped. Now, the demand for service is such that over 2000 records on 360 labels are being distributed. This growth does not appear to be slowing down. It continually becomes more obvious that independent record production is the only way for most of these musicians and composers to issue their music. As the only organization in the field, NMDS continues to provide and improve this vital and unique service to the creators and the audience of new music.

 

NMDS sells records to individuals by mail order and to record stores across the country. We regard the mail order portion of our business as the most vital, because this allows you to select what you want from the entire catalog. By doing so you directly support our efforts to keep this creative music available. Our aim is to provide you with a rich variety of music. For those of you to whom this music is totally unfamiliar, we have provided an introduction to NMDS recordings, which may help you become acquainted with these new sounds. For the record store this catalog represents a strong alternative to the monopolistic practices of the commercial ‘music industry’. These records may give the store the edge that distinguishes it from just another record store.

 

The descriptions in this catalog are not intended to be definitive, but rather to guide you. Each of our catalogs is larger and more diverse than the previous one, reflecting the continuing commitment of the music community to independent record production. Beginning with this edition, we have also instituted an attempt, however futile and elusive it may seem, of listing artists by style of music. Because of the inherent problems of trying to categorize them, many of our artists can be found in more than one category. We hope that this will enable you not only to find the composers and musicians you are looking for, but also to discover others working in the same genre.

 

As a non-profit organization, we are counting on your support. You can help ensure the survival of creative new music on records not only through your purchases, but also through your tax-deductible contributions. You may now become a Friend of NMDS for $25.00 per year, for which you will automatically receive our quarterly New Release Listings, and we will also ship your orders at our expense. This offer applies only to orders of more than one record shipped in the continental U.S. If you are able to contribute more, you will receive the above privileges, plus a signed copy of Laurie Anderson’s first Single (for $75), or a signed and numbered copy of a boxed three-record set of the John Cage Town Hall 25-Year Retrospective Concert (for $150).

 

This catalog has been prepared with significant support and encouragement from the New York State Council on the Arts, the National Endowment for the Arts, the Robert Sterling Clark Foundation, and many generous individuals.

 

HOW TO USE THIS CATALOG

 

Record companies are listed in alphabetical order. An index of composers and musicians begins on page 61. An introductory guide to NMDS recordings is on page 89. Ordering instructions and order forms are bound into the centerfold. An artists listing by category begins on page 69. Our discount prices are found on the back of the order form and on page 91.

 

AARDWOOF

1 — Bob Reigle/With Surreal estate: The latest in new music from deep in the heartlands of Nebraska. In their own words “All of the music on this Lp was totally improvised . . . exempt from moral and aesthetic preoccupations.” Each album sports a unique hand drawn cover. With Mike Mansfield, Tom Malone, and Mike Bergenstraesser.

 

2 — Bob Reigle/Solo Saxophone: “Melancholy melodies, raging squeals, controlled harmonics to soft airy sound explorations.” — Cadence

 

3 — Bob Reigle/The Marriage of Heaven and Earth: Bob’s third album combines his love of 20th Century classical, ethnic and avant-garde musics, utilizing both composed and improvised sections. Side One is a quartet piece featuring Air’s Steve McCall. Side Two features overdubbed saxophone and flute in a piece dedicated to Giacinto Scelsi and Cecil Taylor.

 

ABOUT TIME

1001 — Abdullah/Life’s Force: A very solid debut from one of the top New York loft scene trumpet players: with Jay Hoggard, vibes; Vincent Chancey, French horn; Muneer Abdul Fatah, cello; Jerome Hunter, bass; Rashied Sinan, drums.

 

1002 — Jerome Cooper/The Unpredictability of Predictability: “This is not just an album for drummers . . . anyone can dig this music. Classical music people can dig it because it’s structured, people into rock because of the beat, people into jazz because of the improvisational aspect, and those into ethnic, because of the instruments involved.” — Jerome Cooper — Solo Percussion.

 

1003 — Ronald Shannon Jackson/Eye on You: Ronald Shannon Jackson has arranged and composed a body of music reminiscent of Ornette Coleman’s Prime Time group with excellent support from these virtuoso side-men: Billy Bang, violin: Byard Lancaster, alto and soprano saxophone: Charles Brackeen, tenor and soprano saxophone: Vernon Reid, electric and acoustic guitar: Erasto Vasconcelos, percussion, Melvin Gibbs, electric bass; and Bern Nix, electric guitar.

 

1004 — Henry Threadgill Sextet/When Was That?: Air’s saxophonist-flutist seems intent on expanding the boundaries of music with this unit (it’s actually a septet) and its versatile style. The compositions (all the leader’s) range from beautiful flowing chamber jazz to Bleyish-bluesish dirges to hard-swinging New Orleans stomp. All sounding like music you never heard before. The accent is on ensemble playing with plenty of room for personal statements, especially from Olu Dara (comet) and Craig Harris (trombone), two of the most-deeply-rooted-in-tradition brassmen on the scene today. Also with Pheeroan AkLaff (drums), Fred Hopkins (bass), John Betsch (drums), and Brian Smith (piccolo bass).

 

1005 — Henry Threadgill Sextet/Just The Facts and Pass the Bucket: This has to be Louis Armstrong’s and Jelly Roll Morton’s favorite record of the decade. Threadgill has reincarnated the sound and spirit of the New Orleans funeral band with a very modem sound. He is certainly one of the premier new jazz composers, and extracts an orchestral sound from this small band with the best brass section in town. New Old Mu-sic(?) Old New Music(?) New New Music! With: Henry Threadgill, flute, clarinet, alto & baritone saxophones; Craig Harris, trombone; Olu Dara, comet; Deirdre Murray, cello; Fred Hopkins, bass; Pheeroan AkLaff, John Betsch, percussion.

 

1006 — Willem Breuker Kollektiff/Collective: Carla Bley and Willem Breuker and now Vienna Art Orchestra are cut from the same mold. A twig taken from jazz, America’s original art form with roots in Gospel and Blues, grafted onto the band traditions of Europe. Wonderful solos and swinging tunes make this a hot Breuker record. From Kurt Weill’s “Benares” to “Kontrafunk” — not a weak cut in the bunch.

 

ADEYME

1 — The Freestyle Band: Bassist Earl Freeman, best know for his appearances on numerous BYG records and also for his work with Archie Shepp, teams up here with percussionist Philip Spigner and clarinetist Henry Warner. Definitely “New Age music” for those of us who miss the good old days.

 

ADVANCE

FGR-1 — Bertram Turetzky/New Music for Bass: Works by Gaburo, Martino, Perle, Weinberg, Sydeman, and Whittenberg written for and performed by the renowned virtuoso of the contrabass.

 

FGR-27 — American Society of University Composers: Richard Brooks/Sonata for Violin and Piano; Walter Hartley/Metamorphoses; Steven Gerber/String Quartet; Hehuda Yannay/The Hidden Melody.

 

ADVERSITY
1 — Su Tissue/Salon De Musique: Su Tissue is in a group called the Suburban Lawns. They must have been pretty hip, because one of the HIP people in New York called us up and asked us to talk to Su and possibly carry her new solo album. Su seems very shy and retiring with a voice so small it is almost inaudible. On this record, she sings wordless vocals in a lilting and sometimes powerful voice over repetitive and beautiful minimalist structures that seem to have little to do with her persona. Oh, yes. She also brought us a box of promotional tissues. Solo piano. “Su Tissue drowns a repeated Steve Reich-like piano figure in the ambience of a cabaret. I’d visit every night if she’d care to open it.” — GREG SANDOW.

AK:BA

 

1000 — Charles Tyler/Voyage From Jericho: After the legendary ESP discs, this is Charles Tyler’s first record on his own label, and the hard work he put into it is more than evident. Check out the personnel: Charles Tyler, alto and baritone sax; Arthur Blythe, alto sax; Earl Cross, trumpet; Ronnie Boykins, bass; Steve Reid, drums.

 

1010 — Charles Tyler/Live in Europe: Recorded live at the 1975 Umea Jazz Festival in Sweden. Charles Tyler (alto & baritone sax), Ronnie Boykins (bass), Melvin Smith (guitar) and Steve Reid (drums). The compositions played are “Voyage From Jericho”, “Fall’s Mystery” and “Folly”. . . . And the crowd goes wild.

 

1020 — Barry Wallenstein/Beast Is: Wallenstein, straight out of the “Jazz Poetry” tradition reads his works with accompaniment provided by Stanley Cowell (piano) and Cecil McBee (bass).

 

1030 — Arthur Doyle/Alabama Feelings: Arthur is on Tenor Voice-O-Net, Richard Williams on bass, Charles Stephens on trombone and two drummers: Rashid Sinan and Bruce Moore. We might best be able to remember Arthur for his work with Milford Graves.

 

1040 — Barry Wallenstein/Taking Off: “Hey I say watch it, Be more careful . . . Careful he says — why I’m so careful I don’t even see you.” Wallenstein’s hip poetics about life, especially New York life, blend perfectly with the sounds and rhythms of jazz. This is jazz-poetry improvisation in the “beat” tradition buoyed by the emotional saxes of the great Charles Tyler and the airy-eery flute of Jeremy Steig. With Bill Chelf on piano, and Jeff Meyer on drums.

 

ALACRA

 

1002 — Mario Pavone/Digit: Mario Pavone (bass), Mark Whitecage (alto and soprano saxes, flute), Bobby Naughton (vibraphone) and Pheeroan AkLaff (drums). Someone trying to reduce this beautiful music to words might try by saying that the moods are constantly changing and that it’s more than well played.

 

1004 — Mario Pavone/Shodo: Music for Marimba and Horn Choir: Mario Pavone with Bobby Naughton (marimba) and Pheeroan AkLaff (drums), and a four-person “horn choir,” perform music that would be at home on any prime time police show. Which is not to fault it; sound tracks make interesting music.

 

1005 — Tom Chapin/The Bell of the Heart: The horn choir, featured on Alacra 1004, reappears here on a more jazz-oriented LP. With Tom Chapin (flute), Mario Pavone (bass), and Emmett Spencer (drums).

 

1008 — Joe Fonda Ensemble/Looking for the Lake: “Joe Fonda en quartet explore, dans une oeuvre originale, le domaine des possibilities harmoniques sans l’appui d’aucun instrument polyphonique.” Avec, Joe Fonda (bass), Cliff White (tenor sax), Clair Arenius (drums), and Tim Moran (alto sax).

 

ALIA

 

001 — Craig Burk/Codes of Abstract Conduct: “Two-minute songs that are packed with detail, free associative lyrics like pieces from different puzzles set to chromatic phrases that continuously shift speed and direction . . . Four backup musicians add pointillistie sounds — a guitar chord here, a noise there, a tape of breaking glass, a beat from a rhythm machine. The effect is akin to Schoenberg’s ‘Pierot Lunaire’, a poetry reading with sound effects, and the compressed quasi-rock songs of the no-wave band DNA — fascinating, obsessive mini-aturism.” — N.Y. TIMES (12" EP)

 

ALIVE

 

101 — Norman Salant/Saxophone Demonstrations: New Wavish solo sax overdubs by Norman, who also presents his one-man sax section with a quartet on one cut. He’s also on the Residents’ Tune of Two Cities.

 

ALTERNATIVES IN AMERICAN MUSIC

 

1 — George M’Lely/Original Edition: George, who has done everything from fur trading with Alaskan Indians to being a telegraph operator with the Great Northern Railroad and who has studied with Lennie Tristano, has this to say about his music: “I have made forms and structures, tied together with ‘line’ that are called ‘pieces’ in which the action of improvisation takes place each time the pieces are performed.” George M’Lely, Solo Piano.

 

2 — George M’Lely/The Soloist: “There is something of Monk’s quirkiness, but the touch is rock solid.” — CONTEMPORARY KEYBOARD. “An adventure in a fantasy world of keyboard sound, with a guide.” — SAN FRANCISCO EXAMINER. “Un pianiste extrement brilliant . . .” — JAZZ (Paris).

 

3 — George M’Lely/Trio: “The influences I hear in the pianist’s third self-produced album are hardly common-place — Vince Guaraldi’s lucid blues-based melodicism and Herbie Nichols’ elastic writing and rhythms. I’m impressed . . .” — GARY GID-DINS, Village Voice. With Eddie Moore (drums) and Peter Barshay (bass).

 

AMERICAN CLAVE

 

1001 — Jerry Gonzalez/Ya Yo Me Cure: “I’ve Been Cured” is Jerry’s first album under his own name, but he’s been causing a stir on the local Latin scene for some time, and has recorded with Dizzy and George Benson in the past. This session finds him in the company of Hilton Ruiz, Don Alias, and some of the hottest percussionists coming in from Cuba. With this great line-up and material, this album has made waves with both the jazz and Latin crowds. Tunes include Wayne Shorter’s “Nefertiti”, Monk’s “Evidence”, and a wild version of the Ellington/Tizol classic, “Caravan”.

 

1002 — Teo Macero/Teo: Teo Macero has been Miles’ producer for the last twenty years, not to mention a list of others that reads like a who’s who in jazz — but did you know he is also a composer in his own right? The pieces on this record are, for the most part, unreleased performances by the likes of Charles Mingus, Lee Konitz and Bill Evans culled from sessions and music written and arranged by Teo.

 

1003 — DNA/A Taste of DNA: “Lying on the sofa of life obviously, normally, usually, naturally your knees bend, easily your eyes open, musically you’re in demand, naturally your legs bend, easily your eyes open, musically hand me that.” — Arto Lindsay, vocals and guitar; Tim Wright, bass; and Ikue Mori, drums. (12" E.P.)

 

1006 — Conjure: Music for the Texts of Ishmael Reed: CONJURE is a magical mixing of some of the best of today’s composers and musicians with the texts of the celebrated author Ishmael Reed. Kip Hanrahan’s select group of composers led by Steve Swallow, Allen Toussaint, Taj Mahal, David

Murray, Carla Bley, Carman Moore, Lester Bowie, and of course himself, each manage to express a highly individual portrait of Ishmael. However, the strength of his cultural-lyrical personality gives a wonderful unity to these diverse pieces. CONJURE is a magic spell, brewed with the soulful New Orleans gumbo of Allen Toussaint, the pungent blues of Taj Mahal, the funky free jazz of David Murray and Olu Dara, the latin flavorings of Milton Cardona, and is all held together by the wizard Steve Swallow and rock-steady Billy Hart. Guest appearances by Kip’s usual cast of thousands. This music, like Ishmael Reed and his writing, is funny and hip in the best sense of the word.

 

1007 — Kip Hanrahan/Coup De Tete: Film maker, world traveller, raconteur, Kip Hanrahan directs a veritable who’s who of contemporary music in this larger than life 70 millimeter production. Using members of DNA, The Lounge Lizards, Ornette Coleman’s Prime Time, Massacre, and the salsa band Libre, Kip forges a meeting of the minds. Ex-Lounge Lizards’ drummer Tony Fier and the Latin percussionists along with bass players Bill Laswell or Jamaladeen Tac-uma are seamlessly melded with individual soloists Fred Frith, Chico Freeman, Mike Man tier, et al to form electric eclectic tracks of Rocky Latin Funk. As great as these players are individually, together they mix into a level of musicianship you have yet to experience. Also appearing are Arto Lindsay (guitars), Carla Bley (vocals), Teo Macero (saxophone), Jerry Gonzalez (congas), Daniel Ponce (congas), and Dave Liebman (saxophone).

 

1009/8 — Kip Hanrahan/Desire Develops An Edge: Kip Hanrahan applies the auteur-ist theories of cult (and non-cult) films to record-making. His first record exposed the Downtown Wave crowd to Cuban and Puerto Rican percussionists, jazz soloists, and each other, and was responsible for such groups as The Golden Palominos. On this record, he expands on Haitian themes, with a guitarist from one of the premier Haitian bands, Elysee Pyronneau of Tabou Combo, and a combination of Haitian and Latin drummers. He has the ex-Cream vocalist Jack Bruce and exceptional jazz saxophonist Ricky Ford layered on top. Even though out-rockers Arto Lindsay and Anton Fier reappear here, the album at times has a lilting Brazilian Jobim/Gilberto feel, and at others takes a rave up Caribbean stance. (LP & EP)

 

AMERICAN SOUND

 

1001 — John Holland/Music from a Small Planet: John Holland’s piece uses a method of composition modeled after the biological process of self-improvisation (multiplication by division). A single music pattern, made up of a finite number of sounds, is generated electronically and then copied repeatedly onto a single audio-track.

 

AMIGO

 

839 — Art Blakey and the Jazz Messengers/In Sweden: In 1981 drum master Blakey had one of the finest editions of young Messengers ever, and this live recording shows them off nicely. The whole band bums on Bud Powell’s “Webb City” and Walter Davis Jr.’s “Gypsy Folk Tales.” Alto saxist Bobby Watson, featured on “Skylark,” shows that there is still much new music to be improvised on old songs, and Wynton Marsalis, the new trumpet star, shines on “How Deep Is The Ocean.” Wynton, Wynton, Wynton. Now we got a Wynton. Also with: Billy Pierce, tenor sax; James Williams, piano; Charles Fambrough, bass.

 

846 — Robert Watson Sextet/Jewel: Watson’s tone and improvisational skills have grown greatly since his first days as a Jazz Messenger, as evidenced on this LP, which displays his first-class writing and arranging for a group of finest-in-their-class colleagues. Three by the leader (‘To See Her Face”, a happy one from the Blakey book, the romantic “Jewel” and the fiery “Karita”) plus Lundy’s strong, pensive “Orange Blossom” and Eubie Blake’s “You’re Lucky To Me.” W/ special guest Dom Um Romao

 

851 — Hie Horizon Quintet/Gumbo: With special guest Hamiet Bluiett (baritone sax) and introducing Melton Mustafa (trumpet), with Robert Watson, Curtis Lundy, Mulgrew Miller and Marvin “Smitty” Smith. “The music on this album is new and fresh, but it’s also the evolutionary offspring of a deep and meaningful Afro-American tradition. If there is a future for this art form in the heart and soul (and sounds!) of these men . . . They are committed to continuing and adding to the high artistic language that evolved in the name of jazz.” (Michael Cuscuna, from the liner notes). It may be too soon to call this one a classic, but Lundy’s title track, already popular from special guest Bluiett’s own Black Saint LP, and Watson’s “Wheel Within A Wheel”, a favorite of Jazz Messenger fans, ensure it will be en-joyed by many for a long time.

 

AMIR

 

1001 — Abdul Malik Muhammad /Songs For Our Children: Abdul, who may be familiar to many of you as Melvin Smith, has played with Steve Reid and Charles Tyler. On this record he displays his unique solo electric guitar technique on tunes such as “Nubian Love Song” and “African Reflection.” “Muhammed plays both acoustic and electric guitars, and I mean he plays them. Sounds like Zaire/Newark/Pretoria/Chicago, all at once.” — NEW AGE.

 

ANANDA

 

0 — Jamey Haddad/Names: Fusion-Jazz album that explores a few more interesting areas with a South Indian drummer and fuzz-tone guitar on one track. With: Joe Lovano . . . sax; Ken Werner . . . keyboards; Bill De Arango . . . guitar; Jamey Haddad . . . percussion and hand drums; and others.

 

4 — Alvin Curran/Fiori Chiari, Fiori Os-curi: Toy pianos and children playing, real pianos and electronics. Alvin weaves what can only be described as a spell that manages to be light and lush all at one time. One of the original masters of New Music sound collage who dates back to the Sonic Arts Union and is a member of Musica Electronics Viva.

 

ANDREW’S MUSIC

 

All ANDREW’S MUSIC albums feature Andrew Nathaniel White III, a virtuoso saxophonist who also plays oboe, English horn, clarinet, piano and electric bass.

 

AM-1 — Andrew Nathaniel White IH: A solo album with works by Bach, Tchaikovsky, Wayne Shorter, and Andrew White; performed on saxes, oboe, English horn, bass, and piano.

 

AM-2 — Andrew White Live at The New Thing: Two record set from 1970-71, with Steve Novosel and Buell Neidlinger (basses) and Eric Gravatt and John Bergamo (drums).

 

AM-3 — Live in Bucharest, Live in the Studio: Material from Andrew’s famous Romanian tour of 1973, with Bill McCullough and Eric Gravatt.

 

AM-4 — Who Got De Funk?: A little funk and a lot of other stuff. This album features Rudy Stevenson (guitar), Montego Joe (percussion), Melvin Lee (drums) and Andrew’s own Jocelyn White reading and singing.

 

AM-5 — Passion Flower: Downbeat Magazine gave this album five stars, and in 1974 the European Jazz Federation voted this the best independent saxophone effort in 1974.

 

AM-6 — Songs for a French Lady: Three French songs, one Bossa Nova, Coltrane’s “Moment’s Notice”, and an original concerto for sixteen instruments. With K. Toney (piano), S. Novosel (bass), and K. Killgo (drums).

 

AM-7 — Theme: Three versions of Andrew’s favorite, “Theme”. With Kevin Toney, Steve Novosel, and Keith Killgo.

 

Andrew White Live at the Foolery Series: With Donald Waters and Kevin Toney (piano), Steve Novosel (bass), Bernard Sweet-ney and Keith Killgo (drums). All recorded in October 1974.

 

AM-8 — Volume One: “Theme”, “Superfly”, “Everybody Hit”, “Shaft”, “New Blues”.

 

AM-9 — Volume Two: A forty minute version of Coltrane’s “Satellite”.

 

AM-10 — Volume Three: “Andy’s Alto Sax”, “Sacred Blues”, “Sydney”, “Kevin, Keith, and Steve”, “Theme”.

 

AM-11 — Volume Four. “Good Luck, Next!”, “Three Stage Rocket”.

 

AM-12 — Volume Five: “Wabash”, “Red Cross”, “B Flat Rhythm”, “Theme”.

 

AM-13 — Volume Six: “Superfly”, “Sweet back”, “In Your Own Sweet Way”, “Pips & Pops”, “Giant Steps”, “Theme Grand”.

 

AM-14 — Collage: Pieces written by Andrew White, Les Baxter, Stevie Wonder, Miles Davis, and Wayne Shorter.

 

Marathon 1975 Series: Live recordings from a twelve hour marathon concert Andrew White presented at The Top O’ Foolery House Of Jazz on November 16, 1975. This is the entire concert, from the first to the last note! With Donald Waters and Kevin Toney (piano), Bernard Sweetney and Keith Killgo (drums), and one bass player (Steve Novosel) who stuck it out all the way with Andrew.

 

AM-15 — Volume One: “Exotica”, “Smiling Jane”, “Theme”.

 

AM-16 — Volume Two: “Be-Bop”, “Superfly”, “Layback”, “Dr. Jekyll”.

 

AM-17 — Volume Three: “Miss Ann”, “Mr. Jin”, “Peter’s Waltz”, “Impressions”.

 

AM-18 — Volume Four. “Andy’s Alto Sax”, “Satellite”, “New Blues”, “Theme”.

 

AM-19 — Volume Five: “Mr. P.C.”, “Soul-trane Theme”, “D’s Dilemma”, “Theme Grand”.

 

AM-20 — Volume Six: “Black JDiamond”, “Giant Steps”, “Superfly”, “Tippin”, “Dock at Papeta”, “Theme”.

 

AM-21 — Volume Seven: “Passion Flower”, “Crescent”, “Transition”, “Theme”.

 

AM-22 — Volume Eight: Two by Wayne Shorter: “Speak No Evil”, and “E.S.P.”.

 

AM-23 — Volume Nine: “Night Dreamer”, “Theme For Ernie”, “Moment’s Notice”.

 

De Here We Is Again Series. More live recordings by Andrew White III, from a series of concerts at The Top O’ Foolery House Of Jazz in 1976. Donald Waters (piano), Steve Novosel (bass), Howard Chichester, Bernard Sweetney, and Warren Sand (drums).

 

AM-24 — Spots, Maxine, and Brown (Three Lovely Ladies from St. Louis): “Wabash”, “Dizzy Atmosphere”, “Theme”.

 

AM-25 — Countdown: “Slightly Hep”, “Circle”, Countdown”, “Theme”.

 

AM-26 — Red Top: “One Up, One Down”, “Red Top”, “Everything I Have Is Yours”.

 

AM-27 — Trinkle, Trinkle: “The Limehouse Blues”, “Witch Hunt”, “Trinkle, Trinkle”.

 

AM-28 — Ebony Glaze: “Seven Steps To Heaven”, “Ebony Glaze”, “Peter’s Waltz”, “I Waited For You”, “Theme”.

 

AM-29 — Miss Ann: “Miss Ann”, “B Flat Rhythm”, “Theme”.

 

AM-30 — Seven Giant Steps for Coltrane:

 

Seven a cappella performances of Coltrane’s “Giant Steps” by one of the world’s leading authorities on the music of John Coltrane. Included in this collection of seven versions of this monster tune are the famous solos from Carnegie Hall and Town Hall.

 

Live in New York at The Ladies Fort: Recorded live at Joe Lee Wilson’s loft, The Ladies Fort, in Noho in June of 1977, featuring Donald Waters (piano), Steve Novosel (bass), and Bernard Sweetney (drums).

 

AM-31 — Live in New York Volume One:

 

Trane’s “Impressions”, Duke’s “Take the Coltrane”, and Stevie Wonder’s “Easy Going Evening”, with an introduction by Joe Lee Wilson. For the color conscious crowd, this is Andrew’s first album with a color cover, it’s baby blue!

 

AM-32 — Live in New York Volume Two:

 

This album has two by Coltrane, “Pristine” and “Giant Steps”; also “You Maybe Can’t Do It”, “New Blues”, and “Theme” which are all originals. Like Volume one of this set, volume two also has a poem on the back, and a classy color cover.

 

AM-33 — Bionic Saxophone: It’s a new record from “the main cat keeping the music alive today”, and he’s got a brand new bag — the BIONIC SAXOPHONE. Andrew recently started playing his new invention in public and the result is this live record which should make the Bionic Sax a household word. A quartet with Donald Waters, Steven Novosel and Bernard Sweetney goes Bionic: “Bionic Giant Steps”, “Bionic Sax Meets Red Top”, “Bionic Superfly” and “Bionic Sax Meets Mr. P.C.” among other Bionic hits. Warning: This is not a hype!

 

AM-34 — Andrew White/The Coltrane Interviews Vol. One: Described as a series of radio interviews dealing with the music of John Coltrane and the Coltrane legacy by the “keeper of the Trane”. From Washington, D.C.’s WPFW FM. (Note, this is Andrew White speaking about Trane.)

 

AM-35 — Andrew White/The Coltrane Interviews Vol. Two: More of the same from radio stations WHUR Washington, D.C., WKCR-FM New York City, WHRB

 

Cambridge, and WPFW Wash., D.C. Topics: jazz schools, Polydiatonicism, Trane the Bebopper & professional, and cultural genocide. Get out your notebooks!

 

AM-36 — Andrew White/Saxophonitis: Andrew White (reeds), Donald Waters (piano), Steve Novosel (bass) and Bernard Sweetney (drums) with the added attraction of Buck Hill (tenor sax). From the liner notes, which say it better than anyone can here “ ‘Hot Saxophone Solos . . . Sax-o-phonitis’: Dats what you git from not listenin’ to enough Andrew White. So if you ain’t bought dis record better gitit quick. If you already got dis record Thank Ya’ and please git alio de udda 35 records. ‘Dats de only way to cure Saxophonitis’.”

 

Live At the One-Step Series — With Kevin Toney (piano), Steve Novosel (bass), Keith Killgo (drums). Washington, October, 1979.

 

AM-37 — Fonk Update: “Who Got The Funk?” Pts. 1, 2 & 3; “Afro Blue,” “Merry Christmas,” and “Ups.”

 

AM-38 — I Love Japan: “Good Bait,” “Crescent,” “Parker’s Mood,” “A Coltrane Triptych,” and an original.

 

AM-39 — Have Band, Will Travel: “Naima,” “Superfly,” “The Theme From Mahogany,” “Central Park West.”

 

40 — Andrew White/Plays the Oboe: On this record, Andrew White, oboist and the Andrew’s Music Chamber Players (flute, clarinet, horn, bassoon) play transcriptions of Mozart’s Quartet K 370, and Bach’s Sin-fonia from the “Eastern Concerto” as well as three White originals: “Theme”, “Petite Suite Francaise (Little French Suite)” and “Concerto for 16 Instruments”. There’s almost always something amusing about transcriptions for reeds of string pieces, and there’s always something amusing about Andrew White.

 

42 — Andrew White/”Proflle”: Andrew White plays Bach, Handel, Corelli, Coltrane and White. Solo alto saxophone.

 

ANIMA

 

1001 — The Universal Jazz Symphonette/ Soundcraft: With Zane Massey (saxophone), Raphe Malik (trumpet), Richard Dunbar (french horn), James Emery (electric guitar), William Parker (bass), Billy Bang (violin), Roger Baird (drums), and others.

 

1002 — Billy Bang/A New York Collage: With Rashid Bakr (drums), Bilal Abdur Rahman and Henry Warner (saxophones), William Parker (bass), Billy Bang (violin). The Soho Weekly News called Billy Bang “one of the very few jazz violinists worth listening to, playing today.” The group is tight, the poetry is good, and the intense energy of this record is like a hot summer night in New York City.

 

12741 — Billy Bang/Sweet Space: With Billy Bang (violin), Frank Lowe (tenor saxophone), Luther Thomas (alto saxophone), Butch Morris (comet), Curtis Clark (piano), Wilbur Morris (bass), Steve McCall (drums).

 

13254 — Curtis Clark/New York City Wildlife: Curtis, who has recorded with David Murray and Julian Priester, makes his debut as a leader here. Obviously a member of the Monk School (most similar to fellow graduate Mai Waldron), his influences span the tradition from Fats Waller to Cecil Taylor. This album is a beautiful personal statement with an added bonus of David Murray blowing softly on two tunes.

 

1J35 — Jay Clayton/All Out: Jay has been around on both the “New Jazz” and “New Music” scene from some time, having recorded with Muhal Richard Abrams, Steve Reich, John Cage, Garrett List, Byron Morris, Paul McCandless, performing in many varied settings and expanding the use of the voice in music. This album bridges the ever-shinking gap between the two scenes. With Jane Ira Bloom (soprano sax), Larry Karush (piano), Harvie Swartz (bass) and Frank Clayton (drums).

 

1BL-36 — Billy Bang & John Lindberg/Duo: Two talented young veterans compose new jazz for strings. Billy Bang (violin) and John Lindberg (bass), add to the body of melodic improvisation.

 

2J11C — Jerome Cooper/Root Assumptions: Although recorded a year earlier than his first solo record (ABOUT TIME 1002), the roots of his balafon/bass drum sock cymbal concept are inspiring in their simplicity and directness.

 

2BT-78 — Billy Bang & Charles Tyler/Live at Green Space: Billy Bang (violin, mbira, bells), Charles Tyler (alto and baritone saxophones, harmonica). The magic of these two perfectly paired musicians is almost indescribable. Individually and together, they create a fluid mixture of soulful, lyric and searing pyrotechnics. Charles’ harmonica playing is a wonderful discovery.

 

3BG9 — Billy Bang/Untitled Gift: This gift is actually a homage to the father of the new jazz violin—Ornette Coleman. Bang has chosen his inspiration’s early collaborator (Don Cherry), two of his tunes (“Focus on Sanity”) and “Night Sequence”) and his vehicle (pianoless quartet). Dennis Charles . . . drums and Wilbur Morris . . . bass echo Ed Blackwell’s Africanisms and Charlie Haden’s strong tone, while Bang and Cherry improvise freely, giving more of a feeling of “The Shape of Jazz To Come” than Old and New Dreams generally does. Combined with Cherry’s “Kora Song” and Billy’s New York International flavor on his own “Echovamp 1678” and “Maat,” you have Bang’s Gift — “Peace in World Music.”

 

ANTARCTICA

 

6201 — New Music From Antarctica: An art music compilation of which Ned Sublette is the highlight when he sings “I Ain’t Afraid of Girls”. Also appearing are Rhys Chatham, Peter Gordon with and without the Love of Life Orchestra, David Van Tieghem, Blue Gene Tyranny and Jill Kroesen who does “You’ve Really Got A Hold On Me”. As the Times TV section says, “Your move.”

 

AP-GU-GA

 

AGG-001 — The Fringe/The Fringe: They are Richard Appleman (bass), Bob Gullotti (drums) and George Garzone (tenor sax). After seven years together on the Boston scene, pondering freedom within structure

(and vice-versa), this group has produced a very solid first record that will truly take you to The Fringe.

 

AGG-002 — Fringe/Live!: Boston’s hottest jazz trio demonstrate their range of talent, styles and techniques.

 

AGG-003 — The Fringe/Hey Open Up: Thirteen years of playing together regularly has given this trio’s members a rapport with each other seldom found in similar units (Sam Rivers’ trio and Air are comparable exceptions). The result is daring improvisation with a tight group sound. The energy level is generally high with pianist Ran Blake joining the trio for a more introspective look at “Ballad For Lena.” w/ George Garzone, tenor sax; Rich Appleman, bass; Bob Gullotti, drums and special guest Ran Blake, piano.

 

APPARITION

 

19A-83 — Lubomyr Meinyk/To The Living, The Dead and to Those Yet Unborn: Lubomyr and his very personal “continuous mode piano” are teamed with The Array Ensemble, a Canadian New Music group. He has taken the poems of Taras Shevchenko, from the Ukraine, and set them to interesting music which, if you have a predilection for sopranos, you might really appreciate.

 

280 — Patrick Godfrey/Ancient Ships: Canadian Godfrey plays piano, harpsichord, marimba, harmonium and bells. Melodic minimalism, akin to the recordings on the Obscure label.

 

485 — Tim Brady/D.R.E.A.M.S.: Tim Brady works the acoustic side of early John McLaughlin — percussive attack, lots of reverb, fast scales. But he also builds angular, well-constructed solos on electric guitar; shades of John Abercrombie and — ahem — ECM.

 

781 — Lubomyr Melnyk/The Lund-St. Petri Symphony: On this record Lubomyr continues the extended piano works made famous on MUSIC IN THE CONTINUOUS MODE on Music Gallery Editions. This 2-record set is designed to be played simultaneously on 2 turntables; however, barring the possibility of that, we found it’s quite enjoyable with only one. “. . . the image of atoms and molecules: a vast complexity of colliding mathematical bits, constantly moving so as to seem both invisible and silent.” — LAWRENCE McCARTHY. “The music becomes like sunlight on a stream, an iridescent array, changeless, yet ever-changing . . . fertile soil for personal creative discovery.” — JEFF GREEN.

 

982 — Patrick Godfrey/Bells of Earth: This series of solo piano pieces at first listening strikes one as yet another in the George Winston/Keith Jarrett mold. However, there is much more texture and development to Godfrey’s piano music. While some of his compositions are rather too lyrically minimalist for this reviewer’s taste, he at least avoids many of the cliches often found in this expanding form of music.

 

984 — Timothy Brady-Marc Widner/Music for Solo Piano: “ ‘Piano Music 1978’ is a series of six short pieces ... a strongly defined metric feel, the melodic/harmonic dichotomy of the right and left hands, as well as the superimposition of thirds, used to create very dense sonorities. ‘Lyric (for solo piano)’ is a short single movement piece which, as the name implies, is more reflective than aggressive in nature. ‘Piano Fantasy in Three Movements’ . . . uses the sonic and articulative images of Thelonious Monk, Bill Evans, Paul Bley and Cecil Taylor as points of reference for the three

 

 

movements.” — LINER NOTES. Timothy Brady . . . compositions; Marc Widner . . . piano.

 

1750 ARCH

 

1750 ARCH is currently in transition. Some numbers may be unavailable, please take this into account when ordering.

 

1751 — Dufay: Fifteen Songs: Performed by Musica Mundana.

 

1752 — 10 + 2:12 American Text Sound Pieces: First anthology of sound poetry released in the United States. Composers (sound poets?) performing their own works: John Cage, John Giorno, Robert Ashley, Charles Dodge, Beth Anderson, Alvin Lucier, Charles Amirkhanian, Clark Coolidge, Anthony Gnazzo, Brion Gysin, Liam OGallagher and Aram Saroyan.

 

1753 — Transformations: Dufay and his Contemporaries: Performed by “Music For A While”.

 

1754 — Opus 70: Martial Singher: Martial Singher, baritone. A recital of French art songs. Historical photos and notes included.

 

1755 — Infinite Sound: Contemporary African- American-Music, reflecting four hundred years of Black musical heritage from Dixieland and Blues to Modern. Roland Young (clarinets & saxes), Aisha Kahil (vocals), and Glen Howell (bass). An emphasis on the modern end of the tradition.

 

1756 — J.S. Bach: The Leipzig Sonatas: Paul Hersh, viola; Laurette Goldberg, harpsichord.

 

1757 — Wandering In This Place: Elizabethan Lute Songs: Tom Buckner, voice; Joseph Bacon, lute.

 

1758 — Denny Zeitlin/Expansion: Denny Zeitlin (keyboards, electronics & percussion), George Marsh (electronics & percussion) and Mel Graves (basses). Free electronic music and jazz.

 

1759 — Syzygy: (Siz-i-ji): The alignment of three celestial bodies in a gravitational system. The three celestial bodies are Denny Zeitlin (keyboards), George Marsh (percussion) and Ratzo B. Harris (basses). They get help from Tom Buckner (voice) and Rich Fudoli (reeds).

 

1760 — Janet Millard/20th Century Flute: Heitor Villa-Lobos’ “Assobio a Jato”; Robert Hughes’ “Sonitudes”; Wayne Peterson’s “Ca-priccio for Flute and Piano”; and Bela Bartok & Paul Anna’s “Suite Paysanne Hongroise”. Well played, understated, melodic and all around hip record.

 

1761 — Brahms Duets: Renee Grant-Williams, soprano; Dorothy Barnhouse, mezzo-soprano; Alden Gilchrist, piano.

 

1762 — Claude Debussy: Preludes, Book I: Jeanne Stark, piano.

 

1763 — Claude Debussy/Preludes: Book II: Jeanne Stark, piano. 12 Preludes published 1913.

 

1764 — Dowland: Fantasies and Dances For The Lute: Joseph Bacon, lutenist.

 

1766 - An Album of French Songs: Martial Singher, baritone. Music by Britten, Ravel, Chausson, Duparc and DeLara.

 

1767 — Schubert: Sonata In B Flat Major; Klavierstuck II: Bernhard Abramowitsch, piano.

 

1768 — Conlon Nancarrow Complete Studies for Player Piano Vol. 1: The first in a projected five volume anthology of original works recorded on Conlon Nancarrow's own modified reproducing player pianos. “From surreal boogie-woogies to more abstract constructions. The music sounds like it’s being played by human beings, but no human could possibly execute it.” Robert Palmer, Penthouse.

 

1769 — Art Lande/The Eccentricities of Earle Dante: Solo piano album of noticeably original interpretation of standards like “Sweet Georgia Brown”, “Easy Living” and “Angel Eyes”.

 

1770 — Denny Zeitlin/Soundings: Mr. Zeitlin performs on piano, alone (solo). He has announced in the finer notes, that this album involves a return to his earliest musical roots. He continues to be a surprising, very talented piano player.

 

1771 — Joseph Bacon/Guitar Music of Villa Lobos: Among others Bacon has studied with Segovia, Julian Bream and Afi Akbar Khan. Everybody knows and has felt Villa Lobos. Music from the land of palm trees and the dynamics of European/African/Native American cultures.

 

1772 — Lou Harrison/Elegiac Symphony: And Robert Hughes’ “Cadences”. First recordings of these contemporary works performed by the prize-winning Oakland Symphony Youth Orchestra.

 

1773 — La Fontaine Amoureuse: Poetry and Music of Guillaume De Machaut (1300-1377): Performed by “Music For A While” with actor Tom Klunis.

 

1774 — Rosenbloom & Buchla/Collaboration in Performance: Two pieces composed by David Rosenbloom: “And Out Come The Night Bars” and “How Much Better if Plymouth Rock Had Landed on the Pilgrims” realized by Rosenbloom on the piano and the Buchla Synthesizer with the help of the inventor.

 

1775 — Stuart Dempster/In the Great Abbey of Clement VI: Recorded in a 14th Century abbey where notes float for 14 seconds, this trombone player plays “Standing Waves” and “Didjeridervish” against their own resonances.

 

1776 — Henry Purcell: Songs and Grounds: Performed by Anna Carol Dudley, soprano; Laurette Goldberg, harpsichord; Carol Herman, viola da gamba; Catherine Strizich, lute; Robert Strizich, lute and baroque guitar.

 

1777 — Conlon Nancarrow/Complete Studies for Player Piano, Vol. 2: “The incredible nchnessand variety of sonorities and textures must utterly destroy any preconceptions one might have about the ‘limitations’ of the player piano as a medium for composing music. In Nancarrow’s hands at least this once lowly instrument has become the source of a very powerful musical magic.” — Charles Amirkhanian

 

1778 — Art Lande/The Story of Ba-Ku: Art Lande (piano), Kurt Wortman (percussion), Bill Douglass (bass & flutes), Bruce Williamson and Mark Miller (reeds), and Mark Isham (brass & reeds). From the finer notes comes an explanation, of sorts; “The minstrel with a simple song who was tempted by the devil of clever ingenuity and seduced by sensual rhythms and rensual sythms to the point where his mental balance was suspect, but his wanderings brought him ...”

 

1779 — Charles Amirkhanian/Lexical Music: Seat belt, seat belt, seat belt holding back dutiful, dutiful beautiful ducks for she, she and she. Charles Amirkhanian sound-text textsound compositions for today, tomorrow and yesterday afternoon. Very interesting.

 

1780 — Mel Graves/Three Worlds: This record transcends jazz, an experiment in color, texture and the rhythm of sound. Featuring Mel Graves, bass; George Marsh, percussion; Julie Feves, bassoon; and Andy Narrell, steel drums.

 

1781 — Gardner Jencks/Selected Works for Piano: Marcia Mikulak, piano. “Jencks’ music combines the heroic and driving dynamism of Aaron Copland, with the terseness, dissonance, texture and liberated time sense of the work of Anton Webern, bringing to fight a sober, highly emotional, yet classically controlled expression, spiritually aligned with the musics of Elliot Carter, Morton Feldman and Conlon Nancarrow.” Charles Amirkhanian.

 

1782 — The Music of Luigi Dallapiccola: The Arch Ensemble conducted by Robert Hughes features Anna Carol Dudley, soprano; Marvin Tartak, piano, and Tom Buckner, tenor. “Divertimeno in Quattro Esercizi” (1934), “Rencesvals” (1946), Quattro Liriche Di Antonio Machada” (1948), “Cinque Canti” (1956).

 

1783 — A Night In The Garden Court: San Francisco String Quartet: Music by Haydn, Pachelbel, Schubert, Tchaikovsky, Dvorak, Satie, Gabriel-Marie, Purcell, Kreisler, Monti, Dinicu-Heifetz.

 

1785 — Roscoe Mitchell/New Music for Woodwinds & Voice: Roscoe Mitchell (bass & tenor saxes, clarinets), one of the founders of the Art Ensemble of Chicago, and Gerald Oshita (sarrusophone, baritone & conn-o-sax), West Coast new music reedman, merge their basso-profundo reeds to the voice of tenor Tom Buckner, with, as you can imagine, singular results.

 

1786 -- Conlon Nancarrow/Complete Studies for Player Piano, Vol. 3: Most of the works on Vol. 3 were originally released on a Columbia LP in 1968 (long out of print). However, these performances are considerably different, newly recorded by 1750 ARCH records. In almost every case, Nancarrow chose faster speeds for the individual rolls than he did ten years previously.

 

1787 — Susan Allen/New Music for Harp: As Nancarrow freed the player piano of its barroom associations, here Susan Allen plays new works for harp that definitely do not conjure up visions of angel wings. Most of the works were written recently (excepting Cage’s ‘In a Landscape’ — 1948), and all make the best use of this instrument’s remarkable (and rarely used) timbre and range. A very special album — will leave you with respect for one of mankind’s oldest instruments.

 

1789 — The Baby’s Family by Villa Lobos/ Katrina Krimsky, Piano: Prolo do Bebe (The Baby’s Family) is one of Villa-Lobos’ better known works, although rarely heard in its entirety. Here Katrina Krimsky offers up the whole family. The works are short and often deceptively simple. Lobos manages to turn familiar Brazilian folk and childrens songs into rhythmic and timbral gems, the piano becoming a percussion instrument and guitar by turns. “O Polichinelo” is a personal favorite, with its black against white tone clusters played against each other at a gallop.

 

1790 — Big Black/Ethnic Fusion: Jazz, Classical and Ethnic influences, particularly Afro, are all fused tastefully in this highly-charged rhythmic and melodic conversation between Big Black and Classical Guitarist Anthony Wheaton. Mood and musical influence are shifted continually in their intimate, but creatively aggressive, im-