THE VANDERMARK 5 — A Discontinuous Line (2006) FLAC (tracks+.cue), lossless

Given the title and dedication of the Vandermark 5's 2006 issue A Discontinuous Line, with two of its pieces being dedicated to architects/filmmakers Charles and Ray Eames ("Convertible, Version One" and "Convertible, Version Two" respectively), and other discontinuous line musicians, architects, and artists such as the late Philip Wilson, Elliot Carter, Sergio Leone, Giorgio de Chirico, Walker Evans, and the great Santiago Calatrava, it is compelling to examine the music along these parameters. Ken Vandermark's writing has grown more formal in recent years, with the places for improvisation marked out. Here, the compositions themselves breathe more, the lines are looser and based on rhythmic ideas and feel rather than formalist notions. Thus, the first "Convertible" piece sounds, upon first hearing, like a loosely conceived improvisation, but the way lines come out of the rhythm section and then the horns, is remarkable because nothing could be further form the truth. Rhythm is the very place of generation; this is true on both "Convertibles," as it were, but that generation follows a harmonic idea from start to finish, and the edgy improvisation inside that idea has the capability of expanding it into another sonic universe heard only by the players as they make the music. The tough, Monk-like swing at the genus of "Reciprocal" has its own way of cracking its own spine to allow for minor-key improvisation on the bass clarinet by Vandermark, who examines the melodic notion from all sides and creates a new one as the piece continues to move and even swing in places. Also, Fred Lonberg-Holm's cello adds not only to the rhythm section, but acts as an engaged rhythmic improviser on whom contrapuntal ideas are regularly juxtaposed against or bounced off until complex, "free" improvisation takes hold of the unit. Monk's persona once more enters the corpus of the Vandermark 5's rigorous playfulness on "Aperture," where a bluesy swinging theme is held by Vandermark's baritone and Kent Kessler's bass until Lonberg-Holm enters to bridge the two, and then it's Dave Rempis on the alto that flies loose of the melody, understanding its modality enough, and its rhythm, to strut off the ledge and seek. This is another remarkable set by the Vandermark 5, a unit that plays together now so effortlessly, even with new addition of Lonberg-Holm, whose manners bring colors and textures to this deliciously and deliriously joyful yet utterly complex music; he's a welcome addition. A Discontinuous Line is full of them, but that's where the listener comes in, to move the music further in discourse by taking it in. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    Convertible, Version One (For Charles Eames)    8:39
2.    Reciprocal (For Santiago Calatrava)    7:40
3.    La Dernier Cri (For Elliot Carter)    7:48
4.    Some Not All (For Phillip Wilson)    13:46
5.    Aperture (For Walker Evans)    6:45
6.    Morricone (For Sergio Leone)    7:00
7.    Convertible, Version Two (For Ray Eames)    6:26
8.    The Ladder (For Giorgio De Chirico)    10:50
Credits :
Alto Saxophone, Tenor Saxophone – Dave Rempis
Baritone Saxophone, Bass Clarinet, Clarinet [Bb], Composed By – Ken Vandermark
Bass – Kent Kessler
Cello – Fred Lonberg-Holm
Drums – Tim Daisy

LAST EXIT – Köln (1986-2015) FLAC (tracks+.cue), lossless

Another live set from the 1986 tour, Köln could well be the best of the bunch. There is an actual song here (Ronald Shannon Jackson's aptly titled "Brain Damage") and an opening track, the nearly 20-minute rumble called "Hard School," that scorches from top to bottom. This recording was supposed to come after Cassette Recordings '87 and before Iron Path, but Bill Laswell was involved in some rancorous disagreements with Enemy and the record's release was postponed for a couple of years. But man, was it ever worth the wait. Open up and burn. John Dougan
Tracklist :
1        Hard School    19:05
2        Brain Damage    6:20
3        Taking A Beating    2:50
4        Last Call    4:27
5        Dark Heart    6:35
Credits :
Bass [6 String] – Bill Laswell
Drums, Voice – Shannon Jackson
Guitar – Sonny Sharrock
Tenor Saxophone – Peter Brötzmann

SUN RA & HIS ARKESTRA — Some Blues But Not The Kind That's Blue (2008) FLAC (tracks+.cue) lossless

Fantastic. Another rare Saturn release makes its way into the digital realm. This time, it's Some Blues But Not the Kind That's Blue, a nice 1977 date that's heavy on standards. Aside from the two Sun Ra tunes (one of which had been unreleased prior to this), this is a pretty inside date with some major statements from Ra on piano and John Gilmore on tenor. Everyone gets a bit of solo room, and the flutes and bass clarinet add some really nice colors, especially on "My Favorite Things," a song so closely identified with the John Coltrane Quartet that this version is almost startling in its contrast to Coltrane's myriad versions. Aside from the title track and the two earlier bonus takes of "I'll Get By," there is no bass player present, the low end falling mostly to Ra's piano. Luqman Ali's drumming, as always, is remarkable in its tasty understatement. The bonus tracks are a wonderful addition. "Untitled" was recorded at the same 1977 sessions but didn't make the album cut. The other tracks are rehearsals, presumably from the Ra house on Morton St. in Philadelphia. They're two takes on "I'll Get By" with Ra on organ and the great Ronnie Boykins on a particularly well-recorded bass with Akh Tal Ebah on trumpet on one take and John Gilmore on tenor on the other. It's interesting to hear these rehearsals in relation to the same song's arrangement from a few years later. Although recorded about a decade apart, Some Blues But Not the Kind That's Blue is of a piece with Blue Delight: mostly standards albums that really put the spotlight on Sun Ra's piano playing and the tenor artistry of John Gilmore. Although the Arkestra is notorious for its outside playing and cacophonous tendencies, this album shows they could play it straight as well as anyone in the game. Wonderful stuff. Sean Westergaard
Tracklist :
1    Some Blues But Not The Kind Thats Blue 8:15
Written-By – Ra
2    I'll Get By 7:18
Written-By – Ahlert, Turk
3    My Favorite Things 10:01
Written-By – Rodgers-Hammerstein
4    Untitled 7:06
Written-By – Ra
5    Nature Boy 8:52
Written-By – Ahbez
6    Tenderly 7:30
Written By – Morrison
Written-By – Lawrence, Gross
7    Black Magic 8:38
Written-By – Arlen, Mercer
8    I'll Get By [Alternate Take] 7:24
Written-By – Ahlert, Turk
9    I'll Get By [Alternate Take] 6:42
Written-By – Ahlert, Turk
Credits :
Bass – Richard Williams (tracks: 1), Ronnie Boykins (tracks: 8, 9)
Bassoon – James Jacson (tracks: 1 to 7)
Clarinet – Eloe Omoe (tracks: 1 to 7)
Congas – Atakatune (tracks: 1 to 7)
Drums – Luqman Ali (tracks: 1 to 7)
Flugelhorn – Akh Tal Ebah (tracks: 8)
Flute – Danny Davis (tracks: 1 to 7), James Jacson (tracks: 1 to 7)
Organ – Sun Ra (tracks: 8, 9)
Piano – Sun Ra (tracks: 1 to 7)
Saxophone – John Gilmore (tracks: 1 to 7, 9), Marshall Allen (tracks: 1 to 7)