ARVO PÄRT : Te Deum; Silovans Song; Magnificat; Berliner Messe (1993) FLAC (tracks+.cue), lossless

A richly realized collection of prayers that brings deep, resounding enlightenment to the ears. Everything about this compact disc feels like Arvo Pärt's master work, right down to the gorgeous photos in the accompanying booklet. "Te Deum" opens patiently and ominously, then proceeds to run the spectrum between overflowing swells and hushed contemplation. The Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir breathe as one under the magnificent direction of Tönu Kaljuste for this and "Berliner Messe," the closing mass that parts the clouds with its stark beauty and pious rejoicing (the third passage within the mass, "Erster Alleluiavers," is a brief teardrop of reverence that even atheists would ponder). Elsewhere, the a cappella chorus of "Magnificat" shines with vocals that embrace the church walls with chills and crispness, like a beam of moonlight through winter. One of the composer's strengths has always been to find the depth in simplicity. To this end, ever-present ECM producer Manfred Eicher's sparse and beautiful sensibilities fit Arvo Pärt like a glove, especially with "Silouans Song," which blossoms in stoic waves of strings. Such bittersweet longing resides here ("My soul yearns after the Lord") that a little sadness seems to slip out through all the reverence. This is uniformly his finest album, but by no means does it encompass all he has to offer. The compositions in Te Deum may not reveal Pärt's more eclectic and thunderous side, but few other albums carry such a consistent theme. by Glenn Swan

Tracklist:

1 - Te Deum (1984-1986)

2 - Silouans Song (1991) - 'My Soul yearns after the Lord...' 

3 - Magnificat (1989) 

4 - Berliner Messe (1990-1992) - Kyrie 

5 - Berliner Messe (1990-1992) - Gloria 

6 - Berliner Messe (1990-1992) - Erster Alleluiavers 

7 - Berliner Messe (1990-1992) - Zweiter Alleluiavers 

8 - Berliner Messe (1990-1992) - Veni Sancte Spiritus

9 - Berliner Messe (1990-1992) - Credo 

10 - Berliner Messe (1990-1992) - Sanctus 

11 - Berliner Messe (1990-1992) - Agnus Dei

ARVO PÄRT : Arbos (1987) APE (image+.cue), lossless

Pärt's 1987 release, Arbos, shows the composer working within his medium, bringing forth a body of music sacred in sound and message and presenting new compositional techniques. Utilizing a limited palette of tones, arranged in repeating patterns, these works are often (understandably) categorized with the works of Glass, Reich, and Riley. The tonal palette is often borrowed from European medieval styles, and this, in conjunction with the liturgical subject matter, make these new compositions feel centuries old. His Pari Intervello, originally scored in 1978 for wind instruments, is here recorded for solo organ. One of his more famous pieces, Stabat Mater, is presented here -- an airy piece that floats just on the threshold of awareness. Scored for vocal trio and string trio, this is a simply beautiful piece -- very expressive and lilting. by Mark Allender

ARVO PÄRT - Passio (1988) APE (image+.cue), lossless

Pärt's long-form The Passion of Our Lord Jesus Christ According to St. John dramatizes the apostle John's account of the arrest and crucifixion of Jesus. The form he adopts sounds as though it were centuries old, with its choral orchestration. But his choice of instruments, his choice of chords, his phrasing, and the basic construction of the piece itself are all based on 20th century ideas, most notably his own innovation, the "tintinnabuli" method. The overall sound is significantly bigger than the small ensemble performing it; this is an innovative work, despite the classic subject matter. The text is taken verbatim from the Vulgate. by Mark Allender

Tracklist:
1 Passio Domini Nostri Jesu Christi Secundum Joannem 70:52
Credits:
Baritone Vocals [Evangelist Quartet] – Gordon Jones
Bass Vocals [Jesus] – Michael George
Bassoon – Catherine Duckett
Cello – Elisabeth Wilson
Choir – The Western Wind Chamber Choir
Composed By – Arvo Pärt
Conductor – Paul Hillier
Countertenor Vocals [Evangelist Quartet] – David James
Ensemble – The Hilliard Ensemble
Oboe – Melinda Maxwell
Organ – Christopher Bowers-Broadbent
Producer [Produced By] – Manfred Eicher
Soprano Vocals [Evangelist Quartet] – Lynne Dawson
Tenor Vocals [Evangelist Quartet] – Rogers Covey-Crump
Tenor Vocals [Pilate] – John Potter
Violin – Elizabeth Layton

HANS REICHEL - Lower Lurum (1994) FLAC (image+.cue), lossless

Hans Reichel's Lower Lurum is perhaps the record that introduced the world to his invention, the daxophone, a box playing a long, thin altered board that produces so many tones and sounds they are virtually limitless. Add to this Reichel's homemade guitars, which are truly exotic pieces of art as well as functional instruments, and you have an orchestra from another dimension. Which is what Lower Lurum is pretty much all about. Being subtitled as a "guitar and daxophone" operetta, in Reichel's mind there is probably a concept here. But that concept for the listener -- especially since there are no notes explaining what the "plot" of this operetta is supposed to be -- is tonal. Given how technical Reichel is about everything in the booklet, it is -- for those who've never heard Reichel's music -- shocking to hear its emotional warmth, depth, and humor. There is very little manipulation of sound with overdubs occurring in very few places, and even they are used sparingly. This is music that comes straight through the microphone without effects. In large part this is because it doesn't need any. Reichel's operetta and his music in general are more musical than music because they integrate the entire human being -- physical, psychological, emotional, spiritual -- into the way in which a composition or improvisation is executed and ultimately sounds. On Lower Lurum, Reichel has created a light body (or, from the Buddhist perspective, a rainbow body) of sound. Its clarity and spirit are one in the same, expressed as resonances from the heart through the hands and moving beyond them both into a sonic architecture that expresses emotions and thoughts that occur just beyond the field of language, and that achievement is far greater that the faculty of language this reviewer possesses. by Thom Jurek  

JOHN CAGE : Complete Piano Music Vol. 1 (1997) 3CD / APE (image+.cue), lossless

JOHN CAGE : Complete Piano Music Vol. 10 (2002) FLAC (tracks+.cue), lossless

ARRIGO BARNABÉ E A BANDA SABOR A VENENO - Clara Cocrodilo (1983-2001) APE (tracks+.cue), lossless

Tracklist:
1 Acapulco Drive In 4:30
Arranged By, Synthesizer, Electric Piano – Bozo
Backing Vocals – Passoca, Teté
Backing Vocals, Arranged By – Gi Gibson
Lyrics By, Arranged By – Paulo Barnabé
Music By – Gibson Gibson, Paulo Barnabé
Music By, Arranged By, Bass Guitar – Otávio Fialho
Music By, Synthesizer, Vocals – Arrigo Barnabé
Vocals – Mané Silveira
2 Orgasmo Total 4:37
Written-By, Arranged By, Vocals – Arrigo Barnabé
3 Diversões Eletrônicas 7:49
Alto Saxophone, Clarinet – Baldo Versolatto
Backing Vocals – Eliana Estevão, Passoca, Teté
Synthesizer, Electric Piano, Piano, Backing Vocals – Bozo
Written-By, Arranged By, Electric Piano, Piano – Regina Porto
Written-By, Arranged By, Vocals – Arrigo Barnabé
4 Instante 3:30
Clarinet – Marcelo Galberti
Soprano Saxophone, Flute – Mané Silveira
Written-By, Arranged By – Arrigo Barnabé
5 Sabor De Veneno 2:31
Piano, Electric Piano – Regina Porto
Piano, Electric Piano, Percussion, Written-By, Arranged By, Vocals – Arrigo Barnabé
Vocals, Arranged By [Vocals] – Teté
6 Infortúnio 4:50
Arranged By – Itamar Assumpção
Arranged By, Drums, Percussion, Backing Vocals – Paulo Barnabé
Backing Vocals – Bozo, Passoca, Teté
Cello – Mario "Biafra" Aydar
Written-By, Vocals, Arranged By – Arrigo Barnabé
7 Office Boy 6:59
Backing Vocals – Teté
Electronics, Narrator – Regina Porto
Written-By, Arranged By, Narrator, Vocals – Arrigo Barnabé
8 Clara Crocodilo 7:21
Backing Vocals – Bozo, Eliana Estevão, Gilberto Mifune, Passoca, Teté
Guitar, Violin, Backing Vocals – Gi Gibson
Lyrics By, Narrator, Arranged By – Arrigo Barnabé
Music By – Arrigo Barnabé, Mário Lucio Cortes
Credits:
Alto Saxophone, Clarinet – Baldo Versolatto
Clarinet – Felix Wagner
Percussion – Rogério
Producer – Robinson Borba
Recorded By – Carlos A. Duttweller, Francisco Braga
Recorded By, Mixed By – Marcus Vinicius
Tenor Saxophone, Clarinet – Chico Guedes
Trombone, Bass Trombone – Ronei Stella
Vocals – Suzana, Vania

FRANK ZAPPA - Zappa : The London Symphony Orchestra, Vols. 1-2 (1983-1995) 2CD / FLAC (tracks+.cue), lossless

When Frank Zappa teamed up with renowned conductor Kent Nagano and the London Symphony Orchestra for three days in January 1983, he was expecting to walk away with a set of stellar performances of some of his most challenging contemporary classical pieces, as done by one of the world's top symphonic ensembles. What he got instead were bad attitudes, terrible work habits, unforgiving union stipulations and a hard lesson in preconceived notions -- showing him that working with unschooled but enthusiastic rock musicians also had its advantages, and giving rise to his well-documented love/hate (mostly hate) relationship with symphony orchestras thereafter. According to Zappa, the LSO crew were hardly expecting a hard day's toil from the works of a ‘rocker,' resulting in so many screw-ups that much of the material had to be heavily edited after the fact in the studio. This 1995 edition combines the two London Symphony Orchestra volumes released on vinyl in the mid-80's into a single 2-CD set, even re-sequencing the material to reflect Frank Zappa's original, idealized performance order -- all of it made possible by the wonders of compact disc technology. Therefore, for fans of Zappa's so called ‘serious' music (i.e. not rock-based), London Symphony Orchestra Vol. I & II offers both premier ("Sad Jane," "Bob in Dacron") and re-arranged compositions taken from his massive past oeuvre ("Pedro's Dowry," "Bogus Pomp"). Though not as fulfilling as 1993's fantastic The Yellow Shark, this set will still has plenty going for it in the eyes of committed fans. by Eduardo Rivadavia 

BURHAN ÖÇAL & ISTAMBUL ORIENTAL ENSEMBLE - Gypsy Rum (1998) FLAC (image+.cue), lossless

BOBBY McFERRIN - VOCAbuLarieS (2010) FLAC (tracks+.cue), lossless

Bobby McFerrin has always been a wildly restless talent, continually looking to develop fresh ideas for the human voice and place it in -- sometimes wildly -- different contexts from simple folk and pop songs to improvisational settings to strident compositional frameworks. His productions include duet records with instrumentalists Chick Corea and Yo-Yo Ma, as well as the creation of a virtual a cappella choir from his own vocal overdubs. All of this said, there has always been “something missing” from his recorded works that shows itself in concert, outside recording studio confines. On VOCAbuLarieS he seems to have found it. This is the work that anyone remotely interested in McFerrin needs to hear. Collaborating with composer, arranger, and conductor Roger Treece over seven years, McFerrin’s been given a foil who not only understands his previous output, but can focus his ideas and take them to the next developmental peak. The pair employed over 50 vocalists from different genres and nations to create a virtual choir in the studio. According to a press release, they cut over 1,400 vocal tracks. The music here is “fusion” in the most seamless and beautiful sense of the word: classical, pop, soul, Middle Eastern, African, and Eastern European vocal traditions all move together, and encounter one another head-on. They meld into a whole where the seams show, but are elegantly aurally tailored to create something entirely new -- even if the material always isn’t. Three selections here come from the controversially beautiful Medicine Music album, from 1996. But the versions here are radically different than the originals; the voices, rhythms, textures, and even ambiences of these voices have a more muscular quality, much more forceful and complex while simultaneously being more "listenable." The opener, “Baby,” provides proof. In the original it was a simple folk song, a lullaby with African roots; here is it a harmonically challenging, intricate labyrinth where 22 singers accompany McFerrin as well as a rhythm section. ”Wailers” is a pulsing chant with Middle Eastern, African, and Eastern European harmonies woven together by singers who include Sussan Deyhim, Luciana Souza, and Janis Siegel. ”He Ran to the Train” combines -- in a wholly new way -- two tracks from Medicine Music in an explosively knotty, compellingly emotional call-and-response piece that is as rhythmically complex as it is harmonically. The set closes with “Brief Eternity,” a new piece of modern sacred music that evokes everything from Gregorian chant and polyphony to John Tavener and Arvo Pärt. VOCAbuLarieS is easily McFerrin’s finest moment on record as well as his most ambitious, and should win him some new fans even among cynics. by Thom Jurek 
Tracklist:
1 Baby 8:04
Bobby McFerrin / Roger Treece
2 Say Ladeo 8:44
Bobby McFerrin / Don Rosler / Roger Treece
3 Wailers 10:25
Bobby McFerrin / Roger Treece
4 Messages 11:22
Don Rosler / Roger Treece
5 The Garden 8:34
Bobby McFerrin / Roger Treece
6 He Ran to the Train 10:29
Bobby McFerrin / Roger Treece
7 Brief Eternity 06:13
Don Rosler / Roger Treece

BOBBY McFERRIN - VOCAbuLarieS

 (2010) Emarcy / FLAC (tracks+.cue), lossless

 O Púbis da Rosa

RICHARD GALLIANO - French Touch [1999]

Tango accordion has a clear icon in the late Astor Piazzolla, but these days Richard Galliano is making a strong case for being the premier jazz accordionist. He's as lyrical as one needs, swings like mad, or brings tempos down to a sensual jog with passion and soul. When called upon, he can play a gut-wrenching tango or two himself. For this effort he's joined by two different crack rhythm sections, the brilliant Jean-François Jenny-Clark and Daniel Humair (seven tracks), or the slightly cut below Remi Vignolo and Andre Ceccarelli (four tracks), bass and drums respectively. It's not hard to hear a distinctly French but improvisationally Americanized sound. The lone standard, "You Must Believe in Spring," is one of many waltzes, but this one jumps from second to fifth gear, Galliano rapidly flying through the changes. The title track is also quick, with "Augusta" more a sprightly 3/4, while "L'Envers du Décor" is an easier modal three beat. Nods to Brazilian Hermeto Pascoal are heard on his composition "Bébé" and the mallets on drums and heavy conga beat-based fanfare and theme of "Passarinho." Galliano plays his accordion and whistles in unison on both tracks. Soprano saxophonist Michel Portal swings with Galliano, Humair, and Clark on the 6/8 "J.F.," while Clark duets with Galliano on "Sanguine," which is far from bloody, more like sweet sangria. "Heavy Tango" is as it is titled -- hard-driving and no holds barred -- and there's a slow samba, "Sanfona," one of nine of Galliano's written works. Even when the swing is light, as on "Caruso," Galliano's button pushing is active, pulsing, and popping. There's much to like on this, Galliano's most engaging CD. Perhaps some will beg for more variation, like the Portal cut. But these rhythm sections, especially Europe's finest Clark and Humair, push Galliano's artistry to greater heights, providing the listener with a unique experience in a jazz and even more so in a world music context. Highly recommended. by William Ruhlmann   
Tracklist:
1 Bébé 3:22
Hermeto Pascoal
2 A French Touch 3:08
Richard Galliano
3 J.F. 6:31
Richard Galliano
4 Caruso 3:33
Lucio Dalla
5 Heavy Tango 4:04
Richard Galliano
6 Sanguine 3:51
Richard Galliano
7 Augusta 5:21
Richard Galliano
8 You Must Believe in Spring 4:19
Alan Bergman / Marilyn Bergman / Jacques Demy / Michel Legrand
9 Passarinho 2:25
Richard Galliano / Dudu Tucci
10 Sanfona 3:09
Richard Galliano / Egberto Gismonti
11 L 'Envers du Décor 4:24
Richard Galliano
12 Tacot Blues 3:25
Richard Galliano / Daniel Humair
Credits
Accordion – Richard Galliano
Acoustic Guitar – Jean-Marie Ecay (tracks: 1, 10)
Double Bass – Jean-François Jenny Clark (tracks: 2 to 4, 6, 7, 11, 12),
                     –  Rémi Vignolo (tracks: 1, 5, 8, 10)
Drums – André Ceccarelli (tracks: 1, 5, 8, 10), Daniel Humair (tracks: 2 to 4, 7, 9, 11, 12)

RICHARD GALLIANO - French Touch 

[1999] Dreyfus Jazz / CBR320k / scans

O Púbis da Rosa

JOHN ADAMS - The Earbox : A 10-CD Retrospective (1999) FLAC (image+.cue), lossless

Track Listing - Disc 1

Harmonium, for chorus & orchestra
1 I. Negative Love 10:32
John Adams
2 II. Because I Could Not Stop for Death 9:41
John Adams
3 III. Wild Nights 11:43
John Adams
Shaker Loops, for 7 strings or string orchestra
4 I. Shaking & Trembling 8:25
John Adams
5 II. Hymning Slews 5:08
John Adams
6 III. Loops & Verses 6:54
John Adams
7 IV. A Final Shaking 3:56
John Adams

Track Listing - Disc 2

1 The Chairman Dances, foxtrot for orchestra 12:36
John Adams
Grand Pianola Music, for 3 sopranos, 2 pianos, winds, brass & percussion
2 First Movement 15:12
John Adams
3 Second Movement 7:50
John Adams
4 Third Movement: On the Dominant Divide 7:59
John Adams
5 Fearful Symmetries, for orchestra 28:02
John Adams

Track Listing - Disc 3

Nixon in China, opera
1 Act 1. Scene 1. Opening 2:53
John Adams
2 Act 1. Scene 1. "Soldiers of heaven hold the sky" 2:48
John Adams
3 Act 1. Scene 1. "The people are the heroes now" 2:49
John Adams
4 Act 1. Scene 1. Landing of The Spirit of '76 2:22
John Adams
5 Act 1. Scene 1. "Your flight was smooth, I hope?" 1:19
John Adams
6 Act 1. Scene 1. "News has kind of mystery:" 7:09
John Adams
7 Act 1. Scene 3. "Ladies & gentlemen, Comrades & friends," 6:37
John Adams
8 Act 1. Scene 3. "Mr. Premier, distinguished guests," 2:36
John Adams
9 Act 1. Scene 3. Cheers 3:50
John Adams
10 Act 2. Scene 1. "This is prophetic!" 8:31
John Adams
11 Act 2. Scene 2. Opening 2:53
John Adams
12 Act 2. Scene 2. "Oh what a day / I thought I'd die!" 4:48
John Adams
13 Act 2. Scene 2. "Whip her to death!" 2:33
John Adams
14 Act 2. Scene 2. "I am the wife of Mao Tse-tung" 6:33
John Adams
15 Act 3. "Let us examine what you did." 2:43
John Adams
16 Act 3. "When I woke up" 1:20
John Adams
17 Act 3. "I have no offspring." 1:54
John Adams
18 Act 3. "I can keep still," 2:11
John Adams
19 Act 3. "After that - / The sweat / Had soaked my uniform" 2:28
John Adams
20 Act 3. "Peking watches the stars," 2:42
John Adams
21 Act 3. "You won at poker." 3:14
John Adams
22 Act 3. "I am old & cannot sleep" 4:24
John Adams

Track Listing - Disc 4

1 The Wound-Dresser, for baritone & orchestra 19:11
John Adams
2 Christian Zeal and Activity, for chamber ensemble 10:06
John Adams
3 Thoreau, song for voice & piano, S. 373 (K. 6B52) 1:56
Charles Ives [John Adams]
4 Down East, song for voice & piano, S. 236 (K. 6B60b) 2:28
Charles Ives [John Adams]
5 Cradle Song, song for voice & piano, S. 233 (K. 6B60a) 1:25
Charles Ives [John Adams]
6 At the River, song for voice & piano, S. 214 (K. 6B54) 1:16
Charles Ives [John Adams]
7 Serenity, song for voice & piano, S. 347 (K. 6B60d) 2:02
Charles Ives [John Adams]
8 Eros Piano, for piano & orchestra 14:52
John Adams

Track Listing - Disc 5

The Death of Klinghoffer, opera
1 Prologue. Chorus of the Exiled Palestinians 8:34
John Adams
2 Prologue. Chorus of the Exiled Jews 8:33
John Adams
3 Act 1. Scene 1. "It was just after 1:15" 8:09
John Adams
4 Act 1. Scene 1. " My Grandson Didi, who was two" 5:10
John Adams
5 Act 1. Scene 1. "Give these orders" 2:01
John Adams
6 Act 1. Scene 1. "So I said to my grandson" 1:17
John Adams
7 Act 1. Scene 1. "We are sorry for you" 1:17
John Adams
8 Act 1. Scene 1. Night Chorus 3:38
John Adams
9 Act 1. Scene 1. Chorus of Hagar & the Angel 5:24 John Adams 10 Act 2. Scene 1. "I've never been a violent man" 3:28 John Adams 11 Act 2. Scene 1. "You are always complaining of your suffering" 5:13
John Adams
12 Act 2. Scene 2. Aria of the Falling Body (Gymnopédie) 7:23 John Adams 13 Act 2. Scene 2. Day Chorus 4:30 John Adams
Track Listing - Disc 6

1 Tromba Lontana, fanfare for orchestra 4:17 John Adams 2 Short Ride in a Fast Machine, fanfare for orchestra 4:19 John Adams 3 Common Tones in Simple Time for orchestra 20:43 John Adams El Dorado, for orchestra 4 Part I. A Dream of Gold 12:39 John Adams 5 Part II. Soledades 16:09
John Adams

Track Listing - Disc 7

Harmonielehre, for orchestra
1 Part I. 17:12
2 Part II. The Anfortas Wound 12:24
3 Part III. Meister Eckhardt & Quackie 10:41
Violin Concerto
4 Part I. 14:56
5 Part II. Chaconne: "Body through which the dream flows" 11:30
6 Part III. Toccare 7:40 John Adams
Track Listing - Disc 8

Chamber Symphony
1 Mongrel Airs 7:50 John Adams 2 Aria with Walking Bass 8:13 John Adams 3 Roadrunner 5:52 John Adams Hoodoo Zephyr, for electronics
4 Tundra 10:34
John Adams
5 Disappointment Lake 8:15 John Adams 6 Hoodoo Zephyr 10:30 John Adams Gnarly Buttons, for clarinet & ensemble
7 The Perilous Shore 10:01 John Adams 8 Hoe-down (Mad Cow) 5:50 John Adams 9 Put Your Loving Arms Around Me 8:31 John Adams
Track Listing - Disc 9

I Was Looking at the Ceiling and Then I Saw the Sky, songplay
1 Act 1. I Was Looking at the Ceiling & Then I saw the Sky 8:05 2 Act 1. A Sermon on Romance 3:11 3 Act 1. Consuelo's Dream 4:55 4 Act 1. Mike's Song about Arresting a Particular Individual 3:22 5 Act 1. Tiffany's Solo 4:52 6 Act 1. Song about the On-Site Altercation 2:51 7 Act 1. Song about the Bad Boys & the News 6:20 8 Act 1. Your Honor My Client He's a Young Black Man 5:40 9 Act 1. Leila's Song: Alone (Again or at Last) 4:17 10 Act 2. Three Weeks & Still I'm Outta My Mind 5:12 11 Act 2. Crushed by the Rock I Been Standing On 4:37
12 Act 2. Dewain's Song of Liberation & Surprise 5:29
13 Act 2. Este País! / This Country! 4:27
14 Act 2. One Last Look at the Angel in Your Eyes 2:00
15 Act 2. Finale 4:36 John Adams
Track Listing - Disc 10

1 Lollapalooza, for orchestra 6:47
John's Book of Alleged Dances, for string quartet
2 Judah to Ocean 2:34 John Adams 3 Toot Nipple 1:15 John Adams 4 Dogjam 2:34 John Adams 5 Pavane: She's so Fine 6:34 John Adams 6 Rag the Bone 3:04
John Adams
7 Habanera 4:49
John Adams
8 Stubble Crotchet 2:44
John Adams
9 Hammer & Chisel 1:16
John Adams
10 Alligator Escalator 3:54
John Adams
11 Ständchen: The Little Serenade 4:58
John Adams
12 Judah to Ocean (reprise) 2:38
John Adams
13 Slonimsky's Earbox, for orchestra 13:20
John Adams

IKUE MORI - Hex Kitchen [1995] Tzadik / FLAC

Hex Kitchen showcases downtown New York musician Ikue Mori at the height of her compositional abilities. While her unique manipulation of samples and drum machines always yields interesting sounds, some of her improvisatory and recorded work leaves something to be desired in terms of musical structure. This release, however, offers the fascinating percussive and machine sounds Mori is known for, along with some highly inventive, yet listenable songs. Most of the tracks even clock in at the three- to four-minute range, making for the closest approximation of a conventional album that will ever come from this purely experimental electronic musician. Boasting an appearance by John Zorn on clarinet, Hex Kitchen is an all-star avant-garde ensemble piece with some inspired playing by Zeena Parkins on electric harp and accordion, trombonist Jim Staley, and violinist Hahn Rowe. The real highlights of the album come with the first three tracks, though. Album opener "Slush" showcases Mori's unique approach to rhythm with driving, syncopated solo drum machines and sampler. "Woke Up Aghast" is rather catchy with a rolling bassline courtesy of Hideki Kato and surprising use of bagpipes by David Watson. Here, Mori also introduces her haunting use of vocals, which have a sort of lullaby-ish quality that portrays a frightening innocence when coupled with Mori's abrasive samples. Zorn's clarinet work, coupled with Parkins' accordion and the odd vocalizations of Catherine Jauniaux on "Angler Fish" make for the album's best moments. Hex Kitchen remains consistently solid, however, with Mori laying a solid foundation for the other musicians to work on top of, using drum machines and samplers to create alternately strong rhythmic bases and brief blasts of utter chaos. The sum total is an engaging experimental work that would be a good starting point for the uninitiated.   by Matthew Carlin   
Tracklist  
1 Slush 2:40
2 Woke Up Aghast  3:16
Bagpipes – David Watson
Bass – Hideki Kato
3 Angler Fish  3:51
Clarinet – John Zorn
Harp [Electric], Accordion, Keyboards – Zeena Parkins
Vocals – Catherine Jauniaux
4 Shiver   3:10
Guitar – Hahn Rowe
Harp [Electric] – Zeena Parkins
Vocals – Catherine Jauniaux
5 Recipe 4:11
6 Loops   3:28
Bass – Hideki Kato
Harp [Electric] – Zeena Parkins
7 Kiss Of Fire   3:46
Bass, Violin – Hahn Rowe
Vocals – Catherine Jauniaux
8 Eight Million Ways To Die   4:22
Accordion – Zeena Parkins
Violin – Hahn Rowe
9 Clapper 2:49
10 Dau Miu   4:12
Trombone – Jim Staley
11 Hive  5:13
Guitar – David Watson
Harp [Electric] – Zeena Parkins
Credits
Drum Machine, Sampler, Vocals, Producer – Ikue Mori
Executive-Producer – John Zorn

 IKUE MORI - Hex Kitchen 

[1995] Tzadik / FLAC / scans

O Púbis da Rosa

JIM O'ROURKE - Terminal Pharmacy [1995] Tzadik / FLAC

With Terminal Pharmacy, Jim O'Rourke creates a soundscape so calm and minimal that some people, lacking patience for the seeming formlessness, could do entirely without it, while others will find themselves repeatedly putting it in their CD player at home, work, or wherever they need warmth dispersed throughout the air. Seeping steadily from the edge of silence comes crackles, thin fuzz, and extended string tones. Less narrative than what "electro-acoustic" usually refers to, "Cede" hums at the back of your mind. Given almost a minute of silence in between, the second piece then begins; sounding like a very quiet improvisation, the instruments whisper bowed rounds, a conversation in tininess that grows bolder at moments.  by Joslyn Layne
Tracklist:
1 Cede  41:32
Bass Trombone – Jeff Cortazzo
Clarinet – Tony Burr
Drums [Drum Set] – John McEntire
2 [Silence] (no audio) 0:59
3 Terminal Pharmacy   8:21
Accordion – Isha Suftin, Rob Prosser
Acoustic Guitar – Jim O'Rourke
Alto Flute – Lisa Hemmer, Sue Oberg
Cello – Dan Loch, Hattie Franck, Mike Dockter, Robert Keckmary Labreque, Stan Saderk
Clarinet – Tony Burr
Flute [Bass] – Jim Vanden, Wendi Lev

JIM O'ROURKE - Terminal Pharmacy 

[1995] Tzadik / FLAC / scans

O Púbis da Rosa

JOHN CAGE Meets SUN RA [1987]

Due to variety and musicality, Sun Ra heavily defeats John Cage on the performance. He opens the concert with a huge, furious, dissonant keyboard performance. The crowd cheers wildly and the spacey synthesizer sounds jump all around the range of the instrument and jump around in styles just as quickly. Elements of jazz flow in and suddenly a huge, orchestral sounding chord will overpower the recording instrument. The synth voices change frequently from a typical square lead voice to a bell sound to a synthesized voice. Sun Ra uses his range of voices perfectly, creating a heavy, metallic sound at some points which makes an even more frenzied sound to the already insane harmonic structure. He manages to jump from the most beautiful chords to the most dissonance in a matter of seconds. His first appearance goes on for 7 and a half minutes, garnering tumultuous applause from the audience. He later closes out the first half of the performance with a much more eastern tinged movement. Just when his playing couldn’t get any darker, he spends most of the second half making ambient, creepy noises. Much in the manner of the Mars Volta, he goes off without any sense of time or rhythm, creating whatever comes to mind. However, he lets the ambience slowly build into huge, crashing chords of either beauty or dissonance. Everything is going somewhere.

John Cage is just the opposite. His performance is much simpler. He merely steps up to a microphone and makes strange vocal noises. Cage’s voice sounds akin to an aging Johnny Cash. However, Cage never steps over saying more than 3 or 4 syllables at a time. He takes minute breaks before starting another few indistinguishable syllables. Of course, he relies on his “chance music” theory to get away with the minutes of silence. Sure, it’s a profound and intriguing idea, but it just gets old after a few minutes, especially when the recording buzzes in the background due to the quality. In truth, Cage is reciting excerpts from one of his poems in some strange language, known as Empty Words IV. However, who knows what he is saying? Luckily, Sun Ra saves the performance on the second half by filling in where Cage leaves silence. He fills with light, dainty keyboard lines way up high on the keys. He lets Cage have the show, not doing much of anything, but neither Cage still does less than Sun Ra. Cage proves a better composer and philosopher than a performer. Regardless, the crowd eats everything up, probably being mostly young, profound college kids themselves.

Side A:
John Cage Meets Sun Ra (Cage-Ra)
Side B:
John Cage Meets Sun Ra (Cage-Ra) (cont.)

Alternates performances by Sun Ra-Yamaha DX-7; and John Cage-voc. Sideshows by the Sea, Coney Island, NY, 6/8/86. [Album jacket plus Andrejko]

Rarely heard live recording of a John Cage and Sun Ra performance from 1986. It was recorded at Sideshows by the Sea, the last surviving freak show along the Coney Island boardwalk. A carnival barker and a snake lady hawked the show outside and there was free pizza served, too. Can you imagine?!?! This concert took place on June 8th and pressed as a limited edition LP the following year. by Tyler Fisher writes on Sputnik Music

 John Cage Meets Sun Ra

]1987] Meltdown MPA-1 / LP / FLAC / scans

O Púbis da Rosa