OREGON (ft. Ralph Towner, Collin Walcott, Paul McCandless, Glenn Moore) Berliner Jazztage 1980 (1980) VIDEO | VHS (MPG)

Tracklist :
1- Cloud Dance (Walcott) / (improvisation) (Oregon)
2- Waterwheel (Towner)
3- Beneath An Evening Sky (Towner)
4- Vessel (Towner)
Credits :
Ralph Towner - Classical and 12-String Guitars, Piano
Collin Walcott - Percussion, Sitar
Paul McCandless - Reeds
Glenn Moore - Double Bass

TONY SCOTT — Tony Scott (1967-2004) RM | Serie LP Reproduction | FLAC (tracks+.cue), lossless

 Tony Scott's 1967 self-titled album for Verve is a good example of what makes him such an interesting but frustrating artist. After branching out from mainstream jazz in the 1950s, clarinetist Scott began exploring ethnic and folk music. Here listeners find him switching between straight-ahead standards and avant-garde, Eastern-influenced melodies. The result is utterly schizophrenic and ultimately makes for a frustrating listen. That said, Scott is a phenomenal musician and -- when he sticks to the experimental stuff -- is quite compelling. Matt Collar   Tracklist & Credits :

MEREDITH MONK : KEY (1971-1995) FLAC (image+.cue), lossless

Re-release on CD of the 1973 classic. Monk's modern folk music from her beautiful and noble performance-ceremonies that recall former times and a lineage of human understanding beyond the present state of things. Songs include "Porch," "Under Street," "What Does it Mean?," "Vision," "Fat Stream," "Do you be?" "Vision" (reprise), "Change," and "Dungeon" with Meredith Monk, voice, organ, jew's harp; Daniel Ira Sverdlik, Dick Higgins, Colin Walcott, Lanny Harrison, and Mark Monstermaker, voices. See also her beautiful "Phantom Waltz" in the collection U.S. Choices by the piano duet Double Edge. by "Blue" Gene Tyranny

MEREDITH MONK

1-10    Key, an album of invisible theatre for solo voice, electronic organ, vocal quartet, percussion & Jew's harp

Percussion [Mrdingam], Producer [Production Supervisor] – Collin Walcott
Voice [Companion] – Collin Walcott, Daniel Ira Sverdlik, Dick Higgins
Voice [Travelling], Jew's Harp, Organ [Electric] – Meredith Monk
Voice [Vision Monologues] – Lanny Harrison, Mark Berger

MEREDITH MONK : Our Lady of Late (1973-1988) FLAC (image+.cue), lossless

MEREDITH MONK

1-18    Our Lady of Late: Music for Voice and Glass

Instrumentation By, Other [Title] – William Dunas
Percussion, Performer [Glass] – Collin Walcott
Voice, Performer [Glass] – Meredith Monk

MEREDITH MONK : Dolmen Music (1981) APE (image+.cue), lossless

Meredith Monk has such a wonderful and unique vocal style that she is able to sing in complete abstraction (no known words or language for much of the album) yet maintain a very emotional and even sentimental quality in these abstractions, at times. Listeners who can get past just how unique and abstract her approach is will find immense joy and sadness deep within her pieces. On Dolmen Music, Monk wavers from being sad to the point of being quite morose (such as the tracks "Gotham Lullaby" and "The Tale") to being happy to the point of hysteria (as on "Traveling" and "Biography") without skipping a beat. Most of the musical accompaniment is minimalist (mainly piano with occasional, sparse percussion, guest vocalists also being prominent on the final six-part track "Dolmen Music"). This minimalist support only furthers Monk's vast vocal language as the prominent focus in the recordings. Listeners will also be very pleased to find that her wonderful voice is not crowded or overshadowed. A true original, Monk's work should be sought by anyone with an interest in vocal exploration. by Michael G. Breece  

MEREDITH MONK

1    Gotham Lullaby    4:15
Piano – Meredith Monk
Percussion, Violin – Collin Walcott
2    Travelling    6:15
Piano – Meredith Monk
Percussion, Violin – Collin Walcott
3    The Tale    2:47
Piano – Meredith Monk
Piano – Steve Lockwood
4    Biography    9:24
Piano – Meredith Monk
5-10    Dolmen Music    (23:39)
Voice, Percussion – Julius Eastman
Voice, Cello – Robert Een
Voices – Andrea Goodman, Monica Solem, Paul Langland
Voice, Percussion – Julius Eastman
   
Producer – Collin Walcott, Manfred Eicher

MEREDITH MONK : Turtle Dreams (1983) APE (image+.cue), lossless

A daring display of vocal gymnastics and a journey back to childhood when all sounds were wondrous, Turtle Dreams includes the title track composition for four voices (two men, two women) and four organs as well as shorter pieces featuring various combinations of voice, Casio, piano, miniMoog, and didgeridoo. Monk's work raises smiles as well as the hair on the back of the neck. Here she seems tapped into some primordial force -- humming, babbling, chattering, all set to looping, funereal organ works of chromatic simplicity. Mesmerizing yet never mechanical, the side-long "Turtle Dreams" and "View 1" derive their pleasures from the infinite sounds of the human voice. The entire album accompanied a multimedia work where Monk and three other singer/dancers were intercut with shots of a turtle walking over various terrains (including miniature cities, looking like a monster movie). Comforting thoughts during any listen. by Ted Mills

MEREDITH MONK

1    Turtle Dreams (Waltz)    17:50
Voices – Andrea Goodman, Meredith Monk, Paul Langland, Robert Een
Organ – Collin Walcott, Julius Eastman, Meredith Monk, Steve Lockwood
2    View 1    10:14
3    Engine Steps    2:00
4    Ester's Song    1:13
5    View 2    6:02
Didgeridoo [Didjeridoo] – Collin Walcott
Piano, Synthesizer [Mini-Moog], Keyboards [Casio] – Meredith Monk

DAVID DARLING - Cycles (1982) APE (image+.cue), lossless

Cellist David Darling, best known at the time for his long stint with Paul Winter's Consort, mostly performs spacy ballads on this ECM release. Teamed up in different combinations (three unaccompanied solos, a duet, two trios and a quintet number) with Collin Walcott (who doubles on sitar and tabla), pianist Steve Kuhn, Jan Garbarek (on tenor and soprano), acoustic guitarist Oscar Castro-Neves and bassist Arild Andersen, Darling and his sidemen give the music a wide variety of sounds. However, the sleepy mood is very much in the stereotypical ECM mold, making this set mostly of interest for selected tastes. by Scott Yanow
Tracklist :
1     Cycle Song 7:09
David Darling
2     Cycle One: Namaste 4:11
David Darling / Jan Garbarek
3     Fly 9:25
David Darling
4     Ode 6:55
David Darling
5     Cycle Two: Trio 5:30
David Darling
6     Cycle Three: Quintet and Coda 7:52
David Darling
7     Jessica's Sunwheel 5:21
David Darling
Credits :
Bass – Arild Andersen
Cello, Cello [8-string Electric] – David Darling
Guitar – Oscar Castro-Neves
Piano – Steve Kuhn
Producer – Manfred Eicher
Saxophone [Tenor, Soprano] – Jan Garbarek
Sitar, Tabla, Percussion – Collin Walcott

OREGON – Our First Record (1970-2004) RM | Serie Oregon Collection Vol.1 | FLAC (tracks+.cue), lossless

Tracklist :
1 Canyon Song 2:47
Ralph Towner
2 Full Circle 4:42
Ralph Towner / Collin Walcott
3 Japan/Charles St. Melancholy 3:35
Oregon / Ralph Towner
4 Collin's Delite 3:42
Collin Walcott
5 Cry of the Peacock/Coral 6:25
Ralph Towner / Collin Walcott
6 Maty's New Bloom 2:17
Glen Moore
7 Aheer 7:06
Collin Walcott
8 Recuerdos 3:40
Francisco Tárrega
Arranged By – Ralph Towner
9 L' Histoire du Farm Suite 3:51
Oregon
10 Jade Visions 3:20
Scott LaFaro
11 Molecular 1:34
Oregon
12 Margueritte 3:09
Collin Walcott
13 Entrez Devotée Compagne 1:01
Traditional
Arranged By – Ralph Towner
Credits :
Classical Guitar, Twelve-String Guitar, Piano, Mellophone – R. Towner (faixas: 8, 13)
Flute, Bass – Glen Moore
Oboe, English Horn – Paul McCandless
Producer – Oregon
Tabla, Sitar, Twelve-String Guitar, Percussion, Esraj, Liner Notes – C. Walcott (faixas: 2, 4, 5, 7, 12)

OREGON – Distant Hills (1973) FLAC (image+.cue), lossless

DISTANT HILLS, Oregon's 1973 follow-up to MUSIC FROM ANOTHER PRESENT ERA, is as eclectic, genre-bending, and pleasurable as its predecessor. The unique talents of multi-instrumentalists Collin Walcott, Glen Moore, Ralph Towner, and Paul McCandless work together in a fashion that recalls the collective precision of 20th-century classical chamber music, yet with the range and improvisatory flair of jazz.
Like most of Oregon's output, DISTANT HILLS is marked by forays into trans-global sounds. The sitar-fueled "Dark Spirit," for example, conjures uneasy, snake-charmer dreams, and the bongos-and-violin duet of "Mi Chinita Suite" sounds like an avant-garde recital in the Amazon. The high, reedy keen of "Confession" and the dramatic shape-shifting of "Canyon Song" testify to the fact that although Oregon's music is quite accessible, at its root it is dedicated to vital experimentation. AllMusic
Tracklist :
1     Aurora 7:48
Ralph Towner
2     Dark Spirit 5:55
Ralph Towner
3     Mi Chinita 7:02
Paul McCandless / Glen Moore / Ralph Towner / Collin Walcott
4     Distant Hills 6:34
Ralph Towner
5     Canyon Song 5:04
Ralph Towner
6     Song for a Friend 5:24
Ralph Towner
7     Confession 6:25
Paul McCandless / Glen Moore / Ralph Towner / Collin Walcott
Credits :
Bass – Glen Moore
Guitar – Ralph Towner
Oboe – Paul McCandless
Producer – Oregon
Sitar, Tabla – Collin Walcott

OREGON - Winter Light (1974-1990) FLAC (tracks+.cue), lossless

If there was a "second best" recording from Oregon in their early years, this would be it. The concept of "Winter Light" certainly reflects the visage of the Pacific Northwest in the fourth season, yet it is a music, and time of year, filled with hope for the future while pondering a somewhat bleak present. Winter can be pleasant, bearable and filled with its own snowy delights. The first three pieces on their own are worth the price of this entire project, and are definitive works from the quartet. "Tide Pool" while accented with bizarre twists, is anchored by Walcott's energetic tabla and Towner's pure bred energy on acoustic guitar. Of course Jim Pepper's "Witchi-Tai-To" is classic, made moreso by the group's personal collective serenity and peace injected into the flavor of the composition. "Ghost Beads" is really the one for Towner and oboist Paul McCandless to dig in and fully express their vitruosity. These are three great examples of early world music. While the rest of the recording is not as provocative, it is still well played and conceived. "Winter Light" is heartily recommended as your follow-up Oregon purchase after "Music Of Another Present Era," with "Distant Hills" a close third. by Ron Wynn  
Tracklist :
1     Tide Pool 8:34
Ralph Towner
2     Witchi-Tai-To 3:26
Jim Pepper
3     Ghost Beads 6:38
Ralph Towner
4     Deer Path 2:47
Glen Moore
5     Fond Libré 5:04
Paul McCandless
6     Street Dance 2:08
Oregon
7     Rainmaker 4:27
Ralph Towner
8     Poesia 5:25
Oregon
9     Margueritte 4:05
Collin Walcott
Credits :
Double Bass, Electric Bass, Violin, Flute – Glen Moore
Oboe, English Horn, Bass Clarinet – Paul McCandless
Piano – Glen Moore (faixas: 4)
Producer – Oregon
Tabla, Sitar, Percussion [Pakhawaj], Congas, Percussion, Dulcimer, Clarinet, Photography By [Cover] – Collin Walcott
Twelve-String Guitar, Body Percussion [Hands], Percussion [Clay Drums], French Horn, Piano, Classical Guitar – Ralph Towner

OREGON – In Concert (1975-2001) FLAC (image+.cue), lossless

A textbook live recording by Oregon, a premier acoustic band. It contains their usual classical, African, and jazz elements and shows that they're more aggressive and animated in performance than in the studio. The recording is excellent and fully displays the broad range of colors, rhythms, and textures that they present. Ron Wynn
Tracklist :
1     Introduction 0:42
George Schutz
2     Become, Seem, Appear 6:39
Oregon
3     Summer Solstice 9:43
Ralph Towner
4     Undertow 3:43
Paul McCandless
5     The Silence of a Candle 9:50
Ralph Towner
6     Tryton's Horn 5:04
Oregon
7     Yet to Be 6:56
Ralph Towner
Credits :
Bass, Flute, Violin – Glen Moore
Ensemble – Oregon
Oboe, English Horn, Bass Clarinet, Flute [Wooden] – Paul McCandless
Piano – Glen Moore (faixas: 6), Ralph Towner (faixas: 7)
Producer – Oregon
Sitar, Tabla, Clarinet, Percussion, Congas – Collin Walcott
Twelve-string Guitar, Classical Guitar, Mellophone, French Horn, Trumpet – Ralph Towner

OREGON - Friends (1977-1992) FLAC (image+.cue), lossless

Tracklist :
1    Interstate 8:44
Bass – Glen Moore
Congas, Timbales – David Earl Johnson
Oboe – Paul McCandless
Piano – Ralph Towner
Tabla – Collin Walcott
Written-By – Ralph Towner
2    Gospel Song 2:28
Bass – Glen Moore
Bass Clarinet – Paul McCandless
Tenor Saxophone – Bennie Lee Wallace
Written-By – Paul McCandless
3    Grazing Dreams 3:34
Bass – Glen Moore
Classical Guitar – Ralph Towner
Congas – David Earl Johnson
English Horn – Paul McCandless
Sitar – Collin Walcott
Written-By – Collin Walcott
4    Slumber Song 5:54
Bass Clarinet – Paul McCandless
Flute [Bass Flute] – Glen Moore
Percussion – Collin Walcott
Piano – Larry Karush
Twelve-string Guitar – Ralph Towner
Written-By – Paul McCandless
5    Time Remembered 4:43
Bass – Glen Moore
Congas, Hihat – Collin Walcott
English Horn – Paul McCandless
Piano, Percussion – Ralph Towner
Written-By – Bill Evans
6    First Thing In The Morning 3:19
Tabla – Collin Walcott
Tenor Saxophone – Bennie Lee Wallace
Written-By – Bennie Wallace, Collin Walcott
7    Love Over Time 3:46
Piano [Lower Piano] – Glen Moore
Piano [Upper Piano] – Larry Karush
Written-By – Glen Moore
8    Timeless 8:20
Bass – Glen Moore
English Horn – Paul McCandless
Sitar, Tabla – Collin Walcott
Twelve-string Guitar, French Horn – Ralph Towner
Written-By – John Abercrombie

OREGON - Violin (1978) FLAC (tracks+.cue), lossless

Fine late '70s material from the acoustic band Oregon. Despite the title, it's not violin-dominated material, but their standard blend of Asian, European, African, and American elements and influences. by Ron Wynn
Tracklist :
1     Violin (Group Improvisations) 15:34
Oregon
2     Serenade 2:11
Ralph Towner
3     Raven's Wood 9:37
Ralph Towner
4     Flagolet 5:15
Glen Moore
5     Friend of the Family
Ralph Towner
Credits :
Bass – Glen Moore
Ensemble – Oregon
Oboe, Bass Clarinet – Paul McCandless
Piano – Collin Walcott (faixas: 4), Ralph Towner (faixas: 3)
Producer – Oregon
Tabla, Percussion – Collin Walcott
Twelve-String Guitar, Classical Guitar – Ralph Towner
Violin [Guest Artist] – Zbigniew Seifert

OREGON – Out of the Woods (1978-1992) FLAC (image+.cue), lossless

Long before "New Age" and "World Music" became part of the musical-term language, Oregon was making music that would influence (directly or indirectly) those genres. During the early 1970s, the much-maligned fusion movement in jazz was building up steam, and Oregon, in their quiet, understated way, contributed greatly. The band played acoustically--all the players had jazz backgrounds as well as a strong interest in ethnic musics from around the globe. They all played multiple instruments as well.
Oregon's music might be described as elegant folk melodies and "Third World" rhythms played by a jazz band with the precision and grace of a classical chamber ensemble. OUT OF THE WOODS was originally released in 1978, but it sounds like it came from a time all its own. "Witchi-Tai-To" (composed by the late Jim Pepper) has a captivating, dreamlike feel, and "Reprise" shows the respect they have for the blues. Once you take a stroll in these WOODS, you'll want to lose yourself in them. AllMusic
Tracklist :    
1     Yellow Bell 7:02
Ralph Towner
2     Fall 4:26
Glen Moore
3     Reprise 1:02
Ralph Towner
4     Cane Fields 4:35
Paul McCandless
5     Dance to the Morning Star 5:36
Collin Walcott
6     Vision of a Dancer 4:03
Ralph Towner
7     Story Telling 1:03
Collin Walcott
8     Waterwheel 6:26
Ralph Towner
9     Witchi-Tai-To 8:24
Jim Pepper
Credits :
Artwork – David Wilcox
Bass – Glen Moore
Guitar [Classical], Guitar [Twelve String], Piano, Flugelhorn, Percussion – Ralph Towner
Oboe, Cor Anglais, Bass Clarinet – Paul McCandless
Percussion, Guitar, Sitar, Tabla – Collin Walcott
Producer – Oregon

OREGON - Roots in the Sky (1979-1992) FLAC (tracks+.cue), lossless

A 1992 CD reissue of their 1979 album, among their only releases ever issued by a major label. It was characteristically free-wheeling and eclectic, with long stretches of classical, Asian, African, and jazz coming together, and the group mixing structured ensemble work with surging free solos.  by Ron Wynn
Tracklist :
1 June Bug  3:58
Ralph Towner
2 Vessel   7:46
Ralph Towner
3 Sierra Leone  4:04
Collin Walcott
4 Ogden Road  6:30
Ralph Towner
5 House of Wax  4:34
Collin Walcott
6 Hungry Heart  5:31
Paul McCandless
7 Orrington's Escape  0:50
Ralph Towner
8 Roots in the Sky   4:23
Glen Moore
9 Longing, So Long   6:54
Collin Walcott
Credits :
Bass – Glen Moore
Classical Guitar, Twelve-String Guitar, Piano, Flugelhorn, Percussion – Ralph Towner
Oboe, English Horn, Bass Clarinet – Paul McCandless
Percussion, Sitar, Tabla, Guitar – Collin Walcott
Producer – Oregon

OREGON ‎- Moon And Mind (1979-1991) FLAC (image+.cue), lossless

Tracklist :
1    Person-To-Person 3:11
Dulcimer, Tabla – Collin Walcott
Twelve-String Guitar – Ralph Towner
Written-By – Ralph Towner
2    I Remember Me 4:00
Oboe, Bass Clarinet – Paul McCandless
Piano – Glen Moore
Written-By – Jan Hammer
3    Rejoicing 4:17
Arranged By – Collin Walcott
Bass – Glen Moore
Sitar – Collin Walcott
Written-By – Traditional
4    The Elk 6:02
Bass – Glen Moore
Bass Clarinet – Paul McCandless
Written-By – Paul McCandless
5    Gloria's Step 3:14
Bass – Glen Moore
Classical Guitar – Ralph Towner
Written-By – Scott La Faro
6    Moon And Mind 8:22
Oboe – Paul McCandless
Piano – Ralph Towner
Written-By – Paul McCandless
7    Dust Devil 3:03
Flute – Paul McCandless
Tabla – Collin Walcott
Written-By – Paul McCandless
8    Elevator 3:53
Organ [Hammond], Classical Guitar, Percussion – Ralph Towner
Piano, Congas, Percussion – Collin Walcott
Written-By – Collin Walcott, Ralph Towner
9    Dunvegan 4:23
Bass – Glen Moore
Piano – Ralph Towner
Written-By – Ralph Towner 

OREGON - Oregon (1983-1987) FLAC (image+.cue), lossless

In 1983, the ubiquitous composers' collective known as Oregon left its old homestead of Vanguard Records and moved over to Manfred Eicher's ECM. It was also one of the final recordings the band did with multi-instrumentalist Collin Walcott; he was killed in a car accident a year later. Here's the strange thing about this date: Since the early '70s, Oregon had been an acoustic, chamber jazz/improvisational group. ECM had seemed like a proper home to Oregon from the beginning -- especially since Ralph Towner, the group's guitarist and pianist -- had done tons of solo work for the label. So what's the first thing that appears on ECM? Towner playing a Prophet 5 synthesizer on "The Rapids," a track that belongs firmly in the Pat Metheny Group's canon -- even though he composed it. If he were trying for an imitation, he could never have gotten closer. With its crescendos, Paul McCandless' swirling soprano lines lyrically cascading over the top, and the Nana Vasconcelos-like percussion from Walcott, it is identical in compositional structure to anything from Offramp. The group improvisation "Beacon" is more in line with the band's musical aims, featuring Glen Moore on viola and McCandless on oboe, but Towner still holds fast to the synth instead of a guitar or piano. The piece is a study in textures and contrasts, with both Towner and Moore providing tonal drones for McCandless to move through and around. Of the rest, only "Taos" and "There Was No Moon That Night" are reminiscent of Oregon's ingenious musical past. The rest are loosely knit improvisations that seem to go nowhere; they're shoddy studies in dynamics and color with scant traces of microtonal ambiences seeming to be literally thrown in for good measure. If this disc was supposed to signal a new direction in the band's development, somewhere along the line they slipped off track, and despite the use of a Prophet 5, went backwards.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :    
1     The Rapids 8:29
Bass – Moore
Composed By – Towner
Percussion – Walcott
Soprano Saxophone – McCandless
Synthesizer [Prophet 5 Synthesizer], Piano – Towner
2     Beacon 2:56
Composed By – Oregon
Oboe – Paul McCandless
Percussion – Collin Walcott
Synthesizer [Prophet 5] – Ralph Towner
Viola – Glen Moore
3     Taos 6:15
Bass – Glen Moore
Classical Guitar, Synthesizer [Prophet 5] – Ralph Towner
Composed By – Oregon
Percussion, Drum [Tongue Drum] – Collin Walcott
Tin Whistle [Tin Flute] – Paul McCandless
4     Beside a Brook 4:26
Bass – Glen Moore
Composed By – McCandless
Oboe, English Horn – Paul McCandless
Piano, Synthesizer [Prophet 5] – Ralph Towner
5     Arianna 6:29
Bass – Glen Moore
Composed By – Moore
Oboe, English Horn – Paul McCandless
Sitar – Collin Walcott
Twelve-String Guitar, Synthesizer [Prophet 5] – Ralph Towner
6     There Was No Moon That Night 7:19
Bass – Glen Moore
Bass Clarinet – Paul McCandless
Classical Guitar, Synthesizer [Prophet 5] – Ralph Towner
Composed By – Oregon
Percussion – Collin Walcott
7     Skyline 1:19
Bass – Glen Moore
Composed By – Oregon
Percussion – Collin Walcott
Synthesizer [Prophet 5] – Ralph Towner
8     Impending Bloom 7:51
Bass Drum, Voice [Voices] – Collin Walcott
Composed By – Moore
English Horn, Musette – Paul McCandless
Piano, Bass – Glen Moore
Synthesizer [Prophet 5] – Ralph Towner

OREGON - Crossing (1985) FLAC (image+.cue), lossless

One of the earliest and finest exponents of world jazz, Oregon began life in 1970 as an offshoot of the Paul Winter Consort, in which the group's original members had played. From the beginning, the band eschewed most jazz conventions. Percussionist Collin Walcott played tabla, sitar, and dulcimer, among other instruments, but did not use a trap set; bassist Glen Moore doubled on clarinet, viola, and piano, and its front line was formed by a double-reedist (Paul McCandless) and an acoustic guitarist (Ralph Towner). The band's music differed from much of what had heretofore been considered jazz. The concept of blues and swing was given a much-reduced prominence in favor of other, less literal forms of tonal and rhythmic organization. For example, Indian ragas would occasionally replace chord changes, and talas would supplant swing time. The group's dynamic approach was quieter than typical by jazz standards, and their overall aesthetic somewhat introspective. Improvisation was central to the band's work, however, and in this sense their music is most firmly in the jazz tradition. Oregon's music is characterized by a heightened method of ensemble interaction, a rapt attention to timbral contrast, and an openness to any and all cultural influences. After Walcott's death in a car accident in 1984, the group disbanded for a time, before eventually replacing him with percussionist Trilok Gurtu. web
Tracklist :
1    Queen Of Sydney 8:10
Bass, Flute – Moore
Composed By – McCandless
Oboe – McCandless
Synthesizer [Prophet 5 Synthesizer], Piano – Towner
Tabla, Percussion – Walcott
2    Pepé Linque 4:17
Bass – Moore
Bass Clarinet, Soprano Saxophone – McCandless
Composed By – Moore
Synthesizer [Prophet 5], Cornet, Piano – Towner
Tabla, Percussion – Walcott
3    Alpenbridge 6:26
Bass – Moore
Classical Guitar, Synthesizer [Prophet 5] – Towner
Composed By – Towner
Oboe – McCandless
Sitar – Walcott
4    Travel By Day 4:18
Bass – Moore
Composed By – Walcott
Sitar – Walcott
Twelve-String Guitar – Towner
5    Kronach Waltz 3:00
Bass Clarinet – McCandless
Composed By – Moore
Cornet – Towner
Piano – Moore
Snare [Snare Drum], Bass Drum – Walcott
6    The Glide 6:07
Bass – Moore
Composed By – Towner
Piano, Cornet, Synthesizer [Prophet 5] – Towner
Soprano Saxophone – McCandless
Tabla, Percussion – Walcott
7    Amaryllis 8:49
Bass – Moore
Composed By – McCandless
English Horn, Oboe – McCandless
Percussion – Walcott
Twelve-String Guitar, Synthesizer [Prophet 5] – Towner
8    Looking-Glass Man 4:20
Bass – Moore
Composed By – Towner
Piano – Towner
Soprano Saxophone – McCandless
9    Crossing 3:13
Bass – Moore
Classical Guitar, Synthesizer [Prophet 5], Piano, Percussion – Towner
Composed By – Towner
Percussion – Walcott
Soprano Saxophone – McCandless

DON CHERRY / NANÁ VASCONCELOS / COLLIN WALCOTT - The Codona Trilogy (2008) ECM 2033_35 / 3CD / FLAC (tracks+.cue), lossless

 In 2008 ECM Records began an ambitious and handsome reissue project that brought many catalog titles back into print, in handsome gatefold cardboard digipacks with original artwork, and sold them for budget prices. In 2009 ECM jumped into the game of reissuing catalog titles en masse with budget multiple-disc box sets. Among the first of these are the three mysterious albums by the all-acoustic trio Codona, whose members were multi-instrumentalists Collin Walcott, Don Cherry, and Naná Vasconcelos. Codona are not often spoken of for their groundbreaking approach in melding world folk traditions to improvisation and jazz, but the truth is, they were at the very forefront. They used world music traditions authentically -- in the sense that each individual in the group had decades of study and immersion already under his belt before coming to the group -- without attempting to water anything down to make it fit. Codona were about listening and flow, and these three CDs are a monumental testament to that. Silence (not the new age artificial kind, but the true musical kind), space, interplay, compositional and improvisational discipline, and a sense of humor and playfulness mark these recordings as indispensable parts of the ECM catalog, and as important additions to each musician's résumé. The truth of the matter, whether they were playing two Ornette Coleman tunes bridged by one by Stevie Wonder as in "Colemanwonder" on their debut, African traditional music as in "Godumaduma" on Codona, Vol. 2, or an original tune such as "Hey Da Ba Doom" by Walcott on Codona, Vol. 3, the same elements were always applied, and always put to rather astonishingly adventurous use. No one composition sounds like another and no group of elements, regardless of how dissimilar -- from sitar, tabla, sanza, and hammered dulcimer; to berimbau, cuica, and talking drum; to trumpet, doussn'gouni, flutes, and melodica; to voices -- ever sounds out of place or strange no matter how exotic the setting. Codona were the sound of nature unveiled, of music engaged with the universe, of the genuine expertise and good will of a group of master musicians in dialogue with one another. This is remarkable music, and these recordings endure as well as still point the way to what is possible when players check their egos at the door in service of music itself. by Thom Jurek   

 Pure wizardry. The art of the improvisers beyond all borders. Preaching equality for all the idioms, anticipating the gathering wave of “world music”, drawing on traditions from all the continents, Codona was like no other band. Its sound: simultaneously poetic and powerfully evocative and stamped, in every second, with character. Summoned into being by Collin Walcott in 1978, the trio provided an utterly original context for Don Cherry’s starkly melodic trumpet and for the multi-instrumentalism of all three players. This 3-CD box incorporates the albums “Codona” (recorded 1978), “Codona 2” (1980) and “Codona 3” (1982). Excerpt from ECM's Website :

Codona (1978)

1. Like That Of Sky (11:10)
2. Codona (6:16)
3. Colemanwonder, Race Face, Sortie, Sir Duke (3:44)
4. Mumakata (8:18)
5. New Light (13:22)

Codona 2 (1980)

1. Que Faser (7:11)
2. Godumaduma (1:58)
3. Malinye (12:43)
4. Drip-Dry (7:03)
5. Walking on Eggs (3:04)
6. Again and Again, Again (7:32)

Codona 3 (1983)

1. Goshakabuchi (10:55)
2. Hey Da Ba Doom (7:13)
3. Travel By Night (5:55)
4. Lullaby (3:34)
5.Trayra Boia (5:19)
6. Clicky Clacky (4:10)
7. Inner Organs (9:17)

Personnel: 
Don Cherry: trumpet, doussn’gouni, flutes, organ, melodica, voice
Nana Vasconcelos: berimbau, cuica, talking drum, percussion, voice
Collin Walcott: sitar, tabla, hammered dulcimer, sanza, timpani, voice

MILES DAVIS - On the Corner (1972-2000) RM / FLAC (image+.cue), lossless

Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the story has been broken off in the middle -- deep street music melding with a secret language exchanged by the band and those who can actually hear it as music. Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin's distortion-box frenzy. Michael Henderson's bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams' synthesizer. Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers -- three kits (Al Foster, Billy Hart, and Jack DeJohnette), a tabla player, and Mtume. It's a four-tune suite, On the Corner is, but the separations hardly matter, just the shifts in groove that alter the time/space continuum. After 20 minutes, the set feels over and a form of Miles' strange lyricism returns in "Black Satin." Though a tabla kicks the tune off, there's a recognizable eight-note melody that runs throughout. Carlos Garnett and Bennie Maupin replace Liebman, Dave Creamer replaces McLaughlin, and the groove rides a bit easier -- except for those hand bells shimmering in the background off the beat just enough to make the squares crazy. The respite is short-lived, however. Davis and band move the music way over to the funk side of the street -- though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. "One and One" begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of "Helen Butte/Mr. Freedom X," where guitars and horns careen off Henderson's cracking bass and Foster's skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician. And it still kicks. by Thom Jurek  
Tracklist:
1 On The Corner / New York Girl / Thinkin' Of One Thing And Doin' Another / Vote For Miles 19:56
Guitar – John McLaughlin
Soprano Saxophone – David Liebman
2 Black Satin 5:15
Sitar [Electric] – Khalil Balakrishna
3 One And One 6:09
Bass Clarinet – Bennie Maupin
Soprano Saxophone – Carlos Garnett
4 Helen Butte / Mr. Freedom X 23:18
Tenor Saxophone – Carlos Garnett
Credits:
Bass – Michael Henderson
Drums – Al Foster, Billy Hart, Jack DeJohnette
Electric Piano [Fender Rhodes] – Chick Corea, Herbie Hancock
Guitar – David Creamer (tracks: 2 to 4)
Organ – Harold "Ivory" Williams
Sitar [Electric] – Collin Walcott (tracks: 1, 3, 4)
Synthesizer – Harold "Ivory" Williams, Herbie Hancock
Tabla – Badal Roy
Trumpet, Composed By – Miles Davis