JOHN COLTRANE - Live at Birdland (1963-2008) FLAC (tracks+.cue), lossless

Arguably John Coltrane's finest all-around album, this recording has brilliant versions of "Afro Blue" and "I Want to Talk About You"; the second half of the latter features Coltrane on unaccompanied tenor tearing into the piece but never losing sight of the fact that it is a beautiful ballad. The remainder of this album ("Alabama," "The Promise," and "Your Lady") is almost at the same high level. by Scott Yanow
Tracklist:
1 Afro Blue 10:49
Mongo Santamaria
2 I Want to Talk About You 8:10
Billy Eckstine
3 The Promise 8:07
John Coltrane
4 Alabama 5:08
John Coltrane

5 Your Lady 6:37

John Coltrane

Credits:

Bass – Jimmy Garrison
Drums – Elvin Jones
Engineer – Rudy Van Gelder
Piano – McCoy Tyner
Tenor Saxophone, Soprano Saxophone – John Coltrane
Written-By – John Coltrane (tracks: 3 to 5)

JOHN COLTRANE - A Love Supreme (1965-2002) 2xCD / DELUXE EDITION / RM / FLAC (tracks), lossless

One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane's classic quartet--Elvin Jones, McCoy Tyner, and Jimmy Garrison-- stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. "Acknowledgement" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. "Resolution" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. "Pursuance" searches deeply for that experience, while "Psalm" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. Clocking in at 33 minutes; A Love Supreme conveys much without overstatement. It is almost impossible to imagine any jazz collection without it. by Sam Samuelson  
Tracklist 1:
1. John Coltrane Part 1 - Acknowledgement 7:43
Vocals – John Coltrane
2. John Coltrane Part 2 - Resolution 7:20
3. John Coltrane Part 3 - Pursuance 10:42
4. John Coltrane Part 4 - Psalm 7:05
Tracklist 2:
1. André Francis Introduction By André Francis 1:13
2. The John Coltrane Quartet Part 1 - Acknowledgement (Live Version) 6:12
3. The John Coltrane Quartet Part 2 - Resolution (Live Version) 11:37
4. The John Coltrane Quartet Part 3 - Pursuance (Live Version) 21:30
5. The John Coltrane Quartet Part 4 - Psalm (Live Version) 8:49
6. John Coltrane Part 2 - Resolution (Alternative Take) 7:25
7. John Coltrane Part 2 - Resolution (Breakdown) 2:13
8. John Coltrane Part 1 - Acknowlegement (Alternative Take) 9:09
Bass – Art Davis
Tenor Saxophone – Archie Shepp
9. John Coltrane Part 1 - Acknowlegement (Alternative Take) 9:23
Bass – Art Davis
Tenor Saxophone – Archie Shepp
Credits:
Bass – Jimmy Garrison
Drums – Elvin Jones
Engineer [Original Studio Recordings], Mastered By – Rudy Van Gelder
Piano – McCoy Tyner
Tenor Saxophone, Liner Notes [Original Liner Notes], Composed By – John Coltrane

JOHN COLTRANE / ARCHIE SHEPP - New Thing At Newport (1965-2009) RM / FLAC (tracks+.cue), lossless

The classic John Coltrane Quartet made one of its final appearances at the Newport Jazz Festival in 1965. The tension among bandmembers is evident on the advanced versions of "One Down, One Up" and "My Favorite Things." Coltrane's performance is moving...yet weary. It's apparent the saxophonist wasn't getting the sound he wanted and by the end of the year he would take a different direction, hiring Pharoah Sanders and wife Alice Coltrane for the band. Tenor saxophonist Archie Shepp's earlier afternoon New Thing performance includes engaging versions of "Call Me by My Rightful Name" and "Gingerbread, Gingerbread Boy" (included as a bonus track on this package) with Bobby Hutcherson on vibes. by Al Campbell
Tracklist:
1 –Father Norman O'Connor Introduction To John Coltrane's Set 1:09
2 –John Coltrane One Down, One Up 12:28
Bass – Jimmy Garrison
Drums – Elvin Jones
Piano – McCoy Tyner
Tenor Saxophone – John Coltrane
Written-By – John Coltrane
3 –Archie Shepp Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped 4:58
Written-By – Archie Shepp
4 –Archie Shepp Le Matin Des Noire 7:39
Written-By – Archie Shepp
5 –Archie Shepp Scag 3:04
Written-By – Archie Shepp
6 –Archie Shepp Call Me By My Rightful Name 6:19
Written-By – Archie Shepp
Credits:
Bass – Jimmy Garrison (track, 2)
Drums – Elvin Jones (track, 2)
Piano – McCoy Tyner (track, 2)
Tenor Saxophone – John Coltrane (track, 2)
Bass – Barre Phillips (tracks: 3 to 6)
Drums – Joe Chambers (tracks: 3 to 6)
Tenor Saxophone – Archie Shepp (tracks: 3 to 6)
Vibraphone – Bobby Hutcherson (tracks: 3 to 6)

JOHN COLTRANE QUINTET - Live at the Village Vanguard Again! (1966-1997) RM / FLAC (image+.cue), lossless

Live at the Village Vanguard Again! is one of the more hotly contested albums in John Coltrane's catalog. Released less than a year before his death, the original recording showcased his new quintet with Alice Coltrane, piano; Pharoah Sanders, tenor saxophone; Jimmy Garrison, bass; and Rashied Ali, drums. Additional percussion on the date was provided by Emanuel Rahim. The three selections here are what survive from a much longer tape. Coltrane's signature ballad "Naima" opens the album and goes on for over 15 minutes. One of the most iconic tunes in his repertoire, the treatment it is given here is radical. While the melody is referenced in the beginning, Coltrane moves it aside fairly quickly to concentrate on improvisation. His tenor solo (heard in the left channel) begins in earnest a minute-and-a-half in. He gradually deconstructs the various phrases in the lyric to blow passionately through them. By the time Sanders begins his (overly long) tenor solo (right channel), the abstraction becomes total. His intensity and ferocity are simply more than the ballad calls for. Even when Coltrane returns to solo again, and gradually winds it down, he has to begin at that hot peak. "Naima" is a different tune when all is said and done. "My Favorite Things" is in two parts. The first six minutes belong to a gorgeous, imaginative solo by Garrison. The tune's familiar theme is not stated by Coltrane until after the mode is introduced; then bits and pieces of the melody are brought in until they become -- however briefly -- the whole head line. It disappears quickly -- even though referenced occasionally throughout Coltrane's solos. His soprano solos are intense but utterly beautiful. His playing is pure passion and creative imagination, ever aware of the shimmering block chords played by Alice. Ali skitters propulsively around them, driving insistently until he's allowed to let loose when Sanders and his tenor begin their violent wail that simply disregards the entire tune save for one quote near the end to bring Coltrane back in. Sanders screams through his horn throughout his solo, and when Coltrane rejoins him, it's to meet him and try to rein him in; it leaves the listener exhausted after its 25-minute run. Live at the Village Vanguard Again! is certainly not for Coltrane newcomers, and may indeed only hold value for his most ardent followers despite its many qualities. (This comment is posted on allmusic by Thom Jurek, follower of our blog O Púbis da Rosa)
Tracklist:
1 Naima 15:11
John Coltrane
2 My Favorite Things (Intro) 6:07
Jimmy Garrison
3 My Favorite Things 20:21
Oscar Hammerstein II / Richard Rodgers

Credits:

Bass – Jimmy Garrison

Drums – Rashied Ali

Engineer [Recording Engineer] – Rudy Van Gelder

Percussion – Emanuel Rahim

Piano – Alice Coltrane

Tenor Saxophone, Flute – Pharoah Sanders

Tenor Saxophone, Soprano Saxophone, Bass Clarinet – John Coltrane

CODONA - Codona (1979) FLAC (image+.cue), lossless

Their definitive debut. Walcot adds dulcimer and sanza, Nana Berimbau and cuica, Cherry on ethnic flutes. Side two is solid with Walcott's chant-like "Mumakata" and "New Light". Side one has an Ornette Coleman/Stevie Wonder medley. These three communicate. by Michael G. Nastos
Tracklist:
1 Like That Of Sky 11:07
Composed By – Walcott
2 Codona 6:14
Composed By – Walcott, Cherry, Vasconcelos
Colemanwonder (3:40)
3a Race Face
Composed By – Ornette Coleman
3b Sortie
Composed By – Ornette Coleman
3c Sir Duke
Composed By – Stevie Wonder
4 Mumakata 8:14
Composed By – Walcott
5 New Light 13:22
Composed By – Walcott
Credits:
Berimbau, Cuica, Percussion, Voice – Nana Vasconcelos
Trumpet, Flute, Lute [Doussn'gouni], Voice – Don Cherry
Design, Photography [Cover] – Frieder Grindler
Producer – Manfred Eicher
Sitar, Tabla, Dulcimer [Hammered], Mbira [Sanza], Voice – Collin Walcott

CODONA - Codona 3 (1983) FLAC (image+.cue), lossless

The third Codona album is a sublimely beautiful release. The silent stillness of the exquisite opening to "Goshakabuchi" gives way to seemingly not much more than wisps of vibration in the air, but then Don Cherry's trumpet enters in full cry and Collin Walcott's dulcimer and other stringed things lead into a bracing and exciting section driven by Nana Vasconcelos' various percussive devices. The whole record is kind of like King Crimson's Larks' Tongues in Aspic without the wattage and with a little more introspection, and is a joyously stunning last testament for Walcott, who died not long after these recordings were completed. by Bruce Eder
Tracklist:
1 Goshakabuchi  10:53
Arranged By – Codona
Composed By [Japanese] – Traditional
2 Hey Da Ba Boom 7:11
Written-By – Walcott
3 Travel By Night 5:47
Written-By – Walcott
4 Lullaby 3:32
Written-By – Walcott
5 Trayra Boia 5:17
Composed By – Denise Milan, Vasconcelos
6 Clicky Clacky 4:07
Written-By – Cherry
7 Inner Organs 9:17
Written-By – Cherry
Credits:

Berimbau, Percussion, Voice – Nana Vasconcelos

Cover – Moki Cherry
Producer – Manfred Eicher
Sitar, Mbira [Sanza], Dulcimer [Hammered], Tabla, Voice – Collin Walcott
Trumpet, Organ, Guitar [Doussn'gouni], Voice – Don Cherry

PAUL BLEY - Introducing Paul Bley (1953-1992) RM / FLAC (tracks+.cue), lossless

Pianist Paul Bley's debut as a leader features the 21-year old in a trio with bassist Charles Mingus and drummer Art Blakey for Mingus' Debut label. The CD reissue, which adds four performances to the original program, finds Bley developing his voice within the bebop tradition. Mixing together stimulating originals such as "Opus 1" and "Spontaneous Combustion" with a few standards, Horace Silver's "Split Kick" and a surprisingly effective version of "Santa Claus Is Coming To Town," Paul Bley may not have been distinctive this early on but he clearly had a potentially strong future. by Scott Yanow

Tracklist:

1. Opus 1

2. Opus 1 (Alternate Take) *

3. (Teapot) Walin'

4. Like Someone In Love

5. Spontaneous Combustion

6. Split Kick

7. Can't Get Started

8. Santa Claus Is Coming To Town

9. The Theme *

10. This Time The Dream's On Me *

11. Zootcase
* Bonus tracks 

Credits:

Bass – Charles Mingus

Drums – Art Blakey

Piano – Paul Bley

DAVID MURRAY OCTET - Murray's Steps' (1983) APE (image+.cue), lossless

The octet is perfect for David Murray as an outlet for his writing, a showcase for his compositions, and an inspiring vehicle for his tenor and bass clarinet solos. For the third octet album (all are highly recommended), Murray meets up with quite a talented group of individuals: altoist Henry Threadgill, trumpeter Bobby Bradford, cornetist Butch Morris, trombonist Craig Harris, pianist Curtis Clark, bassist Wilber Morris, and drummer Steve McCall. Their interpretations of four of Murray's originals -- "Murray's Steps," "Sweet Lovely," "Sing Song," and "Flowers for Albert" -- are emotional, adventurous, and exquisite (sometimes all three at the same time). by Scott Yanow
Tracklist:
1 Murray's Steps 12:25
2 Sweet Lovely 8:00
3 Sing Song 9:40
4 Flowers For Albert 9:40
Credits:
Alto Saxophone, Flute – Henry Threadgill
Bass – Wilber Morris
Composed By – David Murray
Cornet – Lawrence "Butch" Morris
Percussion – Steve McCall
Tenor Saxophone, Bass Clarinet – David Murray
Trombone – Craig Harris
Trumpet – Bobby Bradford

DEREK BAILEY / JOËLLE LÉANDRE - No Waiting (1997) APE (image+.cue), lossless

Derek Bailey has recorded many LPs and CDs, yet his style never fails to invigorate. This one is no exception. These five totally improvised duos between Bailey and string bassist Joëlle Leandre, live in concert at Les Instants Chavirés in Montreuil, France, are some of the most interesting examples of the free music genre. Bailey's electric guitar reverberates ever so spasmodically next to Leandre's scratchy, then hyper-technical bass. Leandre can play with such virtuosity and intensity, but Bailey can counter with space and atmospherics before concentrating on little sounds. Call it a symphony of tiny, sometimes busy, sounds, and you get the idea. The entire album is a lesson in interaction: Leandre and Bailey duel, but only peripherally; they blend not as one, but as a two-headed dragon. In all, a cause for celebration. by Steve Loewy

DEREK BAILEY / HAN BENNINK - Han (1988) FLAC (tracks+.cue), lossless

The two-part "Melancholy Babes" presented here is an edited series of duet concerts between Han Bennink and Derek Bailey recorded over a week in March 1986. Over the week four concerts were recorded, and from these Bailey edited together five excerpts as a representation of what transpired. The first part is compiled from a series of audience recordings, and the second from a more conventional source. According to the liner notes, no attempt was made to disguise the editing, though each selection flows uninterrupted as the music would be presented in a live setting. That admission aside, the hallmark of these concerts was their stunning clarity of vision, their razor-sharp wit and repartee, and the fluency of language between the two musicians. Bailey is of his nut most of the time here, digging deeper and deeper into Bennink's glorious assault. The chord voicings and elongated single-string lines he plays here are far from typical for Bailey, even in a live setting; they surround the rhythms that are literally propelled forth incessantly in varying dynamics and tempos. But Bailey doesn't just hang in with Bennink's inexhaustible energy -- he soars with it, coming to grips with a kind of power he knows he possesses but doesn't always have access to. No one does. When the music grows almost intolerably tense, Bennink will let loose with a howl or a yelp to bring the level back to merely superhuman. This is one of the finest recordings of free improvisation to be released in the latter half of the 20th century.  by Thom Jurek 

SONNY FORTUNE - Whith Sound Reason (1979-2014) FLAC (tracks+.cue), lossless

DON CHERRY - Eternal Rhythm (1968) FLAC (tracks), lossless

STEVE LACY - The Straight Horn of Steve Lacy (1960) Mp3

FRANK WRIGHT - Your Prayer (1967) FLAC (tracks+.cue), lossless

DAVID MURRAY QUARTET - Body and Soul (1993) FLAC (tracks+.cue), lossless

CECIL TAYLOR - The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger (1989) 4CD / FLAC (tracks+.cue), lossless

The sessions that comprise the four discs on this first-rate Mosaic boxed set were done in 1960 and 1961 for the short-lived Candid label. Taylor's concept had not yet evolved into a finished package; he wasn't always sure where he was going. There are solos that begin in one direction, break in the middle, and conclude in another. Tenor saxophonist Archie Shepp often sounds unsure about what to play and whether to try and interact or establish his own direction. At the same time, there is plenty of exceptional playing from Taylor, Shepp, and the drum/bass combination of Buell Neidlinger and Dennis Charles. You cannot honestly say everything works on these four discs, but there is never a dull moment. It won't please everyone, but listeners ready for a challenge should step right up. by Ron Wynn
Tracklist
1-1 Air (Take 5) 10:31
1-2 Number One (Take 1) 12:29
1-3 Number One (Take 3) 8:35
1-4 This Nearly Was Mine (Take 2) 10:47
1-5 Air (Take 9) 17:30
2-1 E.B. (Take 2) 9:55
2-2 Lazy Afternoon (Take 1) 14:46
2-3 Air (Take 21) 11:25
2-4 Air (Take 28) 8:45
2-5 Air (Take 29) 10:20
2-6 Port Of Call (Take 2) 4:15
2-7 Port Of Call (Take 3) 4:21
3-1 Davis (Take 1) 3:07
3-2 Davis (Take 3) 5:13
3-3 O.P. (Take 1) 7:25
3-4 Cell Walk For Celeste (Take 1) 11:24
3-5 Cell Walk For Celeste (Take 3) 9:43
3-6 Cell Walk For Celeste (Take 8) 11:38
3-7 I Forgot (Take 1) 8:28
3-8 Section C (Take 1) 10:14
4-1 Jumpin' Punkins (Take 4) 8:10
4-2 Things Ain't What They Used To Be (Take 1) 10:04
4-3 Things Ain't What They Used To Be (Take 3) 8:53
4-4 Jumpin' Punkins (Take 6) 8:10
4-5 Cindy's Main Mood (Take 1) 5:08
4-6 O.P. (Take 2) 9:09
Credits
Baritone Saxophone – Charles Davis (tracks: 4-1 to 4-4)
Bass – Buell Neidlinger
Drums – Billy Higgins (tracks: 4-1 to 4-6), Dennis Charles (tracks: 1-1, 1-4 to 2-7, 3-3 to 3-8), Sunny Murray (tracks: 1-2, 1-3)
Piano – Cecil Taylor (tracks: 1-1 to 2-7, 3-3 to 4-6)
Soprano Saxophone – Steve Lacy (tracks: 4-1 to 4-4)
Tenor Saxophone – Archie Shepp (tracks: 1-1, 1-5, 2-2 to 2-5, 3-1, 3-2, 3-4 to 4-4)
Timpani – Billy Higgins (tracks: 4-5, 4-6)
Trombone – Roswell Rudd (tracks: 4-1 to 4-4)
Trumpet – Clark Terry (tracks: 4-1 to 4-4)

CECIL TAYLOR - Complete Candid Recordings with Buell Neidlinger 

(1989) Mosaic / 4CD / FLAC (tracks+.cue), lossless

O Púbis da Rosa

PAUL BLEY - Open, To Love (1972) FLAC (image+.cue), lossless

Despite the fact that pianist and composer Paul Bley had been a renowned and innovative jazzman for nearly 20 years, 1973 saw the release of his most mature and visionary work, and one that to this day remains his opus. This is one of the most influential solo piano recordings in jazz history, and certainly one that defined the sound of the German label ECM. Consisting of seven tracks, five of which were composed by Carla Bley (his ex-wife) and Annette Peacock (soon to be his ex-wife), and two originals, Bley showcased his newfound penchant for the spatial pointillism and use of silence that came to define his mature work. In Carla Bley's "Ida Lupino," the pianist took the song's harmonics and unwound them from their source, deepening the blues elements, brushing the Errol Garnerish ostinato with pastoral shades and textures of timbral elegance, and reaching the tonic chords in the middle register just as he forced the improvisation just barely into the abstract with his right hand, percussively slipping in one or two extra notes to highlight the deep lyricism in the tune's body. On his own "Started," Bley illustrates brazenly the deep influences of the Second Viennese School on his sense of harmony and counterpoint. Recalling Arnold Schöenberg's solo piano pieces in their engagement of dissonance and glissando placement, it's still Bley playing jazz and improvising, vamping on his own theme while turning melody and timbre back on themselves for the purpose of complete tonal engagement in the middle register. And in Annette Peacock's "Nothing Ever Was, Anyway," which closes the album, Bley makes full use of an element he employs throughout the recording: space and its ability to create the notion of consonance or dissonance from the simplest of melodies. Here notes appear, related, but just barely, to one another in a more or less linear sequence, and Bley stretches that connection to the breaking point by using his sense of spatial relationship in harmony to silence. He elongates the tonal sustain and allows it to bleed into his next line just enough, as if it were a ghostlike trace of another melody, a another distant lyric, attempting to impose itself on the present one, though it had just since ceased to exist. Ultimately, what Bley offers is jazz pianism as a new kind of aural poetics, one that treats the extension of the composer's line much as the poet treats the line as the extension of breath. Sheer brilliance. by Thom Jurek

Tracklist:

1 Closer 5:51

Composed By – Carla Bley

2 Ida Lupino 7:31

Composed By – Carla Bley

3 Started 5:13

Composed By – Paul Bley

4 Open, To Love 7:10

Composed By – Anette Peacock

5 Harlem 3:22

Composed By – Paul Bley

6 Seven 7:21

Composed By – Carla Bley

7 Nothing Ever Was, Anyway 6:02

Composed By – Anette Peacock

Credits

Piano – Paul Bley

Producer – Manfred Eicher

ALAN SILVA AND THE CELESTRIAL COMUNICATION ORCHESTRA - Seasons (1970-2002) 2CD / FLAC (image+.cue), lossless

Don't let the miserable packaging of the reissue on CD deter you from purchasing this remarkable gargantuan effort by bassist and composer Alan Silva, for which the term "masterpiece" is not too far a stretch. The original three-LP set has been compacted to two full-length CDs. Unfortunately, there are no liner notes, and you may need a magnifying glass to decipher the list of more than 20 participating musicians, who read like a who's who of avant-garde jazz at the time this was recorded. As there are no individual tracks and the "composition" is more than two hours long, there is also reproduced from the LP a detailed time log listing the instruments at any particular moment. Unfortunately, the log is virtually useless as it corresponds to the six sides of the original LPs. That aside, this is a magnificent, rambling, chaotic, lavish, and often meandering spectacle that should be heard in one sitting to be completely appreciated. It takes the concept of "sheets of sound" to the next level. Even with its deficiencies, it is a spectacular presentation, with snippets of melodies (or more precisely, riffs) interspersed among the soloists, who include Silva, Steve Lacy, Lester Bowie, Joseph Jarman, Roscoe Mitchell, Robin Kenyatta, Michel Portal, and Joachim Kühn, to cite the more recognizable names. The results are absolutely thrilling, if not always inspiring, and there are many high points. While individual improvisers are difficult to identify, the level of improvisation remains consistently at the highest levels. It is wild and free, and the listener receptive to free improvisation is likely to be held in rapturous attention. Destined to be a classic of its genre, Seasons offers a full-scale radical bombardment from many perspectives, resulting in a smorgasbord of delights. While listening to so much at once is a challenge, the patient listener willing to put in the effort should be fulfilled and rewarded amply.  by Steve Loewy 
Track Listing - Disc 1
1     Seasons    1:10:38
Alan Silva
Track Listing - Disc 2
1     Seasons (Continued)    1:12:50  
Alan Silva
Credits
    Alto Saxophone, Clarinet [Clarinets] – Michel Portal
    Alto Saxophone, Flute – Robin Kenyatta
    Cello – Kent Carter
    Cello, Celesta – Irene Aebi
    Drums, Percussion – Don Move
    Drums, Percussion, Performer [Bronte] – Jerome Cooper
        Leader, Bass, Violin [Electric], Sarangi [Electric], Performer [Arc, Ressort (Bow & Spring], Instruments [Two French Electroacoustic Intruments], Composed By, Arranged By – Alan Silva
    Piano – Dave Burrell, Joachim Kuhn
    Saxophone [Saxophones], Flute [Flutes], Oboe – Roscoe Mitchell
    Saxophone [Saxophones], Flute, Bassoon – Joseph Jarman
    Soprano Saxophone – Steve Lacy
    Tenor Saxophone, Soprano Saxophone, Flute – Ronnie Beer
    Timpani, Percussion – Oliver Johnson
    Trumpet – Alan Shorter
    Trumpet, Flugelhorn – Lester Bowie
    Trumpet, French Horn – Bernard Vitet
    Viola [Electric] – Jouk Minor
    Violin [Electric] – Dieter Gewissler