Their goal was to draw back the curtain on "Art" (capital 'A') and the mystical act of its production, and reveal the truth about the marketing and consumption of said Art, thus refocusing the attention on the artist. Certainly jazz musicians understand this dilemma. Saxophonist Bobby Selvaggio wrote, " a musician is someone that puts $5000 worth of gear into a $500 car to drive 100 miles to play a gig for $50." The proponents of Art Strike admitted their proposed walk out would fail, but endeavored to move the attention from mainstream media and marketing back to the craft and skill of the artist.
In the 21st century, their message might be even more apropos. With the consolidation of the major recording labels, music now operates on almost polar opposites. Mega-corporations produce and promote one-hit wonders by musically challenged artists for immediate-splash short-term downloads in large Walmart quantities, and small labels (often artist run) release higher quality, lengthier projects by skilled musicians. The mega-corps don't consider their product a 'hit' unless it sells 3 million copies, while the small labels call sales of 3,000 units a triumph.
You and I appreciate those gifted musicians and those important small labels. We've been sifting through used LP bins for years, not to steal a beat or a break, but to find that lost gem by David S. Ware or Art Pepper. This stuff is important. We appreciate the construction of a Winter & Winter paper CD case, the ongoing reissue of Sun Ra performances, and most of all, the live performance by that artist or group that has just driven 100 or even 500 miles to perform in our town. Maybe the guy in the next cubicle at work has no appreciation for Steven Joerg's AUM Fidelity music label, Pedro Costa of Portugal's Clean Feed, or the June launch of saxophonist Dave Rempis' Aerophonic Records, but you do.
Duo Ab Baars/ Ig Henneman
After thirty years together and playing as a duo since 1999, Ab Baars and Ig Henneman have established their own vocabulary. The pair, musicians from The Netherlands thriving improvisation scene and life partners, glide, float, whirl, and waft these ten minimal compositions written for extended improvisations.
The saxophonist Baars, an important component in the large ensemble The ICP Orchestra, also leads his own trio and quartet plus he has collaborated with members of The Ex and in differing lineups organized by Chicago's Ken Vandermark. Henneman is a member of Queen Mab trio and leads the Ig Henneman Sextet. The duos previous disc was Stof (Wig, 2007).
This recording came after their fifteen-city 2012 tour of the United States. The pair toured, playing these minimally composed these pieces, inspired mostly by poets from William Blake to Rainer Maria Rilke to Wallace Stevens. Once back in Amsterdam, the document of their work was completed. The mostly restrained and quiet session acts as a colloquy on these autumnal themes. Baars doubling on tenor saxophone, clarinet, and shakuhachi suppresses the urge to bluster. Instead he takes a chamber approach to these pieces, responding to Henneman's viola. The music balances breathy notes against woody tones, as the pair recite their musical wordless poetry.
Before there was spoken language, there was music, and certainly the first music was percussion. The earliest humans probably communicated through beating on objects. Sticks on logs, then drums made of animal hide, and eventually gongs and bells.
Early instruments are the implements percussionist Massimo Barbiero utilizes on his solo recording Sisifo. The gong, the drum, bells and a simple electronic drum- pad, the wawedrum. Like the Greek King Sisyphus, Barbiero carries the entire load. But, unlike the mythic character, his chore is not in vain.
Barbiero's soul is orchestrated by percussion. He leads the large ensemble percussion and dance band Odwalla, and is the engine behind the long standing Italian supergroup Enten Eller, who released a big band recording E(x)stinzione Vol 1&2 (Splasc(H), 2012). His previous solo percussion disc was Nausicaa (Splasc(H), 2009).
The thirteen pieces presented here maintain the ancient language forms of percussion. Superbly recorded, the sound surrounds and envelopes with waves of vibration and the palpable textures of wood, metal, and skin. Barbiero applies his craft as if it were spoken poetry. He tempers his approach by modulating his sound to describe oceans, kings of Italy, and pharaohs, India, and memory. It is an irresistible and seductive ride.
Daniel Bennett Group
Clockhead Goes To Camp
Manhattan Daylight Music
Saxophonist Daniel Bennett composes music with a nod to sidelong humor and surreptitious jazz. Like all great jazzmen, he reconfigures rhythms and harmonies to engineer an imaginative and genuine sound.
Clockhead Goes To Camp is the group's fourth release, and it follows the self-released Peace and Stability Among Bears (2011). The band's music has coalesced into a a kind of nursery rhyming-folk-jazz.
To describe the music of the Daniel Bennett Group one might imagine an alternate universe where Paul Desmond and Jim Hall are members of John Lurie's 1990s band Lounge Lizards. Bennett favors catchy melodies played over varying time signatures from African to folk, swirling Steve Reich chamber sounds against pop and near classical riffs.
The handclaps of the opener give way to his flute chamber piece (did they play some surf guitar in there?) and an oddball digitally enhanced poem "Whatever It Might Be" by Rimas Uzgiris. Bennett isn't opposed to borrowing a waltz "John Lizard And Mr. Pug" or delving into the theatre of the absurd for the word-salad piece "Cabin 12 Escapes Into the Night." With guitarist Mark Cocheo he has found his huckleberry, the music is offbeat, nonconformist, and peculiarly attractive.
Fred van Duijnhoven
"Less is more" said Mies van der Rohe. Dutch drummer Fred van Duijnhoven might say, "more or less, less is indeed more." This mostly solo thirteen and a half minute ep contains 5 very brief tracks, that sound like much, much more.
Best known for his work in I Compani, the Dutch jazz band that covers Fellini soundtracks, the music of Nino Rota, and more recently their own music. He has issued two prior solo drum records Bellbird (2005) and Bird's nest (2005). He can also be heard with Ab Baars and Ken Vandermark on Goofy June Bug (Wig, 2008).
His three brief solo pieces utilize a minimal kit and, styled like poetry, the musing seems more important than the sounds. His pulse is tempered by a measured deliberation. Muted are his colors, and without deliberate rumination, their gestures are easily missed.
The two guest tracks are a marimba/drum duet and a marimba/drum plus vocals. Van Duijnhoven with brushes works over a sly blues with Eugène Flören's marimba and the pair cover Burt Bacharach's "Close To You" with vocalist Amber van Nieuwburg. The somewhat saccharine pop song gets a new treatment by stripping it down to bare bones. What once was a tune that annoyingly might have got stuck in your head, can now be welcomed back.
Rich Halley 4
Crossing The Passes
If we had a house band here at AAJ, it would probably be saxophonist Rich Halley's quartet. The Oregon-based musician has devoured the modern saxophone gobbling up Sonny Rollins, Ornette Coleman, Ken Vandermark, Joe McPhee, and Albert Ayler. His compositions speak their language but with a nonpartisan dialect.
Crossing The Passes is his fifteenth releases and follows Back From Beyond (2012) and Requiem for a Pit Viper (2011). All three releases feature Halley's quartet of trombonist Michael Vlatkovich, bassist Clyde Reed, and drummer Carson Halley.
The trombonist has been a favorite side man since the 1980s. At one time or another either he or cornetist Bobby Bradford has enlarged the saxophonist's trio into a quartet. Where Bradford is the Don Cherry to Halley's Ornette Coleman, Vlatkovich is the Roswell Rudd to Halley's Archie Shepp. The pair can stretch out passages into free jazz realms or spin a tight duet. Their versatility is on display throughout this recording, from the funky bottomed "Smooth Curve Of the Bow" to the falling down "Duopoly," the two entangle, twist and lock horns to make sense out of (sometimes) chaos. The latter track is driven by the urgency of Carson Halley's drums and the insistent bass of Storrs. The saxophonist tries on many hats here. From the cinematic heavy to the gentlest touch, he can frame a song so that it hangs oddly crooked but sounds perfectly straight.
Jason Roebke & Tobias Delius
The blender effect, that is what we'll call it. The phenomena of mixing languages, cultures, and in this case, jazz scenes. Where a mechanical blender may chop, liquefy, and even puree, this blending of Chicago bassist Jason Roebke and Amsterdam- based saxophonist Tobias Delius makes for a synthesis and common language.
Roebke, a key player in the ever expanding Chicago scene, can be heard in Mike Reed's People, Places and Things, The Jeb Bishop Trio, Jason Adasiewicz Rolldown, Jason Stein's Locksmith Isadore, and bands led by Keefe Jackson and Aram Shelton. Born in Great Britain but now claiming Amsterdam as his home, Delius is a regular member of the ICP Orchestra, Available Jelly, and Sean Bergin's MOB. He also leads his own quartet and has a steady duo with bassist Wilbert de Joode.
The eight improvised tracks presented here are an audiophile's dream. The deft tactile recording captures every breath, vocalization, and stroke. We hear saxophone keys fingered and bass strings pulled, plucked, caressed, and grazed. Roebke and Delius are satisfied to apply a coolheaded, imperturbable sound here. They promenade each piece without conflicts. The music draws from a traditional sound like Lester Young or Dexter Gordon and Charles Mingus or Oscar Pettiford, refurbished for a 21st century context by applying extended technique and freedom from strict song forms.
Masami Akita & Kiyoshi Mizutani
If Masami Akita, aka Merzbow had a Teo Macero, he would be a household name. Well, at least he would be an improvised music lover's homestead favorite.
It wasn't until after the death of Miles Davis that Sony Records began releasing all the raw studio material the trumpeter recorded for albums like In A Silent Way (Columbia, 1969), Bitches Brew (Columbia, 1970), and A Tribute To Jack Johnson (Columbia, 1970). Sometimes, hearing the final product players like John McLaughlin and Chick Corea could barely recognize their studio work. Miles, actually more like producer Teo Macero, took pieces and parts of studio sessions, snipped, cut, and looped tape (manually because there were no digital studios back then) to assemble the now famous LPs.
Merzbow's LPs, CDs, digital downloads, and cassettes skip the middle man. He provides the material raw. Without a Teo Macero, his music is noise, and noise is the genre he dominates as an innovator. He has collaborated with Mats Gustafsson, Balázs Pándi, Mike Patton, Sonic Youth, Lasse Marhaug, Richard Pinhas, Elliott Sharp, and Jamie Saft.
Of late, he has released the session tapes that have become the stuff of his earliest releases. While his music is always unprocessed, these sessions provide a bone-chilling and often mind-numbing assault of uncooked din. Duo follows the box compilations Merzbient in CD (Soleilmoon, 2010) and in LP (Soleilmoon, 2012), Merzphysics and Merzmorphosis (Youth Inc., 2012).
The 10-CD box and limited edition box with a bonus CD, Duo, delivers source tapes for the SCUM cut-up LPs Merzbow released in the1980s. Recorded between 1987 and 1989, Merzbow then was a collaboration between Masami Akita (the man we now know as Merzbow) and fellow noise artist Kiyoshi Mizutani. These sessions are a significant piece of the Merzbow story, in that they expand and flesh out the experimentation of Akita in those early years. Duo has, of course plenty of harsh feedback sections that are meditatively worthy. In those years, before laptop and digital performance, the pair utilized a plethora of instruments from drums to guitars, radios, metal boxes strung with piano wire, and audio mixers. The sounds are comparable to John Zorn's Parachute Years 1977-80 (Tzadik, 1997), but much (much) more harsh. Interspersed between the noise are some rocked out sections that could be mistaken for Thurston Moore's music, a nice blues guitar duet, and some percussive jamming. All of which makes this, perhaps the most accessible Merzbow release (that's not any oxymoron) to date.
Rachel Musson/ Liam Noble/ Mark Sanders
An early flicker of recognition for saxophonist Rachel Musson happened in the year 2000 with the release of drummer Federico Ughi's The Space Within (SLAM). Her blip in the world of recorded music was just two tracks, but the significance was indeed profound. She surfaced again with her own quintet Skein with Flight Line (F- IRE, 2010).
Her music begins with Sonny Rollins circa 1961 on the Williamsburg bridge as she deals with the tsunami that was Ornette Coleman, John Gilmore, and John Coltrane, then branches outward embracing the European influences of the horn.
Tatterdemalion is a recording by a fully formed improvising trio of Musson, keyboardist Liam Noble, and free jazz superhero drummer Mark Sanders. The seven improvised pieces presented easily leave one temporarily blinded by their dynamism.
Noble, who sits in the piano chair for saxophonist Ingrid Laubrock's trio with drummer Tom Rainey, plays electric keyboards here. His squiggly wavy sounds summon Sun Ra's explorations on "Wheel" while Musson growls forth notes that would make Peter Brotzmann pause. The specter of sound varies from the ominous to spiritual. "On My Road" drifts through as a Coltrane-Pharaoh Sanders meditation and "The Blanket Feels Woolen" opens as a breathy quiet piece marked by overblown subtlety then mushrooms into interstellar space. She summons small tributes to Evan Parker and Paul Dunmall on "The Blue Man" and "You Wear Your Colors And Move." But more than that, with Sanders' ubiquitous energy and Noble's electric remarks, the saxophonist makes a name for herself.
Assembling a cast of five strong improvisers for this recording, Barnyard Records could not have imagined the direction, tone, or temperament of the end product. Needless to say, the satisfying weight of this freely improvised studio date comes from its lightness. There is a spaciousness here. Where one might expect a crowd or surge, there is restraint.
Drummer and label chief Jean Martin invited players with whom he has often collaborated, vocalist Christine Duncan and trumpeter Jim Lewis from the Element Choir. Then he added two more Canadian-based musicians, saxophonist Frank Lozano and guitarist Wiens Rainer.
Restraint is the order of the day. Why scream when you can pursue with understatement. Martin's pulse, scrapes, scraps, taps, and sly swing inform throughout. He does not so much keep time as he maintains the borders of this session. The blitheness of At Canterbury is its passionate nonchalance. Wiens sets his guitar aside for a mbira, inspiring Duncan to vocalize short sweet passages. Lewis' trumpet favors a melodic blues walk. Other places, bits of theremin ignite Lozano's soprano saxophone bird calls. The music reconfigures jazz, some late-night electronic dreams, smatterings of nonsense poetry, and insouciant free jazz.
Alberto Braida/Giancarlo Locatelli
A magical duo since 1996, the two Italians, pianist Alberto Braida and clarinetist Giancarlo Locatelli, recorded their ninth session together. While they play in various groupings, their pairing as a duo is purely simpatico.
Nel Margaine follows the three previously recorded duets, The Big Margotta (Editions Brokenresearch, 2009), Due (Z-Rec, 2004), and Diciannove Calefazioni (Takla Records, 1999).
Their chamber jazz shares a legacy with the recordings of Steve Lacy and Mal Waldron and they both contribute 5 compositions here. Locatelli's "The Hat" draws from Charles Mingus' tribute to another Bb clarinetist, Eric Dolphy, and Braida's "Fishiettando" and "Camminare Api" has tiny bits of Thelonious Monk scattered among a Gershwin-like melody. The final track is their one freely improvised piece. It cuts from their semiformal approach and structure. While out of place amongst the compositions, it does beg for an entire album of instantly composed music.
Alberto Braida/Giancarlo Locatelli
Less loud, less frenetic, and less combustible then we expect from bassist Fredrik Luhr Dietrichson and drummer Jan Martin Gismervik of the punk/rock/jazz outfit Wolfram Trio, PGA is just as intense.
Minus saxophonist Halvor Meling, the pair produce Corrections an atmospheric free jazz minimalist project. The Oslo-based pair mine the muffled and muted. They react to each other with bowed vibrations, scrapped skins and resonating thumps, playing a sort of ECM version of Sun 0))). Neither Dietrichson nor Gismervik is content with their instrument's modus operandi. The bass is worked into a beatbox, strings are wrenched and polished and the drum set is coaxed to give up new sounds. The pair opt for moody punk-ambient music in places and elsewhere, dastardly cinematic stretches.
Trombonist Henrik Munkeby Nørstebø and trumpeter Thorsten Lavik Larse guest on two tracks to expand, not the noise, but the size of the room. Like the duo, the guests extend their instruments adding breath instead of notes. All is frightfully beautiful.
El Dia De Los Muertos
El Gallo Rojo
This double disc El Dia De Los Muertos from the Italian artists cooperative is either a great introduction for new listeners to some very talented musicians or a celebration of a significant movement in jazz. The label El Gallo Rojo recorded three days in June 2012 with just about every combination of the fourteen members that make up the cooperative for this, their 50th release after some 10 years in existence.
El Gallo Rojo's first releases were their version of klezmer music recorded with recognized American artist Chris Speed. As their catalog grew the various bands invited other known players, Gallo & The RoostersGary Lucas, Mickey FinnCuong Vu, East RodeoMarc Ribot, to plays music from chamber jazz to freely improvised orchestral music to traditional jazz trios.
As the label developed, the members became stars themselves. Drummer Zeno de Rossi's tribute to drummer Shelly ManneThe Manne I Love! (2010)is a modern classic. Pianist Franco D'Andrea, an established name, released the stellar Traditions And Clusters (2012), besides three other Rojo discs. The scene that developed is not unlike the Downtown NY movement in the 1990s or today's Brooklyn collaborations. Experimentation yields new sounds and jazz heroes like bassists Danilo Gallo and Stefano Senni who perform "A Dot In The Sky" in a three-bass trio here with Giulio Corini. The music on this celebration opens with the Mexican themed (of course) "El Gallo Rojo" led by guitarists Simone Massaron and Enrico Terragnoli and saxophonists Achille Succi and Francesco Bigoni. From there, they play a tribute to Americana and Tim Berne-inspired piece, "Relaxed Contractions," the orchestral "Brood On," and the solo piano piece "Inside" by Dmitri Sillato.
The sweep is far reaching and ambitious but these now established players have a great thing going.
Cinema, Circus & Spaghetti (Sex Mob Plays Fellini: The Music of Nino Rota)
The Royal Potato Family
Long out-of-print now, producer Hal Willner's Amarcord Nino Rota (Hannibal, 1980) was a touchstone for many Downtown jazz artists to explore film music and especially the unique music Rota created for the films of Italian director Federico Fellini. Since then, San Francisco's Club Foot Orchestra released Plays Nino Rota: Selections From la Dolce Vita (Rastascan, 1998)
Where Willner recorded different artistsJaki Byard, Bill Frisell, Carla Bley, and Wynton Marsalis, trumpeter and arranger Steven Bernstein applies his jazz-meets-vaudeville band Sexmob to Rota's Fellini music. His band of saxophonist Briggan Krauss, bassist Tony Scherr, and drummer Kenny Wollesen have covered film music before. They recorded a Sexmob Does Bond (Ropeadope, 2001), in addition to covers of Nirvana, Duke Ellington, The Rolling Stones, and ABBA.
Bernstein and crew may have their finest recording to date. Where previous disc reveled in their over-the-top antics, Plays Fellini is the most civilized the Sexmob has ever been. Like their Theatre & Dance (2000) tribute to Ellington, there is more curtesy and les camp here. But of course, you can only keep Bernstein from monkeying around for so long.
Han Bennink & Uri Caine
Dutch drummer Han Bennink in duet with pianist Uri Caine is a knockout combination. This disc recorded in 2010 at The Bimhuis in Amsterdam is a live date that roils and boils, while the pair toils.
Then again, Bennink has punched up many a piano duet, be they with Aki Takase Teo For Two (Intakt, 2011), Cecil TaylorSpots, Circles, And Fantasy (FMP, 1989), Steve BeresfordB + B (ICP, 2002), Simon NabatovChat Room (Leo Records, 2003), or his old friend Misha Mengelberg. Bennink is neither intimidated by nor a menace to his partners.
Uri Caine brings an Americana jazz tradition to this date. He speaks in a blues language that favors swing sprinkled into the improvised music. The disc opens with Bennink's sticks on drums, and maybe the floor, raising the energy level and inviting Caine to race. But this isn't a competition as much as musical wordplay. Speed and improvisation are matched with song sampling and dissonance.
Caine who has traversed the worlds of jazz, classical, and electronic music, has a thirst for mixing and matching styles. Here he maintains a jazz tradition. The pair circle each other, never at a loss for ideas. The one cover tune, Thelonious Monk's "'Round Midnight" gets chopped and hammered but is easily recognized, albeit as almost pure mischief.
Keyboard giant Jamie Saft has the knack for assembling varied and always thrilling projects. His New Zion Trio mixes King Tubby dub with the jazz piano trio sounds of Bill Evans. He also coaxes the Japanese noise artist Masami Akita, aka Merzbow, to play dub music. He can hang with John Zorn, Dave Douglas, or mix it with the Bad Brains and Beastie Boys.
This outing on Rare Noise Records follows his work with guitarist Eraldo Bernocchi and Balazs Pandi in the band Metallic Taste Of Blood. Slobber Pup builds upon the Saft's band The Spanish Donkey with guitarist Joe Morris, by substituting Pandi for Mike Pride and adding bassist Trevor Dunn.
The music here reinvents Morris as a cross between Eric Clapton and Sonny Sharrock. The opening track "Accuser" in all it's 27-minutes mixes 1960s Cream with 1980s Last Exit bands. Morris is spurred on by the ferocious drumming of Pandi, whose beats can be heard behind Merzbow and Mats Gustafsson. The music is savage and aggressive, with Dunn providing thunder and Saft's organ attacking like a hidden drone.
The remaining music, although shorter in length, is just as fierce. "Suffrage" pulls from funk and blues and "Taint Of Satan" threatens to melt down every sonic wall. The discovery here is Joe Morris as a hardcore rocker, the fun is turning him loose.
Tracks and Personnel
Tracks: Brows Of Morning; Nine And Fifty Swans; Winter Comes To Hush Her Song; It Bends It Sways; Poor Autumn; The Clouds Go; Restlessly; Autumn In Maine; The Heavy Cargo; Rain Curtains.
Personnel: Ab Baars: tenor saxophone, clarinet, shakuhachi; Ig Henneman: viola.
Tracks: Crono; Oceano; Febe; Giapeto; Ceo; Mnemosine; Epimeteo; Teia; Iperione; Lelantos; Leto; Teti; Erinni.
Personnel: Massimo Barbiero: drums, bodram; gongs, comet bell, wawedrums, percussion.
Clockhead Goes To Camp
Tracks: The Old Muskrat Welcomes Us; An Elephant Buys A New Car; Nine Piglets; Dr. Duck's Beautiful New Kitchen; Clockhead Goes To Camp; Whatever It Might Be; Last Summer At Camp Creepy; Paint The Fence; Sandpaper Is Necessary; John Lizard And Mr. Pyg; Cabin 12 Escapes Into the Night; Patience; Ten Piglets.
Personnel: Daniel Bennett: alto saxophone, flute, clarinet; Mark Cocheo: guitar; Peter Brendler: bass; Tyson Stubelek: drums.
Tracks: Goshawk (Accipiter Gentilis); Close To You (Why Do Birds...); I Still Am (Frog's Frozen) Part 1; Breuk (Fraction); Hands (Feathers).
Personnel: Fred van Duijnhoven: drums; Amber van Nieuwburg: voice (2); Eugène Flören: marimba (2, 4) Bastoets (4), Speeldoosje (4).
Crossing The Passes
Tracks: The Only Constant; Traversing The Maze; Looking West From West; Smooth Curve Of the Bow; The Spring Rains; Duopoly; Crossing The Passes; Basin And Range; Acute Angles; Rain, Wind And Hail; Journey Across the Land.
Personnel: Rich Halley: tenor saxophone, percussion; Michael Vlatkovich: trombone, percussion; Clyde Reed: bass; Carson Halley: drums, percussion.
Tracks: Cuttlefish; On The Moon; Which Goose; G-Bug; Convolvulaceae; Panther; No Night; Punkin.
Personnel: Jason Roebke: double bass; Tobias Delius: tenor saxophone, clarinet.
Tracks: CD1: 26 September 1987; CD2: 19 June 1988 Part 1&2; CD3: 25 June 1988, 27 August 1988; CD4: 25 June 1988 A, Duo 1988 Penta 2; CD5: 9 October 1989 Part 1-3; CD6: 1 May 1988 B, 15 September 1989; CD7: 16 April 199 Part 1&2; CD8: 1 mAy 1988 A, Duo 1988 Penta Part 3; 15 September 1989 B, Penta 1988 A; CD10: 20 September 1987, 28 February 1988; Bonus Dusc: 23 November 1979..
Personnel: Masami Akita: metal box with piano wire, guitar, violin, byan, junk metals, keyboards, drums, synar-3; tapes, radio, motor, electric fan, egg cutter, flute, rubber, paper tube, percussions, effects etc.; Kiyoshi Mizutani: guitar, bass guitar, audio mixer, metal box with piano wires, tapes, balalaika, byan violin, drums, keyboards, flute, effects etc.
Tracks: May Be A Silken Thread; Wheel; The Blue Man; On My Road; Spinning; The Blanket Feels Woolen; You Wear Your Colors And Move.
Personnel: Rachel Musson: saxophones; Liam Noble: keyboards; Mark Sanders: drums.
Tracks: Throwing Light; Face The Same Direction; Corollary; Patience Game; Sojourn; Invocation; Social Insects.
Personnel: Jean Martin: drums; Frank Lozano: tenor saxophone, soprano saxophone; Jim Lewis: trumpet, flugelhorn; Rainer Wiens:guitar, mbira; Christine Duncan: voice, theremin.
Tracks: Ninna Nanna (a Paul); Once it Was the Colour of Saying; La Casa; Sketches; P&M; La Semina; The Hat; Fischiettando; Camminare Api; Mese Lunare; Dal Margine.
Personnel: Alberto Braida: piano; Giancarlo Locatelli: clarinet, bass clarinet.
Tracks: Out of Tune; Pretty Good Alternative; Suggestion; Interference/Picking God Apart; Catalogue; Suggestion II; Ending?; Poor Guy Alone; Poor Guy Alone (Again).
Personnel: Jan Martin Gismervik: drums; Fredrik Luhr Dietrichson: double bass; Henrik Munkeby Nørstebø: trombone (3, 6); Thorsten Lavik Larsen: trumpet (3, 6).
El Dia De Los Muertos
Tracks: CD 1: El Gallo Rojo; Bill; Toni Samba; The Twins Dancing In Space [This Isn't Happiness]; Relaxed Contractions; Resertic Dumba [Understated Roboance]; Damn He Still Alive!; CD 2: Brood On; Lonely Tuning; Inside; SandQuake; Più In Basso di Così Non Posso; A Dot In The Sky.
Personnel: Francesco Bigoni: tenor saxophone, clarinet; Achille Succi: alto saxophone, clarinet, bass, shakuhachi; Piero Bittolo Bon: alto saxophone contralto clarinet; Beppe Scardino: baritone saxophone, bass clarinet; Dimitri Sillato: violin, piano; Enrico Terragnoli: guitar, banjo, sampler; Simone Massaron: guitar; Alfonso Santimone: piano, orgsan, laptop; Danilo Gallo: contrabass; Stefano Senni: contrabass; Giulio Corini: contrabas; Massimiliano Sorrentini: drums, percussion; Nelide Bandello: drums, percussion; Zeno De Rossi: drums, percussion; Martino Fedrigoli: noise.
Cinema, Circus & Spaghetti (Sex Mob Plays Fellini: The Music of Nino Rota)
Tracks: Amacord; Il Teatrino Delle Suore (Juliet of the Spirits); La Strada; Volpina (Amacord); Paparazzo (La Dolce Vita); Toby Dammit's Last Act (Spirits of the Dead); La Dolce Vita; Zamparo (La Strada); Nadia Gray (La Dolce Vita); The Grand Hotel (Amacord); Gelsomina (La Strada); I Vitelloni.
Personnel: Steven Bernstein: slide trumpet, hybrid trumpet, alto horn; Briggan Krauss: alto saxophone, baritone saxophone; Tony Scherr: electric bass; Kenny Wollesen: drums, gongs, log drum, waterphone, vibraphone.
Tracks: Sonic Boom; Grind Of Blue; Hobo; 'Round Midnight; As I Was; Furious Urious; Upscale; True Love; Lockdown.
Personnel: Han Bennink: drums; Uri Caine: piano.
Tracks: Accuser; Basalt; Black Aces; Suffrage; Taint Of Satan.
Personnel: Jamie Saft: organ, keyboards; Joe Morris: guitars; Trevoe Dunn: bass; Balazs Pandi: drums