音楽 ： ESP-5007 The Uppercut: Matthew Shipp Mat Walerian Duo: Live at Okuden

ESP 5007
The Uppercut: Matthew Shipp Mat Walerian Duo: Live at Okuden

Matthew Shipp, the supreme jazz pianist of his generation, and Mat Walerian, the finest Polish jazz woodwind player of his, have combined their talents in concert on several occasions. This album documents one such event on May 15, 2012.

Shipp hardly needs an introduction at this point thanks to a career of over a quarter century, including not only many acclaimed albums under his own name but also a long and prominent tenure in the David S. Ware Quartet and a vast array of collaborations with the likes of Spring Heel Jack, Ivo Perelman, Sabir Mateen, Darius Jones, Joe Morris, Jemeel Moondoc, and more.

Walerian is the younger of the two, and because of that and Americans' myopia about foreign jazz masters, many jazz fans are not as familiar with his work as they are with Shipp's. We think that one listen to this album should convince everyone of the imaginative depth of his musical vision and the likelihood that he will soon be counted among the avant-jazz scene's international stars. Largely self-taught and deeply immersed in Eastern philosophy, his approach to improvisation is unique and compelling.


Personnel

Matthew Shipp: piano
Mat Walerian: alto saxophone, bass clarinet, soprano clarinet, flute
William Parker: liner notes

Track Listing

01. Introduction
02. Blues for Acid Cold
03. Jungle Meditation
04. Free Bop Statement One
05. Free Bop Statement Two
06. It's Sick Out There
07. Love and the Other Species
08. Peace and Respect
09. Black Rain
10. Encore

Liner Notes by William Parker

For the past 30 years Matthew Shipp has kept his music and musical associations true to himself and the higher laws of the universe. He has done this by having the courage play uncompromising music, unafraid to bring us tears and flowers wrapped up in the blues. Not intimidated by jazz history, Matthew has spent his life learning how to feel comfortable stepping into the unknown part of the tone world.

In this new album Matthew appears with Mat Walerian, whose playing reminds me of the Japanese paintings of Sesshu, full of fine lines, images, and sounds that tell haiku-like stories, arresting and mysterious. As the music progresses from clarinets to alto sax to flute, you can hear sound and space disrobe to reveal villages with beautiful clouds over trees laced with seraphic hues and birds dancing. The musicians are never concerned about style or genre. What do I call this music? One word comes to mind: "Exquisite.”"

Throughout his musical career, Shipp has been able to accomplish a rare thing. That is to be able to find the center in the music every time he plays. This music is more concerned with poetics because it is poetics, not technique or academics, that will allow the music to go inside and change the soul of the listener. It is transcendence of music that will lead us to transcendence. I enjoyed this music on many levels; the more I listen to it, the more layers of brilliance I discover. So remember, give it repeated listening; accept it for what it is, not for what it is not.

Mat Walerian plays some of most lovely and relaxed uncompromised beauty that I have ever heard in a long time. Now some might ask, who is this saxophone player? Who has he studied with, where does he come from? I say accept him, he loves music and has risen to his apex in this duet with Matthew Shipp. The most important thing is not who he studied with, the most important thing is that he is alive on the scene. Mat Walerian is one of the special ones, and along with Matthew Shipp they have created a new music called Elusive Beauty. I invite you to enjoy it and learn how to cherish life.

Press Quotes
"[Walerian] is one of the most talented young jazz musicians on the Polish scene, if not THE most talented." – Maciej Lewenstein, Polish Jazz Recordings and Beyond

"Matthew Shipp has become an elder statesman in the jazz world. How that happened can be boiled down to two simple elements. One: he has created a unique sound and language for improvised music and two: Shipp has become a doyen of cutting edge music making and opinion." – Mark Corroto, All About Jazz

"Walerian‘s playing is rooted in the early free-jazz, with heavy echoes of bluesy tone. His lines can be jazzy in the spirit of post-bop as well as angular and abstract, he goes for more direct approach on alto, while searching for more sonic shades on bass clarinet. He tends for modest and minimal, selecting carefully the means of his expression ... his playing (is) warm, very melodic, while not being afraid of some tone and timbre explorations. Fresh and inspiring is the contrast between the free-jazz boiling section behind him and his cool, thoughtful lines and very jazz phraseology, moving from blues, bebop, free-bop up to some not too extreme free improv.“ – (Free) Jazz Alchemist

音楽 ： La Monte Young （Bootleg)

La Monte Young / The Celebration of Tortois 　2CDR

レア音源集デジタルリマスター・ヴァージョン。（Bootleg)

The Celebration of the Tortois (1966)
La Monte Young, Marian Zazeela
Terry Riley, Tony Conrad
Oceans (1969)
La Monte Young, Marian Zazeela
42 for Henry Flynt (1965)
Peter Winkler, Gong
566 for Henry Flynt (1960)
David Tudor, Tamtam
On Remembering a Naiad (1956）

美術 ： M・W・スワンベルク

1968年発行, M・W・スワンベルク挿絵入・アートブック】（限定1264部発行（＊「特装版265部外」『限定上製本999部内』（＊限定1264部の内、特装版265部はリトグラフ付、上記は、残りの999部内「リトグラフの付属が元々無いものとし、発行したもの」の一冊。）1968年「フランス語版」PERGUS（スウェーデン）刊：「アルチュール・ランボー散文詩集」『イリュミナシオン』」／【Arthur Rimbaud 『ILLUMINATIONS』Transposé en images par Max Walter Svanberg（＊「翻訳・序文」＝ヘルマー・ロング/「装絵」＝マックス・ワルター・スワンベルク】／（ダストジャケット付属・青布装ハードカバー（＊限定記番入「第741番本」））／1968年・Pergus förlag ab,Malmö,Suede（スウェーデン/マルメ）発行／全118頁（＊収録作品＝全13図版）他、カット図版収録／サイズ：縦30,8cm×横26,8cm、本厚1,4cm／テキスト言語：フランス語／■■1958年にスウェーデン・マルメの出版社アルヘム（ALLHEM）が企画、M・W・スワンベルクの挿絵で出版した、ランボーの散文詩集「ILLUMINATIONS（イリュミナシオン）」『1968年【限定1264部（＊特装外999部内）】発行・Pergus「フランス語版」』となります。本タイトルの成功により、スワンベルクが世界的名声を得る事となる、スワンベルクの『最も代表的な仕事』です。墨と水彩（赤・ピンク・青）・金泥を用いた、スワンベルクの豪奢なリトグラフ作品を高精度印刷により見事に再現。「1958年・ALLHEM版」よりも版型を大きくし、収録図版を4図版追加、装丁も大変美しく仕上げられた一冊です。この本を手に取ったアンドレ・ブルトンは喜びのあまり「これは私が見た一番美しい本だ」と叫び、澁澤龍彦をして「「この本」を初めて手にした時、その美しさに思わず声をのみ「何という豪奢、何という気品であろう！もしかしたら、これこそスワンベルク全作品中で最高の地位を占めるものではないか」とさえ私は思っている。」という一冊。「限定1264部」での発行、スワンベルクを知る上で欠く事の出来ない一冊です。／■「現存する世界の画家のなかで、いちばん好きな作家をひとり選べといわれたら、私は躊躇することなくスワンベルクに指を屈するだろう。ー澁澤龍彦」／「生涯の最も大きな出会いーアンドレ・ブルトン」／「彼の魅力にあふれた女性的創造物の、ともすれば猛り立つ狂乱のエロティシズムには、不潔なものや卑猥なものが何一つ完全にないのだ。ーアンドレ・P・ド・マンディアルグ」／「こんな画家が世界の片隅に現存していることが、まるで奇跡のように思える。その絵をはじめて見たときの、そしていまも私の裡に生きつづけているこの感動の質を、どうやって説明したらいいのだろうか。ー巖谷國士」

美術 ： M・W・スワンベルク

書籍 石川淳－山櫻

音楽 ： ESP 1002 Albert Ayler - Spiritual Unity

ESP 1002

ESP's first recording session was on July 10, 1964, in the tiny Variety Arts Recording Studio, just off Times Square. Just before 1 PM, SUNNY MURRAY arrived, a large, genial walrus, moving and speaking with an easy agility that belied his appearance. GARY PEACOCK was next, tall, thin, ascetic looking, and soft spoken, with an introspective and kindly demeanor. ALBERT AYLER was last, small, wary and laconic. The walls of the reception area were covered with Latin album jackets. The engineer quickly set up the mikes and began the session. B sat outside in the reception area with Annette Peacock, Gary's wife. As the music was heard through the open outer door of the control room, felt a sense of jubilation. At one point, the engineer fled the control room for a few minutes, but returned in time to change the tape for the next selection. When the session was over, B learned that it had been recorded in monaural, although he remembered requesting a stereo recording. Happily, the engineer Joe had properly miked and mixed the session, and the recording stands today as a classic of the genre. After the session, the participants sat in a coffee shop next door, while they were paid and signed recording agreements. A few days later, B saw them off on their flight to Europe from Idlewild International Airport for a European tour. DON CHERRY was with them.

For the Spiritual Unity 50th Anniversary Expanded Edition, we have added a bonus track: the performance briefly and accidentally substituted for "Spirits" on an early vinyl edition. It is the same tune known as "Vibrations" on the album of that title on Arista/Freedom (AKA Ghosts when issued on Debut) and as "[tune Q]2" on the Revenant box set Holy Ghost. It will be the first time both "Spirits" and "Vibrations" have been on a single ESP edition of Spiritual Unity. We have also just repressed the standard vinyl edition of Spiritual Unity (without the fifth track), but if you purchase it via espdisk.com, it comes with a free download including the bonus track.

Personnel

Albert Ayler (ts)
Gary Peacock (b)
Sunny Murray (d)


Track Listing

1. Ghosts (1st variation)
2. The Wizard
3. Spirits
4. Ghosts (2nd variation)

Press Quotes

"Spiritual Unity was the album that pushed Albert Ayler to the forefront of jazz's avant-garde, and the first jazz album ever released by Bernard Stollman's seminal ESP label. It was really the first available document of Ayler's music that matched him with a group of truly sympathetic musicians, and the results are a magnificently pure distillation of his aesthetic. Bassist Gary Peacock's full-toned, free-flowing ideas and drummer Sunny Murray's shifting, stream-of-consciousness rhythms (which rely heavily on shimmering cymbal work) are crucial in throwing the constraints off of Ayler's playing. Yet as liberated and ferociously primitive as Ayler sounds, the group isn't an unhinged mess -- all the members listen to the subtler nuances in one another's playing, pushing and responding where appropriate. Their collective improvisation is remarkably unified -- and as for the other half of the album's title, Ayler conjures otherworldly visions of the spiritual realm with a gospel-derived fervor." - Steve Huey

音楽 ： ESP 1074 Burton Greene - The Burton Greene Trio On Tour

ESP 1074
Burton Greene - The Burton Greene Trio On Tour

First-ever American CD edition of this lost classic, recorded "live" during ESP's 1966 New York State College Tour. The "piano harp" credit is Greene's way of noting that he plays inside the piano, directly on the strings – the first jazz pianist to do so on record, taking a page from avant-gardist Henry Cowell's book. In his notes to the original LP, included complete in this reissue, Greene writes, "The tour found people largely unexposed to this music. They were often shaken up. Some were deeply moved. Those who came for a total body and soul experience were rewarded with the vibrations. The people who constantly needed the theoretical approach or 'road maps' were not.... Like the time a boat load of people left the hall at a lecture following a performance at Fredonia State Teacher's College. We had the audacity to tell people that not only was our approach to music valid but that often the results were as musically complex and often more so than, let's say Beethoven. Throughout the tour we continued to denigrate the idea of the 'sacred cow' and tried to encourage people to learn to do their own thing rather than to follow us blindly and mimic our techniques etc."

Personnel

Burton Greene (p, piano harp)
Steve Tintweiss (b)
Shelly Rusten (per)

Track Listing

1. Bloom In The Commune
2. Ascent
3. Tree Theme
4. Transcendence

"The New York State College Tour", NYC, April-May, 1966

Press Quotes

"Pianist Burton Greene ('37) is a major figure in the free jazz revolution of '60s New York." – Portland Monthly
"Pretty far out work from pianist Burton Greene...Steve Tintweiss on bass and Shelly Rusten on drums…give Burton plenty of space to stretch out in an open-ended, freely improvised sort of way. There's a very spacious, dynamic style to the music – with oblique segments interspersed with more wide open ones, and occasional crescendos with wide sheets of sound." – DustyGroove.com

音楽 ： ESP 1013 Giuseppi Logan - More

ESP 1013
Giuseppi Logan - More

More, Giuseppi Logan's second album, has two tracks from the same legendary May 1st, 1965 Town Hall concert, produced by ESP-Disk' owner Bernard Stollman, that gave us Albert Ayler's Bells. This ESP-Disk' 50th Anniversary Remaster edition of More includes previously unissued music from Logan's set that reissue producer Michael D. Anderson discovered at the end of the Bells master tape. The astonishing thing about this 10-minute segment of audio tape is that it is the continuation of the second track, “Shebar,” extending its length to 19 minutes. On the original album, there is a fade, but with the inclusion of this newly discovered segment, the performance continues to the end of the song and of the group's performance. Note: The slight distortion heard momentarily on the added portion exists on the original master tape and could not be corrected, but the historical value in hearing the entire performance warrants its inclusion.

50th Anniversary Remaster - 2013

Personnel

Giuseppi Logan (alto saxophone, bass clarinet, flute -1,2,4; piano -3)
Don Pullen (piano -1,2,4)
Reggie Johnson (bass -1,2)
Eddie Gomez (bass -4)
Milford Graves (drums, percussion -1,2,4)


Track Listing

1. Mantu

2. Shebar

3. Curve Eleven

4. Wretched Sunday

音楽 ： ESP-5006 John D. Thomas - Serious Business

ESP 5006
John D. Thomas - Serious Business

At age 19, guitarist John D. Thomas was enlisted as a sideman by both Jimmy McGriff and Joe Henderson for recordings and concerts. In the following years he worked with some of the greatest names in jazz, including the AACM Big Band, Stanton Davis, Carter Jefferson, Andrew Cyrille, Kenny Drew, John Lewis, Harold Ousley, and Chet Baker. After his 1977 move to Europe, he toured the Middle East, Africa, and the Far East, performing extensively with Charles Tolliver (1980-90), Joe Henderson, Art Taylor, Dizzy Gillespie, Malachi Thompson, Sonny Stitt, Tony Scott, and many others. He joined the Art Taylor Quartet in 1978 and performed with it until 1984. Birth of the Cool trombonist Mike Zwerin enlisted John for two tours in Africa in 1980 and 81.

Mr. Thomas has also toured and performed at festivals, concerts, and clubs throughout Europe and Africa with his own bands: John Thomas and Lifeforce, Serious Business, John Thomas Quartet, and Extremely Serious Business. In 1980 he received the endorsement of the National Endowments' "Arts America" program, on whose active list he remained for ten years. In 1986 his group Extremely Serious Business traveled to sub-Saharan Africa under the auspices of this U.S. State Department program. Since his return to the United States in 1991, he has appeared with his own quartet, trio, and an updated version of Extremely Serious Business that performs his own compositions. It was also at this time that he began a two-year relationship with organist Charles Earland. He moved to Boston in 1994, where he performed regularly with different formations, including Kenwood Dennard’s Real
Thing. Mr. Thomas has also enjoyed a 40-year career in higher education, both in Europe and at a famous New England music school.

This is the first time that this 1985 album has been released in digital formats. It is a significant album in Mr. Thomas's discography as the first use on record of a prototype pickup system invented by Professor Dr. Ernst Nourney of the Fachhochschule, Nord-Rhein West-Falen in Düsseldorf, Germany. Dr. Nourney's innovative device was comprised of a "hexcentric pickup" – one pickup for each individual string – converting pitch to voltage, and an exciter pickup used to create a magnetic field to induce vibration of each string independently. This means the player could not only hold any note without further electronic manipulation, but even play the instrument with one hand, if desired.

Personnel
John D. Thomas: all guitars

Gerd Breuer: drums

Claude Gouiffé: bass (#1-3)

Bert Thompson: bass (#4-5)

Markus Becker: keyboards

Christoph Erbstösser: DX7 (#4-5)


Track Listing

1. Boulder Brothers
2.Born To Love
3. Hard Boys (Kiss ass)
4. For Me
5. Hess-Strasse

Press Quotes
"[John Thomas has] a unique solo style. John's latest offering gives a superb example of why, in my opinion, he is one of　the all-time great jazz guitarists." – saxophonist Charles Tolliver, December 2014

音楽 ： ESP-5005 Extremely Serious Business - Headwall

ESP 5005
Extremely Serious Business - Headwall

Mr. Thomas's band of the 1980s, Serious Business (heard on ESP5006), focused on his fusion and 'free funk' compositions played with an electric sound. Extremely Serious Business marked a turning point, a return to a more acoustic setting while remaining true to the pioneering spirit of "improvisation along the edges." Extremely Serious Business showcases his unique compositional skills and style while carrying on the long lineage of cutting-edge soloing "outside the changes."

Headwall combines freedom in composition and conceptualization with a kickass groove to set a new standard in jazz-guitar. This previously unreleased album features mostly a traditional acoustic jazz-guitar sound, but also includes two tracks with guitar synthesizer out front. All tracks were recorded with 'live' musicians with the exception "Song for My Father," done in duo with drummer Tom Garner, with overdubbing. Mr. Thomas says, "Equally noteworthy is the incredible mix present throughout. Unlike previous recordings where the guitar sometimes appears either too far back or the sound too tinny and less full, this album exceeds previous mix attempts in achieving both balance and clarity."

Drummer Thomas Garner is originally from North Carolina. Mr. Thomas met Mr. Garner while he lived in the Boston area and was a regular in different bands Thomas put together. Mr. Thomas calls him a "really mellow dude who loves world rhythms." Pianist/keyboardist Greg Burk is a former instructor at New England Conservatory and an accomplished soloist and accompanist with Bob Moses and Dave Liebman. Mr. Burke now lives in Italy and plays solo concerts regularly. Bassist Paul Beaudry is a San Diego native who was very active on the Boston scene before his New York
move, where he is now a regular. Mr. Thomas says, "Paul brings that big warm sound and incredible chops to every gig." Guitarist Avi Rothbart is a former student of Mr. Thomas's who is now well established on the New York scene.


Personnel

John D. Thomas, guitar, guitar synthesizer, keyboards, electric bass

Greg Burke, piano, synthesizer

Paul Beaudry, contrabass

Tom Garner, drums

Avi Rothbard, guitar (#7 only)


Track Listing

1. Codex

2. Song For Max

3. Playground

4. 3000 Worlds

5. Song For My Father

6. Headwall

7. Yesterdays

Press Quotes
"[John Thomas has] a unique solo style. John's latest offering gives a superb example of why, in my opinion, he is one of　the all-time great jazz guitarists." – saxophonist Charles Tolliver, December 2014　

映像 ： 寺山修司－田園に死すのポスター

音楽 ： GAP

佐野清彦
曽我傑
多田正美

SIDE 1
1977.11.30. Chuo University 203 Room
SIDE 2
1976.12.3. Ars Nova Studio

1977 ALM Records, AL-3005, Japan

音楽 ： La Monte Young (Bootleg)

La Monte Young / Draw a Straight Line and Follow It Ⅱ 6CDR Box。
全曲デジタル・リマスター済レアトラック集 第二弾。

Disc 1
1. Death Chant
2. For Guitar
3. The Totoise, His Dreams And Journeys
4. The Totoise, His Dreams And Journeys

Disc 2
1. For Brass (Full Ver.)
2. For Brass Ⅱ(Full Ver.)

Disc 3
1. Young’s Dorian Blues in G (Studio Take)

Disc 4
1. Raga Shudh Sarang
2. Raga Kut Todi

Disc 5
1. Just Charles & Cello in the Romantic Chord in a setting of Abstract #1from Quadrilateral Phase Angle Traversals with Dream Light

Disc 6
1. Just Charles & Cello in the Romantic Chord in a setting of Abstract #1from Quadrilateral Phase Angle Traversals with Dream Light