New definitive CD reissue of this original Cramps label album from 1974, an early classic from Robert Ashley (previous CD version on Cramps is now deleted). This deluxe slipcased version features a 110-page book, reproducing the original Wolgamot text along with fascinating liner notes explaining the whole project from Keith Waldrop and Robert Ashley. The CD features one long composition with Ashley reading a text by poet John Barton Wolgamot. The poem has 128 stanzas; each stanza is made up of the same phrase, into which are introduced four variables, three are names or groups of names or constructions of names, and the fourth variable is formed by the adverb of the active verb. The result is considered "one of the most unusual and difficult linguistic textures in the English language". The underlying music is supplied by Paul DeMarinis on Moog synthesizer. Ashley on DeMarinis: "Paul has elaborated seven different modular combinations, each of which can be controlled by programmed impulses. These derive from the sound of the reading of the poem passed through the regeneration high frequency filter and successively translated into a series of command impulses.

The material in this LP was recorded in 1949 in Rome, just four years before his death. The recordings remained unpublished till they were rediscovered in the late 50s by a RCA Victor executive. Reuniting Django and Grappelly, the selections are a characteristically varied assortment. The standards are well-chosen: Charles Trenet's "Beyond the Sea"; Fats Waller's exuberant "Honeysuckle Rose", and the perennials "After you've Gone", "Lover Man", and "I Saw Stars". Several of the originals were written by Django and Grappely. "Minor Swing" was devised a few minutes before a 1937 recording session, later becoming a staple at the French Hot Club. "Bricktop" was also written in 1937; "Heavy Artillery", composed in 1944, was one of Dajngo's favorite tunes; "Djangology", composed in 1935, was his first composition. Compelling versions of Trenet's "Menilmontant" and "Où es-tu, mon Amour" ("Where are you, my Love?) are bonus track in this set, a striking and provocative survey of the playing of a mature, moving musician.

"Who would have thought a series of soprano saxophone duets would be compelling? This album documents three nights of a soprano saxophone throw-down in 1988 by three of the world's most infamous practitioners of the improviser's art on the instrument -- with Lacy being the unquestioned king of the straight horn. All the players led for one night; each grouped together all of the possible combinations in solo and duet forms, and then performed a brief trio piece as an encore. The "compositions" as they're known here are three duets by Parker, four playing with the others, two with Lacy, one with Coxhill, there's one Coxhill work with Lacy, and one Lacy piece for all three.
This album and these performances are all about integration, not only of individual approaches and styles, of harmony, improvisation, and organization, as well as phrasing and tone. There are tutters and stops, long, flowing lines, solos with one player appropriating a rhythm section motif. On the trio piece at the end led by Lacy, there are three different modalities at work simultaneously, all meeting inside of one tone interval at the center of the meter. This creates, texture and color sure, but it's more than that; it's music as pure and simple as it can be coming from three men who breathe it. So to answer the question in the first sentence, Three Blokes is not only compelling, it's riveting. Thom Jurek, AMG

Reticent yet dynamic, sophisticated and delicate, this recording contains four cherished and exquisite compositions performed with an enchanting mix of xylophones, gongs, cymbals, fiddles, guitars, and breathtaking vocals. Instrumental and vocal music of the Thai classical repertoire draws listeners into a realm of ornate tonal variations and textured rhythms. Recorded in 1994 in Bangkok, this studio recording features musicians of the Bangkok College of Dramatic Arts Fine Arts Department, performing the traditional and highly refined music of the Thai royal court. (The Savvy Traveller)

Many would be tempted to emphasize the cross-generational lineup of Tony Oxley's B.I.M.P. Quartet, the drummer and Phil Wachsmann belonging to a different age scale than Pat Thomas and Matt Wand, but the real "unknown variable" here is the cross-stylistic element the latter represents. This sampler artist is best known for his work in the irreverent experimental electronica duo Stock, Hausen & Walkman. Free improv fans have a right to feel weary of this team-up, but one needs to remember Oxley's long-lasting love for live electronics, dating back to the 1970s (some recordings with Howard Riley and Barry Guy are quite "out there"). Wand manages to tone down his personality without annihilating it, and the fact that both violinist and keyboardist also use electronics draws the sampler's voice deeper into the group's sound. In short, a true effort is being made to incorporate Wand into the group. Nevertheless, the most exciting moment arises when Thomas explodes all over the piano, dragging a feverish Wachsmann and Oxley along with him for the finale of "Stream Line." The odd sampled voices bring a nice touch in "On Line" and in general the group displays enough synergy and textural interplay to make Floating Phantoms a worthy record, but it fails to establish Wand as a strong improviser. Still recommended, if only for the crystal-clear recording of the percussionist's every bang and clang. The performance was recorded live at the 1999 Total Music Meeting and is the first release on FMP's subsidiary, a/l/l. François Couture