Saturday, September 14, 2019

MASAYUKI TAKAYANAGI and NEW DIRECTION UNIT – Eclipse (LP-1975)




Label: Iskra Records – ISKRA-001
Format: Vinyl , LP, Album / Country: Japan / Released: 1975
Limited edition of 100 copys
Style: Free Improvisation, Free Jazz
Recorded March 14, 1975 in Tokyo, Japan.
Photography By, Design [Cover Design] – Kazuharu Fujitani
Engineer – Mikio Aoki
Producer – Nihon Gendai Jazz Ongaku Kenkyukai , Satoru Obara , Yoshiaki Kamei
Matrix / Runout (Side A runout, stamped): ISK 001A 111 +V D
Matrix / Runout (Side B runout, stamped): ISK 001B 111 +

side 1:
A1 - First Session I (Gradually Projection) .............................................................. 10:47
A2 - First Session II (Gradually Projection) ............................................................... 9:07

side 2:
B  -  Second Session (Mass Projection) .................................................................. 25:23

Personnel:
Masayuki Takayanagi – electric guitar
Kenji Mori – alto saxophone, flute, recorder
Nobuyoshi Ino – electric bass, electric contrabass
Hiroshi Yamazaki – drums, percussion

One of the rarest of Takayanagi's LPs, originally released on Iskra Records in a limited edition of only 100 copies.
Thanks to the kindness of my Irish friend Mr. DILLON who sent me LP and all the material I needed for this post, you have the opportunity to hear what this rare vinyl pearl sounds like.

The 2006 CD reissue, that I have (PSF Records - PSFD-8025), I only now notice after listening to the LP, it produces sharper sound and has a certain acceleration in rpm relative to the original, which contributes to the shortening of the compositions, but on the other hand it enhances the dynamics. Of course, that they didn't write it anywhere, but any ear can notice that difference if given the opportunity of comparison.

Apart from my usual art presentation of the album, I did almost nothing on the soundtrack: cleaned the tape from clicks, minimized noise,  implemented normalized to -0.1 dB and made the usual compression.
The Japanese have done it masterfully, the LP is so well recorded that you can hardly believe it's 1975. Sounds perfect! It sounds better than a CD that has a slightly raw, more aggressive sound to the ears.

Pleasant listening.

Note:
A small change was deliberately made on the front cover of the album which has no effect on the quality of the original design. In this way, I protect my work.


Review:
Masayuki Takayanagi - Eclipse (Japanese title: Shinshoku) has always been the rarest of Masayuki Takayanagi's records. The album was recorded in May 1975 by his New Directions group just three weeks after the monumental "April is the Cruellest Month" set. Legendary free jazz label ESP Disk was due to release "April..."., so, expecting heavy demand for the overseas ablum, Iskra cut the pressing size for Eclipse from 300 to just 100. In the end, ESP went belly up, and "April is the Cruellest Month", had to wait until the nineties for a CD release. Eclipse became a holy grail for Japanese collectors with copies changing hands for up to $3000, and since the master-tapes had mysteriously vanished it seemed supremely unlikelyto ever be reissued. However, by some sort of miracle, the original masters were unearthed 2005, and ordinary human beings can at last revel in the tense, explosivedynamics of the classic recording. Fantastic free jazz of varying intensities, led by Takayanagi's searing yet supple guitar. His supporting ensemble is more than just sidemen, they skillfully create enigmatic new worlds through twisted manipulation of forms and sounds.



The first song, a wandering yet lingering "First Session I (Gradually Projection)" sketch, is displaced by the (subtle?) forward thrust and scrambling parry of the second. Indeed, "First Session II (Gradually Projection)" feels like running a gauntlet of vaguely irritated chin-strokers aiming the whips of their guitar, reeds, bass, drums at your gut in slo-mo confusion. It all speeds up until it's all spun out, dragging the damaged undercarriage down the musical highway. Part three, "Second Session (Mass Projection)", starts as a full-on drag race for instrumental supremacy, until the electric squall of the guitar corrals the cats into a semblance of advancement. Everyone gets their blows in, but the maestro looms in the background, ready to chastise into (decidedly minimal) discipline when needed. It's a long run, so the pace is set by the flaying percussion, but the tone is measured in a strangely stuttering, energetic pace. Weirdly affecting... yes-yes, this is a bloody masterpiece.


This post exists thanks to Mr. Dillon.



If you find it, buy this album!

Thursday, September 12, 2019

AKIRA SAKATA & JIM O'ROURKE with CHIKAMORACHI & MERZBOW – Flying Basket = すっ飛び篭 (2LP-2015)




Label: Family Vineyard - FV88
Format: 2 × Vinyl , LP, Album, Limited Edition
Country: US / Exit: 18 Sep. 2015
Style: Free Jazz , Free Improvisation , Noise , Minimal
Recorded June 2013 at Jim O’Rourke’s  Steamroom Studio, Tokyo, Japan.
Artwork [Collage], Design – Jeremy Kannapell
Mastered At – Dubplates & Mastering, Berlin December 2014
Lacquer Cut At – Dubplates & Mastering
Lacquer Cut By, Mastered By – Rashad Becker
Layout – Dan Zettwoch
Distributed By – SC Distribution
Producer – Jim O'Rourke
Matrix / Runout (Runout, etching, side A): FV88 – A -1
Matrix / Runout (Runout, etching, side B): FV88 – B -2
Matrix / Runout (Runout, etching, side C): FV88 – C -1
Matrix / Runout (Runout, etching, side D): FV88 – D -2

side 1:
A - Flying Basket - part 1 ....................................................................................... 18:29

side 2:
B - Flying Basket - part 2 ....................................................................................... 19:03

side 3:
C - Flying Basket - part 3 ....................................................................................... 15:06

side 4:
D - Flying Basket - part 4 ....................................................................................... 18:49

Personnel:
Akira Sakata – alto Saxophone, vocals
Jim O'Rourke – electric guitar, harmonica, electronics
Darin Gray – double bass, percussion
Chris Corsano – drums
Masami Akita – electronics [noise electronics]

Packaged in a gatefold sleeve with an obi strip, two inserts (one promotional and one informational), and a digital download card. 150g vinyl. Limited to 800 copies.
Jacket reads "Family Vineyard 2014" - however, two to manufacturing delays this is a 2015 release. Insert reads "released September 2015."



As the smoky licks of Akira Sakata’s opening sax solo suggest, this is, for long durations, not the free-form noise-fest that might be expected.
Jim O’Rourke, on guitar, joins in with subtle alternative or de-tuned chiming and Masami Akita aka Merzbow is only a ghostly background presence. Chris Corsano (drums) and Darin Gray (double bass) aka Chikamorachi make their presence felt only after five minutes as a low rumbling undertow, albeit Gray is soon thrumming with gentle plasticity á la Jimmy Garrison. Akata’s licks then turn to sour drizzle and Merzbow’s noise to thin, whiplash aerations, but after ten minutes the full group is finally in play.
O’Rourke is sounding unusually aggressive from the off, his playing spilling out of the end of the set’s first full-on improv thicket after 17 minutes in a state of wiry, drawn-out tensility, all feedback fuzz and gnarly sonics finally tamped down to near silence: a natural break bringing the first side of the double vinyl edition to a close.
With no indexes on the single-span the near silence is sustained, O’Rourke’s sonic scumble matched only by gently wavering Merz-sound and other noises unplaceable, collectively tense and abrasive but only very slowly, tentatively, testing boundaries, and coming to rest.
In context, Sakata’s birdsong-like clarinet and Corsano’s light-touch percussion sifting is as logical here as it is unexpected, and the duo have space to develop their controlled intensities in isolation. Again, rather than a gradual accumulation of inputs and ratcheting-up, this flighty duet winds down with only the subtlest of other accompaniments until Sakata is fully, thoughtfully introspective, the other players keeping in touch only via subtly thrummed bass, gentle touches of guitar and Merzbow at his most restrained and delicate.




Approaching the 40 minute mark, O’Rourke essays a tersely ductile solo and Merzbow joins in with thin, piping synth tones before bass and drums also kick in. O’Rourke plays gritty chords, Merzbow becomes more aggressive, and Sakata starts chewing over his phrases, blowing with increasing fervour. A sinewy passage this, with avant-rock dynamics soon exploding into ferocious freestyle, O’Rourke fairly shredding.
The blowout abates ten minutes later, lulled by a renewed melodicism in Sakata’s playing, thus wrapping up the third vinyl side as neatly as the first.
A fine, melodious sax solo by turns gruff and altissimo bridges to the next group passage, a tense and compacted crescendo, in which Merzbow and O’Rourke craft ring modulation (cf. Forbidden Planet) and feedback, and Sakata lets rip with guttural vocalisations. In the final straight, the perhaps inevitable payoff in free jazz frictions and raw noise finally floods the levees of control. While Corsano expends considerable energies, O’Rourke’s playing is notably ferocious. Sakata holds back until the very climax, piling in to urge a raucously ear-splitting collective transcendence.
Flying Basket was recorded at Jim O’Rourke’s Steamroom studio in Tokyo, but Akira Sakata rightly shares top billing on a session that casts established relationships in a new light. Sakata and Chikamorachi have recorded four previous albums together since 1991, as have Sakata and O’Rourke, the live double And That’s The Story Of Jazz… ‎(Family Vineyard, 2011) being the only one that brings them all together. Still, this is a finely-crafted session set. Merzbow is the added grit that’s produced a pearl. The scope in subtlety of his contribution may surprise those only familiar with his more uncompromising solo output.

(Review by Tim Owen)



If you find it, buy this album!

CASSIBER – Beauty & The Beast (Rē Records ‎– Re 0110 / LP-1984)




Label: Rē Records ‎– Re 0110
Format: Vinyl, LP, Album / Country: UK / Released: 1984
Style: Experimental, Free Improvisation
Recorded at Trion Sound Studio, Frankfurt am Main, in April 1984.
Mixed By – Bernhard Klein, Büdi Siebert (tracks: A1, A4, B2)
Mixed [other tracks] By – Cassiber
Engineer [Mixed] By – Walter Brüssow
Printed By – Third Step Printworks
Screen printed cover, booklet with lyrics and illustrations
Matrix / Runout (Runout Etching Side A): RE-0110/A
Matrix / Runout (Runout Etching Side B): RE-0110/B

side1:
A1 - Six Rays ............................................................................................................ 4:09
A2 - Robert ................................................................................................................ 5:01
A3 - Last Call ............................................................................................................ 3:02
A4 - Ach, Heile Mich ................................................................................................. 6:35
A5 - Haruspices ........................................................................................................ 1:53

side2:
B1 - Under New Management .................................................................................. 5:29
B2 - Vengeance Is Dancing ...................................................................................... 2:18
B3-B4 - In Eine Minute > Und Ich Werde Nicht Mehr Sehen .................................... 7:37
B5-B6 - Prendre la Lune Avec Les Dents > At Last I Am Free ................................. 8:11

Personnel:
Alfred Harth – saxophone [alto/tenor/bariton], b clarinet, trombone, trumpet, jew's harp
Christoph Anders – vocals, synthesizer, organ, electric guitar, tape
Heiner Goebbels – grand piano, synthesizer, bass, electric guitar, tape, vocals
Chris Cutler – drums, percussion, electronic drums, noises

Cassiber's debut album was originally intended to be a one-off, but shortly after its release they were invited to play at the Frankfurt Jazz Festival and further live work followed. A couple of years after Man or Monkey they recorded Beauty and the Beast, which was created using the same methodology as before - improvised composition - but their experience as a performing band had made a difference to their music; on this occasion there was a greater sense of coherence both within the individual pieces and across the album as a whole.




As on their previous outing the album featured a mixture of instrumental and vocal tracks, although on this occasion Chris Cutler's texts were not used as extensively as before. The use of electronics was also more prominent this time around, with cassette recorded voices woven into the fabric of several tracks. Robert, the second track, features a brief snippet of Captain Beefheart reciting The Dust Blows Forward, while elsewhere the vocals seem to have been recorded from German news broadcasts, and for the most part this technique is very effective; on later albums Cassiber would use samplers and electronics even more prominently. Two cover versions are included: Und Ich Werde Nicht Mehr Sehen is a Hans Eisler piece, while At Last I Am Free is a song by Chic that was also covered by Robert Wyatt on Nothing Can Stop Us. At Last I Am Free is one of the album's highlights and manages to be faithful to the spirit of the original but also has the same uncompromising RIO sound as the rest of the album. The more 'free' improvisations veer into some decidedly abstract territory, but the album is sequenced so that they are contrasted with more accessible pieces and many of the tracks segue into each other, creating a constantly shifting mood. There are also moments of real beauty, particularly from Goebell's piano and Harth's saxophone, although any lyrical passages are brief and there is usually something loud, discordant or disturbing to provide contrast.
Beauty & the Beast is an uncompromising piece of work, but it has stood the test of time rather better than Man or Monkey. It's interesting to compare it with Skeleton Crew's debut album, which was released at around the same time and which also made extensive use of taped vocals. Both are very much products of their time, RIO meeting post punk experimentalism, and both see former members of Henry Cow engaging with new developments in music and remaining progressive in the truest sense of the word. If you like one, you'll probably like the other; Beauty & the Beast can be recommended to anybody who likes 80s avant jazz-rock and indeed to anybody inclined to try something adventurous for a change.             
(Review by Syzygy)


Plus album add-on:
Came as a special bonus item with subscription copies of Cassiber - Beauty & The Beast.
[Not For General Sale]

CASSIBER – Time Running Out (Rē Records ‎– Rē 21 / single-1984)




Label: Rē Records ‎– Rē 21
Format: Vinyl, 7", 45 RPM, Single Sided, Promo, Blue Transparent, Screened B-Side
Country: UK / Released: 1984
Style: Experimental, Free Improvisation
Recorded at Trion Sound Studio, Frankfurt am Main, in April 1984.
Artwork [Disc] – Bill Gilonis
Artwork [Label] – EMT
Design – cc
Matrix / Runout (Side A, Etched): RE-21/A et ORLAKE

side1:
A - Time Running Out ................................................................................................ 5:38


Recording Information: as Cassiber - Beauty & The Beast _ Rē 0110. [Musician credits are taken from that LP. Recorded at Trion Sound, Frankfurt am Main, in April 1984.]



If you find it, buy this album!

Wednesday, August 28, 2019

FRED FRITH / FERDINAND RICHARD – Dropera (RecRec Music ‎– 32 / LP-1991)




Label: RecRec Music ‎– RecRec 32
Format: Vinyl, LP, Album / Country: Switzerland / Released: 1991
Style: Avantgarde
Recorded August 1989 at Sound and Vision Studio, Zürich.
Mixed December 1989 at Cold Storage Studio, London.
Artwork [Lithography] – Busag Zurich
Cover – Peter Bäder
Photography By [Booklet] – Bill Gilonis
Recorded By – Andy Rathgeb
Engineer [Mix] – Tim Hodgkinson
Produced by Raymund van Santen
Translated By [English] – Fred Frith
Translated By [German] – Heike Liss
Matrix / Runout (Side 1): REC REC 32 A T
Matrix / Runout (Side 2): REC REC 32 B T

side A: ON VIT ! .......................................................................................................... 21:30
            Petite Entrée: Au Restaurant, On Se Regarde! – 3:31
            Tableau 1: Riche Et Mystérieux! – 5:56
            Tableau 2: Mauvaise Gauche! – 2:24
            Tableau 3: Deux Emballés! – 2:52
            Tableau 4: Tous Cuits! – 4:02
            Fin Tragique: Flottent Les Petits Morceaux! – 2:33

side B: ON EST MORT ! ............................................................................................. 24:54
            Enchaînement Alchimique: Nos Fantômes Naissent! – 3:42
            Tableau 5: La Mer Est Notre Mère! – 4:08
            Tableau 6: Ah, Que La Vie Est Dure! – 4:59
            Tableau 7: Allez, On Danse! – 4:08
            Tableau 8: Holà! Tu Rèves! / Fin Comique: A Quand La Suite? – 7:48

Music By – Ferdinand Richard, Fred Frith

Note:
A booklet with translation of the French text into English and German has been included for easy tracking.

Personnel:
Fred Frith – guitars, violins, keyboards, digital and analogue percussion, background vocals
Ferdinand Richard – six-string bass guitar, lead vocals
Raymund van Santen – alto saxophone, clarinet, flageolet


Dropera is a concept album by Fred Frith and Ferdinand Richard, credited as "Fred & Ferd". It was their first collaborative album as a duo and was recorded in Zürich, Switzerland in August 1989. It was released on both LP and CD by RecRec Music in Switzerland in 1991. The album's songs were sung in French and a booklet of the song lyrics in French, German and English accompanied the album.



Dropera is a "twisted rock opera" about the comic and surreal adventure of two diners in a French restaurant involving abduction, an aircraft crash, death and re-awakening. Frith and Richard composed the music, and Richard wrote and sung the song texts. The music has been described as a mixture of avant-rock, pastorale with a little improvisation.

I recommend! Great album.



If you find it, buy this album!

Tuesday, August 27, 2019

CASSIBER – Man Or Monkey (riskant ‎– 6.28624-01-02 / 2LP-1982)




Label: riskant ‎– 6.28624-01, riskant ‎– 6.28624-02
Format: 2 × Vinyl, 12", 45 RPM, Album, Reissue, DMM
Country: Germany / Released: 1982
Style: Art Rock, Free Improvisation, Experimental, Free Jazz
Recorded 5-16 August 1982 at Sunrise Studios, Kirchberg.
Artwork [Picture] – Gabriele Hamm
Artwork By [Cover] – B.E.C.K.
Recorded By – Etienne Conod (tracks: A1 to B3, D2)
Mixed By – Etienne Conod (tracks: D1, D3), Robert Vogel (tracks: C)
Producer – Wolfgang Hamm
All songs and instrumental pieces were improvised.
This is the TELDEC pressed DMM cut.
Matrix / Runout (Side A): 6.28624-01-1
Matrix / Runout (Side B): 6.28624-01-2
Matrix / Runout (Side C): 6.28624-02-1
Matrix / Runout (Side D): 6.28624-02-2

side 1:
A1 - Not Me ............................................................................................................... 3:34
A2 - Red Shadow ...................................................................................................... 3:43
A3 - Chor Der Gefangenen (The Prisoner Chorus) ................................................... 4:46

side 2:
B1 - Our Colourful Culture ......................................................................................... 3:04
B2 - O Cure Me ......................................................................................................... 5:53
B3 - This Core ........................................................................................................... 4:20

side 3:
C  -  Man Or Monkey ............................................................................................... 16:38

side 4:
D1 - Django Vergibt ................................................................................................... 3:09
D2 - Die Verunreinigung Des Flusses Ist Gerade Noch Erträglich ............................ 6:38
D3 - Sag Mir Wo Die Blumen Sind (Where Have All Flowers Gone) ........................ 2:41

Personnel:
Alfred Harth – alto / tenor sax, trumpet, trombone, clarinet, bass clarinet, cello [violincello]
Heiner Goebbels – piano, synthesizer, organ, violin [chinese], guitar, acoustic guitar, bass
Christoph Anders – vocals, synthesizer [korg], guitar, tenor sax, tape [prepared cassettes],                                 violin, percussion [metalsheets]
Chris Cutler – drums, whistle, noises, performer [objects], text
Peter Prochir – drums, percussion (tracks: B1)

"Man or Monkey" was Cassiber's first album. It was released in 1982 on the German label Riskant as a set of two 45 rpm LPs -- a format that turned it into a pricy collector's item.
“Man or Monkey” is a plain masterpiece using pre-composed structures as well as free improvisation (with emphasis on the latter).


For this first effort, Christoph Anders, Chris Cutler, Heiner Goebbels, and Alfred 23 Harth entered the studio with only a handful of the drummer's lyrics and a few melodic ideas. They improvised, letting structures and arrangements develop by themselves, so to speak, and singer Anders threw in a text when he felt it appropriate.
Christoph Anders rather barks and shouts than sings his rudimentary lyrics, it sounds as if he was panicking. Alfred Harth is in charge of the free jazz part, while Goebbels adds serious new music piano clusters. The whole thing is driven by Cutler’s energetic punk/art rock explosions. In their best moments Cassiber sounds as if a free jazz band is jamming with German kraut rock legend Can.



Side A presents three short improvised songs. Lyrics are more declamated than sung and the musical flooring is loosely rhythmical but very intense ("Red Shadow" is a highlight). Side B focuses on more prepared songs and Anders' singing. The festive music of "Our Colourful Culture" creates a disgusting contrast with the somber lyrics ("I came from the country/Arriba! Arriba!/They were killing my family/Ha ha ha ha"). "O Cure Me" sets the lyrics from one of Bach's cantatas against with its melodic saxophone line and its mainstream keyboard sounds, which they immediately alienated by disharmonic chords, honks, the strange vocals and an angular violin. Both of these pieces would remain in the group's live sets until the end ten years later.


Side C contains the 16-minute free improvisation "Man or Monkey" and presents a world which is completely apart at the seams, a total chaos illustrated by a collage of horror organ parts, strange speech samples, lost saxophones and trombones, dissonant guitar splinters and junkyard percussion – even from today’s point of view a very ambitious and visionary track... Other songs on D side are based on allusions to the music of Robert Wyatt (“Die Verunreinigung des Flusses ist gerade noch erträglich”) and contains nice percussion work.
To quote Chris Cutler: “Man or Monkey presents Cassiber as a band which improvises with prepared texts and an intention to arrive at coherent structures.

(Revew By Martin Schray)



If you find it, buy this album!

Saturday, August 17, 2019

LOL COXHILL – Digswell Duets (Random Radar Records ‎– RRR 005 / LP-1979)




Label: Random Radar Records ‎– RRR 005
Format: Vinyl, LP, Album / Country: US / Released: 1979
Style: Free Jazz, Free Improvisation
Side A was recorded (11. 5. 78) at Digswell House in Welwyn Garden City, Herts.
Side B was recorded (26. 5. 78) at the Oxford Museum of Modern Art.
Artwork – Lol Coxhill
Artwork [Back Cover Graphics] – Mary Staples
Producer – Lol Coxhill
Matrix / Runout (Runout A, etched): RRR 005 A Pete Helffrich ALT 4-2-80
Matrix / Runout (Runout B, etched): RRR 005 B Pete Helffrich ALT 4-2-80

side 1:
A  -  11/5/78  (Coxhill–Emmerson) ........................................................................... 19:24

side 2:
B  -  26/5/78  (Coxhill–Weston) ................................................................................ 20:00

Personnel:
Lol Coxhill – soprano saxophone
Simon Emmerson – electronics [the digswell tapes system]
Veryan Weston – piano

Saxophonist Coxhill is an extremely versatile player who has played in settings ranging from punk rock to abstract free improvisation. His sense of melody and time are particularly distinctive, drawing more heavily from the jazz tradition than many of his fellow British free improvisers. This recording marks an unusual pairing of duet partners: Simon Emmerson, an electronic artist whose palette largely consists of Coxhill's playing thrown back at him in real-time; and Veryan Weston, a light-fingered pianist whose attention to melody and pulse closely reflect Coxhill's own.
These are live analog recordings from 1978, and the sound quality lags far behind what you'd find in today's recording studio. The shortcomings are definitely audible but do not substantially interfere with the music.


On the first side of this LP's Coxhill masterful works patiently, pursuing held tones and well-articulated intervals which provide his partner fuel for the fire. The rich reverb drenching the whole interaction competes with delay for the listener's attention, but the most exciting moments are when Emmerson distorts the saxophonist's tone into sharp metallic shards or multichromatic hunks of sound. You can hear Coxhill striding forward on the left channel, while Emmerson gradually builds up tension on the right and eventually chases him around the field. It's early stuff, so we're talking basic tools here... none of the computerized gadgetry that dominates interactive improvisation today. But it's done in real time, and the spirit of improvisation pervades both artists' work.



The second half of the LP's consists of mostly short embroidered pieces featuring Coxhill and pianist Veryan Weston. The call-and-response motif pops its head up here and there, as the two players feel each other out in the moment in order to determine where they're headed. For the most part, they pursue sparse, melodic improvisation. The melody may fragment or implode, but most of the time one or the other of these two players is holding up a flag in the wind. Coxhill mostly sticks to clean tones, though he demonstrates a mastery of swooshing legato runs that blur the distinctions between their endpoints. (And he's not at all opposed to sighing, whistling, or crying in the night.) Weston is a fantastic repairer, because he understands the importance of space. While he's not averse to simple lines, he often works in clusters of clusters: simple repeated or modulated pinches of the keys. At times he borrows from atonality, but when you listen closely you can usually find that local tonal centers agree heartily with the saxophonist. And Weston's pulse has an undeniable logic, though it might not hit the ground every two beats.

(Review By Staff / AAJ)



If you find it, buy this album!

THE STEVE MILLER TRIO meets LOL COXHILL – Miller's Tale (2LP-1986)




Label: Matchless Recordings ‎– MR 09
Format: 2 × Vinyl, LP / Country: UK / Released: 1986
Style: Free Improvisation, Free Jazz
Recorded at concert at the Bull and Gate, Kentish Town, London on 11 Nov. 1985.
Sleeve design (front reproduced above) by Herm
Published By – Matchless Recordings
Lacquer Cut At – Nimbus Records
Pressed By – Nimbus Records
Copyright – Eddie Prévost
Engineer [Recording] – David Lord / Ray Beckett
Engineer [Live Mix] – Phil Mouldycliff
Matrix / Runout (Side A, etched): MR 09 – A
Matrix / Runout (Side B, etched): MR 09 – B

side 1:
A - Nigh-and-Sly ........................................................................................................ 22:18

side 2:
B - Nether Eye ........................................................................................................... 24:34

side 3:
C - A Largeish Quart ................................................................................................. 25:04

side 4:
D - Nowell's Flood ..................................................................................................... 20:21

Personnel:
Steve Miller – piano
Tony Moore – double bass
Eddie Prévost – drums, percussion
Lol Coxhill – soprano saxophone

Original, enchanting music from the "Matchless" storage with selfless courtesy of Eddie Prévost.




Recorded at the Bull & Gate in Kentish Town in 1985 and released the following year. 
Steve Miller Trio was Steve Miller on piano, Tony Moore on bass and Eddie Prévost on drums
– here joined by Lol Coxhill on soprano saxophone.
This concert was financially assisted by the Musicians' Union.




Beautiful set, free and slightly liberating, but then again there's that whole sequence of cultured proper behaviour that seems to permeate most aspects of British Isles jazz approach whether it be trad or avant.               E n j o y  ! ! !



If you find it, buy this album!