Saturday, May 30, 2020

THE LOUNGE LIZARDS – The Lounge Lizards (Editions EG – EGS 108/LP-1981)




Label: Editions EG ‎– EGS 108
Format: Vinyl, LP, Album / Country: US Released: 1981
Style: Avant-garde Jazz, No Wave, Free Improvisation
Recorded at CBS Recording Studios in New York on July 21-22, 28-29 1980.
Mixed at CBS Recording Studios in New York on August 6, 14-15 1980.
Design – Peter Saville
Photography By – Fran Pelzman
Engineer – Frank Laico, Ted Brosman
Recorded By – Teo Macero
Mastered By – Gc
Mixed By – Don Puluse
Producer – Teo Macero
Pressed By – Hub-Servall Record Mfg. Corp.
Matrix / Runout (Runout area side A Var.1): ESG - 108 - A STERLING HuB
Matrix / Runout (Runout area side B Var.1): ESG - 108 - B STERLING Gc HuBre

side1:
A1 - Incident on South Street   (John Lurie) .............................................................. 3:21
A2 - Harlem Nocturne   (Earle Hagen) ...................................................................... 2:04
A3 - Do The Wrong Thing   (John Lurie / Steve Piccolo) .......................................... 2:40
A4 - Au Contraire Arto   (John Lurie) ......................................................................... 3:22
A5 - Well You Needn't   (Thelonious Monk) .............................................................. 1:55
A6 - Ballad   (John Lurie) .......................................................................................... 3:25
A7 - Wangling   (John Lurie) ..................................................................................... 2:58

side2:
B1 - Conquest of Rar   (John Lurie / Evan Lurie/ Anton Fier) ................................... 3:14
B2 - Demented   (John Lurie) ................................................................................... 2:02
B3 - I Remember Coney Island   (John Lurie) .......................................................... 3:29
B4 - Fatty Walks   (John Lurie) ................................................................................. 2:52
B5 - Epistrophy    (Thelonious Monk / Kenneth Clarke) ........................................... 4:15
B6 - You Haunt Me   (John Lurie) ............................................................................. 3:40

Personnel:
John Lurie – alto saxophone
Evan Lurie – keyboards
Steve Piccolo – bass
Arto Lindsay – guitar
Anton Fier – drums, percussion

The Lounge Lizards is the first album by The Lounge Lizards. It features hectic instrumental jazz. The songs are mostly composed by band leader and saxophone player John Lurie. The album artwork was designed by the English graphic designer Peter Saville.


The Lounge Lizards were an eclectic musical group founded by saxophonist John Lurie and his brother, pianist Evan Lurie, in 1978. Initially known for their ironic, tongue-in-cheek take on jazz, The Lounge Lizards eventually became a showcase for John Lurie's sophisticated compositions straddling jazz and many other genres. They were active until about 1998 with the Lurie brothers as the only constant members, though many leading New York City based musicians were members of the group.
The group's name was borrowed from American slang. A lounge lizard is typically depicted as a well-dressed man who frequents the establishments in which the rich gather with the intention of seducing a wealthy woman with his flattery and deceptive charm.

At its founding, the band consisted of John Lurie and Evan Lurie, guitarist Arto Lindsay, bassist Steve Piccolo, and percussionist Anton Fier. They released a self-titled album on EG Records in 1981. The album included two Thelonious Monk covers, but as one critic noted, "the two aforementioned Monk covers seem a strange choice when you actually hear the band, which has more in common with sonic experimentalists like Ornette Coleman or Sun Ra."
By the mid-1980s, a new line-up included bassist Erik Sanko, trombonist Curtis Fowlkes, guitarist Marc Ribot, saxophonist Roy Nathanson, and percussionists Dougie Bowne and E.J. Rodriguez. This group recorded various live and studio albums and showcased John Lurie's increasingly sophisticated and multi-layered compositions.



Note:
In 1998, the band released Queen of All Ears on John Lurie's Strange and Beautiful Music label and had added Steven Bernstein, Michael Blake, Oren Bloedow, David Tronzo, Calvin Weston, and Billy Martin. "The Lizards' music isn't jazz," said Fred Bouchard of JazzTimes, "but it is intelligent and rhythmically and harmonically interesting (it ain't rock either, in other words) and, despite the ultra-hip trappings, it has an almost innocent directness that can transcend stylistic prejudice."
Recent years have found the Lounge Lizards less active. John Lurie has been occupied with painting, while Evan has worked on The Backyardigans, a children's show that highlights multiple musical genres.



If you find it, buy this album!

THE GOLDEN PALOMINOS – The Golden Palominos (CEL 6662 / LP-1983)




Label: Celluloid ‎– CEL 6662
Format: Vinyl, LP, Album / Country: France / Released: 1983
Style: Avantgarde, Free Improvisation
Recorded at Radio City Music Hall Studio/NYC and OAO Studio/Brooklyn
Mixed at RPM Studio/NYC and OAO Studio/Brooklyn
Design [Layout] – Jan Luss
Photography By – Thi-Linh Le
Engineer – Don Hünerberg, Martin Bisi
Engineer [Assistant At RPM] – Mike Krowiak
Mixed By – Anton Fier, Bill Laswell, Martin Bisi
Executive-Producer – Karakos, Roger Trilling
Producer – Anton Fier, Bill Laswell
Producer [Associate] – Arto Lindsay, Martin Bisi
Repetiteur [Vocal Coach] – Peter Blegvad
Matrix / Runout (A-Side Runout, Etched): Cel 6662 A
Matrix / Runout (B-Side Runout, Etched): Cel 6662 A

side 1:
A1 - Clean Plate   (Fier, Lindsay) .............................................................................. 6:32
A2 - Hot Seat   (Fier, Noyes, Miller) .......................................................................... 5:13
A3 - Under The Cap   (Fier, Lindsay) ........................................................................ 5:32
A4 - Monday Night   (Fier, Lindsay) .......................................................................... 6:29

side 2:
B1 - Cookout   (Fier) ................................................................................................. 4:38
B2 - I.D.   (Fier, Lindsay) ........................................................................................... 6:45
B3 - Two Sided Fist   (Fier, Lindsay, Frith) ................................................................ 7:42

Musicians:
ARTO LINDSAY – vocals, guitar
ANTON FIER – drums, oberheim DMX, percussion
FRED FRITH – guitar, violin
BILL LASWELL – bass guitar
JOHN ZORN – alto saxophone, clarinet, game calls
NICKY SKOPELITIS – guitar on "Monday Night" / "I.D."
THI-LINH LE – vocals on "Monday Nigh''
MARK E. MILLER – vocals on "Hot Seat", turntables on "Hot Seat" / "Monday Night"
DAVID MOSS – percussion on "Clean Plate" / "Under the Cap" / "Two Sided Fist"
MICHAEL BEINHORN – drums and Oberheim DMX on "Hot Seat", piano on "Cookout"
JAMAALADEEN TACUMA – Steinberger bass guitar on "Clean Plate" / "Two Sided Fist"
ROGER TRILLING – tape on "Cookout"

The group first featured drummer Anton Fier, singer-guitarist Arto Lindsay, saxophonist John Zorn, bass guitarist Bill Laswell and violinist/guitarist Fred Frith. Their self-titled debut album was released on New York's Celluloid Records in 1983, and featured guest appearances by bassist Jamaaladeen Tacuma, guitarist Nicky Skopelitis, percussionist David Moss, turntablist M.E. Miller and others.

Arto LindsayAnton Fier

For twenty years, the Golden Palominos have been musical chameleons, continually changing lineups and styles. The only constant has been drummer Anton Fier, whose vision and interests have steered the group through two decades of music making.
The Golden Palominos were formed in the early 1980s, as a joint project, by drummer Anton Fier and noise-guitarist Arto Lindsay. Fier came from Cleveland where he had played with new wave cult band Pere Ubu. In 1978, he left Ohio for New York City. Once there he moved through various bands including a band he formed himself, the Feelies and the Pedestrians. At the end of the 1970s, with Lindsay and John Lurie, he co-founded the Lounge Lizards, a band that played an indescribable combination of noise, rhythm, and jazz. “Actually, when I first started playing with the Lounge Lizards, Arto and I wanted to call the band the Golden Palominos,” Fier told Down Beat’s Bill Milkowski. “We liked the name but Lurie didn’t.” Lindsay, Fier said, was the reason he joined the Lounge Lizards. So when Arto left the band, Fier did too and decided the next step was for the two of them to form a new band together, which they were able to name the Golden Palominos.



The group’s first incarnation was as a super group of the late-1970s New York downtown improv scene. Its participants included luminaries such as saxophonist John Zorn, guitarists Fred Frith and Nicky Skopelitis,and bassists Bill Laswell and Jamaaladeen Tacuma. The music the band made was a marvelous combination of incongruous styles. On the one hand, the music was improvised, free, uncontrolled even. Lindsay, the Palominos de facto frontman, played chunks of noise on his 12-string guitar which he deliberately refused to tune and squawked out truncated, nonsensical lyrics, while Zorn was as likely to accompany the band with bird calls as with his horn. On the other, when the band played it locked into a throbbing, unrelenting funk groove driven by Tacuma and Laswell’s basses and Fier’s unerring backbeat.

The group gave a series of critically well-received concerts in the New York City area in 1982, and in 1983 released a record, simply titled Golden Palominos, on Bill Laswell’s Celluloid label. The New York Times lavished praise on the album. Down Beat called it “a masterpiece…an enormously important and satisfying album” and gave it five stars, the magazine’s highest rating.



If you find it, buy this album!

Wednesday, May 13, 2020

TAJ MAHAL TRAVELLERS – 1 - August 1974 (Nippon Columbia Co. / 2LP-1975)




Label: Columbia ‎– OP-7147~8-N
Format: 2 × Vinyl, LP / Country: Japan / Released: May 1975
Gatefold-cover / Originally / First Pressed
Style: Experimental, Free Improvisation
Recorded On August 19th, 1974 At The Nippon Columbia Studio No.1 In Tokyo.
Album design : Michiro KIMURA
Engineering : Kaoru LIDA
Produced by Yoshiharu KAWAGUCHI
Liner Notes – Yuji TAKAHASHI
1975 Nippon Columbia Co., Ltd.
Matrix / Runout (A-Side runout): OP-7147~8-N / N-357-449 - 1
Matrix / Runout (B-Side runout): OP-7147~8-N / N-357-450 - 2
Matrix / Runout (C-Side runout): OP-7147~8-N / N-357-451 - 3
Matrix / Runout (D-Side runout): OP-7147~8-N / N-357-452 - 4

Issued with printed innersleeve (top half text in Japanese, bottom half: liner notes by Yuji Takahashi / verso: TMT biography).

side 1:
A - 1 ......................................................................................................................... 19:55

side 2:
B - 2 ......................................................................................................................... 21:30

side 3:
C - 3 ........................................................................................................................ 23:35

side 4:
D - 4 ........................................................................................................................ 23:30

TAJ MAHAL TRAVELLERS
Takehisa KOSUGI – electric violin, harmonica, voice, etc.
Ryo KOIKE – electric double-bass, suntool, voice, etc.
Yukio TSUCHIYA – bass-tuba, percussion, etc.
Seiji NAGAI – trumpet, synthesizer mini-korg, timpani, etc.
Michihiro KIMURA – voice, percussion, mandolin, etc.
Tokio HASEGAWA – voice, percussion, etc.
Kinji HAYASHI – electronic technique
Guest performer : Hirokazu SATO – percussion, voice, etc.

High quality of the monumental work ''1 - August 1974'' by Japanese experimental music ensemble Taj Mahal Travellers.



In April 1972 a group of Japanese musicians set off from Rotterdam in a Volkswagen van. As they crossed Europe and then made their way through Asia they made music in a wide range of locations. They also paid close attention to the changing scene and to differing ways of life. Midway through May they reached their destination, the iconic Taj Mahal on the bank of the Yamuna river in Agra, India. The Taj Mahal Travellers had fulfilled physically the promise of the name they adopted when they formed in 1969. But their music had always been a journey, a sonic adventure designed to lead any listener’s imagination into unfamiliar territory.



The double album August 1974 was their second official release. The first July 15, 1972 is a live concert recording, but on 19th August 1974 the Taj Mahal Travellers entered the Tokyo studios of Nippon Columbia and produced what is arguably their definitive statement. The electronic dimension of their collective improvising was coordinated, as usual, by Kinji Hayashi. Guest percussionist Hirokazu Sato joined long-term group members Ryo Koike, Seiji Nagai, Yukio Tsuchiya, Michihiro Kimura, Tokio Hasegawa and Takehisa Kosugi.

The enigmatic Takehisa Kosugi, whose soaring electric violin was such a vital element in their music, had been a pioneer of free improvisation and intermedia performance art with Group Ongaku at the start of the 60s. Later in that decade, before launching the Taj Mahal Travellers, he had become known internationally through his association with the Fluxus art movement. During the mid-70s the Travellers disbanded and while his colleagues more or less stopped performing as musicians Kosugi continued to reach new audiences across the course of several decades as a composer, regular performer and musical director for the acclaimed Merce Cunningham Dance Company.




August 1974 captures vividly the characteristic sound of the Taj Mahal Travellers, haunting tones from an unusual combination of instruments, filtered through multiple layers of reverb and delay. Their music has strong stylistic affinities with the trippy ambience of cosmic and psychedelic rock, but the Taj Mahal Travellers were tuning in to other vibrations, drawing inspiration from the energies and rhythms of the world around them rather than projecting some alternative reality. Films of rolling ocean waves often provided a highly appropriate backdrop for their lengthy improvised concerts. 
This is truly electric music for the mind and body.



If you find it, buy this album!

Tuesday, May 5, 2020

NOIR MIX-1/2/3 – Per Different Jazz In My Room (DP-10001-3 / night mix-2020)



Noir MIX-1 / Per Different Jazz In My Room
(DP-10001 / 2020)
MIX de Nuit / Night MIX
CISM and Free Jazz shows from Montreal
Thursday Night or Friday Morning: 2 AM to 4 AM /
episodes of January 14, 2009. until December 28, 2012.
CISM 89.3 FM :: WWW.CISM893.CA
département jazz et nouvelles musiques de CISM /
department Jazz and New Music by CISM
Author by Francois Samson-Dunlop
Cover Design by vitkoArt / Noir MIX [graphics] by VITKO /2020
+
Noir comic book "The Devil Of My Colt 45" by Gavin Spencer

one lane:
01 - NOIR MIX-1Per Different Jazz In My Room ................................................. 121:28




Noir MIX-2 / Per Different Jazz In My Room
(DP-10002 / 2020)
MIX de Nuit / Night MIX
CISM and Free Jazz shows from Montreal
Thursday Night or Friday Morning: 2 AM to 4 AM /
episodes of January 14, 2009. until December 28, 2012.
CISM 89.3 FM :: WWW.CISM893.CA
département jazz et nouvelles musiques de CISM /
department Jazz and New Music by CISM
Author by Francois Samson-Dunlop
Cover Design by vitkoArt / Noir MIX [graphics] by VITKO /2020

one lane:
02 - NOIR MIX-2Per Different Jazz In My Room ................................................. 121:54




Noir MIX-3 / Per Different Jazz In My Room
(DP-10003 / 2020)
MIX de Nuit / Night MIX
CISM and Free Jazz shows from Montreal
Thursday Night or Friday Morning: 2 AM to 4 AM /
episodes of January 14, 2009. until December 28, 2012.
CISM 89.3 FM :: WWW.CISM893.CA
département jazz et nouvelles musiques de CISM /
department Jazz and New Music by CISM
Author by Francois Samson-Dunlop
Cover Design by vitkoArt / Noir MIX [graphics] by VITKO /2020

one lane:
03 - NOIR MIX-3Per Different Jazz In My Room ................................................. 121:36



Dear friends....
.... This isolated condition is no longer inspiring enough for my soul….
.... and I decided to do something for myself and for you, by launching "Noir MIX" that should pop up every now and then, without a specific announcement time. In front of you are the first three numbers .... Were used parts of the radio episodes "mix de nuit" (night mix), popular CISM and Free Jazz Shows from Montreal (CISM 89.3 FM), and released by Mr. François Samson-Dunlop. The episodes lasted from January 14, 2009 until December 28, 2012 and aired between 2 AM and 4 AM at night. I liked the concept very much and I followed it literally .... The characteristic of these soundtracks is that the music runs continuously for two hours without interruption, the tracks flow seamlessly from one to another with the perfect feeling of combining the artist and changing the tempo.....

Everything is designed to be a little more exciting with music that aims to evoke different moods as we sit indoors in our houses trying not to go crazy in isolation. With good jazz,..... let's beat the coronavirus together.......... !!!

I would recommend everyone to listen to music at night, or into the deaf and lazy afternoon..... Well enjoyable ..... Dream your movie ....!!!

.... A noir mix that disperses without ever getting lost.....

In the first issue you also get a gift the noir comic book "The Devil Of My Colt 45" by Gavin Spencer.

.... Write your comments....

Regards.
VITKO



If you love yourself, pick this up...!

Monday, April 20, 2020

HARUTAKA MOCHIZUKI/KAWASHIMA MAKOTO – Free Wind Mood (LP-2018)




Label: An'archives - [An'14]
Series: Free Wind Mood –
Run by Cédric Lerouley who also run COmmA
Sublabel 情趣演歌
Format: Vinyl , LP, Limited Edition to 275 / Country: France / Released: 2018
Style: Free Jazz , Free improvisation
Side A, Recorded on June 25, 2017 at Ichibangura, Esashi
Side B, Recorded on November 18, 2017
Printed by Alan Sherry
Liner Notes by Michel Henritzi
Matrix / Runout (Side A): 1A – ANARCHIVES [An'14]
Matrix / Runout (Side B): 1B – ANARCHIVES [An'14]

Comes in a heavy old style silkscreened jacket with obi (black, dark green or grey), postcards and inserts.
Thanks for their help: Iris Nguyen Duc Long, Jean Noël Rebilly, Fergus Cullen, Jon Dale, Alan Cummings, Hideo Ikeezumi, Alan Sherry & Michel Henritzi

side 1:
A - Harutaka MochizukiUntitled (Free Wind Mood) ............................................. 18:30

side 2:
B - Kawashima MakotoUntitled (Free Wind Mood) ............................................. 17:50

Musicians:
Harutaka Mochizuki – alto saxophone
Kawashima Makoto – alto saxophone



"During the past decade, a number of free music players in Japan have fiercely, with no compromise, continued to grapple with the questions that lay at the heart of the solo saxophone recital: how to tease and tear new formations out of the interface between human breath, human flesh and skeleton, and the instrument itself, its keys, holes, pads, reed, and brass body.
With Free Wind Mood, An’archives splits one vinyl record down the middle, giving a side each to two of the most rigorous, exciting, and committed players from the scene: Harutaka Mochizuki and Makoto Kawashima.
While there are elements of their playing that places them in a history of Japanese free blowing, from Kaoru Abe through Masayoshi Urabe to now, they both have a singular voice: Harutaka more stringent and tart, Kawashima, perhaps, more melancholy. Tellingly, they’ve both intersected with rock music and free sound ensembles, with Kawashima working alongside Nishizawa Naoto of EXIAS-J (Experimental Improvisers’ Association of Japan), while Harutaka has worked in a duo Tomoyuki Aoki of psych-rock group Up-Tight, and guitarist Kondo Hideaki (also of EXIAS-J).
But both of them have made their most massive strides forward with their own solo releases, Kawashima’s potent Homo Sacer one of the final releases on PSF, and Harutaka’s Pas LP and Through The Glass CD exploring new terrain for the nexus of breath and brass. Moving on from those releases, Free Wind Mood is a devastating listening experience, blood and guts on the floor as the players fully inhabit the architecture of the space, and of the self, and play like their lives depend on it."       (By Jon Dale)




Divine, wracked solo saxophone improvisations courtesy of the magnificent An’Archives and their extraordinary new ‘Free Wind Mood’ series. Absolutely beautiful to behold too, edition of 275 housed in heavy “old style” silk-screened jacket with obi strip, postcards and inserts, including liner notes by Michel Henritzi. Monastically committed reedsmen Harutaka Mochizuki and Makoto Kawashima (whose Homo Sacer was one of the final releases on PSF) are given a side apiece to grapple with their instrument; Mochizuki’s offering is certainly engaging, but it’s the more lyrical, melancholy drift of Kawashima’s performance that we’re instinctively drawn to, the use of negative space reminding us a little bit of John Butcher at his most expansive or even the Bill Dixon of November 1981. But even at its most emollient and near-ambient, Free Wind Mood Vol.1 is serious, searching, masochistic... sonic/spiritual enquiry doesn't get much rawer, or purer, than this.


Please see here:
https://anarchiveslabel.bandcamp.com/album/free-wind-mood



If you find it, buy this album!

MASAHIKO SATO – Holography (Columbia ‎– JDX-42 / LP-1970)




Label: Columbia ‎– JDX-42
Format: Vinyl, LP, Album, Gatefold / Country: Japan / Released: 1970
Style: Free Jazz, Free Improvisation
Recorded live at Yamaha Hall, Tokyo, June 17, 1970
Made By – Nippon Columbia Co., Ltd.
Composed By – Masahiko Sato
Liner Notes – Hisamitsu Noguchi and Jun Numata
Matrix / Runout (Side A): SX-2311 - JDX-42-A 1- A
Matrix / Runout (Side B): SX-2312 - JDX-42-B 1- B

side 1:
A - Phase 1 ............................................................................................................. 20:48

side 2:
B - Phase 2 ............................................................................................................. 17:55

Masahiko Sato – piano


One of the rarest albums ever from the mighty Masahiko Sato, a composer and arranger,as well as a key figure in the avantgarde music from Japan. Originally issued on Japan Columbia in 1970, the two sides of very free piano show a sensitivity that's really amazing – still moments of freedom that reflect Sato's connection to the avant garde of the time, interwoven with his own sense of cosmic creation, in ways that are similar to his later projects.




Born in Tokyo, in 1941, Masahiko Sato's earliest influences came from Olivier Messiaen and Yuji Takahashi, although the pianist earned his living playing in various jazz combos in Japan, Europe and the USA throughout the late 1950s and early 1960s. As a jazz soloist, arranger, free player, or even as organist on the more extreme Japanese rock LPs of the time, Masahiko Sato successfully navigated his way through it all. Indeed, in this way, Sato is probably the Japanese equivalent of German free spirit Wolfgang Dauner, with whom he played in the very early 1970s.



If you find it, buy this album!

YOSUKE YAMASHITA TRIO – Montreux Afterglow (Frasco ‎– FS7014 / LP-1976)




Label: Frasco ‎– FS7014
Format: Vinyl, LP, Album / Country: Japan / Released: 1976
Style: Free Jazz, Contemporary Jazz
Recorded in live on July 9, 1976 at Casino de Montreux.
Manufactured By – Nippon Phonogram Co., Ltd.
Distributed By – Nippon Phonogram Co., Ltd.
Cover Design – Hideomi Ishikawa
Front Cover Photo – Takumi Ushida
Back Cover Photo – Yosuke Yamashita
Recording Engineering – Montreux Sounds
Re-mix Engineering – Tsuyoshi  Miyasaka
Linor Notes – Hisamitsu Noguchi
Matrix / Runout (Side A, stamped): F S 7014 A I
Matrix / Runout (Side B, stamped): F S 7014 B II

side 1:
A - Ghosts ............................................................................................................... 21:30
       Written-By – Albert Ayler

side 2:
B - Banslikana ......................................................................................................... 23:00
      Written-By – Yosuke Yamashita

Personnel:
Yousuke Yamashita 山下洋輔 – piano
Akira Sakata  坂田明 – alto saxophone
Shota Koyama  小山彰太 – drums, percussion


Possibly the most intense Yosuke Yamashita I've heard thus far. The cover of Ayler's Ghosts is... incredible. At one point Akira Sakata just starts screaming. The staggering expressive range of Yosuke Yamashita... an abstract landscape of geometrical disorder and rhythm whose arteries slowly congest and lead to a cacophonous fracture.
The B side, "Banslikana" quite as focused over its duration (the hugely underwhelming drum solo, particularly on the back of the rest of the album's monster drumming), the last five minutes have to be heard to be believed.



Good on Yamashita for being one of the few jazz cats to go into the second half of the 70s in a LESS accessible direction. Herbie Hancock and Weather Report and damn near everybody else had already sold their souls by this point. Yamashita kept busy on the sidelines playing shoji with demons.
Well worth finding.



If you find it, buy this album!

URS BLÖCHLINGER – Cinema Invisible (Plainisphare ‎– LP 1267-24/25/2LP-1986)




Label: Plainisphare ‎– LP 1267-24/25
Format: 2 × Vinyl, LP, Album / Country: Switzerland / Released: 1986
Style: Free Improvisation, Contemporary Jazz
Solo bass saxophone recorded on 26-27 November 1985 at the Old Church, Boswil
Quartet recorded on 11 June and
Octet on 12 June, 1985 at the Hotel Mohren during Jazz In Willisau.
Photography By – Markus Di Francesco
Recorded By – Fanny Pfister / Peter Pfister
Matrix / Runout (Runout A, etched): LP 1267-24-A A.
Matrix / Runout (Runout B, etched): LP 1267-24-B A.
Matrix / Runout (Runout C, etched): LP 1267-25-C B.
Matrix / Runout (Runout D, etched): LP 1267-25-D B.

side 1:
A1 - Jacques Tati Privat ........................................................................................... 11:45
A2 - Line One ............................................................................................................ 1:57
A3 - Flopps Aus Der Mottenkiste ............................................................................. 11:29

side 2:
B1 - Skippy Das Buschkänguru ................................................................................. 8:20
B2 - Geppetto Und Pinocchio (Take 1) .................................................................... 11:15
B3 - Line Two ............................................................................................................. 4:25

side 3:
C1 - Geppetto Und Pinocchio (Take 2) .................................................................... 15:21
C2 - Washing Dishes, Playing War Games ............................................................... 4:07
C3 - Blues For A Turkey ............................................................................................ 3:44

side 4:
D  -  Fish-Wife / Man-Sea, Und Zum Schluss Die Coda ......................................... 22:02

Line-up/Musicians:
Urs Blöchlinger – alto saxophone, sopranino saxophone, bass saxophone
Jürg Ammann – piano, melodica
Thomas Dürst – bass
Martin Schütz – cello
Dieter Ulrich – drums, bugle
Peter Hablützel – sopranino saxophone
Hans Kennel – trumpet
Daniel Mouthon / Kornelia Bruggmann – voice

''Cinema Invisible'' double LP Plainisphare Records, 1986. with Urs Blöchlinger, Jürg Ammann, Thomas Dürst and Dieter Ulrich.
Super rare, early LP from the Swiss label Plainisphare Records.


Swiss jazz saxophonist, flutist and composer, born 4 June 1954 in Wettingen; died 3 March 1995 in Turgi, Switzerland.



''Cinema Invisible'' double LP Plainisphare Records, 1986. with Urs Blöchlinger, Jürg Ammann, Thomas Dürst and Dieter Ulrich.
Super rare, early LP from the Swiss label Plainisphare Records.




After moving from trumpet to guitar, at eighteen he decided to play reed instruments. He attended the Zurich Conservatory. In the mid-70s he collaborated with the pianist Christoph Baumann and the flutist Ruedi Hausermann with whom he combined jazz and comedy in the Jerry Dental Kollekdoof. Later, together with bassist Thomas Drust and drummer Thomas Hiestand, they proposed poetic improvisations that thrilled the audience at the 1982 Willisau Jazz Festival. He was part of the Legfek group and participated in various events...
Blöchlinger committed suicide at the age of forty.

Granted the request of numerous visitors to this blog .... ENJOY !!!



If you find it, buy this album!