Saturday, July 4, 2020

MACHINE GUN – Machine Gun (MU Records ‎– MU 1001 / LP-1988)




Label: MU Records ‎– MU 1001
Format: Vinyl, LP / Country: US / Released: 1988
Style: Experimental, Jazz-Rock, Free Improvisation
Side A recorded live at the Court Tavern, N.B., N.J.
Side B recorded live at CBGB's N.Y.C., except Trinity Rain recorded
at Trinity College, Hartford, Conn.
All tracks improvised
Cover design by – Thi Linh Le
Produced by – Robert Musso
Engineered by – Tom Ruff
Mastered by – Howie Weinberg
℗ 1988 MU Records / Printed in Canada
Matrix / Runout (A-Side Runout, Etched): MU 1001 SA QΔ 1-1
Matrix / Runout (B-Side Runout, Etched): MU 1001 SB QΔ-X 1-1

side 1:
A1 - In Court ............................................................................................................. 5:53
A2 - The Opening Of Entry ....................................................................................... 3:30
A3 - Fancy Products ................................................................................................. 3:46
A4 - Prancing In Your Bed ........................................................................................ 4:48
A5 - Dive ................................................................................................................... 3:50

side 2:
B1 - Myffy's 1st Date ................................................................................................ 2:49
B2 - The .8 Factor .................................................................................................... 3:58
B3 - One For The Chipper ........................................................................................ 2:04
B4 - Trinity Rain ........................................................................................................ 3:21
B5 - Hierocryptics ..................................................................................................... 5:52

Personnel:
Thomas Chapin – saxophone, flute
Robert Musso – guitar, 6-string bass, electronics [ambient tapes]
Jair-Rohm Parker Wells – electric bass
Bil Bryant – drums [acoustic and electric drums]
John Richey – electronics [vocal cut-up's, tapes]
with guests:
Sonny Sharrock – guitar
Karl Berger – melodica, voice


Thomas Chapin (March 9, 1957 – February 13, 1998) was an American composer and saxophonist/multi-instrumentalist. Though primarily an alto saxophonist, he also played sopranino, as well as soprano, tenor, baritone saxes and flute.
Many of his recordings as a leader featured his trio with drummer Michael Sarin and bassist Mario Pavone, occasionally joined by guests, as well as founding Machine Gun, a free-funk-free-jazz-rock band with guitarist/producer/engineer Robert Musso.
Chapin studied with Jackie McLean and Paul Jeffrey.
Chapin died of leukemia three weeks before his 41st birthday. He last played two weeks before his death, at a benefit concert.

Karl Berger / Sonny Sharrock

For all practical purposes, this is the very first Machine Gun record, comprised of two live performances in New Jersey and New York. Machine Gun was a band that played hybrid forms of rock, jazz, and funk, all from an outsider's perspective. Personnel were the late saxophonist Thomas Chapin, guitarist Robert Musso, drummer Bill Bryant, bassist Jair-Rohm Parker Wells, and vocalist and electronic cutup artist John Richey. Special guests on these dates included the late guitarist Sonny Sharrock and Karl Berger (melodica, voice). From the opening skronk of "In Court," it's obvious that Machine Gun plays high-energy, visceral music. There are riffs and form, but lots of improvisation follows that form, and mutates it further into other forms. Feedback, tape manipulation, and hard rock and punk attitude are at the heart of the Machine Gun approach to music and noisemaking. On "Fancy Products," a striated funk riff is wound around itself and a vocal until it becomes a harmolodic jazz riff that collapses in on itself before remerging as a colossal free improv jam where Chapin and Musso trade out eights for the remainder.



On the New York CBGB's date, which covers the latter half of the disc, percussion and guitars create sparkling shards of rhythm as Berger plays a melodica through the center of "Muffy's 1st Date," turning around a small lyric idea until it gradually expands out to involve the entire band in its hypnotic simplicity. Here again, there is little refinement to the approach -- just an insistence on energy and forward thrust as the dynamic range collapses by the seventh or eighth track. This is very interesting.... and performance promise incredible sense of space and sounds, and in the end you get it all in the best possible manner .... Great album!

(Review by B. Bismount)



If you find it, buy this album!

LAST EXIT – Last Exit (Enemy Records ‎– EMY 101 / LP-1986)




Label: Enemy Records ‎– EMY 101
Format: Vinyl, LP, Album / Country: Germany / Released: 1986
Style: Free Jazz, Heavy Metal, Free Improvisation
Recorded at New Morning, Paris, Feb 16, 1986.
Mixed at Quad Recording Studios
Design – Thi-Linh Le
Photography By – Val Telberg
A&R [Enemy Records Administration] – Michael Knuth
Engineering: Robert Musso
Assistant Engineer: Peter Sturge
Mastered by Howie Weinberg
Producer, Performer, Composed By – Last Exit
Matrix / Runout (Runout A-side, stamped): EMY 101 - A1
Matrix / Runout (Runout B-side, stamped): EMY 101 - B1

side 1:
A1 - Discharge .......................................................................................................... 3:28
A2 - Backwater .......................................................................................................... 5:30
A3 - Catch As Catch Can .......................................................................................... 2:15
A4 - Red Light ........................................................................................................... 8:03

side 2:
B1 - Enemy Within ...................................................................................................  3:50
B2 - Crackin .............................................................................................................. 7:49
B3 - Pig Freedom ...................................................................................................... 4:03
B4 - Voice Of A Skin Hanger ..................................................................................... 1:46
B5 - Zulu Butter ......................................................................................................... 2:28

Personnel:
Peter Brötzmann – saxophone [tenor, alto, bass]
Sonny Sharrock – guitar
Bill Laswell – electric bass [6 strings]
Ronald Shannon Jackson – drums, percussion, voice



In the mid-'80s, Bill Laswell had a great idea. Why not combine rock's raging rhythms and volume with free jazz improvisation's unfettered creativity and ferocity? To this end, he made three inspired choices to fill out his band. Drummer Ronald Shannon Jackson was a veteran of Ornette Coleman's Prime Time ensemble as well as a past member of Cecil Taylor's volcanic mid-'70s bands. Sonny Sharrock had burst onto the scene in the late '60s with Pharoah Sanders, Don Cherry, and others, establishing a unique approach to free electric guitar playing, only to retreat from the scene before being lured out of retirement by Laswell. The wild card was German saxophone behemoth Peter Brötzmann, known for his classic, shatteringly intense album Machine Gun from 1968 as well as multitudes of subsequent recordings where a premium was placed on visceral, gut-wrenching interplay among musicians. Mix these elements together and Laswell (with his own funky, dub-heavy electric bass anchoring the proceedings) had an incendiary formula, one that perhaps couldn't hold together long but, while it did, it produced some amazingly powerful music. Never was this more in evidence than on this first, self-titled release, one of the very finest albums of the '80s.



Entirely improvised, Last Exit nonetheless based most of its pieces on blues forms, even if highly abstracted. This bedrock allowed the musicians, particularly Brötzmann and Sharrock (whose early death in 1994 would cancel any possibility, however tenuous at that point, of the group's continuation) to freely explore the outer boundaries of their instruments, sublimely soaring over the down to earth and dirty rhythm team of Laswell and Jackson. This tension, strongly shown on the first four tracks here, reached almost unbearable degrees; its release when they would slide back into a groove leaves the listener utterly drained. Subsequent albums (notably Koln) would come close to attaining this level of intensity and creativity, but Last Exit ranks as a pinnacle both in Laswell's career and in the jazz/rock/free improv genre it spawned.
A classic release, one that should be in the collection of anyone interested in either contemporary free improvisation or the more creative branches of jazz/rock.

(Review by Brian Olewnick)



If you find it, buy this album!

LAST EXIT – Cassette Recordings 87 (Enemy Records ‎– EMY 105 / LP-1987)




Label: Enemy Records ‎– EMY 105
Format: Vinyl, LP / Country: Germany / Released: 1987
Style: Jazz-Rock, Free Improvisation
Cassette recordings from Copenhagen, North Sea Jazz Festival, Den Haag, Allentown, Penn. Produced at Quad Recordings, NYC. Mastered at Masterdisk.
Mastered By – Howie Weinberg
Other [Enemy Administration] – Michael Knuth
Producer [Assistant] – Robbie Norris
Producer [Salvage Production] – Robert Musso
Matrix / Runout (Side A, Etched): EMY 105 / Efa 03505 A
Matrix / Runout (Side B, Etched): EMY 105 / Efa 03505 B

side 1:
A  -  Line Of Fire ...................................................................................................... 20:35

side 2:
B1/B4 - Big Boss Man > Sore Titties > Ulli Bulli Fooli > Ma Rainey ....................... 16:29
             1 - Big Boss Man ............................. 1:05
             2 - Sore Titties ................................. 6:17
             3 - Ulli Bulli Fooli .............................. 3:57
             4 - Ma Rainey .................................. 5:08
B5 - My Balls / Your Chin .......................................................................................... 2:36

Personnel:
Peter Brötzmann – saxophone [tenor, alto, bass], tárogató
Sonny Sharrock – guitar
Bill Laswell – electric bass [6 strings]
Ronald Shannon Jackson – drums, percussion, voice

Beautiful, 1987 German Only Original vinyl LP. Recorded Live At The North Sea Jazz Festival.

Sharrock / Brötzmann
Laswell / Jackson

Raw, but these live recordings are better recorded than the title might indicate. Into this recipe Peter Brötzmann brings the euro improvisation ferocity and Cecil Taylor influences, Sonny Sharrock adds the American jazz innovation, Ronald Shannon Jackson's ingredients include the blues and bang-on-a-pot suddeness, and Bill Laswell, well he contributes a fatty slice of the avant garde, and some knowledge of knob-twidding to boot would be my guess. All mixed into an explosive whole. Noisy, yes. Freely, most definitely.
The first track, "Line Of Fire", is a good example: Albert Ayler opening, then rumbling, rumbling, rumbling, and everyone goes off into their own worlds, all the while maintaining a semblance of being a band, a grouping, a gathering of artists, rather than just some guys standing in the same room, blasting and clanging and squalling away on what-have-you. There's superb interaction despite all the sonic feces being flung every which way.



So I'm going to say: stay patient, give it time and a few listens, and you may find yourself falling in love with (or at least have a passing attraction to) a band that no longer exists but which once held the music world by its ear and gave it a good shake.

(Review by RIStout)



If you find it, buy this album!

Thursday, June 18, 2020

NOIR MIX-4 – Per Different Jazz In My Room (DP-10004 / night mix-2020)



Noir MIX-4 / Per Different Jazz In My Room
(DP-10004 / 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:
04 - NOIR MIX-4Per Different Jazz In My Room ................................................. 122:16


"Noir MIX-4"...... Parts of the radio episodes "mix de nuit" (night mix), popular CISM and Free Jazz Shows from Montreal (CISM 89.3 FM) by François Samson-Dunlop were used. The episodes lasted from January 14, 2009 until December 28, 2012 and aired between 2 AM and 4 AM. 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 ...

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



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

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!