Sun City Girls - Carnival Folklore Resurrection: A Bullet Through The Last Temple

The SCG turn into a free form jazz unit for this album! Recorded live by Scott Colburn at Gravelvoice, Seattle, in December 1997.

David Carter joins them on trumpet (tracks: 1, 2, 5, 7, 9) and Teri Nelson Zagar on double bass (tracks: 4, 8). Very deep music! 

Anthony Ortega - New Dance! [1967]

"Originally recorded for Revelation, the music on this CD reissue features the underrated but talented altoist Anthony Ortega stretching out on four duets with bassist Chuck Domanicoand four trios with bassist Bobby West and drummer Bill Goodwin. Ortega plays adventurous but perfectly coherent solos on four originals and a quartet of standards (including "The Shadow Of Your Smile" and a haunting rendition of "My Buddy"). Although one can hear abstract ties to the music of Lennie Tristano, in general Ortega is surprisingly original, making this set an overlooked gem." -- allmusic.com


Personnel
Anthony Ortega - alto saxophone
Chuck Domanico - bass
Bobby West - bass
Bill Goodwind - drums

Archie Shepp - For Losers [1971]

"At the time this record was recorded, Shepp was bouncing back and forth between Paris and New York. He also bounced between the Impulse! and BYG labels. He also bounced between styles. For BYG, his music reached to grasp the bare beginnings of black music, back to Africa and the blues. His music for Impulse! tried to embrace the contemporary sounds of R&B, with very mixed results that to this day divide his fans. This record is a transitional one. For the traditionalists, there's his shattering and amusing cover of "I've Got It Bad" performed by the usual suspects one would think to find on an Archie Shepp record, including Cecil Payne and Joe Chambers. For those enraptured by albums like Attica Blues, songs like "Stick 'Em Up" will fascinate, as Shepp's raspy tenor is joined not only by a legion of avant-garde brethren (including names like Beaver Harris and Grachan Moncur), but also by the funky wood of electric bass, guitar, and organ." -- allmusic.com


Personnel
see: http://www.discogs.com/Archie-Shepp-For-Losers/release/1400543

Nathan Davis - Rules of Freedom [1967]

"Nathan Davis (born 15 February 1937) is an American hard bop jazz multi-instrumentalist who plays the tenor saxophone, soprano saxophone, bass clarinet and flute. Born in Kansas City, KS, Davis is probably best known for his work with Kenny Clarke, Ray Charles and Art Blakey.

Nathan traveled extensively around Europe after the war and moved to Paris in 1962. He holds a Ph.D in Ethnomusicology and is a professor of music and director of jazz studies at the University of Pittsburgh since 1969. He is also founder and director of the University of Pittsburgh Annual Jazz Seminar and Concert." -- wikipedia.com

Personnel

Jimmy Garrison - bass

Art Taylor - drums

Hampton Hawes - piano

Nathan Davis - flute, soprano saxophone, tenor saxophone

The Iceburn Collective - Polar Bear Suite [1997]

Alright. It's about time this hit the blogs. Got this from a very kind fellow I met on youtube. Iceburn at their most jazzy and experimental. Enjoy.

Personnel

Bassoon - Alicia Poore
Clarinet [Bass] - Aaron Hansen
Double Bass - Cache Tolman, Doug Wright
Drums - Dan Day
Edited By - Todd Winn
Engineer - Brian Kesler, Chad Wagstaff, Chris Hill (5)
Guitar - Chris Hill (5), Gentry Densley
Mixed By - Chris Hill (5), Gentry Densley
Saxophone - Jared Russell

Baroque Jazz Trio - S/T [1970]

"Beautiful stuff – and one of the most stunning jazz albums ever recorded – a blinding mix of harpsichord, cello, and Indian percussion – with a sound that's unlike anything else we can think of! The album was the brainchild of the cross-culturally fertile Saravah records at the end of the 60s – home to experimental work by Brigitte Fontaine, Barney Wilen, The Art Ensemble Of Chicago, and others. From the start, the group wanted to work in a boundary-less territory that really pushed the limits of jazz – drawing in inspiration from world music, and working in a style they called "baroque", to emphasize the bizarreness of their project. Given the heavy use of tabla on the set, the album's got a really driving rhythmic component – making for some funky numbers that have been sought-after jazz-dance tracks for years. And the role of the harpsichord is surprisingly strong – played in almost modal lines, but with a hesitating, lilting groove that's quite different to similar use of the piano at the time." 

-- dustygroove.com

Personnel

Jean-Charles Capon - cello 

Philippe Combelle - tabla, drums

Georges Rabol - harpsichord

Sinawi Music of Korea [1984]

"Korean sinawi music originally accompanied propitiatory rites presided over by a female shaman, or mudang. The word sinawi is also synonymous with musical improvisation based on various rhythmic and melodic devices--the most important characteristic of this genre. This collection of sinawi-derived pieces, performed by groups of varying size and instrumentation, evokes the otherworldly sonic space of the shamanistic spirit realm. The opening "Sinawi ensemble" contrasts full-throated female vocals with the pinched, nasal keening of the double-reed piri and the two-stringed fiddle haegum, gradually building in speed and intensity. In "Haegum-sanjo," haegum virtuoso Choe Tae-hyon plays like a man possessed, etching jagged melodic flights with exaggerated vibrato and an almost violent bowing technique. "Piri-sinawi" is a brilliant exposition of the timbral peculiarities of the oboe-like piri, conjuring associations as disparate as Scottish bagpipe music and the plunger acrobatics of trombonist "Tricky Sam" Nanton." -- Dennis Rea


Personnel
see: http://www.discogs.com/Various-Sinawi-Music-Of-Korea/release/2561813