| | Sun Ra Cosmos CD Sun Ra Discography of CDs
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Our Price: $20.29  CD Backorder: (Usually ships in 3-10 days) 
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A hard-to-find, alternately chaotic and tightly organized mid-'70s session that was issued on the Cobra, and then Inner City labels. Sun Ra provided some stunning moments on the Rocksichord, while leading The Arkestra through stomping full-band cuts of atmospheric or alternately hard bop compositions, peeling off various saxophonists for skittering, screaming, at times spacey dialogues. ~ Ron Wynn/Michael G. Nastos
24bit digitally remastered Japanese limited edition in an LP-style slipcase.
Recording information: Studio Hautefeuille, Paris, France (08/1976).
Personnel: Sun Ra (keyboards); Eloe Omoe (flute, bass clarinet); Jack Jackson & His Band (flute, bassoon); Danny Davis, Marshall Allen (flute, alto saxophone); Danny Thompson (flute, baritone saxophone); John Gilmore (tenor saxophone); Ahmed Abdullah (trumpet); Vincent Chancey (French horn); Anthony Brown (electric bass); Larry Bright (drums).
Liner Note Author: Philippe Carles.
Sun Ra Cosmos Songs | 1. | Mystery of Two, The | |
| 2. | Interstellar Low Ways | |
| 3. | Neo Project, No. 2 | |
| 4. | Cosmos | $0.99 | |
| 5. | Moonship Journey | |
| 6. | Journey Among the Stars | |
| 7. | Jazz from an Unknown Planet | |
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Cosmos Review
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Purchase Cosmos CD To buy, Click on price to add to cart | John Zorn Best Of Filmworks: 20 Years Of Soundtrack Music CD (2005)
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John Zorn's history with film music has been a long and frequently difficult one. While the New York City-based ...
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Filmmaker Werner Herzog commissioned legendary guitarist Richard Thompson to compose and perform the musical score for his documentary Grizzly Man, about the life and death of Timothy Treadwell, a man who fled society to live among the grizzly bears in the Alaskan wilderness. In the manner of Thompson's previous film scores, the Grizzly Man album is longer on atmosphere than on songcraft; anyone expecting the British folk-derived melodies of Thompson's most familiar work will be disappointed, though if you love the expressive modalities of his electric guitar playing, there's plenty of them on display, and they conjure up the beautiful but dangerous surroundings of Treadwell's environment very well indeed. Along with some lovely but subdued guitar-based pieces ...
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Arriving in the wake of the folk-flavored, acoustic-based FRONT PARLOUR BALLADS, SWEET WARRIOR marks U.K. folk-rock hero Richard Thompson's valiant return to electric guitar fireworks. Shooting off the kind of rock-&-roll sparks that had been missing from his catalog since 1996's YOU? ME? US? Thompson reminds listeners of why he's remained one of the most revered guitar heroes of the post-Hendrix era.
SWEET WARRIOR is no self-indulgent riff-fest, though; it contains some of Thompson's most sharply written songs in years. Released amid the furor of the U.S. occupation of Iraq, "Dad's Gonna Kill Me" (the reference is a nickname for Baghdad) initially garnered the most attention, but it's in good company. The sinuous "Needle and Thread" harks back to '70s-vintage Thompson, and the rollicking "Bad Monkey" compares favorably with classic RT roof-raisers like "Valerie" or ...
| | David Byrne Knee Plays CD (1985) Bonus DVD
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Talking Heads fans sometimes have mixed reactions to David Byrne's solo work, complaining that it lacks the quirkiness and edge of classic Heads material. Those fans will have reason to take notice of the 2007 CD release of THE KNEE PLAYS, Byrne's score for Robert Wilson's opera THE CIVIL WARS. Originally recorded in 1985, THE KNEE PLAYS was Byrne's second solo outing, following THE CATHERINE WHEEL (an instrumental score for a dance production) and preceding his Latin experiments on REI MOMO.
Its position in his discography means THE KNEE PLAYS still bears the residue of Byrne's Heads aesthetic, namely in the spirit of its genre-mixing eclecticism. New Orleans brass band sounds form the skeleton of Byrne's score, with gospel, classical, and avant stylings mixed in. (Byrne provides wry, spoken word recitations for several pieces in the manner of Heads track "Seen and Not Seen".) Inventive and engaging throughout, THE KNEE PLAYS is a worthy addition to the Heads/Byrne catalogue. The CD release appends eight bonus ...
| | Barry Martyn's Down Home Boys CD (1993)
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There are two unusual aspects to this trad jazz set: the instrumentation and the repertoire. There are not that many clarinet-trombone-guitar-drums quartets in New Orleans jazz but this combination works. Guitarist Ron Simpson not only fulfills the role of a rhythm guitar but also that of a bass, showing that his instrument really can be a rhythm section by itself. With leader-drummer Barry Martyn keeping a quiet but steady rhythm, clarinetist Chris Burke often functions as the lead voice although trombonist Wendell Eugene is also quite capable of playing the melody when required. As for the repertoire, ...
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The trio of guitarist Paul Meyers, bassist Santi Debriano and drummer Vanderlei Pereira performs 14 songs on this CD at a quiet volume but with close interplay and inner heat. Although it may appear ...
| | Matthew Shipp Nu Bop CD (2002)
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Jazz and electronica mated many times before NU BOP, on both the electronic side (Squarepusher, Tied & Tickled Trio) and the jazz side (Erik Truffaz, Graham Haynes), but seldom so purposefully and definitively as on this recording by boundary-pushing pianist Matthew Shipp. While Shipp is joined here by three esteemed downtown jazzers, the addition of the colorfully named Flam on electronics takes NU BOP that extra step from acoustic, '60s-inspired avant garde jazz to a fresher brew of jazz improv flavored by synth textures and laced with programmed beats.
William Parker's churning bass lines veer between frenetic, Alan Silva-inspired free jazz to syncopated patterns that flirt with electronica-derived drum-and-bass rhythms, and whichever way he leans he's met at each end by the ...
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| | Piano Magic Popular Mechanics CD (1997) Import
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Hunting down old girlfriends or treasured childhood television shows can seem like a good idea at the time, but bands like Piano Magic recognize that after the initial warmth of nostalgia washes away, most memories are best left fantasized about. With a formula that perks curiosity -- artless experimentation, revolving bandmembers, using old-tech toys in new-tech situations -- Popular Mechanics is less about what kind of music you really listened to as a kid and more about what you remember what you listened to. "Revolving Moth Cage" takes a painlessly childish keyboard melody and inserts it into a complex canvas of ambient trickery while the friendly Eraserhead interpretations on "Birth of an Object" are just on the right side of despondent, electronic reinvention. The self-proclaimed Kraftwerk and drum 'n' bass influences are disguised as well: to be sure, there's a certain antique thrust to the badly spoken word "Wrong French" or a Kid 606-like junkyard scream to the "Metal Coffee" red herring, but it's how mainman Glen Johnson strives to "aim for the heart" that really makes the album worthwhile. This is splayed-out Krautrock dub with a newly ...
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