Marc Ribot : "Requiem for what's-his-name"

(Les disques du crépuscule, 1992)

On his second release as a bandleader, guitarist Marc Ribot is joined by players familiar from his gigs as a hired sideman, including saxophonist Roy Nathanson of the Lounge Lizards and the Jazz Passengers and multi-reed player Ralph Carney from Tom Waits' touring band. Though less swinging and fresh than 1990's Rootless Cosmopolitans, this album's original compositions and renditions of Duke Ellington and Howlin' Wolf tunes still leave plenty of room for Ribot's discordant guitar stylings.

Brian Beatty (Allmusic)

HERE

Elliott Sharp : "Beneath the valley of the ultra-yahoos"

(Silent, 1992)

"Melding shards of avant garde, jazz, mainstream pop, etc., Elliott Sharp has concocted a visceral combination between Russ Meyer's phobic visions of American sexuality and violence with 'Gulliver's Travels' in the land of the savage yahoos, resulting in a humorous and excoriating soundtrack to the American landscape. Features Samm Bennett, Eugene Chadbourne and Anthony Coleman".

1/ Music Of Amrka (2:15)
2/ Biblebelt In The Mouth (2:00)
3/ Blinders (3:05)
4/ Pornshards (3:04)
5/ Iced (2:42)
6/ Splatter Dub (2:42)
7/ Triumph Of The Won't (2:52)
8/ Return Of The Pharm Boys (2:38)
9/ Obedience School (2:39)
10/ X-plicit (5:06)
11/ Top Ten (2:37)
12/ Semtex (letter to the court) (3:27)
13/ Golfgames (2:01)
14/ Late Capitalism Sexual Practices (2:42)
15/ Soylent Verde (1:23)
16/ Silenced (2:41)
17/ Fax or Fiction (1:51)
18/ The Pledge (3:26)

musicians :

Elliott Sharp : guitars, bass, sampler, voice, alto sax, computer
Samm Bennett : drums (1,2,3,4,6,11,12)
Anthony Coleman : organ (3,9,18)
Eugene Chadbourne : voice, piano (8), dobro (18)
Alva Rogers : voice (3)
Poison-Tete : voice (5,11)
Sussan Deihim : voices (10)
Shelley Hirsch : voice (12)
Barbara Barg : voices (13)
KJ Grant : voices (16)
Lee Ann Brown : voice (18)

HERE

Roy Nathanson : "Fire at Keaton's bar & grill"

(Six Degrees, 2000)

Roy Nathanson has always been a storyteller. In the late 1980s, his band with Curtis Fowlkes, called the Jazz Passengers, echoed the voices he heard from his New York streets. Deranged and Decomposed and Broken Night/Red Light, both nearly impossible to find recordings, spoke of multi-ethnic ramblings, preachers, and strange drugs. Nathanson also wrote music for performance artist David Cale, accenting his tales. Later work with the Lounge Lizards and the nineties reincarnation of the Jazz Passengers with vocalist Debbie Harry of Blondie fame, further broadened Nathanson's musical palate. He is a showman with an inclination for burlesque, a joke and a good time.
Fire is the full realization of his storytelling. He constructs an imaginary tavern, with an assemblage of patrons and odd characters that include Deborah Harry as Cups, the bartender everyone lusts for, Elvis Costello the narrator, Richard Butler of the Psychedelic Furs as the would be arsonist, and various patrons that include a micro and a macro physicist. Not since The Who's Tommy or, well...The Van Trapp families exploits has musical theatre captured my imagination. Nathanson's theater is all about the bar's characters. Scored with tangos, a saxophone quartet, funk, organ grease, and Jazz Passengers circus music, the musical vignettes shed light on the tragic night of the fire, hint at relationships and turmoil, before disappearing into the smoke.
Nancy King and Kenny Washington sing/scat "Bar Stool Paradise" ala' "Moody's Mood For Love" at true lush life where a few drinks create eternal love, at least for tonight.
Nathanson casts his musical theatre with top musicians and eclectic styles. Where else can a B3, as if in a make believe jazz night, play opposite a cello and Dobro "kid song" next to a love song between two gay particle physicists? Somehow Elvis Costello's voice has become the narration of our times and Harry's graduation from Blondie signals a collective call for all of us to grow up already. Nathanson has given us the postmodern-Cheers, then burned it to the ground. See, jazz can be fun music, it can be theatre, and it can tell stories.

Mark Corroto (All About Jazz)

1- Fire suite 1
2- Fire suite 2
3- Fire suite 3
4- Bar stool paradise
5- Last call
6- Jazz night at Keaton's
7- A bend in the night
8- Carol Ann
9- Toast quartet
10- Loss
11- Cups
12- Fire suite reprise

musicians :

Roy Nathanson : alto, tenor & soprano sax (2,3,4,5,6,7,8,9,10,11,12)
Bill Ware : vibes, piano, hammond B3 (3,8,11,12)
Brad Jones : bass (1,3,5,8,12)
EJ Rodriguez : drums, percussion (1,3,5,11,12)
Marc Ribot : guitar (3,4,11)
Erik Friedlander : cello (1,10)
Jay Rodriguez : tenor sax (2,3,6,9)
Curtis Fowlkes : trombone (5,6,11)
Ben Perowsky : drums (3,6,8)
Anthony Coleman : piano (7)
Sam Furnace : baritone sax (2,3,9)
Ned Rothenberg : alto sax (2,3,9)
Rob Thomas : violin (5,6)
Charles Earland : hammond B3 (4,6)
Marcus Rojas : tuba (11)
Deidre Rodman : piano (5)
Cyrus Chestnut : piano (1)
David Gilmore : guitar (8)
Hector Del Curto : bandonion (5)
Danny Blume & Chris kelly : programming (8)
Mike Marshall : dobro (10)
Rob Johnson : trumpet (6,11)
David Driver & Darius de Haas : vocals (7)
Nancy King : vocal (4)
Kenny Washington : vocal (4)
Juan "Coco" de Jesus : vocal (10)
Corey Harris : vocal (8)
Deborah Harry : vocal (11)
Richard Butler : vocal (5)
Elvis Costello : vocal (1,3, 12)

HERE

A confederacy of dances vol. 1

(Einstein, 1992)

Based in New York City since the late '70s, the Roulette collective has been sponsoring new music events for years. By the time this compilation was released in 1992, Roulette had organized nearly a thousand performances, many featuring some of the most outrageous cutting-edge music. This CD collects excerpts from some of the best concerts during a seven-year period, and unsurprisingly, the uniformly stellar performances sparkle with excitement. Whether a Billy Bang solo violin tribute to Albert Ayler, the premiere of one of John Zorn's game pieces, David Weinstein's deconstruction of national anthems, or the shimmering beauty of vocalist Jeanne Lee and trumpeter Wadada Leo Smith in tandem, the 14 tracks should delight anyone open to adventurous sounds.

Steve Loewy (All Music)

notes :

*1) : Bill Frisell, guitar & effects (16/04/1988)
*2) : Christian Marclay, turntables (14/03/1987)
*3) : Tohban Djan : Ikue Mori, drums & drum machine. Luli Shioi, voice & bass. Hahn Rowe, violin. Davey Williams, guitar (12/11/1989)
*4) : Zeena Parkins, electric harp & electronics (22/03/1990)
*5) : Billy Bang, violin (26/02/1988)
*6) : Anthony Coleman, sampling keyboards. Jim Pugliese, drums & sampler. Don Byron, clarinet. Guy Klucevsek, accordion (30/03/1990)
*7) : David Weinstein, sampling & electronic keyboard (27/04/1989)
*8) : Chris Cochrane, guitar (14/11/1987)
*9) : Ron Kuivila, home-made electronics & microcomputer (25/10/1987)
*10) : John Zorn, reeds. Vicki Bodner, oboe & english horn. Carol Emanuel, harp. Wayne Horvitz, electronic keyboard. Robert James, tapes & sfx. Arto Lindsay, voice & guitar. Christian Marclay, turntables. M.E. Miller, drums. Ursula Oppens, piano. Robin Holcomb, prompter (27/04/1984)
*11) : Mary Rowell, violin. Erik Friedlander, cello. Jonathan Storck, doublebass (23/03/1991)
*12) : David Weinstein, sampling & electronic keyboard (27/04/1989)
*13) : Shelley Hirsch, voice. Ikue Mori, drum machines. David Shea, turntables. Jim Staley, trombone (18/07/1991)
*14) : Jeanne Lee, voice. Wadada Leo Smith, trumpet (21/10/1989)

HERE

David Shea : "Prisoner"

(Sub Rosa, 1994)

Prisoner is Shea's homage to Patrick McGoohan's paranoid BBC TV spy series from the 1960s (as well as other spy/adventure shows from the same period), and liberally uses samples from the show. He continues working with additional musicians after the solo effort of I, but the musicians are used to better advantage than his debut work Shock Corridor. He has compared the work to sound cinema, and the description is particularly apt in the way that he transitions from one scene to another, and where the later pieces in the suite harken back to the earlier ones. Each piece has its own character, but the transitions between them occur in a cloud of brief, noisy segments, mixing Shea's turntable work and instrumental improvisation. The instrumentalists get opportunities to solo without dominating the work, especially guitarist Mark Ribot (who gets a long solo on #2 and some great feedback noise on #6) and Cyro Baptiste, whose Brazilian percussion dominates #5. The four pianists get a long workout on #4, which includes a beautiful stretch of neo-classical piano writing. The paranoia of the show is reflected in the alternation between circus music and ominous sampled voices and sombre string music. Prisoner shows Shea moving away from the cacophony of Shock Corridor and working with longer forms, towards his excellent later suites, Hsi-Yu Chi, Tower of Mirrors, and Satyricon.

Caleb Deupree (All Music)

HERE

Marc Ribot : "Inasmuch as life is borrowed..."

(Ultima Vez, 2001)

HERE

Nicolas Collins : "100 of the world's most beautiful melodies"

(Trace Elements, 1989)

This album is played by an all-star downtown group: Nicolas Collins, Pippin Barnett, Anthony Coleman, Tom Cora, Peter Cusack, Shelley Hirsch, George Lewis, Christian Marclay, Ben Neill, Zeena Parkins, Robert Poss, Ned Rothenberg, Elliott Sharp, Davey Williams, John Zorn, and Peter Zummo. A tongue-in-cheek title, perhaps, depending on your idea of "beautiful melody," as the sounds range from electronically and physically modified instruments with a definite edge to the barely perceptible, awakening the ear. Collins is also part of the Impossible Music group (with David Weinstein, David Shea, Ted Greenwald, and Tim Spelios) who, performing live, manipulate CD players in the spirit of Plunderphonics and rap-scratch style, creating a new style of electronic ensemble with works like the spatial and surreal "Simulcatastrophy," a performance of Collin's "In CD" (a title pun on Riley's "In C," of course) often humorously re-thinking Beethoven and Mozart cadences and form (he has made some recent work with Ben Neill along this same line), and the dense work "Salvador Dali's Digital Cinema".

"Blue" Gene Tyranny (All Music)

HERE