TERRY RILEY - ATLANTIS NATH
Crucifixion Voices
[5:43]7.9 Mb
Mosque
[1:04]1.6 Mb
Derveshum Carnivalis
[3:05]4.2 Mb
Wedding Song
[2:07]3.1 Mb
Emerald Runner
[13:17]19.6 Mb
Gha Ten in Darbari
[4:34]6.1 Mb
Asencion
[15:22]18.7 Mb
Asencion Final Chord Rising
[2:22]3 Mb
Remember this
[6:00]8.7 Mb
Only A Day
[6:02]9 Mb
Even Your Beloved Wife
[4:53]7.3 Mb
The Crucifixion of My Humble Self
[9:20]12.8 Mb
Terry Riley "Atlantis Nath" Album Review
Unique music from a master musician
Be prepared: this recording may cause your eyes to roll back in your head and your tounge to press against the roof of your mouth, inducing deep spiritual introspection and/or journeying. Atlantis Nath is like no other Terry Riley I have heard. The style is much more varied than usual and Terry sings! (Maybe he has before on other releases, but i dont have every one of his recordings.) Now that i hear him sing I am even more convined that he belongs to some triple soul incarnation with Daevid Allen and Robert Wyatt; at times his voice and even lyrics recall each of these other artists to me in a very visceral ("Perceived in or as if in the viscera; profound") manner (compare Daevid's 'Seven Drones' release to Cruxifiction Voices on Atlantis Nath for some musical, i.e. instrumental, similarities).
Atlantis is what i think i could call, at least a lot of it, difficult: it may seem inscrutible, maybe a touch 'dry' to some at first, but rewards repeated listening with musical understanding. On the other hand there is plenty of fun stuff going on a lot of the time as well. I don't want to spoil to much of the adventure of discovery for you by describing the style of or reviewing particular tracks.
This release is superb for fans of Terry and generally for adventurous fans of great music, especially the spiritually minded. Furthermore, i beleive that Atlantis Nath constitutes a musical Book Of The Dead, not in the general sense of a guide to be read to guide the dying to the light, but in the 'esoteric' sense of guiding the living towards and through rebirth while incarnate. The word Surrender comes to mind a lot as well. I'll let you figure out why I say this and if you agree.
Of course, all of this is my opinion and maybe i dont know what im talking about! I would sure love it if Terry Riley himself would post and give us some insight. I guess music like this speaks for itself pretty well though.
Also, this has got to be one of the most beautiful CD covers i have or will ever own. I love the way the cover depicts Atlantis and the way it's done is quite the clue to some of the nature of this music. The art is stupendous.
Funny enough, the cover is the source of my only two complaints: 1) because the plastic backing with the teeth that holds the CD into the case is permanently affixed to the cardboard, i cannot replace that part which in my case came with one of the 'cd holder' teeth broken. Luckily, it still holds the cd in just fine so i got over it in a day or two ; ) 2) the liner notes are in FRENCH!! ugh. Maybe someone (Terry?) would be so kind as to post an English translation on this site, or let us know if it is on Terry's website?
Thanks for all the incredible music Mr. Riley!
MAT MANERI - PENTAGON
Ava
[2:52]3.9 Mb
W W P
[7:49]11.6 Mb
Inslut
[1:24]2 Mb
Irenam
[5:37]8.5 Mb
The Fallen
[3:06]4 Mb
Witches Woo
[6:14]9.5 Mb
Wound
[9:37]14.3 Mb
Motherless Child
[2:53]4 Mb
An Angel Passes by
[7:26]11.1 Mb
Pentagon
[0:56]0.9 Mb
War Room
[7:10]11 Mb
America
[3:04]4.4 Mb
Mat Maneri "Pentagon" Album Review
Plugged In
Violinist Mat Maneri's third album for Thirsty Ear's groundbreaking Blue Series finds him wading deeper into electronic waters. With each previous album in his discography slowly building up to this, "Pentagon" feels like a natural progression for Mat, the son of iconic microtonal improvisor Joe Maneri. From 2000's "Blue Decco," an acoustic homage to Eric Dolphy to 2002's "Sustain," an electro-acoustic groove excursion, this third installment pushes the boundaries of his previous experiments into new territory.
Maneri has assembled an impressive cast of players for this journey. Drummer Tom Rainey and bassist John Hebert join pianist Craig Taborn, this time on Fender Rhodes, for a free-wheeling rhythm section approach. Taborn himself employed Rainey and Maneri on his exquisite, recent album for Thirsty Ear - "Junk Magic," so their intuitive interaction is well documented. Trombonist Ben Gerstein acts as Maneri's front line sparring partner in addition to a number of guest musicians, including Mat's father doubling on alto sax, piano and organ.
Acoustic instruments are often run through a bank of electronic effects, sometimes so extreme in their manipulation that it can be difficult to discern what instrument is being played. Maneri's violin often sounds like a guitar overdriven to the brink of feedback and Gerstein's trombone is regularly run through a wah-wah pedal. In addition, melatron, organ, laptop and Indian percussion make appearances. While all this makes for a fascinating collection of sound it can sometimes get a bit congested in the album's denser moments.
Opening (and closing) the album with a stately, neo-classical motif, Maneri quickly dispenses with the formalities and launches headlong into the electronic miasma. The album's lyrical centerpiece, "Wound" is primarily acoustic, with Maneri's slightly distorted violin surrounded by ethereal dissonant keyboard washes and sporadic piano interjections, the tune is an exception to the album's gritty electronic rave-ups. The predominant feel here is the rhythmic pulse of free-jazz, albeit with the electronic coloration of early fusion. Hip-hop rhythms and funky break-beats make brief cameos, but stuttering Fender Rhodes, churning percussion, languid bass vamps, Milesian, wah-wah trombone and blistering, distorted violin lines dominate. Vacillating between the spectral and the mercurial, Maneri and company embark on a dynamic set that is rich in improvisational interplay and less concerned with conventional melody and harmony.
Deriving inspiration from the 1970s fusion experiments of Miles Davis, ala "Dark Magus" and "Live-Evil," the group here sounds like a 21st Century version of Herbie Hancock's short lived, but impressive Mwandishi Sextet, one of the best free-jazz-fusion ensembles ever assembled. "Pentagon" may be light on catchy melodies and memorable tunes, but it more than makes up for its impenetrable facade with inventive collective improvisation.
MICHEL LAMBERT - LE PASSANT
Le Miroir de la Verite
[7:32]10.9 Mb
Leternel Errant
[5:35]8.3 Mb
Le Labyrinthe Du Remords
[5:01]7.6 Mb
Le Choc Spirituel
[6:56]10.6 Mb
Le Pelerinage de Lhumanite
[5:39]8.8 Mb
Running in the Cave
[2:44]4.2 Mb
Quib
[3:10]5 Mb
Lisolement Des Lignes
[1:48]2.7 Mb
Faux-Semblant
[1:22]2 Mb
Ruffians Rifffaff and Ruffs
[1:52]2.7 Mb
Passagers Perdus
[7:40]12 Mb
Cue 9-3 Rappel Du Passant
[2:04]3 Mb
Michel Lambert "Le Passant" Album Review
Review
Music for Orchestra (12 piece) and four improvisers + A collection of Improvisations by Michel Lambert. Orchestra and improvisors clashing over Bosch themes. With the participation of: Malcolm Goldstein - violin, Ellery Eskelin - tenor sax, Dominic Duval - bass, Michel Lambert - drums "Unique in its own way, Le Passant is a confrontation between the worlds of through-composed music and free improvisation. In it, players of various backgrounds and experiences co-habit with each other in a series of complex relationships of varying scope. The very life of this piece is prefaced on balancing out the compositional and improvisational elements at play here."
YOSHIO MACHIDA - NAADA
Lotus part 1
[7:43]7.4 Mb
Lotus part 2
[6:36]6.6 Mb
Lotus part 3
[6:12]5.8 Mb
Texas Vino
[5:20]4.9 Mb
Bloom
[6:58]8.4 Mb
Dew
[5:45]6.2 Mb
Lotus Solo
[6:25]6.1 Mb
Yoshio Machida "Naada" Album Review
Album Description
Steel Pan improv. inspired by Indian traditional music
