Finding information on this LP has proved to be quite challenging. There seems to be very little known, so I will tell you what I do know: less than 1,000 copies were made, valuable in its avant rarity and John Bender contribution…and thats about it. Pressed in 1981 copyrighted to C.C.G/C.A.G.E records. This is a collective compilation of varying established and emerging artist from Cincinnati at that time. The overall feeling is avant-garde and experimental.
Here’s track listing:
C.C.G. Side: (Cincinnati Composers’ Guild)
1. Gerhard Samuel-Circles (The Percussion Group)
2. David Landes Drucker-Elegy for Cello and Piano
3. Martin Sweidel-Split Shot Study No.1.
4. Henry Gwiazda-Say Watt?.
C.A.G.E Side: (Cincinnati Artists’ Group Effort)
1. Jay Bolot-Serpent Sun
2. Jan Harrison-Animal Tongue
3. Thom Middlebrook-Five Guidelines for an Emotional Break Down
4. Kip Eagen-The Tinkers Trouble
5. Hudson/Buzz Tone Outlet-Love Answered Phone
6. John Bender-Decomposition
7. Art Holes(P. Trupin, J. Wood with P. Alaxander and N. Mountel)-Experimental Animals
and Victoria Mansoor-Two Hours Playing Time is listed in the tracks but it is the artwork.
There’s some really amazing work on this record. I don’t think there’s one stinker on here, but its obviously a little uneven seeing as its a compilation. I feel quite lucky to have stumbled acrossed this one. The pressing is just thin enough that I don’t like getting it out to often…but for you guys and gals…:)
Gary Burton’s “A Genuine Tong Funeral” released in 1967 on RCA Victor. Composed and arranged by Carla Bley. Tong played to Burton’s strengths, using his vibes as textural color and harmonic structure, but more central here is the ensemble. Burton’s quartet, which recorded Duster in 1967, is backed by luminaries like Steve Lacy on soprano sax, Leandro “Gato” Barbieri on tenor sax, Mike Mantler on trumpet, Jimmy Knepper on trombone, Howard Johnson on tuba, and Bley on piano, organ, and the conducting wand. The music is symphonic in its reach, with all the minor-key blurs so key to Bley’s work overall (for comparison, try her opera with words, Escalator over the Hill). Antiphony bounces from Larry Coryell’s guitar to the raggy horns, and touches of psychedelic rock rub with fruitful compositional ambitions.
Shelly Manne’s “Mannekind” on Mainstream 1972. This LP was a departure from Manne’s earlier traditional jazz leanings. Thats not say Manne couldn’t get loose but on Mannekind we find him droppin’ some very steady funk and even embacing a bit more experimental musings. Definitely unlike anything else that Shelly Manne recorded! In addition to drums, he plays berimbau, wterphone, cuica, and superballs on cymbals (?!) — and the rest of the group includes John Morrell on guitar and Mike Wofford on piano, as well as Brian Moffatt on a host of odd percussion instruments.
Hermeto’s “S/T” 1972 release on Muse Records (later repackaged as ‘Brazilian Adventures’). Airto Moreira and Flora Purim produced and accompany Hermeto’s compositions here. Ron Carter, Thad Jones, Joe Farrel, Hubert Laws also assist in duties.
Jade Warrior’s “Waves” 1975 LP on Island. This is a true long player with only 1 track on each side. This is a very relaxing listen. I wouldn’t say its ambient, its just pretty and never really flexes any real progressive muscle. I love this record and their effective ability to create interesting songs while being patient. Steve Winwood special guests, adding some nice piano on “Waves Part 1″ and some moog on the flip. Waves Part 2 has a bit more of a quasi-fusion moment as the song peaks midway but then settles back with some beautiful flute work.
Harumi’s 1968 S/T double LP release on Verve. Japanese psych featuring many native instruments. This record is easy to please with the first record delivering excellent pop/psych and the second LP delving into fullblown psychadelic numbers. The vocals are in both English and Japanese. The added eastern approach to melody and harmony are balanced on with western song structure. Kotos, flutes, hand drums, and other traditional eastern instruments are more prominent on the second, trippier LP. Harumi audible shares his ‘trip’ with vocal meanderings and loose instrument musings.
“Schwingungen” was Ash Ra Temple’s second release. Released on Ohr in 1972 and weighing in just under 40 minutes. Ash Ra Temple, Can, and Faust are like the holy trinity for me in regards to this era and style of music. There are many other equally important and sonically pleasing releases in this same period but these groups consistantly delivered near perfect records, both in the music and their progressive production…at least for me.
“Girl from Martinique” is one of the finer early ECM recordings, number 8 (1008) to be exact. Released in 1973 and recorded in October of 1970.
Osmosis released their “S/T” record in 1970 on RCA Victor. Osmosis was a Boston based seven piece group and full-on progressive psych/Jazz rock outfit.
“Introducing” was released on EMI’s Japan label and was released in 1976. I had quite a difficult time tracking much info on Ponta’s first outting. Composer and well known fusion instrumentalists Jon Fukamachi produced and handles all the keys, synths, and plays some marimba on this title.