Julius Hemphill Abdul Wadud Joe Phillips

原田 依幸（はらだ よりゆき）　Piano 松風 鉱一（まつかぜ こういち）　Sax、Flute

Koichi Matsukaze - alto saxophone, tenor saxophone, flute Hiroshi Hatsuyama - vibraphone Hideaki Mochizuki - bass Takeo Moriyama - drums

Sam Rivers – tenor saxophone Jaki Byard – piano Ron Carter – bass Tony Williams – drums Fuchsia Swing Song is the debut album by Americ an saxophonist Sam Rivers recorded in 1964 and released on the Blue Note label. The album was reissued on CD in 1995, and again in 2003 as part of the "Connoisseur Series" (limited edition series) including four alternate takes as bonus tracks. The Allmusic review by Thom Jurek awarded the album 4½ stars and stated "By the time of his debut, Rivers had been deep under the influence of John Coltrane and Ornette Coleman, but wasn't willing to give up the blues just yet. Hence the sound on Fuchsia Swing Song is one of an artist who is at once very self-assured, and in transition... This is a highly recommended date. Rivers never played quite like this again".

Peter Brötzmann: alto saxophone, tenor saxophone, tarogato, clarinet [Bflat clarinet] Masahiko Satoh: piano Takeo Moriyama: drums

于无声处 Into the Silence Peter Evans LOFT JAZZ SERIES - OH 021 意境深远，发人深思的一张唱片。 Peter Evans认为他的音乐与源自中国的“无为”这一理念息息相关，他也一直在研习“无为”在不同的学术研究和文化传统中的体现。作为一名作曲家、即兴音乐家，Peter Evans用他精湛的小号演奏来谈论“无为”，并用“于无声处”命名了自己在中国发行的首张专辑。 值得一提的是封面木刻作品，出自旧天堂书店最亲密的战友、木刻艺术家刘庆元之手——飞鸟与人，喧嚣与寂静，逍遥与局促，是对这张专辑最贴切的美学呼应。

Mix by Dckne Original Photography :Akira Aimi

八王子アローンのさよならコンサート(1977年9月3日)に出演した阿部薫/井上敬三/中村達也による狂気のトリオ・インプロヴィゼイションを収録した、秘蔵カセットテープ音源のCD化。知る人ぞ知る伝説のパフォーマンスが、38年の歳月を経て明らかに。(塙耕記)

早期的日本先锋爵士+迷幻组合。 Masahiko Satoh & Sound Brakers - Satoh is a composer/arranger/keyboardist from Tokyo. After leaving music school he played in various jazz combos in Japan [and later, Europe and the US], and recorded his first album as the Masahiko Satoh Trio, 'Palladium' [Express/Toshiba, 1969], which won the Japan Jazz Award. In 1970 and 1972 he also won awards of excellence for two compositions. Numerous jazz albums followed, including one with Jean-Luc Ponty, one with Wolfgang Dauner and some with Stomu Yamash'ta [see below], but Satoh is perhaps best known amongst Japanese progressive collectors for the excellent album as Masahiko Satoh & Sound Brakers, 'Amalgamation' aka 'Kokotsu no Showa Genroku' [Liberty/Toshiba, 1971], with Hiro Yanagida [see below; ex-Apryl Fool, Foodbrain] and Kimio Mizutani [see above; around the same time also playing with Love Live Life + One and People]. I've only heard one track, which is crazy psych-jazz rock jamming. Satoh also played keyboards and Moog on Mizutani's solo album. Satoh's following album consisted of electronic music, composed and performed on synthesizer - 'Switched On East/Electronic Japan' [Columbia, 1971]; I presume it's Japanese traditional music played on Moog! Satoh has continued his career in jazz and composing/arranging to the present day, and formed his own label BAJ Records in 1997.

Recorded：December 9, 1964 Studio：Van Gelder Studio, Englewood Cliffs The John Coltrane Quartet[edit] John Coltrane – bandleader, liner notes, vocals, tenor saxophone, soprano saxophone[40] Jimmy Garrison – double bass Elvin Jones – drums, gong, timpani McCoy Tyner – piano Additional personnel[edit] Archie Shepp – tenor saxophone on alternate takes of "Acknowledgement" Art Davis – double bass on alternate takes of "Acknowledgement" Rudy Van Gelder – engineering and mastering Bob Thiele – production and cover photo[41] George Gray/Viceroy – cover design Victor Kalin – illustration Joe Lebow – liner design

Vocals, Saxophone [Tenor], Piano, Written-by - Arthur Doyle Tracks 1-3 recorded at Modern Art Museum, Sendai on Nov 5, 1997. Track 4 recorded at Barber Fuji, Tokyo on Nov 10, 1997. Tracks 5-6 recorded at Shuyûkan on Nov 8, 1997.

John Cage: excerpts from Empty Words (part IV) (1974-75), read as interludes Sun Ra improvising on the Yamaha DX7 synthesizer. Empty Words IV performed by John Cage, voice. Recorded live in concert: June 8, 1986 at Coney Island, N.Y. LP released in 1987 The New Albion Discography has some more background information on this recording These are unedited segments of the historic concert that was part of the "Sideshows by the Seashore" held on June 8, 1986 in Coney Island, NY. Improvisations and songs by Sun Ra and Cage's indeterminate performance vocals based on strict composition methods are contrasted and find a common meeting ground as, toward the end of the session, they play together. Fascinating and in genuine communal spirit.

Anthony Braxton's 2002 release, Anthony Braxton, is a reissue of his initial release (with the same title) made during a three-year stay in Europe and released in 1969. The music performed by the altoist (who also plays soprano, clarinet, contrabass clarinet, flute, "sound machine," and chimes), trumpeter Leo Smith, violinist Leroy Jenkins, and drummer Steve McCall is very freely improvised, includes "little instruments" for their variety in sound, and contrasts high-energy playing with space. The music on Anthony Braxton (2002) includes one composition apiece from Braxton, Smith, and Jenkins, and is far from accessible but is generally worth the struggle. ~ Scott Yanow, All Music Guide

Tenor saxophonist Joe McPhee has been a cult figure in the jazz world despite a string of releases on the visible Hat Art label and vocal support from the likes of Ken Vandermark. Nation Time is good evidence why. Its three tracks were recorded live in December 1970 and released the following year on the tiny independent CjR Records. "Nation Time" and "Scorpio's Dance" feature McPhee with a quintet that mixes electric and acoustic instruments with dual percussionists. In a way, this is familiar territory, working Coltrane-inspired repetitions and a nearly reckless group interplay against a variety of musical textures. Here some electric piano or full-speed drumming, there roughly wailed sax or a trumpet pushing notes to a near drone. But no matter how familiar the approach, the end result is inventive and captivating as these two pieces shift from nearly conventional extended improvisations to less structured sound without ever sounding forced. However, it's the 13-minute "Shakey Jake" that seems like the birth of a wonderful new style that unfortunately never went any further. With the quintet expanded by an alto sax, organist, and electric guitarist, McPhee gets busy marrying free jazz to James Brown funk or maybe creating a vision of what would have happened if early-'60s Coltrane had revisited his R&B youth. The band sets up a complex but danceable groove while the soloists surf along, twisting melodies and pushing the beat but never relying on repeated riffs. Despite their various ideas and overlapped solos, the effect is collaborative not competitive as if they realized what a rare experience this would be.