Recorded：May 22, 1959 Ornette Coleman – alto saxophone Don Cherry – cornet Charlie Haden – bass Billy Higgins – drums

FREDDIE HUBBARD,trumpet ERIC DOLPHY,alto sax,flute&bass clarinet BOBBY HUTCHERSON,vibes RICHARD DAVIS,bass TONY WILLIAMS,drums

...dream collaboration between the King of Ethiopian Sax and the hardest-working band in showbiz, much anticipated by myself and yes, it works. As the liner notes explain, The Ex's collective mind was blown by the CD of Getatchew Mekuria's records from the early '70s, part of the wonderful Ethiopiques series by the French label Buda Musique. Not surprising really; 'Negus of Ethiopian Sax' (Vol 14) is one of the spookiest, most exotic and out-of-time records I've ever heard. Anyway, the liner notes also explain how the collaboration came about, so I won't here. It's a nice story. The CD booklet is easy on the eye and factoid-crammed, with an interview with Getatchew talking about his life and career, accompanied by lots of cool pictures from his archive, raising the roof with the Municipality Band and the Police Orchestra in Addis Ababa, Gonder, Asmara... Joining our heroes is Colin Mclean, formerly of the Dog Faced Hermans, on bass and an international horn section of players from Ex-collaborators like the Instant Composer's Pool and Silent Block, I think - Xavier Charles, Brodie West, Joost Buis. Cor Fuhler contributes keyboards on some of the studio tracks. To be honest I think the horn section are the secret ingredient here. The recording is clear and bright, a mix of studio and live takes from this troupe's mini-tour round Europe last year (Which myself, The Doktor & Plaistow Dave travelled to Paris to see). The Ex's sound has always been about relentless rhythm and building up suspense, with the guitars piling on extra percussion, noise and dynamic to the attack. Here though, they're not the focus but the rhythm section, so the horn section bring together their arrangements of these Ethiopian melodies to allow the lead voice, Getatchew's rich and lyrical playing, to shine. Instrumentals like the war song 'Che Belew Shellela' gallop along and sounds more celebratory rather than martial. When The Ex slow down, they open up space for some lovely, evocative interplay between Getatchew and the horn section, then the whole band bring in the big band choruses and rock-out climaxes. The closing 'Aha Begena' has a great call-and-response of punk vocals (in Amharic!) and a loopy, catchy horn refrain over a driving beat which'll confuse your body into wanting to shoulder dance, Ethiopian-style, and pogo at the same time. Yah-Ho! One of my favourite tunes from the original Ethiopiques CD is featured on 'Aynotche Terabu/Shemonmwaneye', with it's monumentally sad, plodding bass melody carrying the waves of chiming guitars, wailing horns and singer G W Sok's plain vocals to levels of incredible power which is as exicting and as the original recording, a beautiful meld of moody post-punk guitar and Ethiopian melancholy. On repeated listens I like it all, there's so much going on but it never turns into a mess, which is another tribute to the talent of all concerned here. You can tell that everyone is having a great time and love what they're doing, which definitely makes this a collaboration rather than a fusion. About two-thirds through, Getatchew's solo spot 'Tezeta' allows him to step into spotlight and it it's a reminder why The Ex wanted to find the man in the first place and let more people hear his singular voice.

Recorded in Leningrad April 2, 1981 Released with three bonus tracks previously unissued Engineered at LMC Sound, London

One of the leading composers of his generation, New York-based Chinese-American saxophonist and sociologist Fred Ho (born Fred Wei-han Houn in Palo Alto) founded the Monkey Orchestra (1980), the Asian-American Art Ensemble (1981) and the Afro-Asian Music Ensemble (1982), all of them fusing Western and Eastern instruments and influenced by Charles Mingus' big bands. His recordings include: Tomorrow Is Now (Soul Note, 1986), Bamboo That Snaps Back (Finnadar, 1987), A Song for Manong (AsianImprov, 1988), We Refuse to be Used and Abused (november 1987), that contains the suite Never Broken Always Outspoken; the Asian-American Art Ensemble's The Underground Railroad to My Heart (recorded in 1993), that contains recordings from several sessions and in particular the suite The Underground Railroad to My Heart (december 1991); the Monkey Orchestra's Monkey Part One (october 1996) and Monkey Part Two (october 1996), that collect the Chinese-jazz hybrid multimedia work Journey Beyond the West; the Afro Asian Music Ensemble's ten-movement suite Turn Pain Into Power (OO Discs, 1997), that contains the 17-minute Turn Pain into Power/ The Climbers/ Essay to Us; Yes Means Yes, No Means No, Whatever She Says, Wherever She Goes (december 1996), the double CD Warrior Sisters (january 1998) the vampyre opera Night Vision (Big Red Media, 1999), The Way of the Saxophone (Innova, 2000), the 12-movement theater piece Once Upon a Time in Chinese America (december 1999), that also requires dancers and kungfu fighters, the dvd The Black Panther Suite (Innova, 2003), Red Arc - A Call for Liberacion (2005), a collaboration with a poet, and Deadly She-Wolf Assassin at Armageddon (premiered in june 2006). He also played in the Brooklyn Sax Quartet, co-founded with composer and arranger David Bindman in 1997: The Way Of Saxophone (july 2000) (featuring Ho on baritone, Chris Jonas on soprano, Sam Furnace on alto and David Bindman on tenor) and Far Side Of Here (october 2003 and may 2004) with John O'Gallagher on soprano and Rudresh Mahanthappa on alto, and with most compositions still written by Bindman, notably The Black Nation.

Bassoon, Bassoon [Electric], Bassoon [Dismantled], Sopranino Saxophone – Lindsay Cooper Double Bass – Joëlle Léandre Voice – Maggie Nicols Notes Recorded on 25 March 1982 at l'Ancienne Gare de la Bastille, Paris

Artist: John Zorn and The Dreamers Title Of Album: Ipos The Book Of Angels vol. 14 Year Of Release: (2010) Label: Tzadik Genre: Avantgarde,Experimental,Free Jazz Quality: MP3 Bitrate: VBR ~320kbps Total Time: 54:21 min Total Size: 124 MB Personnel * Cyro Baptista: Percussion * Joey Baron: Drums * Trevor Dunn: Bass * Marc Ribot: Guitar * Jamie Saft: Keyboards * Kenny Wollesen: Vibraphone

For this very special release in The Book of Angels series, John Zorn has brought together five of the most acclaimed musicians in modern jazz to perform nine of his most distinctive and lyrical compositions. Truly a jazz supergroup, these five musicians explore Zorn's beautiful and exotic tunes with profound melodic and harmonic knowledge and a depth of feeling that is a joy to hear. One of the most breathtaking CDs in the entire Masada series - here is a touch of the sublime from the beautiful new Masada Qunitet. With: Joe Lovano, Dave Douglas, Uri Caine, Greg Cohen, Joey Baron, John Zorn. Personnel: Joe Lovano: tenor saxophone; Dave Douglas: trumpet; Uri Caine: piano; Greg Cohen: bass; Joey Baron: drums; John Zorn: alto saxophone (6).

Xaphan: Book of Angels Volume 9 is an album by the Secret Chiefs 3 performing compositions from John Zorn's second Masada book, "The Book of Angels".[1] It is the fifth studio album to be released by the Secret Chiefs 3. As with the other volumes of the Book of Angels series, the titles of the songs are characters from Jewish and Christian mythology. The title of the album, Xaphan refers to one of the fallen angels who rebelled with Satan and set the Heaven on fire. Personnel * Anonymous 13: Voice, Viola * Rich Doucette: Sarangi * Shahzad Ismaily: Bass * Jai Young Kim: B3 Organ * Jason Schimmel: Guitar * Monica Schley: Harp * Ches Smith: Drums, Congas * Tim Smolens: Cello, Upright Bass * Trey Spruance: Baritone Guitar, Electric Guitar, Organ, Percussion, Synth, Autoharp, Piano, Bass * Adam Stacey: Clavinet * Timb Harris: Violin, Trumpet

Ronnie Boykins is best known for his work as bassist with Sun Ra (between 1958 and 1966), but the odd meters and horn arrangements in this 1975 septet session for ESP (the last release on the mythic free jazz label before it dipped out of sight a year later) recall Mingus more than they do Boykins' former employer. The opening title track features some solid soloing from James Vass (on soprano), but the recording throughout is oddly mixed (well, pristine sound quality never was a priority for ESP) and several horn solos sound alarmingly far away. More upsettingly, some of the heads and bridges are rather scrappily executed and/or edited (notably "Demon's Dance"), and the accompaniment behind Boykins' extended bowed feature "Starlight at the Wonder Inn" sounds somewhat lackluster. Ra's influence is more evident, as its title might suggest, on the final "The Third I," where ensemble members double up on percussion for an energetic polyrhythmic romp. Lively and entertaining it may be, but Heliocentric Worlds it definitely is not. ~ Dan Warburton, All Music Guide

2017 two CD live release. This set was recorded during the band's most recent tour and features many iconic King Crimson pieces performed live, including 'Islands', 'The Lizard Suite', 'The Errors', 'Fallen Angel', 'Cirkus' and more, some for the first time ever.

BOROMIR, SAID KEITH TIPPETT'S DARTINGTON CONCERT RECORDED 1990 RELEASED 1992 , OOP You may have this - it's solo piano, a single track of 47 mins "one for dudu", which some people may find too daunting.You may know more about him than I do sotise, but he is perhaps more familiar to people as pianist in King Crimson in the 70s, and for his big orchestral arrangements like Centipede. Long-time married to jazz singer Julie Tippett - formerly Driscoll, whom we all know from Brian Auger Trinity and Wheels Of Fire. There was an example of one of his small group recordings