Thursday, July 2, 2015

Tripes - Suicide Jazz (COAX Records, 2015) ***½


Tripes is a French jazz trio, formed by Jean-Brice Godet (clarinet), Julien Chamla (drums) and Marco Quaresimin (double bass). Calling themselves a "jazzsuicide" trio, they fuse trance and alternative rock music style to improvised jazz, with interesting results.

 Their album "Suicide Jazz," is comprised of two long tracks, each over 19 minutes in length. On both tracks, the clarinet establishes a theme, done repetitively, allowing the bass and drums to provide counterpoint, developing the repetition into a hypnotic environment that becomes the basis for their improvisations. "Why tripes?" has Godet and Chamia playing off one another, clarinet initiating the call, drums in response, each throwing back and forth their own rhythm. Moving into another theme, Godet recalls Scalsis in his playing, clear and concise, as Chamla and Quaresimin destroys the trance with a barrage of frenetic playing, drums and bass scorching the sonic landscape, then receding back into yet another repetitive theme. 

"Omnia Vanitas" Godet again establishes a theme, only here Quaresimin joins in a few minutes in, echoing Godet. Chamla provides a tapping rhythm, and the others fall in place, Godet slightly varying the notes, as if doing scales. It has an engagingly funky swing that, done over and over a lengthy time, establishes its own trance like environment. Chamla and Quaresimin take over, with a deep, bottom heavy groove, and Godet provides a counterpoint, reintroducing the main theme of the track. Towards the end, Godet's circling notes become more complex, and the rhythm becomes slightly faster, Chamla, driving the theme home. 

"Suicide Jazz" is a fine debut by this Parisian trio, using repetition as a starting point for their complex series of improvisations and rhythms, creating a very listenable soundscape that is hypnotic and engaging.



Wednesday, July 1, 2015

GOING II "Machinery" (Silentwater, 2015) ****½


Reviewed by Joe

This is one of those very special records, although this may be a 4.5 star review, there's no doubt it's a five star listen. This is a record that crosses many boundaries and certainly guaranteed to make you not only sit up and listen but also rock around the room (if played loud enough). GOING a Belgian based group, has a skeletal line up which packs a big punch, 2 drummers, Joao Lobo and Mathieu Calleja, and 2 keyboards/synths/objects (and plenty of effects) are Giovanni Di Domenico and Pak Yan Lau. The sound that they come up with could be loosely post-rock, but also closely allied to improvised music (sound wise). To top that off they have a description on their website describing themselves as a "[..] psychedelic groove band".

The album consists of two beautifully organised pieces. The first side/track "Red Machinery" develops slowly from sparse drums and keyboard sounds into repetitive figures and a complex interlocking groove. The combinations of rhythmic patterns are at the heart of this composition, the melodic seed is simple but varies slightly to blend into (and with) the various patterns. You could 'think' of Chicago group 'Tortoise' for a reference, GOING tap into the same area, overlapping rhythms and rock beats, mixing some great experimental sounds and repetitive riffs, its a delightful combination and very addictive!

The second piece "Blue Machinery", has a slightly harder edge. Its brooding atmosphere and constant recurring single note pattern give this a urgent edgy quality. One feels the piece may brake, at any moment, into a up-tempo groove, but the group hold the music back in a way to produce tension. Minimal solo lines give the track just the right balance between a groove and melody, allowing the music to evolve naturally.

The clever combination of two keyboards/effects and two drummers really gives the music plenty of space, and the lack of a bass to drive the group is actually what gives it the group its pure sound. There are plenty of details to hear within the recording due to this combination and the different paths taken by each instrumentalist. There are no real soloists, just co-operative group made music.      

This is a vinyl release, with one track per side, although it's possible to buy a digital version. I received the music on sound-files and I have to say that it seemed (in my humble opinion) a great medium to host this excellent music, as I found myself listening to the two tracks as one long evolving piece.  

This is certainly a highly recommended release, and easily accessible to many people interested in either jazz, rock, electronica and the minimalism of post Steve Reich's world. Anyone interested should quickly head over to their website as this is a limited edition of 300 odd copies.

Tuesday, June 30, 2015

Secret Keeper - Emerge (Intakt, 2015) ****

By Paul Acquaro

The concert for Secret Keeper's latest recording Emerge was at the Cornelia Street Cafe - and down in the cozy basement club space, it felt a bit like being in on a well kept secret itself. It was an intimate show as the duo of guitarist Mary Halvorson and bassist Stephen Crump captivated the attentive crowd for the evening.

Emerge is the pair's second recording under the name Secret Keeper and it is a another great example of their sympathetic and telepathic playing. The duo delivers composed and intricate melodies, with nice balanced counter motions, but they also surprise by suddenly throwing caution to the wind and diving into some aggressive passages.

The opener "What'll I Do" begins tentatively, Crump provides a loose foundation and Halvorson slowly drops musical pieces into place. They are building up to something: the squiggles of guitar and the bass runs become stronger and the music denser as the track continues. 'Emerge' starts big with vibrant chords and melody from the guitar and deep sells from the bass and 'In Time You Yell', things become agitated and the playing heavier. Halvorson leans on her inner rocker and uses power chords and purposeful slashing strumming before quickly pivoting to pointy arpeggiated lines and unusual chord voicings. Meanwhile Crump is a often a grounding element, providing a base that sometimes just cracks wide open.

This is a keeper of an album, literally dripping with atmosphere.
 



Monday, June 29, 2015

Songs for the people of Greece

By Stef

I am not sure what is going to happen in Greece. As an outsider, it's possible to understand the positions of the various parties involved and equally impossible to understand the positions of the various parties involved, but the thing is that the people of Greece are caught in a major situation they never expected or wanted. Hence an overview of some fine Greek musicians, to give them and their listeners a boost of confidence, because creativity will always win, and we'll have a closer look at this now.

Earlier this year, Paul already reviewed the Pandelis Karayorgis Quintet's excellent "Afterimage", but here is some more, and it must be said, the overall tone of the music is often not very joyful, and interestingly enough many of the musicians live outside of their Greek homeland. Nevertheless, these are all songs for the people of Greece.


Tania Giannouli Ensemble‏ - Transcendence (Rattle, 2015)


Greek pianist and composer Tania Giannouli is accompanied on this album by Guido De Flaviis on saxophone, Alexandros Botinis on cello, Solis Barki on percussion and idiophones and Giannis Notaras as a guest on percussion. The music could be a soundtrack, full of romantic sentiments, but without overdoing it, with an aesthetic that could be compared to many ECM albums: accessible, beyond genre, wonderfully performed and produced.

Giannouli mines deeply in the sounds of the Mediterrean and of various musical styles, using dramatic nature evocations as in "The Sea", folk elements as in "Sun Dance", modern composition as in "Mad World", or very unique sounds as in "Faster Than Wear".

An album with lots of rich ideas, a great variety of approaches yet miraculously coherent in its end result.


Mohammad - Segondè Saleco (Antifrost, 2015)


Some two years ago we reviewed their "Som Sakrifis" album by this Greek chamber doom trio, consisting of Nikos Veliotis on cello, Coti on bass and Ilios on oscillators. Now they deepen their specific and unique sound of experimental somber music, nothing to cheer you up, if not for the superb quality of the music itself, its intercultural source material and avant-garde delivery. We have the guest appearance of Erifyli Giannakopoulou on vocals on one track. This is a limited edition LP or CD and the last album of the trilogy.




Martin Küchen, Dimitra Lazaridou-Chatzigoga ‎– Bauchredner (Cathnor, 2015)


Another "open ears" album is this duet between Swedish saxophonist Martin Küchen and Greek zither-player Dimitra Lazaridou-Chatzigoga. The German title refers to the art of ventriloquism, or speaking without physical evidence for it apart from sound, but when you add the three titles of the album "Bauchredner und Rufer im Moor" (ventriloquist and shouter in the marshes), you get the title of a Paul Klee painting from 1923 (see below). As you can expect from such an ominous title, there is much loneliness and desolation to be heard on the album, with sometimes shrieking electronic backdrops laying the foundation for the more human and warm, but devastating saxophone. The end result is a fascinating electroacoustic soundscape, combining the contrasting notions of exclusion and openness, of artificiality and authenticity. 


Listen and download from Bandcamp


Zenjungle & Tunedin52 - Tales From Urban (Zentune, 2014) 


Zenjungle and Tunedin52 are the artist names of Irish guitarist John Daly (baritone and acoustic guitar, ebow, percussion, noises, glitches, loops, field recordings) and Greek sax-player Phil Gardelis (tenor and soprano saxophones, loops, noises, synths, voice, field recordings). They call their music ambient jazz, and that's what it sounds like. A sad sax sings and wails over a backdrop of electronic guitar-sounds, reinforced by real ambient pieces where every-day life seeps in.

The music itself has a strong linear and horizontal development, with slow changes in atmosphere and overall feel. This is mood music that may seem too easy at moments, but, well ... in a certain mood, this may be exactly what you want to hear.

Listen and download from Bandcamp.


Rank Ensemble - Papilio Noblei featuing Elena Kakaliagou (Leo, 2014)


A beautiful minimalist electroacoustic album by a Finnish ensemble, but featuring Elena Kakaliagou on French horn and voice, with music shifting between free improvisation and noise. It is daring music, on which the instruments are often hard to identify, except on the long Weitersfeld, on which Kakaliagou's horn sounds as you might wish to hear it and beyond : moaning, sad, ecstatic, generous.

The other band members are Solmund Nystabakk on guitar and voice, Saara Rautio on harp, ukelele, spring drum, and James Andean on piano, electronics, flute, melodica.


Yannis Kyriakides & Andy Moor - A Life Is A Billion Heartbeats (Unsounds, 2014)


This is the second collaboration between Greek sound artist Yannis Kyriakides and Andy Moor to explore and mine "the rich and mysterious terrain of Greek rebetika music from the early 20th century". Rebetika are Greek urban folk songs which are here performed and transformed on guitar and electronics, resulting in a strange world of rhythmic soundscapes, with dry guitar, whistling electronics and sprinkles of ambient sounds, all brought with a kind of wonder and pleasure of discovery. The music is very hard to pigeon-hole, because of its chamber-like intimacy combined with the electronics, but is more than worth listening to.


Costis Drygianakis - Invisible And Hidden (No Label, 2015)


Costis Drygianakis is a composer of mainly experimental music, and sound collages, and a teacher of music. His vision of music seems close to its most basic definition of 'organised sound', and within this juxtaposition of 'found sounds' and 'created sounds' an interesting tension arises, including through the electronic alteration of both.

The music is uncommon, but not unwelcoming, something that will disturb and destabilise at times including the sounds of violence and shooting, yet that can be listened to. Participants on the album include Elena Kakaliagou on French horn, Christos Kaltis on bass, Nikos Veliotis on cello, Christos Chondropoulos on percussion, Corinna Triantafyllidis on electronics, Manos Michaelides on pipe and percussion, Lilly Varaklioti on vocals Nicolas Malevitsis 'makes' noise.


Savina Yannatou and Primavera en Salonico - Songs of Thessaloniki (ECM, 2015)


I'm not sure any other label could have produced this album but ECM. Savina Yannatou sings folk songs of Thessaloniki, in the north of the country, as you may have guessed from the title. The production is as you can expect from ECM, absolutely spotless, and the band is ideal to give the music a value which is more universal and genre-defying. The band is Kostas Vomvolos on qanun and accordion, Yannis Alexandris on oud and guitar, Kyriakos Gouventas on violin, Harris Lambrakis on nay, Michalis Siganidis on double bass, and Kostas Theodorou on percussion. The band is great, and Savina Yannatou's voice is angelic : subtle, moving and with an exceptional clarity.

Some compositions sound familiar, such as the sephardic "A La Scola Del Allianza", but I guess that's inherent in folk songs that melodies migrate across cultures and geographies. Many of the songs stem for other places than Greece itself, with influences from Armenia, Turkey and Slavic countries, which is not surprising, as Thessaloniki is a multicultural port on the Mediterranean.

Jazz fans: listen to this with open ears, but maybe this is something the rest of the family will for once also appreciate.


In sum, apart from some albums, there is nothing typically Greek to be found in the music itself, apart from its openness to the world, its inclusion and infusion of cultural elements from across the border, and a great sense of "voice", creativity and adventure. And these will always be winning characteristics.

Sunday, June 28, 2015

François Carrier & Michel Lambert - Io (FMR, 2015) ****½

By Stef

After Kathmandu (2007), Nada (2009) and Shores And Ditches (2013), this is the fourth duo album of François Carrier on alto and Michel Lambert on drums. On top of that, they have performed numerous times in various line-ups and albums, so no wonder they sound almost like one person.

The good thing is that these guys get better all the time, focusing on their incredible strength of sympathetic, empathetic and telepatic interplay, letting the music grow organically, as if the music determines its own destiny and the musicians just help to move it forward, and last but not least because of their energetic lyricism that I have mentioned in earlier reviews. Even if this is 'only' a duo setting, this is music that is expansive, meant to conjure up universal feelings of space and humanity and joy. And the great thing is that this is what you feel when listening to it. The music can be agonizing, as on some pieces of the lengthy title track when Carrier screams his heart out, or just playful as on "Mock Sun" when the melody almost turns classical folksy. Just to illustrate the quality of the improvisations, each track has phrases and moments that keep the improvisation focused, but each track also has phrases and melody lines that would make non-improvising composers jealous. That good.

So what has changed with the previous albums? I think the performance is even more direct, rawer and in that sense also more authentic. I also believe that they give themselves more time to develop and grow their instant compositions, in contrast to the shorter pieces on Nada. Carrier's use of the Chinese horn on "Big Bounce" takes us back to his admiration for Dewey Redman. Lambert's drumming is also at a very high level, just listen to "Albedo" to get an idea of how pulse and rhythm can sound different and propulsing the improvisation forward, how power and subtlety can be combined.

There is a kind of simplicity in it all that makes it doubly attractive. They find no need to complicate things, to demonstrate anything whatsoever, to create novelty per se, to put the musicians center stage. The real star here is the music, in all its freedom and beauty.


PS - I wish I could show you some Youtube video with both artists, but the only ones I could find where with larger line-ups.


Saturday, June 27, 2015

Assif Tsahar & Tatsuya Nakatani - I Got It Bad (Hopscotch, 2014) ****

By Stef

Sax-player Assif Tsahar has a very distinct profile as a musician. With his own bands or with the Digital Primitives, his voice is one of soul, of the pleasure of sound, the joy of rhythm or the fun of the interplay with like-minded musicians. Drummer and percussionist Tatsuya Nakatani is also a musical nomad living in the US, and his style is more cerebral with an approach that is more in the moment than Tsahar's linear progression, yet both are story-tellers of a different nature, but the interaction is excellent.

Their third album together is also named after a Duke Ellington song, but the music is anything but Duke Ellington's. Tracks like "Gaze", can be reminiscent of 60s cool jazz, a slow dancing piece, but then almost of a drunk nature, "Reclaim", is a fierce free jazz blow and beat session, "Whisper" is more fragile, performed on bass clarinet and multiple little percussion instruments, "Search" is slow and mysterious, and I have the impression that with each of the twenty short tracks, the music gets darker and darker, culminating in a wonderful bass clarinet on "Glow" to - almost - end the album.

They have lots of different approaches here, lots of different styles, yet it's still coherent, unassuming but good.

And "they got it really bad". Nothing to cheer you up, but an album to thoroughly enjoy.

Friday, June 26, 2015

Dom Minasi & Chris Kelsey - Duets NYC/Woodstock (Tzazz Krytyk,2015) ****

By Paul Acquaro

I recently covered a duo recording of guitarist Dom Minasi paired with saxophonist Blaise Siwula. Last year, I wrote about one with pianist Michael Jefry Stevens, and another with Hans Tammen. The duo format seems to be one that Minasi enjoys, and for that I'm greatful, as his latest with soprano sax player Chris Kelsey, Duets NYC/Woodstock, is an absolute joy of an album.

I was unfamiliar with Kelsey's playing but am hooked now. The duo locks into strong grooves that rely on implicit pulses - and how they move! There are a great deal of rapid fire runs, but they are balanced against an equal amount of reflective moments.

The opener 'Fondness & Trepidation' both sports a fun title and a wealth of musical ideas. I would say that fondness is the operative work and trepidation just a bit of self-effacing humor as the duo shows great compatibility from the get go. Minasi strums, plucks and picks, and you can sense the camaraderie after Kelsey's first few notes. Speaking of which, there are many, as his melodic lines rise and fall with vim and vigor. 

The two standout tracks are 'Rod Serling' and 'Say What', which come towards the middle and end of the album. The former starts with Minasi offering a melody and Kelsey reacting with a repetitive motif, gaining in speed and ferocity until reaching a breaking point, and beginning again. The latter features Kelsey's elliptical and syncopated melody against the fierce comping that Minasi uses to deftly manipulate the direction of the musical conversation.

If you only get one Dom Minasi duo album this year, get this one, and then while you're at it, pick up the others.

Thursday, June 25, 2015

Open Loose - The Signal Maker (Intakt, 2015) ****½


The Signal Maker is the latest effort by the Open Loose Trio, comprised of Mark Helias (bass), Tony Malaby (saxophone), and Tom Rainey (drums).  It is a no nonsense affair, muscular in attitude, and as creatively involving as any jazz trio album I have ever heard.  Tony Malaby's playing is his finest on record.  Prodded constantly by Helias' pulsating bass and Rainey's dynamic percussion,  Malaby is stretched well beyond his usual range, notes pouring forth Mahanthappa like in intensity and lyrical, Kontiz like in quiet but intense improvisation.  

The album opens with the title track "The Signal Maker," with Rainey firing off an opening salvo of cymbals, simmering to a bubbling beat as Malaby and Helias launch into an exhilarating  free bop throw down.  Other outstanding tracks are:  "Ca Vous Gene," with its snake like interplay and rhythm between the musicians and  "Post Post," for it's balancing act of delicate emotion that threatens to veer into total chaos.  "End Point" is aggressive and fierce, each musician trading blows like fighters, highlighted by an amazing funky break 2/3 into the piece, a counter to the frenetic free form that preceded it.  Motoric" by comparison, is straight forward, but Rainey's machine gun beats and changes are outstanding, and Malaby responds with some of his most intensely lyrical playing to date.  

Throughout The Signal Maker is a passionate, intense work that exploits the best of their abilities.  Post bop mixed with improv at its finest. Highly recommended.


Wednesday, June 24, 2015

Drum 'n' Bass update

By Stef

Over the almost eight years of this blog's existence, the line-up with only bass and drums is one of the least reviewed, because probably the least performed. Henry Grimes and Rashied Ali come to mind, and the brothers Marcin Oles and Brat Oles.

So here is a quick update on some recent albums with the same format, but with very different music.

Charles Rumback & John Tate - Daylight Savings (Ears & Eyes, 2015) ***½


Both Charles Rumback on drums, and John Tate on bass, have performed in all musical genres, including creative jazz, but also with rock and pop bands, and they met in the Chicago jazz scene. On this intimate and very jazzy album, they show how great the limited line-up of bass and drums can be. The accessibility of the music makes this an album that is somewhat out of scope of this blog's profile, yet the beauty of the sounds, the rhythmic subtleties and the overall warmth make it such a pleasure to hear, that I wanted to make sure that fans of good music, without pretense, but with excellent execution, could be made aware of it. The superb quality of the sound, and the perfect balance between bass and drums is a great example of how the bass-drums duet should ideally be recorded, and that's unfortunately not always the case. 

Listen and download from Bandcamp.


Gonçalo Almeida & Friso Van Wijck - Dialogues, Quarrels & Other Conversations (Cylinder Records, 2015) ***½


It's only a short album, around twenty minutes long, with Gonçalo Almeida ("Lama", "Albatre", "Tetterapadequ"on bass and Friso van Wijck on drums. The single track starts with slow arco wailing, like whales, getting agitated when the percussion beats hit the ears, switching to pizzi and back to arco, creating soundscapes full of dramatic power and tension, in a well-paced and slow development. Van Wijk uses a whole range of percussion instruments and extended techniques on piano strings (?) bells and other objects. 

The end result is short, but is equally not very expensive. A great short performance. 

Listen and download from Bandcamp


Antonio Ramírez, Marco Serrato & Borja Díaz - Arconte (Sentencia Records, 2014) ***½


Despite the three names in the title, this is a bass-drums duo, with the third name of Antonio Ramírez being the illustrator whose work inspired bassist Marco Serrato and drummer Borja Diaz to perform their music. Each of the tracks is the result of the drawings by Ramírez, which come in a handy booklet together with the record.

Both musicians offer us a broad spectrum from very expressive and expansive, rockish, sometimes aggressive playing, as in the title track, to more intimate free improv, with lots of silence and quiet subtlety. The music not only tries to reflect the visual impressions and transform it into sonic evocations, but it also tries to use the same technique of the illustrator's subconscious and automatic drawings.

Listen and download from Bandcamp.


Milford Graves & Bill Laswell - Space, Time/Redemption (TUM, 2015) *


I am not sure what to think of this album. On the one hand you have Milford Graves, who is a centipede on the drums, polyrhythmic and even beyond rhythm at times, wonderful to listen to, including on this album. On the other hand you have bassist Bill Laswell, whose music and playing has always left me quite indifferent, but here it no longer does, it irritates me. Laswell's electric bass and the electronic alterations create a fusion-like kitsch to most of his endeavours, and things are not different here. Pieces such as "Eternal Signs", "Another Space" and "Another Time" are bland fusion excursions, without the instrumental pyrotechnics. Tracks like "Sonny Sharrock" and "Autopossession" are better because the role of Graves is more dominant. Still, it's all a pretty bland and synthetic affair. Well, maybe I am sure what to think of this album. 


Tuesday, June 23, 2015

To Ornette Coleman - Lonely Woman Update

By Stef

As a further tribute to Ornette, here is an updated list of the all 172 Lonely Woman versions in my possession. The composition's quality is so easily demonstrated by the large variety of genres in which it is being performed, from traditional mainstream vocal jazz, over free jazz, classical music, latin music, noise rock, modern classical, prog rock, ambient and avant-garde. Everybody seems to find something great in it, and is inspired to perform it, over and beyond all personal tastes. If you have additional suggestions, please let me know in the comments section below (and please not the Horace Silver composition with the same title). Thanks in advance!

8 Bold Souls – Side Show
Aceyalone - Human Language
Addax - Pa' Mi Gitana
Agustí Fernández, Baldo Martinez & Ramón López - Triez 
Ahmed Abdullah’s Ebonic Tones – Tara’s Song
Aki Takase & Silke Eberhard - Ornette Coleman Anthology
Alain Sève & Yves Rodde-Migdal - Bleu Paris
Alan Broadbent - Heart To Heart
Alan Wilkinson - Practice
Albin & Rebekah Zak - Sphinx
Amon Düül - Hijack (bizarre rock latin version)
Aram Shelton 4tet - Everything for Somebody
Ariel - 31 Bars
Assif Tsahar - Open Systems
Astrosonic - Speeder People
Attila Dora - Solo Baritone Sax
Barney Wilen - Dear Prof. Leary 
Basquiat Strings - Basquiat Strings
BB-Band - Odissey On Earth
Benoît Delbecq & Fred Hersh Double Trio - Fun House 
Big Tall Wish – Leverage (Rock – ambient)
Bill Carrothers & Marc Copland – No Choice
Bill Smith Ensemble - The Subtle Deceit of the Quick Gloved Hand
Billy Bang - Bangception Willisau 1982
Bob Gluck Trio - Sideways 
Boel/Emborg/Vinding/Riel - Shadow Of Love
Borah Bergman & Hamid Drake – Reflections On Ornette Coleman
Brad Cox - Beginners
Brad Mehldau, Kevin Hays & Patrick Zimmerli - Modern Music
Branford Marsalis - Random Abstract
Bruno Angelini - Lonely Woman - Huit Femmes
Bushman´s Revenge: Electric Komle - Live! 
Carol Morgan - Blue Glass Music 
Cécile Broché & Etienne Bouyer Duo
Charlie Haden/Don Cherry/Ed Blackwell – The Montreal Tapes
Charlie Haden’s Quartet West – In Angel City
Charlie Haden & Jim Hall
Charlie Haden - The Private Collection
Charnet Moffett - Spirit Of Sound
Chris Connor - Free Spirit
Claudine François – Lonely Woman
Claudio Cojaniz & Gianarlo Schiaffini - War Orphans
Cooke Quartet – Searching
Cruel Frederick - Birth of the Cruel 
Daniele Cavallanti - A World Of Sound Quartet
Dave Douglas Trio - On Air London - Lonely Woman (Bootleg)
Dave Goldberg – Jazz Standard
Dave King - I've Been Ringing You
Dave Liebman – Ghosts (world)
Dave Liebman- Turnaround: The Music of Ornette Coleman
Dave Liebman, Bob Moses & Eddie Gomez - Spirit Renewed
David Liebman, Richie Beirach, Ron McLure, Billy Hart - Redemption
David Rothenberg & Lewis Porter - Expulsion of the Triumphant Beast
Denison Kimball Trio - Soul Machine
Denny Zeitlin - Live At The Trident
Desert Island Dicks - The Shades Of Jazz To Come
Diamanda Gallas – La Serpenta Canta
Dominick Farinacci - Lovers, Tales And Dancers
Don Cherry – Featuring Ornette Coleman & Steve Lacy
Don Cherry Quartet - Live In Nervi
Double U – The Glands of External Secretion (slide guitar, blues)
Elise Einarsdotter Ensemble & Lena Willemark - Senses
Elsner/Räther/Maichel - The Song Is You
Frank Kimbrough - Lonely Woman
Fred Hersch - Evanescence
Fred Hersch Trio - Alive At The Vanguard
Freda Payne- After The Lights Go Down
Gary Bartz & Sonny Fortune - Alto Memories
Gebhard Ullmann and Andreas Willers - Suite Noire
George Gruntz - St Peter Power
George Gruntz Concert Jazz Band - The MPS Years
Giovanni Mirabassi - Huit Femmes
Good For Cows - Good For Cows
Greg Malcolm - Homesick For Nowhere (noise rock)
Grencsó Open Collective - Homespun In Black & White
Guarneri Underground - New World
Guido Mazzon - Other Line
Hanna Boel - The Shining Of Things (vocal) 
Hayasaka Sachi & Stir Up - Straight To The Core
Hellen Merrill & Dick Katz - A Shade Of Difference
HR Big Band - Plays The Music Of Ornette Coleman
Hugh Hopper - Hopper Tunity Box
Hugh Ragin – Metaphysical Question
Ignaz Schick's Decollage 3 - Lonely Woman
Jacques Berrocal - Catalogue
Jaki Byard - July in Paris
James Blood Ulmer - Music Speaks Louder Than Words
Janka Flachsman - Breath
Jarek Smietana - The Good Life
Jay Clayton - All Out
Jazz Doctors - Intensive Care
Jean-Paul Celea - Yes, Ornette!
Joachim Kühn & Archie Shepp - Lonely Woman
João Lencastre's Communion - One
Jocque & Le Scott - The Ornette Coleman Songo
Joe Giardullo & Michael Bisio – Primal Intentions
John Lewis & Sven Asmussen - European Encounter
Joe McPhee's Po Music - The Loneliest Woman
John Zorn – Naked City
Joleste - Who Knows? 
Joshua Redman – Momentum
Juhani Aaltonen Trio - Illusion Of A Ballad
Karin Krogg - Different Days, Different Ways
Ken Peplowski – The Other Portrait (classical symphonic)
Kiyoshi Kitagawa with Kenny Barron & Brian Blade - Prayer
Kronos Quartet – White Man Sleeps (modern classical)
Kyle Bruckman - Wrack
Larry Schneider Quartet – Ornettology
Lester Bowie – Fast Last
Linda Sharrock - And She Answered (vocal)
Lisa Manosperti - Where The West Begins : Voicing Ornette Coleman
Luther Thomas - In Denmark
Magos Herrera, Iraida Noriega - Soliluna (vocal)
Marc Copland & Bill Carrothers - Huit Femmes
Marcin Oles - Ornette On Bass (3 versions of bass solo)
Mark Doyle – Guitar Noir (rock)
Mark Wyand - I'm Old Fashioned
Marzette Watz - Lonely Woman
Masayuki Takayanagi - Lonely Woman (solo electric guitar)
Maurizio Brunod - Solo
Mecolodiacs - Glamjazz
Michael Bisio & Joe McPhee – Fingers Wrigglers (1) (free)
Michael Bisio & Joe McPhee – Fingers Wrigglers (2) (free)
Michael Bocian - Premonition
Misja Fitzgerald Michel - Encounter
Miroslav Vitous Group - Remembering Weather Report
Modern Jazz Quartet - Lonely Woman
Nancy Walker - Luminosity
Natraj – The Goat Also Gallops (world jazz)
Old & New Dreams – Old & New Dreams
Oles/Trzaska/Oles - Danziger Strassenmuzik
Ombak - Fan Bricks
Open Systems - Is
Ornette Coleman – The Shape Of Jazz To Come
Ornette Coleman Quartet - The Love Revolution
Otomo Yoshihide - Lonely Woman
Otomo Yoshihide's New Jazz Quintet - Live at Shinjuku Pit Inn
Panorama Brass Band - 17 Days
Paul van Kemenade & Ron van Rossum - Duo
Peter Brötzmann - 14 Love Poems
Petite Vengeance - Mon Amérique A Toi
Phil Grenadier & Bruno Råberg - Plunge
Pierre Dorge – Giraf
Popol Lavanchy - En Ver et Contre Tout
Quest - Quest
Quest - Redemption Live In Europe 
Radka Toneff – Live In Hamburg (vocal)
Ran Blake - Ran Blake Plays Solo Piano
Renata Friederich Close-Up - Lonely Woman
Renaud Garcia-Fons & Gérard Marais - Acoustic Songs (guitar/bass duo)
Rhinoceri Trio - Libera Me
Ryan Burns - Live At The Lab
Sachi Hayasaka & Stir Up! - Straight To The Core
Sergi Sirvent - Free Quartet
SF Jazz Collective - Inaugural Season Live 2004
Sheila Cooper - Tales Of Love And Longing (vocal)
Sigrid Meyer & Serene
Silvia Donati - Singing In The Brain (vocal)
Sophia Domancich & Goubert Simon- You Don't Know What Love Is
Sophia Domancich - Tirana Moods + You Don't Know What Love Is
Sophia Domancich - Washed Away
Stan Kenton - Concert In Progressive Jazz
Stan Kenton & June Christy - Duet
Stephan Oliva & Claude Tchamitchian - Huit Femmes
Stephan Oliva & Jean-Marc Foltz - Huit Femmes
Stephan Oliva & Suzanne Abbuehl - Huit Femmes
Stephan Oliva & Joey Baron - Huit Femmes
Stephan Oliva & Linda Sharrock - Huit Femmes
Stephanie Winters – Through The Storm (classical cello solo)
Steve Berrios And Son Bacheche - First World
Sunny Murray - Perles Noires
Sunny Sumter- Sunny
Susanne Abbuehl – I Am Rose 
Taarka - The Martian Picture Soundtrack
Takashi Kako - Long Journey
Takeda Kazunori Meets Furusawa Ryojiro - Infinity
Tango Lorca – Mujer Sola (tango)
Terumasa Hino -- Crimson
Terence Blanchard - Simply Stated
Tied & Tickled Trio and Billy Hart - La Place Demon
Tiziana Ghiglioni - Lonely Woman
Tiziano Tononi - Peace Warriors, Vol. 2
Todd Bishop Group - Little Played Little Bird 
Trio X - Live In Vilnius
Trio X – Roulette At Location One
Trio X – Moods : Playing With The Elements
Uschi Brüning - Ornette Et Cetera 
Vandermark 5 - Alchemia
Vic Juris - Omega Is The Alpha 
Waclaw Zimpel, Wojtek Traczyk, Robert Rasz - The Light
Willem Breuker Kollectief - Thirst
Wolfgang Pushnig, Linda Sharrock, Uli Scherer - AM4
Yochk'o Seffer - Ornette For Ever