Fille Qui Mousse - Trixie Stapleton 291 - Se Taire Pour Une Femme Trop Belle (1972 france psychedelic and experimental rock - FLAC)

At the beginning of the 70's, Futura Records from France released some of the most intriguing, strange and unsung LP's of all times. The artists who recorded them were alternately serious jazzanatics and social outcasts - most of the times, they satisfied both categories.

People like Red Noise, Mahogany Brain and Jacques Berrocal (most recently involved in some Nurse With Wound project) chose to make wildly experimental music, spiked with psychedelia and free jazz, following an approach not so distant from their German counterparts.

Even if Futura releases are more stressed on the jazzy side, it is not impossible to consider them as cousins of the most adventorous Krautrock heroes.

Among the others, Fille Qui Mousse, led by the erratic talents of Henry Jean Enu, were maybe the best - or, at least, their only record was more focused in its relentless phantasmagoria of different inspirations.

Trixie Stapleton 291 is packed with ideas and little follies: you cannot find much actual music in it, but many of its solutions remind Faust and anticipate some of the Residents' best work.

Sound collages, cut ups, short crazed piano pieces (sounding like Chopin on speed), white noises cranking up the stereo, all of these studio trickeries manage to create a mysterious, shadowy, ever shifting soundscape.

The final effect is paradoxically much more in a proto wave vein than in a progressive one.

Fille Qui Mousse arrange their sonic chemistry paying absolutely no attention to the well-practised musicianship: they edit the sound in an almost cinematic way, and their "songs" have a vivid cinematic feel - albeit they do not perfectly fit the Hollywoodian norm.

For example, in the fourth track we can hear a girl told us a story in her beautiful French,while dogs are furiously barking in the distance, evoking confused images of urban wilderness.

Massive layers of noise begin to grow in the background, until everything is submerged by this white, thick sheet of demented sound - the track is over, and it was like watching one of those ugly, pretentious short movies of the 70's (but with much more effect and no nude scenes).

The first and the last pieces of the album are, on the other hand, "real" music: the same theme is developed in two different ways, with an incredible acid punch for the opener, with a more jazz inclination for the closer (here, we can also listen to what seems an electric violin, but played with such an eversive attitude to make it hardly recognizable).

Trixie Stapleton 291 has been recently re released and is worthy of a listening, especially if you want to taste something really different even in terms of 70's standards (by Ur from headheritage.co.uk).

Part 1:


Track List:
01.Part 1 - 5:45
02.Part 2 - 0:57
03.Part 3 - 2:00
04.Part 4 - 8:12
05.Part 5 - 2:34
06.Part 6 - 1:04
07.Part 7 - 3:07
08.Part 8 - 3:06
09.Part 9 - 8:30

Fille Qui Mousse:
*Barbara Lowengreen (vocals)
*Sylvie Peristeris, Henri-Jean Enu (guitar, vocals)
*Denis Gheerbrandt (vocals)
*Daniel Hoffmann (guitar)
*Benjamin Legrand (piano, vocals)
*Dominique Lentin (percussion)
*Jean-Pierre Lentin, (guitar, bass)
*Léo Sab (violin)
*François Guildon (guitar)


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Jean Luc Ponty - King Kong: Jean Luc Ponty Plays The Music Of Frank Zappa (1970 france mix of fusion, jazz & RIO / avant garde - MP3 320K and FLAC)

Not just an album of interpretations, King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion.

Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers.

In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity -- not just the feel -- of jazz, and this project was an indicator of his growing credibility as a composer.

For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu (though Zappa's brand of experimentalism didn't really foreshadow Ponty's own subsequent work).

Of the repertoire, three of the six pieces had previously been recorded by the Mothers of Invention, and "Twenty Small Cigars" soon would be.

Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo.

The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock.

It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance, standard jazz improvisation to avant-garde, nearly free group passages.

In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin (by Steve Huey).

King Kong:


Track List:
01.King Kong (4:54)
02.Idiot Bastard Son (4:00)
03.Twenty Small Cigars (5:35)
04.How Would You Like to Have a Head Like That (7:14)
05.Music for Electric Violin and Low Budget Orchestra (19:20)
06.America Drinks and Goes Home (2:39)

Personnel:
*Jean-Luc Ponty (violin)
*Ian Underwood (conductor, alto & tenor saxophones)
*Ernie Watts (alto & tenor saxophones)
*Vincent DeRosa (French horn, descant)
*Arthur Maebe (French horn, tuben)
*Johnathan Meyer (flute)
*Gene Cipriano (oboe, English horn)
*Donald Christlieb (bassoon)
*Milton Thomas (viola)
*Harold Bemko (cello)
*Gene Estes (vibraphone, percussion)
*George Duke (piano)
*Frank Zappa (guitar)
*Buell Neidlinger, Wilton Felder (bass)
*Arthur Tripp III, John Guerin (drums)


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Nicodemus - What For? (1980 us underground american biker art rock - MP3 320K and FLAC)

Amazing underground american biker art rock. It sad that there is not much talk of Nicodemus.

The guy has made a number private press Lp's since the 70s which vary intentionally from Album to Album. Acid Folk, Biker Rock, Damage Proto-Punk, and bizarre Effected tracks that sound like Chrome.

Nicodemus has produced a body of work over his more than 30-year career that is stunning in its breadth and shocking in its level of accomplishment, yet is so underexposed that many have never heard of a man whose best music is easily on a par or better than the work of auteurs ranging from Lou Reed to Neil Young to John Lennon to Brian Wilson to Bruce Springsteen.

Perhaps it's too much to ask that the terminally clueless Rolling Stone Record Guide have caught on, but St. Nic has been consistently overlooked even by self-proclaimed 'underground' guides like The Trouser Press Record Guide or Unknown Legends Of Rock.

Excepting a brief blurb in Jello Biafra's section of the RE/Search book Incredibly Strange Music, Vol. 2 and an error-riddled article in Motorbooty magazine, precious few signposts point the music consumer towards Nicodemus' work.

Given that the world of music journalism is prone to hyperbole, many may choose to doubt my words, but the proof is in the music: a couple of listens to amazing songs like "Sometimes I Can't Sleep", "They Whisper Here", "One Way", or "When The Daylight Fades To Nothing" should convince even the most skeptical that Nicodemus' music deserves to be considered among the most creative musical art of the last thirty years (Aaron Poehler).

Me And Suzie:


Track List:
01.Black Sadie
02.The Word Of Parrot
03.Angel Dust
04.One Way
05.Me And Suzie
06.Heads And Brains
07.Rubber Spiders
08.The Miser
09.Long Finger Of The Flaw
10.Self Pity
11.If I Die Tomorrow
12.If I Stand Out In The Rain
13.Oh My Darlin'
14.Scream
15.Good-N-Plenty


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Centipede - Septober Energy (1971 uk, progressive experimental fusion jazz, Keith Tippet's musical direction - FLAC)

One look at the fifty-piece Centipede orchestra, organized and led by British free jazz pianist Keith Tippett over thirty years ago, and the mind boggles that such an unwieldy collection of musicians, from such a multitude of musical camps, could ever be brought together to create a remotely coherent musical statement. And, truth be told, when Septober Energy was released in '71, it was met with almost universal critical derision.

Maybe it's because Tippett, who had already burst onto the scene with a refreshing ability to meld free improvisation with heady arrangements on his first two records— You Are Here' I Am There ('69) and Dedicated to You But You Weren't Listening ('71)—had bitten off more than he could chew with an ambitious 85-minute, four movement suite. Maybe it was that this stylistic melange tried to buck the old adage "you can please some of the people some of the time, but you can't please all of the people all of the time." Or maybe it was just plain critical cantankerousness. Irrespective, looking back at Septober Energy , remastered and reissued by BGO Records in '00, reveals a piece of work that may be flawed, but still has much to recommend.

Part 1 is the most problematic, mainly because it doesn't really know what it wants to be—pedal tone passages are replaced by a sudden anarchy of instruments building into a marching drum passage with ascending and descending horns and a pattern of strings creating the first recognizable motif of the disc before breaking down into a quartet that sounds like an outtake from King Crimson's Islands —which is no surprise considering Crimson guitarist Robert Fripp not only produced Septober Energy , but used Tippett extensively on his own records at the time.

Part 2 hangs together better, with a more assertive rhythmic focus that makes good use of flugelhorn player Ian Carr and oboist Karl Jenkins over a more accessible funk groove. The only misstep is Brian Godding's stiff and clichι-ridden solo, more the pity since a far better guitarist, Fripp, was only a few feet away in the control booth. But one can easily ignore Godding's less-than-memorable contribution, as solos by cornet player Mark Charig and saxophonist Brian Smith more than make up for his obvious deficiencies.

Part 3 suffers the same flaws as Part 1, but Part 4 contains some positively beautiful moments, notably Tippett's piano solo which opens the movement and includes some McCoy Tyner-ish inflections. And after some of the chaos that came before, the final movement is more groove centric and approachable, like Part 2.

Bombastic? Sometimes. Over-reaching? Possibly. But reassessing Septober Energy has value, if for no other reason than it harkens back to a time where an album of this kind was even possible, and on a major label to boot. Flawed gems are still gems and Septober Energy is one with its own peculiar beauty.
by John Kelman

Tracks
Disc One:
1. Septober Energy - Part 1
2. Septober Energy - Part 2
Disc Two:
1. Septober Energy - Part 3
3. Septober Energy - Part 4.

Musicians
*Wendy Treacher, Jihn Trussler, Roddy Skeping, Wilf Gibson (lead), Carol Slater, Louise Jopling, Garth Morton, Channa Salononson, Steve Rowlandson, Mica Gomberti, Colin Kitching, Philip Saudek, Esther Burgi. - Violins
*Michael Hurwitz, Timothy Kramer, Suki Towb, John Rees-Jones, Katherine Thulborn, Catherine Finnis - Cellos
*Peter Parkes, Mick Collins, Ian Carr (doubling flugelhorn), Mongesi Fesa (pocket cornet), Mark Charig (cornet) - Trumpets
*Elton Dean (doubling saxello), Ian Steel (doubling flute), Ian MacDonald, Dudu Pukwana - Alto Saxophones
*Larry Stabbins, Gary Windo, Brian Smith, Alan Skidmore - Tenor Saxophones
*Dave White (doubling clarinet), Karl Jenkins (doubling oboe), John Williams (bass saxophone, doubling soprano) - Baritone Saxophones
*Nick Evans, Dave Amis, Dave Perrottet, Paul Rutherford - Trombones
*John Marshall (and all percussion), Tony Fennell, Robert Wyatt - Drums
*Maggie Nichols, Julie Tippett, Mike Patto, Zoot Money, Boz. - Vocals
*Roy Babbington (doubling bass guitar), Jill Lyons, Harry Miller, Jeff Clyne, Dave Markee, Brian Belshaw - Bass
*Brian Godding - Guitar
*Keith Tippet - Piano, Musical Director

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