This is one of the first SCG albums that I have really, really liked. I think the simplicity of the approach, which basically consists of some guitar jams (of course, as we know, these jams are flavored with a host of styles and tempos), is what let this impact me so immediately when I listened to it again the other day. From start to end, the guitar interplay and approach is exciting, I feel the natural absorption of other styles, and I also feel something of an improvisatory imperative here. Sure, there are more adventurous SCG albums, and maybe this is an easy way out, to like a sorta straightforward one, but whatever. I likes what I likes.
4

You know, the interesting thing about this is that it is sooooo old (the pieces, anyway), and the playing is so diverse. This sort of is the composition equivalent to Lennie Tristano's 'Descent into the Maelstrom' for me, ie. you can always go a little bit earlier to locate the atonality, the out playing, the adventurousness that you think exists in your heroes initially. Like Alex points out, this dude taught Feldman.
3

It’s not easy for me reviewing something I’m so much emotionally attached to. Here’s the warmest, coolest and most intelligent plastic sound of NYC in the Eighties, mixing avant-garde, No-Wave and disco, coming from the same context of Arthur Russell and Rhys Chatham just to name 2 other favorites of mine, and featuring here choruses, keyboards, and even David Byrne and Arto Lindsay on guitars on “Beginning of the heartbreak”.
13

Sounds like someone told Glenn Branca to compose one of his guitar symphonies in eai form, and Rhys Chatham came on top of it. I've decided this IS the proper review. ha But really, there is so much going on here, I would say that those touchstones will give you a starting point as to what to expect.
5

Featured on the NWW list, I don't know a ton about this artist, or the story behind the creation of this album. I do know that this is Swedish, and that it is some crazy-good avant-jazz/free jazz. I find a few things about odd lineups, and about other releases, but this is the one that I like best, so if you have any information, it would be much appreciated. I think this is what Small Town Super Jazz wishes it were releasing on a daily basis. Check it out.
3

This is a double-CD set documenting the last show of Braxton's quartet's tour of England back in 1985, which was later released in 1993. Each CD has an extensive interview following the respective sets, which are both fantastic. Indeed, I consider this to be some of Braxton's best work for a few reasons. There is the outstanding lineup: Marilyn Crispell on piano, Mark Dresser on bass, and Gerry Hemingway on drums.
6

As you can see, I removed the link before I even got a chance to review this. Such is the way of blogs. I truly apologize to the person who contacted me about the link, and I promise that no KiC post will offer anything for download from your label again. I should point out, however, that without the blogs, I would not have ever heard about this release, or your fine label. I think this speaks in part to the power of grass roots/word of mouth publicity.
18

This has a lot of different things going on. I'm not that into the intro of this, because I think immediately diving into a MLK speech (I'm pretty sure it is MLK) and having vague intensity build-ups, is something countless other people have already done, and Alumbrados don't really add much to the formula. However, I posted this for a reason. I'm hoping you either look past (or skip) the first track and get into the meat of this album.
6

This is sort of a common type of album for me to post. A mish-mash of genres, typified by a mix of drones/electronics with acoustic instruments. If I were to tell you that this prominently features violin, you might guess what it would sound like. Let me tell you: it is not like that, and it is damn good.
1
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