Saturday, February 14, 2009

1-Speed Bike - Someone Told Me Life Gets Easier In Your 50’s (2005)


  1. El Gallito Intro

  2. There's An Oil Tanker Named Condoleeza Rice

  3. Bleeched Bumbaclt Warning

  4. If You Were A McDonalds, Your Lips Would Be An Orange Soda, But Your Dick Would Be A Shriveled-up Fry

  5. Klootzak Keizer Intro

  6. Vanilla Ice Corrals His Pet Wallaroo, Bucky, Into A Trailer After It, And His Goat Pal Honcho, Escaped From A Relative's Home

  7. 8 Months Stuck In A Shipping Container With 12 Jehovah's Witnesses

  8. From The Time You're Born They Make You Feel So Small

  9. Cats Don't Judge People Do

  10. Some People Know How To Roll When They Fall Off A Bike (Hrsta Remix)

  11. My Dick Is This Small Because It's -40 Degrees F

  12. The Ground Is Really Unforgiving When You Fall (Hrsta Remix)

  13. Shoving The Guardian Up My Ass While Binge Drinking With A Hoodie On

  14. Will Death Stop Lenny Kravitz's Ego?

  15. Easy E White House Dinner Menu Problem

Quality: 128 kbps cbr



Tuesday, February 3, 2009

Caribbean Jazz Project - Here And Now, Live In Concert(2005)

Dave Samuels (co)founded the Caribbean Jazz Project years ago and is the only one remaining at present.
After years of different lineups and various co-frontmen he finally found the (in my opinion) ideal
combination of instruments on their former release "Birds of a Feather", by choosing a trumpet player
next to his vibes/marimba. Following the magnificent "Birds of a Feather" is this wonderful 2 cd live
set, recorded over a series of three nights at the Manchester Crafts Guild in Pittsburg. The group this
time consists of: Diego Urcola - trumpet, Dario Eskenazi - piano, Oscar Stagnaro - bass,
Mark Walker - drums and Roberto Quintero - percussion. Diego Urcola does a good job in replacing
Ray Vega and Randy Brecker on the last album and Mark Walker is just one of the finest latin
jazz drummers around and shows here what an incredibly swinging force he is. There are many good things
to be said about this album. Whereas I found their studio albums sounding somewhat sterile, this live
set really smokes and gives a much more spontaneous feel. A good example is my favorite track of the
album, "One Step Ahëad", which makes for an enthralling 11 minutes listen and making this cd worth
buying on its own merit! But there is so much more to enjoy here: The choice of material is really
good (although I could have done without "On The Road"), with some standards done in mostly refreshing
ways along strong originals by mainly leader Dave Samuels. All in all, this disc comes highly
recommended for both first-time and long-time latin jazz listeners!

Dave Samuels - vibraphone, marimba
Mark Walker - drums
Diego Urcola - trumpet, flugelhorn
Oscar Stagnaro - bass instrument
Roberto Quintero - congas, percussion
Dario Eskenazi - piano



  1. 01 - Rendevous

  2. 02 - Stolen Moments

  3. 03 - Turnabout

  4. 04 - Arthur's Dance

  5. 05 - The Gathering

  6. 06 - Picture Frame

  7. 07 - Bemsha Swing


  1. 01 - One Step Ahead

  2. 02 - Mariella's Dream

  3. 03 - On The Road

  4. 04 - Five For Elvin

  5. 05 - Naima

  6. 06 - Night In Tunisia

  7. 07 - Viva Cepeda

Quali: 256
Size: 115 + 120 MB
Source: CD



Grover Washington Jr. - Mister Magic(1974)

This is one of Grover Washington, Jr.'s best-loved recordings and considered a classic of r&bish jazz.
All four songs (which includes Billy Strayhorn's "Passion Flower") are quite enjoyable but it is
"Mister Magic" that really caught on as a major hit. Bob James provided the colorful if somewhat
commercial arrangements, there are spots for guitarist Eric Gale, and Washington (mostly on tenor
and soprano) is heard in particularly creative form. Highly recommended.
~ Scott Yanow, All Music Guide

Grover Washington, Jr.
Mister Magic
Kudu Records

For anyone who enjoys taking bites from the now forbidden fruits of jazz, smooth jazz has probably
crossed your palate once or twice. Just as rock music fans treat adult contemporary with certain
disdain, so do jazz fans in regards to smooth. It is certainly easy to see why. The arrangements
are flooded with lush pop undertones and probably even worse; the music lacks jazz's guttural attack.
Smooth jazz self-destructed in a storm of cheesy synth and repetitive drum machine beats during the
'80s... remember some of David Sanborn's later records-1988's Close-up-or the horrid comatose of
Kenny G?

Before all this smooth had been an interesting and driven alternative to fusion. Once the sugar coating
is stripped away, the chops are often solid. What we have forgotten is smooth featured some killer
players who would be great regardless of their chosen genre. With that idea in mind, we as jazz fans
need to revaluate some of these records. There is no better representative than the late Grover
Washington, Jr.'s 1974 masterpiece, Mister Magic.

The first record for anyone looking to hear a positive example of smooth is all here. Fused an R&B
groove that is produced and arranged by future smooth mogul pianist Bob James, Mister Magic was a
spotlight for one jazz's great sax players. Washington absolutely breathed a fluid and caressingly
powerful style that was unique to him. Since the style called for easy playing, he could sit back
and let the chops glide like water flowing down a river. His melodies and tone are always first rate,
but there was a certain magic, if you will, to what this record has said about its artist. Many of
the smooth players relied on the direct approach to playing and soloing, but Washington allowed his
himself room to open up, and this where his music has the most to offer to the rest of jazz fans.
Sure the polish is on there, but the solos are not afraid to take flight either.

The title track harnesses the chrome plated polish of this genre's sound and lets in the tasty bits.
It starts out with a funk groove-did someone say Head Hunters?-and slowly builds into some finely
gnarled solos by Grover and guitarist Eric Gale. It was a crossover hit that grooved the light rock
AM crowd of the '70s and is still a great spin today.

This record is a lighter approach for those who are not willing to check the harder edged sounds that
are deliciously spread over Steely Dan's records, but these jazzites don't need rock mixes.
If you are still thinking I might be crazy, just think back to the 1980 hit with Bill Withers,
"Just the Two of Us," on Washington's Winelight. Godammit, you want to blow it off as easy listening
light rock, but that solo is mind blowing. There is a lot more where that came from. Just open up and
let the light fluffy background groove fly away and you will be rewarded for your time with Grover
Washington because he was truly one of the best we had.


Joseph Malin Violin
Harvey Mason, Sr. Drums
Charles McCracken Cello
Matthew Raimondi Violin
Alan Shulman Cello
Tony Studd Trombone (Bass)
The Manny Vardi Strings Viola
Grover Washington, Jr. Saxophone, Sax (Soprano), Sax (Alto), Sax (Tenor), Main Performer
Doug Ramsey Liner Notes
Bob Ciano Design
Alen MacWeeney Photography
Al Brown Viola
Ralph MacDonald Percussion
David Nadien Violin
Wayne Andre Trombone
Randy Brecker Trumpet
Max Ellen Violin
Eric Gale Guitar
Rudy Van Gelder Engineer
Paul Gershman Violin
Harry Glickman Violin
Harry Lookofsky Violin
Gary King Bass
Harold Kohon Violin
Phil Bodner Sax (Baritone)
Jon Faddis Trumpet, Flugelhorn
Bob James Piano, Piano (Electric), Keyboards, Arranger, Conductor
Marvin Stamm Trumpet, Flugelhorn
Phil Upchurch Bass


  1. Grover Washington Jr. - Mister Magic - 1. Earth Tones

  2. Grover Washington Jr. - Mister Magic - 2. Passion Flower

  3. Grover Washington Jr. - Mister Magic - 3. Mister Magic

  4. Grover Washington Jr. - Mister Magic - 4. Black Frost

Quali: 320
Size: 76 MB
Source: Vinyl



Karl Ratzer - Fingerprints(1979)

Jazz musician Karl Ratzer, a singer, composer, and guitarist, was born in Vienna, but he got his start
in the music world in the '60s with funk and rock bands in Austria. In 1972, he moved to the
United States and began working with a group best known as Rufus & Chaka Khan. In 1977, Ratzer
formed a band with Dan Wall, Jeremy Steig, Ray Mantilla, Eddie Gomez, and Joe Chambers. Over his
career, Ratzer has worked with a well-known mix of funk, pop, jazz, and blues artists such as Art
Farmer, Chet Baker, James Moody, Bob Berg, Steve Grossman, Eddie "lockjaw" Davis, and many others.
In 1978, Ratzer saw the release of his debut album, In Search Of The Ghost. The album received
fantastic reviews, as did his 1979 album, Street Talk. Both were recorded under the Vanguard label.
He has also recorded for the CMP, ENJA, and RST labels. Ratzer's 1997 debut album for the ENJA label,
Saturn Returning, which showcased tracks like "Silent Rain," "Just What You Need," and "Main Squeeze,"
won him an Austria's Best Jazz Artist of the Year award. He also recorded Moon Dancer for ENJA with
pianist Oliver Kent, drummer Lukas Knöfler, percussionist Ricardo Mateus, bassist Heinz Jäger, and
accordionist Karl Hodina.
~ Charlotte Dillon, All Music Guide

Karl Ratzer el-g,
Dan Wall org, p,
Neal Starkey b,
Al Nicholson d,
Ray Mantilla cga, perc,


  1. Karl Ratzer - Fingerprints - 1. New Walz

  2. Karl Ratzer - Fingerprints - 2. Between The Lines

  3. Karl Ratzer - Fingerprints - 3. Diane

  4. Karl Ratzer - Fingerprints - 4. Nothern People

  5. Karl Ratzer - Fingerprints - 5. Southern People

  6. Karl Ratzer - Fingerprints - 6. Fingerprints

  7. Karl Ratzer - Fingerprints - 7. Know It Already

Quali: 320
Size: 87 MB
Source: Vinyl



Jamaaladeen Tacuma - Renaissance Man(1984)

Album Notes
Jamaaladeen Tacuma (electric bass, percussion, programming);
Howie Montaug (vocals);
Ornette Coleman, James R. Watkins (alto saxophone);
David Murray (tenor saxophone);
Olu Dara (cornet, African flute);
Vernon Reid, Rick Iannacone, Charles Ellerbe (guitar);
Cornell Rochester, Bill Bruford (drums);
Daryl Burgee (African gymbe drum);
Bob Zollman (tympani, percussion);
Daniel Ponce, Ron Howerton, Verna Gillis (percussion);
Greg Mann (programming).

The Ebony String Quartet: Kathleen Thomas, Cynthia Shoats (violin); Nina Wilkenson (viola); Aaron
Henderson (cello).

Engineers include: Greg Mann, Reinhard Zwierlein, Phil Nicollo.

Recorded at Studio 4, Philadelphia, Pennsylvania; Gramavision Recording Studio, Unique Recording,
New York, New York; Sinus Musik, Berlin, Germany.


  1. Jamaaladeen Tacuma - Renaissance Man - 1. Renaissance Man

  2. Jamaaladeen Tacuma - Renaissance Man - 2. Flash Back

  3. Jamaaladeen Tacuma - Renaissance Man - 3. Let's Have a Good Time

  4. Jamaaladeen Tacuma - Renaissance Man - 4. Next Stop, The

  5. Jamaaladeen Tacuma - Renaissance Man - 5. Dancing in Your Head - (with Ornette Coleman)

  6. Jamaaladeen Tacuma - Renaissance Man - 6. There He Stood - (with Daniel Ponce)

  7. Jamaaladeen Tacuma - Renaissance Man - 7. Battle of Images, The

  8. Jamaaladeen Tacuma - Renaissance Man - 8. Sparkle - (David Murray and Vernon Reid, with Bill Bruford)

Quali: 320
Size: 107 MB
Source: Vinyl


Barbara Thompson & Rod Argent - Ghosts(1982)

Barbara Thompson - Alto, Tenor + Baritone Saxes, Flute & Alto flute
Rod Argent - Vocals, Keyboards
John Mole - Bass
Jon Hiseman - Drums
Robin Jones - Perc
Keith Airey - Guitar


  1. Barbara Thompson & Rod Argent - Ghosts - 1. Poltergeist

  2. Barbara Thompson & Rod Argent - Ghosts - 2. With You

  3. Barbara Thompson & Rod Argent - Ghosts - 3. Secret Soul

  4. Barbara Thompson & Rod Argent - Ghosts - 4. All Alone

  5. Barbara Thompson & Rod Argent - Ghosts - 5. Ghosts

  6. Barbara Thompson & Rod Argent - Ghosts - 6. Little Girl

  7. Barbara Thompson & Rod Argent - Ghosts - 7. Falling Stars

  8. Barbara Thompson & Rod Argent - Ghosts - 8. Moving On

  9. Barbara Thompson & Rod Argent - Ghosts - 9. Sweet Spirit

Quali: 320
Size: 105 MB
Source: Vinyl



Shannon Jackson & Decoding Society - Street Priest(1981)

As with many of the latter artists, drummer Ronald Shannon Jackson's ascent to the critical recognition and mild popular success he enjoyed in the 1980s did not come early in life. In 1979, at the age of 39, Jackson formed The Decoding Society, a medium-sized ensemble that would become an ongoing vehicle to showcase his compositional/arranging talent and his uniquely propulsive drumming style. Sadly, by the mid–1990s, Jackson had lapsed into relative obscurity alongside many of his colleagues.
In his home town of Fort Worth, Texas, Ronald Shannon Jackson's exposure to a healthy variety of vernacular musics—country, gospel, jazz, blues, and soul—and his subsequent, early performance career, were key ingredients in his artistic trajectory, culminating in the exuberant compositions and sounds of The Decoding Society. After beginning his performing career in Texas, Jackson left the southwest for New York City in 1966 and quickly found work with Betty Carter, Charles Mingus, and numerous other prominent jazz artists. His most notable affiliation during this period was with seminal free jazz figure Albert Ayler. Soon thereafter he became relatively inactive on the scene for several years.
In 1974 Jackson met Ornette Coleman, began "lessons" with Coleman on his "harmolodic" theory, and recorded and performed with the original incarnation of Coleman's Prime Time Ensemble. Jackson's career accelerated in the late Seventies as he made formidable contributions to one of Cecil Taylor's many working ensembles, and participated in the landmark James Blood Ulmer recording, Are You Glad to Be in America? Certainly, by these late Seventies recordings, Jackson’s drumming was already indicative of what would become his signature style: an energetic pushing of the pulse, a loose and swinging feel, a focus on tom-tom and snare work, and the usage of parade rhythms (i.e. patterns involving repetitions of two sixteenth-notes followed by one or two eighth-notes).
Jackson gathered a combination of seasoned loft players and young, talented newcomers in 1979 as the first edition of The Decoding Society. Over the next decade, the group performed extensively and released about one recording per year. Personnel changes occurred over the years, but during the course of the Eighties and into the early Nineties there was a handful of core units anchored by some relatively long-term, primary performers. Unfortunately, Jackson's first six studio albums are out of print, despite most having seen at least a brief appearance on CD format. Jackson left New York City in the early Nineties and returned to Texas where he currently resides. Three studio Decoding Society recordings, his latest from the Nineties, document a period of seemingly sporadic activity.
Fortunately for those of us who bemoaned an almost complete disappearance of commercially available Ronald Shannon Jackson recordings, and for those who may have missed the opportunity the first time around, the Knitting Factory's KnitClassics label (a division of the jazz/pop club's Knitting Factory Records) has released nine "reissue" recordings by Jackson over the course of the year 2000, eight of which involve some version of The Decoding Society. Four out of these nine recordings were actually previously unreleased. Eight were recorded, either in the studio or live in performance during a span between 1983 and 1988, while one dates from a 1994 concert. The KnitClassics recordings provide broad coverage of Jackson and The Decoding Society's work through various editions of the band and their concomitant compositional and stylistic progression.
In response to his formulation of and early work with the Decoding Society, Jackson was critiqued as a primary participant in the so-called "new fusion" movement of the early Eighties. This movement was ostensibly derived from Coleman's then recent foray into electric music, forming a parallel to the way in which Seventies fusion emerged from the electric music of Miles Davis. Indeed, Jackson's first recording under his own name, The Decoding Society's Eye on You (About Time Records, 1980), exhibited more overt influence from Coleman than any subsequent work. Yet Eye on You was not merely an homage to Coleman, but in fact documented a new artistic voice.
For the first version of The Decoding Society, as well as most later versions, Jackson selected instrumentation with doublings similar to Coleman's Prime Time (and Free Jazz) ensemble: two or three saxophonists who each played multiple horns (or one sax and one trumpet), and initially two guitars and one bass, which quickly reversed to become one guitar (a teenage Vernon Reid who later formed Living Colour) and two basses (often in fretted/unfretted combination). Violin, vibes, and trombone made sporadic appearances and later on, lineups focusing on a core of multiple guitarists would return.
On Eye on You and subsequent early Decoding Society recordings, the ensemble's polyphonic texture was clearly rooted in Coleman's elusive "harmolodic system" which professes an equal role for harmony, movement (i.e. rhythm), and melody, and dispenses with traditional notions of key and pitch. Each instrument, in theory, would be capable of playing a rhythmic role, a harmonic role, a melodic role, or some combination thereof; a similar blurring applied to lead/soloing and accompanying roles. Moreover, Jackson's compositions did not typically focus on any one key. The combination of sharply contrasting, implied tonal centers, the predominance of polyphony over harmony, and an often heterophonic relationship (due to looseness in both rhythm and pitch) between ostensibly unison-based parts, all contributed to the prevailing tonal ambiguity.
Jackson's compositions for Eye on You were frequently built out of busy and even frenetic webs of multiple
melodies and ostinato figures; the resultant energy was a reminder of Jackson's affiliation with Cecil Taylor.
Multiple themes, usually carried by the horns and sometimes the guitar, were presented both as "head" melodies
(at the beginning of the composition) and as material underneath one or more soloists. Melody instruments typically
played either in unison or fourths. Melodic material often recalled Coleman in its simple motives and lazy, floating
lyricism; at times Ayler in its urgent diatonicism; and at other times Mingus in its bluesy, spy-theme quality. Augmented
seconds occasionally peppered the sound with an “eastern” sensibility. Melodies sometimes floated freely in their relationship
to the pulse; sometimes they swung playfully and festively; and sometimes they serenely presented one of Jackson's gorgeous—yet
still tonally ambiguous—ballads. Moreover, Jackson demonstrated an ability to develop long, snaking, sequencing melodies,
something he no doubt brought with him from his experience with Coleman. Melodic development and structure formed the basis
of Jackson's compositions, but free-blowing, both in solo and group configurations, abounded as well.
The Decoding Society sound was alternately (or simultaneously) hot and cool, savage and gentle, danceable and contemplative. It was a brew of African, “eastern,” and American sounds. Tempo, meter, feel, and stylistic references varied across different compositions and within single compositions as well. Jackson combined his parade rhythms with soulful tenor saxophone lines, the bluesy chatter of electric guitars, and the high-pitched exoticism of soprano saxophones (and high trumpet parts). Like many of the jazz giants before him, he showed a knack for creating a big sound out of a relatively small band.
In 1981, The Decoding Society recorded and released two albums for the German Moers label. Three more releases for Island (or Antilles/Island) Records followed in 1982, 1983, and 1985 respectively. All five of the latter recordings involved a fairly stable unit whose core consisted of Jackson, Vernon Reid (now the sole guitarist and a dominant voice in the ensemble), two bassists, and two to three horns (limited to saxophones on the Moers releases and expanded to include trumpet or trombone on the Island releases).
The Moers dates (which resulted in Nasty and Street Priest) were well recorded, effectively highlighting the busy, melodic interplay of the two bassists who served less in the traditional/functional bass roles and more in melodic roles that were on par with the horns and guitar. The feel was overall more funky and the melodies more catchy than on Eye on You. Reid was given more room to stretch out, while the saxophones continued to explore the high register, and Jackson continued to embed rhythms and melodies within a polyphonic texture that exhibited Coleman's influence. Nevertheless, this music had rapidly and unquestionably become Jackson's own and the Moers recordings exhibit some of his finest work.
The Island period (starting with Man Dance and Barbecue Dog) represented the height of the group's visibility and popularity. Funk and blues gestures had become more overt than ever, contributing to a pastiche not found in the earlier work. Tempo and feel shifted rapidly from section to section. Hints of tonality, often in funk-based solo sections, could now be heard in contrast to polytonal and atonal sections. Unison sections at very fast tempos and Reid's fiery guitar work both exhibited the flashiness reminiscent of Seventies fusion, yet the signature rhythms, quirky melodies, and arranging/orchestration style assured the listener that this sound was still unmistakably Jackson's. Despite the return of the violin, the addition of the trombone, some interesting stylistic forays into country, bebop, and space funk, and the promise of a Bill Laswell production, the third Island release, Decode Yourself, is marred by a thin sound, gimmicky electronic drum and synthesizer timbres, and (surprisingly) a plodding, four-square rhythmic monotony.


  1. Shannon Jackson & Decoding Society - Street Priest - 1. Street Priest (6:17)

  2. Shannon Jackson & Decoding Society - Street Priest - 2. Sperm Walk (8:07)

  3. Shannon Jackson & Decoding Society - Street Priest - 3. City Witch (5:51)

  4. Shannon Jackson & Decoding Society - Street Priest - 4. Sandflower (4:21)

  5. Shannon Jackson & Decoding Society - Street Priest - 5. Hemlock For Cordials (7:05)

  6. Shannon Jackson & Decoding Society - Street Priest - 6. Chudo Be (8:06)

Quali: 320
Size: 96 MB
Source: Vinyl



Sunday, February 1, 2009

John Zorn - Kronos Quartet - Short Stories (1993)

320 KBPS

This is one absolutely brilliant collection of compositions, from the beginning to the end of this CD, offering 75 minutes of music. It starts with a vivid and pulsating Digital, continues with Willie Dixon's Spoonful, transformed here into some sort of avant-garde blues (!?) performed with an intensity of Jimi Hendrix. Cat O' Nine Tails, appropriately subtitled as "Tex Avery Directs the Marquis de Sade", is a graphic performance, and with its humor, witty references and brief genre zip-zapping throughout the piece it's characteristic for John Zorn. Steven Mackey plays electric guitar with the Kronos Quartet in his own energetic and exiting piece, Physical Property.
Scott Johnson's 13 minutes long Soliloquy makes me think that I have an advantage in not being a native English speaker because the sense of music of the foreign language always remains (at least to me it does). The inherent music in one's own mother tongue with all its melody, rhythm and texture usually goes unnoticed. By using the short edited parts, or "loops", of I.F. Stone's lecture I feel Kronos does exactly that: brings out the music of the English language and accentuates it with their own instrumental backing. It's a functional and artistically justified method, I feel, justified by the beauty of the composition and the text itself.
One of the highlights of the CD is certainly Sofia Gubaidulina's Quartet No. 2. It brings a sense of eeriness and menace, maintaining the suspense, not unlike some of impressive and disturbing compositions of Krzysztof Penderecki. It would certainly quality as "musica non grata" to the totalitarian Soviet regime of the former USSR, Gubaidulina's country of birth.
John Oswald's Spectre is an experience for itself. It is, simply, one of the most amazing, intense and breathtaking compositions I have ever heard. Like Cat O'Nine Tails, Physical Property and Soliloquy, it was written for Kronos Quartet. It was meticulously recorded in numerous but seamless layers of overdubs and in that sense it was really written for a huge string orchestra of, say, thousand string instruments all of which played by Kronos. It starts with sounds of the quartet's tuning-in out of which one single note is sustained. It sounds fragile and shallow at first but soon after subtly gains strength and depth. As its timbre becomes richer and richer, one gradually becomes aware of numerous other tones that co-exist with the first one, thousands of them, almost the same, but not quite. They start to interact, bumping into each other. And then... the pitch gets slightly higher, the sound constantly gains power in a mighty spiral, a tornado of sound that sucks you in and throws you out. Like a soul leaving the body, as in some Castaneda's novel. This is how I imagine shooting heroine must be like, as sometimes depicted in movies, where a little bit of blood is let into the syringe and then the mixture injected back. Musical Eros & Thanatos... One could say Spectre might be a musical metaphor for life itself, from birth to death with a promise of infinity or immortality.
It's the music like this, fresh and adventurous, that brings all deserved praise to the Kronos Quartet. Short stories? No. More like synopses for epic novels, greater than life.

1. Elliott Sharp: Digital (l986)
2. Willie Dixon: Spoonful (1960)
3. John Oswald: Spectre (l990)
4. John Zorn: Cat O' Nine Tails (Tex Avery Directs The Marquis De Sade) (l988)
5. Henry Cowell: Quartet Euphometric (1916-1919)
6. Steven Mackey: Physical Property (l992)
7. Scott Johnson: Soliloquy From How It Happens (The Voice Of I.F. Stone) (1991)
8. Sofia Gubaidulina: Quartet No. 2 (1987)
9. Pandit Pran Nath: Aba Kee Tayk Hamaree (It Is My Turn, Oh Lord) (1992)

Download: Music

John Zorn - Deadly Weapons (1986)

320 KBPS
Deadly Weapons is an album by Steve Beresford, John Zorn, Tonie Marshall and David Toop. The album was originally released on the Nato label in 1986. It is designed as film noir soundtrack music to a film which does not exist and could be considered a forerunner to Zorn's Spillane (1987).

1. Shockproof
2. Du Gris
3. King Cobra
4. Tallulah
5. Dumb Boxer
6. Lady Whirlwind
7. Shadow Boxer
8. Sitting in the Park
9. Snow Blood
10. Chen Pe'i Pe'i
11. Jane Mansfield

Download: Music