Out Front Outback

OFOB playlist for 6/23/15


Below is the playlist for this week’s show. Note the SF Bay area’s premiere saxophone quartet, Rova, keeps us on our toes with special projects on a regular basis, and at least once a year they have a special event featuring a larger grouping, collectively called Orchestrova. For this show, Larry Ochs talked with us about Monday’s upcoming show in San Francisco which is dedicated to Butch Morris. The interview runs a little long [13:20-31:22], but it gives some fascinating insight into the artistry of Larry Ochs and Rova. Also, Rova’s music is more than worthy, so we get a treat in hearing a little more of it than usual. I hope you have an opportunity to enjoy the show.

Keep those ears growing!!
Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 6/23/15

  • Chicago Reed Quartet [w/Ken Vandermark, Dave Rempis, Mars Williams + Nick Mazzarella]- Remnant- Western Automatic- Aerophonic records
  • *Larry Ochs Orkestrova- Itself Now Corresponding to Sand/That Hunts- The Mirror World (for Stan Brakhage): Realization 1: Hand- Metalangue
    • Interview with Larry Ochs about Orkestestrova concert (homage to Butch Moris) at ODC Theater in San Francisco on 6/29
  • *Larry Ochs Orkestrova- Full House- The Mirror World (for Stan Brakhage): Realization 1: Hand- Metalangue
  • The Rova Saxophone Quartet & Nels Cline Singers- Trouble Ticket- The Celestial Septet- New World
  • *Rova Saxophone Quartet- Grace- Morphological Echo- Rastacan records
  • Julius Hemphill- Leora- Big Band- Elektra Musician
  • Rova::Orkestrova- Survival (In Five Acts)- An Alligator in Your Wallet- ewe
  • *Charles Papasoff- IBC- International Baritone Conspiracy- Victo
  • Engines & John Tchicai- Super Orgasmic Life- Other Violets- Not Two records
  • *Erdmann, Ullmann, Fink, Lillinger- Sterbende Nacht- E&U Mann- WISMart
  • Wilber Morris w/David Murray & Dennis Charles- Randy- Wilber Force- DIW
  • *Marc Bernstein’s Out of the Blue- Mlezker- Marc Bernstein’s Out of the Blue featuring Marc Ducret- Multikulti project

Plus a link for the Celestial Septet [Rova + Nels Cline Singers]:  https://vimeo.com/23356750

Larry Ochs to preview 6/29 concert – Rovate 2015: “No Favorites: An Homage to Lawrence Butch Morris”

Larry Ochs will call in to give us some details on the upcoming ROVA sax quartet + string quartet + power trio concert dedicated to conduction master Butch Morris on Out Front, Outback tonight [6/22]. Rova wil engage musicians from the vast pool of experienced Bay Area improvisers to perform works dedicated to, and inspired by, Butch Morris. The ensemble will employ Rova’s improvisational strategies and involved hand-cueing system to present extedned works by Rova members.

Lawrence D. “Butch” Morris was an important figure in the development of conducted improvisation using hand cues to indicate processes, dynamics and sound. He called his performances “conducitons,” where, in his words, “the bounds of both composition and conducting become limitless and the balance between composer, conductor ,and improviser becomes equal.”

For more information, see http://rova.org/upcoming.aspx

As a teaser, go to the below link for a video of Rova with the Nels Cline Singers power trio.


fascinating blog reprint on Ornette, the avant-garde, and struggle

I wanted to share this solid article w/you!  Larry

Torrential, Gut-Bucket Jazz                 -by  Geoff Dyer

           Ornette Coleman wDon Cherry at 5 Spot Cafe NYC 111759

- Ornette Coleman with Don Cherry at the 5 Spot Cafe, New York City, November 17, 1959

It happened that on the day the great saxophonist and composer Ornette Coleman died I was watching a preview of a recently salvaged film by Sydney Pollack of the making of Aretha Franklin’s Amazing Grace. The album was recorded live at the New Temple Missionary Baptist Church in Los Angeles, the city where, in the late 1950s, Ornette and his collaborators, Charlie Haden (bass), Don Cherry (trumpet), and Ed Blackwell or Billy Higgins (drums) had formed the quartet that would soon declare the shape of jazz to come. The idea for Amazing Grace was that Aretha would record an album of the gospel music she’d grown up hearing and singing in her father’s church in Detroit. This was in 1972. John Coltrane had died in 1967, Albert Ayler—the tenor saxophonist who, along with Ornette, had played at Coltrane’s funeral—in 1970. Martin Luther King, Jr. had been dead for four years. The unifying grace of the civil rights era had given way to the fractured militancy of Black Power and revolutionary struggle.

The Southern California Community Choir march into the church with the quasi-military precision associated with the Panthers or the Nation of Islam. They’re dressed in the kind of silver, intergalactic costumes that locate the promised land in an Afro-futurist vision of outer space. But once the singing starts they reach far back into history, to the foundational elements of black American music: spirituals and gospel.

Tomorrow is the question, Ornette declared. But his answers contained big chunks of yesterday. His most famous composition, “Lonely Woman,” is a dirge so mournful it seems to lament its own existence—in a succession of increasingly exuberant proclamations. If there is melancholy in the titular question “When Will the Blues Leave?” the answer is a joyously hopeful “Never!” In Visions of Jazz Gary Giddins quotes drummer Shelly Manne saying in 1959 that Coleman’s sound was “like a person crying…or a person laughing.” That contradiction—the contradiction that is not a contradiction—lies at the heart of so much African-American music.

One of the things that the most extreme first-generation of free players such as Ayler and Pharoah Sanders shared with Ornette was the experience of playing R&B in their journeyman years. The open-throated, gutbucket sound came as readily to them as breathing. This was every bit as important—and as present in their playing—as the tradition-shattering qualities that provoked such fierce hostility or reverence. Their musical apprenticeship earthed them and explains why free jazz was able to take root. Which makes it extraordinary that Charles Mingus—to say nothing of Roy Eldridge and Miles Davis—refused to hear what seems now to be a defining aspect of Ornette’s sound. Surely Mingus, of all people, should have responded to the honk and holler, the cry and call. Miles’s hostility was probably due, in some measure, to his highly developed sense of rivalry or threat. Unblemished by any such feelings, Coltrane was an immediate convert and an eager pupil.

Another irony about the way R&B underpinned such radical experimentation is that R&B has since become the blandest musical pap on the planet. Listening to contemporary R&B is about as challenging as listening to the Eagles. Ornette’s early recordings for Atlantic (collected in the indispensable box set Beauty Is a Rare Thing), on the other hand, still sound far-out—and as drenched in blues and roots as a Mingus album.

Ah, but how old it’s become, this still new-sounding music! In March I went to see Oliver Lake (seventy-two), Andrew Cyrille (seventy-five), and Reggie Workman (seventy-seven) at the Village Vanguard in New York—a legendary venue that has not been at the vanguard of anything for at least thirty years. With the best will in the world you couldn’t say it was a great gig, though it’s wonderful, of course, that Workman (who played with Coltrane) is still a working man. But you can’t play their kind of music without taking the roof off the place. That’s what Ornette’s quartet did when they came east, to New York, in 1959. They didn’t just take the roof off the 5 Spot; they took the roof off the idea of the roof and, as a result, left jazz exposed to the elements. In the following decade jazz became torrential.

As with so many revolutionary happenings this one began with a small cabal of initiates bonding together while the soon-to-be-shaken world looked and listened elsewhere. I find it incredibly moving to think of Cherry, Haden, and Blackwell (or Higgins) gathering at Ornette’s place in Los Angeles to immerse themselves in his musical philosophy, playing a new kind of music in which the song’s form could be dictated by collectively improvised melodic lines, rather than harmonic progressions. They’re all dead now. Ornette outlived everyone in Old and New Dreams, the band of his alumni (including Dewey Redman on tenor) devoted to exploring his music, its legacy and potential.
It hardly needs emphasizing that the desire for freedom in jazz is bound up with the larger dreams of freedom itself. This, obviously, is a vast topic, one that cries out for treatment in a full-scale documentary film (especially since the relevant episode from Ken Burns’s otherwise magnificent series was so cursory). To simplify things let’s stick to a few obvious examples.

we-insist-max-roach  Album cover for Max Roach’s We Insist! Freedom Now Suite, 1960

Sonny Rollins’s Freedom Suite (1958) was a pre-Coleman declaration of musical and political liberation—but there was no explicit statement of this conflation on the album. And the music on offer was still sufficiently conservative for a cover version of a Noel Coward tune to sit happily alongside the ambitious title piece. Recorded two years later, We Insist! Freedom Now Suite by Max Roach (who played drums on the Rollins album) was explicitly interventionist, with its cover featuring a news photograph of a lunch counter sit-in. Even after the smaller-scale detonations of Coleman’s The Shape of Jazz to Come (1959) and Change of the Century (1960), his album Free Jazz (1961) was a musically incendiary event, but Ornette tended to play down the connection between his musical project and the larger social turbulence of which it might have seemed a product and expression. Hereafter, however, “free” playing became so ideologically freighted that the struggle to gain acceptance for this music—the purpose and attraction of which lay, to a considerable degree, in the way that it was audibly unacceptable to a significant portion of the population—became part of a larger struggle.

The alliance of revolutionary politics and music reached a rhetorical extreme with Archie Shepp’s famous claim, in 1968, that his saxophone was “like a machine gun in the hands of the Viet Cong.” Theoretically it may have been possible for musicians to record an album fully pledged to the idiom of free jazz without committing to the politics of Black identity—but not in America. Only after a sabbatical in Europe—symbolically if belatedly represented by those Nice Guys from the Art Ensemble of Chicago, sitting outside a Paris café on the cover of the eponymous album—could free jazz become a kind of equal-opportunity employer in reverse, whereupon it was re-imported to the US, minus the ideological trappings that were also part of its foundation.

So when Pharoah Sanders cries out “You’ve Got To Have Freedom” on any number of recorded versions of that song he’s both celebrating what the music has liberated itself from and what African Americans have struggled—and continue to struggle—for. But he’s also declaring his freedom to keep working, to keep performing “You’ve Got To Have Freedom” wherever and whenever he can get a gig.

Enlarging the question about free playing: When did it begin, this longing for freedom of which Ornette’s music is the undying expression? You could say that it began with the founding fathers as long as you factor in that the American project of freedom and equality for all was in its original intent predicated on a percentage of the population being denied any freedom. Right from the start there was a cage in which the dream of freedom would begin its long incubation.

It’s strange how listening to early Ornette—as I’m listening to him now—is to surrender to the closing claim of that great chronicle of the so-called jazz age: to be borne back ceaselessly into the past. Specifically, I find myself being drawn back to 1843, to a lecture by James McCune Smith entitled “The Destiny of the People of Color,” part of which is quoted by David Brion Davis in The Problem of Slavery in the Age of Emancipation. As Davis puts it, McCune Smith’s lecture concludes “with a prophecy that the African Americans’ struggle for liberty would lead to a revolutionary contribution to American culture”:

We have already, even from the depths of slavery, furnished the only music which the country has yet produced. We are also destined to write the poetry of the nation; for as real poetry gushes forth from minds embued with a lofty perception of the truth, so our faculties, enlarged in the intellectual struggle for liberty, will necessarily become fired with glimpses at the glorious and the true, and will weave their inspiration into song.

[from the New York Review of Books, NYR blog - http://www.nybooks.com/blogs/nyrblog/2015/jun/20/torrential-ornette-coleman/] posted June 20, 2015, 10:09 a.m.

OFOB for 6/18/15: Tribute to Ornette Coleman March 9, 1930 – June 11, 2015

  • Ornette Coleman- Sadness- Town Hall, 1962- ESP disk
  • *Ornette Coleman- Lorraine- Tomorrow is the Question!- Contemporary records
  • Ornette Coleman- Lonely Woman- The Shape of Jazz to Come- Atlantic
  • Ornette Coleman- Beauty is a Rare Thing- This is Our Music- Atlantic
  • * Ornette Coleman- Peace- The Shape of Jazz to Come- Atlantic
  • Ornette Coleman- Una Muy Bonita- Change of the Century- Atlantic
  • Ornette Coleman- Ramblin’- Change of the Century- Atlantic
  • * Ornette Coleman- Eos- Ornette on Tenor- Atlantic
  • Ornette Coleman- Doughnuts- The Great London Concert- Arista/Freedom
  • * Ornette Coleman- Round Trip- New York is Now!- Blue Note
  • Ornette Coleman- Broken Shadows- Crisis!- Impulse
  • Ornette Coleman- Elizabeth- The Complete Science Fiction Sessions- Columbia
  • * Ornette Coleman- What Reason Could I Give- The Complete Science Fiction sessions- Columbia
  • Ornette Coleman-Rock the Clock- The Complete Science Fiction Sessions- Columbia
  • Ornette Coleman Prime Time- Dancing in Your Head- Jazzbuhne Berlin ’88- Repertoire records
  • * Ornette Coleman (Prime Time)- Him and Her- Of Human Feelings- Antilles
  • Ornette Coleman & Charlie Haden- Sex Spy- Soapsuds, Soapsuds- Artist House
  • * Ornette Coleman- Turnaround- Sound Grammar- Phrase Text/Sound Grammar
  • Ornette Coleman- What Reason- Sound Museum: Three Women- Harmolodic/Verve
  • Ornette Coleman- What Reason- Sound Museum: Hidden Man- Harmolodic/Verve
  • *Ornette Coleman- Sleep Talking- Sound Grammar- Phrase Text/Sound Grammar

Note: All the above Atlantic recordings can also be found on the box set Beauty is a Rare Thing: The Complete Atlantic Recordings- Rhino/Atlantic which also includes some previously unreleased pieces plus material which had only been released in Japan as To Whom Who Keeps a Record

Drop me a note via email if you would like me to send you an Ornette discography – larryb@cruzio.com

Good resources for career overviews are the NY Times obituary [nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html?ref=obituaries&_r=0] and Guardian obituary [theguardian.com/music/2015/jun/11/ornette-coleman]

Here are some selected videos of Ornette concerts + interviews:

Ornette solo in Berlin, also playing the piano!

part 3 also includes an interview with Ornette


OFOB for 6/9/15

  • Simon Toldam Trio- Luftkalligrafi- Kig Op 14- Ilk music
  • *Simon Toldam Trio- Den Evige Gren (the eternal branch)- Kig Op 14- Ilk music
  • Kris Davis Trio- Twice Escaped- Waiting for You to Grow- Clean Feed
  • Jim Baker- Post-industrial Societies and Their Precursors- More Questions than Answers- Delmark
  • *Steel Bridge Trio [Tim Daisy, Aram Shelton, Safa Shokrai]- Some See Hope- Different Clocks- Relay records
  • Bobby Few- From Different Lands- Lights and Shadows- Boxholder records
  • Steve Lacy & Vladimir Miller- The Wane- Five Facings (five pianists)- FMP/jazzwerkstatt
  • PA [Atle Nymo/Magnus Broo/Mattias Stahl/Ingebrigt Haker Flaten/Hakon Mjaset Johansen]- Boomerang- Bubble- Moserobie music productions
  • *Satoko Fujii’s Tobira- Wind Dance- Yamino Ni Karasu (the crow in the dark night)- Libra recordings
  • Kirk Knuffke & Jesse Stacken w/Kenny Wolleson- The Painter- Like a Tree- SteepleChase
  • Steve Lacy Quartet- Esteem- Revenue- Soul Note
  • *Bobby Bradford & John Carter Quintet- She- No U Turn: Live in Pasadena, 1975- Dark Tree records
  • Peter Brotzmann Chicago Tentet- Be Music, Night part 2- Be Music, Night: A Homage to Kenneth Patchen- jazzwerkstatt
  • Atomic [Frederik Ljungkvist, Havaard Wiik, Magnus Broo, Ingebrigt Haker Flaten…]- Start/Stop- Lucidity- Jazzland
  • Baloni [Joachim Badenhorst, Frantz Loriot & Pascal Niggenkemper]- Forgetting- Belleke- Clean Feed

OFOB for 6/2/15

  • Brian Landrus Trio- The Beginning- The Deep Below- Blue Land/Palmetto
  • Marty Krystal’s Mojave- Renovation Blues- Gunsmoke- K2B2 records
  • The ICP Orchestra- Round Midnight- The ICP Orchestra Performs Nichols/Monk- ICP
  • Criss Cross with Buell Neidlinger, Marty Krystall…- Friday the 13th- Live at the Red Sea- K2B2 records
  • *Simon Toldam Trio- Glasperle på Himmelbjerget II- Kig Op 15- Ilk music
  • Satoko Fujii & Tobira- Potential Energy- Yamiyo Ni Karasu (the crow in the dark night)- Libra records
  • Stephen Gauci, Kris Davis and Michael Bisio- The End Must Always Come- Three- Clean Feed
  • Pascal Niggenkemper Vision7- Feuertreppe- Lucky Prime- Clean Feed
  • *Sonoluminescence Trio (David Mott, William Parker, Jesse Stewart)- Here We Go- Telling Stories- Art Stew records
  • Satoko Fujii Orchestra Berlin- Ichigo Ichie part 4- Ichigo Ichie- Libra records
  • Muhal Richard Abrams Orchestra- Hearinga- The Hearinga Suite- Black Saint
  • The Peter Brotzmann Chicago Tentet- part 3- Be Music, Night: A Homage to Kenneth Patchen- jazzwerkstatt
  • *John Carter & Bobby Bradford Quintet- Love’s Dream- No U Turn, Live in Pasadena- Dark Tree records
  • *Ken Vandermark’s Audio One (tentet)- Vivre Sa Vie- An International Report- AudioGraphic records
  • IPA (Atle Nymo, Magnus Broo, Mattias Ståhl, Ingebrigt Håker Flaten, Håkon Mjåset Johansen)- If a Waltz- Bubble- Moserobie Music
  • *Lucky 7s (Jeb Bishop, Josh Berman, Keefe Jackson, Jason Adasiewicz…)- Sunny’s Bounce- Pluto Junkyard- Clean Feed

OFOB for 5/26/15 with timings

  • Robert Ceely- Post Hoc, Ergo Hoc for Solo Bass Clarinet [Marty Krystall]- So Far- Vivace Records
  • 4:44        *Gunsmoke [Marty Krystal trio]- We’ve Heard It All Before- Mojave- K2B2
  • 10:03     Marty Krystal Quartet- Brass Rings- Moments Magical- K2B2
  • 14:53     Jimmy Giuffre Trio- The Train and the River- The Train and the River- Choice
  • 20:35     Teddy Charles Tentet- Quiet Time- Teddy Charles Tentet- Atlantic/Jazz Beat
  • 31:31     *(Tim Daisy’s) Vox Arcana- Assembly- Caro’s Song- Relay recordings
  • 39:24     Side A (Ken Vandermark, Håvard Wiik, Chad Taylor)- 29- In the Abstract- Not Two  records
  • 44:19     Jimmy Giuffre- Cry, Want- New York Concerts- Elemental music
  • 56:49     *Free Fall (Vandermark, Wiik, Ingrebigt Haker- Flaten)- E.C.- The Point in the Line- Smalltown Superjazz
  • 62:05     Free Fall- 291 (for Jimmy Giuffre)- Amsterdam Funk- Smalltown Superjazz
  • 65:41     (Tim Daisy’s) Steel Bridge Trio [w/Aram Shelton]- Some See Hope- Different Clocks- Relay recordings
  • 71:28     The Tim Daisy Trio [w/ Håvard Wiik]- Spreepark Serenade- A Fine Day in Berlin- Relay recordings
  • 79:40     Masahiko Satoh- Untitled solo piano- Long Story Short (curated by Peter Brotzmann)- Trost records
  • 97:01     *Bobby Few- Flakes- Light and Shadows- Boxholder
  • 101:34   Ideal Bread [Josh Sinton, Kirk Knuffke, Reuben Radding, Tomas Fujiwara] – Flakes- Transmit: Vol. 2 of the Music of Steve Lacy- Cuneiform
  • 108:39   Steve Lacy, Irene Aebi, Frederic Rzewski- First and Last Pain- Packet- New Albion
  • 113:48   What We Live [Larry Ochs, Lisle Ellis, Donald Robinson]- Everlasting (for Dewey Redman)- What We Live- DIW
  • 121:23   Stephen Gauci, Kirk Knuffke, Ken Filiano- Symphony in K- Chasing Tales- Relative Pitch
  • 126:15   Sonny Simmons- Black Gardenia- Last Man Standing- Jazzaway records
  • 145:09   *Kirk Knuffke- Next- Arms and Hands- Royal Potato Family

And in the video department:


OFOB for 5/19/15

  • Chicago Reed Quartet- Camera Obscura- Western Automatic- Aerophonic records
  • *Rova Saxophone Quartet- Parallel Construction #1- Planetary- SoLyd records
  • Empty Cage Quartet & Soletti Besnard- Moths to the Flame/Only as Evidence- Take Care of Floating- Rude Awakening
  • Pascal Niggenkemper Vision7- Ke Belle- Lucky Prime- Clean Feed
  • *Frank Lowe & Saxemple- Inappropriate Choices- Inappropriate Choices- ITM Pacific
  • Michael Marcus- Morning Daffodil- The Magic Door- Not Two records
  • Szilard Mezei Wind Quartet- Milos- We Were Watching the Rain- Leo Records
  • Cassandra Wilson- Death Letter- New Moon Daughter- Blue Note
  • *Phalanx [George Adams/James Blood Ulmer/Sirone/Rashied Ali]- Song Number One- Original Phalanx- DIW
  • David S. Ware- Aquarian Sound- Flight of i- DIW Columbia
  • David Mott Quintet- First Dance- Downtown Runout- davidmottmusic.com
  • Trio Derome Guilbeault Tanguay- Mes Enfants- Wow!- Ambience Magnetiques
  • *Kris Davis Infrasound- Save Your Breath- Save Your Breath- Clean Feed
  • Lisle Ellis- Mothers- Elevations- Victo
  • The Revolutionary Ensemble- 911-544- And Now…- Pi Recordings
  • Ab Baars Trio & NY Guests- Consolatio- Invisible Blow- Wig
  • Ab Baars Trio & Ken Vandermark- Honest John- Goofy June Bug- Wig
  • Kirk Knuffke- Bonderizer- Arms & Hands- Royal Potato Family

OFOB for 5/12/15

  • [Aram Shelton’s] Ton Trio II- Findings- On and On- Singlespeed Music
  • *Aram Shelton Quartet- Joints and Tendons- Everything for Somebody- Singlespeed Music
  • Aram Shelton & Fast Citizens- I Am Here, You are There- Two Cities- Delmark
  • [Tim Daisy’s] Steel Bridge Trio- Montrose- Different Clocks- Relay records
  • *Jason Adasiewicz’s Sun Rooms- Leeza- From the Region- Delmark
  • [Tim Daisy’s] Steel Bridge Trio- Scraps- Different Clocks- Relay records
  • Steve Lacy Five- Clichés- Blinks- hatART
  • Szilárd Mezei Septet- Elveszett vízpart (Lost Water-coast)- 100 Tű Hossza (Length of 100 Needles)- Slam
  • *Aram Shelton & Fast Citizens- In Cycles- Two Cities- Delmark
  • Fred Lonberg-Holm- Lazy Day- Gather- Delmark
  • Ochs/Robinson Duo- Red Tail- THE throne- Not Two records
  • *Wadada Leo Smith [w/Henry Threadgill/John Lindberg/Jack DeJohnette]- Lake Huron- The Great Lakes Suite- TUM Records Oy
  • Julius Hemphill- Dogon A.D.- Dogon A.D.- Mbari/Arista/DA Music/International Phonograph
  • ROVA Saxophone Quartet- S- Planetary- SoLyd Records

OFOB for 5/5/15

  • Henry Franklin- Limehouse Blues- Two Views- SP records
  • *Henry Franklin- Frank’s Tune- Two Views- SP records
  • Art Ensemble of Chicago- Odwalla Theme- Coming Home Jamaica- Atlantic
  • Mike Reed’s People, Places & Things- V.S. #1- About Us- 482 music
  • *Atomic / School Days- Andersonville- Distil- Okka Disk
  • [Mark McGrain’s] Plunge- Exit Strategy- In for the Out- Immersion records
  • The Ullmann/Swell 4- News? No News!- News? No News!- jazzwerkstatt
  • Raphe Malik Quartet- Emblematic- Companions- eremite
  • *John Lindberg Ensemble w/Wadada Leo Smith, Larry Ochs, Andrew Cyrille- Ascendent- The Catbird Sings- Black Saint
  • Vinny Golia Sextet- Maboo’s Justice- Abstractions and Retrocausalities- Nine Winds
  • *The Bureau of Atomic Tourism- 19- Spinning Jenny- RAT records
  • Mike Reed’s Loose Assembly- The Speed of Change- The Speed of Change- 482 music
  • Kris Davis Infrasound- Union Forever- Save Your Breath- Clean Feed
  • [Ken Vandermark’s] Audio One- Encyclopedia of a Horse- An International Report- AudioGraphics records
  • [Gerald Cleaver’s] Black Host- Wrestling- Northern Spy Records
  • *Ken Vandermark’s TOPOLOGY Nonet featuring Joe McPhee- Impressions of Knox- Impressions of PO Music- Okka Disk