Ignatz - III [2008]

With his third full album ‘III’, Bram Devens alias Ignatz, has once again surpassed himself.

In his usual brain-melting futuristic blues folk psych, he’s calling the ghosts of Bukka White, Sleepy John Estes and Robert Pete Williams, as seen by a adolescent Lou Reed.

‘III’ suggests a fictional, unclear and vague story about the deaths of musical genres. It’s breath cold, raw made of carbon and gas. The smell of a wet dog or a badly dried towel. The musical assiociations are reduced to a minimum, unless they contribute to the fictional line, where the tragic is enclosed in the crackling, atonal and repetitive melodies.

This album breathes a more sentimental atmosphere than it’s predecessors by Ignatz’ wailing voice, not unlike Skip James. A tormented soul that after the last song is over; liberates the listener from a personal journey and leaves him dazzled. ‘III’ projects the times of the Alaskan Klondike gold rush and the Iditarod Trail Sled Dog to the modern times, dominatd by technology. So, this album bears testimony to a sincere melancholy that popmusic these days hasn’t know in a while.

Ignatz forces us to look at the pure essence of his music: to translate raw emotion into sound and to reach an essential beauty.

text by K. Berckmans


III [2008]


Albert Ayler


1964 albert ayler and don cherry vibrations a.k.a ghosts
1964 spiritual unity
1964 witches and devils a.k.a spirits
1966 albert ayler and don cherry new york eye and ear control
1970 music is the healing force of the universe

Donald Byrd


Rate your music - D. Byrd
Byrd In Hand (1959)
Jazz in Paris: Byrd in Paris [LIVE]( 1958)
Fuego (1959)
Byrd In Flight (1960)
At The Half Note Cafe (1960)
Royal Flush (1961)
Free Form (1961)
A New Perspective (1963)
Up With Donald Byrd (1964)
I'm Trying To Get Home (1965)
Mustang! (1966)
Blackjack (1967)
Slow Drag (1967)
Fancy Free (1969)
Kofi (1969)
Electric Byrd (1970)
Ethiopian Knights (1971)
Street Lady (1973)
Places and Spaces (1975)
Caricatures (1976)
Thank You For Funking Up My Life (1978)

Roscoe Mitchell

(1966) Roscoe Mitchell Sextet - Sound / 256k
pt1: http://sharebee.com/bb393193
pt2: http://sharebee.com/d6f0abf1

extra (reupload):
(1972) The Art Ensemble of Chicago - Bap-Tizum / 192k

Ornette Coleman


ornette coleman.com

1959 shape of jazz to come
1961 free jazz
1985 song x (w. pat metheny)
2003 live at new orleans jazz fest pt1 pt2
1962 ornette on tenor
2008 live at pdx jazz fest pt1 pt2
1970 love call pt1 pt2
1968 new york is now pt1 pt2
1988 virgin beauty
1972 skies of america
1965 at the golden circle vol.1
1994 sound museum: hidden man

David Grubbs

(2008) An Optimist Notes the Dusk / V0

...Gone are the country-rock meanderings and wide-eyed charm of 2004’s A Guess At Riddle – Grubbs’ most song-oriented effort to date. On Optimist, Grubbs trades the verse-chorus structures and jaunty vibes for slithering guitar compositions and a pervasive air of eeriness. The approach isn’t without precedent in Grubbs’ vast body of work (especially among his more experimental output on his own Blue Chopsticks imprint), but stands in stark contrast when compared to his other lyric-based records. Most distinctly, Optimist conveys a somber maturity and doleful outlook where youthful exuberance once stood.


Optimist reads much like a concept record, maintaining its mood lyrically and musically as it progresses. Grubbs establishes connections from track to track, harping solemnly on age and death through metaphorical allusions to night and knives. It all culminates in “The Not-So-Distant” – a 12-minute piece of monstrous bass growls that bring to mind Oren Ambarchi’s recent guitar compositions. The track even touches on the chilling drones from Grubbs’ 2007 collaboration with poet Susan Howe, growing to a brooding climax before acquiescing into the black.

Though it may lack the immediate appeal of Grubbs’ more hook-oriented solo records, Optimist leaves a lingering impact through the weight of its content. At the very least, it stands as one of his most compellingly poetic works – a sober challenge for the daydreamers of today.


Eric Dolphy


1960 Eric Dolphy Quintet Outward Bound
1960/61 Candid Dolphy pt1 pt2
1960 Ken McIntyre with Eric Dolphy Looking Ahead
1960 Eric Dolphy With Booker Little Far Cry pt1 pt2
1961 Oliver Nelson with Eric Dolphy Straight Ahead
1961 Stockholm Sessions
1962 Eric Dolphy Quintet feat. Herbie Hancock
1963 Iron Man
1964 Charles Mingus Quintet with Eric Dolphy Stuttgart pt1 pt2 pt3
1964 Last Date
1968 Out to Lunch

Ananda Shankar


1978 a musical discovery of india

2005 a life in music pt1 pt2

1975 ananda shankar and his music

1970 ananda shankar

1981 sa-re-ga machan

Fela Kuti



1969 69' l.a. sessions
1971 live!
1972 shakara
1972 roforofo fight
1973 afrodisiac
1973 gentleman
1974 alagbon close
1975 everything scatter - noise for vendor mouth
1975 noise for vendor mouth
1975 confusion
1975 he miss road
1975 expensive shit
1976 no bread
1976 kalakuta show
1976 upside down
1976 ikoyi blindness
1976 monkey banana
1976 excuse o
1976 zombie
1976 yellow fever
1977 opposite people
1977 fear not for man
1977 stalemate
1977 jjd
1977 i go shout plenty
1977 no agreement
1977 sorrow tears and blood
1978 shuffering ans shmilling
1979 unknown soldier
1979 ITT
1980 music of many colours
1980 authority stealing
1981 black president
1981 original suffer head
1981 coffin for head state
1983 perambulator
1983 live in amsterdam
1985 army arrangement
1986 teacher don´teach me nonsense
1989,1 beasts of no nation
1989,2 odoo
1990 confusion-break-bone
1992 underground system
1999 jazz side of
1999 king of afrobeat
2000 shoki shoki
2004 the underground spitirual game


To say that the words "unique" and "singular" are over-used in describing music is to state the obvious. To apply these words to the sounds created by the various duo/trio configurations of the Texas group Charalambides over the last decade plus would be understatement. To be sure there are numerous antecedents to their music; to deny this of any artist's work would be akin to saying that they are deaf. But they have surely broken new ground in the primitive/folk/mystic/improv/psych valley in which they toil. As Marcus Boon wrote in The Wire; "...here is a truly 21st century experimental ethnic music that explores quietness and stasis... in the same way that musicians in the second half of the 20th century discovered amplification, noise and speed."

Originally a duo comprised of Tom Carter (who had been playing guitar in the Houston grunt-psych band The Mike Gunn) and Christina Carter, Charalambides released a cassette called Our Bed Is Green on their own Wholly Other label in 1992 (later reissued on CD and double LP). The two Carters showed a firm grasp on the haunting nature of American blues and country, as well as a mastery of tape manipulation, a disregard for genre boundaries, and a marked tendency towards vertically stacked guitar drone. A full length album called Union was released by the Siltbreeze label, and many other releases followed, both as a duo and trio (first with Jason Bill, and later with pedal steel player Heather Leigh Murray). Although better known as a trio through their various tours with both Heather and Jason, Tom and Christina have returned to concentrating on their duo work in more recent years, fusing introspective, open-ended, and often spacious song structures with blasts of feedback and explosive sound often startling to fans familiar only with the band's deceptively low-key reputation.

In 2005, Tom and Christina met in California to record the tracks for their new kranky CD, A Vintage Burden. Besides commemorating the return to the duo format, the album represents a culmination of the threads of repetition and psychedelic song that run through much of the duo's work Although partially an homage to the clarity and ambience of 60s and 70s production and songwriting, the album retains the spook, space and mystery of even their most extreme releases: "Tom and Christina Carter here again showcase their seemingly innate ability to lock into a shared orbit across the darkening sky, their luminous drift scaled down to its essential, irreducible core." (quote from Pitchfork).

Tom and Christina are planning several tours of varying durations through the rest of 2006 and the beginning of 2007 (and beyond). Despite being a duo, their live sound achieves an energy and ferocity not often glimpsed on their releases, while maintaining the hissing delicacy of their most haunting studio work.

Christina Carter: electric guitar, acoustic guitar, voice
Tom Carter: electric guitar, lap steel guitar, acoustic guitar


Album Discography:

01 - Our Bed is Green [1992] (part1/part2)
02 - Union [1993]
03 - Market Square [1995] (part1/part2)
04 - Historic 6th Ward [1996] (part1/part2)
05 - Charalambides [1997] (part1/part2)
06 - Houston [1998]
07 - Internal Eternal [1999]
08 - Branches [2001]
09 - CHT [2002]
10 - In Cr Ea Se [2002] (part1/part2)
11 - Live Hand Held [2002]
12 - Unknown Spin [2003]
13 - Joy Shapes [2006] (part1/part2)
14 - Strangle the Wretched Heavens [2006]
15 - Dead/Live [2006]
16 - A Vintage Burden [2006]
17 - Emerald Message [2006]
18 - Electricity Ghost [2007]
19 - Likeness [2007]
20 - Rose Thron [2008]