:::Too Much Sugar for a Dime:::

Imagine writing for an instrumentation of two electric guitars, two tubas, French horn, drums and Henry Threadgill's alto. Threadgill was up to the challenge and his four avant-garde originals utilize the odd combination of tones to great advantage. Two additional songs feature Threadgill, just one tuba, drums, a

few exotic instruments and three strings to create some particularly unusual music. It's for the open-eared listener only.

:::Review by Scott Yanow:::

Henry Threadgill - Too Much Sugar for a Dime (1993)

1. Little Pocket Size Demons 10:48

2. In Touch 8:48

3. Paper Toilet 5:38

4. Better Wrapped, Better Unwrapped 13:04

5. Too Much Sugar 2:59

6. Try Some Ammonia 12:22

Credits

Composed By - Henry Threadgill

Drums - Gene Lake (tracks: 1 to 4, 6) , Larry Bright (tracks: 2, 4)

French Horn - Mark Taylor 

Guitar - Brandon Ross , Masujaa

Oud - Simon Shaheen (tracks: 2, 4)

Percussion [Fulia, Culo'e Puya] - Johnny Rudas (tracks: 2, 4) , Miguel Urvina (tracks: 2, 4, 5)

Producer - Bill Laswell , Henry Threadgill

Saxophone [Alto] - Henry Threadgill

Tuba - Dorian L. Parreott II (tracks: 2, 4, 6) , Edwin Rodriguez , Marcus Rojas

Violin - Jason Hwang (tracks: 2, 4) , Leroy Jenkins (tracks: 2, 4) , Simon Shaheen (tracks: 2, 4)

:::Stellar Regions:::

This is a major set, "new" music from John Coltrane that was recorded February 15, 1967, (five months before his death) but not released for the first time until 1995. One of several "lost" sessions that were stored by Alice Coltrane for decades, only one selection ("Offering" which was on Expression) among the eight numbers and three alternates was ever out before. The music, although well worth releasing, offers no real hints as to what Coltrane might have been playing had he lived into the 1970s. The performances by the quartet (with pianist Alice Coltrane, bassist Jimmy Garrison, and drummer Rashied Ali) are briefer (from two-and-a-half to five-plus minutes) than Coltrane's recordings of the previous year, but that might have been due to the fact that this music was played in the studio (as opposed to the marathon live blowouts with Pharoah Sanders) or to Coltrane's worsening health. Actually 'Trane (who sticks exclusively to tenor here) is as powerful as usual, showing no compromise in his intense flights, and indulging in sound explorations that are as free (but with purpose) as any he had ever done. Coltrane's true fans will want to go out of their way to acquire this intriguing CD.

:::Review by Scott Yanow:::

John Coltrane - Stellar Regions (1967)

1. Seraphic Light 8:54
2. Sun Star 6:05
3. Stellar Regions 3:31
4. Iris 3:50
5. Offering 8:20
6. Configuration 4:01
7. Jimmy's Mode 5:58
8. Tranesonic 4:14
9. Stellar Regions (Alternate Take) 4:37
10. Sun Star (Alternate Take) 8:05
11. Tranesonic (Alternate Take) 2:48

Credits
Bass - Jimmy Garrison
Drums - Rashied Ali
Piano - Alice Coltrane
Producer, Composed By, Saxophone [Tenor] - John Coltrane

:::The Unnamables:::

This is a hidden MAGMA record under a different name.This is MAGMA with a guest vocalist and a guest trumpet player.It was Laurent Thibault's idea to do this,he produced MAGMA's debut record and now had his own record label called "Theieme". He reasoned with both Vander and MAGMA's record label "Philips" ,that if the band did a record of easier to get into material on the first side of the album,and then did their Zeuhl on the other side of the album,it would attract new fans and make them better known.Besides Thibault really wanted MAGMA on his label, and in this way he had a piece of them sort of speak.The first band Thibault signed to his new label was ERGO SUM, who is on our site here.Thibault actually enlisted the vocalist from that band to sing one of the songs on this album. The first side of the album consisted of five songs that combined both the jazz and rock styles similar to BLOOD,SWEAT and TEARS and CHICAGO,lots of horns and very accessible. "You Speak And Speak Colegram" is a Lasry tune that is uptempo with plenty of free sax lines and guitar solos.The drums are of course prominant and the organ chips in as well. "Altcheringa" is a Cahen tune that did bring BLOOD SWEAT and TEARS to mind mainly because of the David Clayton Thomas-like vocals from Zabu.This is a very catchy song.Nice guitar solo before 2 minutes as the bass throbs."Clementine" is a Lasry composition.It consists of only acoustic guitar and flute throughout.This is such a beautiful song,a piece of heaven really.I can't believe this is MAGMA,but it is. "Something's Cast a Spell " is another Lasry tune,although the lyrics were taken from an ERGO SUM song from their debut album.The lead singer from that band sings on this one as well.Sax really dominates,although we get a great guitar solo from Engel after a pastoral section. "Ourania" is a Vander tune and the last song on side one.Flute and guitar start us off before some crazy sax and discordant guitar follow.I like the drum patterns from Vander on this one. Side two is Zeuhl, and both songs were composed by Vander. "Africa Anteria" features some good bass and the sax and piano form a great team.The sax gets a little dissonant and the bass is relentless as they seem to jam for about 5 minutes.We get those bizarre shouts from Vander, and before that a drum solo that is apparently (according to the liner notes) the only recorded drum solo that VANDER did. "Undia" features Blasquiz singing in Kobaian.The song starts off quietly and builds to a full sound.Great drumming on this one, and this pattern of starting softly and building in sound happens a second time. 3.5 stars.The first half of the album is interesting to say the least,considering this is MAGMA.I wouldn't be without this release for the historical significance alone,even if the music isn't all Zeuhl.A must for all you MAGMA fans.

:::Review by sinkadotentree :::

Univeria Zekt - The Unnamables (1971)

1. You Speak And Speak Colegram (2:09)
2. Altcheringa (3:28)
3. Clementine (3:01)
4. Something's Cast A Spell (4:25)
5. Ourania (4:26)
6. Africa Anteria (11:31)
7. Undia (4:47)

Credits
- Christian Vander / drums, percussion, voice (6)
- Klaus Blasquiz / vocals (4 & 7), percussion
- Francois Cahen / pianos
- Francis Moze / bass, organ
- Teddy Lasry / saxes, flute, organ
- Jeff Seffer / saxes
- Tito Puentes / trumpet
- Claude Engel / electric & acoustic guitar
- Zabu / vocals (2)
- Lionel Ledissez / vocals (4)

:::Eider Stellaire I:::

Zeuhl is often perceived as a genre closely aligned with rock in opposition, and the avant-garde scene in general. True enough, a hefty portion of Magma's catalog is very inaccessible and bizarre, and most Japanese zeuhl groups are noisy and outwardly flamboyant. However, there were a number of bands in the Zeuhl genre to weave symphonic, jazzy, melodic, and, simply: more accessible elements into this style. Univeria Zekt was the first attempt to draw more listeners to Zeuhl, which was indeed merely an alternate version of an early Magma, with more a straight-forward rock and pop sound combined with upbeat jazz. Zao were the first band, besides Univeria Zekt, to also make this brand of catchy-zeuhl, adopting a very heavy dose of jazz, comparable even to later Maneige. Then came Eskaton in 1979, with their stellar debut, 4 Visions. Now, in 1980, after Magma had already passed through their prime, Vander had turned his focus to his other project: Offering.
Offering is essentially Vander's expressing of jazz, as well as his environment to be a full-time front-man. Since he didn't often drum in Offering, but rather sang, drummer Michel LeBards was employed to take his place at the throne. Michel also wanted to compose music, and have his own group, and thus formed Eider Stellaire. It follows the melodic and symphonic Zeuhl direction of Eskaton, with vocal work similar to Weidorje's: wordless and non-prominent. It is still with its anchor in the fierce rhythm section, which is imperative to all Zeuhl, and comes with a liberal serving of jazz. Despite being more accessible than Magma and the Japa-Zeuhl, they're arguably no less complex, and certainly just as intense. The most exciting thing about Eider's debut album, I find, is not the mind blowing musicianship, nor the classy compositions, but rather the undying atmosphere spread evenly across this mere 35 minute masterpiece. Every listen, I am so entirely captivated, and feel distant from earth.
The bass is a real highlight on this album for me. It moves with a destructive power, and a texture as though something extremely heavy is being dragged. It feels and sounds like snow when crushed under boots. In fact, I find this album bestows frequently imagery. Sandy dunes and polar scenes alike. It smoothly and fluently evolves from dark choruses to jovial themes. At some moments, even, melancholic piano announces a beautiful melody. Other times, guitar and a beautiful female voice together chant a haunting string of notes. Even a few dispersed sax and flute solos appear. But throughout the album, these moments are kept scarce. The majority of the album is comprised of intense rhythms supporting a powerful and destructive guitar line, as spacey keyboards tie it all together. The songs are all somewhat similar, but not to the point the album is redundant. It rather makes the album coherent and gives it its distinct flow.
I can't stress enough how really fantastic this experience is. The singing is just impeccable, and the melodies are haunting and very pronounced. The only flaw hindering this absolute masterpiece is the sub-par sound quality. The cause of this problem is obvious. The only digital copies of this album were ripped straight off the vinyl, non-professionally (that means, somebody feeling generous performed the rip in their basement). You may think this immoral, or even illegal, but it isn't. The album is by now long out of print, and Eider wouldn't profit from your purchase of any copy you stumble across, anyway. It was never remastered, and there was never even a CD version officially released. Many requested have been made of Michel and producers to remaster and reissue Eider's small catalog, but Michel didn't agree to oversee a remaster. Regardless, the original tapes are rumoured to be lost or damaged, so there is no hope of there ever being a remaster anyway.
This all goes to feed the obscurity of this band. Now with the vast majority of vinyl era bands remastering and reissuing their albums, it is assumed any band who doesn't do so will be forever condemned to the oblivion of obscurity. I prithee go in search of a vinyl copy, or a digital copy, and reverse this process. It's a sad shame it's so unpopular on Prog Archives, let alone the rest of the musical world. Please don't let this masterpiece decay in memory.

:::Review by Shakespeare:::

Eider Stellaire - Eider Stellaire I (1981)

1.Onde (1. LP Seite) (8:35)
2. Arctis 6eme éphéméride (7:04)
3. Légende (2. LP Seite) (5:37)
4. Tétra (6:32)
5. Nihil (7:26)

Credits
- Patrick Singery / bass
- Jean Clude Delachat / guitar
- Pierre Gerard-Hirne / piano, organ
- Michel LeBards / drums
- Veronique Perrault / vocals
- Marie-Anne Boda / flute, vocals
- Michel Moindre / saxophone (4)

:::Expansions:::

Of pianist McCoy Tyner's seven Blue Note albums of the 1967-1970 period, Expansions is the most definitive. Tyner's group (comprised of trumpeter Woody Shaw, altoist Gary Bartz, tenor saxophonist Wayne Shorter, Ron Carter on cello, bassist Herbie Lewis, and drummer Freddie Waits) is particularly strong, the compositions (four Tyner originals plus Calvin Massey's "I Thought I'd Let You Know") are challenging, and the musicians seem quite inspired by each other's presence. The stimulating music falls between advanced hard bop and the avant-garde, pushing and pulling at the boundaries of modern mainstream jazz.

:::Review by Scott Yanow:::

McCoy Tyner – Expansions (1968)

1. Vision 12:15
2. Song of Happiness 11:55
3. Smitty's Place 5:20
4. Peresina 10:20
5. I Thought I'd Let You Know 6:25

Credits
Bass - Herbie Lewis
Cello - Ron Carter
Drums - Freddie Waits
Piano - McCoy Tyner
Producer - Duke Pearson
Recorded By - Rudy Van Gelder
Saxophone [Alto], Flute [Wooden] - Gary Bartz
Saxophone [Tenor], Clarinet - Wayne Shorter
Trumpet - Woody Shaw

:::Passing Ships:::

Now this is more like it. In its Connoisseur Series, Blue Note is making available a completely unreleased Andrew Hill date from 1969. Passing Ships wasn't even included in the Mosaic box because the master tape wasn't found until 2001. The band Hill employed on this session was a nonet, featuring Woody Shaw and Dizzy Reece on trumpets, Joe Farrell on reeds, woodwinds, and English horn, Howard Johnson on tuba and bass clarinet, Ron Carter on bass, Lenny White (on only his second recording date) playing drums, trombonist Julian Priester, and French horn player Bob Northern. The music here is ambitious. Hill's scoring for one reed, two trumpets, and low brass is remarkable for the time. In fact, it isn't until his big-band album of 2002 that he ever ventured into these waters again. The title cut, with its bass clarinet and English horn counterpoint, is almost classical in structure but nearly Malian in melody. While the cut's dynamics are restrained, its color palette -- especially with the lilting muted trumpets playing a mysterious harmonic line -- is flush and royal.
"Plantation Bag" is a showcase for Farrell's tough, grooved-out soloing as he blows blue and free in response to Hill's funky, large-spread chord voicings. The trumpets layer one another in the middle of the tune, alternately soloing and punching comp lines through the middle. The Asian melodic figures at the heart of "Noon Tide" add exoticism to one of the most adventurous tunes ever written by Hill. Rhythmically it turns on pulse rhythms that shift and slide methodically as Priester takes the tune's first solo, playing against Hill's left-hand stridency. Of the remaining three selections, "Cascade," with its staggered harmonic architecture that goes against all common wisdom for big-band harmony, is remarkable for its precision and rhythmic invention. Why this isn't going to be out there for the general public for all time is beyond reason. Why punish the artist that way? Conventional wisdom would suggest that something that has been unearthed for the first time in 34 years deserves to be a part of the general catalog. Get it quick.

:::Review by Thom Jurek:::

Andrew Hill - Passing Ships (1969)

1. Sideways 4:09
2. Passing Ships 7:08
3. Plantation Bag 8:32
4. Noon Tide 9:49
5. The Brown Queen 6:22
6. Cascade 6:27
7. Yesterday's Tomorrow 5:11

Credits
Bass - Ron Carter
Clarinet [Bass Clarinet] - Howard Johnson , Joe Farrell
Drums - Lenny White
English Horn - Joe Farrell
Flute [Alto] - Joe Farrell
French Horn - Bob Northern

Piano - Andrew Hill
Producer - Francis Wolff
Saxophone [Soprano Sax] - Joe Farrell
Saxophone [Tenor Sax] - Joe Farrell
Trombone - Julian Priester
Trumpet - Dizzy Reece , Woody Shaw
Tuba - Howard Johnson

:::Soft Heap:::

After leaving Soft Machine after their fifth album (in 72), Elton dean returned to the jazz scene for a few years and created his own groups and projects like Just Us, Elton Dean Quartet and big band Ninesense. Around Jan 78, Soft Heap was created by him with ex- Hatfield and Gligamesh members Pip Pyle and Alan Gowan, and Elton thought of inviting his old buddy and ex-Machinist Hugh Hopper. Thus the name of the band being a bit of revenge, using the Soft part of the Machine, the Heap being their respective forename's first letter. (Thus Soft Head was the same, when Pyle was unavailable and they called upon Dave Shean). Sadly Esoteric Record did not find any extra tracks lying around for this album's only second reissue, but deliver some neat liner notes.
Starting slowly , as if from a Tery riley album, the gorgeous Circle Line is the only Hopper- penned track, but certainly the most poignant on this album, in no small part due to Elton's impression of Coltrane. The collective jamming AWOL is a much more furious affair, breathing Elton's intentions with Phil Howard's short tenure of the drum stool in Soft Machine. Demented and sometimes spacey, but never really totally dissonant either. Gowen's Petit 3's is a much quieter affair with the dominating electric piano, but the slow groove is evolving a bit in an early Nucleus lava stream, pouring down a volcano's cone. Cool yet torrid, but not reaching the apex you'd wish it had.
The flipside starts on the Terra Nova were the Softs would be meeting Coltrane on the way to Ascenscion, but not reaching the summit either, even though this is the album's best track. The other Dean composition Fara is a slow jazz, close to standard granddaddy jazz and it sticks out a bit from the rest of the album. Not even old Tippettt mate Mark Charig can bring much excitement to this crooning jazz track that's only missing Louis or Ella's vocals. The closing short Hand is a free-form jazz piece written by Gowan, and sticks out just as muchas its predecessor, but in the opposite direction. True enough, Soft Heap has the inevitable Soft machine traits, but you won't catch this writer to say that they were trying to revive a spirit, even though by now, the SM mothership had folded after much more line-up changes.
A very worthy one shot album from a group that would go on to record under this name but with different personnel, their debut remaining their best. Both owan and Pyle woud go on in National Health (this album was a bit delayed to that group's schedule), but today as I write this review, Soft Heap is the first prog group (let's put aside Jimi Hendrix Experience), with Hugh Hopper's death, this group is the first to extinct by all of its members, something I'd have rather not seen or known.

:::Review by Sean Trane :::

Soft Heap - Soft Heap (1979)

1. Circle Line (6:54)
2. A.W.O.L. (9:35)
3. Petit 3's (6:17)
4. Terra Nova (10:03)
5. Fara (6:42)
6. Short Hand (3:11)

Credits
- Hugh Hopper / bass
- Elton Dean / saxes
- Alan Gowen / keyboards
- Pip Pyle / drums and percussion
- Mark Charig / cornet and trumpet
- Radu Malfatti / trombone