Elliott West

Moroccan Jajouka master Bachir Attar meets American experimental musician Elliot Shrap for a live jam of drum machines and traditional Moroccan instruments in 1990. Bachir Attar's Career spans five decades and represents the transcendental sounds of Jajouka, a small Moroccan village situated between Fes and Tangier, known for its unique mystical sound. Fans include William Burroughs and The Rolling Stones with which Bachir recorded with in 1989. A year later Attar collaborated with the prolific avant-garde jazz musician Elliot Sharp on this very Album. Both Sharp and Attar have dedicated their careers to exploring the meeting points between east and west and this album is a unique example of two brilliant minds creating a new, ultra trippy sonic experience.

Trumpeter Lucienne Renaudin Vary makes a musical transatlantic crossing with her second album for Warner Classics. Mademoiselle in New York majors on American and French composers and songwriters – Bernstein, Gershwin, Ravel and Aznavour among them – featuring music from West Side Story, An American in Paris and Candide. Lucienne is joined by the BBC Concert Orchestra and Tony Award-winning music director Bill Elliott, and, in Bobby Hebb’s song ‘Sunny’, by her brothers Philémon (on double bass) and Bartholomé (on guitar). As Lucienne says, “It’s a number that’s full of sun, light and hope.”

John Zorn, Wayne Horvitz, Elliott Sharp, Bobby Previte - Downtown Lullaby (1998) {Depth Of Field DOF2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 281 Mb | MP3 @320 -> 113 Mb
Full Artwork @ 300 dpi (jpg) -> 8 Mb | 5% repair rar
© 1998 Depth Of Field | DOF 2
Jazz / Avant-Garde Jazz / Modern Creative

By the time this was recorded, in 1998, the participants were virtual éminence grises of the downtown New York City scene, but this was the first occasion for the four of them to play together as a quartet (although all but Zorn had been members of Horvitz's band the President). The pieces derive their titles from the addresses of erstwhile performing spaces largely in the East Village and Soho, most of which had their heydays in the loft jazz explosion of the late '70s. All of the cuts are improvised by the group, and the perhaps surprising aspect is how much of the vibe is closer to late Miles Davis than to the free improv aesthetic practiced in the titles' points of reference.