Jessica Jones Quartet | Word | NA 1045

Her Jessica Jones Quartet has been featured in the What Is Jazz? Festival at New York’s Knitting Factory and also at the Eddie Moore Jazz Festival at Yoshi’s in Oakland, in addition to performing at many Bay Area and East coast clubs, colleges and radio stations. Jessica also performs in a duet setting with her husband Tony. Word is her fourth recording as a leader and follows 2005’s Nod (New Artists Records), 2002’s Shakeup (independent release) and 1997’s Family (Nine Winds). She also performed as part of Joseph Jarman’s Lifetime Visions Orchestra on 2006’s Lifetime Visions for the Magnificent Humans. Continue reading

Raymond Dijkstra

All my work is highly autobiographical, highly subjective and highly emotional. In this sense my work is the complete opposite of that from most musicmakers out of the experimental corner who’s work is mostly without any emotion. The reason for me making music is to strenghten my connection with life. For me my music is not experimental, simply because it was Never made to experiment. There is a bit of a problem with most experimental musicians, who are mostly only touching the surface of a subject after which they go beyond to find another experiment. I feel more connected to painters and sculptors who delve deep into the subject and explore it thoroughly, going into every possible direction, to really connect with their world. Even more interesting I find it when one connects with ones own genuine personal world. Just to come home to his self, instead of going out for a journey, what experimenting often is. — Raymond Dijkstra Continue reading

francEyE | Call | Rose of Sharon Press

francEyE the bearded witch of Ocean Park, was born Frances Elizabeth Dean in San Rafael, California, on St. Joseph’s Day, 1922. Without consulting her, her parents whisked her off to the East Coast where she grew up, beginning to publish in the 1930s in school newspapers and Scholastic. She studied verse writing with Grace Hazard Conkling at Smith College in 1941, had a villanelle published by William Rose Benét in his column The Conning Tower in the Saturday Review of Literature in 1942, but then wrote little and published nothing until about 1963, when she finally returned to California. She has been writing, attending poetry workshops, and publishing here and there ever since.

Her work has been included in The Outlaw Bible of American Poetry, in L.A. Woman (published in Germany), in two British periodicals, in The Chiron Review, among many others and will be included in the forthcoming anthology of California poets to be published by Tebot Bach next month. Her book of poems, Snaggletooth in Ocean Park, was published in 1996 by The Sacred Beverage Press. Pearl #25 contains a 21-poem sequence called “Why Steal Fire?” Blue Satellite Final Issue contains a 27-poem sequence called The Asteroid Poems

Known as the bearded witch of Ocean Park and the female Charles Bukowski (with whom she had a child), francEyE has been a fixture in the Southern California poetry scene for more than four decades. She writes prolifically in a style compared to Ron Koertge and William Carlos Williams, and frequents poetry readings in both Los Angeles County and the San Francisco Bay Area. Continue reading

Dick Twardzik | 1954 Improvisations | NA1006

Richard Twardzik’s“1954 Improvisations,” with its home recording on a dim acetate as well as an untuned piano for the first six of twelve numbers, is still a rare and significant find indeed. Digitally remastered, it makes the best of serious drawbacks. Twardzik, who lived only from 1931 to 1955, made very few recordings. A promising star, extinguished too soon by a self-inflicted drug overdose, he left us with a scant 23 sides with Charlie Mariano (1961/1953), Serge Chaloff (1954), and Chet Baker (1955). In addition to one (1951) number with Bird, and an impossible to get 1954 trio album under his own name; hence, these additional 12 performances, in any form, are treasures. — Coda Magazine Continue reading

Ace Yamashita | Dhamma | NA1036

On the back glossy sleeve in almost indiscernable print is the statement, “It doesn’t mean that it wouldn’t exist because the humans couldn’t see it. It doesn’t mean that it wouldn’t exist because the humans couldn’t hear it.”That type of enlightened thinking seems to relate to how Yamashita approaches music, and probably life. There are subtleties in his playing that must be brought out by the listener, yet they are present just the same. There are also some very overt statments that require no translation. Yamashita appears to be tying the ancient with the modern with his meditative playing, relating his Japanese ancestry to the current times. Ignoring the deeper philosophical meaning and concentrating strictly on the music, this is a very fine solo guitar album with seductive sonic qualities. It has trance-inducing effects, but mostly it is a solid example of the improvisatory process by a very serious musician — Frank Rubolino
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Harry Schulz | Havin’ A Ball | NA1032


“This
is a beautiful example of the difference between influence and imitation: Bird never did this thing that he inspired Harry to do. Harry got a feeling from Bird and it took him to something completely original. It’s also the kind of line of influence that particularly moves and delight me: a singer, inspired by a saxophone player, comes up with a new conception with shattering implications for singers and instrumentalists alike.” — Andy Fite, Village Life 1992 Continue reading

Linda Satin | The Way I Am | NA1028

It is possible for music to be both beautiful and challenging as evidenced on THE WAY I AM by the vocalizing of Satin, who performs in a series of duets with pianist Crothers or guitarist Fite. The beauty comes from the delightful voice of Satin, who sings eight standards that are dripping with love. She conveys warmth and passion through her singing… (Satin) skirts through these love songs displaying all the romance and eloquence the tunes hold. The challenge comes from the instrumental side of the equation. Crothers… excels with probing solos… Her dense patterns underlining Satin’s voice and her own explorations add considerable substance to the duets. Fite… contributes a challenging ring to his… duets with Satin. His playing adds lyricism to the songs… Love is in the air with Satin at the mike…. The three form two delightful teams. – Frank Rubolino, Cadence February 2000. Continue reading

Lonnie Leibowitz | Terra’s Ascension | NA1040

A student of Connie Crothers, his style also has traces of the linear, knotted approach of Lennie Tristano. All told, it’s an interesting, stylistic synthesis of measure and exuburance, form and freedom, light and shade. What unites the various approaches-from the relative barrage of “Terra’s Ascension” to the fragile lyricism of “Pleiadian Soundscape” -is Leibowitz’s intensity and focus…this is a pretty rich program of music.”– Jason Bivins, Cadence Magazine Continue reading