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&etc 2003_l visual & concpetual &



Ampersand Etcetera =AD 2003_I
taming power & mambo-x p350 & fickle & omnid & formatt/alapranen &
krzyosiak/simbelis & hinterlandt/karri o & sonic catering band & licht &
moe! staiano & principle of silence

Ambient & microwave & electronica & experimental lowercase & postclassical =
&
minimal & techno & etcetera

The themes =AD visual & conceptual covers most of the reviewed items.
Obviously all art has a 'concept' but here we see musicians with a specific
aim: Licht's creations, Sonic Catering, Staiano's improv group, Taming
Power's focus and more. Vision on Abflug disks (a concept there too) and
Principle's of Silence. And some which I could try and encompass, but who
are here because they are here!

Well, I nearly bought an Archos, but balanced the cost and issues of buying
from overseas (to get a decent price) and didn't. But did find a sort of
reasonably priced equivalent available here =AD the Mambo-X 350d. It has the
same features =AD hard drive (I went over the top and got 30gigs), USB, direc=
t
recording to MP3, and while it is not re-formatable on the Mac (which I hop=
e
not to have to do, but can get near a wintel machine if I have to) it is
compatible. See the first reviews for initial thoughts. And I would
appreciate any advice on good programs to edit MP3s (cut quiet spots, chop
up album sides into songs) for the Mac =AD possibly without decompressing.

To come =AD two more from Absurd, three from Zeromoon, J.Frede returns, the
latest No Type and more.

Jeremy

ampersand@xxxxxxxxxxxxxxx
&
http://ampersandetc.virtualave.net/ampersand.html

&&&&&&&&&&

Taming Power
Various Casettes
Early Morning Records

Mambo-X P350
http://www.efx.com.au

Taming Power (Askild Haugland) has been peppering us with his wonderful
vinyl releases for guitar, tape and more across this edition. To demonstrat=
e
to me that he is more than plastic-mad, he sent me four of his 39 cassette
releases (some have also been transferred to vinyl). These have come out in
small editions, of 12 to 20, with beautiful covers that include sets of
inserts (a series of owl feather photocopies, for example). The series ende=
d
because the lack of interest in cassettes for work involved.

Askild described these to me as including 'compilations of leftovers and
outtakes =8Asome contain material not considered worthy of large scale
editions', however I think he is being to modest =AD the works complement the
vinyl series perfectly. In the group I have there is a very minimal tape
work which demonstrates a more restrained and gentle exploration of the
theme; some piano works where the looping notes aren't obviously piano but
have a distinct difference to the guitar; some more guitar improvs and a
couple of long guitar/tape works where a pair of the inserts are maps of th=
e
pieces. If you enjoy his vinyl works, it would be well worth contacting him
to see which tapes are left =AD as both audio and visual delights.

As I don't have many cassette players I used these tapes as a first go with
my Mambo-X Jukebox/Recorder. When I got it, like many people with these I
was surprised by how small and light it is =AD easily to lose, so will beware=
..
Backlit blue screen is easy to read, and has quite sufficient detail to it.
Also easy to use =AD though the manual could do to be a bit more in depth.
Came with a sample MP3 (Windham Hill-ish) and as my 10gig MP3 collection is
at work (to be downloaded onto this over some time) tried the record
function.

And it couldn't be (much) easier =AD plug in the line from the amp, press the
record button, pause while the cassette gets going, unpause and leave it be=
..
A couple of tests to get the audio level right (level indicators are on my
wish list =AD it has them for playback) and then away we go. The tracks are
put into a file, numbered (so need to keep records for renaming when hooked
up at work), but the sound quality is excellent as far as I can tell. Next
stop =AD vinyl, all those old favourites =AD and I have started and it works
terifically!

&&&&&&&&&&&

Fickle
I Can See Through You, Your Drugs Don't Work
Conexistant  CoNEX03
http://www.consume.freeserve.co.uk

Consume returns after an extended silence (&etc wise =AD 2002_17) with a
limited edition of 50 from the Conexistant sublabel (the 'limb dealing in
the ultralimited'). This lovely package includes a copy of NME reconstructe=
d
to be a giant E, a numbered collage-printed 'sleeve', the track list printe=
d
on fine paper and a signed prosepoem statement. The 'eerie improvisations
created through CD player/radio/sharp stick abuse' are not only titled, but
also classified (ambient, techno, chillout etc) as 'Your make believe makes
me believe I need your pigeonholes' =AD I will avoid the classifications and
just talk about what I hear.

Undermining the developed expectations 'Mothmyths' is a darkly ambient
whirling swirl (or swirling whirl) of choppers chitters percussive loops an=
d
string drones that reaches a buzzy climax. The expected collage comes in
'Locking horns' with a bible reading, chopped/ing music that gains a rhythm=
,
still jumps and varied, then into mechanical loops, bubbling bleeps and a
soft 'boo boo' loop that schwashes into a driving minimalism with irregular
beats and sweeping crackles, builds, fades, returns then ends with more
radio. Samples of a film set in a school open  'Decon/recon' overtaken by
claps, pulsing and mumble synth, radio sqrls and interspersed rap, the thud
beat and some of the singing, reflected further in a slow distorted 'is ya
is ya' sample and a high bleeping that sounds like distorted phonemes.

Reflecting it=B9s extended title, 'A week walking with the whale thief' is a
messy burring drone, crowd, film loops, long tones, settling beats, extende=
d
song samples and birdsong (R2D2?) that never quite coheres, though the
terminal reference to Mazar I Shariff could reflect some of the concept.
Things get back together with 'Drive-by shouting' which is fast and
exciting, beats and scifi squiggles, chopped and filtered music and singing
that gradually winds down through beats to minimal pulses, tentative but
collected. More minimal is 'Cold player' with industrial pulsing scrapes
with distorted muzak through. 'E's aren't so good' as tones and rapid pulse=
s
are joined by a slow thud (that speeds a bit) with jittering and radio
sweeps that stop for some extended spoken parts, there is some music
including trumpet, beat varying and adding cymbal ending in phone tones and
crackles.

A short collage of spoken word seems untitled, then 'I'll slap yer' is a
weird and dangerous piece, demonic laughs as jittery music and stuck
burring, scrapes and stutters, radio jumping. Finally 'Go back t'sleep'
continues the anger with a sample that sounds like a therapists tape as a
person talks about someone being a 'pig, drunken bastard' and more =AD this
will recur =AD and seems heartfelt. We then get an edgy ambience with radio,
music, voices that develops a slow beat, stabilising with bits of music and
scratching as a dense sine tone recurring overwhelms it, a guitar strum
loops, gets choppy, ends to hiss =AD a noise which opens the first track and
creates a circularity.

Within the context of the whole album, the lesser coherence of the week
walking is part of the overall development, and becomes less distracting
with each relisten. It is good to see Consume back, and I hope that they ca=
n
continue their resurgence as their releases are consistently interesting,
enjoyable and confronting.

&&&&&&&&&&&

Omnid
Live @Akosm
SPRC  SPRC003
Omnid@xxxxxxxxxxxxx

Following 'Thermo' in 2003_I we have a live album from Omnid, recorded in
July at a skate shop on guitar, electronics and laptop.

The two pieces are restrained and delicate explorations =AD in the first
twangs and plings are surrounded by electronica =AD fast twinkles, scrabbles
and smurrs. The guitar is generally foreshortened notes but adds through th=
e
interplay with the glitch. Plops and chitters, it becomes faster but still
small and delicate placement of sounds; even becoming somewhat strident =AD
twangy scraping loops, quite diverting. Buzzing, soft drone, skitter guitar=
,
buzz fade.

The second sitting starts with an ear-to-ear crackle, noisy squiggles and
looping flutters, buzzing. Some twangy percussive strings, scrabbly, more
actively glitchy. Hissing bursts, clatter, swoops. Percussive and scraping
guitar is also more actively pursued, fluttering hiss rapid, percussive, to
quite a storm, relatively, then a fade.

Only 30 minutes but an intense and yet restrained playing playfulness that
is a pleasure to hear.

&&&&&&&&

Formatt/Samuli Alapranen: Connections/Apinavideo
Verhaverbeke Krzyosiak/Vygandas Simbelis: Ikkuna/In Army Of Lovers
Hinterlandt/Karri O: Sitting, Going Places/Departures and Arrivals
Abflug  abcd01, 02, 03
http://www.abflug.com

New label Abflug has an interesting take on the split-disk genre. The split
is between an audio and a visual artist. On each release there is an aural
component and a video, playable through the cd-rom, which has an original
soundtrack to it.=20

&

Two of the disks feature artists previously reviewed. Formatt was last here
in 2003_d, and again gives us an enjoyable glitch-techno. 'Circular lounge'
crackle drips into deep pulse tones and shimmers with drifts over, some
almost voice, and long echoed percussives, settling into a groove. More
crackle scrabble on 'Rerender' with bloopy noises and long tones, no beat
but there is a rhythm and a semi-ambient drift with twangy metal highlights=
..
Percussive sounds open 'Local frames' =AD chimey echoes, a match strike,
rain-stick patter and a deep resonance. Crackles zings sonars and the like
accrete to a peaceful techno slide, with some bigger shivery tones in the
conclusion.

'Retain' is seemingly on the edge of becoming as active crackles, big thud
beats, echoes and a high sine play around and almost cohere, and then big
percussive loops, clicky and hollow, floor 'Urban pleasure concept', adding
warm echoed tones, static humming and final ringing tones. The Remote Mix o=
f
'Glazed' has a pulsing tone, chattering percussive with a vibratone keyboar=
d
melody over rumbly clicks and tones.

As with Formatt's previous releases, this is not long, but carefully blends
glitch and warmer techno to a satisfying brew.

Alapuranen's video combines an interesting bloopy synth with drone underlay=
,
adding some backward tones later, with black and white pictures of a tree
(possibly with a monkey in) but also others which are more obviously monkey
pictures (some seem like stills from films, looped back and forth). These
are shaky, jiggling around, moving in and out of focus, and quite
disorienting. An odd movie.

&

Pulsing white noise develops to a deep pulse with shimmers and long wash
tones in 'Ovi' that opens Krzyzosiak's disk. This is replaced with clicks
and key notes loops, and  ringing, developing a lovely rolling almost-world
rhythm with higher (horn) tones cycling in, then fading. 'Matto' =AD guitary
tones and distant dirty looping, shifting; little breaks and clicks, rhythm
in the last quarter, quite a grungy piece. Backward tones, chopped and
shifting ear-to-ear, a rumble then a melody over. There is a threatening
mood as a slow beat with clicks and highlight creates a static soundplace i=
n
'Seina'.

Soft tones build and vary as 'Katto' opens, rumbling, There is a scrapey
voice over and held strings, building layers with an intense wavery tone
that changes pitch. This is full on and yet minimal. Then drops to a
rumbling and scrape with a driving pulse, then a soft squiggle and fade.
Finally 'Ikkuna' where picked notes echo chords, reverbs (reminding me
somehow of Art of Noise), a click loop and dolphin calls, a rhythm guitar
loops extending the opening sounds, a chopper building, slows and is gone.

This is Krzyzosiak's first release, and is apparently guitar based (but lik=
e
many guitar albums, not so obvious). It slips refreshingly between rhythms
and ambience and its 28 minutes passes all too quickly.

Then Simbelis gives us another jumpy video with 'In army of lovers' where
the soundtrack is a rhythm loop (sounds like a camera motor), hiss, creaks
in an auditory empty space. A sample of groovy music kicks in, then echoes
and sirens. The images are of toys =AD dolls, fluffies, mickey mouse, sesame
street characters =AD close up faces, zoomed in and through focus to blurs.
Midway through some video chopping and cutting starts to happen, with some
rapid cutting at the end, before a long shot of a doll that cuts off. Again=
,
a difficult video to watch but quite fascinating.

&

Hinterlandt (last here 2003_b) has compiled the longest release, and each
track suggests a journey, though not necessarily related to the title city!
Some buzz crackles and we aloft to 'Taiwan' as loose cable judder segues to
a slow vibratone melody with a few clicks, and higher more dominant notes
emerge, an almost random tune, with some deep visceral subsonic pulses. Lon=
g
tonal strings provide an ambient flight until a bubbly little melody builds
over, hiding most other elements though there is still a drone base, drops
to a slower pace but with fast clicks and calling tones before returning to
an ambientish mood. A beep loop becomes melody with deep wavers, clatters
and builds before ending with a Tony Soprano loop with bloops.

'What's going on in the world today' continues into 'Oslo' along with a dee=
p
drone, pulse and crackle-shake. A slow deep tone play and chittering
phasers, some looped phenomes, rhythm and melody loops =AD very layered, many
rhythms but differentiated, slowing and paring to some lovely ambient
techno. Then bips create a tune and rhythms drop in before some lyrics,
ending with echoes and the lyrics line slowed and reversed, messed around.

Then on to 'Santiago' with light looping ringling, crackles and twingles in
a slow drift with a light beat. Gradually building keys and twangs, then
some guitar drones and voices, slowing and speeding, as some trumpet drifts
across the airs. A collage feel to the beginning of 'Cologne' =AD concrete
from tapped glasses, scrapes, doors, hisses, organ, mumbling =AD a dreamy
pre-flight state. A choppy uncertain rhythm is incorporated and a
motivational speaker, looped to 'chase the blues away' which is played
around with over some piano and rhythms. Becoming a gentle bleepy ambience,
crackling and melody and then a final section of water dripping, a radio
perhaps, which suggests our traveller is home, in the bath, and a final
rubber-duck squeak is a farewell. Overall a very accomplished album.

Karri O's video takes film from an airport =AD baggage handlers, a plane at
night, a Virgin takeoff and overlaps them messes around with some images
(the takeoff has a few versions) and includes brief views of clouds, over a
slow tonal ambience =AD perhaps the 'easiest' of the videos.

&

Beyond the enticing concept Abflug has produced three very nice albums, all
techno-ish but eschewing dependence on beats and nodding agreeably towards
ambience. I hope (and expect) the label to take off.

&&&&&&&&&&&&

Sonic Catering Band
Live From The Canteens Of Atlantis
Absurd  #30
http://www.anet.gr/absurd

Sometimes a bunch of stuff will come at once, and a disk will jump out and
ask to be played first =AD there are two other Absurd releases which I will
hold for the next edition, in addition to a couple of other things that
arrived around the same time. Absurd are keeping up a fine rate of
production =AD the last three were reviewed in 2003_h.

This one stood out as a double, in a different sleeve construction to eithe=
r
of the Absurd streams, and the disks are screen printed (with images of
hotplates). But more important was the title and content. For many people
cooking is an art form of itself, and gets taken further in the performance=
s
and filming of television cooking programs. A question that few people have
asked is 'why not make it into an audio visual art form?' The Sonic Caterin=
g
Band worked in restaurants and galleries, preparing food (stir fries,
popcorn and milkshakes were on the menu) and working with electronics (wah
wahs, loops etc) to create a soundtrack. These two disks document their 12
shows in just over 3 years of activity =AD they are honest enough to admit
that it often didn't work, and the first disk is a compilation of
highlights. But their penultimate gig seemed to transcend the difficulties
and is presented in its entire 60 minutes on the second disk.

I listened to this one first. It opens slowly quiet eventually some
chopping, close miked, gets a rhythm. There is whisking, and you start to
realise that the electronics is used to sample, loop and echo/process the
sounds, layering and building them, extending the pieces. Other sounds come
in =AD strange empty rolling, splatches, cutlery jiggling, a rumbling buildin=
g
to a first noisy climax before dropping back to gentle sizzling and
chopping, then a reverbed slightly noisy fry up. Drops back to cutlery loop=
s
and chopping, building to another whooshy looping musical segment, scrape
and thud. You hear different vegetables =AD carrot versus cabbage, note the
sound selections and layers. It gets edgy, looping waves of sound. Soft
cooking, drone, frying =AD wah wah peddles. Builds and the drops to puttering
looped percussives, gentler chopping, a gonging (bowl) modulates. It
extends, with echoey scrapes, glass tapping, a whirring and a spiralling
rumble travel on, into an extended release of delicate taps, whirrs,
gradually changing, peaceful soft edged clatter and chop, hissing to fade.
There is a strong structure to the night, moving through quiet periods to
building momentum and complex climaxes, that maintain your focus. After the
initial novelty of the sound source has been overcome, the piece develops
its own focus and works as a concert.

The compilation disk collects together more focussed moment, almost an
exemplar of the Bands move, with more appliance work. The opener is
rhythmic, chopping and whoosh, like a machine, bubbly frying, another rhyth=
m
loop, drones noises and a puling milkshake mixer. After this dramat comes
one of three tracks from the final sitting at The Moloko Restaurant =AD an
ambient recording of people, distant clattering (some looped) and general
emptiness. Then an extended sampling of appliances and drones, rumbles and
mellow music, whirring hums and voices, fast chopping, audience sounds, edg=
y
to noise, a sequence that is more centred on machines. After another Moloko
a more clattering cutlery track, beats and percussives as other cooking
noises surround, ending with a quite playful almost rocky development. Then
a final sampling of the final concert. As long as the other disk, this is
more focussed on the highlights and drama rather than the full movement fro=
m
the concert, and makes an exciting and still varied drive.

I have to admit that this is one of the wilder concepts to have come my way
=AD but the important thing is does it work as an independent unit, rather
than as a record for those who saw the Band and want a record. And I think
it does =AD you do get past the source and listen to it as a musical
construction, an intriguing and involving sound work. And always sitting at
the back of your mind, wonder at its origins. A combination improv and
conceptual artwork.

&&&&&&&&&&

Alan Licht
A New York Minute
XI Recordings  XI128
http://www.xirecordings.org

Another in XI's wonderful series of double albums of contemporary
artist-composers aimed 'to extend the esperience of these engaging and
pioneering works beyond the performance space and into the home'.

Licht has only released 4 albums, but has worked with an extensive range of
people, as improviser or band member, done installations, written
extensively. Here we have 6 pieces, two live, very varied.

The title track opens and is initially a pasting together of a daily weathe=
r
report for New York in January that runs for about 10 minutes: there is
variation in the weather, the presenters, the detail, and is surprisingly
engaging. It ends with Ground Hog Day, which seems appropriate as for nob-U=
S
listeners the loop movie is the main reference point. The second part is a
ten minute recording at (I understand) Grand Central Station.

>From there we move to a more musical 'Freaky Friday' which is 19 minutes of
multi-tracked electric guitar and base =AD though the first half sounds more
like an organ with varied short tones, evolving into a piano accordion soun=
d
as the notes become shorter, the redrones with guitar strumming over. The
guitar becomes more obvious as electronic droning with a simple solo over
before a final bass drone. An indicator of Licht's guitar skills.

A collage 'Muhammed Ali & the Cricktes' has eponymous insects, then adds a
little musical loop, a thwapping sound, distant chatter, some fast guitar
and finally an African based chant for Ali. Finally on the studio side
another multi-tracked piece 'Another sky' is a delightful evolving drone
chord pulse using a chord organ.

The live side has two long guitar pieces, recorded at the 2000 Experimental
Intermedia with 'no overdubs'. '14, seconds, fifth' uses a tape loop of a
perfect fifth (apparently) drone with a puttery scratching and a couple of
picked notes in the final seconds. These 14 seconds loop throughout the 37+
minutes. Over this Licht demonstrates his guitar skills =AD all manner of
guitar sounds work through the solo: long tones, picked, layers, a sound
like a mellotron, deep tones, feedback, Frippery, big power guitar,
fuzzy-distorted and finally a simple gentle picked section that ends with
ringing melodic playing.

Then there is the 39 minutes of 'Remington khan' which starts very soft
(this is the hearing test mix) but after about 3 minutes becomes audible an=
d
is some delightful 12 string playing. There are multiple melodies and
rhythms, again changes in mood from strident to lyrical at times even folky=
,
dronal segments and then in the final quarter a fuzzy distorted guitar
(almost like a separate electric guitar) duets with the 12 string and
eventually goes solo. I don't know how he plays these two solos =AD first of
all the focus but then what pedals and effects, but they are amazing both
technically and musically and don't seem over stretched.

The XI series has been fascinating so far, and this is a very musical numbe=
r
and a great release =AD check it out!

&&&&&&&&&&&&

Moe! Staiano's Moe!Kestra!
Two Forms Of Multitudes: Conducted Improvisations
DKM/Pax/Edgetone DKM06/PR90261/EDT4021
http://www.paxrecordings.com

In my exploration (guided) of improvisation I have tended to find larger
ensembles easier to digest, because of the range of sounds available I
think. However, as groups get bigger the sound gets denser also and less
'controlled' =AD everyone trying to fill in the silence. A surprisingly
infrequently explored territory is the improv orchestra, as in this one
controlled by Moe Staiano =AD large numbers of people conducted by him and
given, I presume, some indication of how to interpret his signals and
determine what to play how =AD conducted (controlled) improvisation.

There are two pieces here, one for a radio broadcast, and are based on
identical 'notations and preparations', and some similarities can be heard =
=AD
though the differences are more striking. As usual these are hard to
describe in detail, so some impressions will be the order of the day.

The two orchestras have over 20 people each, but have a different
composition =AD more strings and brass in Piece No. 5, more guitar in No. 4
and also voice, lots of percussion and woodwind in both (though recorder an=
d
flute in 4, and electronic drum pad in 5 but 4 drummers in 4 to 1 in 5)
etcetera. What this means is that the tenor and timbre of the two pieces
differs as more horns wail or more drummers push the rhythm. The numbers
also mean that some individual sounds are lost =AD I'll have to relisten agai=
n
to try and catch the Theremin in 5. The mixing is also different =AD it seems
to me that the piece recorded for the radio (No. 4) has a more 'considered'
mix, with some instruments brought to the front and others pushed back. But
both sound great.

The music works through repetition of phrases in quite a minimalist fashion
=AD presumably phrases prepared by Staiano =AD accreting to extended louder
components with other instruments highlighting or peeping through.
Underlying it is a significant and important bedrock of percussion, whether
drums or lighter instruments, that set a steady pace for the works and
maintain that magnificently. The piano is prominent in No. 4, and all
through different instruments have periods of almost solo or duet, though
the percussion maintains its role. There is a carefully controlled movement
from simple repetition through development to pulsing climaxes before
dropping back again. Horns honk, drummers go beresk, the strings are plucke=
d
or bowed, guitars thrash.

But, what could be an awful cacophony is actually very listenable and
melodic at most times, there is nice balance in contrasts, and even the wil=
d
climaxes are not too harshly dramatic. I had this running through a couple
of times in the car and really enjoyed it =AD the different instruments, the
control and the planning make this an exciting and enjoyable powerful
journey.

(I think Pax and co are trying to set a record for multilabel releases =AD I
have only given the Pax web address as that's who sends them to me, but
three catalogue numbers is going a bit far!) And Ernesto Diaz-Infante,
(amongst other 'known to us') is in one of the ensembles.

&&&&&&&&&&&

Principle of Silence
Live
(no label)
http://www.principleofsilence.be

>From out of nowhere comes this simply gorgeous disk representing a
collaboration between vidnaObmana on atmospheres, electric guitar, fujara's
and voice and Joris De Backer, double-bass, strings and chanting. Part of a
series of concerts, this was recorded on the winter solistice (December 21)
in a chapel in Belgium.

Divided into a number of tracks, this is in effect a single 48minute take o=
f
a flowing combination of improvisation and atmospheric electronics that is
both meditative and stimulating at the same time. 'Solstice' is slow and
languid as bowed bass and hissy pan-pipes drift through, higher tones join
in, some twangy (treated guitar is the basis for some of the drones) and
deep deep bass. The bass goes for a plucked melody while the drifts pass,
some shimmering and stringish before bowing returns. The opening dream
develops a percussive three beat (with an intervening shiver) loop for 'The
underneath' with more pipes, some lightly distorted, and a strong bass pluc=
k
that follows the rhythm. It is more driving, but still at a slow pace, with
some voice tones and long tones that overwhelm it and stretch into.

'Choral' with layered woven tones, possibly including the bass but it is no=
t
clear. A chant runs within the tones, which are quite dense although they
ease a little. There is a pulsing, and eventually the bass emerges from the
choir. A two note picked loop underscores 'Netherworld' with long wind and
string tones, and then a plucked melody. With the blowing pipes and free
flowing melody, this is the most 'jazzy' section, gaining some momentum
before slowing for 'The fall'. Here the bass continues with sound scapes
surrounding it, the guitar more obvious again and pipes, with drone voices.
Some lovely bowed strings and pipes and then a dancing melody before easing
for the applause. Which is well deserved =AD it would have been wonderful to
hear these rich sounds in a chapel's acoustic space.

There is also a video on the disk of 'The fall' which gives you a clearer
idea of who is doing what in the sounds, and has some dreamy images of
candles and the space.

A fabulous disk for those who enjoy Obmana's free flowing soundscapes which
a touch of rhythm and some wonderful double bass.

&&&&&&&&&&&&

And of course, all past issues, with hundreds of reviews, on site.

Copyright for these reviews remains with me, Jeremy Keens. Artists and
labels are free to use and quote them as long as they acknowledge Ampersand
and don=B9t mess with my words! And if anyone else happens to mention one of
these reviews, do pass on the web address or my email address so new reader=
s
can find me. Thanks.

------------------------------