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previous artist: chet baker		there are 5 titles featuring jim baker in stock. they are listed below.		next artist: john baker

$18.48

back in stock as of
september 2nd, 2011

first in stock on
january 26th, 2010

threads:
modern-psych
live-electronic
electro-acoustic-improvisation
analogue-synth
free-improvisation

amish (usa) #ami 041 lp

bird show band “bird show band” long playing record

quintet one (9:09)
little song (2:02)
quartet (2:57)
bsb synthesizer solo (2:36)
quintet two (8:06)
quintet three (5:55)
quintet four (5:35)

january 2010 release ; just 10 days after ben vida’s masterful tape of solo moog pieces landed, so did this collection by the bird show band - a new aggregate pitting ben’s newly-forged live-synth chops against an a-list of chicago’s rock & jazz players , including tortoise’s john herndon & dan bitney, jim baker (battling ben on on arp 2600) and and josh abrams ...

think a more “herky jerky” version of herbie hancock’s “sextant” (not a knock ; seriously one of my top-ten all-time favorite records) sans the epic ostinatos and you’re close ... ben of course sounds majestic all over this piece & steps out for a few fine solos (listen to the sound-sample) before rejoining the group for extended throwdowns... it’s especially great to hear a capable hands-on version of the synth-freakout approach when the sun is being all but blotted out by tapes of slow-lfo-sweeps as master-concept ... this is the real shit !!!

amish press release...

ami 041
bird show band
s/t lp

bird show band documents bird show's new collaborative spirit and stands as the culmination of ben vida's chicago-based work, featuring a who's who of the city's improvisational luminaries, including josh abrams, jim baker, dan bitney and john herndon.

the improvisatory feel of the bird show band sessions function as vida's paean to the windy city. rather than another bird show release that involves guest accompaniment on select tracks, vida conceived of these recordings as a foray into session playing, tracking the entire album over just two days. while herndon and bitney's percussion invokes german psych, progressive rock, and jazz idioms, vida's synth-based experiments, here accompanied by jim baker's arp 2600, provide the first indication of his recent musical preoccupations, an interest that relies heavily on the moog and his own fluid, lyrical melodic lines.

if you have had the luck of catching bird show or ben vida perform live over the last few years, you have witnessed the centrality he now gives to the moog and one-touch patchwork, experimental forays that point to europe and the mid-century avant-garde, especially the cologne-based innovations of stockhausen and his many students during the late 1960s and early 1970s. regardless of this description, bird show band is more than a mere intellectual exercise and the sessions balance brain with musical brawn in ways that vida has yet to achieve on his previous outings.

$13.44

back in stock as of
september 2nd, 2011

first in stock on
january 26th, 2010

threads:
live-electronic
electro-acoustic-improvisation
modern-psych
analogue-synth
free-improvisation

amish (usa) #ami 041 cd

bird show band “bird show band” compact disc

quintet one (9:09)
little song (2:02)
quartet (2:57)
bsb synthesizer solo (2:36)
quintet two (8:06)
quintet three (5:55)
quintet four (5:35)

january 2010 release ; just 10 days after ben vida’s masterful tape of solo moog pieces landed, so did this collection by the bird show band - a new aggregate pitting ben’s newly-forged live-synth chops against an a-list of chicago’s rock & jazz players , including tortoise’s john herndon & dan bitney, jim baker (battling ben on on arp 2600) and and josh abrams ...

think a more “herky jerky” version of herbie hancock’s “sextant” (not a knock ; seriously one of my top-ten all-time favorite records) sans the epic ostinatos and you’re close ... ben of course sounds majestic all over this piece & steps out for a few fine solos before rejoining the group for extended throwdowns (listen to the sound-sample) ... it’s especially great to hear a capable hands-on version of the synth-freakout approach when the sun is being all but blotted out by tapes of slow-lfo-sweeps as master-concept ... this is the real shit !!!

amish press release...

$14.15

new to stock as of
march 17th, 2008

threads:
free-improvisation
electro-acoustic-improvisation
analogue-synth

musica genera (poland) #mg 001 cd

kyle bruckmann “and” compact disc

and michael (4:27)
and jeb (4:52)
and jim (4:38)
and scott (3:22)
and michael (4:04)
and gene (2:55)
and jeb (8:14)
and michael (3:13)
and jim (2:52)
and fred (3:38)
and gene (4:44)
and weasel (7:10)

musica genera press release...

mg 001 : kyle bruckmann
“and”

kyle bruckmann - oboe, english horn, suona, raita
jim baker - synthesizer
jeb bishop - trombone
gene coleman - bass clarinet
fred lonberg-holm - cello
scott rosenberg - contrabass clarinet
weasel walter - percussion
michael zerang - multiple percussion

total time 54:11

mastered by: savage sound syndicate
produced by: robert piotrowicz

kyle bruckmann: as an oboist and electronic musician has become a fixture in chicago's thriving experimental music underground. with a history of conservatory training gone awry, bruckmann combines the discipline of a classical foundation with the raucous sensibilities of dada and punk in adizzying variety of artistic endeavors. he has lived in chicago since 1996, teaching and free-lancing as a classical musician while playing regularly with some of the city's most creative improvisers and sound artists, including jeb bishop, jim baker, bhob rainey, fred lonberg-holm, bob marsh, robbie hunsinger, michael zerang, guillermo gregorio, and olivia block. ongoing affiliations include ekg, an electroacoustic duo with ernst karel, the rosenberg skronktet ("anyone interested in how creative music develops will want to keep an ear on their progress," kevin whitehead, chicago sun-times), and the experimental punk powerhouse lozenge. as a member of composer gene coleman's ensemble noamnesia, he has collaborated with polwechsel and performed works by george crumb, john cage, charles ives, cornelius cardew, malcolm goldstein, and salvatore sciarrino, among others.his debut cd of solo improvisations, "entymology," available through barely auditable records, has been hailed as "an enchanting experience that expands thepossibilities (and the comprehension) of the double reed family" (françois couture, all-music guide). ekg's "shift or latch" was recently released by crank satori; lozenge's recordings are available through toyo and farrago records.

jim baker (synthesizer) has performed & recorded (as either a pianist or synthesist) in various situations which have included various people, some of whom are also on this record, and others who are not. more specifically, mr. baker has previously performed with mr. bruckmann in situations organized by guillermo gregorio, fred lonberg-holm, scott rosenberg, ernst karel, robbie hunsinger, and michael zerang.

jeb bishop plays trombone with, among others, the vandermark five, the peter brotzmann chicago tentet, the chicago-scandinavia quintet school days, and fred lonberg-holm's terminal four, as well as leading his own trio. he often plays ad hoc free-improvisation gigs in chicago and lsewhere. the chicago label okkadisk has released two cds by the jeb bishop trio, and bishop's cd 98 duets is available on the label wobbly rail.

cellist fred lonberg-holm has performed and recorded extensively throughout north america and europe. while based out of nyc, he performed in and led various ensembles including his quartet peep, anthonybraxton's creative orchestra, god is my co-pilot, and anthony coleman's selfhaters. in the late '90s,lonberg-holm relocated to chicago where he has since become heavily involved in the free music scene. his projects there include the improvisational light box orchestra, pillow, terminal 4, and the peter brotzmann tentet.

gene coleman is a composer, bass clarinetist and artistic director of ensemble noamnesia. his compositions are explorations of possible relationships between noise and what is normally called "music", as well as spatial and temporal perception. with ensemble noamnesia and the yearly festival "sound field" he has had collaborations in chicago with many important composers, including helmut lachenmann, vinko globokar, george crumb, gerhard staebler, kunsu shim, roscoe mitchell, salvatore sciarrino, malcolm goldstein, luc ferrari, karlheinz essl, mathias spahlinger, burkhard stangl, john wolf brennan, guillermo gregorio and others. in the area of improvised music, he has played in concert with evan parker, derek bailey, william parker, roscoe mitchell, jim o'rourke, mats gustafson, taku sugimoto, carl stone, werner dafeldecker, otomo yoshihide, radu malfatti and many others. his recordings include several projects with jim o'rourke and gastr del sol, as well as tony conrad, john wolf brennan and christian wolfarth, gulliermo gregorio, anthony braxton, mats gustafsonand others.

scott rosenberg is a multi-reed player and composer, and the founder of barely auditable records. over the past several years, rosenberg has performed all over the u.s. and in europe with the likes of: pauline oliveros, anthony braxton, christian wolff, helen thorington, eugene chadbourne, fred lonberg-holm, glenn spearman, dan plonsey, gino robair, chris brown, matt ingalls, brenda hutchinson, jeb bishop, luc hautkamp, ralph carney, marco eneidi, maggi payne, tim perkis, toshi makihara, and many others. he currently resides in paris.

weasel walter b. 1972 composer/multi-instrumentalist specializing in confrontation, chaos and asymmetry of form. founding member of chicago-based no wave/free jazz/death metal ensemble the flying luttenbachers (since 1991). has appeared on more than 50 recordings as a leader, band member or side person and performed more than 600 concerts throughout the u.s. and europe. has made and/or recorded improvised music with kevin drumm, fred lonberg-holm, jeb bishop, nandor nevai, jim o'rourke, michael zerang, jeff parker, ken vandermark, hal russell a.o.

percussionist, improvisor and composer michael zerang was born in 1958 in chicago, illinois. he has co-founded and performed with the musical groups liof munimula, the neutrino orchestra, trio troppo, the wonderfuls, the blue angels, sam pappas' tumbling strains, frozen lucy, the quirt quintet, musica menta, the vandermark quartet, dream cheese, the sputter ensemble, in zenith, and broken wire . in addition to these ensembles, zerang currently performs with many innovative musicians including aacm co-founder fred anderson, mats gustafsson, raymond strid, sten sandell, don meckley, jaap blonk, daniel scanlan, peter brötzmann, kent kessler, barre phillips, jim baker, hamid drake, ken vandermark, luc hautkamp, and fred lonberg-holm. he has recorded for okka disc, boxmedia, kontrans, southport, quinnah, eighth day music, garlic, and platypus, labels as well as many others.

$14.62

back in stock as of
december 22nd, 2010

first in stock on
november 28th, 2007

threads:
modern-composition
free-improvisation

new world (usa) #nw 80572 cd

scott rosenberg “creative orchestra music, chicago 2001” compact disc

tehr (9:38) 2000
wash (9:02) 1995
7x with sttm (13:36) 1997/2001
forgetting song (13:32) 1997
toys (18:34) 1996

new world press release...

"the orchestra’s main power lies in its ability to consume and transport the listener. the sheer tonnage of vibrations generated by a large ensemble cannot be replicated or approximated by mere volume or electronic reproduction. the raw acoustic phenomena of twenty-or-more instruments working together in a single space to form a single sound entity is a radical and unmatchable kinetic force.

to then add improvisation to the orchestral palette, and the implications that are posed by spontaneous music generation, is to knowingly step completely outside of the institutional orchestral tradition. it is, however, to enter into another tradition established by such pioneers as earle brown, morton feldman, anthony braxton, leo smith, muhal richard abrams, karlheinz stockhausen, john cage, and so on." — scott rosenberg

scott rosenberg (b. 1972) is a multi-reed player and composer focused on creating a body of work that blends experimental composition with free improvisation.

creative orchestra music, chicago 2001 is the second recording of his dark-hued, richly layered orchestral works. rosenberg conducts a 26-piece ensemble, largely comprised of leading lights of chicago’s new-music scene, in six compositions — tehr, wash, 7x with sttm, forgetting song, and toys — that incorporate elements of improvisation, including conducted improvisations in some sections.

albums like braxton’s classic creative orchestra music 1976, the large-band work of abrams, and the improv-dominated transmissions of the globe unity orchestra can all register as antecedents to rosenberg’s music in disparate ways, each using composition and improvisation in different measures. william parker’s and barry guy’s orchestras suggest that the creative orchestra is still alive and well, but unlike those composers rosenberg is more willing to let go of the jazz vocabulary while retaining its improvisational energy and edge, giving his rigorous writing an often-changing complexion.

creative orchestra music, chicago 2001

lisa goethe-mcginn, flute
kyle bruckmann, oboe
matt bauder, jesse gilbert, paul hartsaw, laurie lee moses, todd munnik, aram shelton, reeds
todd margasak, nathaniel walcott, trumpets
jeb bishop, nick broste, trombones
megan tiedt, tuba
carol genetti, voice
nathaniel braddock, john shiurba, guitars
jen paulson, viola
chris hoffman, drew morgan, violoncellos
kyle hernandez, elizabeth kennedy, jason roebke, contrabasses
steve butters, jerome bryerton, tim daisy, percussion
jim baker, piano/synthesizer
scott rosenberg, conductor

$12.96

back in stock as of
may 23rd, 2008

first in stock on
september 7th, 2007

threads:
free-jazz
modern-composition
electro-acoustic-composition
field-recordings

thrill jockey (usa) #thrill 181 cd

exploding star orchestra “we are all from somewhere else.” compact disc

sting ray and the beginning of time - part 1 (11:41)
sting ray and the beginning of time - part 2 (2:09)
sting ray and the beginning of time - part 3 (psycho-tropic electric eel dream) (7:48)
sting ray and the beginning of time - part 4 (4:40)
black sun (3:07)
cosmic tomes for sleep walking lovers - part 1 (4:52)
cosmic tomes for sleep walking lovers - part 2 (4:30)
cosmic tomes for sleep walking lovers - part 3 (6:32)
cosmic tomes for sleep walking lovers - part 4 (fifteen ways towards a finite universe) (0:11)
cosmic tomes for sleep walking lovers - part 5 (5:19)

thrill jockey press release...

we are all from somewhere else.
by exploding star orchestra
thrill jockey
thrill 181 • 2007

in 2005, cornetist rob mazurek was approached by the chicago cultural center and the jazz institute to put together a group that would represent the more contemporary / avant-garde side of sound in chicago for a concert in millennium park’s frank gehry-designed concert hall. the music was conceptualized/composed in manaus brazil, fontevraud, france and chicago, and developed over more than a dozen performances of the orchestra before it was recorded by john mcentire at his soma studio in chicago.

we are all from somewhere else is comprised of 3 distinct sections, and corresponds to a story involving an exploding star, cosmic transformation, a sting ray, the travels of the sting ray, intelligent conversations with electric eels, the destructive power of humans, the death and ascension of sting ray, the transformation of sting ray ghost to flying bird, and the transformation of bird to phoenix to rocket to flying burning matter to a new-born star.

says mazurek, “i could clearly see and hear the events as a kind of animated adult/children’s story that could be presented in book or video form. in the end you have a poem text based on the original story line that is then flipped backwards to reveal another perspective on the poem. the flipped text was orchestrated by portuguese video artist and conceptualist joao simoes, while i was in lisbon making final preparations for the release of this recording.”

as the arrangements of the parts of the pieces came together it became more and more evident that nicole mitchell’s flutes would play a major role in the realization of the music. that said the intent of the music is not to featuring individual players (although this very well could have featured any individual in the group, as they are all very strong soloists and improvisers) it is more about the projection of a certain sound pertaining to imagination and the trajectory of the sound as movement in time and space, weaving patterns and non-patterns around and inside the idea of the poem. the overall organic approach included actual organic sounds - for example, the sounds of electric eels recorded by mazurek at inpa research laboratory in manaus. the juxtaposition of two drums, two basses, two mallets, multiple flutes, two cornets, bass clarinet, arp synthesizer, guitar, trombone, voices and flugelhorn all played important roles in the development of the final sound.

“psycho-tropic electric eel dream” is a group improvisation centered around the sound of electric eels. the electric eel tanks mazurek recorded at inpa contain two species of eels, pulsating and waveform. the sound was recorded in a special tank of 15-20 eels of various sub-species, each with its own tone. the results are fascinating tonal clusters not unlike the sound of violins. this track reveals the beauty of these fine creatures and juxtaposes our improvisation with them, and concludes with spoken word by rob mazurek (“robert ashley was in my head during this part”), some arp by jim baker and some final cascades of nicole’s flute, which was snuck into the recording on the bass amp mic sitting in the hallway while nicole was playing in another room. “black sun” features jim baker’s lovely piano playing. “this piece was originally written for the great french pianist jeanne-pierre armengaud,” says mazurek, “who i had the pleasure of working with at abbaye royale de fontevraud in france during my residency there.” what you hear is jim’s emotionally charged and understated improvisation on the theme of the composition. the sound corresponds perfectly to the text/poem of the recording in which the death of the stingray is a new re-birth of the bird and eventually a new star.

“cosmic tomes” starts out with storm sounds from the amazon reversed. the powerful first section reveals a wide-open improvisation on a specific theme and then deconstructed through 3 harmonic centers. the cornet is that of composer and leader mazurek. corey wilkes’ poignant flugelhorn plays an important role within the center of the piece and for a moment he takes off in a more grand gesture. the song then melts into the second part of this suite; repeated lines based on the last harmonic chord of the first section find the bass taking the lead and matt bauder’s two tenor parts and bass clarinet part playing a major role. one hears jeff parker’s guitar, jeb bishop`s trombone, josh berman`s cornet, matt lux`s electric bass, jim baker`s modified piano, nicole mitchell`s flute, and some excellent cutting, filtering post-production work by john mcentire. part 3 of “cosmic tomes” is meant as a kind of prayer or meditation on the idea of unity in the world/universe.

“15 ways of looking at a finite universe” is a quick piece inspired by the anna levine book “how the universe got its spots”, and catapults the recording into the last piece, “part 5,” in which we travel back to space, birthing or re-birthing new galaxies. nicole mitchell’s flute floats over the thick harmonics with matt bauder`s bass clarinet doubling the bass of matt lux and jason ajemian, creating the foundation for the sweet melodic interplay.

the exploding star orchestra is, for this recording:

rob mazurek - composer, director cornet, electronicsnicole mitchell - flutes, voicejeb bishop - trombone corey wilkes - flugelhornjosh berman - cornetmatt bauder - bass clarinet, tenor saxophonejeff parker - guitarjim baker - piano, arp synthesizer, pianettejason adasiewicz - vibraphonejohn mcentire - marimba, tubular bells, edits, recording engineermatt lux - electric bass guitarjason ajemian - acoustic bassmike reed - drums, percussion, sawjohn herndon - drums

previous artist:
chet baker

...and that's everything in stock featuring jim baker.
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next artist:
john baker