Saturday, August 24, 2013

In Space: Trudy Morse

from the Saturn List
Dear Friends of Trudy,
It is with much sadness that I write to tell you that my mother passed this morning after a short illness.  I'm sorry about the impersonal way to inform you,  but some of you I only know from emails.  As you know, my mother was a force of nature; she embraced life and lived for every moment.  She was never shy, always willing to try new things and really the most optimistic and positive person I have ever known.  Her net of influence, as you well know, was huge.  Almost everywhere I go - in the States and the rest of the world, I run into people who know her.  

Even in her last days with her mind fading from dementia, she was a bright light.  At Arden Courts, she was known as the activity director and and was happy and content.

(edit)

May her memory be as a blessing,
with much love and sadness,
Sarah .


--
Sarah Morse

About Trudy, I just want to say that the Waitawhile compilation and publication of Sun Ra's poetry  would never have happened without her.



I met Trudy at a long-gone little bar in Washington, DC in the mid-90s, where somebody was putting on a free jazz show. Trudy saw me reading a book by Jacob Boehme and based on that, asked me if I would drive her up to NYC for a Sun Ra tribute show at the Knitting Factory. I did, bringing along some friends, and ended up doing lights (ineptly, I'm sure) for Trudy's part of the show. Throughout that weekend, she had more energy than all of us 20-somethings put together, leading us from bar to bar through lower Manhattan, discussing art, music, Israeli poiltics and everything else. When I brought her back home, she gave me a copy of The Immeasurable Equation, Vol. II. That gift inspired me to collect together all the Sun Ra poetry I could find. And because of this list-serv that project turned into the Waitawhile publication.



I'm sure I'm only one of many, many people whom Trudy had a powerful influence on. Spirits like hers are rare and beautiful beyond measure.


James 
James L. Wolf 


Trudy Morse reads Sun Ra's poetry
collected from the international waitawhile sun ra conventions



Trudy Morse
Poet, Musician, Humanitarian, Diarist, Grandmother
Poet, world traveler and performance artist, Trudy Morse, creates other-world performances in the spirit of the legendary Sun Ra. Expect a cosmic, ritual happening. - Earshot, Seattle WA
Trudy Morse has lived in Chevy Chase, MD for some forty years. Her late husband, Malcolm S. Morse, a prominent scientist with the National Bureau of Standards, worked on dynamic thermo-physical measurements in space, before his death in 1986.
Most of her life she was a political activist working on national and international policies, at the same time active in her home and community, while raising six children. Retired from her professional career as a land consultant she spent from four to six months each year travelling the world.
Her interest in her husband’s research on anomalous phenomena has taken her to all five continents. She recalls with particular interest her travels in Africa, Australia, Europe, India, China and New Zealand.
She has traveled extensively in the USA on frequent camping trips, cross-country, in National Parks from the East to the West coasts, as well as in Hawaii and Alaska.
Since the death of Malcolm Morse, Trudy has been travelling with jazz pianist Cecil Taylor, in Europe, Japan, and the USA. While on the road, Trudy wrote poetry, which was later published by Hermes Press.
Aside from regular travel on the road with Cecil Taylor, for the past few years, Trudy has been concentrating on the poetry of the legendary Sun Ra and his Arkestra. Working closely with John Szwed, Chairman of Music and Anthropology at Yale, Trudy has been collecting Sun Ra poetry. She performed with Sun Ra right up until his death, being with him when he left the planet at Birmingham, Alabama. 
Since his death, she has been planning and presenting Tributes to Sun Ra. She appears regularly on radio programs, reading Sun Ra poetry over the old Saturn records or new releases by Evidence.
Among many artists, she has most notably collaborated and performed with Kidd Jordan, Eddy Gale, George Russell, Anthony Braxton, Joe Maneri, Pozzi Escot, Pauline Oliveros, Stuart Dempster, George Lewis, Marshall Allen, India Cooke, Michael Monhart, Muhal Richard Abrams, Dave Burrell, Illuminati Big Band, Don Wherry Ensemble, Cosmic Krewe, Tone Scientists and Boris Raskin Trio.
The ubiquitous septuagenarian has 6 children, 20 grandchildren and 6 greats.
-from Deeplistening.org



*



videos collected from katzjustice.com





My Near Death Experiences by Trudy Morse
Trudy Morse
Hermes at the Crossroads
Hermes Press - 1996 Written September 9, 2000.

A NDE, as it is called today,
is a rather frightening ex-
perience, but since I have
been privileged to have
had three in my lifetime,
actually I feel blessed.

The first NDE was almost
50 years ago, while giving
birth to my son, Michael,
I found myself being twirled
through a dark tunnel, with
a bright light at the end.  I
woke up hysterical, I thought
the baby had died.
I was rather surprised when
the phenomenon was analyzed
many years later, it was I who
was near death, and not the
baby.

As a result of this startling
experience, "Training for Child-
birth" was pioneered in the
Washington, D.C. area with Sue
Patch, sister of Gloria Steinman,
President.  Trudy Morse, Treasurer.
My son, Dr. Melvin Morse,
pediatrician, who writes about
NDE's in children, was the
first baby born, under this new
program, over 40 years ago.

Our program was to train parents
in natural childbirth.  Dr. Dick Reid,
of the UK, was the leader of the
movement in those days.  We were the
first to bring fathers into the delivery
room, exercises for mothers, and
coaching lessons for fathers, to give
support for the mothers.

The second time I had a NDE,
I saw the pattern of
my whole life before me, and
repented, that before the NDE,
I hadn't been a really good cook.
Saying farewell, I asked Malcolm
to forgive me, before passing out
during an asthma attack.

And from that experience I learned
that it's very good to be ready to
meet your maker and a quick review
of your life is a strong probability!

I am still not a very good cook, but
don't feel guilty, since Malcolm
assured me that was not why he
married me.  The medics had revived
me at home, and I felt at peace that
Malcolm had forgiven me during my last
moments.

From that experience, I learned
that life is so fragile, I would try
to enjoy every moment of life with
an extraordinary husband, Malcolm
Morse, who was my partner for
some 40 years.

At the age of 55, when he was diag-
nosed as having cancer, I insisted
that he retire so that we may have
the last years of his life, roaming
the planet, so that he might have
a last look at every location he was
curious about, had read about in science,
literature, the Bible, politics and
even science fiction.  He remained
alive another 13 years.

A practicing Yoga, he died a Yoga's
death, in peace, in lotus position, and
I stayed over 3 hours, singing and
chanting, for an easy departure of the
soul.  I was at peace that I had helped
fulfill his mission of life.  He examined
anomalous phenomena for some six
months each year, all over the globe.

This last NDE at the senior age of 81
was an extraordinary revelation.  An
asthma victim almost all of my life,
I was unable to pull out of an asthma
attack at the home of one of my dearest
members of my extended family, GILA.

I had overdosed on medication, which
brought me deeper in the helpless
stage.  911 was called, the ambulance
appeared immediately, the medics
correctly diagnosed the incident as
pulmonary arrest, and were able to
revive me within the six minutes
before brain damage.  It was a quick,
efficient action that made for the
success of the treatment, every one
cool and collected to do what needed
to be done.

Now, what did I learn in the experience
during my twilight years?

The most touching was the miracle
of the assembly of the family.  They
arrived at the hospital shortly after
the ambulance, and were there with
complete support for me.

As important as modern life-supporting
machinery and professional help is, I
needed my dearest and most beloved
family.  Sarah never left my side and I
deeply felt her presence, as well as
Mary's, who never left Sarah.

Later, Dr. Serena Fox appeared.  She
works at the Trauma Center at Columbia
Hospital for Women, spent time with
the doctor on call, Dr. Remy.  He had
heard of her, by reputation, and with
continual telephone calls to my own
family doctor, Dr. Douglas Shumaker,
they were an extraordinary medical team
put together in this extreme emergency.

Needless to say the nurses are God's
gift of angels to care for us.  They told
me later, the incident took them by
complete shock.  The possibility of
brain damage loomed very large in
their minds.

Now what happened to the NDEer:
First, there was a black cage I was trying
to frantically trying to escape, banging
each corner post.  In despair, I finally
gave up:  "Well, if this is Hell, Heaven is
probably boring."  (This is what my son,
Alan, says I reported late Thursday night
of the discharge."

Although that vision appears to have come
first, what I remember vividly, is a white
casket with heavily clad manacled boots
thumping each corner tightly closed.

Perched on the ceiling, was the Raphael
angel, with lovely face cupped into hands,
watching the event, with much wonder,
watching the casket-thumping, admiring
its beautiful painting of stars, crescents,
and other beautiful colorful patterns,
covering the casket, gleaming, glowing
white, like a Rauschenberg painting.

The thumping of each corner finished,
the casket securely closed, the Raphael
angel perched on the ceiling watching
carefully, wondered:

"Well, which would have been better,
Heaven or Hell?"  And with a wry smile:
"Who knows?"

I had finally been restrained from
fighting the staff who were trying to
insert the indo-trachial tube directly into
the mouth, to hook up the lungs with
the support machine, necessary to get the
lungs working again.  Michael, who had
been helping the staff in their struggle, was
severely scratched, which was an agonizing.
moment for him. Everybody involved later
told me they went into complete shock after
this experience .

I was so determined to keep off the
machines!I had always said I would
rather die than be hooked up on a
machine, and I really meant it!

Now that it is all over, I feel truly
blessed again. With such a remarkable
family who by some miracle arrived,
without anybody knowing where to call
them! With such extraordinary extended
family giving further support.  And the
remark of the social worker really
moved me. When I asked her why
she was visiting me, she told me most
of the elderly patients have no one at
home to go to, and she provides volun-
teers and visiting nurses, meals on wheels.

What a wonderful feeling, to have Sarah
there every moment, demanding that I be
taken home at once, rather than the two
week period they suggested and David,
her husband, taking over all the chores of
the four children left at home during Sarah's
24 hour vigilance.

Sarah decided three days in the hospital
was enough. She demanded my release
at once, and armed with the X-rays, she
drove me to her home. Maurie was there
with a broad smile. Michael had already
left work, and was waiting to pick
me up.

Erica had decorated the front doorway:
"Welcome home". Lauren, who had
grown at least 12 inches during the
summer, had to lean over to embrace me.

And Mary was there with a dinner, eaten
outdoors, overlooking her glorious garden
and little pool with the waterfall creating
the sound of running water which I love.

Michael took me shopping for my bagels,
picked up my medicine. And Guy and Sheri
took over from there.  They explained the
medication, assuring me it was very mild
and only a short course. Dr. Shumaker
assured them it would not interfere with
the effective plendil I take for high blood
pressure.

Dr. Shumaker insisted I call him at home
to strongly advise against my trip to Syria
scheduled for the next day. I felt so much
had done for me, I better not let them
down and create new problems, so I can-
celled the trip. My beautiful extended
family member Paula, of Signature Travel,
got to work at once to assure that I get
money back for airfare.

I came away with the realization that
although I say I am ready to die, there's a
whole crew of people, medical and family,
who seemed to think it important that I
live a little longer.  Like the birth of a baby,
the rebirth of an adult requires instant
loving, nurturing for the health of the
new model.

My son, Dr. Melvin Morse, pediatrician,
who has pioneered in NDE with children,
presents, during his lectures, pictures that
children draw about their experience.
Some are pictures of Jesus, pets, teachers,
or parents, whom they have just seen.
They are usually told to return, depending
upon their belief system.

For me there was no such picture. No
persons, no Jesus, no favorite aunt, mother,
or spouse, only at first, a crude black cage
from which I was frantically pounding,
trying to escape.  In some disgust, I just
gave up, thinking: "Oh  well, Heaven would
probably be boring anyway!"

Then appeared a white casket, with
heavy manacled boots pounding each
corner tightly shut.  Beautiful and gleaming
white. Stars, crescents and colored figures
were painted on the lid, in Rauschenberg
style.  Above it all a Raphael angel watched
from the ceiling, finally wondering if
Heaven or Hell would be better!

Who knows?

WHAT DO I MAKE OF ALL OF THIS?

Our holiest prayer in Judaism is the Shma Yisroel,
Adonoi Elehanu, Adonoi Echod. Hear oh Israel,
The Lord our God, The Lord is one.

The Adonoi is a Hebrew Tetragrammaton,
having four Hebrew Letters, usually transliterated
YHWH or JHVH, that forms a biblical proper
name of God.  Reb Shneyer has told us that
Adonoi means past, present, and future.

I feel a deep sadness that my departed partner,
Malcolm was not witness to this. An internationally
recognized engineer, he was also a Polymath.
Equally as versed in Philosophy, Poetry, Plato,
Plotinus, Literature, Eastern and Western Religions.

In raising our six children, he constantly reminded
me that when the child is born, images of his past,
present, and future are embodied on the brain.

Since I saw no persons, heard no voices, I personally
conclude that it was the high tech machinery, and
the total high level family and medical support
that brought about the return. Maybe, this return
was guided by either the images of the brain
already imprinted at birth:  maybe, God whom Jung
defines as SELF, maybe, just plain GILA.

Death is not Real
But Birth to a
New Life
We go on and on
To higher planes
For eons and aeons
Of Time

The Universe is
Our Home
We explore the
Farthest Recesses
We dwell in the
Finite Mind
Of The All

I die gladly
So I may Know
The Whole Truth
Of Being
At One with
The ALL
from ChicagoIANDS.org



Wednesday, August 21, 2013

2nd Chance: Sun Ra - Walt Dickerson Quartet - Impressions of A Patch of Blue (1966)


I remember the date was quite a challenge.  I don't think there was any music there to refer to.  Or if there was, we didn't necessarily follow it.  There was an understanding who would begin each piece and who would solo on it, and so forth.  But that was it.  The album was called Impressions of "A Patch of Blue", and that's what they were -- improvisational impressions.
-Bob Cunningham (CD Liner Notes)


A Patch of Blue (Part 2)

Impressions of a Patch of Blue was the second time Walt Dickerson recorded an album of rearranged movie soundtrack pieces, following his interpretations of material from Lawrence of Arabia. Starring Sidney Poitier, A Patch of Blue was about a star-crossed pair of interracial lovers, with the twist that Elizabeth Hartman's character also happened to be blind. More important to jazz fans, though, is that the album marked one of Sun Ra's extremely rare appearances as a sideman, playing both piano and harpsichord. And he turns in a masterful supporting performance behind Dickerson, putting his own indelible stamp on the proceedings without ever overwhelming them. Witness "Bacon and Eggs," where Dickerson repeats a melodic theme for most of the piece while Ra's unorthodox reharmonizations dance about in the background. Ra's harpsichord also provides some otherworldly cascades that seem to spark Dickerson's sense of freedom, particularly on part two of "A Patch of Blue" and "High Hopes." Dickerson's own playing is most evocative on the two parts of "Alone in the Dark"; during the first, he plays frantic, jittery phrases that mimic the speech patterns of panic, and in the second he favors quick, repetitive figures that fade away like echoes or unanswered calls for help. All of that is indicative of the level of imagination with which the project is carried out, which makes it a shame that Dickerson retired from performing for a full decade following its release, leaving Bobby Hutcherson to become the most important modernist vibes player of the latter half of the '60s. Verve's 1999 CD reissue of Impressions of a Patch of Blue was a very limited edition, so don't dawdle in picking this one up.
AMG Review by Steve Huey


120. [104]  Walt Dickerson Quartet

Impressions of A Patch of Blue

Walt Dickerson (vib); Sun Ra (haprsichord -1; p except -3); Bob Cunningham (b); Roger Blank (tymp -2; d).
Studio recording, NYC,
late 1965 or early 1966

A Patch of Blue -- Part 1 (Goldsmith)
A Patch of Blue -- Part 2 (Goldsmith) -1
Bacon and Eggs (Goldsmith)
High Hopes (Goldsmith -2
Alone in the Park -- Part 1 (Goldsmith) -3
Alone in the Park -- Part 2 (Goldsmith) -1
Selina's Fantasy (Goldsmith) -1
Thataway (Goldsmith) -1

Impressions of A Patch of Blue was issued in 1966 on MGM E 4358 (mono, the stereo version is MGM SE 4358).  It was an interpretation of Jerry Goldsmith's soundtrack for the film A Patch of Blue, not the actual film soundtrack.  Allan Chase points out that the session was produced by Tom Wilson, who arrived at MGM/Verve toward the end of 1965 or the beginning of 1966.  Moreover, the movie was not released till well into December 1965.  Impressions was reissued in August 1999 on CD as Verve 314 599 929 [CD].  Sunny plays harpsichord on four of the eight cuts, not celeste as stated on the original release.
from Campbell / Trent  The Earthly Recordings 2nd ed.



Impressions of A Patch of Blue (CD)
The Walt Dickerson Quartet


1. A Patch of Blue - part 1   1:30
2. A Patch of Blue - part 2   4:38
3. Bacon and Eggs   5:35
4. High Hopes   5:15
5. Alone in the Park - part 1   3:01
6. Alone in the Park - part 2   7:11
7. Selina's Fantasy   4:05
8. Thataway   4:34

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Sun Ra and Walt Dickerson also made an album of duets called Visions.  You can find that Here.

Read a 2007 interview with Walt Dickerson Here.

Below is a rip of my mono LP.  I hadn't thought it worthy of sharing... but if you're curious, I hope you enjoy.


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Again, Many Thanks to I-) for finding some LP scans on the web to share!




Sunday, August 11, 2013

2nd Chance: Sun Ra - Strange Strings (1967)

  
Recorded NYC 1966-1967 
Strange Strings is one of the most obscure and downright weird recordings in all of Sun Ra’s immense (and weird) discography. By 1966, Ra had acquired a selection of odd stringed instruments – ukuleles, kotos, zithers, etc. – to be played exclusively here by members of the Arkestra. That the musicians did not how to play them was the whole point, it was, according to Ra, “a study in ignorance.” Structurally, the music builds on the kind of conducted-improvisation found on The Magic City (1965) (Evidence CD), but the unfamiliar instruments create a truly otherworldly din. Homemade metallic instruments clatter and thrum while strings are plucked, bowed, struck and scraped; sometimes drums and tympani pound ominously. Thick reverb saturates or, at other times, dries up the acoustic, creating shifting and distorted sonic perspectives. Sounding more like Iannis Xenakis than Fletcher Henderson, this stuff is definitely not for the faint of heart! The bonus track, “Door Squeak” features Sun Ra on, yes, a loudly squeaking door (which actually sounds very much like the MiniMoog, which he would take up years later) while more strange strings chatter in the background. Detailed liner notes by Hal Rammel and super deluxe packaging make this CD a must have for the connoisseur of Sun Ra’s furthest interplanetary journeys.
Door Squeak

Strange Strings is a somewhat legendary album from the mid-'60s. "Worlds Approaching" is a great tune, anchored by a bass ostinato and timpani and featuring several fantastic solos, including Marshall Allen on oboe, Robert Cummings on bass clarinet, John Gilmore on tenor, and Sun Ra on electric piano. Off and on throughout the tune, Bugs Hunter applies near-lethal doses of reverb, giving the piece a very odd but interesting sound. "Strange Strings" is one of those songs that is likely to inspire some sort of "you call that music?" comment from your grandmother, or even from open-minded friends. It sounds like they raided the local pawnshop for anything with strings on it, then passed them out to the bandmembers. It's difficult to tell if some of these instruments have been prepared in some way, or if they're simply being played by untutored hands. There are also lots of drums and some viola playing from Ronnie Boykins that is also treated heavily with reverb. Despite the cacophony, there is a definite ebb and flow to the piece and what seem like different movements or themes. Whatever you think of the music contained, there's no denying that it produced some of the most remarkable sounds of the mid-'60s. If you don't like "out," stay clear of this one. [Atavistic reissued the album in 2009.]
AMG Review by Sean Westergaard

Click to enlarge


123. [109] Sun Ra and his Astro-Infinity Arkestra

Sun Ra (Wurlitzer ep, perc); Ali Hassan (tb); Marshall Allen (as, ob); Danny Davis (as, fl); John Gilmore (ts); Pat Patrick (bars, fl); Robert Cummings (bcl); Ronnie Boykins (b); Clifford Jarvis (d, tymp); James Jacson (log drum, perc).

Rehearsal, New York City, around 1966

Worlds Approaching (Ra)


Poor recording quality indicates a different session from the rest of the Strange Strings album.  This session could have been made a year or two earlier than the rest of the album.

Worlds Approaching

124. [110] Marshall Allen (strings); Danny Davis (strings); John Gilmore (strings); Pat Patrick (strings); Robert Cummings (strings); Ali Hassan (strings); Carl Nimrod (strings, perc); Ronnie Boykins (b, vla, dutar); Sun Ra (lightning drum, tymp); James Jacson (log drums); Clifford Jarvis (tymp, perc); Art Jenkins [Thlan Aldridge] (strings, space voice).

Rehearsal, New York City, late 1966

Strange Strings (Ra)
Strange Strings (Ra) (cont.)

Thoth Intergalactic KH-5472, Strange Strings, was issued in 1967 (it is described by Tam Fiori in the January 1968 issue of Jazz and Pop).  It also circulated under the catalog number 502.  "Strange Strings" begins as the second track on Side A ("featuring vocal by Arthur Jenkins"), and the continuation ("featuring lightning drum") fills all of Side B.  Some previous discographies give 1964 as the recording date, but John Gilmore places it after Nothing Is.

What were the strings?  Gilmore described his as "a little Japanese instrument"; in a Melody Maker article, Fiofori refers to "Chinese lutes, moon-guitars, mandolin, bass, koto."  In 1966 photos of a rehearsal in the Sun Studios (by Val Wilmer, in Omniverse Sun Ra), Boykins is shown playing a dutar, a bowed lute used in Tajikistan and Uzbekistan (thanks to Ralph Pleshar for background on the dutar), as well as a more Oriental instrument.  Hartmut Geerken points out that none of the strings were actually electric, though they were closely miked and in some cases subjected to reverb (Carl Nimrod was incorrectly credited with "electric strings").  Geerken identifies one of Ra's "sun harps" as a Ukrainian bandura (it is shown on the cover of Holiday for Soul Dance); it is possible that one of the other Arkestra members played the bandura on this date.

On the jacket Jenkins is billed as "Thlan Aldridge," but according to articles in Jazz Wereld, August and October 1968, he and Aldridge are one and the same.  Indeed, the Carnegie Hall program for April 12-13, 1968, lists "Art Jenkins (= Thlan Aldridge)."
from The Earthly Recordings 2nd ed


 Sun Ra and his Astro-Infinity Arkestra
Strange Strings

1.  Worlds Approaching   10:17
2.  Strange Strings   12:48
3.  Strange Strange   20:24
4.  Door Squeak   10:29

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Strange Strings (180g LP Reissue)

1. Worlds Approaching   10:10
2. Strings Strange   12:27

3. Strange Strange   19:58

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Monday, August 5, 2013

Sun Ra - Egyptian Fantasy from Beets: A Collection of Jazz Songs (1992)


"Egyptian Fantasy (Carefree)" has long been one of my Sun Ra concert favorites.  The hypnotic repetition of the theme makes for a great foundation over which the Arkestra's tone scientists can experiment freely and passionately (as you will hear).  Thanks to Mattia for requesting and to dmatlb for originally sharing with us.

(give it a moment - the track starts quietly)

Sun Ra - Egyptian Fantasy (rec. 1990)

671. [443]  Sun Ra and the Arkestra

Beets: A Collection of Jazz Songs

Sun Ra (p, syn); Michael Ray (tp); Ahmed Abdullah (tp); Tyrone Hill (tb); Marshall Allen (as, fl); Noël Scott (as); John Gilmore (ts, timb); James Jacson (bsn, Inf-d); John Ore (b); Buster Smith (d); Ron McBee (cga, perc); Elson Nascimento (surdo grande, perc); Jorge Silva (repinique, perc).
prob. Skeppsholmen, Stockholm,
June or July 1990

Egyptian Fantasy [Carefree] (Ra)

The complete version of this track (clocking in at 13:06) was released in 1992 on the various-artists compilation Elemental/t.e.c. 90902 [CD], Beets: A Collection of Jazz Songs.  An edited version of less than 4 minutes was released in 1990 on Elemental/t.e.c. 90901 [LP].  Tom Timony of Elemental/t.e.c. told Malcolm Humes that the track was recorded live in Europe, "maybe Sweden or Switzerland."  The "Egyptian Fantasy" from Zurich (July 17, 1990) is very similar in approach to this one, and only about one minute longer.  However, Bengt Berg recalls a performance by the Arkestra at the jazz festival at Skeppsholmen, Stockholm, around this same time, at which Scott and McBee were present.  Personnel identified by rlc.  According to Callins, the Arkestra remained in Europe for the entire month of July.

According to Malcolm Humes, this collection was also sold as a cassette encased in what appeared to be a can of… beets.  The other artists were Fred Frith, Club Foot Orchestra, Peter Fair, ROVA, Machete Ensemble of San Francisco, Tom Cora, Anthony Braxton/Gino Robair, Eric Drew Feldman, Snakefinger, B. Singer, Sonny Simmons, Winston Tong, and Big Butter.

If this only whets your appetite, check out the Lugano video (June 27, 1990)  recently offered at Solar Flares.  Thanks again, Ruby!!

Lugano Switzerland (June 27, 1990)

"Egyptian Fantasy (Carefree)" from Beets: A Collection of Jazz Songs

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