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TOMPKINS SQUARE

Mal Waldron

Searching In Grenoble : The 1978 Solo Piano Concert

    Searching In Grenoble: The 1978 Solo Piano Concert is a previously unissued recording of jazz icon Mal Waldron's mesmerizing performance at the "Five Days of Jazz" series in Grenoble, France on March 23, 1978. Waldron was Billie Holiday’s final accompanist, played on classic sessions with John Coltrane, Charles Mingus and Jackie McLean among others, and recorded dozens of solo albums as a leader before his passing in 2002. Originally produced by the legendary André Francís and transferred from the original Radio France tapes, this is the first official release of this music in cooperation with the Mal Waldron Estate and Ina (The Institut national de l'audiovisuel). The beautifully designed, deluxe 2-CD set includes photos by K. Abe, Brian McMillen and Raymond Ross; an extensive 24-page booklet with a heartfelt statement by Mal's daughter Mala Waldron, plus essays by producer/"Jazz Detective" Zev Feldman, journalist Adam Shatz and Ina's Pascal Rozat; and interviews with modern jazz piano luminaries Ran Blake and Matthew Shipp. Searching In Grenoble features classic Waldron originals such as "Soul Eyes" and "All Alone," and jazz standards "You Don't Know What Love Is," "It Could Happen to You" and "I Thought About You.” The 2CD set will be available worldwide September 23rd on Tompkins Square (TSQ5906), and was produced for release by Zev Feldman and Josh Rosenthal.

    TRACK LISTING

    CD1:
    1. Mistral Breeze/Seig Haile - M. Waldron
    2. Here, There And Everywhere - M. Waldron
    3. Russian Melody - M. Waldron
    4. Petite Gémeaux - M. Waldron
    5. Fire Waltz - M. Waldron
    6. You Don’t Know What Love Is - D. Raye, G. De Paul
    7. Soul Eyes - M. Waldron
    CD2:
    1. It Could Happen To You - J. Van Heusen, J. Burke
    2. Russian Melody - M. Waldron
    3. I Thought About You - J. Van Heusen, J. Mercer
    4. Snake Out - M. Waldron
    5. All Alone - M. Waldron

    Bola Sete

    Samba In Seattle: Live At The Penthouse, 1966-1968

      Bola Sete - Samba in Seattle: Live at the Penthouse, 1966-1968 is the first official release of the legendary and influential Brazilian acoustic guitarist BOLA SETE's live recordings at the Penthouse jazz club in Seattle, WA featuring bassist SEBASTIÃO NETO and drummer PAULINHO MAGALHÃES.

      Produced by Grammy-nominated jazz detective ZEV FELDMAN, and remastered from the original tape reels in cooperation with THE BOLA SETE ESTATE, this deluxe 3-CD set includes an extensive 40 page booklet with rare photos from THE PENTHOUSE; essay by music critic and GREG CASSEUS (aka GREG CAZ); new interviews and statements by guitar icon CARLOS SANTANA, legendary composer/pianist LALO SCHIFRIN, Sete's friend, pianist and producer, GEORGE WINSTON, and Bola Sete's widow ANNE SETE; plus an effusive tribute by the late guitar great JOHN FAHEY. Samba in Seattle is a significant addition to the recorded legacy of an oft–sampled musician (A Tribe Called Quest, J Dilla and Dan The Automator) whose career straddled bossa nova, jazz–pop and early New Age.

      TRACK LISTING

      1. Consolação – Baden Powell, Vinicius De Moraes
      2. Meditação – Antônio Carlos Jobim, Newton Ferreira De Mendonça
      3. Prelude No. 1 – Heitor Villa-Lobos
      4. Soul Samba – Bola Sete
      5. Deve Ser Amour – Baden Powell, Vinicius De Moraes
      6. Valsa De Uma Cidade – Ismael Netto, Antônio Maria
      7. Garota De Ipanema – Antônio Carlos Jobim, Vinicius De Moraes
      8. Malagueña - Ernesto Lecuona

      Disc Two (October 13 & 20, 1967)

      1. The Shadow Of Your Smile – Johnny Mandel, Paul Francis
      2. Webster
      3. Satin Doll – Duke Ellington, Billy Strayhorn
      4. Spanish Dance No. Five – Enrique Granados
      5. Prelude No. 3 In A Minor – Heitor Villa-Lobos
      6. Manhã De Carnaval – Luiz Bonfá, Antônio Maria
      7. A Felicidade – Antônio Carlos Jobim, Vinicius De Moraes
      8. Samba De Orfeu - Luiz Bonfá, Antônio Maria
      9. Samba De Avião – Antônio Carlos Jobim
      10. Samba De Verão – Marcos Valle, Paulo Valle
      11. Valsa De Uma Cidade – Ismael Netto, Antônio Maria
      12. Asturias - Isaac Albéniz
      13. Partita In E Major, BMV 1006a III. Gavotte ‘en Rondeau’ – Johann Sebastian Bach
      14. Flamenco Fantasy – Bola Sete

      Disc Three (July 26 & August 2, 1968)

      1. Tristeza – Haroldo Lobo, Niltinho
      2. Corcovado – Antônio Carlos Jobim
      3. Deve Ser Amour – Baden Powell, Vinicius De Moraes
      4. Consolação – Baden Powell, Vinicius De Moraes
      5. O Barquinho – Roberto Menescal, Ronaldo Bôscoli
      6. One Note Samba – Antônio Carlos Jobim, Newton Mendoça
      7. Satin Doll - Duke Ellington, Billy Strahorn
      8. Recuerdos De La Alhambra – Francisco Terraga

      Russell Potter

      A Stone's Throw

        The latest in a series of reissues spawned from Imaginational Anthem Volume 8 : The Private Press, following Tom Armstrong - The Sky Is An Empty Eye and Rick Deitrick - Gentle Wilderness/River Sun River Moon Reflections on Russell Potter by IA8 co-producer and poet, Michael Klausman : The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion. A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone’s Throw’, while a freshman enrolled at Goddard College in Vermont in 1979.

        Assembled at the legendary Boddie Records in Potter’s hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey’s earliest record label, Fonotone), to the arcane song titles and references to obscure rags. Even as he looks to his elders, Potter’s debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey’s, as he does here. There’s a very immediate, lovely, and real homespun quality to Potter’s chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time. Shortly after ‘A Stones Throw’, Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo’s ‘Mongoloid’, before moving on to his second (and sadly final) album the following year, ‘Neither Here Nor There’. Following an independent study with a Goddard College ethnomusicologist, Potter’s compositions and performance only deepened on his second release — the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic —but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs.

        He’s still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic “Dance of the Inhabitant of the Palace of King Philip XIV of Spain.” Though these albums landed at a time when American Primitive guitar music’s 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre’s eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you’re likely to find

        Rick Deitrick

        Coyote Canyon

          Coyote Canyon is a wilderness area behind my daughter's house where coyotes gather and howl before taking off for their nightly foraging. Little Tujunga (pronounced "Tuhunga") is a river running through the Angeles Forest near a house I lived in five decades ago. Half my ideas for this piece came from onshore guitar ruminating. The rest was improvised in studio. Emma was my close and sweet companion during this period, a lifelong deep friend. I composed her song one evening at the kitchen table of our place while she was cooking.

          Tumbleweedin' describes a desert tumbleweed storm. I menaced every inch of the Yamaha, recreating the effect of these 4 windblown monsters screeching along boulders, smacking into cactus and anything else in their way at often impossible speeds, following the whims of the heavy winds. This song was completely improvised at the moment in studio and forgotten. Roy's Rain is a tribute to my great good friend and musician killed in a car accident in 1973. I found For Marsha Version2 on a well-worn studio tape. It's a variant of the same composition on the Gentle Wilderness album. I like this loose and flowy version. Movin' On has one thing on its mind -- getting away fast and now. Going Home is my improvised take on an American root song. The above seven were recorded between 1972-1975. Three Sisters was recorded on a 20-minute studio break in 1999 describing three barren red hills somewhere in the Arizona desert, a cherished location.

          Robbie Basho

          Song Of The Avatars: The Lost Master Tapes

            Robbie Basho (1940-1986) is widely regarded as one of the progenitors of what's commonly known today as American Primitive guitar. Growing up in Maryland alongside neo-traditional guitar explorers John Fahey and Max Ochs, Basho's path would take a decidedly different turn, bringing Hindi, Indian, Japanese and Native American musical traditions into his work. His albums for Takoma and Vanguard have left an indelible trail of influence across generations of musicians, from William Ackerman and Pete Townshend to Ben Chasny and William Tyler.Liam Barker first became aware of Basho having purchased Tompkins Square's reissue of Venus in Cancer, released in 2006.

            This led him on an incredible fact-finding expedition, unraveling the many layers of mystery surrounding Basho's life and death, all deftly compiled and depicted in his documentary film, Voice of the Eagle : The Enigma of Robbie Basho.During the research process, Barker came across a large cache of unheard Basho tapes recorded throughout his career, ranging roughly from 1965-1985. By arrangement with Basho's Estate and the original custodians of the tapes, Tompkins Square is set to release Song of the Avatars : The Lost Master Tapes, a 5CD set of previously unreleased material. The label will release a single disc vinyl LP on Record Store Day '20 as well. The set includes notes by Barker, Henry Kaiser, Steffen Basho-Junghans, Glenn Jones and Richard Osborn, as well as many unseen photographs

            TRACK LISTING

            Disc One :

            1 Hari Kari, Kali Style
            2 If I Had Possession
            3 Bengali Prayer
            4 Brahmanís Blues
            5 Tatanka
            6 Medieval Nocturne
            7 Autumn Child
            8Priest Spring Jazz
            9 Hippy Song
            10 Swamp Song
            11 Rosey Bush

            Disc Two :

            1 Gypsy Rosary
            2 Himalayan Highlands
            3 Rising Sun Song
            4 Song Of The Avatars
            5 Mehera My Love
            6 Mehera's Lament
            7 Hymn For The Warriors Of The Rainbow
            8 White Buffalo
            9 Walla Walla
            10 Crazy Horse Soliloquy
            11 Come To Me

            Disc Three :

            1 Symphonic Quisada For The Prophet
            2 Cry Of The Nightingale
            3 Song Of God
            4 Le Jandin (Ballet)
            5 Libation
            6 House Of God
            7 Breeze In The Palace
            8 Queenís Ride
            9 Bhupali

            Disc Four :

            1 Golden Palomino
            2 Memorial
            3 Great Depression Blues
            4 American Sunday
            5 Bride Of Thunder
            6 Ride The Buffalo
            7 Majnun's Lament
            8 Omar Khayaam Country
            9 Four Ladies Across The Water
            10 Tears Of Teresa
            11 Blues From Lebanon
            12 The Song Of Leila
            13 Califia

            Disc Five :

            1 Tree Of Love
            2 Lady Fair
            3 Wonder Song
            4 The Fortunes Of War
            5 Hindu Christmas Carol
            6 Shepherd Of The Stars
            7 Baba Boy
            8 Murshidaís Wally
            9 Sea Of Light (Babaís Ship Song)
            10 Lord Of Roses 

            Gwenifer Raymond

            Strange Lights Over Garth Mountain

              Welsh musician Gwenifer Raymond’s 2018 debut album, You Never Were Much of a Dancer, introduced a new voice on acoustic guitar, receiving 5 stars in The Guardian, big spreads in MOJO and UNCUT, and airplay on multiple BBC programmes. This led to months of touring on the European festival circuit. Her latest, Strange Lights Over Garth Mountain, finds Raymond ranging into unexplored experimental territory, drawing from her Welsh roots.

              In her own words : My new album, 'Strange Lights Over Garth Mountain', has eight songs in it. All were recorded in a basement flat in central Brighton, locked-down amidst a global pandemic. I recorded them myself and neither I, nor any of the songs saw said outbreak coming. Coronavirus may have dictated the circumstance under which the album was recorded but it did not otherwise inform any of the compositions that run through it; like I said, we didn't see it coming. Growing up in Wales was not a theme strongly present in my first record (perhaps not too surprising in an album of 'American Primitive'), but I feel as though my memories of that time have started to insinuate themselves in the tunes here.

              In my opinion, landscape does a lot to shape a community's folk music; from my childhood I recall tall, spooky trees, black against the grey sky, breath misting in cold air, and I have tried to take something of Welsh folk horror to make my own 'Welsh Primitive'. Whilst this isn't the only theme present in the album, childhood memories do form the background for a couple of tracks: coal trains steaming along the foot of our garden, rattling the glasses on the kitchen table; and the titular 'Strange Lights...' dancing above the peak of the mountain which loomed over the house where I grew up. Dead men also feature prominently, as well as personal tragedies and the madness of touring. It's possible this album is leaning more into the left-field than the first - the songs are longer and more 'compositional' for lack of a better word, rather than deriving so heavily from the folk and blues traditions, though, they're still there - all of those dead men are hard to shake. Some parts go fast and others go slow. Sometimes I play more aggressively than I intend to and other times I play exactly as aggressively as I intend to. I still say it's punk music and I have no idea what key the last tune is in.For Erik Satie, Master Wilburn Burchette, and Ruben the dog.

              STAFF COMMENTS

              Barry says: At points taut, but brilliantly emotive throughout, 'Strange Lights...' is an album full of rhythmic twists and unbelievably skilful and effecting performances.

              TRACK LISTING

              1. Incantation
              2. Hell For Certain
              3. Worn Out Blues
              4. Marseilles Bunkhouse
              5. Gwaed Am Gwaed
              6. Ruben’s Song
              7. Eulogy For Dead French Composer
              8. Strange Lights Over Garth Mountain 

              Wall Matthews

              Spine River:The Guitar Music Of… 1967-1981

                Guitarist Wall Matthews is surviving member of experimental 70's collective, Entourage. Sampled by Four Tet, their name whispered in reverence through the decades, Entourage forged bold musical ideas on their two rare ’70s Folkways LPs. Tompkins Square released 'Ceremony of Dreams : Studio Sessions and Outtakes, 1972-1977', in 2017 to wide acclaim. 'Spine River : The Guitar Music of Wall Matthews, 1967-1981' is a collection of unreleased or obscure music by the master guitarist. This volume will be released as a limited edition LP, along with four other digital volumes of Wall's music, chronologically mapping his career. Praise for Entourage : "A three-hour stream of instrumental riches, whether you’re looking to find samples or get lost in a trance....

                These 30 tracks alternately conjure the ecstatic minimalism of John Cale and La Monte Young, the billowing clouds of Arvo Part, the aleatory intrigue of Derek Bailey, and the strange guitar beauty of Sandy Bull" – Pitchfork "As seriously as they clearly took their playing, the music never lost its sense of playfulness and joy" - PASTE (8.7/10) "This is essential and irresistible vintage American weirdness." - All Music Guide (4.5) "...it's transporting stuff." - Rolling Stone "Erring between Alice Coltrane-esque spiritual jazz, Steve Reich’s minimalism and stunning instrumental folk, Ceremony of Dreams highlights 30 tracks from a fiercely creative period between 1972 and 1977 that did not appear on the two Folkways albums released at the time." - Vinyl Factory "New age gongs, drones, sax, pastoral guitar, scraped violas … Think Third Ear Band's druid rock meets early Popol Vuh with the obvious chops of a less slick Weather Report" - Record Collector (4 stars)

                Will Beeley

                Highways & Heart Attacks

                  HIGHWAYS & HEART ATTACKS is a remarkable return from a singer-songwriter whose work might well have been lost to dusty record crates and the secret annals of Americana musical history. But with Tompkins Square’s 2017 reissues of Beeley’s two stunning albums, 1971’s GALLIVANTIN’ and 1979’s PASSING DREAM, the Texas-based troubadour finally earned the applause his distinctive songcraft long deserved, with Noisey praising his “deeply felt, little heard, folk music” and PASTE noting, “With the re-release of these fine LPs, we can spend some time more fully appreciating them before (Beeley’s) very welcome return to the music world.” Recorded at San Antonio’s Blue Cat Studios with producer Jerry David DeCicca (Chris Gantry, Ed Askew, Larry Jon Wilson), Grammy® Award-winning engineer Joe Trevino (Flaco Jimenez, Los Lobos, Los Texmaniacs), and Grammy® Award-winning mix engineer Stuart Sikes (Loretta Lynn, Cat Power, Phosphorescent),

                  HIGHWAYS & HEART ATTACKS sees Beeley backed by a combo of Americana all-stars that includes accordionist Michael Guerra (The Mavericks), guitarist Don Cento (Sarah Jaffee), bassist Canaan Faulkner (The Black Swans, Ed Askew), drummer Armando Aussenac (Neon Indian), organist Richard Martin, and Grammy® Award-winning violinist Bobby Flores (Freddy Fender, Doug Sahm, Willie Nelson). Songs like “Been A Drifter” and “Don’t Rain On My Parade” are both wistful and warm-hearted, Beeley’s rough-hewn vocals the ideal vehicle for his one-of-a-kind tales of a road well traveled and a surprise ending hard earned

                  TRACK LISTING

                  1.Been A Drifter
                  2.Jack Daniels
                  3.The Homeless Ain’t Just Hobos Anymore
                  4.Don’t Rain On My Parade
                  5.U.S. 85
                  6.Help Me Face The Days
                  7.Taste Of The Good Times
                  8.Singin’ Lullabies
                  9.It Didn’t Feel Like Christmas (And It Sure As Hell Ain’t New Years Yet) 10.Telling Stories

                  Will Beeley

                  Gallivantin'

                    Tompkins Square reissue the self-released mega-rare (only 200 copies) private press LP Gallivantin' from 1971. Recorded in San Antonio, Gallivantin' shows Beeley's heartfelt, folky side - a wistful set of original tunes, plus a cover of Bob Dylan's "You Ain't Goin' Nowhere" and a spaced-out, 10 minute+ Eastern-influenced psych take on Buffy Sainte-Marie's "Little Wheel Spin & Spin / Co'Dine".

                    Now a truck driver living in New Mexico, Will Beeley recently recorded his first new album since 1979's Passing Dream. Produced by Jerry David DeCicca of The Black Swans (who also produced Larry Jon Wilson's final album), the new one features Michael Guerra (The Mavericks), and is mixed by Stuart Sikes (Loretta Lynn's Van Lear Rose, Cat Power's The Greatest). The album is slated for release on Tompkins Square sometime in 2018.

                    First-generation American Primitive guitarist Richard Osborn studied with Robbie Basho in the late 60's. 40 years later, Osborn finally recorded, appearing on Tompkins Square's 'Beyond Berkeley Guitar' comp in 2010. 'Endless' is his first widely available solo guitar album. "[Osborn has] an unhurried, quiet spirit of adventure, a love of ringing strings and slowly revelatory meditations on the natural world."- Acoustic Guitar "He's a student of mine and he's better technically than me or Fahey." - Robbie Basho

                    The first legit reissues of these rare, stellar LP's by DC-based singer/songwriter Bob Brown. Richie Havens took Bob under his wing, produced both albums, and released them on his Stormy Forest label distributed by MGM. Although they failed to make a commercial impact at the time, cosmic-folk enthusiasts and vinyl-heads have long placed these albums in high esteem alongside the works of exploratory greats like Tim Hardin and Tim Buckley. 

                    Kid Millions Reworks Harry Taussig

                    Beyond The Confession

                      Kid Millions is a musician, composer and writer best known as the drummer and founder of Brooklyn's experimental rock behemoth Oneida. For the last twenty years, Millions has been at the forefront of the NYC experimental music community collaborating with artists as varied as Laurie Anderson, Yo La Tengo, Boredoms, So Percussion and William Basinski. Enter his album-length conversation with the recordings of the unjustly obscure guitarist Harry Taussig, whose 1965 private-press album Fate Is Only Once was reissued by Tompkins Square in 2006. This strange gem was followed by two new Taussig recordings - Fate Is Only Twice(2012) and The Diamond of Lost Alphabets (2014). Tompkins Square proposed that Millions take this raw material and fashion something completely new. Millions took the material up to Kingston NY and through working with his engineer Matthew Cullen emerged with an album of rare beauty in keeping with the spirit of Taussig's work while suggesting directions previously unexplored in his oeuvre. To create this new work, Millions and Cullen overdubbed guitars, drums and organs onto the original tracks and sent the material into other damaged psychedelic dimensions only hinted at in the original works. Millions writes in the liner notes, "[Taussig is] not slavishly attended to technique but we also don't feel any boundaries to his expression. One of his classic tunes is subtitled "Fantasia in A" and in a way this term is a perfect label for his entire oeuvre. A fantasia is an improvisation that touches on many themes and styles. Some of his songs are very tight and tidy and I was drawn to some of them. But I also wanted to stretch these moments of loose revelation and turn a spotlight on Taussig's generous search." We're left with a kind of revelation - a so-called "remix" album which can actually stand on its own and illuminate both artists' work.

                      In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.Fantômas – a master of disguise and symbol of terror – is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (which was broadcast live on the European ARTE channel) each bringing their own unique sonic perspective to the other installments in the series.Written during the course of a few months, Blackshaw drew influences from French impressionist composers, Brazillian guitar music, musique concrete and the works of other film composer such as David Shire and Pino Donaggio, to create a noirish score that is in turns sinister, quietly profound and thrilling.Personally invited by James Blackshaw, experimental musicians Duane Pitre and Simon Scott (also of Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano, with multi-instrumentalist Charlotte Glasson adding violin, vibraphone and several wind instruments to the 75 minute long work.

                      The essential contemporary guitar anthology series continues. Since 2005, Tompkins Square label's 'Imaginational Anthem' compilations have featured some of the greatest acoustic guitarists in the world, with recordings spanning five decades. More than mere samplers, these albums have served as state-of-the-art dispatches from the front lines of the art form. The first three volumes, available as a low-priced box set, intermingled generations of American Primitive players - lost, forgotten masters next to contemporary players. Volume 4 saw a departure from that formula, featuring only new jack players. Volume 5, available November 13, also features the current crop of younger players, but with a twist. This is the first volume not compiled by Tompkins Square's Josh Rosenthal. Instead, he recruited guitarist Sam Moss. "I felt I'd exhausted most of the older guys I wanted to dig up, and I wasn't hearing that much new guitar that I really liked. I sensed that Sam knew what was going on." The result is a gorgeous panoramic view of contemporary guitar, full of agile finger-style, and a few jagged detours.

                      TRACK LISTING

                      1. Temple Walk - Steve Gunn
                      2. I Think We'll Be Happy Here- Jordan Fuller
                      3. Lookout Point- Danny Paul Grody
                      4. There Is A Place In This Old Town- Nick Schillace
                      5. Hemet Pine Singer- Will Stratton
                      6. John Fahey Commemorative Beer Can- Bill Orcutt
                      7. Confederate Rose- Daniel Bachman
                      8. Through A House Of Violet Abandon- Eric Carbonara
                      9. Her Unmediated Eyes- Tom Lecky
                      10. Standing At The Entrance Of A Hidden City- Alexander Turnquist
                      11. Modern Man In Search Of A Song- Cam Deas
                      12. Rivers Gone Badly Wrong- Yair Yona

                      Various Artists

                      Imaginational Anthem Volume Two

                        Released in October 2005, "Imaginational Anthem Volume One" featured two generations of important acoustic guitarists, from John Fahey and Sandy Bull to Jack Rose and Kaki King. Volume Two expands and builds on this theme with 70+ more minutes of guitar magic. 23-year old UK 12-string upstart James Blackshaw opens the record, while the late master Robbie Basho, a clear influence on Blackshaw's style, closes it. Basho's track is the only live recording by this groundbreaking guitarist ever released. Riches abound with new recordings by former Takoma roster alumni Peter Lang (who made an album with John Fahey and Leo Kottke), Billy Faier (an original Greenwich Village folkie who's late 50s Riverside records inspired a fellow crack banjo player, Steve Martin) and an archival home recording by Fred Gerlach (a favorite of Jimmy Page). The new breed is well-represented by fascinating figures of today - Smith, Christina Carter, Jesse Sparhawk, Sharron Kraus, Jack Rose and James Blackshaw. Legendary singer/songwriter Michael Chapman, whose first albums for the Harvest label in the 60s are now seeing the light again, contributes as well.


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