‘Multi-track, multi-instrumental recordings — more compositional in nature than Sound On Sound — especially prized by the man himself. Over-dubbing builds and sculpts each piece, creating complete wind ensembles one track at a time. In 1974 and then again in a longer session in 1979, McPhee recorded himself in concise solo, duo, and tripartite self-communion, like a one-man-WSQ, his probing investigations and lyrical statements as incisive and insightful as those of his best-known recordings.’

‘Three adventurous, spacious displays of Smith’s unique and innovative trumpet — besides percussion, tuned percussion and flute — right at the crest of his induction into the pantheon of AACM greats. A candid snapshot of one of the most vital musicians to extend the jazz tradition, testing his craft and artistry with a bright, pure-toned sensibility and deeply soulful melodic imagination.’

Utterly captivating settings for soprano and alto saxophone — Lacy and Steve Potts terrifically on song — of Georges Braques’ bons mots. With Irene Aebi.
Recorded in 1979 by Jef Gilson.
The first CvsD re-release of Lacy’s full Hat Hut oeuvre, mastered from the original tapes.

In the view of Robert Crumb (who did the lettering for the cover). Tenor, baritone, electronics, music box. Great repertoire — Ellington, Ayler, Lars Gullin’s fabulous Danny’s Dream — done charged, lyrical justice.