"Companion to Disco 3000, made on the same classic Italian quartet tour with John Gilmore, Michael Ray (trumpet) and the minimal but perfect Luqman Ali (drums). Ra himself plays piano and electronic keyboards, including the mysterious Crumar Mainman, which Ra describes as 'like a piano, organ, clavichord, cello, violin and brass instruments' and which also, importantly, has a facility for pre-programmed bass-lines and electronic percussion - which Ra uses constantly and to great effect in this small ensemble setting - and seldom, if ever, elsewhere.

The best of this collection (most of CD1) is luminous: very electronic, often rhythmical and melodic, always economical and making every sound count. These tracks are like no other jazz ensemble and, although recognisable as Ra - who else could think of, and then get away with, this - unlike any other Ra ensemble either. Ra makes the machines do amazing, visionary, things while the band exercises restraint, remaining always in focus. Between, there are piano, saxophone, trumpet and drum vignettes, fresh and perfectly judged; this really was a fine band.

This places the original vinyl release (and related releases: Sound Mirror and Disco 300) back into the context of the concerts from which they were drawn. An important addition to the Sun Ra canon since it is a rare document of an unusual Ra project that produced three classic late '70s LPs. Beautifully packaged and well annotated."-Recommended Records

"Some years back Bill Gilonis (The Work, The Lowest Notes, Hail etc.) teamed up with B.O.A. administrator, Trixa Arnold, to write and record songs which would mostly praise the lords of Aqua-Vita (alcohol). Filling out their band of Smirnoff-swilling miscreants was Ilya Komarov (bassist for the Estonian band, Ne Zhedali) and none other than armchair anarchist, crown prince of avant-garde Pop, Rob Murphy, AKA "Bing Selfish".

Whilst the group hoped that their songs would become instant "hits" with those who quaff down lots of booze (ie: the whole of Rock music's target market, ages 17 thru 35), they hadn't accounted for a change in public attitude towards basic health and hygene issues, which caused record company executive, Chris Cutler, some alarm. Always monitoring the merits of demographics and pie-chart predictions, Cutler feared the album would not meet sales requirements. Straightening his tie as he exited his Rolls, and in-between puffs on a 13-inch Romeo and Juliet, the legendary money-maker made the band aware, in no uncertain terms, that their music was "as unkempt and as messy as yourselves".

But, although he feared the master tapes of Miners Of Banal were lacking in two areas (form and content), he nonetheless agreed to issue the disk on a limited basis to "test the murky waters". Hence the disk's original issue fell off of the map rather quickly. As it's nowadays hip and cool again to play messy, unkempt music in the avant-rock vein of L. Voag, The Work, Unrest Work & Play and Orchestra Murphy, we've decided that the world is probably now finally dirty enough for The Miners of Banal, and we're happy to re-distribute this (almost) legendary album."-Recommended Records

Unfortunately: it's all too seldom that an American rock band will come on to the scene, seemingly out of nowhere, to shake things up on some sort of musical level. Fortunately: we DO have The Red Masque, who have a penchant to do exactly that.

Singer Lynnette Shelley's vocal prowess is so extremely formidable, that it stands unrivaled in today's world of advancement-based music (what some folks still stubbornly refer to as "Progressive Rock"). Her vocal delivery, both strong and passionate, is insistently astounding, and whilst never overbearing to the intent of her lyrical matter, often lends a helping hand of credence to it. This is a sign of musical maturity, and far too few are willing to examine this presentation, or to strip away their own influences in the hope of creating something new; Thankfully, Ms. Shelley helps her style of music to break its own mold.

The band alongside her is comprised of top-notch musicians [Brandon Ross, Vonorn and Andrew Kowal], who compose and play a fresh new slant in a school of music whose major proponents lost their sense of immediacy long ago. They work long and hard together on the compositions, and it shows. Within the framework of "normal" instrumentation (meaning guitars, keys, bass and drums), and a few not-so-ordinary (like the erhu), The Red Masque exceed the parameters of PROG which time and again have reproduced formulaic results, and therefore go well beyond the norm of their contemporaries.