1993, Dubrovnik after the siege. The city is still shaken and wounded by the horrors of war and the traces of that agonizing past-present are still visible on the walls of houses but above all in the minds and hearts of its inhabitants. One day Linda and her best friend Eta get lost in mountains of Dubrovnik. The two girls sink into an ambiguous and sexually-charged game of switching roles and identities which culminates in a fatal fall. Alone, in a country that she no longer fully understands, Linda loses herself; her personality splits in two: on the one hand her inner self and on the other the far away and persistent echo of her deceased friend…
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
French saxophonist Horellou also goes under the name Dual Snake, and seems equally at home working in a variety of musical genres as he does with jazz. Brooklyn is a pretty mainstream quartet outing, full of enjoyable compositions that Horellou has penned himself, and seven originals plus Tadd Damerons If You Could See Me Now makes up a solid set for the 70 minutes duration.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest).
The subject of many poor quality bootlegs, this concert - one of only a handful undertaken by Fripp & Eno - is routinely described as ‘legendary’. Hearing the tapes in fully restored audio quality, it's easy to understand why it attracts such reverence now and perhaps, why the shows attracted such hostility then. No Roxy Music hits, No King Crimson riffs, just a duo sitting in near darkness with a reel to reel tape recorder, improvising over the pre-recorded loops with a filmed background projection. Replace the reel to reel machine with a couple of laptops/iPads/sequencers and the core of much current live performance from electronica to hip-hop was there some thirty years in advance. At the time, audiences responded to such a glimpse of the future with booing, walkouts and general confusion.