(Aug 27) NMA 1983 Washington D.C. - Georges Dupuis' "Music of the Last Century" radio program (2019)
A one hour program created for our local post-teen radio broadcaster and aired live July 7, 2019, then destroyed. Well, not in my computer.
This could be seen as a preview of what my Substacks will look like when I run the daily profiles of the 1983 Washington D.C. New Music America festival from October 7-16, 2023 in this space… The youtube channel with the Washington tracks look like this:
Current bag of NMA Washington D.C. you tubes: https://www.youtube.com/playlist?list=PLmyw9E0_Jh8a3MdXxKZOYIda96ZTH7qOQ
Spares and participants:
https://www.youtube.com/playlist?list=PLmyw9E0_Jh8YISRJ_25gtN9DYcpJaMyWM
These are the rough batch of things I found back in 2019 when preparing the programs; by October when I do the day to day profiles of the festival, I hope that these will be in the proper order and that I’ll hopefully have found more. The Washington festival at this point is the one where I’m lacking the most information.
Music of the Last Century 71:
New Music America 1983 - Washington D.C.
https://archive.org/details/20190703-1400-motl-c-new-music-america-1983-washington-dc
Aired July 3, 2019 at The Station We’ll Discuss Later About
Music of the Last Century #71: New Music America Washington D.C. 1983
CONTENTS
0:00 previous show extro
0:50 station tag
1:07 advertisement
1:42 Music of the Last Century Georges Dupuis show intro (Laurie Anderson)
3:46 gd intro to book reading
4:41 gd Aldo Nazarko: A River of Oranges
14:47 gd extro, re New Music America and my own experiences, re special You Tube channel, re Jon Rose and Pauline Oliveros, intro
18:45 Pauline Oliveros Horse Sings from Cloud (only the first note)
19:10 advertisement
19:42 gd quoting Pauline Oliveros from the 1983 program
♪ 20:23 Yoshi Wada The Gathering of the Hypno-Hyppopotamus and the Alligator in Double E (excerpt)
21:03 gd extro, intro
♪22:02 Rhys Chatham For Brass (excerpt)
22:47 gd extro, intro
♪23:28 Paul Dresher Liquid and Stellar Music (excerpt)
24:15 gd extro, quoting Gregory Sandow, intro
♪24:57 Connie Beckley To Faust: A Footnote (excerpt)
♪25:54 Scott Johnson John Somebody (excerpt)
27:25 gd extro, intro
♪28:35 Inuit Throat Singers (throat song)
♪29:58 Diamanda Galas Litanies of Satan (excerpt)
♪30:43 Wilhemenia Fernandez + Jamaladeen Tacuma The Bird of Paradise (excerpt)
31:33 gd extro, re Diva the movie, Sol Mogerman concert postponed
32:42 promo
32:57 gd events calendar
34:17 gd intro, including detailed description of the tune
♪36:17 Sol Mogerman Child
38:03 gd extro, re Afro-African music at NMA, intro
♪40:40 Ornette Coleman (excerpt)
♪41:30 Dirty Dozen Brass Band Sweet Liza Jane (excerpt)
♪42:27 World Saxophone Quartet Ellington: (excerpt)
♪43:29 LeRoy Jenkins Quintet no. 3 (excerpt)
44:27 gd extro
45:23 program promo
45:54 gd weather, next show, the rest of the summer is NMA, long intro
♪49:49 David Hykes Hearing Solar Winds (excerpt that continues throughout)
♪50:33 Residents Mole Trilogy (excerpt)
♪51:53 Residents or Collins and Kuivila Alphabet (excerpt)
♪52:57 Jon Hassell (excerpt)
♪54:29 Antonio Zepeda (excerpt)
56:22 gd show extro with Zepeda and Hassell in background to end
♪♪♪♪♪♪♪♪♪♪♪♪♪♪♪
MUSIC OF THE LAST CENTURY: NMA 83 WASHINGTON transcript
0:00♪ Aldo Nazarko’s closing theme: Cause the Memory Lingers On
0:50 station tag Pat Lanty
1:07 ad University Legacy Art Galleries
Gd show intro
♪1:42 Laurie Anderson Difficult Listening Hour
2:05 Music of the Last Century, Washington, D.C. New Music America 1983
♪2:13 Laurie Anderson Difficult Listening Hour
2:34 Georges Dupuis: And yes
♪2:35 Laurie Anderson Ooh la
gd: this is music of the last century and my name is Georges
♪ Laurie Anderson Ooh la
2:41
gd: And I’m the host of a series that will end in August
♪ Laurie Anderson Ooh la
2:47 gd: With the Sol Mogerman concert that was planned for today
♪ Laurie Anderson Ooh la
2:51 gd: That will be on August 28th, but today
♪ Laurie Anderson Ooh la
2:57 gd: As we are broadcasting from the traditional Coast Saalich Territories of the Songhees and Wesaanish
♪ Laurie Anderson Ooh la
3:02 gd: We are presenting the fifth in a series of twelve programs
♪ Laurie Anderson Ooh la
3:08 gd: On New Music America
♪ Laurie Anderson Ooh la
3:13 gd: I attended them. The last seven of them and that will start with next week’s program
♪ Laurie Anderson Ooh la
3:19 gd: But this week, it happened in 1983 in Washington, D.C.
♪ Laurie Anderson Ooh la
3:24 gd: And after I do the reading of Aldo’s book
♪ Laurie Anderson Ooh la
3:29 gd: Which is on tape, I will start presenting some of the highlights
♪ Laurie Anderson Ooh la
3:35 gd: Which you can find. Go to You Tube
♪ Laurie Anderson Ooh la
3:41 gd: And put in the search device, “1983 NMA Ch-, Washington…
♪ Laurie Anderson Ooh la
3:46 gd: …DC and you’ll find the website for DJ Notdeadyet, at least a youtube site and all of the tracks that I’ll be playing on today’s program will be on that, except for this track, which is my conclusion of the reading of the chapter from Aldo Nazarko’s book A River of Oranges.
This is the chapter called Viale Camice Nere and, ah, these are the last pages in which he recounts at the age of eight living in the city of Fiume, which has basically been taken over by the Germans, and then by the Italians, and then by the Germans again and then by the Yugoslavs, therefore making some populations in the city ah susceptible to being kicked out. That will go on next week’s. But here is the chapter called Viale Camice Nere from Aldo Nazarko’s A River of Oranges
Gd note 2023: Back in the spring of 2019 I learned that I had a pre-cancerous lesion on my tongue that would need to be biopsied (a few times it turns out) and laser excised, which had the effect of creating more slosh on my already slight lisping pronunciations.
So taking advantage of a surgical waiting period before I could have the bad things (temporarily) lasered out of my mouth, I rushed one of my bucket list things I wanted to do in radio, and created my first audio book from veteran announcer Aldo Nazarko’s memoir A River of Oranges.
During all of my radio art phase of the series Music of the Last Century and for the whole of the special 21 hour New Music America series, Aldo was my radio neighbour and you might catch a glimpse of him here and there on those programs, newly transcribed. The book is its own transcription and you can find out how to get it by going to this soundcloud link of me before I got an extra helping of sibilances:
I never got the chance to complete the airing of the readings but they are all here as either free downloads, or streams for your convenience. This is the excerpt I read on this particular program:
/a-river-of-oranges-march-2019-version-1
===
4:41 gd Aldo Nazarko: Viale Camice Nere
14:47 gd And that
Georges Dupuis: And that was the chapter, as I said at the end, Viale Camice Nere, I think it’s the Street of the Black Shirts, which – or Brown Shirts, which is the – ah, the fascist ah troops that had taken over the town, the city of Fiume where Aldo was living.
As I said, um, this is Music of the Last Century and as I said, I’m going to resume this ah – we have made all the tapes necessary, ah, so all the rest of the book will be read, starting in September, ah, mostly because I’m going to need ah, most of the hours having to do with the New Music America festival.
15:23
Now, the first – there were twelve festivals in all, from 1979 to 1990. Ah, 1979, if you recall about a month ago, I did a program – four hours actually ah because it was the fortieth anniversary of this festival where composers got together in New York City to create a conference and festival to demonstrate and to explain their music to an audience that ah was being denied it from major art halls.
15:50
Ah and hadn’t quite made ah yet – music had not become a presence in art galleries, where it would become in the 1990s, mostly.* Ah, and – and up to this day. So things were very different ah and the very first festival was in New York City.
People loved it so much that they ah took a g-, a bunch of them to Minneapolis where the Walker Art Center in 1980 put on a festival, at the Minneapolis festival, or Minneapolis, the city of Minneapolis, and then it went on, ah, San Francisco in 1981, Chicago in 1982 and today, ah, Washington, D.C. in 1983.
16:29
I joined it in Hartford in 1984 and that program will be starting next week, and as I said, it’s going to be more the experimental kind of things that I do. Ah, this program as a whole is conceived as radio art and ah, to try and float through my own personal experiences, as well as still give you highlights to all these tunes that were played all at one single festival.
Ah, so it’s going to be kind of thick, but hopefully lots of fun from now until the end of year. But your guidance for all the programs, you have to DJ Notdeadyet's youtube site, “DJ NDY”, that’s me, ah and what I did is I set playlists, one for each festival – and actually two for each festival – one with the works that are played, that were played at those festivals. A lot of them world premieres.
https://www.youtube.com/@djnotdeadyet757/playlists
And also some of the performers that may have recorded around that time, but did not perform ah the works that we find on you tube but it gives you an idea of what were their careers and their art was heading at.
17:31
Now, one of the people that I met ah, at the 1984 festival was Pauline Oliveros. Um, and I would go on to being able to meet her almost every festival and ah, afterwards as well. I last – ah before she passed away a couple of years – I was able to send her a message that the book that I had written with Jon Rose called Not Violin Music 3.1, ah, Rosenberg! Sorry! The title is – I never get the title right – the title of the book that I wrote with Jon Rose was called Rosenberg 3.1 Not Violin Music.
18:07
And my co-author Jon Rose is somebody I met at the Houston New Music America festival which was put on by Pauline Oliveros. She actually helped to put on the other festivals and ah we’re going to start off with her. The first very note that appears on her recording that came out at the time, called Accordion and Voice ah tells you how you can become a zen accordion player. This is the first note of the piece called Horse Sings from Cloud and this first note is twenty seconds long.
18:45 Pauline Oliveros Horse Sings from Cloud (only the first note)
Ad 19:10 Vancouver Island Music Fest 2019
19:42
Georges Dupuis: From the official program of the New Music America festival in nineteen ein-, eighty-three.
Why new music, America? Does America need new music? Is the music of this festival new to America? What is America? Does it include both North and South America? Does it include the whole world?
Is this music new to music? What is music? What is new?
And that was signed Pauline Oliveros. And this is not Pauline Oliveros. Kind of in the same vein, though. It’s composer Yoshi Wada, attaching a vacuum cleaner to a bagpipe.
♪ 20:23 Yoshi Wada The Gathering of the Hypno-Hyppopotamus and the Alligator in Double E (excerpt)
21:03
Georges Dupuis: And a bunch of composers opened the festival in Washington, D.C., ah with brand new marches, experimental marches. We have no footage of the music that was actually played, unfortunately, but give me time. I’m starting to search and finding that there is an iceberg of material that ah people didn’t know was out there.
You can find whole versions of all these things, including that vacuum cleaner bagpipe thingy, ah, at you tube, search for “1983 NMA Washington D.C.” and you will get hours and hour of ah, what I wasn’t able to play in – in forty minutes.
21:46
Anyway, um, one of the other composers who wrote a march was Rhys Chatham, who was known for his works with 100 electric guitars. Um, don’t think there are any electric guitars in this, maybe just a couple. For brass. Here’s the first minute.
♪22:02 Rhys Chatham For Brass (excerpt)
22:47 Georges Dupuis: Rhys Chatham and For Brass, the very first minute of his march, ah, and that goes on I think for fourteen minutes or something like that.
So, parallel avant-garde marching music from him, that was in 1983, all of this is more or less, some of it 1982 and then they played it at that festival. Now, composer and author Peter Garland wrote in the 1983 New Music America festival program, quote, “I have a great hesitation in writing about new music. Composer friend Ingram Marshall once mused, ‘it’s all new music!’”
So what else is new in 1983? How about this? More parallel lines, here from guitarist-composer Paul Dresher.
♪23:28 Paul Dresher Liquid and Stellar Music (excerpt)
24:15 Georges Dupuis: Paul Dresher from Liquid and Stellar Music, that’s around minute number ten of his work.
Music writer, critic, Pulitzer Prize winner, Gregory Sandow said in the 1983 New Music America program, “the only difference I can think of between quote ‘popular’ and quote ‘serious’ is that serious music engages your mind as well as your gut. Classical music is serious but it smells too much of the past.”
Here are two composers who match the ancient art of talking with the brand new – for 1983 – art of looping. Scott Johnson and first, Connie Beckley
♪24:57 Connie Beckley To Faust: A Footnote (excerpt)
♪25:54 Scott Johnson John Somebody (excerpt)
27:25 Georges Dupuis: That was Scott Johnson and I think Part Three of his ah, I think it’s a 30 minute work, 25 minute work called John Somebody from 1982, premiered at the New Music America festival in 1983. You can see the – hear the whole thing – as I said, go to you tube, “1983 NMA Washington DC”.**
You’ll also find all of the previous programs in the series – all the tracks that were used in those. Played in full.
27:49 Ah, next, women who compose sound visions with their voices. All at New Music America 1983. Alicia Alasuak and Nellie Nunguak, followed by [Timan Ginak Petalosi] and [Whonak Mikigak]. Back then they were known as the Inuit Throat Singers.
Follow that by avant-garde diva Diamanda Galas, whose inflections have something in similar with the first piece. And someone who’s got nothing really in relationship to the other, except she’s got Ornette Coleman’s bass player, ah, a real life diva from the movie Diva, Wilhemenia Fernandez. From New Music America, three women composers.
♪28:35 Inuit Throat Singers (throat song)
29:58 Diamanda Galas Litanies of Satan (excerpt)
30:43 Wilhemenia Wiggins Fernandez and Jamaladeen Tacuma The Bird of Paradise (excerpt)
31:33 Georges Dupuis: Yeah, and I broke my rule there, I said “don’t call them women composers”, just call them composers! Three compas-, compositional ah strategies to the audience in Washington, D.C. from the Inuit Throat Singers, Diamanda Galas and Wilhelmenia Fernandez, who would know as singing ah La Wally from the movie Diva.
Actually, she was the diva in the movie Diva. Ah, and it had just come out, so this was kind of a – a coup I guess for the festival to land ah, a performance of her playing along with Ornette Coleman’s bass player, as far as I can remember.
32:08
You are listening to Music of the Last Century. My name is Georges, ah and I am doing a series on New Music America. The last program will be on August the 28th, when we were supposed to have scheduled a concert, today, ah for Sol Mogerman in the studio. It would have been my first in studio concert, so we put that oh-, off and to the August 28 program. Maybe I can get an extra couple of minutes from Fiji but you know, no promises yet.
Um, coming right up, a couple of notes and more music. Of course, it’s a music channel, right?
32:42 promo
32:57 Georges Dupuis: And you are aware, I am sure that the Eventide series starts tonight. Ah, the main performer is – you can go actually on his ah website, Eli Hirtle, E-L-I-H-I-R-T-L-E dot c-a and he describes himself as such: “Eli is a Cree Scottish British German multidisciplinary area-, ala-, artist. His home community is Wabaska, Alberta and he’s part of the Big Stone Cree Nation. He is also a photographer, filmmaker and a storyteller, interested in documenting Indigenous cultural resurgence and vi-, revitalizations.” Ah, and we will be broadcasting it here, starting around six o’clock, so if you can’t make it there, but you know, always more fun in person.
33:45 “Live music is better, bumper stickers should be issued,” as Neil Young said. Ah, other concerts and things happening tonight. At the Copper Owl, a LGBTQ ah pride karaoke and (chuckles) costume contest, there’s a small price at the gate, at the door, starts at nine o’clock. The Lost Boys at Darcy’s Pub, Herman’s Jazz Jam features Tom Vickery at 7:30, Spiral Swing, ah, Spiral Café, 7:30, ah and the Summer Voices, no that’s already done. So, that’s enough for one day, isn’t it? Okay, well maybe a little bit more music.
34:17 Um, let’s see what we’ve got next. Oh yes. Of course, Sol Mogerman who was supposed to be here, ah, is not available this week but we will as I said be presenting his, ah, music live on the August 28th program, is when I’m planning to do it. Ah, and ah, in the meantime, I’m going to be playing tracks from now until um, until then.
There are nine tracks, I have nine episodes left, so that’s enough for me to preview one track per week from Sol’s brand new compilation released called Pick of the Pops. Ah, disclosure: I wrote the brief liner notes for that album, um, after having heard it something like about twelve times.
But what follows is my unpublished description of track number one, called Child, which is taken from a poem from Gundula Mogerman.
Child opens with the tinkling of a troubadour walking into the room. Pretty soon with the words “despoiled morays of war,” it is evident that Gundula’s poetry will figure large throughout the song. The tinkling axe has a prelude which glides the voice on a river of flickering tonality, on which are rested intervals of flow.
The image of a flower child serves as an evocation of memories, plural, for that vision of sixties innocence permeated our culture. While living in it, Sol and Gundula became witnesses to it. Here in Victoria, in green Victoria, today they are like the present of a new song, but with the roots of a world that we only know as the myth of the rise of the modern California.
One of the four so-, one of uh Gundula and Sol’s four children picked the tracks for this compilation, based on – drawn from the triplicate of new material released earlier this year, ah and here is track number one from Pick of the Pops – Sol Mogerman, and Child
♪ 36:17 Sol Mogerman Child
38:03 Georges Dupuis: Sol Mogerman and the first track from the compilation ah I think to be released next week called Pick of the Pops, 2017-2018, a cross section of ah tunes taken from his three releases of old and new music and old and new poetry, ah, that came out earlier this year.
And ah, we will get it here at the station maybe you can hear it on other programs as well. Ah, my name is Georges, this is Music of the Last Century and this week we are looking at the 1983 New Music America festival ah and Ornette Coleman now. He’s the guy that coined the term “free jazz”. From the ah, 1983 New Music America program, he wrote,
“Since America has 200 million people, there is no survival probo-, problem for a person like myself because I am the only one doing what I do.”
38:57
Now since it only lasted twelve years, New Music America wasn’t able to build bridges between serious music and serious Afro-American music. Gregory Sandow actually wrote in his writing about the festival at the Village Voice, he said, “the difference between black music as serious and experimental music that’s serious is that what we call experimental is only done by White people.”
In 1983, though, what would later become representative – representation ah was at least – there was a new culture rising with seriousness that wanted to be incorporated in the world of – continuing world of changing composition.
Now, Ornette Coleman came to D.C., in this case with a funky setting for his layered harmelodics. So fun was more the order of the day rather than the serious compositions that really require a lot of concentration. Rewards, too.
Real funk was also ah with the Dirty Dozen Brass Band, because they wanted – at Washington, to have some kind of a Southern Louisiana representation. They even had Beausoleil, a great Acadian band, a Cajun band.
They also had jazz classics represented by the World Saxophone Quartet who did their treatment of four saxophones doing variations on Duke Ellington. And LeRoy Jenkins, ah is also represented in this next set, leading with his fiddle and presenting his chamber quintet. From New Music America 1983, Ornette Coleman, Dirty Dozen Brass Band, World Saxophone Quartet and LeRoy Jenkins.
♪40:40 Ornette Coleman (excerpt)
♪41:30 Dirty Dozen Brass Band Sweet Liza Jane (excerpt)
♪42:27 World Saxophone Quartet Ellington: (excerpt)
♪43:29 LeRoy Jenkins Quintet no. 3 (excerpt)
44:27 Georges Dupuis: Four examples of the emerging African-American compositional theory classes with head of the class, the man who invented free jazz – among other people – Ornette Coleman. Ah, then the Dirty Dozen Brass Band, ah, from Louisiana, New Orleans of course, ah the World Saxophone Quartet doing ah Duke Ellington and LeRoy Jenkins with his quintet, ah where you heard about a minute from his Quintet no. 3.
All these people, all these people, all these tunes you can hear them in full and that’s the last time I’ll say, “1983 NMA Washington DC” just do that on the Google Youtube, or no – just you tube – Google owns you tube – go there, you’ll find the website for DJ Notdeadyet, go to the playlist and every program that I’m doing in this series will have full works there. Very rare ones. Wasn’t easy to find some of them too. Be right back.
45:23 promo
45:54 Georges Dupuis: And I did forget to tell you about the weather, and I’m sure if you call nicely or text Fiji I’m sure that the Fiji Mermaid which is coming right up at three o’clock will provide you all the details of the weather.
Although, um, looks like it’s going to be okay for the concert tonight, so go down to Centennial Square and enjoy yourselves if you can at six o’clock. Ah, or tune in – just stay here, turn on your radio and just leave it here because then you’ll be able to ah hear all the quality programming that we can provide to you here at CFUV 101.9 FM.
46:29
Um, and this is ah Music of the Last Century. Next week, I will be doing a program on Hartford 1984, where I attended it and we get kind of abstract because I’m going to be inserting pieces of my diary writings and things that happened in my life around that time. When I was a 24 year old.
Ah, and then we go on to the end of the summer. Ah, the next program will be 1985 Los Angeles, 1986 Houston, 1987 Philadelphia, 1988 Miami, 1989 New York City, the thirtieth anniversary and ah, 1990, Montreal, Montréal Musiques Actuelles, ah and the evolution of myself, the evolution of composers and kind of a world of new music ah possibilities.
Um, but one last ah excerpt, and this is going to be a little bit more of the weirder side – of course it is, because it’s the Residents. And the Residents were not ah the cultural phenomenon that they became later on. At this point, they were still kind of obscure artists on Ralph Records, ah experimenting with this and that.
They were in the midst of the Mole Trilogy, and you’re going to be hearing a little bit of that. In the background, you’re going to be hearing David Hykes and his Harmonic Choir. They performed their micral- tone – microtonal chanting, overtonal chanting, they call it ah and presented Hearing Solar Winds which was their first big recording.
Ah, Ron Kuivila, who works with electronics and works with Nic Collins, those two were presenting loopy weirdy kind of things at the festival and it’s always wonderful to see Ron’s stuff. Ah, I saw him in Newfoundland once doing a, ah it looked like a whole bunch of clotheslines except that they were all electronically charged, and you can hear sounds coming from each of these lines, ‘cause static was – the electricity was literally creating music.
48:21 Ah, and ah Jan Hassel – Jon Hassell who ah we’ve heard at previous festivals mentioned, ah, he had collaborated with Brian Eno before but here he’s doing more of this ah atmospheric world music with um, what could be jungle ah influences of sounds and people or just simply modern ways of composition with new instruments that – all these synthesizers that started being accessible to musicians.
Ah, I might have a chance to come back but ah, oh yes, and – and we’re going to hear at the end of this, a work by Antonio Zepada who was also at the festival. And - and you’re not going to hear anything like this anywhere else. Um, it’s pre-ah, how to say, pre-Hispanic music. So this is – you take all of ethnomusicology and you put that into the future because these are recreations of musical instruments that he is – as a paleontologist um has sought out to try and recreate the sounds that might have been done by the people who inhabited ah Mexico uh fifteen thousand years ago.
49:31 Anyway, all of that from New Music America 1983 and we start off with ah David Hykes and the Residents kind of leaking themselves into the music.
♪49:49 David Hykes Hearing Solar Winds (excerpt that continues throughout)
♪50:33 Residents Mole Trilogy (excerpt)
♪51:53 Residents or Collins and Kuivila Alphabet (excerpt)
♪52:57 Jon Hassell (excerpt)
♪54:29 Antonio Zepeda (excerpt)
56:22 Georges Dupuis: David Hykes and the Harmonic Choir coming to a close in Music of the Last Century, Fiji Mermaid coming right up, ah and another person, as I had mentioned, who was at the festival was Antonio Zepeda, playing instruments that are recreations of musical instruments that existed fifteen thousand years ago. Oh, there’s Jon Hassell on the side, you can hear doing his kind of atmospheric tonal things from 1983.
(background) ♪Jon Hassell (excerpt)
♪Antonio Zepeda (excerpt)
Georges Dupuis: It doesn’t have to all be bad. I mean I saw Diamanda Galas dancing to Michael Jackson, on – on tape of course, but I mean, see, the weirder people like normal stuff too. And that includes me. See you next week with New Music America 1984. Antonio Zepeda and his ten thousand year old flutes will bring you into the Fiji Mermaid radio program.
(both Hassell and Zepeda play off each other to the end)
==================================
*Actually, subsequent reading led me to a history of the presence of art music in art galleries throughout the seventies. – gd 2023
**As a sizeable amount of things currently posted on youtube before the AI copyrightbots get massive are posted by fans who works get taken down by whoever the copyrightbots are working for. So nope, you’ll have to go to other places to find Scott Johnson’s John Somebody. Part one is on his soundcloud, though:
or get the whole thing though the Tzadik label: https://www.tzadik.com/home_frame.php?searchfield=catalog&searchterm=8009