Steve Tibbetts - Steve Tibbetts (1977)

Year: 1977 (CD 1995)
Label: Cuneiform Records (US), 55009
Style: Jazz Rock, Acoustic, Progressive Rock
Country: Madison, Wisconsin, U.S.
Time: 34:40
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

Steve Tibbetts (born 1954) is an American guitarist and composer. He views the recording studio as a tool for creating sounds. Most of his albums include percussionist Marc Anderson.
Steve Tibbetts is the debut album by Steve Tibbetts, recorded in 1976. Eventually released by Frammis Records in 1979, the CD was reissued by Cuneiform in 1995.
The New Rolling Stone Record Guide wrote that Tibbets "uses a few too many cliches, [but] proves that he has the talent to make those cliches work." The Billboard Guide to Progressive Music called the album "a classic of instrumental psychedelic progressive music from the unlikely region of grassroots middle America."
(en.wikipedia.org/wiki/Steve_Tibbetts)

01. Sunrise (04:14)
02. The Secret (04:49)
03. Desert (04:39)
04. The Wonderful Day (02:21)
05. Gong (01:43)
06. Jungle Rhythm (05:37)
07. Interlude (01:52)
08. Alvin Goes To Tibet (04:16)
09. How Do You Like My Buddha? (05:04)

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Soft Machine - Noisette [Live] (1970)

Year: 4 January 1970 (CD January 18, 2000)
Label: Cuneiform Records (US), rune 130
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 73:25
Format: Flac Tracks 16/44,1 kHz
Size: 444 Mb

Recorded January 4, 1970 at Fairfield Hall, Croydon, England, this was the first show performed by the short lived 1970 quintet version of the band and is taken from the same concert as “Facelift” on Third.
Noisette features the rest of the concert, & showcases a band in transition from their earlier psychedelic/ progressive sound towards the jazz rock sound of Third & Fourth. It features the quintet performing versions of material from their 1st two albums as well as material not available on their studio albums.
Mastered directly off of the 50 year old 15ips master tapes, this release boasts superb live sound for the time period, & includes rare, unseen photos and liner notes by Aymeric Leroy.
(cuneiformrecords.bandcamp.com/album/noisette)
Steve Feigenbaum (founder of Cuneiform Records) continues to expand the breadth of the Soft Machine legacy by finding gold in long forgotten tapes. His latest audio treasure spotlights a brief five-piece incarnation of the band upon completion of a mainland European tour. Lyn Dobson is the uncomfortable melodic element in this transitional line-up which is only documented here in these ten songs. The set opens with a spirited rendition of Mike Ratledge’s “Eamonn Andrews,” which was previously only found on the BBC archives disc. Drummer Robert Wyatt is under some restraint in this performance when compared to his drumming on Cuneiform’s last release, Virtually. His only real chance to break out vocally is on the segued version of “Moon in June” as the piece shifts into Hugh Hopper’s piece “12/8” which appears here for the first time. Then Dobson appears to take the soprano sax lead as Elton Dean provides the accompanying alto sax part (as they also do on “Hibou, Anemone and Bear”). The surprise piece in the almost 75 minute set is the rave up on “We Did It Again” from the band’s first album. The piece opens with a Wyatt drum solo and quickly builds into a brash jam which servers as a strong closer for a show. What’s Rattlin’s Aymeric Leroy timelines the detailed events which led up to this live performance at Croydon Fairfield Hall in January, 1970. This recording serves as another living testament to the jazz genius of the ensemble as they anxiously await discovery by a new set of eager jazz acolytes. Noisette should hold up easily as the archive release of the New Year.
(expose.org/index.php/articles/display/soft-machine-noisette-4.html) Review by Jeff Melton, 2000-05-01

01. Eamonn Andrews (12:15)
02. Mousetrap (05:24)
03. Noisette (00:37)
04. Backwards (04:47)
05. Mousetrap (reprise) (00:25)
06. Hibou, Anemone and Bear (09:21)
07. Moon In June (06:55)
08. 12/8 Theme (11:24)
09. Esther's Nose Job (14:59)
10. We Did It Again (07:14)

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Soft Machine - Switzerland 1974 [Live] (1974)

Year: 4 July 1974 (CD Feb 6, 2015)
Label: Cuneiform Records (US), Rune 395/396
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 59:49
Format: Flac Tracks 16/44,1 kHz
Size: 366 Mb

You have to be an extremely confident unit-and one mother of a band-to turn up at a prestigious mega-gig like the Montreux Jazz Festival and drop a set of new material on the audience like the newly rejiggered Soft Machine did in July 1974. Turns out that material would go on to comprise 1975’s Bundles, a fusion juggernaut, but hey, props where props are due. And there should be no shortage of them with this set, as newly acquired guitarist Allan Holdsworth works himself in the Machine fold with the most well stocked of sonic quivers.
His riffs come from all directions, and opener “Hazard Profile” is a veritable Encyclopedia Britannica of fusion technique. Hammer-ons marry up with staccato fuzz, which eddies out into needle-like lines of extreme dexterity and delicacy. Enviable stuff in and of itself, but integrated into the band’s churning rhythmic approach-like they’re trying to outpace Bitches Brew-we have one mighty, thudding beast to contend with. A lot of that beast’s ferocity, as it were, comes courtesy of John Marshall’s kit work, as on the clattering “Land of the Bag Snake,” the titular creature being made to sound like it is thumping its way down electric stairs.
“The Man Who Waved at Trains” shows just how well the group could turn ferocity into finesse, with Mike Ratledge’s keyboard work trading in funky blues and Chick Corea-type shimmerings, and Holdsworth’s guitar taking on the aspect of a plucked violin. “Riff II” is the great growler here, some chunky bombast that explodes into a climatic rave-up punctuated by an impossibly long drum roll. There’s a touch of Floyd, too, in “The Floating World,” which has the same kind of cosmic whimsy, and the reprise of “The Man Who Waved at Trains” even features implied sound effects: a guitar mimicking springs snapping and hammers hitting on the gears of clocks.
This is wild, oft-loud, preternatural Pied Piper-type music, with Karl Jenkins’ soprano sax on the concluding “Penny Hitch” all but taking your hand and pulling you down into the record. Holdsworth’s solo is pure gossamer atop the groove, with the clean inflections of Smokin’ at the Half Note-era Wes Montgomery. The crowd clearly gets that something beyond even standard top-gig fare has gone down, and everyone, at the end, loses it. Quite the banner achievement for this group-cum-collective Piper, and for this resulting beckoner of a live package.
(jazztimes.com/reviews/albums/soft-machine-switzerland-1974)

01. Hazard Profile (16:46)
02. Floating World (05:15)
03. Ealing Comedy (04:14)
04. Bundles (03:09)
05. Land of the Bag Snake (04:27)
06. Joint (02:20)
07. The Man Who Waved At Trains (03:01)
08. Peff (04:28)
09. The Man Who Waved At Trains (reprise) (00:21)
10. Lbo (04:45)
11. Riff II (03:08)
12. Lefty (collective improvisation) (02:07)
13. Penny Hitch (coda) (05:42)

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Soft Machine - Live In Paris May 2nd, 1972 [2CD] (1972)

Year: 1995 (CD May 4, 2004)
Label: Cuneiform Records (US), Rune 195/196
Style: Jazz Rock, Progressive Rock, Canterbury Scene
Country: Canterbury, England
Time: 47:05, 58:00
Format: Flac Tracks 16/44,1 kHz
Size: 311, 361 Mb

Recorded at Paris's Olympia theatre (as part of a one week festival including Magma, Grateful Dead, East Of Eden and The (Morrison-less) Doors, this is yet another very interesting live recording the incredible Cuneiform labels pulls from the cardboards. One of the shortest SM incarnations (that had only managed to record half of 5 album prior to the release of theses tapes, as Phil Howard had been ejected (he was pulling the Machine into a full improv band, much to Ratledge and Hopper's dislike) and John Marshall (originally sensed to be at the drum stool but not available when Wyatt had left) was brought in, but Dean was to leave soon, peeved at Howard's firing. All of the material is from Third and 5 and strangely nothing from 4, maybe as an anti-Howard reaction from the two masters on board. But ultimately Dean's departure (due to the sacking of Howard) will provoke a series of changes where a bunch of Nucleus members will fill the shoes of departing members and changing the jazz-rock Machine into a full fusion butterfly of Bundles and Softs albums. But for this particular release, three of the four tracks from third are present on that night's set-list, but there are tracks that are nowhere to be seen on studio records or even on their official historical releases of that era. Again the sound quality of this Cuneiform is extraordinarily good especially considering Elton Dean was plagued with bad mikes, but it does not affect the sound. Worthy of note, Dean was also playing electric piano that night (this was not usual as far as I know) and his replacement, Karl Jenkins, will also double on Kbs and reeds.
Maybe not essential unless you are a total SM fan, this record is once again the proof that the Machine was a well-oiled one capable of mesmerising concerts.
(progarchives.com/album.asp?id=3257) Review by  Sean Trane. October 12, 2005

01. Plain Tiffs (03:30)
02. All White (06:23)
03. Slightly All The Time (13:07)
04. Drop (07:42)
05. M.C. (02:59)
06. Out-Bloody-Rageous (13:22)

01. Facelift (17:50)
02. And Sevens (08:54)
03. As If (08:27)
04. Lbo (06:07)
05. Pigling Bland (06:04)
06. At Sixes (10:34)

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