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LP
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FTR 641LP
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"This is the first in a series of Feeding Tube vinyl releases devoted to the Insect and Western catalog of recordings, newly mastered and often with added material. 'Mourning of the Praying Mantis' was created in the earliest series of Insect and Western scores, first performed by the Bull Fiddle contrabass quartet of Oakland in 1996. Following what I felt was a classic interpretation by the Insect and Western Party trios and quartets, the piece circulated through the evenings devoted to my Insect and Western music at concerts taking place around the United States. By 1997 I had an interesting and diverse set of recordings in a variety of media and assembled a long version of the piece blending many of the soloists featured in the different performances. This was the centerpiece of the first commercially released collections of my Insect and Western pieces, a CD entitled Insect Attracter on the British Leo label. 'Mourning of the Praying Mantis' was one of the scores I brought to a duet session with master percussionist Warren Smith in 2012. In creating a new special archive of Insect and Western for the Feeding Tube label, my priority regarding 'Mourning of the Praying Mantis' was to bring in the Warren Smith recording, to my great personal enjoyment which I now hope to share with the listener. Now also including the 2012 New York City sessions with Warren Smith, the 20 plus minutes of is fabricated from, in roughly the order the location appears, all from 1997: 1. Studio session, Wyandotte, Michigan/Frank Pahl, engineer; 2. Concert at Barking Legs Theatre, Chattanooga, Tennessee, Dec. 5-6; 3. Concert at Venue 9, San Francisco, California, Oct. 16; 4. Concert at Knitting Factory, New York City, NY, July 29; 5. Concert at Lunar Cabaret, Chicago, Illinois, Sept. 10-11; 6. Concert at art gallery, Louisville, Kentucky, Sept. 14; 7. Concert at Alligator Lounge, Los Angeles, California, October."
Musicians in order or appearance: Eugene Chadbourne - five-string banjo, Deering electric "Crossfire" banjo; Carrie Shull - oboe; Brian Ritchie - bass guitar, shakuhachil; Warren Smith - bass marimba, vibraphone, percussion; Mischa Feigin - balilika; Carrie Biolo - vibraphone; Steve Good - bass clarinet; Joee Conroy - violin; Dan Plonsey - soprano saxophone; Gino Robair - mandolin; Ashley Adams - contrabass; Brent Dunn - contrabass; Tom Heasley - tuba; Bruce Wagner - mandolin; Bob Stagner - drums; Charles Waters - soprano saxophone; Barry Mitterhof - mandolin; Ted Reichman - accordion; Bunk Gardner - flute.
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LP
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FTR 396LP
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"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 4-1/3 is the fourth of four Feeding Tube LPs in this series, devoted to documenting some of the music Dr. Chadbourne created in the years he lived in Canada, avoiding the shadow of Richard Nixon. As always, exact details of the recordings are vague, but trivial. Here are four tracks of improvisational guitar madness at its most glorious. Describing their textures is a fool's errand, but that is the job I was born to do. 'Bow' is new to me, but the sonics suggest the title may be a practical description of how some of the effects are achieved. 'The Bird', which has been issued on cassette previously, is a wonderful example of Eugene's most swinging jazzbo playing. 'Be' is another piece that's new to me, with long sequences of bent-string attack accruing epic grandeur as they unspool. And 'Mao Tse Tung Did Not Have to Deal with People Who Were Watching Seven Hours of Television Every Day', which was a bonus track on the CDR version of Solo Guitar Volume Two, is a sidelong ode to revolutionary techniques of all kinds, employing a bunch of them as it evolves, with results that are pure bananas. If you play all four volumes of this set in order, you will begin to imagine a whole new universe of guitar technique. We hope they fill in some gaps for you. We have been blown away by each and every one. And would like to thank Doctor Chadbourne for sharing his archives with us." --Byron Coley, 2020 Edition of 400.
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LP
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FTR 395LP
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"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 3-1/3 is the third of four LPs Feeding Tube is releasing, devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the conscriptive powers of Richard Nixon and his ilk. Exact details of the recordings are vague, but that's trivial. Here are seven tracks of improvisational guitar madness at its most glorious. Describing them is almost impossible, but I can at least tell you their names 'East Was,' 'Texas Was,' 'The Shreeve,' 'Evil Was,' 'What Was,' 'Superman's Problem,' and 'Reflections.' The 'Was Tetrology' was a piece I believe to have been originally conceived and performed while in the lair of Davey Williams, R.I.P. (and associated members of the Alabama Surrealist Cabal). 'The Shreeve' is another take of a track originally recorded for the timeless Volume Two LP. 'Reflections' and 'Superman's Problem' probably date to a Clouds & Water session in early '79. Heard together they suggest an entire parallel universe of guitar history. Solo Guitar Volume 3-1/3 is an even more amazing spin than the last one. And there's still one more to come!" --Byron Coley, 2019 Edition of 400.
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FTR 394LP
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"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 2-1/3 is the second of four LPs devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the conscriptive powers of Richard Nixon and his ilk. Exact details of the recordings are unknown, but that's trivial. There are six tracks of improvisational guitar madness at its most glorious. Describing them is almost impossible, but I can at least tell you their names 'Piazza del Duomo', 'Preperation Dimafbay' (sic), 'Father (You Opened)', 'That's All Water Under the Bridge' (purported to be the first lesson of a proposed guitar instructional record, which is a fairly brain-searing concept) and 'Rocket!' (which is a different take of the Oliver Lake classic first recorded on Volume Two). This last one might be my fave Chadbourne acoustic piece ever. Maybe yours too! If not, just give this a spin and let us know your favorite. Maybe you'll win a button. Solo Guitar Volume 2-1/3 is even more amazing than the last one, in our opinion. And there's more to come!" --Byron Coley, 2019 Edition of 400.
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FTR 393LP
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"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 1-1/3 is the first of four LPs devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the constrictive powers of Richard Nixon and his ilk. Exact details of the recordings are moot, but that's trivial. The music on this record is a joyous celebration of traditions of liberation, using approaches that range from the ridiculous to the sublime. But regardless of the humor level (which can be very high at times), the quality of the musicianship and the originality of Chadbourne's compositional theories is staggering. Today there are charts and maps that can lead anyone into and out of the conceptual jungles Eugene was exploring. In the mid '70s, when these tracks were laid down, this was all terra incognita. While still in his early '20s, the Doc was figuring all this shit out for himself. And doing so at a level that can still make your jaw drop. Today Chadbourne continues making some of the most exciting music on the planet, but these examples of his early work should serve as a challenge to many musicians who would like to imagine they're doing something new. That they're also a total gas to hear is just gravy. Delicious, hot and very juicy." --Byron Coley
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CD
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CVSD 041CD
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Corbett Vs. Dempsey present The Lost Eddie Chatterbox Session, a reissue of Eugene Chadbourne's album, first released as a cassette on No Prestige Records in 1988. Dateline: Christmas Day, 1977, San Francisco. On an ailing quarter-track tape deck, in a marathon session, Eugene Chadbourne recorded a series of slide guitar solos playing compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, along with a few standards and originals. Although the recording quality was imperfect, the playing was absolute genius -- enough so that Chadbourne was eventually convinced, a decade later, to issue it as a cassette tape, which he sold at concerts. Long pre-dating the slash-and-burn-and-reinvent approach to jazz songbooks now familiar from groups like News From Lulu, Chadbourne leapt into each short track with giddy abandon, introducing the piece with a nerdy credit line, then ripping and tearing at it adoringly, his improvisations forcing a new view of the familiar melodies. Anyone familiar with Chadbourne's wonderful duets with Frank Lowe on Don't Punk Out! (1979), waxed in the same period, has a general sense of his modus, but the complete commitment he gave to the project on The Lost Eddie Chatterbox Session makes it a special and wholly unique item in the manic master's chronicles. On this special CD reissue, the tracks have been tenderly but respectfully restored, eliminating some of the most distracting audio flaws but leaving the inconceivable artistry intact. Four unreleased tracks have been added to the jam-packed program, as well as the original cover photo and Chadbourne's unreadable track listing, which is carefully reproduced on the interior. Recorded December 25, 1977, in San Francisco.
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CD
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CVSD 030CD
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2016 release. A reissue of Eugene Chadbourne's There'll Be No Tears Tonight, originally released by Parachute in 1980. One of the absolute essentials of Eugene Chadbourne's oeuvre, what he described as "free improvised country and western bebop", featuring his frantic, skewed interpretations of classic songs such as Merle Haggard's "Swingin' Doors", Roger Miller's "The Last Word In Lonesome Is Me," and Willie Nelson's "Mr. Record Man", There'll Be No Tears Tonight was recorded in Spring of 1980. It's lineup includes Chadbourne on acoustic and electric guitar and voice, Tom Cora on cello, John Zorn on saxophones, clarinet, and birdcalls, David Licht on percussion, with another set of songs featuring Doctor Chad on electric dobro and singing, with Scott Manring on lap steel and lap dobro, Robbie Link on acoustic bass, Dennis Licht on percussion, and David Licht on drum set. For the guitarist's solo "Johnny Paycheck" medley alone, this would be worth the price of admission, but the whole show is built on lightning fast juxtaposition and hilarious interjection. Though it was reissued on CD, it's been out of print for years. Here it is given the royal treatment, with a facsimile cover, new photos from the sessions, remastered from original tapes, and an additional 26-minute track titled "Richmond Dobro Massacre". In this deluxe reissue, "Tears" remains one of the best free song outings ever made and is an absolute must for every home.
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CD
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REC E2-CD
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2000 reissue of 1996 LP. "Tzotzil" from El Sueno del Pez Impossible, a collaboration with Mexican Improvisors. "Big Bad Jim," "Roger Miller Medley," and "Way Too Blue" recorded in Nashville with session musicians. Chadbourne plays both guitar and banjo parts on "Moment's Notice." "Christian Canons" recorded in Kentucky. The Acquaduct also features Chadbourne's daughters Molly and Lizzie.
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