(Downtown Music Gallery) Featuring Eugene Chadbourne on acoustic & electric guitars & effects and Jair-Rohm Parker Wells on acoustic & electric basses, synth & processing with special guest John Sinclair - poetry on one track.. I am always pleased to find out when musicians from different scenes meet up and improvise together, both live and on-line. I've known of and been friendly with early Downtown iconic guitarist since late 1979 when I first heard him in a duo with Fred Frith at Studio Henry. I wasn't sure what to make of him at first but soon realized that he and his then partner John Zorn were inventing new ways to improvise with extended techniques and composing in their own way. I first met & heard bassist Jair-Rohm Parker Wells when he was a member of a NJ band called Machine Gun, a hardcore jazz/rock/noise improv quintet that met while attending Rutgers Jazz College in New Brunswick, NJ. During the pandemic (in 2020), while most of us had to stay indoors, Mr. Chadbourne started an online series called 'The Book of Heads', named after a set of solo guitar pieces that John Zorn had written for Mr. Chadbourne in the early Downtown days (late 70's thru the early 1980's). Chadbourne sent out via email one solo guitar piece each day to anyone who subscribed to his series. Chadbourne asked his subscribers to use any of his solos to work with in whatever way they chose. A number of musicians did play along with Doc Chad's solo but none did this at length like Mr. Parker Wells, who recorded and sent back some 32 duos, all of which are collected here on 2 CD set. Many of these pieces are named after whatever musicians or other ideas (films) that inspired Doc Chad at the time: Karl Berger, Beethoven, Joe McPhee, Joseph Spence, Andrea Centazzo and Thelonious Monk. One of the things that I've long dug about Doc Chadbourne, is that he is/was influenced by all sorts of music: jazz, rock, classical, country, bluegrass, folk, soundtrack, progressive, punk & comedy music. Since both Chad and Parker Well use a variety of effects, it is hard to tell who is doing what at times outside of the more obvious guitar and bass sounds. "!3th Party at Horror Beach" features slow moving acoustic guitar with waves of eerie electronic sounds and/or samples. The music has a rather cinematic quality, perfect for a sci-fi soundtrack. I often recognize certain lines that Doc Chad is playing as Parker Wells adds odd spooky effects. Most of the pieces here are continuous, flowing from one theme or stream to the next. Parker Wells does a great job of keeping his playing & ideas flowing just as Chad also keeps changing his style, acoustic or electric guitar, effects or not. Is that the bass line from "My Girl" on "Birthday Card for Joe McPhee"? No Matter since it soon changes into something else with PW's bowing, shadowing Chad's changes in direction and solo(s). Although all or most of the pieces flow here piece to piece, Jair-Rohm often changes his playing or reacts to Chad's guitar differently on each piece. There is an ongoing dialogue going on here which is always evolving on each piece. The first disc is 74 minutes long so it took some time to adjust to the way things unfold. I felt like I was in a film where the soundtrack kept slowly changing in each scene. Most impressive as long as your patient. - Bruce Lee Gallanter

(Felthat Reviews)This double cd released by Public Eyesore presents a wide variety of genres and modals presented to you by none other but two legends Eugene Chadbourne and Jair-Rôhm Parker Wells. It is difficult to put some definitive mark on the style and the narrative of this double album. There is so much diversity hear which base is a dialogue between bass instruments and the guitars that each of the protagonists here use as their instruments. This dialogue is spread over with different fat layers over an equally fat slice of sourdough bread. There is so much more of Eugene's sense of humor and steady seriousness of Jair-Rôhm's steadfastness to each of the tracks. Free improvised music blends itself with free jazz and quite a punk attitude. Nice and sparse use of effects and synths give an outlet for more experimentation intricate layering of the instruments and electronics. But there is more to it and namely the dynamics of this material which is just impossible. Adding up to the fact that it is a double album is far beyond astonishing. It's a book, a novel that gives you an idea for spending more time on studying music of venerable people such as both of the musicians here present that gives you so much to learn from. And especially if you make music yourself. The book has been opened... - Hubert Heathertoes