While not precisely unreleased, this is close enough, having only previously seen the light of day on ill-distributed cassettes that likely numbered about 150. Any "new" Bailey is always cause for celebration, particularly so when it's solo and from an especially fecund period like the early 80s.

There's also only so much one can say. Bailey, as ever, is Bailey, the same yet always miraculously different and unique, as when one examines superficially similar natural objects like stones, branches, leaves. Four pieces selected from that show in March of 1983, two on acoustic guitar, two on electric, though with Bailey the amplified guitar's sound is only marginally so, sounding like a slightly more taut, steelier version of the acoustic. Among many other qualities, the way he varies the dynamics is masterful and subtle, little wavelets of intensity that ripple past. The first three tracks find him in scrabbling mode, that hyper-quick, extraordinarily accurate and reflexive attack wherein Bailey always seemed to land on exactly the right note every fiftieth of a second. Nothing devoted listeners haven't heard before, in a sense, but so good and, when appreciated deeply, as different as one leaf from another.

The concluding cut is more reticent, possibly referring to butoh and shamisen playing, perhaps a nod to the dancer Min Tanaka, with whom Bailey had worked in years prior.

It goes without saying that this is a must-have for admirers of Bailey's art. A beautiful, deep recording.