Superb extended live recording made at the Jazzfest Trondheim - incredible reed technique and concept from Butcher, anchored by Duch's flexible bass work. "I first heard John Butcher in 2001 playing duos with Rhodri Davies and Derek Bailey on the CD Vortices and Angels. I was completely mesmerized, particularly by the two tracks in the end with John and Rhodri playing together. Vortices and Angels is still among my favourite albums. Trinity, AMM with John Butcher, being another one. Needless to say, playing with John at Trondelag Senter for Samtidskunst in my hometown Trondheim in May 2015 during Jazzfest, was a special occasion for me. This is a recording from that concert and apart from omitting some noises in the beginning, it is unedited."- Michael Duch --- John Butcher / saxophones Michael Duch / contrabass --- Recorded live at the Jazzfest Trondheim, Trondelag Senter for Samtidskunst Jonas Krossli on May 9th, 2015. 

Dark and commanding double bass exploreations by two of the best. Having performed as a duo live in at nyMusikk in Oslo, they then recorded this album of freely improvised bass interactions the next day in the studio at Gråmølna in Trondheim.  The bassists first met at the Molde Jazzfestival in 2011, where Duch played a solo recital and a concert with Trondheim Jazz Orchestra, while Léandre had a guest spot with improv quartet SPUNK. After hearing Duch's solo album Edges from 2010, the two got to know each other and planned a collaboration. "The music will be freely improvised and bass's sound possibilities will be explored to the fullest" they planned, and so it is.  --- Joëlle Léandre / double bass Michael Duch / double bass --- Tracklisting:  1. The Gramolna Duo 1 - 7:01 2. The Gramolna Duo 2 - 9:13 3. The Gramolna Solo (JL) - 8:31 4. The Gramolna Duo 3 - 7:37 5. The Gramolna Solo (MD) - 6:59 6. The Gramolna Duo 4 - 9:03 --- Recorded by Oscar Gronberg at Gramolna, Trondheim, Norway on November 1st, 2013.

Screenprinted on thick, quality paper and printed in flourescent colours by Tartaruga. Design by Maja Larsson / Organ studio. On our wishlist from the day OTO opened, we're over the moon to finally host one of the greatest free-music groups of all time – The Art Ensemble of Chicago! An extremely rare opportunity to see this legendary group, the impact and influence that The Art Ensemble of Chicago have had over the past five decades cannot be overstated. At turns soulful, chaotic, ennergising and transcendant – playful yet attentive, generous but untethered – the AEC helped redefine what jazz music could be and continue to seek out its future. “A legendary band that created new standards not only for improvisation but for performance as well” – All Music “One of the most enduring units dedicated to free improvisation and modern jazz composition in existence.” – Pitchfork

Arnold Dreyblatt has been called "the most rock 'n' roll of all the composers to emerge from New York's downtown scene in the 1970s." Dreyblatt founded the Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra's second album – originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien – develops Dreyblatt's rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums.On Propellers In Love, simple song titles – "Odd & Even," "Harmonics," "Bowing" – belie intricate harmonic structures. Dreyblatt's modified instruments – a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation – undergo the Orchestra's rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion ("Pedal Tone Dance" and the title track). Throughout, the Orchestra's perpetual motion achieves a tremulous and exquisite density.Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine.Track Listing:Propellers In LoveBowingPedal Tone DanceHarmonicsOdd & EvenLucky Strike

For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson's centrality to American minimalism – witness its inclusion in Alan Licht's famed Minimal Top Ten list – this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas. As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While "Cycles," an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson's captivating alto flute on "Untitled" draws the listener inside the instrument itself.The photo on the album's back cover – a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan's Peace Church – offers a striking visual complement to these gorgeous recordings.Originally released in 1977 on Philip Glass' Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley.Track Listing:CyclesUntitled

Ten Years Alive On The Infinite Plain is the quintessential work of artist/filmmaker/composer Tony Conrad. Comprised of both film installation and minimalist score for amplified strings, Ten Years leaps across genre and medium to connect his revolutionary structural filmmaking with the experiments in long-duration sound that Conrad had begun in the 1960s as part of the Theatre of Eternal Music."Ten Years began with image before sound," writes Andrew Lampert, "a row of quadruple projections arranged side-by-side, all the shuffling stripes cascading into each other. Over the next two hours the music throbbed and the projectors incrementally shifted inwards, their beams gradually uniting to form one pulsating, overlapping picture."For its 1972 premiere at New York's The Kitchen, Ten Years included Conrad on violin as well as Rhys Chatham and Laurie Spiegel performing on instruments of the composer's own making. Chatham played the Long String Drone – a 6-foot long strip of wood with bass strings, electric pickup, tuning keys, tape, rubber band and metal hardware – while Spiegel carried out an arrhythmic bass pulse throughout.Superior Viaduct is honored to present this previously unreleased recording of Ten Years Alive On The Infinite Plain's breathtaking premier performance. As Chatham recounts in the liner notes, "When I first listened to this recording after not hearing it for over 40 years, it transported me back to the early Kitchen and the heyday of early minimalism, played outside the Dream Syndicate."Track Listing:Ten Years Alive On The Infinite Plain (1:28:18)