"A long desire of extraordinaire saxophone player Peter Brötzmann was a studio recording of some of his favorite jazz tunes and his own music -- a grand bridge over the music important for his life and his musical career in the past and present. Trost invited him to Martin Siewert's studio in Vienna to do so in summer 2018. The result is intense, beautiful and touching. Features compositions by Harry Barris/Gordon Clifford, Sigmund Romberg/Oscar Hammerstein II, Herbie Nichols, Dizzy Gillespie, George Gershwin/Ira Gershwin, and Sonny Rollins. Personnel: Peter Brötzmann - tenor saxophone. Recorded, mixed, and mastered by Martin Siewert. Liner notes and artwork by Peter Brötzmann."

Bumper pack of mind-frying, fuzzed out psychedelics from three masters of the medium, with Neil Campbell (Vibracathedral Orchestra), Noel Meek (End of the Alphabet) and Alexander Tucker (Grumbling Fur) performing solo and in a very special trio set.  --- Tracklisting: 1. Alexander Tucker Solo - 18:58 2. Neil Campbell Solo - 14.41 3. Noel Meek Solo - 21:56 4. Trio - 29.34 --- Recorded on Sunday 24th April 2016 by Shaun Crook. Mixed by James Dunn, Abby Thomas & Noel Meek. Mastered by James Dunn.

This week we’re pleased to be sharing a solo set from composer, improviser, performer and creative polymath, Alex Ward. Predominantly a guitar and clarinet player, Ward is regarded as one of the most technically accomplished performers of both free and composed music, and has recently played shows in the UK and US as part of the phenomenal This is Not This Heat. Having had his debut record put out on Derek Bailey's Incus, Ward has continued to play at an astonishing level ever since. His current work ranges from his formidably knotty guitar playing in avant-rock two piece Dead Days Beyond Help to his compositions-for-improvisers including Forebrace, the Alex Ward Quintet/Sextet, and his new ITEM series which returns to OTO in September.  After releasing his solo clarinet album in 2017 on the Weekertoft label, Ward's solo performances strive to bring acoustic and amplified playing into closer integration. '15.2.18' is a reminder of what a singular player he is, pulling open the full range of the instrument - from warm trills and woody overtones to overblown, amped up blowouts. --- Alex Ward / clarinet, amplifier --- Tracklisting:1. 21:04 2. 5:08 --- Recorded live at Cafe OTO on 15.2.2018 by Martyn Larcombe. Mixed by Alex Ward and mastered by James Dunn.

Co-written, performed (synths, drum machine, sampler), arranged, produced & mixed by Pouya Ehsaei Co-written and performed:Koroleko Moussa (Balafon, Djembe)Sam Warner (Trumpet)Hammadi Valdes (Drums, Congas, Bongos)Tamar Osborn (Bariton Sax, Clarinet)Parham Bahadoran (Duduk)Kareem Dayes (Cello)Yelfris Valdes (Trumpet) Spoken Word:Tara FatehiMA.MOYOMaureen OnwunaliNomakhwezi BeckerTim EtchellsOluwaseun OlayiwolaNisha RamayyaTasneim Zyada Cover Artwork by Farhad QashqaiDesign and Layout by Nahal MarzbanMastered and cut by Frank Merritt at The CarverySound Enginner: Dave HolmesRecorded by Dave Holmes at Lightship 95 StudioArt direction by Pouya Ehsaei & Tara FatehiCreated in Peckham, LondonThe exact number of times one needs to walk on an untrodden mountain for a path to start to appear. All the vibrations that remain from the first time a word is uttered. A flood from another planet, approaching Earth. When you look at a tree and all the ones who looked at the same tree appear for a blink of an eye. A thing you can only fully see from the moon: so scattered, so fluid, and always shifting. Created by London-based Iranian duo Pouya Ehsaei and Tara Fatehi, From the Lips to the Moon brings together a cast of London’s fierce, current, and transcultural voices, fusing live electronics, performative poetry, unearthly melodies, noise, and twisted beats. Their debut album delves into four years of live encounters, remembered as much for their spontaneity as for their unity. This is a record defined by its contrasts: gritty, sharp-edged electronics, raw vocalizations, and organic instrumental textures give way seamlessly to moments of soft, profound tenderness.

Pouya Ehsaei Eurorack, Rytm, Octatrack, FXs, words (No Door)Tara Fatehi Vocal, WordsTamar Osborn Clarinet (A1, B5) Baritone Sax (A3, A4, B2, B3, B4)Afla Sackey Percussion (A1, A3, B1, B2, B3, B5)Cover Artwork by Aylar DastgiriDesign and Layout by Nahal MarzbanMastered and cut by Frank Merritt at The CarveryMixed by Pouya Ehsaei and Dave HolmesRecorded by Giles Barrett at Lightship 95 StudioProduced by Pouya EhsaeiSupported by Horniman Museum and Gardens, Masoud Azizpour, Nahal Marzban, Arman Nouri, Siamak Shojaee and Shayan Mortazavi.Thanks to: Ahmad Jafari, Sedākhāne, Rudi Schmidt, Saava Benjamin Busenze Balagadde & Mazdak Ayari.  An epic whirlwind of heavy sub-bass, stormy woodwinds, and uncanny vocals, conjuring ghosts of the old and new, the intimate and the alien, the literary and the chaotic. Fusing post-industrial, dub techno, avant-garde jazz, African drumming, and experimental hip-hop into a dark, captivating sonic experience. A thrilling new collaboration led by the trailblazing Pouya Ehsaei (live electronics/ Ariwo, From the Lips to the Moon, Parasang), the project features the untamable force of Tamar Osborn (Collocutor, Flock, Unknown to Known) on wind instruments, and the kaleidoscopic voice of Tara Fatehi (From the Lips to the moon, Mishandled Archive). Inspired by the journey of Zar — possession-trance healing rituals rooted in dance, percussion, and song — People of the Wind draws the listener on a sea voyage, from the shores of East Africa to the haunted coasts of Iran. They weave together experiences of displacement and migration, deep-rooted musical traditions, and futuristic soundscapes. People of the Wind moves with the traditions of Zar – healing music and dance brought to southern Iran by communities displaced from East Africa. With deep respect for those who endured the Indian Ocean Slave Trade, the chants on this album are renditions of traditional Zar chants. The work is also connected to the book Ahl-e Hava (People of the Wind) by Iranian writer Gholam-Hossein Sa’edi.

Play Monk arrives in a gatefold, reverse board 2CD designed by Maja Larrson. Cover photograph of Thelonius Monk at Fisherman's Wharf in San Francisco in 1968 by Baroness Pannonica de Koenigswarter. Inside photographs of حمد [Ahmed] by Stefan Lacandler. Recorded and mixed by Benedic Lamdin on Saturday 1st and Sunday 2nd March, 2025 at Fish Factory Studios, London. Mastered by Andreas LUPO Lubich. Produced by Seymour Wright/OTOROKU. After 6 albums re-imagining the work of Ahmed Abdul-Malik, أحمد [Ahmed] turn to the material of Malik’s bandmate Thelonious Monk in the group's ongoing search for future music.  Before going on to develop his own groundbreaking approach to jazz, Ahmed Abdul-Malik worked in Thelonious Monk’s late 1950’s quartets - appearing on seminal Monk recordings: Thelonious In Action (1958) and Misterioso (1958), and the more recently unearthed Thelonious Monk Quartet with John Coltrane at Carnegie Hall (2005). Abdul-Malik and Monk share a critical engagement with time - specifically in challenging its linear trajectory and offering sites and modes of synthesis and rupture instead. In their music, fragments of time are scattered and re-arranged in the present, an idea central too to the project of أحمد [Ahmed]. Over several decades, all four members of أحمد [Ahmed] have engaged with Monk’s standards in various individual and collective ways, but Play Monk, recorded in the same three-day London studio sessions as Sama’a (Audition), is the first released documentation of the group's versions of Monk’s music which began with a spontaneous interpretation of ‘Evidence’ in Novara, Italy, 2023.   Across 2CDs, أحمد [Ahmed] atomize Monk’s ‘standards’ - transforming each composition into a shifting quantum time artifact. The melodic, harmonic, rhythmic and spatial gestures of each piece become complex vernacular forms, creating a dialogue in time and a (red)shifting lens through which to view our material present. Into the fissures of Monk’s form, أحمد [Ahmed]  pour their own play - colliding and dancing with Duke Ellington, Cecil Taylor, Caribbean diasporic music, European improvisation and Jah Shaka in their pursuit of future music. “Monk’s music is not played so much as grasped, condensed and catapulted through the vagaries of time,” writes Fielding Hope. “Monk famously used to dance in circles. In flight from the numerical bind, أحمد [Ahmed] make music that sounds like it could float on forever.”