Track 3 includes music by MorgellonsTrack 1 samples 'Stand up for Judas' by Leon RosselsonTrack 7 samples 'Aliezer Coppe' by Leon RosselsonWords and voice on Track 6 by Ash ReidSome guitar and recorders on Track 1 by Gwena HarmanRecorded, mixed and produced by The SprigsAdditional recoding and production by Lou PenningtonMastered by James DunnCut by Mischa van der HeidenArtwork by Ben Victor WaggettLayout by The SprigsLP's screen printed by Oscar ReynoldsPressed by Press On in MiddlesbroughSome track titles taken from the following books - 'Wind in the Willows', 'The Pub and The People' and 'Where are the Elephants?'Inspired by Kenneth Grahame's 'Wind in the Willows'The Sprigs is: Rory S, Ben M and V.WEverything seems asleep, and yet going all the time. In the cold damp earth below, Mole, Ratty and Badger are working away on new homes for Mole's uninvited guests. But Ratty picks up on terrible whispers from the Wild Wood Inn. Developers are making plans in the field above...and the landlords are up to no good... "Essential listening FFO Time Is Away, Jon Collin or the 'Bagpuss' soundtrack, The Sprigs, confront cutesy British folk nostalgia on 'For Red Riverbank', using 'The Wind in the Willows' references, sobering newsreel snippets and straight-to-tape acoustic jams to develop a faded image of labour inequality."

Adam Bohman / amplified objects and stringsSue Lynch / tenor sax, clarinet, fluteCrystabel Efemena Riley / drums, metallics --- Recorded and mixed by Billy Steiger on 31st January, 2025. Mastered by Taku Unami. Artwork by Adam Bohman. Liner notes by Seymour Wright. Photographs by Crystabel Efemena Riley. Layout by Jeroen Wille.  ‘Me, you and Sue’ - the triangulation of improvisers Adam Bohman, Sue Lynch and Crystabel Riley, and the original name for the hand-picked three way of drums, wind and amplified objects responsible for Lynboril Lisinopril. The informality of their original name belies the groups origins - three players naturally drawn to each other via London’s longstanding Horse Improvised Music Club, each of them more concerned with the action of playing than the naming of their sounds.  However, the occasion of their first trio release forced a title, and Lynboril Lisinopril works perfectly - a play on the words Lyn(ch), Bo(hman) and Ril(ey), searched for and spat back at you. “The second word is what you get if you Google the made-up first word” remarks Seymour Wright in the liner notes - the second word being the name of a drug taken for lowering your blood pressure. And although probably not prescribable for hypertension, the music on Lynboril is approached with such a generosity and tenderness that it feels properly airy and light; as equally positive and playful as it is eccentric and uninhibited. Riley’s bouncy drums keep the trio in a state of permanent uplift, as if being buffeted along by a pleasant tailwind, each player perfectly unhurried in their turning over of a new sound. Alternating between tenor saxophone and clarinet, Sue Lynch is crystalline calm, blowing beautiful lines across the metallics of Riley and Bohman. When the trio dials up for their second half, the intensity lifts but the clarity remains - swirling skin patterns subverted with precision by each scratch and scrawl of the table and the punctuation of the saxophone. Grounding tonic from some of the best free musicians we know.

CD 1, Unitarian Chapel, Warwick, 1994 and 2023:“Andy Isham organised a concert in the Unitarian Chapel, Warwick on 29 June 1994. As part of a longer concert I played a solo piece on soprano which is the first track on CD 1.  It was not long enough to issue on its own and things moved on. Since then I have kept coming back to it because I think it is some of the best solo playing I have ever done. The idea came to me that I should go back to the chapel and see what it was about the space which drew that playing out. As the idea took shape, the saying of Heraclitus about not being able to step in the same river twice started swirling around too. And there it was – I had the title. The “concept”, even – or at least, the conceit … ”CDs 2-4, a sequence of solo recordings made at Arco Barco, Ramsgate, 2018-24:“I was introduced by Matt Wright, the other half of Trance Map, to Filipe Gomes and his Arco Barco studio in Ramsgate on the Kent coast. The studio is located in the upper floors of one of the former chandlers’ work spaces overlooking the harbour. A loft space with control room, a live main room and a smaller, less reverberant room. The acoustic response of the live room and Fil’s passion for sound recording has made Arco Barco my favourite studio and I have recorded there as often as possible.
 Over the many visits Fil has tested various microphones and their positioning. The variation means that some recordings are noticeably “dryer” and/or “closer” than others. Much of the thinking was inspired by the work of the late Michael Gerzon and his pioneering ambisonics. What I brought to the occasions was variability in reed behaviour and embouchure and perhaps most importantly my state of mind.”
THE HERACLITEAN TWO-STEP, etc.
BOOK CONTENTS:-- Writing by John Corbett (writer, curator, producer; Corbett vs Dempsey Gallery, Chicago), Filipe Gomes (Arco Barco, Ramsgate), Richard Leigh (writer), Stephen C. Middleton (writer/poet) and Robert Stillman (musician).-- An extended interview with Evan Parker by Martin Davidson (Emanem label).-- An email exchange between Evan Parker and Hans Falb (Konfrontationen Festival, Nickelsdorf).-- Writing and visual artwork by Evan Parker. 

Helping to mark Evan Parker’s 80th birthday in 2024, the book compiles both historical and contemporary perspectives on Evan’s work, by a range of contributors as well as Evan himself. The book also includes a selection of Evan’s visual collages, which are shared publicly for the first time.

‘May Spring Last a Lifetime’ is the first duo release from improvising tenor saxophonists Tom Challenger and Evan Parker. The album emerged after years of informal practice sessions; then, following two live performances, the duo recorded this session at Arco Barco in Ramsgate. The album is Evan Parker’s fifth appearance on the False Walls label.Extracts from the CD booklet conversation between Tom and Evan:Evan: “Duo is the simplest form of group playing. And so it’s the simplest, the purest in a certain sense, and the most challenging. There’s nowhere to hide, really. It’s about the exchange. With two tenor saxophones, they have a shared language as instruments and I think we both have a relationship with the saxophone which is about: what does this thing do, what can it do? And then I’ve learned things from Tom that he has discovered: you can do this and can I approximate that? Can I incorporate that into my language or my relationship with the output of the instrument?”Tom: “I mean, as much as there is just two of us and you can tell there’s two of us, there are moments where there’s no one [laughs], and then there’s moments where there are four or five. This duo has challenged the way that I listen, or the way I don’t listen sometimes. But there are these weird moments where there might be three perceivable, four perceivable things going on, you know, in terms of what you might call a voice.”

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.