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Myriad interwoven textural fractures from Grace & Delete - aka no-screen laptop wizard James Dunn and bass clarinet boss Chris Cundy. In The Screwtape Letters C.S Lewis defines music as a "meaningless acceleration in the rhythm of celestial experience," but it can also be a sped up inferno complete with the alien cries of the damned. Either way, the cat cannot get enough. She rolls on her back and flashes her claws in the air when this music plays. She is blown away by the concept of a bass clarinet; the longer a note lasts, the more she purrs; it seems to stretch her actual perception of time. She wriggles with pleasure; she twists and switches her tail; she forgets to close her mouth over her thirsty pink tongue. "Tinnitus!" she mews, "I have it! Come closer!" "Dunn’s electronics are a masterclass in the resources of outdated technology. After being exposed to so much laptop texturing, the ear appreciates its limits. The electronics give Cundy’s contributions a jagged starkness, like coming upon a crude screenprint in an exhibition of digital printouts. The musicians are fully in control of their pitches and the music often proceeds by finding a harmony and then forcing it into crisis, unbearable tensions resolved into rhythmic exchange. Cundy also uses a Tinnitus Analyser to detect noises and elevate them into audibility. This provides the musicians with a stimulating randomness - the difference between the unexpected shapes generated by looking and drawing rather than simply doodling and reproducing habit, the eversame." - Ben Watson  --- Chris Cundy / bass clarinet, alien toy James Dunn / electronics, tinnitus analyser ---   --- Recorded live at Cafe OTO by Paul Skinner on Friday 9th June. Mixed & mastered by James Dunn. Words by Patricia Lockwood - Priestdaddy

Grace & Delete - 9.7.16

Screenprinted on thick, quality paper printed by Tartaruga. Design by Han Bennink Limited to 100 numbered copies  “Han Bennink is an international treasure, a towering catalyst bringing sparkle, humour and character to an art form that too often is dull.” – London Jazz News In the fields of experimental and outsider music, the word "legendary" can be applied far too liberally, but for Han Bennink no other word will do. Celebrating a three-quarter century this year, the Dutch drummer and percussionist has had a colossal impact and influence in the fields of free jazz and improvised music, from his seminal and varied work with the likes of John Tchicai, Peter Brötzmann and Derek Bailey in the 60s and 70s, to a still restlessly inventive collaborative output with artists as wide-ranging as The Ex, Pat Thomas and Eugene Chadbourne in more recent years. Cafe OTO has had the privilege of playing host to many of the greats of improvised music since its inception in 2008, but one artist who never seems to have performed here enough is Han Bennink. This residency – his first shows here since 2013 – aims to go some way in redressing that balance, with a packed line-up of duo and trio performances alongside collaborators old and new. Combining equal parts virtuosity and anarchic irreverence, Bennink has never rested on his laurels, and this should be an enthralling and thrillingly unpredictable three days “What ultimately makes Bennink special is his manifest love for the music, a love that inclines him to tear down the cardboard walls that too often separate different schools of jazz. At his best, with colleagues who share his all-encompassing stylistic embrace, Bennink plays the continuum of jazz as an instrument unto itself.” – Drummerworld

HAN BENNINK 3 day RESIDENCY A2 SCREENPRINT

Screenprinted on thick, quality paper printed by Tartaruga. Design by Maja Larsson / Organ studio. We're delighted to present a four-day residency with one of the greatest living UK-based improvisers - Pat Thomas. Criminally unheralded, Pat is a fearless and uncompromising player who – despite coming from a background of free improvisation and new music – can feel as close to the worlds of noise and experimental music. His performances range in approach and texture from fearsome cacophony that can sound like a piano having its guts ripped out, with Pat thumping discordant clusters of keys with his fists or rattling the exterior wooden frame; to delicately soothing passages where his fingers glide over the keys, creating microscopic tones and resonant melodies that can hold an entire sonic landscape. The residency coincides with the release of Pat's new LP - The Elephant Clock of Al Jazari - on our own in-house OTOROKU label, which comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists. "I can't quite think of anyone else who sounds quite like this: it is in a class of its own." - Bruce Lee Gallanter, Downtown Music Gallery "Thomas runs the gamut of techniques, splashing clusters, weaving contrapuntal lines and building elaborate structures from the inside out. Despite their variety, they share a fundamental quality – they truly sound like spur of the moment creations, not the final draft of ideas mulled over for weeks, if not months on end." - Bill Shoemaker, Point of Departure 

Pat Thomas - 4 Day Residency A2 SCREENPRINT

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer Bryan Eubanks: Open-circuit electronics (sinetones) What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of McPhee and Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits. .. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits.” – Time Out NY Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique. Artwork by Jerry Starpoli Liner notes by Joe McPhee In memory of Jerry Starpoli  

Joe McPhee and Bryan Eubanks – My Undocumented Alien Clarinet LP

Myriad interwoven textural fractures from Grace & Delete - aka no-screen laptop wizard James Dunn and bass clarinet boss Chris Cundy. In The Screwtape Letters C.S Lewis defines music as a "meaningless acceleration in the rhythm of celestial experience," but it can also be a sped up inferno complete with the alien cries of the damned. Either way, the cat cannot get enough. She rolls on her back and flashes her claws in the air when this music plays. She is blown away by the concept of a bass clarinet; the longer a note lasts, the more she purrs; it seems to stretch her actual perception of time. She wriggles with pleasure; she twists and switches her tail; she forgets to close her mouth over her thirsty pink tongue. "Tinnitus!" she mews, "I have it! Come closer!" "Dunn’s electronics are a masterclass in the resources of outdated technology. After being exposed to so much laptop texturing, the ear appreciates its limits. The electronics give Cundy’s contributions a jagged starkness, like coming upon a crude screenprint in an exhibition of digital printouts. The musicians are fully in control of their pitches and the music often proceeds by finding a harmony and then forcing it into crisis, unbearable tensions resolved into rhythmic exchange. Cundy also uses a Tinnitus Analyser to detect noises and elevate them into audibility. This provides the musicians with a stimulating randomness - the difference between the unexpected shapes generated by looking and drawing rather than simply doodling and reproducing habit, the eversame." - Ben Watson  --- Chris Cundy / bass clarinet, alien toy James Dunn / electronics, tinnitus analyser ---   --- Recorded live at Cafe OTO by Paul Skinner on Friday 9th June. Mixed & mastered by James Dunn. Words by Patricia Lockwood - Priestdaddy

Konstrukt's return to OTO after their killer show with regular London guest Alexander Hawkins back in 2015. This time around the band invited Alan Wilkinson and Daniel Spicer to join and form a seven piece ensemble who somehow crammed themselves in behind the monitors. Both multi-intrumentalists, Wilkinson and Spicer brought fresh textures and techniques to the group. From drum & bass and funk lines, to straight free jazz bursts and spiritual chantings, the range of sound in each set is incredible - and all given that classic dose of high energy by the Turkish free giants.  --- Korhan Futaci / alto & tenor saxophones, flutes, sipsi, kaba zurna, voiceUmut Çaglar / electric guitar, gralla, bamboo flutes, pocket drum machine, xylophones, percussion, tape echoBarlas Tan Özemek / electric bassEdiz Hafizoglu / drums, cymbals, bells, turkish hang drum+Alexander Hawkins / acoustic pianoAlan Wilkinson / baritone saxophone, bass clarinet, voiceDaniel Spicer / pocket trumpet, bugle, bamboo saxophone, shenai, recorder, pan pipe, whistle, cow bell, kalimba, voice --- Recorded live at Café OTO by Shaun Crook on September 12th, 2016, London. Mixed and mastered by Umut Çaglar in Istanbul, Turkey. Artwork by Oli Barrett. Original Photo by Dawid Laskowski. We wish to thank Brighton Alternative Jazz Festival for inviting Konstrukt to the UK, and to Omlott recordings for their enthusiasm putting out the physical version of the recording, which you can purchase here.

Duo from regular good guy Sholto Dobie (Mucklemouth) and Alvaro Daguer of Chile’s Glorias Navales (Kye Records). Sholto's on diatonic symphony hurdy gurdy, and Alvaro picks up his Casio SA-1 - a monophonic old school number. They'd had played together for the first time' that morning (Sholto had kindly put Alvaro's band up) and decided they'd both play the support slot that night. The two instruments meld surprisingly well, and what follows is a melancholic, minimal and lo-fi lament in the key of Conrad or Cale. "In April, Alvaro and his brother Ivan (from Santiago, Chile) were touring Europe with their group Glorias Navales. They stayed one night at my house in Lewisham, we had fava beans for breakfast and afterwards me and Alvaro ended up playing music for a short time together in my kitchen. To us, it sounded fresh and we decided to perform together that night (the result of which is kindly documented here!). I named it 'Cat's Foot' after a symbol used in eastern european and russian embroidery - the flatness of the instrumentation and repetition of simple forms reminded me of weaves. The shimmering drones notes of the mechanical instruments - one acoustic and one electronic - create an wavy 'moire'-like effect. Although, weaving patterns would suggest structure, this music ambles, without any strict rhythm, agenda or narrative - a cat's foot is also playful!"   Sholto, July 2017 --- Sholto Dobie / hurdy gurdy Alvaro Daguer / keyboard --- Recorded live at Cafe OTO on Wednesday 12th April 2017 by Shaun Crook. Mixed & mastered by Mr J T Dunn. Artwork by Oli Barrett.  --- 

Please note this is a bundle price for the LP and a four-day pass to Pat's residency at Cafe OTO. For the standalone LP please click here. Recorded live at OTO in May 2015 and mastered by Giuseppe Ielasi, the LP comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists. In Pat's own words: The title for this Album, was inspired by the incredible automatic water clock invented by Badi' al-Zaman ibn al-Razzaz al-Jazari. Al Jazari refers to the fact he was born in Al Jazira which lies between the Tigris and the Euphrates in what is now Northern Iraq. Badi al Zaman means prodigy of the age. He is known by historians of technology as the father of modern robotics. The Elephant Clock at seven metres high is a testament to his engineering genius, it utilizes Greek water raising technology, combined with an Indian elephant, Egyptian phoenix, Arabian figures, Persian carpet and Chinese Dragons celebrating the diversity of cultures in the world. This and other marvels of engineering can be found in his Book of the Knowledge of Ingenious Mechanical Devices translated by Donald Hill (Pakistan Hijra Council). Over 50 devices are mentioned. Amongst them the first analog computer, his remarkable Castle Clock, however, the debt the world owes this muslim genius is found in his remarkable water raising devices, particularly water raising device number 4 where for the first time a crank connecting rod system is used. The crank is considered to be the most important single mechanical device after the wheel, by 1206 this is found fully developed in Jazari`s machines predating Francesco di Giorgio Martini by 3 centuries. 'For Al Haytham' is dedicated to the great polymath genius who wrote the great book on vision, the first person to give us a true understanding of how we see. 'Lubb' is an Arabic word meaning innermost consciousness whilst to conclude proceedings 'Done' is loosely based on a well known standard. - Pat Thomas 26TH May 2017 Pat Thomas began playing  piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up Jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980 he became a member of oxford based group Ghosts with Pete Mcphail and Matt Lewis. Has worked with Mike Cooper, Steve Beresford, Geoff Hawkins, Chuck Berry, Tim Hill, Alex Ward, Eugene Chadbourne, Steve Noble, Jimmy Carl Black, Thurston  Moore, Mats Gustafsson, Evan Parker, Oliver Lake, Alan Silva, Bill Dixon, Joe Gallivan, Alan Wilkinson, John Edwards, John Zorn, John Butcher, John Russell and a duo with Mark Sanders since 1986 a duo with Steve Noble (who first met in 1979).  Current activities include Black Top with Orphy Robinson, Valid Tractor with Lawrence Casserley and Dom Lash, About Group with Alexis Taylor and John Coxon, Albert Newton with Charles Haywood and the Founder Effect with John Coxon, a duo with Han Bennink and a trio with William Parker and Hamid Drake. Pat Thomas received Paul Hamlyn Foundation Award for Composers in 2014.

We're very pleased to announce Pat Thomas's ‘The Elephant Clock of Al Jazari’ on our in-house OTOROKU label. Recorded live at OTO in May 2015 and mastered by Giuseppe Ielasi, the LP comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists. In Pat's own words: The title for this Album, was inspired by the incredible automatic water clock invented by Badi' al-Zaman ibn al-Razzaz al-Jazari. Al Jazari refers to the fact he was born in Al Jazira which lies between the Tigris and the Euphrates in what is now Northern Iraq. Badi al Zaman means prodigy of the age. He is known by historians of technology as the father of modern robotics. The Elephant Clock at seven metres high is a testament to his engineering genius, it utilizes Greek water raising technology, combined with an Indian elephant, Egyptian phoenix, Arabian figures, Persian carpet and Chinese Dragons celebrating the diversity of cultures in the world. This and other marvels of engineering can be found in his Book of the Knowledge of Ingenious Mechanical Devices translated by Donald Hill (Pakistan Hijra Council). Over 50 devices are mentioned. Amongst them the first analog computer, his remarkable Castle Clock, however, the debt the world owes this muslim genius is found in his remarkable water raising devices, particularly water raising device number 4 where for the first time a crank connecting rod system is used. The crank is considered to be the most important single mechanical device after the wheel, by 1206 this is found fully developed in Jazari`s machines predating Francesco di Giorgio Martini by 3 centuries. 'For Al Haytham' is dedicated to the great polymath genius who wrote the great book on vision, the first person to give us a true understanding of how we see. 'Lubb' is an Arabic word meaning innermost consciousness whilst to conclude proceedings 'Done' is loosely based on a well known standard. - Pat Thomas 26TH May 2017 Pat Thomas began playing  piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up Jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980 he became a member of oxford based group Ghosts with Pete Mcphail and Matt Lewis. Has worked with Mike Cooper, Steve Beresford, Geoff Hawkins, Chuck Berry, Tim Hill, Alex Ward, Eugene Chadbourne, Steve Noble, Jimmy Carl Black, Thurston  Moore, Mats Gustafsson, Evan Parker, Oliver Lake, Alan Silva, Bill Dixon, Joe Gallivan, Alan Wilkinson, John Edwards, John Zorn, John Butcher, John Russell and a duo with Mark Sanders since 1986 a duo with Steve Noble (who first met in 1979).  Current activities include Black Top with Orphy Robinson, Valid Tractor with Lawrence Casserley and Dom Lash, About Group with Alexis Taylor and John Coxon, Albert Newton with Charles Haywood and the Founder Effect with John Coxon, a duo with Han Bennink and a trio with William Parker and Hamid Drake. Pat Thomas received Paul Hamlyn Foundation Award for Composers in 2014.

2016 Re-Press. Pre-orders take now. Shipping 4.7.16 Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together. Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering, Berlin. REVIEWS "On an east London side street, Café Oto hosts a programme of international experimental sounds to shame subsidised arts temples, drawing demographic-defying crowds of all ages through its doors. The first release on Oto's own label, available as an authentic vinyl slab or a slippery download, is a 40-minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German free-jazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction." Stewart Lee, The Sunday Times  "Since it opened in Dalston in April 2008, Café OTO has become London's new music venue of choice for the likes of the Sun Ra Arkestra, Joe McPhee, Mats Gustafsson – and Peter Brötzmann, whose first residency at the club in January 2010 yielded this inaugural release on OtoRoku, Café OTO’s new in-house label. The night in question was the first time Brötzmann had played with bassist John Edwards and drummer Steve Noble, and the decision to team them up was inspired. With Alan Wilkinson, or in Decoy with Alex Hawkins and NEW with Alex Ward, Edwards and Noble have a deserved reputation as a thrilling high-energy rhythm section. And as Brötzmann is no slouch when it comes to high-energy playing, the combination is explosive. Right from the start of the set – the first that evening – it's obvious why this was selected to christen the label. All three players jump straight into top gear, with Brötzmann setting a cracking pace, his torrent of sound characterised by that hard-edged tone which makes him such compelling listening. ...the worse the better sets a high standard for subsequent releases to match. But, as every night at Café OTO is recorded and there's a wealth of fine music waiting in the wings, including quality recordings from Otomo Yoshihide and Wadada Leo Smith, OtoRoku looks like a label to watch." John Eyles, Paris Transatlantic "These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining near-telepathic modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten roar, while Noble’s mule-kicking at the traps reels out ride hits like a baby sporting a bonnet of bees." - Spencer Grady, BBC Music "Does the world need another Brötzmann album? Probably not, but as the inaugural release on Cafe OTO's in-house high quality vinyl-only label, this one is cause for celebration. Recorded there - superbly well, too - during Brötzmann's residency in January 2012, this is no frills straight-up free jazz, solos and all, pitting the Firebreather of Wuppertal against the might local rhythm team (yes, they can and do swing hard) of John Edwards and Steve Noble. All three are on outstanding form, from the opening yelp - when it comes to Big Bang beginning, nobody does it better than Brötzmann - to Edwards's snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters." - Dan Warburton, The WIRE

2016 Re-Press. Pre-orders taken now. Shipping 4.7.16. Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together. Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering, Berlin. REVIEWS "On an east London side street, Café Oto hosts a programme of international experimental sounds to shame subsidised arts temples, drawing demographic-defying crowds of all ages through its doors. The first release on Oto's own label, available as an authentic vinyl slab or a slippery download, is a 40-minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German free-jazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction." Stewart Lee, The Sunday Times  "Since it opened in Dalston in April 2008, Café OTO has become London's new music venue of choice for the likes of the Sun Ra Arkestra, Joe McPhee, Mats Gustafsson – and Peter Brötzmann, whose first residency at the club in January 2010 yielded this inaugural release on OtoRoku, Café OTO’s new in-house label. The night in question was the first time Brötzmann had played with bassist John Edwards and drummer Steve Noble, and the decision to team them up was inspired. With Alan Wilkinson, or in Decoy with Alex Hawkins and NEW with Alex Ward, Edwards and Noble have a deserved reputation as a thrilling high-energy rhythm section. And as Brötzmann is no slouch when it comes to high-energy playing, the combination is explosive. Right from the start of the set – the first that evening – it's obvious why this was selected to christen the label. All three players jump straight into top gear, with Brötzmann setting a cracking pace, his torrent of sound characterised by that hard-edged tone which makes him such compelling listening. ...the worse the better sets a high standard for subsequent releases to match. But, as every night at Café OTO is recorded and there's a wealth of fine music waiting in the wings, including quality recordings from Otomo Yoshihide and Wadada Leo Smith, OtoRoku looks like a label to watch." John Eyles, Paris Transatlantic "These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining near-telepathic modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten roar, while Noble’s mule-kicking at the traps reels out ride hits like a baby sporting a bonnet of bees." - Spencer Grady, BBC Music "Does the world need another Brötzmann album? Probably not, but as the inaugural release on Cafe OTO's in-house high quality vinyl-only label, this one is cause for celebration. Recorded there - superbly well, too - during Brötzmann's residency in January 2012, this is no frills straight-up free jazz, solos and all, pitting the Firebreather of Wuppertal against the might local rhythm team (yes, they can and do swing hard) of John Edwards and Steve Noble. All three are on outstanding form, from the opening yelp - when it comes to Big Bang beginning, nobody does it better than Brötzmann - to Edwards's snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters." - Dan Warburton, The WIRE

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer Bryan Eubanks: Open-circuit electronics (sinetones) What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of McPhee and Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits. .. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits.” – Time Out NY Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique. Artwork by Jerry Starpoli Liner notes by Joe McPhee In memory of Jerry Starpoli  

More than a half century into its development, free improvisation remains nearly impossible to define. Of course there are concrete definitions, canons, and well trod paths – familiar idioms, structures, relationships, textures, and tones, but by its very nature – something free, when practiced with faith, it is elusive – constantly shifting and reforming in the hands of those who call the art form their own. Of the improvisers emerging from the remarkable European contexts over the last four decades, few demand the respect, or have plumbed the depths of the English saxophonist John Butcher. An entirely singular voice, since appearing on the scene during the late 1970’s and early 80’s, he has continuously defied and shattered standing presumptions of his form. Exemplifying this, there may be no better example than a series of solo performances recorded on a lonely tour of remote areas of Scotland with Akio Susuki during 2006. Entitled Resonant Spaces, the album stands as one of his most ambitious, radical, and revelatory bodies of work. For a voice who has enacted so much change – entirely rethinking the possibilities of his craft, John Butcher’s career is a road less traveled, turned the right way – receiving his PhD in theoretical physics, before shifting gears toward explorations in sound. Across the 80’s and 90’s he performed with the lions share of Britain’s leading lights – Derek Bailey, Phil Minton, John Russell, Phil Durrant, Steve Beresford, and countless others, endlessly pushing toward the unknown. It was during this period that he began to develop the trajectories for which he is often most recognized – solo performances, capitalizing on resonance, overtone, and space. Resonant Spaces is the fruit born of decades of work. A rare product of artistry, seeming to have simply appeared – an organic disembodied form. Astounding on nearly every count – miles from the social unrest from which this idiom was born – an uncharted meditative realm – a towering body of creativity and tone. Recorded in the wilds of Scotland against neolithic standing stones, within an emptied oil storage tank, and caves, like all free improvisations, Resonant Spaces is a conversation, but one unlike others before. Where musicians working in ensembles and groups, shift, adapt, and respond to those with whom they share the stage, Butcher’s conversation is with the unexpected responses of a given space and the returned transmogrified body of his creative self. Issued for the first time on Vinyl, a shimmering world of resonance, ambience, structure, and craft. The outcome of one lonely tour, now rises among the most astounding and singular creative gestures in the history of improvisation – the realization of the quest for freedom, which began it all. Edition of 250 copies, the LP comes in full color cover with printed inner sleeve housing a transparent anti-static record sleeve, Blue colored vinyl and an original insert that functions as Obi as well

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

This classic minimal music album is now available again on vinyl for the first time since the 70s.Primed with a glass of cognac Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-coloured overtones. For 45 minutes this rich pulsating music swells and intensifies, filling the air.When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called Minimalist company of La Monte Young, Terry Riley, Steve Reich and Philip Glass, whose work also featured in the Shandar catalogue. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times the opulent fullness of his music would more accurately be described as Maximalist.Strumming Music, recorded in Palestine’s own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York, as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician.Although the technique of the piece has roots in Palestine’s daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the colour moods, plastic rhythms and tactile space of Mark Rothko’s Abstract Expressionist canvases.At the time when Philip Glass, Steve Reich and Terry Riley were becoming well-respected and widely heard composers, welcomed in concert halls and opera houses around the world, Charlemagne Palestine actually stopped making music altogether. He relocated to Europe and devoted his creative energies to the making of stuffed animal sculptures including the mighty God Bear, three-headed and six metres high. His involvement with music was revived and renewed during the 1990s, when younger generations of musicians and listeners, attuned to immersive noise and sensual sounds, were rediscovering Strumming Music and recognising that Palestine had blazed an idiosyncratic trail into their emerging world.Since then he has returned enthusiastically to musical performance and his formerly meagre discography has steadily grown. Still Strumming Music remains the essential index of Palestine’s singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. He had already been playing church organs for several years, relishing their power and presence. Now he had found a piano that satisfied his need for sonic depth and weight.  “The Bösendorfer at its best is a very noisy, thick molasses piano,” he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music.“My rhythms are sexual, not machine-like.” Charlemagne Palestine, in 2013.TracklistA Strumming Music part I 26:05B Strumming Music part II 26:05Notes° Insert with liner notes by Julian Cowley° Comes with download code° Lacquer cut by Rashad Becker° Lay-out by Jeroen Wille° Re-mastered by Equus° Licensed from FGL Productions° Edition of 1000 copies

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)

Expanded and revised hardback 2nd edition of this legendary Ra artefact. All will be shipped immediately on receipt of stock late-November.   Twenty years after its first publication, ART YARD are proud to present the fully revised 2nd edition of Hartmut Geerken’s long unobtainable Omniverse – Sun Ra, a definitive hitch-hiker’s guide to the Sun Ra galaxy. The new, completely revised edition features: -       unpublished photographs of Sun Ra and the Arkestra by Hartmut Geerken and Val Wilmer-       a fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra-       articles by Geerken, Amiri Baraka, Chris Cutler, Robert L. Campbell, Salah Ragab, Gabi Geist and others-       new full colour images of hundreds of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and coloured LP sleevesFor five decades, Sun Ra brightened planet Earth with his unique, provocative and esoteric musical philosophy. Touring the world with his formidable Arkestra, he represented and affirmed a new vision of Black history and culture, embodied and spread a new and powerfully influential Black philosophy, and revolutionised music with sounds from beyond the purple star zone.  Ra accepted no limitation imposed on him by earthly powers: his vista was the universe, his travel was interplanetary, his music borne along the spaceways as he delivered messages of light to a sleeping world. Now more than ever, the value and radicalism of his protean musical inventiveness, his socially collective self-determination, and his philosophical and poetic profundity can be seen. Where Ra went, we are slowly going, and we will find his message for us waiting there. The new edition of Omniverse – Sun Ra is a major contribution to Sun Ra studies, and a dazzling overview of its subjects astonishingly productive career on Earth - the definitive companion to the many worlds of Sun Ra.  

Foreword by Sonny Rollins. Henry Grimes recorded and toured with some of the most imaginative American jazz musicians including Sonny Rollins, Cecil Taylor, and Albert Ayler. This book examines the bassist’s long but turbulent musical career, recounting his continuously creative artistic life as bassist, violinist and poet. Henry’s a giant. – Cecil Taylor, 2000. On the records he was on, he stood out. He had a big sound, and it really punched out whatever ensemble he was in. – William Parker, 2003. I am so happy to hear that Henry is playing again. He is one of the great individualists, and his absence left a space that nobody else could fill. – Dave Holland, 2003. Henry has always been a serious, intense, and fearless musician whose personal life reflected those exceptional qualities. I admire him greatly. – Sonny Rollins, 2007. Henry Grimes is among the greatest improvisers living in the world today. His playing is exquisite. – Roscoe Mitchell, Mills College, 2010. Barbara Ina Frenz, born in 1961 in Zurich, Switzerland, is a German historian, author and copywriter living in Frankfurt am Main. Frenz grew up in a jazz-loving family, studied history, philosophy, and art history in Frankfurt, and gained her PhD with a study on equality in the Middle Ages. Frenz was a research associate at the Universities of Frankfurt and Würzburg from1989 to ’99 undertaking historical studies sponsored by various foundations. Since 2001, after further education in creative writing, she has worked in the creative areas of advertising and as a writer of poetry, texts in history and culture, and contributions to the German jazz magazine Jazzpodium.

Compost and Height is pleased to announce the publication of Patrick Farmer’s new book, Yew Grotesque. Farmer has been working on this book for the last year as part of a joint commission from Sound and Music and Forestry Commission England. It was developed during a series of week-long residential trips to Grizedale Forest, Cumbria, where Farmer resided in a log cabin and spent time walking the forested area between Coniston Water and Lake Windermere. This direct relationship between the forest and the book is veiled, though the underlying presence is integral to its makeup. Yew Grotesque completes a series of works, comprising Farmer’s previous books try i bark and wild horses think of nothing else the sea. Together the three books offer both a direct and indirect textual engagement with listening. The relationship between these publications is typified by the words of Jack Spicer, a poet who felt that his own works “echo and re-echo against each other”, “create resonances” and can’t “live alone anymore than we can”. The undertow of Farmer’s preceding books, found in the knots and temporary dichotomies of the external and internal, now find their opposite in the publication of Yew Grotesque. The new book’s underlying personality and its observation of the many divergent angles and qualities of listening was prevalent from its conception, but its role in sealing and joining the three books together was only made apparent towards its end. It is a perverse book of praise that attempts to lay itself out flat by concerning itself with the tools that can make the object, rather than the object itself. Yew Grotesque opens on the morning of a symposium, observing the protagonist as he moves through a series of exercises in a hotel room, whilst intently listening to his inner speech rehearse a speculative conversation between two dead artists.

Screenprinted on thick, quality paper printed by Tartaruga. Design by Han Bennink Limited to 100 numbered copies  “Han Bennink is an international treasure, a towering catalyst bringing sparkle, humour and character to an art form that too often is dull.” – London Jazz News In the fields of experimental and outsider music, the word "legendary" can be applied far too liberally, but for Han Bennink no other word will do. Celebrating a three-quarter century this year, the Dutch drummer and percussionist has had a colossal impact and influence in the fields of free jazz and improvised music, from his seminal and varied work with the likes of John Tchicai, Peter Brötzmann and Derek Bailey in the 60s and 70s, to a still restlessly inventive collaborative output with artists as wide-ranging as The Ex, Pat Thomas and Eugene Chadbourne in more recent years. Cafe OTO has had the privilege of playing host to many of the greats of improvised music since its inception in 2008, but one artist who never seems to have performed here enough is Han Bennink. This residency – his first shows here since 2013 – aims to go some way in redressing that balance, with a packed line-up of duo and trio performances alongside collaborators old and new. Combining equal parts virtuosity and anarchic irreverence, Bennink has never rested on his laurels, and this should be an enthralling and thrillingly unpredictable three days “What ultimately makes Bennink special is his manifest love for the music, a love that inclines him to tear down the cardboard walls that too often separate different schools of jazz. At his best, with colleagues who share his all-encompassing stylistic embrace, Bennink plays the continuum of jazz as an instrument unto itself.” – Drummerworld

Screenprinted on thick, quality paper printed by Tartaruga. Design by Maja Larsson / Organ studio. We're delighted to present a four-day residency with one of the greatest living UK-based improvisers - Pat Thomas. Criminally unheralded, Pat is a fearless and uncompromising player who – despite coming from a background of free improvisation and new music – can feel as close to the worlds of noise and experimental music. His performances range in approach and texture from fearsome cacophony that can sound like a piano having its guts ripped out, with Pat thumping discordant clusters of keys with his fists or rattling the exterior wooden frame; to delicately soothing passages where his fingers glide over the keys, creating microscopic tones and resonant melodies that can hold an entire sonic landscape. The residency coincides with the release of Pat's new LP - The Elephant Clock of Al Jazari - on our own in-house OTOROKU label, which comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists. "I can't quite think of anyone else who sounds quite like this: it is in a class of its own." - Bruce Lee Gallanter, Downtown Music Gallery "Thomas runs the gamut of techniques, splashing clusters, weaving contrapuntal lines and building elaborate structures from the inside out. Despite their variety, they share a fundamental quality – they truly sound like spur of the moment creations, not the final draft of ideas mulled over for weeks, if not months on end." - Bill Shoemaker, Point of Departure