Covid-19 Survival

Please note that whilst postage costs are included in the price of these items, we may be unable to send this out until we re-open. Please email us at info@cafeoto.co.uk if you have any queries, otherwise we will drop you a line after purchase to arrange delivery when possible.

Many thanks to Xper. Xr - one of the pioneers of Chinese industrial noise music in the 80's - for donating this unique object with a history! "Relic, hammer, circa 1993" "Part of an instrument used at the 1st Hong Kong International independent Music Festival. At approx.10pm on the 3rd September, 1993, Xper.Xr. and the gang were shredding the stage with an angle grinder, hammers and other utility tools, while attempting to blow up a bicycle inner tube. At a crucial moment during the set, venue staffs intervened and decided to unplug the set; commotions ensued both on and off stage and in the heat of the moment, this fateful hammer broke off the handle, missiled through the air, and went straight into the forehead of a front row audience, drawing blood. The operator of this piece was an original member of the Orphic Orchestra, a childhood friend of the artist, who has unfortunately passed away on the 8th March, 2020, at 12:44pm. Traces of blood from that evening might still be present on this object, but will require forensic tests to reveal." One of a handful of experimental musicians to emerge in musically conservative Hong Kong in the eighties, the cryptically named Xper.Xr gained a measure of notoriety as arguably the first Chinese ‘industrial noise’ musician. Please note that whilst postage costs are included in the price of this item, we may be unable to send this out until we re-open. Please email us at info@cafeoto.co.uk if you have any queries, otherwise we will drop you a line after purchase to arrange delivery when possible.

XPER. XR'S HAMMER

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New

This recording gathers all of the music from the final night of Otomo and Sachiko's first residency in 2009 which saw the pair joined by the long running trio of Evan Parker, John Edwards and Tony Marsh and special guest John Butcher. Butcher played duos with both Otomo and Sachiko and joined the quintet for a rousing sextet: stunning twin saxophone interplay, the unparalleled open-ness of the Marsh/Edwards rhythm pairing, Sachiko's deft high frequency interventions and Otomo's guitar at the centre - moving between abrasive textural invention and suggestive single note runs of ever-shifting melody. REVIEWS "As for indicating a place in the curiously sculpted bridges between improvised music and sound art, well, the simple singularity of these daring and committed performances should bear out their significance." Clifford Allen, Tiny Mix Tapes "This Quintet/Sextet album is recorded beautifully and it needed to be to capture all the nuance involved ... These are musicians at the top of their craft." Free Jazz Blog "...fresh and inspired. The recording stands as a finely-honed classic of classically approached free improvisation: the players dance and flow smoothly and effortlessly with and around the sounds of their partners." - Henry Kuntz Point of Departure Review

Otomo Yoshihide / Sachiko M / Evan Parker / Tony Marsh / John Edwards / John Butcher – Quintet / Sextet / Duos

Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody  Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place. From Matthew Wright’s new liner notes:  The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout –  Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it! This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century. Edition of 1000 copies.

Louis Moholo Octet ‎ – Spirits Rejoice!

“Two Duos” is pressed from cellist Okkyung Lee’s most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, it’s magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger’s opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee’s extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echos, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes’ extraordinary capacity for dexterity, nuance and speed, hounding Lee’s cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. --- Okkyung Lee / cello Jérôme Noetinger / revox b77 Nadia Ratsimandresy / ondes martenot --- Recorded live at Cafe OTO on Thursday 28th March & Friday 29th March by Paul Skinner and Shaun Crook. Mixed and mastered by Lasse Marhaug. Designed by Maja Larrson. ROKU027.

Okkyung Lee / Jérôme Noetinger / Nadia Ratsimandresy – Two Duos

Takuroku

Our new in house label, releasing music recorded in lockdown.

When we asked Mariam Rezaei to submit a Takuroku release late in 2020 she responded by saying “I want to do something, but I want to make sure it's something special”. Almost a year later Mariam decided to team up with vocalist Alya Al-Sultani, presenting a first time duo on turntable and voice, sending lightning fast sonorisations bouncing off the walls of OTO. Mariam and Alya come from different but overlapping disciplines. After growing up as a classically trained pianist, Mariam has built a reputation over time as a prolific turntablist, DJ and improvisor, never shying away from interdisciplinary and experimental projects. Alya meanwhile is a British-Iraqi soprano, but has spent the last few years integrating improvisational techniques, microtonal ideas and Eastern influences in her music. Together their dexterous lungs and nimble fingers birth forms that dance in and out of each other: shifting, soaring, dipping, diving, but never sitting still.Mariam takes Alya’s vocals as content to throw back into the mix, forming multiple layers of chops and edits that ricochet back and forth. Alya’s vocals move between tender refrains, textural flurries and righteous bursts of operatic expression, meeting Mariam digital fx, textural drones and sonic swells in ecstatic symbiosis. Alya’s repeated aphorism “I want you, female,” throughout the start of the set spells it out. This is music about desire and liberation: fiery, sonically rambunctious and forever reaching for new heights. -- Alya Al-Sultani - voice Mariam Rezaei - turntables -- Recorded in Cafe OTO by Shaun Crook on the 30th of June, 2021 Mixed & mastered by Oliver Barrett

Alya Al-Sultani & Mariam Rezaei – Sister

Since 2006 the Portugese duo of Marta Ângela and João Artur (CALHAU!) have been quietly labouring away on their wonderfully tilted practice, embracing music, text, film, and visual arts on a path that has included performances, exhibition projects and several artistic residencies. For this new release on Takuroku they take influence from medieval Galician-Portuguese songs/poetry of insult and mockery called cantigas d'escarnio e maldizert. A carnivalesque sense of play, pathos and absurdity haunts the 33 minutes run time as they shift between sung and spoken incantations, baroque organ dirges, junk-yard musique concrete, layers of tape mush and sonic trickery. Although medievil in theme, there is a particular timelessness to proceedings. One of the main instruments CALHAU lists is "the ghosts of an old cassette re-recorded thousand times during the last 20 years" - with sounds fermented and rendered into beguiling forms. Another is "a crappy electric organ from 1980 called ORION", which dispels both baroque and twisted sonics from its tired engine. When first listening to this it instantly brought to mind the late Ghédalia Tazartès, who sadly passed away this year. Similar to Ghédalia's work this is ageless, contradictory, old, new, sad, strange and often hilarious music. Music that fearlessly reveals its multiple facets to slowly unfurl its twisted, tender core. -- CALHAU are Marta Ângela and João Artur -- Mastered by Oliver Barrett

CALHAU! – orioNoiro

OTOROKU

In house label for Cafe OTO which documents the venue's programme of experimental and new music, alongside re-issuing crucial archival releases.

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 / piano --- Recorded live at Cafe OTO on the 4th May 2015 by Mark Jasper. Mastered by Giuseppe Ielasi. Photo by Fabio Lugaro. Design by Maja Larsson. 

Pat Thomas – The Elephant Clock of Al Jazari

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

BROETZMANN / EDWARDS / NOBLE – THE WORSE THE BETTER

Our tenth OTOROKU release sees a return to the group that kick-started the label - the veteran German reedsman and free jazz pioneer Peter Broetzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of '…The Worse The Better' that group went on to play a series of devastating shows in Europe and to emerge as one of Broetzmann's finest working groups. Over the same period Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself on stage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Broetzmann for impact whilst the extended sustain of the vibes opens up an eerie space for some of Broetzmann's most fertile lyricism. The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention - stoking the others onwards. Broetzmann was clearly energised - I swear I saw him dancing at the side of the stage whilst exchanging a shattered reed. And for all the usual rhetoric of Free Jazz bluster and machismo, this is a meeting characterised by the joy of communal creation that makes you want to dance - even if only in your head.

Broetzmann / Adasiewicz / Edwards / Noble – MENTAL SHAKE

Pat Thomas is one of the most extraordinary pianists of our time. In a first time duo with saxophonist Matana Roberts, the lyricism of his distinctly dexterous and curious approach to the piano paints pathways for Robert’s poignantly vocal saxophone. Together the two speak; locked grooves and neat switchbacks on the keys form dialogue with long deliberate lines on the alto, punctuated by Roberts’ ecstatic vocalisations.  The trio of improvised pieces which make up the record’s first side are rich phrases, pitched at each end of the piano and stretched and pulled by Pat. His simple, repetitive cycles yield space and colour for Robert’s song, then let sounds build to a flourish; an armed run on the keys and some wonderfully soft landings.    The second side, a whole part in itself, goes deeper - hammered armfuls of piano and torn top breath blasting from Roberts fall in a flutter of delicate keystrokes. Call and response halves collide in a wonderful thunder before finding the edge of another line to hang onto. There is a remarkable sense of purpose, precision and restraint at play, as well as a peaceful milieu, which no doubt stems from the two players' fierce individual intelligence, creativity and curiosity.  The record arrives housed in a screen printed Kraftboard sleeve, die cut to reveal photographs taken by Dawid Laskowski and Fabio Luguro. Mastered by Giuessepe Ielesi who also mastered Pat Thomas’ The Elephant Clock of Al Jazari, we pressed this on 180g black vinyl. You can’t press a work called ‘The Truth’ on much less, can you? --- Pat Thomas / piano Matana Roberts / saxophone --- Recorded by James Dunn live at Cafe OTO on the 8th December 2018. Mixed by James Dunn and mastered by Guiseppe Ielasi. Photographs by Dawid Laskowski and Fabio Lugaro. Design and layout by Maja Larrson. 

The Truth – Matana Roberts & Pat Thomas

2xLP set of performances documented by Alan Lomax during his final American field recording project, newly remastered and all previously unreleased on vinyl! This set brings together the standout recordings Lomax made in his attempt to document the last vestiges of the “local surround” in Mississippi, Appalachia, and Louisiana. Intimate performances by R.L. Burnside, Tommy Jarrell, Boyd Rivers, Napoleon Strickland and many more form a rich tapestry of distinctly American musical traditions. Double 12” 160g black vinyl LP with color tip-on gatefold jacket printed by Stoughton. Includes 8 page, oversize color insert with liner notes by Nathan Salsburg of the Alan Lomax Archive. Cover art by Joe Light. From 1978 to 1983, Alan Lomax and a video-crew travelled through the American South and Southwest, documenting its traditional music — miners, moonshiners, and Primitive Baptists in Kentucky; flat-footers, string bands, and Piedmont blues in North Carolina; Cajun cowboys, fiddlers, and zydeco stompers in French-speaking Louisiana; and fife-and- drum ensembles, gospel quartets, former railroad track-liners, levee-camp muleskinners, and players on the pre-war blues circuit in Mississippi. This footage ultimately totaled some 350 hours and was edited into Lomax’s “American Patchwork” series, which aired on American public television in 1991. But given the strictures of the form, hundreds of discrete performances and compelling scenes were left unseen and unheard. --- Mississippi Records, 2021

V/A – Alan Lomax's American Patchwork

2LP £31

Black Truffle is pleased to announce Parampara Festival 13.3.1992, a stunning performance by Amelia Cuni captured live in Berlin almost thirty years ago. Milanese by birth and resident in Berlin for many years, Cuni lived in India for over a decade, studying the classical vocal style of dhrupad under masters of the form. Though perhaps known to many listeners primarily through her performances of the vocal music of John Cage and collaborations with Werner Durand and Terry Riley, she is recognised internationally as one of the great contemporary proponents of traditional dhrupad singing. These recordings document her performance at the 1992 Parampara Festival at the Haus der Kulturen der Welt, a landmark event celebrating the global spread of Indian classical music, bringing together Indian teachers with their international students. Accompanied by Gianni Ricchizzi on vichitra vina (a plucked zither played with a glass ball slide) and her own tanpura, Cuni stretches out for a languorous side-long performance of the late night Raag Bageshri, the limpid tones of her vocal improvisations illuminating the droning strings like flashes of the moon revealed by rushing clouds. Initially working patiently through a series of subtle dialogues between Cuni’s melodic extemporisations and phrases in response from Richizzi’s vichitra vina, the performance builds to a series of strikingly beautiful, virtuosic held notes from Cuni at the beginning of its second half, before picking up some brisker rhythmic articulation on the way to its conclusion. On Devino Amor, Cuni presents her own composition, a setting of mystical texts by the 13th century Franciscan friar Jacopone da Todi, elaborated through various traditional raags. Like the words used for most dhrupad compositions, the text Cuni has selected from da Todi praises divine love, thus linking her otherwise unorthodox use of Italian text to the dhrupad tradition. The result is a performance of a yearning intensity that communicates across any language barrier. On the final performance, Cuni and Ricchizzi are joined by Helmut Waibl on the two-headed pakhawaj drum for a piece using a 14 beat rhythmic pattern that sets in motion a cycle of tension and release, metrical dissolution and resolution, possessing a subtle grandeur. Illustrated with archival images of the performance and accompanied by new liner notes from Peter Pannke and Lars-Christian Koch, Parampara Festival 13.3.1992 invites listeners to lose themselves in Amelia Cuni’s unique approach to ancient tradition --- Black truffle, 2021

Amelia Cuni – Parampara festival 13.3.1992

out of stock

Black Truffle announce Undercurrent, the new LP from the long-running Milanese duo of Giuseppe Ielasi and Nicola Ratti. Following on from high-profile releases on Boomkat Editions and Shelter Press (SHELTER 080LP, 2017) in the last few years, the eight untitled pieces making up Undercurrent continue the pair's hypnotic and disorientating practice of improvisation based on tape loops. Often sitting halfway between electro-acoustic technique and beat-based production, the music of Bellows obliquely recalls aspects of hip-hop, dub, and techno while skewing their rhythmic foundations. While consistent with the distinctive language the duo has developed over the last decade, Undercurrent moves away from the explicit references made to club music in their recent releases. It presents a suite of pieces that are markedly more minimal, at times reminiscent in their haunted introspection of the legendary Tolerance records on Vanity Records. The pieces here often dwell for minutes at a time on single repeating tones, reverberating like distant bells in desolate landscapes of looped tape hiss. Where previous releases were primarily based on samples, Undercurrent uses recordings of the duo playing various instruments (guitar, drums, synthesizer) cut into tape loops and then used as the bases for song-length tracks, each of which establishes a central repeating motif while also opening up on close listening to reveal multitudes of improvised detail and subtle shifts in tone, texture, and tempo. Beginning with the mournful sliding tones and obscured fragments of field recordings on the opening track, the album moves from lush synth pads to super-minimal pings and haunted drone. On "6" and "7", spacious, hanging guitar figures give the music an elegiac quality recalling the work of Dean Roberts and Ielasi's own earlier guitar-based music (such as the classic Gesine (HAPNA 021CD), released on Häpna in 2005). The record subtly builds to its final track, which works the barest of elements -- a slowed-tone loop of steel drums, a distant whistle, beeping electronics -- into a piece somehow imbued with a quiet grandeur, a fitting conclusion to a record that, like all of the duo's work, is both sonically exploratory and immediately accessible.

Bellows – Undercurrent

out of stock

A collection of solo recordings made on (24 March 2018) at the Cafe Oto Project Space, and from the back seat of a car in three South London locations. Available from 27 July as a CD and download. "Just as American Primitive is a recognised and recognisable genre of music played by guitarists in thrall to John Fahey, so there is an equally distinct, though unnamed, school of guitarists dedicated to perfecting and developing the innovations of Derek Bailey. Northern Irish guitarist Ross Lambert is one such acolyte – the improvisations on this CD are even mostly performed on an axe that previously belonged to John Russell, perhaps Bailey’s best known student. Certainly, you can hear the great man’s influence in Lambert’s glancing harmonics and jagged runs, but there are other, more personal imperatives at work, too. The opening piece, ‘Floating Blossoms,’ begins with what sounds like tuning forks being struck and then vibrated against the guitar’s body, before Lambert heads into a dense and thorny deconstruction of the blues with echoes of Bill Orcutt’s admittedly more gnarled approach. Elsewhere, Lambert talks to himself and absent-mindedly hums along with his own melodic fragments, creating the sense that we’re eavesdropping on a private daydream. It’s an intimate affair, well worth waiting for from the conspicuously under-recorded Lambert." – Daniel Spicer, Jazzwise, October 2018 -- Ross Lambert / solo guitars and objects --  recorded, mixed and mastered by Daniel Kordikand Edward Lucascover illustration: detail from a drawing byRoss Lambert; ‘3 oligarchs visit Cafe Oto’;ink on paper.back cover photograph by Samantha Hayley notes by Ross Lambert and Eddie Prévost design by Earshots/dept2

Ross Lambert – MAGNIT-IZ-DAT

VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.  ---- In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessionsare finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly panethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. --- With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68 --- Blank Forms, 2021

Don Cherry – The Summer House Sessions

VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.  --- In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain. The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. --- With liner notes by Magnus Nygren. --- Blank Forms, 2021

Don Cherry – Organic Music Theatre - Festival de jazz de Chateauvallon 1972

The mighty Sun Ra Arkestra, under the direction of the maestro Marshall Allen, release their first studio album in over twenty years, ‘Swirling’. Recorded at Rittenhouse Soundworks in Philadelphia, the new recording represents the continuation of a heartfelt rebirth of the Arkestra under Allen’s guidance since Sun Ra left the planet in 1993, gaining new generations of followers from their regular touring across the globe. With a big band line-up featuring long-standing Arkestra members including Danny Ray Thompson (RIP), Michael Ray, Vincent Chancey, Knoel Scott, Cecil Brooks, Atakatune (RIP), Elson Nascimento and Tyler Mitchell, the album is a full-blooded celebration of Sun Ra’s legacy. Tracks include brand new arrangements of Arkestra staples ‘Angels And Demons At Play’, ‘Satellites Are Spinning’, ‘Door Of The Cosmos’ and ‘Rocket No. 9’ alongside lesser known gems; the rousing blues ‘Darkness’ is recorded here for the first time, resurrected from the Ra archives by Marshall Allen. Other highlights include an epic version of ‘Seductive Fantasy’ (first recorded on Ra’s ‘On Jupiter’ LP in 1979), the freeform sonic blast of ‘Infinity / I’ll Wait For You’ and a first ever recording of the Marshall Allen swing composition, ‘Swirling’. “We truly hope that this recording brings much joy to a planet which is so deeply in need of a spirit sound and vibration,” states saxophonist Knoel Scott. “We hope it contributes to a change in the ominous direction of man’s journey through the cosmos.” “This new release is the Arkestra’s love offering to the world,” concludes Marshall Allen. “Beta music for a better world.” Sun Ra Arkestra’s ‘Swirling’ is released on 9th October 2020 on Strut on all formats. The album was produced by Jim Hamilton at Rittenhouse Soundworks. Cover artwork is by Lewis Heriz. SUN RA ARKESTRA Under the direction of Marshall Allen Marshall Allen: Alto Saxophone, EVI Knoel Scott: Alto Saxophone James Stewart: Tenor Saxophone, Flute Danny Ray Thompson: Baritone Saxophone, Flute Michael Ray: Trumpet Cecil Brooks: Trumpet Vincent Chancey: French Horn Dave Davis: Trombone, Vocals Farid Barron: Piano Dave Hotep: Guitar Tyler Mitchell: Bass Wayne Anthony Smith, Jr.: Drums Elson Nascimento: Surdo Drums, Percussion Stanley “Atakatune” Morgan: Congas Tara Middleton: Vocals, Violin

Sun Ra – Swirling

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For thirty-five years American poet Nathaniel Mackey has been writing a long poem of fugitive making like no other: two elegiac, intertwined serial poems--"Song of the Andoumboulou" and "Mu"--that follow a mysterious, migrant "we" through the rhythms and currents of the world with lyrical virtuosity and impassioned expectancy. In a note to this astonishing box set of new work, Mackey writes: "I turned sixty-five within a couple of months of beginning to write Double Trio and I was within a couple of months of turning seventy-one when I finished it.... It was a period of distress and precarity inside and outside both. During this period, a certain disposition or dispensation came upon me that I would characterize or sum up with the words all day music. It was a period during which I wanted never not to be thinking between poetry and music, poetry and the daily or the everyday, the everyday and the alter-everyday. Philosophically and technically, the work meant to be always pertaining to the relation of parts to one another and of parts to an evolving whole." Structured in part after the last three movements of John Coltrane's Meditations--"Love," "Consequence," and "Serenity"--Double Trio stretches the explorations and improvisations of free jazz into unprecedented poetic territory. --- Trim Size - 6x9 Page Count - 1080 Hardback - 3 books

Nathaniel Mackey – Double Trio: Tej Bet, So's Notice, Nerve Church : Limited Edition Box Set

“The expression "ghost in the machine" emerged within a particular context, namely as a critique of Cartesian dualism's separation of soul and body, and thus served to revive a certain mechanistic materialism. In simple terms, this critique denies the existence of an independent soul (the 'ghost') contained in a corporeal organism (the 'machine'). It asserts, on the contrary, that the 'soul' is just a manifestation of the body—that ultimately they are one and the same. Although this remains a fraught question, always accompanied by the risk of slipping into the register of belief, it is resurfacing today in relation to the emergence of artificial intelligences: Can there be such a thing as an artificial intelligence? Can such an intelligence really add up to something more than the sum total of the binary operations that generate it? And what exactly is the "artificial"? The artificial always brings with it the fantasy of emancipation and autonomy, and a break with a supposedly natural order of things. It is subversive. AI, precisely in so far as it is artificial, embraces this subversion, hybridizing the Promethean and the Faustian, heralding as many promises as potential dangers, and raising the stakes as high as the survival or extinction of humanity itself. In this respect, the domain of musical creation constitutes a kind of front line, at once a terrain of exploration for possible applications of AI and a domain that boasts an already substantial history of the integration of machines and their calculative power into creative processes. From algorithmic composition to methods of resynthesis, from logical approaches to the creation of cybernetic systems, from the birth of computer music to neural networks, for more than half a century now music has been in continual dialogue with the binary universe of electron flows and the increasingly complex systems that control them.Each of the texts included here, in its own way, reveals a different facet of the strange prism formed by this alliance. Each projects its own particular spectrum—or spectre; each reveals a ghost, evokes an apparition that is a composite of ideas, electricity, and operations. This book, then, does not set out to cut the Gordian knot constituted by the question of the possible mutations and becomings of binary logic, and in particular its most recent avatar, AI. On the contrary, it seeks to shed a diverse light upon the many possible ways of coming to grips with it today, and upon the dreams, promises, and doubts raised by these becomings, whether actualised in the creation of codes and programs to assemble sounds or infusing a whole compositional project; whether they reveal the algorithmic dimension of the human being, or directly take over the writing of the text itself, rising to the authorial level. Above all, though, what is at stake here is to discover how these developments resonate together, and how this resonance manifests itself through all these approaches, all these reflections, all these modes of creation and of living. For the artificial, the artefact, is always the extro-human brainchild of a human, all too human dream.” Contributions by Keith Fullerton Whitman, Émilie Gillet, Steve Goodman, Florian Hecker, James Hoff, Roland Kayn, Ada Lovelace, Robin Mackay, Bill Orcutt, Matthias Puech, Akira Rabelais, Lucy Railton, Jean-Claude Risset, Sébastien Roux, Peter Zinovieff.

SPECTRES: Ghosts In The Machine / Volume III

Screenprinted on thick, quality paper. Design by Maja Larsson. Limited poster to celebrate the two day residency by the legendary and uncompromising Patty Waters.  From original listing:  Patty Waters must be acknowledged as a vocalist who has tested the limits of the human voice’s capabilities. Since her brief recording career in the mid-6O’s – after Albert Ayler brought her to the attention of ESP Disk – and despite performing very rarely, her influence has spread far beyond the realms of avant-garde and jazz. She has received much critical acclaim for her two ESP Disk recordings - Patty Waters Sings and Patty Waters College Tour. Waters' interpretation of Black is the Color of my True Love's Hair still remains a bold testament to the power of human expression. With a repertoire ranging from hushed piano solo ballads – in which her voice can fade to a whisper, barely audible – to performances using her voice as an instrument, conveying an incredible range of emotions, Waters is a singular artist and we're delighted to host her for a very rare two-night residency alongside Burton Greene (piano) and Tjitze Vogel (bass). “One of the best fucking singers alive.” – Rolling Stone “Praised by people like Miles Davis. her range moves easily from intimacy to introspection to rage. and her evocation of “Black is the Color of My True Love's Hair” has no parallel In musical history.” – San Francisco Sentinel “Hear her voice with the ears of wolves. A sound contour never before heard in American music and poetry. It transcends virtuosi vocalizing. It is presented as Shamanic ritual. The most perfect realization of Jazz song as siren song. Compels a revisioned understanding of the lure of the sweet woman's voice as a passage to paradise.” – Village Voice

PATTY WATERS – TWO DAY RESIDENCY A2 SILKSCREENED POSTER

The first cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The first in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song.'It should be a noon of 1997, when I was in the 2nd grade of middle school, I saw the music video of the Beatles “I Want to Hold Your Hand”on MTV channel. A live performance, black and white. It was the first “thriller” The Beatles brought to me.   The second “thriller” was in 1999, when I was in grade one of high school. The day before, I bought the so-called “white album” in a cracked cassette shop. That day I went to attend a kind of “little campus writer seminar” with my schoolmaster and a senior. On my way back home by bike, I began to listen to the double-cassettes. After this “thriller”, I talked with the senior who also loves rock music about grouping a band. But neither of us had learnt or even had any instrument. We just talked about it and thought we were in a band for quite a long time.   In 2001, I was a restudy student in a boarding high school. On the Christmas Eve, I listened to John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” lying in the bed in my dorm, which was rebuilt from a shower room. I cried out. It should be count as a “thriller” brought by the Beatles, the third one. After that, it never happened again.' MAI mai April, 2016 --- 卖卖 MAI MAI uses: Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones --- Released: Zoomin' Night Released June 1, 2016

卖卖 MAI MAI – MAI mai plays the Beatles vol.1

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