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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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Lucy & Aaron is the debut collaboration LP from the duo of Lucrecia Dalt (RVNG Intl.) and Aaron Dilloway (Dais Records). Full length LP in full color cover with printed inner sleeve featuring art by artist Pieter Schoolwerth. File under Electronic / Tape Music. ARTIST STATEMENTS “I met Aaron in Madeira around 10 years ago, and I was blown away by his set, when I was going to tour the US for the first time, Forest, my US my booking agent asked me if I wanted to tour with someone from his roster and I suggested Mr Dilloway, the first show we played together was in Toronto, he started with a very groovy loop, some kind of soul extract that felt just right. With that, he levelled the dynamics and the atmosphere of the room, moving back and forth from the stage to the audience to double check if everything was sounding right. I have never seen such an elegant, disturbing and powerful show at the same time, it was a wild combination. We played a couple more shows together and on my journey throughout the states I was never in a place where his name didn’t pop up with a positive comment of admiration. We became extremely close and utopian. We started this record during a two week visit of mine in NYC, we crossed our signals, sometimes his affecting mine, or the other way around, we just wanted to make a fun, weird and inevitably emotive record that somehow captured so many things we love about music, to put oneself in character and go with the flow.” -- Lucrecia Dalt “Lucrecia and I met briefly 10 years ago while performing at a festival together. We traded some releases and I was very excited by what I heard. Her records stuck out to me over the years as something very special. I was a fan. We met again recently while performing on a bill together in Toronto, and while watching her perform, I was mesmerized by her selections of sounds, as well as her movements and control of the mixing board. I felt like we worked similarly. We struck up a very close friendship and what followed was a year of intense discussions about art, music, performance and recording. Immediately we began working on music together and her expertise in mixing and her highly trained ears and overall drive were very inspirational. This album was recorded in 3 different locations, Pioneer Works in Brooklyn, NY where Lu was doing a residency, sessions at Lu’s home in Berlin, Germany and finally at my home in Oberlin, OH. It was one of the most inspirational periods of my life and helped me overcome some intense musical and psychological obstacles. I learned so much by making this record.” Aaron Dilloway Recorded by Lucrecia Dalt & Aaron Dilloway 2019 - 2020 Mastered by Rashad Becker Cut by Warren Defever Art by Pieter Schoolwerth --- Hanson Records, 2021

Aaron Dilloway & Lucrecia Dalt – Lucy & Aaron

"Back in 2018, I was invited by Dave Rempis to participate in the Exposure Series at Elastic Arts in Chicago. The Series was for me a shining example of artist-lead organizing of different yet connected communities around the Music. From my standpoint, it is yet another in the continuum of such actions, specifically in Chicago, and has been a major inspiration for my work as an artist and for the material on this recording. The ensemble was assembled by Mr. Rempis, and was the first time the group had ever played together. The experience was immensely moving and was a major event in my own musical development, having the chance to lead a collective ensemble of true pillars in Creative Music. Later that year, I was invited back to Chicago by Ken Vandermark for the Option Series at Experimental Sound Studio. It was then when I was able to schedule a recording and subsequent concert with the group, revisiting the material conceived by the ensemble earlier that year. As for the actual composition, I wanted to showcase the collectivism of the sounds produced in that first meeting. With that in mind I listened back to the first recording and transcribed different movements, motifs, and themes, plus added a few original composition ideas. We then recorded these collective compositions, first in a private recording session, second in front of an audience at Elastic Arts, where the Quintet first met. What is presented here on this double album is a collection of both sessions. I want to convey again the collectivity of the Quintet. The concept of being a (C)omposer is a result of centuries of musical hierarchy, regarded and celebrated as the ultimate form of a musical artist. The example set out by the journeys of many in Improvised Music, including the gentlemen on this recording, allows for exploration of "composition" in true collective non-hierarchical form. There are no single series of notes, timbres, and dynamics conceived previously by an individual that was then imposed. Rather the Music was allowed to be presented with equal representation from each individual. The "Composer" here, is merely the organizer of the spirit energy of the ensemble. This is the nature of the beautiful offering that This Music provides." - Luke Stewart, July 2020.  --- Luke Stewart - Bass, Compositions Edward Wilkerson, Jr. - Reeds Ken Vandermark - Reeds Jim Baker - Piano Avreeayl Ra - Drums --- Released: Oct 2020, Astral Spirits

Luke Stewart – Exposure Quintet

Generational Muse"Forty years ago a group of hipsters fled Manhattan for . . . has it even been that long? I cannot fathom for I’m still alive and so many of my comrades have fallen to age, to the Amerikka machine. We started our Harlem project with great promise, young energy, and foolish intent. We thought that the government should fund our liberations, and as I look back Ishmael Reed was correct in saying that we should have reached out to our black middle class business owners, lawyers and doctors for the money to free our people from the decay of racism, class difference, and n*-ism.The music was always there. For me it was the pulse of the whole enterprise, a stunning tribute to our genius. New music magicians like Sun-Ra, Ornette Coleman, Sonny and Linda Sharrock, those Ayler brothers and the like gave us the language to try anything. There were more of these visionaries than poets, and their work lives longer than any poem of mine’s will. This is no sad statement, for the soul of the African has always been linked to the beat. My own son’s generation discovered this through hip-hop, but the embracing of an instrumental music skipped the generations after its birth, the new music did not seem to make it to my son’s peers.In Cleveland, there are a few young brothers doing the “new music” without the wayward politics of their forbears, only the soul, heart and muscle of the music lives now. Vernacular, a group of three young musicians – two black men, and a white man – unaware of how crucial their enterprise will be to the coming years. I’ve come to know their journey through a young poet I know, whose head is harder than mine, but savvy is spirit, and his glows. He asked me to write to you, the listener, to give you a map of their place in history; I was not willing at first for I was feeling old, and attacked. Why should I help explain what they could only know as a lonely enterprise?As albums go, this “little bird” is passion music, I enjoyed many of the selections, I did not like their slower works, nor did I enjoy how short it was. It should have been longer, but they left me wanting, so I guess they’ve understood some things are left to the sure voice. I tease my young poet all the time, he does the same – who will be the next mover in out collected history of moving, he asks? I say don’t fret that, it will only make you a target. FBI crackers will tap your phone, and open your mail. The war against the free has come to a head. Choose wisely."Imamu Amiri BarakaFebruary 21, 2004  --- r.a. washington / trumpet, percussionChris Kulcsar / drums, guitarLawrence Daniel Caswell / bass, voice ---Liner notes by Amiri Baraka.Vernacular 2003. All songs by vernacular, except *by Sam Waymon, arrangement by Vernacular.Recorded July 5th & 6th, 2003 at The Black Eye by Jeff Ottenbacher. Mixed at Funsize Studio by Jeff Ottenbacher.Bonus track credit: Live improv by Vernacular & Black Ox Orkestar. Performed at the Grog Shop in Cleveland Heights, Ohio, in the Fall of 2004. Live mix engineered by Gary Heinrich. Black Ox Orkestar is Thierry Amar, Jessica Moss, Gabriel Levine, and Scott Levine Gilmore.Thanks to Ed Sotelo, Jason Schafer, Cynthia Piper, Clinton Holley, and Jeff Ottenbacher.Extra special thanks to Amiri Baraka (rest in power), the members of Black Ox Orkestar, and Lamont Thomas (OBNOX).

Vernacular – The Little Bird

Takuroku

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

“Consider the whole of your life, what you already do, all your doings. Now please exclude everything which is naturally physiologically necessary (or harmful), such as breathing and sleeping (or breaking an arm). For what remains, exclude everything which is for the satisfaction of a social demand, a very large area which includes foremost your job, but also care of children, being polite, voting, your haircut, and much else. From what remains, exclude everything which is an agency, a "means" -- another very large area which overlaps with others to be excluded. From what remains, exclude everything which involves competition. In what remains, concentrate on everything done entirely because you just like it as you do it.” – Henry Flynt definition of "Brend," from “Against “Participation”: Total Critique of Culture” Sigital Krutulys-Sygis (1967-1996) called himself a poet, thinker and professional dilletante. He wrote several drama works and a stack of poems, and in 1993-1995 actively participated in the development of Alytus avant-garde. He was radically critical of new capitalist relations and universal alienation. Almost none of his writings and creations have been published until this year, and his expression is a purest example of Henry Flynt's description of Brend. In 2021 January, his best friend Redas Dirzys, has collected and published the majority of Sygis (anti)literature (dramas, poems, short stories and at the same time something that does not fit any of those standards) in a form of book sequel. Pages – this is how the author suggested naming these works in order to avoid the toxic concept of art and creativity. In pages, grammar is ignored, text is transformed into matter/image and image into letters. With Shortcoming, I tried to explore the failure of meeting a certain standard in a contemporary society. What does it mean to make something just for the sake of doing it? Without expecting anything in return and without trying to fit in in certain frameworks of the society. Us trying to constantly chase success and fame made us glorify hustle culture, being non-human, machine like creatures that are not allowed to make mistakes. First track - Math won’t save the world is based on algorithm generated percussion pattern (made using custom build max for live device) and guitar improvisation. With this track I mainly experimented with machine and human collaboration for imperfect and unpredictable creative outcome. The longest track and centre part of the whole project is Elephant. This track was based on an unnamed poem of Sygis, about our high ambitions that do not necessarily come true, and that it is not a bad thing. Instrumentation wise I continued my experimentation with computer generated rhythms, highly processed improvised guitar, and overlaid disintegrating cassette tape loops (for which I used another custom build max for live device that progressively destroyed loops by crushing sample rate and bit depth). For a final track - Tale of darkness, I used another unnamed poem (he really did not like naming things) of Sygis. By using this poem of his I wanted to better look into the stereotypes of evil and bad and how we all have a not so glamorous sides of us. I have combined Sygis poem with family archive audio recording from 1995 (year of when I was born) between my father and my brother. So it happens, that previously mentioned best friend of Sygis, who has published his poems, is my father. And even though Sygis took his own life only a few months after I was born, I still have a very strong connection to his ideas and his way of thinking has influenced my own relationship with creativity. - Gong Girl (Guoda Dirzyte)

Gong Girl – Shortcoming

Working primarily under the name Action Pyramid, Tom Fisher's projects range from site-specific sound installation and headphone works for galleries and museums, to experimental radio works and commercially released music. Utilising a multitude of recording techniques his work often seeks to explore and re-interpret the seemingly unnoticed and unseen/unheard elements of our surroundings. In this release for Takuroku, Tom takes to remote locations in his native county of Suffolk, unearthing the sounds of the local marsh, woodlands, river and coast and the multitude of life that exists there. Occasionally arranging these sounds with his own musical interventions, he whisks together beguiling sonic material, rich in timbral, textural and rhythmic quality. 'Singing Below the Surface' features 7 tracks, each of with their own haunting identity. Through subtle collaging, spatialisation and musical symbiosis, Tom opens the liminal space between real and imaginary worlds. "Over lockdown #1 (Spring/Summer 2020) when I was out in the sticks in Suffolk I amassed quite a large amount of recordings, including but not limited to; hydrophone recordings of the local river, some red list bird species, aeolian harps, bullroarers & reed pipes fashioned from locally found objects, as well as huge variety of soundscapes from the area, and have fed these into a new body of work over the course of the last 8 months. On a personal level I think it's taken me this long to find a way to get a handle on these - partly because they remind me so vividly of that very intense part of 2020. It was the longest time I have spent back in the Suffolk landscape since I left home, and I think one way of dealing with all the madness was to go out and record and listen as much as possible. This is a condensed version of some of that time, as well as an exploration of ways in which we can choose to both explore and interact with our surroundings." - Tom Fisher (Action Pyramid) -- Tom Fisher (Action Pyramid) - recordings, instrumentation & mixing  -- Mastered by Oliver Barrett

Action Pyramid – Singing Below the Surface

Passing the mic out to listen to the voices of others has been a small recurring theme in our Takuroku series. Jean-Luc Guionnet's 'Totality', Nour Mobarak's '3 Performance Works' and claire rousay's 'ilsym' all feature voices of friends or strangers, threading recordings of them to create new layers of intimacy in their work. Natalia Beylis is another artist in the series to take this approach. Based upon recordings of friends describing beautiful places, 'Invaded by Fireflies' feels like an psychogeographic journey through unidentified terrain. As a bed for her friend's musings, Natalia forms a sound world of resonant percussion and quietly hissing sonorosations. Tipping to early work of the New York minimalists and David Jackman/Organum's multi-textural drone-based aesthetics in 'Veil of Tears' and 'Sphyx', she forms aural content that matches her friends' sense of beguilement.   "I grew up surrounded by adults who spoke broken English and children who spoke broken Russian. No one quite getting anything 'right'.  English was not my first language and teachers in my school were quick to jump on my linguistic errors.  Though Russian was my first language, I always had a detached shyness that came with trying to master a language in a place removed from where it is locally spoken.  This background gave me a fondness for the English language spoken by people for whom English is not their first language. Then I moved to Ireland and fell in love with the vast variety of accents and the phrasings and slang and twists of Irish melded into the English. Sometimes I can get so lost in the sound of someone speaking (the accent, the lilts, the pauses) that I completely forget to focus on what they are saying. The recordings used in Invaded by Fireflies were not initially gathered for the uniqueness of the voices. Rather, I asked friends to describe memories of a beautiful place, recorded these memories straight onto cassette and then used the recordings in my live performance. In early 2021, while missing the sounds of humans, I decided to revisit these. It was only when I began to bunch the recordings together for this piece that I was struck by the beauty and variety in the voices themselves." - Natalia Beylis Thanks to Rian, Olga, Bas, Phil, Yulia, Maï Ly, Roslyn, Paddy, Niall, Joanna, Elena, George and Moose for lending me their voices. -- Mastered by Oliver Barrett

Natalia Beylis – Invaded By Fireflies

OTOROKU

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

New music from XT (saxophone player Seymour Wright and percussionist Paul Abbott) in the form of an exhilarating, super compressed, reflective re-assembling of a dozen years working together. Re-animating free improvisation with a Chicago house palette, Deorlaf X is made up of frenetic slabs of mutated multiphonics and triggered percussion, suspended in bouts of possessed reflexive quiet. Where the duo’s 2019 release Palina'tufa on Empty Editions focused primarily on a response to the real (and imagined) landscapes of Hong Kong, Deorlaf X is located in Dalston, and specifically at OTO. Wrung through Shuan Crook’s studio over three nights, the recordings dug from XT’s archive aren’t simply ‘duo’ - instead they actively draw on their public and social contexts, involving the influence of audience, engineers and other visiting musicians - Ghédalia Tazartès, Jamaaladeen Tacuma, Senyawa, RP Boo and others. “A changing cast of OTO guests, audience and emotions hosted each time in a new London. XT structures sound an ongoing attempt to listen and learn about the rich and transformative affordances of the situations we occupy.” The resulting record puts a pin through a dialogue between Abbott and Wright, between histories, potentials, fact, fiction, ideas, friends, audiences, and spaces. The heavy use of referencing recalls the footwork or house traditions of sampling across all manner of influences; what’s recalled is primarily the structures of jazz - Ornette Coleman, Charlie Parker, Anthony Braxton - but also Ann Quin, Clarice Lispector, Anna Halprin. What’s created in recall is a kind of diary, a hyper re-membering - a blisteringly warped kind of future music. --- Recorded by James Dunn, Shaun Crook and Paul Skinner. Assembled, mixed and re-recorded 19, 20 and 21 January, 2020 by XT at Lockdown Studio, Cable Street. Engineer Shaun Crook. Sounds/design by XT. Cover painting Leon Kossoff 'Dalston Junction No.3, June 1973' oil on board, 20.5 x 25 cm. © The Estate of Leon Kossoff. ROKU026

XT – Deorlaf X

أحمد [Ahmed] – the quartet of Pat Thomas, Antonin Gerbal, Joel Grip and Seymour Wright – make music of heavy rhythm, repetition and syncopation set deep into an understanding of jazz and the obscure depths of its history. Across the 2 LPs which make up ‘Super Majnoon [East Meets West] ’the group work and rework the music of the late musician Ahmed Abdul-Malik to create a stamping, swinging, relentlessly propulsive record where profundity and physicality root right back to ecstatic feeling.  Abdul-Malik was a NYC bassist, oudist, composer, educator and philosopher who fused aspects of American, Arabic and East African thought, ethics, meanings and beliefs in open and experimental ways to make vital, forward leaning jazz. [Ahmed] reimagine the notes of Malik as they push for new ground. Melodies respirate, swell, escalate and combust in a driving jazz which yes is technical, yes is accomplished, but ultimately just foot-to-the-floor swings.  ‘Super Majnoon [East Meets West]’ is a title fused from the leader of the Master Musicians of Jajouka Bechir Attar’s description of [Ahmed] after hearing them in Switzerland last year (Majnoon is the arabic slang for ‘crazy’), and Abdul-Malik’s 1959 album East Meets West. Arriving as a double LP, the first comprises studio recordings of [Ahmed] at Hong Kong’s Empty Gallery in 2018 and the second a scorched live recording at OTO from August 2018. The record features photos by Bert Glinnand Taku Unamiand ‘in and out’ liner notes by James G. Spady – historian and journalist from Philadelphia, the author of books on Marcus Garvey and the trilogy of groundbreaking books on hip hop (Nation Conscious Rap, Street Conscious Rap, The Global Cypha).  --- [Ahmed] are: PAT THOMAS / piano  ANTONIN GERBAL / drums  JOEL GRIP / bass  SEYMOUR WRIGHT / alto saxophone  --- LP 1 recorded by David Sum at Empty Gallery Hong, March 31, 2018. LP 2 recorded by Paul Skinner at Café OTO London, August 25, 2018. LP1 mixed by David Sum. LP 2 mixed by Pat Thomas. Mastered by James Dunn. Liner notes © James G. Spady. Cover photo © Burt Glinn/Magnum Photos. Design by Maja Larsson. Produced by John Hawthorn, Jens Löwius and Seymour Wright.

Ahmed – Super Majnoon [East Meets West]

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

"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings --- Kan Mikami / vocals, guitar John Edwards / bass Alex Neilson / percussion --- Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi

Kan Mikami / John Edwards / Alex Neilson – Live at Cafe OTO

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

حمد [Ahmed] – the quartet of Pat Thomas, Antonin Gerbal, Joel Grip and Seymour Wright – make music of heavy rhythm, repetition and syncopation set deep into an understanding of jazz and the obscure depths of its history. Recorded live at Cafe OTO at the launch of the previous record 'Super Majnoon [East Meets West]’ the group work and rework the music of the late musician Ahmed Abdul-Malik to create a stamping, swinging, relentlessly propulsive record where profundity and physicality root right back to ecstatic feeling --- "The journey of self-discovery, communing with the eternal sound. A musician steeped in multiple worlds; oceans apart yet closely connected in ancestral memory. Musicians such as Ahmed Abdul-Malik were able to experience the global community of sound warriors, drawing inspiration from ancient cultures to support personal investigation. The connection was made clear, the music of Africa would certainly influence the African in America despite the atrocities of the Middle Passage, chattel slavery, and continued racist violence that sought to sever any connection to the continent. The beauty of Malik’s investigation is this original fusion of new music (Jazz) of the African in America with ancient music of Africa. It is a shining example of collaboration in culture, where the music is allowed to shine for itself. This is the inspiration that is being tapped, being explored in this collaboration where rhythm is the basis for the sound. Just like Malik, they allow the spirit of the collective push the sound as the music develops into exalted chaos. Joy Be Upon Us!" - Luke Stewart --- Arranged by [AHMED] Pat Thomas - Piano Joel Grip - Bass Antonin Gerbal - Drums Seymour Wright - Alto saxophone --- Recorded live at Cafe OTO, London, December 5th, 2019. Recording: Shaun Cook Mixing: Billy Steiger Mastering: Mikey Young --- Inner-sleeve text: ' Origins Revisited' by Pat Thomas (2004) Cover photo of Ahmed Abdul-Malik at the Cabana Club, New York City, 1965 Produced: Astral Spirits / Seymour Wright --- Released: Astral Spirits, 2021

[Ahmed] – Nights on Saturn (communication)

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!

"My favorite albums have always been the ones that take the listener on a journey. I aim to do that, to create worlds with my albums - universes. I wanted The Other Side of Time to unfold like a story and I've continued that process with The Shadows and The Light. I'm influenced by so many different styles of creative music and I like to try and bring all those influences into harmony on these records. There is long-form and short-form composition. You have groove and you have free improvisation, sometimes at the same time. I chose to honor some of the greats - Elvin Jones with Frank Foster, Phil Cohran, Carla Bley & Sun Ra - by covering their material, while my original compositions pay homage to the influences of Charles Mingus (Lucid Dream) and Mr. Blount (Jupiter Moon). I also make room for sound explorations (Shadow Intro & Ecliptics). The title cut is an epic journey all on it's own and a composition I've been working and reworking for many years. I'm happy to have finally brought it to life in it's truest form."- Quin Kirchner --- Recorded at Decade Studios in Chicago September 16 & 17 2019Additional Tracking at Shape Shoppe & Future House in Chicago November 2019 - March 2020Ecliptics recorded at Shirk Studios in Chicago July 18, 2017Engineered by Nick Broste, Brian Sulpizio & Quin KirchnerMixed by Nick Broste at Shape ShoppeMastered by Casey RiceProduced by Quin KirchnerArtwork by Arthur WrightLayout by Nick LaRocheAll compositions by Quin Kirchner (BMI) exceptAt This Point In Time by Frank FosterSahara by Kelan Phil CohranPlanet Earth by Sun RaKing Korn by Carla Bley -- Shadow IntroQuin Kirchner - Drum Set, Congas, Percussion, Roland SH-2000, Korg MonotronBatá ChopQuin Kirchner - Drum Set, Boss SP-303Rob Clearfield - WurlitzerMatt Ulery - Acoustic BassGreg Ward - Alto SaxophoneAt This Point In TimeQuin Kirchner - Drum Set, Congas, PercussionNick Broste - TromboneRob Clearfield - WurlitzerNate Lepine - Tenor SaxophoneNick Mazzarella - Soprano SaxophoneJason Stein - Bass ClarinetMatt Ulery - Electric BassRiftQuin Kirchner - Drum SetNate Lepine - Tenor SaxophoneMatt Ulery - Acoustic BassPathwaysQuin Kirchner - KalimbaNate Lepine - FluteMatt Ulery - Acoustic BassSaharaQuin Kirchner - Drum Set, KalimbaNick Broste - TromboneNate Lepine - Tenor Saxophone, FluteJason Stein - Bass ClarinetMatt Ulery - Acoustic BassStar ClusterNick Broste - TromboneNate Lepine - Tenor SaxophoneNick Mazzarella - Alto SaxophoneJason Stein - Bass ClarinetGreg Ward - Alto SaxophoneMoon VisionQuin Kirchner - Drum SetNick Broste - TromboneRob Clearfield - PianoNate Lepine - Tenor SaxophoneNick Mazzarella - Alto SaxophoneJason Stein - Bass ClarinetMatt Ulery - Acoustic BassGreg Ward - Alto SaxophoneEclipticsQuin Kirchner - Drum Set, Boss SP-303Nick Broste - Electro-Harmonix Memory ManPlanet EarthQuin Kirchner - Drum Set, Congas, PercussionNick Broste - TromboneRob Clearfield - PianoNate Lepine - Tenor SaxophoneNick Mazzarella - Alto SaxophoneJason Stein - Bass ClarinetMatt Ulery - Acoustic BassJupiter MoonQuin Kirchner - Drum Set, Congas, PercussionNick Broste - TromboneRob Clearfield - PianoNate Lepine - Tenor SaxophoneJason Stein - Bass ClarinetMatt Ulery - Acoustic BassHorizonsQuin Kirchner - Drum Set, Congas, Floor Tom, Percussion, HandclapsNick Broste - TromboneNate Lepine - FluteJason Stein - Bass ClarinetKing KornQuin Kirchner - Drum SetNick Broste - TromboneNate Lepine - Tenor SaxophoneJason Stein - Bass ClarinetMatt Ulery - Acoustic BassThe Shadows And The LightQuin Kirchner - Drum Set, PercussionNick Broste - TromboneRob Clearfield - Piano, WurlitzerNate Lepine - Tenor Saxophone, FluteNick Mazzarella - Alto SaxophoneJason Stein - Bass ClarinetMatt Ulery - Acoustic BassLucid DreamQuin Kirchner - Drum Set, PercussionNick Broste - TromboneRob Clearfield - PianoNate Lepine - Tenor SaxophoneNick Mazzarella - Alto SaxophoneJason Stein - Bass ClarinetMatt Ulery - Acoustic Bass

Quin Kirchner – The Shadows And The Light

It can be tempting to describe the interplay of certain musicians as “telepathic.” But that might be an unnecessarily supernatural term. The best musicians don’t read minds, after all. They do something far simpler, something much more down to earth. They listen. They absorb. And then they respond. Music – especially improvised music – is an exchange between the players, a give-and-take. It’s a gradually unfolding conversation that, at its best, reveals a hidden layer. Or maybe a whole hidden universe.The record you now hold in your hands is one of those conversations. On Time No Changes, Chris Schlarb and Chad Taylor invite the listener to eavesdrop on a musical dialogue that blossoms over the course of 40 enveloping minutes. The album was recorded in a single session at BIG EGO in Long Beach, California, where Schlarb has been dreaming up various parallel dimensions for the past decade or so, either with his always evolving Psychic Temple collective or with an ever-expanding cast of characters drawn from various SoCal scenes.Taylor, of course, is best known for his work with Rob Mazurek in the Chicago Underground Duo — though that long-running project is just the very tip of the iceberg when it comes to his ongoing explorations. Taylor and Mazurek recently contributed to Psychic Temple’s sprawling Houses of the Holy double LP, backing Schlarb on a side of gorgeous orchestral jazz. With Schlarb on 6- and 12-string acoustic guitars (plus subtle keyboard accents) and Taylor on drums (plus mbira interludes), the most obvious touchstones for Time No Changes are Sandy Bull and Billy Higgins’ collaborations, which fearlessly crossed currents and blew minds back in the 1960s. With sharp simplicity, Bull called those long improvisations Blends; they blended not only a variety of musical concepts (raga, folk, jazz, etc.), but also two keen musical imaginations. Bull and Higgins were certainly listening to one another, sending and receiving transmissions from moment to moment.A somewhat under-appreciated aspect of those Bull/Higgins Blends is their unabashed looseness. They’re far from perfectly rendered; the thread is sometimes lost entirely. For Schlarb, that was an inspiration in the making of Time No Changes. “Listening back, there were a few moments here and there when I felt a little self-conscious,” he remembers. “Like, ‘Oh man… I fall out of time!’ Or ‘I flubbed that picking pattern!’ Then I went back to listen to Sandy and Billy and remembered how fucked up and beautiful that album was.” In other words, Bull and Higgins weren’t interested in perfection. They were interested in flow.In her recent book Transcendent Waves, sound healing practitioner Lavender Suarez describes the “flow state” as a “trancelike space of deep focus” where “we can create freely, letting go of ego and self-criticism.” That’s the vibe that you’ll get throughout Time No Changes, as Schlarb and Taylor glide through two spontaneously generated 20-minute song suites. Taylor’s sensitive playing is fluid and forward moving, delivering a feel that’s free flying without ever losing momentum. Schlarb, playing in the EEEEBE tuning used by Stephen Stills and Bruce Palmer, floats down this rhythmic river, finding mystical modalities and luminous melodies along the way.Throughout, there’s an easy, warm rapport between the two musicians. They’re not trying to impress one another with flashy technique or unnecessary embellishments. But the results are impressive, nonetheless — even to the players themselves. “The OGs return!” Taylor exclaims at the end of Side A. You’re very likely to agree with his sentiment.- Tyler Wilcox, Longmont, Colorado  --- Chris Schlarb / 6- and 12-string acoustic guitar, Moog synthesizer, Hammond organChad Taylor / drums, mbira --- Produced by Chris Schlarbat BIG EGO, Long Beach, CaliforniaMixed by Chris Schlarb and Devin O’BrienRecorded Saturday, December 14th, 2019Engineered by Devin O’BrienCover Artwork by Jamie ZuverzaPhotographs by Devin O'BrienLayout by David WoodruffMastered by Ronan Chris MurphyAll songs written by Chris Schlarb (Interstellar Music Holdings of the Psychic Temple, ASCAP) and Chad Taylor (CTORB, ASCAP)

Chris Schlarb & Chad Taylor – Time No Changes

On Exoplanet, Rob Frye generates an atmosphere in which drummers and improvisers orbit synthesizers, inhabiting a Goldilocks zone of electronic and biotic components. Some of the tracks were created spontaneously or composed of strict loops, but two of the arrangements are melodic adaptations of the song of Musician Wren. After working as a field biologist with the Institute for Bird Populations in California from 2012-2016, Frye began to slow down and transcribe birdsong, eventually developing a performative lecture called Hearing Hidden Melodies. "XC175020" and "XC222182" are not potential earth-like planets in another solar system, indeed they are individual birds recorded by Peter Boesman in the Amazon. This bird, known as Uirapuru in Brazil and La Flautista in Peru, reminds us of the mysterious sonic knowledge threatened on our very own home planet. On this, his first album for Astral Spirits and his first as a leader, Rob played woodwinds and synthesizers and directed a specialized crew, recruiting Bitchin' Bajas (Drag City) bandmates Cooper Crain and Dan Quinlivan on engineering and electronics. Ben Lamar Gay's cornet (International Anthem) and Macie Stewart's violin (OHMME) pitch and roll, fueled by the dual propulsion of drummers Quin Kirchner (Astral Spirits) and Tommaso Moretti (Amalgam), while Nick Ciontea (brownshoesonly) consults on modular synthesizer. Like the Uirapuru, Edbrass Brasil (Sê-Lo!) also searches through fallen leaves in some of his own work, though for sound not insects. On "Innercosmos" we he hear his unconventional wind tubes, and on "XC222182" his voice calling as instruments gather, playing the bird's melody. --- ROB FRYE - compositions, woodwinds, synthesizersCOOPER CRAIN - electric organ, synthesizersDANIEL QUINLIVAN - synthesizer, electronics, wurlitzerBEN LAMAR GAY - cornet and wurlitzerTOMMASO MORETTI - drums (right channel)QUIN KIRCHNER - drums (left channel)MACIE STEWART - violin on tracks 2, 5, and 7NICK CIONTEA - synthesizer on tracks 3 and 4EDBRASS BRASIL - wind instruments and voice track 3 and 5 ---Recorded by Cooper Crain at DecadeMixed by Cooper CrainMastered by Mikey YoungCover Art by Matias Santa MariaLayout by Dylan Marcus McConnellThanks to Uirapuru, Ted Parker, Peter Boesman, Emily Bax, Adam Wille, Martin Frye, Cristian Pinto, Will Faber, Tadeu Mascarenhas, Estúdio Casa das Máquinas, Nate Cross, Erik Rasmussen, NASA, University of Iowa Space Audio.

Rob Frye – Exoplanet

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

Nathaniel Mackey is a hugely influential American poet, novelist, anthologist, literary critic and editor. He is the Reynolds Price Professor of Creative Writing at Duke University and a Chancellor of Academy of American Poets. His on-going series of epistolary novels (begun 1978) From A Broken Bottle Traces of Perfume Still Emanate narrate the music making, dreams and creative life a group of imaginary jazz-based musicians making a fictional music, at the edge of words, dream and physical possibility in late 1970s and 1980s Los Angeles.The idea for the Creaking Breeze Ensemble emerged in 2016 in response to a reading of Mackey's books by a group of musicians, writers and artists closely connected to the creative community around Cafe OTO in East London: Billy Steiger, Evie Ward, Paul Abbott, Ute Kanngiesser and Seymour Wright. Each have their own distinct voice, and respective connection with the musical traditions at the core of From A Broken Bottle. As a group of artists they felt that what Mackey explored as the making of a fictional music articulated something close to their actual, respective and overlapping musical lives. The group was named and so doing established a space for them to undertake an on-going 'reading' of the novels. And  led in turn to them inviting Mackey to come to London to work, somehow, on this 'reading' of the novels and their ideas.Mackey agreed and this mysterious proposal was realised in June 2019. Together Mackey and the ‘Breeze developed a working method and honed their attention on close reading of two letters from the books. What emerged was an open mobile process moving through the letters (and their content) in ways that shaped rich, sensual and playful spaces for reflection and improvisation, iteration and inter-textual pleasures.The result is Fugitive Equation a remarkable and beautiful long-song across two nights. The first night Lit by Eclipse takes as its point of departure, reads and develops a letter from book five, Late Arcade; the second night Skeletal Water, X-Ray Water takes as its point of departure, reads and develops a letter from book two Djbot Baghostus's Run.The album is a complex, unique and long-form (2 hours plus) composition of sound and word, unlike the previous work of any of those involved. The six unique voices, drums, violin, cello and saxophone and Mackey and Wards' words. It is a work that continuously collapses, questions and flips many poles - word/sound, voice/music, vocals(foreground)/band(background), recorded past/improvised present and fact/fiction.The art work for the album cover is ‘Clutch’, a painting by seminal London based artist Frank Bowling whose retrospective was on show at the Tate Britain during Mackey’s visit to London.The project was supported by the Arts Council of England and Cafe Oto.  --- Nathaniel Mackey - voice, readings, vinylEvie Ward - voice, improvised poetry fragmentsPaul Abbott - acoustic drums, synthetic soundsUte Kanngiesser - celloBilly Steiger - violin, pianoSeymour Wright - alto saxophoneRecorded in concert by Shaun Crook and Paul Skinner at Cafe OTO,London on June 7 and 8, 2019. Mixed by Shaun Crook.

Nathaniel Mackey and The Creaking Breeze Ensemble – Fugitive Equation

Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT027), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie’s travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat. However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie’s extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie’s interests in free jazz, electro-acoustic music and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse.Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of ‘Catlike’ and ‘Elders’. On the epic closing ‘Kebogiro Glendeng’, Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner’s groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece’s insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog. 

Will Guthrie – Nist Nah

LP / CD

A truly stunning accomplishment from Unseen Worlds, building on their long-standing relationship with the late, great "Blue" Gene Tyranny, comes 'Degrees of Freedom Found', a towering 6 CD box set of material recorded between1963-2019, hand selected from the archives by the artist before his passing in 2020. Spanning countless musical forms and as ever refusing to be nailed down, it’s a visionary excursion into the irreverent world of one of the most import musical figures of the last 50 years. So good... **6CD Box. Includes 24 page booklet with liner notes by "Blue" Gene Tyranny and download card.** There have been very few artists as singular, unique, and difficult to define as the late, great "Blue" Gene Tyranny. A maverick of the highest order who blended a near countless number of musical idioms into a definitively unique form, his long-standing relationship with Unseen Worlds breathed new life into his practice and fan base over the last decade or so of his life. As a final parting, the label has now embarked on their most ambitious release attending to this incredible artist’s legacy, Degrees of Freedom Found, a six CD set of material recorded between 1963-2019, that was hand selected by Tyranny from archival, live recordings, and brand new first recordings, before his passing in 2020. This is a truly stunning accomplishment that represents the most comprehensive immersion into Tyranny’s incredible world of sound, we couldn’t possibly recommend it enough.Born and raised in San Antonio, Texas, "Blue" Gene Tyranny began studying piano at an early age and launched his performance career while still in high school, already drawn toward the avant-garde by the work of composers like John Cage. Across the 1970s and early '80s, he taught at the legendary Mills College, and toured with The Carla Bley Band, The Prime Movers (which included Iggy Pop and Michael Erlewine), and Iggy & The Stooges, as well as embarking upon extensive work with composers like Robert Ashley, Peter Gordon, and Jacques Bekaert. In the words of Kyle Gann, Tyranny had "Cecil Taylor's keyboard energy, [and] Morton Feldman's ear. The most original aspect of [his] works is the way they create continuity: they're tonal, yet rigorously asymmetrical. They satisfy the ear without letting it take anything for granted. They evolve...with the labyrinthine irreversibility of deep psychic forces."A number of years before his move to NY in 1983, Tyranny recorded his debut LP, Out of the Blue - for many his most definitive and most striking statement - issued by Lovely Music in 1978. While currently not the earliest of his available recordings - Unseen Worlds’ incredible archival issue of Trust In Rock, for example, predates it by a couple years - Degrees of Freedom Found takes unprecedented steps to fleshing out our understanding of his activities for the decade preceding and following, as well as what has come since, of this seminal work.Degrees of Freedom Found, sprawling across 6 CDs, features recordings dating to as early as 1968, and builds across the '70s, '80s, and first two decades of the 2000s, curated conceptually and for playability, rather than chronologically. Featuring live and studio recordings, that encounter Tyranny solo on the piano, in numerous stunning duos, and working within ensembles of varying sizes - featuring astounding players like Leroy Jenkins, Conrad Harris, Jon Gibson, Richard Landry, Peter Zummo, and a near countless who’s who of the American experimental vanguard, the degree of creative diversity and scope is absolutely astounding across the album’s length, ranging from emotively melodic minimal piano excursions embarked upon solo, works for tape and electronics, expansive orchestral works, abstraction laden efforts of startling harmonic interplay, fascinating ventures into the fourth world, and playful rethinking of the nature of song, the set really has it all and brings an artist like no other into crystalline focus.A truly monumental gesture that couldn’t be bested as a farewell to one of the most singular artists of the last 50 or so years. Unseen Worlds has done it again, reminding us not only of Tyranny’s seminal place in the history of music, but of the importance of record labels in the support of their work. Issued in a beautiful box with extensive notes on each work made by the artist himself, stunning colour photographs by Phil Makanna and a black and white portrait by Pat Kelley, this is absolutely essential and not to be missed.

"Blue" Gene Tyranny – Degrees Of Freedom Found

Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate’s Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, and Yo La Tengo’s Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders. For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine theWirewhile continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed. Alan Licht is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Love Child and in the experimental groups the Blue Humans and Text of Light. He has released eight solo guitar albums and more than a dozen duo and trio records of improvised music. Licht is a contributing music editor at BOMB magazine and his essays and reviews have appeared in Artforum, Parkett, the Wire,the Believer, Sight & Sound, and many other publications. He is the author ofAn Emotional Memoir of Martha Quinn, an extended personal essay about coming of age as a rock fan and musician;Sound Art: Beyond Music, Between Categories, the first full-length study of sound installations and sound sculpture to appear in English; and Sound Art Revisited,an updated version of the latter, published last year; and he is a co-author of Will Oldham on Bonnie ‘Prince’ Billy, a collection of interviews with Will Oldham,andTitle TK 2010–2014, a compilation of concert transcriptions, with Cory Arcangel and Howie Chen. Jay Sanders is executive director and chief curator of Artists Space, New York. --- Blank Forms, 2021

Alan Licht – Common Tones: Selected Interviews with Artists and Musicians 1995–2020

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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