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For the 1983 edition of Company Week held at London's I.C.A. in May of that year, guitarist Derek Bailey once more invited a typically eclectic collection of guests. Cellist Ernst Reijseger is a mainstay of Dutch new jazz (ICP Orchestra, Clusone Trio...), American wind virtuoso J.D.Parran a veteran of the Black Artists' Group and Anthony Davis and Anthony Braxton ensembles, while saxophonists Evan Parker and Peter Brötzmann, as titans of European free improvisation, need no introduction. French bassist/vocalist Joëlle Léandre is equally at home playing free or performing works by Cage and Scelsi, while Vinko Globokar is an acclaimed composer as well as a trombonist of monstrous virtuosity. He and British electronics pioneer Hugh Davies served time with Karlheinz Stockhausen, and before a brief stint with Robert Fripp's King Crimson, percussionist Jamie Muir was, with Davies, on the very first (Music Improvisation) Company outing in 1970. Bailey once described playing solo as a "second-rate activity"; while at the other end of the spectrum, large improvising ensembles can, if they're not careful, descend into the musical equivalent of a rugby scrum: dangerous, but thrilling -- listen to what happens when Brötzmann comes barreling into the final track here. Sometimes one instrument takes center stage, as Parker's circular-breathing soprano does at the beginning of "Trio Five", but knowing when to lie low, as he does in the brief austere "Trio Three", is just as crucial to the success of the whole. Muir makes sure he doesn't get in the way of Globokar and Parran's leisurely exchanges on "Trio Four", but the trombonist is all over the place on "Trio One" -- transcribe what Globokar does here and it might be the most difficult trombone music ever written -- with Léandre racing up and down her bass and Davies all spikes, squeaks and squiggles, after which "Trio Two" is a lighter affair, Parran's flute and Léandre's vocals twittering together while Derek's acoustic twangs merrily along. With a touch of dry Bailey humor, two of the seven tracks aren't trios at all: "Trio Minus One" is his duo with Reijseger, running the gamut from crazed polyrhythmic strumming (imagine Reinhardt and Grappelli playing Schoenberg and Nancarrow simultaneously) to what must be the fastest cello pizzicati ever recorded. And on the closing ecstatic nonet, Brötzmann and trumpeter John Corbett prove that too many cooks don't necessarily spoil the broth but sure as hell spice it up.
Company – Trios
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).
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]
Chuffed to have received an as yet unreleased recording from Bill Nace of his duo with Jake Meginsky. 'East / West' is subtle, compelling and unlike so much other work with tape loops which piles up into wacky incoherence. Hard to tell where Nace ends and Meginsky starts, as the two inch out from crypt-y rumbles and meditate on higher frequencies.
Jake Meginsky / electronics, tapes, loops
Bill Nace / electric guitar, tapes, loops
Composed June/July 2016 and recorded By Jake Meginsky in September 2016. Produced and mixed by Jake Meginsky and Bill Nace Sept/Oct 2016. Mastered by Carl Saff. Cover Art by Max Milgram. Layout Rosali Middleman and Bill Nace. OM51
Bill Nace & Jake Meginsky – West / East
Another sold out number from Nace, this time with Chris Corsano and Susan Alcorn - a fantastic pedal steel player who has collaborated with the likes of Mary Halvorson, Pauline Oliveros, Evan Parker and pianist Sylvie Courvoisier.
Susan Alcorn / pedal steel
Chris Corsano / drums
Bill Nace / guitar
Recorded September 5. 2018 live at Rotunda Philadelphia, PA.
Alcorn / Corsano / Nace – Live at Rotunda
Delighted to carry this one. "Uncollected Texts draws together a number of Carolee Schneemann’s earliest writings—many exceedingly rare and several that are published here for the first time—ranging from letters to the editor, dream journals, and film criticism, to satirical poems, detailed discussions of her art, and pointed feminist critiques. Edited by Branden W. Joseph, the book includes 30 texts by Carolee Schneemann written between 1956 and 1981, as well as an introduction by Joseph.
First published in short-run magazines like Caterpillar, Film Culture, The Fox, Manipulations, and Matter; academic journals such as Performing Arts Journal; and mainstream publications including the New York Times and The Village Voice, the writings gathered in this volume shed light on some of Schneemann’s most important artistic achievements. Schneemann writes about her most famous “kinetic theater” piece, Meat Joy; anti-Vietnam War works such as Snows, Viet-Flakes, and Divisions and Rubble; the multimedia performance Up to and Including Her Limits; and the double-screen film Kitch’s Last Meal. Frequently referring to one another, the assembled writings produce a densely interwoven tapestry of cross-references that provide unique insights into Schneemann’s artistic development while also foregrounding the artist’s uniquely poetic style.
Carolee Schneemann is an artist based in Upstate New York. For over 60 years, she has worked in painting, photography, performance, film, video, mixed media, and installations to create groundbreaking pieces that focus on gender, politics, and sexuality. The recent retrospective Carolee Schneemann: Kinetic Painting originated at Museum der Moderne Salzburg (Austria, 2015), then traveled to the Museum für Moderne Kunst Frankfurt am Main (Germany, 2017) and MoMA PS1 (New York, 2017). Her work has also been the subject of exhibitions at the Musée départemental d’art contemporain de Rochechouart (France), the Museo de Arte Contemporáneo de Castilla y León (Spain), and the Samuel Dorsky Museum of Art, State University of New York, New Paltz (New York). Her publications include Parts of a Body House Book (1972); Cezanne, She Was A Great Painter (1975); More Than Meat Joy: Performance Works and Selected Writings (1979, 1997); and Imaging Her Erotics (2001).
Branden W. Joseph is the Frank Gallipoli Professor of Modern and Contemporary Art at Columbia University in New York. He is the author of Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press, 2003); Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008); The Roh and the Cooked: Tony Conrad and Beverly Grant in Europe (August Verlag, 2012); and Experimentations: John Cage in Music, Art, and Architecture (Bloomsbury, 2016). Joseph has authored numerous other publications on artists, including Angela Bulloch, Mike Kelley, Jutta Koether, Lee Lozano, Seth Price, and Andy Warhol, as well as on such topics as music and torture (“Across an Invisible Line: A Conversation about Music and Torture,” with Suzanne G. Cusick, Grey Room, 2011). He was consulting curator, with Sabine Breitwieser, of the retrospective Carolee Schneemann: Kinetic Painting (2015) and is also founding co-editor of the journal Grey Room (MIT Press)."
5.5 x 8.5 inches164 pagesPaperback8 B&W imagesEdition of 2000January 2018
Uncollected Texts – Carolee Schneemann
"Quite simply, Company produced some of the most stimulating improvised music you will ever hear." - John Eyles
1982 line-up of Company. Keith Tippett, Fred Frith and George Lewis are joined by concert pianist Ursula Oppens and composer & harpist Anne LeBaron. After playing more frrequently in Japan in the late seventies, Bailey had also invited Motoharu Yoshizawa on bass and Akio Suzuki on assorted instruments like glass harmonica.
Derek Bailey / guitarJulie Tippetts / guitar, voice, fluteMoto Yoshizawa / bassFred Frith / electric guitar, electronics, percussionAkio Suzuki / glass harmonica, spring gong, kikkokiririkiAnne LeBaron / harpKeith Tippett / pianoUrsula Opens / pianoGeorge Lewis / trombonePhil Wachsmann / violin, electronics
Recorded by Jean-Marc Foussat. Produced by Derek Bailey & Evan Parker. Design by Karen Brookman. Financial assistance by The Arts Council.
Company – Epiphany
"Alexander Kan’s liners do a good job of setting the stage occupied by these pre-perestroika musicians; he recounts scenes that read like LeCarre. And indeed the strongest impression of this music is its urgency. Cliched reflections about the tormented Russian anima are almost unavoidable, but the fact is that music has great immediacy for people in times of crisis; I have seen it in such unromantic settings as an RAF base on the eve of the Falklands gambit.
This urgency is what compels Vyacheslav Ganelin (piano, various instruments), Vladimir Tarasov (percussion) and Vladimir Chekasin (saxes, various) to free improvisations of sustained focus and intensity at live sets recorded in Leningrad and West Berlin. The latter appearance greatly impressed the Western critics, and the music stands up well. These men are playing for their lives, and have no time to worry about whether this or that transition might be difficult. As a result potential pitfalls vanish into thin air as they achieve a kind of mobility rare outside of Sun Ra and a freedom that must have been sweet indeed." - Duck Baker
Vladimir Tarasov / drums, percussion, bells, talking drumVyacheslav Ganelin / piano, bassett, guitar, percussionVladimir Chekasin / as, ts, wooden flute, cl, bassett-horn, percussion, voice
Part 1 recorded live in Leningrad, Nov 5, 1980. Part 2 recorded live in West Berlin, October 29, 1980. Tapes remastered by Alan Moseley. Special thanks to Liz Trott for smuggling out the tapes.
The Ganelin Trio – Ancora Da Capo
Super happy to have dug this out of the archives - the final night of the great French double bass player, improviser and composer, Joëlle Léandre's 2015 residency. Léandre was joined by Scottish improvising vocalist and dancer, Maggie Nicols, and drummer Roger Turner for both nights, and the second of the two saw sparks fly. Solo, Léandre is formidible - melodious, angry, rousing. Her voice breaks through the bass like McPhee's through a trumpet - there's joy, there's humour, and it's 100% intense.
Léandre and Nicols have a long history together - 1982's Live at The Bastille with Lyndsey Cooper still stands strong - and their trio with Irène Schweizer as 'Les Diaboliques' is totally unique. Here, both performers are totally at home with with each other and with their sounds - there's depth, unpredictability, intensity and delirious humour.
A treasure to share all five pieces, and we hope for another Léandre residency some day soon!
“A true, real artist. Stubborn. Visionary. Uncompromising. Intense. Tender and poetic at moments, raw and angry with the world at other times. She is unconcerned by style, and definitely stays far away from stylistic and formal mannerisms that are needed to placcate the reviewers and the hip audiences. She integrates music as music, and delivers it as music, using elements from tribal rituals over classical finesse to jazz expressionism and avant-garde search for new approaches, yet turning it all into something else, something more authentic, more innovative and - interestingly enough - also more universal.” – The Free Jazz Collective
Joëlle Léandre / double bass, vocals
Maggie Nichols / vocals
Roger Turner / percussion
Recorded live at Cafe OTO on Wednesday 18th March, 2015 by Mark Jasper. Mixed and mastered by James Dunn. Photo by the wonderful Dawid Laskowski.
Leandre / Nicols / Turner – 18.3.15
"The idea behind the original two LPs which form this re-issue was to present collective example of certain areas where I function mostly as an improvising musician. My intention with The Joy of Paranoia was to create an album which presented my saxophone improvisations within several different situations. The tracks with Michael Garrick, though based upon familiar compositions, were played very openly. The duets with Veryan Weston were spontaneous. Joy of Paranoia Waltz is based upon a simple riff with four saxophone overdubs. The Wakefield Capers, with the exception of some established rhythmic settings by the members of Paws for Thought, is improvised."
--- Lol Coxhill / soprano sax
Michael Garrick / electric piano
Dave Green / bass
John Mitchell / percussion
Paul Mitchell-Davidson / bass guitar
Ken Shaw / electric guitar
Veryan Weston / piano
Colin Wood / cello
Richard Wright / span guitar (track 1)
Recorded at Bretton Hall, Wakefield; Hatfield Music Centre; Mekon Studios, London; Fairway Tavern, Panshanger; Seven Dials, London. Tracks 1-5 originally released in 1978 on LP as OG 525, The Joy of Paranoia. Tracks 6-7 originally released in 1977 as OG510, Diverse.
Lol Coxhill – Coxhill on Ogun
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!
This recording from the earlier years of Cafe Oto documents the impossible pairing of four contemporary giants. Its one of those miraculous one off groupings that reminds us why the venue opened in the first place.’
“The magic of the first minutes – an alto solo by Joe McPhee of true purity – soft-spoken, masterful and accomplished – brought back to mind the blissful Coleman/Haden duet last year at the Royal Festival Hall. ‘Ornette gave me freedom to move in a certain way,’ said McPhee. He searched hesitantly and carefully for his words, all the more surprising from such an articulate musical (or, as he might say ‘muse-ical’) practitioner and campaigner. Coleman’s 80th birthday coincided with McPhee’s stint at Cafe Oto.
McPhee and his co-musicians delivered an intense performance which was both creative and restrained. With Evan Parker ‘s tenor in tow – a collaboration going back to the late 70s – and Lol Coxhill, sitting with head bowed intently, a soprano master – it could have gone anywhere, yet they worked off each other, often in the higher registers, building up almost bird-call like interactions and trills. Earlier, Chris Corsano‘s drumming presented a dense bedrock for McPhee to play against, and his solo spell was a crisp exercise in sonic curiosity.
McPhee picked up his soprano mid-way through the second set, heightening the lyricism of the three saxophones. Then, being a devotee of Don Cherry, he switched to pocket trumpet, allowing him to interject, and punctuate the concentrated sound layers built up by the quartet, and lead the music out through a different door”- Geoff Winston (londonjazznews.com)
Recorded 10th March 2010, this is also a document of the only time Lol Coxhill and Joe Mcphee shared the stage. The recording is a little rough, but hey, so was your birth!
Limited to 500 copies packaged in mini gatefold sleeve.
Lol Coxhill / Joe McPhee / Chris Corsano / Evan Parker – Tree Dancing
Charles Gayle is a saxophonist, pianist, sometimes a clown and radical musical performer wrapped into the body of a humble person living in Downtown Manhattan since the 1960s. As this set attests to, It is sometimes hard to predict what he will do on stage... In all his musical (and personal) life Charles Gayle has remained outside of any form of mainstream, carving his own singular path. There is no player on the scene today with the emotional wallop of Charles Gayle.
John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Sunny Murray, Derek Bailey, Joe McPhee, Peter Brötzmann, Mulatu Astatke and many others.
Ubiquitous, diverse and constantly creative, drummer Mark Sanders has worked with a host of renowned musicians including Derek Bailey, Henry Grimes, Mathew Shipp, Roswell Rudd, in duo and quartets with Wadada Leo Smith and trios with Sirone and William Parker.
Here we present a 2CD set documenting the two very special sets delivered on the 15th of November, 2017 at Cafe Oto, Dalston, London.
In classic ecstatic fashion one would expect from these three stalwarts of blazing transcendence these 2 sets swerve from the sublime to the this is an exquisite document of one of the most exciting trios operating today,
Limited to 500 copies packaged in mini gatefold sleeve.
Charles Gayle / John Edwards / Mark Sanders – Seasons Changing
To celebrate the announcement of our Peter Brötzmann Festival we're offering a special bundle deal on the three LP's that Peter has put out through our in-house OTOROKU label.
- BROETZMANN / EDWARDS / NOBLE - THE WORSE THE BETTER (LP)
- BROETZMANN / PARKER / DRAKE - SONG SENTIMENTALE (LP)
- BROETZMANN / ADASIEWICZ / EDWARDS / NOBLE – MENTAL SHAKE (LP)
PETER BROETZMANN – 3 LP BUNDLE
Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback.
Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London.
Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers. Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey.
Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip.
Keiji Haino / vocal, guitar, flutes
John Butcher / saxophones and feedback
Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN.
HAINO KEIJI / JOHN BUTCHER - LIGHT NEVER BRIGHT ENOUGH
Back in the early 2000s, after locating those first Moondog 78s, and adding them to the mix at Honest Jons, assembling the compilation that became The Viking of Sixth Avenue, was a kind of musical cloud nine - a voyage of discovery, attempting to chart the worlds that Moondog had created. Now it's Spring again - as winter encroaches - and Mississippi expose us to some never before heard material. It's killer grade, recorded by yet another genius, Tony Schwartz, the pioneering Folkways field recordist, the first man to record Louis Hardin, aka Moondog, who in the 1950s also recorded a day in the life of a dog [canine variety] and a New York cab driver, among many others.Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.
Moondog – On The Streets Of New York
It was one of the most peculiar landings of the Sun Ra Arkestra.Time: 7 December 1986, Polish People’s Republic, still separated from the West by the Iron Curtain. It's a grey and poor twilight of a real socialism era. In three years the Eastern Bloc would collapse, but what still occupies the minds of Poles now is mostly the martial law imposed by the Pro-Moscow regime in 1981, when the country wanted to free itself from the influence of the Soviet Union.Place: Kalisz, one of the oldest Polish cities dating back to the 10th century, historically connected with the first kings of Poland, grew into a multinational centre with time as not only the Czech Brethren escaping the Habsburg monarchy found refuge here, but also prominent rabbis known across Europe used to operate and expound in the local Jewish community. In the 20th century, Kalisz became a provincial city and its presence in the cultural life of Poland was most significantly marked with the International Jazz Piano Festival. It was during the 13th edition of the festival that Sun Ra Arkestra performed.What turned out to be most memorable for the concert-goers was the closing procession of musicians who left the stage to walk around the audience, circle the venue, and return. Researchers of the Sun Ra mysticism recognized such gestures as rituals of passage corresponding to the cosmic cycles of death and resurrection. From a European perspective, Sun Ra's work turns out to be a dream come true for Wagner and Stockhausen. His music brought the myth to life. The myth connecting the past with the future – above the unfavourable present – which created a sphere of freedom. However, Ra used to say that it was not freedom that was at stake here, but precision and discipline.
Danny Ray Thompson (bassoon, sax)Laurdine Kenneth "Pat" Patrick (baritone saxophone, alto saxophone, and Fender bass)Marshall Belford Allen (alto sax)Tyler Mitchell ( Bass )Ronald Wilson ( Tenor Sax )John Gilmore ( Tenor Sax, Clarinet )James Jacson ( Bassoon, Ancient Egyptian Infinity Drums )Leroy Taylor ( Alto Sax, Alto & Bass Clarinet )Tyrone Hill ( Trombone )Earl "Buster" Smith ( Drums )Carl LeBlanc ( Guitar )Sun Ra ( Piano, Synthesizer )
LIVE IN KALISZ 1986 – SUN RA ARKESTRA
"Derek Bailey’s guests for Company Week at London’s ICA in July 1982 were contemporary classical pianist Ursula Oppens, folk/jazz singer-turned-improviser Julie Tippetts and her partner pianist Keith Tippett, violinist/electronics wizard Philipp Wachsmann, guitarist Fred Frith, trombonist George Lewis, harpist Anne LeBaron, and from Japan free jazz bassist Motoharu Yoshizawa and sound artist Akio Suzuki.
Altogether they performed the stunning extended improvisation Epiphany.In different, more intimate lineups they detonated numerous Epiphanies.
Here, to start, Yoshizawa and Oppens (both on the keyboard and inside her piano) bounce ideas off each other like ping-pong balls.
Then Tippetts, Wachsmann and Bailey do extraterrestrial cubist flamenco; and Lewis and Frith rumble at everyone magnificently.Tippett and Oppens kaleidoscope the entire history of the piano into just over fifteen minutes (Fourth and Fifth) with added seasoning from LeBaron and Wachsmann.
To close, Akio Suzuki — despite once describing himself as “pursuing listening as a practice” — makes one hell of a racket with his self-made instruments: a flute, a spring gong and his analapos (two single-lidded cylinders attached by a long steel coil, which he can manipulate and strike, besides vocalising into the tube). Yoshizawa and Bailey give him a real run for his money, and it all builds to an ecstatic, swirling, grinding climax, with Suzuki whooping and hollering wildly."
Company – Epiphanies I-VI
"Mike Cooper returns to Discrepant with a recording of a live set recorded at the Controindicazioni Festival of Improvised Music in Rome in 2003The music moves very slowly through four movements: ‘’Reluctant Swimmer’’, ‘’Movies is Magic’’, Virtual Swimmer’’ and ‘’Dolphins’’. 'Floating in out of the exotic ether and disappearing like smoke, engulfed in the alien hugeness of nature... a very elegant set by a visionary artist.'Mike Cooper says 'the first half is played on my old 1920s National tri-plate lapsteel guitar and the second half on my vietnamese electric lap steel. I also sing two songs along the way. ‘’Movies is Magic’’ by Van Dyke Parks and “Dolphins” by Freid Neil. It was the first time I had ever sung the last song.'"With beautiful artwork collage by Evan Crankshaw.
Mike Cooper – Reluctant Swimmer / Virtual Surfer
"Our music was born from the sounds of jazz, funk, soul, noise -- sounds with no other reason so exist, except because they did, sounds which occurred like putting one step in front of the other to see if the way was clear to take the next step. The plan was, there is no plan, just start at the beginning, end at the end and party like it's 1999" - Joe McPhee.
Black Truffle invite you to an evening of drunken revelry in the Batcave! After a chance meeting at a local supermarket in Poughkeepsie, New York, Joe McPhee and Graham Lambkin have performed together as a duo extensively in recent years, in addition to their joint work excavating some of the wildest tapes from McPhee's archive for Lambkin's now defunct Kye label. Live in the Batcave documents an evening the two friends spent together in the company of Joe's brother Charlie and Lambkin's son Oliver in November 2017 at Charlie's house in Poughkeepsie. The LP captures seven increasingly drunken snapshots of the four shooting the breeze, playing flutes and whistles, drumming on anything at hand, and playing records.
Edited together in Lambkin's distinctive style of lo-fi domestic tape collage, the multiple simultaneous cassette recordings of the shenanigans abruptly cut in and out and fall out of sync, creating disorientating, woozy echoes. Mics are bumped, stories are told, drinks are poured, text messages arrive, and AACM-esque flute jams are interrupted by violent bursts of laughter and wet-mouthed sound poetry. All the while, classic soul records play, initially in the background, but coming increasingly to the fore until the record culminates in a strangely moving free-associative singalong. Live in the Batcave is a truly unique document that exists somewhere between free jazz, audio verité, performance art, and everyday life. File next to your copy of Das Kümmerling Trio.
Gatefold sleeve with extensive photographic documentation and liner notes from Joe McPhee. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
Joe McPhee / Charlie McPhee / Graham Lambkin / Oliver Lambkin – Live In The Batcave
DUCTUS is the latest solo project by Paul Abbott, featuring 51 minutes of audio, across 12 tracks, and a 42 page booklet featuring new writing. DUCTUS was written and recorded in Edinburgh and Porto in 2019.DUCTUS presents a playful weave of collapsing time through a number of speculative elements and fictional characters. Abbott feels his way through learning drums, rhythm and writing as fleshy research technologies. DUCTUS is the latest stage in a process considering sound, the body, imagination, and language through music. This features as part of ongoing investigations using real and imaginary drums, synthetic sounds, performance and writing.DUCTUS is an organic environment, a comedy of vibrations and signs, featuring the fictional characters DETECTIVE ENGINEER, QOSEL, and STRIKE.Moving (dancing) through DUCTUS, DETECTIVE ENGINEER and QOSEL work (play) together to attempt to learn about pulse (the wobble edge). DETECTIVE ENGINEER takes measurements, while QOSEL responds intuitively. They make 12 journeys at different angles. They listen and read, recording each journey in soot marks on fish glue (glass paper) sheets. Their notes are reproduced inside the accompanying booklet. STRIKE attempts to inscribe a single event of non-contact: a stick falling from a hand to a drum head.* Recorded 16-18 January 2019 using: Bass Drum: Yamaha Custom Absolute Maple (Blue Sparkle); Batter Head: (unknown, clear); [resonant head removed]; Dampening Foam—Snare Drum: Yamaha Custom Absolute Maple 14”x5”; Batter Head: Remo (unknown, coated); [resonant head removed]—Hi Hat Cymbals: Sabian XS 14”— &—Bass Drum: Sakae PAC-D 14” Cherry/Mahogany; Batter Head: Sakae (unknown, standard coated); [resonant head removed]; Snare Drum: Sakae 12”x5 1⁄2” Cherry/ Mahogany; Batter Head: Sakae Standard (unknown, standard coated); [resonant head removed]—Roland SPD1W; Nord Drum 2; MOTU Ultralite mk3; JHS Kill Switch; Sensory Percussion; Live, Max4L; PureData ‘Orbit Pulse Generator’; **‘3D Snare’ code by Alberto Torin; Recorded with—Microphones: DPA 4060, EV RE20, Neuman KM140, Senheisser MD421, DPA 4060, Neuman KM140, Fishman V100, Radial PZ-DI; Monitor Speaker: Genelec 1031A.•"Paul Abbott's Ductus is intelligent, complex, ludic and stern.
As with his earlier solos - Vagus [201x] and Sphuzo [201x] - Ductus continues a study of the natural, speculative and synthetic worlds qua real and imaginary drums. Its drum ducts are durable, mysterious and revealing. Prone, the drumkit is sessile in quintessence, fixed around the drummer-on-stool-sat, increasingly stickily stuck, as music and the world (have) move(d) around it. Paul offers a possible solution through several lines of simultaneous enquiry – a gripping detection of rhythmic fact and fiction. A sleuth of several instruments, the Paul/drum/tech-kit times, beats and grows the skin and frames and stands and symbols and stuffs that stretch and swing between these facts and fictions.
He stories our imaginations and senses toward a progressive independence: back (in time (history near and far)); forward (in time (futures more and less speculative)); somatic (insides and on-skin) and prosthetic reach (stick, strike, spike). This pursuit and construction of events in time, through fact and fiction, realizes fictional fact. At its heart beats a new time for new times.
— Seymour Wright, London 2019
Paul Abbott – Ductus
John Chantler — synthesizerSteve Noble — drumsSeymour Wright — alto saxophone
This recording shares music from the first time public concert of a new trio formed by John Chantler — best known for his solo synthesizer recordings and work with pipe organs — and two of the most instantly recognisable voices in the scene loosely associated with London’s Cafe OTO — drummer Steve Noble and saxophonist SeymourWright.
Recorded 7 May 2017 at Cafe OTO by Shaun Crook. Mix/edit by John Chantler.Mastered by Stephan Mathieu.
John Chantler is a musician and organiser living in Stockholm, Sweden.
Chantler’s recent recordings are characterised by headlong dives into ravishing texture and extended stretches of surface stasis that are disrupted by abrupt cuts, deft variations of density and unexpected diversions that draw on a domestic reimagining of studio based electronic music/musique concrete and 20th century minimalism and delivered with brash, revitalized energy.
Steve Noble is London's leading drummer, a fearless and constantly inventive improviser whose super-precise, ultra-propulsive and hyper-detailed playing has galvanized encounters with Peter Brötzmann, Derek Bailey, Matthew Shipp, IshmaelWadada Leo Smith, Stephen O'Malley, Joe McPhee, Alex Ward, Rhodri Davies and many, many more.
In the early eighties, Noble played with the Nigerian master drummer Elkan Ogunde, Rip Rig and Panic, Brion Gysin and the Bow Gamelan Ensemble, before going on to work with the pianist
Alex Maguire and with Derek Bailey (including CompanyWeeks 1987, 89 and 90). He was featured in the Bailey's excellentTV series on Improvisation for Channel 4 based on his book ‘Improvisation; its nature and practise’. He has toured and performed throughout Europe, Africa and America and leads the groups N.E.W. (with John Edwards and Alex Ward) and DECOY (with John Edwards and Alexander Hawkins).
SeymourWright – saxophonist, investigator, artist – lives in London. His practice is about the saxophone – music, history and technique – actual and potential; an on-going, rigorous and exhaustive exploration of the instrument.The energy of this learning is applied to various collaborations and contexts to access/share what he has called the ‘awkward wealth of investigation’. His work is documented on two widely acclaimed self-released collections SeymourWright of Derby (2008) and SeymourWrites Back (2015). His current collaborations include lll⼈人 (with DaichiYoshikawa and Paul Abbott), GUO (with Daniel Blumberg) and XT (with Paul Abbott).
John Chantler / Steve Noble / Seymour Wright – Front and Above
It is always a treat to see some major musical innovators in action. Especially in a mind-blowing line-up, at the top of their game and unrecorded until now on this impressive new Dropa Disc release. Evan Parker might be a member of some legendary trios – one with von Schlippenbach and Paul Lovens and one with Barry Guy and Paul Lytton – still this brilliant master of the saxophone and pioneer of free music managed to surprise us big time when he introduced his trio with John Edwards and Steve Noble to the Belgian audience in January of 2015. Together with this ultimate rhythm section – backing artists like Peter Brötzmann, Akira Sakata and Julie Kjaer, to name a few – Parker reals out a truly mesmerising demonstration, full of individual brilliance, but most of all with a collective cohesion rendered with majestic imagination and endless iridescence. Dropa Disc #004 Evan Parker – John Edwards – Steve Noble: PEN is the first release of this trio ever, fitting perfectly next to the best works in these stellar musicians ever expanding discography.
Evan Parker: Tenor saxophoneJohn Edwards: Double bassSteve Noble: Drums & PercussionRecorded by Michael Huon at the Oorstof concert series, Zuiderpershuis, Antwerp 24 January 2015Edited & Mixed by Michael Huon and Koen Vandenhoudt at Odeon 120, Brussels 2016Mastered by Michael Huon at Odeon 120, Brussels 2016Live concert produced by Sound in MotionProduced by Koen VandenhoudtExecutive Producers: Koen Vandenhoudt & Christel KumpenCover Design & Layout: Pascal Cools
First release for the stellar trio Evan Parker, John Edwards & Steve Noble.You can order the cd Evan Parker – John Edwards – Steve Noble: PEN (Dropa Disc#004) by mailing us here ! or go to the PayPal buy button.You want to order more Dropa Disc releases at once? Mail us for combined shipping prices here !
Extended text by Guy Peters (Enola Magazine, Gonzo Circus, Cadence … ):
Without a doubt, Evan Parker belongs to the top league of free improvisers. For half a century now, he has been one of the most innovative, challenging and consistent members of the European avant-garde. Together with Alexander von Schlippenbach, Peter Brötzmann, Fred Van Hove and a handful of others, he is among the trailblazers who set and raised the bar. The best thing about it: he’s still going strong. When he appeared in the Oorstof series with the terrific rhythm section of John Edwards (bass) and Steve Noble (drums), we were in a for a memorable night.
Parker is not only a legend because of his technical mastery and individual approach to the soprano and tenor saxophone, but also because he was/is a member and/or leader of several crucial bands. He was part of the legendary Brötzmann Octet that cut the Big Bang-record Machine Gun and he is a member of two of the most formidable trios in the history of improvised music: one with Von Schlippenhach and Paul Lovens, the other with Barry Guy and Paul Lytton. Also his documented trio with John Edwards and Mark Sanders is well-respected. Also his documented trio with John Edwards and Mark Sanders is well-respected. In the meantime, Parker has played with so many improvisers that it’s hard to believe his stunning trio with John Edwards and Steve Noble, until now, went unrecorded.
Edwards and Noble are a tight rhythm section, appearing beside a.o. Alex Ward, Hans Koch, Alan Wilkinson, Peter Brötzmann, Sophie Agnel and, most recently, Julie Kjær. Though teaming up with Parker seemed inevitable the music generated by this trio – as displayed perfectly on this new Dropa Disc release – is stunning. There is no holding back, the musicians are not too respectful and it’s no feast of impatient fury either. No, instead we hear three masters displaying an enormous control of their respective instruments – with Parker sticking to tenor saxophone – without losing the overall cohesion of the performance. It’s rife with remarkable solo and duo moments, and even though these often belong to the highlights, you hear an exceptional solid unit.
We were already familiar with the breadth of Steve Noble’s playing, as he appeared on Dropa Disc #001 (los bordes de las respuestas, by the Saint Francis Duo with Stephen O’Malley), but it’s exciting to witness his amazing dynamics, range of textures, energy and rhythm. Equally at ease within abstract expression as in inflammatory interaction, he is the guy you need for a balance of thoughtfulness and vital energy. Edwards is his ideal sidekick: a player with agility, intelligence and a physical approach that sometimes borders on harassment. Together they create an intricate, lively and surprisingly soulfulperformance, serving as foundation, trigger and sparring partner for Parker’s associative approach.
As such, this exceptional concert is not about easy effects, wild climaxes or raucous energy. Instead, it’s a celebration of freedom and the direction in which it can be taken. During its best moments it sounds as if the music almost becomes self-evident in its organic cohesion. Not because the musicians rely on predictable patterns, but because the music seems to take over, flowing from three musicians in one identifiable language – something similar happened a few months later, when Ballister visited Oorstof, check the Dropa Disc #005 release. When you observe Parker in action, the man often stands there with a stoic, immovable pose, but these adjectives couldn’t be further removed from this music’s essence. The performance contained on this album is all about restless movement and ceaseless interaction. It is a celebration of the potential of improvised music.
Evan Parker/John Edwards/Steve Noble – PEN
Ashley Paul's Heat Source was recorded during a challenging year of transience between New York and London. During this year of impermanence Paul performed regularly and the effects of frequent performance and traveling can be heard in the intentionally pared back emptiness of Heat Source. making it an emotionally challenging and fascinatingly personal listening experience.Heat Source finds Ashley Paul working using her brilliant ears to find a zen like balance between her voice and a sparse arrangement of staccato instrumentation leaving as much open space on one song as most people would create in a lifetime. This open space isn't empty, however, but it's up to you to fill in the meaning. Heat Source is an emotionally challenging and fascinatingly personal listening experience that creates a powerful pace.
Ashley Paul is a performer and composer based in Brooklyn, New York. She uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palate of sound that works its way into her intuitive songs; free forming, introverted melodies. This blend manifests beautiful and simple musical forms against acoustic experimentation. Her solo albums have received high praise being chosen in Wire Magazine "Top 50 Releases of 2013, Pitchfork "Best Experimental sounds of 2013", first on Byron Coley and Thurston Moore's "Tongue Top Ten" in Arthur Magazine and included on NPR's All Songs Considered "Best of 2010". She has been interviewed or featured in Wire Magazine, BOMB, Gonzo (circus), Dummy, The Quietus, Ad Hoc, Spex, The Sound Projector and Foxy Digitalis.Ashley has performed or recorded with Phill Niblock, Rashad Becker, Nik Colk Void, Loren Connors, Aki Onda, C. Spencer Yeh, Anthony Coleman, Joe Maneri, Joe Morris, Seijiro Murayama, Greg Kelley, Bill Nace and Eli Keszler appearing on such labels as PAN, ESP-DISK' and Tzadik. She received a Masters of Music from New England Conservatory in 2007.
Ashley Paul – Heat Source
New CD on bison from Kumio Kurachi, whos only performance outside of Japan was here back in 2009.
"After 11 albums and unknown quantities of cassettes, compilations and split releases, Sound of Turning Earth is the first release outside of Japan for one of the most original figures in Japanese music, Kumio Kurachi. Recorded by Jim O’Rourke at his home studio, Sound of Turning Earth is Kurachi solo on vocals and guitar, mixing surreal lyrics and theatrical vocal personas with unorthodox tunings inspired by Japan’s national instrument, the koto. Lyrically Kurachi draws life from the small events of life, the hira, - the joy of choosing a lipstick in springtime, the business of changing the tatami, raindrops deciding whether to fall as snow. Set to his own brand of progressive folk in the Hirajōshi scale and laced with winding melodies which can be hard to forget, Kurachi maps his own territory for the people who inhabit his everyday. As much a visual artist as a musician, we are pleased to present Sound of Turning Earth in the form of a deluxe CD accompanied by new artwork by Kurachi and full translation of his poetic lyrics. These striking songs speak for a liberated imagination." “The music is so melodious that the mixture of the strange wording, guitar and variations of voices thrives all together and it can haunt you without noticing it, just like the small events of everyday life you can't escape from." - Midori Ogata
All songs written by Kumio Kurachi Guitars and vocals by Kumio Kurachi Recorded and mixed by Jim O'Rourke Mastered by Daichi Tokunaga (PLUM) Translation by Midori Ogata Design by Maja Larrson Special thanks to Midori Ogata
Kumio Kurachi has performed actively in Japan since the 80's, and still plays shows in Fukuoka regularly. Past collaborators include Taku Unami and Tatsuhisa Yamamoto. He has played with Tenniscoats, Kazuhisa Uchihashi, Katsura Yamauchi, Tori Kudo, Jim O'Rourke and Eiko Ishibashi."
Kumio Kurachi – Sound of Turning Earth
"Dokkiri! tells the history of a remarkable complex of musical subcultures that developed in Japan from the mid-1970s. Starting with a discussion of the earliest rumblings of punk and new wave, all types of independently produced music are covered in more detail than has ever appeared in English before. Punk, art music, noise, hardcore, psychedelic, dance music and more." - Public Bath Press
"This book fills in the gaps in my own appreciation of the Japanese independent music scene and provides context for sounds, lyrics and personalities that were all opaque mysteries until now" – Steve Albini
"Knowledge, affection and respect for the music illuminate an incredible creative and innovative scene. The what. The why. The how" – Ian MacKaye
"Hopkins is that rare scene historian who was there at the beginning: and he's still there, recounting the details and telling the stories that no one else can remember. Maniacs and beginners alike, start here!" – David Novak, author of Japanoise
Published by Public Bath Press, paperback, 296 pp, 2015
Dokkiri! Japanese Indies Music 1976–1989 A History And Guide by Kato David Hopkins
Originally published in the mid-1970s, Womens Work was a magazine that sought to highlight the overlooked work of female artists working at the cusp of the visual arts, music, and performance. The magazine was edited by Alison Knowles and Annea Lockwood and featured text-based and instructional performance scores by the following 25 artists, composers, and choreographers:
Beth Anderon, Ruth Anderson, Jacki Apple, Barbara Benary, Sari Dienes, Nye Ffarrabas (participating as Bici Forbes), Simone Forti, Wendy Greenberg, Heidi Von Gunden, Françoise Janicot, Alison Knowles, Christina Kubisch, Carol Law, Annea Lockwood (also included as Anna Lockwood), Mary Lucier, Lisa Mikulchik, Ann Noël (included as Ann Williams), Pauline Oliveros, Takako Saito, Carolee Schneemann, Mieko Shiomi, Elaine Summers, Carole Weber, Julie Winter, and Marilyn Wood.
The magazine was designed by Alison Knowles, who deliberately chose off-white paper and brown inks as a contrast to the sterile, white-paged publications prevalent at the time. The works contained in the magazine range in scope and take on a multitude of forms, employing both typed and written text, often with visual elements such as diagrams, drawings, and photographic images. The editors were and remain adamant that the work should be performed; that they not remain static as an artifact.
We wanted to publish work which other people could pick up and do: that aspect of it was really important…this was not anecdotal, this was not archival material, it was live material. You look at a score, you do it.
– Annea Lockwood
The first issue, published in 1975, took the form of a saddle-stitched magazine and the second, published in 1978, took the form of a fold-out poster. This facsimile edition reproduces both and houses them in a custom self-folding box. Womens Work is produced in an edition of 1,500 and retails for $24.00.
Alison Knowles (b. 1933) is a conceptual artist known for intermedia works in text, graphics, sound, installations, transvironments, performances, paperworks and publishing. She is a founding member of Fluxus, the experimental avant-garde group formally launched in 1962. Her most recent retrospective was at the Carnegie Museum of Art in 2016. In 2019 she debuted in Havana, Cuba.
Annea Lockwood (b. 1939) is an artist and composer whose lifelong fascination with timbre and new sound sources is reflected in her multidisciplinary work, which has incorporated chamber music, performance, electronic and environmental sound, and visual art. Recent works include commissions for the Bang on a Can All-Stars, Thomas Buckner and the S.E.M. Ensemble, and the Merce Cunningham Dance Company. She is a recipient of the 2007 Henry Cowell Award.
8.5 x 9 inchesMagazine and PosterEdition of 1500May 2019
V/A – Womens Work
"Presented by Sacred Realism Press, D=D is the culmination of 15 years of work and the latest and most ambitious installment of Bryan Eubanks and Joe Foster's Don (now Dan) Brown and Dan Reynolds' project. The book itself contains 391 pages of letters, notes, aphorisms, scores, images, and commentary from Brown and Reynolds, with contributions from related figures including Jenny Haniver, Tim Bradley, and of course Gwendolyn Lovequist and Jack Lunetti, offering furtive glimpses into the thoughts, work, and lives of these still under-recognized figures of contemporary American music. While it might be tempting to see D=D as epistolary speculative biography it also may call to mind the heteronyms of writers like Fernando Pessoa and especially Antoine Volodine. But make no mistake --D does equal D and everything is as it seems.
The accompanying audio CD compiles Eubanks and Foster's interpretations of Brown and Reynolds' Holy and Old musics, respectively, bookended by two cassette recordings from the composers themselves, which should be of special appeal to listeners with an interest in never before exposed corners of American West Coast musical experimentation and iconoclasm."
mixed by Joe Foster & Bryan Eubanks, Berlin 2018mastered by Dick Stormm, the Bronx 201910 tracks, total running time: 52:28391 page hard cover book with glass mastered CD, edition of 500
release date: April 17th, 2019
Don Brown & Dan Reynolds – D=D
Brand new book featuring photos of Peter Brötzmann at Cafe OTO taken over the past decade by Dawid Laskowski. With text by John Chantler, Hamish Dunbar, Heather Leigh and Seymour Wright.
64x240, 96 pages, 1+1, 150 gsm G print, 2 cover with 4 pages 1+1, 300 gsm munken pure rough, sewed book, with open spin.
Brötzmann at OTO – Dawid Laskowski
* This book is a monster. It's huge. Hence price and postage. So you know...
free improvisation: what goes on? how does it work?
how can you write about it?
Musicswas published, from 1975 to 1979, by musicians and artists on the London scene of free improvisation, focusing on the most innovative participants of their generation. Steve Beresford, David Toop, Annabel Nicholson, Evan Parker, David Cunningham, Lindsay Cooper, Eddie Prevost, John Russell, Derek Bailey, Hugh Davies, Peter Riley and many, many others contributed to the writing, graphics and photography.
Musicswas a blueprint for the interdisciplinary activities of sound art, field recording, free improvisation, live electronics, 20th century composition & audio culture. It came out six times a year and ran for twenty-three hand-assembled issues. The journal covered improvised and non-western music alongside performance art, reflecting the broad interests of the so-called “second generation” of London’s improvisers, and provided a convivial focus point. Overlapping with thelondon musicians’ collective (lmc), the publication first launched in Spring of 1975, with the tagline:an impromental experivisation arts magazineand a manifesto that proposed the destruction of artificial boundaries, and linked Free Jazz, the academic ministrations of John Cage, Cornelius Cardew and K. Stockhausen and indigenous and non-European music.Musicswas significant in the discussion of traditional Asian instruments as paths of equal value for the performance of musics.
Produced by what was effectively an anarchist collective with few publishing skills and no support, the magazine’s roughness, marginality and scarcity has kept it from those who are active, even prominent in the field. Musicsis an entree to the arcane world of the 1970s London improviser’s scene and presents scores, dialogues, debates, positioning, arguments, accolades, critiques, absurdist/dada notions, and a bit of pranksterism - all with collective enthusiasm.
Founding Editor David Toop: “with rose-tinted affection I recall mass paste-up sessions with spray mount… a page of reviews of electronic music by women, written by Lily Greenham in 1978… in the same issue are five beautifully written and illustrated pages about listening in Greece. An Aural Sketchbook by Dave Veres was just one example of pieces about listening practice and field recording; others include Found Sounds by Michael Leggett, Sounds in Kyōdo by Kazuko Hohki, New York Sounds by Fred Frith and Sounds Heard at La Sainte-Baume by Hugh Davies. There are also invaluable accounts of groups such as The People Band, Feminist Improvising Group, CCMC, Los Angeles Free Music Society, MEV and the Dutch musicians associated with Instant Composers Pool. Interspersed among all this loamy archival material are a few essays of grinding tedium, snarky barbs of wit, barely decipherable photographs…”
Introduction: Steve Beresford / Foreword: David Toop
isbn: 978-0-9972850-5-5 / Publisher:ecstatic peace library
Pub date: 1 September 2016
Flexi-bound cover, Swiss-bound, 800 pages
Edition of 100 hand numbered two color screenprints for our four day Peter Brötzmann festival celebrating his decade long relationship with Cafe OTO.
Design by Peter Brötzmann. Printed on A2 colorplan White Frost 175gsm paper by Tartaruga.
Peter Brötzmann Four Day Festival A2 Screenprint
Two color screenprint for our Music and Other Living Creatures series, designed by Silja Strøm and printed on 175gsm colorplan natural paper by Tartaruga.
Music and Other Living Creatures is a series at Cafe OTO (curated by OTO Projects) dedicated to music about, with, or by other living creatures. Birds, tigers, chickens, insects and many other living creatures are explored through sound-walks, listening sessions, commissioned performances, live responses and discussions.
A2 Music and Other Living Creatures Screenprint
A2 silkscreened poster for Joe McPhee's four-day residency at OTO, May 2019. Designed by Oliver Barrett and printed by Tartaruga on thick, quality paper in a limiited edition of 50 numbered copies.
For over four decades Joe McPhee has been pursuing a beauty in his music that balances the fierce attack of European free improve with a lyrical poetry stemming from Coltrane’s Love Supreme and hinting at the dark roots of his country’s civil rights protests. Joe has performed and still performs with musicians across all music: Survival Unit, Brotzmann’s Tentet, Dominic Duval, The Thing, Raymond Boni, Andre Jaume, Decoy with John Edwards, Steve Noble & Alexander Hawkins, Evan Parker amongst others.
This very special residency draws together the various strands of Joe's incredibly diverse, ever-curious sonic approach, with a jam-packed line-up of collaborators old and new. Even across four nights it's hard to do justice to the scale of his musical output but what's guaranteed is that each of these nights will be unmissable in its own way.
JOE MCPHEE - FOUR-DAY RESIDENCY A2 SILKSCREENED POSTER
On occasion of the very special residency by Anthony Braxton we have a screenprinted poster available, designed by Oliver Barrett, printed on thick, quality paper in a limiited edition of 100 numbered copies.
From original listing:
Ever since Cafe OTO first opened its doors in 2008, Anthony Braxton has been up at the top of the list of people we wanted to host here. One of the fundamental figures in the music of the late 20th century, his work as a saxophonist and composer has set trailblazing precedents by tapping into and expanding new conceptual and instrumental possibilities. To this day, Braxton remains a towering force in new music and we're over the moon to welcome him to OTO for a very rare three night residency with his ZIM Sextet as we celebrate our 10th year.
Anthony Braxton / saxophones, compositionsTaylor Ho Bynum / cornet, brassAdam Matlock / accordionDan Peck / tubaJacqueline Kerrod & Miriam Overlach / harps
ANTHONY BRAXTON ZIM MUSIC – THREE DAY RESIDENCY A2 SILKSCREENED POSTER
On occasion of the very special 2 shows by this insane trio we have a limiited screenprinted poster - DESIGNED BY BRÖTZMANN and printed on thick, quality paper in a limiited edition of 100 numbered copies.
From original entry:
Delighted to welcome back the dynamic, corruscating pairing of Peter Brötzmann on reeds and Heather Leigh on pedal steel – this time expanded to a trio with the addition of the one and only Keiji Haino! The duo of Brötzmann and Leigh have established a fierce rapport in the past couple of years – weaving a powerfully frenetic interplay reminiscient of some of the all-out blast of Brötzmann's Die Like A Dog quartet. Add Haino's incendiary propensity for masterfully fluid improvisation and you have the makings of a very special evening indeed.
KEIJI HAINO / HEATHER LEIGH / PETER BRÖTZMANN A2 SILKSCREENED POSTER
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