Shimmering compositions for solo accordion by Hague-based American composer and instrumentalist Leo Svirsky. Playing somewhere between sound and sense, Svirsky dwells on tonal chromatic harmony but never seeks stability. Tones shift, diffuse, are eaten up by the crowds conversation. Having studied under Antoine Beuger (a principal mover in the Wandelweiser collective) Svirsky continues a departure from Cage or Feldman - embracing Romanticism and affect to make radical and destabalising psychoacoustic sound. Highly recommended.
"With works for piano, orchestra, and ensemble, Svirsky lights corners of hidden musical worlds with a palm sheltering the flame." —Britton Powell, BOMB Magazine (from the introduction from a wonderful conversation betwen Svirsky & Michael Pisaro)
Leo Svirsky / accordian
1. Heights in Depths Cafe OTO - 20:40
2. Depths in Heights Cafe OTO - 19:13
Recorded live at Cafe OTO on Saturday 25th February by James Dunn. Mixed by James Dunn. Mastered by Shaun Crook.
Leo Svirsky - 25.2.17
Locusts follows up the highly acclaimed ‘Music for Church Cleaners’ release from Irish artist Áine O’Dwyer. Whilst continuing to explore the church organ as the primary instrument, this release steers away from Church Cleaners in both sonic content and themes explored.
Recorded & performed in 2015 at St James’s Church, Barrow-in-Furness, England & The First Unitarian Congregational Society Church, Brooklyn Heights, New York. Locustspresents itself as a celebration of the pipe organ’s acoustical abilities of tapping into electronic pulses along with O’Dwyer’s liturgical memories which are at times, pushed into horrorthon states.
Aine O'Dwyer - Locusts LP
Originally formed as DAWSON-DAVIES: HEN OGLEDD by avant folk savant Richard Dawson and improv harp pioneer Rhodri Davies, now they’ve dropped the surnames and become a trio with the addition of Dawn Bothwell, who also performs altered electronic torch songs as Pentecostal Party. It’s been a transformative move, Dawson playing guitar, iPad and a panoply of table top knick knacks, Rhodri cleaving new spaces open with his blazing harp splutterations, with Bothwell’s sweet and sour voice and electronics taking the three of them down unexplored avenues littered with hypnotic diversions and long moments of delirium.
Made over a day and night in the mid-winter 2016, BRONZE was recorded in the space of the former Star and Shadow Cinema. Hollow, cavernous and stripped back to its bare bones the dilapidated building-shell still vibrating with the near and distant sounds of crucial Newcastle expression.
Dawson, Davies and Bothwell are joined from afar by medieval traveller/ virtuoso Laura Cannell on double recorders and New Zealand free-jazz heavyweight Jeff Henderson on blink-and-you'll-miss-it Timpani, on this glistening and sinewy record.... A heady and funny-tasting punch of early 90's synth, dark-ages thumping, space boogie, wild plays and vocal delays, electric crow song, utter nothingness and folkish mumblings. A carnivorous shredding of the old and ethereal reach to new beginnings.
Hen Ogledd - Bronze LP
Issue 2 of the Cesura//Acceso, journal of music, politics and poetics. Featuring work by Paul Abbott, Larne Abse Gogarty, Kim O'Neil, Danny Hayward, David Morris, Nathaniel Mackey, Federica Frabetti and Mark Fell, Irene Revell and Annea Lockwood, ESW, Abject Subject Ensemble, Sophie Hoyle, Hannah Black, Naroder Bourniki, Paul Rekret, Clair Potter, Sacha Kahir, Byron Peters and Tyler Coburn, Pil and Galia Kollectiv and Verity Spott.
Cesura//Acceso - issue 2 Book
The Two Ronnies, The Pet Shop Boys, Suicide and now Dale 'n' Phil. 6.2.17 marks the first live outing of much new material from these two excellent human beings - and it also marks possibly the only time we’ve seen proper heckling in OTO’s usually library quiet atmosphere. “It’s not Whitehouse definitely!” some blogger shouts, but what is? We can't repeat Dale's real retort - you'll have to download the whole thing for that, but we can say it often sounds like a landscape of embarrassing human phrasing dug up by Dale and slung back at the audience, to be consumed while Phil's bass line slowly shifts out of sync beneath you. “Language is a nuisance” goes one of their ‘songs’, and they’re right, but if we’re going to keep on using it lets please put Dale Cornish in charge of the dictionary.
Dale Cornish / vocals
Phil Julian / electronics
1. Role (0:00-3:11)
2. Exhibition (3:11-5:43)
3. Chairs (5:43-9:33)
4. Language Is A Nuisance (9:33-12:33)
5. Part Human (12:33-16:14)
6. Chip Shop (16:14-19:45)
7. Laughing Out (19:45-end)
(Download comes as one uninterrupted set of 23:15)
Recorded live at Cafe OTO on Monday 6th of Febuary 2017 by Shaun Crook. Mixed by James Dunn and mastered by Phil Julian.
Dale Cornish & Phil Julian - 6.2.17
Joe McPhee and Ingebrigt Haker Flaten at the Sugar Maple/Okka Fest on Saturday, June 6th, 2015. Joe McPhee - tenor and soprano saxophone. Ingebrigt Haker Flaten - double bass. Recorded live by Dave Zuchowski. Mastered by Martin Siewert in July/August 2016.
JOE MCPHEE & INGEBRIGT HAKER FLATEN - Bricktop CD
Joe McPhee and Raymond Boni at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus on April 20, 1985. Joe McPhee - soprano saxophone, electronics and voice; Raymond Boni - electric guitar and electronics. The complete was concert inspired by the words of Eric Dolphy: "When you hear music, After it's over, It's gone, In the air, You can never capture it again."
JOE MCPHEE & RAYMOND BONI - Live From The Magic City (Birmingham, Alabama)
Following the death of German trombonist Johannes Bauer in May 2016, Peter Brötzmann decided to pay tribute to the many years of comradery and collaboration he and Bauer shared, from Globe Unity in the '70s to the Peter Brötzmann Group and the Chicago Tentet. This disc presents a previously unreleased recording of a beautiful live duo performance from Osaka, 1997, which had been waiting in Brötzmann's archives for a release. Peter Brötzmann: tenor and alto saxophones, tárogató, B-flat clarinet; Johannes Bauer: trombone.
JOHANNES BAUER/PETER BROETZMANN - Blue City (Live At Blue City Osaka / Japan 16. October 1997) CD
ohan Berthling: double bass; Martin Küchen: tenor and soprano saxophones, retardophone, flute; Steve Noble: drums and percussion. Recorded by David Carlsson at Gula Studion, Malmö, Sweden, November 1, 2015. Mixed by David Carlsson. Mastered by Martin Siewert. Cover photo by Donald Boström.
JOHAN BERTHLING/MARTIN KUCHEN/STEVE NOBLE - Threnody, At The Gates CD
Is This Right? is Seymour Wright's third full solo record and comes as a 2 discs set in a beautiful oblong sleeve. 5 tracks recorded between 2014 and 2017 in Bologna, London and Paris. Is This Right? continues where his last solo - Seymour Writes Back - finished, further developing a set of relationships between ideas, places, people and time, as Wright puts it, documenting 'learning about the saxophone - actual and potential - as rhthym, shadow and text'.
Seymour Wright - Is This Right? 2CD
Cien Fuegos present a reissue of Peter Kowald Quintet's self-titled album, originally released by FMP in 1972. Personnel: Günter Christmann - trombone; Peter Kowald - tuba, bass, alphorn; Peter van der Locht - alto saxophone; Paul Lovens- drums; Paul Rutherford - trombone. Composed and produced by Peter Kowald. Recorded by Eberhard Sengpiel at Akademie der Künste, Berlin, on January 19th, 1972. First released on FMP as FMP 0070.
PETER KOWALD QUINTET - s/t LP
Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0040). 180-gram vinyl. One-time pressing of 500. First standalone reissue."Brötzmann's regular trio was joined by the trombonist Albert Mangelsdorff, one of the most respected German jazz musicians, who has managed to keep abreast of musical developments for more than a decade. Those who remember him only for those fine early-sixties albums (like Tension, on German CBS) will be in for a shock, because he's updated his playing all the way. On 'Couscouss De La Mauresque', for instance, his tonal distortions rival those of Paul Rutherford, as he backs Brötzmann's wailing with a rip-snorting obligato. He has the advantage of being a virtuous technician, so that some of his wilder flights are truly breathtaking. . . . Mangelsdorff's technique doesn't hinder his fire, either, and he's well able to stand up to the rest of this very hairy band. Van Hove and Bennink obviously know each other inside out by now, and you'll hear few more exciting passages of music than their interlude during the trombonist's solo on 'Couscouss'. Bennink is getting further into textures every day, and on this album makes great play with his steel-drum and many unidentifiable implements, thus giving the music a great deal of variety. If you wanted to buy just one of these records, it would be very hard to choose because the level is so high throughout." --Richard Williams, Melody Maker, February 5, 1972
BROTZMANN/VAN HOVE / BENNINK PLUS ALBERT MANGELSDORFF - Couscouss de la Mauresque LP
Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0050). 180-gram vinyl. One-time pressing of 500. First standalone reissue."The great thing about this trilogy/set is how naturally everything flows. . . . each subdividing of the group, each solo excursion, feels smooth and logical, as though the player(s) in question had nodded to the others as if to say 'Gimme a minute here, I've got an idea,' and received assent in response. There's all the ferocity any free jazz diehard could ask for, but it never goes on so long that it becomes schtick, and it's always countered by passages that are genuinely beautiful in the most conventional, you-could-play-this-for-your-mom sense. Even without Mangelsdorff, Brötzmann, Van Hove and Bennink were a remarkably empathetic and attuned team, and when he joined them (and these records document their second and third times playing together, ever), everyone's game was raised." --Phil Freeman, Burning Ambulance, 2013
BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFF The End LP
Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0030). 180-gram vinyl. One-time pressing of 500. First standalone reissue."What reveals itself in the über energetics on display here is the ability of one quartet to take so much for granted and yet express so much in the process. Van Hove, for instance, shuns all conventions in his approach to the piano: he quotes Liszt and Schubert as well as Ellington and Peterson then wipes all of them out with his elbows as if erasing a chalkboard. His 'Florence Nightingale' is a perfect example. Texturally, he creates diversions from the fury while never disengaging from it. Brötzmann and Mangelsdorff are out and out challenging each other to see who can destroy their instruments first, and Han Bennick is the most proactive percussionist in jazz history. His use of anything and everything while simultaneously playing a trap kit that creates time is astonishing. Elsewhere, on Brötzmann's 'Elements,' African percussion and slow, long opened tonal drones by Mangelsdorff create a backdrop for the other two to explore without rushing in. Brötzmann enters almost tenderly, looking for a room to exit out of, but engaging himself in the microtonalities created by the rhythm section. Van Hove's long augmented chords create a mode for not opening but splintering that exit and Brötzmann ushers the band through in a hurry heading for the outer reaches of the possible. . . . one of the best documents of the period on any continent." --Thom Jurek, AllMusic, 1991
BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFF - Elements LP
Super brutal sounds from conductor Ilan Volkov from his support show here in February. Volkov's bow rasps and tears his un-tuned, un-tamed violin into fizzing electronic realms - sample moments of this you could be in power electronics world. Has the ingenuity and playfulness of early AMM, and the timbral breadth and simple gesticular approach of Billy Steiger or Ute Kangeisser. So often heard leading a group or improvising in one, this is a wonderful insight into Volkov's sheer joy and relentless drive to explore sound.
Ilan Volkov / violin
Recorded live at Cafe OTO by Shaun Crook on Thursday 16th of February 2017. Mixed and mastered by James McMultitalented Dunn.
Ilan Volkov - 16.2.17
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 CD
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
Screenprinted on thick, quality paper and printed on beautiful 'camel' paperstock by Tartaruga. Design by Maja Larsson / Organ studio.
We are very pleased to have the legendary Peter Hammill play at Cafe Oto and have had this exquisited limited poster (100 copies) made up to celebrate.
From original listing:
A very special three-day residency from the utterly distinctive and ceaselessly inventive songwriter and Van Der Graaf Generator founder, Peter Hammill.
Making a mockery of genre boundaries and consistently confounding expectations, Hammill's work spans numerous styles and approaches whilst always maintaining his own unique sound. Now, nearly five decades on from the debut VDGG release, Hammill's creative spark shows no sign of abating and we're very excited to host him performing solo across three nights at OTO.
Peter Hammill Residency – A2 Screenprint