Peter Evans - piccolo trumpetJohn Butcher - tenor and soprano saxophonesFrédéric Blondy - pianoClayton Thomas - double bassPaul Lovens - selected and unselected drums and cymbals
ANEMONE - A Wing Dissolved in Light
"Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time."
ARTHUR RUSSELL - Instrumentals 2LP
The first-ever compilation of χαβάγιες ("havagies"), the nearly forgotten Hawaiian-influenced music of 1930s Greece, focused on the compositions of Kostas Bezos and his ensemble White Birds. A world-class slide guitarist, political cartoonist and sleepless Bohemian, Kostas Bezos created some of the most unique music of any era: surrealist guitar portraits blending Athens and Honolulu, haunting tropical serenades, wild acoustic orchestras, and heartbreaking steel guitar duets. Incredibly, this is the same musician responsible for the legendary "Kostis" rebetika recordings (see A. Kostis "The Jail's a Fine School" [OLV-002 / MRP-098]).Includes a 32-page booklet with extensive notes by Tony Klein and Dimitris Kourtis, many rare photographs, lyrics, obituaries and a bonus CD containing 18 additional tracks. Restored and mastered from original 78s by Michael Graves, this release is limited to 1,000 copies. Co-released by Olvido Records (OLV-002) and Mississippi Records (MRP-098) on January 30th, 2017.
Produced by Gordon Ashworth, Tony Klein, Dimitris Kourtis. Articles by Tony Klein, edited by Gordon Ashworth. Newspaper Research and Bezos Drawings provided by Dimitris Kourtis. Photographs provided by the Kalliris Family, Stavros Kourousis, Lia Dimitriou, Hugo Strötbaum. Translations by Tony Klein, assisted by Dimitris Kourtis, Charles Howard and Vasilis Varelas. Audio Sources courtesy of Manthos Manios, Les Cook, John Marsden. Audio Transfers by Norman Field, Stavros Kourousis, Manthos Manios. Restoration and Mastering by Michael Graves at Osiris Studio. Lacquer Cutting by Adam Gonsalves at Telegraph Audio. Vinyl Production by Cascade Record Pressing. Design by Gordon Ashworth. Cover Production by Dan Fried. Offset Printing by Eberhardt Press.
Kostas Bezos and the White Birds LP
Following her recent Oscar & BAFTA nominations for Best Score, Foom presents two new pieces by Micachu (Mica Levi)—one for cello, played by Oliver Coates, and one for piano, played by Eliza McCarthy. "Peace," written for her mum, was first played publicly by Oliver Coates live on Micachu's radio show on NTS in October 2014. It was re-recorded especially for this release in November 2016, and follows Mica Levi & Oliver Coates' recent collaborative album, Remain Calm. "Riding Through Drinking Harpo Dine" is the first of an ongoing series of piano compositions written by Mica Levi for Eliza McCarthy (winner of the 2013 British Contemporary Piano Competition, and pianist on the Jackie soundtrack). Mixed by Micachu, the piece is a reworking of "Harpo Dine" from Micachu's 2014 Feeling Romantic Feeling Tropical Feeling Ill mixtape.
Micachu - Peace & Riding Through Drinking Harpo Dine 7"
After last summer’s release of the exceptional Skene on Sean McCann’s Recital Program, it’s a pleasure to share Matthew Sullivan’s set from March this year. A percussive motif threads together obscured narratives and Sullivan creates totally new landscapes from his field recordings and their manipulation. Whilst some of the sounds are recognisable, the position you hear them from is frighteningly isolated - a gong becomes as eerie as office lighting static, a demonic football crowd celebrates your exit. One of our standout shows from this year for sure. If you're interested in Michael Pisaro, James Rushford or Mark Vernon this is one for you.
1. Untitled - 15:34
Recorded live at Cafe OTO on Wednesday 22nd March by Shaun Crook. Mixed and mastered by Shaun Crook.
Matthew Sullivan - 22.3.17
Strikingly sparse and meditative percussive duo from esteemed vocalist Julie Tippetts and Confront boss man, Mark Wastell. Both equipped with a wealth of percussion but perfectly restrained, the pair are near-still, bright and clear at first, until the surface of their glistening sound begins to prickle and rush with an unseen current. Tippett's voice effortlessly matches the bellows of the Wastell’s shruti box, and its gentle drone highlights her natural vocal warmth. Intimate, explorative and intuitive, each note struck or sung is turned over gently, explored, and put back down to rest - like a rare find in a rock pool. We hope to see this duo make a return to OTO soon!
Julie Tippetts / voice, Sri Lankan hand drums, bells, singing bowls, water bowls, thumb piano, seed pod shaker, Balinese mini xylophone, struck hand drum
Mark Wastell / tam tam, cracked ride cymbal, shruti box, chimes, hand drum, Indian temple bells, singing bowls
1. Unraveling the Waterfall - 30:55
Recorded live at Cafe OTO by James Dunn on Tuesday 17th of January 2017. Mixed and mastered by James Dunn.
Julie Tippetts & Mark Wastell - 17.1.17
Born in Bolgatanga in rural Ghana, King Ayisoba was a prodigy on the kologo, playing locally until he’d outgrown the possibilities of the area. Moving to Accra, the country’s biggest city, he eventually released the song “I Want To See You, My Father.” There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream.
“It was Song of the Year and Traditional Song of the Year,” says album producer Zea. “He also had a song called “Modern Ghanaians” that said we shouldn’t forget the tradition. Instead we should use it to fight modern problems.”
With that mantra, King Ayisoba became the unlikeliest star. His music was a strong weapon for Ghana’s traditions. What he wanted, though, was to play with a band, to bring what he called the “man-power” to give the full drive to his sound. On the album Wicked Leaders, with Zea producing, that’s exactly what he did.After that Ayisoba toured Europe together with Zea, opening up solo, providing guitar, vocals and live electronics on stage, and Francis Ayagama joined King Ayisoba’s band on djembe and bemne drums
Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. It’s there in every musician. They all go home and farm. They’re connected to the land, and the songs are part of the harvest they bring from the fields and from their own families.“Ayisoba’s grandfather played the kologo,” Zea says. “But only in the house. He was a healer, a shaman. People would come and tell him their problems. He’d make a connection with the spirits, then play and start singing, and his stories would include solutions.”
On 1000 Can Die, King Ayisoba is digging a new future from Ghana’s soil.
King Ayisoba - 1000 Can Die LP
"More 1960s recordings of truly unique solo piano performances. Mariam Tsege Gebru is a true original - her playing is somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! All original compositions available for the first time on vinyl beyond the original early 1960s editions, which are completely impossible to find. Old school 'tip on' cover with gold foil printing. A must have master piece for anyone who needs some spiritual comfort."
TSEGE MARIAM GEBRU - Tsege Mariam Gebru LP
"Great songs form one of Ethiopia's most beloved singers - Talhoun Gessesse (English spelling varies). These recordings span from 1969 to 1975 and cover the range of Talhoun's styles and moods. Some mystical modal songs, some straight up rockers, and some ballads. All totally killer songs from the golden age of Ethiopian Soul Music. Talhoun's voice, alongside Mahmoud Ahmed's, is one of the strongest in the land. Don't miss out on this monstrously good LP."
Tlahoun Gessesse - Sima! LP
New duo from ex-CalArts electronic composer Carl Stone and minimalist musician Miki Yui. Subtle, slight and spooky, the pair deploy the tiniest sounds to create soundscapes at the edge of perception. Less cut and glitched than Stone's solo work, Realistic Monk's sound seems to hardly be moving at first, only to shift underfoot and reveal delicate oscillations and MSP mappings. In time, narrative builds in ways similar to that of James Rushford and crys cole, and eerie vocal lines akin to a nomadic Ghedalia Tazartes loop and shudder in the periphery.
Carl Stone / MAX/MSP, microphone
Miki Yui / sampler, solar-oscillator
1. 5.3.17 - 55:17
Recorded on Suday 5th March by Simon Holliday. Mixed by Shaun Crook. Mastered by Shaun Crook and Carl Stone.
Realistic Monk (Carl Stone & Miki Yui) - 5.3.17
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