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
Last November we were delighted to welcome back one of the most important musicians of the Japanese underground/avant-garde - Otomo Yoshihide - for his first show here since 2013. Joined by Japanese drummer Hiroshi Yamazaki (who has Kaoru Abe among his extensive list of past collaborators, and was also a member of Masayuki Takayanagi’s pioneering New Directions group) and legendary saxophonist Evan Parker, the two duos and extended trio mark the first time these three have collaborated. Yoshihide's guitar scrawl knots up Yamazaki's wide angled percussion and when Parker comes in for the trio it's not long before his familiar lines warp up into Yoshihide's strung out, high freq reverb for a dark, light and deep level wig-out. It's truly special when a trio works first time like this, and we hope they'll be back together before long.
Otomo Yoshihide / guitar
Hiroshi Yamazaki / percussion
Evan Parker / saxophone
1. One - 15:32 (Yoshihide / Yamazaki)
2. Two - 20:52 (Yamazaki / Parker)
3. Three - 46:37 (Yoshihide / Yamazaki / Parker)
Recorded live at Cafe OTO by Shaun Crook on Monday the 14th Novemeber, 2016. Mixed and mastered by the ever talented James Dunn. Photo by Dawid Laskowski.
Yoshihide / Yamazaki / Parker - 14.11.16
Composer, musical theorist, multi-instrumentalist, and one of the founders of Fluxus, Philip Corner's debut show at OTO was funny, sincere and inventive. Alongside his wife Phoebe Neville, the pair mixed relatively unheard compositions with stage interventions and brand new improvisations. At one special point, Corner and Neville - both blind behind Javanese masks - played a borrowed Casio and named the piece 'Understanding'. Gold.
Solo, Corner performed one of his more recent pieces, 'Agnesia', a one note near-Elemental number inspired by the painter Agnes Martin. 'An Ideal Amen' was derived from the final chords of the Berlioz Requiem and features Neville adding vocals. Corner and Neville closed by playing touching tribute to their dear friend and esteemed Fluxus collegue Ben Patterson - a piano version of Patterson's 'Paper Piece'. A generous and wonderous pair of people -- more high-jinks and meditations inside.
Notes for the show as printed for the audience:
to eat or drink
and then sometime during ……
consciously & explicitly
a sound with it.
Thus adding to the music …”
Philip Corner / piano, keyboard
Phoebe Neville / vocals, keyboard
Recorded live at Cafe OTO on Monday 19th September by James Dunn. Mixed and Mastered by James Dunn. Photo by Dawid Laskowski.
Philip Corner & Phoebe Neville - 19.9.16
Composer, saxophonist and sound artist Antoine Chessex is usually known for playing through distorting stacks of guitar amplifiers to create monolithic walls of noise and texture, but on 12.12.16 he teamed up with free music giants John Edwards and Steve Noble to play an all acoustic trio - an attempt to deconstruct the ‘classic’ formula of the tenor sax, bass and drums. Right off the bat Chessex's extended technique reaches combustable energy levels, and Edwards and Noble push pace and space to a taut intensity. Fresh, fierce and always under control - we very much hope this trio returns. For now though, dig in to this.
Antine Chessex / saxophone
John Edwards / double bass
Steve Noble / drums
Recorded live at Cafe OTO by Shaun Crook on Sunday 12th December, 2016. Mixed and mastered by James Dunn. Photo by Dawid Laskowski.
Chessex / Noble / Edwards - 12.12.16
1.10.16 documents prolific noise master Merzbow's double show here back in October. Rhythm driven and rammed with highly sculpted frequencies, Akita's sound is entirely remorseless. Furious squalls and delicate sine-warps post this one on the more psychedelic end of Akita's output. Truly relentless, it is still hard to believe he created Untitled Knife I on a casual Saturday lunchtime. Be careful with that volume.
Masami Akita / electronics
Untitled Knife I - 50:06
Untitled Knife II - 54:52
Recorded live at Cafe OTO by Shaun Crook on Saturday 1st October, 2016. Mixed and mastered by James Dunn.
Merzbow - 1.10.16
Authorised reissue of Lol Coxhill's legendary Ear Of Beholder, originally released in 1971. Ear Of Beholder is one of the most beguiling and adventurous records of the 1970s, which is saying a lot as that is a musical decade marked by groundbreaking creativity. Originally released on John Peel's Dandelion label, Lol Coxhill's sprawling double album debut is an avant-garde jazz masterstroke that features Robert Wyatt and much of the Whole World group, Kevin Ayers's backing band at the time (of which Lol was a member). Ranging from straight-up feedback to re-workings of standards, outdoor recordings to spoken word, improvisation to vaudeville, Ear Of Beholder covers more ground in two LPs than most artists do in a lifetime. Difficult, adventurous listening from one of British jazz's most brilliant innovators. 180 gram vinyl; Comes in a gatefold sleeve.
Lol Coxhill - Ear of the Beholder 2LP
Stunning duo from France's Julie Normal and Olivier Demeaux (Cheveu, Heimat). At the centre of their sound is one of the last remaining ondes Martenot's - an instrument loved by Messiaen and Varese, and carefully packed up and shipped across the channel to OTO last year by a worried Julie. Beautifully paced, the pair create a sort of precarious evensong for an alternate universe - perfect for this year! Includes previously unreleased tracks "La Reine", "Lycaon" and "Txwo".
Julie Normal / ondes martenot
Olivier Demeaux / harmonium + pedals
1. Ouverture all'inglese - 6:59
2. Txwo - 5:47
3. Merluzo - 3:13
4. Le Noir Pays - 6:08
5. Lycaon - 2:56
6. La Reine - 8:14
7. Encore - 5:20
Recorded live at Cafe OTO by Adam Matschulat on Thursday 29th September 2016. Mixed by Olivier Demeaux. Mastered by James Dunn.
Accident Du Travail - 29.9.16
Recorded over their two day residency, 9.9.16 spans the pastoral, the brooding, and the free-form progg moments of Trad Gras in one oozing zip folder. Their seemingly endless, bucolic bass lines and humble DIY approach create an ever expanding atmosphere of good will - these are surely the nicest guys in rock? The opening 'track' is a 25 minute wigged out version of Harvester's 'När Lingonen Mognar', and 'Stina' is a never before recorded folk-rock track written by the band's close friend Mats G Bengtsson. Spread the word my friends.
Reine Fiske / guitar, vocals
Sigge Krantz / bass, vocals
Tom Watts / drums
Jakob Sjöholm / guitar, vocal
1. När Lingonen Mognar - 24:18
2. Kaffe med Tårta - 12:52
3. Down in the Basement - 11:07
4. Stina - 7:12
5. Sommarlåten - 13:54
6. Silverffloden - 11:39
Recorded live at Cafe OTO on the 9th and 10th of September, 2016 by Simon Holliday and Shaun Crook. Mixed & Mastered by James Dunn. Photo by Dawid Laskowski. Many thanks to Jakob.
Trad Gras Och Stenar - 9.9.16
William Burroughs was in and out of London from the mid-50s through to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works.The work here is in 2 sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation.
This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves also being cut-ups of words on the page. The first section of the tape uses further processing by means of a 2nd tape recorder.
Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.
The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP.
William S. Burroughs - Curse Got Back LP
On the spectrum of The Dead C's sound output, Trouble could very well be seen as springing from the same realm as the massive "Driver UFO," one of the band's greatest tracks ever, off Harsh '70s Reality. There's a youthful aggression here, a churning anger, deadened by pounding drone. Much like H70s, this record serves as a gateway drug - if you were ever looking for an album to play to a newbie curious about experimental rock, this would be it. The visceral strength of their performance trembles out of the speakers. The magnificence of their stamina survives each album side.Tracklist:1. One2. Two3. Three4. Five5. Four
The Dead C. - Trouble 2LP
"This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voorman and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1971, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today."
Yoko Ono - Plastic Ono Band LP
One of the great 'free' avant garde lp's. As dynamic as it is frustrating. The glory of not caring about what anyone thinks in audio, on wax. "Life With The Lions is the sound of Ono and Lennon validating their love as something impenetrable and timeless. It's when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of 'Our life and our love is our art - every nitty, gritty part of it.' "
JOHN LENNON AND YOKO ONO - Unfinished Music No. 2: Life With The Lions LP