Genre

Label

Date

Compact Disc

Emerging from the ethereal realms of sonic mastery, New Zealand’s most audacious experimental outfit, The Dead C, presents ‘DEUX NUITS A PARIS’, two complete live sets that ensnares and exemplifies their ever-evolving sonic journey. From the pulsating metaphysical city of Dunedin, the band - Bruce Russell, Michael Morley, and Robbie Yeats - became a testament to the country’s under ground music scene, stirring the waters with their unorthodox sound landscapes since the late ‘80s. Profoundly philosophical and unapologetically experimental, The Dead C gracefully brush strokes onto the canvas of sound that are those recordings. This double live album is not merely a recollection of a time and place but an exhibition of raw energy, spontaneous creativity, and the irreplaceable reverberations of improvisation and somehow, songs. The Dead C. places the listener at the center of a spiraling vortex of fractured guitar notes, sprawling feedback, cathartic drums manipulations and enigmatic, submerged lyrics -- a complete immersion into their aural architecture. Each night is a journey towards the unknown, challenging the listener to embrace the implicit tension between the familiar and the strange. Experiencing this double live recording which happened in Paris at the iconic venue LES INSTANTS CHAVIRES, is wading through streams of consciousness, where every moment springs forth a new sensory revelation, the echoes of sonic experimentation ricocheting off the walls of reality. The atmosphere thickens and lightens, enveloped in the three-piece’s enthralling ability to balance raw chaotic dissonance with a overwhelming overall flow of unfiltered expression. Decimation Sociale, 2024

The Dead C – Deux Nuts A Paris 2CD

Switchback - Plywie Kacza 201 Paradiso Infernal - Live 2022 Schlippenbach / Johansson - The Fox Let's Go 2017 Full Blast - Moods 2007 Uruk - Live 2019 Last Dream Of The Morning - Shaken Light 2021 Snekkestad / Guy / Fernandez - Ripples 2018 The End - Translated Slaughter 2019 Schnee - No Time 2018 Jim O'Rourke - Live 2010 InAWhirl - Nido IV 2021 Joelle Leandre - Live 2013 Also - Twelve 2021 Amado / Corsano - Seeking 2019 Caspar Brötzmann Bass Totem - When Black Days Never End Part 1 2021 Bruch - Sugary 2017 Vandermark / Kurzmann / Kern - Swan Song 2021 The Thing - Live 2017 Part 4 They Shall Not Pass  /  No Pasaran!Live on planet earth - in the spirit of freedom, peace and solidarityAs we saw the horrible events going on in the Ukraine, we wanted to do something as a label as well beside donating on a personal level. many (trost related) artists answered right away and were enthusiastic to participate. the material-collecting and mastering took some time, but sadly it is still an issue and no-one knows how long this despicable war will last. the title of the compilation is "No Pasaran" (they shall not pass) translated into Ukrainian. it was a shout in the 30s to defend democracy in spain, to fight against the fascists.big thanks to all artists, bookers, venues and helpers involved.the great work of Martin Siewert and Lasse Marhaug was happening in support of this project, longtime cd pressing company Gusstaff Records made a special price and the austrian SKE fonds gave financial support.all proceeds of this compilation are donated to an artist-run Ukrainian aid organisation helping victims of the war, recommended by Ken Vandermark

Вони не пройдуть - No Pasaran – VARIOUS

Discussing this impending studio date, the indefatigable saxophonist Mats Gustafsson and intrepid vibraphonist Jason Adasiewicz decided to compose new pieces for one another. The resulting tracks – which also include a hallucinogenic arrangement of “Timeless,” dedicated to its composer, the recently deceased guitarist John Abercrombie – show a markedly different side of both musicians. Quiet, at times tender, this meeting-of-like-minds evoked a new kind of tension, not one birthed out of screams and wallops, but instead one marshaling the power of restraint. Gustafsson’s work with groups like the Thing and Fire! Orchestra have made him one of the most renowned figures in contemporary energy music, and Adasiewicz’s joyous noise in his own bands and with Peter Brötzmann, Rob Mazurek, and many others have likewise earned him top status in the pantheon of today’s free musicians. On Timeless, they explore low dynamics, static soundscape, and melodic lyricism, infused with passion and intellect. One track features the wooden-keyed African balafon, coaxing a buoyant response on alto from Gustafsson, while their mutual boyhood love of highly select fusion records provided an unforeseen jumping off point for the whole record. On the cover, a painting by Charline von Heyl; across the interior, a photo portrait of the musicians. Mats Gustafsson – alto, tenor and baritone saxophones Jason Adasiewicz – vibraphone and balafon Thanks to all at CvsD Thanks to Ken Vandermark for the excellent saxophones Thanks to John Corbett for an unusual alto saxophone Thanks to Clark Coolidge for the inspiration for titles Thanks John Abercrombie for all the music!Recorded October 1, 2017, by Alex Inglizian at Experimental Sound Studio, Chicago.

Mats Gustafsson and Jason Adasiewicz – Timeless

The only LP featuring a band under Peter Kowald's name, Peter Kowald Quintet comes from a vital moment in the German bassist's career. A close colleague of Peter Brötzmann's in their formative years, including the saxophonist's debut For Adolphe Sax and the classic Machine Gun, Kowald had by 1972 broadened his circle of collaborators, eventually working with a who's who of global creative music. Recorded live in Berlin, released on FMP, this date documents a tensile ensemble, with an unusual lineup featuring two trombones – Londoner Paul Rutherford and the German maestro Günter Christmann – together with the less-well-known Dutch alto saxophonist (and sculptor) Peter van de Locht and brilliant German percussionist Paul Lovens. Kowald adds to the low brass when he turns from double-bass to tuba and alphorn. Spacious and fiery, these four tracks are exemplary European free music led by one of the music's foremost originals – Kowald's rough and ready bass, which was anchoring (and de facto leading) the Globe Unity Orchestra of that period, is echoed in the take-no-prisoners music of the fivesome.Mastered from original tapes, this first-ever CD release features a facsimile version of the original cover, which featured artwork by ten non-musician friends and unique hand-additions. Track Times: Platte Talloere (13:08) Wenn Wir Kehlkopfoperier Te Uns Unterhalten (7:09) Pavement Bolognaise (14:01) Guete Luuni (2:38) Peter Kowald, bass, tuba, alphorn Paul Rutherford, trombone Günter Christmann, trombone Peter van de Locht, alto saxophone Paul Lovens, drums

Peter Kowald Quintet

LP / CD

Two masters of wind instruments blowing in from the Windy City. In 2003, as part of the seventh annual Empty Bottle Festival of Jazz & Improvised Music, Joe McPhee and Evan Parker squared off for a round of intimate dialogues. The resulting recording is just the second time they had played as a duet, the previous also being in Chicago, at a studio in 1998, where the limited their instrumentarium to tenor saxophones, resulting in the Okka Disc classic Chicago Tenor Duets. In this case, they expanded their arsenal to include tenor and soprano saxophones, as well as McPhee’s trusty pocket cornet. Held in a beautiful hall at the Chicago Cultural Center, the concert was unforgettable. Fortunately, it was documented by the legendary mobile recordist Malachi Ritscher, who recorded most of the Bottle Fests with his usual rough-and-ready style. From the opening notes, Sweet Nothings was notable for the musicians’ intuitive connection. Freely improvised in seven parts, these are duets of the highest caliber performed by two musicians who are constantly seeking common ground –what you might call “agree-to-agree” improvisors. But there’s no lack of tension or productive dissonance; on the contrary, that’s part of their unity of vision, the shared ability to diverge and reconnect. SWEET NOTHING 1 (07:23) SWEET NOTHING 2 (06:32) SWEET NOTHING 3 (11:49) SWEET NOTHING 4 (6:50) SWEET NOTHING 5 (09:54) SWEET NOTHING 6 (09:32) SWEET NOTHING 7 (03:30) Joe McPhee, soprano and tenor saxophone, pocket cornetEvan Parker, soprano and tenor saxophone Recorded by Malachi Ritscher at the Chicago Cultural Center, 26 April, 2003, as part of the seventh Empty Bottle Festival of Jazz & Improvised Music.

Sweet Nothings – Joe McPhee and Evan Parker

Joe McPhee’s response to the challenge of making a new CD of solo music during COVID was to go at it head on, to address the present in its starkest aspects, to reach for comfort in the music of great composers, and to speak directly to the virus in no uncertain terms.  The result is unlike any other of McPhee’s many records, a variety show of improvisations, favorite compositions, field recording, multi-tracking, incantation and recitation.  After searching for the right studio-like setting with an ideal sound, but hampered by the restrictions of quarantine, he abandoned such hope and dug out a clothes closet in his Poughkeepsie house, where he could approach the task with an unconventional intimacy.  In the dead of night, McPhee played luscious versions of compositions by Carla Bley and Charles Mingus, extrapolating on their melodies, even singing a Joni Mitchell lyric to Mingus’s “Goodbye Porkpie Hat.”  Elsewhere he plays harrowing tenor saxophone improvisations, a plaintive tone entering his melancholic melodic sensibility.  On the title track, McPhee layers a dozen aching blues lines atop a field recording of the namesake highway, and in another piece he discovers an entire drum choir in the noise of dripping water on a tin plate in his sink, something he dedicates to Ruth Bader Ginzburg, whose death was announced moments before he noticed the environmental sound.  On one of several very short, intense tracks, McPhee literally attempts to reverse the virus by intoning a spell-like chant: “Out, damned bug/Out, damned bug!”  The package includes extensive track-by-track liner notes and a poem by McPhee, with artwork and design by Christopher Wool. A Reflection On Ida Lupino [06:28] A Self Portrait in Three Colors [13:14] Route 84 Quarantine Blues [06:53] Cuernavaca ’79 [02:23] Goodbye Porky Pig Hat [06:59] Be Gone Damn Bug [01:24] Forget Paris [01:25] Do You Still Love Me? [01:22] Improvision For The End Of COVID [01:01] Im-Pro-Vi-Sation [3:01] Tzedek, Tzedek (For RBG) [05:49] Joe McPhee, saxophone Cover design and artwork by Christopher Wool. CD design by David Khan-Giordano. Produced by John Corbett and Christopher Wool.   CvsDCD081

Joe McPhee – Route 84 Quarantine Blues

One of the towering creative musicians of our time, a master drummer and multiple percussionist, Hamid Drake has anchored inumerable bands. As a hard working player, constantly touring the globe, he's collaborated with most of the major figures in improvised music and contemporary jazz, from David Murray and Peter Brötzmann to Pharoah Sanders and Don Cherry. Along the way, Drake has never had an opportunity to stop and make a solo record. Indeed, he's only performed solo on a few occasions. John Corbett began petitioning Drake to record an unaccompanied session twenty years ago. At last, after the pandemic had (just slightly) slowed down Drake's incessant travel itinerary, a plan was hatched and he entered Experimental Sound Studio during the cold, hard month of December, 2020. With Corbett, Jim Dempsey, and engineer Alex Inglizian as his audience, Drake worked through a vaguely plotted-out blueprint, however after a few months had passed, the drummer was unsatisfied with the result. He returned to the studio in July, 2021, with no pre-planned notion, and this time the Hamid Drake magic was everywhere – perched on his drum-throne, working exclusively at the kit, sometimes plying metallic percussion atop the snare, Drake recorded nine tracks, a cornucopia of rhythms and textures that touch on his love of reggae and funk but retain the openness and buoyancy that have made him such a go-to figure among his peers. In the CD's liner notes, he says: "A dedication in spirit to all those who have influenced, helped, opened, nurtured, shown love for, and cared for me along the way." These include Brötzmann's band Die Like a Dog, longterm percussion pal Adam Rudolph and mentor Fred Anderson, fellow drummers Paul Lovens and Milford Graves, Don and Moki Cherry, Big Black, and others. The record, precisely and soulfully recorded by Inglizian, has the beauty and warmth that always radiate from Drake's sticks, from his person and spirit – deep humanity in the form of an unstoppable engine room. Cover art by Christopher Wool. 1. Dedicated to Die Like a Dog [8:25]2. Dedicated to Adam Rudolph [13:21]3. Dedicated to Don & Moki Cherry [6:06]4. Dedicated to Milford Graves [8:29]5. Dedicated to Paul Lovens [9:14]6. Dedicated to Big Black [7:43]7. Dedicated to Fred Anderson and to the beauty and diversity of Chicago [5:28]8. Dedicated to Lex Hixon (Shaykh Nur) and Shaykha Fariha [8:45]9. Dedicated to Lenn Keller, Brenda Jones, and Calvin Gantt [3:56]Hamid Drake – drum set and percussion Recorded by Alex Inglizian at Experimental Sound Studio, Chicago, on July 12, 2020. Mixed and mastered by Alex Inglizian with Hamid Drake, Jim Dempsey, and John Corbett at ESS. Cover design and artwork by Christopher Wool. CD design by David Khan-Giordano. Produced by John Corbett and Christopher Wool.CvsDCD088

Hamid Drake – Dedications (Black Cross Solo Sessions 6)

Swedish saxophonist Mats Gustafsson might have a separate discography for his solo records. He's investigated the possibilities of unaccompanied reed music from almost every angle. Presented with the opportunity to make a new solo record under the isolation of the pandemic, Gustafsson returned to a project he'd conceptualized but never realized: the playing-card pieces of Peter Brötzmann. Although these Fluxus-like prompts are better known through the two card sets the German saxophonist created in the 1990s, which resulted in two CDs with his Chicago Tentet, Images and Signs (both released on Okka Disk), Brötzmann had in fact been using cards since the 1970s. Recording in his home studio in Nickelsdorf, Austria, Gustafsson used two of these sets of compositional prompts, one designed for the ICP Tentet and another intended as a spur for Brötzmann's own solo work. The instrumentation on Naja includes the entire saxophone family from sopranino to bass, as well as a piece for mouthpieces; this is also a rare opportunity to hear Gustafsson play more than one horn at the same time, a Roland Kirk move that he'd long ago sworn off but was prompted to do by the cards. In addition to nine pieces using the cards, Gustafsson played one non-card composition from Brötzmann's solo FMP LP 14 Love Poems. Stunningly mixed and mastered by Martin Siewert, with liner notes by Gustafsson, photos of the card boxes and the first photograph of Gustafsson and Brötzmann. Cover art, as on all Black Cross Solo Sessions CDs, by Christopher Wool.Two boxes and a composition1. Box 1 part 1 bass sax [5:43]2. Box 1 part 2 bass sax [5:31]3. Box 1 part 3 sopranino and soprano sax, 4 sax mouthpieces [3:24]4. Box 1 part 4 baritone sax [8:05]5. Box 1 part 5 baritone sax [5:22]6. Alto sax nr 3 alto sax [4:49]7. Box 2 part 1 baritone sax [0:35]8. Box 2 part 2 soprano, alto, baritone and bass sax [9:58]9. Box 2 part 3 bass sax [6:01]10. Box 2 part 4 baritone sax [3:54]Mats Gustafsson – sopranino, soprano, alto, baritone, and bass saxophones; saxophone mouthpieces Track 6 by Peter Brötzmann (FMP – publishing/GEMA); tracks 1-5 and 7-10 by Mats Gustafsson (STIM/NcB). Recorded Dec 14-16, 2020, by Olof Madsen at Discaholic Studios, Nickelsdorf. Mixed and mastered December 17 and 18, 2020, by Martin Siewert, Vienna. Cover design and artwork by Christopher Wool. CD design by David Khan-Giordano. Produced by John Corbett and Christopher Wool. Thanx to Connor Bennett for creating a masterful alto sax mouthpiece. Special thanx to Peter Brötzmann. Special thanx to Christopher Wool. CvsDCD087

Naja (Black Cross Solo Sessions 5) – Mats Gustafsson