Jazz / Free Jazz
Drone / Ambient
Outsider / Art Brut
Sound Art / Spoken Word
Indie / Rock
Folk / Song
People Like Us
Old Heaven Books
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
Spectral Evolution – Rafael Toral
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
all music by Brötzmann (Gema) and Nilssen-Love (Tono) published by Cien Fuegos Note: tracklist is different for LP and CD / digital format
released January 26, 2024 Peter Brötzmann - tarogato, bb clarinet, contra-alto clarinet, bass saxophone, bass clarinet Paal Nilssen-Love - drums, gongs, percussion recorded by Michael Huon at Zuiderpershuis, Antwerp 25-26th of August 2015 mixed and mastered by Martin Siewert produced by Paal Nilssen-Love and Peter Brötzmann woodcut by Brötzmann, used for duo tour 2013 cover design by Lasse Marhaug
Chicken Shit Bingo – Peter Brötzmann / Paal Nilssen-Love
The first concert of Peter Brötzmann, Fred Van Hove, and Han Bennink in East Germany -- 4.11.1974, Deutsches Theater, Berlin. Recorded by radio for the series Jazz in der Kammer Nr 71. Liner notes by Bert Noglik, with translation by Jeb Bishop. Recorded by Radio GDR, Berlin. Produced by Brötzmann, 2021 mastering by Martin Siewert. Artwork/design by Brötzmann/Untiet.
Personnel: Peter Brötzmann - alto/tenor saxophone; Fred van Hove - piano; Han Bennink - drums.
Jazz in der Kammer Nr. 71 – Brötzmann / van Hove / Bennink
For the celebration of the 50th anniversary of the legendary Machine Gun recordings at the Lila Eule in Bremen, Peter Brötzmann put together a trio with the Berlin pianist, composer Alexander von Schlippenbach and the percussionist Han Bennink, who already sat on the drums 50 years ago. They were so pleased with the music that they decided to release it and continue to play gigs as the trio. Machine Gun was originally recorded in May 1968 by an octet consisting of influential musicians of new jazz and improvised music. The LP was repressed on Cien Fuegos in 2018 (CF 020LP).
Peter Brötzmann / tenor saxophone, b-flat clarinet, tarogato
Alexander von Schlippenbach / piano
Han Bennink / drums
Fifty Years After... Live at the Lila Eule 2018 – BROTZMANN / SCHLIPPENBACH / BENNINK
On the occasion of improvisor and composer Wadada Leo Smith's exhibition Ankhrasmation: The Language Scores, 1967-2015 at Chicago's Renaissance Society, Corbett vs. Dempsey is pleased to present Red Chrysanthemums, a previously unreleased live recording of solo performances by Smith, documented in Los Angeles in December, 1977. Three adventurous, spacious tracks feature Smith's unique and innovative trumpet, as well as percussion, tuned percussion, and flute, all captured as Smith was in the process of confirming his place in the pantheon of AACM greats. A candid snapshot of one of the most vital musicians to extend the jazz tradition, testing his craft and artistry with a bright, pure toned sensibility and deeply soulful melodic imagination. Wadada Leo Smith: trumpet, flugelhorn, flute, steelophone, percussion, gongs
Wadada Leo Smith – Red Chrysanthemums
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
360o Experience A Well-Kept Secret – Beaver Harris/Don Pullen
Long known as Cecil Taylor's most reliable and loyal colleague, alto saxophonist Jimmy Lyons has a select discography as a leader, and among its best entries is Push Pull, originally issued by Hat Hut as a massive 3-LP set. Recorded during a single marathon performance at the Collective for Living Cinema in New York in 1978, Push Pull features five extended pieces, all by Lyons, with his working quintet that included his wife Karen Borca on bassoon, Hayes Burnett on bass, Munner Bernard Fennell on cello, and Roger Blank on drums. Jolting, quicksilver free jazz with terse themes and brilliant interplay, the music is quintessential Lyons – searching, pliant, and sincere. Remastered from the original tapes, this first reissue of Push Pull compiles the original tracks – two of which were split to accommodate the 20-minute limit of LP – into their original full length, fitting the whole program onto two CDs, lovingly repackaged featuring the original Klaus Baumgärtner cover.
1. Mary Mary (32:50) 2. After You Left A (15:55) 3. After You Left B (6:55) 4. Tortuga (17:40) 5. Push Pull (14:30) 6. Breakout (21:30) Jimmy Lyons, alto saxophone Karen Borca, bassoon Hayes Burnett, bass Munner Bernard Fennell, cello Roger Blank, drums Compositions by Jimmy Lyons. Recorded by Karen Borca, May 6, 1978 at the Collective for Living Cinema, New York.
Jimmy Lyons – Push Pull
Glasses was recorded in October, 1977, during a highly significant period in McPhee's work, as he was pioneering the transatlantic, collaborative spirit that has helped to define the last three decades of his career. Documented in Tavannes, Switzerland, the set contains sensational tenor work, including the title piece, which finds McPhee ringing out a rhythm on a half-full wine glass, from which he extrapolates a melody on the saxophone, as well as a stunning version of John Coltrane's "Naima." The final 15 minutes are spent in duet with the Swiss percussionist Reto Weber, who was so inspired by McPhee he asked to sit in and did so with his quite extensive battery of drums. This record come from a year-long run during which McPhee recorded and released four very different, extremely wonderful solo records, of which only Tenor has ever been reissued on CD. Along with the LP Variations on a Blue Line/'Round Midnight, this reissue was produced in collaboration with the seminal Swiss label Hat Hut Records and their chief, Werner X. Uehlinger, and was originally released in 1979.
Glasses – Joe McPhee
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
Malik King was an important part of the St Louis jazz scene of the 70's & 80's. He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, The Human Arts Ensemble, as well as various Emerging Force Ensembles. Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" . Luckily Malik self released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.
Maurice Malik King - Alto saxophone, voice, & small instruments Qaiyim Shabazz - Congas Drums Zimbabwe Nkenya - Bass Violin
Malik's Emerging Force Art Trio – Time & Condition
A special 2-CD reissue of the hyper-rare El Saturn LP, recorded in 1963, early in the Arkestra's NY period, paired with a full disc of extra material. Loaded with John Gilmore, one of the greatest & rarest slabs of Sun Ra vinyl, on disc for the first time! Recorded March 10, 1963, Choreographer's Workshop, New York City. Remastered from the original tapes by Michael D. Anderson. Design by Sonnenzimmer. Reissue produced by John Corbett and Adam Abraham. 2CD, released 2013 cvsdcd009
Sun Ra – Continuation
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]
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.
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.
Naja (Black Cross Solo Sessions 5) – Mats Gustafsson