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
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
This duet between bass clarinet and circuit-bent Casio SK1 sampler was recorded at the Pittville Pump Room in Cheltenham in January 2003. As one might expect, the music has some of that cold silence which pervades classical music institutions, and which is so repellent to ears used to the demotic bustle of jazz and pop. However, the musicians use one aspect of classical recital to their advantage, which is its staged singularity of performance. Where so much issued music has become calling cards for celebrity rather than a significant act in itself - the malign influence of free music’s reduction of music to the musician; the free jazz griot, the improviser genius - Cundy and Dunn have put everything they can do into one CD.
The musicians are fully in control of their pitches and the music often proceeds by finding a harmony and then forcing it into crisis, unbearable tensions resolved into rhythmic exchange. Cundy also uses a Tinnitus Analyser to detect noises and elevate them into audibility. This provides the musicians with a stimulating randomness - the difference between the unexpected shapes generated by looking and drawing rather than simply doodling and reproducing habit, the eversame.
Eric Dolphy’s example on bass clarinet allows Cundy to exploit the natural resources of the instrument: its old fashioned wood-panelled formalism, the humour of its duck quacks, the urban urgency of its sinuous high tones. Dunn’s electronics are a masterclass in the resources of outdated technology. After being exposed to so much laptop texturing, the ear appreciates the SK1’s limits. They give Dunn’s contributions a jagged starkness, like coming upon a crude screenprint in an exhibition of digital printouts. It’s possible that both musicians are a little too guarded to force the music into a contradiction that might unify an hours performance. However, the quiet care and intensity in the way they listen to each other is really touching.
Grace And Delete – Grace And Delete CD
Paul Abbott: Drum kits, percussion, computer.Seymour Wright: Alto Saxophone, feedback
Pah’ is a monolithic document of the shared improvisational language of saxophonist Seymour Wright and percussionist Paul Abbott, also known as XT. One piece, just under eighty minutes long, begins in the well-traveled territory of contemporary free-jazz, with Wright and Abbott falling into a supersonic velocity that they don’t give up until a strange English folk music marks the end of their set; the audience clearly taking a second to register the proceedings. Recorded live in 2015 at London’s Café Oto, the duo almost immediately ejects/(r)ejects the typical free jazz tropes as Abbott and Wright spin off into conflicting repetitions and cycles, only to morph and move again just at the point that the listener becomes comfortable. The addition of Wright’s use of feedback and Abbott’s heavily deconstructed electro-dance textures takes Pah’ from elegantly brutal blow out to truly 21st century music, and fits perfectly into the experimental formal and timbral languages of label mates Nate Wooley and Paul Lytton. Track Listing: 1. Pah’ (79:19) Recorded live at Café Oto, 24 November 2015 by James DunnMixed and Mastered by Paul AbbottDesign by Paul Abbott and Seymour Wright
XT - Pah CD
"Mainly using old and new recordings, synthesizers and having sampled variations of his own screaming voice, Matschulat offers a violent and anxious ride in his first album Ulterior. Abrasive and poetic, this dramatic album demonstrates the composer and producer’s ability to draw and immerse listeners in this intense and confrontational work.
Based in London and with a background in theatre, Adam Matschulat works as a freelancer in Film and Music, as a producer, composer, sound designer and as a mixing and mastering Engineer. He also is the founder of the label Resterecords."
Matschulat - Ulterior CD
Beautiful CD set including 10 prints
“Another interesting way that Néillidh used the natural environment in his music was that near his home was a small lake with a rock face just behind it. Néillidh would stand just in front of a large rock near his home and play a phrase on the fiddle, bouncing the sound off the water and the rock face behind it then when the echo came back to him he would listen back to what he had played. He sometimes played along with the echo of his own playing adding in variations and harmonies.”
Sleeve notes to A Feeling in the Blood - Néillidh Boyle, Rab Cherry and Dermot McLaughlin
“Then he sat down by a pond and began to play a tune. As he played, the most extraordinary thing happened. One by one the fish in the pond began to jump out and fly about in the air. And what is more, they were all different colours and they were singing to the music.”
Patrick, Quentin Blake.
Billy Steiger’s first album of solo violin recordings.
The Ten Recordings:Some were recorded outside, some were recorded inside.Wood carried inside, wood carried outside.The first and tenth tracks are Festival Music.
The Ten Drawings and Photographs:They are reprints of monoprints. (Two have photographs).
Billy Steiger - Recordings, drawings and photographs from in and around Frîdd Newydd, December 2014 - December 2015 CD
Mattin and Miguel Prado met in A Coruña in 2007 and since then have shared their long running interest in voice within the context of improvisation and noise. Since 2011 they have developed the project of Evacuation of the Voice (EOTV) which includes Mattin's LP "Object of Thought" and Miguel Prado's text "Geotraumatic Evacuation of the Voice“.
The urge for the "evacuation of the voice” appears from its inseparability from the dismantling of the face, identified as the vehicle for the representation of the "I” in capitalism. The artists propose ten sessions of one hour each (of which five now take place) where they will try to performatively evacuate the voice from their bodies, resorting to a process "subjective depersonalization”. The distancing form the thinking with the refusal of generic aesthetic idioms emerges as strategy to try to "understand our psychological, physiological and neurobiological conditions from an outsider’s perspective”.
Miguel Prado & Mattin - Evacuation of the Voice 10CD
NOTE: The LP And CD have different audio from the same recordings.
Outside of the 2CD release ‘Never Too Late But Always Too Early’ (Eremite, 2003) there has been scant documentation of one of the most dynamic pairings in all free jazz. Featuring unique material on each format Song Sentimentale rectifies this anomaly with a full blown audio account of the breathtaking communicative heights obtained by these three legends of the living.
Over 3 nights in January 2015 the trio seduced a winter worn crowd with the kind of organic interplay only these three can conjure. Warm and urgent the material that covers both formats unveils a wide range of techniques and emotions. This is music on the edge of itself; a living, breathing and existing force documented for repeated visits.
PETER BROETZMANN - TENOR SAX, B-FLAT-CL, TAROGATOWILLIAM PARKER - DOUBLE-BASS, GUEMBRI, SHAKUHACHI, SHENAIHAMID DRAKE - DRUMS, FRAME-DRUM, VOICE
Recorded Live at Cafe Oto on the 27th, 28th and 29th January 2015
Recorded by James Dunn
Mixed by John Chantler
Mastered by Andreas (Lupo) Lubich at Calax
Photocollage by Dawid Laskowski
Artwork by bro
Design by Uniet/bro
BROETZMANN / PARKER / DRAKE - SONG SENTIMENTALE
2016 Re-Press. Pre-orders taken now. Shipping 4.7.16.
Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together.
Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering, Berlin.
"On an east London side street, Café Oto hosts a programme of international experimental sounds to shame subsidised arts temples, drawing demographic-defying crowds of all ages through its doors. The first release on Oto's own label, available as an authentic vinyl slab or a slippery download, is a 40-minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German free-jazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction." Stewart Lee, The Sunday Times "Since it opened in Dalston in April 2008, Café OTO has become London's new music venue of choice for the likes of the Sun Ra Arkestra, Joe McPhee, Mats Gustafsson – and Peter Brötzmann, whose first residency at the club in January 2010 yielded this inaugural release on OtoRoku, Café OTO’s new in-house label. The night in question was the first time Brötzmann had played with bassist John Edwards and drummer Steve Noble, and the decision to team them up was inspired. With Alan Wilkinson, or in Decoy with Alex Hawkins and NEW with Alex Ward, Edwards and Noble have a deserved reputation as a thrilling high-energy rhythm section. And as Brötzmann is no slouch when it comes to high-energy playing, the combination is explosive. Right from the start of the set – the first that evening – it's obvious why this was selected to christen the label. All three players jump straight into top gear, with Brötzmann setting a cracking pace, his torrent of sound characterised by that hard-edged tone which makes him such compelling listening. ...the worse the better sets a high standard for subsequent releases to match. But, as every night at Café OTO is recorded and there's a wealth of fine music waiting in the wings, including quality recordings from Otomo Yoshihide and Wadada Leo Smith, OtoRoku looks like a label to watch." John Eyles, Paris Transatlantic
"These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining near-telepathic modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten roar, while Noble’s mule-kicking at the traps reels out ride hits like a baby sporting a bonnet of bees." - Spencer Grady, BBC Music
"Does the world need another Brötzmann album? Probably not, but as the inaugural release on Cafe OTO's in-house high quality vinyl-only label, this one is cause for celebration. Recorded there - superbly well, too - during Brötzmann's residency in January 2012, this is no frills straight-up free jazz, solos and all, pitting the Firebreather of Wuppertal against the might local rhythm team (yes, they can and do swing hard) of John Edwards and Steve Noble. All three are on outstanding form, from the opening yelp - when it comes to Big Bang beginning, nobody does it better than Brötzmann - to Edwards's snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters." - Dan Warburton, The WIRE
BROETZMANN / EDWARDS / NOBLE - THE WORSE THE BETTER
CD01 – Arcoparlante
CD02 – Gesualdo Translation
CD03 – A Collection of Smiles
CD03 – The Whistling Republic / Campanas
ALESSANDRO BOSETTI – STILLE POST. RADIO WORKS: 2003-2011 4CD
Rabbit Eclipse is the second full-length recording from the legendary Księżyc following on from their self titled debut from 1996.
The Moon never went away.
The 2013 the Penultimate Press re-issue of Księżyc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material.
Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the the ancient and the contemporary unique to the band.
With more expanded forms, Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia.
Rabbit Eclipse is another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits.
Agata Harz - vocals, objects
Katarzyna Smoluk-Moczydłowska - vocals, keyboards, objects
Lechosław Polak - accordion, keyboards, synthesizers
Remigiusz Mazur Hanaj - tapes, hurdy-gurdy, violin
Robert Niziński - clarinet, keyboards, objects
Paweł Romańczuk - Fidel, Stössel-Laute, objects
4. Walczyk III
Rabbit Eclipseis packaged in a 4-page DVD format digipack in an edition of 500 copies
Księżyc - Rabbit Eclipse CD
Description: 88 page book with 5 CDs, 115 tracks, most available on CD for the first time, A co-production between Dust-to-Digital and RevenantPublication Date: October 11, 2011
Edited by Glenn Jones
As with all histories, context and an appreciation for the times are essential. In 1958, when the earliest of these recordings were made there were probably no more than a handful of reissues of pre-war country blues 78s available on record in the United States. The long-playing 33 1/3 record was, itself, only a recent invention. Today, with hundreds, perhaps thousands, of pre-war blues and hillbilly reissues available and in print, when it’s possible to walk into any halfway decent record store (to the extent record stores, halfway decent or otherwise, still exist) and find the complete recordings of Charley Patton or Blind Willie Johnson, it may be difficult to comprehend just how obscure and how otherworldly this music once was. — Glenn Jones, from the Introduction toYour Past Comes Back to Haunt You
JOHN FAHEY: YOUR PAST COMES BACK TO HAUNT YOU (1958-1965) BOX SET
Paul Abbott – Vagus
Publication & CD-R
Published by Porta (#11)
- - -
Paul Abbott - Drums, voice, texts and programming.
Part 1: 'Welcome'
Part 2: 'Hsiovidhe'
Part 3: 'Mung Pool'
Free download available at: http://www.portaaaa.com/porta11.php
Written and recorded in London, 2014-2015.
Double sided Black CD-R mounted on a 20 page, black & white publication.
Both inside a grey-transparent plastic envelope.
Edition of 100.
Paul Abbott - Vagus CD
Founded in 2010 in Oxford the Set Ensemble is dedicated to the performance of experimental music and contemporary composition. All of the members of the ensemble are also composers and they often write for one another, using the ensemble as a testing ground for new ideas, developing and rehearsing pieces together. This process is a collaborative endeavour with the score acting a material among many, directing or shaping actions within a complex field of activity.
This disc contains six such compositions by Dominic Lash, Patrick Farmer, Sarah Hughes, Paul Whitty and Bruno Guastalla, the scores for which are all text or instruction based. Running the gamut from tonal instrumentation to fluxus antics, sometimes even within one work, this collection refuses to sit tidily within one strand of contemporary music, reflecting the broad influences and practices of the ensemble's members.
The CD is packaged in a 7" sleeve with letter-pressed back panel and digitally printed 4 panel leaflet, see scans attached.
Set Ensemble – Stopcock CD