Eryck Abecassis (b 1956) is a french-algerian composer, musician and electric guitar player. He went to Paris in 1976 to study film at the CLCF (Conservatoire Libre du Cinéma Français) and worked as a photographer. From 1979 to 1983 he took private lessons in composition and harmony with Julien Falk (1902-1987) and studied Jazz orchestration with Derryl Hall at the Centre d'informations musicales in Paris. In the following years he took various courses at IRCAM, among others in instrumental research and computer music. He took lessons with Jean-Claude Risset and in 1994 with Pascal Dusapin at the Centre Acanthes. In 1997 he took part in the Cursus Annuel de Composition et Informatique Musicale at IRCAM. "Siamoises" is his 3rd solo album and 2nd contribution to the Fragment Factory label catalogue (after "La Gueule Du Loup" w/ Francisco Meirino, 2017). Composed and recorded in Paris 2018, "Siamoises" is the pairing of Eryck's instrument of choice, an Ibanez 2404 double neck e-bass/guitar, with a modular synthesizer. --- Fragment Factory, 2020

Tracklist: 1. Mynyddoedd Cymru 2. Glyn Tawe 3. Paul Robeson ac Eisteddfod y Glowyr 1957 4. Llyfrau Gleision 1847 5. Pa Beth yw Cenedl? 6. Tryweryn 1965 7. Pa Beth yw Dyn?  Cwmwl Tystion is a suite of music, composed by Tomos Williams, which celebrates and questions the idea of Welshness. It was recorded live at Taliesin Arts Centre, Swansea and Café OTO, London in June 2019, in performances given by a specially formed group of Welsh musicians. --- On this CD, recorded Live at Cafe OTO, the band perform a newly composed Suite incorporating elements of jazz, the avant-garde, improvisation and Welsh folk music. The name 'Cwmwl Tystion' is derived from a poem by the great Welsh poet Waldo Williams - the music "bares witness" to these complex and difficult times. This was the first time Huw Warren (Quercus) and Rhodri Davies (Hen Ogledd), both leaders in their field and musicians of international reputation, performed together, while Mark O'Connor, Huw V Williams and Francesca Simmons all bring unique contributions to the project. --- Tomos Williams - trumpetHuw Warren – pianoRhodri Davies – harp, electronicsFrancesca Simmons – violin, sawHuw V Williams – bassMark O'Connor – drums

Tracklisting: 1. Aoshi 2. Dany Boya 3. Ankotsubaki Gaiden 4. Taria 5. Kamome 6. Furusato 7. Narayamabushiko 8. Maronie 9. Shiroi Inu"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings --- Kan Mikami / vocals, guitar John Edwards / bass Alex Neilson / percussion --- Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi

Hard to get hold of Kurachi CD - 'Supermarket Chitose'. Huge work from 2007, building on the vast landscape of 'I Heard The Ground Sing'. Each instrument is played and recorded by Kurachi, overdubbed and mastered by Taku Unami. Includes a remake of the "Tower" included on 'Rumors Buffalo'. Multiple voices in a moving landscape, meeting, passing each other, and at one moment, coinciding as if by chance.  "Each word is more everyday than ever. Spoken words come and go, secretly or loudly. The background of the self-portrait appearing on the jacket is a supermarket. It is said that "Best Camera" refers to a real consumer electronics retailer based in Kyushu. Too everyday. Nevertheless, the landscape that I have never seen spreads. Includes "Kurano" - an origami paper by origami artist cochae, which is also on the jacket." Enban

Available as 320k MP3 or 24bit FLAC  Tracklisting: 1. A/C - 35:53 2. D/C - 43:14 --- Praise for Decoy: “an improvising trio that rocks and swings so hard it’s dangerous…a band that redefine the words “shock and awe” – Duncan Heining, Jazzwise “A cult following is not far behind” –  John Fordham, The Guardian “Hawkins, Edwards, Noble and McPhee have created a performance—and a record—for the ages.” –  Clifford Allen  “a vision not just of what music can be and do, but of what it can become” – Richard Williams in the liner notes for Decoy’s first release, “OTO”.  Two totally infectious sets from Decoy - the trio of John Edwards, Steve Noble and Alexander Hawkins - reunited with pocket trumpet and saxophone player Joe McPhee on the closing night of his four day residency at Cafe OTO. In the eight years between the recordings which make up ‘AC/DC’ and their last release ‘Spontaneous Combustion’, Decoy and each of its members have been practicing individually at the very top of their form. Coming together again in such celebratory circumstances and in the good company of a fantastic crowd set the scene for a very special night.  As they begin, Alexander Hawkins casts a needling surface between his Hammond organ and John Edwards’ loose splatters and slaps of low end bass. McPhee skitters over them with his pocket trumpet by way of introduction; Steve Noble strikes his rims in anticipation. The mood in the room is that of a rock band reformed, of a certain number of “boys” being “back in town”. The first set sees moments of frenetic free jazz peel off into weirdo soul territory and when switched to saxophone halfway through, McPhee’s romantic lyricism is utterly beautiful. When a groove sets in, Hawkins’ B3 ascension in harmony with an ever powerful Edwards-Noble rhythm section sees the room thicken and swirl to the point of giddiness. There is one unreal part at 22:22 where we’re sure you can hear Edwards’ bass vocalising.  Regrouped for a second set, Steve Noble’s metallic textures meld with detuned arco bass to create an unholy atmosphere, ripe for Hawkins to play out the eerier end of the Hammond. When McPhee sounds a sax motif the band catches it quickly and it’s soon wickedly morphed and stretched by each player, recurring to absurdity in a stoned out funk free for all.  The whole recording bleeds enthusiasm and joyful imagination and is a brilliant document of an unforgettable evening. Decoy are a limitless band who play nowhere near enough. We cannot attest to them any more: Book them, buy this, go and see them if you can.   --- John Edwards / bass Alexander Hawkins / hammond b3 Joe McPhee / pocket trumpet, alto sax, voice Steve Noble / drums --- Recorded live at Cafe OTO by Shaun Crook on Friday 10th May, 2019. Mixed and mastered by James Dunn. Artwork and layout by Oliver Pitt. Photos by Dawid Laskowski. Printed in an edition of 1000. OTOROKU023CD.

Ashley Paul's Heat Source was recorded during a challenging year of transience between New York and London. During this year of impermanence Paul performed regularly and the effects of frequent performance and traveling can be heard in the intentionally pared back emptiness of Heat Source. making it an emotionally challenging and fascinatingly personal listening experience.Heat Source finds Ashley Paul working using her brilliant ears to find a zen like balance between her voice and a sparse arrangement of staccato instrumentation leaving as much open space on one song as most people would create in a lifetime. This open space isn't empty, however, but it's up to you to fill in the meaning. Heat Source is an emotionally challenging and fascinatingly personal listening experience that creates a powerful pace. Ashley Paul is a performer and composer based in Brooklyn, New York. She uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palate of sound that works its way into her intuitive songs; free forming, introverted melodies. This blend manifests beautiful and simple musical forms against acoustic experimentation. Her solo albums have received high praise being chosen in Wire Magazine "Top 50 Releases of 2013, Pitchfork "Best Experimental sounds of 2013", first on Byron Coley and Thurston Moore's "Tongue Top Ten" in Arthur Magazine and included on NPR's All Songs Considered "Best of 2010". She has been interviewed or featured in Wire Magazine, BOMB, Gonzo (circus), Dummy, The Quietus, Ad Hoc, Spex, The Sound Projector and Foxy Digitalis.Ashley has performed or recorded with Phill Niblock, Rashad Becker, Nik Colk Void, Loren Connors, Aki Onda, C. Spencer Yeh, Anthony Coleman, Joe Maneri, Joe Morris, Seijiro Murayama, Greg Kelley, Bill Nace and Eli Keszler appearing on such labels as PAN, ESP-DISK' and Tzadik. She received a Masters of Music from New England Conservatory in 2007.

In Tom Mudd's work, the conceptual and technological processes are paramount. For this particular release, both are embedded in the Gutter Synthesis algorithm and software which was created for and used in all six tracks. An inevitable consequence of this way of working is that masses of material can be created, which then requires both selection and editing. Once these decisions havetaken place a strange, apparently contradictory, perceptual shift takes place towards the material. The listener is confronted with complex, intense and emotionally charged musical events. This was not Tom Mudd’s intention as he’s not overtly concerned with personal expression. A deep interest in algorithmic computer processes is his guiding principal. Yet from this apparently cold approach to making music comes vivid, dramatic, sound art, packed with rich emotional layers that never operate at the level of the trite and illustrative. There is also a strong formal and structural quality to his pieces that allows, in the best possible sense, the listener to ‘immerse’ themselves in this challenging sound world. John Wall, London, December 2017Gutter Synthesis software Gutter synthesis is a purely digital synthesis process that creates very physical, acoustic-like sounds using a network of resonant Duffing oscillators. The software was created specifically for this project, and is included with the release as an equal part of the creative output. The downloadable version uses an interrelatedset of eight Duffing oscillators and associated filter banks.

GUO is the duo of guitarist and singer Daniel Blumberg (Hebronix, The Howling Hex) and saxophonist Seymour Wright. Both use heavy distortion and extreme amplification which is later processed and manipulated with metal cassettes to create a multi-layered, lacquered object of sinister, fizzing, metallic beauty. GUO1 with text by David Toop, was the beginning of an on-going series of releases that include etchings made by the duo and a piece of ekphrasis from a creative writer responding to the music.

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.

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.

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'.

Digital Download available as 320k MP3 or 24bit FLAC. Alexander Hawkins / Hammond B3 John Edwards / Double Bass Steve Noble / Drums Joe McPhee / Pocket Trumpet, Alto Sax New 2CD version of Spontaneous Combustion - the second meeting of UK organ/bass/drums trio DECOY with sax legend Joe McPhee - Here with an extra 78 minutes of music added to the original LP material. The original LP (now out of print) was listed in The WIRE magazine's top Jazz & Improv releases of 2013! "a show that surpassed all expectations to become one of the very best things I’ve seen this year." The Liminal Disc One recorded 29 October 2011, Cafe OTO by Mick Ritchie. Mix by Ritchie/Noble. Mastered by Andreas [LUPO] Lubich @ Dubplates & Mastering, Berlin. Disc Two recorded 30 October 2011, Cafe OTO by Mick Ritchie. Mixed by Ritchie/Noble and mastered by Mick Ritchie. Sleeve design by Oliver Pitt.

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Kicking off a series of collaborations between Honest Jon's Records and Incus: Solo Guitar Volume 1, a reissue of Derek Bailey's Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Recorded in 1971, this was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years -- Incus 2 and 2R -- with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, remastered by Rashad Becker, and available for download exclusively here. --- Derek Bailey / guitar, synthesizer — Tracks 1-13 recorded by Bob Woolford and Hugh Davies. Photographs by Roberto Masotti. Mastered by Rashad Becker.

2023 repress of the OTOROKU re-issue of the legendary English free improvisation LP 'The Topography of The Lungs' by Evan Parker, Derek Bailey and Han Bennink. This was Evan Parker’s first recording as a "leader" and was the first release on Incus, the label Parker founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas [LUPO] Lubich at Calyx in Berlin and features the original liner notes from Parker along with updated notes penned in 2014. "To talk further of the music we play is difficult. It’s criteria for success exist, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker’s original liner notes (1970) This pressing of The Topography of The Lungs comes in a limited edition of 500 copies.

“Dec. 2015: I received an invitation from Old Heaven to participate with FaUSt to the 3rd edition of “Tomorrow Festival” at B10 Live, Shenzhen, China! A few months later, May 2016, we were on our way to the most exciting concert experience. A loooong flight-haul and then, such a warm welcome, such a perfect organization… the most charming, dedicated, competent crew around us… the largest cement mixer I ever used on stage, and an audience so vibrant, so focused. I was and still am in memory, overwhelmed by the endless energy of all the people I met: technicians, promoters, music fans, the so-creative Knitting Ladies, my old-time friend Keiji Haino, and my comrade Maxime. The music we created together had been accurately recorded. As Old Heaven proposed to release this concert, I immediately was enthused by the idea. Even more so when I heard the perfect mix of Liu Ying. Two tracks were beautifully post-produced, edited and mixed by Amaury Cambuzat. I loved the B10 Live performance and place it in my top ten FaUSt concerts ever and I love this album, I do. ” —— JHP / art-Errorist --- Recorded at the 3rd Tomorrow Festival on May 14, 2016. B10 Live, Shenzhen, China. Published by Old Heaven Books & B10 Live, Shenzhen 2022. Tomorrow Festival Series OH 036 录音 Recording：曾君 Zeng Jun；罗绿野 Luo Lvye混音 Mixing & 母带处理 Mastering：刘英 Liu Ying编辑 Editing & 混音 Mixing：Amaury Cambuzat（track 06/C2 & 08/D1）制作人 Producer：涂飞 Tu Fei统筹 Coordinators：李书琴 P.G，尹思卜 Yin Sibo设计 Design：Nino摄影 Photography：艾飞 Effy，大米，惠子@DAFA，肖蔚鸿 Xiao Weihong，子弹，左氏文化特别鸣谢 Special Thanks：黄可 Huang Ke，李秭林 Li Zilin，邹佳伟 Zou Jiawei Jean-Hervé Péron - 人声 Vocals / 贝斯 Bass / 原声吉他 Acoustic Guitars / 小号 Trumpet / 水泥搅拌机 Cement MixerWerner “Zappi” Diermaier - 鼓 Drums 特邀嘉宾 Very Special Guests：Maxime Manac’h - 键盘 Keyboards / 吉他 Guitar/ 煤气罐 Gas Cylinder / 手摇风琴 Hurdy-Gurdy灰野敬二 Keiji Haino - 人声 Vocals / 电吉他 Electric Guitars / 电子设备 Electronics魏籽 Wei Zi, Tina, 郦亭亭 Li Tingting - 针织行为表演 Knitting PerformanceB10 Live, Shenzhen, China!

pre-order, arriving late december / early jan Amazing duo perfromance by Hamid Drake and Piano, recorded at the Shenzhen Jazz Festival in China, during late Cotober of 2019, issued by the always amazing Shenzhen based imprint Old Heaven.  Hamid Drake - 鼓 Drums / 打击乐 Percussion / 框鼓 Frame Drum / 人声 Vocals Pat Thomas - 钢琴 Piano 录制于第九届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2019 年 10 月 20 日 Recorded at the 9th OCT-LOFT Jazz Festival, B10 Live, Shenzhen, October 20th, 2019

Rock. It's still angular, rubbery and twitchy, but this fifth full-length contains their most straight-up Rock 'n Roll since their debut.

The second LP compendium of Emahoy Tsege Mariam Gebru’s early solo piano works, recorded throughout the 1960s – finally available again. Emahoy Tsege Mariam Gebru is a true original – her compositions and unique playing style live 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! These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife. Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.