Compact Disc

When did you last hear a laugh out loud avant garde album? I’m hard pushed to think of any. Roland Topor’s Panic is a goodie, or some of the antics of the “Selten gehörte Musik” gang, but this is funnier, and my own personal favorite release on the label. Bohman’s approach to music has always shown a preference for the raw and unprocessed, although his 3 releases on Paradigm with Morphogenesis often use signal processing. On this CD, his first solo recording for Paradigm all the played music (except for one piece that uses slowed down and backwards sounds), are derived from the unprocessed sounds from the surfaces of a wide variety of objects that use a broken violin at its core. This CD attempts to cover the full variety of his different working practices which have been slowly evolving since the mid 80s. In particular there is a total of over 30 minutes taken from one of his many ‘talking tapes’, these tapes are made in very small editions and sent out as audio letters to other mail art correspondents (there is also an excerpt included on the first London compilation on Paradigm Discs). These tapes consist of on the spot lo-fi cassette recordings of his observations, both humorous, mundane and personal. Special attention is given to colours, signage and vernacular architectural detail, and favoured locations include: overseas visits, public toilets, restaurants and public transport, but it is the unpretentious wit and dedication that make these tapes so enduring. The sounds of the environment, the faulty recording mechanism and the frequent use of the pause button give these pieces an almost concrète, sound text feel. This ‘talking tape’ dates from Christmas, 1994. There are also 3 ‘pause pieces’ dating from 1990, which are multi-tracked, rapid collages of prerecorded sound material, also recorded on cassette recorders. This uses a similar technique (although independently developed), as that used by Anton Bruhin on his InOut CD on Alga Marghen. Finally there are 4 multi-tracked studio recordings, and one live concert recording. Crucial to all these pieces is the element of improvisation. Bohman has collaborated with a diverse cross section of improvisers, from Lol Coxhill to Joseph Hammer, and is one half of the ongoing theatre/improv duo The Bohman Brothers.

Adam Bohman - Music and Words CD

Music and words 2 is the much delayed 2nd installment in an ongoing series of archival documents of Bohman's early work. As with the first volume, this CD is divided into 2 separate areas of his work. Adam is probably best known as an improviser, playing prepared instruments and objects, but the music here uses little of these purely improvised techniques. On this CD the musical sections consists of idiosyncratic lo-fi songs alongside short collage pieces and other experiments, recorded on stereo and 4 track cassette recorders. Most of these pieces date from the early 80s, but the earliest recording is from 1977. The spoken word sections on this CD are centred on excerpts from 3 talking tapes - a trip to Southend, a concert series in Wiesbaden and a day in the life, in London. Anyone who has known Adam for any length of time will know that he frequently records his observations to a small portable cassette recorder. These are often recorded for friends and music contacts from all over the world. As with the musical contributions, all these cassettes exist in very small quantities, often they are editions of only one copy.Although there is an obvious difference in these two types of recorded material, there exists a light and humourous common thread that runs through many of the 28 tracks. This is the third solo release from Bohman on Paradigm Discs. He also appears on all 3 of the Morphogenesis CDs, as well as contributing to the first ever Paradigm release, Variations, a compilation of London based artists, from 1995.

Adam Bohman – Music and Words 2 CD

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.

Ashley Paul - Heat Source CD

Our tenth OTOROKU release sees a return to the group that kick-started the label - the veteran German reedsman and free jazz pioneer Peter Broetzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of '…The Worse The Better' that group went on to play a series of devastating shows in Europe and to emerge as one of Broetzmann's finest working groups. Over the same period Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself on stage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Broetzmann for impact whilst the extended sustain of the vibes opens up an eerie space for some of Broetzmann's most fertile lyricism. The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention - stoking the others onwards. Broetzmann was clearly energised - I swear I saw him dancing at the side of the stage whilst exchanging a shattered reed. And for all the usual rhetoric of Free Jazz bluster and machismo, this is a meeting characterised by the joy of communal creation that makes you want to dance - even if only in your head.

Broetzmann / Adasiewicz / Edwards / Noble – MENTAL SHAKE (LP)

First pressing sold out. Repress maybe by June 2016? Harry Bertoia's Complete Sonambient Collection features all 11 of Bertoia's original records newly restored from their master tapes and housed in replica jackets. A heavy duty box, printed with metallic inks, holds the 11 discs as well as a 100-page book containing a lengthy historical essay, an interview with Harry Bertoia from the Smithsonian Archives of American Art, exclusive Sonambient-era material from the Bertoia archive, modern and archival photos of the Bertoia barn, and reflections on Bertoia from David Sefton, Tom Welsh, David Harrington (Kronos Quartet), and all three of Bertoia's children. The Complete Sonambient Collection celebrates 100 years of Harry Bertoia in 2015, the centennial of his birth. In the late 1950s, Harry Bertoia (1915-1978), already a renowned American sculptor, began creating long-form, improvised pieces of music utilizing pure acoustic tones evoked from his sound sculptures. Around this time Bertoia came up with the term "Sonambient" to describe the music and environment created by his tonal sculptures and their lush harmonic overtones. In a renovated barn on his property deep in the Pennsylvania woods, Bertoia curated a harmonious selection of his sculptures and gongs, often recording his frequent, intuitive sound experiments using four overhead microphones and a ¼" tape recorder. Bertoia dedicated the last 20 years of his life to his Sonambient work and in 1970 he released the first Sonambient LP. In 1978, in the final months of his life, he selected recordings from his archive and produced ten more Sonambient records. He would not live long enough to see or hear these records himself. Bertoia died in 1978, at age 63, and was buried beneath a giant gong behind his Sonambient barn. Bertoia's recordings are as much a celebration of sustained tones, slow decay, healing vibrations, and shimmering harmonics as Indian classical music, singing bowls, La Monte Young, or Benjamin Franklin's glass armonica. Through these rich harmonics, pulsing tones, and pure gongs Bertoia was able to more clearly articulate his inner spirit than he could with sculpture alone -- a point he made himself many times in interview. His single greatest piece of art is the totality of his life, which is nearly impossible to measure but easy to feel. Important Records hopes that somehow this box set evokes some of the same sacred, personal feeling that one has in Bertoia's barn. "I don't hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning." --Harry Bertoia, 1976

HARRY BERTOIA SONAMBIENT: RECORDINGS OF HARRY BERTOIA 11CD BOX

Out of Stock

"In 1971, in Denmark, at the end of a tour, Sun Ra suddenly decided to take his whole band to Egypt. They had no concerts and no contacts there, but Ra sold some recording rights to Black Lion to pay for the tickets and they flew out. They were stopped at customs and their instruments were temporarily impounded, but they were let through as tourists. Then they booked into a hotel facing the pyramid at Giza. Word got to Hartmut Geerken, then working at the Goethe institute, and he quickly threw a concert together at his house in Heliopolis, for which Brigadier Salah Ragab borrowed army instruments for the Arkestra to play (he was later disciplined for it). Ra's Moog had made it through customs and a Tiger Organ was hired. One of the audience (of 25) booked the band in for a Cairo TV session the following day. Then Ragab persuaded the Ministry of Culture to book a concert at the Balloon Theatre (for another tiny audience: only the first 4 rows were occupied). Two more concerts followed -- at the American University (for the cab fare) and the Versailles Club. They stayed for more than a fortnight, making a film while they were there and finally, by band-members selling various personal items, raised the money to fly home. Horizon (also known as Starwatchers and Sun Ra in Egypt Vol. 2) contains a big chunk of the now legendary Balloon Theatre concert (it burned down soon after their visit, as did the hotel in which the Arkestra stayed while they were in Cairo). The Balloon extract is an uncut block (tracks 1- 4 on the CD) and features a lot of Sun Ra's all-hell-let-loose Moog soloing, as well as a great version of 'Discipline #2.' The rest of Horizon is from the Heliopolis concert, kicking off with an instrumental version of 'Enlightenment' and 'Love In Outer Space,' (neither are on the original LP) segueing slowly into 'Space Is The Place' -- followed by drum orchestra, more Ra soloing on Moog, Tiger Organ and detuned piano (bloops, hoovering, whistles, Concords taking off) leading to a first lurching, then wild, 'Discipline #8.' Two bonus tracks, for the first time restored from the original concert, follow: 'We'll Wait For You' (with June Tyson) and 'The Satellites Are Spinning' -- which ends in full-on percussion. A classic recording of a classic band in great form."

SUN RA & HIS INTERGALACTIC MYTH SCIENCE SOLAR ARKESTRA - Horizon CD

Out of Stock