Compact Disc

What could possibly happen when two ultimate masters of soprano saxophone square off for their only recording of duets?Chirps is the only place to find out. Steve Lacy – the one who planted the flag for soprano saxophone in the ground of modern jazz, who established its iconic status, who devoted himself to the axe with monkish devotion, who brought shakuhachi breath and stairstep melody into its upper-register antics. Evan Parker – arguably the one who pushed the instrument the furthest post-Coltrane, the technical marvel, the polyphonist, the one willing to immerse in the instrument’s harshest environs and find things of radiant beauty. Performed in Berlin at the Haus am Waldsee in July, 1985, it was every bit the chamber concert – super intimate and interactive, gorgeously recorded by FMP’s Jost Gebers in an ideal acoustic room. Rather than alternate between one and the other, Lacy and Parker explore middle-terrain the whole time, perhaps skewing a tad more Lacy’s funky-tuneful direction, becoming a single soprano entity made of fragments of sound sometimes accreting into perfectly imperfect lines. Two long tracks, “Full Scale” and “Relations,” are completed by a final four-minute coda aptly titled “Twittering.” Indeed, the whole program has the joyous interactivity of Paul Klee’s painting “Twittering Machine,” birds aligned on a line, proposing and picking up lines, nothing cruel or mean-spirited, free play all a graceful twitter. This CD reissue restores the original Tomas Schmit design from the initial release on SAJ Records. Licensed directly from FMP. Limited edition of 500 copies. Full Scale (21:01 minutes) Relations (16:30 minutes) Twittering (4:10 minutes) Steve Lacy (soprano saxophone)Evan Parker (soprano saxophone)All music by Steve Lacy and Evan Parker.

Chirps – Steve Lacy and Evan Parker

A grand reunion of sorts in Berlin on the first day of November, 1996. Under the auspices of Free Music Production, Cecil Taylor, the great pianist and one of the premier musical minds of the 20th century, joined forces with his early comrade, drummer Sunny Murray, for a set of improvised duets. Murray was part of Taylor’s important groups starting in 1959, including the trio with alto saxophonist Jimmy Lyons, with which Taylor toured Europe in 1962 and 1963, recording the seminal Nefertiti, the Beautiful One Has Come and Live at the Café Montmartre. On the latter tour, Murray met Albert Ayler when the saxophonist joined Taylor’s group for some concerts; they would go on to record one of the greatest free jazz records in history, Ayler’s Spiritual Unity. Thirty-six years later, Taylor and Murray were back together and better than ever. Never to do things a straightforward manner, Taylor began the concert by inviting eight members of his band to kick things off with an intonation choir, the master himself leading the sound poetry incantation. Taylor and Murray then moved into a 48-minute exchange of energies, peaks and valleys of expressive intensity rolling along, the two veteran improvisors slipping back into sync as if the decades had simply vanished. This extraordinary music has never been publicly released on CD. Gorgeously recorded, with action photos by Dagmar Gebers and a cover painting by Jacqueline Humphries, the music is issued under license from FMP. And yes, the title was all Taylor’s, as if he knew his music would be released during a virus of the same name.   All composition by Cecil Taylor. Recorded in Berlin on November 1, 1996, by Holger Sheuermann. Cover Image: Jacqueline Humphries, Pile, 2008, oil on linen, 80 x 87 inches (Courtesy of the artist and Greene Naftali, New York). Photographs: Dagmar Gerbers. CD design: David Giordano-Khan. Production: Jost Gerbers. Under licnense from FMP. Exectuive production, CvsD: John Corbett.

Cecil Taylor / Sunny Murray – Corona

Globe Unity is available on vinyl CvsDLP003 and CD CvsDCD091 In 1966, pianist Alexander von Schlippenbach assembled his first large ensemble to play his compositions “Globe Unity” and “Sun.” This 14-piece band, which brought together some of the leading figures in European improvised music, would eventually expand – incorporating not only Europeans but also American and Asian musicians – and assume its rightful name: Globe Unity Orchestra. In its nascent outing, beautifully recorded at Ariola Studio in Cologne, Schlippenbach’s band was already sensational, performing at various festivals and solidifying the reputations of some of its star players. Most notably among these was a 25-year-old saxophonist named Peter Brötzmann, whose whole band – saxophonist Kris Wanders, drummer Mani Neumeier, and bassist Peter Kowald, the latter of whom would for a period assume nominal leadership of Globe Unity – was incorporated into the large Schlippenbach group. Globe Unity was Brötzmann’s first outing on LP. Kowald’s too. And future drum heroes of the krautrock genre, Neumeier (with Guru Guru) and Jaki Liebezeit (with Can) constitute the incredible rhythm section. If you factor in German early-free-music mainstays Gunter Hampel (here on flute and bass clarinet, no vibes), trumpeter Manfred Schoof, bassist Buschi Niebergall, and tenor saxophonist Gerd Dudek, Dutch saxophonist and clarinetist Willem Breuker, French trumpeter Claude Deron, the enormity of the band’s potential becomes apparent. Add Schlippenbach himself, an absolute cyclone on the piano as well as prominent tubular bells and gong, and the global scene is set. Schlippenbach’s unique position at the time, as one of the foremost players in German free music, but also as a rising young composer who’d studied with Bernd Alois Zimmermann, allowed him to serve as exactly the right conduit for several approaches to creative music, from introducing his graphically notated scores to making a perfect context for the debuts of future star improvisors Brötzmann and Kowald.Schlippenbach’s Globe Unity was first issued on SABA in 1967, then MPS a couple of years after that. It has long been out of print and has only ever appeared on CD in a tiny Japanese version published in 1999. Corbett vs. Dempsey is reissuing this classic record in a special, strictly limited edition of 500 vinyl LPs and 1000 CDs, with a faithful facsimile of the original LP’s gatefold cover. The music was remastered from the original tapes and is licensed directly from MPS. Anyone interested in the history of improvised music needs to hear Globe Unity, which retains a sense of urgency 56 years after it was waxed. Track List: 1. Globe Unity 20’122. Sun 20’34 Musicians: Manfred Schoof Claude Deron Willi Lietzmann Peter Brötzmann Gerd Dudek Kris Wanders Willem Breuker Gunter Hampel Karlhanns Berger Buschi Niebergall Peter Kowald Jaki Liebzeit Mani Neumeier Aleaxander von Schlippenbach Produced by: Joachim E. Berendt Recording director: Willi Fruth Engineer: Gert Lemnitz Recorded December 6th and 7th, 1966 at Ariola Studio Cologne Cover painting: “C 12” by Henry Garde Photos: Uwe Oldenberg Cover design and layout: Gigi Berendt Compositions by Alexander von Schlippenbach

Alexander von Schlippenbach – Globe Unity

The untold early history of Amsterdam's seminal collective. Founded in 1967 by three of European free music's leading lights – pianist Misha Mengelberg, drummer Han Bennink, and saxophonist and clarinetist Willem Breuker – the Instant Composers Pool (ICP) was simply one of the most important vehicles for experimentation and improvisation in the history of creative music. Culling ideas and materials from jazz, modern and contemporary classical music, Fluxus, traditional music from the Balkans and elsewhere, as well as avant-garde theater, ICP was ahead of the pack in numerous ways, presenting a kind of irony-tinged, amalgamated version of free and structured improvisation – or instant composition – that would be a hallmark of subsequent movements in New York's downtown scene and elsewhere in Europe in decades to follow. Based on twenty years of deep research, Incipient ICP (1966-71) picks up the story just before the group's foundation, with previously unreleased recordings of groups led by Mengelberg in 1966, among them a performance of their notorious piece "Viet Cong," with Breuker joining the Mengelberg Quartet. The only tracks in this 2-disc set that have been commercially released – and only on the enormous 53-disc box set – come from studio sessions in 1967, featuring a mid-sized band with German trumpeter Manfred Schoof as special guest. These beautifully recorded tracks suggest the dichotomy between projects led by Mengelberg (two pieces) and those led by Breuker (four pieces), a schism that would grow until Breuker left the band in the mid 1970s to found his own group, the Willem Breuker Kollektief. Three more tracks led by Mengelberg in 1969 feature American keyboardist and composer Frederic Rzewski, as well as an incredible spotlight on Frans Brüggen's unusual amplified double-bass recorder. The final suite comes from a 1971 date led by Breuker, sans Mengelberg and Bennink. Moving more toward his Kolletief concept, Breuker leads a drumless quintet through his own cabaret-inflected pieces – featuring Lodewijk de Boer's hardcore electric viola and brother Peter Bennink's alto and soprano saxophone – as well as Albert Ayler's "Angels." The deluxe package sports contemporaneous photos of the players by Pieter Boersma. CD 1 1. Session No. 1 (Mengelberg/10:31) Eddie Engels, trumpet; Alfred Smit, trombone; Theo Loevendie, soprano saxophone; Piet Noordijk, alto saxophone; Willem Brekuer, tenor saxophone, bass clarinet; Misha Mengelberg, piano; Rob Langereis, bass; Han Bennink, drums. Recorded 1966, pre-ICP. 2. Viet Cong (Mengelberg/11:32) Willem Breuker, clarinet, bass clarinet, flute; Piet Noordijk, alto saxophone; Misha Mengelberg, piano; Victor Kaihatu, bass; Han Bennink, drums, percussion, swanee whistle. Recorded December 13, 1966, at Misha Mengelberg’s Wessel Ilcken Prize ceremony. 3. Die Berge Schützen die Heimat (Mengelberg/9:06) 4. Jump Italiano (Mengelberg/5:43) Instant Composers Pool; Manfred Schoof, cornet and flugelhorn; Gilius van Bergeijk, oboe; Theo Loevendie, soprano saxophone; Willem Breuker, bass clarinet, clarinet; Maarten van Regteren Altena, bass; Misha Mengelberg, piano; Han Bennink, drums. Recorded June 19, 1967. 5. Adebar der Geheimnisvolle (Breuker/8:18) 6. Piano Distance (Breuker/5:27) 7. Before Og 15 Kir (Breuker/9:56) 8. September Song (Loevendie/13:12) Instant Composers Pool; Manfred Schoof, trumpet; Willem Breuker, bass clarinet; Lodewijk de Boer, viola; Hasso van der Westen, viola; Henry Ronde, steel drum; Maarten van Regteren Altena, bass; Arjen Gorter, bass, accordion; Misha Mengelberg, piano, toy instruments; Han Bennink, drums. Recorded July 19 and August 25, 1967. CD 2 1. HRRG II (Mengelberg/3:38) 2. STCH Shuffle (Mengelberg/3:20) 3. ICP 4 14 Write Your Own Part (Mengelberg/4:52) Instant Composers Pool; Misha Mengelberg, piano; Frederic Rzewski, electronics, mini tape recorder into megaphone, piano, organ; Willem Breuker, bass clarinet; Peter Bennink, alto & tenor saxophone; Frans Brüggen, amplified double-bass recorder; Willem van Manen, trombone; Bert Koppelaar, trombone; Erik van Lier, bass trombone; Arjen Gorter, bass; Han Bennink, drums, tap dance. Recorded April 14, 1969. 4. Four Tempi Match (Brekuer/4:57) 5. Siep (Sybren Polet) (Brekuer/13:52) 6. New Alto (Breuker/7:07) 7. Angels (Albert Ayler/4:52) 8. Langlauf Song (Breuker/3:06) 9. Trammermusik (Breuker/15:10) Instant Composers Pool; Willem van Manen, trombone; Peter Bennink, alto and soprano saxophone; Willem Breuker, soprano, alto, and tenor saxophone, clarinet; Lodewijk de Boer, electric viola; Maarten van Regteren Altena, bass. Recorded July 4, 1971, at Theater Hot, Den Haag, Netherlands. Photos by Pieter Boersma. Design by David Khan-Giordano. Under license from the Instant Composers Pool and Olga Zuiderhoek. Tracks 3-8 on CD 1 first issued as ICP 000 in the 54-disc box set Instant Composers Pool (ICP 1275-1, 2012); tracks 1-3 on CD 2 first issued on The Dutch Jazz Scene (promotional 7-LP box, Radio Nederland, 1969). Remaining tracks previously unissued. Special thanks to Susanna von Canon. Prepared for release by Alex Inglizian, Experimental Sound Studio, Chicago. Design by David Khan-Giordano. Under license from the Instant Composers Pool and Olga Zuiderhoek. Produced by John Corbett.

Instant Composers Pool – Incipient ICP, 1966-71

By the early '70s, Milford Graves had more or less stopped gigging. Having learned his lesson the hard way in multiple-night runs like a legendary Slugs' residency with Albert Ayler, he knew that the level of energy that he put out during a performance would be difficult to sustain over the long haul. A concert was a kind of absolute ritual for him, after which he would be totally spent, emotionally and physically. Graves rarely left anything on the table. Any musical performance was an opportunity to present an amalgamated version of all the things he had learned. He was an innovator and a teacher at his core, and the concert venue was one of his first classroom settings. In March 1976, Verna Gillis invited Graves to perform on WBAI's Free Music Store radio show. For the date, he chose to present a trio lineup which he had been occasionally playing – featuring two saxophonists who were dedicated to the drummer's vision. Hugh Glover is almost exclusively known for his work with Graves, while Arthur Doyle would gain exposure later for an obscure record that he made two years later, Alabama Feeling, which would become a highly collectable item among free jazz enthusiasts. Originally released in 1977, Bäbi remains one of Graves' most seminal recordings. The music played by the trio was ecstatic. Extreme energy music, buoyant and joyful. It relied on Graves' new way of approaching the drum kit, in which he had opened up the bottoms of his skin-slackened toms and eliminated the snare. Graves' art was always unblemished by commercial interests, and this album is its finest mission statement. First-time vinyl reissue. Sourced from the original master tapes.

Milford Graves – Bäbi

LP / 2CD

Subtitled “some more guitar solos,” Bonobo Beach was German guitarist and instrument inventor Hans Reichel’s fourth and final record of solo guitar works. After this record, Reichel would turn much of his attention to the bowed wooden-tongued instrument he created called the daxophone. Reichel recorded the six tracks at his home in Wuppertal in April, 1981, and in the process made what might be his masterpiece. These are not just some more guitar solos. Concentrating largely on acoustic guitar with no frets as well as his electric pick-behind-the-bridge guitar, he transforms tones into crystalline formations – patience with resonances, attention to silence, formation of symmetries around a common sonic point, jetting notes that arc and spread and then hover. One might look for other references to describe what Reichel is up to – the magic of Terje Rypdal, the aura of early William Ackerman, the eccentric multiple pickups of Fred Frith – but really this is unique in guitar repertoire.Reichel built his instruments as tools for improvised exploration, and then he dove deep into them, never so far as on tracks like “Could Be Nice” or the quivering “Southern Monologue,” or the two brilliant versions of the title track, “Bonobo Beach.” On “Two small pieces announced by a cigar-box,” the titular box is bowed in a vocal manner that portends Reichel’s development of the daxophone. This CD reissue, licensed directly from FMP, restores Reichel’s original artwork and design for the LP, as well as an amusing insert tracking the development of his guitars from 1972-1981. A beautiful, essential document from one of the great outsider guitarists of all time. Limited edition of 500 copies. Southern Monoluge (6:00 minutes) Bonobo Beach II (4:30 minutes) Could Be Nice (9:20 minutes) Two Small Pieces Announced by Cigar-box a) (3:00 minutes) b) (3:45 minutes) Bonobo Beach I (7:45 minutes) Could Be Nice Too (5:30 minutes)Fretless Spanish guitar on piece 1; 6-string guitar with extra frets on the covering board on piece 4; 12-string guitar with extra frets on the covering board on pieces 2 and 5; electric pick-behind-the-bridge-guitar on pieces 3 and 6; everything taped as played. Recorded April 1981 in Wupperlal.Compositions, recording, pictures and design by Hans Reichel.CvsDCD094

Hans Reichel – Bonobo Beach

Originally released on FMP in 1973, this is the debut LP by legendary German guitar improvisor and instrument inventor Hans Reichel (1949-2011), a resonant and hilarious document of the nascent genius, recording his peculiar and wondrous music alone in a studio. Acoustic and unfiltered electric guitars turned back into the supremely malleable instruments they were before they'd been firmly encoded as tools for rock or pop or jazz. Reichel is like an improvising Harry Partch, investigating the genesis of lute music. Never before available on CD, remastered from original tapes, packaged lovingly with a gatefold and tip-on cover, reprinting the original design, which was by Reichel. 1. Wenn das Rohr Dommeit (4:04) 2. Lupi (0:27) 3. Wichlinghauser Blues (6:40) 4. Krampfhandlungen 1st Version (5:45) 5. Allegro (3:20) 6. Krampfhandlungen 2nd Version (7:08) 7. Abendlied (4:17) 8. Alfons “Al” Piepenbrink & his Lonely Wah-Wah Pedal (1:38) 9. Shaved Guitar (3:26) 10. Schlafflied (3:41) Hans Reichel, guitar All compositions by Hans Reichel. Remark: All tunes have been taped as played (indeed). A homemade 11-string guitar (3 pickups) has been used for all tunes except the first one. LP originally released on FMP (FMP 0150, 1973). Recorded by Joachim Ehrig between April and June 1973, at home, at Youth-Center Hagen-Haspe, and at EROC-Studios in Hagen. LP produced by Jost Gebers. LP design by Hans Reichel. Photographs by Ulf Wolf and Dagmar Gebers. CD mastering by Olaf Rupp. CD design by David Giordano. Publication editor, Corbett vs. Dempsey, Emily Letourneau. CD produced by John Corbett.

Wichlinghauser Blues – HANS REICHEL

LP - Edition of 300 copies, handmade textile artwork w/ printed inner / CD Edition of 150 copies, handmade textile artwork Sylvain Chauveau has been releasing quiet and minimal compositions on various labels for more than two decades. ultra-minimal marks his debut for Sonic Pieces and takes the minimal approach even further, centring on reduction and limitation. The album was recorded live at Café Oto, London in March 2022 - one of Sylvain’s rare solo concerts and the first time he performed publicly with only acoustic instruments; no machines, no recorded sounds have been used, only piano, guitar, harmonium and melodica, played one at the time. While some of the compositions are completely new, others are live versions of previously released pieces which have either been performed close to their original or stripped-down, reduced to a single instrument and partly rearranged. This reveals a predilection for repetitions and variations that Sylvain shares with Jim Jarmusch, and at the same time it is a personal attempt to avoid electronic devices as a tool for live music. The artwork and track titles follow this reductionist idea and an aesthetic of miniaturization that Sylvain has developed for many years. They refer to the minimalist, concrete poetry that he writes regularly. In this context rewriting some of the original titles was a consistent implication to achieve a complete work, an album that perfectly represents Sonic Pieces’ aesthetics, both musically and visually.

ultra-minimal – Sylvain Chauveau

A fantastic new release by Rory Salter aka Malvern Brume on Index Clean The two main ideas behind the music are to make use of domestic and work situations. Most of it was recorded in a new flat I moved into last year. The place had a really interesting acoustic and after so many years of making music in whatever flat I was living in I wanted to do something where you could really hear the place it was recorded/the surrounding area. So a lot of the recordings are done in different locations in the flat, and often re-played back into the flat and recorded using different speakers and microphones. A lot of material was recorded whilst performing usual domestic activities and would spend quite a lot of time running between rooms doing other tasks at the same time as recording. The name of the 'On the Floor, by the Door' track is because that's where I recorded a fair bit of it, by the front door. It's in a similar way that I used and included my job in the pieces. I work as a sound technician at a university in the day and as a sound engineer in the evenings a couple times a week. I've been thinking (and talking a lot of shit) about work and art making recently and I’m really into stuff where the persons found some way to include their day job in their art in a way that sort of re-purposes the skills, materials, time etc of work. So anyway I did a lot of this, really thinking about skills I've picked up and making the effort to borrow some really otherwise unattainable equipment. I thought a lot about space and acoustic-ness during the process so a lot of it again is about me wanting sound to exist within a space; reamping sounds into spaces, or recording synthesised sounds through different speakers positioned in ways to filter and alter the sound. A lot of these practices are things I've developed and talked about a lot at work. Friends also feature quite a bit in relatively candid ways and crop up in recordings here and there. I guess there's a desire to get to a point of a 'life' music, where it feels a bit everyday and blurs the line a bit, that's when things are most interesting to me.- Rory Salter 

Rory Salter – On the Floor, by the Door

2023 restock. Subtitled: Live at the Kulturforum, Bonn, Germany, November 24, 1980. Another in the Wooden Weavil series, this time an unreleased live Robbie Basho recording from Germany in 1980. Robbie Basho was one of the great pioneers of the acoustic steel string guitar in the U.S., along with Leo Kottke and John Fahey in the 1960s. This program appears to have been recorded in one go. Robbie scatters his Americana numbers throughout, beginning with "Redwood Ramble," and ending with "California Raga." This date finds Robbie in fine fettle, his playing sharpened by the intensity of touring, his mood seems ebullient, at times (as on "Fandango") he comes off like John Lee Hooker's sun-kissed cousin, stomping furiously along to his playing. There is sweetness to his material, yes, but this is not, as Jack Rose put it, "music for wineries." There is the galloping muscularity of Basho's playing, coupled with the sheer hugeness of his sound; the fearless employment of dissonance as part of his musical make-up; a love for the unexpected chord change. Robbie was a voracious and uncompromising player. Basho's singing was as integral to who he was as his guitar playing, and when he opened his mouth, he filled the room with sound. Say what you like about his lyrics, no one can accuse Basho of dilettantism, of dabbling, or of trying something on merely for effect. Whatever bag he was in, he was in all the way. Liner notes from Glenn Jones and Stephen Basho-Junghans, and beautifully remastered by Glenn Jones.

Robbie Basho – Bonn Ist Supreme

Whitstable Solo is the first Evan Parker solo soprano saxophone recording since Lines Burnt in Light inaugurated his Psi label back in late 2001. Since then, the label has steadily rereleased Parker's earlier solo soprano albums, with the notable exception of Monoceros (Incus, 1978; Chronoscope, 1999). Culled largely from a July, 2008 performance at the Whitstable Biennale event with artist Polly Read and filmmaker Neil Henderson—seven tracks taken from the concert and one from before the audience arrived—Whitstable Solo was recorded in St. Peter's church by engineer Adam Skeating. Tellingly, since this recording, St. Peter's has become Parker's studio of choice because of its great acoustics. Given the scope of Parker's solo soprano recordings, trying to set a new one in context is not a fruitful venture. Increasingly, as with many other greats, the only sensible advice to someone enquiring where to begin listening to Parker is to start anywhere but hear the lot—advice particularly true of his solo recordings. Taken as a body of work, each part makes sense alone, while contributing to greater appreciation of the whole. So it is with Whitstable Solo; it makes no sense to ask where it stands in comparison to Parker's past recordings. It stands alone but amplifies the rest, containing elements that will be recognizable to anyone familiar with that past. These include Parker's subtle interactions with the acoustics and resonances of the recording space, and his use of circular breathing to build an irresistible, kaleidoscopic barrage of sound that can induce a trance-like state. Such elements are often the ones that are latched onto after initial exposure to Parker's soprano, however, there is far more here than those most obvious aspects. Not least is the melodic content of several of the pieces; without playing any obvious theme, Parker spins out melodic lines—repeating and exploring those that appeal—creating an overall effect similar to the carefree sound and feel of birdsong. Simply beautiful. - All About Jazz 

Evan Parker – Whitstable Solo