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

Available as 320k MP3 or 16bit FLAC cafeOTO · EAR018 - Crushed Air [sample] Two duets and a quartet recorded at Iklectik, London on 5th May 2017 --- Edward Lucas / trombone & feedbackRachel Musson / tenor saxophoneN.O.Moore / guitar & electronicsSteve Noble / drums --- Recorded at Iklectik, London on 5th May 2017 by Giovanni La RovereMixed by Edward LucasMastered by Rupert ClervauxCover Artwork: Detail from a painting by Mirei Yazawa and Sarah Woolfden

1. Alvin Lucier: August Moon (2015)2. Morton Feldman: Two Instruments (1958)3. Alvin Lucier: Trio For Clarinet, Cello & Tuba (2008)4. Morton Feldman: Three Clarinets, Cello And Piano (1971)5. Alvin Lucier: Step, Slide and Sustain (2014)6. Morton Feldman: Durations 2 (1960) Anthony Burr and Charles Curtis present this collection of curated compositions from Alvin Lucier and Morton Feldman. Two Lucier pieces, August Moon and Trio For Clarinet, Cello & Tuba are presented here for the first time. Liner notes are excerpted from a lecture on Morton Feldman given by Alvin Lucier.   “For Feldman, dynamics serve an acoustical function. When he mitigates a piano attack he reduces that spike of noise that’s at the onset of every piano sound leaving only the sinusoidal pure after-sound. It’s as if he invented electronic music with the piano.” Alvin Lucier from liner notes.      “Lucier manages to hear a layer of acoustical physics in Feldman’s music that perhaps no one else would hear. He’s hearing something in Feldman that is actually coming from his own musical world; in a way, hearing his own music in Feldman’s, and drawing inspiration from that.”

These are recordings from the Berlin club Au Topsi Pohl where [ism] played 4-nights in a row, May 18-21 2022. For the concerts a Bösendorfer grand piano was brought in to the small club - the trio barely fit on stage, but the acoustic sound, all the more omnipresent and precise, was embraced by a highly crafted and risky playing evoking notions of dreams, form and human vibrations.  Maua means flowers in Swahili.

'If I don't make it, I love u’ is Still House Plants’ third LP and the fullest embodiment of their sound to date. Where ‘Fast Edit’ formed with quick attachment and jump cuts, ‘If I don't make it’ is shaped by persistence - a commitment to the songs that makes the music solid, warmer and accepted. Marking the trio’s decade of friendship, this is the first record written whilst all live in the same city since 2017's ‘Assemblages’. The band rehearsed it relentlessly, playing for nobody except themselves, consistently building support for one another and growing the way they play. Jess’ voice is deeper. Fin’s guitar is full size, richer. David drums harder. Focused on one point together, everyone gets bigger and nothing falls apart. The guitar and the drums blend, raise the voice, make room for what is being said, what is felt. When able to finally record, production allowed layers, gave elasticity, a chance to fully stretch. Playing with length and connections, the band brought in analogue techniques - a Lesley cabinet on ‘Headlight’, sidechaining the snare with the guitar, pushing vocals through cheap DJ software - each process an attempt to bring one instrument closer to another, to give bass, body, backup. ‘If I don't make it, I love u’ seeks beauty, holds feeling maximum and builds surety with its sound. The most generous SHP record to date, the music is wide open, demands less. Play it again, it will come clear. --- Finlay Clark / guitarJess Hickie-Kallenbach / vocalsDavid Kennedy / drums

FP 03 Vega by Andrew Chalk in handmade slipcase with wooden spine

Charles Gayle is a saxophonist, pianist, sometimes a clown and radical musical performer wrapped into the body of a humble person living in Downtown Manhattan since the 1960s. As this set attests to, It is sometimes hard to predict what he will do on stage... In all his musical (and personal) life Charles Gayle has remained outside of any form of mainstream, carving his own singular path. There is no player on the scene today with the emotional wallop of Charles Gayle. John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with  Sunny Murray, Derek Bailey, Joe McPhee, Peter Brötzmann, Mulatu Astatke and many others. Ubiquitous, diverse and constantly creative, drummer Mark Sanders has worked with a host of renowned musicians including Derek Bailey, Henry Grimes, Mathew Shipp, Roswell Rudd, in duo and quartets with Wadada Leo Smith and trios with Sirone and William Parker. Here we present a 2CD set documenting the two very special sets delivered on the 15th of November, 2017 at Cafe Oto, Dalston, London. In classic ecstatic fashion one would expect from these three stalwarts of blazing transcendence these 2 sets swerve from the sublime to the this is an exquisite document of one of the most exciting trios operating today, Limited to 500 copies packaged in mini gatefold sleeve.

Available as 320k MP3 or 24bit FLAC from the 16th June Tracklisting: 1. Potential - 22:50 2. Morning Star - 10:37     CD-R version comes in trigger case, with artwork printed on disc. No liners. Musician, writer and filmmaker, Sunik Kim follows up ‘The Bent Bow Must Wait to Be Released’ (Takuroku 2021) with their second LP - a deadly serious dismantling of the limits of contemporary computer music, delivered with playful dexterity and a touch of slapstick humour, a la Henry Cow.  Enlisting General MIDI to create frenetic, vital patterns of dis-organisation made up of gleeful synthetic trumpets, wry orchestral sweeps and brutal key clusters, Sunik Kim explodes a kind of simplistic sound into complex, beautifully uncertain structures. Rather than attempting to overwhelm or stun the listener into subjectivity, ‘Potential’ is ever shifting; regularly breaking form and unfolding, discreetly nibbling at the concept of the Spectacle and un-doing fatally closed systems of cyclic music.  On first listens we recalled Cecil Taylor’s Unit Structures, Stockhausen’s Gruppen, and even those weirdo attempts at making music from inside the world of Animal Crossing, Lil Jürg Frey. The overflowing ideas of Henry Cow (to which Kim dedicated a fantastically blended mix for the Wire in 2021) never drift too far from view, but contemporary counterparts lay few except for Yorkshire's most eminent polyceleratrix, Gretchen Aury, who we asked to write the liners. Gretchen’s words are unsurprisingly as extraordinary as the record itself, so we’ll close out the call to elicit a Media response to possibly the wildest OTOROKU yet with their words: “Potential reads as a rare honest response to the disaster capitalist era of the apparent nearing end of the anthropocene, a cyborg music which is not hopelessly psychotic like so much contemporary and especially computer-requiring music, but lucidly possessed with rapture, pain, madness, empathy, ecstasy, torment, fragility; all those vital feelings and incentives which our atrociously depressing times seem engineered to quash and bleed out of us. This sound is a blistering Electro Magnetic Pulse wave of revolutionary hope, exclaiming defiantly that History is not over, that the future is not ‘history,’ that there is still a vast multitude of ideas and identities burning brightly and resiliently, despite the fact that they are inconceivable to the tyrannical Hegemonic axis of global capitalist tech-culture. I ask of you, listener, if you truly wish to plunge beyond The Known, give yourself over in full to this record.” — Artwork by Sunik Kim Layout and design by Jeroen Wille  Liner notes by Vymethoxy Redspiders Mastered by Anotine Nouel at Sound Love Studios Track 1 edited by John Wall —

Tracklisting: 1. I - 6:30 2. II - 6:49 3. III - 17:43 4. IV - 6:18 5. V - 16:56Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.  Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip. --- Keiji Haino / vocal, guitar, flutes   John Butcher / saxophones and feedback --- Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN.

all music by Brötzmann (Gema) and Nilssen-Love (Tono) published by Cien Fuegos Note: tracklist is different for LP and CD / digital format credits 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

Eugen Robinson - voiceNiko Wenner - guitar, pianoDan Adams - bassGreg Davis - drumsandPeter Brötzmann - saxophone At the Moers Festival 2018, OXBOW got together with Peter Brötzmann to deliver a memorable performance, bringing out the best of two legends in their very own genres while playing old and new Oxbow songs together. Mix: Bill Mims and Joe Chiccarelli, "The Finished Line" mixed by Ken Sluiter and Joe Chiccarelli Mastering: John Golden Artwork: Aaron Turner Photos: Rainer Holz

French guitar player Boni teamed up with legendary US jazz-musician McPhee in the early 80s for some intense cooperations and albums (as a duo and as a trio with Andre Jaume). The complete 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 / soprano saxophone, electronics and voice Raymond Boni / Electric guitar and electronics --- Recorded at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus. April 20,1985

"It is not only an album, but also a complete documentary of an event. We combine cassette and CD into one album so that one may review the unusual art project from different aspects. It also includes a precious booklet about everything said on the talks. Each track in the album is heard for the first time. For the project, Lao Dan and Mamer created brand new works. Mamer even began a new band named Mask. One remarkable song that didn’t be recorded is Water Flows sang by Wu Tiao Ren’s Mao Tao in the end of his talk. Thanks to the impressive work of mixing engineer Liu Ying, the sound quality of the album turns out really spectacular." - Tu Fei

'In March 2001, Andy (also guitarist in The Ex) and I were in Addis Abeba, checking out possibilities for The Ex to play some concerts in Ethiopia. But also to check out other music. There is so much amazing stuff there. One day, in the middle of the Mercato, we were struck by something that we had never heard before. Out of the street speaker of a little cassette shop, flowed a sound that was dark, heavy and serious, but also light, fragile and spiritual. We couldn't quite pin it down. We knew the great Ethiopiques 11 of Alemu Aga, but this was different. Slightly embarrassed at the fact that the shopkeeper had had to take the cassette out of the machine and that the street was suddenly silent, we bought the tape. It turned out to be Zerfu Demissie. In March 2004, we organized a series of concerts in Holland called "An Ethiopian music night". The programme consisted of The Ex + Han Bennink, nine of the greatest Azmaris from Addis and Alemu Aga on the begena. Quite a contrasting line-up! In Ethiopia, the Azmaris and Alemu are from completely opposite sides of the musical spectrum. The Azmaris' music is about drinking, politics, sex, dancing, jokes. Playing the begena, on the other hand, is rooted in meditation, concentration and prayer. Deeply devoted to the Orthodox Christian tradition, Alemu was in his fasting period during the tour, which for him meant an even stronger spiritual commitment and no meat and alcohol. He played his songs and right after, The Ex performed. A very different music from a very different background. But when we were finished, Alemu was there standing at the side of the stage, offering us some cold beers. This is not a rigid religion and culture. This is about people. We became more and more intrigued by Ethiopian music and culture. We were also intrigued by the begena, an instrument that dates back thousands of years; with its mesmerizing buzzing sound and its special role in the musical, sociological palette. There are the fascinating lyrics, sometimes hundreds of years old and occasionally very contemporary. At times biblical, at other times tapped from different sources. But all including this typical Ethiopian phenomenon known as "Wax 'n' Gold", the subtle poetry with double meaning, which is deciphered as an abstract art form. This music is unique to this worid. We had to find out more. August 2006, and we were back in Ethiopia. Jeroen took his mobile studio and Emma her camera. We were hoping to find Zerfu to make a recording with him. And we did find him. He agreed to the project, and a few days later, we recorded him in his empty bedroom at home. Beautiful! Enjoy the sounds within!' Terrie Ex - Wormer, November 2007. --- Zertu Demissie - begena, vocals --- Recorded August 12, 2006 at Zerfu's home in Addis Abeba, Ethiopia Mixed & Engineered By – Jeroen Visser Terp AS 12 Released 2007

Fresh output from John Chantler's 1703 Skivbolaget - the new duo from two masters of very different string instruments. ‘The Air Around Her’ beguiled its audience when recorded live in a bakery at Edition Festival in 2016, and carries beautifully through to this release. Microtonal timbres meet gnarled defiance - the result is surprisingly symbiotic. Ellen Fullman’s Long String Instrument has been a long-term life-work of incredible ambition and dedication. The result is immediate, exciting and inspirational. Okkyung Lee has completed rewritten the possibilities for the cello in solo and group improvisation whilst maintaining a steadfast defiance to the many attempts to contain her work within pre-defined genres. ‘The Air Around Her’ was recorded on 20 February 2016 during the First Edition Festival for Other Music in Stockholm, Sweden at Kronobageriet — the former bakery to Swedish Royalty that dates back to the 17th Century and is now the site of the city’s Performing Arts Museum. The Edition Festival was given access to the space while renovations took place and Fullman allowed the requisite time to install and tune her long string instrument along the full 26 metre length of the room. --- Music by Ellen Fullman and Okkyung Lee. Recorded during the First Edition Festival for Other Music, Stockholm on 20th February 2016. Concert producer: John Chantler. Recording Engineer: Maria W Horn. Mixed by Ellen Fullman and Thomas Dimuzio. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Artwork by Bill Nace. Made possible in part by a Foundation for Contemporary Arts Grants to Artists (2015). The title, "The Air Around Her" is a quote from "Vermeer Interiors" a poem by Margaret Rabb, from her book, "Granite Dives". This release has been supported by the Swedish Arts Council. © 2018 Ellen Fullman (BMI) / Okkyung Lee (ASCAP) Released by 1703 Skivbolaget in cooperation with Ideell Edition

"Drummer Deng Boyu's debut solo electronics release. Being almost obsessive about constructing a minimalistic ambiance, his works are full of exquisite and whimsy compositions which shows his characteristic aesthetic of sampling and collage. Deng Boyu has collaborated with many important musicians and bands at home and abroad, including Mamul, Xiaohe, Wu Na, Da Wang Bar, Lee Ranaldo, Marc Ribot, Akira Sakata, Sabu Toyozumi, Steven Buchanan, Federico Casagrande." --- Deng Boyu / electronics --- Mixed by Liu Ying 设计：魏籽. Design by Weizi 发行：旧天堂书. Recorded in 2011 Released in 2012

Recording of Otomo Yoshihide's set at B10 Live, Shenzhen. --- 大友良英 Otomo Yoshihide / 吉他 Guitar / 人声 Vocals --- 录制于2014年4月28日，深圳B10现场. Recorded April 28, 2014 at B10 Live, Shenzhen

Peter Broetzmann / alto and tenor sax, Bflat clarinet, Taragato Jason Adasiewicz / vibraphone John Edwards / double bass Steve Noble / drums Recorded live at Cafe OTO on 12 August 2013 by James Dunn. Mixed by Rupert Clervaux at Grays Inn Road. Mastered by Andreas [LUPO] Lubich at Calyx. Design by Brö/Untiet. Drawing by Brö. Photocollage (on sleeve reverse) by Dawid Laskowski ROKU010 Format Information 180g LP -- Outersleeve: Full colour offset print on Hansaboard / Innersleeve: Generic OTOroku innersleeve (two pantone offset print on reverse double whiteboard / Single Colour black labels.  CD -- Card sleeve, full colour offset print on greyboard. DL -- Available as 320k MP3 or 24bit FLAC. 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.