iliana Voutchkova's first original music album Modus of Raw is an important landmark in her career. It is the first official documentation of her highly individual musical language, combining the sound of the violin and the voice - work that started as a natural development of her investigation of new and different soundings and developed into a strong personal artistic signature. The album was recorded during Biliana's residency in Poschiavo/ Switzerland in 2015. Three weeks of concentrated work, inspired by the great outdoors in the heart of the Alps brought a very specific aesthetic to the music making and concluded in the birth of Modus of Raw. The official release was in September 2016, followed by a number of broadcasts and reviews - here a short selection: “…A courageous, uncompromising, ultimately successful work.” Bertl , FreiStil #70 “…her solo record is a sensation. …glimmering performance, one of the most personal and beautiful albums I have heard in a very long time. a solo performance carried by necessity. this will be a classic album…" Thomas Millroth, Orkesterjournalen “Biliana Voutchkova came from heaven… …music of extraordinary imagination, sensitivity and artistic audacity, which effectively protects against self-restraint in the arduous process of building the history of this (improvised) music.” Andrzej Nowak, Spontaneous Music Tribune

VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.  ---- In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessionsare finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly panethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. --- With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68 --- Blank Forms, 2021

It was some line up, even for the most open-minded: Emmanuelle Parrenin and her musicians, in 1981, opening for the Clash in Paris, at the Zénith! Unsurprisingly, the crowd roared the name of the English band as soon as the French musicians appeared on stage. Didier Malherbe responded with a saxophone improvisation with all the others joining in behind. If we believe the musician improvising, rather than following the cult playlist of Maison Rose, was what saved them. Created from previously unpublished recordings from 1978, 1981 and 1982, Pérélandra is a wonderful array of the experiments so unique to Emmanuelle Parrenin. Rather than being improvised, like the legendary show at the Zénith, these experimental tracks have a more composed instrumental form and were conceived for choreographers: mainly Pérélandra, staged with dancers from Carolyn Carlson's troupe, but also Nomade, some of the sonic environment of which can be discovered here in (superb) bits and pieces found on cassettes. In total, just under a dozen tracks are presented, including contributions on bandoneon from the Argentinian Juan José Mosalini, electric piano from the ex-Double Six Jacques Denjean, or elsewhere great electroacoustic work from the wonderful and ever-faithful Bruno Menny. All of this steeped in a sonic mix typical of the most way-out acid-folk freak-outs of the 1970s. Didier Malherbe (who just before was still playing in Gong with Daevid Allen) is on three tracks, his heady graceful agility instantly identifiable, adding to a magical and spiritual universe created with spinet dulcimer, flute, hurdy-gurdy and other-worldly vocals (amongst other ingredients). Though very difficult to label, Pérélandra could evoke a meeting between Trees Community, Heron and Robin Williamson with Ellen Fullman, Meredith Monk and Ligeti. The whole thing is steeped in an atmosphere as intense as the ecstatic hymns of Hildegard von Bingen. Emmanuelle Parrenin continues to explore similar territory in her concerts, always surprising us with, Etienne Jaumet, Pierre Bastien (in what is a most promising collaboration) or (occasionally) Jandek. 

1. Masani Cisse ... a rich nobleman, a very important person, close to god. Began very poor, making a living cutting and selling firewood. One day he saw a big dead tree. Long long time ago a rich warrior, a king, stranded at the tree, dying. A ghost promised him to guard the money at the tree. Masani Cisse started to cut. After three times, the ghost appeared and asked what he was doing. "I'm hungry," Masani answered. The ghost answered that he could do anything because the money was there in the spirit of the king. "If you are really hungry, you can take the money. But some things you are not allowed to do with it. You can not seduce women from someone else with it, for example." The story of Masani Cisse runs parallel with the beginning of the kora. The founder of the kora is called: Moussa Boulouge... 2. Enkonen Sava ... "my sweetheart, everything goes well." A song of joy and love. Important for all generations... 3. Kouyate ... praise to the Kouyate family. Djibrils real mother is a Kouyate. "The door of the tradition." The Kouyates are one of the most important and best griot families... 4. Amadi ... a nobleman, very rich, has everything, but cannot get children. If he is crying, the griots sing this song to support him... 5. Adjamadinaka ... a welcome for the people who have been to Mecca. At the return the older women in the village sing this song... 6. Alfayaya ... if you play this song for a nobleman, you give him something good. You support him in the struggle against unjustice. And while you play this song, you say to everyone who listens, "do something good." Everyone likes this song... 7. Noumou Fasa ... praise for the families of the blacksmiths. In the tradition, the toolmakers were always very important, for the harvest etc. The family Kouloubali even had a kingdom, one time... 8. Mande Fasa ... if you say this, you talk about the history of the Mandingues, the descendents of Soundjata, the famous king from the 12th century, the founder of the kingdom of Mali... 9. Fakoli ... song of all the Sissokos, the family who "knows". They are magicians and prophets. They are a "bit" noble, a "bit" griot, but they do many incredible things! Fakoli is the name of a man with a lot of success... 10. Kasumama ... for all the tailors, the people who make the "boubou", the traditional dress. It is about measuring and seeing that it is alright... 

A compilation of cassette recordings by the Azmari (traditional Ethiopian singer) Bahru Kegne. Woozy and hypnotic tracks lulling the listener with its hypnotic air, which really exemplifies the singer’s talents. It’s certainly a worthy work of historical documentation, but this is also an accessible compilation that will deservedly further our knowledge of Ethiopia’s music and traditions --- Music By, Masinko, Vocals – Bahru Kegne Bass Guitar – Abijou Solomon Keyboards – Berhane Kidane Saxophone – Yared Tefera Arranged By – Abebe Melesse, Yilma Gebreab --- Terp Records Released November 22nd 2013

'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

In its short life, London's Café Oto has played host to more than its share of memorable gigs by such improvisers as John Tchicai, Marshall Allen and Evan Parker, but surely none more remarkable than the December 2009 meeting of the veteran American saxophonist Joe McPhee and the British trio Decoy: the organist Alexander Hawkins, the double-bassist John Edwards and the drummer Steve Noble. It was a night of unceasing reward from music distinguished by such intensity of spirit and richness of timbre. Hawkins is a young composer and keyboardist with a rapidly growing reputation and a clear interest in working with musicians of diverse backgrounds. His early training as a pipe organist surely encourages him to exploit the full range of textures offered by the Hammond C3 and its accompanying Leslie speaker. John Edwards may well be the busiest musician on the improvising scene, his near-ubiquitous presence an infallible guarantee of vitality and substance; only his noted ability to bring a sagging session to life is not required here. Steve Noble, who is among Edwards' regular partners, provides a fine combination of stealth and swing, of drama and discretion, although the dexterous aplomb with which he negotiated a solo passage for small, untethered cymbals really had to be seen as well as heard. McPhee may be a man of an earlier generation, but he shares their absolute devotion to cliché-free spontaneity. Listening to him working in this unusually stimulating context, and appreciating his eloquence, sensitivity and pronounced gift for timbral variation, it is difficult to understand why he is not spoken of more often in the same breath as some of the more renowned free saxophonists. His ability to sing through the trio's array of pointillist textures, or to launch himself full-tilt into the churning maelstrom, adds a significant element to an already remarkable organism. - Bo'Weavil Recordings

Saltern presents Al Di Là, the first full-length collection of recordings by renowned dancer/choreographer, artist, and writer Simone Forti. Forti (born 1935, Florence, Italy) has influenced generations of artists through her innovative approaches to dance and movement. Forti is noted for her extensive work with musicians, including Charlemagne Palestine, La Monte Young, Jon Gibson, Peter Van Riper, and Z'EV, among others. With Al Di Là, we hear Forti musically in her own right through a diverse collection of never-before-released pieces, ranging from the early '60s to mid-80s, that highlight Forti's use of her voice, folk songs, handmade instruments, and physical space. The album, compiled by Forti with the assistance of Tashi Wada, includes a rare guest appearance by La Monte Young and Marian Zazeela and features a 28-page color booklet of writings, drawings, and photos by Forti. Al Di Là is a uniquely personal and intimate portrait of one of the truly visionary artists of our time. Edition of 550. Printed at Stoughton Printing Company. Mastered by Stephan Mathieu. --- Produced by Simone Forti and Tashi Wada Mastered by Stephan Mathieu Cover image by Simone Forti --- Saltern, 2018

PERSONNEL:JOE McPHEE, tenor saxophone and valve tromboneDAUNIK LAZRO, baritone and tenor saxophonesJEAN-MARC FOUSSAT, analogue synthesizer and voiceMAKOTO SATO, drumsRecorded live at the Nickelsdorf Konfrontationen Festival,La Garenne-Colombes, France, July 20, 2017.TRACKS:01. Sweet Oranges02. Encore

Schall und Klang is the result of Christina Kubisch's extensive fieldwork on the trail of Hermann Scherchen (1891-1966), conductor and key figure in 20th century new music. After moving to the village of Gravesano (Ticino/Northern Italy) in 1954, Scherchen established an electroacoustic experimental studio on his premises and created a meeting place for scientists, composers, musicians and sound engineers from all over the world. Among his guests were Iannis Xenakis, Luc Ferrari, Edgar Varèse and Luigi Nono, just to name a few. Originally commissioned and broadcasted by Deutschlandfunk Kultur, »Schall und Klang« is a personal portrait of Scherchen and his time in Gravesano. Kubisch brings together archival footage from the Scherchen estate and the Scherchen archive at Akademie der Künste in Berlin, tape recordings, recited texts from Scherchen's own quarterly »Gravesaner Blätter« as well as her own compositions and field recordings referring to her research made on site in 2016. --- Christina Kubisch, born 1948 in Bremen, belongs to the first generation of sound artists in Germany. Studied painting, music and electronics. Own compositions since 1972. From 1980 increased sound installations, sound sculptures as well as electroacoustic compositions and radio plays. International scholarships and awards. Teaching as a professor of audiovisual art from 1994 to 2003 at Kunsthochschule Saarbrücken. Christina Kubisch is a member of the Berlin Academy of Arts. In 2016 she was awarded the Karl Sczuka Prize together with Peter Kutin and Florian Kindlinger for the piece "Desert Bloom" (WDR 2015). Her musical works have been released by labels such as Important Records, Edition RZ, Cramps Records and Gruenrekorder. Kubisch lives in Hoppegarten near Berlin. --- Fragment Factory, 2019

Luc Ferrari -- along with Pierre Schaeffer, Pierre Henry, François Bayle, and others -- is one of the pioneers of the particular style of tape music known as 'musique concrète'. More significantly, he must be counted as one of the most complexly, most idiosyncratically compelling of post-War composers. Ferrari has time and again ranged far afield of musique concrète, and Interrupteur/Tautologos 3 is one such foray into instrumental music. But what a setting-forth! Mon dieu! These particular realizations came about through Ferrari's directed improvisations of Konstantin Simonovitch's ensemble, and the recordings were originally released in 1970 by EMI in their 'Perspectives Musicales' series. 'Interrupteur' is largely static music, a music of long tones periodically interrupted by aleatoric events. If it references musical minimalism (particularly Terry Riley, Steve Reich, and Robert Ashley), this surely counts as an intuitive, very personal result. 'Tautologos 3' pursues the idea of the superposition of cycles of different lengths that, once set into motion, will continually result in new events. Conventionally understood, a tautology is a redundancy in which the same meaning is expressed in different works; the same things are 'said' repeatedly in 'Taulologos 3', but as the context shifts through the displacement of the various cycles, how could there be no gain, no furtherance of both logic and sensation? In a world: exhilarating.""Interrupteur" is from 1967 and features the following instrumentation: English horn, clarinet, bass clarinet, French horn, trumpet, violin, viola, cello, two percussions, two electric organs. It is one of the most outright powerful and devastating recordings within the avant garde realm. "Tautologos 3" is form 1970 and features: flute, oboe, clarinet, trumpet, trombone, viola, cello, double bass, electric guitar, electric organ & vibraphone.

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

Spirits Never Forgive 18:16 He Felt The Patient Memory Of A Reluctant Sea 15:14 Ascend Through Unspoken Shadow 12:55 Young Jim's foray into "pure sound", circa 1991. A fun game: see if you can find the instruments in this drone-fest. Like the drawing on the cover, they're only outlines of their former selves.

Loose Trax presents Roots of Empathy, the debut album from London-based artist Henry Cyer. Roots of Empathy is a collection of songs written between 2019 and 2022 about fear. Conceived as an act of purging, the album explores empathy and fear through the perspective of different people. Roots of Empathy manifests itself as an album of songs, a collection of photographs and a series of videos.

Yoshi Wada's "Lament For The Rise And Fall Of The Elephantine Crocodile," originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism—akin to Terry Riley's "Reed Streams" and Pauline Oliveros' "Accordion & Voice," yet with a wild, liberated energy all of its own. After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath. Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments—the human voice and bagpipes—to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on "Lament." "That swimming pool was quite hallucinatory," recalls Wada. “It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations.... The piece itself is an experiment with reeds and improvisational singing within the modal structure." _____ "Yoshi Wada’s masterpiece bends the boundaries between expansive ambience and the intimate harmonics of the inner self, imbuing the world of avant-garde sound with a remarkable and deeply personal sense of humanity." —Bradford Bailey, Soundohm