Sold out as a CD, we're pleased to add this classic duo's second release to the shop. Dada-da follows the debut vinyl release (also on Leo) Ammo, and was recorded in London by Emanem's Martin Davidson.  --- Phil Minton / vocals Roger Turner / percussion --- Tracklisting: 1. Ah Ha - 2:192. Wa Wa - 3:503. Lala La La La - 5:184. Car - 4:475. Za Za - 10:386. Chacha Cha - 13:197. Ba Ba - 3:588. La Du Da - 5:369 . Dee Da - 4:3310. Da Da - 0:35 --- Recorded at the Singapore Pedang, London, 18 January, 1993 by Martin Davidson. Artwork by L. Denis. Remastered by D. Bernez.  

"This recording was released in 1984 as an LP with the same title and was unavailable for fifteen odd years. In artistic terms, it was a shocking statement from Phil Minton and Roger Turner which scared a lot of people. Now, years later, the recording sounds as if it has been recorded today. It has not lost any of its artistic qualities and stood the test of time. The work of great originality and integrity." "Upon its initial LP release, this 1984 improvising session turned more than a few heads. And it would take a fertile imagination for one to reconcile the duo's rendition of Monk's "'Round About Midnight with the original, for example. Armed with boyish enthusiasm, the artists pursue a wanton spirit through their surrealistic game plan. Of course, British freestyle vocalist Phil Minton is a well-known improviser since the advent of this date with his fellow countryman, percussionist Roger Turner. But this recording still resides as an attention-grabbing document." - All About Jazz

"Solo performance by the brilliant pianist paying tribute to John Coltrane. Recorded in London, Logan Hall, 1987. Seven pieces, four of them by Coltrane. This dedication has been inspired by the mystical experience where the pianist felt the presence and guiding of Coltrane's spirit. A new romantic side of Marilyn's talent. Outstanding reviews." "Hearing Marilyn Crispell play solo piano is like monitoring an active volcano,” wrote Jon Pareles in the New York Times. “She is one of a very few pianists who rise to the challenge of free jazz." Crispell, who was born in Philadelphia in 1947, is a graduate of the New England Conservatory of Music where she studied classical piano and composition, and has been a resident of Woodstock, New York since 1977, when she came to study and teach at the Creative Music Studio.Crispell discovered jazz through the music of John Coltrane and Cecil Taylor among others. For ten years she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble and has been a member of the Barry Guy New Orchestra and guest with his London Jazz Composers Orchestra, as well as a member of the Henry Grimes Trio, Quartet Noir and Anders Jormin's Bortom Quintet. Crispell has described how, through playing with the Braxton Quartet, she “began to think more compositionally and pay more attention to space and silence”. Besides working as a soloist and leader of her own groups, Crispell has performed and recorded extensively with well-known players on the American and international.

"Recorded live in Venice in 1977, these rare solo performances find Ra revisiting all facets of his career. With Ra there was never the divide between entertainment and art that marks the performances of younger, more self-conscious tone scientists, a term he preferred to musicians. Thus when he plays a simple blues he brings more dissonance to his left handed feints then you usually associate with the traditional sounds. When he performs his own "Angel Race," he begins by singing variations on the outer space theme." - All About Jazz --- Sun Ra / piano --- Recorded live at the Teatro La Fenice, Venezia, November 24, 1977. 

"Originally released as a bootleg LP entitled Among the People. The Art Ensemble is at its best, in top form, in front of the ecstatic Italian crowd." "Half the recording is “Tutankhamun,” with a lyrical, slow Lester Bowie trumpet solo with characteristic emotive interjections, then a fast, melodic bass sax solo, presumably by Joseph Jarman, that bubbles like lava; when Bowie reenters, the group bounces along like a far-fetched version of a Gerry Mulligan quartet. “Illinstrun” is a quiet percussion piece, initially with tinkling metal sounds; over halfway through, the atmosphere suddenly, almost imperceptibly, changes to mysterious, indescribable sounds, with Malachi Favors bowing his bass alone at the end. Aggressive, vivid percussion led by Famoudou Don Moye opens “A Jackson in Your House”; the alto solo, consisting of edgy motivic variations, is presumably by Roscoe Mitchell, and the comic theme statement is by toy-store instruments." - Jazz Times --- Malachi Favors Magoustous / bass, melodica, percussionFamoudou Don Moye / drums, percussionJoseph Jarman / saxophone, bass clarinet, flute, vibraphone, percussionRoscoe Mitchell / saxophone, bass clarinet, flute, clarinet, percussionLester Bowie / trumpet, percussion---Recorded live in Milano, August 1980 

The Sun Ra Arkestra in Chicago on September 25, 1978 - Volume 2 from the Waitawhile Sun Ra Archive. 18 compositions mixing untitled improvisations with Sun Ra's pieces and jazz standards. --- Danny Davis / alto saxophone, flute Marshall Allen / alto saxophone, piccolo fluteDanny Ray Thompson / baritone saxophone, flute Eloe Omoe / bass clarinet, fluteJames Jacson / bassoon, flute, percussion Atakatune / congas Luqman Ali / drumsDale Williams / electric guitarSun Ra / organ, synth, beamJohn Gilmore / sax, clarinet, vocals Damon Choice / vibraphoneJune Tyson / vocals --- Recorded live in Chicago on September 25, 1978 - engineer unknown.

"Complete performance by the legendary trio of their seminal composition Semplice (57 minutes) plus three encores." "The Ganelin Trio created some of the best improvised music ever played in the old Soviet Union, which you may think is like saying they're the best country music singers in the Metropolitan Opera company until you hear this disc. Recorded live in Moscow in 1983, this performance consists of Ganelin's fifty-seven minute "Semplice," plus three relatively brief encores." - All About Jazz "Maybe not since the first Ornette Coleman records appeared has Western European jazz experienced quite such a shock of the totally unexpected as the Ganelin Trio produced." - The Wire --- Vladimir Tarasov / drums, percussion, hornVyacheslav Ganelin / piano, keyboards, flute, horn, percussionVladimir Chekasin / saxophone, clarinet, flute, percussion --- Recorded live in Moscow 20th November 1983. Remastered by Alan Mosley. Photos by Hans Kumpf. Special thanks to Olivia Lichenstein for smuggling this recording out from behind the iron curtain. 

"Recorded live at the Praxis '85 festival in Athens, Greece on May 8, 1985, a night when, by the sound of things, each man was in thorough musical command. A high-energy, high-passion, all-around great recording." - All About Jazz "The concert took place in Orpheus Theatre. In a room behind the stage we found costumes and hats from a previous theatrical performance. We quickly agreed on the unusual headgear and only when somebody announced our trio on stage did I let Famoudou and John know the parameters of the piece. These were the followin: everybody dashes to his instrument onstage as fast as he possibly can and starts to play as loud as possible, as much as possible and as quickly as possible without a second's delay. The intensity of the piece was to be at its peak from the first note. The text of the patriotic poem I recite which is taken up and improvised on by John and Famoudou goes like this: crack, sudden flower, blue bottle, fly bad, beat small, wise glass, equal pain, taste snow, fast button, knee mercy" - Hartmut Geerken (Januarry 1999) trans. Isabel Seeberg --- Recorded live at PRAXIS 1985 by George Ergomenides. Remastered by Mick Richie. Photos by Agis Kelpekis.

According to Perelman, one plus one equals more than two. Red plus blue equals more than purple. Hearing and seeing give you an infinite spectrum of colours and sounds. "In this music, the colours wash and swing and swirl and vibrate, reaching a splendid resonance throughout the audiovisual spectrum." - Neil Tesser "For this one, as evidenced by the album’s title, [Perelman] chose colors that, when mixed together, negate each other to become a grey-scale color like white or black. When placed side-by-side, however, these same colors create a strong contrast; they appear more vibrant and alive. Likewise, the sounds and moods that Perelman and Shipp conjure up are enlivened by the contrasts between them." - Derek Stone --- Matthew Shipp / piano Ivo Perelman / tenor saxophone --- Recorded, mixed and mastered at Parkwest studios, Brooklyn NY, April 2015.

The 3rd part of NY/Brazilian saxophonist Ivo Perelman's "Art of the Improv Trio" series, with Matthew Shipp on piano and Gerald Cleaver on drums, each an essential element in the interplay and subtle skills of these masterful players, with Perelman's voice exceptionally strong as he demonstrates the full range of his sax through free and melodic passage. "This stuff is fun to be involved in as a musician, and deep in intent, process and potential. It fosters an open ended but rooted version of jazz that never pins itself down, is always free to mutate to where the impetus of the language wants to take it, and is executed with the sure hand of players who take their craft very seriously." - Matthew Shipp  "Anyone hesitant to commit to all six volumes of The Art of the Improv Trio or unsure where to make your approach—I encourage you to give Vol. 3 a try." Free Jazz Blog --- Matthew Shipp / piano Ivo Perelman / tenor saxophone Gerald Cleaver / drums --- Recorded, mixed and mastered at Parkwest studios, Brooklyn, NY July 2015

Recorded just one week before the quartet's live debut in São Paulo, in September 2010, this was the first time the four musicians had played together. What follows proves that intensity and attention to detail can coexist when delivered as a cohesive artistic statement. "With his newly formed quartet, Brazilian tenor sax titan and visual artist Ivo Perelman effectively synchronizes the freer aspects of improvisation with bop, and harmonious patterns. And the musicians' synergy offers an underlying constant within the copious slants and contrasts presented throughout." - All About Jazz "Here it's about discovering moments of rare inspiration that grab thhe listener, taking them out of their comfort zone, inviting them to accept the challenge of entering a new realm, with all the risks inherent in such a venture. In the end it would be difficult not to consider "The Hour of the Star" as a small treasure, the fruit of the brilliance of its four driving forces."

"There are several musical expressions which can be used to describe the main aspects of Matthew and Ivo's dialogue; color, ambience, sound, texture, relative densities, and speeds. The music here places these aspects front and centre in a dazzling display of spontaneous playing, accomplished by two voices in synch with each other both musically and spiritually. It is always a pleasure to hear musicians who know and love a certain style of playing, who commit themselves to a way of looking at music with complete honesty and integrity." - David Liebman "Perelman and Shipp crystalise their long musical collaboration in the most intimate of performances, a duet between piano and sax. Without preparation, both musicians set to the task of co-creating their art of the duet, one of close listening, like-minded thinking and perfect inuition, and of course strong musical skill. This is not a romantic outing, but actually a rather harsh one at times, with abstract phrasing and timing." - Free Jazz Blog --- Ivo Perelman / tenor saxophone Matthew Shipp / piano --- Recorded, mixed and mastered by Jim Clouse at Parkwest Studios, Brooklyn NY, September 2012.

"Taylor's aggressiveness and speed belie the incredible intricacy and precision of his compositions. Indeed, listeners of this performance might find themselves wishing to parse it out into a hundred or more sections (though doing so would be impossible) because the myriad themes throughout the piece explode like bubbles on a pot of boiling water, lingering just long enough for you to know that they were there before disappearing forever into the air." "Cecil's is a voice in the interruption of race and nation, just as it is a voice in the interruption of the sentence and, indeed, in the interruption of the word itself. He works the anarchic irruption and interruption of grammar, enacting a phrasal improvisation through the distinction between poetry and music in the poetry of music, the programmatic manifesto that accompanies the music, that becomes music and turns music into poetry. These things occur "between regions of partial shadow and complete illumination" in the cut." - Fred Moton --- Cecil Taylor / piano, poetry Carlos Ward / reeds William Parker / bass Leroy Jenkins / violin Thurman Barker / marimba, drums, voice --- Recorded live in Vienna on the 7th November 1987. Tapes remastered by Alan Mosley. Design by Michael Bennion. Artwork by Lora Denis.

Taylor reads his poetry on the subject of composition, accompanied by small percussion.  "What kind of writing Is Chinampas? Cecil presents no graphic system - if Chinampas is writing, it is so in the absence of visuality. Under what conditions, then, could Chinampas be called "writing"? Perhaps within an understanding of writing more broadly conceived as nonverbal, as well as verbal, systems of graphic communication. Yet, since what we have there is nongraphic verbalcommunication, the legitimacy of its claim to writing is not self-evident. Nevertheless ideas of and about graphic systems are presented in Chinampas, sound blurrring vision in the improvisation of another writing; and image, position, and direction are so encoded- the visual-spatial so embedded -in the poem that what we have is something more complex even than some newly included Outside of writing. Rather, Chinampas is out from the outside of writing as it is conventionally defined or redefined in what have become conventional redefinitions. Writing is, in Chinampas, a visual-spatial-tactile improvisation of system that activates the aural resources of the language. The poem is an improvisation of writing not to be appropriated by, not proper to, an older and somehow more inclusive graphesis: it is not a valorization but an improvisation of the nonverbal; not an abandonment but a (re)sounding of the visual-spatial." - Fred Moton Great essay by Moten on this piece here. --- Cecil Taylor / poetry, voice, tympany, bells, small percussion --- Recorded at Doodlehums Studio, London 16th & 17th November 1987 by Alan Mosley. Artwork by Lora Denis. Original painting by Malik Cisse.

Cecil Taylor's poetry set to a live recording by Carlos Ward, Leroy Jenkins, William Parker, Thurman Barker and Taylor. "Taylor is leading the charge and all of these players know how to follow him, down an improvisatory highway that leads straight into a darkness beyond language. And perhaps, as he re-enters with his poetry at the very end of the work, that's what it's about anyway, going beyond language, ever beyond the place where it occurs to the place where it is conceived in spoken word and in music, which is but an extension of the human voice"." --- Cecil Taylor / piano Carlos Ward / reeds William Parker / bass Leroy Jenkins / violin Thurman Barker / marimba, drums, voice --- Poetry recorded by Alan Mosley 16-17th November, 1987. Music recorded live in New Morning, Paris, 13th November, 1987. 

"It is as though I've known, seen, heard Steve forever with his groups, projects, and his music! It is an honour for me to see this recording released. Steve loved this duo! Improvising with Steve was always an adventure. The music was simply there, immediate, full of play and emotioins, surprises, joy, and paradoxically, full of control and freedom! "Just make music and follow it," - as Steve said so well. I would like to dedecate this to Irene Aebi, his lifelong companion and beautiful musician. Hey Steve, so long, we miss you so much!" - Joëlle Léandre  "This recording documents a live meeting of two of the strongest and most radically different improvisers in the world. The pairing of the convolutedly logical and ironic Lacy and the aggressive and passionate Leandre stands as one of the best examples of the ability of conscientious artists to meet and create great music. Check the first track where Lacy’s restrained yet harmonically probing architecture joins in a stately waltz with a neo-classical bowed response from Leandre. Track two features water buffalo groans and African wood trumpet sounds from a decidedly atypical Lacy, which seems to spark the musical equivalent of raised eyebrows and laughter from Leandre. Track three starts with Lacy chanting "one more time” with Leandre joining in a extemporaneous rant in French before they get to their instruments in a seamless finale. Track four is the most poignant of all; it’s a minute long phone message from Steve Lacy in French expressing his joy at the performance and his affection for Leandre (he passed away two years later fromliver cancer). This last track, for me, makes this CD a beautiful and touching tribute to one of the icons of music, the Satie of Jazz, Steve Lacy." - Nilnan Perera --- Steve Lacy / saxophone Joëlle Léandre / double bass --- Recorded live at Cafe Belga, 28th July 2002. This concert was part of Lacy's farewell tour of Europe before he went back to the USA in 2002. The concert was organised by Cedric D'hondt/ Champauditif. Recorded and mastered at Odeon Mobile Unit studio. The last track is a phone message left on Léandre's answering machine by Lacy, expressing his wish for this performance to be released.

The concept of this lays in the title - undersound being synonymous to understatement. This recording finds Dominic Duval with yet another set of musicians; however, having been on the road for quite some time, the trio have achieved a unique level of togetherness in bringing out their concept.--- Dominic Duval / bass John Hewett / drums, kalimba, voice Joe McPhee / soprano sax --- Recorded at the Place, NYC. Engineered at LMC Sound, London by Stan Winjans. 

Conceptual record based on 7 letters exchanged between Sainkho and her beloved father who died in 1992. Sainko accompanied by the Kieloor Entartet. ---Kleloor Entartet are: Joelle Leandre / bassSten Sandell / piano, voiceMats Gustafsson / baritone saxophoneMathias Kielholz / guitarLucas N. Niggle / percussion--- Letters 1, 2, 6, 7 recorded live at Moods Jazz Club, Zurich, 12.12.92 Letters 3, 5 recorded live at the Solo Festival, Stockholm, 6-7.11.92 Letter 4 recorded live at Andra Bocker & Skivor, Stockholm, 9.11.92