Available as a 320k MP3 or 16bit FLAC download Tracklisting:1. Sazar - 4:272. Heroes And Zeroes - 3:003. Birth - 2:114. Lilt Of The Butterfly - 4:515. Repeat Clearly - 3:046. Nogawa River - 3:247. Dance With Me - 3:298. Traffic - 4:099. Death - 3:5710. Setagaya Shimmy - 3:0111. Zeros And Heroes - 2:17 In the spring of 1998, guitarist Jeff Fuccillo (Irving Klaw Trio, Wham-O, Hochenkeit) met avant-folk guru John Fahey while opening for his trio at a gig in Portland, Oregon. Fahey was sufficiently impressed, and booked studio time to record Fuccillo for his label. On the day of the session, Fuccillo arrived prepared to make a solo acoustic guitar album. To his surprise, Fahey had brought along a pile of samples — random snatches of music, all manner of sound effects — and without warning, began shooting them out into the studio room through the monitors, effecting a guerrilla collaboration of sorts. Disturbed Strings captures the highlights of that day: veering from hardscrabble stringrattling to modal melodicism, the album is ample testament to Fuccillo’s wide-ranging inventiveness as an improvising guitarist, as well as a window into an aspect of Fahey’s artistry not previously represented on record. Released in an edition of 542 copies, with artwork by Fahey and Judith Lindbloom. “Damn, what a great record!… The hepness of the way this guy bends and hammers strings makes it impossible to peg stylistically, seeming as it does, to owe equal debts to Derek Bailey, Robbie Basho and Jandek.” – Byron Coley & Thurston Moore, Arthur “…an enticing introduction to Fuccillo’s ‘solo’ art, and something that Fahey completists will need to own.” – Brian Olewnick, Bagatellen “…fascinating and stylistically dizzying…” – Ethan Covey, Dusted

Available as a 320k MP3 or 16bit FLAC download. Tracklisting: 1. Gussie - 9:522. Hang Your Hat - 4:483. Perfectly Intact - 6:124. Lonesome Curve - 18:54 On a hot Minneapolis night in the summer of 2001, the legendary avant/jazz group Curlew played a scorching gig at the now-defunct Gus Lucky’s Gallery. Gussie documents that evening: the veteran improvising group dispensed with their compositions altogether and took an eminently successful walk along the free-improv tightrope. The ever-evolving lineup featured George Cartwright (saxophones), Davey Williams (guitar), Chris Parker (piano), Fred Chalenor (bass), and Bruce Golden (percussion). A limited edition of 436 copies, with hand-drawn covers by Anne Elias. “A monster of soul-churned improv snacks… pressed in fidelity that can only be described as dandy. What a treat.” — Byron Coley, Arthur “This limited edition LP contains none of that tight avant-jazz riffing any fan of the band is used to. That being said, anyone who has witnessed George Cartwright’s group in the flesh knows that free improv is part of their modus operandi… Once the shock subsides, the intricacy of the playing and the inspiration of the musicians can percolate.” – Francois Couture, All Music Guide  “…shows the group taking chances… Each member plays with surprising restraint, focusing on the creation of gauzy electronic textures that stretch in improbable and satisfying ways.” – James Beaudreau, One Final Note “It’s a woolly pile of noise, but listened to in the right frame of mind, very exciting.” – Jerome Wilson, Cadence “Curlew sound in top form as they scrape, scratch, tinkle and blow their way through a set bulging with surprises and thrilling moments.” – Edwin Pouncey, The Wire

Available as a 320k MP3 or 16bit FLAC download. Tracklisting: 1. Monsieur Duprée (Cartoon XV) - 4:222. Magicmysticmaestromentor - 7:173. Baby Baby, Home Buddy - 6:334. The Awestruck Waters Of Antiquity - 6:255. Tippy/One Ahead (For All Victims Of Violence) - 9:086. Invention #1: Way North Of The Order (Dedicated To Paul Bley And Ornette Coleman) - 12:297. Monsieur Duprée (Cartoon XV) - 10:398. Accordance - 2:04   A revelatory debut album by a 64 year old pianist/composer may beg the question: where has Carei Thomas been all this time? Born in a culturally diverse neighborhood of Pittsburgh, Thomas cut his musical teeth in Chicago during a particularly fertile period for that city: gigging with Sun Ra as an improvising vocalist in 1959-60, joining up with the AACM for one hot minute in 1966, co-founding a group called The Light with Kalaparusha Maurice McIntyre (which also included Jerome Cooper and Wadada Leo Smith), and forming the compositional concepts that would provide a springboard for tireless exploration in the ensuing decades. Thomas moved to Minneapolis in 1972, where, in the mode of Horace Tapscott, he eschewed the industry-driven career path, choosing instead to work within the Twin Cities’ community. Recorded live with a group that features, most notably, the unfettered talents of Curlew saxophonist George Cartwright, Mining Our Bid’ness represents the range of Thomas’ no-boundaries Feel Free Ensemble, running the gamut from gorgeous Ellingtonian ballads to combustible free jazz testifying. Packaged in a mini-LP gatefold sleeve, with cover artwork by Judith Lindbloom, and liner notes by, among other contributors, Douglas Ewart and Anthony Cox. Until now, Thomas’ name has been known mostly to fellow musicians (David Murray, Sunny Murray and James Newton are counted among his admirers); this recording serves as the first opportunity for the general public to hear this important figure in the world of creative improvised music. “Thomas displays an intuitive element for inspiring action from the musicians who surround him….on this series of mostly quintet performances, he works wonders as a stimulating wellspring of ideas.” – Frank Rubolino, One Final Note “Like Duke Ellington, Thomas conducts via the piano, using it to cue and cajole the ensemble… while his approach is considerably more freewheeling than Ellington’s, the end result is equally appealing.” – Rod Smith, Minneapolis Star Tribune “His compositions, in true AACM style, are harmonically complex and allow for numerous changes of tempo and instrumentation… ‘Tippy/One Ahead’ says more in nine minutes than most musicians do in a whole album…” – Dan Warburton, The Wire “[Thomas'] user-friendly compositions lighten the theoretical rigor of avant-jazz with playful humor and friendly tunefulness.” – Cecile Cloutier, City Pages “It seems that every few years, some unknown treasure of American improvised music pops up after decades of toil in relative obscurity… this is fine, passionate music… a pleasant surprise, and [it] will surely please listeners as it did me.” – Jason Bivins,Cadence “…[Thomas'] phrasing caresses the ear and his melodies have a yearning quality that makes Cartwright and Sandberg’s in-out-and-back-in solos sound right at home…well worth hearing.” – Francois Couture, All Music Guide

Available as a 320k MP3 or 16bit FLAC download First digital version of long sold out first full-length vinyl outing from this British free music collective, featuring Neil Campbell (A-Band, Total, Sunroof!, numerous solo releases), Julian Bradley (Negative Kite), Bridget Hayden, Michael Flowers, and Adam Davenport.  “…two sides of gloriously ethereal ambient-drone epiphanies that reveal an ensemble remarkably adept at building melodic, harmonic, and rhythmic intensity without ever prompting the listener to think that they are repeating themselves.” – Kevin Lian-Anderson, One Final Note  “…the triumphant glee of turning a Glenn Branca E chord-only symphony into an Eastern psychedelic free for all.” – Jim Haynes, The Wire  “…one of the finest organic ebb ‘n’ flo moments I’ve EVER heard.” – Steve Hanson,Ptolemaic Terrascope  --- Tracklisting: 1. September 1999 (i)2. Just Before Christmas 1999 (i)3. Just Before Christmas 1999 (ii)4. Just Before Christmas 1999 (iii)5. September 1999 (iv)6. Just Before Christmas 1999 (iv)7. Just Before Christmas 1999 (v)

Available as a 320k MP3 or 16bit FLAC download. Tracklisting: 1. For Fred Anderson - 2:48 2. For Adrienne P. - 2:38 3. For Jim Pepper - 8:114. For Muhammad Ali - 3:46 5. For Paul Flaherty - 8:07 6. For Kidd Jordan - 4:32 7. For Han Bennink - 3:47 "Second album by the dream pairing of Joe McPhee and Chris Corsano. A follow up to Under A Double Moon, which featured McPhee’s alto saxophone, Scraps And Shadows finds him largely on tenor. Recorded live in Milwaukee in 2011, the album consists of seven dedicatory pieces, from the delicate balladry of “For Adrienne P” to the appropriately combustible “For Han Bennink.” Corsano’s stupendously detailed drumming and McPhee’s free-soul love cries weave a master latticework together. Cover art by Judith Lindbloom."  “Multi-instrumentalist Joe McPhee is 72 years old, far enough along that he could be forgiven for kicking back and letting people put laurels upon his brown. But as Fred Anderson, one of the seven dedicatees on this LP of dedications, was reminded every night that he walked off the stage of his club and went right back to stocking the bar, the free-jazz receiving line is a short one.
McPhee knows this, too. Like Anderson, he’s carrying on as he always has, pushing himself to evolve and proving his mettle anew each time he plays. And he makes a special point of celebrating not just the people who’ve come before him, but the people who are making things happen now. Two of the people honored on Scraps and Shadows are no longer with us, but the other five still have earthly hands to receive the bouquets that McPhee and his much younger partner Chris Corsano have picked for them.
But for these two men, paying tribute does not mean making nice; there are plenty of thorns in these bunches of flowers. Sticking mostly to tenor saxophone, McPhee pushes his horn beyond the bounds of convention; he sings through it, or along with it, obtaining otherworldly polytonal effects that’ll put the hairs right up on the back of your neck. He also plumbs his sax for vibrato-laden lines that arc out from whatever cloud the Ayler brothers smile down from these days and gnarled utterances so compacted it’ll take a dozen listens to decode them. He’s more frankly lyrical on his other instruments, using a patiently expressed pocket trumpet melody to set up a fractious tenor-drums duel on “For Paul Flaherty,” and honoring artist/musician/bartender Adrienne Pierlusi with a brief, tender clarinet air.
Corsano is scrupulously attuned to McPhee’s wavelength, using a light rain of cymbal tones to ratchet up haunted anguish of McPhee’s cries on “For Jim Pepper” and powering the saxophonist with gale-force bursts on the unfettered closer “For Han Bennink” before pulling back, way back, to erect the transparent but sturdy scaffold of stick-work for him to ascend at the tune’s end.” – Bill Meyer, Dusted “Scraps And Shadows is a new duo LP with Joe McPhee [and Chris Corsano]. This time, Mr. McPhee plays mostly tenor sax, and his deep, gurgling tone hits tons of places — from pure R&B; honk to ripping fiery gusts of sheer overblown freedom. The pieces are dedicated to different saxophonists and drummers, and the results are a lush, grounded and highly jazzic LP.” – Thurston Moore & Byron Coley, Arthur “…a lyrical and tough expansion on the art of McPhee and Corsano.” – Clifford Allen, Ni Kantu