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Japanese free jazz saxophonist Akira Sakata meets with his long-time collaborators Giovanni Di Domenico, Jim O'Rourke and Tatsuhisa Yamamoto to release the second album under their name Bonjintan. It combines contemporary Avantgarde and Free Jazz in a beautiful way.
---Akira Sakata / sax, clarinet, voice
Jim O’Rourke / double bass
Giovanni Di Domenico / piano, hohner pianet
Tatsuhisa Yamamoto / drums
Recorded Jim O'Rourke at Hoshi to Niji Studio, 30th June 2018
BONJINTAN – Dental Kafka
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"Reissue of Derek Bailey and Tristan Honsinger Duo, originally released by Incus in 1976. Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg and opening a long and fruitful musical relationship with Derek Bailey.
Recorded in 1976, Duo displays a performative musical approach already characterized by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing, and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always tripping himself up. You can hear Bailey reveling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared (nineteen-string) and standard electric guitars -- and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes "The Shadow".
Throughout, the spirited interplay between laconic, analytic wit, and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive, and gripping.”
Tristan Honsigner / cello, voice
Derek Bailey / electric guitar, crackle box
Recorded at Verity's Place 7th February 1976, except for A1 and B2 which were recorded at Tangent Studio 6th February 1976.
Derek Bailey & Tristan Honsinger – Duo
John Hubbard, who is also a book designer and based in Finland, had released the sole recordings of the legendary project “Vogelscheiß Und Seine Verrückten Kröten” in 1989 in a limited edition of just 50 copies on his Strength Through Joy label. Now these rare recordings are re-issued for the first time by Art Into Life.
In 1988, upon meeting Steve Stapleton while on vacation in Europe, John then went to Aachen and visited Christoph Heemann & Andreas Martin, and the enigmatic sessions they recorded are revealed here.
Vogelscheiß Und Seine Verrückten Kröten – Vogelscheiß Und Seine Verrückten Kröten
Thurston Moore / Guitar
Alex Ward / Clarinet, Amplifier
Recorded 20 March 2012 at Cafe OTO by John Chantler & Jonny McHugh.Mixed by Alex Ward, Vinyl cut by Nick @ Curved.
Cover image courtesy of Matti Braun.
All proceeds from this LP go towards Cafe OTO's equipment fund thanks to the kind generosity of Thurston, Alex and Matti. Price includes international shipping.
100 copies pressed via Curved - who use MPO in France. Two colour silkscreen print sleeves on 380gsm acid-free archival quality card stock, printed by Pat at Heavyrock, Brighton.
Thurston Moore & Alex Ward – Live at Cafe OTO
OTOROKU is proud to present the first vinyl reissue of Blue Notes for Mongezi, one of the most passionate celebrations of a life in music ever laid to tape. Recorded in late 1975 by Blue Notes, then reduced to a quartet - Dudu Pukwana on alto sax, whistle, percussion, and vocals; Johnny Dyani on bass, bells, and vocals; Louis Moholo-Moholo on drums, percussion, and vocals; and Chris McGregor on piano, and percussion - and issued the following year by Ogun, the album is a kairos; the first commercial release by one of free jazz’s seminal ensembles, captured them 13 years after their founding - at the height of their powers - delivering an explosive dirge dedicated to Mongezi Feza, their former bandmate and friend.
Blue Notes were founded in Cape Town in 1962 and stand among the most important ensembles in the history of jazz. Artistically brilliant and groundbreaking - gathering, within a few short years, a devoted following that included Don Cherry, Steve Lacy, Abdullah Ibrahim, Dexter Gordon, Kenny Drew,Keith Tippett, Evan Parker, John Stevens, and numerous others - they were also the first widely visible multiracial band in South Africa.
As a mixed race band under South African apartheid; this group of friends and like-minded artists - Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani and Louis Moholo-Moholo - existed within a context that viewed their mere existence as a dangerous and subversive act. In 1964, as the pressure mounted, they joined an exodus of musicians leaving for Europe, eventually settling in London during the following year. Sadly, not long after arriving and facing continued economic peril, the group buckled. Johnny Dyani left to join Don Cherry’s band. Moholo-Moholo and Dyani followed suit and joined Steve Lacy on tour, and the remaining members morphed into a number of ensembles that eventually grew to become Chris McGregor's Brotherhood Of Breath.
In late 1975 however, Mongezi Feza - in the midst of a fruitful period collaborating with Dudu Pukwana, Johnny Dyani, and Okay Temiz - suddenly passed away at the age of thirty from pneumonia. Nine days later, on the 23rd December, following the memorial service to their friend, Pukwana, Dyani, McGregor, and Moholo-Moholo gathered in a rehearsal room in London and set out to play. Fittingly, no discussion took place before or during the session. The music was left to say it all.
The resulting double LP coalesced into four long-form movements that occupy a side each, collectively unleashing an onslaught of free jazz fire, fluidly covering a remarkable range of moods and tactical approaches across it’s length. For anyone encountering the Blue Notes for the first time, the album must have felt like being blindsided by a brick, adding a profound sense of credence to Moholo-Moholo’s belief that free improvisation was intrinsically linked to the Pan-African temperament. In the band’s hands, the idiom sounds like nothing else and exactly as it should.
A frenzied funeral dirge, a cry, and catharsis, the record rises and falls between playful and joyous movements of deconstructed song, rhythmic and vocal tribalism, and churning, instrumental free expression. It indicates not only a possible future for musical expression - as all truly avant-garde music does - but also the very roots of music itself, illuminating, through abstraction, the far-flung, ancient roots currently carried by the New Orleans “first line” march to the grave. It is a decidedly African vision of free jazz, coalescing as a collective expression of celebration and loss on a cold London day. It is a masterpiece unfolding in real time - out on a limb and laden with risk - created by four of the most talented voices the idiom has known.
DUDU PUKWANA / alto sax, whistle, percussion, vocals
CHRIS McGREGOR / piano, percussion
LOUIS MOHOLO / drums, percussion, vocals
JOHNNY DYANI / bass, bell, vocals and most of the words
This 2022 re-issue has been made with permission and in association with Ogun records. Transferred from the original masters and featuring an exact reproduction of the original artwork. Remastered by Giuseppe Ilelasi and packaged in a high gloss sleeve.
All music by the Blue Notes. All music published by Ogun Publishing Co. Cover design by Ogun. Front cover photograph and photograph of Mongezi Feza by Geroge Hallet. Blue Notes photograph by Jurg. Back cover photograph by George Hallet and Peter Sinclair. Xhosa translation by Z. Pallo Jordan. Produced by Keith Beal and Chris McGregor. Ogun Recording would like to thank John Martyn for his assistance in making this album possible. Reissue for OTOROKU produced by Abby Thomas. Transferred from the original masters by Shaun Crook at Lockdown Studios. Remastered by Giuseppe Ielasi. Layout for reissue by Maja Larrson.
Blue Notes – Blue Notes for Mongezi
OTOROKU is proud to present the first vinyl reissue of Blue Notes for Johnny - a defining statement by one of the greatest ensembles in the history of jazz. Recorded in mid-1987 by Blue Notes - then reduced to the trio of Dudu Pukwana on alto sax, Louis Moholo-Moholo on drums and Chris McGregor on piano - it encounters the band 25 years after their founding embarking on an inward meditation through collective music making dedicated to Johnny Dyani, their former bandmate and friend.
Blue Notes were founded in Cape Town in 1962, and stand among the most important ensembles in the history of jazz. Artistically brilliant and groundbreaking - gathering, within a few short years, a devoted following that included Don Cherry, Steve Lacy, Abdullah Ibrahim, Dexter Gordon, Kenny Drew, Keith Tippett, Evan Parker, John Stevens and numerous others - they were also the first widely visible multiracial band in South Africa.
As a mixed race band under apartheid, this group of friends and like-minded artists - Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani and Louis Moholo-Moholo - existed within a context that viewed their mere existence as a dangerous and subversive act. In 1964 they joined an exodus of musicians leaving for Europe and eventually settled in London the following year. Sadly, not long after arriving and facing continued economic peril, the group buckled. Johnny Dyani left to join Don Cherry’s band. Moholo-Moholo and Dyani followed suit and joined Steve Lacy on tour, and the remaining members morphed into a number of ensembles that eventually grew to become Chris McGregor's Brotherhood Of Breath.
Following the death of Mongezi Feza in 1975 the remaining members of the group had come back together to record Blue Notes For Mongezi, reigniting a sporadic period of activity over the coming years. Following the untimely passing of Johnny Dyani in late 1986, the last three members of the original line-up - McGregor, Pukwana and Moholo-Moholo - reformed to pay tribute to yet another of their fallen brothers.
Blue Notes for Johnny, the group’s second musical memorial to a band member, incorporates a considerably broader range of touchstone and practices than its predecessor, nodding toward the band’s foundations in be-bop and post-bop without abandoning where they had journeyed along the way. Internalising equal elements of hard-bop, modalism, and free improvisation, it is a startling creative statement, imbued with a tension that renders an equally radical and sophisticated challenge; a furious tide - slow in pace and it slow to reveal itself - masquerading in gentler forms.
A celebration and a memorial. Joyous and tragic. A real time resurrection of personal experience, Blue Notes for Johnny dodges, dances, and transforms across its two sides, refusing to be nailed down. As the trio pushes against each other, bristling tonal and rhythmic collisions leave the impression that something is bound to explode, without ever fully letting go.
Blue Notes for Johnny’s memorialisation is unwittingly doubled by capturing the final time that the Blue Notes would come together in the studio. Both Dudu Pukwana and Chris McGregor would pass away three years later in 1990, leaving Moholo-Moholo - who continues to carve a groundbreaking trajectory across the world of jazz - as the last surviving member. The album remains as a journey between an imaged future and the beginning of it all. Six friends meeting and communing through sound. Six friends who had triumphed against the odds, becoming some of the greatest creative voices of their generation. Six friends who were five, then four, and then three, before they were done. Friends who never failed, in whatever form, to come together and play. It is a story begun 60 years ago that remains just as prescient today.
DUDU PUKWANA / alto sax
CHRIS McGREGOR / piano
LOUIS MOHOLO / drums
This 2022 re-issue has been made with permission and in association with Ogun records. Transferred from the original masters and featuring an exact reproduction of the original artwork. Remastered by Giuseppe Ielasi. All music by the Blue Notes. All music published by Ogun Publishing Co. Cover design by Ogun.
Blue Notes – Blue Notes for Johnny
The original description is in French.
no lagos musique – La banque de jeu de pharaon / mes dés laids
Recital is joyed to bring to you the new Idea Fire Company album, Lost at Sea. Lost At Sea imagines the Idea Fire Company as the bar band on a small cruise ship. There are approximately 40 passengers aboard. Around 2/3 of them are in the lounge for the nightly IFCO performance. Most of them seem more interested in drink than in music. The ship has become lost and seems to be endlessly circling. Well stocked with booze and food, etc., the ship continues on. IFCO, armed with only a piano and trumpet/ radio/ synth, provide the nightly entertainment. Lost At Sea is certainly the sister of the also piano-heavy The Music From The Impossible Salon, but Lost At Sea has an air of weary optimism replacing the bleak sadness of Impossible Salon. For almost 30 years IFCO has carved their own path, or dug their own hole, depending on your view, through the ever-changing world of underground music. Still violently committed to the Avant-Garde and to new forms of beauty. Still Romantic. Still idealistic. Despite the odds. In the old days, this sort of commitment was better appreciated. IFCO remains IFCO. As a number of people have said over the years, every IFCO record sounds different, but they all sound like IFCO.
Idea Fire Company – Lost at Sea
Since the beginning of Recital, I have been trying to publish the work of Dick Higgins. He is a chief figure in my artistic world, a hero of mine. And now, with the assistance of Charlie Morrow, it has finally happened. The first vinyl album ever published of Higgins! Many know Dick Higgins as the father of Intermedia, a key player in the birth of Fluxus, and the owner/operator of the fabulous Something Else Press. His own poetry is what stirred me. Namely, his book FOEW&OMBWHNW, which contains one of my favorite of his works, “Moments in the Lives of Great Women,” along with other lovely poems (some included on this LP). This recording is of Dick himself reading his own poetry. Poems & Metapoems begins with a voice/tape manipulation piece from 1962, while the rest of the collection employs only language manipulation. Alike a cantor, each word is delivered perfectly with strong warmth. His ability to relay pattern-based poems into sonics is impressive. This album was recorded in 1982, and contains the reading of poems written between 1958-1980. Originally published as a cassette tape by New Wilderness Audiographics, which is nearly impossible to find now. The audio has been remastered and cleaned up for this edition. Dick lived large and was a busybody. All the faucets were running within him, handles broken off. Always pulling to mesh painfulness with playfulness, heartwarmth with heartbreak, comedy with tragedy etc. It is this plurality that Higgins encourages us to spark and flourish.
Dick Higgins – Poems & Metapoems
Mariachi (Nina Garcia) – Mariachi
A remastered vinyl issue of the impossible-to-find album Cri-Rythmes by the French sound poet François Dufrêne (1930-1982). First published on cassette in the 1970’s, this LP holds tracks not available since then. Dufrêne swallows the microphone, gargles the capsule, then vomits up the cables. Claustrophobic, verbal seizures, revealing once more that Dufrêne is king and all the pages of poetic history now have his spit on them.
François Dufrêne – Cri-Rythmes
A new expanded reissue of the sold out & extremely limited LP from 2017. Her son Loren Connors writes... "These recordings, no matter how rough the sound quality, capture the essence of the art of bel canto soprano Mary Mazzacane. Born in an Italian American neighborhood (Fairhaven) near Yale, she was one of the first women to graduate from the Yale School of Music. Ms. Mazzacane, who was active on the opera stage from 1947 through the 1970’s, playing leading roles in Madame Butterfly, Tosca, Amahl and the Night Visitors and other works, left no commercial recordings. All we have is a shoebox full of muddy practice sessions and live performance recordings on barely playable cassette tapes, along with a few radio broadcast acetates... Throughout these pieces, her voice has a unique inner warmth and a beautifully clear tone, the closest I know to the pure clarity of bells."
Mary Mazzacane – The Art of Mary Mazzacane
A spellbinding tribute from one multi-faceted artist to another. New York-based artist Aki Onda (b. 1967) conjured a transduction to the Korean multi-media pioneer Nam June Paik (1932-2006). Aki himself describes the project: “Nam June’s Spirit Was Speaking to Me occurred purely by chance. In 2010, I was spending four days at Nam June Paik Art Center in South Korea for a series of performances and had plenty of free time to wander. The building was packed with Paik’s artwork and related material. I have always felt a close kinship with him as an artist, and so it was a great opportunity to immerse myself in his works and ephemera. It was that night I made the first contact, via a hand-held radio in a hotel room in Seoul. It was literally out of the blue. Scanning through the stations, I stumbled upon what sounded like a submerged voice and I began to record it in fascination. I concluded this was Paik’s spirit reaching out to me.
The project continued to grow organically as I kept channeling Paik’s spirit over long distance and receiving cryptic broadcasts/messages. The series of séances, conducted in different cities across the globe, began in Seoul in 2010, and continued in Köln, Germany in 2012, Wrocław, Poland in 2013, and Lewisburg, USA in 2014. The original recordings were captured by the same radio which has a tape recorder, with almost no editing, save for some minimal slicing and mastering.
Paik is known for his association with shamanism, a practice that constantly surfaces in his works all through his career. In an interview, he stated “In Korea, diverse forms of shamanism are strongly remained. Even though I have created my work unconsciously, the most inspiring thing in my work came from Korean female shaman Mudang.” Paik himself was a master shaman and vividly used shaman rituals and symbols for staging his performances and installations.
These recordings also became a way for me to explore the mythic form of radio—a medium which is full of mysteries. The transmissions captured may be “secret broadcasts” on anonymous radio stations. There are in fact hundreds of those stations around the world, although the numbers dwindle as clandestine messages can now be sent via encrypted digital channels. Some of these stations were likely for military use or espionage or relics of the Cold War. But many others continue without apparent explanation. These are just some of the questions that remain unanswered.” Commissioned in 2017 by documenta 14’s radio program “Every Time A Ear di Soun,” these recordings were continually broadcast on eight radios stations around the world that year. Nam June’s Spirit is a beautifully formed homage, I cannot think of any other like it. An intimate, flickering language discovered through the air. The LP comes replete with a booklet of rare photographs of Paik. These images were shot on the set of Michael Snow’s film Rameau’s Nephew… (1974), although the scene was not included in the final cut. - Sean McCann, 2020
Aki Onda – Nam June's Spirit Was Speaking To Me
Cani Lenti is a collection of duels, some may say. As the two minds of Cesare Lopopolo and Anna Vezzosi converge, a dichotomy of harmonious and contrasting sounds ebb, swirl and clatter in and amongst themselves. Using techniques from call and response improvisation, tape manipulation, experimental music and free-form folk, their approach to music making feels both atypical and familiar, organised and free-flowing, rooted and landless. Like the films of fellow Italian film-maker Alice Rohrwacher, Rosso Polare's music feels grounded in the earth, but sprouts and spreads in strange and often anachronistic ways.
The duo describe this album as it’s a struggle – a skirmish – that strives to resemble filmic sonorisations and forgotten sounds. Together they lead us on a journey into the depths of Chthonian Music. - (Fielding Hope - Cafe Oto)
Reissued with additional, previously unreleased tracks, Cani Lenti expands on the landscape depicted so far, with the idea of a sonic imagery which feel interstitial between organised “musical” sound and a more unorthodox, earthy and chtonian root linked by field recordings and a human cacophony close to natural biophony.
Rosso Polare – Cani Lenti CD
Father Fugue is Nour Mobarak's first full-length album. The Los Angeles-based artist spent years sculpting this LP, and the result is piercingly emotional. A foray into her being; a sound artist, a songstress, a sculptor. Nour's creativity orbits an ever-moving center. Thus, glimpses, reflections, and splinters of her oeuvre embody Father Fugue. The side-long titular piece on the LP is unlike anything I have ever heard. Nour describes the piece: "the left channel of 'Father Fugue' is composed of conversations with my father, Jean Mobarak, a polyglot who has a 30-second memory and lives in the mountains of Lebanon. The right channel is composed of improvised song." Nour and her father speak through four different languages (French, Italian, English, and Arabic), a full transcription and translation is included with the LP in a 24-page booklet. They speak of cars, of soccer, of Italy. They speak in games, in rhymes, and in song. The sonic division of voice and time across the stereo pattern is captivating. The second side of the album is comprised of eleven songs. The word "song" must be taken widely and liberally in this instance. Elements were recorded in her car, in the shower, in the ruins of Oaxaca, Mexico: a rainbow of personal documentation. The vase holding the bouquet is of jubilation and abstract humor. A chanson written by Nour's great-great-grandmother, at the turn of the 20th century in Constantinople, is sung throughout the LP. The first side concludes with her and her father singing it in duet, as Nour's solo performance begins the second side. Bound by time, Father Fugue reveals Nour Mobarak's expression from and response to her father's place and memory. A flip of the record uncovers her expression and response to her own. Sean McCann, June 2019
Nour Mobarak – Father Fugue
To celebrate the announcement of our Blue Notes reissues we're offering a special price for the two LPs when bought together. This bundle includes 1 copy of Blue Notes for Mongezi + 1 copy of Blue Notes for Johnny.
Blue Notes – Blue Notes For Mongezi + Blue Notes For Johnny
To celebrate the announcement of our Blue Notes reissues we're offering a special price for the two LPs when bought together + Lous Moholo-Moholo's Spirit's Rejoice! This bundle includes 1 copy of Blue Notes for Mongezi + 1 copy of Blue Notes for Johnny + Spirit's Rejoice!
Blue Notes, Louis Moholo Moholo – For Mongezi + For Johnny + Spirits Rejoice!
Full recording of one of the most engaging and beguiling Late Junction live sessions we’ve ever heard - the one off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter.
Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter’s words. Together they unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It’s impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter’s words a sometimes frightening hörspiel in scouse.
Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and we are invited to listen and see a kind of music made visible in its inference. A truly very special record we are very proud to share.
Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and often collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy’s interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics and the aftermath of violent events are common themes in Roy’s work and are usually treated with a dark, sometimes wilful humour.
Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.
Park Jiha / yanggeum, saenghwang, piri
Roy Claire Potter / voice
Recorded and mixed on: 30 January 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London for “Late Junction - Roy Claire Potter and Park Jiha in session”. Produced by Rebecca Gaskell, Katie Callin and Alannah Chance at Reduced Listening for BBC Radio 3. Originally broadcast on Friday 28th February 2020, apart from Track 4 which aired on Late Junction the 21st February 2020.
Mastered by Katie Tavini. Original artwork: “Three Boys” by Claire Cansick. Liner notes by Frances Morgan.
Park Jiha & Roy Claire Potter – To Call Out Into The Night