Vinyl

For those not following Bill Orcutt's drift into increasingly ear-friendly orbits in his recent live sets, Bill Orcutt -- his first solo electric studio album -- shocks with its space and sensitivity. On this eponymous record, Orcutt mines the expansiveness and sustain possible on the electric guitar, letting notes spin out and decay at the edge of feedback. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence. But here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others. From the first notes of Ornette Coleman's "Lonely Woman", there's a lucidity and slow-burning lyricism that make Orcutt's plunges into barbed-wire fingerpicking all the more striking. While no one's about to mistake Orcutt for Jim Hall, you could probably play this for your jazzbo friends (should you be unlucky enough to have them) without raising any eyebrows. Orcutt's track selection mirrors his obsession with American popular song in its most banal manifestations, as radically reimagined via acoustic guitar on a variety of releases, including 2013's exhaustive Twenty Five Songs 7" box set, and the Editions Mego album A History of Every One (EMEGO 173CD/LP, 2013). Many of the songs from those two releases are here -- but stretched into new arrangements that explore the upper regions of the guitar neck (hitherto unexplorable on his shakily-intonated acoustic Kay), and lighting up new corners of each arrangement with a sensitivity born from years of reinterpretation. The result is a languid, freeform drift through Orcutt's internal cosmos into galaxies unknown to their original interpreters -- and occasionally, Orcutt himself. Most striking is "White Christmas", its careening low-register melodies crashing into complex chords that transcend Orcutt's primitive four-string fretboard. Orcutt's original compositions are equally striking. One of them -- "The World Without Me" -- is unique to this album, and notable for its trebly flurry of Clapton-esque 12th-fret drizzle. "O Platitudes!" by contrast, spins ever-faster in the cadence of a hand-cranked music box, before grinding to a near halt, its higher-key electricity standing in for the moaning vocalizations on Orcutt's acoustic rendition as heard on his 2014 VDSQ LP. With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in Orcutt's form-destroying trajectory.

Bill Orcutt - Bill Orcutt LP

"John Coltrane transformed the inner architecture of jazz, throughout the mid-1950s and 1960s and long after his premature death at age 40 in 1967. No other American musician could be said to be at the spiritual center of the '60s musical universe as Trane influenced Albert Ayler, La Monte Young, Jimi Hendrix and everybody in between. Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks ('Manifestation' and 'Rev. King') by John Coltrane's legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more ('Lord Help Me To Be' and 'The Sun') from Alice Coltrane's very first session as a bandleader, recorded six months after her husband's passing. 'Manifestation' opens with the group already in mid-flight: Trane's fierce tenor leads the way with Pharoah Sanders' blistering sax and Alice's powerful chords hearing his call. On 'Rev. King,' Trane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison's bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali. Foreshadowing her majestic debut, A Monastic Trio, 'Lord Help Me To Be' brings Alice's celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. 'The Sun,' a meditative ballad with subtle urgency, perfectly closes the album's contemplative circle. As John Coltrane recites on the final track, 'May there be peace and love and perfection throughout all creation.' "

John Coltrane and Alice Coltrane - Cosmic Music LP

Black Truffle presents a new issue of Annea Lockwood's classic 1970 tape piece "Tiger Balm", unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice. "Created while Lockwood was living in the UK, the side-long 'Tiger Balm' is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern. The B side presents two pieces for percussion recorded here for the first time. 'Amazonia Dreaming' (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures. 'Immersion' (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams, and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds." --Francis Plagne Comes in a deluxe gatefold sleeve with archival pictures and liner notes by Annea Lockwood; Includes the score to "Amazonia Dreaming"; LP design by Stephen O'Malley; Mastered and cut by Rashad Becker at Dubplates & Mastering.

Annea Lockwood - Tiger Balm / Amazonia Dreaming / Immersion LP

Joe McPhee: B-flat and E-flat alto clarinet, Roland MC202 Micro Composer synthesizer Bryan Eubanks: Open-circuit electronics (sinetones) What constitutes an unidentified sighting, the rarely heard ‘alien’ clarinet playing of Joe McPhee and the ineffable electronics of McPhee and Bryan Eubanks? Penultimate Press is extremely proud to produce My Undocumented Alien Clarinet: a strange sensual addition to the ever inquisitive McPhee canon. My Undocumented Alien Clarinet is a beguiling document of a performance held at Alternative Books, Kingston, NY, Sunday, August 6, 2006 under the auspices of the Pauline Oliveros Foundation’s New Vanguard Series. My Undocumented Alien Clarinet captures a unique intimate improvisation exploring the outer reaches of the form. Joe McPhee, (b.1939 USA) is a multi-instrumentalist, composer, improviser, conceptualist and theoretician. He has collaborated with Pauline Oliveros, Graham Lambkin, Peter Brotzmann, Evan Parker, Raymond Boni among many others. With a career spanning nearly 50 years and over 100 recordings, he continues to tour internationally, forge new connections and reach for music’s outer limits. .. His magical take on avant-garde sax remains one of the wonders of the scene. He still has one of the most beautiful tones on the planet, even when he’s reaching for jazz’s outer limits.” – Time Out NY Bryan Eubanks (b. 1977, USA) is a musician composing electronic and acoustic works for small ensembles, solo instruments, and custom generative software; improvising in collaboration; and working with acoustic holography, a stereophonic recording and diffusion technique. Artwork by Jerry Starpoli Liner notes by Joe McPhee In memory of Jerry Starpoli  

Joe McPhee and Bryan Eubanks – My Undocumented Alien Clarinet LP

More than a half century into its development, free improvisation remains nearly impossible to define. Of course there are concrete definitions, canons, and well trod paths – familiar idioms, structures, relationships, textures, and tones, but by its very nature – something free, when practiced with faith, it is elusive – constantly shifting and reforming in the hands of those who call the art form their own. Of the improvisers emerging from the remarkable European contexts over the last four decades, few demand the respect, or have plumbed the depths of the English saxophonist John Butcher. An entirely singular voice, since appearing on the scene during the late 1970’s and early 80’s, he has continuously defied and shattered standing presumptions of his form. Exemplifying this, there may be no better example than a series of solo performances recorded on a lonely tour of remote areas of Scotland with Akio Susuki during 2006. Entitled Resonant Spaces, the album stands as one of his most ambitious, radical, and revelatory bodies of work. For a voice who has enacted so much change – entirely rethinking the possibilities of his craft, John Butcher’s career is a road less traveled, turned the right way – receiving his PhD in theoretical physics, before shifting gears toward explorations in sound. Across the 80’s and 90’s he performed with the lions share of Britain’s leading lights – Derek Bailey, Phil Minton, John Russell, Phil Durrant, Steve Beresford, and countless others, endlessly pushing toward the unknown. It was during this period that he began to develop the trajectories for which he is often most recognized – solo performances, capitalizing on resonance, overtone, and space. Resonant Spaces is the fruit born of decades of work. A rare product of artistry, seeming to have simply appeared – an organic disembodied form. Astounding on nearly every count – miles from the social unrest from which this idiom was born – an uncharted meditative realm – a towering body of creativity and tone. Recorded in the wilds of Scotland against neolithic standing stones, within an emptied oil storage tank, and caves, like all free improvisations, Resonant Spaces is a conversation, but one unlike others before. Where musicians working in ensembles and groups, shift, adapt, and respond to those with whom they share the stage, Butcher’s conversation is with the unexpected responses of a given space and the returned transmogrified body of his creative self. Issued for the first time on Vinyl, a shimmering world of resonance, ambience, structure, and craft. The outcome of one lonely tour, now rises among the most astounding and singular creative gestures in the history of improvisation – the realization of the quest for freedom, which began it all. Edition of 250 copies, the LP comes in full color cover with printed inner sleeve housing a transparent anti-static record sleeve, Blue colored vinyl and an original insert that functions as Obi as well

John Butcher – Resonant Spaces LP

LP £18

Arnold Dreyblatt has been called "the most rock 'n' roll of all the composers to emerge from New York's downtown scene in the 1970s." Dreyblatt founded the Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra's second album – originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien – develops Dreyblatt's rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums.On Propellers In Love, simple song titles – "Odd & Even," "Harmonics," "Bowing" – belie intricate harmonic structures. Dreyblatt's modified instruments – a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation – undergo the Orchestra's rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion ("Pedal Tone Dance" and the title track). Throughout, the Orchestra's perpetual motion achieves a tremulous and exquisite density.Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine.Track Listing:Propellers In LoveBowingPedal Tone DanceHarmonicsOdd & EvenLucky Strike

Arnold Dreyblatt And The Orchestra Of Excited Strings - Propellers In Love LP

This classic minimal music album is now available again on vinyl for the first time since the 70s.Primed with a glass of cognac Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-coloured overtones. For 45 minutes this rich pulsating music swells and intensifies, filling the air.When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called Minimalist company of La Monte Young, Terry Riley, Steve Reich and Philip Glass, whose work also featured in the Shandar catalogue. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times the opulent fullness of his music would more accurately be described as Maximalist.Strumming Music, recorded in Palestine’s own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York, as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician.Although the technique of the piece has roots in Palestine’s daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the colour moods, plastic rhythms and tactile space of Mark Rothko’s Abstract Expressionist canvases.At the time when Philip Glass, Steve Reich and Terry Riley were becoming well-respected and widely heard composers, welcomed in concert halls and opera houses around the world, Charlemagne Palestine actually stopped making music altogether. He relocated to Europe and devoted his creative energies to the making of stuffed animal sculptures including the mighty God Bear, three-headed and six metres high. His involvement with music was revived and renewed during the 1990s, when younger generations of musicians and listeners, attuned to immersive noise and sensual sounds, were rediscovering Strumming Music and recognising that Palestine had blazed an idiosyncratic trail into their emerging world.Since then he has returned enthusiastically to musical performance and his formerly meagre discography has steadily grown. Still Strumming Music remains the essential index of Palestine’s singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. He had already been playing church organs for several years, relishing their power and presence. Now he had found a piano that satisfied his need for sonic depth and weight.  “The Bösendorfer at its best is a very noisy, thick molasses piano,” he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music.“My rhythms are sexual, not machine-like.” Charlemagne Palestine, in 2013.TracklistA Strumming Music part I 26:05B Strumming Music part II 26:05Notes° Insert with liner notes by Julian Cowley° Comes with download code° Lacquer cut by Rashad Becker° Lay-out by Jeroen Wille° Re-mastered by Equus° Licensed from FGL Productions° Edition of 1000 copies

Charlemagne Palestine - Strumming Music LP

This classic minimal music album is now available again on vinyl for the first time since the 70s.Californian composer Terry Riley’s In C, first issued on vinyl in 1968, is widely acknowledged as a Minimalist landmark that altered the course of twentieth-century music. His influential album A Rainbow In Curved Air, which appeared the following year, is a vivid fusion of rock and raga, jazz and psychedelia realised through overdubbing on an 8-track machine which had recently been installed at the studios of Columbia Records.  In recent decades Riley has composed a series of critically acclaimed pieces for string quartet. He has also written for full orchestra and explored a variety of instrumental combinations. But during the 1970s, he concentrated on solo keyboard performances, continuing to make music yet writing down almost nothing. Riley selected a mode, chose a few motifs or basic patterns and then, seated on the floor in front of his audience, improvised on electronic keyboard. That instrument became an essential part of his musical identity for a while, although it was chosen in part for practical reasons. The electric organ, superseded at later concerts by a synthesizer, was portable and consistent. This enabled him to avoid unreliable pianos in venues which were less formal and more variable than the standard concert hall circuit.By the early 70s Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances, personal journeys towards a state of transcendence, were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on 18th April 1971, the other in Paris on 24th May 1972. At the start of that decade Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition he found correspondences to modal and cyclic ideas that he was already working on. In 1971, as a way to learn more, Riley himself started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping the music heard on Persian Surgery Dervishes. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa, which Riley had first encountered in Europe during the early 60s, reverberates through these performances. Jazz, as conceived by such masters such as Bill Evans and John Coltrane, is also present as an enduring source of inspiration. The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley’s buoyant spirit asserts itself, spiralling out in ecstatic coils, as though liberated from the grip of body consciousness. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight. Echoes of Terry Riley’s inspired music have spread far and wide - into progressive rock, New Age and ambient soundings, film soundtracks, blissed-out electronica and dance-floor trance. His fluent and hypnotic keyboard playing can be heard as part of a continuum, transmitting energies from ancient and distant musical sources into the living here and now. Persian Surgery Dervishes is a significant part of that picture, a mesmerising record of a vital stage in Riley’s ongoing quest for connection with the universal mind and the sublime music that flows ceaselessly from it.  “Music is my spiritual path. It’s my way of finding out who I am.”  Terry Riley, in 1976   TracklistA Performance One 20:45B Performance One 22:00C Performance Two 25:00D Performance Two 22:45Notes° Insert with liner notes by Julian Cowley° Lacquer cut by Rashad Becker° Lay-out by Jeroen Wille° Re-mastered by Equus° Licensed from FGL Productions° Edition of 1000 copies

Terry Riley - Persian Surgery Dervishes 2xLP

Repressed. LP version. Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes.

Midori Takada - Through The Looking Glass LP

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We're very pleased to announce Pat Thomas's ‘The Elephant Clock of Al Jazari’ on our in-house OTOROKU label. Recorded live at OTO in May 2015 and mastered by Giuseppe Ielasi, the LP comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists. In Pat's own words: The title for this Album, was inspired by the incredible automatic water clock invented by Badi' al-Zaman ibn al-Razzaz al-Jazari. Al Jazari refers to the fact he was born in Al Jazira which lies between the Tigris and the Euphrates in what is now Northern Iraq. Badi al Zaman means prodigy of the age. He is known by historians of technology as the father of modern robotics. The Elephant Clock at seven metres high is a testament to his engineering genius, it utilizes Greek water raising technology, combined with an Indian elephant, Egyptian phoenix, Arabian figures, Persian carpet and Chinese Dragons celebrating the diversity of cultures in the world. This and other marvels of engineering can be found in his Book of the Knowledge of Ingenious Mechanical Devices translated by Donald Hill (Pakistan Hijra Council). Over 50 devices are mentioned. Amongst them the first analog computer, his remarkable Castle Clock, however, the debt the world owes this muslim genius is found in his remarkable water raising devices, particularly water raising device number 4 where for the first time a crank connecting rod system is used. The crank is considered to be the most important single mechanical device after the wheel, by 1206 this is found fully developed in Jazari`s machines predating Francesco di Giorgio Martini by 3 centuries. 'For Al Haytham' is dedicated to the great polymath genius who wrote the great book on vision, the first person to give us a true understanding of how we see. 'Lubb' is an Arabic word meaning innermost consciousness whilst to conclude proceedings 'Done' is loosely based on a well known standard. - Pat Thomas 26TH May 2017 Pat Thomas began playing  piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up Jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980 he became a member of oxford based group Ghosts with Pete Mcphail and Matt Lewis. Has worked with Mike Cooper, Steve Beresford, Geoff Hawkins, Chuck Berry, Tim Hill, Alex Ward, Eugene Chadbourne, Steve Noble, Jimmy Carl Black, Thurston  Moore, Mats Gustafsson, Evan Parker, Oliver Lake, Alan Silva, Bill Dixon, Joe Gallivan, Alan Wilkinson, John Edwards, John Zorn, John Butcher, John Russell and a duo with Mark Sanders since 1986 a duo with Steve Noble (who first met in 1979).  Current activities include Black Top with Orphy Robinson, Valid Tractor with Lawrence Casserley and Dom Lash, About Group with Alexis Taylor and John Coxon, Albert Newton with Charles Haywood and the Founder Effect with John Coxon, a duo with Han Bennink and a trio with William Parker and Hamid Drake. Pat Thomas received Paul Hamlyn Foundation Award for Composers in 2014.

Pat Thomas - The Elephant Clock of Al Jazari LP

"Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time."

ARTHUR RUSSELL - Instrumentals 2LP

The first-ever compilation of χαβάγιες ("havagies"), the nearly forgotten Hawaiian-influenced music of 1930s Greece, focused on the compositions of Kostas Bezos and his ensemble White Birds. A world-class slide guitarist, political cartoonist and sleepless Bohemian, Kostas Bezos created some of the most unique music of any era: surrealist guitar portraits blending Athens and Honolulu, haunting tropical serenades, wild acoustic orchestras, and heartbreaking steel guitar duets. Incredibly, this is the same musician responsible for the legendary "Kostis" rebetika recordings (see A. Kostis "The Jail's a Fine School" [OLV-002 / MRP-098]).Includes a 32-page booklet with extensive notes by Tony Klein and Dimitris Kourtis, many rare photographs, lyrics, obituaries and a bonus CD containing 18 additional tracks. Restored and mastered from original 78s by Michael Graves, this release is limited to 1,000 copies. Co-released by Olvido Records (OLV-002) and Mississippi Records (MRP-098) on January 30th, 2017. Produced by Gordon Ashworth, Tony Klein, Dimitris Kourtis. Articles by Tony Klein, edited by Gordon Ashworth. Newspaper Research and Bezos Drawings provided by Dimitris Kourtis. Photographs provided by the Kalliris Family, Stavros Kourousis, Lia Dimitriou, Hugo Strötbaum. Translations by Tony Klein, assisted by Dimitris Kourtis, Charles Howard and Vasilis Varelas. Audio Sources courtesy of Manthos Manios, Les Cook, John Marsden. Audio Transfers by Norman Field, Stavros Kourousis, Manthos Manios. Restoration and Mastering by Michael Graves at Osiris Studio. Lacquer Cutting by Adam Gonsalves at Telegraph Audio. Vinyl Production by Cascade Record Pressing. Design by Gordon Ashworth. Cover Production by Dan Fried. Offset Printing by Eberhardt Press.

Kostas Bezos and the White Birds LP

Born in Bolgatanga in rural Ghana, King Ayisoba was a prodigy on the kologo, playing locally until he’d outgrown the possibilities of the area. Moving to Accra, the country’s biggest city, he eventually released the song “I Want To See You, My Father.” There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream. “It was Song of the Year and Traditional Song of the Year,” says album producer Zea. “He also had a song called “Modern Ghanaians” that said we shouldn’t forget the tradition. Instead we should use it to fight modern problems.” With that mantra, King Ayisoba became the unlikeliest star. His music was a strong weapon for Ghana’s traditions. What he wanted, though, was to play with a band, to bring what he called the “man-power” to give the full drive to his sound. On the album Wicked Leaders, with Zea producing, that’s exactly what he did.After that Ayisoba toured Europe together with Zea, opening up solo, providing guitar, vocals and live electronics on stage, and Francis Ayagama joined King Ayisoba’s band on djembe and bemne drums Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. It’s there in every musician. They all go home and farm. They’re connected to the land, and the songs are part of the harvest they bring from the fields and from their own families.“Ayisoba’s grandfather played the kologo,” Zea says. “But only in the house. He was a healer, a shaman. People would come and tell him their problems. He’d make a connection with the spirits, then play and start singing, and his stories would include solutions.” On 1000 Can Die, King Ayisoba is digging a new future from Ghana’s soil.

King Ayisoba - 1000 Can Die LP