Regan Bowering’s first LP, A Technology of Feeling (Infant Tree, 2025), builds on the ideas and techniques of her debut solo album, Solos for _ _ _ _ Spaces (Bezirk, 2023). Her practice centres on drums, amplifiers and microphones intertwined in a multi-layered feedback system. Where the debut exposed the tensions and rhythms of control within this system to shape a distinct vocabulary, the new record deepens that exploration, reaching toward fresh terrains of musical and sonic expression. A Technology of Feeling continues to navigate the contrasts between spaces, materials and the body; control and release; percussive rupture and feedback’s continuity. Where Solos for _ _ _ _ Spaces attended to the acoustic, technological and architectural conditions shaping the performance, “driven by the desire to craft electrifying drama,” (The Quietus), A Technology of Feeling turns inward. Through her percussive feedback language, Bowering maps the shifting borders between inner emotional states and the external environments that shape them. The result is a work that crafts moods and architectures of sound—delicate, resonant, and unresolved—without seeking to contain the contradictions of lived experience. Its title points to this focus, framing technology as a means of producing, mediating and reflecting the atmospheres and feelings that shape the environments we move through. Side A unfolds across five interconnected pieces, constructed from fragments of live and studio sessions recorded in London and New York. Each piece isolates and expands a different facet of Bowering’s practice—texture, feedback, rhythm, atmosphere, and emotion through layering and the recursive return of gesture and form. Side A charts several climactic arcs, moving through intensities that shift from overwhelm to fragility to euphoric collapse. Side B (Track 6) captures a live performance at Boston’s Waterworks Festival (April 2025), where Bowering’s feedback system reaches its most expansive form. The cavernous acoustics of the old water pump station reveal timbral nuances and tactile detail, infusing herimprovisational palette with vast natural reverb, resulting in a performance that is both chilling and echoes with melancholic yearning.

First ever vinyl pressing of Ishmael Reed's beloved The Hands of Grace, jointly released by All Night Flight and Reading Group  Touching homebuilt compositions from celebrated American novelist, playwright and poet Ishmael Reed, channelling a long life immersed in jazz culture.  A joint in-house production from ANF and NYC-based label Reading Group. You’re never too old to learn something new.  Reed credits bebop with keeping him and his friends out of reform school because they were too busy listening to records at each other’s houses to get into trouble.  Finding fame as a distinguished writer, he found his way back to music circuitously, eventually taking the plunge at aged 60 to study jazz piano.  Diagnosed with prostate cancer in 2006 he hastily assembled a quintet to fulfil a lifelong ambition of recording an album. He made the record but thankfully he didn’t succumb to his illness   Cash-strapped during COVID, he became a composer to save on money for his own plays, enlisting his daughter Tennessee as the narrator.   These humble origins and a genuine love (and natural talent) for music are what underpins The Hands Of Grace.  Consisting of works written for Reed’s play ‘The Slave Who Loved Caviar’ alongside new original compositions, it brings in close friends and family to accompany his casual, unvarnished playing style that’s so genuinely heartfelt it feels as if you could be sat alongside them in their living room.  The music carries a lived-in simplicity yet it also holds something ambiguous that draws it away from the predictable. Music papers rustle, a living room chair is dragged up to the keys whilst Reed’s wife Carla contributes violin and daughter Tennessee recites her poetry on standout ‘How High The Moon’.  This is a poignant family affair with no-one left out, ending on a touching tribute and voicemail from their late daughter Timothy.   Ever since it first appeared on CD The Hands Of Grace has become a staple. A record to return to, a uniquely personal tribute, a document of working method, a lifelong passion finally coming to fruition… (Mint / New - with free DL & double sided insert Edition of 250 CDs, with liner note essays by Ishmael Reed and Fred Moten.Mastered by Matt Bachmann. "A great pleasure to play with my favorite writer; he has transformed his literary genius to the piano in one lifetime, Bravo!" -David MurrayNew album of original music by the legendary novelist, essayist, poet, critic, and playwright Ishmael Reed (b. Tennessee, 1938). The Hands of Grace presents for the first time the original music that Reed composed for his 2021 play, “The Slave Who Loved Caviar,” which was read at the Nuyorican Poets Café and premiered at the Theater for the New City in 2021. Also featured on the album are several other solo piano and ensemble compositions by Reed, with accompaniment from Roger Glenn (flute), Ray Obiedo (guitar), Carla Blank (violin), and Tennessee Reed (voice).Reed’s compositions on The Hands of Grace range from humor and pastiche to arresting beauty. The intimate and idiosyncratic sound calls to mind the off-kilter beauty of Charles Mingus’s piano record and Carman Moore’s score (also on Reading Group) for Personal Problems (1980), the brilliant “black soap opera” that Reed co-developed with Steve Cannon and Bill Gunn. Opening with a minimalist meditation on Jean-Michel Basquiat (also the subject of the play), and moving through blues tunes, descriptive pieces, and tributes to poet Lucille Clifton and Reed’s partner Carla Blank, the record closes with a moving ode to Reed’s late daughter Timothy. The Hands of Grace offers a deep dive into the musicality of this inimitable artist. --- Ishmael Reed / piano, compositionsRoger Glenn / fluteRay Obiedo / guitar, bassCarla Blank / violinTennessee Reed / voice

Limited edition 10" vinylSum Variations is an e.p featuring two long form studies of Josephine’s song ‘The Sum Of Us All’ from 2013. These were recorded in Spain and Morocco, respectively, in collaboration with two different ensembles.These two variations offer a glimpse into the early exploration of the song, which Foster laterembedded in her electronic album song cycle, ‘Godmother’ (Fire Records, 2021).Side AThe Sum Of Us All (Joujouka)song written by Josephine Foster; instrumental coda theme by Victor HerreroRecorded live in the village of Joujouka, Ahl-Srif mountains, Morocco, 2012Mastered by Brian SulpizioJosephine Foster - guitar/voiceAbdellah Ziyat - liraAbdeslam Boukhzar - oud/voiceAbdeslam Rrtoubi - liraAhmed El Attar - farad/zowakKamanja - oud/voiceMichael Zerang – percussionMohamed El Attar -liraMustapha El Attar - farad/zowakPaz Lenchantin – violin/voiceShiekh Ahmed Talha - oud/voiceVictor Herrero – guitarSide BThe Sum Of Us All (Vejer)song written by Josephine FosterRecorded and mixed by Gyda ValtysdottirVejer de la Frontera, Spain, 2012Mastered by Brian SulpizioJosephine Foster – voice/guitar/harpGyda Valtysdottir – cello/voiceShahzad Ismaily – percussionVictor Herrero – Portuguese guitarand incorporating some sound samples from the Joujouka session.Artwork - Josephine Foster

A kind of Radiophonic Workshop Rebel Alliance…” - The Quietus Tape Works (Vol. 1) documents the origins of Langham Research Centre as a late night experimental gathering in BBC Studios, through to their present day long-form radiophonic works including The Dark Tower, inspired by the life and work of Nikola Tesla, and Muffled Ciphers, inspired by J G Ballard’s most experimental novel The Atrocity Exhibition (1970). Langham Research Centre work with reel to reel tape recorders, gramophone cartridges, wave oscillators and more to produce new work for these instruments, as well as creating authentic performances of early electronic music.

Tape Works (Vol. 2) offers a new discovery of Langham Research Centre’s ever expanding analogue sound library, with its crystal clear recordings and effects. Humans and humour feature in each work, single voices or crowds milling and the spaces they occupy. This unique ‘sonotech’ is rooted in the cacophony of the real world. In fact each and every sound is so artfully articulated that the whole album makes you want to grab a microphone and recorder and get out there and start recording and transforming whatever sonic treats you can find.

“Exquisite musique concrète”, Seth Colter Walls in The New York Times www.nytimes.com/2022/04/28/arts/music/new-classical-music-albums.html “Natasha Barrett makes musique concrète feel like a thrilling adventure film”, Agata Kik in The Quietus thequietus.com/articles/31267-natasha-barrett-heterotopia-review “Natasha Barrett's intriguing compositions come across as mysterious sonic spaces that exist nowhere on earth” Richard Allen in A Closer Listen acloserlisten.com/2022/03/03/natasha-barrett-heterotopia/

Original GRM member Beatriz Ferreyra deploys a gripping trio of concrète works spanning 40 years (1977-2007) and revealing some of her most mysterious, freeform and otherworldly work comparable to Schaeffer and Parmegiani, but with a poetic playfulness of her own. This vinyl record brings together three pieces that play mischievously with the voice as a sound source, narrative source or diverted object: "Huellas Entreveradas" (2018), "La Baballe du Chien Chien à la Mé-Mère" (2001) and "Deux Dents Dehors" (2007). “Beatriz Ferreyra has been at the forefront of electroacoustic music composition since 1963 when she joined the Groupe de Recherches Musicales as one of Pierre Schaeffer’s research assistants. She is one of very few composers still performing who was instrumental at the beginning of Schaeffer’s theories of sound objects and reduced listening techniques. She continues to compose commissioned works and perform around the world in a career that has spanned some sixty years. From the 1960s until 1997 Beatriz composed tape pieces for multi-speaker performance using three or four Revox reel-to-reel tape machines at each concert. She now works on Pro Tools with GRM plug-ins but still uses the Revoxes for certain tape techniques that can’t be achieved with computer software. Beatriz discusses her music in the Schaefferian way, as a series of impulsions [sharp attacks], iteratives [repetitions], percutés [percussive hits], and trames [sustains] whilst also using her own onomatopoeic descriptions such as ‘schkllang, prrrrwip, ferrrwisssssh, takatak’ communicating sounds freely and directly as she hears them. Her music is about movement; the movement of sounds around a performance space, or the positioning of sounds as point sources within the illusory stereo field between loudspeakers. It is also about movement within individual sounds, where each one is a composition of different shifting components and a ‘little structure’ in its own right, with its own character. She likens her sounds to a Russian doll, inside each is another one, which contains another, and so on. During her time at Schaeffer’s studios, Beatriz developed her own research project, Objets Construits, (constructed objects). These are layers of short sounds, chords made of different noises. Each layer is isolated on a separate piece of tape to analyse the relationships between components and the effect of minimal alterations in pitch, dynamics or timing, to the overall perception of the chord. This was a way of thinking about sound slowly and patiently, of taking time to experiment, analyse and contemplate each manipulation, that is lost in the speedy world of vast ready-made digital sound libraries and the immediacy of save and recall buttons. In Beatriz’s work, small, playful sounds interact like chattering creatures and merge into vast cavernous and mysterious immersive landscapes. These three signature pieces use snippets of speech which are gradually deconstructed to create abstract textures, interweaving vocals with percussive and sustained sounds. Small, playful sounds interact like chattering creatures and merge into vast cavernous and mysterious immersive landscapes. La Baballe du Chien Chien [The doggie’s little ball] (2001) is a playful take on the way that we speak in a childlike way to pets. A brief narrative at the start invites the listener into this ‘pet speak’ scene, with the sound of footsteps and chatter. These gradually crescendo and morph into a cacophonous swirling explosion. Deux Dents Dehors [two teeth sticking out] (2007) is a pun on Bernard Parmegiani’s piece Dedans Dehors [Inside Outside] (1977), composed for his birthday. It takes snippets of lively vernacular and processes these into complex patterns of unintelligible and unrecognisable speech, in sustained or percussive sequences and glissandi. Heullas Entreveradas (2018) is a new commission that transforms vocal sounds into choral textures which fragment, granulate and transform into continuous whorls and tidal washes interspersed with her trademark short silences.”

Can a music made with the modern tools of digital music and contemporary production sound eerily as if created with the same equipment that Stockhausen, Henri and Berio all availed themselves of in the radio studios of the 50’s and 60’s - and yet sound bright and fresh to the ears of today's listeners? Robert Worby shows us how, with Factitious Airs. - CARL STONE This album focuses on recorded sound and structures made with recorded sound. How the original sound was produced and the objects used in the production of the sounds is of secondary interest. Tiny details in the sounds are important and what might appear to be insignificant, dull or uneventful is often salient. Acute, obsessive listening brings these elements to the fore.  In the process of making these structures, meaning begins to emerge and unfold. This is always highly subjective, ambiguous and uncertain and might fleetingly resonate with many ideas, objects, narratives and situations that are not connected with sound. Inspiration often comes from existing music but also from the entire history of ideas and, again, a tiny detail might produce a kind of creative resonance. Curiosity is predominant and drives forward the process of composition.

"A beautiful and nuanced composition, making art from unexpected places, creating a kaleidoscopic portrait of the world. The delicacy and charm with which Iain Chambers sequences his materials is really something to admire. The machines live, breathe, and talk to each other – and to us. Yet there’s also something faintly valedictory about the tone, as if reminding us this is probably the last we’ll hear of these old-fashioned devices built on Newtonian principles" - THE SOUND PROJECTOR The Eccentric Press comprises two pieces composed entirely from recordings by Sounds of Changes – a pan-EU project documenting the endangered sounds of industry and domesticity. A collaboration between six major European museums, its recordings are freely available to download and use. These two symphonies of industrial sound were commissioned by WDR Cologne and ABC Radio National Australia. The source material is recognisable throughout, even when manipulated, juxtaposed or overlaid. Musical relationships emerge from sounds more often regarded as noise.

Ultan O’Brien is a fiddle player and composer from the wilds of County Clare in the West of Ireland. Ultan is a performer as well as a regular at sessions all of Ireland and can be found by chance in any pub in Dublin, Cork or some remote village on the edge of nowhere, flying jigs and reels around the room. Ultan was reared in the rich tradition of Irish music which is so commonly found and heard in Co Clare, but he also delves deep into sound art and experimental music. He has often been heard in the back of a car after a few pints quoting lines from Alvin Lucier or speaking at length about improvisation and it’s place in modern Irish music. Ulatn O’Brien is a fresh and vital player who has much to offer with his unique approach and technique to a tradition so old and ever ready for a subtle change every 100 years or so.Ultan has played and recorded with people and bands such as Skipper’s Alley, Eoghan Ó Ceannabháin, John Francis Flynn, Slow Moving Clouds, Cuar, Laura Jurd, Martin Green, Natalia Beylis, Paul Roe and Nic Gareiss.‘in its [Ultan’s fiddle playing] sincerity of tone it reminds me somewhat of those great caoineadh which were played with such elusive grandeur by Denis Murphy and Pádraig O’Keefe’Adrian Scahill

To pour some out for one of their heroes, the cosmos’ own Sun Ra, Bitchin Bajas simply cut a slice of their own DNA and amplify it! Or something like that: they clearly vibe with Ra in hypno-symbiosis, setting the controls of their analog synths for the heart of Sun. Bonus mixtribute: a heartfelt doff to Queen Wendy C, sythnaut and another mother!A portion of the proceeds for Switched On Ra was donated to The Prison + Neighborhood Arts/Education Project. The Prison + Neighborhood Arts/Education Project (PNAP) is a visual arts and education project that connects teaching artists and scholars to incarcerated students at Stateville Maximum Security Prison through classes, workshops, a policy think tank, and guest lectures. Classes cover subjects ranging from poetry, visual arts, and creative writing to political theory, social studies, and history. PNAP also offers a tuition-free degree-granting program at Stateville in partnership with the University Without Walls at Northeastern Illinois University. Our classes serve as an indispensable opportunity for our students to connect with artists, scholars, and writers from the region, expand their cultural and political education, and communicate complex ideas. PNAP courses develop projects—visual art, creative writing, and critical essays—which are the basis for exhibitions, events, and publications that are shared both within and across the walls of the prison.

ollowing their collaboration on 2021’s Oscar winning Drive My Car, Eiko Ishibashi & filmmaker Ryusuke Hamaguchi up the ante with a deeply inspired synergistic exchange: music for images, visuals for sounds. Eiko’s score initiated the project that has become his celebrated new film (Best Picture – BFI London Film Fest, Asian Film Awards, Silver Lion – Venice Film Fest, Best Score – Asia Film Awards). Every nuance mixed & mastered by Jim O’Rourke.

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.

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.

LP is out-of-printCD includes two short duo sets originally available as digital-only bonus tracks. Download available as 320k MP3 or 24bit FLAC. This recording gathers all of the music from the final night of Otomo and Sachiko's first residency in 2009 which saw the pair joined by the long running trio of Evan Parker, John Edwards and Tony Marsh and special guest John Butcher. Butcher played duos with both Otomo and Sachiko and joined the quintet for a rousing sextet: stunning twin saxophone interplay, the unparalleled open-ness of the Marsh/Edwards rhythm pairing, Sachiko's deft high frequency interventions and Otomo's guitar at the centre - moving between abrasive textural invention and suggestive single note runs of ever-shifting melody. REVIEWS "As for indicating a place in the curiously sculpted bridges between improvised music and sound art, well, the simple singularity of these daring and committed performances should bear out their significance." Clifford Allen, Tiny Mix Tapes "This Quintet/Sextet album is recorded beautifully and it needed to be to capture all the nuance involved ... These are musicians at the top of their craft." Free Jazz Blog "...fresh and inspired. The recording stands as a finely-honed classic of classically approached free improvisation: the players dance and flow smoothly and effortlessly with and around the sounds of their partners." - Henry Kuntz Point of Departure Review

Tracklisting: A1 The Solar Model - 13:51A2 The Laws of Motion - 03:28A3 For George Saliba - 03:42B1 The Oud of Ziryab - 04:46 B2 For Ibn Al Nafis - 04:17 B3 For Mansa Musa - 03:44 B4 The Birds are Singing - 06:01  Pat Thomas returns to OTOROKU for his fourth collection of solo piano improvisations, this time recorded in a studio setting at London’s Fish Factory.  For 25 years now, beginning with Nur (Emanem) and continuing through Al-Khwarizmi Variations (Fataka), The Elephant Clock of Al-Jazari (OTOROKU), and now The Solar Model of Ibn Al-Shatir, Pat Thomas has drawn on the Arabic world for titles for his solo piano work - specifically the long-standing Islamic tradition of astronomical invention. For Thomas, the work of the polymaths he dedicates his music to has been sidelined by Eurocentrism, just as the Arabic origin of “jass” and the scalar, intervallic and polyphonic contributions made by Arab musicians have been routinely overlooked. Islamic innovation is at the heart of Thomas’ solo projects and draws a direct link between his Sufi faith and a totally unique style of playing. Each of his solo piano records is a dedication - not just to the innovators Thomas names but to the beauty of the universe in all its complexities.    Starting standing up with one hand inside the piano and one on the keys, ‘The Solar Model’ begins with single staccato bass notes appearing like chondrites in the darkness, occasionally tumbling towards a rhythm and then falling out of it. Metallic string work starts to pull towards an unseen centre and eventually notes from the upper registers appear, clear and light. With both hands drawn to the keys, Thomas builds towards scintillating beauty, carried through “The Laws of Motion” and propelling us towards the A-side closer, “For George Saliba”. Notes fall rapidly, colliding to form a crowded core with a warped sort of bebop in its middle - distinctive Pat with a nod to the Duke’s groove. The whole landscape of the A side swings with this one movement, until its energy is spent on one last sweeping rotation.  On the B-side, “The Oud of Ziryab” notes to the instrument maker who added a 5th pair of strings to the Oud. The single bass notes of the first side are swapped for clusters, bursting together and decaying in space. Making use of the sustain pedal and the silence of a studio setting, it’s one of the most open, lush recordings of Thomas at the piano we’ve heard - more Muhal Richard Abrams than Monk, the lower end thundering under rapid, crystalline blues.  “For Mansa Musa” brings back a swing instantly recognisable as Pat, with a huge euphoric lift halfway that crowns the record but the album’s end title “The Birds are Singing” is more celestial, more chromatic - a reminder that the spiritual matters just as much as the physical for Thomas. --- Released in an edition of 500 LPs and 500 CDsRecorded at the Fish Factory, London on Wednesday 6th March, 2024 by Benedic LamdinMixed by Benedic Lamdin Mastered by Giuseppe Ielesi Photographs by Abby Thomas Pressed at Vinyl Press UK

Tracklisting: 1. Aoshi 2. Dany Boya 3. Ankotsubaki Gaiden 4. Taria 5. Kamome 6. Furusato 7. Narayamabushiko 8. Maronie 9. Shiroi Inu"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings --- Kan Mikami / vocals, guitar John Edwards / bass Alex Neilson / percussion --- Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi

LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where [he] was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record called Sounds of the Junkyard that Lytton was obsessed with around the time of this release - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, his own homemade contraptions, and cassette recorder - regularly thickening the already murky brew by playing back previous recordings of the duo. Imagining their set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in a corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years.