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Two years after having recorded Aurora, which Gérard Terronès released on his Futura Records label in 1971, the Théâtre du Chêne Noir put on another show, Miss Madona, first at Avignon, and then at Ariane Mnouchkine’s Théâtre du Soleil. Fromthis play, Gérard Gelas’ group took three sound extracts which they made, with no further ado, into a single.Miss Madona is thus the second recording by Théâtre du Chêne Noir. The two sides(and three tracks) offer up an unbelievable instrumental theatre with something of a white magic ritual about it. The actors, so much better for the record, were also musicians; alongside Miss Madona, ex-star of the circus and now idol, were the piano and electric organ of Daniel Dublet, the saxophones of Pierre Surtel and Jean-Louis Canaud, and the trumpet of Gilbert Say. But there are also the vocals of Beatrice Le Thierry, Bénédicte Maulet, Jean Paul Chazalon, Monik Lamy, Nicole Aubiat... which added to the mystery of what happened on stage. The sound of this particular theatre may remind us as much of John Coltrane as of Ravi Shankar, Pierre Henry or the Art Ensemble of Chicago. There are voices from beyond the grave, inspirational for future musicians: Steven Stapleton, for example who included Théâtre du Chêne Noir in his Nurse With Wound List. On the occasion of Record Store Day 2020, Souffle Continu, who are just to reissue Aurora, can be proud of re-releasing this single, which is rare in more ways than one.


Born in 1964, Yukihiro Isso is a Japanese Noh flutist (hayashi-kata fue-kata) from a family that has been playing this instrument since the 16th century. He received his initial instruction in flute playing from his father Yukimasa Isso and performed on the Noh stage for the first time at the age of nine. From his middle school years he began to listen to a variety of different kinds of music and studying new instruments including the recorder, flute and piano. An acclaimed performer of classical Noh repertoire, Isso is also an accomplished improviser and has performed with the likes of Cecil Taylor, Peter Brötzmann and John Zorn.. Born 1946, Roger Turner grew up amongst the Canterbury musical life of the 1960’s with a strong jazz foundation. Since 1974 work has been concentrated on exploring a more personal percussion language through the processes of improvisation. Solo work, collaborations with experimental rock musics & open - form song, extensive work with dance, film and visual art, involvements in numerous jazz-based ensembles, & workshop residencies have formed part of that development. Takanehishigu is the audio documentation of the first time these artists played together. The results are a breathtaking new music which remains respectful to the individual traditions whilst simultaneously subverting them. --- Yukihiro Isso / Nohkan (noh-flute), shinobue, dengakubue, gemshorn and recorder. Roger Turner / percussion --- Takanehishigu was recorded live at Cafe Oto on 23rd Sep 2015 by Shaun Crook Mixed by John Chantler. Mastered by Giuseppe Ielasi. Artwork by Paul Abbott. Edition of 500 copies.

Roger Turner / Yukihiro Isso – Takanehishigu

Spiritual jazz — frank, deep, reaching; no fakery. Tchicai appears on Ascension and Ayler’s New York Eye And Ear Control; he’s on Witchdoctor’s Son, with Johnny Dyani and Dudu Pukwana, besides landmark recordings with Archie Shepp, including Four For Trane; and his Mohawk LP on Fontana is a five-star affair. Yet still Richard Williams in The Guardian reckoned this ‘wise and lyrical’ album ‘one of his best recordings’. Here his playing is somewhere new, oscillating between Dolphy and Konitz. John Coxon and Ashley Wales are rivetingly attuned to him, on harpsichord, trumpet, electric guitar, sampling, bowls and percussion. In different ways the music evokes such talismanic recordings as Ayler’s set Swing Low Sweet Spiritual, Jimmy Giuffre’s live performance of Jesus Maria, Trane’s Dear Lord, and George Russell’s Electronic Sonata For Souls Loved By Nature. "'Afro-Danish saxophonist John Tchicai spent his youth playing alongside the greats- recording and performing in NYC with Albert Ayler, John Coltrane, Archie Shepp and Don Cherry amongst many others. Following a meeting at the Coimbra Jazz festival in 2004, he agreed to record with John Coxon and Ashley Wales. The beautiful resulting album sold out almost immediately on its release in 2005 and is available here for the first time on vinyl. Eloquently balanced between Eric Dolphy and Lee Konitz, his 'wise and lyrical' alto saxophone and bass clarinet playing make this 'one of his finest recordings' [Richard Williams in The Guardian] Essential."" Originally issued as a CD by Treader in 2005. Pressed in 2019. 

John Tchicai – John Tchicai With Strings

Mohammad Reza Mortazavi is a virtuoso percussionist known for playing traditional Persian instruments such as the tombak and daf. After developing more than thirty new striking techniques and progressing to be one of the most prominent players in Iran, Mortazavi travelled to Germany, eventually settling in Berlin to record and perform regular concerts the world over. His acclaimed performances have taken in venues such as Berlin Philharmonie and Sydney Opera House. In recent years, he has been embraced by the experimental electronic music community, collaborating with Burnt Friedman, Fis and Mark Fell.Ritme Jaavdanegi is Mortazavi’s sixth LP, and his first one available on vinyl. The album came together from recordings made in Berlin in June 2019, inspired by Mortazavi’s vivid reminiscence about profound experiences he had listening to music as a child. As he drifted in this time slipping reverie, the phrase ‘ritme jaavdanegi’ or ‘rhythm of eternity’ came to mind, and he found the phrase itself to match the 11/8 metre he was striving for. As such, all eight pieces on this album adhere to this time signature, which in itself harks back to the Aksak, a rhythmic pattern based on the alteration of binary and ternary quantities executed in a fast tempo, intrinsic to traditional music from Iran, Turkey, Afghanistan and the Balkans.In the same way these non-standard folk rhythms started to impact on Western music in the early 20th Century, so now you can hear an ever-increasing embrace of polyrhythms and metres that break away from the dominant 4/4 ideology. What’s most striking about Ritme Jaavdanegi, perceived through a lens of modern Western experimental music, is how Mortazavi’s virtuosic playing rivals the intensely programmed dynamics of electronica. His rapid, needlepoint drum hits bend their tonality in incredibly musical ways, but there is still an underlying focus on cyclical repetition that encourages the same ancient transcendental quality that so many contemporary artists strive for. 

Mohammad Reza Mortazavi – Ritme Jaavdanegi

This recording is not a "best of", it is a reflection of Tori Kudo's evolution as a composer, from playing with seasoned musicians, to playing with people just starting out, from playing with meticulous scores, to playing call & response melodies written down, to the songs here on "Je est un Autre": instant improvisations based on keyboard compositions that Tori plays for the group. Yes, that is it. He plays a recording of himself on the keyboard, with singing or humming sometimes and he leaves it to the "big band" to interpret this on the spot. Sometimes, you can make out the melody, other times it is quite obscure, as if a sort of common shyness flows out of the collected instrumentarium.And other times, well, it is a big party.Mr Kudo and the group were invited to tour Europe to celebrate 20 years of the project Le Ton Mité, members of which are absorbed into the ensemble. The recording evolves from the static sound of hermetic conditions to the live concert in the later tracks. The studio here, is a trendy concert hall in Brussels Les Ateliers Claus. You hear the applause of the brave ears that weathered the ride of accidental psychedelia & moiré of various notes fading into and out of each other. This is only a sliver of the material from the 20 hour recording marathon documenting the new composing/playing style of Mr Kudo & snippets from the last concert of the March 2018 tour. Perhaps the album should be called "Je est un autre : Volume 1" in a vague reference to "My Brother The Wind" series from Sun Ra. In any case, here you have four sides of ten inch vinyl to take you on a journey into Maher: Je est un autre...  --- Tori Kudo : electric guitar, keyboard, voiceMikiko Suzuki : electric guitarMarina Shibazaki : electric guitarCorneliiiii : acoustic guitar, melodionNaoki Otani : trumpet, voiceChie Ozeki : trombone, bass, fluteJunko Harada : euphoniumTakahashi Tsukasa : drums, percussionJunko Suzuki : percussionsMomoko Maejima : pianicaShiu Yeung Hui : violin, melodicaEric Kinny : slide guitar, mandolinZach Phillips : bassJeremy Latch : clarinetEleonore Kenis : alto saxophoneMcCloud Zicmuse : bassoon, alto clarinet, recorder, chanter, synthisizer, voiceHans Bloemmen : tenor saxophoneOona Libens : musical sawFrançois Schultz : musical sawRecorded 18 & 24 March 2018 at Ateliers Claus, St Gilles, BelgiumEngineer : Christophe AlbertijnMixed by Tori Kudo at at Village Hototoguiss studio Dogo, Ehime, Japanall compositions by Tori Kudo exceptRecercada segunda sobre el canto llano "La Spagna" by Diego Ortiz (c. 1510 - c. 1570)Les Barricades Mystérieuses by François Couperin (1668 - 1733)Crickets by Jim Wilson

Maher Shalal Hash Baz – Je est un autre

Between 1978 and 1980, the Asociaux Associés (antisocial associates, TN) recorded the second of the two albums which appeared under their name: Nouveaux Modes Industriels. Philippe Doray, with the help of his 'Associés, evermore iconoclastic and numerous, backs up his anguished poetry with customised krautrock, hallucinatory pop and rock Suicide. Much more than a memory of the then surprising (and disturbing) Swinging Rouen, this album is an intergalactic ambush.Following the publication, in 1977, of the first of two albums under his own name, Ramasse-Miettes Nucléaires, on the label Gratte-Ciel, Philippe Doray didn’t waste any time before writing new obscure and experimental songs. As proof, between May 1978 and January 1980, with his Asociaux Associés (antisocial associates, TN), he recorded ten of them in the farm in which he lived (and shared) close to Rouen.In 1980, Nouveaux Modes Industriels was published thanks to the support of Invisible, the label of the Société Coopérative d'Ouvriers-Producteurs Artistiques (S.C.O.P.A., the Cooperative Society of Artistic Worker/Producers,TN) run by, amongst others, the ex-manager of Crium Delirium Jacques Pasquier. This meant that Doray had free rein for his electric poetry, his personal delirium, to be heard. He had already shaken up French music with his mix of pop, krautrock and free jazz; a few months later he would undergo a change which would be the precursor of his future projects.Before collaborating with Thierry Müller under the names Ruth and Crash, Doray let loose one last time, with his Asociaux Associés, his anguished poetry into the face of the urban labyrinth, his nuclear dynamite… It is no coincidence if the album cover is similar to those by Urban Sax, the spirit of the times was anguish as a creator of beauty. Doray’s version had the advantage of still knowing how to sing.Never forgetting his interest for dance, the musician gets Cluster moving to a boogaloo, foments a Suicide on synthetic jaw harp or invents elevator music for tower blocks… All of which hotchpotch feeds into his Nouveaux Modes Industriels. If the last track of the album states “no after-sales service”, it is simply because there is no need.*Entre 1978 et 1980, les Asociaux Associés, emmenés par Philippe Doray (Rotomagus, Ruth, Crash), enregistrent le second des deux albums qui paraîtront sous leur nom : Nouveaux Modes Industriels. Avec des associés plus nombreux et plus iconoclastes encore, Doray rehausse sa poésie angoissée de krautrock customisé, de pop hallucinée et de rock Suicide. Bien plus que le témoignage d’un surprenant (et anxieux) Swinging Rouen, ce disque est une embuscade intergalactique.Après la publication, en 1977 sur le label Gratte-Ciel, de Ramasse-Miettes Nucléaires, le premier des deux albums sortis sous son nom, Philippe Doray n’a pas tardé à signer de nouvelles chansons obscures et expérimentales. La preuve : entre mai 1978 et janvier 1980, avec ses Asociaux Associés, il en enregistre une dizaine dans la ferme qu’il habite (et partage) aux environs de Rouen.En 1980, Nouveaux Modes Industriels sort grâce au soutien d’Invisible, le label de la Société Coopérative d'OuvriersProducteurs Artistiques (S.C.O.P.A.) dont s’occupe, entre autres, l’ex-manager de Crium Delirium : Jacques Pasquier. C’est dire que Doray eut les coudées franches pour faire entendre sa poésie électrique, son delirium à lui : hier déjà, il bouleversait la chanson française à coups de pop, de krautrock et de free jazz ; quelques mois plus tard, il opère une mue qui annonce ses projets à venir.Avant de collaborer avec Thierry Müller sous les noms de Ruth et de Crash, Doray jette donc une dernière fois avec ses Asociaux Associés sa poésie angoissée « au visage » des labyrinthes urbains, du plastique, du nucléaire… Et si la pochette de l’album évoque celles d’Urban Sax, ce n’est sans doute pas une coïncidence : l’heure est à l’angoisse créatrice de beauté. Celle de Doray a, en plus, le charme de savoir encore chanter.Sans jamais trahir son intérêt pour la danse, le musicien fait alors bouger Cluster sur un boogaloo, fomente un Suicide à la guimbarde synthétique ou invente la musique d’ameublement pour barres d’immeuble… Le tout dans un gran bordello qui profite à ses Nouveaux Modes Industriels. Et si le dernier morceau de l’album préfère prévenir « Pas de service après-vente », c’est tout simplement qu’il n’y en avait pas besoin. First ever vinyl reissueRemastered from the master tapesObi Strip + Textsheet Insert .33rpm.

Philippe Doray & Les Asociaux Associes – Nouveaux Modes Industriels

Valentina Magaletti and Julian Sartorius maintain a dialogue of irregular tempos and off-kilter percussion on their first collaborative record titled Sulla Pelle.Valentina is a force in the world of electronic and experimental music - working with Tom Relleen under Tomaga, jazz/pop band Vanishing Twin, the collective ‘UUUU’ with a couple of releases on Editions Mego, as well as various collaborations with the likes of Nicolas Jaar and Raime/Moin to name a couple.Julian Sartorius is a denizen in and of the beat – he's collaborated with artists such as Matthew Herbert, Shahzad Ismaily, Sylvie Courvoisier, as well as touring worldwide and widely through Europe with his solo show on the bill with the likes of Deerhoof, Faust, and Jaki Liebezeit. It’s apparent that time is not perceived in an ordinary manner by Julian – he's released a “Beat Diary” consisting of 365 beats and, on a daily basis, adds an element to his collage and modifies an 8-second audioloop under the project called Morph. More recently, he played percussion on the track ‘Firesmoke‘ on Kate Tempest‘s new record ‘The Book of Traps and Lessons‘.Sulla Pelle chisels away at your headspace at varying velocities with a harmonious flow - at times gently carving out channels that dramatically flood with syncopated kick drums and shifting propulsive beats. It’s as much about monotonous playing as it is about those moments where it seems as though every vertebra branches into tentacles and antennas ricocheting hits in foreign symbiosis.Rasping prepared drums that traverse the body into all sorts of ceremonial throttles, hedonistic arm flails, primal cheer at every incipient dynamic accent. This raw and sparse drumming and percussion record sees Valentina and Julian cueing each other in on interlocked ratchets and clanks with different mallets and metalwork from Malcom Catto’s studio on top of modular tinkering and occasional distant subdued ramblings.Sulla Pelle will be released end of August digitally and on vinyl with artwork by Benjamin Kilchhofer. 

Valentina Magaletti & Julian Sartorius – Sulla Pelle

Another essential Incus reissue by Honest Jon's.  "Percussionist Jamie Muir was a member of King Crimson during the recording of Larks’ Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981. There’s no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can’t hear echoes of any particular jazz drummer in Muir’s playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who’d come before him). What on earth did Muir’s kit consist of? Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be… well, anything. Old suitcases thwacked with rolled up newspapers? Tin cans and hubcaps inside a washing machine? Who cares? It sounds terrific – but if you’re the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track. Dart Drug is consistently thrilling, and often very amusing – but it’s certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too? That’s precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight?  Sometimes Bailey’s content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir’s junkyard, but elsewhere he sets off into uncharted territory himself. “The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) – which is to give music a future.” Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album. Very hotly recommended." - Honest Jon's

Derek Bailey & Jamie Muir – Dart Drug

Cien Fuegos presents a reissue of Peter Brötzmann's 14 Love Poems, recorded and first released by FMP in 1984. Inspired by a poetry booklet by Kenneth Patchen (from which it takes it‘s title), this album focuses on expression and emotion. "A monument of post-free solo reeds playing and a stunning item in Peter Brötzmann's discography, 14 Love Poems is arguably the German saxophonist and clarinetist's strongest, most compelling solo statement. Recorded and first released by FMP in 1984, this LP showcases the full scope of the man's art and presents it in a form much more enticing than what you'd expect. This album focuses on expression and emotion instead of virility or power (two terms often used to describe Brötzmann's playing). If 14 Love Poems can be dubbed "the softer side of Peter Brötzmann," it is by no mean a collection of watered-down solos. On the contrary, one finds all the energy, ferociousness, and angst the man is rightfully known for, but his palette of feelings is stretched out to also include tenderness, elevation, and beatitude. The opening "NR. 1" (no titles, just numbers) is in fact a tempered, delicate rendition of Ornette Coleman's "Lonely Woman" on baritone sax. All the other pieces are freely improvised. They are all short (nothing over five and a half minutes), and the track list emphasizes mood swings and instrument swapping. In the course of the original album's 50 minutes, Brötzmann plays baritone; tenor and alto saxes; A, E flat, and bass clarinets; and tarogato. The range of instruments, emotions, and techniques (from straightforward melody to sound-breath techniques, circular breathing, split tones, etc.) produces a very rich, diverse, and ultimately endearing album. These pieces were recorded during the original sessions, August 21-23, 1984. Despite the fact that they don't add to the album (in terms of sound palette or techniques), they are just as lovely and striking as the pieces originally released -- not leftovers at all. This album is essential to understand the solo albums later recorded by John Butcher, Alessandro Bosetti, and the like. "Highly recommended. 10/10"  AllMusicGuide --- Peter Brötzmann / alto, tenor & baritone saxophone, a-,e-flat & bass clarinet, tarogato --- Cover by Peter Brötzmann. Producer: Jost Gebers, Peter Brötzmann. Mix: Jost Gebers, Peter Brötzmann.All compositions by Peter Brötzmann, except Lonely Woman by Ornette Coleman. Recorded and first released by FMP in 1984


Cien Fuegos presents live recordings circa 1975 Berlin from the legendary free music duo of German free jazz saxophonist Peter Brötzmann, Dutch jazz drummer and percussionist Han Bennink and pianist/accordionist Fred Van Hove. Instrumentation: Peter Brötzmann (clarinets, alto, tenor & bass saxophone, vocals), Fred Van Hove: (piano, accordion), Han Bennink: (drums, cymbals, Schwirrholz, accordion, clarinets, floor, walls, megaphone, etc.). Recorded by Jost Gebers on Sunday afternoon, September 14th, 1975 at the Quartier Latin in Berlin. A6 was recorded live by Jost Gebers on September 13th, 1975 at the Quartier Latin in Berlin. Produced by Jost Gebers. This album was originally released on FMP, 1970. FMP catalog number: FMP 0230. This cooperative trio released a number of albums for FMP in the late '60s and early '70s, and affords the listener a chance to hear a lighter, more playful side of Peter Brötzmann, whose reputation is derived from more extreme and assaultive sessions such as Machine Gun and Nipples. Surely part of this approach is due to the antic nature of percussionist Han Bennink, who, whether playing his drum set or the studio floor, accordions or clarinets, rarely fails to inject wit and sly humor into the proceedings. Tschüs is arranged almost as a suite of shorter works, some having a relatively straight jazz and blues nature, others edging into the investigation of pure sound as championed by groups such as AMM. Van Hove's clear, supple piano playing often serves as the bridge between Brötzmann's wilder stylings and Bennink's (often literally) off-the-wall punctuations. Brötzmann's bass sax work on "Bierhaus Wendel" is lush and creamy, especially in conjunction with Van Hove's accordion. The album ends with a charmingly schmaltzy vocal rendition of the title cut, featuring Brötzmann's crooning over the strangled bird cries produced (who knows how?) by Bennink and Van Hove's cocktail piano. This alone is worth the price of admission."-Brian Olewnick, All Music Guide --- Peter Brötzmann: clarinets, alto, tenor & bass saxophone, vocalsFred Van Hove: piano, accordionHan Bennink: drums, cymbals, schwirrholz, accordion, clarinets, floor, walls, megaphone