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For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. "Ears Are Filled With Wonder, the debut release from the duo of pedal steel player Heather Leigh and reedist Peter Brötzmann, blows the old adage about improvised music somehow not being best appreciated via the recordings to beautiful pieces. This is a music that demands re-visiting, that seems to alter, slightly, every time it is played, with new details emerging, new relationships of tone and style, new romance, even. Recorded during a mammoth stint in Kraków, Poland, where Brötzmann and Leigh played as part of big bands, trios, quartets, and duos, this duo performance represents the diamond heart of the sessions, an improvised set that bears little relation to what either of the players has achieved outside of its prodigious gravity. We mentioned romance and really Ears Are Filled With Wonder, a play on a line from the poet Kenneth Patchen, showcases the full reach of Brötzmann's rebel lyricism, his lover man style, now smoky, seductive, late night, now roaring and vibrating with energy. Leigh plays it extremely subtly, sometimes fixing on the most suggestive detail and from there spinning luscious webs of repeat-time bliss that make for some of the most psychedelic and otherworldly settings of strings and horn. Elsewhere the two of them tear the roof off with tactile fuzz and horn ascensions. It's a music of organic depth, of endlessly evocative unfolding, as themes bloom and sigh and disappear and arise and it feels curiously out of time, even as both players push their instruments into futuristic configurations. As such it doesn't sit neatly in either players' extensive catalogs. . . . Ears Are Filled With Wonder is a coming together of two of the most original voices on their respective instruments and the title reflects the joyful uncovering of a whole new way of listening and relating. Indeed, it might well be the first ever freely improvised electric pedal steel and saxophone duet ever put to tape. Either way it is one of the most startlingly beautiful combinations of players and temperaments to orbit the European jazz scene in years. And this is only the beginning. So hold tight." --Moshe Idel, Ronda, Spain, February 2016 Heather Leigh: pedal steel guitar. Peter Brötzmann: tenor saxophone, bass and B-flat clarinet, tárogató. Recorded November 8, 2015, in Kraków, Poland.

PETER BROTZMANN/HEATHER LEIGH – Ears Are Filled With Wonder

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. The second release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton and Han Bennink(HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was an early transatlantic meeting between the leading free improvisers. Many of Braxton's signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. Available exclusively for download here.  --- Derek Bailey / electric guitar Anthony Braxton / saxophones, clarinets --- Recorded during a concert played at the Royal Hotel, Luton, England on July 2, 1974. Sides 1 and 2 were issued as Royal Volume 1 in 1984; 3 and 4 are released here for the first time by Honest Jons. Thanks to Karen Brookman-Bailey and Tim Fletcher. 

Derek Bailey and Anthony Braxton – Royal

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. "At last, the vinyl reissue of this masterwork, adding two hitherto unreleased gems recorded solo for Charles Fox’s Radio 3 programme Jazz in Britain, in the same few months of 1980 as the stunning Aida performances. The phrase ‘in the moment’ is often bandied about with reference to free improvisation, and indeed there’s no better way to describe Derek Bailey’s playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances.  Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there’s never a note out of place. ‘He who kisses the joy as it flies,’ in the words of William Blake, ‘Lives in eternity’s sunrise’ — and this music is forever in the moment, constantly active but never gabby, kissing the joy. One of the special pleasures of the BBC set is the guitarist’s own laconic commentary, a deliciously deadpan description of what he’s doing while he’s doing it — “I like to think of it… as a kind of music” — and the interaction between words and music is a particular delight. “You may have noticed a certain lack of variety,” he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk’s Round Midnight? Surely not — for Bailey, like Monk, was a note man par excellence. And they’re both still alive and well in eternity’s sunrise." - Honest Jon's

Derek Bailey – Aida

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. 'Patty Waters is a visionary avant-garde vocalist and composer, best known for her groundbreaking 1960s recordings for the legendary free jazz label ESP-Disk. Captivated by the music of Billie Holiday, she sang with Bill Evans, Charlie Mingus, Chick Corea, and Herbie Hancock before coming to the attention of Albert Ayler, who introduced her to ESP-Disk’s Bernard Stollman. The rest is history. Recorded with pianist Burton Greene, Waters’ haunting 1966 debut Sings juxtaposes a side of hushed self-composed jazz ballad miniatures with an iconoclastic take on the standard “Black Is the Color of My True Love’s Hair.” Sharing Ayler’s affinity for the deconstruction of folk idioms, Waters dismantles the tune through a series of anguished wails, moans, whispers, and screams that cemented her reputation as a vocal innovator, predating the extended techniques of Yoko Ono, Joan La Barbara, and Linda Sharrock, and cited as a direct influence to Diamanda Galás and Patti Smith’s own freeform vocal excursions. The mythic side-long exposition stands as one of the 20th century’s most harrowing expressions of madness and grief, its incantatory mutilation of the word “black” into a full-spectrum monochrome resounding with a particular potency at a time when battles for civil rights were erupting across the country. After recording a second ESP-Disk album Waters disappeared from the music scene, moving from New York to California to raise her son. It wasn’t until 1996 that she returned with a new recording of jazz standards associated with Billie Holiday and began performing sporadically. Her Blank Forms concert—with original pianist Burton Greene as well as bassist Mario Pavone and percussionist Barry Altschul, both veterans of Paul Bley’s ensembles—was Waters’ first New York appearance since 2003. Dedicated to Cecil Taylor, who had passed away moments before she took the stage, Patty Waters Live preserves the mournful tension that was in the air that night. Her first new release on vinyl since 1966’s College Tour, the record divides the session in the spirit of her debut. Side A features a set of desolate ballads, including Waters’ own classic “Moon, Don’t Come Up Tonight,” while the B-side puts into stark relief the fact that the fight for civil rights that Waters invoked over 50 years ago is far from over. Beginning with her rendition of “Strange Fruit,” a 1937 song written in protest of black lynching and American racism, the suite’s form-bending contortions also features the second-ever recording of Waters’ original, exceptional lyrical take on Ornette Coleman’s “Lonely Woman.” Equally adept at channeling the heartbroken intimacy of Lady Day and the catharsis of The New Thing, on April 5th, 2018 Waters proved that she has lost none of her fire, remaining one of the greatest living jazz singers.' - Blankforms

Patty Waters – Live

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. “a notea voice, screamsa batterysounds, grating noise, scratcheshere it startsMusic, musicYou who shudderWho makes you dance, singWho moves the buttand now begins Humming Dogs” - Florence Decourcelle, Humming DogsAn absolute pleasure to present ‘Les Borigènes’ - the first LP from France’s Humming Dogs. Born from the radical ‘Oiseau Mouche’ (Bird-Fly Company) - a troupe of actors and comedians who focus on the theatre of gesture - Humming Dogs make joyful, avant rock music, which pooh poohs the po-faced in favour of a party.Humming Dogs are made up of eight members - David Bausseron, Mathieu Breuvard, Florence Decourcelle, Thierry Dupont, Chantal Esso, Léa Le Bars, Florian Spiry, and Valérie Waroquier, who each write and create songs, swap instruments and sing collectively. Guitars, bass, drum kit, and keyboards mix with toy percussion, amplified pine cones, pot lids, iPads, a zither and an arsenal of effects. ‘Ha Ha Ha’ opens the record with the group dispersed and growling at one another, only to break out in infectious laughter, a free word riot and a thick bass melody. The traditional French song, ‘Karnaval’, gets totally sent by keyboards and a slung low guitar scrawl, egged on by the bands hooting and hollering. ‘Ça Me Gratte’ haunts and grates until it splits with a rising synthesizer and squeaking Bonios. The spitting, itching, near exhausted vocals from Chantel Esso are unlike much else we've heard.‘Les Borigènes’ contains the self taught, simple charm of the Shaggs ‘Philosophy of the World’, performed in the spirit of village revelry and recorded and edited beautifully in the tradition of the GRM. Democratized experimentation, low ego rock’n’roll - Les Borigènes is a truly joyous, remarkable and wild record. It arrives in an edition of 500 140g black vinyl LPs, with artwork from London’s Submit to Love Studios and Taylor Silk.Humming Dogs have performed at Sonic Protest, Cafe OTO, and Counterflows and are due to tour again in 2020. 

Humming Dogs – Les Borigènes

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. GUO - a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright - collaborate with Crystabel Riley (drums), Fran Edgerley [Assemble] (text) and Peter Strickland (film). GUO - a multidisciplinary duo formed of Daniel Blumberg and Seymour Wright - announce GUO4, a new release on Mute available on vinyl and digitally on 20 September 2019. On GUO4, their first release for Mute and the latest in an ongoing series, the pair have collaborated with Crystabel Riley (drums), Fran Edgerley [Assemble] (text) and Peter Strickland (film). Peter Strickland's film has just been announced to premiere at the 76th Venice Film Festival on 6 September. Watch a teaser for the film - a confrontation between two swimmers in a locker room - here: https://youtu.be/f031c56f_5E Strickland explains, “The framing of traditionally macho scenarios in a homoerotic context takes its cues from the covert porn of Bob Mizer. The combination of muscle and beat-up lockers somehow evoked the music in my mind.” The name ‘GUO’ itself is ancient Chinese for a metal vessel, or cooking pot, and the resulting work layers alto saxophone, electric guitar, feedback and metal distortion alongside the distinctly-voiced 'ekphrasis' response from a range of collaborators operating across different mediums. The album was mixed by Marta Salogni. It also features original etchings by GUO and stills from the film. Previous releases have included ekphrasis by the English musician, author and professor, David Toop (GUO1) and the American filmmaker (Childhood of a Leader & VOX LUX) Brady Corbet (GUO2).

Guo – GUO 4

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Empty Editions presents Palina’tufa, the newest work from saxophonist Seymour Wright and percussionist Paul Abbott’s long-running duo XT. Wright and Abbot’s respective practices have been marked by a simultaneous engagement (with) and desire to challenge the limitations (of) the British tradition of improvised music - represented by groups such as AMM and John Stevens’ Spontaneous Music Ensemble. This album charts a new trajectory for Wright and Abbott, as they draw on recent live collaborations with RP Boo and Container in developing a sound which hybridizes the spontaneous interplay and timbral experimentation of free improvisation with the recursive formal structures of dance music. The album’s title is an enigmatic portmanteau of “Palina” (taken from the name of a species of butterfly sighted by the duo during recording) combined with the word “Tufa” -- a type of rock composed of ash ejected from a vent during a volcanic eruption; the bedrock of the island of Hong Kong. Compellingly, the green sheen of the Palinurus butterfly is not produced by pigments, but emanates from the microstructure of it’s wing scales. Similarly, XT’s Palina’tufa contains a brilliant internal logic of stacked component parts all amalgamated into a singularly iridescent instrumental structure. Recorded during a two week studio residency in Hong Kong, Palina’tufa departs from XT’s previous albums - primarily documentations of live performances - in its embrace of the recording studio as a form of instrumentation: a tool to sculpt, overdub and (re)assemble their chimeric sounds. The result is a striking cybernetic version of the classic sax-and-drums duo pioneered by legendary groupings such as John Coltrane and Rashied Ali, Evan Parker & Paul Lytton, and Jimmy Lyons & Andrew Cyrille. Palina’tufa turns the implied (and frankly, somewhat tired) tropes of this form on its head, pushing restlessly forward into the domain of a synthetic post-genre music. Wright's unconventional use of feedback and Abbott's heavily deconstructed electro-dance textures expand upon this simulated space, unfurling their instrumentation into an authentically liberated territory. Across four dynamic fifteen minute cuts, the duo craft an esoteric response to the real (and imagined) landscape(s) of Hong Kong. Interpreting their experience of the island as a kind of extended metaphor, Palina’tufa translates chance encounters, pockets of cultural history, vernacular architecture, and local wildlife (among other phenomena) into organizing principles for the creation of speculative music. Palina’tufa is a brilliant showcase of Wright and Abbott’s composite sound: naturally synergistic, with careful attention paid to how psychogeographical experience is transposed into the deeply considered interplay of their respective instruments. A stunning listen, the album’s various movements respond to scenes in proximity to the Tin Wan (Aberdeen) area: the past/future poise of Permanent Cemetery; the human densities of Duck Tongue Island; the black garlic/gypsum of Empty Gallery itself. Palina’tufa expands on this emerging style of electronically mediated improvised music by further compartmentalizing their playing through a series of concepts, limits, and methods to organize their materials into distinct classifications. This approach creates an album architecture, a time/space organized into “Stacks” (recalling vertical cylinders, tubes, pipes, columns), “Orbits” (recalling Chinese folk music, weather systems, paths travelling upward), and “Angles of Incidence,” (a concept inspired by Pere Portabella and Cecil Taylor) that responds to the social, physical, and temporal forces of a city. Loosely, these structures spatially reorganize the “time” in their playing, reversing, eliding, truncating, and magnifying content. This technique recalls everything from Anthony Braxton’s diagrammatic lines, colours, and figures that encode structural and vibrational elements of sound, through the pentatonic scale of Chinese folk music that was integrated into a symbolic matrix referencing the movements of the seasons, planets, and body-politic, to Alejo Carpentier’s search for a musical origin in fiction.

XT – Palina'tufa

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody  Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place. From Matthew Wright’s new liner notes:  The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout –  Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it! This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century. Edition of 1000 copies.

Louis Moholo Octet ‎ – Spirits Rejoice!

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support.   أحمد [Ahmed] – the quartet of Pat Thomas, Antonin Gerbal, Joel Grip and Seymour Wright – make music of heavy rhythm, repetition and syncopation set deep into an understanding of jazz and the obscure depths of its history. Across the 2 LPs which make up ‘Super Majnoon [East Meets West] ’the group work and rework the music of the late musician Ahmed Abdul-Malik to create a stamping, swinging, relentlessly propulsive record where profundity and physicality root right back to ecstatic feeling.  Abdul-Malik was a NYC bassist, oudist, composer, educator and philosopher who fused aspects of American, Arabic and East African thought, ethics, meanings and beliefs in open and experimental ways to make vital, forward leaning jazz. [Ahmed] reimagine the notes of Malik as they push for new ground. Melodies respirate, swell, escalate and combust in a driving jazz which yes is technical, yes is accomplished, but ultimately just foot-to-the-floor swings.  ‘Super Majnoon [East Meets West]’ is a title fused from the leader of the Master Musicians of Jajouka Bechir Attar’s description of [Ahmed] after hearing them in Switzerland last year (Majnoon is the arabic slang for ‘crazy’), and Abdul-Malik’s 1959 album East Meets West. Arriving as a double LP, the first comprises studio recordings of [Ahmed] at Hong Kong’s Empty Gallery in 2018 and the second a scorched live recording at OTO from August 2018. The record features photos by Bert Glinnand Taku Unamiand ‘in and out’ liner notes by James G. Spady – historian and journalist from Philadelphia, the author of books on Marcus Garvey and the trilogy of groundbreaking books on hip hop (Nation Conscious Rap, Street Conscious Rap, The Global Cypha).  --- [Ahmed] are: PAT THOMAS / piano  ANTONIN GERBAL / drums  JOEL GRIP / bass  SEYMOUR WRIGHT / alto saxophone  --- LP 1 recorded by David Sum at Empty Gallery Hong, March 31, 2018. LP 2 recorded by Paul Skinner at Café OTO London, August 25, 2018. LP1 mixed by David Sum. LP 2 mixed by Pat Thomas. Mastered by James Dunn. Liner notes © James G. Spady. Cover photo © Burt Glinn/Magnum Photos. Design by Maja Larsson. Produced by John Hawthorn, Jens Löwius and Seymour Wright.

Ahmed – Super Majnoon [East Meets West]

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. "Atlantis is an exhilarating listen, equally thanks to its fierce free jazz and brightly textural abstraction" Antonio Poscic, The WIRE, Feb 2020---Following closely on the heels of his ravishing solo album Tomorrow is Too Late, Stockholm-based synthesist and improviser John Chantler switches gears to unleash the stunning second album by his trio with saxophonist Seymour Wright and drummer Steve Noble, Atlantis. Chantler is well-known for his solo electronic work, which frequently explodes richly layered ambient soundscapes into visceral explosions and thrilling physicality, to say nothing of his imaginative experimentation with the organ, heard in radically transformed mode on the recent solo recording. But Chantler is equally invested in real-time improvisation and he’s developed a dazzling rapport and sound world with Wright and Noble, two of England’s most distinctive, active, and turbulent figures in spontaneous music over the last couple of decades. The pair has worked together in numerous contexts over the years, but it took Chantler to create an ongoing context for them, and since forming in 2017 the trio’s rigour and level of communication have steadily expanded.“My fantasy idea in the beginning when I wanted to do this trio was thinking about taking Derek Bailey’s role in the Topography of the Lungs trio,” he says, referring to the classic 1970 album with Evan Parker and Han Bennink. “That’s not what happened, but that was my way of imagining how I could make the synthesizer have the kind of range and ability to both comment on stuff and guide and push in certain ways, like Derek did in that group. That remains a kind of ambition even if aesthetically it doesn’t feel very close to that, but that’s how I first thought about what my role would be.” Indeed, Chantler serves as a pesky interrogator, his serrated tones and viscous globules cutting through the kinetic din dished out by Wright and Noble, and on the new album his integration is more fully realised to the point where it’s often impossible to decipher where the output of one musician ends—the sibilant bowed cymbals of Noble or the feedback-laced lines of Wright—and the pushback of another begins.The album was cut and mixed in a single day with in-house engineer Janne Hansson at Stockholm’s legendary Atlantis Studio, a facility made famous by the chart-topping albums recorded there by Abba in the 1970s, when the place was known as Metronome. Prior to entering the studio the trio spent an exhausting, all-in week rehearsing at the arts space Fylkingen—where they also played a show—in addition to playing a handful of gigs in Norway. Locked in, they discovered much different acoustic qualities at Atlantis from what they’d previously encountered. “There’s a very specific sound at the studio, and we’d been playing for a week together at Fylkingen, so we started to develop a thing that really works in that room, and then you move somewhere else, and the drums in particular sounded really different, and in some ways they had a bit more of a rock ‘n’ roll kind of feeling.” explains Chantler. Responding to that radically different, reverb-soaked ambience, he and Wright took advantage of a pair of matching Fender tube amps, charging their individual signals to match the booming, resonant sprawl of Noble’s pinpoint clatter.Compared to the group’s debut album Front and Above—a live recording of the trio’s very first performance at London’s Café Oto—which Chantler edited to emphasise the sparser expanses of the raucous, performance, the new album reveals a more open-ended spectrum, from delicate to crushing. Noble’s beautifully metallic rustling and throbbing snare bombs hang pregnantly in the air, and Chantler and Wright thicken the atmosphere with twinned abstractions, alternately ethereal and punishing. The transitions between calm and chaos are sometimes seamless, sometimes abrupt, but the full landscape transports the listener to another realm regardless of how ferocious or gentle the attack may be. As strong as the trio’s first album was, Atlantis marks a massive step forward. “The more you play together the more it starts to cohere into some kind of specific language,” says Chantler. “You start to understand the point of what a particular constellation might be.” With Atlantis there’s little doubt these three improvisers know exactly what the point of it all is, which thrillingly means that many new paths in the future have opened up.  --- John Chantler / synthesiser Steve Noble / drums Seymour Wright / alto saxophone --- RECORDED AND MIXED AT ATLANTIS GRAMMOFON AB, STOCKHOLM 24 JANUARY 2018ENGINEER: JANNE HANSSONMASTERING: STEPHAN MATHIEUPAINTINGS: LESTER WRIGHT RECORDING SESSION MADE POSSIBLE WITH SUPPORT FROM THE AUSTRALIA COUNCIL FOR THE ARTS

John Chantler / Steve Noble / Seymour Wright – ATLANTIS

LP / CD

For the time being we are unable to get to the post but if you order now your item will be posted as soon as things return to normal. Thank you for your support. "Previously unreleased recordings by various lineups drawn from Derek Bailey, Tristan Honsinger, Christine Jeffrey, Toshinori Kondo, Charlie Morrow, David Toop, Maarten Altena, Georgie Born, Lindsay Cooper, Steve Lacy, Radu Malfatti and Jamie Muir. Journalists often make the brief history of Free Improvisation conform to the idea that the history of music is a nice straight line from past to present: Beethoven… Brahms… Boulez. Thus Derek Bailey, Evan Parker and John Stevens — together with Brötzmann and co across the Channel — were the trailblazing ‘first generation’, forging a wholly new language alongside contemporary avant-garde and free jazz. Figures like Toshinori Kondo and David Toop, willing as they were to incorporate snippets of all kinds of music, were the pesky ‘second generation’, happily cocking a snook at the ‘ideological purity’ of Bailey’s non-idiomatic improvisation. ‘Company 1981’ shows up the foolishness — the wrongness — of such storylines. Check the eclectic collection of guests Bailey invited to Company Weeks over the years. He had clear ideas about the music, but he was no ideological purist. One of the founders of Fluxus, Charlie Morrow injects blasts of Cageian fun into half the recordings here, whether blurting military fanfares from his trumpet, or intoning far-flung scraps of speech. Cellist Tristan Honsinger and vocalist Christine Jeffrey join in the joyful glossolalia, while Bailey, Toop and Kondo contribute delicious, delicate, hooligan arabesques, by turns. The remainder are performed by a different ensemble: Bailey, bassist Maarten Altena, former Henry Cow members Georgie Born and Lindsay Cooper on cello and bassoon, the insanely inventive Jamie Muir on percussion, and trombonist Radu Malfatti, showing his mastery of extended technique. Were that not enough, there’s the inimitable purity of Steve Lacy’s soprano ringing high and clear above the melee. Glorious! There’s always been this idea that Free Improvisation is somehow Difficult Listening, but when the doors of perception are thrown open and prejudice cast aside, you realise that it’s not difficult at all. “Is it that easy?” chirps Morrow, at one point. Indeed it is.Enjoy yourself."

1981 – Company